| Rules | • | Spyragia Setting | • | Monsters | • | Stories |
Welcome to Nine Powers, a game of fun and memorable adventures.
Nine Powers is both a kid-friendly role-playing game and a storytelling system. It can be played solo, or with two or more people. The "GM role" can be played by a person or the rules themselves.
In a role-playing game people play the roles of the main characters in a story. They make choices and develop personality for these protagonists. The game's rules help determine if these adventurers succeed at what they try to do, and what consequences happen.
Unlike a board game, creativity is unrestricted because the rules are broad yet intuitive. Rules about skills are general enough to apply to any action a player imagines. Rules about crafting are general enough to fairly price any mundane or magic item desired for the story. Also, the players can (and should) change rules when changes help them tell their favorite kind of story.
In a storytelling system clever rules help manage the story's pace, maintain suspense, and suggest specific or general ideas as needed. These rules include some optional but often helpful random tables conveniently put on a spreadsheet, and are complimented by a sample setting rich in mythology, short stories and example monsters.
Unlike writing a novel, there is never writer's block. The rules surround the story with an unobtrusive layer of structure, providing consistency and a shared understanding of what might reasonably happen. Thus an adventure story sometimes unfolds as planned and at other times develops in unexpected ways. We play to find out what happens, happily surprised by how our imaginations blend with characters and events we would never have predicted.
Playing Nine Powers requires these rules, paper and pencil, a set of polyhedral dice, and one or more people eager for stories of excitement, challenge and humor. The game works great for "theater of the mind" adventures, or can use maps and miniatures.
The word Player describes a person playing Nine Powers who is primarily responsible for playing the role of one of the story's protagonists, while also helping enliven the story's setting. The word Game Master or GM describes either a person or the rules themselves bearing the responsibility for creating and describing the setting. The GM does not also control a protagonist. Nine Powers can be played solo as a Player while allowing the rules to be the GM. Or it can be played as a group of people, either with one person acting as the GM or with the rules as the GM so everyone can be Players.
In Nine Powers the GM and Player(s) take turns telling the story. This is a cooperative storytelling game.
Two other traditional acronyms call the main characters Player Characters or PCs, as opposed to the side characters controlled by the GM who are called Non-Player Characters or NPCs.
As the story unfolds, each PC accomplishes objectives and is awarded with increased skill and talent ratings, and with wealth that can be spent to craft or buy special equipment.
The game includes the fantasy setting of Spyragia. Very few tweaks are needed to adapt the rules to other settings.
Spyragia is a world ruled and shaped by its Creator and by the nine Powers that the Creator made and gifted with authority, power, and status . The Creator also put boundaries on their influence by assigning them dominions:
The Spyragia page also includes many short stories I have written to help you enjoy meeting Spyragia's people, monsters, and Powers. These short stories have simple words for young kids to read, although some involve dangers or concerns appropriate for parental oversight and discussion.
illustration of Arlinac Town by Jereme Peabody
Playtesting thanks go to my wife and kids, to Nathan Brown, to the kids of the Round Table Homeschool Collective, and to Wyatt Waggoner, Jonah, and Andy Crawford. Thanks for other helpful feedback go to D.J. Mckenna, David Berg, Eero Tuovinen, and DinDenver.
The name Nine Powers: Tales of Adventure and Daring was suggested by Yasha and catty_big.
Nine Powers is written by David L. Van Slyke © 2010—2025. Artwork by various people is given credit individually, including linking to the artist's website or blog when that is available.
This work is not public domain, but I will almost certainly grant permission to other game developers wanting to steal from my ideas if they promise to give credit to this and their other sources. That is how good RPG design works, and what I have endeavored to do!
The Player's job during the storytelling is to describe what his or her PC tries to do. Be daring, dramatic, and confident! Try to keep the pace of the story quick and exciting.
The story becomes suspenseful and exciting when a PC must deal with difficult situations. Numeric skill and talent ratings measure how well a PC overcomes problems. Just like in real life, obstacles can be easier or harder to overcome based on the circumstances and available equipment. A clever Player will arrange situations to benefit his or her PC.
Nine Powers uses dice so luck can play a role in the story's development. Allowing luck to steer the story in a surprising way puts the GM and Players on more equal footing as improvisational storytellers who feel suspense and excitement. Strategy and tactics are rewarded, but careful plans and high skill ratings do not always guarantee success.
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In Nine Powers all characters have skills and talents rated between 1 and 4. As characters gain experience they increase in proficiency with these skills and talents.
(This is different from a role-playing game in which characters instead advance through "levels". These skills are used as general approaches to overcome obstacles, the same as in a role-playing game that calls them "actions".)
In the chart to the right, the skills are written in brown, and each skill has an associated talent written in italicized green. All skills and talents are clickable links!
New characters should have skill ratings that total 30. New characters have no talents.
There are only a few skills. This mimics the exaggerated prowess of protagonists in classic pulp fantasy adventure stories and films. In this genre the protagonists demonstrate unrealistic expertise at broad categories of real-life skills. For example, Yu Shu-lien fights expertly with any melee weapon, James Bond uses all pistols with equal mastery, Benedict of Amber optimally leads any army on any battlefield, and Buckaroo Bonzai can expertly drive any vehicle.
Because characters are described with only a few small numbers, the GM can readily improvise NPCs. This helps the story go quickly and encourages a focus on creativity and adventure.
These rules sometimes refer to half of a skill's name when doing so aids contextual clarity. For example, these rules will sometimes discuss "the Wrestle skill" instead of "the Wrestle/Shove skill".
In these rules skill names are always capitalized. This helps differentiate situations from skills. For example, a character bargaining while purchasing equipment will certainly use the Bargain skill, but could also use the Identify and Intuition skills to appraise the value of items, the Etiquette skill to earn favor with the merchant, or the Disguise skill to pretend the purchase is for a local noble.
The point of the previous paragraph deserves repeating. One situation can be approached with many skills!.
One Situation, Many Skill Options
Consider a PC who leaps off a ledge onto a monster. What is the PC trying to accomplish?
If the PC is trying to knock over the monster, that would use the Wrestle skill.
If the PC is trying to stab it with a weapon as he or she lands, that would use the Melee skill.
If the PC is trying to subdue it with the force of his or her personality, that would use the Wonder skill.
If the PC is trying to land unnoticed on the sack the giant is carrying on his shoulder, that would use the Stealth skill.
If the PC is trying to ride it, that would use the Animals skill.
The rules about skills, talents, dice, and crafting are general rules and almost independent of setting. They can be modified for a modern or futuristic setting by changing the crafting rules. These general rules can get trumped by setting-specific rules.
(Here is one example of a setting-specific rule that trumps a general rule. Characters do not start with any talents according to the rules below. However, the setting-specific rules about the people of Spyragia's provide an exception to that general rule: members of each kin start with one point in a certain talent as part of their kin's heritage and expertise.)
Skills and talents are rated between 1 and 4.
The following table provides examples of who might have a certain skill rating, and an example of what that skill rating can reliably accomplish when using the Hearthwork skill to do some baking.
| Rating | Example Characters | Example Baking Task |
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| 1 | Peons, pawns, flunkies, mooks, and expendable allies wearing red shirts who have minimal training and experience | Following a recipe after someone else set out the ingredients and cookbook |
| 2 | Guards, thugs, laborers, and others who get occasional training and perhaps daily practice | Making a crumb crust cheesecake |
| 3 | Veterans, diplomats, craftsmen, and others showing fine experience from daily use | Making a cake with jam between the layers, patterned frosting, and pretty piped icing decorations |
| 4 | Guard captains, bandit chiefs, master craftsmen, and other experts and leaders in their fields | Making the wedding cake for a noble family |
Skills in SPECTRE
Consider the novel On Her Majesty's Secret Service.
The common SPECTRE agents employed at Piz Gloria were easily fooled and fought by Bond (skill raing 1 in most skills, perhaps 2 in Melee/Protect).
Blofield is far more clever, perceptive, dangerous, and even athletic than these men (skill rating 3 in most skills).
Since Blofield does not employ a mercilessly tough or trained bodyguard like Odd Job or Jaws, the story lacks a villain who can match Bond's skill rating of 4 in Melee and Shoot.
Tracy does match Bond's skill rating of 4 in driving, as well as proving his equal in courage both before and during their brief marriage.
Remember the guideline that a new PC should have skill ratings that total 30, with every skill rated 1 to 4, and no talents. Those starting limitations allow a rewarding sense of progress as the PC adventures and grows stronger.
Design Notes
Nine Powers Nine Powers is an OSR style game.
The GM applies bonuses, penalties, and degrees of success like a referee making rulings. Tables help create an open world and provide surprises for GM and Player alike.
Players become more skilled at freely and creatively having their PCs attempt anything that fits the story (except unlearned talents). New PCs are not yet heroes and never become superheroes. PC advancement is based on exploration and objectives, not combat success. There is no goal of game balance, and threats becomes deadly if PCs ignore signs of danger provided by the story and the game mechanics.
There are no rules for what a new PC is like. If you look at the character sheet file you will see that the sample starting characters are quite robust. They have features specific to their setting. They start with fun equipment that might even be magical. The fantasy kin they belong to grants them one or more abilities. They have one or more wondrous feats and one or more extra talent points to enable using those wonderous feats. A new PC could also be the champion of a Power, questing to break a curse, or have great wealth due to an interesting backstory involving political intrigue.
Nine Powers is a storytelling game, not a "balanced" game. The GM and Players should create PCs and NPCs that are interesting and fun. Everyone should agree to add, remove, or bend rules to help create the kind of story they want.
With that preface behind us, let's discuss creating a new PC.
The Player needs to have a mental image of what his or her PC is like.
Some Players consider an archetypical protagonist or a character from another story. It can work to think of a heroic character. But do not invent a long backstory for your new PC that includes past heroic deeds. Nine Powers works best for stories in which a new PC is an explorer, treasure hunter, or normal person forced to adventure because of a personal problem. Nine Powers works best when creating stories about PCs who aspire to become heroes.
Two Character Concepts from Others Stories
"My PC is like Robin Hood in the Errol Flynn film. He is energetic, physical, and charming. He is the best archer, and a very good swordsman. He is pretty observant. He is not an acrobat, but he can swing from chandeliers or safely jump down from a high place. He was wealthy, but was betrayed and is now an outlaw."
"My PC is like Kerowyn from the Mercedes Lackey stories. Maybe she even has some kind of magic sword. She works as a mercenary. She is a dangerous swordfighter and a capable team leader. She values honor and fair play. She could teach and inspire people. She rides a horse very well. I want her to be good with all animals, not just horses."
Whether or not your character is based on another or completely original, the best next step is to answer questions as you decide on skill ratings.
Start with all skills rated 1. Then, for each of the 15 questions below, answer the question and then choose a skill that fits that aspect of your character's background to increase by 1 (to the maximum of 4). When you are done you will have skill ratings that total 30 and be ready to start your adventure!
Character Background Questions
1. What is a short phrase that would describe the character?
2. Pick two unusual features of the character's appearance: two details of smell, sight, sound, feel, or temperature.
3. Who are three characters that are very special to the character? Where do they live? What are their concerns and problems?
4. Who is the character's friendly rival or antagonistic nemesis? Describe that person.
5. What is one thing about the character's home or birthplace that needs to change? What is one thing the character would fight to protect or keep the same?
6. Which of the character's possessions are most sentimental or beautiful?
7. Who taught the character to fight—or to survive without fighting? Where is this person now? Did they have any enemies?
8. What was the character's most memorable dangerous situation? Who died, or nearly died?
9. How has the character experienced sudden changes of fortune (quick gains or losses of wealth, status, or power)?
10. What was the character's greatest mistake? Is it secret? Does the character have other secrets to protect?
11. Does the character pursue any particular recreational activity or hobby? What are the character's favorite expenses? Which vice or virtue does the character use to unwind? With whom?
12. How has the character been hurt and/or helped by corruption? How does he or she cope with types of violence that are common in the story's setting?
13. Which imminent events does the character plan for? What are his or her immediate hopes, goals, worries or fears? What is an important upcoming event?
14. What is a significant or repeated misunderstanding that causes trouble for the character?
15. What is the character's source of income? Why is money tight? What are his or her inescapable needs for money?
These questions are intended to be deep enough to help make interesting characters, but generic enough to fit any setting. Feel free to use other questions.
Here are some example responses. In this example, a Player is thinking about playing an adventuer named Nimsy who grew up as the daughter of adventurers and is now an alchemist starting her own professional life.
Example Responses Character Background Questions
1. What is a short phrase that would describe the character?
Nimsy looks like a sloppy alchemist. She wears a bandolier that holds glass bottles, many of which are the colorful potions and flasks she uses when adventuring. Her hair is up in a messy bun. Her leather apron has many stains and burn marks. (The Player increases the PC's Alchemy skill by 1.)
2. Pick two unusual features of the character's appearance: two details of smell, sight, sound, feel, or temperature.
She is well-spoken and uses careful diction. Her voice is musical. (The Player increases the PC's Etiquette skill by 1.)
3. Who are three characters that are very special to the character? Where do they live? What are their concerns and problems?
Nimsy works at the zoo taking care of elderly monsters. She loves three geriatric bigbeast hamsters. They are the size of pigs. They and still very clever and curious, but naturally very tired. Her potions help them stay active enough to be happy. (The Player again increases the PC's Alchemy skill by 1.)
4. Who is the character's friendly rival or antagonistic nemesis? Describe that person.
When she was in school her rival was the other girl in her class who loved alchemy, named Viozet. But Viozet was always bigger and stronger. When bullied, Nimsy would run and climb a tree. Viozet still enjoys making trouble for Nimsy, but now in more subtle ways. (The Player increases the PC's Climb skill by 1.)
5. What is one thing about the character's home or birthplace that needs to change? What is one thing the character would fight to protect or keep the same?
The teachers at her school would hint that there some alchemy recipes were taboo or evil. Of course this made students more curious, and some students got into trouble trying to research what they were or invent a recipe that would be outlawed. Nimsy has a hunch there must have been some better way to handle that topic. (The Player increases the PC's Intuition skill by 1.)
6. Which of the character's possessions are most sentimental or beautiful?
Her father was a famous tracker. On her fifth birthday he gave her a book about learning to identify animal and monster tracks. He went missing that year. She treasures that book as the last gift her father gave her. (The Player increases the PC's Stealth/Track skill by 1.)
7. Who taught the character to fight—or to survive without fighting? Where is this person now? Did they have any enemies?
That would be her mother. She is a famous adventurer. When Nimsy's father did not come home, her mother went looking for him. Her mother still spends about a month each year searching. She once said that Nimsy should learn to defend herself, and that summer had fencing lessons. (The Player increases the PC's Melee skill by 1.)
8. What was the character's most memorable dangerous situation? Who died, or nearly died?
The last time her mother left to search for her father, Nimsy snuck after her mother. Nimsy managed to follow her mother onto a boat, but while aboard some men in dark blue cloaks started a fight. Nimsy almost died. Her mother saved her, and then sent her home. Those men did not seem like normal thieves or bandits. (The Player again increases the PC's Stealth/Track skill by 1.)
9. How has the character experienced sudden changes of fortune (quick gains or losses of wealth, status, or power)?
She recently inherited a mysterious magic sword from a distant relative. She is trying to work up the courage to quest in the Enchanted Forest to learn what it does and how to use it. (The Player increases the PC's Bargain/Wonder skill by 1.)
10. What was the character's greatest mistake? Is it secret? Does the character have other secrets to protect?
Nimsy spends too much time alone. She still goes out into the wilder-ness to get rare herbs. Someday she might meet a monster, or those men with dark blue cloaks. (The Player increases the PC's Wilderness skill by 1.)
11. Does the character pursue any particular recreational activity or hobby? What are the character's favorite expenses? Which vice or virtue does the character use to unwind? With whom?
Nimsy loves to spy on other alchemists. At night she likes to sneak across the city's rooftops and look in windows to see what other alchemists are doing. (For a third time the Player increases the PC's Stealth/Track skill by 1.)
12. How has the character been hurt and/or helped by corruption? How does he or she cope with types of violence that are common in the story's setting?
Her only contact with the seedy side of city life is when she sees other people on the rooftops at night. She stays away, hiding before they notice her. (The Player increases the PC's Perception skill by 1.)
13. Which imminent events does the character plan for? What are his or her immediate hopes, goals, worries or fears? What is an important upcoming event?
Nimsy is excited about a "practical household alchemy" contest that Lord Ronyld and Lady Jularna are putting on next week. She thinks her newest invention—a recipe for a an air freshener that neutralizes fishy smells—will win a prize, and perhaps help her start selling alchemy supplies privately to suppliment her zoo income. (For a third time the Player increases the PC's Alchemy skill by 1.)
14. What is a significant or repeated misunderstanding that causes trouble for the character?
Nimsy also likes tinkering with machinery. Some of it is practical: she could save money if she learned to blow glass, to make her own alchemical supplies. But she also likes cute devices with lots of moving parts. Some of her friends who are alchemists and who have seen disassembled devices in her workshop have convinced themselves that Nimsy is getting bored of alchemy, but she can't convince them that she is not. Maybe Viozet is spreading a rumor? (The Player increases the PC's Machinery skill by 1.)
15. What is the character's source of income? Why is money tight? What are his or her inescapable needs for money?
That zoo job is her only income. She really wants to start a side business, but is not yet well-known. There are always more alchemy recipes and equipment to buy! She has been practicing her salesmanship, and gathering information about what alchemy products she might make that would sell reliably. (The Player again increases the PC's Bargain/Wonder skill by 1.)
This type of background brainstorming might be too much for very young Players. They can just start the story, with the GM forming skill ratings by asking questions as the story develops. (For example, "You might be able to jump over that pit. How good is your character at jumping?") Limiting a new PC to skill ratings that total 30 means that if the Player consistently describes the PC as capable at everything, the PC will soon run out of available points and the GM will set the remaining undecided skill ratings to the minimum of 1.
Some players simply want to picking the character's initial starting skill ratings.
A Skill Based Character Conept
"My PC is great at fighting. All four Brawn skill ratings are 4. Hm. That leaves me with only 30 − 16 = 14 more points to spend. Let's do a 3 in Perception/Escape, a 2 in Animals/Wilderness, a 2 in Stealth/Track, and 1 everywhere else. Maybe I was a barbarian who came to the big city to work as a gladiator?"
This can work, but be warned that it tends to result in two-dimensional characters and less interesting and exciting stories.
Notice how many details of Nimsy's personal history could pop up in her story: her family, her job, her childhood rival, her inherited magic sword, her time alone in the forest and on rooftops, the mysterious men in blue cloaks, etc. In contrast a character that is merely "a barbarian seeking work as a gladiator" is a more shallow character that will require extra effort and creativity from the GM and Player to star in a deep and rich story.
If you are a Player reading these rules, take a moment to imagine what type of character you would like to play. Do you have answers for the 15 questions above?
As a Player, you will probably use that piece of paper called a character sheet to keep track of the PC's skill and talent ratings, wealth, advancement tokens, etc. On the back you can write about notes and known recipes.
The GM will also need to imagine characters. NPCs are like "partial PCs" and often described by a few dominant skills and talents, as well as other information important to the story. Everything can be improvised by the GM, but a short description of some NPCs can be helpful as GM plans the story's expected transitions.
Caul the NPC Merchant
Caul the merchant is capable haggler, but might still be no match for an experienced PC. He has a booth in the small market square near the port. He sells potions: primarily antidotes for seasickness, hangover, scurvy, and "deckhand's fever". It is a rough part of town, but he finds the people-watching there amusing and relaxing.
Caul recently aquired a treasure map pointing to a location in the nearby mountains, but is unsure how much to sell it for.
Skills: Melee/Protect 1, Wrestle/Shove 2, Perception/Escape 2, Identify/Lore 3, Bargain/Wonder 3, Disguise/Etiquette 1, Alchemy 2
Talents: Identifying potions has 2 skill
This sample description shows that the adventure's designer is not expecting Caul to be very significant in the story. The merchant is described with just enough detail to help the GM improvise the rest of the character.
The GM should use NPCs to link locations in the story. In the example above, Caul's map links the port to the nearby mountains.
Locations in Star Wars
Consider the film A New Hope.
Obi-Wan links Tatooine to Alderaan. Vader links Alderaan to the Death Star. Leia links the Death Star to Yavin IV.
As the PC adventures, he or she develops greater skills and talents, and becomes capable of attempting greater challenges.
Adventures will contain many significant objectives: the PC uses an important clue, makes an important ally, reaches an important location, finds an important treasure, accomplishes an important goal, etc. Whenever a PC successfully completes one of these accomplishments, he or she receives as a reward an advancement token (abbreviated to XP for historic gamer reasons). The GM may also reward unusually great moments of Player creativity or role-playing with extra advancement tokens.
Alternately, after the GM and Players agree in advance about how many advancement tokens a story will include, it could be the Players' job to award the advancement tokens to each other for what they feel are great moments of creativity or role-playing.
Design Notes
Nine Powers uses PC crafting as a way for Players to spend gold in between adventures.
The game Shadowdark offers an alternative: PCs can turn excess gold into XP and allies using a carousing table. You can use that, or design your own, knowing each Shadowdark XP is worth one Nine Powers advancement token.
Advancement tokens can be physical tokens or just a tally mark recorded on paper. They are used to increase skill or talent ratings. They may be saved up, spent during an adventure, or spent between adventures.
Increasing a skill or talent to the next higher rating costs twice as many advancement tokens as the new rating. A talent's rating can never exceed the corresponding skill's rating.
How are skills used?
First, note that during the story most situations have trivial difficulty. Most PC actions are automatically successful and skills are not even mentioned by the GM or Player. A PC does not need to formally use the Acrobatcs skill to jump a short distance, use the Animals skill to calmly ride a pet horse, or use the Perception skill to notice obvious features and items in a room.
Appraising a Normal Sword
GM: The blacksmith shows Vroy a display case with swords for sale. Which does he want to inspect?
Player: Vroy looks at his second-favorite. What does he think it is worth?
GM: Although it looks nice, and the metal seems high quality, it has poor balance. Perhaps 400 silver coins.
The sword is not magical or unusual. Vroy is a warrior who has experience with swords. The appraisal automatically succeeds.
What happens when there is a chance of failure?
First, the GM should affirm that a failure could be interesting in the story. The GM should ask the Player for help with brainstorming if needed. What could go wrong if the PC does not successfully impersonate a bandit when visiting their camp? When the PC visits several seedy taverns to ask about a smuggler, who might overhear and care? If the PC cannot open a certain door in the evil wizard's tower by breaking it down or picking the lock, where might the wizard have hidden a key?
Then the GM and Player roll dice to check if the action is successful.
The GM secretly picks one of three difficulties for the action: easy, medium, or tough.
A single obstacle can have multiple difficulties based on which skill the PC uses. That door in the wizard's tower might be a very hard wood (tough to cut through with an axe using Melee), standard hinges (medium to break with a crowbar using Wrestle), and a simple lock (easy to pick using Machinery).
Nine Powers uses a traditional set of six polyhedral dice.
The Player rolls as many different dice as the appropriate skill rating. The hope is to roll low numbers, so the dice with the fewest sides are picked first.
This group of one or more dice is called the dice pool for that skill check.
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| Skill Rating 1 one die |
Skill Rating 2 two dice |
Skill Rating 3 three dice |
Skill Rating 4 four dice |
(The four pictures above are what happens normally. Special rules below can allow a Player to roll more than four dice for a skill check, or can make certain die sizes ineligible for a particular skill check.)
If any die rolls a 3 or less then the PC succeeds with a skill check of easy difficulty.
If any die rolls a 2 or less then the PC succeeds with a skill check of medium difficulty.
If any die rolls a 1 then the PC succeeds with a skill check of tough difficulty.
Notice that only one die needs to be low enough.
There is no arithmetic in skill checks! Simply pick an appropriate skill, roll the proper number of dice, and identify the lowest value rolled.
Appraising a Magic Sword
GM: The enchanter shows Vroy a display case with magic swords for sale. "Try holding this one, which has a simple enchantment that keeps it sharp and unbreakable."
Player: Vroy gently hefts the sword. What does he think it is worth?
GM: Vroy does not have much experience with magic swords. Make an Identify skll check.
The GM decides this skill check has easy difficulty.
Vroy's Identify skill rating is 2. So the Player rolls 2 dice: the four-sided and six-sided. The lowest number rolled is 3, which is low enough for success with a check of easy difficulty.
GM: The metal seems high quality, and the sword has good balance. The enchantment is probably worth 320 silver coins. So a total price of 720 silver coins.
Some skill checks respond to action, instead of initiating action. Those types of skill checks are called avoidance checks.
Eluding a Dart Trap
Player: Loot! Vroy opens the treasure chest.
GM: The chest is trapped. A dart flies out from inside.
Player: Ack!
GM: Roll an Acrobatics avoidance check.
Vroy's Acrobatics skill rating is 3. So the Player rolls 3 dice: the four-sided, six-sided, and eight-sided dice. The lowest number rolled is 1, which would be successful at any difficulty.
GM: Vroy's quick reflexes save him. The dart flies past his ear and sticks into a wall.
The Wrestle skill can represent the bodily strength needed to avoid being knocked down. The Wonder skill can measure the mystical attunement needed to avoid being magically cursed. The Etiquette skill can show the social graces needed to avoid harm from a slanderous rumor. The Perception skill can rate the passive awareness needed to notice a trap before it is triggered.
Some dangers cannot be completely avoided, and a successful skill check only lessens the harm. For example, an avalanche might hurt all characters caught within it, but those with high enough Acrobatics or Escape suffer much less harm.
Design Notes
What is the chance for success when each skill rating attempts a skill check?
At skill rating 1, easy is 75%, medium is 50%, and tough is 25%.
At skill rating 2, easy is 88%, medium is 67%, and tough is 38%.
At skill rating 3, easy is 92%, medium is 75%, and tough is 45%.
At skill rating 4, easy is 95%, medium is 80%, and tough is 51%.
These dice mechanics feel fun. Studies have shown that when people say they want a fifty-fifty chance to win in a recreational game, they actually are happy with a two-thirds chance of winning. A skill rating of 2 attempting a medium skill check feels fair because it feels like a coin flip situation, but has the psychologically desirable chance to win.
Also note for later that the expected value of a skill check that causes damage to an unarmored opponent (described below) is usually highest for medium difficulty. But if a character has a dice pool of 5 or 6 dice then the tough difficulty becomes equally optimal.
Characters can benefit from finding an approach that raises their chances.
Maybe the suspicious guard allows almost anyone wearing noble's clothing to pass. Maybe the novice minstrel's music is delightfully improved when she plays a magic lute. Maybe the sage cannot recall a needed piece of information from memory, but might find it in a certain rare book, or if he had access to the royal library. Maybe the machinist cannot repair the ancient device with her traveling toolbox, but probably could if she brought it back to her workshop.
A benefitial circumstance, item, or enchantment can make a skill check's dice pool include one more die than normal. This is called a small bonus. For example, if the appropriate skill rating was already 4, a small bonus would allow the dice pool to also include the twelve-sided die.
Multiple benefits that work together can make a skill check's dice pool include two more die than normal. This is called a big bonus. If the appropriate skill rating was already 4, a big bonus would allow the dice pool to also include the twelve-sided and twenty-sided dice.
Similarly, unfavorable circumstances or using improvised equipment can make a skill check's dice pool use one or two dice fewer than normal. This is called a small penalty or a big penalty.
Bonuses or penalties cannot make a dice pool smaller than one die, or larger than six dice.
Some challenges will have degrees of success, with harder difficulties representing superior results.
Degrees of Success
GM: As Siron approaches the rubble the slime on its surface flows together to form a humanoid shape that blocks his way.
Player: What does Siron know about this kind of creature? Roll using Siron's Lore skill?
GM: Yes.
Siron's Lore skill rating is 3. So the Player rolls 3 dice: the four-sided, six-sided, and eight-sided dice. The lowest number rolled is 2.
The GM's reply is based upon the difficulty achieved by the Player's die roll.
- Easy - The creature is an ooze of dangerous size. Oozes can be intelligent. Besides attacking, perhaps the PC can intimidate or appease it.
- Medium - The five traditional ways to attack oozes are by cutting, bludgeoning, burning, freezing, or splashing with salt water. These might cause damage, do nothing, or cause the creature to split into two smaller oozes.
- Tough - This particular ooze is called a "butterscotch jelly". It is vulnerable to salt water and bludgeoning. Do not try burning it, or it will divide. Cutting or freezing do nothing.
GM: The creature is an ooze of dangerous size. Oozes can be intelligent. Besides attacking, perhaps Siron can intimidate or appease it? Also, the five traditional ways to attack oozes are by cutting, bludgeoning, burning, freezing, or splashing with salt water. These might cause damage, do nothing, or cause the creature to split into two smaller oozes. For this particular ooze you do not know which types of attack cause which results.
A character who fails a skill check need not give up and go home! Often the character can find another plan that allows success.
As mentioned above, the character might be able to try again using a different skill. For example, a character who could not pick a door's lock could next try to force it open with a crowbar or hack it down with an axe.
Characters have three other ratings that are used similarly to skills. As with skills, these three other ratings can be used proactively or as avoidance checks. As with skills, the die roll will be easy, medium, or tough and the Player rolls a dice pool with as many dice as the rating to check for success.
Unlike with skills, these three ratings range from 1 to 6 and never get bonuses or penalties.
Stamina measures a character's current physical sturdiness, energy, and health. A stamina check can allow a character to travel farther than expected, win a long-distance foot race, push on despite being poisoned, or otherwise keep going when physical endurance is required.
Composure measures a character's current mental resilience and aplomb. A composure check can allow a character to resist being nauseated by something foul, shocked by the horrific, charmed by a magic song, traumatized by loss, otherwise keep going when mental endurance is required.
Wealth measures a character's currently available financial resources. These include funds, favors, and influence. A wealth check can allow a character to purchase mundane or magical equipment to help them in the story.
A wealth check is also appropriate when a PC is trying to move quickly or carefully when encumbered. A poor PC is probably traveling with a sack slung over their shoulder, or a blanket tied to a pole. A PC with more financial or social resources would adventure with a well-designed market wallet or shoulder bag. The wealthiest characters could anachronistically have a backpack with useful straps and buckles.
Unlike skills, a character's stamina, composure, and wealth ratings are not picked by the Player designing a character, or changed by spending advancement tokens. Instead, they depend upon the character's skill ratings.
Unlike skills, a character's stamina, composure, and wealth change frequently.
In most stories the PCs will start with three values start at their maximum amounts, because the PCs are healthy, rested, and have not been financially reckless. During a story these three ratings change as the PCs get taxed physically or mentally, rest and recover, get injured, purchase mundane or magical equipment, find treasure, and so forth.
Sometimes it makes sense for a group of characters to share a single skill check.
Assuming that the character who is best at the relevant skill is able to help his or her allies, only that dominant character's die roll determines success or failure for the group action. However, all the other participants also attempt the skill check, and for each ally who fails the dominant character loses stamina or composure or wealth (as appropriate to the situation).
"We all climbed over the wall, but you stepped hard on my hand as I helped you climb!"
"We all managed to sneak by the guard, but dealing with your noise really rattled my nerves!"
"Together we made the potion, but I had to supply most of the know-how and a bunch of precious ingredients!"
The lost stamina or composure or wealth recovers normally (see below).
In the above examples of skill use—appraising a sword, avoiding a trap, identifying a monster—the only active character was the PC doing the skill check.
But many situations involve one character attempting to affect another equally active character. When two characters compete or otherwise act to challenge each other's goals we measure their progress as a race to reduce each other's stamina, composure, or wealth to zero.
The character whose turn it is now picks the difficulty of the skill check.
Remember that only one die needs to roll a low enough number for the skill check to succeed.
Design Notes
Notice this huge change!
In a plain skill check about information or objects, the situation determines whether the die roll is easy, medium, or tough. A higher degree of success might accomplish more.
But when characters compete the character whose turn it is picks the difficulty, and can decide to try accomplishing more with a more difficult die roll.
We use the word damage to refer to the attempted reduction to an opponent's stamina, composure, or wealth. But this "damage" need not be violent, dangerous, aggressive, or unfriendly. Examples of situations in which "damage" represents more mellow progress include two friends arm wrestling, a merchant and customer bartering about a price, or two cooks trying to out-do each other in a kitchen.
Damage could be used to measure the progress during a combat where two characters duel with swords until one resigns.
Damage could be used to measure the progress during an argument where many characters plead with a queen to grant their request.
Damage could be used to measure the progress as a character tries to sneak past many bandits to get to the bandit leader's tent.
Experienced GMs and Players have practice describing damage in interesting ways.
If the contest is about wearing down an opponent physically, your PC's damage hopes to reduce the opponent's stamina.
Similarly, if the contest is about wearing down an opponent socially or mentally, your PC's damage hopes to reduce the opponent's composure.
Finally, if the contest is about winning a crafting competition, your PC's damage hopes to reduce the opponent's wealth.
Design Notes
These game mechanics provide a sanctuary for creativity!
Do you want your PC to jump from a rooftop onto a guard, or swing from a rope to knock a monster to the ground? No one will challenge that idea, say it is unfair, or stop the storytelling to calculate how much damage happens. Your creativity is safe because the game mechanics frame it fairly: those ideas sound like tough die rolls that might cause maximum damage!
As a skill check do you want your PC to consort with the city's gondoliers to learn the travel habits of the evil prince? The story will continue with a fast and fun pace, since your creative use of Etiquette need not be justified or defended in detail as long as everyone agrees on what the degrees of success should represent.
Damage during a combat can represent injuries, being briefly dazed or shaken or stunned, getting knocked down or pushed back, having equipment to crack or break, being disarmed or grabbed, or being forced into an unfavorable positioning.
During a social situation damage can represent speaking clumsily, getting distracted or disoriented, being caught using an exaggeration or lie or straw-man argument, getting caught going off on a tangent, or being ridiculed.
During a crafting contest damage can represent wasting time, wasting ingredients, being forced to use suboptimal methods or ingredients, or having equipment weaken, crack, or break.
During a contest, picking to attempt an easy skill check means you are very likely to succeed, but will not accomplish much. In contrast, picking to attempt a tough skill check means you might accomplish a lot but your bigger effort telegraphs your intentions in a manner that your opponent might more easily avoid.
Note that the story will usually suggest which type of damage is sensible in a current conflict. If a hungry wolf in the woods attacks the PC, it only makes sense for that conflict to be a combat in which the opponents attempt to diminish each other's stamina: the wolf does not have the "levers" of uncertainty, anxiety, burnout, or shame by which the PC might reduce a person's composure. But if a mugger in an alley fails to sneak up on a PC because a magical eye appeared on the back of the PC's hat, perhaps a conflict about composure is as appropriate as a conflict about stamina as the mugger realizes she might have picked the wrong target.
Design Notes
Reactions allow one skilled PC to fight a group of unskilled NPCs. The pace of story remains brisk because reactions only happen after failed skill checks.
When one character (that we will call the attacker) attempts to damage another but fails the skill check, a defender that is aware of the attempt may pick one of two reaction options.
Reactions use a skill check at the same difficulty of the attacker's failed skill check.
Design Notes
Note a vocabulary distinction.
An avoidance check is a die roll requested by the GM because of a situation that the Player does not expect, to check if a PC avoids or mitigates a problem.
A reaction check is a choice of two options made when an attack fails during combat.
Note that NPCs and monsters also get to make reaction checks.
Soon you will see that Nine Powers does not have very detailed rules about types of weapons or armor.
The GM and Player can invent rules about bonuses or penalties to reaction skill checks if they desire more tactical complexity during combat. (For example, perhaps chain armor provides a bonus to reaction checks if the attacker is using a sharp weapon but not if the attacker is bludgeoning.)
Example Social Reactions
GM: As Boxley is visiting the village market, a man points at her and shouts, "It's her! She was helping the bandits!" He is about to say more, to stir up the crowd. What does Boxley do?
Player: Hm. Perhaps she should turn the tables? She could shout, "Last night I was spying on the bandit camp. If this man saw me there, he must be one of the bandits! Everyone, seize him!"
In that case, Boxley could use Provoke as a reaction, attempting a counter influence on the crowd if the man's Provoke skill check fails.
Perhaps this man is a stranger to the villagers, and Boxley's Provoke attempt would gain a bonus. Or perhaps the man is respected in the village, and Boxley's Provoke attempt would suffer a penalty.
Player: Or maybe Boxley should try something tricky? She could reply, "I was selling them drugged wine, to better attack them tonight! Surely a brave man like you will come with me to fight and save this village."
In that case, Boxley could use Bargain as a reaction, attempting a feint that would put the man at a disadvantage if his Provoke skill check fails.
Perhaps this man is eager to fight the bandits, and Boxley's Bargain attempt would gain a bonus. Or perhaps the man is cowardly, and Boxley's Bargain attempt would suffer a penalty.
Examples of Melee Reactions
Player: Boxley swings her sword at the skeleton warrior! She makes a medium Melee skill check.
GM: The skeleton attempts a tricky riposte with its own sword.
The skeleton could use Melee as a reaction, attempting a counter that could harm Boxley if her Melee attack fails.
If the skeleton was wielding a shorter weapon than Boxley's, its reactive Melee skill check could suffer a penalty.
Player: Boxley swings her sword at the skeleton warrior! She makes a medium Melee skill check.
GM: The skeleton courts danger, trying to position itself to better attack Boxley on its turn.
The skeleton could use Gamble as a reaction, attempting a feint that would put Boxley at a disadvantage if her Melee skill check fails.
If the skeleton was slow, its reactive Gamble skill check could suffer a penalty.
Player: Boxley swings her sword at the skeleton warrior! She makes a medium Melee skill check.
GM: The skeleton tries to block with its buckler as it positions itself to best strike Boxley.
The skeleton could use Protect as a reaction, attempting to feint put Boxley at a disadvantage if her Melee skill check fails.
If the skeleton was trying to parry with a dagger instead of a shield, its reactive Protect skill check could suffer a penalty.
If the skeleton was trying to parry with a large shield instead of a small buckler, its reactive Protect skill check could suffer a bonus.
Example Stealth Reactions
GM: As Boxley is hiding near warehouse entrance, a thug starts looking in that alleyway. What does Boxley do?
Player: Can she notice something useful about how the thug moves, that would help her fight?
GM: Boxley would have time to study the thug as he approaches.
Boxley could use Perception as a reaction, attempting a counter by imposing the Perception issue "I am revealing a weakness..." if the thug's Perception skill check fails.
Player: What if she throws something to distract the thug?
GM: That would not keep Boxley safe for long, but might allow her to pounce on the thug if he does get distracted.
Boxley could use Throw as a reaction, attempting a feint that would put the thug at a disadvantage if his Perception skill check fails.
There are skill checks for which the defender has no sensible way to counter or feint. For example, a defender without a ranged weapon might have no available reaction when being shot at by an archer.
During a story a character's stamina, composure, or wealth might be reduced to zero.
Most often this happens during a combat or social contest. Traps and environmental dangers could cause it to happen with a failed avoidance check. Failing to land a jump, or to notice an ambusher, could cause it to happen with a failed skill check.
When a character has any of stamina, composure, or wealth reduced to zero then that character is defeated.
As example of a social challenge, Vroy wants to get into a castle but knows that the guards do not normally let in anyone who does not have an appointment with a member of the royal family. What does he say to reduce the guard's composure to zero?
(Notice that nothing inherent to fast-talking a guard means that a long series of skill checks leading to defeat is more appropriate than a single skill check. This example situation must be important to the story to deserve so much time and attention.)
Vroy Fast-Talks a Castle Guard
GM: The guard watches Vroy approach. He says "Good day" without a smile.
Player: Vroy replies, "I wish it were. The prince summoned me to discuss the city's wererat problem. However, I lost his letter."
Vroy wants to enter the castle. The guard wants to require proof of an appointment. Both will use the Bargain/Wonder skill. Vroy will take his turn first since he initiated the conversation.
Vroy has a Bargain/Wonder skill rating of 2, so the Player will roll two dice: the four-sided and six-sided dice. The Player says Vroy decides to attempt an easy skill check.
The GM decides the guard will try to counter Vroy's argument. If the Player's die roll fails, the guard, who also has a Bargain/Wonder skill rating of 2, will get two dice to attempt this reaction.
The Player's dice roll a 4 and 3. This counts as success because one die rolled 3 or less. Vroy is successful as the "attacker", so the guard does not get to counter. The guard's composure is reduced by 1 (because of the easy skill check), from 3 to 2.
GM: The guard is slightly flustered, but frowns. "No entrance without the letter. Pay an official courier to ask for another. Or perhaps His Highness will hire a more responsible adventurer." The guard stands straighter, hoping the solidity of his presence causes Vroy to leave.
Player: Vroy will collect his thoughts, looking for a weak point in what the guard says: a verbal feint.
The guard also has a Bargain/Wonder skill rating of 2. The GM rolls two dice, and attempts a medium skill check. The dice roll 2 and 5. Success with at least one die 2 or less.
The guard was successful on his turn as the "attacker", so Vroy does not get to react with a feint. Vroy loses 2 composure.
Player: Vroy is flustered, but hides this by acting shocked. "Pay a courier? You want me to pay to risk my neck fighting wererats? Hmph. I think I will offer my blade to another city that takes its monster infestations more seriously! Perhaps tomorrow His Highness will ask his royal guards to explore the sewers?" (Hopefully that's a strong argument in my favor!)
Vroy has a Bargain/Wonder skill rating of 2. The Player once again rolls a two dice, this time attempting a tough skill check.
The GM decides the guard will react by interrupting that speech, trying to counter Vroy's argument.
The Player rolls a success, with at least one die rolling 1!
The GM does not rolls a reaction check. The attacker succeeded, so the defender does not have an opportunity to counter.
The guard suffers three damage from the tough skill check, which is more than enough to reduce his composure to 0. Vroy has won the altercation!
GM: The guard looks abashed. "Sorry, sir. You speak truly. Go on in, sir. Better you than me in the sewers."
The contest is over. Vroy continues with 2 less composure. The guard's composure will be severely rattled for a while.
As always, circumstances, items, and enchantments might change the size of any skill check's dice pool.
Perhaps Vroy had a magic hat of mesmerizing glibness? Perhaps the guard's best friend was recently slain by a wererat? Either might have influenced the contest favorably for Vroy and increased his dice pool with a small bonus.
Perhaps Vroy is inebriated? Perhaps the gate guards were recently reprimanded for lack of strictness? Either might have influenced the contest unfavorably for Vroy and decreased his dice pool with a small penalty.
Usually there is a victor who chooses what that defeat looks like in the story.
For example, a wrestler who reduces his opponent's stamina to zero could say he securely pinned his foe, or that his foe was disarmed and became exhausted, or his foe was knocked unconscious by a blow to the head, or his foe was killed by asphyxiation.
A swordswoman who reduces her opponent's stamina to zero could say she backed her foe against a wall with the sword point touching her foe's neck, or struck down her foe until the opponent was too beat up to rise, or she slew her foe with a thrust through the heart.
An orator who reduces his opponent's composure to zero could say he politely won a debate, made his opponent an object or distrust or ridicule, or stirred up a crowd to chase his rival from town.
The winner of a crafting contest who reduces her opponent's wealth to zero could say she was slightly favored by the contest's judges, that her decisive victory humiated the other contestants, or that her creation overwhelmed those of the other contestants.
A person acting as GM always has the option of deciding most of what defeat looks like. The GM has more detailed plans for how the story will develop, and is therefore allowed to use defeats to guide the plot in a desired direction.
Siron's Defeat
Player: Siron fires an arrow at the bandit.
GM: The bandit screams as the arrow hits. Unfortunately he is not alone, and his friend is both sneaky and wielding an enchanted mace. Does Siron do or say anything as he slumps to the ground, losing consciousness?
The PC was defeated by a stealthy melee attack. Given that this happened, the GM has a strong preference for how the story should continue.
Player: Only "Oof!"
GM: Siron wakes up in a dark room. His feet are tied, and he has a huge lump on his head.
Perhaps Siron's circumstances would have changed if he had insulted, plead with, or sleep-gassed the nearby bandits as he lost consciousness.
A defeat should not abort or trivialize the story's development. It would be an awful story if the defeat of the first villainous minion let the PC learn all about the main villain's identity, plans, weaknesses, and secret lair. Similarly, it would be an awful story if the Player's first foolhardy decision caused the PC to die.
Memorable defeats make memorable stories.
When a PC is defeated, the consequences should either put an enduring limitation on the PC, provide an ongoing benefit to the enemy NPC, or cause a change of PCs.
Note that enduring limitations should require effort in the story to remove or cure. This happens even if that PC has allies that are not defeated. (If you are humiliated in a debate, or knocked unconscious during combat, there can be lasting consequences even if your friends do well in that situation.)
A defeated character might have lasting injuries after a fight, enduring ridicule from the townsfolk who saw her humiliated, be severely chilled after swimming in icy water, deal with nausea after falling into sewer sludge, have equipment taken away by the bandits who captured him, and so on. Such limitations can often be represented by penalties to die rolls in certain situations or by changes to the character's inventory.
An ongoing benefit to a victorious enemy NPC could be a new ability or item. "Foolish would-be hero! Since you cannot defeat me now, what threat could you possibly be after I soon acquire my Gizmo of Doom!?"
A change of PCs might happen when PCs are captured or killed, and new protagonists need to rise up to rescue them or continue their story. In many types of story, this most drastic outcome only happens if the Players have ignored clearly telegraphed signs of danger in both the story and the game mechanics. (Many townsfolk have warned the PCs about the dragon that lives in the swamp, and the PCs were low on stamina and heroism but entered its lair anyway.)
In some situations the GM decides a combat or competition ends before any participants have a rating reduced to zero. Perhaps the injured lizardfolk flee, the haughty noble realizes he should apologize for starting a public argument, the haggling merchant agrees to a compromise, or in some other way the situation resolves in favor of the PCs because their opponents recognize the inevitable.
If the GM and Player are having trouble inventing which enduring limitation fits a defeat, this optional three-step process can help.
First, use a twenty-sided die to roll on the appropriate hit location table. (If that location is already wounded from a defeat, roll again.)
Second, pick a description. Some suggestions are below. Did the defeated character become...
weakened? exhausted?
overheated? freezing?
numbed? sluggish?
choking? staggered?
sickly? dazed? dizzy?
enraged? obsessed?
scared? panicked?
disheartened? deluded?
befuddled? misinformed?
Third, pick one of the skill categories and mark it as having a small penalty. (If that category is already penalized from a defeat, increase this to a big penalty. No category can be picked a third time.)
Healing the types of injuries and problems caused by defeat requires time and resources. The GM and Player should agree about the requirements for healing. In a high fantasy setting the protagonists heal wounds amazingly quickly. In a survival horror setting the protagonists often must brave trials to acquire scarce resources to heal this type of mental or physical wounds.
Vroy's Wound
Player: Ouch! That Ogre hits hard, and my armor apparently could not withstand such a beating. Vroy is wounded. Let me see where...
The Player rolls an 5, which for a melee attack signifies the left arm. The Player picks the description "staggered" and marks the skill category "Brawn" as having a small penalty.
Player: The Ogre's club smashes into Vroy's shield, forcing the shield hard against Vroy's left shoulder. This knocks Vroy to down to the ground. He is losing consciousness. I don't like giving a penalty to all of Vroy's Brawn skills, but that is the type of wound that I think fits the story best right now.
GM: That also makes sense to me. Even after Vroy's allies finish off the Ogre and rally Vroy, his shoulder injury will continue to be problematic.
Ta da! With minimal bookkeeping the story continues with an appropriate consequence for defeat.
In a fantasy adventure combat should be exciting and tactical. There is always suspense when blades clash and arrows fly. Nine Powers maintains its themes of quick and kid-friendly storytelling. Yet Players deserve a few extra rules about armor and movement to make combat special.
A character's armor allows that character to suffer less damage during combat. Its mitigation reduces the harm caused by physical attacks.
The table's information about movement rate, fortune, and suspense will be described below.
| Armor Type | Attack Mitigation | Counterattack Mitigation | Movement Rate | Fortune | Suspense |
|---|---|---|---|---|---|
| no armor | none | none | 5 | 6 | 1 |
| light armor | 1 | none | 4 | 5 | 2 |
| medium armor | 1 | 1 | 3 | 4 | 3 |
| heavy armor | 2 | 1 | 2 | 3 | 4 |
The "attack mitigation" column shows how much armor reduces the damage from attacks made by an opponent on that opponent's turns.
The "counterattack mitigation" column shows how much armor reduces the damage from counterattacks made by an opponent as a reaction during the turns of the armor-wearing character.
Note that 2 points of mitigation does not mean that only tough attacks will hurt the defender. There are rules that provide ways to increase damage or reduce the effectiveness of armor: the feint reaction, the issues caused by Perception/Escape or Identify/Lore, sneak attacks, and magic items.
Here are examples of armor for a traveling adventurer in a fantasy setting. (Feel free to create your own armor table for other settings!) The costs in gold coins are explained in the economic rules below.
A gambeson (light armor, costs 4 gold coins) is a suit made of at least three layers of fabric. An inner layer of cotton is comfortable. Thick strips of wool are woven into a middle layer, much like a fabric version of kevlar. An outer layer of cotton or linen might be plain or fashionable. Some gambesons are shaped like a dress or tunic, with a skirt-like lower half. Other gambesons have legs and are shaped like a wetsuit. Gambesons do not restrict movement and are comfortable enough to sleep in, but can get waterlogged (a small penalty to extended swimming).
An outfit of boiled and waxed leather (light armor, 8 gold coins) is usually seen worn by the nobility or their bodyguards. Leather is easy to engrave, emboss, and tool: a choice that is the the least expensive way to look elegant while wearing armor. It is worn over an undershirt that is thinner than a gambeson. This armor does not normally restrict movement, but swimming is extremely difficult (increased to a big penalty) and a lengthy soak will completely ruin the armor. The bother of keeping the armor waxed is another reason few travelers wear this type of armor. Guards may admit that it is quite possible to sleep while wearing it.
A chain haubergeon (medium armor, costs 20 gold coins) covers a gambeson with a short-sleeve mail shirt. The links are heavy (a small penalty when climbing) but very easy to clean, maintain, and repair. Sleeping in a chain haubergeon is uncomfortable but possible. Many treasure-seekers consider the day they could finally afford their first chain haubergeon as they day their status rose to that of a "real adventurer".
A chain hauberk with pauldrons (medium armor, costs 60 gold coins) covers a gambeson with a hooded, long-sleeve, knee-length mail tunic. The weight now makes swimming and sleeping impossible, and still causes a small penalty when climbing. The pauldrons protect the shoulders, but their straps prevent lifting the arms above shoulder height (a small penalty to Shoot/Throw). The mail remains very easy to clean, maintain, and repair.
A brigandine tunic with pauldrons, rerebraces, vambraces, tassets, and greaves (heavy armor, costs 160 gold coins) covers a gambeson with a plates of metal riveted under a thick cotton coat. (Some of these coats are elegantly colored, or even covered with a decorative layer of linen.) This is more expensive to craft than mail, but when custom-made is so form-fitting that sleeping is comfortable. The weight is much less than mail, but still swimming is impossible. In addition to pauldrons, the arms are protected by rerebraces and vambraces (increasing the penalty to Shoot/Throw to a big penalty). The legs are protected by tassets and greaves (increasing the penalty to Climb to a big penalty).
A suit of plate armor (heavy armor, costs 300 gold coins) is functionally equivalent to the above set of brigandine armor, except that the penalty to Shoot/Throw is only a small penalty. It might be worn by a a palace guard or a knight at a joust, but is impractical for traveling.
A character's movement rate is based on the armor table above.
In general, people climbing or moving through difficult terrain halve their movement rates (rounding down).
When movement rates are tied, use an Acrobatics skill check to find the faster character.
The GM and Players should agree about how distances are measured. This can change from scene to scene.
In any case, it is clear that an unarmored PC (with a movement rate of 5) could outrun a monster with a movement rate of 4, but that monster could chase down a PC in heavy armor (with a movement rate of only 2).
The choice of movement rate scale (feet, yards, meters, squares, hexes, tabletop inches, etc.) should also apply to that scene's other measurements. In the rules below these include ranges for Shoot/Throw, shadow step teleportation distance, runeblockery ranges, and magic item ranges.
A character may forfeit its skill check on any of its turns to double its movement rate that turn. (The character is running instead of doing anything else.)
Not all competitive skill checks must try to cause damage. Nine of the skills can be used to try giving an opponent an issue.
Six of the issues can happen in any type of conflict. Two are only applicable during physical combat (the issues from Shoot/Throw and Shove).
When a character tries to cause an issue, the target does not get a reaction skill check. Attempting to cause issues is a safer thing for weak characters to do during combats.
Design Notes
Many role-playing games have rules about how characters can team up and combine their turns or resources to attempt a single more effective action.
Nine Powers uses issues to do similar cooperation without having to break the sequence of taking turns or give an ally your resources. This is helpful when Players are kids still young enough to be practicing how to take turns and share. It also helps prompt Players to describe what help looks like in the story, rather than merely using game mechanics.
Armor does not help protect its wearer from issues. Thus causing issues can be an important way to weaken a heavily armored opponent before focusing on damage.
Giving opponents issues is an important part of teamwork.
Giving an opponent an issue can also be a useful tactic for a PC who wishes to obtain an advantage just before a combat or contest begins.
The character attempting to cause an issue should pick the difficulty of the skill check (similarly to attempts to cause damage). Keep track of whether issues were caused by easy, medium, or tough skill checks, for that determines how difficult it will be for the character suffering from the issue to remove it by spending their turn attempting an appropriate skill check.
Monsters can also cause issues. Often this does not require any changes to how we describe the issue. Monsters can disorient, pressure, or wrestle with their opponents.
We can also be flexible and describe the same issues differently to represent how monsters spray acid, breathe a cloud of stench, terrify, etc.
The only change that happens is that monsters cause issues while they cause damage. For example, an ooze's acid spray both deals damage and causes the Perception issue. The difficulty of the monster's attack determines the attack's damage and determines the difficulty of the skill check needed to remove the issue.
Issues Renamed for Monster Use
Remember that for an issue, the difficulty of the action that caused it sets the difficulty to remove it.
Acid - represented by the Perception issue "I am revealing a weakness. Reduce by 1 my armor's damage mitigation."
Knockdown - represented by the Shove issue "I am prone and cannot move away from the wrestler."
Nausea - represented by the Acrobatics issue "I am disoriented. My movement is halved."
Unsteady - represented by the Melee issue "I am under pressure. My reaction skill checks suffer a big penalty."
Weaken - represented by the Wonder issue "I am intimidated. I cannot use the four-sided die. (My dice pools start with the six-sided die.)"
This makes many monster attacks twice as efficient at affecting their opponents. Bwahaha! That is a big part of what makes monsters dangerous in many stories.
Normally the monster's attack must cause a stamina loss to cause the issue. For example, if the PC's armor mitigates the damage from the giant scorpion's stinger than the PC will not be weakened by the poison.
Although issues can describe a lot of what monsters do when used as suggested above, there is a problem. Many stories include monster actions for which the protagonists should be allowed an avoidance check. The PCs want to completely avoid something, not unavoidably suffer and then remove the problem on their turn.
As examples, will any of the PCs successfully use Acrobatics to dodge away from the dragon's breath, use Wrestle to prevent being grabbed by the alien's tentacles, or use Wonder to resist the witch's spell?
So we need a second list of things that monster attacks can do in addition to causing damage.
Here is a nice list of avoidable monster abilities. For all of these, the difficulty of the monster's attack corresponds to the difficulty of the avoidance check used to evade the impairment. As before, the attack must cause a stamina loss to trigger its second effect.
Monster Avoidable Abilities
The difficulty of the attack sets the difficulty of the avoidance check.
Big Hit - (Acrobatics avoidance check) this attack causes +2 damage; if all damage is mitigated by armor, the armor is damaged and the its damage mitigation is reduced by 1
Blast - (Acrobatics avoidance check) a ranged attack that causes 3 damage to a target within the monster's normal range (movement rate or breath weapon range) or 1 damage to a more distant target
Confuse - (Composure avoidance check) confusion lasts a four-sided die number of turns, during which this creature has a 50% chance to attack itself or an ally instead of its intended target
Curse - (Wonder avoidance check) a curse lasts a four-sided die number of turns, during which this creature suffers a big penalty on die rolls
Disease - (Stamina avoidance check) until cured, each morning the diseased victim wakes with one fewer maximum stamina
Eldritch - (Acrobatics avoidance check) this attack causes +1 damage and ignores mundane armor
Entangle - (Acrobatics avoidance check) an entangled creature may not use two arms together and may only move if it succeeds with a medium Acrobatics skill check, entanglement ends after success with a medium Escape skill check
Envenom - (Stamina avoidance check) an envenomed creature suffers one damage (not mitigated by armor) at the end of their turns for the rest of this combat
Grapple - (Acrobatics avoidance check) a grappled creature may only attempt easy skill checks (except for Escape) until it succeeds with a medium Escape skill check
Grasp - (Wrestle avoidance check) a creature grasping the target deals +1 damage to it until the target escapes with a medium Escape skill check
Screech - (Composure avoidance check) an affected creature loses its next turn, paralyzed with fear
Stun - (Stamina avoidance check) an affected creature loses its next turn, paralyzed by the impact
Terrify - (Composure avoidance check) an affected creature must spend its next turn fleeing
However, we are not quite done.
There is a third type of monster attack common in stories: the especially dangerous finishing move. To be fair to the protagonists, we make two rules.
First, all finishing moves require a prerequisite situation. The PCs can learn that they need to quickly drink an antidote when poisoned by a giant snake, or quickly stand up when knocked prone while fighting a pack of wolves. It must sense in the story that the protagonists are at risk and must get out of an unusually threatening situation.
Second, monsters who choose to attempt a finishing move must attempt a tough difficulty attack. (An exception is the "Living Bomb" finishing move, which is negated by the opponent using a tough attack to defeat the monster.)
This list of finishing moves is worded generically. In the story they might look like a cobra's poison killing its prey, a dire lion raking with both hind claws, a giant crocodile performing a death roll, or a gryphon carrying its prey high up into the air.
Monster Finishing Moves
These attacks must be attempted at tough difficulty.
Lethal Melee - creatures already grasped or grappled by the attacker are defeated
Lethal Venom - creatures currently suffering the issue caused by its venom are defeated
Living Bomb - creatures within this creature's movement rate when it is defeated are also defeated
Polymorph - creatures currently suffering this creature's curse or disease turn into copies of a creature
Scatter - creatures suffering an issue caused by this creature must spend their next turn fleeing
A few especially dangerous monster abilities require a tough difficulty attack but are not finishing moves. These instead involve teamwork among multiple monsters.
Monster Teamwork Abilities
These attacks must be attempted at tough difficulty.
Pack Attack - The attacker gets to act again, and fiercely hits a prone opponent within its movement rate for an extra point of damage that ignores damage reduction. All other attackers of the same type also get to do this!
Reinforcements - If at least one monster of this type has been defeated, more monsters of this type might appear. To find the number of reinforcements, consider the difficulty of the monster's skill check (easy = 1, medium = 2, tough = 3) and then subtract the monster's Melee skill rating.
See the page of monster descriptions to read about many fun monsters.
A page towards the end of the character sheet slides lists all these monster attacks as a convenient, printable GM reference.
Note that all of the above monster attacks are phrased as a extra effect that happens (along with damage) to a single target. Any can also be phrased as a one-time area effect (generically called a spray) that might affect all opponents within the monster's movement rate. (For example, "Acid" could describe a giant vinegaroon's "Acid Spray".) They can also be phrased as an ongoing area effect (generically called a cloud) that might affect all creatures who start their turn within the monster's movement rate. (For example, "Acid" could describe how a huge ooze constantly radiates an "Acid Cloud".)
Recall that Nine Powers is designed for stories in which the PCs are explorers, treasure hunters, or fairly normal people who aspire to become heroes.
The rules help the PCs become heroes with fortune points.
A PC's maximum fortune is determined by his or her armor, as described above. Armor hinders movement in ways that makes it more difficult to avoid monsters' special attacks and be lucky.
Fortune may be spent in two ways.
Note that fortune can be spent to reroll any die roll, even one made by an ally or enemy. Thus fortune points, with a bit of luck, can provide a buffer layer of protection before a PC loses stamina, composure, or wealth.
Multiple points of fortune can be spent to reroll the same die roll more than once.
The description of what rerolling a die roll looks like in the story can include a flashback about how the PC prepared for a situation.
Examples of Flashbacks
A PC that wants to bribe a noblewoman could spend fortune to describe how yesterday she asked a servant about that noblewoman's favorite flowers, and made that purchase.
A PC that wants to open a corrupt merchant's safe could have chatted earlier with the locksmith who sold that merchant the safe, justifying why he now has the very best lockpicks for this specific task.
A PC who has been visiting a town for a few days and is about to fight the evil baron could share that she paid one of the baron's servants to sabotage the straps on the baron's armor to make the baron more vulnerable during the fight.
Design Notes
I only learned about the role-playing game named Blades in the Dark in 2023. That game has a few examples of parallel invention.
As personal preferences, I prefer the flow of taking turns describing intentions to the Blades in the Dark collaborative storyboarding process that describes versions of an outcome with the dice determining which version actualizes.
Skill checks in both games lack arithmetic. My skill checks are more kid-friendly because the percentages provide more successes, and because young GMs are not asked to frequently improvise consequences for a "mixed success". My setting is also more kid-friendly.
Blades in the Dark did make me realize I needed to formalize how often Players could use flashbacks, and what benefits flashbacks could provide. So I give credit where it is due!
Flashbacks can allow young Players to start adventuring without needing to brainstorm and describe preparations that may be beyond their experience.
To some extent flashbacks can allow Players who love action to get right into the action, knowing they can describe their earlier preparations when needed. However note that flashbacks should only justify rerolling a die roll. Once that reroll happens, a flashback should not have provided the PC with equipment or other lasting benefits.
As the examples above show, flashbacks work best with when the story is set in a village, town, or city. A PC in an unexplored dungeon will have a more difficult time creating a flashback that sensibly describes how he or she prepared for its unknown and isolated dangers!
Note that only PCs have and use fortune: it is what sets them apart from NPCs. Fortune helps explain why some villagers would be justifiably terrified of a dragon's breath or a witch's cursed touch, but the PCs expect to be able to avoid such dangers.
Notice that the amount of fortune available to a PC is decreased as the PC wears heavier armor. Is your PC a lightly armored and nimble swashbuckler who dodges monsters' most fearsome attacks and seems blessed by luck? Or is your PC a heavily armored knight who does not fear the swords of bandits and axes of evil warlords? Of course, your PC could be in between these extremes, or even use different equipment when jousting than when hunting monsters.
When playing with kids be especially clear that running out of fortune is usually a hint to try a different approach, run away, or give up.
A PC's number of spent fortune points determines the size of that PC's destiny dice pool. Like all dice pools, this has a minimum of 1 die and maximum of 6 dice (so a PC who has not yet spent fortune has 1 die in his or her destiny dice pool).
I like using a set of miniature polyhedral dice to keep track of my PC's destiny dice pool. Simply put the appropriate number of dice on your character sheet as fortune points, and move them elsewhere (starting with the four-sided die) as each fortune point is spent.
A destiny check is used when the GM and PCs want to ask a yes-or-no question and allow luck to determine the answer.
Phrase the question so that a "yes" answer will benefit the PCs. The Player whose PC is most involved in the question rolls the destiny check. A success means the "yes" answer happens to a small (easy), average (medium), or large (tough) degree.
Design Notes
The pencil-and-paper role-playing game community often calls this type of destiny check an "oracle".
The pencil-and-paper role-playing game community has a similar bit of jargon by referring to a method of randomly generate descriptive words as a "muse". The Nine Powers random tables do this by generating a random quartet of verb, adjective, noun, and degree for three themes: mystery, spooky, and fantasy.
If no PC is more involved in the question than any other, a destiny check uses the smallest destiny dice pool among the Players.
Overall, the more a PC relies on fortune, the more destiny favors them. However, as we will see below, it also becomes more likely that the adventure will deepen in unexpected ways through a random complication.
Risk begets risk! The life of a daring adventurer is never simple!
During a story the different characters take turns acting. This sounds simple, but there are a few subtleties the GM should acknowledge.
During most a story the narrative's natural flow determines which character is acting. But sometimes the GM and Player need to decide which characters get to go first in a contest, challenge, combat, etc.
Design Notes
Games by Free League use initiative cards. This is also a great system for formalizing taking turns! It elegantly handles having surprise, delaying your action, and when creatures have multiple attacks.
In Dragonbane initiative cards are redealt at the start each set of turns. In Forbidden Lands they are not. Both styles work.
Initiative cards allow having an effect with a brief duration expire at the same initiative card number during the next set of turns, instead of when a same character has its next turn. This can add some tactical options.
Here is a nice overview of other initiative options.
Often one set of characters clearly initiated the action. Those characters will naturally go first. They started the haggling, leapt from ambush, etc.
Sometimes it can help to realize that the list of skills on the character sheet is ordered from quickest actions down to slowest actions. For example, as a combat begins it might make sense during the first round for characters using the Shoot/Throw skill to take the first turns, then those characters using the Gamble/Provoke skill, and so on. Characters who use items (including runeblocks) act last.
After the first round of a contest, challenge, or combat have characters take turns in three steps:
Design Notes
Miniatures skirmish games, such as Rangers of Shadowdeep, use clue and objective markers on the battlemap.
If you are using Nine Powers to play a scenario from one of these games, a PC may spend a point of fortune to interact with a clue or objective marker as a "free" action.
This three-step sequence helps make movement and issues more tactically meaningful.
The requirement for PCs to use a skill check of their turn before moving allows an NPC to initiate a chase, and encourages PCs to have some method of fighting at a distance (usually with a ranged weapon or with runeblockery).
Remember that characters who are suffering from one or more issues must still use their turn's skill check to attempt to clear an issue.
Both the GM and Players should be intentional with verbosity. They can include all sorts of details that do not affect a situation's outcome. This slows down the pace of the story, which can be done well to create a dramatic effect, or done badly (which can be annoying).
Archery without Details
Player: Boxley cautiously fires an arrow at the highwaymen from her hiding place behind the wagon.
Succinct and sufficient. There is nothing especially right or wrong about using few words.
Archery with Steps
Player: Boxley cautiously fires an arrow at the highwaymen. She readies an arrow, leans from her hiding place behind the wagon, selects a target, aims carefully, shoots the arrow, and ducks back behind cover.
Verbose but not boring. When the situation is suspenseful the Player often slowly states a series of steps to provide the GM opportunity to interrupt if the bad guys do something unexpected.
Archery with Extra Actions
Player: Boxley quickly looks at the highwaymen from her hiding place behind the wagon, hollering, "Head down, Friar!" She touches her lucky rabbit foot and prays for luck before drawing her arrow. "Your mother stinks of gooseberry!" she yells as she fires an arrow at the nearest enemy.
Saying so many actions in one rush implies only the shooting can actually affect the situation. If rubbing the rabbit foot caused a magic effect, or if Boxley's insult could demoralize the enemy, the Player should slow down so each was resolved before the next is mentioned.
Design Notes
There are four reasons to roll dice in a role-playing game:
[a] Uncertainty - we want the dice to decide in which direction the story goes, whether or not the current challenge is particularly difficult or dangerous or suspenseful
[b] Danger - we want the dice to decide the outcome of the current dangerous challenge, whether or not it is difficult
[c] Difficulty - we want the dice to decide the outcome of the current difficult challenge, whether or not it is dangerous
[d] Drama - we want the dice to decide how to resolve suspenseful situations with very distinct possibilities
D&D 5e rolls dice for [a] in combat and [c] in skill use.
Blades in the Dark rolls dice for [b] or [d].
Forbidden Lands rolls dice only for [c] or [d].
Nine Powers only expects a dice roll when both [c] and [d] are true.
Sometimes people try a new game system and say it feels strange because they overlook when it asks for die rolls.
Note that the Player can carry the story forward without the GM when the PC is alone, in a familiar place, or doing trivial tasks. For example, the Player might talk at length about how the PC is at home alone, selecting equipment to take into a dungeon, working at an alchemy table to prepare some useful potions, and packing everything carefully.
Remember to only use skill checks when there is a meaningful situation that involves genuine struggle, risk, or competition.
A character who wants to kill an unconscious or bound prisoner with a weapon can almost always do so quickly and easily.
A customer at the shop can buy a tunic without haggling.
A witty and honey-tongued princess can insult uncharismatic visiting nobles all afternoon without effort.
Even combat does not always warrant skill checks.
The Player can keep talking without GM involvement when the PC is doing tasks whose outcome is certain.
Icky Yet Trivial
GM: Vroy falls down the pit, and lands amidst a bunch of hungry giant snails.
Player: Has Vroy heard of such creatures? How dangerous are they?
GM: They are as long as his forearm, but move very slowly. He can easily avoid their bites.
Player: Ick. Vroy kills them all.
GM: Okay.
A good GM will use verbosity with purpose. The GM will slow down the pace by providing more detail when the PC has the luxury of slowly looking around and thinking. The GM will foster a sense of urgency when the action is rushed by sharing less detail and concluding with phrases such as "What is your character doing?" or "How does your character respond?"
Swordplay Without Skill Checks
Player: Siron smiles at the thug. "I mean no harm."
GM: The thug draws his sword and rushes towards Siron. How does Siron respond?
Player: Siron can't question a corpse. He wants to subdue this thug but not kill him. So he moves into a compact stance, ready to disarm. He hopes to gauge his opponent's strength and skill, then disarm.
GM: The thug's swings are forceful but not skilled. Siron easily parries two blows, and on the third has an opportunity to disarm.
Player: Siron knocks away the thug's sword. "Who sent you? Why did they not tell you that I am the finest swordsman in the city?" He shrugs, a bit slowly, to show he is so unafraid of the thug that he can make that gesture during a swordfight.
GM: The thug looks down at his blade, then up at Siron's eyes. He tries to grab at Siron's arm. The thug is definitely less skilled but stronger. What does Siron do?
Only when the struggle might shift from swordplay to wrestling does the GM pick up her dice...
Notice how the GM and Player both used details to make the story more fun. They both gave each other enough to build off of. It was interesting without a skill check.
Nine Powers is designed to excel as introduction to role-playing games, and as a kid-friendly storytelling game. So it puts the burden of carrying the story forward on the GM, who hopefully has experience and maturity. The GM and Player could instead more equally share of the burden of carrying the story forward, with the Player describing PC actions (not only intentions) and even NPC actions. This requires both to have flexibility, initiative, and comfort in trusting the story to flow synergistically.
A Player Carrying the Story Forward
Player: Siron smiles at the thug. "I mean no harm."
GM: The thug draws his sword and rushes towards Siron. How does Siron respond?
Player: Is Siron a vastly better swordsman?
GM: Definitely. That is obvious just from how the thug moves and holds his sword.
Player: Siron's smile broadens. "Oh, please!" he groans. He parries one or two of the thug's swings, then knocks away the thug's sword. "Who sent you? Why did they not tell you that I am the finest swordsman in the city?" He shrugs slowly, showing a lot of teeth.
GM: Okay. The thug is about to grapple, foolishly trusting in his greater strength. Fanaticism shines in his eyes. What does Siron do?
Player: Siron sighs. He stabs the thug in one knee. "I am losing patience." He stabs the thug in the other knee. "I am out of patience." As the thug falls to the ground, Siron holds his sword lightly against the thug's throat. "Who sent you?"
Dice were never rolled. The Player knew enough information to make appropriate decisions, and "stole" from the dice the role of determining success and failure.
The Player also took charge of the story's flow, and interpreted what success and failure would look like for both PC and NPCs. The Player also "stole" that role from the GM.
This can work great if both the GM and Player want that type of story telling.
As a final note about story pacing, remember that context could change the amounts of GM and Player speech required as a character uses a skill or item. Without urgency, a character might have no worries while picking a tricky lock, repairing worn-out machinery, setting up a trap, climbing a high wall, bandaging a hurt ally, or crossing a large pile of rubble. But those slow tasks that happen without any problem when the story is moving slowly could span several turns if the story switches to a hectic combat.
When the PC is attempting a skill check, or otherwise trying something that might not succeed, the Player should describes the PC's intentions, not actions. This intention should make clear which skill check the Player will attempt.
Why should a Player describes the PC's intentions, not actions?
Many times the PC's plans or desires are immediately successful: they could just as well have been phrased as actions. But assuming success is actually crowding out the GM's turn. Describing intentions provides the GM with opportunities to inject details and complications. Furthermore, intentions are easy to word in exciting and realistic phrasing with details that can make the story more interesting.
For example, during an archery contest the Player expects the PC will use the Shoot skill. But the GM has information that the PC lacks. That action gets interrupted.
A Crooked Archery Contest (Version 1)
GM: It is Boxley's turn in the archery contest.
Player: Boxley politely smiles at her opponent as she calmly looses an arrow at the target.
GM: As Boxley sets the arrow to the string she notices her opponent is attempting to switch arrows unnoticed.
Player: Boxley lowers her bow and frowns at the cheater.
The story would have more flow if the Player had described an intention, not a completed action.
A Crooked Archery Contest (Version 2)
GM: It is Boxley's turn in the archery contest.
Player: Boxley politely smiles at her opponent as she calmly aims her arrow at the target. This will be an easy shot.
GM: As Boxley sets the arrow to the string she notices her opponent is attempting to switch arrows unnoticed.
Player: Boxley lowers her bow and frowns at the cheater.
Similarly, the Player knows things about the PC that the GM does not. Since both the GM and Player have kinds of unique knowledge, they should both ask each other questions and be aware of speaking with intentions.
A Crooked Archery Contest (Continued)
Player: Boxley looks at the new arrow, to check if it seems unusual or enchanted.
GM: Does she have any experience with the different types of arrowheads used by the northern barbarians?
Player: She does not. So Boxley tries to look happily excited. "That looks like a neat arrow. May I?" She holds out her hand to accept it.
GM: Her opponent mumbles, "Sorry, only fiddling to pass the time" and begins to put that arrow back in his quiver.
Note that questions are not intentions. Players often ask the GM questions about the PC's observations, hunches, and knowledge of the game world. The GM might not answer these questions, but it cannot hurt to ask. Asking a question does not "use up" the character's turn.
"What does my character see?"
"Does my character remember if these creatures can climb trees?"
"What does my character think is a fair price for selling the gem?"
"Does my character think he could defeat both of them without getting injured?"
"Does this merchant seem trustworthy?"
"What does my character think are his best options?"
Similarly, the GM often asks the Player questions about the PC's background, clothing and equipment, bearing and demeanor, and other details that might influence how NPCs respond to the PC.
Vroy is exploring an ancient ruin when a zombie appears. Vroy wears a gambeson. The zombie wears a decaying haubergeon. Both will reduce the damage they suffer by 1. In this combat Vroy will demonstrate using fortune successfully.
Vroy's Swordplay
GM: The zombie shambles towards Vroy. What does he do?
Player: No sense trying to talk to this thing. Vroy draws his sword and shield. He moves to attack, readying his shield and holding his sword low.
GM: Vroy is quicker. Swing for the first blow.
Player: Vroy uses Melee to make a medium attack.
GM: The zombie tries to counterattack.
Vroy's Melee skill rating is 4. The Player rolls 4 dice: the four-sided, six-sided, eight-sided, and ten-sided dice. The lowest number rolled is 2, which succeeds in a medium skill check. The zombie does not get to counterattack because Vroy was successful. The zombie would suffer 2 damage from the medium attack, but its armor reduces this to 1 damage. Its stamina decreases from 4 to 3.
GM: Vroy avoids the zombie's reach as his sword connects. The zombie's ancient haubergeon is too tattered to fully absorb that blow. It reels but does not fall. It tries to claw Vroy, viciously but clumsily.
Player: Vroy raises his shield to block and feint.
The GM decides the zombie is attempting a tough attack. The zombie's Melee skill rating is 3. The GM rolls 3 dice: the four-sided, six-sided, and eight-sided dice. The lowest number rolled is 1, which succeeds in a tough skill check.
The zombie's attack succeeded, so Vroy does not get a reaction check.
Vroy would lose 3 damage from the tough attack, but his armor reduces the damage by 1. Vroy's stamina decreases from 6 to 4.
GM: Somehow the zombie's decaying muscles are fiercely strong. Vroy is not able to use his shield to effectively to set up a next attack.
That concludes the first round of the combat.
GM: Vroy's turn.
Player: Since this zombie is moving slowly, Vroy tries to circle it so he can attack it from behind.
GM: When you say "attack from behind", do you want Vroy to circle it quickly to disorient it (the issue Acrobatics causes) or do you want Vroy to position himself to do more damage (either of the issues caused by Perception or Identify would work)?
Player: Both! Vroy will start with trying disorient it as he circles behind it.
Vroy has a skill rating of 3 in Acrobatics. The Player decides to make the skill check at medium difficulty. The Player rolls 3 dice for an Acrobatics skill check: success!
There are no reaction rolls when a character attempts to cause an issue. The zombie now has its movement halved from the Acrobatics issue. On its turn it will need to succeed in a medium skill check (to match the difficulty the Player picked when causing the issue) if it wants to remove the issue.
GM: The zombie tries to turn to face Vroy, but is not quick enough.
The zombie spends its turn trying to remove the Perception issue. That medium skill check fails.
GM: It is having trouble tracking where Boxley is, and its back is exposed. Vroy's turn again.
In the third round of combat Vroy attempts causing the other issue. He also has a skill rating of 3 in Perception. The Player decides to again make the skill checks at medium difficulty. The Player rolls 3 dice for a Perception skill check: success!
The zombie now has its movement halved (from the Acrobatics issue) and its armor is ineffective (from the Perception issue). It will need to succeed in a medium skill check on its turn to remove either issue.
The fourth round begins.
Player: Vroy swings again, shield still ready. This time a big swing at tough difficulty.
The Player again rolls 4 dice for a Melee attack, and this time rolls a 1, 1, 2, and 5. The lowest number rolled is 1, so Vroy succeeds in the tough skill check.
Vroy's tough attack deals 3 damage, because the zombie's armor is ineffective while suffering from the Perception issue.
Player: Nice! Vroy manages to drive his blade through a joint of the zombie's armor. The monster is defeated.
As another example of combat, Boxley fights a giant lizard.
Boxley was hired to deal with a creature that has been eating a village's sheep. After talking to a few villagers and tracking the monster into the forest, she has finally found the small cave that is its lair. She draws her sword and enters the cave, quietly stepping over the rocks and bones on the ground. The lizard was resting in the back of the shallow cave, but lifts its head as she enters.
Boxley wears heavy armor (2 points of damage mitigation to the lizard's normal attacks, 1 point to its counterattacks). The giant lizard has thick hide, providing the same damage mitigation.
During this combat the giant lizard will use a special monster ability: it has a poisonous bite, but Boxley will spend fortune to avoid becoming poisoned.
Notice that neither the GM nor Player need to describe aloud which skill they intend to use that round, nor the difficulty of the attack. They certainly could say those aloud as in the previous example, but do not need to. The character sheet has places to use tokens to track the difficulty of the current skill check as well as fortune, destiny, stamina, composure, and wealth. A few dried lentils work great as inexpensive small objects to use as tokens.
Boxley and the Giant Lizard
GM: As Boxley steps into the low cave she has to squat slightly. She feels awkwardly cramped. She will start this combat with an issue, as if a foe had used Acrobatics to slow her movement rate.
Player: Okay. She will try to find a place where she can stand taller and move more easily.
GM: As Boxley moves forward she hears the giant lizard scuttling quickly towards her.
The first round of combat begins.
Player: Fewmets! She steps farther into the cave, and tries to study the beast when she sees it.
Boxley is trying to cause the Perception issue. Her Perception skill rating is 4, so the Player rolls 4 dice. The Player decides to attempt a medium difficulty skill check. At least one die rolls 2 or less, so she is successful. The lizard's tough hide will reduce less damage from Boxley's attacks.
GM: The noise grows. Then the lizard appears from around a corner. Its scaly hide looks thick and hard, but is much thinner under its neck. Aiming a sword strike there will be tough, but could hurt it badly. It spent its entire turn charging at Boxley, and is now very close. Boxley's turn.
The second round of the combat begins.
Player: Boxley will try to find a part of the cave where she can move more freely. Is there a place with a higher ceiling?
Boxley uses a skill check to attempting to remove her issue. She decides to use the Escape skill, for which she rolls 4 dice. The GM knows the difficulty of this check is easy. At least one die does roll 3 or less, so she successfully removes the condition. Note that this is not movement on the map after her skill check (compared to other creatures or items, and for which Boxley's movement rate matters), but merely narrative description that explains clearing the issue.
GM: Yes, Boxley does manage to shift to a part of the cave with a higher ceiling. As she finishes repositioning herself, the lizard lunges at her.
Player: Boxley will jab her sword at its head, not really to stop it, mostly trying to make it reveal its neck again.
The lizard is making a medium Melee attack. Boxley reacts with a feint reaction, using Provoke. The lizard misses, so the Player rolls Boxley's skill check: a success!
GM: That works! The lizard neck is exposed.
The third round of the combat begins.
Player: Boxley tries to kick dirt in its face.
Boxley attempts causing an issue with Stealth. She picks a tough difficulty for this die roll. Boxley's Stealth skill rating is 3, and a successful feint reaction the previous turn provides a big bonus (2 extra dice)! The Player rolls 5 dice. The lowest number rolled is 1, which succeeds in a tough skill check. The lizard is impaired by Boxley's dirty trick and suffers a small penalty to its die rolls.
Note that so far Boxley has only attempted causing issues. As the "defender", the lizard does not get to react to those skill checks.
GM: That works surprisingly well. The lizard is visibly disturbed and hesitant. But also hungry. It tries to bite Boxley.
The lizard misses. Boxley again feints successfully.
The fourth round of the combat begins.
Player: Boxley stabs! Her fiercest lunge!
Because Boxley feinted again the previous turn, her attack gets a big bonus (2 extra dice) and can cause +1 damage. Boxley has a Melee skill rating of 3, so the Player rolls 3 + 2 = 5 dice while attempting a tough skill check. The dice roll 1, 4, 6, 2, and 8. At least one die rolls 1, so she is successful.
A tough attack normally does 3 damage. This is increased by +1 because of the feint reaction. It is reduced −1 because of the lizard's weakened armor. The lizard suffers 3 damage, reducing its stamina from 5 to 2.
GM: The lizard hisses as Boxley pierces it's hide again. It tries to bite again.
Player: Boxley will try to counterattack.
The GM rolls for the lizard's Melee skill check, using one fewer die in the dice pool because of its Stealth issue. But the dice still roll a hit with a medium attack. Moreover, the lizard has a special rule that its bite does an extra point of damage and will poison a target that does not spend fortune.
The lizard's attack was successful, so Boxley does not get her counterattack reaction.
GM: Boxley's sword fails to keep the lizard at a distance. It grips Boxley's leg with its mouth. Its teeth penetrate the thick fabric of her gambeson sligtly. The the wound immediately feels hot. Boxley suspects poison.
Player: Can Boxley spend fortune to avoid being poisoned?
GM: Yes. Done. But three stamina damage, reduced to one stamina damage because of Boxley's armor.
The fourth round of the combat begins.
Player: After it attacks, can Boxley back it into a corner so it cannot run away as easily?
GM: The Acrobatics issue?
Player: Yeah.
GM: Sure.
Boxley attempt causing an issue with Acrobatics. She picks an easy difficulty for this die roll. The die roll is successful. The lizard is suffers a movement rate penalty.
The lizard wants to remove the Stealth issue so its die rolls are no longer penalized. The GM rolls, but does not succeed in a tough skill check (to match the difficulty used by Boxley when she caused that issue.)
GM: Boxley pushes her torch at its face as she moves from side to side. She gets it into a bad position. But Boxley will need to move before it moves if she wants to stand between it and the cave exit. The lizard is still gripping Boxley's leg, but loosely as it spends it turn trying and failing to clear its eyes.
The fifth round of the combat begins.
Player: Since it is holding onto her leg, Boxley kicks at its head.
GM: Go ahead! It tries to gnaw on Boxley's leg more.
The Player again rolls 3 dice, using Boxley's character sheet to make a medium attack. The dice roll 2, 1 and 5. At hit! The lizard does not get to counterattack. The lizard's stamina is reduced from 2 to 1, its weakened armor barely sufficient to delay its defeat.
GM: It shrieks at the impact! Boxley kicks very hard into the softness of its neck. It releases its grip on Boxley's leg.
Player: Ha! Boxley does move to block the cave exit.
GM: It still wants to get past Boxley, to leave the small cave. As it tenses its legs, Boxley is unsure if it is merely preparing to run past her or wants to push her out of the way as it flees to the cave entrance.
Player: Boxley growls, "No running away! I am in no mood to track you again. Feel my steel!" She aims her counterattack at one of its hind legs.
The GM rolls for the lizard's Melee skill check, at a medium difficulty, with a small penalty because of the Stealth issue. Success! Boxley does not get to counterattack.
GM: It twists as it races forward, and again bites Boxley's injured leg. It clamps down on her knee and twists, trying to pull her to the ground.
Player: Yikes! Boxley falls to the ground. She is breathing heavily. But she can see the lizard's wounds and knows she is close to victory.
This combat is not over. Will Boxley slay the lizard or will it get away?
Notice how both the GM and Player contributed to describe the giant lizard's last Melee attack.
An optional rule helps Nine Powers tell stories in which an item is both helpful and dangerous.
Design Notes
Many fantasy stories have things with a useful power and also a corrupting influence.
Famous examples include Tolkein's silmarils and rings of power, sorcerous chants in Howard's Hyborian Age, mystical tomes in the Cthluhu mythos, Elric's sword Stormbringer, and the ruby-pommeled dagger of Shadar Logoth.
Note that the Nine Powers random tables have a list of wild magic effects that contains only slightly more problems than benefits.
Each time a PC uses such an item the PC gets one spark die. These are extra dice that must also be rolled during skill checks as a separate dice pool.
If the skill check's normal dice pool rolls a success and the spark dice also roll a success then the skill use is extra effective (+1 damage in combat, more information known through Lore, more charismatic bargaining, etc.)
Player cannot spend fortune to reroll spark dice.
Ideally, use a visibly different set of polyhedral dice. The first spark die acquired is a twenty-sided die. The second is the twelve-sided die. And so on, until the sixth spark die is the four-sided die. Thus the PC is tempted to use the item more, and will become more preternaturally gifted with each use.
However, when any spark die rolls its maximum value a wild magic surge happens. This also resets the PC's spark dice to zero. Use the Nine Powers random tables or your other favorite list of wild magic effects.
Spark mechanically represents the type of item that corrupts and empowers the PC only a little the first time, but makes a PC increasingly more powerful at a cost.
Of course, the GM and Player may agree that a story should have a more severe penalty when any spark die rolls its maximum value. Perhaps that particular item is so volatile that the PC also suffers a defeat from sudden physical or mental damage? Or it is so harmful that the PC loses a point of stamina or composure that is especially difficult to recover? Or it is so corrupting that a permanent spark die remains with the PC until that curse is removed?
Being the GM involves constant improvisation and decision-making. What do the PCs see when they arrive at a new location? Which NPCs do they meet? What do these NPCs say, and how do they act?
Many new, young, or tired GMs feel like the job of GM is difficult—especially in an urban fantasy setting—because of the need to create details of the setting.
Questions Players Might Ask the GM
What is the name of this shopkeep? Do they know anyone in town with a job for my PC?
Was this thug my PC defeated carrying anything intriguing?
Does anything interesting happen as my PC travels from one side of town to the other?
Imagine how nice it would be if answering such questions took no work at all! The role of GM can be entirely shifted to the game's rules and random tables, so that every person can be a Player.
That is what this section of the rules is about.
Before we dive deeper, realize that a good GM prioritizes letting a thrilling and dramatic story unfold. This sometimes can mean ignoring the rules and dice. But usually the rules and dice can be trusted lead the action in a fun yet unexpected direction. A wise GM trusts that the story will naturally flow into places even more colorful and memorable than what was planned or predicted.
Design Notes
No, the two aspects of a story that we need to talk about not story arcs and The Hero's Journey. Those concepts are for writers, not gamers.
Writers have a story to tell. Gamers play to discover a story.
Writers desire a finished product. Gamers desire exploration and wonder.
Writers get writer's block. Gamer's have adventures.
Before we can begin discussing how to automate the GM role we need to discuss the two main aspects of a story worth automating.
A building's foundation holds it up without putting too many constraints on what the building looks like. A good Nine Powers story has a similarly helpful but not overly restrictive foundation.
What type of foundation do you want for your story?
The most reliable foundation is a flowchart of a living world. Use the tools below to randomly generate a few interesting NPCs, and one or two interesting items. Brainstorm how and where these would interact to cause conflict and disaster if the PCs stayed home all day instead of adventuring. Then when the story begins the PCs' activity will disrupt some plans, make some NPCs happy, and make other NPCs upset. The story will feel grounded in a vibrant setting.
When you make a flowchart of a living world, use NPCs and items as the nodes. These nodes are connected by documents, rumors, and locations.
Design Notes
After opening the spreadsheet, in the "File" menu pick "Make a Copy" to save an editable version, and then play around!
The spreadsheet focuses on a urban fantasy setting, but can easily be edited to create other types of settings. Have fun with it!
If you want to see it in action, you can visit my solo actual play video playlist.
The Nine Powers random tables provide an endless supply of NPCs, items, documents, rumors, and locations.
Think about MMORPGs like World of Warcraft. The flowchart nodes are the NPCs who stand around with an exclamation mark over their heads, or the things they send PCs to fetch. Locations are interesting and exciting places you pass through while going from node to node. (But just because memorable locations are important, it does not make them flowchart nodes.)
If you are used to playing dungeon crawl role-playing games you probably have the opposite habit: you will be tempted to make locations the nodes. After all, an old-school dungeon almost is a flowchart with rooms containing interested things being connected by passageways. But that does not work for an urban setting. (It also makes comparatively boring old-school dungeons!)
A simpler foundation is a conflict in media res. Use the tools below to randomly generate a single interesting NPC. Let the story begin with action: the PCs start in conflict with that NPC.
Perhaps the PCs are walking through town when they are ambushed, or hear the screams of people running from a monster. Perhaps the PCs are trying to convince a noble to fund an expedition to explore some ruins, or persuade the chief zookeeper into posting a bounty for the capture of an exotic monster. Perhaps a criminal slinks out of a doorway and the PCs must choose to confront him or attempt to follow him stealthily?
Note that there is a third type of foundation: boring exploration. Avoid this! You may be tempted to have a story in which the PCs help their friends or family deal with their daily problems in a fantasy town, or the PCs travel through uncharted wilderness in search of adventure. But unless you adapt those ideas to one of the two good foundations above the PCs will not feel like the main characters in the story.
A good story foundation is like a headwater: the source of a river of action. It can be action between NPCs that the PCs soon get involved in, or action that directly and immediately involves the PCs.
A good story should not only start with action but also include initial expectations about where that action flows. The river needs not only a headwater but a dry streambed that will probably be filled with active current.
Design Notes
This thinking was inspired by The Big List of RPG Plots (website, PDF) by S. John Ross.
There are two different shapes for the streambed.
The simplest streams run linearly downhill. The action begins by providing the PC with a single, clear, feasible initial task. If the PC is repeatedly successful, each accomplishment leads to another goal. This sequence will only need to branch when the PC is unsuccessful, faces unexpected complications, or wants to backtrack.
Examples of Stories with Linear Action
Sequence of People - The PC is sent to check in with a distant scout, find a missing person, hunt an exotic monster, escort someone to a location they will discover has been wrecked, etc. The story develops as each goal's person reveals the next step in the chain.
The Chase - The villains are escaping and the PC must chase them. Start by going from Point A to Point B. Then learn what the villains did at Point B, while finding clues about Point C, etc.
Unavoidable Intermediate Steps - The PC's goal is to deal with a distant location. The route to get there is straightforward, although there may be surprises. Fetch the treasure map from a corpse at the back of a monster lair, follow the map to an abandoned castle, interrupt the cultists' ritual the castle's lowest dungeon, etc.
The Contest - A contest requires the PC to complete several tasks in several locations. Other teams are also trying to win the contest, either by going to those locations more quickly and/or by more strongly impressing the judges. The "contest" can be one of the above examples instead of a formal contest, as long as the PCs know about their rivals.
Peel the Onion - The PCs learn about some evil flunkies (a patron wants protection, a ship or village is hijacked by baddies, the PCs are mistaken from someone else and attacked, etc.). Clear clues reveal how those flunkies were sent by someone, who also reports to someone, etc. The true extent of the evil organization is revealed as the PCs peels the layers of a metaphorical onion.
Tower Defense - The PCs need to guard a single vital spot. They set up defenses, organize local help, and wait. A sequence of enemies and problems tests the readiness and endurance of the PCs' preparations.
Other steams have distributary branches. The PCs begin with a single, clear, feasible initial task, but completing any task reveals multiple new options or goals. Multiple ways forward might even appear more quickly than the PCs can deal with them all.
Examples of Stories with Branching Action
Exploration - The PCs think a new location is shelter from a threat, a nifty place to investigate, or an interesting place to be transported to. But while exploring the location multiple secret, dangerous, or magical complications are encountered. Often an intelligent rival is already searching or haunting the location, who wants to harm the PCs and/or prevent a report from reaching the outside world.
Everyone Wants the McGuffin - The PCs have found some item or information that everyone wants, but no one wants to legitimately pay for. The PCs must protect the McGuffin while learning who is optimal to give it to, or how to safely dispose of it. Yet more people and factions continually learn about it and want to claim it.
Flee! - The PCs are forced in one direction because of dangers, monsters, blackmail, etc. How do the PCs respond? How can the PCs make time to gather resources and information while being pursued? The PCs are being attacked by pirates while not initially realizing that a book they found is a pirate captain's journal containing hints about the missing pieces of a famous treasure map. The PCs are transported to a dangerous place and must fight off that place's monsters while acquiring the components needed to repair their vehicle or portal.
Violate the Prime Directive - The PCs are asked to explore/scout/spy without making contact or letting themselves be known. But the problems they discover are so numerous and urgent that the PCs are willing to get involved and save the day.
The Nobles are Not Receiving Visitors Today - To solve a mystery the PCs must speak with many witnesses and gather clues. But not all those people are initially available and ready to cooperate.
Please be aware that the shape of a flow of action is about momentum, which can be very different from the routes traveled by the PCs which are about position. If you must turn one of the shapes of action into a flowchart, please remember to use NPCs and items as the flowchart nodes. Locations can label the arrows connecting the nodes.
The above work with foundation and shape prepares a story to focus on the PCs while having interesting NPCs. We saw systems to use and random tables to help with brainstorming.
Similarly, there is a system that relates to the GM responsibility of keeping the story suspenseful, and random tables to help suggest interesting random events.
At the start of the story, display two twenty-sided dice as the suspense dice.
(It helps to own a distinct pair of twenty-sided dice for this system.)
The suspense dice will be rolled often.
The Player whose PC has the highest armor "suspense" rating should roll the suspense dice. If either suspense die rolls equal to or lower than that "suspense" rating then something happens...
If this is the first time a suspense die rolled that low, that die is set aside and the GM picks an upcoming event to foreshadow. This could be a complication about a person, item, document, rumor, or location. It could be encountering an NPC, who may or may not be friendly.
(Perhaps the GM has plans for this upcoming event. If not, the Nine Powers random tables can once again provide help brainstorming complications or encounters, as described below.)
Then the remaining suspense die will be rolled by itself. When it rolls low enough, the foreshadowed event happens and the suspense dice go back to being an pair of twenty-sided dice.
Design Notes
The suspense dice are a simplification of Goblin Punch's Underclock and Dungeon Master Diaries' Crawling Clock. I modified that system to be quicker to use, without subtraction and without having adjust a die or tracker used to track the current clock value. I also tied it to armor so that a PC who moves slower and louder is more likely to have a random complication or encounter.
Those discussions broadened the traditional type of random monster encounter to include other types of random events, and to also interact with game mechanics about resting, light sources, and encumbrance.
The suspense dice also resemble the Angry GM's tension pool. I prefer physically removing dice, not adding them. For me, a growing dice pool feels more like building up to a problem, while a shrinking dice pool can feel more like time running out before an event that could be helpful or harmful.
Of course, there is small chance that both suspense dice both roll low enough at the same time. That signifies that an upcoming event happens without foreshadowing.
How often are the suspense dice (or die) rolled?
When the story is proceeding slowly, a simple guideline that fits most stories is to roll each time a PC attempts a skill check. This means that during investigation and exploration suspense may build each time there is a meaningful situation involving genuine struggle, risk, or competition.
When the story's pace is so quick that the PCs are taking turns acting in rounds (as in most contests and combats) then one Player should be assigned the suspense dice to roll on his or her turn each round.
The suspense dice can also be rolled when the PCs are especially noisy, brash, or otherwise noticeable.
There are stories that require even more suspense. Tension can feel high in situations without skill checks, such as scouting ahead in a dungeon, hearing a clock tower strike midnight while exploring a spooky graveyard, or resting in a cave after fleeing from bandits. Those moments might also be appropriate times to roll the suspense dice.
On the other hand, some GMs prefer to improvise when complications and events happen. The suspense die is only a tool to help automate one GM responsibility. It can be used less, or not at all.
It might be appropriate in a story for the PCs to be able to use a special consumable item to reset the suspense dice from one die back to two dice. The impact two magic item examples suggest two possibilities.
Random complications can add fun and excitement to a story. They help amplify the philosophy of "we play to find out what happens". They can be useful when the suspense die triggers a random event, but there are no currently appropriate complications or encounters suggested by the story's flow or the evolution of its foundation and shape.
Complications are not always trouble. They usually add an obstacle to a goal, rather than presenting an immediate threat.
A destiny check can be used to determine how much a complication is intense, pressing, or unavoidable. An "easy" complication should have less effect on the story than a "medium" complication, which in turn has less effect than a "tough" complication. Sometimes the success of the destiny check shows the corresponding difficulty of an avoidance check to bypass or ignore the complication.
To help brainstorming, the random tables include ideas for complications. These are sorted by topic. Are they complications about a person, item, document, rumor, or location?
Five Examples of Complications
about a person: she requires the PCs to first get cooperation from another NPC
about a item: acquiring the item takes an extra step
about a document: the information is obsolete
about a rumor: a serendipitous encounter involved someone in disguise
about a location: the location's entrance is trapped
In some stories it is appropriate for the PCs to meet unexpected people, monsters, and other types of NPCs.
This might feel especially appropriate as the PCs arrive at a new location after a journey. Random encounters can also be useful when conflict begins to check whether other additional people or creatures are drawn into the conflict.
Random encounters are not always trouble. But they are usually urgent. The PCs have stumbled upon some interesting opportunity or threat that might not be there later.
The random tables generate three types of random encounters:
Tangentially, sometimes it is useful for an NPC can add momentum to the story. The random tables can also provide purposely vague ideas that can be used as something an established NPC does, something a newly arriving NPC makes happen, or a PC flashback to advice or equipment previously provided by an NPC.
Three Examples of How an NPC Can Add Momentum
The NPC identifies the need to claim a location, item, or person → perhaps this relates to collaborators planing a project
The NPC notices a need for investigation → perhaps this relates to people arguing
The NPC discovers a written message → perhaps this relates to old friends being reunited
Randomly encountered NPCs pose an interesting question: what is their attitude towards the PCs?
When an NPC has a meaningful place in the story it is usually simple to improvise how they act towards the PCs. A merchant will start a conversation and soon try to sell something. A guard will be firmly professional and perhaps ask questions. The hungry wolf that has been attacking villagers will also attack the PCs.
But a random NPC that lacks a place in the story might need an attitude check to determine how it behaves. This is a destiny check that determines if the NPC is absent (tough), curious (medium), suspicious (easy), or hostile (failure).
Attitude checks reinforce the idea that stories do not expect a fight to begin whenever the PCs encounter a random person or creature.
When an attitude check determines that an NPC is absent, brainstorm a situation that provides the PCs with useful information. Perhaps the random creature is unseen, but the PCs hear its noises in the distance? Perhaps the random highwayman was recently slain, and the PCs can examine its body to gain clues about other dangers in the woods? Perhaps the random intelligent monster has been captured and needs help? Perhaps the PCs learn that the NPC is nearby and willing to make a deal or engage in trade?
Remember that attitude checks, like all checks, should get bonuses and penalties appropriate to the circumstances.
A morale check is a tough composure check used to determine when an NPC will flee combat.
There are seven types of morale that NPCs use:
The page of example monsters lists the type of morale for each of its monsters.
Design Notes
Note that an attitude check is a type of destiny check, but a morale check is a type of composure check. They are not related in being the same category of die roll. But they are related because attitude checks prevent combats from starting too often, and morale checks prevent combat from lasting too long.
If the morale check fails, the NPC will stop attacking and try to avoid being harmed while leaving. What this looks like depends upon the NPC. A mugger might flee down the alleys he knows well. A con man might surrender and try begging for mercy. A winged monster might try flying away.
When an NPC tries to flee combat, remember the relevant rule about the Escape skill: a character may use the Escape skill to attempt leaving a combat if it suffered no damage that round and the previous round.
So far we have tools to help with the GM roles of preparing the foundation and shape of a story, and with keeping the story suspenseful.
Now we introduce a tool to add interest to the transitions between scenes.
Design Notes
We do not need to be precise about what counts as a "scene" in the story. We simply want three things. First, that travel between scenes can be interesting. Second, that PCs start each new scene with their fortune points replenished. Third, that the PCs do always arrive at a new scene fully rested and feeling in control.
A beautiful game with more extensive travel rules that fit its setting is Free League's The One Ring 2e. Long travels are an important part of Tolkien's setting!
As a contrast, the same publisher's game Forbidden Lands has quite different travel rules focused on exploring the wilderness one hex at a time while worrying about running out of food, water, torches, and arrows.
An interesting analysis of light sources usable in fantasy stories is the Delver's Guide to Illumination by Jussi Kenkkila.
Details about even a short journey or transition can make the setting feel alive.
In an urban setting, a "journey" might only be walking a few blocks from one building to another. Which friend, rival, or notable do you meet along the way? What interesting thing do you see happening in the street?
In between scenes we check how a journey fares. Once again the random tables can help brainstorming.
A useful answer to how a journey fares has two parts.
First, it should describe something that does or might happen, which reduces or restores a point of stamina or composure to all PCs.
Second, it should request a skill check. The result of this skill check can help or hinder the PCs. Failing the skill check also introduces a plot twist.
Helpful skill check effects can include the PCs' next skill check or attitude check having a small bonus, an extra way to use fortune in the next scene, or even gaining an item.
Harmful skill check effects can include losing additional stamina or composure, treating the suspense die as if it just rolled a 1, a rival or foe benefiting from time passing, the PCs' next skill check having a small penalty, or even gaining a wound.
Note that requiring a skill check when transitioning or journeying means the suspense die could trigger a random event as the new scene begins.
Three Random Examples of How a Journey Fares
you might find something at a hidden landmark, waypoint, or building (1 composure recovered) → if a medium Wilderness or Track check is successful gain a minor magical item crafted with machinery; failing the check also means something thought to be missing is actually found/owned
you realize the strange relevance of a hummed song, recited poem, or asked riddle (1 composure lost) → if a medium Hearthwork or Intuition check is successful gain an extra way to use fortune next scene; failing the check also means a false assumption
an eerie presence is alarming and vaguely threatening (1 composure lost) → unless a medium Wonder or composure check is successful treat the suspense die as if it just rolled a 1; failing the check also means a troubling bargain is revealed
Rules for using the suspense die introduced random complications and encounters. Next we introduce random locations.
Random locations can simply be useful when the Players decide their PCs travel somewhere unexpected, and the GM needs help brainstorming. No unexpected subtleties there.
But there are two traditional types of role-playing game adventure stories that primarily use random locations. This is a subtly deep topic.
If this is your first time reading these rules, I suggest you skip ahead to read about recovery. You are probably not here to read about the design decisions made more than fifty years ago for adventure stories focusing on random locations.
A random hexcrawl uses an initially blank outdoor map on a hex grid. A random dungeon crawl uses an initially blank map or flowchart of rooms and corridors. Both aim to turn up to 11 the dial of "we play to find out what happens".
What design philosophies were behind traditional random hexcrawls and dungeon crawls?
First, that the PCs alternate time spent in civilization with time spent adventuring in uncharted places. Periodically returning to civilization is part of the story. The PCs expect their adventures to have limited duration, after which they will return to the safety of civilization to rest, sell treasure, celebrate, replenish supplies, and prepare for their next adventure.
Second, that places away from civilization are dangerous. The adventurers are exploring to find stuff: lost secrets, treasure, missing people, etc. Danger explains why other people have not already claimed that stuff. In a general way, the ambiance of danger is traditionally represented by how a key resource such as food or light depletes. Then Players, no matter their age or experience, will have a clear and firm signal about when the PCs should consider turning around to return to the safety of civilization.
Third, that as the PCs spend time adventuring they will slowly replace starting resources with treasure. PCs can only carry so much stuff.
Design Notes
Because Nine Powers uses the suspense die there is no need for Players to track how a key resource such as rations or torches depletes.
There are plenty of structured random location systems to choose from. I suggest starting at The Alexandrian's Blog if this style of storytelling is new to you and you are curious.
Both Map Crow and Baron de Ropp have great videos about designing tables of random encounters with traveling creatures.
Hexcrawl weather is often generated with a "flower" mechanic. Examples are in this Reddit discussion.
An excellent video and series of articles describe "Jaquaysing" a dungeon map so it becomes more satisfying than when initially randomly generated.
Notice what is not part of the design philosophy...
Even when randomly generate locations, map exploration for its own sake is not the goal. In a story with a solid foundation and shape the main purpose of a map—often the only purpose—is to get the PCs safely back to civilization when they finish adventuring. As always, the PCs are traveling because of interesting NPCs and items. They should have a firm goal. They should be aware of events already in progress. They probably have an expectation of some type of reward. Using random locations merely layers extra suspense on top of this foundation by adding the unexpected at a carefully controlled pace.
Similarly, even when a key resource was depleting that item-related time pressure was not the goal. In an story with a solid foundation and shape, time matters because NPCs (or factions of NPCs) have competing goals but certain obstacles are in their way. The PCs should feel some time pressure because events are unfolding and lives are changing. The PCs are rushed to explore how all that potential NPC action fits with the PCs' values and interests, and to prevent events from unfolding in undesirable ways! Using random locations merely layers extra uncertainty about the time and resource requirements for wilderness travel and dungeon delving.
Fun Random Location Story Introductions
As a coming-of-age ritual, the PC must visit and receive blessings from the three hermit-mystics of hope, discipline, and bounty. The clan elder gives the PC a rough map of where these hermit-mystics were last known to be living.
The PC has an older relative that is also an adventurer. Family members have shared that this relative found a treasure map, and what the relative researched about the the map's dangerous area. That relative departed a month ago to find the treasure. It has been too long since anyone has heard news. Can the PC use a copy of the map to travel to where X marks the spot and perhaps rescue their older relative?
Not Fun Random Location Story Introductions
The king and queen hand the PCs a blank hex map. "Your job, brave adventurers, is to explore and map our kingdom's new province."
Rumors claim an old dragon named Munchitallon has died of old age. Who can first find its lair and treasure?
The Nine Powers random tables have numerous tools for help brainstorming random locations:
These tables could be the core of a story focused on random locations. Or these table might merely be a tool the GM knows is ready for the unexpected case of PCs traveling somewhere surprising.
When the PCs discover a new random location they often decide to scout for dangers and opportunities. This is probably done a Wilderness skill check. A group action may be appropriate. Apply a small penalty if any one of the following are true, or a big penalty if more than one are true:
| Problem | Wilderness Scouting Penalties | Dungeon Scouting Penalties |
|---|---|---|
| Hard to See | at night, or terrible weather | in darkness |
| Short Visibility | hex is forest or jungle | lots of twists and turns, fog, etc. |
| Elevation Change | hex is mountains or badlands | lots of stairs, ladders, etc. |
| Difficult Footing | hex is bog, marsh, or swamp | rubble, debris, collapsed places, etc. |
Design Notes
We want to keep the focus on the story's foundation and shape. This means random NPCs, whether a help or a hindrance, and whether appearing as their own random event or as part of a random location, should have minimal useful items, information, or treasure.
For example, imagine that in a story focused on exploring a dungeon to find a legendary horn the suspense die and a random result suggest meeting goblins. The GM could decide that this initially means no more than hearing the far-off noises of whips snapping and shrill voices crying out in pain. The PCs investigate and meet a group of goblins who ask the PCs to liberate them from their ogre taskmasters. The goblins will reward the PCs by showing them where the ogres keep their hidden valuables, and a nearby secret exit from the dungeon. But dealing with the ogres will be much easier if the PCs can first find that legendary horn somewhere deeper in the dungeon.
A failed skill check shows that the scout did not find any helpful opportunities or expectation of treasure. This might be represented by a random complication.
A successful skill check could mean that PCs find a useful item or opportunity. This might be represented by going first in a contest, gaining a bonus to their next skill check, or gaining an additional way that fortune can be used in a scene. Alternatively, the scout might have learned about a chance to get extra treasure worth 1 gold coin (easy), 4 gold coin (medium), or 8 gold coins (tough).
The Nine Powers random tables includes a table that suggests an additional way that fortune can be used in a scene.
A chance to get extra treasure could be a valuable item, the payment for returning information or a sentimental item to someone, a person offering a quest, a chance to do trade or search a temporarily unoccupied monster lair, learning that a hunted monster or villain has more treasure than usual, a chest of treasure guarded by creatures and/or traps, or even the opportunity for the PCs to work as scouts to bring other people back to that location.
Tangential to these crawling rules, the end of the character sheet file has a blank hex map is 10 hexes tall and 9 hexes across. If each hex is six miles across, this area of 3,240 square miles is larger than Grand Canyon National Park or Everglades National Park and slightly smaller than Yellowstone National Park. If you are using maps published with other fantasy games, this map size is is most of Misty Vale from Dragonbane, slightly larger than the portion of Illithien between Minas Tirith and Minas Morgul in Middle-Earth, one-fifth of the Shire in Middle-Earth, one-twelfth of the Ravenlands from Forbidden Lands, or a measly four hexes of the original Greyhawk map.
When does a PC recover its points of fortune, stamina, composure, or wealth?
Design Notes
In most stories the GM does not need to keep track of NPC recovery. Minor NPCs are not recurring parts of the story, so if they get harmed they can heal while out of the limelight. Major NPCs that do have a recurring role in the story often have special resources to help them recover, or their significant injuries become important to their character arc.
The interplay between armor's damage mitigation and maximum fortune is carefully tuned. The GM should avoid having magic items, monster special abilities, or journey results affect a PC's damage mitigation or fortune.
Fortune fully recovers after a scene ends, before deciding how the next journey or transition fares. Everyone catches their breath, collects their thoughts, recovers from their adrenaline rush, puts balm and bandages on small injuries, patches up their armor, etc.
Stamina and composure recover with sufficient rest in safety. Before the story begins, the GM and Players should agree about what this means so it fits the setting of the story. Perhaps in a high fantasy setting the noble PCs only need a few minutes without interruption. Perhaps in a swords-and-sorcery setting the bold PCs require a restful meal with hearty food and drink to refresh the body and spirit. Perhaps in a survival horror setting only certain buildings are secure enough to count as safety, and an entire night's sleep is needed.
Wealth seldom recovers during the story. The economic rules below will describe how wealth checks are only used to make a purchases at the start of a story without spending coins. But in a story about a crafting contest a PC could benefit from recovering wealth during the story. A PC can reset their wealth to its original level by spending treasure with impact equal to that original wealth level. Depending on the story, this might need to happen in a town or city, or perhaps even at the PC's home.
The people playing Nine Powers should never get stuck in writer's block. Let's review how the game's rules and tools can provide momentum that always keeps the story going.
So the PCs always will have an intriguing goal, will always meet interesting people, and will always have reasons to visit fascinating paces.
There is always something for a curious PC to do. There are always surprises waiting to be discovered.
The rules so far have described how skills and talents work without really describing what they are. Let's get into the details.
Skills measure how capable a character is at the most common actions in a fantasy story. Talents are advanced ways to use skills differently, achieving a distinct kind of benefit that can never be acquired through normal skill use.
Because talents provide characters with such special flavor and abilities, the benefits of talents should not made available from other means such as magic items.
This skill is used for distance attacks. Shoot is used for bows, crossbows, and handheld devices created with Machinery. (Seige weapons are operated with Machinery instead of Shoot.) Throw is used for throwing either sharp or blunt objects.
As a rule of thumb, the distance a character can shoot a projectile without penalty is five times his or her skill rating. The distance for throwing without penalty is twice the skill rating. Beyond this distance the attacker suffers a penalty.
Normally a character uses Shoot while stationary. Moving while shooting causes a small or big penalty, depending on the movement. A character trying to use Shoot/Throw when in melee has a big penalty.
The issue that can be caused with Shoot/Throw is "I am pinned down behind cover. If I move away, that attacker gets a free shot." This allows an archer to postpone a shot until the target is vulnerable: what some other games call holding, saving, reserving, or delaying an attack.
Gamble measures knowledge and experience with the rules and strategies of games of chance, and the social cues and techniques of reading people and subtly nudging them to accept or avoid risk.
The issue that can be caused with Provoke is "I am provoked. I must attack the provoker." This is the first of two ways to use an issue to protect an ally.
This skill is used to safely and successfully jump, fall, roll, climb, etc. Acrobatics is used when moving along or onto horizontal surfaces. Climb is used when moving along or onto vertical surfaces.
This skill is also used in avoidance checks to avoid threats or obstacles, such as diving away from an explosion, avoiding harm in a rockslide, or leaping from an out-of-control mount.
The issue that can be caused with Acrobatics is "I am disoriented. My movement is halved."
Melee involves up-close combat focused on causing damage. The skill can be used with punches, kicks, claws, bites, or stings as well as with sharp or blunt weapons.
Protect is used to intercept danger. When a character uses Protect, a successful skill check does not cause damage, but instead provides that PC or an ally within melee reach with 1 point of extra damage mitigation against one or more attacks or counterattacks. This extra damage mitigation is added to any from armor. The difficulty of the Protect skill check determines how many incoming attacks are mitigated: one (easy), two (medium), or three (tough). Unused extra damage mitigation expires at the start of the protector's next turn.
The issue that can be caused with Melee is "I am under pressure. My reaction skill checks suffer a big penalty." This is the second of two ways to use an issue to protect an ally.
Wrestle and Shove are for attacks not focused on causing damage, but instead attempting to restrain, reposition, or inconvenience an opponent. This usually requires having at least one hand free, but can also used with weapons that ensnare, such as a net, whip, mancatcher, or bolo.
By using the skill, a character may reposition an opponent by 1 (easy), 2 (medium), or 3 (tough) movement rate units.
The issue that can be caused with Wrestle is "I cannot cause issues or use both hands." This represents being grappled.
The issue that can be caused with Shove is "I am prone and cannot move away from the wrestler." This represents being thrown to the ground, with the wrestler still grabbing the target.
The repositioning effect of Wrestle/Shove, as well as both of the skill's issues, often cause bonuses and penalties to skill checks.
The repositioning effect of Wrestle/Shove, as well as both of the skill's issues, are less effective against large creatures and monsters. This may include not causing a penalty.
Wrestle can also be used to estimate the general physical strength of a character.
As a rule of thumb, a character can comfortably carry a backpack and other equipment weighing at total of fifteen times his or her Wrestle (in kilograms) without penalizing physical skills such as Acrobatics and Dodge.
Perception measures alertness, awareness, and attention to detail. It is almost always used passively to determine if a character who is not actively searching still notices something. Perception applies to all types of noticing, whether looking for a tiny item carefully hidden in a room or a mystical plant growing somewhere in a large forest.
A character that is actively looking for an item is normally able to find it. A situation that would prevent success, such as a key hidden within the false bottom of a drawer, is better handled through role-playing than by consulting a numeric skill rating.
Escape refers to noticing how to gain freedom from a diffiuclt situation. It could be escaping a physical confinement such as a trap or net. It could be escaping pursuit while fleeing down a busy street by noticing a timely opportunity to duck under a cart or through a doorway.
Some sources of confinement are not appropriate to the Escape skill. For example, a character stuck in locked manacles or a well-maintained wrestling hold cannot gain freedom simply by noticing something opportune.
The difficulty an Escape attempt is often the difficulty used in the skill check that created the source of confinement: Wilderness for a snare, Machinery for a mechanical trap, Wrestle for a thrown net, Etiquette for a conversational trap, etc.
A character may use the Escape skill to flee a combat, but only if he or she suffered no damage that round and the previous round.
The issue that can be caused with Perception/Escape is "I am revealing a weakness. Reduce by 1 my armor's damage mitigation." This issue has no effect on an unarmored character.
Increases damage taken by +1, by weakening armor's usefulness, changes the expected value of attacks to favor easy attacks almost as much as medium attacks. It can represent use Perception to notice an opponent's weak spot or flaw, or using Escape to bypass an opponent's guard and move to an advantageous position.
Stealth is used to hide, move quietly, walk tracelessly, use a disguise, or be physically sneaky in other ways. Stealth is also used for sleight of hand and pickpocketing.
The difficulty chosen for Stealth skill use determines the difficulty of passive Perception skill checks to notice the sneaking character, or Track skill checks to follow the sneaking character.
It is harder to be stealthy while moving. As a rule of thumb, moving at crawl is a big penalty, and creeping with barely any movement is a small penalty.
The issue that can be caused with Perception is "I am impaired by a dirty trick. I suffer a small penalty to my die rolls." The aggressor should describe the dirty trick: throwing sand, pulling a hood down over the eyes, etc.
Track attempts to follow someone's trail, which often involves the same knowledge and tricks as Stealth. Trackers can follow a recent trail at one-fourth normal walking speed. A trail is "recent" for one day in relatively quiet places (such as a forest during a hot, dry week) or one hour in frequently distrubed places (such as a town square or a forest during a rainstorm).
As a rule of thumb, for each point the tracker's Track skill rating is higher than the target's Sneak skill rating, either double the tracking speed or add one more day or hour to the possible age of tracks that can be followed.
Identify refers to appraising valuable items, recognizing famous cultural artifacts, recalling which nobility owns certain jewelry, verifying the authenticity of a signature, and other situations of recalling information about a particular item.
Lore refers to knowledge of general helpful facts and cultural information: details about history, society, laws, notable families, religious practices, and so forth.
Either can help a character fabricate reasonable-sounding falsehoods.
The issue that can be caused with Identify/Lore is "I am exhibiting a weakness recognizable to sages or bards. I suffer +1 damage." Sometimes scholars know that a certain goblin tribe does not parry well after making a sword thrust, or a certain type of dragon has thin scales on its tail.
Increases damage taken by +1 changes the expected value of attacks to favor easy attacks almost as much as medium attacks.
Bargain is used to haggle over prices or otherwise steer a conflict of interests to a workable compromise. Usually the price is changed by 5% for each point the seller's skill rating is higher or lower than the buyer's.
Wonder measures the ability to produce practical understandings and applications through feeling the grandeur and drama inherent in a situation. Awe and amazement can be a form of thinking, and insight and wisdom can spring from encountering the indescribable.
Wonder (along with Composure) also measures how resistant a character is to certain harmful magical mental influences.
The issue that can be caused with Wonder is "I am intimidated. I cannot use four-sided die. (My dice pools start with the six-sided die.)" The aggressor should describe how the opponent was startled, intimidated or awed: impressive solidity, energetic charisma, stunning force of presence, etc.
Disguise measures a character's ability to impersonate someone else using a costume and mannerisms. This difficulty chosen for this skill use determines the difficulty for other characters to notice the disguise passively with their Perception skill.
Impersonting a general type of person can provide a bonus or penalty. It is easier for a Therion to disguise itself as a generic Therion merchant than the specific merchant who owns a popular shop. It is harder for a Therion to disguise itself as Kobalt.
Etiquette is used to successfully navigate social situations. It includes clarity in conversations, ease in making a good impression, smoothly dealing with unfamiliar cultures, skill at getting attention at parties, and success when oration.
Animals applies to training, riding, taming, misdirecting, or caring for any animals, as well as maintenance of a riding animal's tack and other gear. Compare skill ratings to find the victor when racing on mounts of similar speed.
Wilderness applies to swiming, fishing, locating food, setting snares, navigation, and other tasks related to surviving in the outdoors, both above ground and underground.
As a rule of thumb, the skill rating in Wilderness measures the number of people for which that character can provide decent food and shelter.
Intuition refers to confidently reaching correct conclusions despite having neither the facts for logical deduction nor an encounter with sublime grandeur to provide awe-inspired wisdom. A practiced intuition includes both experience with accurate hunches and well-developed habits of calming the mind, looking at the big picture, and acting purposefully instead of reacting to circumstances. The skill of Intuition can also be used to instill a false sense of intuition in someone else by subtly planting ideas that the victim will mistake for his or her own insights and hunches.
Hearthwork refers to skill in domestic situations, including cooking, sewing, child care, gardening, farming, and basic home repair and construction.
The final three skills are crafting skills used to make magic items. (In a modern or futuristic setting these "magic" items might instead be high-tech.)
Often the three crafting skills can create functionally equivalent items. A character that wants to fly could drink a flying potion, use a backpack-helicopter machine, or expend one charge of an embroidered enchanted cape.
Functionally equivalent magic items will have an identical monetary cost per use. However, the crafting skill used to create them will make the items distinct in many ways.
Here is a summary of the differences, before we look at details. (For now ignore the parenthetical remarks about ratings.)
| Alchemy | Machinery | Musing | |
|---|---|---|---|
| Costly Materials | alchemical ingredients | lots of fragile springs, gears, and tubes | expensive artwork (that can be artistic tools or weapons) to be enchanted |
| Duration | 30 minutes | up to 8 active hours | a charge is instant or will last until midnight |
| Area of Effect | radius 2 per skill rating (potions/goo have area rating 0) (flasks have area rating 0 or 1) |
radius 4 per skill rating | none (area rating 0) |
| Range Option | flasks may be thrown to splash liquid or release a gas cloud | machines can launch projectiles | equal to talent rating |
| Multiple Uses | duration may be shared among a batch of 6 items with 5-minute duration | run-down machines may be rebuilt inexpensively | artwork becomes magic items with charges |
| Crafting Time | 5 minutes per impact, needs a laboratory | 1 hour per impact, needs a toolbox | 10 minutes per impact, crafter enters a trance |
| Source of Delay | requires 1 minute to take effect (convenience rating 1) |
autonomous devices need to be set up at the location (convenience rating 0 or 1) |
no delay, can have immediate effect |
| Other Details | effects can be resisted with avoidance checks | machines can be bypassed or destroyed | item vanishes after last charge used (never victory rating 5) |
With a recipe, a crafter can create a magic item if the magic item's total impact (minimum 1) is equal or less than the crafter's skill rating. No die roll is needed.
A die roll is required if the crafter does not have a recipe. Only items of impact 1, 2, or 3 may be improvised, with corresponding difficulty of easy, medium, or tough. This die roll suffers a big penalty. The penalty is reduced to a small penalty if the crafter has a prototype to reverse engineer. Success creates both the desired item and the new recipe. Failure often causes complications (anything from an explosion that requires hours to clean up to an animated object that attacks everyone!).
For all types of magical crafting some recipes are carefully guarded secrets, and a few recipes have effects considered illegal or taboo.
Characters should keep track of which recipes they know. Most new PCs with crafting skills know only a few common, inexpensive recipes. During adventures the PC will find new recipes. Thus the Player slowly gains options as the PC gains a different type of power than measured by skill or talent ratings.
(Most GMs and Players do not find it fun to actually detail the recipes and keep track of required ingredients. We want nifty magic powers, not mundane bookkeeping chores!)
If you are using these rules with a different setting, create other columns for the above table. What type of duration, area, and range would items have when created with the spaceship's nano-tech fabricator?
Consider that certain stories might focus on a crafting task. For example, a very powerful recipe might be too tricky to create without a rare location that is the goal of a quest, or a potent alchemical gas can only be made in the royal alchemy laboratory, or a uniquely powerful musing item can only be made where research and obscure equipment have proven three ley-lines converge.
Alchemy is an old, diverse, and widely-studied art whose history and recipes have flowed together from many cultures. Helpful potions are well-accepted everywhere. Healing potions have helped almost every family. Professional potion makers are respected unless their business practices are unethical or their prices are unusually high. Amateur potion makers are common.
The magic items created using the Alchemy skill are either bottled potions to drink, flasks thrown to release gasses, or goo spread on items to enhance or damage them. The alchemist must prepare them in a lab and store them in glass bottles. Throughout the adventure's perils the glass bottles must be kept intact.
A potion only affects its drinker. A flask releases a cloud of gas where it breaks. A goo only affects one item. After the drinking of a potion, breathing of a gas, or spreading of a goo the alchemical magic needs one minute to take effect. Harmful effects can be eluded with an avoidance check using one or more appropriate skills, such as using Acrobatics to move away, Wrestle to shrug off a poison, Perception to avoid entering a cloud of gas, or Wonder to resist being charmed.
Although flask making is as old and diverse as potion making, flasks are more threatening, so most places have laws that restrict or prohibit the crafting, purchasing, and/or owning of flasks. Amateur flask makers are rare.
Potions and flasks that heal or cure do so immediately after their one minute delay. Alchemical items that cause an ongoing effect have a duration of 30 minutes. Skilled alchemists can divide this duration among a batch, so the same cost of materials can create 6 smaller potions with a 5 minute duration. These short-duration versions must be used by their own crafter instead of being bought and sold.
The magic items created using the Machinery skill are clever clockwork and steam-powered devices and vehicles. The Machinery skill is also is used to bypass both mundane and magical locks and traps.
Trap building is as old as using tools to ensnare animals for food. Laws restricting the construction or sale of traps are very rare. The more general laws about public safety suffice to punish people who set up traps in places that threaten the public. Amateur trap makers are common, and many children learn a little Machinery as their first magical crafting skill.
Most mechanical devices can wait indefinitely in a dormant state. Once triggered, they become active for up to 8 hours. A device that has expended its active time no longer functions, but can be repaired for half its original crafting cost.
(The half cost for repairs combines with how crafters pay half the retail cost to create magic items. So repairing a device yourself costs only one-quarter the retail price of that trap.)
Building a machine requires a toolbox. If the machine is portable, no toolbox is needed to set it up in its intended location.
More complex mechanical devices remain unintelligent. They can sense and react to their environment, and make rough comparisons involving size, weight, or color. But they only do what they were instructed to do when designed. No machine can use other equipment, nor act cleverly enough to benefit from a small or big bonus.
Some machines that cause harmful area effects can be deadly if the target is already slowed, weakened, or distracted.
The use of large clockwork or steam-powered machines is common in some places and taboo in others.
Characters use musing by holding completed pieces of artwork during a magical trance to enchant them.
The legal restrictions on musing can vary widely from place to place. Some cultures view musing as a natural redirection of flows of magical energy. Other cultures see musing as channeling greed and materialism to corrupt pieces of art.
Enchanted artwork can be made to do just about anything. However the magic of musing only affects a single target (no area of effect option is available). With talent, effects can happen at a distance. Magic wands are a popular type of enchanted artwork.
All enchanted artwork crafted using musing has "charges". Each charge creates an effect that lasts until the next midnight. (Or the effect is instantaneous, like causing a lightning strike.) The piece of enchanted artwork vanishes after the final charge ends.
The artwork must have a value equal to its impact multiplied by its number of charges.
In some cities the criminals are especially bold shortly before midnight because law enforcement will be hesitant to inefficiently use expensive magic effects.
Talent in the Shoot/Throw skill allows making incredibly accurate point blank distance attacks. This talent's rating shows the maximum range of point blank shots.
A point blank shot never suffers small or big penalties. It no longer matters how fast the target is moving, what cover the target is attempting to hide behind, how windy it is, etc.
Talent in the Gamble/Provoke skill represent the deft hands and unflinching will needed to most safely and efficiently use runeblocks.
This talent's rating provides additional dice for a runeblockery die roll, as described in the rules about runeblocks.
In realistic situations, a character fighting unarmed will use skills like Melee or Wrestle. An unarmed person fighting an armed adversary will probably suffer a small or big penalty.
(An animal or monster that fights with tooth and claw is assumed to have skill ratings that already reflect that behavior, without a penalty when fighting armed opponents.)
However, in many fantasy stories, especially those with a wuxia flavor, a character might want to do an unrealistic defensive maneuver while unarmed: deflect an arrow, catch a whip, pin a sword between her palms, parry a flail, etc. For those types of maneuvers use the Acrobatics talent as the character's skill rating for a special counter or feint reaction.
The GM and Player should discuss how significant this type of reaction can be. Does this talent only remove any penalties from using such reactions while unarmed? Or are these feats so impressive that when successful many opponents will be demoralized and must make a morale check?
Talent in the Melee/Protect skill allows a character to guard a location by becoming "sticky" to adjacent opponents. When an adjacent opponent attempts to move away, this character gets an extra Melee attack. If that extra attack causes damage, the opponent not only suffers that damage but is also prevented from moving away.
This talent's rating determines the skill rating of that extra attack.
Talent in the Wrestle/Shove skill represents techniques of grappling that allow the character to pin a prone humanoid opponent.
This talent's rating provides additional damage mitigation, protecting the wrestler from the creature her or she is wrestling.
As with the other effects of Wrestle/Shove, this talent might be less effective against large creatures and monsters.
Talent in the Perception/Escape skill shows defensive habits of positioning and evading that allow a character to better focus on a single opponent at a time when dealing with an enemy group. This character can physically or socially position a primary opponent in between himself or herself and the non-primary opponents, so the latter have a harder time being effective.
The character designates one opponent as his or her primary opponent each turn of a combat. Some other opponents will suffer a big penalty when using skill checks to damage this character if a die roll is successful. The Perception/Escape talent rating determines the number of dice rolled. The difficult chosen will determine how many non-primary opponents suffer the big penalty: 1, 2, or 3 corresponding to easy, medium, or tough.
Talent in the Stealth/Track skill represents attunement with shadows that has become so advanced that "shadow stepping" is possible: teleportation from one shadow to another, with locations in line of sight. Each distance stepped takes one round of preparation while remaining stationary in a shadow. This talent's rating measures the distance traveled.
Additionally, this talent's rating determines the amount of extra damage caused by a successful attack against a target unaware of this character. An attack with this benefit is called a sneak attack.
Note that increasing damage is of most help to the expected value of an easy attack. A sneak attack, especially if combined with using Perception/Escape to cause an issue as combat begins, can be a reliable way to deal a lot of damage!
Talent in the Identify/Lore skill represents knowledge of items with historic significance or sentimental importance to notable people.
When a character with this talent finds a notable amount of treasure, he or she attempts a skill check using this talent's rating. The degree of success determines the value of an extra item (impact 3, 4, or 5). The PC will be rewarded with that amount of coins/gems/etc. for that item's safe return to a person who especially cares about it.
Talent in the Bargain/Wonder skill shows development of wonder so advanced that the character can perform wondrous feats of physical prowess. These wondrous feats allow character concepts that do not otherwise fit into the Nine Powers rules.
In the sample setting of Spyragia, there are nine flavors of wondrous feats, each corresponding to one of the nine Powers.
The Player and GM can also work together to create new flavors of wondrous feats.
This talent's rating determines how well a character uses wondrous feats.
Talent in the Disguise/Etiquette skill allows a character to use wit, charm, and deceit to take rivals by surprise and say the right thing. This character has extra "social armor" that works in social situations the way normal armor works during combat.
This talent's rating is determines how much armor a character has from appropriate social "attacks" when arguing, bargaining, or orating. A talent rating of 4 provides 2 points of mitigation for both attacks and counterattacks.
(There are other reasons that characters may have "social armor". A village elder might be respected and given the benefit of the doubt if she speaks clumsily. A town's returning heroes might be loved by the townsfolk they saved.)
Talent in the Animals/Wilderness skill allows a character to control tame animals. The rating measures three factors: the maximum length of a sequence of steps the animals will perform, the number of animals that can be simultaneously controlled, and the maximum difficulty of any requests.
How difficult are requests? The optimal situation would have six characteristics:
An optimal situation has a difficulty of 1. The difficulty increases by one for each of the above six items missing from the situation.
For example, with a talent rating of 1, a character could ask his or her own pet mouse to go eat a visible piece of cheese in an empty, safe room. (The instruction has only one step. There is only one animal. The situation is optimal.)
With a talent rating of 4, the character could ask his or her friend's four pet mice (whom the character knows well) to each go to an empty and safe room, pick up some cheese, bring it back instead of eating it, and drop it in front of the character even though the mice will not get an immediate reward of food or positive attention from their owner. (The instruction has four steps. There are four animals. The situation has a difficulty rating of 4 because it is not optimal for three reasons: the animals have not done similar tasks for the character, are asked to do the unnatural behavior of giving up potential food, and will not receive an immediate reward.)
Fast-talking might use the Etiquette, Bargain, Intuition, Hearthwork, or Wonder skills. It normally fools someone for only a few minutes.
Talent in the Intuition/Hearthwork skill represents the kind of interpersonal intuition that allows more effective fast-talking, with the beneficial result that people who are fast-talked remain duped for a much longer time.
In other words, the fundamental technique of fast-talking is a skill. But it is a talent to have the right hunch about whether the target will respond best to a rushed excuse, a call to honor and duty, an emotional plea, a haughty aristocratic demeanor, an appeal to nostalgia or sentimentality, a request for a favor that enables saving face, a promise of future compensation, etc.
This talent's rating shows how many hours successful fast-talking lasts.
Talent in Alchemy allows the alchemist to identify magical potions and flasks.
Those potions and flasks are immediately seen to be magical. After a minute's inspection, the talented alchemist might learn what the magic item does and may reverse engineer the alchemical recipe.
The character makes a skill check using this talent rating. An easy check suffices to identify items with impact 1 or 2. A medium check is required for an item with impact 3 or 4. A tough check is required for an item with impact 5 or greater.
Talent in the Machinery skill aids in noticing mechanical traps. When this character might (actively or passively) discover a mechanical trap, the die roll may be rerolled as many times as this talent rating to try switching from failure to success. (This does not cost fortune.)
Most artwork enchanted with musing affects the individual using or touched by the item. However, with talent in the Musing skill a person can learn to create enchantments that can affect a distant target. This talent's rating measures the maximum range.
In the sample setting of Spyragia, people cast magic spells by stacking runeblocks that are shaped and colored like pattern blocks. But these are magic blocks, and each has a rune on it.
In Spyragia, spellcasters do not have a spellbook—but they do carry a pouch of runeblocks.
Different spells are built by which blocks are used and how they are stacked.
In Spyragia, anyone can use a runeblocks, but some people are much better at it than others. Effect runeblocks for the second layer can be rare and valuable. Runeblocks from the other two layers are interchangeable and not as expensive. Defeating a villain who owns runeblocks means you get those as part of the treasure. If that villain owned blocks your PC did not, your PC can now cast new spells!
In most stories effect runeblocks should be treasure found adventuring, not items bought or sold.
If you are using these rules for a different setting, please keep reading! The runeblock system is awesome, and you might find a use for it in your game. Owning physical blocks is not necessary, but adds a pleasing tactile experience.
A stack of runeblocks can be up to three layers tall. Each layer contributes differently to how the spell is built. All layers may have more than one block. Mixing colors is allowed.
Each layer is limited in size to be equal or less than one hexagonal block. As examples of a single color, a layer could be one yellow hexagon block, one or two red trapezoid blocks, up to three blue parallelogram blocks, or up to six green triangle blocks. Mixing colors allows more options.
Each layer above the bottom layer must have size equal or smaller than the layer below it. Only nice, stable stacks!
The bottom layer determines the spell's targeting. When spell effects fill a shape instead of a certain number of touched creatures, that shape may not be moved after the spell begins. An effect filling a shape, whether helpful (perhaps invisibility) or hindering (perhaps being charmed) no longer affects creatures who move out of the area. Multiple lines and cones for the same spell cannot overlap.
| Block | Bottom Layer Meaning (Targeting) |
|---|---|
| green triangle | the spell targets either the caster or a touched creature (multiple green blocks affect that many creatures, as long as all are touching) |
| blue parallelogram | the spell affects a thin line up to 12 distance units long (multiple blue blocks create other lines emanating from the caster) |
| red trapezoid | the spell fills a cone equal to one-quarter of a circle of radius up to 6 distance units, with the caster at the cone's apex (a second red block creates a second cone) |
| yellow hexagon | the spell takes a minute to establish itself and is then triggered the first time a creature crosses a circle of radius up to 12 distance units, with the caster touching the circle |
The second layer determines the spell's effect. There are many examples of effect blocks below. Each effect can be found as any size block. Note that a version of a spell that is a yellow hexagon effect block cannot be combined with other effect blocks, and is thus less valuable than a version of the same spell that is a smaller size effect block.
The third layer only uses green triangle blocks, each of which counts how much the effect block under it is boosted. A single effect block can be boosted once, twice, or not at all. Note that a version of a spell that is a green triangle effect block can only be boosted once because that single boost will cover it completely.
All people can use runeblocks, even if they lack the deft hands and unflinching will needed to do so as smoothly and efficiently as possible.
Casting the spell successfully requires a runeblockery die roll. Similar to die rolls within a competition, the caster picks the difficulty of this die roll to balance risk and benefit:
Runeblockery is not a skill, but uses a similar dice roll. The size of the dice pool for a runeblockery die roll equals 1 plus the caster's Gamble/Provoke talent rating.
Design Notes
Note that picking medium difficulty makes effect blocks behave a "spell slots" in other games.
Green effect blocks can be combined to cast the most spell effects in a single turn. This can be powerful in combat! But green effect blocks can only be boosted once.
The GM and Player should agree about whether a runeblockery die roll can receive a bonus or penalty. Does this story include mystic locations where casting spells is easier? Does moving during your turn make casting spells harder? Is it difficult to cast spells sneakily without other people or creatures noticing? How such questions are answered will change the flavor of magic in that story.
Armor does not limit runeblockery. But having more fortune can be very important to casters!
Stacking runeblocks to cast a spell requires having both hands free. It is not possible to use runeblocks while in your off-hand holding a shield, torch, lanthorn, etc.
As an optional rule, if the GM and Player wish using certain spells to be risky in a story, casting certain spells can cause a PC to gain a spark die.
Design Notes
These examples are not intended to be exhaustive! The GM and Player should create new effect runeblocks appropriate to their stories.
Like all rules, the GM and Player could agree to change the rule that all effect blocks can be boosted at most twice.
The only runeblocks that need special explanation are those for the second layer that create the different magical effects. The descriptions below are phrased as if affecting multiple targets, but spells can be constructed so they only affect one target.
Note that spells do not discriminate between friend and foe. Be careful who you target!
There are two types of effect blocks.
Maintained Effects
Maintained effects might last as long as the caster continues to hold the stack of blocks in one hand. This prevents the caster from using other runeblockery.
The spell ends early if the caster suffers damage, is knocked prone, or for any other reason drops or lets go of the block stack.
Effect blocks should be specific. For vague examples (such as the appearance of Fog or Immobilize) pick a specific effect for each different effect block.
Effect Not Boosted Boosted Once Boosted Twice Air - allows water breathing and swimming... at walking speed at jogging speed at sprinting speed Antimagic - targets cannot be targeted by... unboosted runeblockery once boosted runeblockery twice boosted runeblockery Barrier - targeted doors, gates, or windows are sealed shut by a barrier that is... milky opaque, and broken with an easy Wrestle success shimmering, and broken with a medium Wrestle success transparent, and broken with a tough Wrestle success Beastmastery - helps by counting as items from this list counts as 1 item counts as 2 items counts as 3 items Blink - on the caster's turn, effected creatures may together safely teleport up to... 3 distance units 5 distance units 7 distance units Candle - a light source shines from the block stack, with radius... 2 distance units 4 distance units 6 distance units Feral - creatures and 1 object per target block grow claws and fangs, have minimum Melee skill of... 1 Melee skill 2 Melee skill 3 Melee skill Fog - luminous fog or smoke appears, surrounding each targeted creature and/or filling the targeted places; it blocks vision but does not hinder movement, to a height of... 1 distance unit 2 distance units 3 distance units Hand - targets jointly control a spectral, floating hand that cannot use skills or runeblockery, and can lift... 2 kilograms 5 kilograms 10 kilograms Identify - see and understand magic objects within 3 distance units see runeblocks see crafted magic items see gifts from the Powers Images - illusory copies of creatures 1 copy of each creature 2 copies of each creature 3 copies of each creature Immobilize - targets cannot move due to oil, webs, ropes, vines, nausea, etc. unless they make... an easy avoidance check a medium avoidance check a tough avoidance check Languages - unknown writing or speech can be understood... unreliably vaguely clearly Misfortune - all creatures in targeted area have a penalty to their die rolls small penalty medium penalty must reroll and use the worse result Reflexes - bonus to avoidance checks small bonus if aware of the danger big bonus if aware of the danger, small bonus if unaware big bonus Silence - in targeted area no sound is heard, but outside the area the sound within spell area is... heard as normal heard at half volume not heard Stealth - noticing targeted creatures requires a Perception skill check that foes get freely whenever targets attack or use items, of difficulty... easy medium tough Tether - the caster knows the location of targeted creatures unless they move more than... 10 distance units away 50 distance units away 100 distance units away
Damaging Effects
When using a damaging effect the caster chooses 0 or 1 stamina damage if not boosted, 2 stamina damage if boosted once, and 3 stamina damage if boosted twice.
(Choosing zero damage allows the caster to harmlessly and momentarily cause the secondary effect, perhaps on an ally or themselves.)
Mundane armor does not defend against runeblock damage. Remember that stamina damage need not be a physical injury. Monsters might have damage reduction able to mitigate some or all types of runeblock damage.
Although the damage itself happens in a moment, each damaging effect block does something else that lingers (without any maintenance) for as many rounds as the amount of stamina damage the target suffered.
Acid - targets have their armor's damage mitigations reduced by 1
Butterfingers - targets drop one held item
Doom - attacks on targets gain a small bonus
Fear - each turn targets must try to move away from caster if the caster can be seen
Fire - targets who fail an Acrobatics avoidance check suffer 1 extra damage
Fly - targets continue being moved through the air by the caster's movement rate
Frost - targets suffer a small penalty to reaction checks
Lightning - one green triangle target block now targets a second, closest nearby target
Lurching - targets can move or use skills on their turns, but not both
Mutations - targets suffer an effect from a random list
Poison - targets who fail a stamina avoidance check behave as if at 1 composure
Repeat - targets must use the same skill as they did last turn
Rescue - targets must spend their turn assisting an injured ally if one exists within 5 distance units
Saline Spray - potentially useful damage type against oozes, visitors, and picaroons
Sleep - targets fail a composure avoidance check also sleep unless harmed or woken by loud noise
Trumpets - noisy sounds of the caster's choosing follow the targets
Wind - targets must succeed in a medium Wrestle avoidance check or fall prone
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A stack with one green effect block above a green targeting block allows casting an unboosted spell on one creature. |
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A stack with one green boost block above one green effect block above a green targeting block allows casting a once boosted spell on one creature. |
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A stack with two green effect blocks above a blue targeting block allows casting two unboosted spells along a line of length 5 distance units. |
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A stack with a red effect block above a three green targeting block allows casting an unboosted spell on three creatures that are touching each other. |
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A stack with one green boost block above one green effect block above a blue targeting block allows casting a once boosted spell along a line of length 5 distance units. |
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A stack with one green boost block above one blue effect block, with a second green effect block, all above a red targeting block allows casting a once boosted spell and an unboosted spell in a cone. |
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A stack with one yellow effect block above six green targeting blocks allows casting an unboosted spell on six creatures that are touching each other. |
The sample setting of Spyragia uses two types of coins. Most common is a silver coin that weighs 2.5 grams. Merchants and nobles also use a gold coin of the same weight that is worth 20 silver coins.
Gems are also used for trade. Jewelcutting has not yet been invented in Spyragia, so all traded gems are nicely polished cabochons (and pearls). The standardized weight is 24 carats. Some gems weigh less and have proportionately less value.
Without using the Bargain skill, a PC can sell items for about half their retail cost.
| Impact | Silver Coins | Gold Coins | Examples |
|---|---|---|---|
| 0 | 2 | 1⁄10 | arrow, tallow candle |
| 1 | 10 | 1⁄2 | cheap boots, wax candle |
| 2 | 20 | 1 | linen tunic, pick axe |
| 3 | 80 | 4 | shortbow, cast iron pot |
| 4 | 160 | 8 | longbow, wool clothing |
| 5 | 400 | 20 | nice horse, one-handed sword, anvil |
| 6 | 1,200 | 60 | warhorse, craftsman's house |
| 7 | 3,200 | 160 | small ship, noble's silks |
| 8 | 8,000 | 400 | warship, noble's estate |
The costs mundane objects are sorted into nine categories called impacts that describe how impactful that purchase would be for a PC in the game. The actual cost of a specific item is usually within 30% of the general price for its impact.
An exceptional quality item that provides a small bonus to appropriate skill use costs more: price it using the next higher impact.
Similarly, a low quality item costs less. It might be a shield or bladed weapon lacking durability, with a chance to break after use. Or might might work poorly, penalizing skill ratings by 1. Price those using the next lower impact.
(Historical records do indeed show such dramatic price differences between normal and exceptional swords for knights, and for the swords used by peasants! In Spyragia coal and metal ores are less expensive than in real history, and magical heat sources explain the early development of cast iron and drawn iron wire.)
The prices listed are for an item's retail price. For crafted goods, the crafter need only pay half that amount as a material cost.
Tangentially, a year in Spyragia has 400 days. Each lunar month has eight 5-day weeks that mark the eight phases of the moon. Ten of these 40-day lunar months make a year.
Impact Zero items cost about 2 silver coins, which is also 1⁄10 of a gold coin.
The items that can be purchased in this price range are commonplace and cheap.
The least skilled laborers earn 2 silver coins in two days. An adventurer visiting any settlement can assuredly find a job with only slight danger to do in exchange for 2 silver coins.
Example Items Costing Impact Zero
Weapons: club, arrow, crossbow bolt
Tools: awl, small hammer, pillow
Light and Food: tallow candle, prepared cheap food for a day
A Kilogram of: garden produce, flax, hemp, flour, or cheap wine
Livestock or Horses: chicken, gander
24-carat Cabochons: tourmaline, amber
Impact One items cost about 10 silver coins, which is also 1⁄2 of a gold coin.
The items that can be purchased in this price range are commonplace and inexpensive.
The least skilled laborers earn 10 silver coins in two five-day work weeks. An adventurer visiting almost any settlement can probably find a job with some danger in exchange for 10 silver coins.
Example Items Costing Impact One
Weapons: knife
Clothing: decent shoes, cheap boots, hat
Tools: flask, bottle, shovel, or hoe
Light and Food: torch, wax candle, decent traveler's ration, prepared common food for a day
A Kilogram of: copper, zinc, brass, bronze, sugar, honey, almonds, rice, most spices, good wine
Livestock or Horses: goose, ram, wether
24-carat Cabochons: topaz, citrine
Impact Two items cost about 20 silver coins, which is equivalent to 1 gold coin.
The items that can be purchased in this price range are commonplace but getting expensive.
The least skilled laborers earn 20 silver coins in four weeks (half a month). An adventurer visiting a large town or city might find a job with significant danger in exchange for 20 silver coins.
Example Items Costing Impact Two
Weapons: javelin, spear, staff, quiver
Clothing: hemp apron, wool vest, linen tunic
Tools: pick axe, spinning wheel, crowbar, flint and steel, bag of caltrops
Light and Food: flask of oil, prepared lordly food for a day
A Kilogram of: cast iron, dried tree fruit, milk, butter
Livestock or Horses: ewe, boar, billy goat
24-carat Cabochons: garnet
Social: enrolling a child as a crafter's apprentice
Impact Three items cost about 80 silver coins, which is also 4 gold coins.
The items that can be purchased in this price range are expensive.
The least skilled laborers earn 80 silver coins in two months. An adventurer would need some fame in a large city to find a job with enough danger to pay in gold coins.
Example Items Costing Impact Three
Weapons: dagger with a leather sheath, shortbow
Armor: gambeson
Clothing: nice set of linen clothes, cheap set of wool clothes, market wallet of waxed linen canvas
Tools: cast iron casserole pot, grappling hook, 5 iron spikes, 120' rope, steel lockpicks
Light and Food: good traveling food for a week
A Kilogram of: salt, fresh tree fruit, dried berries
Livestock or Horses: sow, nanny goat
24-carat Cabochons: diamond
Social: enrolling a child as a merchant's apprentice
Impact Four items cost about 160 silver coins, which is also 8 gold coins.
The items that can be purchased in this price range are getting rare and too expensive for some people.
The least skilled laborers earn 8 gold coins in four months. An adventurer would need fame and luck in a large city to find a job with enough danger to pay 8 gold coins.
Example Items Costing Impact Four
Weapons: mace, small sword, longbow
Armor: knight's shield, boiled and waxed leather
Clothing: nice set of wool clothes
Tools: polished tin mirror, thick wool blanket
Light and Food: brass lanthorn, commoner's wedding feast
A Kilogram of: pepper, vivid red carmine dye
Livestock or Horses: cow, ox, poor quality horse
24-carat Cabochons: pearl
Social: joining a crafting guild
Vehicles and Property: small cart
Impact Five items cost about 400 silver coins, which is also 20 gold coins.
The items that can be purchased in this price range are rare and too expensive for most people.
The least skilled laborers earn 20 gold coins in one year. An adventurer would need to work for nobility to earn 20 gold coins for one assignment.
Example Items Costing Impact Five
Weapons: bastard sword, greataxe, crossbow
Armor: chain haubergeon
Clothing: fur-lined robe
Tools: anvil, vise, silvered mirror
Light and Food: a merchant's wedding feast
A Kilogram of: silver, saffron
Livestock or Horses: nice horse
24-carat Cabochons: amethyst
Social: joining a merchant guild
Vehicles and Property: large cart, small cottage
Impact Six items cost about 1,200 silver coins, which is also 60 gold coins.
The items that can be purchased in this price range are rare and too expensive for almost all people.
The least skilled laborers earn 60 gold coins in three years. An adventurer would need to work for royalty to earn 60 gold coins for one assignment.
Example Items Costing Impact Six
Weapons: two-handed sword
Armor: chain hauberk with pauldrons
Light and Food: a common family's annual food budget
A Kilogram of: silk
Livestock or Horses: warhorse
24-carat Cabochons: emerald
Social: year's stay (board, instruction, and clothing) at a university
Vehicles and Property: war chariot, craftsman's house
Impact Seven items cost about 3,200 silver coins, which is also 160 gold coins.
The items that can be purchased in this price range are rare and too expensive for even some nobles.
The least skilled laborers earn 160 gold coins in eight years. An adventurer would need to be a royal's right-hand agent to earn 160 gold coins for one assignment.
Example Items Costing Impact Seven
Weapons:
Armor: brigandine tunic with pauldrons, rerebraces, vambraces, tassets, and greaves
Clothing: fancy set of silk clothing
A Kilogram of: vivid purple shellfish dye
24-carat Cabochons: sapphire
Social: noble's funeral expenses, year's stay for a noble (board, instruction, and clothing) at the leading university
Vehicles and Property: small merchant's ship, large barge, merchant's row house
Impact Eight items cost about 8,000 silver coins, which is also 400 gold coins.
The items that can be purchased in this price range are owned or gifted by royalty.
The least skilled laborers earn 400 gold coins in twenty years. For almost everyone this seems an amount of money difficult to imagine.
Example Items Costing Impact Eight
Armor: knight's fancy dress armor
Clothing: royal set of clothing
Light and Food: the annual cost to feed an entire merchant's estate
A Kilogram of: gold
24-carat Cabochons: ruby
Social: noble's funeral expenses, noblewoman's dowry, year's stay for a noble (board, instruction, and clothing) at the leading university
Vehicles and Property: large merchant's ship, warship, noble's estate
Wealth checks allow a PC to make a purchases at the start of a story without spending coins.
If a wealth check is successful, the PC can gather the resources needed to acquire the desired item. However, the PC's wealth rating decreases by 1 to show that the expense was significant enough to temporarily affect the PC's readily available resources .
If a wealth check is unsuccessful then either that particular item is not available or the PC is unable to afford it as the story begins. Perhaps the PC has money in the bank, but other obligations and debts are also due. Perhaps the PC is owed favors by local nobles, but those nobles are out hunting today and their assistance is unavailable. Perhaps the PC's family members are having a crisis and need financial help. Perhaps the PC has religious financial obligations. Or perhaps the PC realizes he or she has wasted too much money on vices or frivolous purchases. Try to make a failed wealth check as interesting in the story as a successful check!
PCs should keep track of coins to make purchases during a story.
A magic item is a fun piece of equipment with nifty powers.
Some magic items merely provide a bonus to skill use. Others dramatically change the situation and decisively determine how an encounter resolves.
In a fantasy setting a magic item might be a magic potion, flying carpet, or dancing sword. In a science fiction setting a "magic" item might be a nanotech restorative, a personal levitation belt, or an electrified net launcher.
The same rules for pricing and crafting these items can be used whether or not the setting justifies their effects with magic, technology, or some other narrative hand-waving.
Magic items have four factors that determine how much they can impact the world. These are color-coded in their descriptions below, and in the following section with sample magic items. Possibility is pink, area timing is avacado, convenience is crimson, and affect on victory is violet.
The other factors describing the item (duration, area size, range, crafting time, what multiple uses looks like) are all described in the crafting skill descriptions above.
With these rules the GM and Players can design any magic item they can imagine! Simply see how the four factors describe its effect and then total its impact.
Magic items cost as much as other items with the same impact. Remember the guideline for haggling: for most purchases change the price 5% for each point one character's Bargain skill rating exceeds the other's.
Crafted magic items have a cost per use. Details about range and duration depend on which type of crafting skill is used to create the item, as explained below. As two quick examples, the same effect could have a slightly greater range if made with machinery, but would be much quicker to craft with alchemy.
(In the sample setting of Spyragia, only the Powers create magic items that never run out of uses.)
As always, the crafter of a magic item need only pay half that retail amount for materials. This means that characters who craft their own magic items only spend half as much for the benefts.
Note that a normally priced magic item does one thing. A magic item that does multiple things is equivalent to multiple magic items merged together, and its crafting time and price should be equal to the totals for its components.
For example, a pair of magic glasses might allow the person wearing them to detect poison, or criminals, or Ogres. But if those glasses detected all three things, with separate color-coding for each, then that magic item is clearly doing three things. To be fair, that combination item should be crafted and priced as if it were three different magic items.
| Add to Impact | Possibility |
|---|---|
| 0 | inexpensive equipment |
| 1 | expensive equipment |
| 2 | paid labor |
| 3 | mundanely impossibe |
| 1 | small bonus (1 more die) |
| 2 | big bonus (2 more dice) |
The first quality of a magic item is its possibility.
The smallest effects only duplicate what inexpensive mundane equipment can do, but perhaps do it more rapidly or conveniently. These items might be used to quickly kindle a fire, befriend a domestic animal, spin wool into yarn, season firewood, provide a meal's nourishment, etc. Or these items might have an ongoing effect such as radiating as much light as a torch, whistling like the sound of blowing on a blade of grass, obscuring vision like a smoky campfire, or making a room smell like roses. These effects add 0 to the impact.
Other magic items duplicate what expensive mundane equipment can do, but again perhaps more rapidly or conveniently. The magic item heals as well as the best mundane herbs or medicines, heats or cools as well as a stove or block of ice, protects someone as well as the best armor, or makes an area deadly like a spilled vat of boiling oil. Those effects add 1 to the impact.
Other magic items duplicate what not what equipment can do, but what labor could accomplish: lifting, carrying, searching, removing disguises, mimicking noises people make, delivering a message, etc. Again magic can allow these effects more rapidly or conveniently. These effects add 2 to the impact.
Effects that are mundanely impossible are the most dramatic, wondrous, and fun: levitation, flight, invisibility, telekenesis, shared sight, etc. These add 3 to the impact.
A different manner of affecting possibility to to make a tool or weapon easier to use, or have it simply work better than a mundane counterpart. Magic items that provide a small bonus (one more die) add 1 to the impact. Magic items that provide a big bonus (two more dice) add 2 to the impact.
| Add to Impact | Area |
|---|---|
| 0 | no area |
| 1 | set up the area |
| 4 | immediate area |
The second factor that determines impact is the effect's area.
Many effects only affect the character using the magic item, or a single object. These add 0 to the impact. (All alchemy potions and goos are of this category. All musing effects are also of this category.)
Some magic items effect an area, but only after the character using the item personally sets up the area. This could be assembling a device, arming a trap, drawing a magic circle, waiting for a flask's gas cloud to spread, etc. That adds 1 to the impact. (All alchemy flasks are of this category.)
A few, expensive magic items effect an area immediately. That adds 4 to the impact.
The maximum radius of the effect depends upon the type of magic item and the crafter's skill.
| Add to Impact | Convenience |
|---|---|
| 0 | not portable, no range |
| 1 | portable, delay or touch |
| 3 | portable, immediate, range |
The third factor that determines impact is the effect's convenience, which is a combination of range, improvisational potential, and speed of use.
The least convenient magic items must be created in advance and are not portable. Their effects have no range. These effects add 0 to the impact. (This category includes traps that must be built in their location.)
Magic items of medium convenience are portable but lack either immediacy or range. Often these must be created in advance at a laboratory, workshop, magic shrine, or other noteworthy location. Perhaps the effect starts immediately but only affects what the item or its user touches. Or perhaps the effect can reach away from the item and its user, but has a delayed start as a glue dries, a gas spreads, a weapon-enhancing goo sets, a crossbow trap is installed in its new location, a handheld machine warms up, a piece of enchanted artwork is activated with a song or a long chant, etc. These effects add 1 to the impact. (All alchemy items are of this category, as are portable traps.)
The most convenient effects can be created anywhere, have range, and have an effect that begins immediately. Effects like these add 3 to the impact.
| Add to Impact | Affect on Victory |
|---|---|
| 0 | no damage, or skill dependent |
| 1 | +1 damage only to tough attacks |
| 2 | +1 damage |
| 2 | can cause an issue |
| 2 | can cause a lost turn |
| skill rating | acts independently |
| 5 | determine victory |
The fourth factor that determines impact is how the item effects victory.
Effects that do not involve victory add 0 to the impact.
Some effects can cause damage, but only based upon the same skill use as mundane equipment. These also add 0 to the impact. If someone prefers not to use a bow and arrow but wishes to craft or buy a wand that shoot icicles to the same effect, it is inexpensive to do so.
Magical weapons are more dangerous than their mundane counterparts. Some cause an extra point of damage, but only when the wielder makes a tough attack. These magic items add 1 to the impact. (If the wand of icicles was more threatening than a mundane bow and arrow because it might chill whomever it hit for more damage, then it would have a higher impact.)
Similarly, some magic items always cause an extra point of damage. These magic items add 2 to the impact. (A superior wand of icicles always chills whomever it hits for more damage.)
(Note that by stacking the previous two effects and their impact costs, a magic weapon could cause an extra point of damage on easy and medium attacks but two extra points of damage on tough attacks for a cost of adding 3 to the impact.)
Items that can cause an issue add 2 to the impact. The target either must suffer stamina damage (the arrow that hurt the ogre was also magically enchanted to cause dizziness) or is allowed an appropriate avoidance roll at medium difficulty to not suffer the issue (eating the cursed biscotti might cause clumsiness, but the PC's successful stamina avoidance check shows that the PC avoids the curse).
Items that can cause a lost turn also add 2 to the impact. As with issues, the target either must suffer stamina damage (the arrow that hurt the ogre was also magically enchanted to cause vomiting) or is allowed an appropriate avoidance roll to not suffer the issue (stepping on the cursed pressure plate might instill a magically intimidating fear, but the PC's successful composure avoidance check shows that the PC avoids the curse).
Some items attack independently, such as traps and turrets. This adds impact equal to the item's skill rating.
The most potent effects decisively win the conflict themselves, and add 5 to the impact.
Tangentially, it is advised that Nine Powers stories do not include "divinations". Many fantasy stories include objects or rituals that predict the future, or in other ways learn what is not normally knowable. Wizards scry with crystal balls, sages read the future in tea leaves, and necromancers make corpses answer questions. Although divination magic can work well in a story we read, it is difficult to do well in a two-person role-playing game. Plots about solving a mysteries or gathering information from an enemy stronghold get ruined by this kind of magic. It makes no sense to limit the kind of adventures the GM and Players can enjoy just because the PC has become highly skilled with magical crafting.
Here are some sample fantasy magic items. Within an adventure most would have more interesting and fun names. But simple names are best for making text searchable.
Fancy Fire Pit (Impact 0 = 0 possibility + 0 area + 0 convenience + 0 victory)
This fire pit has some mechanical augmentation. When active, it emits large sparks to help kindle a fire. It is not portable, but it is still an affordable convenience because its 8 hours of active use can be spread out over months or years.
Energizing Potion (Impact 1 = 0 possibility + 0 area + 1 convenience + 0 victory)
This potion invigorates the drinker. It can restore stamina lost due to exertion, such as needing to flee for a long time or to swim in frigid water.
Domestic Animal Friendship Potion (Impact 1 = 0 possibility + 0 area + 1 convenience + 0 victory)
This potion is given to a domestic animal, often by mixing the potion in food. For the potion's duration the animal becomes very fond of the person who fed it the potion, as if that person had been a kind and caring pet owner for many years.
Cooking Disk (Impact 1 = 0 possibility + 0 area + 1 convenience + 0 victory)
This practical device causes items placed on top of it to be heated. The change in temperature is not quick enough to harm a creature mobile enough to move away.
Design Notes
Note that any set of six alchemical arrowheads that cause the same issue for up to 5 minutes would be identically priced to the Sticky Webbing Arrow.
The mechanical version of this arrowhead would create a single item with an on/off switch. It only works when switched on, and after 8 hours being switched on its internal machinery gets used up.
The musing version of this arrowhead would create a single enchanted item that works until midnight.
Sticky Webbing Arrow (Impact 2 = 0 possibility + 0 area + 1 convenience + 1 victory)
A glass arrowhead serves as a flask for an alchemical gas that when released immediately condenses into a sticky goo on the target creature, causing the Wrestle issue. One batch creates six arrowheads. The goo dissolves after 5 minutes if the target has not previously broken free (by removing the issue).
Log of Optimistically Seasoned Firewood (Impact 2 = 0 possibility + 1 area + 1 convenience + 0 victory)
This log of firewood is soaked in a special chemicals before it is seasoned. When lit, it will burn for 30 minutes. When aboveground it burns with a pleasant odor, causing all people nearby to feel optimistic about providence. The first time it is lit while aboveground this can reset the suspense dice to two twenty-sided dice.
Torch-Flare (Impact 2 = 1 possibility + 0 area + 1 convenience + 0 victory)
This special torch has alchemical treatments that prevent it from going out when dropped, doused with most liquids, or blown by light or moderate wind. As an alchemical item it lasts 30 minutes. It can be used as a club that has a chance of igniting flammable items. Lighting a new torch-flare when underground can feel like a way to stand with hope against darkness, and can change the can reset the suspense dice to two twenty-sided dice.
Belt Candle (Impact 2 = 1 possibility + 0 area + 2 convenience + 0 victory)
This small filigree cage protects a candle. It can be hooked onto on a belt, to allow its wearer to have both hands free. Crafted with musing, its special artistry means it will not produce heat until midnight—after which it will be to hot to wear and must be carried normally. It illuminates only half as far as a torch-flare or lanthorn. The candle gains no protection from being doused or blown out.
Bright Lanthorn Oil (Impact 2 = 1 possibility + 0 area + 1 convenience + 0 victory)
This special alchemical oil is burned in a large lanthorn with panels made of horn or waxed paper. (Lanterns with glass panes are anachronistic.) As an alchemical item it lasts 30 minutes. It illuminates the same amount as a torch-flare, with the advantages of a softer and steadier light, and much less smoke and smell.
Alarm Wire (Impact 2 = 0 possibility + 1 area + 1 convenience + 0 victory)
When a creature steps on or across this wire device, a noise happens. Guards set up alarm wires to monitor seldom used doorways, and some adventurers use these devices to sleep more safely in a dungeon. These magical wires are much more difficult to notice than a mundane wire and noise-maker.
Alchemist's Undervest (Impact 2 = 1 possibility + 0 area + 1 convenience + 0 victory)
This under-vest has internal pockets lined with hinged metal plates. It is designed to store flasks safely, yet enable smashing one against the body when needed.
Burrowing Peephole (Impact 2 = 1 possibility + 0 area + 1 convenience + 0 victory)
This small cylinder has glass lenses on either end, and its metal outside surface is covered by tiny gears and a spiraling sharp, threaded ridge. When placed against a wooden door it silently burrows through the wood to become a peephole that allows viewing what is on the door's other side.
Flame Theft Candle (Impact 1 = 0 possibility + 1 area + 1 convenience + 0 victory)
The wax from this candle is dripped on other candles, torches, lamps, or lanthorns. Then when a command word is spoken (often carved on the candle) the nearby flames from all those marked sources are extinguish, and this candle lights if not already lit.
Imperishable Sack (Impact 2 = 1 possibility + 0 area + 1 convenience + 0 victory)
Fancy embroidery and colorful drawstrings show this sack is special. When the drawstrings are tied a certain way, the enchantment activates and food within is prevented from spoiling. There is no temperature change, so the food need not be thawed like food stored in a normal icebox.
Linked Earrings (Impact 2 = 1 possibility + 0 area + 1 convenience + 0 victory)
Two pair of enchanted earrings are magically linked. When two people each wear a pair, the enchantment activates a minute after the first time either person says the other's name. Then they can telepathically communicate while in range of each other. The sounds "heard" in the mind are distorted, as when talking across two tin cans linked by a taught wire of the appropriate length.
Minor Weapon Enhancement (Impact 2 = 0 possibility + 0 area + 1 convenience + 1 victory)
This is the classic example of a weapon that does extra damage on each tough attack.
Pressure Plate Dart Trap (Impact 2 = 0 possibility + 1 area + 0 convenience + 1 victory)
This trap is intended to be a warning to scare away burglars. It shoots darts when a pressure plate is triggered. The darts are small, and their attack only has skill rating 1.
Rooting Laces (Impact 2 = 0 possibility + 1 area + 1 convenience + 0 victory)
These ornate laces are only magical when used to lace sturdy boots. The wearer activates the magic by walking in a circle. Until the wearer leaves that circle or the duration expires, the wearer cannot be unwillingly moved because whenever that is attempted roots will instantly grow from the boots to secure the wearer's feet to the ground.
Silent Shoe Soles (Impact 2 = 1 possibility + 0 area + 1 convenience + 0 victory)
This alchemical goo is spread on the soles of a pair of shoes. It hardens into a material that allows silent steps.
Sparkly Searchstone (Impact 2 = 1 possibility + 0 area + 1 convenience + 0 victory)
A ring with a gemstone is enchanted to sparkle with a radiant light after the gemstone is squeezed. The gleams of radience sometimes appear to bend if the wearer is looking for something, as if pointing the way. The effect grants the wearer a small bonus to Perception/Escape and Track.
Tempest Leaves (Impact 2 = 2 possibility + 0 area + 0 convenience + 0 victory)
A serving of magical tea leaves that makes a teapot of boiling water release a cloud of steam (as well as a tiny bit of lightning in the teapot). Above the teapot, the steam shapes itself into a clue about the location of a nearby commotion that was created on purpose to cause bother or stress. Most often the steam forms the shape of someone's face or an image of a building. Each serving of tempest leaves only works once for the magical property, but the tea is high quality and can be enjoyed for several infusions. (The only clues revealed are those that could have been learned from spending several hours investigating. The magical tea leaves can sense auras in the neighborhood, but they do not read minds.)
Automated Butler (Impact 3 = 2 possibility + 0 area + 1 convenience + 0 victory)
This primitive robot can fetch and carry.
Acidic Gas Flask (Impact 3 = 0 possibility + 1 area + 1 convenience + 1 victory)
The chemicals in this flask interact with air after the flask breaks. The gas spreads for a minute, then turns into a pink fog that harms to any creature in its area (as if attacking with a skill rating of 1).
Bard's Bane (Impact 3 = 2 possibility + 0 area + 1 convenience + 0 victory)
This mechanical music box can record and replay one song.
Flask of Blinding Cloud (Impact 3 = 1 possibility + 1 area + 1 convenience + 0 victory)
After this flask breaks the area fills with dense, fragrant smoke. After a minute the smoke has become so thick that it interferes with sound as well as sight, smell, and taste. Within the smoke, all ranged perception and combat skill use automatically fails.
Footstep Faker (Impact 3 = 2 possibility + 0 area + 1 convenience + 0 victory)
Black market machinists prepare these devices wrapped in thick wool. A minute after being shaken, they begin to flex and crack. This causes taps and creaks that sound remarkably like footsteps. Burglars and spies use footstep devices to distract people. They drop them from the rafters into a shadowy corner, or throw them under or behind furniture. Few guards have enough experience with these items to recognize that the noise is not footsteps.
Interlinear Blank Book (Impact 3 = 2 possibility + 0 area + 1 convenience + 0 victory)
This book is attuned to a language. Sentences written on its pages automatically have a translation in that language appear below.
Linked Gloves (Impact 3 = 0 possibility + 0 area + 3 convenience + 0 victory)
Two pairs of enchanted gloves are magically linked. The wearers activate their magic by flexing the fingers in certain motions. Then the gloves immediately become useful for secretly signaling. While in range, when one pair is used to make intuitive certain gestures, the wearer of the other pair feels gentle taps on the hands in an understandable code.
Major Weapon Enhancement (Impact 3 = 0 possibility + 0 area + 1 convenience + 2 victory)
This is the classic example of a weapon that always does extra damage each time it hits, as described above in the "victory" section.
Musing Sensing Miniature Settlement (Impact 3 = 3 possibility + 0 area + 0 convenience + 0 victory)
This table-sized replica of a town or city, made with colorful clay, is not portable after being constructed. When the proper phrases are spoken, the buildings on the replica begin to glow if their corresponding actual buildings contains one or more items crafted with musing.
Origami Pets (Impact 3 = 2 possibility + 0 area + 1 convenience + 0 victory)
These squares of paper, when folded into animals, animate and obey simple commands.
Signet Ring of Wax Seal Certification (Impact 3 = 2 possibility + 0 area + 1 convenience + 0 victory)
This signet ring glows when used to seal a letter, and stops glowing when its most recently made wax seal is broken.
Sky Hook (Impact 3 = 2 possibility + 0 area + 1 convenience + 0 victory)
This ornate metal hook looks like it might have once held a hand towel in the opulent bathroom of a wealthy noble. But instead of having holes by which it could be attached it a wall, it magically levitates wherever it is positioned when its command word is spoken.
Spy's Glass (Impact 3 = 3 possibility + 0 area + 0 convenience + 0 victory)
This mirror, permanently affixed to a wall, can be entered as if it was a doorway. A minute later a temporary, invisible copy of yourself steps out. Your real self is trapped until/unless the copy returns.
Super-Stumbler (Impact 3 = 0 possibility + 1 area + 1 convenience + 1 victory)
Guards tasked with protecting an entryway can set up this device to cause anyone crossing the threshold to fall down and bruise their hand or knee (as if attacking with a skill rating of 1). It works like a tripwire, but is not broken by the first person to trigger it.
Tattling Locket (Impact 3 = 2 possibility + 0 area + 1 convenience + 0 victory)
This ornate locket activates when opened, and shows an image of whomever last touched it.
Treasurehunting Compass (Impact 3 = 2 possibility + 0 area + 1 convenience + 0 victory)
This compass was made by a pirate to help find his buried treasure. When activated, it points the way to the most valuable other item it has ever touched.
Universal Monster Pheromones (Impact 3 = 2 possibility + 0 area + 1 convenience + 0 victory)
This alchemical concoction simulates scents that attract many types of monsters. Note that useful airflow will be essential for successfully luring monsters. Unfortunately, the smell is nearly intolerable to people.
Wellness Zone (Impact 3 = 1 possibility + 1 area + 1 convenience + 0 victory)
This noisy device slowly fills the area with ethereal vibrations that make people rested and healthy (healing small injuries).
Anti-Magic Zone (Impact 4 = 3 possibility + 1 area + 0 convenience + 0 victory)
No magic will function inside this circle. Some are made by spreading alchemical goo in a circle on the floor. Others are constructed with wires that emanate from a special device. Others are drawn with chalk and artistic symbolism.
Cloud Climbing Crampons (Impact 4 = 3 possibility + 0 area + 1 convenience + 0 victory)
These crampons radiate a soft blue glow. When attached to any shoes or boots, the glow intensifies and the wearer can walk on air.
Cummerbund of the Careful Tongue (Impact 4 = 3 possibility + 0 area + 1 convenience + 0 victory)
Some nobles use musing to enchant a piece of their young children's clothing to help the children remember their manners while being introduced at parties. If the child is about to make an egregious mistake in etiquette, the piece of clothing constricts slightly as a reminder. The effect provide a big bonus to the Etiquette.
Dreamless Pillow (Impact 4 = 3 possibility + 0 area + 1 convenience + 0 victory)
This pillow, once sufficiently fluffed, prevents its used from dreaming without diminishing the quality of sleep.
Fair Dueling Enforcer (Impact 4 = 2 possibility + 1 area + 1 convenience + 0 victory)
This banner, once unfurled and waved, causes a big penalty to all nearby ranged attacks, whether mundane or magical.
Guard Stuffy (Impact 4 = 2 possibility + 1 area + 1 convenience + 0 victory)
When activated, this stuffed animal toy will shriek when anyone unknown to its owner comes close enough.
Honest Mirror (Impact 4 = 3 possibility + 0 area + 1 convenience + 0 victory)
After a mystic phrase is uttered, this this ornate mirror begins to reflect people's true faces. It is appreciated by guards for its ability to penetrate both mundane and magical disguises, as well as to reveal shapechangers such as Ogres or Therions. It is hated by vain noblewomen who do not want their face seen without its makeup.
Inquisitor's Watch (Impact 4 = 3 possibility + 0 area + 1 convenience + 0 victory)
After this watch is wound a special way, the hour hand will point to the closest person telling lies and the minute hand to the closest person telling the truth, while the second hand ticks normally.
Invisibility Potion (Impact 4 = 3 possibility + 0 area + 1 convenience + 0 victory)
There are many versions of this potion. Many towns and cities have laws limiting their use, to help prevent crime. Most potions of invisibility also affect what the drinker is wearing. Some cause a limited invisibility that ends if the drinker is touched by sunlight or moonlight, attacks anyone, etc. All invisibility potions provide a big bonus to Sneak skill use.
Liaison's Lanthorn (Impact 4 = 3 possibility + 0 area + 1 convenience + 0 victory)
This ornate lanthorn only sheds light for the person holding its handle.
Purifying Stove (Impact 4 = 3 possibility + 0 area + 1 convenience + 0 victory)
An expensive but practical kitchen device is this stove whose machinery will remove from food placed within any parasites and diseases, quickly and without needing to change the food's temperature.
Rocket Boots (Impact 4 = 3 possibility + 0 area + 1 convenience + 0 victory)
Whee!
Shared Sight Potion (Impact 4 = 3 possibility + 0 area + 1 convenience + 0 victory)
This potion is shared by two people or animals. After a minute they can close their eyes and concentrate to see what the other is seeing.
Stage Magician's Box (Impact 4 = 3 possibility + 0 area + 1 convenience + 0 victory)
This box has a dial that can be turned to set a time, ranging from 1 minute to 1 hour. Then the objects placed in the box vanish for that long when the lid is closed. The objects cannot be made to reappear earlier.
Telepath's Tiara (Impact 4 = 3 possibility + 0 area + 1 convenience + 0 victory)
Fancy jewelry that, starting immediately after activation, lets you hear thoughts of anyone with whom you are shaking hands.
Circus Charade Ring (Impact 5 = 3 possibility + 1 area + 1 convenience + 0 victory)
This low barrier is circular and ornately decorated. A favorite part of a famous traveling circus, its magic causes animals within to play charades.
Maleable Mickey (Impact 5 = 2 possibility + 0 area + 1 convenience + 2 victory)
This alchemical potion is slipped into a victim's drink. After a minute the drinker becomes more agreeable to any reasonable request he or she hears. (A big bonus to persuation skill checks against the drinker.)
Pointy Hat of Protection (Impact 5 = 3 possibility + 1 area + 1 convenience + 0 victory)
After activation with a long chant, this pretty pointy hat causes a big penalty to all nearby magical attacks.
Telekenetic Gloves (Impact 5 = 2 possibility + 0 area + 3 convenience + 0 victory)
This pair of gloves allows its wearer to pick up and manipulate objects anywhere in range.
Glasses of Forced Sharing (Impact 6 = 3 possibility + 0 area + 3 convenience + 0 victory)
After this pair of glasses is activated, you can switch your point of vision as if seeing from any other glass in range (windows, mirrors, glasses).
Targeted Tiny Potion of Sleep Gas (Impact 6 = 0 possibility + 0 area + 1 convenience + 5 victory)
Small vials of sleep gas can be thrown or used as arrowheads. Because they contain such a small amount of chemical, they only cause sleep with a well-placed hit to the face, represented by a successful tough Shoot/Throw attempt.
Deadly Pit Trap (Impact 6 = 0 possibility + 1 area + 0 convenience + 5 victory)
The ultimate trap, falling into this pit causes the intruder to die, impaled on sharp wooden stakes while instantly cooked in deadly scalding steam.
Untargeted Flask of Sleep Gas (Impact 6 = 0 possibility + 1 area + 1 convenience + 5 victory)
Breathing more than one breath of the cloud of soothing gas released when this flask breaks puts any creature to sleep. Sometimes these are crafted so the gas is invisible, to capture tresspassers. A Wrestle avoidance check allows creatures to hold their breath and resist the gas that turn.
Ultimate Handcuffs (Impact 8 = 2 possibility + 0 area + 1 convenience + 5 victory)
Once these warm up, the person they are put on is paralyzed for their duration.
Evil Portal (Impact 8 = 3 possibility + 0 area + 0 convenience + 5 victory)
A doorway that grants terrible power, but only after you lure someone else to touch it and be forever lost into its pocket dimension.
Life Insurance Sarcophagus (Impact 8 = 3 possibility + 0 area + 0 convenience + 5 victory)
An immobile marble sarcophagus with the image of its creator carved in bas relief on the lid. If someone living is inside when that creator dies, the creator's mind replace the other person's.
Here are some especially useful non-magic items that adventurers often carry.
bucket - carry stuff (including coins), transport acid/slime/oil safely, give water to mounts (impact 1)
salt, pepper, spices, flour - trade goods, poultices, sneezing powder, mask your scent, make a smell certain monsters avoid, throw powder in adversary's eyes, use powder to find the invisible (impact 1)
rope - can be used to climb, restrain a captive, lower a bucket or lanthorn, with a net or bucket or hook retrieve an object from a pool, string up an animal carcass, or make a tripline or snare or raft or shelter (impact 2 for 60', or impact 3 for 120' at the same weight)
spear or pole - can be used to check a floor or wall for traps, check depth of a pool of liquid, poke suspicious things, with hook and line go fishing (impact 2)
small hammer and metal spikes - hold a door open, wedge a door closed, put holds on a wall or in a pit, jam a trap mechanism (impact 2)
crowbar - open stuck doors, break open boxes, help disable traps, break chain or manacles, hammer or dig, rescue ally from under a collapsed wall or object (impact 2)
bell, twine, ballbearings, caltrops - signaling, set up an alarm, check for slope, deter pursuit, slide a heavy object across a smooth floor (impact 3)
tallow candles and chalk - can be used to make light subtly, signal, check air currents, measure elapsed time, mark walls or door frames, communicate silently, leave notes, notate lever combination puzzle progress, mar glyphs (impact 1)
mirror, wax candles, and chalk - a mirror can look around a corner or under a door, or check your own wounds that would normally be out of sight; wax candles do everything tallow candles do as well as make nose plugs or earplugs, or make a seal that reveals if something has been opened (impact 4)
Sometimes the PCs can find coils of rope, extra torches or rations, and other gear discarded by earlier explorers who were ready to return home with the rewards of their adventuring but did not desire to travel so encumbered.
Note that in some stories a dungeon will itself behave like a being that dislikes intruders. In this type of story the dungeon's doors might close, traps might reset, supports under a floor or ceiling might collapse, and so forth as the location tries to protect itself.
What about magic items that are not crafted and priced per use?
The sample setting of Spyragia certainly includes those! They are created by the nine Powers.
Those are the items that adventurers go on quests to obtain, that villains use to make people fear them, that nobles plot to steal from each other, and that are special delights to find in a town's magic item store. Those items help make stories happen!
In contrast, the crafting economy is about the PC preparing for an adventure. What should he or she make? Does anyone know the recipe? Does the PC have time to make it? Is it really worth the cost? Must the PC spend double for the retail price because crafting it is beyond their skill?