take your mythic adventures in new directions · take your mythic adventures in new directions ......

VariationsTake Your Mythic Adventures

in New Directions

A supplement for the Mythic Role Playing Game andMythic Game Master Emulator

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WM3

Variations

by Tom PigeonPublished by Word Mill Publishing

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ARTAll interior artwork was created by Jorge Muñoz.

www.comicspace.com/yorko • [email protected]

PLAYER SUPPORTFor more Mythic fun, go online to www.mythic.wordpr.com

or stop by the Mythic fan group online atgames.groups.yahoo.com/group/Mythic_Role_Playing/

Email the publisher at [email protected].

Word Mill Publishing 5005 LaMart Dr. #204 • Riverside, CA 92507

[email protected] • www.mythic.wordpr.com

Mythic Variations © Copyright 2007 by Tom Pigeon and Word Mill Publishing.Published by Word Mill Publishing. All rights reserved. Reproduction of this workby any means without written permission from the publisher, except shortexcerpts for the purpose of reviews or pages clearly marked for personal use, isexpressly prohibited. The mention of or reference to any company or product inthese pages is not a challenge to the trademark or copyright concerned.

“Age cannot wither her, nor custom stale

Her infinite variety.”William Shakespeare

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CONTENTS

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4

Chapter 1: Game Mastering . . . . . . . . . . . . . . . .7

Chapter 2: Mythic Themes . . . . . . . . . . . . . . . . . .11

Chapter 3: Complex Questions . . . . . . . . . . . . .25

Chapter 4: Off-Camera Stories . . . . . . . . . . . . .27

Chapter 5: Adventure Outlines . . . . . . . . . . . . . .31

Appendix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44

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Variations

Introduction or ...

This book is a sourcebook for the Mythic Role Playing Game andMythic Game Master Emulator. Nothing in here will make muchsense unless you have either of those two books.

Now, on to the good stuff ...What are variations, and why would you want one? Simply put,

Mythic Variations is about adding spice to your Mythic adventures.This book is intended as supplemental material to the Mythicadventure generating system. Mythic Variations is a toolbox withuseful suggestions and crunchy rules, any of which you can take orleave at your discretion.

Want your Mythic adventures to run smoother? We’ve got youcovered. Looking for some new twists? We’ve got that too.

WHAT’S THIS BOOK ALL ABOUT?

Themes will push your Mythic adventure in different directions.Maybe you want more of a horror tone to your tale, or greater oddsof high adventure. Whatever your taste, there is a way to makeMythic respond. Complex Questions give you the freedom to breakaway from the usual yes/no routine and ask open-ended questions.Rules for Off-Camera Stories will help you fill in the gaps of yourcharacters’ lives in between adventures, and their lives before.Adventure Outlines is a way to create Mythic adventures ahead oftime, with a wee bit more preparation, but still make the GM’s lifepainless.

Enough jibber-jabber ... let’s crack this open and see what we have!

7

Whether you are playing Mythic with a dedicated GameMaster or without, getting the hang of letting Mythic do all ofthe heavy lifting for you can sometimes be hard to wrap yourhead around. Mythic adventures should move swiftly and notget bogged down in the details. This chapter contains tips onhow to handle problems that may arise during a Mythicadventure, and how to keep it all moving ahead smoothly.

Choose a refereeEveryone wants to play, so you’ve assembled a group of

friends to adventure in Mythic without a game master. Thatspreads the job to all of you, working together. A questionarises and someone throws it at the Fate Chart. “What are theodds?” someone asks, and suddenly six different answers comeflying out. Which are the correct odds?

Usually defining the odds to a question is fairly obvious.When more than one player makes a suggestion, it’s not oftena problem to choose the best answer. If one level of oddsreceives more votes than another, then it wins. Sometimes,however, the answer is not so obvious. Rather than debatingthe relative merits of one person’s choice versus another, thereis another option.

Everyone may be taking equal parts as a player, but if you’rehaving trouble getting everyone moving in a single direction,it may be time to elect one player to be more equal than theothers. Using a referee is a compromise between having a GMand having none. A referee is still a player, but he has thepower to decide what the odds are to a question when there isno clear consensus.

A referee is not a GM. She is not in control of the adventure.The referee’s job is to be the final arbiter on Game Masteringquestions when the group as a whole cannot agree. If a fatequestion arises and the group decides on the odds quickly, thenthe referee has nothing to do. However, if the odds are not setimmediately, then the referee can simply choose which answer togo with.

The players should be clear up front who the referee is goingto be. This can be decided before the game begins by choosingsomeone by vote, tossing a coin, or whatever. You can move thejob around, too, rotating the position every thirty minutes or so.

If there are only two players in the group, then a referee is the

one who comes up with the odds during the adventure. After all,if there are only two people, and one of them is the referee, hewill win anyway in times of disagreement. If both players are inagreement, the referee will get his way, also. So, keep it simpleand just let the referee define the odds in a two-player game.When his time is up, the post shifts to the other player. This is agood option for a two player Mythic game with no Game Master.Since there are no extra players to provide a tie breaker, if thetwo players don’t agree on every single odds question, they willbe at an impasse each time.

If there are more than two players, then the referee does notget an initial vote. Instead, she calls out, “What are the odds?” tothe other players. If there is a consensus among the players (thereis one choice receiving the majority of the votes), then that isthe answer. If there is not a clear choice, however, then thereferee must choose. The referee can only choose among theodds thrown out by the other players.

For instance, there are three players, one of them is a refereeand he calls for odds getting two responses, “likely” and “verylikely.” He must choose between the two. The referee maydisagree, and think the odds are in fact “50/50.” However, since“50/50” was not offered as an option, he cannot choose it, butmust stick with the two odds voiced.

Keep in mind that the referee’s job is purely as tie-breaker. Ifthere are four players at the table and the GM calls for odds, andonly one player throws out an answer, then that is the answer.Not everyone has to give their two cents, so the odds are set bydefault. Maybe you have a large group of five or more players.The GM calls for odds and gets three different answers; oneanswer receives one vote while the two other choices get twovotes each. The referee can only choose between the two choicesthat received the two votes apiece, since that is the tie that mustbe broken.

The referee is also the arbiter on any other issue at the tablewhere there is not clear agreement. For instance, what is thebasis for the next scene? Some players may say, “We travel to thesaloon and find it peaceful,” while someone else might say, “Wego to the saloon and find Bad Bart there.” If there is noconsensus, then the referee makes a decision, just as he wouldwith odds questions.

Other choices that may crop up requiring a referee’sdecision include what exactly is the correct interpretation toa Fate Chart roll, which question should be asked if there isa debate over interpretations, and any other situation wherethere is no general agreement.

Game MasteringCHAPTER 1

Pay no attentionto that manbehind the curtain

Mythic is designed to create adventures that simulate a fully-prepared Game Master. If you are playing in a game with adedicated Game Master who is using Mythic to create hisadventure, in the players’ eyes it should make no differencewhether the GM is using Mythic or not.

In playtesting, I have found that a lot of GMs using Mythicwill require her players to phrase their questions in the yes/noformat when they ask the GM a question. The upside to this isthat it makes the GM’s job a little easier, not having to rephrasequestions in her head. The downside, however, is that this takesthe players out of their characters and puts them in a positionwhere they must consciously think in game mechanic terms.

It may require a modicum of extra work for the Game Master,but he should allow the players to ask any question they want,yes/no or otherwise. It is then the GM’s job to rephrasequestions, to himself, in a Mythic manner.

When played like this, your group can immerse themselves intheir characters, just as they would in any role-playing session. Inthe end, to the players, they will not be able to tell that theGame Master is using Mythic.

When a player asks an open-ended question, like, “What’s inthe room?” the GM makes up, in her mind, what she thinks themost likely answer is and phrases it as a Fate Chart question. Shemight say to herself, “Is the room empty?” assign it quick oddsand roll, whipping up a quickie interpretation.

Ten-second ruleMythic is meant to be played quickly and smoothly. Someone

asks a question, they roll on the Fate Chart, they get an answer,they interpret the answer and move on. Often, interpretationswill come easily. Sometimes they do not.

The best way to kill a Mythic adventure is to agonize overwhat the Fate Chart meant with a certain answer. When ananswer is rolled on the Fate Chart, you should give yourself nomore than ten seconds to interpret the result. In other words, thefirst thing that comes to mind is what you use.

What if you can’t think of anything in that span of time?Then forget about it and move on (remember the “I dunnoh”rule?)

The ten-second rule should apply whether you are playingwith a GM or not. Allow for no more than ten seconds for the

group to come up with an answer. If you are playing with areferee, then he can allow everyone ten seconds to throw outtheir odds or to give their interpretation of a Fate Chart roll. Ifthere is no consensus at that point, he pronounces his verdictand moves the game forward.

The 50/50 ruleThe Fate Chart is the heart of Mythic, where questions are

answered and the game takes most of its direction. Usually,deciding on odds for a question or interpreting the results is astraightforward proposition. But sometimes it can get a bit sticky.

For instance, what do you do if your group is split on justwhat the odds should be for a question? Or worse, what if youjust can’t decide what the odds are?

The key to keep in mind here is that you want the game tomove ahead quickly, not get bogged down in debate overwhether a question is “likely” or “very likely.”

As a general rule for when you or your group can’t settle onthe odds within the ten seconds mentioned before, and youaren’t using a referee, just go with 50/50 odds. After all, 50/50 issupposed to be used when you don’t know what the odds are fora given question. Not knowing, and not being able to decide, arebasically the same thing.

If you are playing with a group, and without a GM, you needto determine odds fast. That means someone asks a question andthen he immediately states what he thinks the odds are.Everyone else can add their suggestion, or no suggestion at all.And you’re done. That’s it. Whatever odds got the most “votes,”wins. If none did, then go 50/50 (unless you’re using a referee, inwhich case he will resolve the conflict).

Tips for runningNPC interactionsand conversations

Using the Fate Chart to flesh out a game world follows asimple formula: you frame a question, generate a result, andapply an interpretation. Sometimes it’s difficult to boil anNPC’s reaction down into a simple yes/no question, however.For instance, a group of characters are approaching a castle atnight. The players want to know, does the main gate have aguard posted at it? That’s a very direct question that is easy tointerpret; there’s either a guard or there isn’t. However, what ifthere is a guard, and one of the characters goes up and talks tohim? How do you resolve the guard’s response?

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Game Mastering

Figuring out something as complex as human behaviorwith yes/no questions might seem daunting. Not only isthere the question of what the NPC does, in terms of action,but how do you determine what he might say?

The trick to navigating NPC behavior is the same asresolving any other question in Mythic: don’t get boggeddown in details. Start from the big picture and interpret thedetails from there.

In the example above, perhaps a character boldly stepsforward and engages the guard in conversation. To get at the“big picture,” it would be helpful to find out a little bitabout the guard’s disposition. Is he nervous and quick tosuspicion, or lazy and looking for something to do? The GMmight ask, “Is the guard relaxed?” A yes might mean thatthe guard doesn’t find it unusual that someone just walks upto him out of nowhere. A no means the guard readies hisweapon and eyes the character with suspicion.

Whichever answer we get tells us a lot about the guard.Without making any more rolls at this point, the GM mightinterpret the following behavior from the guard: “He standsat attention as you approach, placing his hand on his swordhilt in a threatening manner. ‘Who goes there!’ he crieswith authority.”

This is a good bit of detail, butit’s all derived from what

the GM now generallyknows about the

guard. There is no

need to ask, “Does the guard say, ‘Who goes there!’“ When dealing with NPC actions and conversation, it is

best not to make any more rolls on the Fate Chart untilsomething happens that might change the character’scurrent pattern of behavior. For instance, the PC may holdhis hands up and smile, saying he is but a weary travelerseeking refuge within the castle. Based on what the GMalready knows about the castle’s occupant (he’s a bad guy),and the guard’s current mood, the GM decides he alreadyknows how the guard is going to respond without rollingagain. He says: “The guard does not smile in return. ‘We donot admit travelers here, stranger. Now go!’“

So far, we’ve learned quite a bit about the guard, andgotten some conversation out of him, all based on a singleroll on the Fate Chart. The GM could have asked a Fatequestion before every sentence the guard uttered, asking ifhe says such-and-such or not. However, that’s just notnecessary. When dealing with NPC behavior, it’s best toinfer as much as you can off of as few rolls as possible.

Keeping up with our guard example, perhaps thecharacter throws out a little lie: “That’s too bad. I also haveinformation for the Duke. Something about a scroll heseems most eager to find,” the character says, holding up asatchel as though its contents were important. Within thecontext of this adventure, the characters are seeking amagical scroll, trying to find it before the evil Duke can gethis hands on it. Mention of the scroll would no doubt getthe guard’s attention. This is a break in the encounter,

something that could change theNPCs behavior and require the

GM to go back to the FateChart to see what he does.The GM asks himself:

“Does the guard let thecharacter in?”

A no answer mightmean the guard is beingstubborn and refuses toadmit the character,information or noinformation. A yesanswer means the guardis now unsure, and does

not want the Duke tomiss out on vitalinformationregarding thescroll. If the GMrolled a yes, hemight interpretit like this: “The

guard frowns, hisface lost in

Game Mastering

9

thought for a moment. ‘The scroll, you say?’ His hand fallsaway from his sword hilt as he struggles with a decision.‘Very well, you had best come with me. I will escort you tothe Captain of the Guard, and you can explain to him whatyou know.’ The guard takes the satchel from you, turns andbegins to unlock the gate.”

Using only two rolls on the Fate Chart we’ve gotten a lotof useful play out of our guard. We also know enough abouthim to make all kinds of logical conclusions later on. Weknow he’s a by-the-book soldier, but he is also eager to helphis master to acquire the scroll. You might consider him alittle gullible as well and open to suggestion.

The point of dealing with NPC interaction, particularlywhen it comes to conversation, is to keep the questions androlls simple. You should use lots of improvisation andmaintain the NPC’s response “in character” as youunderstand it, based on the context of the adventure andthe behavior patterns already established for the NPC. Thelonger this character sticks around in the adventure themore you are going to learn about him, and the morecomplex his or her behavior will become. There’s no need torush that complexity, however, just ask questions when theyare really needed.

‘I dunno’ againI’m going to beat an old horse again. It’s an important

horse, though, so here I go. Keep your Mythic adventuremoving at all costs. Don’t get bogged down on interpreting theFate Chart or a random event. If you are really stuck,remember the “I dunno” rule and just skip it and move on.That may mean that a scene that is supposed to be altered isnot altered, or that a random event that is supposed to occurdoes not happen. That’s okay. If nothing fits, then nothing issupposed to happen.

When in doubt, just keep the adventure moving along itscurrent course of momentum.

Don’t be too strictAnother tip to keep your interpretations moving quickly is

not to worry about being strictly literal. For instance, you areplaying with a group of street mages in modern times. Theplayer characters are searching an alley where an attackoccurred the night before, one that may have involved asupernatural beast they are tracking. The GM needs to roll upa random event. The Event Focus is PC negative. You roll upmeanings of “extravagance” and “a project.”

Now, they are in an alley ... there is nothing extravagant to

be found. Their current project, of digging through the trash,is certainly not extravagant. Trying to draw a strictly literalinterpretation from this result might garner some odd results.

Luckily, that is why it’s called “interpretation”: feel free tostray from the literal meaning.

A more useful interpretation of these results, though lessliteral, might be that the alley is larger, and more full of trashand debris, than just about any alley the characters have everseen. “Extravagant” in this case means “a lot of stuff to gothrough.” That also fits with this event being a PC negative,and fits with the context of the adventure.

So, the characters show up at the alley, hoping to do aquick search, and realize that it’s more like three or four alleysall strewn with junk and garbage. This is going to take a while.

This is not to say that you make up any old interpretation,no matter what the results. Whatever you come up withshould still tie directly in with what you rolled. However,you’ll find interpretations popping into your mind as soon asyou start thinking about it, some literal and some less so.Don’t squash the less literal interpretations just because theydon’t fit 100%.

The end ... or not?Normally a Mythic adventure ends when the characters

either solve all the open threads, or give up. Even if they solvethe mystery, or save the damsel in distress, it doesn’tnecessarily have to be “The End.” The GM may want to throwin one more scene as an epilogue to tie up any loose ends or togive the adventure a more polished conclusion. You shouldproceed as normal, coming up with the next scene idea and soon. Since there are no more threads on the list, any rolls thatindicate a thread, whether for a random event or for a sceneinterrupt, can either be pulled from a PC personal thread listor ignored.

It is up to the GM and the players whether they want topush on past the resolution of the final thread. Keep in mindthat there is some danger involved here because you neverreally know what the next scene will involve. Perhaps thecharacters are deep within the bowels of a dungeon, wherethey have completed their quest and found the Ruby ofEnerthon. The GM doesn’t want to end it there, though. So,they move on to the next scene, which he envisions as themarriving back at the local tavern to rest and revel in theirsuccess. An interrupt scene however could change all of that.Maybe they are ambushed on their way back and the ruby isstolen, or they discover that an item they recovered from thedungeon is cursed.

The point is that the adventure need not end when all thegoals are accomplished. If you think the characters needanother scene or two to make their experience complete, thengo for it.

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Game Mastering

11

Mythic is designed to create a broad range of possibilitieswhen generating adventures. The tone of a game is set bythe questions asked by the players and the GM, and thenature of the game itself. Obviously, sword-slinging warriorstraveling through ancient catacombs will have a differentexperience than modern gumshoes tracking down a lead.

Nevertheless, there are ways Mythic can be made toenhance a particular feel for an adventure. Mythic Themesintroduces this idea by tweaking the Mythic engine toencourage an adventure to spin in particular directions.Using themes by no means guarantees that your adventurewill turn out a certain way, but it will help encourage thetypes of events that typify those genres.

Following are a range of themes, including:Horror, Action Adventure, Social, Epic,Mystery and Personal. There are two ways inwhich themes change the game: by alteringhow the Chaos Factor works and by changingthe Events Focus Table. Each of the themedescriptions to follow starts off with a generaldiscussion of the theme and how it might playout in a Mythic adventure. This is followed bymodified rules for the Chaos Factor and acustom Focus Table for use when generatingrandom events and scene interrupts.

When using a theme, the Game Master orplayers can decide ahead of time that theywant to play in a certain genre. In this case youpick your theme and follow the rules changes.If you like your adventures a bit more random,rules for generating a random theme, and evenmixed random themes, follow. Finally, if youwant to develop your very own, custom theme,the final section gives you the details.

HorrorHorror is like chocolate; it goes with just

about anything. You can have horror sci-fi,horror fantasy, horror adventure, or just goodol’ horror horror. One of the best things aboutthis theme is that it follows a very clearpattern. Horror stories almost always start off in

mundane settings and circumstances, until the horror beginsto reveal itself, and then events get worse and worse for thecharacters until a final resolution is met. Perhaps the maincharacter works in a museum and hey, did you hear that therelics on that new mummy exhibit arrived today?

In Mythic terms, the Chaos Factor starts off a little low,but once it begins to climb it cannot be rolled back. Also,most early scenes will either be just what the PC’s expect orwill be altered events. Later, more and more interrupt sceneswill intrude on the adventure as events spiral out of control.

The horror theme always starts with an ambiguous eventas the event focus for the first scene. When the adventurestarts, we find the main characters doing something normal

Mythic ThemesCHAPTER 2

for them. Maybe they’re a group of teenagers going to spenda weekend in the mountains, or the main character is a copinvestigating a homicide. Normal doesn’t have to meanboring. A normal day in the life of a fantasy barbarian mightmean he’s hacking his way through hordes of foes. You knowyour characters, so you decide what a day in the life is like.

When using this theme, you should decide at the outset ifyou want psychological horror or physical horror. Althoughboth types of horror follow the same basic pattern, what theactual “horror” is changes. In psychological horror, theterrible things may all be in the PC’s mind. For instance, thePC keeps getting the feeling that she is being followed, andcatches glimpses of a shadowy man every once in a while.Physical horror is, well ... messier. Think big guy in a hockeymask popping out of a closet and waving a bloody axe.

Perhaps more so than any other theme, Horror themesneed to be guided somewhat, at least in the beginning.Since the adventure starts off with everything normal, youropening thread will be something fairly mundane, like,“Spend a weekend in the mountains.” Unless a randomevent comes along to throw something awful at you, thecharacters could spend the whole adventure just kickingback with nothing happening. Whoever is running theadventure, whether GM or players, should keep the horrortheme in mind when asking questions and deciding onexpected scenes. For instance, with the mountain example,maybe the characters take a walk. For the scene setup, theygo with, “We take a walk in the woods and find somethingstrange.” Normally, that wouldn’t exactly be what theplayers would expect for a scene, but this is a horror themedadventure, so expectations, at least for the players, should beskewed. For this reason, horror themed adventures may workbetter when run by a Game Master. That way the playerscan keep themselves focused on what their characters aredoing while the GM can push the limits of the adventure tosee what happens.

Chaos FactorStart Chaos at 4, instead of 5. The Chaos Factor does not

decrease in a horror adventure. It will either go up after ascene if events were out of the characters’ control, or staywhere it is. When random events are generated, results of 1 to3 within the Chaos Factor range are considered altered scenes.Any higher numbered results, within the chaos factor, areinterupts. This means that, at the beginning of the adventure,most scenes that diverge from the expected will be altered,something close to what was expected. As the CF rises to 6, 7or higher, interrupt scenes will become more common. Whengenerating the opening scene of a horror adventure the EventFocus is always an ambiguous event.

Special Focus EventsHORROR - PC/NPC: Horror strikes in all itsgruesomeness! If this is a psychological horror adventure,then something very weird happens to a PC or NPC. If it’s aphysical horror adventure, then a PC’s or NPC’s life isthreatened in a horrible way. This usually means thecharacter is attacked. If the target is an NPC who iscurrently with a PC, then the NPC is attacked out ofnowhere though the PC may be able to save him. If theNPC is not currently in the scene, then this likely meansthat the PC’s come across the NPC’s mangled corpse, or theNPC shows up on the scene just having escaped her peril.You may have to ask a Fate Question here, such as, “Is theNPC dead?” or something to figure out just what happenedto them. If the PC is the target, then her life should be inimmediate jeorpardy from the main antagonist. This resultsimulates those moments in horror movies when the badguy, or thing, does what it does best.

HORROR FOCUS TABLE

1d100 Event Focus

1-10 Horror - PC

11-23 Horror - NPC

24-30 Remote event

31-49 NPC action

50-52 New NPC

53-55 Move toward a thread

56-62 Move away from a thread

63-72 PC negative

73-75 PC positive

76-82 Ambiguous event

83-97 NPC negative

98-100 NPC positive

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Mythic Themes

Action AdventureThis theme includes just about half of what Hollywood puts

out every year. Whether we’re talking starships blasting at eachother through space or intrepid tomb-divers prying gold fromundead hands, action is everywhere in this type of theme. Thetone should be chaotic and often shifting. The number ofrandom events in this theme are nearly double what you wouldhave in a standard Mythic adventure. The Focus Table is verysimilar to the standard chart, but it emphasizes NPC actionsmore, is extra likely to generate bad results for PCs and NPCs,and has a special “Action!” entry to spice things up. The endresult should be an adventure with more going on, all the time.

Chaos FactorDouble rolls on the Fate Chart always result in a random

event, whether they fall within the Chaos Factor range or not.Also, the Chaos Factor cannot fall below 5 during the adventure... the characters can’t acquire too much control. Any scene thatwould otherwise bring the CF factor down below 5 will just leavethe CF unchanged.

Special Focus EventsACTION!: Something happens that pushes the adventureinto high gear. What exactly happens will depend on thecurrent context of events and what you get on the EventMeaning Charts. However, whatever it is should be pulse-pounding. For instance, maybe the characters are perusing alibrary, searching for information to help them on theirquest, when the GM rolls up this random event. A characterpulls a book from the shelf and suddenly, in a burst of light,a monster leaps from the pages. The creature speeds off,running along the library walls as the characters give chase.

MysteryLike horror, the mystery theme follows a certain pattern.

At the outset of the adventure, a mystery is establishedwhich the characters must solve. The rest of the adventureinvolves the PCs tracking down clues as they put the puzzletogether. When running this type of theme, the GM shouldkeep the mystery atmosphere in mind. In other words, whenrolling on the event Focus Table for random events andinterrupt scenes, the GM should interpret results in light ofthe mystery as much as possible. Moving toward the threadprobably means finding a clue. A PC negative likely willmean something happens to thwart the character fromfinding a clue he is looking for. The event Focus Table inthis theme also does not have a “close thread” entry; in amystery, the sleuths must always do the work and solve theriddle themselves; it will never be done for them.

Chaos FactorThe characters may not completely control this type of

adventure, so the CF minimum is 3. The factor cannot fallbelow this. When deriving the opening scene, it mustestablish a mystery thread of some kind. If you are rolling arandom opening scene, then the event you generate shouldbe interpreted as the mystery.

ADVENTURE FOCUS TABLE

1d100 Event Focus

1-16 Action!

17-24 Remote event

25-44 NPC action

45-52 New NPC



65-76 PC negative

77-80 PC positive


85-96 NPC negative

97-100 NPC positive

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Mythic Themes

Special Focus EventsMOVE TOWARD/AWAY FROM A THREAD: When youreceive a “move toward a thread” event in a mystery this usuallymeans you come across a clue. Moving away from a threadusually means something you thought was true, such as a clue, isproven to be untrue.

SocialThe social theme can be described as a “talky” adventure. In

this theme, personal interaction is the most important element.The main thread itself should be a social quest, such as the PCsmust help a woman clear her name of an unjust accusation soshe can marry the man she loves. This theme can have a lot incommon with the mystery theme, requiring the PCs to make therounds and visit a number of NPCs to try and figure out a socialmystery. It may also involve the PCs trying to get a group ofNPCs to act in a certain way. For instance, a social adventuremight involve the PCs trying to convince a delegation ofdiplomats not to make war on their country.

The tone of a social theme should be distinguished fromstandard adventures. In a social adventure, nothing physically

important may happen at all. There may be no life or deathdangers or battles to be fought. All the peril may come from thetongues of others. That doesn’t mean this theme has to be alltalk and no fighting, but the adventure should emphasizeinteraction.

A big element of the social adventure are secrets, and thelearning of them. Everyone has secrets which they wish to hide.When those secrets are revealed, everything changes. “Do youmean ... Captain Cormant is really the son of the evil EmporerDaro?!” During a social adventure, a few of these social bombsare likely to drop, and the GM should make a big deal of them.The revealing of personal secrets should have real, in-gameeffects. For instance, maybe Captain Cormant’s allies desert himwhen they learn who his dear old dad is.

Chaos FactorThere are no changes to the Chaos Factor, use the standard

rules. The opening scene, however, should establish a socialthread. Generate the opening scene as normal, but interpret itwith the social theme in mind.

SOCIAL FOCUS TABLE

1d100 Event Focus

1-12 Drop a bomb!

13-24 Remote event

25-36 NPC action

37-44 New NPC



61-64 Close a thread

65-72 PC negative

73-80 PC positive


93-96 NPC negative

97-100 NPC positive

MYSTERY FOCUS TABLE

1d100 Event Focus

1-8 Remote event

9-20 NPC action

21-32 New NPC



65-72 PC negative

73-80 PC positive


89-96 NPC negative

97-100 NPC positive

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Mythic Themes

Special Focus EventsDROP A BOMB: Drop a bomb means a PC learns a secret,usually about another character. Roll to determine whichNPC the secret is about. If this is the result of a randomevent, then whoever is currently with the character isprobably the source of the dropped bomb. Keeping thatcontext in mind, and using what the Event Meaning chartsgive you, should help you decide what the “bomb” is. Forinstance, the PCs are superheroes meeting a delegation ofaliens. This is the aliens first encounter with humanity, sohow the heroes deal with them may shape human-alienrelations for a generation. The characters are with the alienenvoy when a random event occurs indicating “Drop abomb!” The GM rolls “triumph” and “hope” on the meaningcharts, and determines that the bomb is about SenatorHammer, a powerful American leader who helped forge themeeting. The envoy leans over and confides in thecharacters that Hammer is planning on settling a humancolony on the alien world, hoping that the two races mateto create a new, hybrid nation.

PersonalThis theme is less, well, thematic than the other themes.

There is no such thing as a “personal” genre. What thistheme gets at, however, is making the adventure meansomething personally to the PCs involved. You see this allthe time in movies and TV shows. The heroes move steadilyalong, tracking down clues and running down the bad guys,when they suddenly learn that the villain is one of the PC’slong lost brothers! Or perhaps the adventure revolvesaround rescuing someone who is a good friend of one of theplayer characters.

Since the Personal Theme has no particular flavor to it,there are no changes to how the Chaos Factor ismanipulated. The Focus Table is longer, however, and mixesin elements from the PC’s personal NPC and thread lists. Ina standard Mythic adventure, the PC’s personal lists onlycome into play during the first scene of an adventure, beforethe adventure begins to generate its own thread andcharacter lists. In this theme, however, the PCs’ personallists can be called upon at any time.

ChaosSame as the standard rules.

EpicThis theme is the stuff of legends, literally. Think big rolling

credits, deep orchestral music, armies marching across steamingbattlefields and beautiful people doing heroic deeds. There aremany elements which make a theme epic, but the most commoningrediant is the idea of escalation. Your adventure may not start

PERSONAL FOCUS TABLE

1d100 Event Focus

1-7 Remote event

8-24 NPC action

25-28 PC NPC action

29-35 New NPC


43-45 Move toward a PC thread


51-52 Move away from a PC thread

53-54 Close thread

55 Close PC thread

56-67 PC negative

68-75 PC positive


84-90 NPC negative

91-92 PC NPC negative

93-99 NPC positive

100 PC NPC positive

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Mythic Themes

off epic, but it could quickly climb there. Epic adventures shouldalways be pushing the envelope further and further. Did youthink the monster running around the sewer was your biggestproblem? No, that’s just the queen; she’s got thousands of eggsthat are about to hatch. Oh wait, you thought that was yourbiggest problem? Well, no. You see, all those unnatural creaturesin one place are causing a tear in the fabric of space and ourworld is about to fall into their evil dimension.

Chaos FactorCF minimum is 3, limiting how much control the PCs can

take over this adventure.

Special Focus EventsTHREAD ESCALATES: Pick a random thread and bring it upa notch. The PCs learn that what they thought was their goal isjust the tip of the iceburg. Maybe they were tracking a stolenbook, only to discover that the tome contains a spell to end theuniverse. Perhaps you are trying to solve a murder mystery, onlyto find yourself arrested, framed for the murder yourself.

Whenever you escalate a thread, take it up to the next logicalstep or even more. There is nothing preventing you from rollingthis result again, so a single thread could escalate multiple timesin an adventure.

StandardThe “standard theme” for a Mythic adventure is the default

ruleset presented in the Mythic Role Playing and Mythic GameMaster Emulator books. I’m touching on them here for the sakeof completeness, so you have all the theme rules in one place,and to describe where the standard theme fits in with all the rest.

The standard rules are designed to allow the widest range ofevents to occur. The Event Focus Table offers fairly generalodds for different experiences, from negative events for NPCsto closing a thread. The standard theme is a good place to gowhen you don’t have a special theme in mind, or you’re notsure what kind of tone your adventure will take. If you’restarting with new characters and hoping to build a long-termcampaign, you might want to make the first adventure astandard themed adventure. After your initial session, you mayhave a better idea just who your characters are and what kindof world they live in. Any future adventures then may fitbetter into a specialized theme.

STANDARD FOCUS TABLE

1d100 Event Focus

1-7 Remote event

8-28 NPC action

29-35 New NPC




56-67 PC negative

68-75 PC positive


84-92 NPC negative

93-100 NPC positive

EPIC FOCUS TABLE

1d100 Event Focus

1-12 Thread escalates

13-16 Remote event

17-30 NPC action

31-42 New NPC



59-72 PC negative

73-80 PC positive


85-92 NPC negative

93-100 NPC positive

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Mythic Themes

Build-A-ThemeLet’s say you have a very specialized theme in mind, one

that you want tailored specifically to a certain character orenvironment. Don’t see a theme above that suits your needs?Then build your own!

This “theme” is whatever you want it to be, especially ifyou have an idea that doesn’t fit neatly into a broad genre. Forinstance, maybe you want a zombie apocolyptic horror game,or a comedy game.

Theme’s are built in Mythic by tweaking two mechanics:the Chaos Factor and the Events Focus Table.

Chaos FactorWhen deciding on how to alter the Chaos Factor, keep in

mind what kind of effect you want your theme to have on theadventure. Is the game action packed? Then it should probablyhave lots of random events. Is the scenario out of the players’control? Then the Chaos Factor should have a high minimum.

To help you decide how to change the Chaos Factor to getthe results you want, consult the table to the right.

CUSTOM THEME CHAOS FACTOR

Effect You Want Chaos Factor Change

Events are out ofcontrol.

Set a minimum to the CF wherethe value cannot fall below. If ascene ending calls for a -1adjustment that would bring theCF below the minimum then thereis no change. A minimum of 3means the PCs can have somecontrol, but not total control, overthe adventure. A 5 means eventsare largely out of their control. A7 or 8 means events are way outof control, from the beginning.

Adventure beginsmundanely orwith PCs incontrol.

Start the CF below 5, at 4 or 3.You may also want to have thefirst scene start with anambiguous event.

Tension buildsand builds.

The CF cannot be rolled backafter any scene. It either movesahead at the end of a scene, orstays the same.

Surprises aroundevery corner.

Instead of determing if scenes arealtered by an even/odd mechanic,make it a set range. On the lowend, any roll of 1-3 or 1-2, withinthe CF, is an altered scene.Anything above that, within theCF, is an interrupt. This meanswhen the CF is low, most unex-pected scenes will be alteredscens, and when the CF is high,you will get more interruptscenes.

Necessarybeginning.

You may need the adventure tostart in a certain way. In thatcase, make the Event Focus pre-determined, such as ambiguousevent, for the first scene. Or, itcan be a specific type of thread,such as, “opening scene mustestablish a mystery thread.”

Lots of action. No matter what the CF, doublerolls always get a random event.

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FocusNow it’s time to come up with a Focus Table for your new

theme. You are going to build it, more or less, from scratch. Lookat the Custom Theme Focus Table on this page. You’ll see lots offamiliar entries, and a bunch of blank lines. Those blanks arewhat you fill in to modify the table. Copy this table so you canwrite directly on it (it appears again at the back of the book)

When coming up with your custom theme table you aregoing to have to think about what kinds of events are going tohappen most often. Keep in mind that the Event Focus Tabledecides random events and interrupt scenes, so this table canhave a decisive impact on your adventure.

As the table stands now, all the entries from the standardtable are on there. They are all equally weighted, as far asprobability goes, at 4% each. So, right now, there is exactly a4% chance of rolling a remote event or a PC negative, or anyother standard result.

The blank lines, ranging from A to G, are for you to fill in.Line A is for the most common event, with a 16% chance.Line B is second with 12%. Lines C and D are 8% each, whilelines E, F, and G are all 4%.

Think about any special items you want in your chart. Forinstance, in our zombie apocolypse game, we may want to copythe movie genre and have a listing titled “Zombie attack!”When this is rolled, no matter what else is happening, azombie pops out of nowhere and attacks someone. Thishappens all the time in zombie movies, where the charactersthink they are safe and suddenly a brain eater reaches throughthe nearest window or pops up out of the floor. To differentiatewhen a zombie attacks NPCs versus PCs, we can create twolistings: “Zombie attacks NPC,” and “Zombie attacks PC.”

Another zombie movie cliche is the hero losing hisweapon. Maybe he’s walking along a roof and slips, droppinghis .38 revolver, or he suddenly discovers his shotgun is allout of ammo and he’s got no more shells left. The themedesigner decides to incorporate this into his chart with“Lose weapon.” When this result is rolled, a randomlychosen PC will somehow lose his main weapon.

When making custom entries try to keep them simple sothey are easy to remember. Any special rules thataccompany them should be recorded for easy referral.

When you are done assigning custom entires you will likelyhave a number of blank spaces left. These are to be filled in byrepeating other entries on the table. Remember, all of thestandard items are all at 4%. By repeating them on the blanklines, you are increasing the odds of those results coming up.Duplicate results that reflect your genre. On our zombie chart,we still have 4 blank lines left. The theme maker in this casedecides he wants to place emphasis on NPC negative, PCnegative, NPC action, and New NPC. Keep the odds of thevarious blank lines in mind, considering for instance that lineA is four times more likely to happen than line G.

CUSTOM THEME FOCUS TABLE

1d100 Event Focus

1-16 A:

17-28 B:

29-36 C:

37-44 D:

45-48 E:

49-52 F:

53-56 G:

57-60 Remote event

61-64 NPC action

65-68 New NPC




81-84 PC negative

85-88 PC positive


93-96 NPC negative

97-100 NPC positive

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Mythic Themes

Feel free to copy the custom theme tables in this book foryour own use. The table appears again at the back of the book,just slap it down on a copy machine.

Mixing ThemesThe themes presented in this chapter cover a lot of ground,

and should allow you to fit in just about any adventure you canimagine. However, it’s also fun to mix them together. Horror isgreat, and so is action, but then there is horror/action ... twogreat tastes that taste great together! You can mix and match anytheme to create a blended theme adventure.

When doing so, choose one theme to be the dominanttheme. This is the theme that sets the main tone of theadventure. The Chaos Factor rules for that theme will be usedfor your mixed theme adventure.

When it’s time to roll on the Event Focus Table, randomly

determine which theme’s table you will use. For instance, if youare running an Epic/Horror/Action story, then you would roll tosee which of the three themes’ focus table is used for a particularroll.

When rolling on the Focus Table in a mixed-theme adventurekeep the tone of the theme in mind for the table you are rollingon when interpreting results. For instance, in ourEpic/Horror/Action adventure we get a random event, roll anddetermine that we will use the Action Focus Table. Rolling, wecome up with PC negative. Whatever this negative eventhappens to be, it should probably be interpreted with the actiontheme in mind. Had it been rolled on the horror table, then itwould have more of a horror interpretation. This is not a hardand fast rule, but it is a suggestion to help create a flavor for youradventure.

Keep in mind that when you mix themes, the more you stir inthe pot the less specific tone you are going to get. Don’t expectan Epic/Mystery/Social/Action/Horror game to focus much onthe mystery element, or to suddenly have a bunch of Action!events. At most you should use three themes, while usually a mixof two is best.

Random ThemesUp to this point it has been assumed that the Game

Master is going to pick the theme before play begins.However, you may want surprises all the way and decide todetermine your themes randomly.

To randomly determine the theme your adventure will takeroll on the following tables. First, determine how many themeswill be mixed: results range from one to three. Next, determinethe themes themselves. This process is not totally random since,in all liklihood, the characters themselves fit into a specificgenre. For instance, it might be highly unlikely for your group ofoccult horror investigators to end up in an Action adventure.That’s not to say that it would be impossible, but you have a sayin the odds of a particular theme occuring.

Choose the most likely theme, then the second most likelytheme, that this adventure will be. This is up to the GM (or theplayers, if they don’t have a GM), and should reflect the natureof the characters and what kinds of adventures they have had upto this point.

With your theme choices in mind, and knowing how manythemes you will be mixing, roll on the Theme Choice table. Thiswill tell you if your number one preference or number two choiceis the first theme. There’s a chance you won’t get either one androll up a completely random theme. This is to keep thepossibility alive of having a completely unexpected adventure foryou characters.

The first theme chosen is considered the dominant theme ina mixed-theme adventure. If you are rolling more than onetheme, then repeat the process above. If you already rolled your

ZOMBIE SAMPLE THEME FOCUS TABLE

1d100Event Focus

1-16 A: Zombie attacks NPC.

17-28 B: Lose weapon.

29-36 C: Zombie attacks PC.

37-44 D: NPC action.

45-48 E: NPC negative.

49-52 F: PC negative.

53-56 G: New NPC.

57-60Remote event

61-64NPC action

65-68New NPC

69-72Move toward a thread


77-80Close a thread

81-84PC negative

85-88PC positive

89-92Ambiguous event

93-96NPC negative

97-100NPC positive

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Mythic Themes

most likely theme, then move the second most likely up tobecome the most likely, and choose a new second most likely. Ifyou already rolled up the second most likely theme, then chooseanother to replace it. If a completely random theme was chosen,and it wasn’t either the first or second most likely choices, thenkeep those themes intact and roll again for the next theme.

Random theme example: Rodney the GM is sittingdown with his group of players for another session intheir post-apocalyptic campaign world. Going for atotally random adventure, Rod rolls an 82 on theNumber of Themes chart, getting a 2 result. Hefigures the most likely theme is Action Adventure,since that’s where most of their games have been

going lately. The second most likely is Horror, he figures, becausethat’s just the nature of the world the characters live in. He rollson the Theme Choice table and gets 47, for “Most likely theme.”So, Action Adventure it is, the dominant theme for theiradventure. For the second theme, he shifts Horror up fromsecond to the most likely and chooses Epic as the new secondmost likely, just because he thinks that would be cool. Rolling forthe second theme, he rolls a 6 for the most likely. Rod preparesto generate his Action/Horror adventure.

“Theme” vs. “content”So where’s the Sci-Fi theme? Where’s fantasy? The themes

presented here are very broad, and are all about setting acertain tone. The content of an adventure is all about you, theplayers. What makes a sci-fi adventure sci-fi, or fantasy afantasy, are the elements, not the atmosphere. After all, mostsci-fi is actually action adventure, or even horror, but with lotsof shiny tools. Most fantasy stories are epic adventures withvery odd-looking people.

This is a good place to note that the theme structurepresented here by no means guarantees that an adventure willturn out a certain way. It may be a horror themed Mythicadventure, but it could turn out as something completelydifferent. The intent of these themes is to push the rules indirections that allow the structure of the game to increase theodds of a certain flavor. Themes are to help encourageatmosphere in a game.

What really sets the stage of an adventure are the questionsyou, the players, ask. What kind of scene are you expecting next?When you ask your questions, what motivates you to ask it? Theplayers in a Mythic adventure have a great deal of control overwhere the action goes and what shape it takes. Events rarely gowhere you think they will, at least for long. However, it is stillthose questions that get you where you end up.

THEME CHOICE

1d100 Theme

1-65 Most likely theme

66-90 Second most likely theme

91-93 Standard theme

94 Social theme

95 Mystery theme

96 Horror theme

97 Epic theme

98-99 Personal theme

100 Action adventure theme

NUMBER OF THEMES

1d100 Themes

1-60 One

61-85 Two

86-100 Three

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Mythic Themes

MYTHIC THEMEEXAMPLES

Each of the examples below will follow the adventures of apair of modern day detectives: Samuel Smith, a gumshoe who’snot a bad shot with his pistol, and Sara Odd, an investigatorwith a touch of psychic ability. For purposes of this example, wewill assume that the players of these two characters are goingthrough adventures with a Game Master who is using Mythic tocraft the story. For each adventure in their campaign, the GMwill use a different theme.

SocialThe GM generates a random event to come up with the

opening scene on their first adventure. The GM rolls on theSocial Focus Table, resulting in Ambiguous Event. Themeaning charts give him “create” and “exterior factors.” As aSocial theme, the opening scene is supposed to set up a socialthread, so the GM comes up with this opening scene: “Samand Sara are wiling the time away at their little agency officein Chicago. Sam is going through the mail when he comesacross a curious looking envelope. Inside, he finds aninvitation to the International Paranormal Conference, aprestigious event that only a select few are invited to eachyear. It seems Sam’s and Sara’s exploits have caught someattention. On top of that, Sara has been invited to give aspeech to the Council of Three, a trio of influential, andwealthy, patrons of the paranormal. Sara knows this is a hugeopportunity. If she is well received, it could mean big grantmoney to conduct some real serious investigations.”

Sam and Sara spend most of the first scene asking questionsabout the upcoming conference, but the main thread is set:impress the Council of Three.

The next scene finds Sara and Sam flying to New York forthe conference, where they meet a few of the other attendees.Over the next few scenes, Sam and Sara try to learn all theycan about the members of the Council of Three, to find outwhat might impress them.

In one scene, Sam is talking to a Chinese gentleman whenthe GM rolls up a random event. The Social Focus chart giveshim “Drop a bomb!” The GM checks for which NPC this appliesto, and gets Nathan Harcort, one of the Council of Threemembers. The Event Meaning charts give him “heal” and“opposition.” The GM says this: “The Chinese man suddenlylooks around and then leans in close, whispering conspiratorilyto Sam. ‘Actually, Mr. Smith, there is some dissent on theCouncil, and Mr. Harcort is not in favor. He is desperately trying

to make amends with the other two. I suggest you focus yourattention on them, and not worry so much about Harcort; hewill agree with whatever the other two want.”

This is an important insight, allowing Sam and Sara to justfocus on two of the Council members now.

Being a social adventure, Sam and Sara’s struggles are socialones, with the “combat” all occuring on the verbal arena.Throughout the adventure they learn more secrets, until Sarafinally gives her speech to the Council. She delivers a stirringmonologue about the fabled Phoenix Stone, a mythical itemof enchantment that she happens to know is very important totwo of the Council members. The Council of Three decides togive Sara and Sam a large loan so they can set out on anexpedition to recover the Stone, resolving the open threadand ending this adventure.

PersonalFor this adventure, the GM rolls “PC negative” for the focus,

and meanings of “abandon” and “lies,” for the opening scene. Herolls and determines that the PC in question is Sam. The GMcomes up with the opening scene: “Sam and Sara’s quest takesthem to France, where they are following up on a lead. It is late,and they are standing in an alley, waiting to meet a contact whois supposed to turn over a map purporting to show the location ofthe Stone. Sam is carrying a suitcase full of money, most of themoney in fact that they acquired from their grant. Suddenly, as iffrom nowhere, Sam is clubbed over the back of his head. BeforeSara can act, she sees a man standing with a gun pointing at her.‘Don’t even think about it, madam,’ the man says grimly,grabbing the suitcase and dashing off.”

Sam and Sara realize that this meeting was a complete lie torob them. However, they need that money to complete theirquest, which forms the main thread for this adventure. Althoughthis is a personally themed adventure, it is not particularlypersonal yet.

The first scene ended with Sam and Sara catching a glimpseof the man’s car as it drove away. They spend scene twosearching Paris for the car, hoping to catch the man unawares.While they are searching the parking lot of a nearby hotel, theGM rolls up a random event. He gets “PC NPC Positive” on theFocus Table, and meanings of “passion”and “friendship.” The PCin question is rolled up as Sara, and her personal NPC rolled upis a man named Decker, one of her contacts, a computer whizfrom whom she often gets information. The GM says, “As yousearch the parking lot, you round a corner and are shocked to seeDecker standing before you. ‘Hello, Sara. Sam. I hope you don’tmind, but I happened to hear you were in Paris on the trail ofthe Stone, and I thought it would be a hoot to come here andhelp.” The GM decided that the “passion of friendship” in thiscase was Decker deciding, on his own, to help Sara out.

This kind of event would probably not have happened in a

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standard Mythic adventure, but the Personal Focus chart allowsfor a player character’s personal character and thread lists to beaccessed, which has unexpectedly brought a character from Sara’sworld into this adventure. This is a technique used often by TVshows and movies, where characters just happen to run acrosspeople they know, frequently in the unlikliest of circumstances.With the personal theme, coincidences can be fairly common.

As this adventure progresses, Sam and Sara, with Decker’shelp, track down the thief as he tries to escape Paris on a train.They recover the money, learning that the man was nothingmore than a con artist; the lead they had followed was a deadend. This concludes the adventure.

Action AdventureFor the opening scene, the GM rolls a focus of “Action!,” and

meanings of “carelessness”and “lies.” The “Action!” focus item isunique to the Action Adventure focus table, and is meant toindicate an event that is full of action, of course! The GM comesup with this: “Sam and Sara checked their notes after their lastadventure, trying to find more clues to the whereabouts of thePhoenix Stone. Sam discovered a discrepency in the journal of anexplorer who reportedly saw the stone in Africa. Sam and Sararealized that the explorer had lied in his own journal, meaning hewas trying to conceal something. This has led the two of you toan area deep in the Congo of Africa. Unfortunately, you are notalone. You are currently running for your lives through thejungle, being chased by a group of machete-toting tribesmen whoseemed perturbed to find you on their land.”

This opening scene starts off with a bang, just as an ActionAdventure should. Sam and Sara end up running, leaping, andswimming their way through the Congo, finally escaping from thehunters. The GM further explains to them that there is anabandoned gold mine somewhere around here. The explorer,whose journal they had researched, had come across the minedecades ago, and Sam believes that is where he beheld the Stone.The discovery of this mine and discovering the Stone become theadventure’s threads.

The second scene finds Sam and Sara at a trading post, askingabout nearby mines. They learn that there is indeed an old minenot too far distant, though they will need a guide. After that firstscene, Sam and Sara barely escaped with their lives, raising theChaos Factor to 6. They regain more control in the next scene,bringing Chaos back down to 5, though this is as low as it gets inan Action Adventure theme.

The next scene finds Sam, Sara, and their new guide Reggie,an Englishman who has lived in the Congo for several years,making their way on foot through the jungle. Random eventshappen more often in Action Adventures, occurring wheneverany double digit is rolled on the Fate Chart, regardless of theChaos Factor. In answer to a question, the GM rolls an 88,indicating a random event even though the Chaos Factor is only

5. He rolls a focus of “Move toward a thread,” and meanings of“travel” and “weather.” The GM comes up with this: “As youmove along, the sky begins to darken. ‘I fear it may rain soon,’Reggie grumbles, and he’s right. Before long it begins to rain veryhard. Searching for shelter, the three of you huddle beneath alarge boulder. Sara sits on something very hard anduncomfortable. Looking down, she sees that it is a rail, like for atrain, half-buried in the ground.” The characters realize that therail must once have served the mine, helping to move carts backand forth when the operation was in full swing.

Over the next few scenes, Sam and Sara discover the mineand explore it. They avoid various deadly traps left in the mineby someone, Sam gets rescued from a pit of crocodiles, and Sara’spsychic abilities warn them just in time before Reggie betraysthem and tries to lock them in a secret chamber. Eventually, theyfind a room that looks like it might once have housed thePhoenix Stone, but which is now empty. They succeeded in theiradventure to find the mine, but failed to resolve the thread offinding the Stone. The GM decides to end this adventure.

EpicComing up with this adventure, the GM gets a focus of

“Thread escalates,” and meanings of “communicate” and“military.” Since there is no adventure thread yet, the thread inquestion is a PC thread. The only personal thread Sam and Sarahave going right now is, “Find the Phoenix Stone.” The GMcomes up with this: “Following your last adventure, Sam and Saralearned a few things about Reggie, the guide who tried to killthem. Apparently he answered to an arms dealer named Dane,who had instructed Reggie to kill anyone who came looking forthe mine. It is very likely that Dane has the Stone. You learn thathe is currently in South America, providing weapons for a smalluprising. He is also recruiting mercenaries, and it may be possiblefor Sam and Sara to join.”

Over the next few scenes, Sam and Sara use their contacts toreach someone in Dane’s organization, sending them to SouthAmerica where they are indeed recruited to join Dane’s militia.They now have two threads: find Dane, and fine the Stone. Forthe scene after their recruitment, the GM figures it will involveSam and Sara traveling by jeep out to the rebel base in thefoothills. But he rolls an interupt when checking on this sceneidea. He rolls a random event to determine what the interupt is,and gets a focus of “away from thread,” and meanings of “ruin”and “a path.” Rolling for which thread is involved, the GM getsthe first thread, find Dane. The GM comes up with this scene:“You have been admitted into Dane’s mercenary army and set outinto the jungle in a rickety jeep driven by a grim-faced man.After nearly an hour, however, you smell acrid smoke. Soon thedirt road is blocked by the smoldering remains of a truck. Bullet-ridden bodies litter the ground. ‘This is bad,’ the driver says. ‘Thisway is no longer safe.’” Sam, Sara and the mercenary end up

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Mythic Themes

leaving the jeep, and the path, striking out through the jungle byfoot. This takes them “away from the thread” of finding Dane byrequiring a detour, which will take much longer.

Over the next few scenes, Sam and Sara fall into a battle inthe jungle with another group of mercenaries who oppose Dane.They soon learn that Dane is dead, having been killed by hismercenary rival, thus eliminating the characters’ first thread.

Another random event later on generates a second “Threadescalates” result, and the GM determines to raise the stakes. Themercenary who killed Dane, a man named Cadenza, has takenthe Stone and has guessed its power. He is using the mysticenergy within to awaken a dormant volcano in hopes ofdestroying his enemies in fire. After several scenes where Samand Sara evade Cadenza’s minions, they finally track him to acliff overlooking the volcano. Cadenza is crazed with the powerof the Stone, his eyes glowing, the volcano spewing lava behindhim as the ground trembles. Sam and Sara realize that, if theydon’t stop Cadenza, he may very well light up every volcano onthe planet, causing global devastation. In a climactic battle, theyend up getting the stone back, Cadenza falling over the cliff tohis doom.

The adventure ends with Sam and Sara finally realizing theirgoal of recovering the Phoenix Stone.

MysteryThe opening scene of a mystery themed adventure must

establish a mystery to solve. With that in mind, the GMrolls a focus of “Remote Event,” and meanings of “take” and“joy.” The GM interprets the results this way: “Getting outof South America is difficult for Sam and Sara. Cadenza’ssurviving lieutenants are on the lookout for you, guardingroads and airports. The only way to get out of SouthAmerica with the Stone is by boat, so Sam and Sara end upon a large freighter bound for Los Angeles. You have meagerlodgings, but the money you paid the captain gets you out ofhaving to work onboard. Everything seems to be goingsmoothly for a few days, until one night you check yourbags. The Stone is gone.”

We have our mystery: where is the stone? Once again,Sam and Sara are searching. This time, at least, they knowthe Stone must be onboard somewhere. The ship will notreach port for another seven days, giving them that muchtime to solve their mystery.

Over the next few scenes, Sam and Sara learn that one of thecrew members is notorious for stealing stuff from travelers. Theylocate the crewmember in the engine room and get in a knifefight. Sam subdues him, and Sara uses her psychic abilites toprobe his mind. At this point, the GM rolls a random event, andgets a focus of “Move away from a thread,” and meanings of“seperate” and “oppulence.” The GM tells them that the mandoes not have the Stone and never did. He is just a common

thief who thought he had been tracked down for another,though petty, crime.

Sam and Sara follow more clues, which eventually leads themto a new crew member who turns out to be one of Credenza’sformer mercenaries. He had taken the Stone. After a gun battlewith him, Sam and Sara recover the relic, ending the adventure.

HorrorOf the themes presented in this book the horror theme may

be the most difficult to pull off. By the very nature of this theme,the adventure starts like any normal day. Whatever thread thecharacters are pursuing from the first scene will likely besomething routine for them. That means if something horrible isgoing to occur it has to come out of left field somewhere. Thiscan happen either through a random event or unexpected sceneor the way questions are asked. Since the opening scene isautomatically an ambiguous event in a horror theme, the GMdoes not need to roll on the Focus Table. Instead, he goes rightfor the Meaning Tables and gets “adjourn” and “hope.” The GMcomes up with this opening scene: “With the Phoenix Stonesafely in your possession, Sam and Sara are preparing to travelacross country to New York to deliver their prize to the Councilof Three.” That’s a pretty simple opening scene. Althoughcarrying a mystic artifact to a group of wealthy occultists mayseem extraordinary to most people, it really is just another dayfor Sam and Sara. Considering what they’ve been through lately,this thread is a piece of cake.

The pair spend the first scene packing and preparing, Sammaking sure he has plenty of weapons because he knows thingsnever go smoothly.

The GM envisions the setup for the second scene to be Samand Sara taking a flight to New York and getting a hotel room.However, he rolls low on his d10 when checking to see if thescene is changed, getting an “altered” result. The GM decides togo with this scene: “The flight is mostly uneventful, until abouthalfway through when you begin to hit some turbulence. The‘fasten your seatbelt’ light turns on, and soon the plane isbouncing all over the place. After a few panicky moments, thecaptain announces over the loudspeaker that they are making anemergency landing.” The plane touches down safely and Samand Sara soon find themselves standing in the airport terminal ofa small, mid-western town late at night, stranded with a bunch ofstrangers until the airline can arrange another flight out.

They spend the next scene making sure the Stone is safe andusing their cellphones to call ahead and warn that they have hita delay. At this point the GM rolls a random event, getting“ambiguous event,” “harm” and “misfortune.” He tells Sara thatshe notices a blind woman sitting in the terminal. She had beena passenger on the plane and was now patiently waiting.Something about her, though, catches Sara’s attention, drawingher close. Sara sits next to her while the blind woman keeps

23

Mythic Themes

staring straight ahead. Then, without warning, the womanmutters, “They are coming. For the blood, you know. For theblood. I can feel it.” Sara urges the woman to explain this crypticremark, but she gets nothing else. Tapping into her psychicabilities, Sara does indeed feel a strange disturbance, but shecannot figure out what it is.

The next scene Sam and Sara keep a watchful eye, just incase something evil is about to happen. They learn a little moreabout their fellow passengers, but not much else happens.

The GM rolls another changed scene, this time an interrupt.The Chaos Factor is now at 6, and in a horror theme it neverdrops back down. The odds of getting more interrupt scenes willonly go higher as events wind more out of control. For thisscene, the GM rolls “Horror, NPC,” “violate” and “attention.”The GM comes up with this: “While everyone waits in theterminal, you suddenly hear a scream coming from out on theflightline. Running to a window, you see nothing but the planesitting out there like before. However, you realize that the crewthat had been inspecting it is now gone. The only sign that theywere ever there are a few tools scattered on the concrete and anorange cap. As you watch, something falls from the night sky andbounces in front of yuor window. It’s a shoe, and it seems to becoated in blood.”

Over the succeeding scenes, the shocked passengers learntheir little terminal is besieged by horrific, flyingmonstrosities that seem to be made from black leather, clawsand bat wings. The people end up barricading themselves ina portion of the building as they are picked off, one by one.Sara eventually figures out that the monsters were somehowsummoned by the Phoenix Stone, drawn to its dark power.Ultimately, she and Sam are able to use the Stone to destroythe creatures, ending this adventure.

Mixed themesThe GM rolls to see how many themes will be combined,

and gets three, the maximum. He decides that the most likelytheme to generate is “Action Adventure,” the second“Standard.” He rolls to see what the first, and dominant, themewill be, and gets the most likely choice, Adventure. For thesecond roll, he moves Standard up as the most likely nexttheme, and makes Mystery the second most likely, and rollshigh, getting neither of his picks but Epic instead. For the thirdtheme, he rolls again and gets the most likely, Standard. Thethemes for this adventure are Adventure/Epic/Standard. Togenerate the first scene, the GM needs to roll an event andrandomly choose which theme it will be under, getting Epic. Herolls “Introduce a new NPC” as the focus, and meanings of“trick” and “fears.” The GM comes up with this opening scene:“Sam and Sara are in New York, having settled into their hotel.They are to meet the Council of Three the next day to deliverthe Stone. As you arrive back at your room after dinner, you

find that someone has slid a note under your door. Unfoldingthe note, it says, ‘I know who you are and what you have. Youare being tricked.’” The GM decided to pretty much take theevent meaning charts literally, plainly telling the characters thatthey are being tricked, working up their fear. The new NPC inthis case is the mystery person who left the note.

Concerned about the note’s meaning, Sam and Sara decideto place a tracking device on the Stone. If it’s stolen, they canfollow it. And when they hand it off, they may want to see whatthe Council has in store for it. Getting the tracking device andpreparing it on the bag holding the Stone takes up a scene.

Sam and Sara meet with the Council the next day and turnthe Stone over. Nothing unusual appears amiss, and themembers seem most grateful. Sam and Sara are paid a generousbonus and are then excused.

They still have an unresolved thread, however; namely, whatwas that note all about? They decide to stay in New York andtrack the Stone. The GM rolls an interrupt for the next scene.He determines that the Focus Chart to use for the randomevent will be from the Adventure theme, the focus being “Movetoward a thread,” with meanings of “attainment” and“environment.” The GM decides that this means the Stone isbeing moved. Sam and Sara follow, letting their tracking devicelead them. They tail a black sedan out of the city, driving forhours until it is late at night. They end up in a lonely, hillyregion crossed only with dirt roads. The sedan drives to a largehouse set on a rise. Sara and Sam park amid a set of trees andwalk the rest of the way so they are not seen.

For the next several scenes, the GM randomly rolls betweenthe three themes when random events are called for and wheninterrupt scenes are generated. Since Adventure is thedominant theme, rules governing the Chaos Factor are usedaccording to the Adventure theme, so doubles always getrandom events regardless of the Chaos Factor, and the CFcannot fall below 5. Thanks to a roll on the Epic focus chartcalling for escalating the thread, Sam and Sara learn that theCouncil of Three want to use the Phoenix Stone to open aportal in space and bring a powerful dimensional being intotheir presence in order to gain godlike powers. The mysteryperson who left the note turns out to be the Council’s butler,who hoped he could get Sam and Sara to thwart the men.

In a mixed theme adventure the themes will blend witheach other. In the example above, the Epic theme had thegreatest impact, by pushing the adventure in a certaindirection. However, the Adventure theme also had a largeimpact because it was the dominant theme and controlledhow the Chaos Factor was manipulated, resulting in morerandom events.

Sam and Sara end up crashing the Council’s magicalceremony and ruining the mens’ spell. All three members ofthe Council are killed by the monster they summon while Samand Sara destroy the Stone, banishing the creature and makingsure the stone is never used for evil again.

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Mythic Themes

Yes/no questions are the bread and butter of a Mythicadventure. Coupled with logic and interpretation, they’re allyou need to string along a complete story. Sometimes,though, it would be nice to ask a more complicatedquestion.

Well, you can, and without tweaking the rules too much.You can use the random event mechanic to ask non-yes/noquestions. After all, random events bring out entirely newsituations in a Mythic adventure without asking a FateChart question, which isn’t that much different fromanswering a standard question.

Asking complex questions like this, however, should beused sparingly. There are two good reasons not to do it:1) Asking questions without using the Fate Chartremoves odds from the equation, making the resultsmore random. This means what you get may not fitwell within the context of the adventure. Usingtoo many complex questions in anadventure could make it seem overlyrandom and disconnected. 2) It’seasy to get in the habit of usingcomplex questions too often.You should only use them ifyou really need to.

So, when should acomplex question beused? You may want toconsider asking a non-yes/no question when youhave no idea of what theodds are. For instance, ifa set of fantasycharacters are searchingan undergroundlabrynth and enter thefirst room they find,what kind of questionshould the players ask? Mostlikely, it would be something like,“Is there a SOMETHING in thisroom?” If the characters alreadyknow a bit about thelabrynth, then a logicalquestion might spring to

mind. For instance, if they have learned that a regiment ofgoblin soldiers are lairing down there, then they might ask ifthe room is a barracks, or a storeroom.

However, if the players have no context in which to placea yes/no question, then it becomes very difficult to set theodds and to interpret. Normally, when you don’t know theodds to a question are, you just use 50/50 odds. However,

another route to go is to ask acomplex question.

A complex question is any non-yes/no question. For our fantasy

characters above, it mightbe, “What’s in the room?”

To answer it, roll on theEvent Meaning charts,

just like you wouldfor a random event.In a sense, this is arandom event; theevent being, what’s

in the room.

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Complex QuestionsCHAPTER 3

Don’t know what a creature or villain looks like?Try a complex question and see what you get.

There is no Event Focus Table to roll on, since thecontext of the situation essentially becomes the focus. Ourfantasy characters know they are in a labrynth and areinvestigating the contents of a room, so we have somecontext to begin with. After rolling an action and subjectfrom the Event Meaning Tables we can come up with aninterpretation.

Let’s say the fantasy characters roll “procrastinate” and“food” on the Event Meaning Tables. They might interpretthis to mean the room contains bags of stored food, bundledup as though to be saved for later. That’s a near literalinterpretation of the results, something like, “food saved forlater.” As with most interpretations the answer to thisquestion doesn’t need to be exactly, 100% true to the wordsrolled up, but whatever comes to mind first that fitsreasonably well.

Following are some situations where you might want toconsider a complex question:

BackgroundsUsing complex questions is a good way to get the

background story on an NPC, place or thing. Charactersmay be researching a mystical artifact, pouring throughbooks to find out where it came from. One of the PCssucceeds, finding the item’s tale. Instead of coming up witha possible background and asking a yes/no fate question, theplayers can ask “why was the artifact created?” and roll it upas a complex question.

This process can also be used for Player Characterbackgrounds. However, the next chapter on Off-ScreenStories gives a more detailed system for handling PC origins.

DescriptionsComplex questions work well for descriptions of people,

creatures and things. In particular, if a description ofsomething or someone has no direct bearing on theadventure then a complex question is a good way to go(since they don’t incorporate odds). For instance, a group ofPCs are meeting a contact at a tavern. The man seatshimself. To describe him, the GM could ask, “What does helook like?” and roll on the Event Meaning charts. Whateverhe rolls up can be interpreted into the look of the man’sclothes and general manner.

No idea of the oddsYou might be in a situation where you are asking a yes/no

question, but have no clue what the odds might be. Let’s saya character has been thrown into a pit where he must nowface a viscious beast. But, what kind of beast? Rather thantaking a guess and making it a yes/no question, it might bebetter to simply ask, “What is it?”

Sample complexquestions:

“The figure, looming out of the mist, what does it look like?” EVENT MEANING RESULTS: “Waste of home.”INTERPRETATION: “Lumbering from the mists is the

emaciated form of a man, a peasant from the look of him.However, his flesh and limbs are completely wasted, his eyeswhite, vacant and undead.”

“I pick a random book off the wizard’s shelf. What is itabout?”

EVENT MEANING RESULTS: “Return of travel.”INTERPRETATION: “It seems to be nothing more

than a travel guide to getting around various parts of thekingdom.”

“We step through the portal and into another world. Whatdoes it look like?”

EVENT MEANING RESULTS: “Judge of leadership.”INTERPRETATION: “You seem to be standing in the

street of a great city, the tall spires of buildings as far as youcan see. It all seems very orderly and uniform.”

“I take the mysterious envelope lying on the table and open it.What is inside?”

EVENT MEANING RESULTS: “Refuse death.”INTERPRETATION: “It’s a letter from Baron Zemeko.

You know, that supervillain you thought you had killed lastmonth.”

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Complex Questions

27

The adventures we run through tell the highlights of ourcharacters’ lives. We are present at their greatest moments,as well as their lowest. This is what makes role-playinggames so thrilling. However, there’s more to life than thehighs and lows. For every great quest a character goes on,there are years before and after that may largely passunrecounted. Most players come up with a background fortheir characters, and generally ignore the time in betweenadventures. But it’s fun to breath life into these “off camera”moments and see what our characters are doing during theirless momentous days.

BackstoryGenerator

The backstory of a character is very important, since ittells a great deal about who that person is. Where does shecome from, and why does she do the things she does? Whoare her friends, her enemies? All of this materal, the rawstuff that makes up a character, is part of their background.The rules set out here give you a way to generate yourcharacter’s background by using Mythic.

Coming up with a character backstory is very much likeasking a complex question. Since a character’s life story is soimportant, though, the system in this chapter offers morecrunch to give character histories more depth.

As with any other complex question, coming up with theanswer of what has happened in a character’s past is similarto generating a random event. The events, in this case, aremajor moments in the character’s life. You should think ofthese incidents as turning points for the character, theepisodes that made them who they are today. Some eventswill have lasting effects on your character, such asintroducing an important NPC or establishing a personalthread that may be the character’s life goal.

Unlike most complex questions, generating results for abackstory has its own custom Focus Table. To create eventsin a character’s past, treat those events like a random eventby rolling a focus, rolling on the Meaning Charts, andinterpreting it all.

Before you jump to the Backstory Focus Table though,you should figure out how many important events make up

your character’s past. Roll 1d100 on the table below to findout how many backstory events you character has in herpast. Maybe there is only one, pivotal moment in herhistory, or perhaps there are as many as seven. The numberyou come up with is how many events you will generateusing the Backstory Focus Table.

BACKSTORY FOCUS

1d100 Focus

1-44 New PC character

45-68 New PC thread

69-84 PC negative

85-100 PC positive

NUMBER OF BACKSTORY EVENTS

1d100 Number of Events

1-8 1

9-26 2

26-51 3

52-71 4

72-86 5

87-96 6

97-100 7

Off-Camera StoriesCHAPTER 4

NEW PC CHARACTER/THREAD: This represents animportant event in the character’s life that still has a lastingeffect today. If it involves a character, then the eventintroduced an important NPC to the character who is stillon that character’s personal NPC list. This person isimportant to the character in some way, perhaps as a lovedone or maybe an enemy. If this event involves a thread,then the character acquired a personal thread from theevent that they are still pursuing. The event may be focused,such as recovering a lost family heirloom. Or, the threadcould be long-term, such as freeing your people from tyrany.

PC NEGATIVE: This event is something bad thathappened in the character’s past. The event was largeenough to help shape the character’s life, perhaps color his

views and personality. However, this is only an event, itdoes not create any new PC characters or threads.

PC POSITIVE: Something good happened in the character’spast that has had an important effect on her. Just as with

negative events, however, this is only an event, and it doesnot create any new PC characters or threads.

InterpretationWhen generating backstory events, try to have each

occurance build upon the ones before it. In this way yourinterpretations will form building blocks, all attaching

together to create a greater whole. This is not a hard andfast rule, of course; you can have every event in yourcharacter’s past be completely unrelated to each other.However, when you can make connections, and they seem

natural, your character’s backstory will make more sense.

Backstory examplesFollowing are three examples of character

backstories:

THE CHARACTER: Ryland, the grumpy Chief ofEngineering aboard the Starship Intrepid. NUMBER OF ROLLS TO MAKE: 4ROLL 1 RESULTS: Thread, “propose elements”

INTERPRETATION: Young Ryland grew up on a Marscolony, where his father was a terraforming engineer. It washis dream to make Mars a water rich planet, but all efforts tocreate water on Mars artificially failed. His father sufferedmany scientific setbacks in his search, and some publichumiliation along the way. Ryland hopes some day he willcome up with a process that will fulfill his father’s theories.Perhaps a piece of alien technology out there can help.ROLL 2 RESULTS: Thread, “vengeance of war”INTERPRETATION: When Ryland was a teenager, a civilwar broke out on Mars. Ryland will never forget those yearswhen his family had to hide from the dissident forces, led byMajor Cammal. The coup was eventually smashed, butCammal escaped Mars. Ryland has vowed that, should heever meet up with the anarchist, he would show him somejustice at the end of a lead pipe.ROLL 3 RESULTS: PC Negative, “passion of tension”INTERPRETATION: The years during the civil war andright after were bad times for Ryland’s family. His father andmother often argued with each other. His parents finallydivorced, which left a bitter taste in Ryland’s mouth. Todayhe is slow to trust anyone intimately, assuming that suchrelationships never last.ROLL 4 RESULTS: PC Positive, “waste of trials”INTERPRETATION: Although none of Ryland’s father’s

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Off-Camera Stories

Whathappened inRyland’s pastto make himsuch a grump?

scientific theories on terraforming Mars worked, he did derivesome benefit by selling patents of his technological ideas. Oneof those patents was infringed by another company. Ryland’sfather sued and won, collecting a large sum of money. Whenhe died, all of this money was willed to Ryland, who nowenjoys a hefty credit balance in his bank account.

THE CHARACTER: Zaren, a young sorcerer who has setout to find his fortune.NUMBER OF ROLLS TO MAKE: 5ROLL 1 RESULTS: NPC, “change reality”INTERPRETATION: Zaren was a normal peasant childuntil he met his ‘crazy’ uncle Fransen. The old man could dotricks, real tricks, that amazed young Zaren. Fransen seemed tofind something remarkable in Zaren, as well, since the old mantook him under his wing and began to teach him sorcerery.ROLL 2 RESULTS: NPC, “block goals.”INTERPRETATION: During his tutelage with Fransen, theold man took a second pupil, a boy named Darrat. He quicklybecame jealous of Zaren because Fransen favored his nephew.Darrat eventually began sabotaging Zaren’s experiments in anattempt to discredit him. Fransen learned the truth of Darrat’sactions and banished the boy from his sight, but not before hevowed revenge some day against Zaren.ROLL 3 RESULTS: Thread, “trust of suffering.”INTERPRETATION: Zaren learned that Fransen sufferedfrom a magical disease that would some day kill him. That iswhy the old man had chosen a pupil in the first place, so hecould pass on his knowledge before he died. So horrified wasZaren by this revelation that he vowed to some day discovera cure for the diease and save his master.ROLL 4 RESULTS: Thread, “struggle of a path.”INTERPRETATION: Fransen can only teach Zaren so muchabout magic. To become a true sorcerer, and gain his full measureof power, Zaren learned he would have to leave his master andundergo a quest. The mission is magical in nature, one whereZaren must follow the signs and see where they lead him,overcoming obstacles along the way. If he succeeds, someday hewould reach the end of his quest and taste true power.ROLL 5 RESULTS: Negative, “harm of advice.”INTERPRETATION: While still a student of Fransens,Zaren become too convinced of his own magical ability andbecame quite arrogant for a time. A villager came toFransen’s keep seeking the wizard to help rescue a mantrapped in a mine. Fransen was out. Instead of fetching hismaster, Zaren assured the villager that he could handle thetask himself. He worked his magics on the mine but, insteadof freeing the poor man, he accidentally caused a cave-inthat killed the trapped miner. This incident struck greatshame in Zaren who regreted his arrogance. He vowed toforever remain humble and to seek help when he needed it.

THE CHARACTER: Amethyst, a superheroine with thepower to create objects from light.NUMBER OF ROLLS TO MAKE: 4ROLL 1 RESULTS: NPC, “attainment of anger.”INTERPRETATION: On her first foray as a publicsuperhero, Amethyst went up against a villain named Rivet,who could turn himself into living steel. She trounced himon public television earning a name for herself and landinghim in prison. Rivet has since escaped, and has vowed towreak his revenge on the luminescent heroine.ROLL 2 RESULTS: NPC, “antagonize the spiritual.”INTERPRETATION: Another villain Amethyst hasticked off is Vessel, a disembodied demon who can manifesthimself by possessing machines. Amethyst has thwarted hisdiobolical plans several times, making them arch enemies.ROLL 3 RESULTS: Thread, “refuse investment.”INTERPRETATION: Despite her powers, Amethystsabilities have made her an outcast ever since she was achild. She still has trouble controlling her talents, lightstaking shape around her whenever she gets emotional.Amethyst longs to just be a normal girl some day, rid ofsuperpowers and the responsibility they carry.ROLL 4 RESULTS: Negative, “dispute victory.”INTERPRETATION: Early in her career, Amethyst battleda villain in public, eventually beating him. Expecting to belauded as a hero in the media, she was stunned when thenightly news trashed her as irresponsible to fight thesupervillain in a public street, where someone could have beenhurt. Amethyst knew that she had no choice where to fighthim since he was rampaging in the downtown area.Nevertheless, the experience has jaded her regarding themedia and she shuns journalists whenever she can.

Tween storiesYou battled hordes of gruesome beasts, recovered the lost

artifact of the Dark Lord and destroyed his secret base ofpower. It’s been a long day. Now it’s time to put yourcharacter back on the shelf until next time.

Yes, the life of an rpg character is an exciting one. Butthere is more to life than the grand quests. In betweenadventures, your character is still doing something, even ifthat something is just living daily life. Generating a “Tween”story (as in “in-between” adventures) can help continueyour character’s saga even when the lights have dimmed. Bycoming up with a continuing storyline in betweenadventuring sessions, you can tie separate adventurestogether into a more complete campaign. Also, you can usetween stories to develop your character further, have themacquire new skills or change their lives in some way.

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Off-Camera Stories

A good time to generate a tween story is just before yournext adventure. You’ve had some time to think about yourcharacter’s latest escapades and maybe you’ve formed someideas about what the character did afterward.

Creating a tween story is a yes/no Fate Chart question.Take a best guess on what you think is transpiring in thecharacter’s life. This should be a logical conclusion based onthe events of the last adventure and what the characterwants to do with her life. Next, formulate this as a FateChart question like this: “Does SUCH-AND-SUCHhappen?” where such-and-such is the scenario you justthought up. Then, consult the Fate Chart, using a ChaosFactor of 5, and see what you get:

When formulating a tween story, you can come up withjust about anything. Maybe your character goes back toschool to learn some new skills, or perhaps she just goes onvacation for a while. You know your character’s personalityand longterm goals, so have them do whatever fits andseems most interesting.

Tween exampleThe character in question is a superhero with great

strength and the ability to fly. Her name is Miss America. Inher latest adventure, she captured her arch nemesis, therenegade robot Termino. In between adventures, the playerframes this tween question: “I’m assuming Miss Americagoes about her daily activities, saving people and such.Hopefully, nothing big happens for another six months orso. Is this what happens?” The player figures the odds arelikely, and rolls 29 for a yes. Miss America’s next adventurethen is six months down the line in game time. During thatspan, she puts away petty crooks and rescues people just likeany other day. Had the player rolled no to this question,then perhaps Miss America’s routine doesn’t last too long,with the next big adventure happening only a month later,or less. An exceptional yes could mean it takes a year beforethe next major adventure. What if he rolled an exceptionalno? That would get a random event to see what happens.The player rolls on the Event Focus and Meaning tables,and gets: remote event, transform environment. The GMdecides that a strange thing has occured; a volcano haserupted in California out of nowhere. The volcano iscausing no end of seismic upheavil, not to mention thedamage from lava flows. Miss America is dealing with theproblems from the volcano on a daily basis. This will likelyform the foundation of her next significant adventure.

YES: Events transpire just as you thought they would.EXCEPTIONAL YES: The events happen, but atdouble their effect, and probably in half the time. Forinstance, your character has spent several monthstraveling as a professional gambler. Not only did hemake some money, he made a lot of money, enough tolive off of for several years.NO: Something else happens, something other thanthe scenario you thought up. This is like an alteredscene during an adventure; the events that actuallytook place are not what you thought, but are the nextmost logical thing.EXCEPTIONAL NO: Something else entirely happens.Treat this as a random event, much like when creatingevents for character backstories. Roll a random event onthe standard Event Focus Table, and Event MeaningTables, and interpret the results.

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Off-Camera Stories

31

Okay, you already know all the uses of Mythic fromplaying solo to running games without GMs and so on. Buthere is one more way you can use Mythic to make yourGamemastering life easier.

Just as Mythic can create adventures on the fly, you canalso use that process to create adventure outlines before agaming session. This is for those GMs who want to comesomewhat prepared for their game with an adventure inhand, but don’t want to spend all day making it. An entireadventure outline can be generated in about fifteen minutes.By the time you are done, you will have a completeadventure skeleton that only needs the descriptions andsome specific “crunchy bits” to make it come to life.

An adventure outline is created in the same way as anormal Mythic adventure is generated, you just produce allof these at once, ahead of time.

Generate your opening scene just as you would if youwere creating a Mythic adventure off the cuff. On a piece ofpaper, write a little circle and summarize the scene in thatcircle. Make sure to write something like “opening scene” toremind yourself where the adventure begins.

Next decide what the most likely followup scene would be,and roll the dice to see if that happens, just like in any Mythicadventure. Draw another circle, write the short scene summary(whether it was the one you expected or an altered/interruptedone), and draw a line from the first circle to this one with anarrow on the end of it showing which direction the line goes.Over that line, write a sentance that describes what pathwould take the characters in this direction.

For instance, a GM is preparing a game for a group offantasy characters. He generates his opening scene as thus:“Character gets message, he has inherited a castle.” The GMdraws a line coming from the opening scene circle that saysabove it “characters go to castle” and then creates a newscene that says, “They arrive. Castle is big, old and ugly.”

If you haven’t guessed by now, I’m going to tell youwhere to go next: you make another scene, draw anotherline, and keep going. Eventually, you’ll have a page, orpages, with a complete adventure outline involving everyscene you could imagine happening in your adventure.When you run the game you don’t need to use Mythic togenerate new scenes since you have already done that. Somebubbles on your paper may have more than one line comingout of them if you thought of more ways in which characterscould exit the scene. Some other bubbles may have morethan one line going into them with multiple avenues to

arrive at the same place.When creating an outline you are basically running a

solo Mythic adventure and fastforwarding as you go. Eachcircle on the paper indicates a complete scene and each lineand arrow a path to another scene.

When you generate a scene and put it on paper, feel freeto ask any Fate Chart questions that occur to you. Forinstance, with the fantasy game example above, the GMonly knows that the characters have inherited a large, uglycastle. He might ask a few questions, like, “Is the castlecurrently occupied?”, “Is the territory around the castlehostile?”, and “Are the natives friendly toward the PCs?” Jotdown the answers on your outline, noting anythingimportant that you don’t want to forget. Normal Fate Chartrules apply in regards to exceptional results. Also, randomevent rules also apply. If you run into a random event, roll itup as normal and note on your outline the effects of theevent if they are important to the adventure.

With your outline in hand, you can take this sheet and runyour game from it. You know what each scene is about andwhat the adventure as a whole is about, so you can use yourimagination to fill in the details of each scene. If yourcharacters diverge from the grand plan you can use Mythic togenerate a new scene as you go, scribbling it onto your outlineduring play. You can also continue to use Mythic within scenesto answer questions on the Fate Chart, if you wish.

When generating the outline, you should keep track ofthe Chaos Factor, NPCs and Threads, as normal. After eachscene, take a guess as to whether the CF should go up ordown, since the PCs are not actually playing it at themoment to let you know if they are in control or not. Whenyou run the adventure using the outline, you can discard thelists if you are not using Mythic to answer questions withinscenes. However, if you plan to use Mythic (just not togenerate scenes, as you have already done that), then keepthe lists handy and restart the Chaos Factor. The NPC listin particular will be useful since it should be complete evenat the beginning of the adventure. Only include threads onthe thread list that the PCs are aware of, however.

Adventure OutlinesCHAPTER 5

32

Adventure Outlines

How an adventure outline might look once drawn out on paper.

Making an outline: An exampleLet’s get down to it. For this example, we’re working with a

standard, non-themed Mythic adventure. The Gamemaster ispreparing this outline for his group of players who have a game ofmodern occult magic going on. The characters are investigatorsof the paranormal. They’ve been playing with these charactersfor a while, so the Gamemaster already has a campaign going,complete with background and character histories. Now he justneeds an adventure for their next session.

He starts off like he would with any Mythic adventure, byrolling up the first scene as a random event. Rolling on theFocus and Meaning tables, he gets: move away from a thread,and persecute of travel. Since the Focus Table indicated athread in the very first scene, it has to be a PC thread sincethe adventure he is creating doesn’t have any open threads ofits own yet. Right now, the characters in his campaign haveonly one ongoing thread ... to track down and destroy anundead magician who, a legend foretells, will one day destroythe world. Considering what he just rolled, the GM comesup with this opening scene: an old friend of the characters, aDr. Sandover, has gone missing during an expedition to thearctic. This is a person whom the PCs rely upon as a valuableinformation contact, so they have to make sure he is alright.They will be required to go to the frozen wastes and try tofind him. This fits what the GM rolled because rescuing thefriend is a side adventure, it doesn’t directly help them trackdown the magician, thus moving them away from resolvingtheir open thread. “Persecute of travel” is interpreted simplyas having to make a long, arduous journey, which travelingto the arctic would be.

The GM writes down “Find Dr. Sandover in arctic” in acircle on a piece of paper as his opening scene. The GMdecides that the characters will learn of this event afterbeing summoned to New York University, where Sandoverworks. That will give the characters an opportunity toquestion people at the University about Sandover’sexpedition and will form the meat of the first scene. TheGM jots down a few notes to this effect on his sheet.

At this point, the GM doesn’t know anything more aboutthe adventure other than what he just came up with. Forinstance, he doesn’t know yet what Dr. Sandover is doing inthe arctic. For his purposes at the moment, however, the GMis done with the first scene. Once the rest of the adventureoutline is detailed, he’ll have a clearer picture of whattranspired and can flesh out scene 1 further, even if only inhis head. This ends the scene. As with any Mythicadventure, when the scene is over it’s time to update theChaos Factor and the lists. The GM figures that the ChaosFactor has gone down by 1 point, assuming that thecharacters had everything under control in this scene. Afterall, they were primarily gathering information and preparingfor a journey. To the Threads list he writes: Find Dr.

Sandover. To the Character list: Dr. Sandover; NYU faculty.The GM figures at this point the most likely course for

the PC’s to take will be to prepare for their own expeditionand follow Sandover’s course to the arctic. The GM doesn’twant to waste a lot of time with the preparation so hefigures a few words will suffice and the next scene will takeplace at an arctic station after the PCs arrive a week later.

With this new scene idea in mind, the GM rolls to see ifthis is the scene that occurs and rolls a 2, which means aninterrupt scene instead. He rolls the Focus and Meaningtables and gets: NPC action, struggle of dispute. There aretwo NPCs right now, so the GM rolls and gets Dr. Sandover.

The GM makes a judgement call at this point. He decidesthat this interrupt scene will occur if the characters decideto inspect Dr. Sandover’s home for additional clues. Insidehis home they will discover notes to the effect thatSandover has had a dispute with a colleague, a Dr. Hurst.Hurst is accusing Sandover of stealing his “discovery” in thearctic, and vows he will “fight for what is mine.” The GMmakes note of this on his sheet.

The GM has only generated two scenes now, but alreadya picture of this adventure is beginning to take shape. TheGM decides that, if the characters ask the right questionswhen they talk to NYU faculty, they will get some clues asto this dispute. (“Any enemies? Well, when I come to thinkof it, I believe he and Dr. Hurst had a falling out.”)

This scene is done, so the GM updates the lists again,adding Dr. Hurst to the NPC list. The GM decides that thenext scene is the same as what he thought of before, goingto the arctic. He rolls to see if that is what happens and itdoes. He writes on his sheet “arrive at arctic station” as ascene, with a line coming from both of the previous scenessince both will likely lead there. This scene will likely bemostly information gathering, questioning the basepersonnel about Sandover’s expedition. The GM only hashazy ideas at this point about where all this is going. Heends the scene and updates his lists, adding “arctic stationpersonnel” to the NPC list.

While the GM is coming up with this outline he is freeto ask any Fate Chart questions that may spring to mind. Forinstance, he might ask, “do the arctic station personnelmention Dr. Hurst being there at any time?” The GM is freeto come up with any questions that spring to mind, just ashe and the players would do during a normal Mythic session.Any developments that come from these questions should bejotted down on his outline sheet.

Also, as the GM fleshes out the adventure, he is free togo back to earlier scenes he has already formulated and askmore questions, or to create additional scenes. While askingquestions, the GM may generate random events, whichshould also be noted if they have a significant bearing onthe adventure. Coming up with an adventure outline is notas linear as generating a Mythic adventure off the cuff

33

Adventure Outlines

because you are free to jump around as you please. In fact,you should jump all over your sheet, jotting down thoughtsas they occur, writing the results of Fate questions andrandom events, coming up with more scenes and trying toanticipate what the PCs might do.

By the time the GM is done with this outline, he has atotal adventure in mind. Hurst indeed has set a trap forSandover, waylaying him in the arctic. Hurst brought friends,though, a group of mercenaries. The entire arctic stationcrew are working for Hurst, in fact. Once the charactersarrive, the crew will point the PCs in the right direction, offacross the ice to a cave Sandover had discovered thatcontains ancient relics. However, the crew will also radioahead to warn Hurst and to prepare an ambush.

Dr. Sandover is in fact a prisoner at the arctic station,locked in a side room. If the PCs get suspicious of thestation crew and investigate, they may discover Sandoverright away. However, even if they do, Sandover will begthem to pursue Hurst. Sandover claims that the cavecontains the remains of an ancient temple constructed by anunknown race. In the temple is a shrine to an alien god thatmay, somehow, still be active. Sandover is afraid Hurst mayattempt to wake the dormant being.

The PCs can reach the cave within a few days. Guardsare posted just inside the cave and will attack the PCs. Ifthe characters don’t go in right away but explore the areafirst, they will discover Hurst’s camp. No one is there rightnow, but it will provide enough evidence to show that Hurstis somewhere close.

Once inside the cave,assuming the PCs haveoverwhelmed the guards, theywill discover an icy tunnel.Further down the ice thinsand the PCs see they arewithin a stone structure withodd, alien markings on thewalls.

If the PCs delay and dosome exploration of their own,checking out the alienmarkings, they will have todeal with a few members ofthe arctic team who havefollowed the PCs. They wantto make sure the PCs arestopped, and after seeing theambush fail they will try tofinish the job.

If the characters overcomethis second attack, or if theyplunged on right away, theywill discover a temple roomwhere Dr. Hurst is knee deep

in a blasphemous ceremony designed to wake the dead godimprisoned in the structure.

The GM determines that if the characters allow Hurst tocomplete his ritual, then the being will be freed, but only bygoing through Hurst, who will turn into a horrible creature.Whether they stop Hurst the man or Hurst the monster, thePCs must thwart him at this point.

When finished with all of this, the GM looks over hisoutline, checking to see if there are any places where theplayers may do something differently. If he can, the GMcomes up with other branches from scenes and answers anymore questions that spring to mind.

When satisfied, the GM now has a fairly thorough outlineof an adventure. Most of the fine details are in his head, buthe has enough notes down on paper to keep everythingstraight. After all, it only took about ten to fifteen minutesto come up with this, and very likely the session with hisplayers will be the only time he ever runs this adventure, soall the details don’t need to be recorded in stone.

Final thoughtsAdventure outlines are a good option if you are in the

mood for a Mythic game with more preparation. Or, perhapsyou have a specific goal in mind for the adventure and want tospend some extra time crafting it, and not let events comeabout entirely by random.

34

Adventure Outlines

35

Appendix

The following pages contain all the charts andtables from this book. Pages 36-38 contain copiesof the tables for easy reference. Page 39 has a copyof the Event Meaning Tables from Mythic andMythic Emulator. On pages 40 and 41 you willfind 11x17 GM screens shrunk to fit these pages.Page 40 contains the Fate Chart from Mythic RolePlaying, along with the Event Meaning Tables andthe Standard Theme Focus Table. Page 41contains all of the theme tables. If you have aprinter or copier that can print to tabloid size(11”x17”), then you can enlarge these pages intoeasy reference GM screens to use while you play.If you have this book as a pdf file, then print thosepages on your 11x17 printer at 170%. If you areusing a copier machine, then copy it at 170%. Youwill have to center the paper, whether printing froma computer or a copier, since the actual physicalmargins of the page will go beyond the 11x17 papersize, but the image in the center should not. Youmay have to try it a few times to get it just right, butyou should end up with an 11x17 inch GM screenwith about a half inch border all around. If youplan to fold it and prop it up, then try to use thethickest paper you can when printing.

36

Appendix

ADVENTURE FOCUS TABLE

1d100 Event Focus

1-16 Action!

17-24 Remote event

25-44 NPC action

45-52 New NPC



65-76 PC negative

77-80 PC positive


85-96 NPC negative

97-100 NPC positive

MYSTERY FOCUS TABLE

1d100 Event Focus

1-8 Remote event

9-20 NPC action

21-32 New NPC



65-72 PC negative

73-80 PC positive


89-96 NPC negative

97-100 NPC positive

EPIC FOCUS TABLE

1d100 Event Focus

1-12 Thread escalates

13-16 Remote event

17-30 NPC action

31-42 New NPC



59-72 PC negative

73-80 PC positive


85-92 NPC negative

93-100 NPC positive

STANDARD FOCUS TABLE

1d100 Event Focus

1-7 Remote event

8-28 NPC action

29-35 New NPC




56-67 PC negative

68-75 PC positive


84-92 NPC negative

93-100 NPC positive

SOCIAL FOCUS TABLE

1d100 Event Focus

1-12 Drop a bomb!

13-24 Remote event

25-36 NPC action

37-44 New NPC




65-72 PC negative

73-80 PC positive


93-96 NPC negative

97-100 NPC positive

HORROR FOCUS TABLE

1d100 Event Focus

1-10 Horror - PC

11-23 Horror - NPC

24-30 Remote event

31-49 NPC action

50-52 New NPC



63-72 PC negative

73-75 PC positive


83-97 NPC negative

98-100 NPC positive

37

Appendix

PERSONAL FOCUS TABLE

1d100 Event Focus

1-7 Remote event

8-24 NPC action

25-28 PC NPC action

29-35 New NPC


43-45 Move toward a PC thread


51-52 Move away from a PC thread

53-54 Close thread

55 Close PC thread

56-67 PC negative

68-75 PC positive


84-90 NPC negative

91-92 PC NPC negative

93-99 NPC positive

100 PC NPC positive

CUSTOM THEME FOCUS TABLE

1d100 Event Focus

1-16 A:

17-28 B:

29-36 C:

37-44 D:

45-48 E:

49-52 F:

53-56 G:

57-60 Remote event

61-64 NPC action

65-68 New NPC




81-84 PC negative

85-88 PC positive


93-96 NPC negative

97-100 NPC positive

BACKSTORY FOCUS

1d100 Focus

1-44 New PC character

45-68 New PC thread

69-84 PC negative

85-100 PC positive

NUMBER OF BACKSTORYEVENTS

1d100 Number of Rolls

1-8 1

9-26 2

26-51 3

52-71 4

72-86 5

87-96 6

97-100 7

38

Appendix

CUSTOM THEME CHAOS FACTOR

Effect You Want Chaos Factor Change

Events are out ofcontrol.

Set a minimum to the CF wherethe value cannot fall below. If ascene ending calls for a -1adjustment that would bring theCF below the minimum then thereis no change. A minimum of 3means the PCs can have somecontrol, but not total control, overthe adventure. A 5 means eventsare largely out of their control. A7 or 8 means events are way outof control, from the beginning.

Adventure beginsmundanely orwith PCs incontrol.

Start the CF below 5, at 4 or 3.You may also want to have thefirst scene start with anambiguous event.

Tension buildsand builds.

The CF cannot be rolled backafter any scene. It either movesahead at the end of a scene, orstays the same.

Surprises aroundevery corner.

Instead of determing if scenes arealtered by an even/odd mechanic,make it a set range. On the lowend, any roll of 1-3 or 1-2, withinthe CF, is an altered scene.Anything above that, within theCF, is an interrupt. This meanswhen the CF is low, most unex-pected scenes will be alteredscens, and when the CF is high,you will get more interruptscenes.

Necessarybeginning.

You may need the adventure tostart in a certain way. In thatcase, make the Event Focus pre-determined, such as ambiguousevent. Or, it can be a specific typeof thread, such as, “openingscene must establish a mysterythread.”

Lots of action. No matter what the CF, doublerolls always get a random event.

NUMBER OF THEMES

1d100 Themes

1-60 One

61-85 Two

86-100 Three

THEME CHOICE

1d100 Theme

1-65 Most likely theme

66-90 Second most likely theme

91-93 Standard theme

94 Social theme

95 Mystery theme

96 Horror theme

97 Epic theme

98-99 Personal theme

100 Action adventure theme

39

Appendix

1. Attainment2. Starting3. Neglect 4. Fight5. Recruit6. Triumph7. Violate8. Oppose9. Malice10. Communicate11. Persecute12. Increase13. Decrease14. Abandon15. Gratify16. Inquire17. Antagonise18. Move19. Waste20. Truce

21. Release22. Befriend23. Judge24. Desert25. Dominate26. Procrastinate27. Praise28. Separate29. Take30. Break31. Heal32. Delay33. Stop34. Lie35. Return36. Immitate37. Struggle38. Inform39. Bestow40. Postpone

41. Expose42. Haggle43. Imprison44. Release45. Celebrate46. Develop47. Travel48. Block49. Harm50. Debase51. Overindulge52. Adjourn53. Adversity54. Kill55. Disrupt56. Usurp57. Create58. Betray59. Agree60. Abuse

61. Oppress62. Inspect63. Ambush64. Spy65. Attach66. Carry67. Open68. Carelessness69. Ruin70. Extravagance71. Trick72. Arrive73. Propose74. Divide75. Refuse76. Mistrust77. Deceive78. Cruelty79. Intolerance80. Trust

81. Excitement82. Activity83. Assist84. Care85. Negligence86. Passion87. Work hard88. Control89. Attract90. Failure91. Pursue92. Vengeance93. Proceedings94. Dispute95. Punish96. Guide97. Transform98. Overthrow99. Oppress100. Change

Event Meaning: Action

1. Goals2. Dreams3. Environment4. Outside5. Inside6. Reality7. Allies8. Enemies9. Evil 10. Good11. Emotions12. Opposition13. War14. Peace15. The innocent16. Love17. The spiritual18. The intellectual19. New ideas20. Joy

21. Messages22. Energy23. Balance24. Tension25. Friendship26. The physical27. A project28. Pleasures29. Pain30. Possessions31. Benefits32. Plans33. Lies34. Expectations35. Legal matters36. Bureaucracy37. Business 38. A path39. News40. Exterior factors

41. Advice42. A plot43. Competition44. Prison45. Illness46. Food47. Attention48. Success49. Failure50. Travel51. Jealousy52. Dispute53. Home54. Investment55. Suffering56. Wishes57. Tactics58. Stalemate59. Randomness60. Misfortune

61. Death62. Disruption63. Power64. A burden65. Intrigues66. Fears67. Ambush68. Rumor69. Wounds 70. Extravagance71. A representative72. Adversities73. Opulence74. Liberty75. Military76. The mundane77. Trials78. Masses79. Vehicle80. Art

81. Victory82. Dispute83. Riches84. Status quo85. Technology86. Hope87. Magic88. Illusions89. Portals90. Danger91. Weapons92. Animals93. Weather94. Elements95. Nature96. The public97. Leadership98. Fame99. Anger100. Information

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Continue your Mythic The Mythic Website

www.mythic.wordpr.comFor information on new Mythic products and other Word Mill Publishing goodies!

adventures online!The Mythic Fansite

games.groups.yahoo.com/group/Mythic_Role_Playing/

“Theme” vs. “content” 20

A day in the life 12

Action Adventure 13

Action! 13

Adventure outlines 31

Appendix 35

Backgrounds 26

Backstory Events 27

Backstory Focus 27

Backstory Generator 27

Bad Bart 7

Build-A-Theme 17

Chaos Factor 17

Complex Questions 25

Custom Theme Chaos Factor 17

Custom Theme Focus Table 18

Descriptions 26

Drop a bomb 15

Epic 15

Epilogue 10

Event Meaning 39

Game Mastering 7

Horror 11

Horror - PC/NPC 12

I dunno 10

Interpretation 10

Introduction 4

Loose ends 10

Mixing Themes 19

Mystery 13

No idea of the odds 26

NPC interactions and conversations 8

Number of Themes 20

Off-Camera Stories 27

Personal 15

Physical horror 12

Psychological horror 12

Random theme example 20

Random Themes 19

Referee 7

Sample complex questions 26

Social 14

Social thread 14

Standard theme 16

Talky 14

Ten-second rule 8

The 50/50 rule 8

The end 10

Theme Choice table 19

Theme Examples 21

Themes 11

Thread escalates 16

Tween example 30

Tween stories 29

Zombie sample Theme Focus Table 19

44

Index

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