Ruins is roguelike dungeon crawling roleplaying game for one player and friends. It is a hybrid computer game and tabletop roleplaying game inspired by old school dungeons and dragons, parser based adventure games, and post-forge tabletop roleplaying games.

Explore procedurally generated ruins filled with monsters, traps, and ancient treasure. Rest at campfires and commune with other players in the ruins. Delve deep into layers of complex history and right long forgotten wrongs.

Get Ruins on

image copyright Failbetter Games Ltd

Fallen London is a free to play browser based Victorian Gothic text adventure. Their premium subscription service offers a new Exceptional Story to play through each month.

For June 2019 I wrote The Garden Embassy: an Exceptional Story that sees you invited to the grand opening of the Garden Embassy, a mysterious establishment representing a collection of her majesty’s overseas colonies.

(Spoilers for Fallen London content ahead)

The Garden Embassy was an incredible privilege to write for Fallen London as it centers on an ambassadorial entourage from the antipodean colonies of the British Empire and the fate of those colonies in Fallen London’s alternate timeline. I greatly enjoyed filling the module with Australian references for players to puzzle out and creating characters that could provide real positive representation of Australia’s first nations peoples, as well as plenty of queer representation too.

W.R.I.T.E. GM Moves

As a GM I often run a game on the fly by the seat of my pants with very little reference material in front of me, and I really appreciate games that let me do this. One of the things I struggle with, for a lot of PBTA games is long lists of GM moves. I often forget to have a list in front of me and I don’t want to go digging for them every five minutes. I know GMs who have a more measured pace for whom patiently consulting a list of GM moves works for but my style is too hectic for that. This tool is intended to be a helpful fallback for when you don’t have the game’s actual list of moves in front of you. It’s not intended as an outright replacement for the GM moves of the actual game you’re playing. The tool is this simple acronym: WRITE Warn them Rob them Injure them Twist the outcome Escalate   Warn Them Introduce new things to worry about or make distant worries more present. Reveal unwelcome truths. Let them know what’s about to happen, or what’s happening in the nearby or far away. This move is one of the most important because it’s the one you use to create narrative flow and make sure players don’t feel cheated. When they later get completely obliterated by dracula’s moon laser, it’s ok because you warned them. “In the distance you hear the rumbling sound of many feet and warcries. A warband headed this way, to be sure.” “A bullet ricochets off the wall inches from your head, wherever it came from, the second one probably won’t miss.” “A smirk fills the councilman’s eyes. He’s not afraid of you anymore.” Rob Them Take away or destroy the things their characters care about. Equipment gets broken, dropped, used up, or left behind. Hurt, kill, or kidnap their companions. This move is valuable for making risks and consequences that feel real and grounded without always falling back on the threat of potential injury and death. It’s what powers resource management based games and it reminds the players that even superheroes need to eat. “The kobold deftly disarms you and your sword clatters into the chasm below.” “The torch gutters out and someone’s belly grumbles in the cold dark, though it could have been anyone’s.” “The others squeeze through the gap without trouble but there’s no way your plate mail is making it through.”   Injure Them Bruise them, bleed them, break their bones. Take their lives or whatever made their lives worth living. This is the simplest move, the classic. Use it to make a point. This is a thing that can kill you. When hitpoints drop players sit up and take notice. “The ogre reaches through your hail of arrows, grabs your arm, and rips it off.” “The sweltering sun beats down on you as you travel without respite. Your skin burns and your blood boils in your head.” “You’re only barely still standing with the poison seeping through your veins and so you don’t notice the kobold trip wire at the top of the stairs. The tumble is all it takes to rob you of that last inch of life.” Twist The Outcome Give them what they want but with a cost or twist. Show their actions affecting much more or much less than they had intended. Turn their move back on them. Have success look different to what was assumed. This move is super useful for adjusting the pacing of things as well as making players think about possible fictional outcomes of their actions. “The fireball explodes on the mummy and fills the entire chamber with flames. The sacred scrolls nearby start to smoulder as embers pock their pages.” “You break down the door before hearing the groaning of the stones above as they tumble down with the wall collapsing into a giant pile of rubble.” “The necromancer recognises your holy symbol and is struck silent. As his minions flee he drops to his knees, begging for his life.” Escalate Make the situation worse. Separate the party. Put someone in a tricky spot. Bring in backup. Turn the floor into lava. This move is incredibly versatile, especially in tandem with Twist The Outcome, and drives a lot of narrative. Use it to ramp things up, move things forward, and never look back. “As you stop to catch your breath over the corpse of the man you used to trust, the entire house shakes and then lurches as it’s lifted into the sky by nazi helicopters.” “One of the bandits reaches out and grabs your companion, pulling them close with a knife at their neck. They start to retreat with their hostage.” “Bullets slice through the air around your jeep as the mercenaries fire from their bikes. One gets lucky and gas starts spraying from the engine bay and it’s only a second before the hood is blazing.”
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Antiquarian Adventures

Antiquarian Adventures Antiquarian Adventures is a pulpy tomb raiding and treasure hunting Blades In The Dark hack in the style of Tomb Raider, Indiana Jones, National Treasure, and The Mummy. It is currently in early access. You can purchase it on Or you can access the full text of the game for free:
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You see a wyrd-touched traveller through the haze. They grant you a warding magic. What elements bind it?
Roll 2d20:
1) Salt
2) Iron
3) Bone
4) Water
5) Earth
6) Stone
7) Flesh
8) Blood
9) Wind
10) Wood
11) Feathers
12) Glass
13) Cloth
14) String
15) Oil
16) Leather
17) Gold
18) Silver
19) Coal
20) Smoke

Ok! Here’s tonight’s #MonadnockGame test build for you! Feedback adored. Let me know how long it takes you to work it out. Explanation:The beast chooses their next hex based on the cycle depicted in the wheel but will copy you if you have built up trust by copying it and there are no options that match it’s first preference. Get both of you to the goal spaces to win. Escape will skip the level. It’s random at the moment. Some are impossible. Space will mute the lovely music by Eli Green Drums and Julia Henning.

Shadow Of Ares

I’ve got to admit I’m a bit disappointed by the shape of the third stage form of Shadows of Ares. I’ve had a look at some of Victor’s other stuff and I think the subject matter wasn’t down his alley and my super casual voice for some VERY crunchy rules definitely created a language barrier I would have tried to avoid if I’d thought about ESL participants at all. At some point the document went from being an RTF to a TXT as well which didn’t do anyone any favours. As much as I appreciate Victor Andrade’s work on making the game more accessible I think a bunch of his stuff actually diluted the super tight focus I was trying to keep on the game from the amazing fluff text I got from Chris Bennet in stage 1. My one goal in stage 2 was to take the level of granularity that games like D&D reserve for combat and apply it to the kind of jury-rigging problem solving that stories like The Martian explore. I feel like I probably achieved that and I was hoping that by using an Apocalypse World style core dice mechanic someone else could fill in the holes we found during our playtest (lack of rules for investigation or persuasion etc). I do suggest people check out the Stage 2 version because I think the RTF and limited scope are actually pretty solid and if people want to work on it with me we can probably build it out into something cool. Though there are a couple of other spacejockey games in threeforged that get the job done more neatly.
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Platonic Mastery

So the #threeforged voting is over, congratulations to Joshua, Shreyas and Grant for Field Work (details at Now that the veil of anonymity is lifted I can take some time to talk about the games I worked on, the first of which has to be Platonic Mastery. Not only was it my stage one game but it’s also the one that needs the most discussion. Download here: Firstly, @lumpleygames, I totally knew you were one of the collaborators for this. Your voice is so loud in the text, it’s ridiculous. Secondly, I was absolutely blown away with the third round product of this little thing. When I started threeforged I dredged through my mind for vague recollections of abandoned RPG ideas and recalled a fancy I’d had about doing an ATLA themed game using the elements to dice mapping from the Timaeus Dialogue. If I were following the advice going around a bit more I would have been a bit looser than what I ended up throwing together but after days of agonizing over the dice mechanics I ended up with a playable round one game. We playtested it and the dice mechanic worked. I submitted it and put it out of my mind as I continued work on the other games. When all the stage 3 games were released for voting I opened up Platonic Mastery and I think I cried a little while reading it. I was so unsure about the original piece I had submitted and to see it all grown up, transformed in ways that were totally beyond what I could have imagined and so evocatively written, I was blown away. So I definitely need to say, thankyou so much to Vincent and Mark for giving me that. Thirdly, My only disappointment was that one line got removed from my original text and had nothing to replace it. This rule is super awkwardly worded but losing it makes the dice mechanic fall apart and it’s one of the first things we’ll need to address if we put further work into the game: You‭ ‬may‭ ‬roll‭ ‬as‭ ‬many‭ ‬of‭ ‬your‭ ‬live‭ ‬dice‭ ‬as‭ ‬you‭ ‬wish‭ ‬but‭ ‬you‭ ‬may‭ ‬never‭ ‬use‭ ‬all‭ ‬of‭ ‬your‭ ‬live‭ ‬dice‭ ‬of‭ ‬any‭ ‬single‭ ‬kind‭ ‬on‭ ‬a‭ ‬roll‭ ‬unless‭ ‬they‭ ‬are‭ ‬of‭ ‬the‭ ‬same‭ ‬element‭ ‬as‭ ‬the‭ ‬action‭ ‬being‭ ‬performed. It’s a pity because there were a couple of reviews that pointed out the flaws in the mechanic raised by not having this limitation. Fourthly, It wasn’t until some of the voting period reviews raised the issue that I really noticed the social justice implications of the current state of the game. The problems were obviously not intentional on the parts of any of the creators but I think privilege gives you blind spots. Reading the text I was just impressed that the player characters were addressing social justice at all. As a transwoman seeing trans characters not being an outright joke or villain is the bar that media has to meet for me at the moment. I think getting the tone right here is going to be the trickiest part of fixing this game and it might actually be the hill too steep to climb but I desperately want to see a game that both retains the amazing evocative world we see in the republic and still allows for empowerment of the oppressed within it. I think it will probably need a lot of community discussion to get that right. I’m so fucking glad that the anonymity period is over now and I can talk about this stuff directly because hiding my thoughts in a review and not being able to join in other comment threads was a seriously hard time for me. I’m really looking forward to working on this further because it’s already so far along and so engaging.
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The #Threeforged RPG design challenge has all it’s entries in and it’s time for public voting:

I’m not allowed to tell you which three I worked on yet but I do have to say thankyou to the people that worked on my stage one submission. The end product is an amazing and beautiful evolution of the crazy ideas I started with.

I’ll be going through some and doing some small short form reactions/reviews of the games I read. If any really pique my interest I’ll try and organize some oneshots for serious reviewing.

The Splintering Wheel

The Splintering Wheel is a continuing game of Dungeons and Dragons and Feelings I am running. It is an open table, centrally located hexcrawl game, mechanically inspired by The West Marches. The setting is desert based fantasy/dieselpunk. It’s races are culturally adjusted and it contains both firearms and Automobiles. Shoalmourn Shoalmourn is a human kingdom which has retracted back into itself as the climate has changed and the deserts have encroached on their lands. The prevailing wisdom is that they have been abandoned by Oli the Seasonkeeper who is upset with their excessive use of magic and lack of filial piety, and idea gleaned from High Elves. To rectify this the humans of Shoalmourn have become less socially mobile and more rigidly controlled by their mid level governments. The Town of Qaval Qaval is a human town of approximately 3000 people at the south-easternmost corner of the largely subterranean human kingdom of Shoalmourn. It’s remoteness has earned it a reputation as a wretched hive of scum and villainy. Adventurers and outcasts gravitate to this settlement either lured by the call of the expansive wastes that surround it or escaping the rigid control of Shoalmourn’s brutal inquisitorial guardforce. Adventurers are known to meet in what is referred to as the forum, a public square between two taverns, a flophouse and a smithy, inhabited by a seemingly voluntarily homeless man known only as Caesar. Pantheon There is one god and that god is IA. IA is the Splintering Wheel, gaoler of the world. His domains are Life, Death and Destruction. He is uncaring and eternal. There are seven Wardens that obey IA and tend to the world. They are as follows: Oli, the Seasonkeeper, whose domains are Nature, Construction and Tempest Horu of the Undergrowth, whose domains are Death and Nature Avio, the Kilnmother, whose domains are War, Construction and Travel Shobi of the Skies, whose domains are Knowledge, Light and Tempest Nodermu the Pure, whose domains are Knowlege, Life and Destruction Shan the Patient, whose domains are Knowledge, Trickery and War Kilarbi the Flare, whose domains are Trickery, Light and Travel Races Races here list their defining traits according to Hofestede’s Cultural Dimensions, their societal structure and the styles of their artisans. Elves High Power Distance, High Uncertainty Avoidance, Past Oriented A rigidly structured matriarchal society centred around great houses built along the ancient spice routes. Their crafts and architecture are dominated by elaborate designs reminiscent of Qing Dynasty Cloisonné, Girih Mosaics and Medieval Persian Carpets. High Elves The masters of the great houses the high elves are the most rigidly bound by their matriarchal structure. High Elves almost never leave the region around their house’s holdings. It is believed that High Elves that venture from their homes are struck down by a wasting disease which is evidence of the displeasure of IA and his Wardens. Wood Elves The carpenters and tradesfolk of the Elves are less strict than their noble brethren. Their families typically owe allegiance to a High Elf House and go out into the world to deal with their affairs. Drow The great architects of the Elves, the Drow reshape the undercaverns into tunnels, halls, pits and spires. Originally slaves to the High Elves, forced to construct their great houses they escaped beneath the surface of the world. At their height they constructed vast magnificent subterranean cities that glittered with magical light but as the Fold of Nodermu spread through their culture they rejected this grandiosity for it’s imitation of the hubris of the High Elves and disbanded to live simpler lives, practising their arts primarily as an expression of piety. Dwarves Low Power Distance, Collective, Feminine, Indulgent Dwarves are a nomadic people whose trails are said to be written into their very bones. Their family groups are large and intermingled and exemplify their saying “it takes a whole caravan to raise a child”. Many of the less hospitable places along their paths have hidden towns of caves and tunnels carved into rock faces over generations within which to shelter. Fond of life’s simple pleasure the echoes of their joyous music ring out from their camps most nights. Their crafts are dominated by colourful paintings,bold symbolic stonecarving and elaborate beadwork similar to Romani and Native North American arts. Mountain Dwarves Sometimes known as Seasonal Dwarves they are recognised by their brightly painted conical tents that move along the landscape with the weather, never staying in one place much longer than a few weeks. Hill Dwarves The wagons of the Hill Dwarves, often insensitively called Mud Dwarves, commonly make camp in and around the large settlements of other races often for months at a time until trade with the community dies down. Gnomes Low Uncertainty Avoidance, Future Oriented, Feminine Bundled in heavy hessian robes few people have seen the face of a gnome. Their skills and craftsmanship is often full of sharp angles and mechanical embellishment. If it has a plate of steel bolted to it for no reason or unnecessary patching it’s probably gnomish. If it has no baling twine, fencing wire, zip ties or silver tape it probably isn’t. Forest Gnome Now called Wild Gnomes these creatures are rarely seen amongst the trappings of civilization only wandering out of the desert into towns individually to trade for a few essential supplies. Rock Gnome Rock Gnomes, commonly called Tame Gnomes, gather in warrens in abandoned spaces around cities and towns such as empty storehouses, back alleys and dry sewers. Often they are employed for repetitive, delicate or menial tasks, sometimes unnecessarily in the belief that if they aren’t kept occupied they will turn to mischief and crime. Halflings High Power Distance, Collectivism, High Uncertainty Avoidance Halflings Build huge suburban sprawls around bountiful clear water sources notable for their canal-lined streets watering the large gardens and fields that they grow between houses and buildings. They invest heavily in their social strata and civic organisations. Titles are highly prised and respected from Mayor to book club secretary. Stout Stout halflings are industrialists who build large communal factories, mills and breweries. The foremen of these institutions are often important community members. Lightfoot Lightfoot halflings tend the gardens and fields that criss-cross the halfling sprawls. They are considered brash and gossipy by Stouts who think that Lightfoots use petty politics to gain status instead of hard work. Humans Collectivist, Masculine, Future Oriented Masters of tools, invention and teamwork, Humans use regular communal expressions of faith to power their indomitable march towards industry and agriculture. Their admiration for the skilled and well mannered Drow has lead to their cities filled with networks of subterranean rooms beneath simple heavily reinforced surface structures. Only the largest human cities contain buildings with multiple above-ground storeys. Humans are known for their bold, minimalist art styles often using large sweeping brush strokes, and simple shapes in bold colours in expert spatial arrangements. Half-Orcs High Power Distance, Collectivist, Low Uncertainty Avoidance, Indulgent Once known as half-orcs the sturdy Ogrin are industrious labourers who build small dense towering cities of baked wattle and daub criss-crossed with wooden walkways and narrow streets. The high walls of these cities are filled with the scents of hearty food and drink as Ogrin life is seen as a trade of labour for earthly pleasures. Simple work and cuisine. Dragonborn Masculine, High Uncertainty Avoidance, Restrained Often found in positions of significant power and influence Saurians rarely construct their own communities, preferring to insert themselves into the societies of other races. Their work is fine and subtle in all fields, when they do express flourishes they are powerful and filled with sharply honed raw colour and emotion. Tieflings Individualist, Masculine, Future Oriented Believed to be abandoned by The Wardens Tieflings are often the subject of pity amongst other races who see their “deformities” as the manifestation of the wrath of IA. They are however, fiercely self-sufficient and will often sabotage charity directed towards them. Their work is sturdy and smooth, often embued with curls and waves carved into silver and hardwoods. Goliaths Low Power Distance, Individual, Masculine, Past Oriented Known for the grand masonry of their massive coliseum fortress cities built atop towering mesas. Huge ghostly white Goliaths have earned a fearsome reputation in the fairy tales of other races due to the brutality of the ritual combat that dominates the social order and culture of their civilisation.
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Dungeons and Dragons and Feelings

Dungeons and Dragons and Feelings is what I’m calling my attempt to tweak 5th edition Dungeons and Dragons to better support player driven stories and inter-character interactions at my table. I’ve added a few systems stealing bits I like from Dungeon World, Apocalypse World, Burning Wheel and FATE. In order to make this all work and to visually realign priorities I’ve also created a custom, if basic, character sheet for my players to play with. Character Sheet The main visual space is taken up by Callings and Traits which are explained later in this post while the important stats appear in a column down the left of the page. Things like attacks, spells and other abilities are all lumped into a “Moves” section while passive things like Stonecunning and Darkvision appear go in the “Features” section. The “Skills” section allows players to jot down their proficiencies in Skills, Languages and Tools. “Gear” is a general space for listing all equipment the player has.   Callings Callings are your character’s motivations and beliefs. They should be stated as an opinion or thought followed by an actionable intention. Eg. “The baron is extorting his people. I will remove him from power.” “The party Rogue, Tamlin, saved my life. I will return the favour at any cost.” “The Gods are unworthy of worship. I will end all religion in the land.” When you attempt to take actions that come from your Callings, gain 1 experience. Eg: “I start an argument with the town crier who supports the baron BECAUSE the baron is extorting his people.” When you achieve the intention stated in your goal you gain experience equal to your level and replace that belief with a new one. Traits Traits are simple words or phrases that explain the defining features of your character. Traits can be invoked by players and the GM to grant advantage or disadvantage on rolls where those traits are relevant in the story. It can also be invoked to grant non-roll based benefits or misfortunes. Once a trait has been invoked to gain advantage or benefit it is marked and cannot be used again to gain another advantage or benefit until it has been unmarked. When a trait is invoked to grant disadvantage or misfortune you can unmark one trait of your choice. All traits are unmarked at the start of each session. EG: “Hairy” Invoked to grant advantage on deception check to disguise oneself as a bear. Invoked to grant disadvantage on acrobatics check to escape a sticky swamp. “Honest” Invoked to grant advantage on persuade check to convince a priest to give people asylum for the night. Invoked to grant disadvantage on sleight of hand check to steal the keys to a jail cell. At the end of each session the rest of party votes on which trait is least descriptive of your character in that session and what to replace it with. These changes are then made to your character. <!-- Situation Traits A location, circumstance or situation may have traits that can be invoked like character traits by players and the GM to grant advantage or disadvantage on rolls. EG: “Flickering Lights” Invoked by to gain advantage on a stealth check. Invoked by to grant disadvantage on an attack roll. --> Experience You are eligible to level up when you gain XP equal to nine plus your level multiplied by three. Levelling up is a Great Work which must be completed before you gain the benefits of your new level. At the end of each session each character goes through their callings. If they can give an example of an action they took in the session that was motivated by that calling they gain one experience. This is called a Because Statement. I.E. “I robbed the noble’s son BECAUSE wealth should be shared amongst the common folk.” If they have completed the goal stated in that calling they gain experience equal to their current level and remove that resolved calling. They also gain experience for each answer they found to questions in their Mystery Table. Did we: Get set back by being outmaneuvered or through oversight and learn from it? Devise a shrewd scheme or strategy that was successful and put the party at an advantage? Loot a Memorable Treasure? Acquire a useful ally, contact or confidant? Defeat a notable foe? Complete any quests? Skill Specifics Perception/Investigation: When you succeed on a perception or investigation check you may ask up to three of the following questions. Acting on the answers grants advantage on relevant rolls. If you fail by five or less, you may ask one. What happened here recently? What is about to happen? What should I be on the lookout for? What here is useful or valuable to me? Who’s really in control here? What here is not what it appears to be? Insight: When you succeed on an insight check against a character you may ask up to three of the following questions. Acting on the answers grants advantage on relevant rolls. If you fail by five or less, you may ask one. Is your character telling the truth? What’s your character really feeling? What does your character intend to do? What does your character wish I’d do? How could I get your character to __? Social Manipulation: Persuasion is convincing someone to do something because something good will happen to them if they do. It is opposed by a Wisdom save. Intimidation is convincing someone to do something because something bad will happen to them if they don’t. It is opposed by a Charisma save. Deception is convincing someone that something you say is true despite evidence or lack thereof. It is opposed by an Intelligence save. When you succeed on an intimidation, persuasion or deception check against a player character you they gain one experience if they do what you say and gain disadvantage on any rolls to not do that. If you fail by five or less, choose only one of those conditions. When you succeed on an intimidation, persuasion or deception check against a non-player character you they they do or believe what you want you say. If you fail by five or less, they will do or believe what you say when you give them some reasonable evidence that you’re to be believed. Mystery Tables A character’s mystery table is a list of questions the player has about the world, their own character and characters around them. At the end of each session the character gets one experience for each of those questions which have been answered and removes that question from their mystery tables. New questions can be added to the table between sessions. If answering one question would answer another question they cannot be listed as two separate questions. There is no limit other than common sense to how many questions you can have on your Mystery Table. Great Works Crafting Magical Items, Buildings, Advanced Engineering, Political Prestige and Personal Development require more than just a little elbow grease or a few arcane words. To perform a great work: First calculate the cost of the great work you wish to attempt. State which resources you are spending on your attempt. Roll the Required Check for the great work. Apply Penalties For every 1 Magic in the cost not being spent on the attempt apply a -10 penalty to your roll. For every 1 Influence in the cost not being spent on the attempt apply a -5 penalty to your roll. For every 1 Goods in the cost not being spent on the attempt apply a -2 penalty to your roll. For every 1 PP or 10 GP in the cost not being spent on the attempt apply a -1 penalty to your roll. For every 1 labour in the cost not being spent on the attempt apply a -1 penalty to your roll. See the roll results on the Great Work Attempt table. Costs come in the following units: Goods, Influence, Labour, Magic, and Platinum Pieces Great Work Required Check Cost Level Up Your Highest Proficient Save Your Current Level in Platinum Pieces + Your Current Level in Days Construct A Room or Building Mason’s Tools or Carpenter’s Tools Ultimate Campaign Cost Craft An Item Relevant Tools or Arcana Item PP cost or equivalent number of days Research A Spell Arcana 1 Magic + 10 days per spell level <thcolspan=”2″>Great Work Attempt 25+ Great Success. Roll on the Spare Parts table and gain those resources as a bonus from your efforts. 10 – 24 Success. 5-9 Partial Success. Roll on the Spare Parts table and increase the cost of this work by that much. You may reattempt this work again. Resources already invested count towards the new attempt but cannot be extracted from the work at this time. 4- Abject failure. Any and all resources invested in this great work are destroyed or wasted. Spare Parts 1d6 Result 1 1 Magic 2 1d12 Goods 3 1d100 GP 4 1d20 Labour 5 The assistance of a specific person or 1d4 influence 6 The quality of your final product Exhaustion & Madness Exhaustion is split into two separate tracks, Exhaustion for physical effects and madness for mental effects. When you fail a death saving throw you gain one level of exhaustion or madness, your choice. Exhaustion and madness can be gained by enduring physical and mental punishment such as travelling for days without rest or seeing your loved ones slain. It can also be inflicted by the supernatural such as being the victim of a mummy’s curse or an insanity spell. 1 Rank of Exhaustion can be lost over the course of a long rest in which the character also eats and drinks normally. 1 Rank of Madness can be lost by spending a day in comfortable circumstances without engaging in violence or stress. Exhaustion Disadvantage on Strength, Dexterity and Constitution ability checks Speed Halved Disadvantage on Attacks and Strength, Dexterity and Constitution saves HP Max Halved Speed reduced to 0 Death Madness Disadvantage on Intelligence, Charisma and Wisdom ability checks Cannot take reactions Disadvantage on Attacks and Intelligence, Charisma and Wisdom saves Cannot comprehensively communicate or understand any languages Cannot rest Death / Forever Broken
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