Fabula Ultima ENG 1 of 2 [PDF]

Zitiervorschau

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This is your world, this is your story.

Make a choice and fight for what you believe in.

Fabula Ultima is the tabletop RPG inspired by JRPG, Japanese-style role-playing video games, in which epic stories of aspiring heroes and fearsome villains are told, set in fantastic worlds overflowing with magic, full of mysteries and wonderful places to discover and inhabited by unique and bizarre monsters! w Create your setting together: it is up to you to

w 15 classes that can be combined to create your

insert the elements you prefer, to create powerful

favorite character: a free development inspired by

kingdoms, small villages, the great events of history

video games that allows you to build unique and thick

and which inhabitants populate your world among three different styles of reference.

go on great adventures!

characters. Choose what type of group you are and

w A simple and intuitive game system that allows

w Everything the Game Master needs to lead the

you to relive the game atmospheres of the most

game and lead the group on extraordinary and

beloved JRPGs but also leaves room for players to

amazing adventures! Tips, guides and the tools you

participate in the narration in an active and decisive

need to create the perfect counterpart of the heroes:

way: every choice has consequences!

the Villain!

w A Bestiary filled with monsters, demons, beasts

w The manual consists of 360 full-color pages, finely

and constructs - the perfect obstacle on the road to

illustrated by artists from all over the world, and

heroes, from simple encounters to unbeatable bosses!

includes the PDF version!

A game by Emanuele Galletto needgames.it

ISBN 978-88-31334-92-1

fabulaultima.it

9 788831 334921 € 29,90

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With This is your world, this is your story.

Make a choice

and fight for what you believe in.

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ACKNOWLEDGMENTS Game Design, Texts and Development Emanuele Galletto Review Alberto Orlandini, Matteo Pedroni Translation Francesco Castelli Error Hunters Nicola Degobbis, Emanuele Galletto, Marta Palvarini, Erica Viotto Sensitivity Reading Marta Palvarini Artistic Direction Emanuele Galletto Layout Emanuele Galletto, Erica Viotto Cover illustration Moryo Internal Illustrations Christian Benavides, Lorenzo Magalotti, Moryo, Susu Nonohara, Cathy Trinh Pixel Art ExtantLily, Emanuele Galletto, Ben Henry, Sascha Naderer

Lorc damage icons Project Manager Nicola Degobbis Production Manager Marco Munari Project Supervision Matteo Pedroni Editorial Director Nicola Degobbis Editorial Supervision Marco Munari, Matteo Pedroni

Fabula Ultima © 2021 Need Games and Rooster Games. Any unauthorized reproduction of copyrighted material is prohibited. This is a fictional product. Any reference to people and events existing in the past or the future is pure coincidence and unwanted. All rights reserved. Printed in Lithuania.

In 2

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FOREWORD BY THE AUTHOR When I started working on this game in mid-2017, one thing was clear to me: at a time when the RPG industry seemed dominated by grim and bloody products and stories, vile and darkcharacters opportunistic fantasy and strong nihilism, I felt the need for an alternative.

I wanted a game that offered magical worlds and upbeat stories, that would make me rediscover the wonder of Japanese RPGs that had left me speechless when I was little. There was an element of nostalgia, of course, but there was also a conscious need to write a game based on cooperation, hope and mutual trust; both in the narrative and in its rules.

I chose the title (which was intended as temporary!) Of "Fabula Ultima", a Latin phrase that could be translated as "last fairy tale" or "definitive story". Obviously it was a playful tribute to one of the most famous JRPG series in the world, and which especially for me was the first Final Fantasy X encounter with the genre (in 2001). ,

In the spring of 2018, unfortunately, my health deteriorated significantly and the name "Fabula Ultima" took on a much more disturbing aura. Luckily it was nothing too serious, but the title had accompanied me as a sort of beacon during those difficult months, and I decided to keep it in the final version as well. Basically, I told myself, this game mostly tells the story of heroines and heroes who face adversity and recover from defeat, hoping for a better future.

To give me the energy to continue in the following years were dozens and dozens of people: some supporting my efforts through Patreon, some simply talking about the game or playing it with me. Testing and retesting, trying and trying again, in a process of remaking and transformation that has come down to the book you are reading today; and speaking of that book, the collaboration with Need Games was fundamental. Although the announcement was made in 2020, the conversations about it had already started in 2018: Nicola has followed the project from the very beginning, and every now and then I have the impression that he fell in love with it even more than me! Anyway, I've definitely written enough already: better let the game do the talking now. I ask you only to let yourself be carried away in a heroic adventure made of hopes, adversity, rebellion and feelings, and to do so by trusting those who play with you and being passionate about their ideas. To fight for what you believe, as this is your story.

Emanuele Galletto

In 3

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ORIGIN AND INSPIRATIONS

Fabula Ultima is partially based on the board RPG Ryuutama, written by Atsuhiro Okada and published in English by Kotodama Heavy Industries. This game has been written and produced under consideration, with permission, and with the complete final approval of Kotodama Heavy Industries and Atsuhiro Okada. To learn more about Ryuutama, visit www.kotohi.com. Inspirations that made this game possible: 13th Era by Jonathan Tweet and Rob Heinsoo; Aegis by Alberto Tronchi; Christian Giffen's Anima Prime ; Apocalypse World by D. Vincent Baker; Arianrhod by Takeshi Kikuchi and Studio FEAR; Blades in the Dark by John Harper (fundamental work for the treatment of clock mechanics); Luke Crane's Burning Wheel ; Dungeons & Dragons: 4th Edition by Rob Heinsoo, Andy Collins and James Wyatt; Fairies by Fred Hicks & Rob Donoghue; Kamigakari of Rikizÿ; Tÿichirÿ Kawashima's Meikyuu Kingdom ; Junichi Inoue's Tenra Bansho Zero ; Sword, Soul, and Sex, Ron Edwards Sorcerer Supplement Collection .

SPECIAL THANKS

Davide Baravalle, Andrea Bergamelli, Gianluca Candiago, Gaia Cardinali, Francesco Castelli, Alberto Ceirano, Lorenzo Costamagna, Nicola DeGobbis, Deshter, ExtantLily, Daniele Galliano, Alex Grisafi, Andy Kitkowski, Chiara Listo, Andrea Lucca, Chris MacLean, Luca Maiorani, Marco Munari, Enrico Orlandi, Alberto Orlandini, Andrea Parducci, Domenico Politi, Claudio Pustorino, Alec Rezanka, Matt Sanchez, Aaron der Schaedel, Claudio Serena, Justin "Gyromitre" Solatges, Sara "Kurolily" Stefanizzi, Marco Tarasconi, Alena Tincher, Triex, Erica Viotto, Giuseppe Vitale; Lorenzo Magalotti, Moryo, Sascha Naderer and Catthy Trinh for giving shape and color to the imagery of Fabula Ultima; Marta Palvarini for her support and invaluable advice; Lara “Phenrir Mailoki” Arlotta, Michele “Sabaku no Maiku” Poggi and Marcus “epicnamebro” Sanders for the excellent JRPG content they tirelessly create; my parents; and all the people who have supported this project over the years on the limits of the impossible on Patreon! PLAYTESTER Beatrice Alinari, Andrea, Andrea Apperti, Davide Ardizzone, William Arnone, Kohei Asakura, Davide Baravalle, Andrea Bergamelli, Peter Bråss, Dario Cavallone, Alessia Caviglia, Alberto Ceirano, Matteo Cesari, Lorenzo Costamagna, Alessandro Costella, Cryo, Same d ' Alessandro, Giulio D'Avella, Daniel De Filippis, Nicola DeGobbis, Deshter, Silvia De Stefanis, ExtantLily, Alessandro Fofi, Marco Faccin, Sabrina Faricelli, Luca Fuoco, Daniele Galliano, Marco Grimaldi, Alex Grisafi, Aslak R. Hauglid, Eric Hulfsson , Mattia Lagonegro, Marco Lazzaroni, Juri Loi, Andrea Lucca, Andrea Lucenta, Filippo Mammini, Nicola Marchi, Edoardo Noris, Roberta Nuvoli, Matteo Pedroni, Domenico Politi, Francesco Raimondi, Alec Rezanka, Roberto Rossi, Justin "Gyromitre"

In 4

Solatges, William Tagliaferri, Marco Tarasconi, and Alena Tincher.

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PREFACE BY THE EDITOR With the JRPG I grew up, learned a lot and shared powerful emotions and incredible adventures, they are perhaps my favorite hobby behind paper RPGs. I hated Kefka and her laugh, I screamed and cried in "that scene" with the sweet Aerith and the magnificent Sephiroth, I felt the smell of gasoline and the clang of metal driving Fei Fong Wong's mecha, I heard the hilt of the Monado gripped in my hands with every blow of Shulk, I jumped in time together with Cronus, Marie, Lucca and Robo, I was one of the Stars of Destiny with Tir at the head of the Liberation Army, I felt the smell of the gunpowder of Squall's gunblade, I was moved by experiencing Vivi's existential crisis and I fell in love with Tifa. My whole generation fell in love with Tifa. Every time I finished a JRPG, however, I felt a void inside. I wanted to continue the plot and not leave the protagonists and villains that I had loved and hated so much: at that moment the desire to find a paper RPG was renewed in me that would allow me to continue those adventures and not let those emotions end. I tried a lot of systems, I cut and sew between several games, finish,

reskinnato to not

rule in the endthe it was never same. inserted there I house realized thatbut I could play JRPG thatthe I loved so much ,

in a perfect way and satisfy my desire to create and live new stories of my genre favorite, this time together with my playmates.

Now, when I finish a JRPG and feel the usual void, I organize a nice session of Fabula Ultima to fill it whenever I want. I am very happy that Fabula Ultima is the first RPG produced entirely by Need Games. I remember how it was yesterday Emanuele talking to me about his intention to write a RPG inspired by the JRPG and saying to him “I know we are little ones today, but I would like this Fabula Ultima to be our first original game!”. So it was. To quote the greatest Villain of all the JRPGs (of course yes, I'm talking about Kefka Palazzo): "Crazy stuff!" You are still reading the preface! On! Go ahead, a flying ship awaits you to accompany you on endless adventures ...

Nicola DeGobbis

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SUMMARY w 1. INTRODUCTION

Actions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 Attack . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

The Eight Pillars . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Equipment . . . . . . . . . . . . . . . . . . . . 70 Game Materials . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Guard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70 The Players . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 The Spell . . . . . . . . . . . . . . . . . . . . . . . . . . . 70 Game Master . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Obstruction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

w 2. RULES OF THE GAME

inventory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 Goal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .72

Scenes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Studio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 Scenes from Interlude . . . . . . . . . . .from . . . . the . . . Game . . . . 31 Scenes Skill . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 Master . . . . . . . . . . . . . . . 31 Sessions and Team Play . . . . . . . . . . . . . . . . . . . . . . . . 76 Examples of Campaigns . . . . . . . . . . . . . . . . . . . 32 Important Clocks and Goals . . . . . . 78 Optional Rules for Conflicts . . . . Rules . . . . . . . . . . . . . . . . . . . . . . . . . 33 Anatomy of a 82 Health and Mind Points . . . . . . . . . . . . . . 84 Character . . . . . . . . . 34 Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 0 Life Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 Critical Success . . . . . . . . . . . . . . . . . . . . . . . 40 Critical Sacrifice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 Failure . . . . . . . . . . . . . . . . . . . . . . 40 Travel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Opportunities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Perform Rest . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 Characteristic Test . . . . . 42 Difficulty Damage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ninety two Levels . . . . . . . . . . . . . . . . . . . . 43 Invoke a Improvise the Damage . . . . . . . . . . . . . . . . . 93 Trait . . . . . . . . . . . . . . . . . . . . . 46 Invoking a Status . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 Bond . . . . . . . . . . . . . . . . . . . . 47 Opposed Fabula points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96 Tests . . . . . . . . . . . . . . . . . . . . . . . 48 Open Altering History . . . . . . . . . . . . . . . . . . . . . . 98 Tests . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 Situational Bad guys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100 Modifiers . . . . . . . . . . . . .49 Group Ultima points . . . . . . . . . . . . . . . . . . . . . . . . . . 101 Test . . . . . . . . . . . . . . . . . . . . . . . . . . . 50 Frequent Ascension . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102 Tests . . . . . . . . . . . . . . . . . . . . . . . . . . 51 Inventory Points . . . . . . . . . . . . . . . . . . . . . . . . 104 Watches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 Travels and Wanderings . . . . . . . . . . . . . . . 106 Bonds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 Dangers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108 Scenes of Conflict . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 Structure Discoveries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109 of a Conflict . . . . . . . . . . . . 58 Dungeon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110 Initiative . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 Rounds Magic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112 and Turns . . . . . . . . . . . . . . . . . . . . . . . . . . 62 Space and Spells . . . . . . . . .

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Distances . . . . . . . . . . . . . . . . . . . . . 64 Rituals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

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Rituals During Conflicts . . . . . . . . . . 121

Optional Rules for Advancement . . . . . . . . . . . . . . . . . . . . . . . . 230

Economy and Objects . . . . . . . . . . . . . . . . . . . . 122

Heroic Skills . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232

Services and means of transport . . . . . . . 124 Equipment . . . . . . . . . . . . . . . . . . . . . . . . 126

w 4. GAME MASTER Martial Objects . . . . . . . . . . . . . . . . . . . . . . . . 126 Basic Weapons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

The Role of the Game Master . . . . . . . . . . . 244

Basic Armor and Shields . . . . . . . . . . . . . . 132

Character Classes . . . . . . . . . . . . . . . . . 248

Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134

Bad You Become . . . . . . . . . . . . . . . . . . . . . . 254

Group dynamics . . . . . . . . . . . . . . . . . . . 140

Dungeon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258 Rewards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264

in the 3rd PREMI START Designing Rare Items . . . . . . . . . . . . . . 266 .

Before You Begin . . . . . . . . . . . . . . . . . . . . 146

Designing Rare Weapons . . . . . . . . . . . . . . . . 268

Creation of the World . . . . . . . . .

Designing Rare Armor and Shields . . 280

.......

. . . 148

Creation of the Group . . . . . . . . . . . . . . . . . . 152

Designing Accessories . . . . . . . . . . . . . . . . . 284 Artifacts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288

Character Creation . . . . . . . . . . 154 Classic Characters . . . . . . .

. . . . . . . . . .. . .

172

Designing the Encounters . . . . . . . . . . . . . . . . . . . 292

Arcanist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176

Elite and Champions . . . . . . . . . . . . . . . . . . . . . . 295

Artificer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182

Fights with Bosses . . . . . . . . . . . . . . . . . . . 300

Rogue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188

Design PNG . . . . . . . . . . . . . . . . . . . . . . . . . 302

Chimerista . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190

NPC species . . . . . . . . . . . . . . . . . . . . . . . 304

Elementalist . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192

NPC skills . . . . . . . . . . . . . . . . . . . . . . . 306

Entropist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196

NPC spells . . . . . . . . . . . . . . . . . . . 310

Rage _ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200

Examples of Boss . . . . . . . . . . . . . . . . . . . . . . . . . . 312

Guardian . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .202 . at the 5th BESTIARIO

Weapons Master . . . . . . . . . . . . . . . . . . . . . . . . . . 206

Studying an NPC . . . . . . . . . . . . . . . . . . . . . . . 319

Orator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208

Bestie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324

Knowledgeable . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210

Constructs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328

Spiritist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212

Demons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332

Shooter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216

Elementals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334

Wayfarer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218

Monsters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338

Prologues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220

Not Dead . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 342

Experience and Levels . . . . . . . . . . . . . . . . . . . . 226

Plants . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 346

Create High Level PCs . . . . . . . . . . . . 229

Humanoids . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 350

In

Dark Flame . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204

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1

CHAPTER

INTRODUCTION Welcome and welcome to Fabula Ultima! What you hold in your hands is the Basic Manual of a RPG inspired by some of the most beloved JRPG Bravely

video games such as Quest

,

Granblue

Fantasy

,

In No Until

historical series of Final Fantasy

,

Octopath

Default

Traveler

,

,

Bravely

Second

The Legend of

,

Dragon

Heroes

and the

.

The acronym JRPG stands for Japanese (or Japanese-style) Roleplaying Game, that is to say “Japanese-style role-playing video game”; it is a genre born in Japan but now widespread all over the world, which includes hundreds of titles. The main feature of JRPG video games is to tell fantastic stories in which groups of extraordinary individuals face the darkness that threatens their world, growing up and learning to trust each other: only by sticking together and putting aside suspicion and differences can they save this. that loves. It may seem like a fairly common premise, but what makes JRPGs special is that usually the entire game environment (usually bizarre and colorful!) Is built around the protagonists and reflects the doubts, hopes and feelings that drive theirs. actions: as we discover the game world, we also discover who is accompanying us on our journey.

w As in the JRPG from which it draws inspiration, in Fabula Ultima epic stories of aspiring heroes and fearsome villains are told, set in fantastic worlds overflowing with wonderful places and unique and bizarre monsters, linked in double thread with the themes and choices that distinguish each hero.

w Unlike what happens in JRPGs, however, you don't necessarily have to follow a pre-established storyline, or "grind" (ie, accumulate experience for hours through repetitive actions) by slaughtering monsters or completing missions on demand. On the contrary, you can build your story together, piece by piece, being rewarded every time you play your character in a way that is consistent with their role and identity in the story!

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WHAT IS A ROLE PLAY? Role -playing games (or RPGs) derive from table games, although today they can also be easily played online. session During a game (or), a group of people play together and create a story. This occurs in the form of a conversation, accompanied by the use of rules and (frequently) dice rolls, which help determine the outcome of uncertain situations, so that the story can reflect the inherent premise of the game: tension and fear for a horror game, adrenalinepumping scenes for an action one, deep and sincere interactions for a romantic one and so on.

TTRPG In Japan, this type of pastime is also defined (Table Talk Roleplaying Game ), thanks to the importance of communication between participants.

d ROLES IN THE GAME Those who participate in this game can take on different roles: w One person is the Game Master. Often referred to as GM, whoever plays this role describes the world in which the protagonists of the story move and live. As they make choices and decide goals, the Game Master creates appropriate challenges and describes the consequences of their decisions. For more information on the role of the Game Master, see p. 26! w All others are Players. The remaining people at the table (usually two to five) they create heroic protagonists and control their actions in the game world. These heroes are called Player Characters, often abbreviated to PC. Characters controlled by the Game Master are referred to as Non-Player Characters, or NPCs. For more information on the role of the Players, see p. 24! Although the Game Master has the task of devising obstacles and putting the Player Characters in the face of situations of risk and danger, his role is not to be an opponent, but rather someone who wants to make the protagonists stand out throughout the story.

There is no "win condition" in this game: as long as you are creating a memorable story and enjoying the company of others, you are all winning.

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This is a tale of heroes and darkness. Of great hope ... and even greater sacrifice.

1

CHAPTER

d THE BASICS OF THE GAME

During the conversation, the Players describe their PCs' actions and choices: "Isabelle raises her shield and has your back!"

"I step forward and talk to the queen!"

“I chase the thief! Where it went?"

Similarly, the Game Master describes what happens in the world, depicting the actions of each creature and character around the protagonists: "The village is quiet, with white windmills spinning lazily in the sun."

"The king looks tired and struggles to speak, as if he is not in control of his own body."

"The dragon turns his ardent gaze towards you!"

This is all called role playing and these events take place in the space of your imagination, also called "fiction" or "fiction".

d THE RULES

This is also a game and here the rules come into play: just like in a video game or board game, the characters have stats and abilities that represent their strengths and weaknesses, while the dice rolls serve to make some unpredictable and tense situations.

However, unlike video games and board games, the possibilities of a RPG are endless: there is no single approach to a situation and the story is the natural evolution of the group's interactions and choices.

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BUT WHAT IS THIS GAME ABOUT? There are many types of RPGs in the world and with different premises: most allow you to embody heroes, others involve in investigations and tragedies, still others are a challenge of tactical acumen and finally there are those that push to reflect on issues deep and important.

Fabula Ultima was conceived as a (Table Talk TTJRPG Japanese Role Playing Game), a game that wants to evoke the style and stories typical of classic Japanese-style role-playing video games.

d HEROIC AND FANTASTIC ACTIONS In keeping with the genre that inspired it, this game is not concerned with realism or verisimilitude, but has a light, quirky and "video game" style, both in tone and rules.

d A GAME OF HEROES AND VILLAINS This is a game of extraordinary heroes and tragic antagonists. There is no predetermined plot, scenario or "adventure": the heroes' actions, wishes and goals guide the story, while the Game Master reacts to their decisions and places obstacles in their path, often in the form of powerful Villains with dark plans. which change as the protagonists succeed (or fail) in foiling them.

d HEROIC FATE The heroes of Fabula Ultima are destined for great deeds and only breathe their last when the Player who controls them deems it appropriate. However, the price of defeat is often worse than death - finding out how heroes recover from failure and learn to work together to achieve what they could never accomplish on their own is a key part of the game.

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"There is no story that does not boast at least two points of view ..."

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d TOUGH BATTLES In Fabula Ultima, the fights are similar to those of the video games to which it is inspired: each character has a few tricks up his sleeve and only by combining cunning tactics and coordinating with allies can victory be achieved… especially when facing bosses!

d YOUR WORLD Fabula Ultima is intentionally devoid of a standard or "canonical" setting! The Players all together create the world in which to set the story. However, the world and the characters must adhere to eight cardinal principles, called the Eight Pillars, which are explained in the following pages. On the other hand, those unfamiliar with the classic JRPG worlds can find some inspiring examples starting from p. 16.

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THE EIGHT PILLARS The world in which these adventures take place is not predefined: its cities, kingdoms, deities and cultures are created by the group (see Creation of the World, p. 148). These fantastic lands grow organically as you explore and travel through them, adding details and unraveling ancient mysteries! What unites all the worlds of Fabula Ultima are the Eight Pillars.

ANCIENT RUINS AND HOSTILE LANDS

The world is ancient and dangerous: cities and villages are separated by vast plains, scorching deserts, snow-capped peaks and impenetrable forests. The territory is dotted with ruined fortresses and shrines dedicated to deities whose names are lost in the mists of time. Lost civilizations and ages of darkness have left behind powerful artifacts and cryptic legends, as well as magical (and often dangerous) places.

A WORLD IN DANGER

Villages, castles, and city-states are among the few areas not infested with monsters, brigands and hostile creatures. Much more dangerous are the Villains, powerful antagonists who cast their shadow over entire nations. Cruel sorcerers, evil deities who intend to reincarnate, power-hungry emperors, even alien entities - there is always a single unspeakable threat behind the evils of the world and our heroes will have to face it sooner or later.

COMMUNITY IN CONFLICT

The world may be in danger, but its inhabitants are still divided by ancient grudges: among the most common causes are religious schisms, the memory of war crimes and the clash between science and magic. Gathering these communities could be the key to overcoming the great evils of the world; the protagonists will have to help them overcome hatred and consider their differences as an asset, instead of an obstacle.

EVERYTHING HAS A SOUL

Everything that makes up the world, creatures, earth, sky, sun and stars is part of a vast flow of spiritual energy. Origin, nature and function of this energy may vary from world to world, but its presence is undeniable and whoever has the ability to manipulate it (with magic or science) becomes a force to be reckoned with.

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MAGIC AND TECHNOLOGY

In every world of Fabula Ultima, science and magic are two ways to study and manipulate reality: the first analyzes the tangible nature of things, while the other the soul that resides there ... two sides of the same coin. The ruins of ancient civilizations can hide miraculous machines, and even the most powerful wizards often make use of vehicles and airships.

In many worlds there is also an unusual discipline that brings together magic and technology, the science magitech: metal soldiers moved by the souls of the fallen, bombs that unleash elemental destruction and flying machines powered by spirits of the wind are just a few examples of what can be made with this hybrid art.

HEROES OF MANY SHAPES AND SIZES

The protagonists of Fabula Ultima are heroes in all respects, extraordinary individuals with unique abilities whose actions can determine the fate of the world. While some aren't exactly noble paladins or virtuous examples of justice, even black thieves and knights have good spirits and can prove trustworthy when the situation seems desperate.

In keeping with the genre of video games from which Fabula Ultima draws inspiration, these heroes do not necessarily follow any kind of realism: they can be children with incredible magical powers or elderly warriors capable of facing entire armies on their own. What matters is the strength of their spirit.

A MATTER OF HEROES

Any relevant event of a Fabula Ultima session is related to the heroes, directly or indirectly. The most dramatic twists should happen in their presence and the great powers (and evils) of the world will keep an eye on them. Precisely for this reason, the heroes' determination allows them to do the impossible, such as defeating an empire or sealing a powerful deity.

MYSTERY, DISCOVERY AND GROWTH

This is a game based on discovery: not only of ancient mysteries and forgotten powers, but above all of the heroes themselves, their feelings and what they are ready to put into play to counter the darkness. The protagonists of Fabula Ultima are complex, sometimes

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tragic figures, and their travels will change them forever.

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YOUR WORLDCOULD BE ...

High Fantasy Huge castles with crystal spiers reaching into the sky, fleets of decorated airships emerging from the clouds, sprawling enchanted forests and ancient and colossal ruins overflowing with golems and powerful artifacts - High Fantasy worlds are a timeless classic and one of the most suitable for the stories of Fabula Ultima.

d HIGH FANTASY THEMES AND PROTAGONISTS High fantasy stories revolve around themes such as hope, friendship, and together tackling supernatural threats that can destroy the world. The protagonists often have very different stories behind them, such as:

w The princess who lost her kingdom to the antagonist's army. w The veteran soldier who swore to protect people with her life w The inexperienced young hero from a distant village. w The gallant pirate of the skies with a heart of gold. w The elderly sorcerer mentor who has spent his life searching for legendary magic.

w The black knight who seeks to redeem himself from his crimes.

Together, these protagonists must overcome differences and conflicts, forging strong bonds that allow them to save the world from a terrible fate.

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d HIGH FANTASY PLACES Every place in a high fantasy world has something magical: a flying castle inside a volcano, a silver palace orbiting the moon, a forest inhabited by fairies and nature spirits, a tower built to reach the gods and destroyed in one night as divine punishment. Everything is bizarre and wonderful.

d MAGIA HIGH FANTASY Magic is abundant, ubiquitous, and used in many ways by different people, from mighty court wizards to wandering healers. Golems, airships, and element-infused weapons are quite common. However, the most powerful, world-altering rituals are lost, hidden in submerged ruins or guarded by centuries-old monsters.

d ANTAGONISTI HIGH FANTASY In high fantasy worlds, the antagonists are characters out of the ordinary, with armies and incredible magic at their disposal. They are dark and distorted reflections of the protagonists, shadows that the heroes must face in order to grow and triumph. Towards the end of the story, when cornered, these figures often resort to extreme means, becoming divine or diabolical entities that defy space and time.

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YOUR WORLDCOULD BE ...

Natural Fantasy Amidst huge verdant forests, snow-capped mountains and crystal-clear lakes, sleepy little villages pop up, coexisting with the animals and elemental forces of the wilds. Underneath it all lie the ruins of mysterious past civilizations that once dominated these Natural Fantasy worlds.

d NATURAL FANTASY THEMES AND PROTAGONISTS Natural fantasy stories are often based on community and human warmth, harmony with nature and animals and the tragedies that occur when people's hearts become so dark that they corrupt even the places where they live. The protagonists are often young and all come from the same village: w The daughter of the village chief, who wants to prove her worth. w The blacksmith's apprentice, who saw a terrible creature in the forest. w The young hermit, who has found the entrance to a magical ruin. w The witch, who knows a prophecy dating back to the Ancestors. w The wandering warrior, who accidentally attracted the wrath of a local spirit. Together, these protagonists must heal the heart of the community and face those who

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spread hatred and distrust, to prevent this inner darkness from destroying the balance of the world itself.

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d NATURAL FANTASY PLACES In a natural fantasy world every place and landscape is a triumph of bright colors, populated by large beasts and monsters. There are no cities or roads, just small villages and narrow paths. But when the heroes venture into the ruins or into the depths of the forests, things change: those places are alien and magical, cold and terrifying ... and are populated by beings who should be forgotten.

d NATURAL MAGIC FANTASY Magic is strongly linked to nature, life and the elements: his is a mainly oral tradition, transmitted from master to disciple, which remains a mystery to most people. The magic inside the ruins, on the other hand, is cold and artificial, a remnant of an era of golems and machines that challenged and angered the forces of nature.

d ANTAGONISTI NATURAL FANTASY In a natural fantasy world, the most common antagonists are ancient and powerful calamities or monsters. When it comes to people, they are often mistakenly convinced that they are acting for the good of the community and most of the time, they understand their mistakes after being defeated by the heroes. However, the "real embodiment of a natural disaster that could take great sacrifices to appease.

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enemy" is generally something that is impossible to reason with, such as the immortal

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YOUR WORLDCOULD BE ...

Techno Fantasy Heavy rain falls from polluted clouds, echoing on the brass and steel pipes connecting the buildings. An industrial chimney casts its shadow over the crumbling districts, while the factory below draws energy from the depths of this Techno Fantasy world.

d THEMES AND PROTAGONISTS OF TECHNO FANTASY The stories that unfold within a techno fantasy world often have darker and more serious tones, revolving around the exploitation of natural resources, immoral or uncontrolled scientific experiments and the abuse of power by the wealthy elite. The protagonists often have to fight against these injustices:

w The traumatized hero, from whom those in power have stolen everything. w The last survivor of a lineage of wizards, seeking harmony with the world. w Former mercenary disgusted by his own past actions. w The failed experiment, abandoned by its heartless creator. w The wealthy heir, who realized he got rich by causing suffering.

Together, these protagonists throw themselves into a desperate struggle against those few who dominate both the world and the hearts of those who live there.

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d TECH FANTASY PLACES Techno fantasy venues often have an "up and down" structure, where the glittering mansions of the rich block the sunlight from the many people who struggle every day in the slums below. Outside the cities there is a barren world, where life and beauty have been reduced to ashes by human greed.

d MAGIA TECHNO FANTASY In a techno fantasy world, magic is often dominated by technology, becoming just another source of military power, wealth and supremacy. The flow of souls is badly wounded and corrupted and the ancient magical traditions forgotten or, more often, censored.

d ANTAGONISTI TECHNO FANTASY Techno fantasy antagonists should embody the evil of contemporary society and ruthless industrial exploitation. Rich and influential, these antagonists gain their authority through a combination of military might and stolen magic or artifacts. Their most insidious feature, however, is that many see them as ideal leaders, self-made saviors, and are willing to allow themselves to be exploited and oppressed every day in the vain hope of winning their favor. cataclysms or global wars.

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Without control, the selfish ambitions of these antagonists could lead to magical

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GAME MATERIALS One of the best qualities of RPG is that it usually doesn't require any special expenses beyond the game manual (like the one you already have in your hands)! To play you need the following materials:

GAME CARDS

These printable cards are useful for tracking the most relevant game information. w The character sheet is used to keep track of information regarding each Player Character. The first page contains everything you need, while the following ones could be used as the character becomes more powerful ... or should he learn to use magic.

w The group sheet is shared by all participants and is used to note the characters, creatures and places encountered. It also includes a list of consumable items, such as potions and antidotes, which may be used more often while traveling.

w The world card is normally managed by the Game Master to record important information relating to the game world, such as kingdoms, personalities, historical events and great mysteries to be solved. w Finally, the map card represents the game world and is used to calculate travel times or indicate the location of important places, such as cities, temples, fortresses and ruins. Only one map card is needed at the start of the game, but more may be needed when exploring unknown territories. If you have purchased this volume, you should have access to the pdf version of each sheet; otherwise, you can download them for free from the fabulaultima.it website.

PAPER, PENCIL AND RUBBER

Most of the time you will want to write on the cards in pencil so that you can more easily correct errors and update information. You may also need some blank sheets for drawings and notes.

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TOKENS Some characters have special “points” at their disposal: Player Characters have Fabula Points and Villains have Ultima Points. It is useful to have tokens of two different colors (such as green and red plastic gems) to represent them. The more you have, the better.

BECOME

This game makes use of various types of dice:

w Six-sided die (or d6); the ones that everyone knows. w Eight-sided die (or d8). w Ten-sided die (or d10); the "0" should be read as 10. w Twelve-sided die (or d12). w Twenty-sided die (or d20).

Sometimes, these dice are referred to with notations such as "roll 1d6 + 1d10", which means rolling a six-sided die and one ten and adding the results together, or "roll 1d8 + 1", which is rolling an eightsided die and adding one. to the result. When we talk about "die size" we mean the number of faces (for example, a d10 has size 10). Some effects can increase or decrease the die size, for example by reducing d8 to d6, or by changing d10 to d12. The complete succession of dice, from highest to lowest size, is:

You can find these polyhedral dice sets in game stores (but also online and on the needgames.it website). There are also mobile applications that simulate the roll of the dice (just search for “dice roller”)!

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THE PLAYERS If you are a Gamer, here's how you should approach the game:

READ THE MANUAL

Start with the Introduction (well, you already are!), Learn the Rules of the Game and try to familiarize yourself with the sections dedicated to World Creation, Group Creation and Character Creation within the Press Start chapter . Unless you're a spoiler enthusiast, there's no need to read the Bestiary, as the Game Master will likely use some of the NPCs in it.

GET THE TOOLS YOU NEED

To play you will need a pencil, an eraser, a character sheet for your hero, a group sheet to share with others and possibly a personal set of polyhedral dice (d6, d8, d10, d12 and d20); even better, bring some to share with the rest of the table if you have any.

CREATE THE GAME WORLD

You are about to invent a fantasy world, filled with bizarre monsters, great mysteries and powerful magic along with the rest of the table (more on page 148). While doing this, remember to respect the Eight Pillars presented in the previous pages, but otherwise you are free to design any territory, character or legend you want!

CHOOSE AN ARCHETYPE FOR THE GROUP

Once you have created the world in which to set your story, you should decide with the others what kind of group you want to form: will you play the guardians of a miraculous artifact? Revolutionaries fighting a corrupt empire? Or heroes united by fate?

Discuss with the Game Master and other Players what story to tell; therefore, choose the type of group that seems most suitable for you! For more information on group types, see p. 152.

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CREATE YOUR HERO

With the main world and party details in mind, create the Player Character (PC) that you will control throughout the game. Discuss what each character's role is in the group, as well as any relationships or relationships of any kind!

COLLABORATE WITH OTHERS

During the game, pay attention to what others are saying and remember to leave room for everyone to act: every hero should have his moment in the spotlight. Do your best to cooperate with other Players and make sure the atmosphere at the table is pleasant and welcoming. Be curious and enthusiastic, suggest goals for the whole group and support those in need!

CONTRIBUTE TO HISTORY

Try to bring your energy and ideas to the table by creating a story by collaborating with others. If you want your character's emotions and flaws to be part of this shared narrative, act accordingly: in Fabula Ultima, everyone is equally responsible for the quality of the gaming experience. See your character as a tool with which to shape the ongoing story.

LIVE LIKE A HERO

The protagonists of Fabula Ultima are heroes and adventurers, extraordinary individuals with unique abilities and an epic (sometimes tragic) destiny. Remember this premise when playing: act heroically, don't run away from challenges and try to make the world a better place. Sometimes it's okay for your character to take actions that you wouldn't even try to do - that's part of the beauty of RPG; let yourself be guided by your character on a journey of discovery!

PLAY TO CHANGE AND EVOLVE

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Your character should be anything but an immutable entity - while his past can be complex and tragic, it's much more important to see how it changes throughout the game. Character evolution is a fundamental part of the adventure: embrace it!

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IL GAME MASTER If you are the Game Master, here's how you should approach the game:

READ THE MANUAL

Start with the Introduction (well, you already are!), Learn the Rules of the Game and try to familiarize yourself with the sections dedicated to World Creation, Group Creation and Character Creation within the Press Start chapter . Also, you should pay particular attention to the chapter dedicated to the Game Master and learn how to consult the Bestiary.

GET THE TOOLS YOU NEED

To play, you'll need a pencil, an eraser, a world card, and a number of map cards, depending on the size of the setting - typically you start with one, then print more as the heroes explore the world. Finally you need one or more sets of polyhedral dice (d6, d8, d10, d12 and d20).

FOLLOW THE RULES

Learn the rules and try to apply them as they were written. If you feel that some elements need to be changed, discuss it with the rest of the group and change only what you all agree on.

TAKE PART IN THE CREATION OF THE WORLD, GROUP AND CHARACTERS

Assist Players in World Creation (see page 148), Party Creation (see page 152) and Character Creation (page 154). Take the opportunity to ask many questions: what are the key themes of each protagonist? What experiences have they shared? Do they have a common enemy? Take note of everything, because this is information that will come in handy during the game to create exciting situations.

BRING THE WORLD TO LIFE

Regardless of the kind of world you have created together, it is your job to populate it with fantastic places, dangerous monsters and powerful antagonists. Stay as faithful as possible to the Eight Pillars and make sure you play around the PCs' themes and motivations. Whenever it seems logical for a PC to know of a place or event, ask whoever

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GIVE LIFE TO THE BAD

Be very careful when playing the main antagonists, staying true to their aims and motives. Just as the protagonists of Fabula Ultima are heroes out of the ordinary, the Villains are powerful and formidable individuals who hide terrible secrets. Do your best to always make them threatening at the right point and keep the pressure up!

COLLABORATE WITH OTHERS

During the game, pay attention to what others are saying and encourage everyone to act actively - each participant should have their moment in the spotlight. Do your best to collaborate with others and make sure the atmosphere at the table is pleasant and welcoming.

PLAY TO FIND OUT WHAT HAPPENS

Never force the players' hand and make sure you don't "push" them towards a specific event: rather, let yourself be guided by their actions and their goals. Resist the temptation to create a predefined storyline: allow the heroes' decisions to tell you which aspects of the story touch their interest. If you are used to playing RPGs where the Game Master totally controls the evolution of the story by preparing all the scenes in advance, try to forget this aspect while playing Fabula Ultima: here you just have to build situations around what the Players decide to do and add details to the world as needed. The game itself provides players with many elements with which to influence and shape the story at will, including the ability to alter information that you may have previously introduced. Embrace this creative process with enthusiasm!

ASK QUESTIONS AND BUILD ON THE ANSWERS

Advance the action by asking Players questions: What will you do now? Where could you find this information? How do you feel about what happened? Are you willing to risk your life for it? What will you tell your mother? Ask many questions and create the necessary starting from the answers of the Players.

LOOK FOR INSPIRATION

Stories, ideas, illustrations, characters, music and maps - make sure you don't miss all these

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GAME RULES This chapter presents the key rules for playing Fabula Ultima.

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It is probably the most important chapter of the whole manual and the one you should read more carefully, whether you are going to play the role of Game Master or that of Player. Within the chapter, the game mechanics are presented in the most intuitive way possible; however, you may sometimes need to jump from page to page to get a better picture of the situation (but it shouldn't happen too often!).

USEFUL TIPS AND CHANGE THE RULES

By reading this chapter you will come across a series of tips on how to make the most of the game rules. You may also notice how the same situation can be resolved in different ways (some rules may slightly overlap). This is intentional, because the rules must be flexible, given the great variety of settings and scenarios of Fabula Ultima, but it also means that you will have to learn how and when to apply them correctly. This is why there are valuable tips wherever possible: this manual should be interpreted more as a dialogue than a list of rules and it is important that you understand why the game works the way, delving into what the purpose and intent of it is. each rule. As the rules become more familiar, you may want to change them or adapt it to your needs… and that's fine: this manual is not written in stone. However, it was designed as a complete and functional rulebook, the elements of which interact to bring epic, heroic and fantastic tales to the game table. For this, think carefully about what changes you want to introduce, because they could affect a number of factors far greater than you imagined. Many optional rules can help you in this regard; allow you to add a touch of personalization to the game, but have also been extensively tested.

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It goes without saying that before you change anything you should talk to the rest of the group about it: don't change anything at all unless everyone agrees.

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SCENE To play, you must first understand the concept of the scene. A scene is a play sequence, with an opening and a closing, that focuses on a specific character, obstacle or conflict. Scenes are an easy way to break down the game into more comfortable "chunks of time", as well as providing a kind of "stage": characters absent from the current scene cannot influence the story with their actions. It is the Game Master's responsibility to declare when a scene opens and closes, but Players may also request to play specific scenes. Normally, a scene goes like this:

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The Game Master introduces the scene and describes the situation (lit. frames the scene), in particular: w Which characters are present (usually noticeable). w The place and time in which it takes place. w Creatures, objects, and other elements that characters can interact with. It is better to be concise: a sentence or two is enough.

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The PCs interact with what is on stage and their actions and decisions move the story forward. The Game Master describes how the environment and NPCs react, adding details as needed. Characters can also enter and / or leave the scene, with the GM's permission. In addition, there will be cases where the outcome of a character's actions will have to be determined by rolling the dice (see Test, p. 38).

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The GM can close a scene at any time, usually by pulling the strings with a brief description of the events. In general, a scene closes when: w The situation has been resolved (for better or for worse). w The game moves to a different place or time.

4 When one scene closes, another opens immediately.

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As you continue to play, you will find that scenes tend to flow naturally into each other - you rarely have to check whether a given scene has closed or not. However, some rules rely precisely on this type of structure: for example, many spells last "until the scene is closed". Be careful!

CONFLICT SCENES

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When the objectives of the heroes and another faction are at odds, the atmosphere quickly heats up; the Game Master could initiate a conflict scene, be it a battle, a reckless chase or an audience with the king. During the conflict, the shot "tightens" on the actions of the characters, focusing on the details. You can find more information on conflicts starting on p. 58, but you should first take a look at the Test rules , found on p. 38.

INTERLUDE SCENES

There will be moments in the game when the pace slows down: a long walk across the plains, a restful night in the city, or even a month spent waiting for an ally to heal. Instead of using scenes described moment by moment, these situations can be narrated as a montage of clips showing the heroes engaged in different activities. During an interlude (or interlude) scene , each Player describes the activity general accomplished by his character, whether it's looking for someone in a village or staying alert to anticipate threats from a dungeon; however, if a Player prefers to interact more deeply with someone or something, it is best to switch to a normal scene. Interludes are useful when the PCs want to accomplish a long-term goal, such as completing a Project (see p. 134), or to describe a journey (p. 106).

SCENE DEL GAME MASTER

If desired, the GM can shoot a scene where no PCs are present, with the Players acting as mere spectators, separated from their characters. These Game Master scenes can be used to preamble an event, introduce future threats, or show a Villain in action - they work just like video game cutscenes or pre-title scenes in movies and TV shows.

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Game Master scenes are also a great way to add depth to the antagonists and give a greater sense of tension to the story.

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SESSIONS AND CAMPAIGNS Now that you know how scenes work, it's time to talk about sessions and campaigns.

SESSIONS

Several scenes joined together form a session.

Put simply, a session starts when you sit down at the table and ends when you stop playing, whether it's because you have other commitments or because you've come to a good time to "pause the story", perhaps with a nice suspended ending! A typical Fabula Ultima session lasts about four hours. The more people participate, the easier it is for the duration of each session to get longer. A session usually covers a number of events similar to that of an episode of a TV series: the protagonists explore a specific place or face a situation and bring about some changes; in turn, all of this affects a much broader narrative: the campaign.

COUNTRY

Many sessions form a campaign, a term used to refer to the story that engages the whole group, the heroic tale to which everyone contributes. There is no fixed duration for a campaign: some groups play for a few weeks, others for years. The first time you play Fabula Ultima, you should talk about how long you want to play, so as to schedule an adequate number of sessions. That said, Fabula Ultima gives its best on a number of sessions between approximately twenty and fifty. If you want to speed things up, you can find some rules for faster progress on p. 230!

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IMPORTANT RULES ALLIES Some effects apply to "allies". For the purposes of the rules, an ally is whoever the character considers his side in the current scene. A character is not an ally of himself: if he can apply an effect to himself, this is indicated in the description.

ALWAYS ROUND BY DEFECT

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During the game, it can sometimes happen that you need to divide some values. In these cases it is always rounded down, down to a minimum of 0.

MATTERS OF TIME It can happen that a rule or effect triggers different decisions or consequences and it is important to determine what happens first. w If all decisions and / or effects are controlled by the same person, that person chooses in what order to apply them. w If the choices and / or effects are controlled by different Player Characters, the respective Players agree on the order in which to apply them. If they can't find an agreement, the order can be determined randomly. w If some choices and / or effects are controlled by Player Characters and others by NonPlayer Characters, the Player Characters always go first.

ADD, SUBTRACT, MULTIPLY, DIVIDE When it is necessary to apply several operations to the same value, they must be performed in the following order: add u subtraction u multiplication u division.

SPECIFIC RULES OVERRIDE GENERIC RULES When a specific element of the game contradicts the general rule, the specific element takes precedence. Example: Normally, a Player Character cannot have two shields equipped at the same time. However, the Double Shield Skill (see page 203) allows it!

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ANATOMY OF A CHARACTER In Fabula Ultima, all information related to a Player Character is recorded on the character sheet. To better understand the rest of this chapter, it is important that you familiarize yourself with the terminology explained below.

TRAITS

Each character has a total of three different Traits : w Identity. A short sentence that summarizes the general concept of the character, something like "Pirate of the Skies" or "Knight Without a Queen". Identity is chosen during character creation and can change later if the Player feels it no longer fits what the character has become. w Theme. An important ideal or feeling (such as Ambition, Justice , or Wrath) that guides the character's actions. This is also decided during character creation and can change as it evolves during the game. w Origin. The place where the character comes from, his homeland. During the game you can invoke these traits to improve your chances when rolling the dice.

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LINKS Heroes need links to become stronger and this is exactly what Bonds represent. A Bond can include one to three feelings taken from three different pairs, as indicated on the character sheet:

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w Admiration or inferiority. w Loyalty or distrust. w Love or hate. For each feeling, the strength of the Bond increases by 1 (reaching a maximum of 3 if you have one feeling per pair). Example: If the character has a Bond of inferiority and loyalty towards the Sapphire Princess, that Bond has a strength of 2. If he later begins to feel affection for her as well, the Bond's strength becomes 3. Just like Traits, Bonds can be invoked to improve die rolls, but also to offer help to your companions. A character can have up to six Bonds at the same time. For more information on Bonds, see p. 56.

FABULA POINTS

A powerful trading currency, Fabula Points are earned by facing adversity and are spent on invoking Traits and Bonds, as well as activating a variety of special effects. Players can also use Fabula Points to introduce new story elements and shape the world around the characters!

CHARACTER LEVEL Character level is a measure of his power. Typically, Player Characters begin their adventures at level 5 and can go up to level 50. Approximately every two sessions, each character should have accumulated enough Experience Points to earn a level. For more details, see p. 226.

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CLASSES AND SKILLS

Each time the character gains a level, he is invested in one of the fifteen Classes in this manual, whether it is a completely new Class or one he has already invested in levels. Each class provides a wide range of skills and you can choose which ones to develop; even if two heroes share some class choices, they are likely to develop into completely different characters. Some class skills can be acquired multiple times, becoming more and more powerful and flexible. By acquiring a Skill multiple times, its Skill Level (abbreviated ÿAÿ) increases. For example, by acquiring the Guardian 's Fortress skill twice (see page 203), its ÿAÿ is equal to 2. You can find more information on the various Classes and their Skills starting from p. 176.

FEATURES Characteristics of a character are an abstract representation of his training and his aptitude in four different fields: w Dexterity (DES) measures accuracy, coordination, grace and reflexes. It is useful for moving carefully, defending against attacks, crafting items and fighting with small arms, bows and firearms. w Intuition (INT) represents the ability to observe, understand and reason. It is important for investigating, casting spells, and defending against magic. w Vigor (VIG) defines strength and robustness. The use of many heavy weapons relies on it, as well as the ability to withstand pain and fatigue, in the form of Health Points (see right). w The Will (VOL) brings together determination, charisma and self-control. It is used for diplomacy and persuasion, but it also affects the ability to cast spells and use special abilities, in the form of Mind Points (see right). Each Characteristic is represented by a die size, ranging from the six-sided die (d6) to the mighty twelve-sided die (d12). Some effects can temporarily alter these values: die sizes thus modified are said to be current, differentiating from what are normally basic die sizes.

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Machine Translated by Google “The hopes and fears of this land now weigh on your shoulders. Ready or not, this is your destiny. "

LIFE POINTS, MIND POINTS AND INVENTORY POINTS

These points reserves represent three types of "resources" available to the character: w Life Points (HP) represent the ability to endure pain and fatigue.

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w Mind Points (MP) represent the character's concentration.

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w Inventory Points (PIs) are an abstract resource that can be spent by the character to create “on the fly” consumable items, such as potions or antidotes.

DEFENSE AND MAGIC DEFENSE

These values are mainly used during conflicts: w Defense represents the character 's ability not to get hit. It can simulate the act of dodging blows (typical of those with high Dexterity ) or absorb and deflect them using shields and armor. w Magic Defense represents the character 's ability to predict and resist offensive spells and other magical effects. It is mainly based on intuition.

INITIATIVE MODIFIER

This value indicates the character's ability to react quickly during conflict scenes, whether it be clashes, chases or hearings.

EQUIPMENT AND BACKPACK

A character can equip different types of items: weapons, shields, armor , and even powerful magical accessories . Anything that cannot be equipped with, such as a second armor or a different shield, ends up in the backpack. Consumable or single-use items such as potions and elixirs are represented by Inventory Points.

ZENIT

Zenith is the currency commonly used in all the worlds of Fabula Ultima.

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TEST The word "Test" indicates a die roll based on the character's key Traits: Dexterity, Intuition, Stamina and Will. In general, a test is carried out ... w When required by the rules. Normally, hitting a target, casting a spell, or using a class skill requires a test to determine success or failure. Effects that do not explicitly require the Test are always successful. w When requested by the Game Master. The Game Master is entitled to request a Test when characters perform risky actions, face obstacles or react to danger. In order for the game to run smoothly, the Game Master must learn when to take a Test and when not to (see next page). Attention: only the GM can request to take a Test; Players can never. A Test is presented as a formula indicating which dice to roll and add to each other. A test is always performed with exactly two dice. Example: a Test of ÿINT + VOLÿ performed by a PC with d6 in Intuition and d10 in Will plans to roll a d6 and a d10, thus generating a total of between 2 and 16. Some Tests may also require you to add or subtract a certain value from the total obtained: Example: a character taking a ÿVIG + VIGÿ +5 Test must roll the Vigor die twice and add 5 to the total.

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WHEN TO TAKE A TEST Knowing how much to take a Test and when not is a skill that the Game Master develops over time, proceeding by trial and error.

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These guidelines can help:

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w Player Characters are heroes. Unless there is a major obstacle or immediate threat, the PCs' actions should simply be successful. Finding a tavern does not require any Test ... reaching it without being seen by a gang of bandits might be a little more complicated. w Background and circumstances. The same action may or may not require a Test based on time and place. Swimming in a calm river does not require any tests, while doing it during a flood is extremely dangerous. w Relevant background. If a character's traits or general background are sufficient to justify the success of an action, the Game Master should simply grant it. For example, an aristocrat shouldn't have much trouble getting an invitation to a court ball. w Impossible actions. Some actions are simply impossible, but you must always leave room for the players' creativity! It is impossible to jump from Earth to the Moon, but you can build a magical ship to reach it. However, nothing is free in this world and interesting situations can arise from the ideas of the Players. w Major failures. Failing a test means that the situation gets worse. If a failure has no relevant consequences, the Game Master should limit himself to describing the outcome of the action without any Test. The same is true when a character acts without any pressure: the operation may take some time, but success is still certain. . w Follow the rules. If the rules call for a Test (or if they don't), there is probably a good reason. Better think twice before doing the opposite… and only if everyone at the table agrees.

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TEST TERMINOLOGY The following terms are essential for understanding how the Tests work: w Modifier. Any numeric value added to or subtracted from the Test. For example, if you perform a Test of ÿDES + VIGÿ +2, the “+2” is the modifier. If the modifier is added, it is called a bonus; if instead it is subtracted, it is called a penalty. w Result. The total obtained in the Test after applying any modifiers. w Difficulty level (or LD). If a Test Result is equal to or greater than this number, the action is successful. The Difficulty Level of a Test can be determined by the rules or chosen by the GM. w Major Shot (or TM). It indicates the higher of the two values shown by the dice rolled during a Test and is used to calculate some effects (usually the damage of weapons and spells). For example, if you roll 6 and 9 by rolling a d8 and a d10 for a Test, the TM is equal to 9.

CRITICAL SUCCESS When both dice rolled during a Test show the same value and this is 6 or higher, a critical success is achieved . To put it another way, you get a critical hit with a double 6, double 7, double 8, double 9, double 10, double 11 or double 12. With a critical success, the Test is automatically successful and whoever took it can apply the effects of an opportunity (see next page).

CRITICAL BANKRUPTCY When both dice rolled during a Test show 1, a critical failure occurs: the action fails automatically, regardless of any modifiers; this happens not because of the incompetence of the character, but rather because of an unfortunate event. When a critical failure is rolled, the opponents of the shooter gain a chance (see next page).

Also, when a PC rolls a critical failure, he immediately gains 1 Fabula Point (see p. 96).

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CHANCE Opportunities are twists and turns within the story, sometimes good, sometimes not. When you spend an opportunity, you can choose an option from the list below or design another one that suits the scene. The Game Master has the final say in deciding whether or not the opportunity is appropriate to the situation. Additionally, some spells and abilities allow opportunities to be spent in other, even more powerful, ways.

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Example: the thief Valea leaps from roof to roof in an attempt to outrun Count Eligor's mercenaries. The Game Master requests a ÿDES + VIGÿ Test and Valea scores a double 7, a critical hit! The Player who controls Valea describes how she manages to outrun her pursuers and chooses the Favor opportunity: this spectacular performance earned her the sympathy of the villagers, who were already sufficiently tired of the Count's tyranny!

CHANCE Affliction

A creature suffers a status between confused, weak, slow , and shaken (see page 94).

Plot Shot Someone or something of your choice suddenly appears on the scene. Favor

By your actions you gain someone's support or admiration.

Information

You notice a useful clue or detail. The Game Master can explain what it is or ask you to come up with it.

Link

Build a Bond with someone or something, or add a feeling to an existing Bond (see page 56).

Lost Item An item is destroyed, lost, stolen or abandoned. False Pass

Choose a creature on stage, which ends up making a compromising statement decided by whoever controls it. You can fill or empty 2 sections of a Clock (see page 52).

Revelation

Discover the goals and motives of a creature of your choice.

Scan

Discover a Vulnerability (see page 92) or Trait (see page 302) of a creature visible to you.

Benefit

The next Test performed by you or your ally receives a +4 bonus.

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CARRY OUT A CHARACTERISTIC TEST

In its most common form, a Test is called a Characteristic Test and it works like this:

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The character who takes the Test declares what purpose he intends to achieve; the Game Master may wish to further specify what can be achieved with a success in that Test.

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Sometimes, the goal may be to use a skill successfully.

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The Player controlling the character describes his approach to the situation, i.e. how he intends to pursue his goal.

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Based on the approach, the Game Master chooses which Traits are to be rolled, for example ÿDES + VIGÿ or ÿVOL + VOLÿ. Sometimes, the Suitable Characteristics may be indicated by a specific rule.

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The Game Master declares the Difficulty Level (LD) of the Test, using the table on the next page as a reference. Sometimes, the Difficulty Level can be indicated by a specific rule. In addition, the Game Master must inform the Player of the consequences of failure, ensuring that the stakes are clear.

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5

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6

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The character rolls the appropriate dice, adding them together and applying any modifiers derived from abilities, spells, equipment, or other effects.

If the PC rolls a critical failure or critical success, the corresponding effects (including failure or automatic success) apply. Otherwise…

… If the Test Result is equal to or higher than the Difficulty Level, the character is successful. If it is lower, the character fails.

Finally, the outcome of the Test changes the current situation: the character may have achieved the goal or things may have deteriorated instead.

O O O

For more information on how to manage the outcome of a Test within the narrative, see p. 44.

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LEVELS OF DIFFICULTY The Difficulty Level (LD) of a Test indicates how complex and risky the action is. It brings together several factors in a single value:

w The knowledge and skills required to complete the task. w Any helping or hindering circumstances, such as bad weather, poor visibility, fatigue or supernatural

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influences. w The lack or presence of important resources (time, space, materials…) needed to achieve the purpose that the character has set for himself. w The type of impact, immediate or otherwise, of the action on the story.

In conclusion, Difficulty is an abstraction of how much the current situation hinders or opposes the character. The most important question that should be answered when determining the Difficulty Level for a Test, as can be seen from the table below, is: "Who can succeed?"

DETERMINE THE LEVEL OF DIFFICULTY OF A TEST LD

Difficulty

7

Easy

Anyone with little training or natural talent.

10

Media

A competent or highly talented person.

Hard

13 16

Very difficult

Who can do it?

An expert or a prodigy. Only the best in that field.

GO OF TEN! When the GM is unsure of a Test's Difficulty Level, he can safely choose 10, which is neither too low nor too high and is easy to remember.

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THE TESTS IN GAME

Now that you understand how Test mechanics work, let's see how they can be applied in game. The heroes were admitted to the presence of the High Master of Relde, a village that could prove pivotal in the fight against the forces of the Empress Almara. Since the inhabitants of Relde are excellent connoisseurs of philosophy and magic, the Players agree to have Brigid, the scholar of the group, manage this meeting. Brigid's Player, Emilio, describes her purpose and approach: “Brigid doesn't like word turns, so… I stand in front of the High Master and explain that Almara's army is getting closer and closer. If the people of Relde prevent him from crossing the mountain pass, the army will be forced to take a longer loop and we will have more time to prepare for battle and evacuate the population. " The Game Master nods: “Ok. Is there anything else you think you can use to your advantage? It won't be easy, you're asking him to endanger his people. " "I do not think so. But I add this: if he refuses, we will face the Empire anyway, tooth and nail. Which means that sooner or later the village and the pass will eventually become an imperial base of operations. " "I understand. I was thinking of a Test of Intuition + Will, but it almost seems like a threat… therefore Will + Will seems more appropriate. " “Oh, the Will is my strong point! I guess I have to thank you? " “This is a risky attempt. If you fail, you will probably be kicked out of Relde. On the other hand, the Reldani are also the keepers of many secrets and would not want them to end up in the hands of the imperials ... so the Difficulty Level is only equal to 10. " Brigid has d10 in Will, so she rolls 2d10 and adds them up to get ... a measly 5! Generally it is the Game Master's task to narrate the outcome of an action, considering the stated purpose of the Player and the Test Result; however, taking a step back and asking Players for input can lead to memorable scenes. "It doesn't look promising," comments the Game Master with a raised eyebrow.

"Why don't you tell me what went wrong?" "You know what? I think the problem is that there is bad blood between Relde's 'faculty' and my. It is likely that the High Master does not like that I am implying that his people have no hope against the Empire ... " "I like! But not to him. Come quickly escorted out of the village. "

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SUCCESS AND FAILURE Keep the following rules in mind when describing the impact of a Test: w Never subvert the outcome. No matter the premise, the test result must be applied for what it is. Nobody can turn failure into success or vice versa. Otherwise, why pull?

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PCs can influence Tests in many ways, for example by invoking Traits and Bonds (see next pages) or by proposing to succeed at a cost (see below). w Success matters. If a PC passes a Test, he has faced obstacles and emerged victorious. The GM shouldn't ask for more to "confirm" a well-deserved success. If it makes sense that a target requires multiple Tests, a Clock can be used (see page 52). w Do not try again. Just as success requires no confirmation, failure does not allow you to "try again," unless the situation has been drastically altered in some way.

OPTION: SUCCESS AT A COST This rule allows the PCs to turn failure into success, but at a high price. When a PC fails a Test, anyone can propose a success at a cost. The GM modifies the cost as he sees fit, then the Player who took the test can accept or reject the offer. When determining whether or not a cost is appropriate, consider that it should corner the character or take something important away from him. If a cost can be easily recovered with little effort, something is wrong. Returning to the previous example: the High Master could listen to Brigid, but only if she apologized publicly, admitting the superiority of Relde's scholars over her. It is not possible to succeed at a cost if you have a critical failure. When successful at a cost, the Highest Roll and Test Result remain unaffected.

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INVOKE A TRACT TO WITHDRAW Player Characters can attempt to turn the tide in their favor by invoking one of their key Traits : Identity, Origin and Theme. Example: A character could have Dark Knight as Identity, Empire of Gaonia as Origin and Guilt as Theme. After taking a Test, a PC can spend 1 Fabula Point and invoke one of his Traits to choose one or both of the Test dice and reroll them, replacing the previously obtained values with the new ones. It can be re-rolled several times during the same invocation, but each new roll (of one or both dice) costs 1 Fabula Point! A trait cannot be invoked if the character has a critical failure. Example: the wizard Ricard is running towards the dock of Antigles the Sorcerer airship. His companions, Edgar and Valea, are held captive aboard. The airship is about to set sail, so Nadia (the Game Master) asks Marco, Ricard's Player, to perform a ÿDES + VIGÿ Test with a Difficulty Level of 13: with d6 in both Characteristics, the situation Ricard seems rather desperate. Marco rolls the dice for 6 and 3, definitely not enough to be successful. Ricard still has 2 Fabula Points. “Ricard's Identity is Young Traveling Magician, which doesn't help me now…” Marco comments with an arched eyebrow, “… and also his Origin, the village of Malorn, is useless to me now. But… maybe I can use my Theme! " "Tell me more!" asks Nadia. “Well, Ricard's Theme is Belonging. He is terrified of losing his traveling companions and being alone. I think this can push him over the edge! " “Ok! Does this make sense. I guess you want to withdraw that 3, right? "

"Already. I hope for critical success… wow! I did 6! " “So it's an automatic hit! Would you like to describe the scene? " Marco smiles: “Sure! Oh, by the way, here's the Punto Fabula. So, the patrolling guards see this skinny guy in a pointy hat throwing himself off the platform. But, as the airship takes off, there is someone hanging from the landing gear! Um… airships have landing gear, right? " Players should describe their characters' actions in a manner consistent with Identity, Origin or Theme in order to spend the Fabula Point. In practice, they shouldn't do it if it's a stretch on the narrative; That said, it is always the Players who have the final

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“Fear, princess? Good. Only when we are really afraid can we show real courage! "

INVOKE A BOND TO IMPROVE A TEST Just like you can invoke a Character Trait to reroll dice, Bonds (what the character feels towards others) can help improve a Test Result.

After taking a Test, a Player Character can spend 1 Fabula Point and invoke one of its Bonds to add its strength to the Result. For more information on

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Bonds and the strength of a Bond, see p. 56. Going back to the previous example: Ricard invokes his Theme to reroll the dice, but he only gets 6 and 5, which unfortunately is not enough. Marco still has 1 Fabula Point, which he could spend to collect the 5 and hope for a critical success, but there is a safer alternative: he decides to invoke his Bond with Antigles the Sorcerer, a Bond of inferiority (because Antigles knows use magic better than him) and hate (because he destroyed Ricard's homeland, the village of Malorn, to steal the Dragonstone). “I guess I can't just let him take someone else away from me. Do not it will be like the last time ... I'm here and I'll stop him, whatever the cost! " Nadia nods: "That's a Bond with a strength of 2, so you get to 13 and you are successful!" Just like Traits, Bonds should only be invoked when it makes sense, without forcing their application into history.

OPTION: INVOKE TO FAIL Using this optional rule, players can invoke bonds and traits of their characters to intentionally fail tests and earn Fabula Points. Once per scene, before taking a Test, the Player can describe how Bonds or Traits prevent his PC from achieve success. This is done instead of running the Test. The Test is then considered an automatic failure, with the Result and the Highest Roll equal to 0. After that, the character gains 1 Fabula Point. You cannot invoke failure in Support Tests (see page 50), nor be successful at a cost (see page 45) in a Test where failure has already been invoked.

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PRECISION TEST These Tests work like Ability Tests, but are performed when a character wishes to hit a target that is ready to defend himself. Each weapon includes a Precision formula: for example, a steel dagger requires a roll of ÿDES + INTÿ +1. The Difficulty Level is normally equal to the target's Defense . When taking an Accuracy Test, the Major Shot (TM) is used to determine the damage dealt. You can find more information on attacks on p. 68 and on weapons on p. 128.

MAGIC TEST These tests also work like normal ability tests, but are performed when a character wishes to cast an offensive spell or perform a Ritual. The Traits used depend on the type of magic practiced. When taking an Accuracy Test, the Major Shot (TM) can sometimes be used to determine the effectiveness of the spell cast. You can find more information on magic starting on p. 112.

OPPOSITE TESTS This special type of Ability Test is the fastest way to determine the outcome of a competition between characters, such as a run, chase or debate. Each participant in an Opposed Test takes the same Characteristic Test, but without a Difficulty Level: the winner is the winner. In case of a tie, the characters who have obtained the same result ignore it and reroll until someone is the winner. During Opposing Tests, critical failures are the worst possible outcome, while critical successes are the best; as usual, both cases generate opportunities. If two or more characters roll a critical failure or critical success, they are considered to be tied and must therefore reroll. Example: the Montblanc rider is struggling to free himself from a dragon's mighty grasp. The Game Master declares that it is an Opposite Test of ÿDES + VIGÿ. Montblanc rolls a d8 and a d10, while the dragon has a fearsome pair of d12s. The dice roll: Montblanc gets a double 8, while the dragon 9 and 12.

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Despite the dragon having a total of 21, Montblanc has achieved critical success: against all odds, the brave knight escapes the monster's lethal claws!

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OPEN TESTS

This particular type of Characteristic Test has no Difficulty Level: unlike usual, the Result directly indicates the quality of the outcome. These tests are usually done to look for information, examine an area or remember significant details. When performing an Open Test, the Result is simply compared with the table below: for example, obtaining 13 by studying an ancient painting provides a

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quantity of information worthy of an expert archaeologist, while 8 provides just the basic information on what the artist wanted to represent. Result

Equals…

7 or more

What a person with a little training or talent can achieve.

10 or more

What a competent or very talented person can achieve.

13 or more

What an expert or true prodigy can achieve.

16 or more

What someone worth remembering for centuries can achieve.

SITUATIONAL MODIFIERS

When a character takes a Test in a condition of strong advantage or disadvantage, the Game Master can impose a bonus of +2 or a penalty of -2 on the total. Example: Princess Camilla is trying to convince Bandit Queen Remora to stop raiding the nearby village of Karsa; however, Remora's lieutenant, Toris, objects. This is an Opposed Test, but Camilla adds to the dose by offering a single favor from her family. For this, the Game Master grants Camilla a +2 bonus on the Test. Most of the time it will not be necessary to apply situational modifiers and it will be enough to calibrate the Difficulty Level according to the context. However, modifiers can be useful when the Difficulty is imposed by the rules (as in the Accuracy Tests) or during the Opposed Tests (as in the example just proposed). The Game Master can apply situational modifiers to reward those who use traits,

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personalities, and goals of their opponents to their advantage.

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GROUP TEST

In certain situations, characters can work together to increase the likelihood of success in a given situation. Group Tests are carried out as follows: 1

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Characters nominate a leader, who is the character who takes the Final Test and determines the outcome of the action. All the others act as supporting characters.

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Each support character takes a Support Test identical to the one the leader will have to take, but with a fixed Difficulty Level of 10. Critical failures and critical successes obtained in Support Tests do not generate opportunities, but still count as automatic failures and successes.

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Each support character who successfully takes the Test grants a +1 bonus to the Leader Test .

If there are Leader Bonds among the successful support characters, the highest strength among these Bonds is added to the final Test. Warning: only the single Bond with the highest strength is added.

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The leader takes the Final Test, which follows the normal rules and can generate opportunities in case of critical failure or critical success. The outcome of the Group Test involves all those who took part in it.

Group Tests are extremely useful when two or more characters are performing the same action together; the Game Master always has the last word in deciding if and when a Group Test can be carried out. Example: Three heroes are trying to persuade the Owl Lord to let them enter the ancient library. The leader takes a ÿINT + VOLÿ Test with LD equal to 14 and the two supporting characters each take a ÿINT + VOLÿ Test with LD equal to 10. Both are successful and one of them has a Bond with strength of 2 towards the leader. In this way, the leader gets a total bonus of +4 on the Final Test.

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Machine Translated by Google Under the Crystal Temple sleeps the Great Dragon God, who once reduced the Empire of Babel to ashes.

FREQUENT TESTS The table below presents a list of the most common situations that may require a Test and the related Characteristics involved.

Situation

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Suggested Test

Move in silence, hide and act secretly. Avoid a trap or find a way to escape from a collapsed building.

ÿDES + DESÿ

ÿDES+INTÿ

Anticipating someone's moves and catching them by surprise.

ÿDES+INTÿ

Completing a craft or repairing something.

ÿDES+INTÿ

Moving gracefully to get someone's attention.

ÿOFF + VOLÿ

Examine or investigate someone or something.

ÿYOU + YOUÿ

Remember useful information about something.

ÿYOU + YOUÿ

Getting information from someone during a conversation.

ÿINT + VOLÿ

Persuading someone using authority or diplomacy.

ÿINT + VOLÿ

Doing hard work, such as lifting a grate or pushing a statue.

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ÿVIG + VIGÿ

Resist intense pain or fatigue.

ÿVIG + VOLÿ

Intimidate someone by force.

ÿVIG + VOLÿ

OPTION: SHARED CHOICE OF TEST

Using this optional rule, Players can choose one of the Characteristics involved in the Tests they take, while the Game Master decides the other (which can be the same or a different one).

This rule does not apply to Tests where the Characteristics are already established by the regulations, such as the Accuracy Tests.

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WATCHES Whether called timers, counters, tracks or countdowns, Clocks are a useful tool to keep track of the evolution of a situation, the approach of imminent danger or the progress of characters in carrying out a certain task. Clocks are designed to handle complex situations that cannot be solved with a single Test and are also a great tool for allowing the Game Master to dictate the pace of a scene.

A Clock is basically a circle divided into a certain number of sections, each of which represents a step towards the completion of a goal or the unfolding of an event:

w When the group infiltrates a guarded area and does not need to alert the guards, any failed Test could fill a Clock with “Red Alert!”. w When the heroes realize they can't get the better of a colossal foe, they may change tactics and hit the stone pillars to bring the ceiling down on him! In this case, a Clock can be used to simulate the weakening of the supports; once filled, the opponent will be buried in the rubble! w When a powerful sorcerer starts performing a Ritual to alter the whole world, a Clock called “Arcane Apocalypse” can be used to represent the time left to stop him! Clocks normally have 4 to 12 sections, depending on the complexities of what they represent; they are mainly created and managed by the GM, but they should be clearly visible to everyone, so as to increase the tension and adrenaline at play. They should also be tied to a specific obstacle, goal or danger, but not a specific approach: this allows the characters to interact with the Watches in different ways. For example, considering the collapsing ceiling example, characters can do this by hitting columns, pulverizing them with magic, or even throwing them at an enemy.

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FILL THE CLOCKS Watches are most commonly filled by Tests: w You fill in 1 section by successfully performing a Test.

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or 2 additional sections if it is higher by at least 6 points. w On critical success in a Test, the resulting opportunity can be spent on fill in 2 additional sections. Conversely, the Watches that represent a threat fill up as the characters fail the Tests, especially if by a large margin (it is sufficient to reverse the indications just presented): w 1 section is filled by failing a Test. w You fill in 1 additional section if the Test Result is lower than the Difficulty Level (or the opponent's Result, in the case of an Opposed Test) by at least 3 points, or 2 additional sections if it is lower by at least 6 points. w In the event of a critical failure on a Test, the resulting opportunity can be spent on fill in 2 additional sections. Example: While walking through the monster-infested corridors of an ancient castle, Valea rolls a 6 in a Test with a difficulty level of 10. The Game Master then fills 2 sections of the "Ambush!" Clock, one for failure. and the other because the Result is more than 3 points lower.

WATCHES AND HISTORY

Watches should always interact with what is happening in the story. The Game Master can use situational modifiers or alter the Difficulty Level to represent advantages and disadvantages derived from the choices of Players and the events that are taking place in the scene.

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BANKRUPTCY THRESHOLD

If a Clock represents a series of complex operations aimed at a purpose, you must also decide when it will no longer be possible to reach it: is it enough to fail a Test or is there a second “failure” Clock that fills up with every bad result? The Game Master can determine this on a case-by-case basis, but must always make sure to inform the Players when they face the challenge.

EMPTY A CLOCK The PCs can also perform actions to slow down the filling of a Clock, emptying the number of sections filled back to 0: the method is identical to that for filling Clocks. When the Clock is completely emptied, the GM can consider the threat removed or simply have it retreat into the shadows. Example: As the heroes face off against the mighty sorceress Chrona, her Ritual to breach the demon realm draws to a close. Player Characters must be able to divide their actions between defeating the sorceress and slowing down the Ritual, represented by a 10-section Clock that would cause the group to automatically defeat at full fill.

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OTHER EVENTS

If the Game Master believes that a certain event should make a Clock fill or empty (even if the event is not related to any Test), he is free to fill or empty 1 section, 2 for major events. Obviously, some character decisions could automatically fill a Clock or render it totally

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of the Crystal” clock irrelevant. The GM is responsible for eliminating the Clocks that no longer affect the story, as long as doing so does not deprive the Player Characters of the ability to shape the scene.

CLOCKS IN THE CONFLICT SCENES

In a few pages you will be able to read the rules for conflict scenes, such as fights, chases, hearings and the like! These scenes see characters working against each other to achieve goals, and Watches are a great way to keep track of everyone's progress, as explained in the Goal action (see page 72). Example: during a duel between the two rivals Bertrand and Duma, the Game Master assigns each participant a 6-section Clock: the first contender who manages to fill his Clock will be declared the winner.

USING WATCHES TO MANAGE RHYTHM AND PRESSURE

The Game Master should also use Clocks to indicate when heroes have limited time to stop an antagonist's plans or to obtain an item or information. In short, the Clocks should be used to put pressure on and keep the tension high: by seeing how much time they have left, the heroes can try to manage resources better and will clearly perceive that every decision has a significant impact. Example: The Destroyer Babel will be operational in four days. If the heroes intend to neutralize the core of souls and prevent the Emperor from conquering the region, there is no time to waste! The Game Master draws a huge Clock on the map… with only 4 sections! Watches like this are simple "timers" and cannot be filled or emptied through Tests:

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they should be the focal point of one or more gaming sessions.

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LINKS Bonds are a source of power for heroes. You've already seen how they can be useful to characters during Tests (see page 47) or allies during Group Tests (see page 50), but some class skills and even gear items benefit as well.

FEELINGS AND STRENGTH

Each Bond can include up to three feelings from the following list: w Admiration. The character believes he can learn a lot from the Bond object and deeply respects their efforts and results. w Inferiority. The character envies the object of the Bond or feels helpless in front of it. Her presence alone causes him frustration and reminds him of his failures. w Loyalty. The character is faithful to the object of the Bond or shares its ideals. He is ready to take any danger to help or protect him. w Distrust. The character does not trust the object of the Bond and questions it reasons. w Affection. The character loves the object of the Bond, whether it is the person he loves, a friendship or a relative. w I hate. The character barely controls himself in the presence of the Bond object e would do anything to destroy or defeat him. The six feelings are divided into three pairs, and each Bond can only include one feeling for each couple.

w Admiration or inferiority. w Loyalty or distrust.

w Love or hate. For each feeling in a bond, that bond's strength increases by 1 (to a maximum of 3, if you have one feeling per pair). If the character has formed a Bond with the Dark Knight Belphegor and feels inferiority and hatred for him, that Bond has a strength of 2.

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TIE A BOND Usually, Bonds are formed in the rest scenes (see p. 91), or through specific opportunities or abilities. When a game effect allows you to “make a Bond”, you can add a new Bond to the character sheet and immediately assign a single feeling to it. This means that all Bonds begin with a strength of 1.

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It is possible to have Bonds with characters, nations, kingdoms, organizations and even religions, but not with oneself.

STRENGTHEN A BOND OR CHANGE FEELINGS It is possible to strengthen a Bond by adding other feelings (up to a maximum of three, one per couple). This normally occurs during the scenes of rest (see page 91), which also allow you to modify current feelings , adapting them to recent developments in history.

DELETE A LINK Those who already have six Bonds and want to make a new one must first cancel one of the existing Bonds, explaining how their feelings and points of view have changed.

TIES ARE STRONGER THAN DEATH Even if a character dies or leaves history, the Bonds that other characters have formed with him remain until they are canceled.

THE ROLE OF LINKS Bonds make the PC stronger, while reminding him of how he is connected to the rest of the world and its inhabitants. Don't be afraid of complex bonds: feeling affection and inferiority towards someone, or hatred and admiration, can create memorable stories. Often, it is best to let the Bonds develop organically, while at the same time reaping the benefits of many Bonds with high strength.

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CONFLICT SCENES When the story reaches its peak, the stakes are high and every split second can make a difference, a scene of conflict begins. A conflict can be described as a series of rapid exchanges between the parties involved. You've surely witnessed something like this in movies and TV series: shooting slows down and the shot tightens on every single action. Here are some good examples of conflict: w A chase through the narrow alleys of a city. w A raid in which some characters must overcome enemy surveillance, perhaps while their allies provide a diversion or cover. w A skirmish between armed groups or a confrontation with a dangerous monster. w A full-scale battle between armies from rival kingdoms. w A tense audience with an important person. w A duel between two ancient rivals.

USE CONFLICTS As in any other scene, the Game Master is responsible for sanctioning the opening and closing of conflicts. The ability to give them the right rhythm can only be developed by playing. In addition, it can be useful to get inspiration from how video games, films and comics manage the narrative pace - taking advantage of a variety of different materials can really help keep a certain freshness in the games! Remember that you are not obliged to use the conflict rules for every fight, chase or debate; rather, reserve them for the truly dramatic moments . Tests and Watches are often more than enough to solve a scene without complicating it too much with the rules of conflict.

In general, aim for about one conflict scene every two hours of play.

STRUCTURE OF A CONFLICT The flowchart on the right illustrates the main steps of a conflict scene, each of which is explained in more detail throughout this section.

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Determine which characters are actively involved in the conflict (whether they are Player Characters or Non-Player Characters). All others are considered extras and will remain in the background.

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Discuss the goals of each participant. Player Characters should also declare

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which items they have equipped at the start of the conflict.

Player Characters take an Initiative Group Test with ÿDES + INTÿ to determine which side goes first. The Difficulty Level of this Test is equal to the highest Initiative among their opponents.

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5

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If the Player Characters are successful, one of them acts first during each round (see step 5). If they fail, the first to act in each round is a Non-Player Character.

The conflict develops as a series of consecutive rounds : in each round, PCs and NPCs alternate in the course of turns, starting with a member of the side who won the Initiative. w Only one action can be performed per turn. w You cannot "pass" the turn. w If one side is larger than the other, turns alternate as long as possible, after which the larger group takes the remaining turns until the end of the round.

6 When all characters have taken their turns, the round ends.

If the conflict continues, a new round begins: go back to step 5.

The Game Master may declare the closure of a conflict scene at any time he deems appropriate. This typically happens when one party achieves its goals, when all but one cannot or do not want to continue, or when an acceptable compromise is reached.

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DETERMINE THE PARTICIPANTS

First of all, it is necessary to define which of the characters on stage take an active role in the conflict and which remain in the background. Usually, the PCs are expected to be an active part, as are the main antagonists, but there may be cases where some of them prefer to remain in the shadows. Example: Scholar Calliope has offered to help a young bandit, Randolph, by serving as his defense attorney in the upcoming trial. The Game Master decides to handle the hearing as a conflict scene: the participants are Calliope, Randolph and the representative of the prosecution, a man named Orbek. Oddly enough, only one Player decides to let his character take an active role: the Montblanc knight, who puts his reputation on the line to help Randolph. The thief Valea instead avoids being seen, because her presence could undermine Calliope's credibility and in any case she has already done her part by recovering important evidence.

All the others (the public, the guards and the judge herself) are not an active part. Although the Game Master can describe their reactions and behaviors, these characters cannot pursue their goals or influence the conflict. New participants can enter the game while the conflict scene is in progress, but only at the end of a round (after step 5).

DISCUSS THE OBJECTIVES

Each participant has a reason to be involved in the conflict: maybe they want to steal a precious artifact, persuade the Queen of her good faith, or avoid becoming a monster's afternoon snack. The antagonists also have their own goals, ranging from escaping unharmed to ending the heroes' constant interference.

During this step, each participant must clearly explain what his or her primary goal is for the ongoing conflict, or at least the initial one. Of course, the GM is free to keep some of the antagonists' plans secret - needless to say, a conflict often occurs precisely because they don't want to allow the heroes to succeed!

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INITIATIVE A character's Initiative modifier is an indicator of how much advantage he can provide to his side at the start of the conflict. w At the start of each conflict, the Player Characters take a Group Initiative Test, which is a Group Test (see page 50) based on Dexterity and Insight.

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w The Difficulty Level of the Leader 's Test is equal to the highest initiative value among the opponents; Support characters take their Support Test with a standard Difficulty Level of 10. w In this Group Test, both leaders and supporting characters must remember to apply their Initiative modifier to their respective totals. If the leader is successful, the heroes have gained Initiative for this conflict and one of them can therefore act first during each round; if they fail, it means that they have failed to gain Initiative for this conflict and the first participant to take a turn during each round is therefore a Non-Player Character. See the next page for an explanation of rounds and turns. Example: the warrior adept Silida and the mage Ricard are exploring the ruins of an ancient aqueduct when, suddenly, a bronze golem (see page 330) blocks their way! The Game Master requests a Group Initiative Test and Ricard is happy to leave the leadership role to Silida. She only rolls a 6, but Ricard's Test Result is 12 (including the -2 penalty due to the armor she is wearing). Silida's Result becomes 7, enough to exceed the golem's Initiative value! The Player Characters have gained the Initiative, so the first turn of each round is played by Silida or Ricard. Attention: Participants who join later in the ongoing conflict are simply placed in the existing Initiative order.

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ROUND E TOURNI

Conflict scenes unfold as a series of consecutive rounds . During a round, participants take turns taking their turns, starting with a member of the group who won the Initiative. Going back to the previous example: since the Player Characters have won the Initiative, one of them (Ricard or Silida) will be the first participant to take his turn during each round, then the golem will act and finally the other Player Character. After everyone has taken a turn, a new round begins. Each turn allows you to perform a single action, although some effects may allow you to perform multiple actions in the same turn. You can find more details on the actions starting on p. 66. w A character cannot decide to “pass” his turn. If an enemy has just taken action and the PC finds himself the last one on his side who has not yet taken his turn, he must do so immediately. w It may happen that a group is outnumbered. If so, try to alternate turns as long as possible, after which the larger side takes the remaining turns at its disposal until the end of the round. Example: In a conflict between two Player Characters and three Non-Player Characters where the heroes have won the Initiative, each round develops as follows: Turno PG Z Turno PNG Z Turno PG Z Turno PNG Z Turno PNG A round ends when all participants have taken the turn (or turns, in the case of some particularly powerful creatures) at their disposal. w There is no predefined duration for rounds and shifts - they represent cinematic shots and dramatic moments, not specific time units. w Nonetheless, it is reasonable to link the advance of a countdown or similar to the rounds of a conflict (for example, a 6-section Clock called "Tower Collapse" that fills up by 1 section at the start of each round ... not you will definitely want to be there when it gets full!).

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DYNAMIC ORDER OF THE TURN Since the turns are not tied to each character, it is possible to change the order of action from one round to another. For example, a sorceress who acted last in the round just

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This is a key aspect of the functioning of Fabula Ultima conflicts and groups that learn to coordinate their actions far better than those where everyone focuses on their own individual strategy.

ECONOMICS OF SHARES Like any other game that limits the number of "moves" that can be performed before an opponent can act, Fabula Ultima rewards those who use their resources intelligently. w The GM should not create conflicts in which one side is clearly outnumbered, as that party would quickly be overwhelmed. w Some powerful NPCs have the ability to take multiple turns over the course of each round (see Elite and Champions on page 295). Such characters follow the normal rules for alternating turns, but occupy the turns of multiple normal opponents.

OPTION: ENEMY INITIATIVE It can be difficult for the Game Master to remember which opponents have yet to take their turn. An excellent solution is to have them carry out their shifts in descending order of Initiative (from fastest to slowest), writing down this sequence and applying it every round. This makes enemies a little more predictable, but it also allows you to focus on much more important elements of the conflict.

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SPACE AND DISTANCES

In true JRPG style and in line with the cinematic approach of this game, the conflict scenes start from the assumption that all characters are able to easily reach allies and opponents.

However, there are some important considerations in this regard:

d ACTIONS AND DESCRIPTIONS Remain vague when describing distance and movement. For example, if you want to run past the golem and snatch the cursed grimoire from the wizard's hands, you can take a Test directly without worrying about taking ten, twenty, or fifty steps. What matters is who or what will try to stop you.

d ATTACKS The big difference between melee and ranged attacks is not the range, but the Skills they interact with and the ability (or inability) to hit flying enemies and other elusive creatures.

When the martial artist of the group carries out an attack on targets very distant from each other, it is not necessary to argue whether it is feasible or not; indeed, the best part is just describing the scenography of these attacks!

If you are thinking that this approach makes fragile characters more vulnerable, you are partially right, but this is where the Guard action (see p. 70) and the Protection and Taunt Skills (see p. 203 and ) come into play. 201): Taking a hit instead of an ally can be crucial to victory.

d BROKEN SCENES If the conflict scene involves locations that are very distant from each other (for example, a character distracts the Pirate Queen by conversing amiably while her allies silently board the ship), it is necessary to decide which characters are active parties in each location. After that, we continue with the scene "cutting" from one to the other according to the order of Initiative.

Characters in different places cannot generally interact with each other, but it is possible that the two conflict scenes merge into one and the group comes together.

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d OK, MA… Some may be thinking of situations where distance and location are critical: What if there was a sniper atop a tower or a terrible ritual would open a chasm in the center of the battlefield? Basically, stick to the following tips: w Don't complicate things. Better to exploit the strengths of this game and avoid situations where the suspension of disbelief becomes too forced. w Sometimes just experimenting. If you want to introduce distance as an important element in the game, it is best to treat it as a “puzzle” to be solved creatively in the course of the conflict. For example, melee attacks might be useless during a fight between two flying galleons, but you can use them if you get within boarding distance… it's time to use a Clock!

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Ultimately, the most important thing is to remember that conflicts should not be resolved by careful analysis of movement and positioning, but by making the most of the characters' skills and actions.

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ACTIONS

The table to the right summarizes the possible actions during a conflict, which are explained in detail throughout this section. It is important to keep in mind that when you perform an action this is not a single gesture, but the main element of your turn that corresponds to a precise tactical choice. Executing an Attack means engaging in an offensive maneuver, the Firm plans to focus its attention trying to obtain key information and so on.

MINOR ACTIVITIES In addition to the main action, it is however possible to perform a series of small gestures and operations in one's turn; The Game Master has the final say on what can be done, but it is generally possible to do at least one of the following activities: w Pick up an object from the ground and / or drop what you are holding. When you pick up an accessory, weapon or shield you can equip it immediately, but only if you have a suitable free slot and meet any requirements (for more details, see page 122).

If you drop an equipped item, it is no longer considered equipped. To rearrange your equipment you must use the Equipment Action. w Quickly throw an object that you are holding at another character. w Perform a minor interaction with the environment, such as opening a door, pulling a lever, or kicking a plank to clear a crack in the ground. All of this can be done before, after or sometimes even during the main action of the turn; once again, it is the Game Master who decides what suits these kinds of interactions, but it is best to always be as generous as possible. If an operation includes a Test, it is probably the main Action of the turn.

Everything a character does to add style and make their action unique takes no time: relying on complex sword choreography, performing magical chants or mixing alchemical ingredients before throwing a potion are details that should be encouraged, not penalized!

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Action

Description

Attack

Perform a melee or ranged attack.

Replace any number of equipped items with those in the backpack.

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Equipment w This action does not apply to armor.

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Only once per shift. Until the start of your next turn:

w Gain Resistance to all damage. Guard

w Get a +2 bonus on Opposing Tests. w You can cover another creature and prevent opponents from executing melee attacks against it.

Magic spell

Obstruction

You cast a spell among those you know.

Take a Test (LD of 10) against an opponent. If you are successful, the opponent suffers the confused, weak, slow , or shaken status.

Inventory

Spend PI to immediately produce and use a consumable item.

You are dedicated to achieving a purpose within the conflict. Objective

w This requires a Characteristic or Contrast Test. w Complex goals often require a Watch.

Studio

You try to get information about someone or something. w This typically requires an Open Test of ÿINT + INTÿ.

You use an action to activate the effects of an ability.

Other

Perform an action not included in the above, discussing its resolution and effects with the Game Master.

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Skills

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d ATTACK Use an action to perform an offensive maneuver with one of the weapons at your disposal.

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Choose the target of the attack.

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w You must know the target's location and be able to see it. w You must be able to reach the target with the weapon you are using; for instance, flying enemies cannot be hit with melee attacks.

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Take an Accuracy Test using the formula indicated by the chosen weapon. The LD is equal to the target's Defense . With one success, the hit hits; on failure, the target anticipated the danger, avoiding or blocking the attack. w A critical failure is an automatic failure, while a critical success allows you to hit the target regardless of its Defense. Both generate opportunities.

w The Game Master can apply situational modifiers (+2 or -2) to the Test

Accuracy in the event of very favorable or unfavorable circumstances.

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If the hit is successful, inflict damage based on the formula indicated by the weapon you have chosen. Typically, this is the sum of the Accuracy Test's Highest Shot and a fixed value based on the weapon's power. For the list of the most common weapons, see p. 130.

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The target loses an amount of Health equal to the damage taken. This can be modified by his Damage Type Affinity (see p. 92): w A Vulnerable target loses twice as much Health as normal. w A Tough target loses half their Health points than normal. w An Immune target loses no Health. w An Absorbing target heals Health points equal to the damage dealt by the attack.

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Example: the heroes are fighting a group of skeletons. The Montblanc Knight charges the nearest undead with his mighty battle ax. The Accuracy Test required is ÿVIG + VIGÿ, so Montblanc rolls two d10s, getting 6 and 9, for a total of 15: more than enough to overcome the enemy Defense of 11. Battle Ax deals ÿTM + 14ÿ; damage; since the highest value shown on the dice is 9, it

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FREE ATTACKS Some game effects allow you to perform free attacks. These follow the procedure on the previous page, but are typically performed as part of another action.

Some skills and effects even allow you to perform free attacks with weapons that are not currently equipped!

MULTI

Attacks with the multi property allow you to target a number of creatures equal to or less than that indicated by the specific weapon or effect. For example, multi (2) allows you to target up to two different creatures. If you do, take a single Accuracy Test and compare the Result against each target's Defense to determine who is hit and who is not. A critical hit hits all targets, while a critical hit misses them all.

Finally, you apply the damage calculation to each target as normal.

FIGHT WITH TWO WEAPONS When taking the Attack action, if you have two weapons of the same tier equipped (such as two swords or two firearms), you can declare to attack with both. Perform both attacks in any order you like and both can be aimed at the same target or at different targets, but suffer the following penalties: w Both attacks lose multi property (if they had it) and cannot gain it. w To calculate the damage of both attacks, the Major Shot (TM) is always considered to be 0.

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Two-weapon combat cannot be applied to free attacks.

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d EQUIPMENT You can use an action to pack any number of equipped items into your backpack, and then equip any number of items that were in your backpack. The only item you can't remove or equip with this action is armor (a single action isn't enough to do such a thing!). However, the Game Master may allow you to remove or equip armor by performing this action for several turns.

Warning: equipped items are always at hand. For example, you don't need to use this action at the start of a fight to draw a weapon. For more information on equipping items, see p. 122.

d GUARD You can use an action to focus on defense and get the following bonuses until the start of your next turn: w Gain Resistance to all damage, regardless of the source of damage (for more information on Affinities, see p. ninety two). w Whenever you have to take an Opposite Test against another character on stage, you get a +2 bonus to your total (regardless of who initiated the Test). w You can choose to cover another creature on stage. By doing so, it cannot be targeted by melee attacks until the start of your next turn. This effect also ends if you die, leave the scene, or faint. You can't cover a creature if it's covering a creature itself. Even if you gain the ability to perform multiple actions during your turn (or take the Guard action for free as part of another effect), you can only perform the Guard action once per turn and its effects are not cumulative.

d SPELL You can use an action to cast a spell from any you know. For more details on magic and spells, see p. 112.

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d INTRALCIO You can use an action to force an enemy into a disadvantageous position. This can represent different types of action: a feint, a distraction, or even an irritating comment. Once the approach is described, you perform a Test against the target with a fixed Difficulty Level of 10. The Game Master chooses which Characteristics should be involved based on the description.

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Example: Princess Camilla challenged Death Knight Brandon to a duel. During the fight, Camilla moves in a circle around the imposing warrior to have the sun behind him and try to blind him. The Game Master then requests to perform a ÿDES + INTÿ Test. If the test is successful, inflict a status on the target, choosing from: confused, weak, slow, shaken. For more information on statuses, see p. 94. Going back to the previous example: Camilla gets a critical hit and decides to inflict slow status on the Death Knight. It also spawned an opportunity, which he immediately spends on kicking Brandon's sword away.

d INVENTORY You can use an action to retrieve an item from your inventory and immediately use it as part of the same action - for example, you can give an ally a potion or give them a cooling balm during a tense negotiation. w If the object requires you to be close to the target and someone or something blocks it road, the Game Master may request to take a Test. w In the case of objects that include a free attack against one or more targets, this is performed as part of the Inventory action. For more details on Inventory Points, see p. 104. Warning: You can perform this action even if you have items equipped in both hands.

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d OBJECTIVE You can use an action to progress towards one of your goals in the conflict, be it one of the ones defined at the beginning of the scene or one you just created. For example, you could attempt a negotiation, sneak past a group of guards, initiate a Ritual (see page 118), grab someone to immobilize them, pull a lever to activate a mechanism, and so on.

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Describe what you want to achieve and how you intend to try.

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Of course, you can only pursue a goal that is actually possible to accomplish in some way. The GM has the final say on which goals are achievable or not, but should always allow as many approaches as possible.

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Since the Target action allows you to get closer to what you want in the conflict, it always requires you to take a Test. w If the purpose is opposed by another participant in the conflict, the Test is Contrasted. Even if two or more characters can oppose your action, only one of them takes the Test (usually the most skilled). w In all other cases, it is a Characteristic Test.

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If the purpose is simple enough,

Most of the time, complex

such as jumping a ditch or

purposes require you to rely on a

climbing a rope, passing a single

Watch, particularly if it allows you

test is sufficient.

to get close to victory.

If the Test is a success, the Clock is altered in favor of the character, filling or emptying sections according to the type of Clock, as explained on p. 53: w 1 section if successful. w 1 more section if the Difficulty Level or the Opponent's Result comes exceeded by 3 or more, 2 if by 6 or more.

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Example: Deep inside a magitech laboratory, the warrior adept Silida is busy keeping a furious stone golem away from her companions, the mage Ricard and the arcane swordswoman Nethis.

Seeing that Silida is having difficulty withstanding the golem's powerful attacks, Nethis decides to add a new objective to the conflict: around them are many magical crystals and she intends to

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channel their power towards the golem to overload its core and deactivate most of the its functions.

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Since Nethis can use magic, the Game Master approves the plan and creates a 6-section Clock: once filled completely, the golem's core will be cooked to perfection. The Game Master specifies that this will permanently reduce all Golem's stat dice by one size.

When taking the Target action to intervene on a Clock it is very important that you describe the character's action: the Game Master has the final say on what actions can actually alter the Clock.

Returning to the previous example: the effect that Nethis wants to obtain is decidedly magical: does this mean that Silida, unable to cast spells, cannot contribute?

Absolutely no! For example, he could perform the Target action to damage the golem's front plate that serves as a shield for the core, thereby exposing it to the flow of magical energy. It may not fill many sections (the golem can counter physically based Tests very well and this is not exactly an optimal strategy), but it can still help.

CLOCKS AND GOALS IN A CONFLICT The Game Master is responsible for assigning the Clocks to the objectives and determining how many sections they consist of, using the table below as a guideline. For detailed examples of purposes in conflicts and Clocks, see p. 78.

Scope

Once filled ...

4

Minor

Provides a temporary minor benefit.

and 6 to 8

Greater

Provides a greater permanent advantage.

Resolutive

It allows to win the conflict.

and 10 to 12

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d STUDIO You can use an action to find out who or what you are dealing with. First of all, you tell the Game Master what you want to find out and who the target is (be it an object, a person, a creature or even a place). After that, you do an Open Test, usually of ÿINT + INTÿ, but in some cases other combinations of Characteristics can make sense, like ÿINT + VOLÿ to make someone talk too much. The Game Master decides the Features to be involved based on the approach provided; the Result then determines what kind of information you can get.

Result Information 7 or more

Base

10 or more

complete

13 or more 16 or more

Detailed Encyclopedic

Equals... A vague suggestion, useful but a little too general. A complete answer, with no room for doubt. A complete answer, plus a useful detail. Everything you could ever know about it.

Once you've studied someone or something in this way, you can't ask the same question again. However, you are free to examine other aspects of the subject. Example: During an audience with the Duchess Ylemin, the thief Valea wants to find out more about the noblewoman's wishes (of course, she too will have a price!). Valea scores a 14 in the Test, discovering that the Duchess has a passion for antique jewelry, as evident from the rings and earrings she wears. As she looks at her right hand, Valea notices a patch of discolored skin ... that the lady has lost one of her valuables?

If you want to find out how to perform this action to study an NPC, see p. 319.

d SKILLS You can use an action to activate a class ability, as possibly indicated in the description of the ability. Using such a skill outside of a conflict typically takes five to ten seconds.

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d OTHER In addition to the actions listed above, characters may try all sorts of creative approaches, as long as it isn't overly complex and doesn't take too long.

The details and resolution of these unique actions must be agreed upon between Players and Game Masters; however, most of the time it will be sufficient to define exactly what you

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want to achieve and how you want to do it to understand that this falls within one of the actions already listed.

DIALOGUE AND TACTICS

Conflicts often represent intensely paced scenes in which characters have limited ability to speak and discuss complex plans or the course of action, but this should not apply to the Controlling Players. Always keep in mind that: w First of all, the characters are heroes and adventurers. This means that they often discuss tactics and strategies in advance, perhaps around the fire or while marching in the forests… not to mention those movies and TV series in which the heroes make complex plans in the moment, while time seems to stand still.

w Second, this approach makes the atmosphere at the table more relaxed and in line with the overall upbeat tone of the game.

Ultimately, the choice of how much dialogue and planning is possible during conflicts and other similar situations depends on the whole group, so find your "middle ground" together.

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TEAM PLAY When a character takes a Test during a conflict scene, any other character who has not yet taken a turn in the current round may decide to give him a hand. If at least one does, this becomes a Group Test (see page 50), but with some key differences: w Each helper becomes a support character for the Group Test, while the Player Character taking the turn is the leader. w Each Support Test passes automatically. w The turn of each character who has helped the leader is considered to have taken place for the round, meaning that you can only help if you have yet to take your turn, but doing so “burns” the ability to act in the current round. Choose wisely. Warning: this option can be applied to any type of Test, including Accuracy, Magic and Opposite ones! It's a great way to depict how characters work together to defeat a powerful opponent - when you can't hit a flying target with your sword, clear the view for your archer or help him anticipate the enemy's moves!

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CLOSE A CONFLICT As with any other scene, the Game Master has the right to declare the closure of a conflict. This usually happens when one side has prevailed, no one is able to oppose it any longer, or all the participants have negotiated a truce.

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w Warning: Once an agreement is reached, the conflict ends… at least until someone

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regrets it or reconsiders the terms. w Sometimes closing one conflict scene leads to opening another. It is not unusual for a brutal confrontation to become a chase, as the losers retreat, or for a failed negotiation to lead to violence. Some characters may even aim for such a change, especially if they are more adept in one situation than another.

w When a conflict ends, all effects that last “until the end of the scene” wear off. Keep this in mind when deciding whether to move on to another conflict or to simply let the situation evolve in a different direction.

In conclusion, remember that conflicts should only be reserved for situations where the stakes are high and not simply be the solution to any moment of tension.

EFFECTS RELATED TO THE SHIFT

If an effect lasts “until the beginning of the character's next turn” or “until the end of the character's next turn”, that effect also ends when the conflict scene ends.

w These effects do not “carry over” to the following conflict. w These effects also end if the character dies, faints, or leaves the scene. If such an effect is somehow used outside of a conflict (it doesn't happen often, but it's still a possibility), it lasts a few seconds, usually just long enough to affect the outcome of a single Test.

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EXAMPLES OF WATCHES AND OBJECTIVES

Although the explanation of Obiettivo 's action on p. 72 should be enough to give you a general idea of how to use it, the examples below could serve as inspiration for creative strategies during conflicts. To decide whether the active character should take a Ability Test against a Difficulty Level or an Opposite Test against another character on stage, remember that there is no limit to how many times a character can oppose an Objective action in the game. course of a round.

In practice, a single opponent with sufficiently high Characteristics can prove to be a demanding challenge even when he is clearly outnumbered.

d LET'S BREAK IT DOWN! While facing a winged dragon, the heroes decide to work together to permanently pin it to the ground, within reach of their melee weapons. This is a bigger goal , because it makes the fight easier without finishing it. The Clock should probably have 6 sections. Some possible actions are ... w Use ÿDES + VOLÿ to bravely taunt the dragon and lure it close to the ground, hitting it as it gets close. You can definitely get a +2 bonus if you are carrying something the dragon wants!

w Those with a ranged weapon can use ÿDES + INTÿ to aim at the wings and damage the muscles that govern their movements. w Use ÿINT + VOLÿ to help the group retreat into a narrow gorge where the dragon may have difficulty maneuvering. w If the dragon is temporarily in range, for example after someone has successfully performed one of the actions on this list, you can use ÿVIG + VIGÿ to grab it and pin it to the ground!

Many of these tests are performed as opposed to those of the dragon, but the Game Master may also decide that for example the second approach on the list should be made against the Dragon Defense.

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d Catch the thief! On their way to their rooms in Castle Caralon, the heroes notice a suspicious figure at the end of the corridor ... and is holding a powerful artifact called the Celestial Orb, the most precious treasure of the royal lineage of Caralon! The group immediately springs into action and a chase begins! The PCs intend to reach the thief, a decisive goal; for this, the Game Master sets a 10-

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section Clock. Some possible actions are ... w Use ÿDES + INTÿ to anticipate the thief's movements and cut his way. w Use ÿDES + VIGÿ to dash and grab the thief before he gets too far. w Use ÿINT + INTÿ to remember the plant of the corridors of the building and report to the guards where the thief might be headed. w Whoever casts spells can use ÿINT + VOLÿ to summon a globe of light capable of following the thief. w Use ÿVIG + VOLÿ to intimidate the thief so as to make him stumble or hesitate. These Tests are carried out against the thief; when the Clock fills to 10, the group will have managed to corner him, but that could lead to a fight!

Similarly, the thief has his own Clock: thanks to the significant initial advantage over the heroes, it has only 8 sections; if he manages to fill it, he leaves the scene with the Celestial Orb!

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d CONVINCING THE QUEEN The heroes must persuade the Queen of Armorica that attacking the imperial forces tomorrow would be suicide. For some reason, the sovereign's advisor is pushing for immediate action instead. This is a decisive goal and, given the importance of the scene, the Clock should have 12 sections. Some possible actions are ... w Use ÿINT + VOLÿ to present your reasons to the Queen. Having supporting evidence or witnesses could provide a +2 bonus. w Use ÿINT + VIGÿ to present a possible strategy and offer your help in battle to the Queen and her people, but only if she does not attack tomorrow. w Use ÿVOL + VOLÿ to launch into a heartfelt speech in an attempt to convince those present. Anyone who has helped the people of Armorica in the past would certainly receive a +2 bonus. w Use ÿINT + VOLÿ to make the counselor betray himself by talking too much. Performing the Study action and identifying the counselor's Traits and Goals could grant some bonuses to this Test. Most of these tests are carried out against the counselor, but the third could also be carried out against "everyone present". Even the advisor has a Clock, which, once filled, causes the heroes to be exiled! This Clock has 12 sections, exactly like the one of the heroes.

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d STOP THE RITUAL This time the heroes are not trying to achieve a goal, but to stop a powerful witch from ending a dangerous Ritual, all while confronting the beasts she has summoned.

This is a decisive goal for the witch and the Clock has 10 sections. This time, the Player Characters have the goal of preventing the Clock from filling up

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as they face the witch. Some possible actions are ... w Use ÿDES + INTÿ to shoot with an elemental bow or pistol to destroy the energy flow of souls. w Those who can cast spells can use ÿINT + VOLÿ to try to manipulate the Ritual. w Use ÿDES + VIGÿ to create a distraction by grabbing one of the witch's minions and throwing it at her or throwing it into the magic circle, causing her to lose focus.

w Use ÿVIG + VOLÿ to appear dangerous enough and distract the witch from the Ritual at least for a moment, making her target the characters! Most of these tests are performed directly against the witch, although the third approach can be safely performed against the henchman. The witch is so powerful that her Clock automatically fills 1 section at the end of each round - and she can also use Aim action to speed things up.

d LET'S KEEP THEM OUT! As the heroes face off against a mighty necromancer, they are assaulted by hordes of zombies, making the fight that much more dangerous. If only they could have a couple of rounds without the timely appearance of new undead! This is a minor goal and the Clock has 4 sections. Some possible actions are .... w Use ÿDES + VIGÿ to quickly barricade a room door. w Those who know light spells can use ÿINT + VOLÿ to keep the undead at bay. w Use ÿVIG + VIGÿ to forcibly block and repel zombies. Most of these tests are carried out against zombies, but the necromancer may oppose his

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OPTIONAL RULES FOR CONFLICTS Below you can find some rules with which to customize the conflict scenes. Adopt the ones you prefer, as long as the whole group agrees, or apply some of them only in certain situations, if you feel that you may need a higher level of tactics.

d DEBUGS AND SURPRISE ROUND Normally, Initiative determines which characters involved in a conflict are most aware of what is happening and can immediately react to danger; however, if one side manages to surprise the other, the Game Master may grant it an additional round before the opponents can react. This is called a surprise round. w This optional rule favors ambush lovers - a full round is a substantial advantage. If you don't like the idea that a character can be defeated without being able to react or contribute to the scene, don't apply this rule. w If you are applying Superiority Points, a surprise round can become even more dangerous: the attackers could overwhelm the opponents with additional actions. Go to the next page to find out more about Superiority Points.

d PLAYERS OUTSIDE THE CONFLICT If one or more Players do not control any characters during a conflict scene, they can still influence the outcome: once per round, after a character (any!) Takes a Test, a Player whose character is absent from the scene can choose one of the dice of the Test and force to reroll it. Several players can intervene, forcing the same die to be re-rolled several times. The purpose of this rule is to make all Players feel involved, even when their characters are absent from the scene or have been defeated. Using this optional rule, describe how the character is “fighting with the spirit” alongside his ally, helping him (hopefully!) Overcome the challenge.

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d SUPERIORITY IN BATTLE This optional rule adds an extra layer of strategy to encounters and rewards the clever use of elemental attacks and Affinity. If you use this optional rule, all participants involved in a conflict gain access to a special resource: Superiority Points. These are shared by the whole team, so each Superiority Point can be spent by the player who obtained it or by one of his allies.

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A character can earn Superiority Points in the following ways: w When dealing damage to one or more opponents and at least one of them is Vulnerable to the damage type, the team gains 1 Superiority Point. w When it takes damage and is Immune to the type of damage or capable of Absorbing it, the team gains 1 Superiority Point. w On a critical hit, the team gains 1 Superiority Point. w Upon a critical failure, the enemy team gains 1 Superiority Point. A character can spend 1 Superiority Point to perform an additional action during his shift. Yes, you read that right ... they are really dangerous! However, Superiority Points are controlled by three important rules: w A character can only spend 1 Superiority Point per turn, regardless of the number of Superiority Points available to the team. w When the allied team is about to get 1 Superiority Point, if the opposing team has at least 1 Superiority Point, the allied team gets no Superiority Point and the enemy team loses 1.

w A team can never have more than 5 Superiority Points; any Superiority Points excess are lost. Warning: this optional rule is much more beneficial to PCs than to opponents, since PCs rarely have Vulnerabilities. A pattern (like the one below) and a coin or token can be used to remember how many Superiority Points are available to teams.

+4

+3

+2

+1 0 +1

+2

+3

+4

+5

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+5

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LIFE POINTS AND MIND POINTS In Fabula Ultima, a character's well-being is represented by two parameters: Health Points and Mind Points. If you are a fan of video games, you have surely come across similar terms before, although in this game they work in a little different way.

LIFE POINTS

Shortened to PV, their value indicates the character's life force, fighting spirit, and overall physical health, as well as the ability to withstand blows, pain, and fatigue. However, don't imagine that they are a direct measure of physical integrity - losing them is not the same as sustaining injury or serious injury. It could be said that the Health Points are a "shield" that protects the characters from that final blow that would knock them out. Within the scene, bruises, cuts and burns can be narrated, but only when the HP is reduced to 0 does the antagonist's blade find an opening in the hero's armor. w Current PV. This value represents the character's current Health Points. It can never be reduced below 0 or exceed the character's maximum HP. w Maximum HP. This value represents the character's maximum HP. The character's current HP can never exceed this value: if a character had 50 maximum HP and 40 current HP, an item that allowed him to recover 60 would restore him to 50 HP, not 100.

w Crisis. This value equals half the character's maximum HP, rounded down. If the character's current HP is at or below this value, the character is considered “in Crisis”: he's having a hard time… and it shows. For example, a character with maximum 65 HP goes into Crisis if his current HP is 32 or less. Some game effects are activated by going into Crisis, while others remain active only as long as you are in this condition. w 0 VP. When a character's HP is reduced to 0, his fighting spirit has been brought to his knees. Depending on his role in the story (Player Character, Villain or common NonPlayer Character), he could suffer different consequences. For more details on what happens when a character is reduced to 0 Life Points, see p. 86.

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MIND POINTS

Shortened to PM, their value measures a character's inner strength, magical potential, and ability to focus. In play, Mind Points are often spent to fuel magic or perform heroic deeds on the verge of the superhuman. w Current PM. This value represents the character's current Mind Point amount. Cannot be reduced below 0 or exceed the character's maximum MP. w maximum PM. This value represents the character's maximum Mind Points. A character's current Mind Points can never exceed this value. w Spend PM. Spells and other special abilities require you to spend Mind Points. This can only be done if you have enough MP to pay the cost in full for example, you can't cast a spell that costs 10 MP if you only have 9 MP left.

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w 0 PM. When a character's Mind Points are reduced to 0, he is mentally exhausted, but he suffers no particular consequences, other than not being able to cast spells or use abilities that consume MP.

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0 LIFE POINTS When a character's Health Points are reduced to 0, the dangers and injuries he has suffered become unbearable - will he fall exhausted? Will he be put on the run? Depending on their role in the story, the defeated PCs have different options.

NON-PLAYING CHARACTERS When a Non-Player Character is reduced to 0 Life points, he loses all will to fight. Whoever has defeated him has the power to determine his fate: he can be captured, forced to flee, lose consciousness or even die. Example: Yezma delivers the final blow to a magically tainted boar, reducing his HP to 0. Now that the creature has been defeated, Yezma must decide its fate. However, he knows that the great beast has become aggressive due to the arcane corruption that has plagiarized his body and mind. For this, he decides to spare her and simply put her on the run, hoping to find a way to save her later. That said, some creatures may simply be destroyed when reduced to 0 Health: constructs like golems and robots may cease to function, elementals may vanish or disperse, and the undead may become dust.

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BAD Some NPCs are a little more important than others: the Villains, the main antagonists of the story. You can find more information on the Villains starting on p. 100, but for now it suffices to know that they enjoy different privileges when compared to the common NPCs. When reduced to 0 Health, a Villain must choose between Escape and Surrender.

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d LEAK The Villains have a special supply, the opposite of the Fabula Points of the Player Characters: the Ultima Points (see page 101). When reduced to 0 Life Points, a Villain can spend 1 Ultimate Point to vanish from the scene, saving himself; the Game Master describes how he does it.

Example: Held at gunpoint by the airborne Morgan, Commander Duna smiles and throws himself from the deck of the airship to the ocean below. But when Morgan leans over to look, he sees the armored figure hanging from a huge winged salamander. "You have won this battle, pirate!" he screams as the great reptile carries him to the capital. If a Villain runs out of Ultima Points, he can still escape his fate by ascending to a more dangerous version of himself (see page 102).

d TRAVEL A surrendered Villain is treated like a common Non-Player Character: his fate is in the hands of whoever defeated him. Normally, a Villain chooses this option only when he has no other choice. If Player Characters show mercy to a Villain, they might even gain a new ally - this could also be a great way to introduce a new Player Character to the party.

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PLAYING CHARACTERS Like Villains, Player Characters follow special rules. When reduced to 0 Life Points, a Player Character must choose between Sacrifice and Surrender.

d SACRIFICE When reduced to 0 Health, a Player Character may decide to sacrifice himself to accomplish something that seems impossible, such as breaking a centuries-old curse, temporarily depriving a demigod of his powers, or stopping an entire army on his own, so that his allies can save themselves. The Sacrifice is only possible if at least two of the following conditions are met: w A Villain (see page 100) is present on stage. w The gesture benefits a character with whom you have a Bond. w The character making the gesture believes it will make the world better. The details of the Sacrifice must be agreed between the Player and the Game Master, who narrate this heroic end together. There is no limit to what can be achieved with a Sacrifice: let yourself be completely carried away by the moment, especially as you are about to lose your character. It is important to realize that Sacrifice Characters have accepted death and cannot be brought back to life (see below), as they have become one with the flow of souls, leaving in peace. It's not such a bad ending.

RESURRECTION

In the cosmology of Fabula Ultima, the spirits of the departed usually return to the flow of souls that permeates the world, but some may become trapped by evil spells, be transported to other dimensions, or have much will. strong enough to retain their identity after death. There are two reasons why the rules of the game do not include a way to bring characters back to life: first, the death of a Player Character must be significant; second, the mystery of the afterlife is something that should be explored and defined together as part of the story.

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“At the time, I couldn't disobey. No… I chose not to. But today, today I will stop you from doing what you want! "

d TRAVEL Characters who surrender faint and become unable to act for the rest of the scene, even if their Health Points are brought back above 0. The Game Master cannot kill whoever chooses Surrender, but he can impose a consequence chosen from the list. below or one suitable for the circumstances. If several characters give up, (or even worse, the whole group is wiped

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out!), The GM can impose different consequences on each character or choose a more

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dramatic one that involves everyone; he might even decide to "keep" the consequence of the Surrender for later! Example: As the last hero collapses in exhaustion, Commander Kelta smiles. “I'd like to get rid of you forever, but I'm pretty busy today. You will never get to the village in time! The Celestial Orb will soon be in the hands of the Empress. " While Surrender can never lead to the death of a Player Character, the Game Master can still impose heavy consequences on him. However, considering the general style of Fabula Ultima, permanent injuries and mutilations should be avoided. w When a Player Character chooses Surrender, he immediately scores 2 Fabula Points. w At the beginning of the next scene in which he reappears, the Player Character regains consciousness

and recovers an amount of Life Points equal to its Crisis value.

Examples of Consequences of Surrender

Despair

The enemy achieves a decisive victory, or the heroes lose the trust or approval of an important figure or group.

Darkness

The PC must change the Theme, choosing one of the following: Guilt, Doubt, Wrath, Revenge. Something incredibly valuable and important, such as a magical artifact,

Lost

a loved one, or an ancient heirloom, is stolen from the PC.

Resentment

character chosen by the Game Master. The new Bond must be one of

The PC must cancel one of his Bonds and make a new one with a hatred, inferiority or distrust, at the Player's choice. The PC is no longer with his allies. He may have been caught, dragged away, lost or shipwrecked in an unknown place.

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REST The hero's life can require Player Characters to consume a lot of energy; for this, they often have to rest in order to recover their strength. Depending on the location, the characters have different options for rest.

REST IN THE WILD LANDS When away from the safety of towns and villages, perhaps traveling along roads or exploring a ruin, characters must have access to one of the following options in order to rest: w A magic tent (see page 104), created by spending 4 Inventory Points. One tent is enough for the whole group to rest. w The hospitality of a friendly person, often in exchange for help or money. w A safe place where there is no risk of being attacked, such as a consecrated temple, a secret room, the interior of an armored vehicle or an area protected by a magic circle.

REST IN THE SETTLEMENTS When in villages, towns or cities, characters must have access to one of the following options in order to rest: w A room in a hostel or inn, in exchange for money (see Services and Transportation, p. 125). w The hospitality of a friendly person, often in exchange for help or money.

EFFECTS OF REST When a Player Character rests, he gains the following benefits: w Recover all Life Points and Mind Points. w Heals all statuses. Normally, rest requires four to six hours of inactivity. See Rest and Rhythm on the right for more information on the consequences of rest.

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TIES AND REST SCENES

When the heroes are resting, it is possible to play a quieter and deeper moment, called the rest scene. In this type of scene, Players can spend time describing the chatter between their characters and what they do while sitting around the fire or relaxing around town. At the end of a rest scene, each Player Character can choose one of the following options:

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w To form a new Bond with someone or something. w Add a feeling to one of his existing Bonds. w To replace a feeling of one of his existing Bonds with a different one. As you form new Bonds or change their feelings, describe how your character's view of others has changed.

RECOVERY OF NON-PLAYING CHARACTERS

The rules just presented apply to Player Characters only: the Game Master has absolute control over the cooldown times of Non-Player Characters. Usually, a Non-Player Character appears on stage with maximum Health and Mind Points and no status.

REST AND RHYTHM

While the rules for rest are very generous, spending too much time in front of a burning fireplace in an inn allows any lurking danger to make the first move. Inactivity should always have consequences. The Game Master can use the Clocks to keep Players on their toes and foreshadow looming threats by filling in 1 section at the end of each rest.

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DAMAGE In Fabula Ultima, damage can normally be of one of the following types:

Damage

Icon

Description

Physical ' The most common type, inflicted by weapons and shocks. Air a Inflicted by supernatural winds and monsters from the sky. Lightning b Inflicted by lightning and electricity. Fire f Inflicted by flames, magma and intense heat. Ice Inflicted by low temperatures and frost spells. Light l Inflicted by pure, uncorrupted spiritual energy. Shadow inflicted by the undead and spells that consume life force. Earth E Inflicted by supernatural tremors and earth spirits. Poison b Inflicted by poisons, infections and pollution.

AFFINITY TO DAMAGE Some creatures have a particular affinity for certain types of damage, usually based on species (for example, undead are vulnerable to light damage). w Vulnerability. A character Vulnerable to one type of damage loses twice as many Life points than normal. w Resistance. A character Resistant to one type of damage loses half the Health points of normal. w Immunity. A character Immune to a type of damage does not lose Life Points. w Absorption. A character who Absorbs a type of damage does not lose Life Points, instead regaining an amount equal to the damage it would have suffered. Some game effects might combine different Affinities: if a character is both Vulnerable and Resistant to the same damage type, they are instead treated as having no Affinity for that damage type. On the other hand, Immunity always takes precedence over Resistance and Vulnerability, replacing their effects; likewise, Absorption takes precedence over all other

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EXTRA DAMAGE Some game effects allow you to deal "extra damage". This doesn't apply to effects that don't deal damage, only those that plan to deal damage.

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CHANGE TYPE OF DAMAGE

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There are many game effects that change the type of damage dealt by a certain type of source. When this happens, the most recent effect overwrites any previous changes; when this effect ends, the damage type reverts to the previous one.

Example: Normally, a bronze sword deals physical damage. If you cast the Spirit Weapon spell on it (see p. 214), the damage dealt changes to light. If the Cyclone infusion (see p. 186) is also applied to the same weapon , the damage inflicted becomes air (while subsequent attacks will inflict light damage again, returning physical at the end of the spell).

IMPROVE THE DAMAGE Typically, damage is dealt by weapons, spells, and special abilities, but there can be other situations where characters are damaged, such as falling off a bridge or being buried under rubble. The Game Master should refer to the table below to determine the amount of damage inflicted on such occasions; obviously, the type of damage can vary depending on the circumstances.

Level

Minor damage

Heavy Damage

Massive Damage

5 or more

10

30

40

20 or more

20

40

60

40 or more

30

50

80

Sources of damage such as traps and similar hazards cannot kill a Player Character, unless the Player Character chooses to make a Sacrifice. The character's survival of this damage should be portrayed as a fortune or the effect of his heroic determination.

Example: Montblanc falls into a river of lava and is reduced to 0 Health points. He chooses the Surrender and

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manages to reach a floating rock, where he passes out from the heat. The current carries him away, separating him from the group.

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STATUS A character (whether PC or NPC) can suffer different statuses during the game, which are often the direct result of attacks or spells.

Status

Description

Poisoned

Temporarily reduces the Stamina and Will dice by one size.

Confused

Temporarily reduces the Insight die by one size.

Weak

Temporarily reduces the Vigor die by one size.

Furious

Temporarily reduces Dexterity and Insight dice by one size.

This

Temporarily reduces the Dexterity die by one size.

Shaken

Temporarily reduces the Will die by one size.

CUMULATIVE STATE Different statuses affecting the same Trait are cumulative: for example, being confused and angry reduces the Insight die by two sizes. However, a stat can never be reduced below d6. If a character is afflicted with a status and suffers the same status again, nothing happens.

HEALING FROM STATUS Statuses can be healed with rest, or by using specific spells, abilities, and items.

IMMUNITY TO STATUS If a character is immune to a status, he cannot be affected by it; if he becomes immune to that status while afflicted with it, he immediately heals from it.

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IS IT A STATUS ... OR NOT?

The six statuses are an abstract representation of the reduction of the character's abilities. Poisoned can represent drunkenness or illness, shaken can be inflicted by fear or hallucinations, slow can come from ice magic or from sticky oozes and so on.

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Various other situations could have been treated in a similar way, such as being asleep or petrified; however, these are not true statuses and follow their own rules: instead of modifying the Traits, they affect the way the character acts within the game world. For example, a petrified creature cannot act in any way. When dealing with similar effects, try to rely on common sense and circumstances. Unless established by the rules, it is the Game Master who decides which events can be translated into status and which should instead be managed as narrative elements.

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FABULA POINTS Fabula Points represent the ability of Player Characters to influence fate, resulting from their heroic nature and the difficulties they face.

FABULA POINTS IN CREATION OF THE CHARACTER Each Player Character earns 3 Fabula Points when created; any other Fabula Points must be earned by playing.

GET FABULA POINTS There are four main ways a Player Character can earn Points Fabula, to which an optional fifth is added: w If a Player Character does not have any Fabula Points at the start of a session, immediately gains 1 Fabula Point. w Whenever a Player Character rolls a critical failure on a Test, he rolls immediately 1 Punto Fabula.

w Each time a Villain enters the scene (even if it is a Game Master scene where there are no Player Characters present), each Player Character immediately scores 1 Fabula Point.

For more information on Villains, see p. 100. w Whenever a Player Character is reduced to 0 Life Points and chooses Surrender, immediately gains 2 Fabula Points.

w Whenever a Player Character invokes his Bond or Trait to automatically fail a Test (as explained in the optional rule on page 47), he immediately gains 1 Fabula Point.

There is no maximum limit to a character's Fabula Points. In a nutshell, feel free to stock up on it when you prepare for "an important occasion"; however, spending Fabula Points is one of the main ways to gain Experience Points and level up (see page 226).

Consequently, accumulating Fabula Points slows the growth of the whole group.

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SPEND FABULA POINTS Fabula Points can be spent in many ways, as explained in the previous pages. Here are two more: w You can spend Fabula Points to alter the current situation to your advantage by modifying or adding elements (see next page).

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w Fabula Points can be spent to activate some powerful characters' abilities. Considering these methods as well, the complete list of how to spend Fabula Points looks like this:

Effect

Altering History

Cost in Fabula points

1

Description Alter an existing element or add a new one.

Invoke a Bond

1

Add the strength of the Bond to a Test (see page 47).

Invoke a Trait Use a skill

1

Variable

Re-roll the dice of a Test (see page 46). Activate a Skill that requires Fabula Points.

FABULA POINTS

Fabula Points are the heart of the game and serve as both a mechanical and narrative resource. The more difficulties and defeats you face, the greater the accumulated Fabula Points; the more you spend on overcoming obstacles and challenges, the faster your character grows. In a way, the Fabula Points represent the fate that surrounds the protagonists: they become more resolute in defeat, channel this resolve through the Traits and Bonds that define them and become stronger ... only to face even greater adversity.

Is it really an endless cycle, or will this spiral lead to new hope for the world? Only

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ALTER HISTORY Players can spend Fabula Points to make a story-related statement: they can thus shape part of the world, its peoples and the creatures that inhabit it, fill in the "gray areas" of the map and create new narrative opportunities or modify a detail in your favor. w To modify or add a detail to an already defined character, place or object (such as a character, place or object described or introduced by the Game Master), permission from the Game Master is required. w If the change directly affects another PC, such as establishing that there is a bounty on his head, permission from the corresponding Player is required. w You cannot use this option to contradict a previously made statement by yourself or another participant. w You can't use this option to cause a change that impacts game rules, such as manifesting a special ability, altering a creature's Affinities, or inflicting a status on one or more enemies. Only the GM, not the Player, can eventually decide whether the introduced element confers a mechanical advantage. w Any new NPCs introduced in this way are still checked by the Game Master.

As with any tool that offers great freedom, this option is very powerful and can be exploited in different ways, with different levels of "intensity": some Players may just add a useful object to a scene, while others may create entire locations. and put them on the world map. When you sit at the table to play, discuss what your preferences are, but do your best to fully embrace the adventurous (and often over the top) style of this rule.

Example 1: After defeating the Mirror Golem in the depths of the forest ruins, the heroes recover a strange ivory disc with a mysterious inscription. None of them can read this ancient language, but a Player decides to spend 1 Fabula Point: his character knows an old scholar who lives in the countryside nearby, who could help them. This statement does not contradict any information given by the Game Master

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or other Players, so it automatically becomes true; the Player then marks the position of the scholar's tower on the map.

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Example 2: Our heroes are looking for a huge dragon in the rocky hills around Ildefort. Finally, they find him in a large cave. At this point, a Player decides to spend 1 Fabula Point to declare that the monster is asleep, which will make it easier to surprise him. The dragon is a creature introduced by the Game Master, so the Player needs his

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permission to make such a claim. The Game Master agrees, but points out that it is not a "magical sleep" and therefore the group will have to carry out tests to not wake the dragon.

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Example 3: Seven years ago, the warrior sorceress Daige defected from the imperial army. Daige has now returned to the imperial capital to lead a team of raiders determined to wrest the Soul Crystal from the Empress's clutches. As they gather information on the street, Daige and her partner Valincor notice a city guard following them. The Daige Player, Anna, spends 1 Fabula Point and reveals that it is Ramis, a member of her old unit who, while not endorsing the cruelty of the Empire, had remained in the army in order to support her family. The guard was introduced by the Game Master, so Anna must have his permission; this is a big change, but the Game Master is curious to see how the situation will develop and allows it.

From this point on, the Game Master will continue to control Ramis, but the heroes managed to get a useful contact in the capital. Of course, Ramis still has a weakness: what will he do when his family is threatened?

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BAD In Fabula Ultima, the Villains are powerful antagonists who truly test the skills of the heroes. Just as the actions of the Player Characters guide the story, the Villains represent the powerful threats that loom over the world: sometimes they hide in the shadows, others welcome the protagonists with false smiles, still others challenge them in a merciless struggle to establish the fate of the world. Here are some good examples of Villains:

w A corrupt baron who constantly abuses his authority. w A ruthless businessman who exploits workers, convincing them that it is for their good. w A legendary dragon that terrorizes the countryside. w An ancient wizard who turned the inhabitants into swine, rats and frogs. w A repentant sorcerer who wants to erase the present to correct hers past mistakes. w A god of despair bent on freeing the living from the torment of existence. Regardless of their appearance, Villains are usually linked to one or more PCs; Sometimes this connection is thematic (for example, a ruthless Villain opposing a hero with the Theme of Piety), but it can also be something far more direct (a classic is the Villain who turns out to be the lost relative of a Player Character).

INTRODUCING THE BAD INTO HISTORY The Game Master can introduce Villains whenever he deems it appropriate, whether it's adding a new character to the story or revealing that an existing one is actually an antagonist. The Villains are often accompanied by henchmen or even other Villains, such as two lovers fighting side by side, a Queen with her advisor, a powerful sorcerer escorted by huge golems, the leader of the bandits and her gang of rogues and so on. ...

You can find some tips on how to design and manage Villains in the Game Master chapter, starting on p. 254.

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LAST POINTS The Ultima Points are the dark reflection of the Fabula Points. When introducing a Villain, the Game Master must also decide if that character is a Minor Villain, major or supreme (can keep it hidden or openly reveal it).

2

The number of Ultima Points depends precisely on its narrative importance.

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Bad

Minor

Ultima points

5

Examples

Enemy commanders, unique monsters and antagonists who cause trouble in small settlements.

Greater

10

Supreme

15

Tyrants, great wizards, legendary creatures and entities that threaten entire nations. Archdemons, immortal entities and alien gods devoted to destruction and domination.

SPEND LAST POINTS A Villain can spend Ultima Points in three ways:

Effect

Description

Leak

Master describes how he does it, perhaps leaving some henchmen to "keep the

A Villain can spend 1 Ultimate Point to escape the scene safely. The Game

heroes company". Invoke a Treatment

After taking a Test, a Villain can spend 1 Ultima Point to invoke one of his Traits and reroll one or both dice (according to the same rules explained on page 46).

Recovery

A Villain can use an action and spend 1 Ultima Point to heal all statuses and recover 50 Mind Points.

While Player Characters can earn Fabula Points in a number of ways, Villains cannot recover their Ultima Points: these are equivalent in a sense to their determination and willingness to achieve their goals.

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ASCENSION DAY

At any point in the game, the GM can declare that a Villain has transformed into a new version of himself, with greater powers and darker ambitions. For the purposes of the narrative, this is the moment when the Villain rejects a possibility of redemption and becomes even more obsessed with achieving his goals. The heroes have cornered him and the consequences can be catastrophic. w A minor Villain can become a Major Villain. w A major Villain can become a Supreme Villain. w A Supreme Villain has already reached the pinnacle of his strength. After the transformation, the character is considered a completely new Villain; the first time he appears on stage, his Ultima Points are reset to the value corresponding to his new role in the story. w If a Villain has no Ultima Points and is reduced to 0 Health Points, he can immediately ascend during the scene; this allows him to reload his Ultima Points and not be forced to Surrender (see page 87). w If a Villain ascends while on stage, he is treated as a completely new Villain and gives each

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Player Character 1 Fabula Point.

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A great evil arises when good intentions are met with distrust and despair.

IS IT RIGHT FOR THIS BAD ASCEND? In deciding whether a Villain should ascend, the Game Master should consider his importance in the story, his personality and how the heroes have chosen to deal with him: the ascension of

2

a Villain shows how the heroes can win the fight and at the same time worsen the what's this.

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Most of the time it is better to let a Villain be defeated: perhaps his resolve gives in, or he even realizes he is wrong and becomes an ally.

Taking advantage of the ascension of Villains in moderation makes them more memorable and makes Players feel they have an impact on the world. It would be best to limit yourself to having two to four ascents per campaign.

BADS AND FABULA POINTS Each time a Villain enters the scene, each PC scores 1 Fabula Point.

w Multiple identities. If a Villain has different identities, the heroes only get Fabula Points when he appears in his "antagonist version". However, once the deception is discovered, characters earn Fabula Points whenever the Villain appears on stage, regardless of disguise.

w More Bad Guys. If two or more Villains appear in the same scene, each Character Player gets 1 Fabula Point for Villain. w Villains in consecutive scenes. If a Villain is present for several consecutive scenes, each Player Character gets 1 Fabula Point only on his first appearance, without gaining more in the following scenes. Whenever heroes run out of Fabula Points, the Game Master should consider inserting a Game Master scene and showing a Villain in action - this is a great way to advance the story while providing a some "fuel" to the heroes.

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INVENTORY POINTS Player Characters have an abstract supply of useful and consumable items, represented by Inventory Points (abbreviated to PI). Normally, a character has a maximum of 6 Inventory Points, but some Classes and Skills can increase this limit.

SPEND INVENTORY POINTS Whenever you need a consumable item from those listed in the table below, you can spend the corresponding amount of Inventory Points to extract it from your bag and apply its effects. All Inventory Points spent in this way must come from the same character.

Once created, the object must be used immediately and is consumed in the process. It is not possible to create it and "put it aside for later".

The table below lists the inventory items normally available in the game. This information is also present on the group tab, which includes some empty spaces where you can place unique customized items from your game world!

The Artificer Class (see page 182) can use Inventory Points in many different ways.

OBJECT

PI

EFFECT

Potions Elixir

3

A creature recovers 50 Mind Points.

Remedy

3

A creature heals 50 Life points.

Tonic

2

A creature heals from a status.

Utility Splinter

2

Elemental

Tent Magical

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A creature takes 10 damage from (choose from: air, lightning, fire, ice, earth).

4

Allows the group to rest in the wilds.

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REFILL YOUR INVENTORY POINTS Characters can refill their Inventory Points in towns, villages, or other places where equipment can be purchased, at a cost of 10 zeniths per Inventory Point you wish to refill. At the Game Master's discretion, characters may recharge some of their Inventory Points in other circumstances, such as finding an adventurer's backpack or being

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rewarded for helping villagers. A character's current Inventory Points can never exceed the maximum Inventory Points (there is a limit to how many things you can pack in your backpack!).

SHARE INVENTORY POINTS Characters cannot redistribute Inventory Points among themselves.

EQUIPMENT AND TOOLS All Player Characters are expected to have equipment and tools appropriate to their Identity or appropriate to their role as adventurers - no need to keep track of torches, ropes, blankets and so on. If a character needs a common adventurer item, they have it with them. However, sometimes a character may need an item that is a little rarer or not properly related to their Identity. In this case, the Game Master can allow him to spend some Inventory Points (usually 2 to 4) to “miraculously” find what he needs in his backpack.

Example: A character with the Identity "Princess of Thieves" will surely have lock picks of some kind in their backpack; conversely, a noble knight will have to spend a couple of Inventory Points to carry the same type of items in his backpack. Items created this way are not immediately destroyed, but characters should not be allowed to sell them for more than five times their Inventory Point cost. For example, an item created with 2 Inventory Points can be sold for up to 10 zeniths.

never provide other mechanical advantages.

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Warning: these tools may allow you to perform otherwise impossible actions, but

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TRAVELS AND PEREGRINATIONS While conflicts can be the most memorable moments in a game session, exploring the world is an equally important aspect of Fabula Ultima. At the beginning of the game, the group creates the world together (see Creation of the World, p. 148), but that does not mean knowing everything it hides: the heroes will also be able to know the main regions and cities, but discoveries (and dangers! ) await them around every corner.

TRAVEL THE MAP OF THE WORLD

When the group goes on a journey, the Game Master uses the map sheet to track their movements. The unit of measurement of this system is the travel day, i.e. the average distance covered in a day (assuming that the group mainly moves on foot). The reference scale of a travel day on the map sheet must be decided by the group during the Creation of the World. For each day of travel, the following steps are performed:

1

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The Game Master determines the threat level of the areas crossed by the group (see next page). If there are multiple threat levels, only the highest one applies.

2

A travel roll is made with the die indicated by the threat level.

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w On a roll of 6 or more, the party encounters danger!

O

w On a 1, the group makes an unexpected discovery!

The Game Master decides the location of each danger and discovery, marking it on the map if necessary.

3

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Unless blocked by the danger encountered, the PCs proceed with the next travel day (return to step 1) or reach their destination.

For simplicity, travel days should always be rounded up (for example, a two and a half day trip is rounded up to three). The Game Master always has the final say on the duration of a trip.

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Examples of Areas

Threat Level Travel Shot Minimum

Within villages, towns or monitored areas

d6

Grasslands, patrolled roads, countryside

Bass

Forests, hills, rivers

Medium

d10

Great forests, mountains, open seas, swamps

High

d12

Deserts, frozen expanses, jungles, volcanoes

Very high

d20

d8

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It goes without saying that a frequently patrolled area under enemy control is considered to be of High or Very High level, as is a monster-infested prairie. The Game Master has the final say on a travel day's threat level.

Example: A group of heroes are leaving the village of Relde in the direction of the Kanka Hills, where they must find an old mine tunnel that should theoretically lead to the lair of a wise water snake. The Game Master, Lisa, checks the map and determines that the characters must take a day of travel to reach the hills, plus another day to explore the surrounding area and find the entrance to the tunnel. On the first day of the trip, the group crosses an area of grassland (d8) and hills (d10). Since only the highest die is counted, Lisa should roll a d10. However, rumor has it that a band of brigands is prowling the prairie and this brings the threat level high (d12). Rolling the die, he gets 7: danger! Lisa then makes the group meet a band of four brigands accompanied by a gray howling (a wolflike creature, see page 325). After a brief conflict, the Player Characters manage to put the attackers to flight. Before continuing on to the next travel day, the heroes choose to rest using a Magic Tent, so as to regain strength. Finally, Lisa rolls for the second day of travel, spent exploring the hills in search of the coveted mine: this time, the die is a d10… and Lisa rolls 1! After thinking about it for a moment, the Game Master describes how the Player Characters manage to find the entrance to the tunnel… but they are not alone! They meet a traveling merchant, named Lily, who wishes to be escorted to the mine: she too would like an audience with the snake and is willing to reward the heroes with goods and information!

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DANGERS Typically, characters should be able to overcome a hazard with a series of Tests or a conflict scene. Here are some good examples of dangers:

w An area with extreme weather conditions, such as sandstorms or freezing cold. w A polluted swamp, overflowing with toxic miasma and ravenous undead. w A fierce and territorial monster, or a group of hostile creatures. w A sudden and unfortunate encounter with a rival or antagonist. w The risk of losing an important object.

If the damage caused by the hazard needs to be calculated, the table below can be used:

Minor damage

Level

Heavy Damage

Massive Damage

5 or more

10

30

40

20 or more

20

40

60

40 or more

30

50

80

Statuses are another possible consequence of a danger: for example, the polluted swamp could inflict poisoned status on anyone who passes through it.

UPDATE THE WORLD MAP During the game (and whenever he deems it appropriate), the GM is free to add new landmarks, settlements, and similar details on the map sheet.

This happens when the group stumbles upon a new place of interest or a dangerous area, or if they hear about it. Players can also add new elements and locations on the map by spending Fabula Points, as explained on p. 98.

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The first airship pilot, Oona Sabine, disappeared during a flight over the Whispering Forest.

DISCOVERIES

Discoveries don't happen that often, so the Game Master should make sure to make each one unique and interesting. Here are some good examples of findings: w The entrance to an ancient ruin. Is it monitored? What treasures are hidden inside? w A merchant caravan or a group of friendly creatures.

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w An isolated village or refuge unknown to most. w A valuable object or information. Remember that a discovery is always a good thing: even when it comes to a dangerous place, the reward within it should pay off any risk.

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DUNGEON The idea of "dungeon" is a common element of many RPGs and is also a great classic of the JRPG. In general, a dungeon is some kind of (more or less) labyrinthine environment inhabited by hostile creatures ... often hiding great treasures and powerful magical items, or serving as a lair for an evil antagonist. In Fabula Ultima, the term "dungeon" indicates a complex place that is worthy of being explored. It could be an abandoned mill turned into a robbers' lair, a witch's castle, or a network of aqueducts guarded by ancient golems. Most of the time, the structure of the dungeon is of little importance - what really matters is what drives the heroes inside it or what they may find there. Other times, a dungeon can be used to tell the story of those who lived there ... and perhaps portend some dark truths or solve one of the great mysteries of the setting.

EXPLORE THE DUNGEONS

Depending on the size and importance of a dungeon, the Game Master can use one of the following methods: w Dungeon scenes. The exploration is handled as a series of key moments, instead of being a centimeter-by-centimeter patrol. This works best when the floor plan of the place is irrelevant to what is hidden there. This approach is the same as the normal course of the game: the heroes decide and describe their actions, the Game Master tells what happens around them, while Tests and conflicts unfold as normal. w Detailed exploration. Every corner of the dungeon can be fully explored. This approach can be time-consuming and should only be used if the structure and details of the place bear witness to an important story. To make it work best, the Game Master should prepare the dungeon structure in advance (so reserve it for those places that you are sure to explore!). w Interlude. The exploration is narrated as an interlude scene, perhaps accompanied by a single Group Test to determine if the PCs encounter obstacles or dangers before reaching the depths of the dungeon. This approach is more useful if you are short on time or the dungeon is not particularly relevant to the story, as is the case with lesser places discovered while traveling.

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Further advice on how the Game Master can prepare for dungeon exploration can be found starting on p. 258.

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DANGER CLOCKS The Game Master could use Clocks to keep track of looming threats within a dungeon. These Danger Watches should have a number of sections based on the proximity of the threat they represent:

2

w 8 sections for an as yet unknown threat that will only manifest itself over time, such as a “Dangerous Temple” or a “Failure in the Magitech System”.

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w 6 sections for a fairly clear threat that may be on the way, such as "Wandering Monsters" or "Poison Mist". w 4 sections for a nearby threat that will happen soon, like "Surround yourself!" or “Alarm Red ”in a dungeon with many hostile creatures. The Game Master can fill sections of a Clock upon failure of the Tests or when an event makes the threat appear more likely, such as when Player Characters spend too much time exploring a room, making noise, resting inside the dungeon or attracting attention. unwanted. Of course, different Clocks can be triggered by different actions or events - casting a spell can fill sections of the Arcane Overload Clock, but the same is unlikely to happen if you just explore a room. As sections of a Clock fill up, the GM should portend imminent danger: Once the Clock is fully filled, that threat becomes real and the heroes are forced to confront it, one way or another. .

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MAGIC Magic is a fundamental part of the worlds of Fabula Ultima, which are held together on a molecular level by a stream of eternal souls. For this many creatures can use magic, that is, manipulate the energy of souls to generate supernatural effects.

SPELLS AND RITUALS

In Fabula Ultima, magic is divided into two types: spells and rituals. w Spells are encoded magical formulas designed to protect warriors and travelers with primarily offensive or defensive uses. They are easy to learn and require minimal gestures to launch, but they lack flexibility. w Rituals are complex magical effects, designed to overcome certain obstacles: every time you perform a Ritual, you have to start from scratch and work on it for several minutes . Even though they are powerful and very flexible, Rituals consume huge amounts of Mind Points and require complex Magic Tests; Furthermore, failing to perform a Ritual can cause the spell involved to spiral out of control. These problems can be mitigated with time, resources and complex procedures, but the truth is that ritual magic is a powerful tool… but to be used sparingly. The rules of spells and rituals are presented on the next pages.

MAGICAL DISCIPLINES

This manual presents six disciplines: Arcanism, Chimericism, Elementalism, Entropism, Ritualism and Spiritism. Five of these correspond to a specific Class: Arcanist, Chimerist, Elementalist, Entropist, and Spiritist. Ritualism is instead available to all these Classes, but excluding the Arcanist .

d ARCANISM Arcanists can project a large portion of their soul out of the body, harmonizing it with the forgotten power of ancient divine beings, known as Arcana, in order to manifest a fragment of that power . To gain access to the power of an Arcanum, you must first earn its favor - this often requires completing some kind of test, quest, or mission. Arcanism is a particular discipline that does not include spells and follows unique

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rules (see the Arcanist Class on page 176).

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d CHIMERISMO Chimerists gain power from the souls of beasts and monsters by seeking creatures capable of casting spells to mimic their effects. Chimericism includes both spells and rituals. However, its spells must be learned from creatures (see the Magimimes Skill on page 191).

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d ELEMENTALISMO Elementalists can control the flow of souls that binds the four elements of creation: water, air, fire and earth . They can also influence their combinations and manifestations, such as magma, blizzards, deserts, and clouds. Elementalism includes both spells and rituals.

d ENTROPISM Entropists go beyond the flow of world souls and touch the great void between the stars. Their chaotic magic defies logic, distorting space and time and dissipating souls, matter and magical energy. Entropism includes both spells and rituals.

d RITUALISM Unlike most other magical disciplines, Ritualism does not include spells and can only be used in the form of Rituals. Ultimately, it is a discipline that encompasses any attempt to manipulate, perceive, constrain or release the magical energy present in a place, object, mechanism or heirloom. From a certain point of view, magitech could be considered a combination of Ritualism and technology.

d SPIRITISM Spiritists can manipulate the raw energy found in the souls of living creatures, influencing their emotions and manipulating their life force - a power that is both miraculous and terrifying. Spiritism includes both spells and rituals.

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SPELLS Spells can belong to one of the following disciplines: Chimericism, Elementalism, Entropism and Spiritism. The two remaining disciplines, Arcanism and Ritualism, are not exercised in the form of a spell. The description of each spell is presented in the format below:

MAGIC SPELL Fire r

TARGET

PM

10 × B

Up to three creatures

DURATION

Snapshot

You summon a shower of flames and unleash it on your enemies. Each target hit takes ÿTM + 15ÿ Fire damage . Opportunity: Each target hit suffers the shaken status.

w The name of the spell and whether it is an offensive spell (r). For more details on offensive spells, see p. 116. w The cost of the spell in Mind Points. To cast a spell, you need to have enough MP to meet its full cost. Additionally, some spells allow you to spend more Mind Points to increase the number of targets or enhance the effect. For example, a spell with a cost of 10 × B requires 10 Mind Points per target; the total amount of Mind Points required by the spell is called the total MP cost.

w The targets that can be hit by the spell. Many spells can target a certain number of creatures, while others can affect targets of a different type (such as weapons).

A “Spellcaster” target indicates that the spell affects the caster, while a “Special” target indicates that the spell works in a unique way included in the description, usually by affecting various creatures or elements on stage. w The duration of the spell. This can be "Instant", ie the spell generates an effect that resolves immediately and then dissipates, or "Scene", ie the spell creates a continuous effect that lasts until the current scene is closed. w The effect of the spell, often preceded by a short narrative description that has no value for the purposes of the rules, but can help you better understand the idea behind the spell in order to customize it according to the character concept. w Spells that require you to take a Magic Test often include a description of opportunities. On a critical success, the caster can spend the resulting opportunity to activate the indicated effect.

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CAST A SPELL

To be able to cast a spell, the following requirements must be met: w The thrower must be able to move freely. He can hold objects in his hand, but he must still be able to move his arms. w Whoever casts it must be able to speak and pronounce the invocation.

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w The caster must have enough Mind Points to pay the total MP cost, including any additions of MP to enhance the effect. w Unless you are using a spell targeting "Spellcaster" or "Special", whoever throws it must be able to see the target. If you respect these points, you can cast the spell, following these steps:

1

You declare which spell you want to cast among those you know and what its effects are.

In

2

3

In

4

5

In

If necessary, you choose the targets of the spell.

They are performed in magical gestures and the formula is pronounced. Warning: nearby creatures will be able to see and hear who is casting the spell.

The necessary Mind Points are spent.

If it is an offensive spell (r), the caster must also take a Magic Test. The Elementalism, Entropism and Spiritism Tests are based on ÿINT + VOLÿ, while for Chimerism you can choose between ÿINT + VOLÿ or ÿVIG + VOLÿ.

Non-offensive spells work automatically without testing. Critical failures and critical successes in Magic Tests generate opportunities as usual.

The effects of the spell apply.

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CASTING SPELLS FURTIVELY Spells require precise movements and formulas spoken aloud, and they produce gaudy and bizarre effects. Anyone nearby immediately knows when magic is being used: it is impossible to cast spells stealthily.

OFFENSIVE SPELLS Spells marked with the symbol (r) are called offensive spells. To cast an offensive spell, you must take the appropriate Magic Test and compare the Result with each target's Magic Defense. Similar to the multi property of an attack, the spell affects each target whose Magic Defense is equal to or less than the Magic Test Result. On a critical success in the Magic Test, the spell affects all targets.

CALCULATE DAMAGES AND SIMILAR EFFECTS

Several spells require you to calculate the strength of their effects based on the Major Shot (TM); to do so, just take the highest value obtained from the two dice rolled in the Magic Test. The same effect is then applied to each target hit.

END OF A SPELL'S EFFECT If you cast a spell with a “scene” duration, you can end its effect at any time. The effect also ends if the caster dies, faints, or leaves the scene.

CUMULATIVE EFFECTS OF SPELLS If the same spell is cast more than once on a target, its effects are not cumulative: the effect cast last overwrites the previous one. Example: The Elemental Veil spell grants Resistance to a damage type of your choice from air, lightning, fire, ice , and earth. If this spell is cast on a creature to make it resistant to fire and is subsequently cast on it to make it resistant to ice, the creature will be resistant to ice only. If two spells share the same effect but have different names, they are still not

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RITUALS By investing levels in certain Classes and acquiring specific Skills, characters can access the ritual magic of different disciplines. Each branch of ritual magic allows you to influence different aspects of the world:

Discipline

Magic Test Can be used for ...

Arcanism

ÿVOL + VOLÿ Generate magical effects based on bound Arcana.

Chimerismo

ÿINT + VOLÿ or ÿVIG + VOLÿ

Elementalismo ÿINT + VOLÿ

Empowering the senses, seeing through the eyes of an animal, appeasing the fury of a monster. Walking on water, shaping rock, extinguishing flames, causing showers or tornadoes.

Entropismo

ÿINT + VOLÿ

To decompose organic matter, bend the flow of time, teleport creatures and objects.

Ritualism

ÿINT + VOLÿ

Extract magic from an object, activate a circuit powered by souls, feel the magic.

Spiritualism

ÿINT + VOLÿ

Perceiving the presence and emotions of other creatures, making someone fall asleep or strengthening their spirit.

The procedure for performing a Ritual is described on the next page. Keep in mind that ritual magic should never be capable of: w Direct damage. A Ritual can still cause collateral damage - for example, if a crevasse opens under the feet of enemies, they are bound to suffer some kind of damage.

w To determine the extent of collateral damage inflicted by a Ritual, see p. 93. w Inflict or remove status. w Make a character lose HP, MP, PI, Fabula Points or Ultima Points. w Replicate the effects of an existing spell or ability. w Grant one or more permanent abilities to a creature. Apart from that, almost all Rituals are acceptable, but the more powerful the desired effect, the more severe the consequences will be if the Ritual does not go as hoped.

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1

In

You describe what you want to achieve with the Ritual, declaring the area or creatures to be affected. The Game Master has the final say on what effect can be obtained, as well as on which discipline the Ritual falls into.

3

In

By consulting the power and area tables below, the Game Master determines the total Mind Point cost of the Ritual.

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The Ritual is cast following the normal procedure of a spell (see page 115), but always requires a Magic Test against the Difficulty Level based on the power of the Ritual (see below). Each Test is based on the Characteristics indicated by the Ritual discipline (see left). With a success, the Ritual has the desired effect; in case of failure, the Game Master describes instead how the effect is altered in a catastrophic way.

PM LD power Examples Minor

20 7 Creating flashes of light, blocking passages, breaking glass.

Media

30 10

Creating illusions, curing diseases, finding someone or something, feeling emotions, providing short-term energy. Reading thoughts, influencing emotions, breaking curses, briefly

Major 40 13

altering the climate, providing long-term energy. Extreme 50 16

To weaken a divine entity, prevent a catastrophe, change a creature or a place for a week.

Area

PM Examples

Individual × 1 A human-sized creature, a door, a tree, a weapon. Small

×2

Several human-sized creatures, a large creature, a small clearing, a room, a train car, a hut.

Great

×3

A crowd, a small forest, an airship or a galleon, a castle room, a house, a gigantic creature.

Huge

×4

A fortress, a lake, a mountain peak, a village, a city district.

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2

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RITUALS AS A GROUP TEST

When a character performs a Ritual, other characters can help him (even if they don't have the ability to perform Rituals). The Magic Test thus becomes a Group Test (see page 50), in which the character performing the Ritual is the leader.

REDUCE THE COST OF A RITUAL

It is evident that the Mind Point cost of the Rituals can get quite high. To reduce this, the caster can procure very rare or powerful ingredients, thus halving the MP cost.

w This can only be done once per Ritual and the Game Master should determine the nature of the ingredient - procuring it could be an adventure in its own right. w If there is no time for such preparations (and it is necessary to perform the ritual immediately), it is possible to sacrifice other items or ingredients that the Game Master considers suitable.

EXAMPLES OF RITUALS

Here are some examples of Rituals to use as guidelines: Summoning a huge globe of flames and using it to destroy an airship's engine is a higher -powered Elementalism Ritual that affects a small area (80 MP, LD equal to 13). If the Ritual fails, it could cause a tremendous firestorm. Sensing if a person is hostile is a less potent Spiritualism Ritual that affects an individual area (20 MP, LD equal to 7). If the Ritual fails, negative emotions could be instilled into the target by mistake, with unpredictable consequences. Erecting an energy barrier to protect a castle from an avalanche is an extremely powerful Ritual of Ritualism that affects a huge area (200 MP, LD equal to 16). If the Ritual fails, it could cause an explosion of uncontrolled magical power and unleash a cataclysm.

Altering the flow of time to momentarily restore the functions of a damaged device is a ritual of entropism of medium power that affects an individual area (30 MP, LD equal to 10). If the Ritual fails, the mechanism and nearby objects could visibly age and crumble to dust.

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Machine Translated by Google “The Great Witch of the North obtained her power by stealing it from the Elves. No mortal dares to challenge his authority. "

RITUALS DURING CONFLICTS

It is certainly possible to attempt a Ritual during a conflict scene, but sufficient magical energy must first be accumulated. The procedure is as follows:

2

1

In

Use the Goal action to initiate the Ritual, following steps 1 and 2 of the flowchart on p. 119 to determine

CHAPTER

its discipline, area and power.

2

In

A Clock linked to the Ritual is created immediately, with a number of sections depending on the power of the Ritual (see below).

3

In

Now that the Clock is part of the scene, anyone can interact with it with Objective action.

As always, it is the GM who determines the Traits that can be used for the Test, as well as whether it has a fixed Difficulty Level or whether it is an Opposed Test. You can take the first Test to try to fill the sections of the Clock as part of the same Target action taken to start the Ritual.

4

Once the Clock is full, the character who initiated the Ritual can use an action to perform step 3 of the flowchart on p. 119; to do so, he must spend the necessary MP and take the Magic Test required by the Ritual, with a Difficulty Level determined by his power (see below).

The Test Result determines if the Ritual is a success or if its effects cause a catastrophe instead.

Clock

PM

LD

Minor

4

20

7

Media

6

30

Greater

6

Extreme

8

Power

Area

PM

Individual

×1

10

Small

×2

40

13

Great

×3

50

16

Huge

×4

In

In

121

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ECONOMICS AND OBJECTS Regardless of the fantasy world your adventures take place in, heroes may sometimes find themselves buying and selling items. This section includes the basics of the game economy and provides useful lists of items (and their cost!).

ZENIT

The zenith (z) is the common currency in all the worlds of Fabula Ultima, a gold coin whose shape and size can change from region to region. While prices may vary by location, zenith is generally accepted everywhere. On average, 5 zeniths buy a decent meal, 10 zeniths are enough to rent a room in a town for a night and 100 zeniths pay for a bronze shield.

EQUIPPED ITEMS AND IN THE BACKPACK

As noted on the character sheet, a PC can equip a limited number of items:

w Has only one armor equipment slot . w Has an equipment slot for the main hand, with which it can wield a one-handed weapon or a two-handed weapon. If he has a two-handed weapon equipped, he also occupies the off-hand equipment slot (see below). w Has an off-hand equipment slot , with which he can equip a one-handed weapon or a shield. w Has an equipment slot for an accessory. Any items not currently equipped are placed in the backpack. There is no fixed limit to the number of items you can carry this way, as long as you use common sense. Either way, the Game Master has the final say on that amount. If you ever need to carry large and heavy items over long distances, you may want to consider purchasing a means of transport (see page 125). It only takes a few seconds to find an object in the backpack: using the example of a conflict, this could be equivalent to spending an action looking for the object. Although equipped items are always accessible, they are unfortunately also exposed to the risk of being damaged or stolen.

In 122

As long as an item is stored in the backpack, you cannot enjoy any of its benefits. To make it "work", it must be equipped!

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HOW TO GET NEW ITEMS The PCs have many ways to acquire new items and equipment: each town or village always has at least one shop dedicated to weapons, armor, and useful accessories. That doesn't mean you can't just walk into a shop in the middle of nowhere and find a magical crossbow, quite the opposite: although basic weapons, armor and shields may be available in most settlements, rare items should only be found in the most popular

2

CHAPTER

shops . unusual, hidden in the most dangerous ruins, protected by powerful monsters or offered as rewards for heroic deeds. The Game Master can consult p. 266 for rules and guidelines on how to design rare items, as well as several sample item lists. The list of basic objects can instead be found on p. 130.

REWARDS There are three main ways to manage treasures and magical items during a Fabula Ultima campaign. At the start of the game, you should discuss which of the methods below you would like to adopt; you can always change your mind after a few sessions. w Classic. The Game Master assigns the rewards as he sees fit. It is perhaps the most common solution, but it places a great burden on its shoulders. w Survey. The Game Master asks everyone what items they would like for their character. For example, a ninja might want to wear a scary han'nya mask (see p. 286) or a boxer might want a pair of blast punches (see p. 278). This way, the Game Master has a useful list of items to choose from when awarding rewards. w Wish List. This is an unusual approach, but one that can be interesting. Each Player writes a list of the items they would like for their character, choosing them from the rare items in the Game Master chapter or designing them from scratch with the guidelines of the same chapter. After that, whenever the group finds a treasure of any kind or receives a reward, the Players can choose something from the lists they have drawn up and tell what it is ... and how it got there.

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SELLING ITEMS

If a buyer can be found, an item can be sold for about half the original cost. This value can be changed by the item's invoice and condition - no one will want a rusty, mud-covered ax found in the tunnels. The GM has the final say on what can be sold and how many zeniths can be made from it; Sometimes it is also possible to barter or perform tasks in exchange for items.

ARTIFACTS

At times, Player Characters may come into possession of items with incredible magical power, known as artifacts (see page 288). Given their almost unique nature, artifacts should never be bought or sold: no amount could do them justice ... and entire kingdoms could decide to go to war to get one.

SERVICES AND MEANS OF TRANSPORT

Prices and availability of pets, vehicles, accommodations and the like may vary by game world. The following lists are merely guidelines to help the Game Master determine the cost. The list also includes some means of transportation, such as generic versions of mounts, cars, ships, airships, and so on. Each vehicle can carry a certain number of passengers and increases the distance that the group can normally cover in a travel day. w Land -based transportation can only travel on land, aquatic transportation on water, submarine transportation above and below the water, and flying transportation through the skies.

w If the vehicle is pulled by animals, the total cost also includes those. w There is no need to keep track of forage for animals or fuel. w Mounts purchased in this way have no stats and do not fight. To be able to ride a creature into combat, see the Wanderer 's Faithful Companion Skill on p. 219.

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SERVICE

COST

DESCRIPTION

Services in the City

Reload the Inventory

10 with

5 of

Rest (Village)

Reload character's Inventory Points by 1.

2

It allows a person to rest for one night.

Rest (Country)

10 with

It allows a person to rest for one night.

Rest (City)

20 with

It allows a person to rest for one night.

CHAPTER

Travel Services

Ground transportation

10 with

Water transport

20 with

Airplane transport

40 with

HALF

COST

It allows a person to travel for one day.

It allows a person to travel for one day.

It allows a person to travel for one day.

PASSENGERS

DISTANCE

Mounts Land

200 with

One or two

×2

Aquatic

500 with

Until about six

×2

Sottomarina

1000 with

Until about six

×2

steering wheel

2000 with

Until about six

×3

600 with

Until about six

×2

Vehicles

Aquatic

2000 with

Until about ten

×2

Submarine

4000 with

Until about ten

×2

steering wheel

8,000 with

Up to about twenty

×3

In

Land

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EQUIPMENT There are four main types of equipable items: accessories, armor, shields , and weapons. Each item can be basic or rare (except for accessories, which are always rare).

MARTIAL OBJECTS (E)

Items marked with the symbol (E) can only be equipped by characters who have invested at least one level in certain Classes.

w The Fury allows you to equip martial melee weapons and martial armor. w The Guardian allows you to equip martial armor and martial shields. w The Dark Blade allows you to equip martial melee weapons and martial armor. w The Weapons Master allows you to equip martial melee weapons and martial shields. w The Shooter allows you to equip martial ranged weapons and martial shields.

Characters who have not invested at least one level in the Class can still carry a martial item with them, but not equip it for any benefit.

ACCESSORIES

Accessories are useful magical items, which give the wearer special abilities. Accessories are always considered rare items. The description of each accessory is presented in the format below:

ACCESSORY Crested Helmet

Gain +1 bonus on Accuracy Checks.

w The name of the accessory.

w The zenith cost of the accessory. w Any Qualities conferred by the accessory while it is equipped.

You can find a list of sample accessories starting on p. 285.

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COST 1000 with

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ARMATURE Armor offers protection to the wearer. The description of each armor is presented in the format below:

ARMOR

COST

Robe of the Sage

DEFENCE

D. MAGICA

INITIATIVE

200 z DEX Dice +1 INT Dice +2

-2

2

CHAPTER

No Quality. Brigantine E

150 with

10

INT data

-2

No Quality.

w The name of the armor and whether it is martial armor (E). w The zenith cost of the armor. w The formula used to calculate the wearer's Defense and Magical Defense . This can be a fixed value, such as 10 in the case of the brigantine above, or a bonus to be added to the Dexterity die size (for Defense) or Intuition (for Magical Defense); for example, having d8 in Dexterity and d10 in Insight, equipping a sage's robe (see above) grants a Defense score of 9 and a Magic Defense score of 12.

w When you have no armor equipped, Defense is simply equal to the Dexterity die size and Magical Defense is equal to the Insight die size . w The Group Initiative Check penalty caused by armor. Martial armor usually imposes higher penalties. w Anyone with no armor equipped takes no Initiative penalty. w Any Qualities conferred by the armor while it is equipped. For a list of basic armor available in the game, see p. 132.

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WEAPONS

The weapons are divided into ten categories: arcana, bows, flails, firearms, spears, throwing, heavy, daggers, brawling and swords. The description of each weapon is presented in the format below: COST

WEAPON

Stocco E

200 with

PRECISION ÿDES + INTÿ +1

DAMAGE

ÿTM + 6ÿ physical

One Hand w Melee w No Quality.

w The name of the weapon and whether it is a martial weapon (E).

w The zenith cost of the weapon. w The Characteristics and formula used in the Accuracy Tests to attack with the weapon. w The formula used to calculate the weapon's damage and the type of damage it deals (usually physical, but some rare weapons can deal special damage types, such as fire or shade). TM means Highest Shot, which is the highest value among those shown by the two dice in the Accuracy Test.

w Whether the firearm requires one hand or two hands; If you can equip the weapon in one hand slot, you can equip a second weapon or shield in the other.

w Whether the weapon is melee or ranged. w Any Qualities conferred by the weapon while equipped.

There is no need to keep track of ammo for ranged weapons - once you have purchased the weapon, you are assumed to have enough stash with you to use it in combat.

For a list of basic weapons available in the game, see p. 130.

NOTE ABOUT SHOTS WITHOUT ARMS

Among the different weapons available in the game there is also the unarmed strike (see page 131), which can be represented by the empty hands of the character; although these are considered one-handed weapons, they are automatically "equipped" whenever a hand slot is empty.

Basically, an empty hand slot also counts as an unarmed shot.

In 128

Machine Translated by Google The legend tells of a sword capable of instilling fear in the hearts of Dragons and Wyrm

SHIELDS

Shields must be equipped in a character's off- hand slot and further enhance defenses.

The description of each shield is presented in the format below:

COST

SHIELD

Runic Shield E.

DEFENCE

150 with

+2

D. MAGICA

INITIATIVE

+2

-

2

CHAPTER

No Quality.

w The name of the shield and whether it is a martial shield (E). w The zenith cost of the shield. w The increase in Defense and Magical Defense granted by the shield. These bonuses stack with any other benefits granted by equipped armor. w Any Qualities granted by the shield while equipped.

For a list of basic shields available in game, see p. 133.

ARMOR AND DEFENSES

Martial and non-martial armor affect Defense and Magic Defense differently. Regardless of the type of armor equipped, the shield bonus always adds up - if you have a free slot, it's never a bad idea to equip a shield.

w Light armor offers protection based on Dexterity and Insight's current die sizes, adding small bonuses. They are great for those who already have high Traits, but become less effective when they suffer from statuses.

w Martial armor, on the other hand, sets a fixed Defense value, regardless of the Dexterity die size. They certainly offer more reliable protections, but they also have a certain weight on the Initiative.

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BASIC WEAPONS COST

WEAPONS

PRECISION

DAMAGE

Arcane stick

100 with

ÿFLIGHT + FLIGHTÿ

ÿTM + 6ÿ physical

Two Hands w Melee w No Quality. Enter

100 with

ÿYOU + YOUÿ

ÿTM + 6ÿ physical

ÿDES+INTÿ

ÿTM + 8ÿ physical

ÿDES + DESÿ

ÿTM + 8ÿ physical

ÿDES + DESÿ

ÿTM + 8ÿ physical

ÿDES+INTÿ

ÿTM + 8ÿ physical

ÿDES+VIGÿ

ÿTM + 8ÿ physical

ÿDES+VIGÿ

ÿTM + 12ÿ physical

ÿDES+VIGÿ

ÿTM + 2ÿ physical

ÿDEX + INSÿ

ÿTM + 4ÿ physical

Two Hands w Melee w No Quality. Archi Crossbow

150 with

Two hands w Distance w No Quality.

Short Bow

200 with

Two hands w Distance w No Quality. Scourges

Whip-Chain

150 with

Two Hands w Melee w No Quality. From Fire Pistol E

250 with

One hand w Distance w No Quality. Lance Light Lance E

200 with

One Hand w Melee w No Quality.

Heavy Lance E 200 z Two Hands w Melee w No Quality. From Launch -

Improvised (Dist.) One hand w Distance w Breaks after attack. Shuriken

In 130

150 with

One hand w Distance w No Quality.

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WEAPONS

COST

PRECISION

DAMAGE

200 with

ÿVIG + VIGÿ

ÿTM + 6ÿ physical

ÿVIG + VIGÿ

ÿTM + 10ÿ physical

Heavy Iron Hammer

One Hand w Melee w No Quality. Ax E

250 with

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CHAPTER

One Hand w Melee w No Quality. War Ax E 250 z

ÿVIG + VIGÿ

ÿTM + 14ÿ physical

Two Hands w Melee w No Quality. Daggers Steel dagger

150 with

ÿDES + INTÿ +1

ÿTM + 4ÿ physical

ÿDES+VIGÿ

ÿTM + 0ÿ physical

One Hand w Melee w No Quality. From Rissa -

Unarmed Strike

One Hand w Melee w Always equipped in empty hand slots. -

Improvised (Misc.)

ÿDES+VIGÿ

ÿTM + 2ÿ physical

ÿDES+VIGÿ

ÿTM + 6ÿ physical

ÿDES + INTÿ +1

ÿTM + 10ÿ physical

ÿDES + VIGÿ +1

ÿTM + 6ÿ physical

ÿDES + VIGÿ +1

ÿTM + 10ÿ physical

ÿDES + INTÿ +1

ÿTM + 6ÿ physical

One hand w Melee w Breaks after attack. Iron brass knuckles

150 with

One Hand w Melee w No Quality. Spade Katana E

200 with

Two Hands w Melee w No Quality. Bronze sword E 200 z One Hand w Melee w No Quality. Great Sword E

200 with

Two Hands w Melee w No Quality. 200 with

One Hand w Melee w No Quality.

In

Stocco E

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ARMOR AND BASE SHIELDS ARMATURE BASE ARMOR

COST

None

-

DEFENCE

D. MAGICA

Size DES Size INT

INITIATIVE -

No Quality. Travel Dress

100 with

DES size +1 INT size +1

-1

100 with

DES size INT size +2

-1

150 with

DES size +1 INT size +1

200 with

DES size +1 INT size +2

No Quality. Silk shirt No Quality.

Fighting tunic

-

No Quality. Robe of the Sage

-2

No Quality. Brigantine E

150 with

10

INT size

-2

11

INT size

-3

11

INT size +1

-3

12

INT size

-4

No Quality. Bronze cuirass E 200 z No Quality. Runic Cuirass E

250 with

No Quality. Steel armor E 300 z No Quality.

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Machine Translated by Google The strongest shield in the world is the Adamantorre, created with the skin of a very rare and dangerous creature.

BASE SHIELDS SHIELD

COST Bronze shield

DEFENCE

D. MAGICA

100 with

+2

-

150 with

+2

+2

INITIATIVE -

-

2

No Quality. Runic Shield E.

CHAPTER

No Quality.

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PROJECTS Just as spellcasters have access to ritual magic, characters who invest at least one level in the Artificer Class (see page 182) can initiate Blueprints to work on a variety of custom inventions: love potions, mobile magitech shields, or even wonderful airships. Projects work as follows: 1

In

The effect of the invention is described, how it works, what type of energy it needs and what benefits it offers. It is the Game Master who decides whether or not a given invention is possible based on the given circumstances.

2

In

If it is a complex invention (such as a magitech motorcycle equipped with a cannon that acts as both a vehicle and a weapon), the GM is free to divide the Project into two or more separate inventions, each with its own processing.

3

In

By consulting the table of area, power and uses (see next page), the Game Master determines the total cost in materials of the invention. For inventions of medium, major or extreme potency, the GM also describes a special ingredient or material needed to complete them. This cannot be simply bought and procured will be the focus of a session or two.

4

In

A terrible flaw can be agreed with the Game Master: perhaps the invention needs to be reloaded at regular intervals, it is unreliable, cumbersome or very noisy. This flaw reduces the total cost of the Project by 25%.

5

In

To complete the Project, you need to accumulate an amount of progress equal to 1 for every 100 zeniths of material cost (minimum 1). At the end of each working day, the Project progresses as follows: w +1 progress for each PC who worked on the Project during the day. w +1 additional progress for each character who has invested at least one level in the Artificer Class who worked on the Project during the day.

6

In

Once the required amount of progress is achieved, the invention is ready! If more progress is generated in a single day than needed to complete the Project, the invention may even be ready in a few hours.

In 134

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Power

Cost

Minor

100 with

The invention could ... Providing light, transporting people or materials on land or water, protecting in some way. Traveling underwater, containing a spell, transmitting

Media

200 with

2

sounds or words, carrying out a task for the inventor, providing short-term energy.

CHAPTER

Flying, briefly altering the nature of an area, nullifying the effects Greater

400 with

of a spell, possessing limited intelligence, fighting alongside the inventor, providing long-term energy, capturing or immobilizing.

Long alter the nature of an area, contain the power of a demon, Extreme

800 with

prevent a catastrophe, possess complete intelligence and personality.

Area

Cost

Individual

×1

Small

×2

Great

×3

The effects could apply to ... A human-sized creature, a door, a tree, a weapon.

Some human-sized creatures, a large creature, a small clearing, a room, a train car, a hut.

A crowd, a small forest, an airship or a galleon, a castle room, a house, a gigantic creature.

Huge

Usi

supplies

×4

Cost

×1

A fortress, a lake, a mountain peak, a village, a city district.

Once activated, the invention ... It can never be used again, unless the inventor makes a copy.

Permanent

×5

It can be used several times on different occasions.

Remember that the Game Master has the right to divide particularly complex or powerful

In

inventions into multiple Projects, each with their own costs and requirements.

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DAMAGE AND PROTECTION Sooner or later, heroes will want to build items that give them an edge in battle. The Game Master has the final say on the power of a given invention, but should keep the chart below as a guideline when establishing it.

Power

A Resistance

Minor

Unavailable

Media

Minor

Greater

Heavy

Extreme

Affinity Awarded

Damage / Healing

Massive

Two Resistors

One Immunity or Two Resistances Two Immunities or Three Resistances

w Better to avoid inventions that grant Immunity to physical damage . w If an invention has mixed effects, such as granting Resistance to a damage type and should be split into on page 134).

multiple Projects (as noted in dealing with it at the same time, step 2

To determine the damage inflicted or the healing power of an invention, we can rely on the values corresponding to the current level of the inventor, as indicated in the table below.

Level

In 136

Minor Effect

Heavy Effect

Massive effect

5 or more

10

30

40

20 or more

20

40

60

40 or more

30

50

80

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The sticky core of many Elemental Oozes can be used to produce different forms of energy.

USE MATERIALS TO PAY FOR PROJECTS If the party retrieves valuable materials during their adventures, they can use them to pay or reduce the cost of a Project. The Game Master has the final say on what materials and ingredients can be used to reduce the cost of a Project.

2

If the Game Master requires the use of a certain ingredient or material due to the power of the invention (according to step 3 of the flowchart on page 134), this cannot also be used to reduce the cost of the Project.

CHAPTER

HIRE HELPERS If an inventor wants to accelerate the day-to-day progress of a Project, or work on multiple Projects at the same time, he can hire helpers. w Each helper is a skilled worker or assistant with a pay equal to half the total cost of the Project. w Each helper generates 1 additional progress at the end of each working day.

HOW TO USE THE PROJECTS

The rules of the Projects are very flexible, but they have been designed to allow the creation of something unique and never seen before, not to duplicate what is normally found on the market (and should also be used to provide innovative solutions to problems). w If a character wishes to create multiple copies of the same invention, each copy represents a separate Project. Making the inventions of massproduced items will inevitably end up breaking the game. If an Artificer wants to customize equipment, he can take a look at the Heroic Upgrade Skill ( see page 237). w Projects take time: if the group loses too much, the Bad Guys won't sit idle.

In

w Interlude scenes are perfect for narrating the development of a Project.

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EXAMPLES OF PROJECTS

INVENTION Underwater helmet

POWER Media

USE

AREA

Individual

Permanent

Total Project Cost: 1000 zenith w Progress required: 10 w Defect: No. A magical mask that allows the wearer to breathe underwater. Soporific gas

Greater

Small

supplies

Total Project Cost: 800 z w Required Progress: 8 w Defect: No. This alchemical vial contains enough gas to fill a room, causing those present to fall asleep for a few hours (they wake up if they are hurt, slapped or shaken vigorously, but continue to sleep in the presence of loud noises). Golem Gatling

Greater

Individual

Permanent

Total Project Cost: 1500 z w Required Progress: 15 w Defect: Yes. A semi-intelligent floating weapon. In conflict scenes, this golem acts after the inventor's turn, dealing minor physical damage to a single target. However, it is very loud and experimental, so enemies can spend an opportunity to deactivate it until the scene closes. The “Discovery”

Greater

Great

Permanent

Total Project Cost: 6000 z w Required Progress: 60 w Defect: No. A large airship capable of carrying up to fifty people. It provides neither firepower nor additional protection: weapons, armor and other modifications are considered separate Projects to be added later. Pirosucco

Minor

Great

supplies

Total Project Cost: 300 z w Required Progress: 3 w Defect: No. A single vial of hyper-concentrated Fire Elemental Essence. When broken, it releases a whirlwind of flame that deals minor fire damage to all creatures in a large area. Small flammable objects may also catch fire.

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INVENTION Purapolvere

POWER Media

AREA

USE

Small

supplies

2

Total Project Cost: 400 z w Required Progress: 4 w Defect: No. This blessed magic dust grants its user and all nearby allies Resistance to Shadow and Poison damage until the scene is closed.

Spike Negator

Greater

Small

CHAPTER

supplies

Total Project Cost: 600 z w Required Progress: 6 w Defect: Yes. When activated and planted in the ground, this large rune-covered spike prevents all creatures on stage (friend and foe, a serious flaw) from casting spells and performing Rituals. The effect continues until the scene is closed or until the negator itself is destroyed (this is probably a 6section clock). Stivali Mag

Media

Individual

Permanent

Total Project Cost: 1000 z w Required Progress: 10 w Defect: No. A pair of magnetic boots that allows the wearer to adhere to metal surfaces, potentially walking on walls and ceilings.

Tuta Magitech

Look down

Look down

Look down

Total Project Cost: 1750 z w Required Progress: 17 w Defect: Yes. An advanced quadrupedal armor powered with magitech energy. w The pilot gains Resistance to physical and fire damage. w The pilot can perform the Attack action by firing a fearsome red-hot beam, which deals less fire damage. This is a ranged attack that requires an Accuracy Test based on ÿDES + INTÿ.

w The pilot is considered Vulnerable to lightning damage. Given the complexity and power of this invention, the Game Master divides it into two Blueprints: the armor itself and the heat cannon, both with medium power, individual area and permanent use. The inventor also adds a flaw to one of the Projects ( Lightning Damage Vulnerability) to partially

In

reduce its cost.

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GROUP DYNAMICS AS SAFE AS POSSIBLE GAMING ENVIRONMENT In keeping with the JRPG genre it is inspired by, Fabula Ultima has a heroic and optimistic tone, despite the occasional tragic or dark scenes (especially in the presence of the Bad Guys). The general expectation is that these too are not described in a crude or morbid way, not even when it comes to death. Since there is no way to know what might actually hurt the sensitivity of those who play with you, a list of useful tools and "good habits" to apply during the sessions is provided below.

w Mutual respect and trust. It shouldn't even have to be said, but respect for others is the key to a good gaming experience, and that also applies to trust. Role-playing games are an activity based mainly on being in company and it is perfectly normal to be a little tense and excited in the most dramatic moments, but mutual trust and respect are fundamental: whatever happens in the game between the characters, the people at the table must be kind to each other.

w Play and its fiction should not replace human interactions. If someone annoys you with their attitude, resolve it out of the game and out of the story. There is nothing wrong with stopping a session to clear things up and start over when an agreement has been reached, but under no circumstances can you use the game as a tool to demonstrate your point of view or influence the behavior of others. w Lines and veils. These terms were coined by Ron Edwards when he wrote

Sex and

Sorcery and they are valid security tools. Before or during the game, you can bid

of wanting to draw a line or draw a veil over a situation or action. Drawing a line means asking not to insert an element in the game. It cannot happen, it has not happened and the shared history must not talk about it in any way. Spreading a veil means saying that the element may be present, but we are asked not to speak about it explicitly or put it in the spotlight. He is still part of the game world and influences the actions of the characters, but he is left "behind the scenes".

These tools are essential when playing with strangers, but they also come in handy when around old friends. Anyone can have something that makes them uncomfortable or even makes them feel unwell, such as overly detailed descriptions of violence, scenes involving toxic relationships, or even something that seems normal to some but has left deep scars on others.

While playing, it is everyone's responsibility to create a healthy environment: don't insist on asking why something makes someone uncomfortable; rather, ask how he would prefer this type of scene

In 140

to be handled in the future.

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CLASHES BETWEEN PLAYING CHARACTERS

Even if the protagonists of Fabula Ultima are heroes, this does not mean that there can be no conflict or hostility between them. Situations can arise where two or more Player Characters are at loggerheads and this can be resolved by finding mutual agreement or using the normal rules.

As you handle these situations, remember the following principles:

2

CHAPTER

w Take some time to think about what is happening. When the aims or actions of two or more Player Characters are at odds, do not rush to roll the dice; rather, "pause" the game and let the Players involved agree on how to resolve the situation.

Keep in mind that these rules were written to manage conflicts between characters: the Players who control them still have the responsibility to make the game environment pleasant for all and must collaborate with each other. On the other hand, if a discussion arises between Players, there is not much this game can do: talk about it calmly and only return to the game when everyone is on the same page again.

w Determine what is at stake and determine a resolution method. With the help of the Game Master, the Players should determine what the characters wish to achieve (sometimes, this is the moment when they realize that there is no real conflict). After that, a way is chosen to resolve the dispute: Opposing Tests are normally the ideal method.

Don't roll the dice until everyone is clear about the consequences. If you can't come to an agreement, perhaps it is best to leave the subject aside and return to it when a compromise is found: the characters may be squabbling or arguing, but a more pressing threat requires their attention. w Apply the results. Once the dice have stopped rolling, apply whatever results came out - don't try to twist the result or try to avoid the consequences of your actions. In this case, it is perhaps better for the Game Master to impartially narrate what happens to the characters involved.

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SECRETS

It is not unusual for a Player Character to hide some secrets from his teammates, whether they are past misdeeds or a burning passion for an antagonist. All of this is fine for the characters, but the Players should instead be transparent and work together to get the best out of each situation. By telling the rest of the group, "It seems my character wants to be your friend, but he actually hates you for what happened in Galatea" you are offering a great opportunity to all the participants, including yourself, since you have revealed an aspect. of the hero you can work on to make the story more dramatic. Never forget that this game is all about shared storytelling: revealing your character's secrets means providing other Players with a way to make things more interesting… it shouldn't be perceived as “letting your guard down”.

LEAVE THE GROUP

Sooner or later a Player may feel that he has completely explored the various aspects of his character: perhaps he has faced his fears, achieved his goals and found what he was looking for. Still, the campaign continues. When this happens, feel free to announce that your character will be leaving the party, but try to do this between sessions while getting a character to replace him. At the beginning of the following session, describe the epilogue of the character leaving the story, then introduce the new character's entry into the group and his or her motivations.

w If you want to temporarily withdraw your character from the current adventure in order to re-enter him at another time in the game, you should talk to the rest of the group. w Whenever a new character (or a previously retired one) joins the party, they should be of the same level as the one they are replacing. If the character had only retired earlier, the Player should briefly describe what the character was involved with while away from the rest of the party. w Regardless of the PCs created, a Player can only control one of them at a time. The Game Master has the final say on when it is possible to make a "change between characters" (usually between two sessions or while resting in the city). It goes without saying that you can only change characters if they are in the area or

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The nature of this world is not made up of absolutes.

ABSENT PLAYERS Everyone has commitments and sometimes these prevent one or more players from taking part in a session. In that case, the simplest thing is often to postpone it to another occasion: just choose another day and maybe play something different with whoever is present!

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However, if you are determined to play a session even with one or more absentees (which should only be done if everyone agrees, absent included), each Missing Player chooses one of the following options for their character: w I'll join you later. The character stays in town (or in a safe place) dedicating himself to something else. This is a good way to gather information, purchase items, and work on Projects. Discuss with the Game Master what the character intends to do. The character then rejoins the group at the beginning of the next session: describe how you rejoined the group or reached where he is. w I rely on you. For the current session, the character is controlled by the rest of the group (excluding the Game Master). A character controlled by the party cannot spend Fabula Points and automatically chooses Surrender if it is reduced to 0 Life Points. The Game Master should be gentle in applying consequences to Away Players characters and everyone else should do their best to protect them. Regardless of which option you choose, the following rules apply: w Character does not get Fabula Points when absent from a session. w The character gains Experience Points as normal at the end of a session. This may also allow him to gain a level (see page 226). Things return to normal at the beginning of the first session the character is present: he will get Fabula Points and Experience Points as usual.

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PREMI START This chapter presents the rules for starting a game of Fabula Ultima. In the next few pages you can find out how to create your game world , assign a central theme to the group , create your Player Characters and finally start playing with the prologue.

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SESSION ZERO

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While reading this chapter on your own is a good idea, the steps presented require the presence of the whole group. A first meeting, also called zero session, serves to define the basics of the setting in which your adventures will take place, the themes you will want to explore and the heroes you will play. w For the Game Master, this is a great time to get to know the Player Characters and start designing interesting scenarios, locations and antagonists. Make sure you ask lots of questions and take plenty of notes. w For Gamers, this is the time for you to work together to create your world and your characters together. Take the opportunity to insert your ideas into it, whether it is a particular aesthetic, a magical technology or a terrible danger. Obviously, you will have many opportunities to leave your footprint on the world you have begun to create; however, think of this moment as the seed of the gaming experience, from which everything else grows, evolves and flourishes.

A moment, I have changed my mind! The sections of this chapter are presented in a precise order, but you are free to go back and change your choices if you feel the need. For example, while you are creating your character, you may come up with an idea for a really interesting place and you may return to mark it on the world map. Or your heroes may be more suited to a different group type than the one you previously chose.

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You are laying the foundations for the campaign… take your time!

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BEFORE YOU BEGIN Now that you are all together, there are a few things to talk about before creating the world and characters. For each topic, read the questions and discuss them together.

COMMITMENT AND EXPECTATIONS

The first thing to decide is how much time and effort everyone is willing to devote to the game. This will help you set expectations and avoid any complications later on.

w Do you want to play a limited number of sessions or do you just prefer to play and see where the story takes you? w How often do you want to play? Once a week? One or two a month? w The game is designed to run for about four hour sessions, but how long do you expect them to actually last? In the case of longer or shorter sessions, remember to calculate the Experience Points approximately every four hours of play (see page 226). w If some Players are absent, would you prefer to postpone the appointment or play anyway? See p. 143 for suggestions.

TONE AND THEMES

This is a game with a wide range of different purposes: depending on the type of world and characters you create, the tones and themes of the campaign can vary significantly. Being a shared narrative, it is necessary that everyone is on the same wavelength or at least share some fundamental points. You can always discuss any changes later.

w What narrative tone do you expect? Do you prefer a heavy drama in which complex situations and emotions are faced, or a simple fantastic tale where it is very easy to distinguish between good and evil? w Are there any themes that you strongly want to explore during the game? w Do you prefer that the heroes are linked by deep friendship from the beginning or that there are moments of crisis and disagreement within the group? How will you resolve these conflicts? See p. 141 for suggestions. w When describing scenes and actions, prefer an “over the top” Japanese anime style or a more heroic but fairytale tone?

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RULES AND CHALLENGES

As for tone and theme, this game allows you to change the rules and play it with different levels of challenge and optimization. w Would you like to adopt some optional rules presented in the manual? Pay particular attention to those on conflict (see page 82) and progress (page 230). w What level of challenge and complexity do you expect from the gaming experience? Are you aiming for absolute character optimization? Do you expect the Game Master to draw extremely dangerous opponents, or do you prefer a more peaceful experience that doesn't require as much attention?

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Role-playing games tend to involve both emotionally and personally. It's one of their strengths, but it can also make people vulnerable, so be sure to discuss any descriptions, scenes, or story elements in advance that may make you uncomfortable. Everyone should indicate which lines and veils (see page 140) they would like to apply during the sessions; it may be a good idea to manage this part anonymously, so as to preserve everyone's privacy In particular, you should be sure to address the following points: w Description of the violence. Normally, in Fabula Ultima there should be no elements such as bloodshed and gutting: as in the classic JRPG, the death of a character can be represented by seeing him fall to his knees or vanish into a cloud of spiritual particles, but you should still talk about which scenes and descriptions put you at ease.

w Nature of wickedness. Mind control, minority persecution or violent imperialism are common elements in many games, but for some people they are part of everyday reality. Make your gaming sessions safe spaces for everyone. w Stories of love, relationships and sexuality. These are other typical JRPG elements, which often include love stories between the protagonists. Discuss how comfortable you are in these situations and how far you can go. During the game, you may want to reconsider some decisions you have made. If so, discuss it with the group to reach a new agreement.

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Remember: in a role-playing game, you win if you create a memorable story and have a good time playing together!

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CREATION OF THE WORLD The first step is the shared creation of the game world (or "setting") in which your characters' adventures will take place. This process involves both Game Masters and Players and provides everyone with a solid foundation to play heroes, antagonists and events. Get a world card and a map card. The flowchart on the next page describes the process of creating the world. If you want, you can give it a name: something as simple as Earth, Gaia o The Planet can go very well… after all, that's what we do in reality too! As explained on p. 14, all the worlds of Fabula Ultima share some key elements, the Eight Pillars. When creating your setting, keep these principles in mind and pay particular attention to the following points: w Anime. Everything, living and non-living, is connected by the flow of souls. Some worlds might include machines powered by soul energy, while in others spiritual corruption might give birth to monstrous creatures. Discuss what the common people of your world know about souls. w Conflicts and Struggles. The cultures that populate your world have failed to unite under one banner. The reasons can range from secular rivalries to ideological or religious clashes, through misunderstandings or even cruelties committed by one nation against others. Taking inspiration from the real world can be a good idea, as it is (sadly) full of oppression and injustice. w A fantastic and varied world. When creating your setting you don't have to worry about realism, verisimilitude or historical accuracy. An Ancient Greek-inspired citystate might border on a flying fortress defended by armored warriors of the Song Dynasty, practicing a form of alchemy similar to that of the Italian Renaissance. What really matters is that each place reflects the themes and emotions you want to see represented in your story. The steps in the diagram have been organized in the most intuitive order possible, but you are always free to go back and change what you need. The important thing is that everyone at the table can freely share their ideas; when a passage says "everyone should introduce an element" does not mean that they have to do everything by themselves: as with every other aspect of the game,

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dialogue and communication are the key to a good experience!

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Choose the shape of the world: is it spherical, flat, or are its regions floating in the clouds? Is it in the shape of a donut, in the classic JRPG style?

You may even decide that the shape of the world is one of its mysteries!

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Take a map sheet that fits your basic idea (or draw your own, leaving plenty of empty space to place settlements and places). The world can take up more than one tab, but for now, keep it simple. Define the length of a travel day on the map (see page 106).

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What is the role of magic and technology in the setting? Are you living in an age of

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industrial development, or is it more like the Renaissance? Is magic considered a form of science or is it treated as a great mystery?

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4

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Mark the boundaries of the most important kingdoms and nations on the map , discussing their relationships: mutual trust, difficult alliances or open conflicts? Each should introduce at least one kingdom or nation during this step, providing some details on customs, beliefs, economics, inhabitants and creatures.

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Discuss the major historical events that have shaped the world today. Each should introduce at least one major event that dramatically altered the story of the setting.

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What are the great puzzles and mysteries of the world? What are the questions still unanswered and the truths now indistinguishable from the legend? Each should introduce at least one mystery of the world they intend to explore during the group's adventures.

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What terrible threats cast a shadow over the world? Natural disasters, raging deities, power-hungry empires or perhaps clouds of corrupt miasma enveloping the earth? Each should introduce at least one threat, if possible something that is endangering the future of entire nations. The Game Master will be able to base a good part of the Villains and antagonists on these global threats.

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TABLES FOR THE CREATION OF THE WORLD Feel free to use the tables on these pages whenever you run out of ideas while creating the world.

Magic and Technology (roll a d20 or choose) 1. Magitech upsets nature.

11. Magic from another dimension.

2. Those who can use magic carry a

12. In some places in the world, people

unique mark on their body.

are not born capable of using magic.

13. Airships have revolutionized i

3. Magic is inherited through the bloodlines.

travel and war.

4. The advent of magic is very recent. 14. Magic is mostly a forbidden art.

5. The Ancients lived in harmony with

15. Enchanters are trained in academies and then hired by nobles.

magical creatures. 6. All the magic in the world comes from a single sacred place.

16. Huge steam golems commonly accompany armies into battle.

7. The world is supported by some ancient and powerful magic.

17. In the past, the world was nearly destroyed.

8. Technology is an offense to the gods.

18. Magic was taught by dragons.

9. The world is a science fiction dystopia in

19. Monsters are born from souls without

which experiments are made on magic. 10. Magic is a gift from the gods.

peace of the dead. 20. Magic comes from ancient crystals.

Of course, each of these options can be applied to the whole world or to a certain country or region. For example, steam engines could be widespread on one continent and considered heresy in a neighboring country, or magic could be an ancient art in one region and a fairly recent discovery elsewhere.

Kingdoms and Nations (roll a d8 or choose) 1. Empire

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2. Kingdom

3. Village

4. City-state

5. Union 6. The Holy Kingdom

7. Tribe 8. Protectorate

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This world is on the verge of tragedy. Hope must be rekindled.

Names of Places Acheron Summoned

Alexandria

Harkell

Nara

forcing

Wales

Holne

Nethis

Sotera

Dagda

Ildefort

Olcressia

Tartarus Terisia

Growth

Alfheim

Delos

Aquileia

At home

It's like that

Oscar

Jeriva

Stalls

Argus

Dunova

Kemes

Pirithia

in the tower

Asteride

Edessa

Whom

Pemble

Ulyan

Avalon

Endell

Korinth

quivira

Babel

Entigea

lacria

Regalia

Beregand

Earth

burg

I am carried away

London

relde

Luxor

Calibar

Galatea

Malaba

Ceren

Garaphis

Colvand

Ghizal

size

Thule

Ur

Pass Veleia The cage

Roston

Until

Megara

Salazar

Yssira

Megido

Samitra

Zepro

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Historical Events, Mysteries and Threats (roll a d20 or choose)

1. Death of an important figure.

11. Rise of a new military power.

2. Monsters are restless and aggressive.

12. The gods have abandoned the world.

3. A meteorite will hit the planet.

13. A legendary monster appears.

4. The level of the oceans is rising.

14. The world has sunk into darkness.

5. Discovery of unknown lands.

15. The magic is slowly disappearing.

6. An ancient evil is being reborn.

16. Technological progress.

7. The world is transforming.

17. A dimensional gap opens up.

8. Destruction of the moon.

18. Loss of important knowledge.

9. Visitors from another world.

19. A new religion spreads.

10. People become apathetic.

20. The world is dying.

Each of these options can act as a historical event, mystery, or threat (it's up to you!).

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GROUP CREATION Unlike the creation of the world, that of the group is not particularly structured: in fact, it is only a question of establishing the fundamental themes of your first adventures. When choosing a group type, you are basically saying, “Hey, this is how we want to explore the world we just created; we really would like our shared story to focus on these aspects. " In addition, the choice of the type of group can suggest what kind of heroes you will be creating in the next step of the zero session. Don't take it as a restriction, but rather as a helpful hint to return to if you're unsure of the character concepts.

You could even name the group, such as the Brotherhood of the Griffin or the Queen's Shields. For the Game Master, this step is a valuable opportunity to understand which situations, stories and antagonists the group finds most interesting!

SEARCHERS

You are desperate for someone or something: a mighty witch, an ancient relic, a legendary place or a lost technological marvel. What you are looking for is the last hope in the world… or so you think. w What are you trying to prevent or correct? What are you looking for? w What do you know about your mission? Who or what gave you this information? w Who doesn't want you to be successful?

w What prompted each of you to participate in this mission?

HEROES OF RESISTANCE

You are the last line of defense against a fearsome force, a darkness that threatens to suffocate the known world, such as a power-hungry kingdom or an oppressive empire. The fate of many rests in your hands. w Why is this terrible burden on your shoulders? Have you already faced the enemy? w Which factions helped you? Which ones have betrayed you or oppose you? w Who are the most notorious enemy leaders and their followers?

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GUARDIANS One of you is the Chosen One, someone who has been entrusted with a mission that could change the fate of the world. All other members of the group have sworn, by choice or duty, to protect the Chosen One during his travels. w What Bonds or rivalries exist between each Guardian and the Chosen One? w What is the mission? Who assigned it to the Chosen One? Do the authorities approve it? w Why does the Chosen One need protection? Who or what threatens the mission?

REVOLUTIONARY

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Build a small unit that fights tooth and nail against the established power, be it a tyrannical government, a military occupation or even a ruthless corporation. Society and law enforcement are

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likely to consider you criminals or terrorists. w What price did each of you pay for your insubordination? w Which factions have promised to help you? Which ones are opposed to you? w What are the crimes of the enemy and why no one else tries to stop him?

UNITED BY FATE You found yourself cooperating due to circumstances. Despite being a classic of fantasy tales, it is actually the most difficult type of group to make best, as it often lacks a specific goal. You will therefore have to work together during the game to weave a web of relationships ( Bonds become extremely important). If you choose this premise, it may be a good idea to switch to another type of group when you have outlined a common goal. w What emotional and family ties exist between your characters? w Have your characters ever met in the past? There are tensions or rivalries between of them? w What do you have in common? Beliefs? Enemies? Past experiences?

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CHARACTER CREATION It's time to create the Player Characters, so hand the character sheets! Although it may seem that this step can be done alone, it is actually better that the whole group (including the Game Master) is present: even if each hero is controlled by his Player, it is important that a certain "alchemy" is created immediately. among the various members of the group, as they are destined to go on an adventure together! Character Creation follows a series of steps similar to those of Creation of the World; however, do not feel obliged to follow them in the order indicated. You can always go back and change your choices at any time. Typically, characters are created at level 5; see p. 229 for creating higher level PCs.

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2

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3

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4

Choose or create the Origin of the character: the place where it comes from. You

Choose two or three Classes and distribute the five starting levels among them. Write down the free benefits and skills obtained.

5

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Determines the basic die size of the four Character Traits : Dexterity, Intuition, Stamina and Will.

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Calculate the starting values of Hit Points, Mind Points, Inventory Points, Defense, Magic Defense, and Initiative modifier .

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Use a budget of 500 zeniths to purchase equipment, then add any remaining money to 2d6 × 10 zeniths to determine the initial savings.

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Choose or create the theme of the character: an ideal, an emotion or a feeling that dominates the actions.

can use one of those already on the world tab or create a new one.

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Create Character Identity : A short sentence that describes in a few words how he sees himself right now.

Describe the character, choosing his name and gender in which he identifies!

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CREATE IDENTITY

This is your first step and it's no exaggeration to say that it will affect all of the following. Character Identity is a short sentence that sums up how he perceives himself at the moment. When creating the Identity, keep an eye on the Class list (see page 160) and make sure there is an appropriate combination of two or three Classes that can match it. If you just can't find a suitable one, try changing the Identity based on the available combinations. Here are some good examples of Identity:

w Royal Knight.

w Queen of the Thieves of the Desert.

w Warrior Priestess of the Old

w Fighting Princess of the

Faith.

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Lunar People.

w Elder Sorcerer with an Amnesia.

w Former Imperial Strategist.

w Boxer Fighting for Freedom.

w Magitech scientist.

w Tormented Veteran.

w One-Eyed Samurai.

Remember that you can invoke your Identity to gain an advantage in the Tests, so try to choose something that is useful in game. In the course of your adventures, you will also be able to change your Identity: for example, a Commander of the Crimson Reapers could redeem herself and become a Knight of the White Flame. It's a great thing to change, also because it means your character has grown into something different! Example: Roberto is creating his first character. He has already defined the game world with his group: a land at the beginning of industrial development, where magic is linked to some families. The characters will be Heroes of the Resistance, fighting against a technological empire bent on imprisoning anyone who can use magic. Roberto's character, Camilla, will be the last (or so it seems) still living descendant of the royal dynasty of Platea. Unlike her older brothers and sisters, Camilla has never developed any magical talents; however, he was educated as a knight and diplomat. Camilla's Identity could therefore be “The Last Princess of Platea”.

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While discussing it with the rest of the group, Roberto points out that he would not mind if Camilla discovered her "latent magic talent" during the match.

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TABLES FOR THE CREATION OF THE IDENTITY You can roll a d6 and a d20 or choose from the tables below to create the Identity.

Concept (roll or choose up to two times) 1-2

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3-4

5-6

1. Knight

1. Bodyguard

1. Animated Puppet

2. Bounty Hunter

2. Bandit

2. Looter

3. Martial Arts Practitioner

3. Worker

3. Rebel Agent

4. Treasure Hunter

4. Students

4. Warrior Wizard

5. Alien

5. Painter

5. Noble

6. Priest

6. Engineer Magitech

6. Duelist

7. Professor

7. Archer

7. Monster Hunter

8. Samurai

8. Occultist

8. Doctor

9. Bardo

9. Paladin

9. Shapeshifter

10. Soldier

10. Monaco

10. Pirate

11. Inventor

11. Gunslinger

11. Gambler

12. Smuggler

12. Black Knight

12. Ronin

13. Automaton

13. Alchemist

13. Mercenary

14. Ninja

14. Aircraft Pilot

14. Cuoco

15. Diplomat

15. Spy

15. Commander

16. Thief

16. Templar

16. Sniper

17. Monarch

17. Mechanical

17. Athlete

18. Dry

18. Dancer

18. Healer

19. Gladiator

19. Gunner

19. Demon Hunter

20. Principle

20. Merchant

20. Abomination

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Once a fearsome pirate, Lady Morgan is now the respected protector of Seabreak Bay.

Adjectives

Detail

(roll or choose up to two times) 1-3

(roll or choose only once)

4-6

(nothing d6)

1. Fascinating

1. Devout

1. from an Ancient Breed

2. Traitor

2. Last

2. in Flight

3. Chosen

3. distant

3. of the Old Faith

4. Former Imperial

4. Proud

4. In Search of Justice

5. Tormented

5. Wanted

5. in Disgrace

6. Brave

6. Fearful

6. of the Crimson Wings

7. Animalist

7. Gentile

7. of the Alta Accademia

8. Forgetful

8. Respectable

8. from the Moon

9. Galante

9. Contaminated

9. of the Seven Seas

10. Imperial

10. Young

10. from the future

11. Independent

11. Eccentric

11. Looking for Answers

12. Loyal

12. Quota

12. Without Country

13. Elder

13. Naive

13. of the Royal Army

14. Chivalrous

14. Spoiled

14. from Another Dimension

15. Smiling

15. Talented

15. of the Desert Clans

16. Pragmatic

16. Real

16. of the Tempest Knights

17. Apprentice

17. Reckless

17. with a Golden Heart

18. Influencers

18. Stealth

18. from the Ancient Forest

19. Irascible

19. Famous

19. from the past

20. Robust

20. Non-human *

20. of the Sacred Flame

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* choose a Species such as dwarf, elf, chestnut, half dragon, or whatever makes sense in the game world.

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CHOOSE OR CREATE THE THEME

Each Player Character of Fabula Ultima is defined by a main theme , an ideal or emotion that guides their actions and choices. If you were to build an entire scene around your character, his Theme should be the focal point. If this is your first character, you should choose from the list below. Alternatively, you could create something new and unique - discuss it with the rest of the group and make sure that interesting game situations arise. When choosing a Theme, describe how it affects the character: what is his Ambition? What Duty is it related to? Who is the target of his revenge?

Suggested Themes

Ambition

You want to prove your worth to yourself and / or others.

Belonging You are afraid of being alone, forgotten or abandoned. Fault

You want to atone for your past mistakes.

Must

Live to fulfill a promise or obey an order received.

Doubt

You have to find the answer to a question that devours you.

Justice

You are always on the side of the weak and helpless.

Ira

You are a time bomb, always ready to explode.

Compassion

You want to help others, regardless of their faults.

Hope

You aspire to a better world for yourself and / or for others.

Vendetta

You wish to take revenge on someone or something.

As with the Identity, try to choose a Theme that could be useful in game and remember that you can always change it later. Revenge could be a suitable theme for Camilla, but Roberto doesn't want it to be consumed by bitterness and resentment. The young heroine's goal is to create a land where her people can live according to their customs and traditions, which the Empire has instead outlawed: for this reason, Camilla's Theme will be Hope.

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CHOOSE OR CREATE THE ORIGIN

All heroes have a place of origin. It could be a humble village, a large city, or an even more fantastic location, such as a palace in the depths of the ocean, the surface of the moon, or a completely different solar system. You can choose any place already on the map card or create your own. Just like Identity and Theme, you can invoke Origin to reroll one or both of the dice on a Test. However, you wouldn't normally be able to change your Origin in play, unless you discover that in reality your memories are false and come from from a completely different place (another fantasy classic). While creating Camilla, Roberto designed Platea, which is added to the map sheet. He chooses a region to the south and describes Platea as a once peaceful and luminous citadel overlooking a lake from the top of a steep promontory. The city has just been conquered by the Empire.

SPECIE FANTASY

In Fabula Ultima, the Species of the PC has no impact on the rules, unless the Players decide otherwise: perhaps a character's Identity is Fallen Prince of the Elves, or some class abilities are described as direct consequence of some physiology or lineage.

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CHOOSE TWO OR THREE STARTING CLASSES

Your character starts the game at level 5. This means that you have to distribute five levels among some of the fifteen available Classes. Your character must choose at least two Classes at the start of the game, but no more than three. Full class descriptions begin on p. 176, but the table below briefly summarizes the main points.

Classes

Arcanist

Summon magical avatars of ancient divine entities.

Artificer

You create inventions and get new inventory options.

Rogue

Take advantage of every opportunity and steal unique items from enemies.

Chimerista

Learn spells from creatures and talk to beasts.

Elementalist

You control the destructive power of the elements.

Entropista

Channel the dark energy of the Cosmos.

Fury

Taunt enemies and hit harder if injured. w You can equip melee weapons and martial armor.

Guardian

Protect allies and fight in heavy armor. w You can equip martial armor and shields.

Dark Lama

Unleash dark powers and draw strength from the Bonds.

w You can equip melee weapons and martial armor. Weapons Master

You excel in melee and melee counterattacks. w You can equip melee weapons and martial shields.

Speaker

You use the word to gain allies and influence in conflicts.

Knowledgeable

Boast encyclopedic knowledge and support allies.

Spiritist

Support allies with magic and cast light spells.

Shooter

You excel with ranged weapons and negate ranged attacks. w You can equip ranged weapons and martial shields.

Wayfarer

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You are a skilled explorer and join forces with a faithful companion.

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Each Class includes the following information: w A brief description illustrating the main aspects. w A list of questions that help define the character's goals, background, and behavior. You don't have to answer them all right away, on the contrary: let the answers emerge during the game through the actions and decisions of the character. You can also decide to ignore some of them, if the character concept is not strictly related to that particular Class.

w A list of free benefits that the character gains simply by choosing the Class, such as the ability to equip martial items or a small increase in Health Points, Mind Points, or Inventory Points. If two or more Classes provide the same type of free benefit, they can be combined!

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w Five unique class skills . Whenever you invest a level in a Class, you acquire one of its Skills. Skills indicated with (ç) can be acquired multiple times, making them progressively more powerful or flexible. The number next to the symbol (ç) indicates how many times you can acquire that particular Skill: for example, (ç5) indicates a maximum of five times.

When the text mentions the abbreviation ÿLAÿ, this is the Skill Level, which is the number of times that particular Skill has been acquired. When choosing Classes, keep in mind that they represent the character's current abilities unless it's your choice, they don't determine the character's role in the story, and you can always decide to take completely different paths later. For example, a knight may have invested a few levels in the Elementalist Class to learn combat spells without becoming an adept of elemental magic.

If you are short on time or ideas, you can take a look at the Classic Characters presented starting on p. 172: These level 5 archetypes will prove to be very reliable in game. Roberto is intrigued by the Speaker and Sage Classes, but he also realizes that Camilla trained with some of the best warriors in the region, so Weapons Master would be an ideal choice.

Eventually he decides to invest two levels in the Speaker Class (by acquiring the Unexpected

In

Ally and Encouragement Skills ) and three in the Weapon Master (by acquiring Counter Strike and twice Bone Breaker).

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DETERMINES THE BASE NUT SIZE OF THE FEATURES The main Characteristics (Dexterity, Intuition, Stamina and Will) of a PC are represented by a die size, from a minimum of d6 to a maximum of d12. Larger die sizes indicate that the character has better training or a natural talent for that Characteristic. w Dexterity (DES) indicates precision, coordination, grace and reflexes. w Intuition (INT) represents the ability to observe, understand and reason. w Vigor (VIG) defines strength, toughness and physical endurance. w Will (VOL) brings together determination, charisma and the ability to influence others. Choose one of the following profiles for your hero and distribute the corresponding die sizes among the four Characteristics (note them on the card in the “Basic” column). w Handyman: d8, d8, d8, d8 w In the Average: d10, d8, d8, d6 w Specialized: d10, d10, d6, d6 Camilla is very perceptive (d10 in Insight), rather agile and determined (d8 in Dexterity and Will), but not very impressive (d6 in Stamina). When distributing stat die sizes, take into consideration the Classes and Skills you have chosen!

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CALCULATE LIFE POINTS AND MIND POINTS

Maximum Health Points and Mind Points are calculated as follows: w Maximum HP is equal to the character's total level + five times the Vigor base die size. The Crisis value is equal to half of the maximum Life Points (rounded down). w Maximum Mind Points are equal to the character's total level + five times the base die size of Will. Your character starts the game with maximum Health and Mind points. These values can be modified by chosen Classes, Skills and equipment.

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CHAPTER

Be careful, as some effects can temporarily alter the die size of your Abilities, but this never increases or decreases HP and MP. Camilla has 40 maximum Life Points (level 5 + five times the d6 in Stamina + 5 extra points awarded by the Weapon Master Class ) and 50 maximum Mind Points (level 5 + five times the d8 in Will + 5 extra points awarded by the Class Speaker). Its Crisis value is 20.

CALCULATE INVENTORY POINTS

Maximum Inventory Points are calculated as follows: w The maximum Inventory Points are 6. Your character starts the game with maximum Inventory Points. Keep in mind that this value can be further modified by your chosen Classes, Skills and equipment. Since neither the Weapon Master Class nor the Speaker increases Inventory Points, Camilla has a maximum of 6 Inventory Points.

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CALCULATE DEFENSE, MAGIC DEFENSE AND INITIATIVE

Defense, Magic Defense, and Initiative are calculated as follows: w Defense is equal to Dexterity's current die size. w Magic Defense is equal to the current die size of Insight w The Initiative modifier is 0. Defenses are further modified by equipped armor and shields; the Initiative modifier can also be affected by armor. Be careful, as some effects can temporarily alter the die size of your Abilities and this also affects Defense and Magic Defense, as they are calculated on the current die size, not the base. Camilla has Defense of 8, Magic Defense of 10 and no Initiative modifier. Later, his equipment choices will be able to change these values.

BUY THE INITIAL EQUIPMENT You have a budget of 500 zeniths to purchase equipment. Normally, you can only purchase basic weapons, armor , and shields, listed on p. 166 and on the following pages for convenience. Talk to the rest of the party if you would like to purchase rare items (see p. 266) or some means of transportation (p. 125). To purchase a martial item (E) it is necessary to be able to equip it, a benefit of some Classes. w The Fury can equip martial melee weapons and martial armor. w The Guardian can equip martial armor and martial shields. w The Dark Blade can equip martial melee weapons and martial armor. w The Weapons Master can equip martial melee weapons and martial shields. w The Shooter can equip martial ranged weapons and martial shields. Take note of all purchased items on the card, along with their effects; remember that there is no need to keep track of ammo for ranged weapons.

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The Weapons Master Class allows Camilla to equip melee weapons and martial shields. Roberto spends 200 zenith for a rapier (which uses Dexterity and Insight), 150 zenith for a runic shield (a useful +2 bonus to both Defenses!) And another 100 zenith for a travel outfit. Roberto records everything on Camilla's sheet, noting how armor and shield increase Defense and Magic Defense by three points (bringing Defense to 11 and Magic Defense to 13), but also assigning it an Initiative modifier of -1. Of course, feel free to change the names of any items that don't quite fit the character concept: for example, a bronze sword can become a scimitar and a silk shirt a kimono. If none of the basic weapons match what you had in mind for your character and the rest of the party agrees, you can use the rules on p. 268 to create rare weapons.

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CHAPTER

However, remember that starting weapons have no Quality and always deal Physical damage; you could still ignore one or both of the limitations if the whole party agrees (and you have enough zenith to make the improvements).

PULL FOR THE STARTING SAVINGS

Your character starts the game with an amount of zenith equal to 2d6 × 10 (for example, if you roll 8 you start with 80 zenith). Any money left over from the previous step is added to these savings! Roberto rolls 2d6 × 10 and gets 60 zeniths, which are added to the 50 left over from the previous step, for a total of 120 zeniths as initial savings.

GET STARTING FABULA POINTS

Each Player Character is created with 3 Fabula Points.

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BASIC WEAPONS COST

WEAPONS

PRECISION

DAMAGE

Arcane stick

100 with

ÿFLIGHT + FLIGHTÿ

ÿTM + 6ÿ physical

Two Hands w Melee w No Quality. Enter

100 with

ÿYOU + YOUÿ

ÿTM + 6ÿ physical

ÿDES+INTÿ

ÿTM + 8ÿ physical

ÿDES + DESÿ

ÿTM + 8ÿ physical

ÿDES + DESÿ

ÿTM + 8ÿ physical

ÿDES+INTÿ

ÿTM + 8ÿ physical

ÿDES+VIGÿ

ÿTM + 8ÿ physical

ÿDES+VIGÿ

ÿTM + 12ÿ physical

ÿDES+VIGÿ

ÿTM + 2ÿ physical

ÿDEX + INSÿ

ÿTM + 4ÿ physical

Two Hands w Melee w No Quality. Archi Crossbow

150 with

Two hands w Distance w No Quality.

Short Bow

200 with

Two hands w Distance w No Quality. Scourges

Whip-Chain

150 with

Two Hands w Melee w No Quality. From Fire Pistol E

250 with

One hand w Distance w No Quality. Lance Light Lance E

200 with

One Hand w Melee w No Quality.

Heavy Lance E 200 z Two Hands w Melee w No Quality. From Launch -

Improvised (Dist.) One hand w Distance w Breaks after attack. Shuriken

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150 with

One hand w Distance w No Quality.

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c Remember: in the beginning the character only has 500 zeniths to buy the equipment.

WEAPONS

COST

PRECISION

DAMAGE

200 with

ÿVIG + VIGÿ

ÿTM + 6ÿ physical

ÿVIG + VIGÿ

ÿTM + 10ÿ physical

ÿVIG + VIGÿ

ÿTM + 14ÿ physical

Heavy Iron Hammer

One Hand w Melee w No Quality. Ax E

250 with

One Hand w Melee w No Quality. War Ax E 250 z Two Hands w Melee w No Quality.

3

Daggers Steel dagger

150 with

ÿDES + INTÿ +1

ÿTM + 4ÿ physical

ÿDES+VIGÿ

ÿTM + 0ÿ physical

CHAPTER

One Hand w Melee w No Quality. From Rissa -

Unarmed Strike

One Hand w Melee w Always equipped in empty hand slots. -

Improvised (Misc.)

ÿDES+VIGÿ

ÿTM + 2ÿ physical

ÿDES+VIGÿ

ÿTM + 6ÿ physical

ÿDES + INTÿ +1

ÿTM + 10ÿ physical

ÿDES + VIGÿ +1

ÿTM + 6ÿ physical

ÿDES + VIGÿ +1

ÿTM + 10ÿ physical

ÿDES + INTÿ +1

ÿTM + 6ÿ physical

One hand w Melee w Breaks after attack. Iron brass knuckles

150 with

One Hand w Melee w No Quality. Spade Katana E

200 with

Two Hands w Melee w No Quality. Bronze sword E 200 z One Hand w Melee w No Quality. Great Sword E

200 with

Two Hands w Melee w No Quality. 200 with

One Hand w Melee w No Quality.

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Stocco E

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ARMOR AND BASE SHIELDS ARMATURE BASE ARMOR

COST

None

-

DEFENCE

D. MAGICA

Size DES Size INT

INITIATIVE -

No Quality. Travel Dress

100 with

DES size +1 INT size +1

-1

100 with

DES size INT size +2

-1

150 with

DES size +1 INT size +1

200 with

DES size +1 INT size +2

No Quality. Silk shirt No Quality.

Fighting tunic

-

No Quality. Robe of the Sage

-2

No Quality. Brigantine E

150 with

10

INT size

-2

11

INT size

-3

11

INT size +1

-3

12

INT size

-4

No Quality. Bronze cuirass E 200 z No Quality. Runic Cuirass E

250 with

No Quality. Steel armor E 300 z No Quality.

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c Remember: in the beginning the character only has 500 zeniths to buy the equipment.

BASE SHIELDS SHIELD

COST Bronze shield

DEFENCE

D. MAGICA

100 with

+2

-

150 with

+2

+2

INITIATIVE -

-

No Quality. Runic Shield E. No Quality.

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TIPS FOR SHOPPING

CHAPTER

Weapons, armor and shields purchased during character creation will accompany him through many levels, so be sure to choose the ones that best suit the way you built your character.

Here are some tips:

w Choose a main weapon that uses its best Characteristics. Ideally, you would like to take an Accuracy Test with at least 1d10 + 1d8. More accurate weapons, such as swords and daggers, can compensate for low die bounties.

w Even if a character relies heavily on magic, get him a weapon to use when MP runs out, such as a dagger, staff , or tome.

w While light armor increases Defense (which normally equals Dexterity die size), martial armor (E) replaces it with a fixed value.

This is a big difference: Defense is not as affected by a low Dexterity die size or any status.

The defense bonuses granted by shields apply in both cases. For example, a character with a d8 in Dexterity who wears a brigandine and carries a bronze shield has Defense equal to 12.

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NAME AND FINAL TOUCHES Name the character, indicate which gender (s) he identifies with, and describe his appearance to the rest of the group. It may seem counterintuitive that this is the last step, but there is a good reason: it's easier to pick a name when you have a clear idea of the character's appearance and abilities.

On the next page you can find a table with names very suitable for Fabula Ultima; however, if your game world is inspired by some specific type of folklore or mythology, you may want to do some research on the most popular names to come up with an appropriate one.

Now that Camilla is ready, Roberto describes her to the rest of the group: she has brown hair with grayish shades and deep blue eyes. Her posture denotes a strong personality and it is practically impossible to be next to her without being inspired!

He wears light and comfortable clothing, perfect for traveling, and fights with an elegant rapier and a small shield, on which are engraved runes of protection.

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Names of the Characters Gray

Many

Adalbert

Cross

Gregor

Week

Poem

Agnes

Crow

Grimm

Markus

Sabine

Chroma

Royce

Cynthia

Gyle

Maribel

Sabra

Alberic

Daige

Ginger

Minerva

Sarah

Albin

Miranda

Selene

Sending

Dale

Hanna

Almond

Daphne

Hansel

Andreas

Denys

Harper

Monica

Angela

Devil

Hera

Montblanc

Solomon

Ashe

Edel

Hope

Morgan

Sonya

Astor

Edgar

Such

Nadia

Edna

A dog

There is

Species

Donate

Silas Room

The house

Azel

eco

Isabella

Azura

Eleanor

Izanne

Nibel

Therese

Baern

Elise

Jabari

Nico

Thomas

Bar

Emits

Jeanne

Noah

Right

Berenice

Eric

Joel

Noor

Toris

Grandchild

Dry

Biel

Etrian

Jun

Nyles

Tristan

Blair

Fabian

Look

Ode

One

Olivia

Undine

Blanche

I can

Kaspar

Bow

Felicia

Lara

Poisonous

Usher

Valley Veronica

Bram

Venice

near

Orion

Brandon

Finn

Lansel

Orne

Break

Fionne

Laurence

Osira

Vikes

way

Forrest

Lazom

Owen

Vincent

Camilla

Fran

Leanna

Pharia

Vosca

Cassandra

Francisca

Lead

Prim

Winter

Celeste

Frederick

Liam

Pyre

Xenia

Zither

Galatea

Locke

Remora

Yado

Cinder

Garlan

Logan

Ricard

Loren

Riza

Ylua Yuri

Clarimonde

Length

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CHAPTER

Tamara

Doing

Clarissa

Gilpher

Lucian

Robin

Clemence

Gizal

Lulu

Rolan

It was

Conner

Glenn

Room

Rosa

Turn it off

In

Abel

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CLASSIC CHARACTERS ALCHEMIST

Dexterity d8, Insight d10, Stamina d6, Will d8

Artificer (3 levels): Secret Formula, Rain of Potions, Technologies (Basic Alchemy) Wayfarer (2 levels): Tavern chatter, Enterprising Steel dagger, crossbow, travel dress, 170 zenith.

STORYTELLER

Dexterity d10, Insight d8, Stamina d6, Will d8

Speaker (2 levels): Unexpected Ally, Condemnation Spiritist (2 levels): Spiritual Magic (2 LA: Anger, Awakening) Wayfarer (1 level): Globetrotter Steel dagger, silk shirt, bronze shield, 220 zenith.

BLACK KNIGHT

Dexterity d8, Insight d6, Stamina d10, Will d8

Entropist (1 level): Entropic Magic (Life Steal) Dark Blade (2 levels): Dark Slash (2 LA) Weapons Master (2 levels): Melee Weapon Mastery, Storm of Blades Greatsword, runic cuirass, 120 zenith.

SUMMONER

Dexterity d8, Insight d8, Stamina d6, Will d10

Arcanist (3 levels): Arcane Regeneration (2 LA), Bind and Summon (Grimoire or Tower) Spiritist (2 levels): Spiritual Magic (2 LA: Barrier, Mercy) Staff, garment of the wise, 270 zenith.

HEALER

Dexterity d6, Insight d8, Vigor d8, Will d10

Speaker (2 levels): Encouragement, I Trust You Spiritualist (3 levels): Spiritual Magic (3 LA: Healing, Lux, Purification) Staff, garment of the wise, 270 zenith.

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INCANTABELVE

Dexterity d8, Insight d6, Stamina d10, Will d8

Chimerist (3 levels): Magimimesi (2 LA), Feral Voice Weapons Master (1 level): Breakthrough

Wayfarer (1 level): Faithful Companion Ax, travel dress, runic shield, 70 zenith.

THIEF

Dexterity d10, Insight d8, Stamina d6, Will d8

Rogue (3 levels): High Speed, Spirit Steal (2 LA) Weapons Master (2 levels): Bonebreaker (2 LA)

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Steel dagger (× 2), travel dress, 170 zenith.

CHAPTER

MAGIDUELLANTE

Dexterity d10, Insight d8, Stamina d6, Will d8

Elementalist (2 levels): Elemental Magic (2 LA: Elemental Weapon, Elemental Shroud) Weapons Master (2 levels): Counterattack, Storm of Blades Spiritist (1 level): Spiritual Magic (Aura) Rapier, silk shirt, runic shield, 120 zenith.

MAGITECNICO

Dexterity d8, Insight d10, Stamina d6, Will d8

Artificer (3 levels): Technologies (3 LA: Basic, Advanced and Greater Magitech; Magisphere spells: Heal, Flush, Elemental Veil) Wise (2 levels): Quick Assessment (2 LA) Steel dagger, sage's robe, bronze shield, 120 zenith.

NINJA

Dexterity d10, Insight d8, Stamina d6, Will d8

Rogue (3 levels): Low Strike, Dodge (2 LA) Weapons Master (1 level): Counterattack Spiritist (1 level): Spiritual Magic (Torpor) Steel dagger, shuriken, wrestling tunic, 120 zenith.

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PIRATE

Dexterity d8, Insight d6, Stamina d10, Will d8

Elementalist (1 level): Elemental Magic (Lightning) Fury (2 levels): Adrenaline, Taunt Weapons Master (2 levels): Breach (2 LA) Ax, silk shirt, runic shield, 70 zenith

GUNMAN

Dexterity d10, Insight d8, Stamina d8, Will d6

Artificer (level 2): Technologies (2 LA: Basic and Advanced Infusion) Marksman (level 3): Crossfire, Ranged Weapon Mastery, Burst Gun, travel dress, runic shield, 70 zenith.

BOXER

Dexterity d8, Insight d6, Stamina d10, Will d8

Fury (3 levels): Frenzy, Endurance (2 LA) Weapons Master (2 levels): Counterattack, Bone Breaker Iron brass knuckles (× 2), fighting tunic, 120 zenith.

RANGER

Dexterity d10, Insight d8, Stamina d8, Will d6

Shooter (3 levels): Warning Shot (2 LA), Ranged Weapon Mastery Wayfarer (2 levels): Globetrotter, Enterprising Steel dagger, short bow, silk shirt, 120 zenith.

WISE

Dexterity d6, Insight d10, Stamina d6, Will d10

Elementalist (3 levels): Elemental Magic (3 LA: Lightning, Ice, Fire) Scholar (2 levels): Concentration, Lightning Intuition Tome, robe of the wise, 270 zenith.

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SAMURAI

Dexterity d8, Insight d8, Vigor d8, Will d8

Guardian (2 levels): Defensive Mastery (2 LA) Weapons Master (2 levels): Counterattack, Melee Weapon Mastery Spiritist (1 level): Spiritual Magic (Spiritual Weapon) Katana, runic armor, 120 zenith.

BETTER

Dexterity d10, Insight d8, Stamina d6, Will d8

Rogue (2 levels): High Speed, Dodge Entropist (2 levels): Entropic Magic (Bet), Settebello

3

Weapons Master (1 level): Melee Weapon Mastery

CHAPTER

Stocco, shuriken (described as playing cards!), Silk shirt, 120 zenith.

SOLDIER

Dexterity d8, Insight d6, Stamina d10, Will d8

Guardian (2 levels): Bodyguard, Protection Weapons Master (3 levels): Breach, Bone Breaker (2 LA) Spada di bronze, brigantine, runic shield, 70 zenit.

RED WITCHER

Dexterity d8, Insight d10, Vigor d8, Will d6

Elementalist (3 levels): Incantalam (2 LA), Elemental Magic (Iceberg) Weapons Master (1 level): Melee Weapon Mastery Spiritist (1 level): Spiritual Magic (Healing) Rapier, fighting tunic, runic shield, 70 zenith.

VALKYRIE

Dexterity d8, Insight d6, Stamina d10, Will d8

Elementalist (2 levels): Elemental Magic (2 LA: Swoop Strike, Whirlwind) Guardian (1 level): Fortress Weapons Master (2 levels): Melee Weapon Mastery, Storm of Blades Lancia leggera, brigantine, runic scudo, 70 zenit.

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ARCANIST In ALSO: Avatar, Summoner, Chosen

It is not easy to succeed

to deceive fate.

n

Arcanists can fall into a deep trance to project much of their soul out of the body, giving it shape. This magical veil surrounds the Arcanists and grants them various supernatural abilities; these evoked forms are said to be manifestations of ancestral souls belonging to entities of myth and legend, known by the name of Arcana. In some worlds, the Arcana are revered as deities.

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w Where do your powers come from? Did you inherit them from your lineage? w Have you ever communicated with an Arcanum, or are they silent and distant entities? w Do people see you as mysterious, powerful, or ethereal? w Are many people practicing your art, or are you the exception?

ARCHANIST'S FREE BENEFITS w Permanently increase your maximum Mind Points by 5.

SKILLS OF THE ARCHANIST RITUAL ARCANISM You can perform Arcana Discipline Rituals, as long as their effects fall within the domains of one or more of the Arcana you have bound (see next pages).

3

Arcanism Rituals use ÿVOL + VOLÿ for the Magic Test.

CHAPTER

ARCANUM OF EMERGENCY

(chapter 6)

While in Crisis, the cost to summon your Arcana is reduced by ÿA × 5ÿ Mind Points.

ARCANE CIRCLE

(ch4)

After voluntarily dismissing an Arcanum on your turn during a conflict (see next page), if that Arcanum was not summoned during the same turn and you have an Arcane Tier weapon equipped, you can perform the Spell action for free. The spell you cast in this way must have a total mind point cost equal to or less than ÿA × 5ÿ (you still have to pay the mind point cost).

ARCANE REGENERATION

(ch2)

When you summon an Arcanum, you immediately regain ÿLA × 5ÿ Health points.

BIND AND SUMMON You can bind the Arcana to your soul to summon them later. When you encounter a new Arcanum, the Game Master will explain the details of its binding ritual to you. You can use an action and spend 40 Mind Points to summon an Arcanum you have bound - the details of this process are explained on the next page. If you acquire this Skill during character creation, you start the game with an already bound Arcanum, chosen from those described in the following pages. After that, you can only get new Arcana through exploration and story progression.

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THE ARCANA MERGING WITH AN ARCANUM When you summon an Arcanum, you gain its fusion benefits, which last until the Arcanum is dismissed (see below). You cannot summon an Arcanum if you are already fused with an Arcanum; you must first dismiss the one you are currently fused with.

LEAVE AN ARCANUM An Arcanum can be dismissed in several ways: w At the end of the scene, all Arcana are automatically dismissed. w If you die or faint while merged with an Arcanum, it is discharged. w If you leave the scene while merged with an Arcanum, it is dismissed. w You can voluntarily dismiss your Arcanum: this does not require an action, but during a conflict you can only do it on your turn, before or after an action.

LEAVE EFFECTS Many Arcana have a powerful dismissal effect, which can only be activated if you voluntarily dismiss the Beyonder: if it is dismissed in any other way, the dismissal effect does not trigger.

If an Arcanum's dismissal effect deals damage, it will deal 10 extra damage if you're level 20 or higher, or 20 extra damage if you're level 40 or higher. If you don't want to use the dismissal effect, you can choose to ignore it.

LORD Each Arcanum is associated with a number of key concepts, called domains. The Game Master should use them to establish the tests required to bind the Arcanum, and to manage the rituals performed through the Ritual Arcanism Skill. If you create new Arcana for your world, be sure to associate them with domains that allow you to perform interesting rituals.

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