clockwork dominion quick start rules

1Teresa Sanchez (order #5800817)

2Clockwork Roleplaying Game v. 0.92 beta

Created by Zeke Coughlin

Developed & Written by Zeke Coughlin & Nathaniel Dean

Edited by Doug Hagler

Additional Proofreading by Fil Florian & K. Adam Kunst

Cover Art and Layout by Ameen Naksewee & Brian Crick

Additional Artwork by Luke Santiago, Erik Skiff, period artwork courtesy of Liam from www.fromoldbooks.com.

Book Layout and Design by Zeke Coughlin

Character Sheet Design by Zeke Coughlin, Nathaniel Dean, and Dr. Matthew Hare

Card Layout and Design by Michelle Mullen

Consultants and Contributors: Brent Concillio, Dr. Lisa Coughlin, Doug Hagler, Michael McLaughlin, The Rev. Brian Riddle, Jess Shively

Playtesters: Christopher Block, Juliet Brownell, Scott Coniam, Jack Graham, Aaron Grossman, Melody Hadap, Dr. Matthew Hare, Will Harrison, Rachel Jagielski, K. Adam Kunst, Tony Lee, Michael McLaughlin, Jess Noble, Kyle Northrop, Matthew Slavik, Rick Slavik

Additional Thanks: Lisa Coughlin, Seann Eschrich, Pam Hagler, Chelsea Monroe-Cassel, Sarah Noe

Get more information about Clockwork: Dominion On the web: www.ACloCkworkworld.Com

On Facebook: www.fACebook.Com/ACloCkworkworld On Twtter @AClockworkWorld.

This book provides everything you need to introduce players and Narrators to the basic rules of the Clockwork Roleplaying Game and the Clockwork: Dominion setting. Players take the role of exceptional individuals within the British Empire of 1896 as it strives to maintain tradition in the face of scientific advancement, powerful mystical practices, and the Pontus - the primordial chaos which is slowly reclaiming creation. Characters fight against the supernatural horrors of a decaying world, and fight to build or destroy reputations so that they may ascend the social hierarchy. Reality itself is crumbling while debutantes vie for social currency, bureaucrats backstab one another, pirates plunder the seas and skies, and a few honorable men and women fight back against the chaos that is consuming the world. Intuitive card-based mechanics keep the action fast and fluid, and a robust social conflict system enables high-stakes intrigues to be the centerpiece of your story.

The World Turns. The Empires Falls. The Pontus Rises.

Welcome to the Clockwork.

These QuiCk sTArT rules inClude:The Clockwork World provides a brief introduction to the setting, which covers the major themes of the Clockwork.

Anatomy of a Character provides details on how to play characters within the Clockwork: Dominion setting.

Rules and Systems introduces the core mechanics of the Clockwork Roleplaying Game and provides a framework for players and Narrators to run quick start adventures.

Idle Hands is a quick-start adventure. It comes complete with six pre-made characters, extra setting information, and everything you will need to help you navigate your first foray into the Clockwork world. More quick-start adventures will be available soon at www.driveThrurPG.Com.

Clockwork Cards, the cards used for playing the game. A free deck of black and white print-and-play cards is included at the end of this PDF. Beautiful full-art versions of this deck are available at www.driveThrurPG.Com.

All mATeriAl reliQuAry GAme sTudios 2013

Teresa Sanchez (order #5800817)

3The World TurnsIn the beginning there were only the waters of chaos. It

was an endless and formless primordial void that we have since named the Pontus. This was the scene upon which the Clockmaker first stepped to utter the words, Let there be... Thus the cosmos was made, a masterpiece of precise complexity and interconnectivity. In just six sentences, he created all that is and then withdrew to his heavenly throne to rest. From there, he continues to watch as his creation unfolds according to his design.

The civilization of man emulates and manipulates the Clockmakers work. As he created the metals of the earth, we have formed them into buildings that pierce the sky and war machines that keep his peace. As he created the oceans, we have created ships to sail them and boil their waters to fuel our endeavors. Our masterworks now make it difficult to determine where Gods work ends and mans work begins. Together, our enterprises make an integrated creation, both mortal and divine: The Clockwork.

It is so splendid a work of order that many have forgotten that it was from out of the void that it was called into being. The cogs and gears of the Clockwork were made from the Pontus. This chaos was taken and formed into our ordered universe, but it did not remain as such. Whether it is because of human action or natural decay, the elements of this world are breaking back down into the Pontus from which they were made. To all who are willing to observe it, it is obvious that the Clockwork is being dismantled, and the question we are left with is, Why?

The ability to answer this question may be all that stands between us and oblivion. While some ignore the problem, seeking their own pleasures, and others speed the decay through violence or intrigue, there are those of us who fight back against the Pontus, bolster our orderly society, or investigate the Clockwork in attempts to determine the nature of its unraveling. If there is any hope left for humanity, it lies in stabilizing this crumbling Clockwork world; and if that is ever to happen, it will be through our efforts. If we fail, the Pontus will devour us all.

The empire FallsCivilization is like a candle burning in the darkness of our

frail and decaying world. It is this light that the Empire offers to humanity. The civilization we bring keeps the Pontus at bay, gives order power over chaos, and ensures life as we know it. It is our bounden duty to stabilize the Clockwork by creating, sustaining, and spreading our orderly society to those who, by no fault of their own, are embracing the very chaos that is consuming the Clockwork.

In this year of our Lord 1896, Queen Victoria rules over

three-hundred million citizens living in so large a domain that the sun never sets on its soil. We control the largest navy, the largest fleet of airships, and the most sophisticated weaponry on the planet. We have connected economic centers with rail lines and population centers with telegraphy. Our borders are constantly expanding as more of the Earth comes to embrace the stability we bring. Yet this vast Empire, whose far-reaching arms cradle the Earth, is impossible to maintain. Civil unrest among colonialized peoples, ever growing expenses for infrastructure and peacekeeping, the growing self-preoccupation of our citizenry, and a loss of the traditions that uphold our civilization all contribute to our struggle to survive. Meanwhile, those whom we cannot save slip through the fingers of the Empire and fall toward what lies beneath: the Pontus.

The ponTus risesThe Pontus is all that remains of the primordial chaos

from which the world was made. It is an infection slowly eating away at the order of the Clockwork. It bubbles up from the abyss and floats on the surface of creation like a film, always in motion and tainting whatever it touches. The Pontus is drawn to places where corruption and sin erode orderly living. Where it settles, it begins to dismantle the laws and systems that govern our reality.

The Pontus will manifest in different ways and with varying severity according to the area in which it finds itself. Cities are chaotic places with shifting populations, crime, and rampant inequality. For this reason, the Pontus seems to be a constant presence in most metropolises; however, it is largely limited to erratic weather and solitary monstrosities. It is as if the chaotic nature of a city acts as a pressure release preventing explosive manifestations. The countryside is not so fortunate. While the presence of the Pontus is rare in the almost unchanging rural communities of the Empire, when it does manifest there, it does so violently.

The most common manifestations of the Pontus are meteorological, such as rainstorms of frogs or blood. Disappearances are also common: the ground will simply open to swallow a person whole. Sometimes the Pontus will give back what it has taken, but never as it was; only horrific hybrid abominations emerge from its depths. There have been sightings of tribal societies of chimeric abominations living on the fringes of the Empire, feasting on human flesh, and praying to the Pontus which birthed them. Whole villages vanish. Cattle develop a hunger for their owners. There are rumors of entire towns being overrun by the restless dead. Even natural and physical laws weaken or fade altogether. No horror is too strange where the Pontus rises.

The Clockwork WorldIf I could create an ideal world, it would be an England with the fire of the Elizabethans, the correct taste of the Georgians,

and the refinement and pure ideals of the Victorians. H. P. Lovecraft


4The Character SheetThe character sheet contains the characteristics that

define the abilities, attachments, and desires of the persona each player will play within the game. Each section of the Clockwork: Dominion character sheet is numbered on the graphic appearing on the opposite page. These numbers correspond to those appearing below. Each listing offers a brief description of how that characteristic is used in the game.

CharaCTerisTiCs1. Name records the given name of the character.

2. Bloodlines describe the lineages of mortal beings who inhabit the Clockwork, some of which represent supernatural ancestry.

3. Class is the trait defining a characters long-term position in the social hierarchy of the Empire.

3. Means is the abstraction of a characters resources, property, and reliable annual income.

4. Potential is the metaphysical measure of the orderly and disorderly tendencies of a character. There are two types of Potential - Purpose and Ether - both of which can change over time.

4. Purpose is one of the two types of Potential. Purpose represents a characters ability to hold to their course, resist outside influence, and participate in the will of the Clockwork.

4. Ether is one of the two types of Potential. Ether represents a characters tendency to change, create opportunity, and act outside the will of the Clockwork.

4. Corruption is a measure of the power the Pontus has over the character. Characters can gain Corruption through deliberately choosing to commit heinous sins.

4. Integration is the measure of how tied a character is to the divine order of things.

5. Trades are areas of expertise that a character learns within the Artisan, Engineering, Medicine, and Science Skills. They are used in item creation.

5. Masteries are special abilities that a character can learn when she achieves five ranks in a particular Skill. Pureblooded characters receive a Mastery during character creation.

6. Blessings are special benefits a character receives through her Bloodline.

6. Curses are special penalties that afflict a character because of her Bloodline.

7. Assets represent atypical talents, possessions, or circumstances that aid a character.

7. Liabilities are the unusual drawbacks and circumstantial difficulties that can hinder a character.

8. Affinities are the deep affections and loyalties that motivate a character.

9. Reputations refer to the perceptions and expectations that color others opinions and reactions to a character. A beneficial Reputation is combined with Class to determine Esteem, and a detrimental Reputation can reduce Esteem.

10. Nature represents the fundamental core of personality that guides a characters actions.

11. Background represents a characters past experiences that have taught him certain skill sets. They may represent her current profession, experiences learned in childhood through the profession of a guardian, or significant exposure to a given trade.

12. Aptitudes measure broad areas of talent that can be applied to a large array of tasks. They are combined with Skills to perform trait tests.

13. Skills measure specialized ability or learning focused on narrow areas of endeavor; they are combined with Aptitudes to perform trait tests.

14. Defense represents a characters ability to protect herself and is used as a Difficulty for attacks made against her. Physical Defense is used against physical attacks and Social Defense against social ones.

15. Dispositions mark how a character feels regarding an argument, a course of action, or another character. Dispositions are chosen at the beginning of social conflict.

16. Esteem is the respect and influence a character is perceived to have in a given social situation. It is calculated at the beginning of a social encounter as the Disposition the room has toward the character. It begins at Guarded and receives a one step bonus for each rank of Class or two ranks of Means the character has above the standard for the social environment. It then gets a one step bonus for each rank of the characters most favorable applicable Reputation and a one step penalty for each rank of her most detrimental applicable Reputation, if any.

17. Armor represents protective clothing a character wears to reduce her chances of sustaining Conditions.

18. Guard represents a characters combat stance and her ability to protect herself with it. It is equal to (GrACe + foCus).

Anatomy of a CharacterWithout self knowledge, without understanding the working and functions of his machine, man cannot be free,

he cannot govern himself and he will always remain a slave. G. I. Gurdjieff


519. Wounds represent severe injuries a character sustains. Wound penalties are applied to all trait tests.

20. Lingering Conditions are Conditions that last beyond the end of a conflict. They are recorded on the character sheet until the character recovers from them.

21. Funds cover the cash-on-hand which is readily available to a character.

22. Weapons are any item a character possesses that will do damage to other characters in physical conflict or any special abilities that give them an edge in social conflict.

23. Gear is anything a character happens to be carrying.

Ally & Antagonist SheetAllies and antagonists use their own special record sheet

You will find these sheets at the end of this book, on our website, in the text of quick-start adventures, and eventually in the bestiary of the Core Rule Book. They differ in seveal ways from a standard character sheet.

The Abilities and Notes section provides all assets, liabilities, and any unique abilities an ally or antagonist may have, all in one place.

Generic Skills represent an ally or antagonists basic

competency in physical, mental, and social Skills. When the Narrator makes a test for an ally or antagonist without a specific Skill, he uses the generic Skill closest to the one needed for the test.

Specific Skills represent those special areas where an ally or antagonist has received advanced training. If a character has a specific Skill, it should be used instead of a generic Skill.

Morale represents an antagonists Disposition toward fleeing from conflict. It begins at Favorable and moves one step toward Hostile for each level of the antagonists Threat.

Threat is a measure of how dangerous an ally or antagonist is. Threat determines how many Initative Cards the Narrator is dealt (p. 10).

Wounds represent severe injuries an ally or antagonist sustains. Remember that Threat is reduced by one rank for every wound sustained, thus reducing how many actions an ally or antagonist can take in a single sequence.

An ally or antagonist will become incapacitated when they receive a number of wounds equal to their Threat, or when their wound penalties reach -10, whichever happens first. If an ally or antagonist ever has wound penalties of -10 they immediately die.


6TraitsIn Clockwork: Dominion, the properties and abilities

of most objects and entities are defined by traits. Traits are specific characteristics measured in ranks on a scale from zero (0) to five (5). Character traits include Aptitudes, Skills, Guards, Defenses, Means, Class, Reputations, and several others. Object traits include Bulk, Complexity, Structure, and Value.

Special traits called variable traits may have their current rank value increased or decreased by situational factors. Variable traits are listed on the character sheet with a box to record their fixed value and five circles to record their temporary rank value. The fixed value represents the normal rank value of the trait, while the temporary value represent the current modified value of the trait. When a variable trait must be used in a test, use its temporary value and not its fixed one.

apTiTudes and skillsAptitudes and Skills are the traits that define what a

character can do and how well they can do it. Broad physical and mental capabilities are defined by Aptitudes, and specialized areas of practice and knowledge are defined by Skills. Many Skills will slightly overlap the abilities granted by other Skills. Any given Skill can be used across a wide variety of circumstances and in physical or social conflict: each is briefly described below to help determine which combinations are the most appropriate for tests (See Core Mechanic: Trait Test).

APTiTudesGrace is a measure of agility and deftness, but also physical bearing and manner.

Vigor relates to physical strength and endurance as well as health.

Reason is raw intellect and the ability to apply systematic thought.

Focus allows concentration in spite of distraction and governs perception and memory.

Presence covers natural charm, wit, and the ability to engage with others socially.

Will represents dedication, emotional and mental fortitude, and the ability to resist temptation.

skillsAcademics represents formalized learning in the arts and humanities. The first rank bestows literacy in ones native tongue and rank three grants the ability to speak, read, and write another language (more languages may be learned through other means).

Artisan is ones ability to craft objects. This Skill covers the general ability to fabricate things and work with ones hands, but at rank three a character may choose a single trade, such as Carpenter, Metalsmith, or Tailor (more trades can be learned through other means).

Athletics determines ones ability to run, jump, throw, and climb. It may also measure skill and knowledge of sports from a characters native culture and class.

Bureaucracy measures familiarity with complex administrative systems such as government, the military, the Church, and big business, as well as how to navigate and manipulate these systems to get things accomplished.

Burglary allows for the planning and execution of criminal acts. It covers all aspects of thievery including sleight-of-hand, lockpicking, and the traffic of stolen goods.

Command measures the ability to control or lead others through manipulation of their emotions. An inspirational general, an intimidating thug, and an authoritative noble all use the Command Skill to get others to do what they want.

Composure covers sensory awareness, mental and emotional tranquility, and self-control. It is used for perception checks and to calculate social Defense.

Engineering describes skill in designing mechanical and electrical devices. An engineer can create individual pieces of clockwork, orchestrate plans to dredge a river, or build a factory. Any rank of Engineering may be used to operate, maintain, and repair complicated devices of all types. At rank three a character may choose a single trade, such as


7Architect, Machinist, or Shipwright (more trades can be learned through other means).

Fencing is the Skill of sport and mortal dueling. It is taught to most gentleman and can be used as an attack Skill with any balanced, single-handed weapon, including blades, sticks, and canes.

Firearms grants the ability to shoot and maintain all forms of personal guns. The use of cannon, artillery, and knowledge of ballistics are governed by Engineering and/or Profession.

Fisticuffs governs the ability to fight without weapons using formalized unarmed techniques such as boxing and wrestling. Gentlemen may also be taught Bartitsu, an English adaptation of Asian martial arts.

Guile allows for scheming, lies, and slander to be spread believably; a dubious talent that is most often used to deceive or bamboozle others.

Intuition shows ones knack for accurate gut instincts, skill in sniffing out lies, and judging the intent of others. Spiritualists claim that it also grants them sensitivity to the supernatural.

Investigation defines facility with modern police techniques as well as the patterns of thought and physical practices which enable research and inquisitive efforts of all kinds.

Medicine represents basic first aid up through full training as a physician. Any rank of Medicine may be used to treat maladies and stabilize patients. At rank three a character may choose a single trade, such as Surgery (more trades can be learned through other means).

Melee is the ability to fight in the chaotic fray of backstreet skirmishes and battlefields. It governs the use of weapons

designed for such environs like bayonets, sabers, and pikes; it also governs fighting multiple opponents with fists, rifle butts, barstools, or even slamming your opponent into the scenery. It is the only Skill available for Defense when multiple opponents are within a characters zone of control.

Mysteries shows learning and insight into the cosmology of the Clockwork, and affords detailed knowledge of angels, devils, faeries, and ritual magic.

Parley is the art of public speaking, negotiation, diplomatic argument, and bargaining.

Profession is always taken with a specified calling, such as Profession (Locksmith). Each Profession Skill represents a collection of incidental abilities associated with the day to day work and narrow context of its specialized trade. Profession (Locksmith), for example, would cover analyzing, picking, cleaning, and keying locks as well as the ability to market and sell within the field of locksmithing. The Profession Skill may only mimic abilities usually associated with others Skills in passive trait tests. However, it can be used actively for abilities outside the scope of the other twenty-six Skills.

Refinement describes ones social grace and mastery of etiquette, manners, and overall ability to comport oneself in polite society, or to flaunt those norms and get away with it.

Riding displays horsemanship and knowledge concerning the care of horses. During a conflict, a character must make a passive GrACe+ridinG TesT for each movement she makes while mounted. The Difficulty for this test is based on the terrain over which she travels.

Science represents skill and knowledge with scientific method and experimentation. Any rank of Science represents specialized knowledge in the fields of mathematics, chemistry, geology, physics, astronomy and the like. At rank three a character may choose a single scientific trade, such as Pharmacology (more trades can be learned through other means).

Streetwise is common among the lower classes, and is used to carry oneself among thieves and street people. It also affords some knowledge of criminal groups and their affairs.

Stealth covers all capabilities to move silently and remain hidden in terrain of any type.

Survival defines skill at hunting, tracking, and the ability to survive in extreme weather and wilderness conditions.

Tactics is used to plan military operations and orchestrate soldiers in the fray of battle. It is also used to plan and prevent ambushes, and to judge odds of military success.

Temptation shows ones talent for leading others into sin, depravity, and all sorts of moral hazard through promises of physical and emotional satisfaction.


8TimeThe story told by the characters and Narrator unfolds

like the plot of a book. Hence, like a book, the story is broadly divided into chapters and scenes. Each segment of time will begin and end at the discretion of the Narrator.

A chapter is a long series of events that takes place around a central theme or a particular event. A good rule of thumb is that a new chapter begins when a new undertaking or social event begins: a ball, a dinner party, a journey, or a large scale battle. It concludes when the event or undertaking concludes. Each chapter will usually contain several scenes.

A scene is a more specific series of events tied together by location or function. While a chapter might encompass the events of an entire ball, the dancing, dining, smoking, and mingling portions of the evening would all be separate scenes within that chapter.

anaTomy oF a CardThe telling of a story requires some unexpected elements

to represent those things that are beyond both the plans of the Narrator and the control of the players. Clockwork: Dominion uses randomly drawn cards to represent these elements. These cards are used during trait tests, and any other time randomness is required.

Each card has four characteristics. The card value is the value that is used to resolve trait tests and to determine initiative during conflict. The card number is a unique number

Rules & SystemsI cannot imagine a clock without a clockmaker.

-Voltaire

2013 Reliquary Game Studios 2013 Reliquary Game Studios 2013 Reliquary Game Studios

used to break ties (it also provides a number from 1-100 for percentages). The Condition name is the Condition that can be imposed by this card when used in conflict situations, and the Condition text gives an abbreviated description of what the condition does to the character on whom it is placed.

The Core meChaniC: TraiT TesTs

At any point in the story, the Narrator may require a character to make a trait test to discover if an intended action is successful. This is normally not required for routine actions, but reserved for actions whose success or failure would cause significant consequences within the story.

To perform a trait test, the player and Narrator first agree on an Aptitude and Skill combination that best describes the abilities required for the action being attempted. The player then adds the Aptitude and Skill ranks together and subtracts a Difficulty rank, a number that represents how hard the action is to complete (see below). Lastly, the player draws a card from the play deck and adds its value. The final sum is the Degree of Success (DoS) for the action. A positive number signifies a success; a negative number, a failure.

Attribute + Skill - Difficulty + Card Value = DoS

The higher the DoS, the more notable the achievement. The lower the DoS is below zero, the more severe or embarrassing the failure. A DoS of exactly zero signifies a partial success that requires more work to complete (such as leaping a chasm only to smash into the other side, clinging to the edge).

The Narrator will assign a Difficulty to every trait test. Difficulty ranks associated with specific undertakings within the quick start adventure are provided in the text. Difficulties for attacks and contested actions are equal to the opponents most appropriate Defense value or a relevant APTiTude + skill combination. Elsewise, a Difficulty is assigned by the Narrator. A Difficulty of 1 is a simple task; 3, a challenging task; 5, a daunting task; 7, an overwhelming task. Actions with a Difficulty of 10+ are impossible and cannot succeed unless a character discovers a way to reduce the Difficulty.

As the story unfolds without active conflict, keep drawing cards from the play deck without shuffling until the Fate or Doom card is drawn, then shuffle the deck after all results of the test that included that card are resolved. During conflict cards are only shuffled at the beginning of each initiative sequence; keep drawing from the deck even if the Fate and/or Doom cards are drawn.

Card Value: used for Initiative and Trait tests

Card Number: used for breaking ties and generating percentiles

Condition Name: the Condition this card is capable of producing

Condition Description: the effects of this cards Condition


9PAssive TrAiT TesTsWhen a character has as much time as she could want

to complete a task and is not distracted by conflict or other environmental factors, she may choose to take a passive trait test. No card draw is required for a passive trait test. Simply take the Difficulty and subtract it from the characters Aptitude and Skill combination. Treat the resulting DoS normally. If this DoS would be a failure, the character cannot attempt a passive trait test.

Certain Skills, such as Riding, will sometimes allow a character to take a passive Skill test as they are doing other things. As with all passive Skill tests, a character always has the option of performing a standard trait test instead.

fATe And doomSometimes the gears of the Clockwork align to favor or

disfavor a particular action. The turning of the Clockwork seems to show preference to the events an actions success will put into motion, rather than the action itself. Whatever the reason, some actions are fated to occur, while others are doomed to fail.

When a character draws the Fate card, her action cannot fail. The Fate card has a value of +5, but the final DoS for a fated action can never drop below 1. Any values or penalties that would lower the DoS below 1 are ignored. Actions that are unquestionably impossible will still fail, but the Fate card will ensure the complete safety of the attempt.

If a character draws the Doom card, her action cannot succeed. The Doom card has a value of -5, but the DoS for a doomed action can never be raised above -1. Any values or bonuses that would raise the DoS above -1 are ignored. In addition, if the Doom card creates a Catastrophic Failure (DoS -8 or worse), the entire endeavor is doomed: the acting character suffers a -2 penalty on any attempted action with the same goal for the rest of the chapter. This may be described by the Narrator with an appropriately harrowing series of events.

poTenTial and inTegraTion: All people have an intended role in the Clockwork -

those who pursue the path laid out for them find their actions supported by unseen hands, and those who instead forge their own path must seize their own opportunities. The unseen support a character receives to bolster their personal place in the Clockwork is represented by points of Purpose. The ability to create opportunities by acting outside of ones ordained path is represented by points of Ether. The balance of these two energies is referred to as a characters Potential. Depending on the balance of Potential and the characters Bloodline, this may change their Integration. Any character with an Integration other than Native may be subject to additional risks as they have a weak or even no part in the grand plan of the Clockwork.

Integration is fully detailed in the core rulebook.

PurPose And eTherPoints of Purpose and Ether may be spent within the

game to tap into the energies of order and chaos. When a point is spent, erase it from the character sheet, but remember to keep track of both a characters permanent and current Potential points.

A character may spend a point of Purpose to produce the following effects: Prevent the outcome of an attack from being imposed

on them. This may prevent a character from receiving a Condition or from being wounded, subdued, convinced, or persuaded.

Each person is meant to fulfill their purpose, and the Clockwork often gives aid to those who need help in doing so. Give a player extra narrative control over a portion of the current events, allowing him to describe a plausible circumstance that does not contradict something that has already been described by the Narrator or another player. Spending a point of Purpose in this way may create a plausible coincidence (My friend just disarmed his opponent? Well that dagger lands right next to me), describe a plausible piece of scenery (That chandelier has to be held up by a rope that is tied to the wall... right next to me. I cut it), or add a plausible and consistent past event to the current chronology (Of course I grabbed that pocketwatch off the mantle before the house went up in flames). The Narrator may veto circumstances he thinks are disruptive to the enjoyment or flow of the story, but should do so with great discretion.

A character may spend a point of Ether to produce one of the following effects: Replace any one card just drawn with a new card from

the top of the deck. The new card must be used instead.

Replace any one card an opponent has just drawn from the deck to resolve an action that elicits a reaction from you. The new card must be used instead.

CorruPTionIf a character ever commits actions abhorrent to the

design of the Clockwork - extreme or random violence, murder, demonolatry, corrupt ritual magic or sorcery, or the like - then they will gain Corruption. Such acts strike at the fundamental goals of orderly creation, bringing chaos and destruction, and ultimately contributing to Pontus outbreaks. Exposure to extreme Pontus events can also stain areas and people it touches, leaving a lingering presence that makes future outbreaks more likely. It is only possible to cleanse Corruption through acts of absolution and purification.

Corruption is fully detailed in the core rulebook.


10

ConflictWhen a conflict is about to begin, all characters refresh

their Guard. We recommend using tokens such as glass beads to represent a characters Guard value. Using tokens makes Guard clearly visible to everyone at the table. As Guard is lowered during conflict, simply discard a token for each point it drops. When a player is left without any tokens, that characters Guard is down.

In social conflicts, if there is an obvious goal or antagonist, all characters should decide what their Disposition is toward it. Disposition represents how amiable a character is to an idea or person. In order from least to most friendly, Disposition can be Hostile, Guarded, Indifferent, Agreeable, or Favorable. When conflict begins, a player can give whatever Disposition he wishes to his character. That Disposition will slide along the scale as social combatants attempt to convince and persuade one another. If a new goal or antagonist arises during conflict, a new Disposition can be assigned to it at that time. However, once a Disposition is assigned during a conflict, it may no longer be altered by choice; it can only be affected by conflict actions (see Social Attacks, p. 14).

The iniTiaTive sequenCeThe order in which characters act within a conflict is

determined by the Initiative Sequence. Begin an Initiative Sequence by dealing each character four cards from the play deck. The player will choose three from those dealt to his character and place them face-up on the table near his character sheet, discard the remaining card. These are his characters Initiative Cards - keep them separate from all other cards that come into play. (If a character receives the doom card, it cannot be discarded.) No player character may ever have more than three Initiative Cards in play at any one time.

After Initiative Cards are dealt and chosen, the character with the highest Initiative Card value may chose to become the acting character. If that character passes, the character with the next-highest card value may choose to be the acting character, and so on. Ties are broken with card numbers. Once the acting character is chosen, she will declare how she will spend her Turn. If her efforts will not affect other characters, she will flip her highest Initiative Card face-down and take a Turn normally. However, if her efforts do affect other characters, the normal flow of play pauses immediately and an Exchange with one or more reacting characters will occur (see below). After a characters Turn is fully resolved, the next acting character is chosen in the same way.

The TurnBefore a character may take her Turn, the player must flip

over an Initiative Card. For the acting character, this must be her highest valued Initiative Card. Characters participating in an Exchange on the acting characters Turn may flip any

Initiative Card they choose. During her Turn, a character may either move, maneuver, and act OR move and react.

movemenT allows the character to move within her zone of control, an area about four paces (10 feet) in every direction. A character is considered to be moving throughout this zone during her turn, taking her action and maneuver at any time and in any order, and then ending anywhere within her zones boundaries. If 28mm miniatures are being used, use a 5 circular template to represent this zone.

aCTions and reaCTions allow the character to perform tasks that would require a trait test. In conflict, this usually means attacking an opponent or reducing their Guard through a feint or other mixed action. A character may also trade her action to perform an additional maneuver.

maneuvers allow a character to do anything that would not require a trait test, including the options below. The Narrator may also allow other simple tasks as maneuvers at his discretion.Aim: Taken before an action to fire a ranged weapon, this maneuver eliminates the -2 penalty for not aiming. A character may not aim if an opponent is within his zone of control.

AnTAGonisTs in The iniTiATive seQuenCe

The Narrator deals Initiative Cards to himself a bit differently because he potentially controls several antagonists at once. The Narrator receives a number of Initiative Cards equal to the total Threat ranks from all of the antagonists participating in the conflict. They are placed face up in a single row, and any card may be used for any antagonist. Later, as these Initiative Cards are flipped face-down, they are placed upon the character sheet or note card for the antagonist who used them. This allows the Narrator to keep track of how many times each antagonist has taken a Turn. No antagonist may take more Turns in a single sequence than his level of Threat. Threat is also reduced by one for each Wound an antagonist sustains, in addition to all the normal penalties for Wounds. If this reduction in Threat ranks leaves the Narrator with more Initiative Cards than he can use, they are discarded at the end of the Sequence. When an antagonists Threat is reduced to zero, she has been killed or otherwise incapacitated, but many will surrender or flee before this occurs.

If the Narrator is controlling both antagonists and allies, two rows of cards are used. For simplicity sake, we recommend always placing the antagonist row above the ally row. Allies use the cards from their own row and otherwise follow the same rules as antagonists.


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Attract: used in social conflict to ensure a single character is paying attention to the attracting character.

Disengage: In social conflict, a disengaging character may simply leave the conversation. In physical conflict, a disengaging character may exit the conflict area only if this maneuver does not elicit a reaction from another character.

Elicit Aid: Before she acts, this characters asks another character to help her. If that character agrees, she also flips over one of her Initiative Cards and both characters make a trait test to accomplish the same goal. The shared action is resolved using the higher of the two DoS. If a reaction is made against the attempt, it will always use a Difficulty equal to the highest Defense of those participating in instigating action.

Interact with your environment (such as opening a door) or accoutrements (such as drawing or stowing a weapon).

Run: Move four paces (roughly ten feet, or 5 for miniatures) and change the center of your zone of control.

Sidestep: Remove an Avenue of Attack until your next action. If a character reduces her Avenues of Attack to 0, she also removes her own ability to attack others (See Avenues of Attack, p. 15).

Again, If a character can move, maneuver, and act without involving other characters, then her turn resolves upon her completion of these activities. However, if another character is within the acting characters zone of control while she moves, maneuvers, or acts, an exchange will occur between all characters in the zone. Likewise, any action that directly affects an opponent outside her zone of control (such as with a ranged attack) will instigate an exchange with that opponent.

The exChAnGeAn exchange begins when one character attempts to

affect another; or a character moves, maneuvers, or acts while another character is within her zone of control. During an exchange, any character who is affected by such an action can immediately take a turn to move and react, possibly even resolving their turn prior to the instigating character.

First, all participants now joining the exchange will declare what they will do on their turn. If the instigating character has already declared her move, maneuver, and action, these may not be changed. Other participating characters will declare their movements and reactions in response to whatever instigated the exchange, usually to counter-attack or actively defend themselves (remember that reacting characters do not take maneuvers). Each participant must flip one Initiative Card face-down before taking their turn. The acting character must flip her highest Initiative Card even if she does not go first. Other characters in the exchange may flip any Initiative Card they choose. These turns will be resolved in order of Attack Priority.

In physical conflict, Attack Priority is given to a character

according to their weapons reach category - the longer the reach the higher the priority (See Reach & Distance Attacks, p. 13). If a tie occurs, priority is given to characters in advantageous situations (such as standing when an opponent is prone). If characters are still tied, priority is given to the instigating character.

In social conflict, Attack Priority goes first to the events host or guest of honor, then to participating characters according to the highest current Esteem. In the event of a tie, priority is given to the instigating character.

At any time, if there is no clear Attack Priority (such as two characters with the same reach reacting to the same instigating character), actions are resolved simultaneously.

endinG An iniTiATive seQuenCeWhen all Initiative cards are flipped face-down or all

participants with face-up Initiative Cards remaining pass (choose not to become the acting character), the Initiative Sequence is over. Discard all cards in play, including Conditions (remember persistent Conditions are recorded on the character sheet). All characters will refresh a single point of Guard. Then the deck is reshuffled and, if necessary, new cards are dealt for the next Initiative Sequence. In physical conflicts, sequences will continue until the conflict is fully resolved.

Social conflicts will only last a single Initiative Sequence (although the timing of this sequence may take as long as a chapter to complete). If the sequence ends before the characters can persuade or convince their opponent of their goal, they are simply unable to do so. However, any change in Disposition remains (although if the players initiate another social conflict in a subsequent chapter or scene, all parties may alter their Dispositions as they deem fit). The players and Narrator may interpret the changes in their characters Disposition at their own discretion, bearing in mind that being hostile is usually a faux-pas. Social conflicts will also end if a physical conflict arises from them.

inTerruPT ACTions

At any time, a character may turn over two Initiative Cards face down to perform an interrupt action (if a character has the Fate card as an Initiative card, she may play it by itself to perform an interrupt action). This immediately makes her the acting character, even if it interrupts another turn already in progress. The interrupting character may then take a full turn. After the turn resolves, play returns to normal. A turn that was interrupted may now be completed. If two or more characters attempt to use an Interrupt Action simultaneously, resolve them in order of the highest played Card Numbers, then return to the normal flow of play.


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Physical Attacks A trait test made to physically attack an opponent

will almost always combine the Grace Aptitude with one of the following Skills: Athletics, Fencing, Firearms, Fisticuffs, or Melee. The Difficulty for a physical attack test is always equal to the targets best applicable Physical Defense. The effects of physical attacks depend on the DoS achieved and the status of the opponents Guard. These effects are described below and summarized on the following table.

When an attack succeeds while an opponents Guard is up, their Guard is reduced by one point. A Condition is placed on the target if the attacker scores a remarkable success (DoS 4+). If an extraordinary success (DoS 8+) is achieved, the attack reduces Guard by one and will also penetrate the Guard, either subduing or wounding the opponent.

When an attack succeeds while an opponents Guard is down, the attack is penetrating and will subdue or wound the opponent. A persistent Condition is placed on the target if the attacker scores a remarkable success (DoS 4+), and if an extraordinary success (DoS 8+) is achieved the attack may also render the opponent Incapacitated (as per the Condition listed on page 16); some weapons may also allow unique effects in lieu of Incapacitation.

Regardless of Guard, a partial success (DoS 0) will succeed if the opponent has not declared an action or reaction in the current engagement, and fails if she has.

If an an attack places a Condition on an opponent, flip a single card from the play deck and apply the Condition on the card to that character. If the attacker is using a weapon, flip a number of cards equal to the weapons damage rank and choose the Condition from among them. If the defender is wearing armor, reduce the number of cards flipped by the armor rank; if this reduces the cards to zero, no Condition may be placed.

If a character receives a Condition, simply place the Condition Card face up on the afflicted characters character sheet. Let it remain in play until its Condition is met or the Sequence ends, then discard the card. If the Condition created by an attack is persistent, write the Condition on the character sheet. These will continue to affect the character after all cards are discarded and reshuffled.

Most weapons also have a special Weapon Condition that may be used as a persistent Condition in lieu of one drawn from the deck - the player chooses to use either the Weapon Condition or a Condition shown on any cards drawn whenever a persistent Condition is to be placed. The

Narrator should describe the nature of Conditions so they flow with the story of the conflict, the nature of the attack, and the weapon being used.

A character who is subdued is grappled or held in a compromising manner. This character is immediately considered to be in a disadvantageous position for purposes of Attack Priority, and may not move, maneuver, or recover Guard. This status can be broken with a successful attack against her subduer. A successful penetrating attack can turn a subdued character into the subduer.

Wounds represent serious injuries such as being stabbed or shot. For each wound a character sustains, she will immediately receive a cumulative -2 penalty to all actions, may no longer take maneuvers, is dealt one fewer Initiative Card on each subsequent Initiative Sequence, and must put one fewer Initiative Card into play. Not only this, but a characters wound penalties will worsen by -1 at the beginning of each new Initiative Sequence and again for every five minutes after the conflict ends. For this reason, one wound is usually enough to make sane combatants stop fighting.

Any character with medical supplies may make a reAson + mediCine TesT against a Difficulty equal to the injured characters current wound penalties. This will stabilize the character and prevent the further worsening of wound penalties. After a full nights rest, a stabilized characters wound penalties will return to -2 for each wound she has and will no longer worsen. A character dies immediately if her wound penalties reach -10.

Table 1: eFFeCTs oF physiCal aTTaCksdos opponenTs guard is up (guard >0) opponenTs guard is doWn (guard = 0)0 If the target is not acting in the current exchange, treat as DoS 1; otherwise treat as DoS -1.1-3 Guard -1 subdue or wound opponent4-7 Guard -1, place a Condition on opponent subdue or wound opponent, place persistent Condition8+ Guard -1, subdue or wound opponent as above, and the opponent is rendered Incapacitated

mixed And soCiAl ATTACks in PhysiCAl ConfliCT

Sometimes a purely physical attack isnt the most effective way to get at an opponent. Somtimes a social Skill can make an opening that would otherwise be unavailable. Mixed combinations, such as Grace and Guile (to feint), or purely social ones, such as Presence and Command (to intimidate), can be used to make these attacks. However, neither mixed nor social attacks may ever wound an opponent. Such an attack will be able to reduce an opponents Guard, but would never be able to harm them. A penetrating mixed or social attack can be made to subdue or persuade an opponent. These attacks will use a Difficulty equal to their opponents most appropriate Social Defense.


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physiCal reCoveryAfter the conflict is over, wounds and persistent

Conditions represent debilitating pain, lingering disabilities, and physical or emotional trauma. For the duration of a characters recovery, she will suffer from the penalties and effects of these maladies on all trait tests and during all conflicts, regardless of type. A character can recover from these maladies via natural healing, medical treatment, or access to transcendent powers. Recovery requires rest; any day a character participates in vigorous activity or physical conflict will not count toward her recovery.

A wounded character will naturally and automatically heal one wound or persistent Condition after three days. She will automatically heal another wound or persistent Condition after every three weeks. Recovery for all maladies is on the same timeline, regardless of when they were taken, until the character is fully healed.

Characters receiving medical attention heal automatically as above, but also receive the benefit of a physician making reAson + mediCine TesTs to treat them. The Difficulty for this test is equal to the patients current wound penalties. After three weeks of wound treatment and care, the physician may test once for each malady the character has. Each success will remove one. If any maladies remain, the physician may test again for each remaining malady after another three week interval, and again every three weeks following.

A character may also be medicated (usually with laudanum or some other opiate) to avoid the effects of pain while in recovery. A medicated patient will halve her wound penalties (rounded down) so long as she can take the proper dosage. A character who takes more than this may alleviate all pain, but suffers no additional mechanical advantage. In fact, she must make a will + ComPosure TesT to remain lucid. Any use of opiate medication will carry the risk of addiction.

reACh And rAnGed ATTACks

Reach measures the maximum distance at which a weapon can strike an opponent. If a target is beyond a weapons Reach, it cannot be attacked. There are five Reach categories:

Touch: can be touched by the attacker: a dagger Close: inside zone of control (a step and reach) or

two paces away: a sword, club, cane, barstool. Extended: up to twleve feet or four paces away: a

rifle-mounted bayonet, a pepperbox pistol. Short Range: within a large room or about twenty-

five feet/ten paces: a pistol, a thrown weapon. Long Range: can be seen by the attacker: a rifle.

Ranged attacks (including Short Range and Long Range) cannot be prevented by a defenders Guard. Baring supernatural abilities or mastery-level training, no character can prevent a bullet or projectile from hitting them by means of their own defensive posture. Thus, all ranged attacks are normally considered penetrating attacks.

However, a character can make herself harder to hit by making use of cover. When a ranged attacker shoots at a character in light cover, she will draw one additional card and use the lower of the two to resolve her attack. When shooting at a character in heavy cover, the attacker will draw two additional cards and use the lowest of the three. If at any point, the attacker fails to hit with her lowest card, but succeeds with her highest card, she will shoot the cover that is protecting her target. This is especially important to remember when the cover protecting the target is another character.

These penalties are in addition to the standard -2 penalty for firing without aiming. An attacker will always suffer a -2 penalty if she does not take a maneuver to aim, and this penalty applies to all cards drawn to resolve the shot. After a ranged attacker takes the maneuver to eliminate this -2 penalty, she may take additional maneuvers to aim in order to reduce the number of cards she must draw to resolve the attack. Each maneuver will reduce the total required draw by a single card.

Thus, a ranged attacker firing at a target in heavy cover who takes no maneuvers to aim will suffer the -2 penalty for not aiming and then must draw three cards (one card, plus two cards for the target being in heavy cover). She will use the worst card to resolve her shot. However, if she took two maneuvers to aim before firing, she would receive no penalty and would use the lower of two cards to resolve her shot. Remember that actions can be used to take maneuvers (See The Turn, p. 10), and that weapon Reach will affect Attack Priority (p. 11).


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Social Attacks A social attack is made to convince an opponent

that something is true or persuade them to attempt an action. They are performed as a trait test combining the Presence Aptitude with one of the following Skills: Command, Guile, Parley, or Temptation. Each social attack is made against anyone who can hear the attacker and is willing to listen to the argument. Thus one man may try to convince a whole room if his voice can carry and his audience is willing to hear him out. The Attract maneuver may be used to ensure one person pays attention to one actions worth of argument. Each targeted character or group will defend with their individual Social Defense, but the attacker will make only a single attack test.

The Difficulty for a social attack is always equal to the targets best applicable Social Defense. However, if the goal of a social attack would endanger, undermine, or contradict one of a targeted characters Affinities, the Difficulty of the attack is increased by the rank of that Affinity. If the goal of social attack aligns or supports one of a characters Affinities, the Difficulty for the attack is lowered by the rank of that Affinity. Likewise, a characters relevant Reputation may increase or decrease the Difficulty of any social attacks made to convince a third party regarding the character with the Reputation. The Narrator has the final say as to what Affinities or Reputations are applicable to a given social attack, but is encouraged to favor the players.

The effects of social attacks depend on the DoS achieved and the opponents Disposition toward the attackers goal. These effects are described below and summarized on the following table.

When a social attack succeeds while an opponents Disposition is less than Favorable to the idea being presented, the opponents Disposition is shifted one step in a direction chosen by the attacker (usually toward Favorable). An attacker may also chose to shift her own Disposition rather than that of her opponent (usually away from Favorable, to avoid being convinced or persuaded). A Condition is placed on the target if the attacker scores a remarkable success (DoS 4+). If an extraordinary success (DoS 8+) is achieved, the attack may either convince or persuade the opponent regardless of her Disposition.

When a social attack succeeds (DoS 1+) while an

opponents Disposition is Favorable, the attack is penetrating and will convince or persuade the opponent. A persistent Condition is placed on a Favorable target if the attacker scores a remarkable success (DoS 4+). If an extraordinary success (DoS 8+) is achieved, the opponent also receives a rank 2 Affinity toward the topic of the social attack.

Regardless of Guard, a partial success (DoS 0) will succeed if the opponent has not declared an action or reaction in the current engagement, and fails if she has.

If an attacker suffers a grievous failure (DoS -4 or worse), her target may shift their own Disposition one step in a direction of their choice.

CondiTions And evidenCeIf an attack places a Condition on an opponent, flip

a single card from the play deck and apply the Condition on the card to the opponent. If the attacker is using weak evidence, she may substitute Dazed as the attacks Condition. If she is using convincing evidence, she may substitute Overwhelmed. If the evidence is irrefutable, she may substitute Undone. (The quality of her evidence is determined by the Narrator). These Conditions may be used for any attack. If an attack causes a persistent Condition, write the Condition on the character sheet. These will continue to affect the character after all cards are reshuffled, but only with regard to her attackers goal. The Narrator should describe the nature of Conditions so that they flow with the story of the conflict, and in particular so that they make sense given any successful attempts to persuade or convince a character.

ConvinCinG And PersuAsionA character who is convinced of something will believe

it as though it were true (unless she spends a point of Purpose to ignore the convincing). This is often the social outcome achieved when trying to lie convincingly (I may be out of uniform, but I am a member of her Majestys army), making an argument for how things should be viewed or interpreted (I know this looks bad, me holding the gun and all, but I did not shoot this man), or convincing someone concerning the nature or character of someone else (The Earl of Wessex is not the gentle man everyone says he is).

A character who is persuaded to do something will intend to do it as safely as possible and at her earliest convenience (unless she spends a point of Purpose to ignore

Table 2: eFFeCTs oF soCial aTTaCksdos opponenTs disposiTion is noT Favorable opponenTs disposiTion is Favorable-4 Opponents Disposition shifts by 1 rank (defenders choice)0 If the target is not acting in the current exchange, treat as DoS 1; otherwise treat as DoS -1.

1-3 Disposition shifts by 1 rank (attackers choice) convince or persuade opponent4-7 Disposition shifts by 1 rank, place a Condition

on opponentconvince or persuade opponent, place a persistent Condition on opponent

8+ Disposition shifts by 1 rank, convince or persuade opponent

convince or persuade opponent, create a rank 2 Affinity for the opponent


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the persuasion or think better of it at a later point).Actions, due to persuasion or otherwise, can be

damaging to Affinities and Reputations. Any action that endangers, undermines, or contradicts a characters Affinity or Reputation will reduce its current rank by one. A character who has the Affinity Honor and Honesty who is persuaded to break her word will lose a rank of that Affinity. Record both the permanent and current rank of the Affinity or Reputation on your character sheet. Actions can also completely alter an Affinity or Reputation. A duelist who has the Reputation Never lost a fight who loses a fight must not only reduce his Reputation by one rank, but also change its description to something like Only lost once.

ChAnGes in disPosiTionWhile being able to fully convince or persuade a social

opponent is ideal, it is not always possible or necessary. Changes in Disposition can dramatically alter how social opponents will act. At times, changing a character's Disposition from Hostile to Agreeable can have effects almost as useful as achieving a successful convince or persuade outcome. While a convinced or persuaded opponent will do as her attacker wishes, an Agreeable opponent may still choose to help on her own terms.

soCial reCoveryIf a character is convinced that something is true, they

will believe it until another social conflict convinces them otherwise. A character who is persuaded will perform the action if and when a safe opportunity arises to do so. Either result may be removed at any time by spending a point of Purpose to think better about the matter. However, a player that chooses to allow his character to endure the results of being convinced or persuaded will receive an additional experience point at the end of the adventure. Choosing this option revokes his ability to ever remove the results of the convincing or persuasion.

Loss to Affinities and Reputations will normalize (return to their permanent value) one rank for every three weeks that they are neither raised nor damaged. Thus, upon being damaged, the three-week healing period for an Affinity or Reputation begins anew. Narrators running stories that take place over short periods of time may decide to use a three-session healing period rather than three weeks. Affinities or Reputations whose descriptions have been altered will never return to what they previously were, but may be altered again if the circumstances arise.

Since Dispositions are set at the beginning of any social conflict, they may be changed to whatever the player wishes at that time.

Avenues of ATTACk

In order to attack, a character must have the ability to get at her opponent. In physical conflict, this means having a clean line-of-sight for ranged attacks or simply a lack of obstacles for close attacks. In social conflict, this means having an open discourse where the opponent is actually listening to whats being said. Either way, these available lanes for striking are called Avenues of Attack.

In physical conflict, all characters have three Avenues of Attack. These avenues may be occupied by large obstacles (such as a wall or tree), by comrades (such as fighting back to back), by opponents who are engaging in close combat with the character. Hence only three combatants may attack one individual at a time, as each would occupy one of that characters three Avenues of Attack. This number is reduced by one for each obstacle or comrade that already occupies one of these avenues.

Ranged attacks need an Avenue of Attack for a clean shot, but will not occupy one. Hence, a battalion of snipers could fire on a single target without blocking one another. Obviously, if the ranged attacker cannot see the target opponent, there are no open Avenues of Attack available to him. See Ranged Attacks, p. 13.

In social conflict, a character has two Avenues of Attack for each Disposition currently being tracked, one reserved for arguments that move that Disposition toward Favorable and one reserved for arguments that move it toward Hostile. Each Avenue can only be occupied by one social attacker. Hence, all social combatants who wish to alter a single Disposition toward the same result must assist this single primary attacking character. A character who uses the Sidestep maneuver in social conflict may declare which specific Avenue of Attack is being closed, choosing to ignore that entire line of argument. A character may also take a Disengage maneuver at any time to close all social Avenues of Attack: one can always walk away from social interactions with a polite Good day, sir; however, certain contexts may provide dire social ramifications for doing so.


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Conditions Conditions represent minor injuries or situational

complications that result from successful attacks. Any attack that achieves a remarkable success (DoS 4+) will place a single Condition on the target character. If the attack is penetrating, the condition will be persistent. Penetrating attacks that succeed with an extraordinary success (DoS 8+) will automatically apply an Incapacitating wound, although some special weapons may allow for other effects.

sTandard CondiTionsAggravated: An already existing Condition becomes persistent, else treat as Dazed.

Damaged: Take a physical or emotional wound, then discard this Condition.

Dazed: When choosing to react, Dazed characters must turn over two Initiative Cards instead of one.

Disarmed: Lose the use of a weapon, evidence, or armor; then discard this Condition.

Disoriented: Disoriented characters automatically lose Attack Priority.

Entrapped: Entrapped characters cannot willingly leave the current conflict.

Exposed: An additional Avenue of Attack is available when attacking Exposed characters (In social conflict, this allows a maximum of three Avenues per Disposition).

Staggered: Do not regain a point of Guard or step of Disposition on your next opportunity to do so, then discard this Condition.

Fatigued: Immediately lose one Initiative Card, then discard this Condition.

Outmaneuvered: Opponents receive a noncumulative +1 to any trait tests made against an Outmaneuvered target.

Overwhelmed: Immediately drop one point of Guard or

shift one step of Disposition to your opponents advantage, then discard this Condition.

Unbalanced: Unbalanced characters cannot take maneuvers without turning over an additional Initiative Card.

Undone: Treat this Condition as an additional successful attack with a DoS 1. Resolve the second attack and then discard this Condition.

Weapon CondiTionsWhen a character makes an attack with a weapon that

places a Condition on an opponent, her weapon may offer her an additional Condition option. This Weapon Condition is always added to the pool of Conditions from which a player may choose. The player may choose any Condition from those available, from the drawn cards or from the Condition provided by her weapon. Some weapons will provide Conditions from the Standard Condition list, while others provide more robust options.

Bleeding: The character receives an wound penalty of -1 for each Sequence that the characters condition remains untreated. This stacks with all other wound penalties. Successfully stabilizing the character stops the bleeding, but the Condition remains until removed via physical recovery. If a character takes a wound before removing the Bleeding Condition, she will begin to bleed again. Remember that a character dies immediately when her wound penalties reach -10.

Crippling: A Character suffering from a crippling wound loses the use of one sensory organ or limb. If it is not clear from the situation, the Narrator declares what is lost.

Incapacitating: A character who receives an incapacitating wound is rendered unconscious. Immediately discard all Initiative cards, and do not draw new Initiative cards while this condition persists. Another character may spend an action to stabilize this character, rendering her conscious, but the Condition remains until removed via physical recovery.


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Table 3: physCial WeaponsWeapon reaCh damage CondiTions noTesBlackjack Touch 1 IncapacitatingBottle Touch 1 BleedingBrass Knuckles Touch 2 StaggeredCane/Club Close 2 DisarmedFarm Implement Extended 2 Staggered -2 to attackFists Touch 1 NonePocket/table Knife Touch 1 BleedingLarge Knife Touch 2 BleedingPolearm Extended 3 CrippledSword Close 3 Bleeding

FIREARMSPepperbox Pistol Extended 2 Bleeding Single shot

-2 to attack if not AimedBolt Action Rifle Long Range 4 Mortal 5 shots

-2 to attack if not AimedStandard Pistol Short Range 3 Bleeding 6 shots

-2 to attack if not AimedShotgun Short Range 3 Crippling 2 shots

-2 to attack if not Aimed, +1 to at-tack if within Extended range.

Tesla Taser Close 1 Incapacitating Single shot and then it is destroyedMay place its weapon Condition on any successful hit.

oPTionAl rule: infeCTionInfection is a very real danger in the nineteenth century.

Groups that wish to have this danger as part of their game may require all characters to make a viGor + will TesT for each physical wound they receive. If alcohol or other antiseptics are available, infection will only occur if a character catastrophically fails (DoS -8). If no medical supplies are available, infection will only set in on a grievous failure (DoS -4). If the character is recovering in a contaminated area or an environment where it is difficult to keep the wound clean (such as a swamp), infection will set in on a basic failure (DoS -1).

Infections are deadly. An infected character will take an additional wound every three days until she dies. If the wound is in an extremity, it may be amputated to prevent the spread of the infection. Otherwise, Victorian medicine is useless at this point. However, a character may seek out less mundane ways to preserve her life.


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Example of Play: Physical Conflict

Will and Rachel are playing Fitzwilliam and Augusta, a brother and sister who have been investigating their fathers disappearance. Their search has brought them into a dark alley where they have encountered two brigands. One of the brigands pulls a knife and physical conflict begins (as the brigand will be making an attack). Chris, the Narrator, deals four Initiative Cards to both Will and Rachel. Each chooses three to keep and discards the remaining one.

One brigand has a Threat of 1 and the other a Threat of 3, so Chris deals himself a total of four Initiative Cards. Each of the players place tokens on their character sheets to represent their characters Guard, and Chris places tokens on the antagonist sheets to represent theirs.

Chris (Narrator): The highest card value on the table seems to be you Rachel, with a 4. Would you like to make Augusta the acting character?

Rachel (Playing Augusta): Augusta is unarmed and unsure of the situation, so Im going to pass this time.

Chris: The next highest card value is a 2, thats you, Will.

Will (Playing Fitzwilliam): Fitzwilliam will act. Will flips over the Initiative Card bearing the value of 2. Am I within four paces of one of them?

Chris: Yes. The one closest to you is within your zone of control.

Will: In that case, I will use my maneuver to unsheathe my sword cane, my move to close on the guy, and my action to swing at him.

Chris: Hes going to attempt to react to you by attacking with his knife. However your sword cane has a reach category one step higher than his knife, so you get Attack Priority. Your attack will take a GrACe + fenCinG TesT. However, you are in a back street brawl with brigands, so you can use Melee instead of Fencing if you like. The brigand has a Defense of 2.

Will: My Fencing is higher than my Melee, so Im going to use GrACe + fenCinG. I close with the guy and move to swing at his face with the blade. Will adds Fitzwilliams Grace of 2 to his Fencing of 2. He subtracts the Difficulty of 2 based on the brigands Defense and draws a card with a value of 2. 2+2-2+2=4. Fitzwilliam succeeds with a DoS of 4.

Chris: Alright, so your attack succeeds, reducing his Guard by one. A DoS of 4 is also a remarkable success, so flip cards for a Condition. Your sword-cane has a damage rank of 2, right? So thats two cards.

Will: Will flips two cards from the play deck and looks at the Condition names printed on each: Dazed and Entrapped. I think I want these guys to run away, so Im not going to

choose Entrapped. I pick Dazed. My blade nips the top of his ear within just inches of taking his eye out! The sudden smack of pain and fear leave him Dazed.

Chris: The brigand is now Dazed. He is going to react now, but hes Dazed, so that means hes got to flip over two of his Initiative Cards to do so. Chris flips two of them over. The brigand lunges at you with his knife. Chris decides that this is a GrACe + melee TesT and adds the brigands Grace of 2 to his Melee of 3. Fitzwilliam can choose his best physical Defense: he has only a single opponent in his zone of control so he can choose GrACe + fenCinG. Had the other brigand been in his zone, he would have had to choose GrACe + melee, to combat multiple opponents. Thus, Fitzwilliams Defense is 4 right now. Chris subtracts 4 from the total, and then draws a card with a value of -2. 2+3-4-2 =-1. The brigand fails with a DoS of -1. The brigand thrusts out at you, but you deftly maneuver to the side of his strike.

Will: He doesnt scare me.

Chris: Next acting character is... Rachel, Augusta is still sitting on that 4, you wanna go now?

Rachel: Yes. Rachel flips over the Initiative Card bearing the value of 4. Whats around me in this alley?

Chris: Not much, its pretty barren.

Rachel: Can I spend a point of Purpose to notice a pile of refuse within four paces (her zone of control), preferably with a large plank of wood in it?

Chris: Sure, this is an alley; thats plausible.

Rachel: Rachel erases a point of temporary Purpose from her character sheet. I use my maneuver to grab the plank of wood from the refuse pile, close with the brigand, and use my action to smack him in the head with it.

Chris: The brigand chooses not to react, his attention is on Fitz. Go ahead and attack, thatll be a GrACe + melee test.

Rachel: Adds her Grace of 3 to her Melee of 2 and subtracts the brigands Defense of 2. She draws a card with a value of 5! 3+2-2+5=8. Augusta succeeds with a DoS of 8.

Chris: Wow! Okay, thats an extraordinary success! Your attack will bypass his remaining Guard. I assume you want to wound him?

Rachel: Yes. I swing the board right into the side of his head.

Chris: You hear a crunching sound as the board hits his jaw, and some blood flies in the opposite direction. The brigand slams to the ground and is grasping his head. Chris marks the wound on the brigands character sheet and reduces his Threat by one. Chris knows that this means he will deal himself one fewer Initiative Card in the next Sequence (if they make it that far). Also, the brigand may no longer take maneuvers, and is at -2 to all actions henceforth.


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Will (as Fitzwilliam): Thats my sister!

Chris: The next highest card is a 0, looks like Will and I both have one. Will whats your card number?

Will: My zero card has a number of 50.

Chris: Mines a 52, so the still-standing brigand will become the acting character. Hes going to rush at Augusta and try to knock her over. He uses his maneuver to Run and his action to slam into her. After his Run maneuver, hell be acting within the boundaries of both of your zones of control. You may both react.

Will: Fitzwilliam is going to stab him with the blade as he closes.

Rachel: Augusta will level the board so he runs into it.

Chris: Okay, Attack priority will go to Augusta, as she has a weapon with an extended reach, then to Fitzwilliam with the sword, and finally to the brigand, who appears unarmed.

Rachel: Rachel flips an Initiative Card over. Then she adds her Grace of 3 to her Melee of 2 and subtracts the brigands Defense of 2. She draws a card with a value of -3. 3+2-2-2=0. Augusta got a DoS of 0, a marginal success.

Chris: The brigand is acting in the current exchange, so your marginal success is considered a failure. Sorry, Rachel.

Will: Im going to run him through. Will flips an Initiative Card and then adds Fitzwilliams Grace of 2 to his Fencing of 2. He subtracts the Difficulty of 2 based on the brigands Defense and draws a card with a value of 1. 2+2-2+1=3. Fitzwilliam succeeds with a DoS of 3.

Chris: You swipe at him and he loses a bit of balance as he dodges your blade. His Guard is reduced by 1. But now its his turn to complete his action. He continues to try to tackle Augusta. Chris adds the brigands Grace of 2 to his Melee of three, subtracts Augustas Defense of three and draws a card with a value of -3. Its just not this guys day. Augusta steps to the side and deftly avoids the attack. It looks like the next highest Initiative Card is you Will, with the zero.

Will: I come at him from the side and stab at him. Hes only a Threat 1 antagonist, I bet he only has a Guard of zero, which means its now down! Will flips over his last Initiative Card and then adds Fitzwilliams Grace of 2 to his Fencing of 2. He subtracts the Difficulty of 2 based on the brigands Defense and draws a card with a value of 0. 2+2-2+0=2. Fitzwilliam succeeds with a DoS of 2.

Chris: Youre right, his Guard is down. Your blade goes right into his gut. He is now wounded and collapses to the ground. The brigand was only a Threat 1 antagonist, so after receiving a single

wound, he is incapacitated. Next up is the wounded brigand who Augusta smacked int he head. He has an Initiative Card of -1. Hes going to trade his action for a move so he can run away.

Rachel: Is he in my zone of control?

Chris: Yes.

Rachel: Then Im going to react by smacking him with the board.

Will: Im out of Initiative Cards, so Fitz cant react.

Chris: Rachel, Augustas weapon has a longer reach, so you have attack priority. Go ahead.

Rachel: Rachel flips over her last Initiative Card. Then she adds her Grace of 3 to her Melee of 2 and subtracts the brigands Defense of 2. She draws a card with a value of 0. 3+2-2+0=3. Augusta got a DoS of 3.

Chris: You clock him across the back. His Guard is reduced by 1. Meanwhile, Chris knows that this last surviving brigand has been wounded, reducing his Threat to 2. That means, the brigand can only act twice in this Sequence. Hes already acted once, so even though the antagonists have two Initiative Cards left, only one can be used.

The brigand will use his last Initiative Card to beg for his life. Please, he says, Ill do whatever you want. The brigand has attempted to begin a social conflict, what will you do? Shall I shuffle the cards and deal another sequence of physical conflict or are you done trying to kill him?

Rachel: Sure, lets see what we can get out of him.

Will: Are you sure I just cant stab him?.

Rachel: We want to know who sent him!

Will: Oh, okay. Well enter social conflict.

Chris: Great. Chris shuffles the cards and redeals for social conflict.


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Example of Play: Social Conflict

Will and Rachel are playing Fitzwilliam and Augusta, a brother and sister who have been investigating their fathers disappearance. During their investigation, they were jumped by two brigands in an alleyway. After dispatching one of them, the other surrenders and they are about to question him. Note that a real session might involve a lot more role-playing than is described below. The purpose of this example is to explain the mechanics, so that is our focus.

Chris (Narrator): This brigand is Guarded against telling you anything. Chris decides the brigand is more interested in saving his own life than he is keeping secrets, and translates this to a Guarded Disposition. Hell be attempting to convince you not to kill him.

Rachel (Playing Augusta): Augusta would rather not have to kill him, but needs to know where her father is and is willing to do almost anything to find out. Ill say her Disposition is Indifferent toward his pleas.

Will (Playing Fitzwilliam): Fitz is equally Indifferent for much the same reasons.

Chris: As the players mark their Dispositions with tokens on their character sheets, Chris marks the brigands Disposition on his. He then deals three cards to each player and two to himself, as the brigand has a Threat of 3, but also has one wound (which reduces the number of cards received by one).

It looks like the highest card value on the table is a 3, and thats you Will.

Will: He flips over his Initiative Card. Well, theres only one Avenue of Attack, so I use my maneuver to get assistance from Augusta and my action to hold my sword menacingly and try to intimidate him.

Rachel: She flips over her Initiative Card.Augusta will play good cop to Fitzs bad cop, and Ill try to reason with him, promising well let him go if he tells us what we need to know.

Chris: The brigand is going to react by attempting to convince you to let him go, but you are the acting character so you get Attack Priority. Fitzwilliam will be making a PresenCe + CommAnd TesT and you can add the weapons damage rank to your result since you are intimidating him. Augusta will be using PresenCe + PArley... unless shes lying, in which case youll need to use Guile. The brigands social Defense is 3 The Brigand actually has a Defense of 2, but also has the Affinity The gang is a cruel but loving family which will add its rank of 1 to his Defense, making it a 3. The brigand is both afraid of and compassionate toward his gang.

Will (as Fitzwilliam): You saw what happened to your buddy over there! (Fitz points his sword at the bleeding body

of the other brigand and then back at the prisoner.) Now youre going to tell us why you attacked us, and everything you might know about where our father is being kept.

Chris (as Brigand): I dont know nothin about no father! Me gangs just being paid to put a scare in ya, we got nothing to do with this.

Will (as Fitzwilliam): Too bad for you...

Will: adds Fitzwilliams Presence of 3 to his Command of 3, subtracts 3 for his opponents Defense, and draws a card with a value of -3. He adds his weapons damage rank of 2 to the result. 3+3-3-3+2=2. Fitz succeeds with a DoS of 2.

Rachel (as Augusta): Wait a minute, Fitz. We dont need to kill him. Im sure hes a reasonable man who could help us if we just give him a chance.

Rachel: Augusta is not lying, so Ill use Parley. Rachel adds Augustas Presence of 3 to her Parley of 3, subtracts 3 for her opponents Defense, and draws a card with a value of 1. 3+3-3+1=4. Augusta succeeds with a DoS of 4.

Chris: Okay, youre aiding one another so we take the better of the two tests. Your collective effort yields a DoS of 4. The brigands Disposition is moved one step to Indifferent. Also, youve scored a remarkable success, so draw a card for a Condition.

Will: Flips over a single card revealing the Undone Condition. Will smiles broadly.

Chris: Okay, so the Undone Condition will move the brigands Disposition an additional step, making it Agreeable. Hes starting to really believe you might let him go, and thats doing a lot to make him warm up to you.

Now he gets his reaction. Chris flips over an Initiative Card. What are your social Defenses?

Rachel: My will + ComPosure is a 4, but can I use Parley? My will + PArley is a 5.

Chris: Sure, hes trying to reason with you. Parley covers that.

Will: Unless I can use Command, Im better off just using my default Defense of will + ComPosure. Its a 4.

Chris (as Brigand): The brigand is currently Agreeable to helping the siblings, so Chris tries to show that in his speech. Listen, we just meant to put a fright into you is all. We werent going to hurt you. You let me go, and Ill tell you what you need to know bout your father.

Chris: adds the brigands Presence of 2 to his Parley of 2, subtracts his -2 wound penalty, and draws a card with a value of 5. Will, your Defense of 5 is going to bring his total to a DoS 2 against you. (2+2-2-5+5=2) Fitzwilliams Disposition toward letting him go is going to shift to Agreeable. However, Rachel, you have the Affinity Family comes before all else at a rank 2, so his promise to tell you what he knows is going to be more convincing to you. Your


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Defense will be lowered by your Affinitys rank, making it only a 3. (2+2-2-3+5=4) He gets a DoS 5 against you, a remarkable success, so hell get to place a Condition on you. Chris flips a card from the play deck to reveal a card with the Disoriented Condition. His words are convincing to Augusta, moving her Disposition to Agreeable, but they also reawaken her feeling of abandonment. As he says the word father she feels her chest tighten and emotion swell in her gut. She is Disoriented.

Rachel: Augusta takes a deep breath and steps back.

Chris: The next acting character is... it looks like Rachel and I both have a 2. Whats your cards number, Rachel?

Rachel: Ive got a 70.

Chris: Ive got a 68, so Augusta is up.

Rachel: Augusta is going to continue the negotiation. Shell use her maneuver to get Fitz to help her, and her action to persuade the brigand to spill his guts.

Chris: The brigand will react by continuing to persuade you to let him go before he talks. You are suffering from the Disoriented Condition, so you automatically lose Attack Priority. That means he goes first.

Rachel: Bollocks!

Chris (as Brigand): I swear to you, untie me and let me go and Ill tell you everything I know!

Chris: flips his last Initiative Card. Then he adds the brigands Presence of 2 to his Parley of 2, subtracts his -2 wound penalty, and draws a card with a value of -2. Will, your defense of 5 is going to bring his total to a DoS -5 against you. (2+2=2-5-2=-5) Thats a grievous failure. Fitzwilliam hears the same song over again, and its getting old. Because of the grievous failure, Fitzs Disposition shifts back to Indifferent. Rachel, the brigand isnt using words that push your buttons this time, so you can use your full Defense. (2+2-4-2=-2) He gets a DoS -2 against you, so Augusta isnt really buying it either.

Rachel (as Augusta): You better stop promising and start talking - Im not going to be able to keep my brother at bay for much longer. Rachel adds Augustas Presence of 3 to her Parley of 3, subtracts 3 for her opponents Defense, and draws a card with a value of 0. 3+3-3+0=3. Augusta succeeds with a DoS of 3.

Will: Fitz cleans the blood of the sword menacingly. Will adds Fitzwilliams Presence of 3 to his Command of 3, subtracts 3 for his opponents Defense, and draws a card with a value of 4. He adds his weapons damage rank of 2 to the result. 3+3-3+4+2=9. Fitz succeeds with a DoS of 9!

Chris: That will persuade him regardless of his Disposition. He spills his guts.

Chris (as Brigand): Alright! Alright! Just keep that bastard away from me. All I know is that your father is being kept in a warehouse. Its down by the docks. Its a big one, painted

red, but all the paints falling off. Thats all I kno

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