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Published by luijo2806, 2024-03-26 20:32:29

Court-of-Blades-A-Couple-of-Drakes

701843915-Court-of-Blades-A-Couple-of-Drakes

a game of power politics gunpowder diplomacy renaissance magic & romantic skullduggery by a couple of drakes


A Couple of Drakes Publication www.acoupleofdrakes.com Court of Blades Copyright © 2021 A Couple of Drakes INC All rights reserved. Hardcover ISBN: 979-8-9851134-0-2 A Couple of Drakes product number: ACOD0001 Printed in the USA. Produced using the Adobe Creative Suite. Typefaces: Adobe Garamond Pro, AquilineTwo, Zenda This work is based on Blades in the Dark (found at http://www.bladesinthedark.com/), product of One Seven Design, developed and authored by John Harper, and licensed for our use under the Creative Commons Attribution 3.0 Unported license (http://creativecommons.org/licenses/by/3.0/). No part of this publication may be reproduced, or transmitted by any means without prior written permission of the publisher. If you’re making copies for your own personal use, then go for it. Consider this your “written permission” and happy gaming! - A Couple of Drakes Blades in the Dark™ is a trademark of One Seven Design. The Forged in the Dark Logo is © One Seven Design, and is used with permission.


Credits shawn drake Game Design & Writing navi drake Game Design, Writing, Layout, & Project Management brent jans Copy Editing & Indexing john harper Title Design colmena de papel Art Direction natalia klimczak Cover Art al lukehart Interior Art rafael r. sinnott Interior Art tim wilkinson lewis Map Art Visit our website for character sheets and other game materials. www.acoupleofdrakes.com


Special Thanks. . . Chelsea Brown, our dear friend who inspired Court of Blades with her desire for a tabletop roleplaying game filled with intrigue and romance. Rob Buchheit, who went out of his way to offer help and resources to a fledgling game design duo, and the team at Colmena de Papel for their support and advice. The thousands of Kickstarter backers who believed in this project and pulled together to bring it to life. You can find the full Kickstarter backers list in the back of this book. Our playtesters, without whose countless hours of play and feedback, Court of Blades would have not been possible. Thanks Travis, Crawley, Slip, Chels, Myth, Truth, Skelpie, Skaughtto, Kristin Devine, Rae Nedjadi, and everyone who took the time to offer us encouragement, feedback and help along the way. Last, but certainly not least, Sean Nittner, who joined us in playtesting and gave us an incredible amount of guidance on our first foray into game design, and John Harper, the creator of Blades in the Dark, which provided the blueprint for this game, as well as for helping us design the Court of Blades title logo. We will always be grateful. acknowledgements William Shakespeare for two houses, both alike in dignity. Ron Edwards for Lines and Veils. John Stavropoulos for the X Card. Minerva McJanda & Douglas Santana Mota’s Legacy: Life Among the Ruins for amazing abstraction stats for large organizations. Kevin Crawford’s Stars Without Number for giving GMs a turn of their own. Glen Cook’s The Black Company for making magic weird and empires terrifying. Michael A. Stackpole’s The Dragoncrown War Cycle for nobles with masks which show their true face. Robert Jordan’s The Wheel of Time for Daes Dae’mar, the Great Game of Houses.


ch 1. introduction The Game ............................... 002 The Setting ............................... 003 The Players ............................... 003 The Characters ......................... 004 The House of Service ................ 004 The Game Master ..................... 004 Playing a Session ...................... 005 Safety Tools .............................. 006 The Core System .................... 007 The Game Structure ................. 008 Rolling the Dice ....................... 009 Actions & Attributes .............. 010 Resistance Roll ....................... 014 Stress & Scandals .....................015 Action Roll ............................. 017 The Lady’s Favor ....................... 019 Action Roll Summary ............... 020 Progress Clocks ...................... 022 Position & Effect .................... 025 Tier ........................................ 028 Setting Position & Effect .......... 029 Consequences & Harm .......... 030 Healing Harm .......................... 033 Resistance & Armor................ 035 Special Armor ........................... 037 Death ....................................... 037 Fortune Roll ........................... 038 Engagement Roll .................... 040 Gathering Information .......... 041 Loadout ................................. 044 Teamwork .............................. 045 Flashbacks ............................. 047 Influence & Favor .................. 048 Romance ................................ 051 Romantic Entanglements ......... 054 The Faction Game .................. 055 Tier, In Depth .......................... 055 Spheres of Influence ............... 057 House Advancement ............... 058 Social Season Goals ................... 059 Advancing in the Esultare ......... 060 The Other House Positions ........ 061 House Rank Bonuses ................ 061 PC Advancement ..................... 062 Coterie Advancement ............... 064 ch 2. characters Character Creation ................ 066 The Bravo ................................. 073 The Hawk ................................ 077 The Eye .................................... 081 The Couth ................................ 085 The Knack ................................ 089 The Key .................................... 093 Standard Items ....................... 097 Coterie & House Creation ...... 098 House Corvetto ........................ 103 House Battalia .......................... 107 House Bastien .......................... 111 House Lovell ............................ 115 House Al-Mari ......................... 119 House Elanda ........................... 123 Standard House Upgrades ...... 127 Retinues & Colleagues ........... 129 Table of Contents


ch 3. downtime Payoff ...................................... 132 Influence ................................... 132 Favor ......................................... 133 Exposure & Shame ................... 133 Reduce Exposure & Shame ...... 134 Downtime Activities .............. 135 Acquire Assets .......................... 136 Uncover a Plot .......................... 137 Long-Term Projects .................. 138 Recover .................................... 138 Train ........................................ 139 Indulge & Reduce Stress .......... 139 Intrigues ................................ 141 Rituals & Crafting ................. 144 Arcane Magnitude ................... 144 Rituals ..................................... 146 Crafting ................................... 149 Sample Common Creations ..... 152 Crafting Example ..................... 158 ch 4. a guide to ilrien              Abridged Timeline of Ilrien ...... 160 Dueling, the Court of Blades .... 161 Daily Life ............................... 162 Currency .................................. 163 The Great Game ........................ 163 Cuisine ..................................... 164 Law & Order ........................... 165 Magic & Superstition ............... 166 Culture .................................... 168 Weather & Seasons .................. 169 Major Holidays .......................... 170 Overheard in Ilrien ..................... 171 The City Districts .................... 172 Map of Ilrien ............................. 178 Spheres of Influence Detailed ..... 180 Factions .................................. 188 The Houses Major ..................... 188 The Houses Minor .................... 190 The Uncouth ............................ 204 The Outsiders ........................... 214 Contacts for Indulgences .......... 222 ch 5. playing the game             Actions in Play ....................... 225 Player Best Practices ............... 250 Example of Play ..................... 252 ch 6. game masters                   Running the Game ................. 264 GM Goals ............................... 264 GM Actions ........................... 265 GM Principles ........................ 272 GM’s Best Practices ................ 273 GM Bad Habits ...................... 275 The GM’s Turn ....................... 279 Advancing Houses Major ......... 282 Introducing the 7th House ....... 283 Session One Checklist ............ 285 ch 7. roll charts                       Entanglements .......................... 288 NPC House Objectives ............ 292 Nearby Villages ....................... 295 Sprites & Spirits ....................... 296 More People (NPCs) ................ 297 Threats to the City ................... 300 Minor Holidays ........................ 301 ch 8. change the game         Special Playbooks ................... 306 Expanding the Scope ................ 315 Kickstarter Backers ................ 316 index ................................... 326 . . .


Chapter One Introduction


2 The Game Court of Blades is a game of politics, magic, romance, and peril. It takes place in a world populated by scheming nobles, unscrupulous court magicians, and dashing duelists. In Court of Blades, you take on the roles of retainers to a newly risen House of the Esultare in the great city of Ilrien. The Esultare, composed of the six Houses Major, are considered the most powerful families in the Principalities, but amongst them they have their own pecking order. The First Prince sits atop this hierarchy, with each citizen of Ilrien aware of every House’s position within that order.  You have already risen so high. But to secure your place and ensure the House you serve ascends to the highest seat of power in the world, you must learn the secrets of your rival Houses, advance your own House’s agenda, and risk your lives in a renaissance world of duplicity and magic. You are a retainer in a coterie. Powerful, and yet the bottom of the greater family order. Your job is to support the family until it is elected First House. Your private goal is to become a titled part of the family through service, securing your legacy—or perhaps only leaving the world better, or worse, than it was before you.  Can your characters play the Great Game and win it all, or will they fall prey to the machinations of their rivals? Or worse yet, their own human failings. what you need to play • One copy of this book for reference. • 2-5 players, and one game master. • 6 six-sided dice to share. • Blank paper or notecards and a pencil. • Printed copies of the character playbooks, and House sheet. (Reference sheets, and maps can be helpful.)


3 The Setting Ilrien, the seat of power. Our scene is laid in the Principalities; successor states which threw off the yoke of a decadent, continent-spanning imperial nation known as the Dread Empire. Quarrelsome since their inception over twohundred years before, the Principalities have fallen into an uneasy ceasefire after decades of war. None have been more prosperous in the years of relative peace than the city-state of Ilrien. Situated on the coast, with natural deep-water harbors and a history of technical, artistic, and magical innovation, Ilrien is positioned as the greatest city of this or any other age. It is the center of learning, spirituality, art, magic, and romance. Ilrien is also a phenomenally political city. The nobles are constantly engaged in an exceedingly polite civil war. While there are always six leading families among the Esultare, each with their own Prince, there can only be one First Prince. Through careful maneuvering, bribery, manipulation, and murder, the Houses of the Esultare advance their agendas while thwarting their rivals. And so, the Great Game is played. Social sabotage and shadow warfare is waged as the Great Houses court the Houses Minor, the Houses Minor seek to improve their lot, and both manipulate the guilds, the church, and the common folk of Ilrien to rise in favor and gain power and prestige. The Players Each player creates a character, referred to as a PC (or player character), and works with the other players to create the coterie to which their characters belong, shaping the House they choose to serve. Each player strives to bring their character to life as an interesting, talented individual with personal goals and interests. Players are rewarded for good roleplaying practices with experience (xp), making it in everyone’s best interest to develop their characters a bit over every session.  The players work together with the Game Master to establish the tone and style of the game. During play the players take responsibility for the game narrative alongside the GM. They will make judgement calls about the mechanics, dice, and consequences of actions, working with the GM to craft a compelling setting and narrative.


4 The Characters The characters attempt to develop themselves and their coterie by performing errands and contending with threats to the House they serve, as well as threats from their own enemies, over distinct social seasons. They begin their adventure as dedicated servants of little renown, and must carefully guard their reputations from scandal and shame. With every advancement they become more integral to the machinations of the family they serve and better known to the other citizens of Ilrien. The House of Service In addition to creating the characters who will form your coterie, you will also choose the House your coterie serves. Each House has its own set of strengths to explore, and its own unique flavor to inspire the sort of stories your group wants to tell. While any House can be played in whichever way the group wishes, you will find that each House lends itself well to a specific playstyle, without any modifications. House Corvetto lends itself well to skullduggery and magic, Lovell to high politics and manipulation, Bastien to charity and good will, and so on. The Game Master The Game Master (or GM) establishes the dynamic world around the characters. They portray all the non-player characters (NPCs) in the world by giving each one a concrete desire and preferred method of action. The GM helps organize the conversation of the game so it points toward the interesting elements of play. They are not in charge of the story and do not have to plan events ahead of time. Instead, they present interesting opportunities to the players, then follow the chain of action and consequences wherever they lead. This is the basis of the “conversation,” the narrative push and pull which develops the fiction and the course of play. Everyone, players and GM alike, has a hand in creating the story.


5 Playing a Session A session of Court of Blades is like an episode of a TV show filled with taut intrigue and romance. There are one or two main events, plus some possible side-story elements, which all fit into an ongoing series. A session of play can last anywhere from two to six hours, depending on the preferences of the group. During a session, the coterie of retainers works together to choose an errand to accomplish based on their goals for the social season. They spend time gathering information, then they make a few dice rolls to jump into the action of the errand in progress. The PCs take actions, suffer consequences, and finish the errand (succeeding or failing). Then the coterie has downtime, during which they recover, pursue side-projects, and feed their indulgences to relieve stress. After downtime the players once again assess their goals, and we play to find out what happens next. before you start It is recommended that at least one person in your group has read this book all the way through before you begin. If you are familiar with other Forged in the Dark games, many of the core mechanics will be familiar to you. If this is your first time trying out a Forged in the Dark game, first of all, AWESOME, we’re excited to bring you into the fold—but just as importantly, this game may not make complete sense to you until you play it. When in doubt, just start playing! touch stones Touch stones can be helpful for pitching a new game to friends. Below we’ve provided some of the most well-known touch stones for the game that we could think of to get you started.  Books: The Three Musketeers, by Alexandre Dumas. Romeo and Juliet, by William Shakespeare. Homeland, by R. A. Salvatore. A Song of Ice and Fire, by George R. R. Martin. The Lies of Locke Lamora, by Scott Lynch. Film & TV:  Medici, by Nicholas Meyer and Frank Spotnitz. Rome, by Bruno Heller, John Millius, and William MacDonald. Harlots, by Moira Buffini and Alison Newman. The Godfather, Francis Ford Coppola. Video Game: Dragon Age Inquisition: Wicked Eyes and Wicked Hearts, Bioware.


6 Safety Tools Court of Blades is a game of intrigue, scheming, and betrayal. It is easy to venture into territory some game groups may find uncomfortable. Not all topics are appropriate for all players, and the use of safety tools helps set boundaries for exploring Ilrien in a manner which prioritizes player comfort and safety. The most basic safety tool is open communication amongst yourselves regarding what you do and do not want to see in your game world. This discussion fits best in a “session zero”, wherein you discuss this and other aspects of your world. It’s important to note this is not a time to interrogate eachother’s wishes. If a player doesn’t want spiders anywhere in the game world, so be it, the Principalities are now spider-free. Why a player wishes it so is unimportant to play, and while there are many safety tools your group can use, we recommend two in particular. Lines and Veils are used to set clear boundaries for what content can appear in a game. Lines are hard limits which by no means are to be crossed. These are subjects and things the GM or the players have no interest in engaging with under any circumstances. Veils, on the other hand, are softer limits; things acceptable to the GM or players so long as they are veiled, glossed over, or mentioned only in brief passing. Veiled content may still appear in the game, but never be highlighted, described in detail, or serve as the focus of a scene. It is recommended Lines and Veils be tracked in your game notes, where they can be updated or amended throughout play. Regardless, upsetting content may appear suddenly in the course of the game. The X-card is a safety tool for use in those instances. Ideally it is a simple card with an “X” on it, which players or the GM can tap or hold up during play to indicate something they wish to avoid. Other tools might be a digital marker which can be pinged on the virtual tabletop of your choice. When the X-card is tapped, pinged, or held up, play will pause, backtrack to before the offending bit, and resume, avoiding the X-carded material entirely. If something is X-carded during play it is recommended that another tool, such as Lines & Veils, be updated to reflect the new subject so it does not appear again. Far from restricting the subjects and material your group can explore, safety tools allow your group to more freely explore difficult topics during play, with everyone secure in the fact that play will not devolve into something upsetting or outright harmful. Nothing which happens in an imaginary world, even one as exciting as Court of Blades, is more important than the safety and well-being of the very real people around your table.


7 The Core System the conversation Court of Blades is an exchange between the player characters (PCs) and the game master (GM). No one is entirely in charge. It is a back-and-forth between all involved until that conversation develops enough uncertainty for you to reach for dice to decide the outcome.  Improvisation is a must. As you read through this book you will discover many things are outlined, but otherwise left to your interpretation. This is entirely intentional! The world of Ilrien and the Principalities changes based on the interests of the players, so no two games of Court of Blades are played the same way. If you do not find an answer to your question in the book, trust that you are allowed to, in fact are supposed to, make it up along the way.   For example, in your first game a player may decide the contact “Mercy, a foreigner” is a cut-throat mercenary named Jaque Mercy who works down at the Docks. In another game a player may decide that it’s Sister Mercy, the headmistress of an orphanage in the Twist.  Each is true, including the third option that comes up in your campaign. judgement calls When you play, you will make several key judgment calls. Everyone contributes, but either the players or the GM gets final say in each instance. • Which actions are reasonable as a solution to a problem? Can this person be swayed? Must we get out the tools and tinker with this old rusty lock, or could it also be wrecked with the butt of a pistol? The players have final say. • How dangerous and how effective is a given action in this circumstance? How risky is this? Can this person be swayed only very little or entirely? The GM has final say. • Which consequences are inflicted to manifest the dangers in a given circumstance? Does this fall from the roof break your leg? Do the Corvetto merely become suspicious or do they already have damning evidence against you? The GM has final say. • Does this situation call for a dice roll, and which one? Is your character in position to make an action roll or must they first make a resistance roll to gain initiative? The GM has final say. • Which events in the story match the experience triggers for character and coterie advancement? Did you express your character’s beliefs, drives, heritage, or background? You tell us. The players have final say.


8 The Game Structure Court of Blades has a structure to play, with three parts. By default, the game is in free play—characters talk to each other, they go places, they do things, they may gather information, and they make rolls as needed. When the group is ready, they choose an objective for their next errand. They may decide to gather additional information to aid them later, or they may simply choose a type of plan to employ. This triggers the engagement roll (which establishes the situation as the errand starts) and then the game shifts into the errand phase. During the errand, the PCs engage the target—they make rolls, overcome obstacles, call for flashbacks, and complete the errand (successfully or not). When the errand is finished, the game shifts into the downtime phase. During the downtime phase, the GM engages the systems for influence, favor, exposure, shame and entanglements, to determine all the fallout from the errand. Then the PCs each get their downtime activities, such as indulging themselves to remove stress or working on a long-term project, or intrigue.  When all the downtime activities are complete, the game returns to free play and the cycle starts over again. The structure is only a conceptual model to help you organize the game. You can phase in and out of free play and the errand. Likewise, you may finish downtime and then jump straight into the next errand. There is no rigid structure in Court of Blades.


9 Rolling the Dice Court of Blades uses six-sided dice. You will always roll between 1 and 6 dice, and typically you will read the highest number.  • If the highest die is a 6, it’s a full success—things go well. If you roll more than one 6, it’s a critical success—you gain some additional advantage. • If the highest die is a 4 or 5, that’s a partial success—you do what you were trying to do, but there are consequences: trouble, harm, reduced effect, et cetera. • If the highest die is 1-3, it’s a bad outcome. Things go poorly. You probably do not achieve your goal and you suffer complications, too. • If you ever need to roll but you have zero (or negative) dice, roll two dice and take the single lowest result. You cannot roll a critical success when you have zero dice. All the dice systems in the game are expressions of this basic format. When you are first learning the game, you can always return to a simple roll to judge how things go. Look up the exact rule later, when you have time. To create a dice pool for a roll, you’ll use a trait (like your Body or your Mind, or your coterie’s tier) and take dice equal to its rating. You’ll usually end up with 1 to 4 dice. Even 1 die is good—a 50% chance of success. The most common traits you will use are the action ratings of the player characters. A player might roll dice for their Hunt action rating when they track a rival, for example. There are four types of rolls that you’ll use most often in the game: • Action roll. When a PC attempts an action that may prove dangerous or troublesome, you make an action roll to find out how it goes. Action rolls and their effects and consequences drive most of the game. • Downtime roll. When the PCs are at their leisure after an errand, they can perform downtime activities in relative safety. You make downtime rolls to see how much they get done. • Fortune roll. The GM can make a fortune roll to disclaim decision making and leave something up to chance. How loyal is an NPC? How much does the plague spread? How much evidence is burned before the First Court’s investigators knock at the door? • Resistance roll. A player can make a resistance roll when their character suffers a consequence they do not like. The roll tells us how much stress their character suffers to reduce the severity of a consequence. When you resist that “Publicly Snubbed” harm, you take some stress, and now it’s only “Bruised Ego” instead.


10 Action Rating &Attributes There are 12 actions in the game that the PCs use to overcome obstacles. • channel • command • consort • hunt • maneuver • skirmish • skulk • study • survey • sway • tinker • wreck Each action has a rating (from zero to 4) which tells you how many dice to roll when you perform that action. Action ratings do not just represent skill or training—you’re free to describe how your character performs that action based on the type of person they are. Maybe your character is good at Command because they have a scary stillness to them, while another character barks orders and intimidates people with their military bearing. You choose which action to perform to overcome an obstacle, by describing what your character does. Actions which are poorly suited to the situation may be less effective and may put the character in more danger, but may still be attempted. Usually, when you perform an action, you’ll make an action roll to see how it turns out. When you Channel, you open your mind to arcane power and draw on sorcerous might. You might navigate the tricky syllables of an ancient spell of binding. You might quickly summon a magical ward to stave off harm. You might identify a recently uncovered artifact, but Study might be better.  Channel, as an action, typically draws upon arcane energy in some form or another. Knacks have an internal power, whereas for others Channeling might be drawing it from an artifact, a trinket, a device, or an arcane creature or spirit. “Blunts” can interact with the arcane, but Knacks create it. When you Command, you compel obedience. You might glare down a handful of thugs in an alleyway. You might get a fop to retract an insult with a cutting remark. You might demand information from mercenaries in league with your House, but Consort might be better.


11 When you Consort, you socialize amongst friends. You might chat up the friendly tavern owner in hopes of learning when the diplomat was last seen alive. You might draw out a secret from a confidant. You might use a disguise and forged papers to bluff past a House guard, but Skulk might be better. When you Hunt, you carefully track a target.  You might follow a carriage as it crosses the city. You might navigate the press of the crowd to find a sight-line on the hangman at the execution. You might unobtrusively tail a corrupt priest, but Skulk might be better. When you Maneuver, you traverse quickly and skillfully.  You might leap from roof-top to roof-top with a running start. You might navigate the tricky steps of a fashionable new dance. You might carefully lie by omission, but Consort might be better. When you Skirmish, you entangle a target in combat. You might slip a knife into the ribs of the street-tough hired to kill you. You might fight an elaborate duel with an affronted rival. You might spring from the shadows to neutralize the agent on your tail, but Wreck might be better. When you Skulk, you move carefully so as to avoid notice.  You might keep to the shadows to avoid the attention of an attentive guard. You might cobble together a disguise to pass as a rival House’s courier. You might soundlessly pry open a window to secure entrance to a villa, though Tinker might be better. When you Study, you scrutinize details and interpret evidence.  You might decode an enciphered message or occult ritual. You might follow the money to draw connections between hired bravos and your rival. You might assume an enemy’s current intentions based on the number of warships they have docked in the harbor, but Survey might be better.


12 When you Survey, you observe the situation and anticipate outcomes.  You might scan a roofline for hidden assassins. You might recognize the mark that separates gang territories in the Twist. You might recognize the embroidery on a jacket as distinctive of a rival House’s favorite tailor, but Study might be better.  When you Sway, you influence with guile, charm, or argument.  You might make a good impression upon the chamberlain to the Prince with a honeyed word. You might provide convenient evidence to the captain of the Watch to implicate a rival. You might engage in a debate at a dinner party and try to win on the basis of being the better orator, but Maneuver might be better.  When you Tinker, you fiddle with devices and mechanisms. You might soundlessly pick a lock and slip inside a room your rivals thought secure. You might quickly navigate a puzzle box. You might set a cunning clockwork trap for a foe, but Hunt might be better.  When you Wreck, you utilize overwhelming force against a person or object.  You might use acid to melt a tricky lock on a strongbox. You might decide that the only sort of diplomacy the gang boss understands is a chair across the teeth. You might twist the weave of magic to incinerate a foe, but Channel might be better. As you can see, many actions overlap with others. This is by design. As a player, you get to choose which action you roll, by saying what your character does. Can you try to Wreck someone during a duel? Sure! The GM tells you the position and effect level of your action in this circumstance. As it says, Skirmish might be better (less risky or more effective), depending on the situation at hand (sometimes it won’t be better).  To see detailed explanations of each Action Rating see: Actions in Play (page 225).


13 Action Roll Overview You make an action roll when your character does something potentially dangerous or troublesome. The possible results of the action roll depend on your character’s position. There are three positions: controlled, risky, and desperate. If you are in a controlled position, the possible consequences are less serious. If you are in a desperate position, the consequences can be severe. If you are somewhere in between, it’s risky—usually considered the “default” position for most actions. If there is no danger or trouble at hand, you don’t make an action roll. You might make a fortune roll, or use a downtime action and roll as appropriate. Otherwise, the GM will simply say yes—and you accomplish your goal. Attribute Ratings There are three attributes in the game system that your player characters use to resist bad consequences: Body, Mind, and Spirit. Each attribute has a rating (from 0 to 4) that tells you how many dice to roll when you use that attribute. The rating for each attribute is equal to the number of dots in the first column under that attribute. (See the example on the following page.) The better-rounded your character is with a particular set of actions, the better their attribute rating. attributes & actions they govern body • skulk • skirmish • maneuver • wreck mind • tinker • study • survey • hunt spirit • channel • command • consort • sway


14 Resistance Roll Each attribute resists a different type of danger. If you are embarrassed for example, you resist social harm with your Spirit rating. Resistance rolls always succeed—you diminish or deflect the bad result—but the better your roll, the less stress it costs to reduce or avoid the danger. When the enemy has a big advantage, you’ll need to make a resistance roll before you can take your own action. For example, when you duel the master swordfighter, she disarms you before you can strike. You need to make a resistance roll to keep hold of your blade if you want to attack her.  The GM judges the threat level of the enemies and uses these “preemptive” resistance rolls as needed to reflect the capabilities of especially dangerous foes. Find out more about Resistance Rolls under Resistance & Armor (page 35). example This character has:  3 dice to roll in Body 0 dice to roll in Mind (roll 2d6 and take the lower result.) 2 dice to roll in Spirit


15 Stress & Scandals stress Player characters in Court of Blades have a special reserve called stress. When they suffer a consequence they do not want to accept, they can take stress instead. The result of the resistance roll determines how much stress it costs to avoid a bad outcome. During a duel, Mia’s character, Cross, is stabbed in the chest. Mia rolls her body rating to resist, and gets a 2. It costs 6 stress, minus 2 (the result of the resistance roll) to resist the consequences. She marks off 4 stress and describes how Cross survives. The GM rules that the harm is reduced by the resistance roll, but not avoided entirely. Cross suffers level 2 harm “Chest Wound” instead of level 3 harm “Punctured Lung”. pushing yourself You can use stress to push yourself for greater performance. For each effect you choose below, take 2 stress (each can be chosen once for a given action): Add +1d to your roll. (This may be used for an action roll or downtime roll or any other kind of roll where extra effort would help you) Add +1 level to your effect. Take action when you’re incapacitated, physically or socially. scandals When a PC marks their last stress box, they suffer a scandal. When you take a scandal, circle one of your scandal conditions like sentimental, wicked, grasping, et cetera. They are all described on the following page. When you suffer a scandal, you are taken out of the current errand. You flee, are incapacitated, or otherwise drop out of the situation. You will return later, with a new personal reputation looming over you. When you do, you have zero stress and your indulgence has been satisfied for the next downtime.


16 Scandal conditions are permanent. Your character acquires the new personality quirk indicated by the condition, and can earn xp by using it to cause trouble. When you mark your fourth scandal condition, your character cannot continue as a retainer. You must retire them to a different life or send them to the guillotine to take the fall for the coterie’s shame level. scandal conditions • Sentimental: You are known to be soft of heart, and easily moved by misty-eyed emotion. • Wicked: You are suspected of villainous appetites or inclinations, and many expect your treachery. • Grasping: Your reputation is one of bold social-climbing and a lack of regard for those you hurt. • False: You are known for deception and calumny; few can afford to take you at your word. • Gauche: You are known to be crass, graceless, and whether by word or deed, unwilling to play the game of courtesy. • Jealous: Your peers know that you covet what they have, and they guard well against it. • Faithless: You are reputedly unwilling to place your trust in anyone or anything. • Fragile: You are too easily cut by word or treacherous deed to live long in Ilrien.


17 Action Roll When a player character does something challenging, we make an action roll to see how it turns out. An action is challenging if there is an obstacle to the PC’s goal that is dangerous or troublesome in some way. We do not make an action roll unless the PC is put to the test. If their action is something that we expect them to simply accomplish, then we do not make an action roll. Each game group will have their own ideas about what “challenging” means. This is good! It’s something that establishes the tone and style of your Court of Blades series. To make an action roll, we go through six steps. In play, they flow together, but let us break each one down here for clarity. 1. The player states their goal for the action. 2. The player chooses the action rating. 3. The GM sets the position for the roll. 4. The GM sets the effect level for the action. 5. Add bonus dice as needed. 6. The player rolls the dice and we judge the result. 1. The Player States Their Goal Your goal is the concrete outcome your character will achieve when they overcome the obstacle at hand. Usually, the character’s goal is obvious in context, but it is the GM’s job to ask and clarify the goal when necessary. “You’re punching your paramour’s suitor in the face, right? Okay... what do you want to get out of this? Do you want to take him out, or just rough him up so he’ll do what you want?” 2. The Player Chooses the Action Rating The player chooses which action rating to roll, flowing from what their character is doing on-screen. If you want to roll your Skirmish action, then get in a fight. If you want to roll your Command action, then raise your voice and throw your weight around. You cannot roll a given action rating unless your character is presently performing that action in the fiction.


18 3. The GM Sets the Position Once the player chooses their action, the GM sets the position for the roll. The position represents how dangerous or troublesome the action might be. There are three positions: controlled, risky, and desperate. To choose a position, the GM looks at the profiles for the positions below and picks one that most closely matches the situation at hand. By default, an action roll is risky. You rarely roll when there is no risk involved. If the situation seems more dangerous, if the PCs would have more to lose if they fail here, make it desperate. If the PCs have the advantage, or do not stand to lose much with a failure, make it controlled. 4. The GM Sets the Effect Level The GM assesses the likely effect level of this action, given the factors of the situation. What do the PCs stand to gain if they succeed here? Essentially, the effect level tells us “how much” this action can accomplish: will it have limited, standard, or great effect? The GM’s choices for effect level and position can be strongly influenced by the player’s choice of action rating. If a player wants to try to make a new friend by Wrecking something—well... maybe that is possible, but the GM would not be out of line to say it is a desperate roll and probably limited effect. Seems like Consorting would be a lot better for that. The players are always free to choose the action they perform, but that does not mean all actions should be equally risky or potent. 5. Add Bonus Dice You can normally get up to two bonus dice for your action roll (some special abilities might give you additional bonus dice). For one bonus die, you can get assistance from a teammate. They take 1 stress, describe the manner in which they help you, and give you +1d. For another bonus die, you may either push yourself (take 2 stress) or you can accept a Lady’s Favor (you can’t get dice for both, only one or the other).


19 the lady’s favor PCs in Court of Blades are professional retainers dedicated to the rise of their House—they do not always act in their own best interests. To reflect this, the GM or any other player can offer you a bonus die if you accept a Lady’s Favor. The Lady’s nature is duality. She is fortune, both good and bad. Common Lady’s Favors include: • Add a new complication. • Collateral damage, unintended harm. • Sacrifice influence, or favor, or an item. • Betray a friend or loved one. • Offend or anger a faction. • Start and/or tick a troublesome clock. • Add exposure to the coterie from evidence or witnesses. • Suffer harm. The Lady’s Favor occurs regardless of the outcome of the roll. You make the deal, pay the price, and get the bonus die. The Lady’s Favor is always a free choice. If you do not like one, just reject it (or suggest how to alter it so you might consider taking it). You can always just push yourself for that bonus die instead. If it is ever a point of contention, the GM has final say over which Lady’s Favors are valid. 6. Roll the Dice and Judge the Result Once the goal, action rating, position, and effect have been established, add any bonus dice and roll the dice pool to determine the outcome. (See the sets of possible outcomes, by position, on the following pages.) The action roll does a lot of work for you. It tells you how well the character performs, as well as how serious the consequences are for them. They might succeed at their action without any consequences (on a 6), or they might succeed but suffer consequences (on a 4/5), or it might just all go wrong (on a 1-3). On a 1-3, it is up to the GM to decide if the PC’s action has any effect or not, or if it even happens at all. Usually, the action just fails completely, but in some circumstances, it might make sense or be more interesting for the action to have effect even on a 1-3 result.


20 Each 4/5 and 1-3 outcome lists suggested consequences for the character. The worse your position, the worse the consequences are. The GM can inflict one or more of these consequences, depending on the circumstances of the action roll. PCs have the ability to avoid or reduce the severity of consequences that they suffer by resisting them. When you narrate the action after the roll, the GM and player collaborate to describe what happens on-screen. Tell us how you woo the courtesan. Tell us what you say to the Sister to convince her. The GM will tell us how she reacts. When you face the Blue Devil bravo, what is your dueling style like? Et cetera. Action Roll Summary • A player or GM calls for a roll. Make an action roll when the character performs a risky, dangerous or otherwise troublesome action. • The player chooses the action rating to roll. Choose the action that matches what the character is doing in the fiction. • The GM establishes the position and effect level of the action. The choice of position and effect is influenced strongly by the player’s choice of action. • Add up to two bonus dice. 1) Assistance from a teammate. • 2) Push yourself (take 2 stress) or accept a Lady’s Favor. • Roll the dice pool and judge the outcome. The players and GM narrate the action together. The GM has final say over what happens and inflicts consequences as called for by the position and the result of the roll. action roll • 1d for each Action rating dot. • +1d if you have Assistance. • +1d if you Push yourself -or- you accept a Lady’s Favor.


21 double duty rolls Since NPCs do not roll for their actions, an action roll does double-duty: it resolves the action of the PC as well as any NPCs that are involved. The single roll tells us how those actions interact and which consequences result. On a 6, the PC wins and has their effect. On a 4/5, it is a mix—both the PC and the NPC have their effect. On a 1-3, the NPC wins and has their effect as a consequence on the PC. Controlled— You act on your terms. You exploit a dominant advantage. • Critical: You do it with increased effect. • 6: You do it. • 4/5: You hesitate. Withdraw and try a different approach, or else do it with a minor consequence: a minor complication occurs, you have reduced effect, you suffer lesser harm, you end up in a risky position. • 1-3: You falter. Press on by seizing a risky opportunity, or withdraw and try a different approach. Risky— You go head-to-head. You act under fire. You take a chance. • Critical: You do it with increased effect. • 6: You do it. • 4/5: You do it, but with a consequence: a complication occurs, you suffer harm, you have reduced effect, you end up in a desperate position. • 1-3: Things go badly. You suffer harm, a complication occurs, you end up in a desperate position, you lose this opportunity. Desperate— You overreach your capabilities. You are in serious trouble.  • Critical: You do it with increased effect. • 6: You do it. • 4/5: You do it, but there is a consequence: you suffer severe harm, a serious complication occurs, you have reduced effect. • 1-3: It is the worst outcome. You suffer severe harm, a serious complication occurs, you lose this opportunity for action.


22 Progress Clocks A progress clock is a circle divided into segments. Draw a progress clock when you need to track ongoing effort against an obstacle or the approach of impending trouble. Sneaking into a Prince’s garden? Make a clock to track the alert level of the patrolling House guard. When the PCs suffer consequences from partial successes or missed rolls, fill in segments on the clock until the alarm is raised. Generally, more complex problems have more segments in their progress clock. A complex obstacle is a 4-segment clock. A more complicated obstacle is a 6-clock. A daunting obstacle is an 8-segment clock. When you create a clock, make it about the obstacle, not the method. The clocks for an infiltration should be “Interior Patrol” and “The Tower,” not “Sneak Past the House Guards” or “Climb the Tower.” The patrols and the tower are the obstacles—the PCs can attempt to overcome them in a variety of ways. Complex threats can be broken into several “layers,” each with its own progress clock. For example, the First Prince’s palace might have a “Perimeter Security” clock, a “House Guard” clock, and a “Vigilant Help” clock. The coterie would have to make their way through all three layers to reach the ideal hiding place to eavesdrop on the Prince’s clandestine meeting this evening. Remember that a clock tracks progress. It reflects the fictional situation, so the group can gauge how they’re doing. A clock is like a speedometer in a car. It shows the speed of the vehicle—but the throttle controls the speed. Actions are your throttle. simple obstacles Not every situation and obstacle requires a clock. Use clocks when a situation is complex or layered and you need to track something over time—otherwise, resolve the result of an action with a single roll. Examples of progress clocks follow.


23 danger clocks The GM can use a clock to represent a progressive danger, like suspicion growing during a seduction, the proximity of pursuers in a chase, or the alert level of the bravo accompanying your target. In this case, when a complication occurs, the GM ticks one, two, or three segments on the clock, depending on the consequence level. When the clock is full, the danger comes to fruition—the House guard hunts down the spies, sounds an alarm, releases the hounds, et cetera. racing clocks Create two opposed clocks to represent a race. The PCs might have a progress clock called “Escape” while a rival coterie has a clock called “Cornered.” If the PCs finish their clock before their rivals fill theirs, they get away. Otherwise, they are cornered and cannot flee. If both complete at the same time, the PCs escape, but the hunting coterie is on their heels! You can also use racing clocks for an environmental hazard. Maybe the PCs are trying to complete the “Search” clock to find the lockbox on the Prince’s sinking ship before the GM fills the “Sunk” clock and the vessel goes down to the bottom of the harbor. linked clocks You can make a clock that unlocks another clock once it is filled. For example, the GM might make a linked clock called “Trapped” after an “Alert” clock fills up. When you challenge a veteran council-member, she might have a clock for her “Defense” and then a linked clock for “Vulnerable.” Once you overcome the “Defense” clock, then you can attempt to overcome the “Vulnerable” clock and defeat her argument. You might affect the “Defense” clock with cunning in a debate, or you lower her defense with deception if you have the opportunity. As always, the method of action is up to the players and the details of the fiction at hand. mission clocks The GM can make a clock for a time-sensitive errand, to represent the window of opportunity you have to complete it. If the countdown runs out, the errand is scrubbed or changes—the target evades you, the household wakes up for the day, et cetera.


24 warring clocks You can make a clock that can be filled and emptied by events, to represent a back-and-forth situation. You might make a “Revolution!” clock that indicates when refugees start to riot over poor treatment in the Groan. Some events will tick the clock up and some will tick it down. Once it fills, the revolution begins. Warring clocks are also perfect for an ongoing competition for resources between two factions. long-term project clocks Some projects and intrigues will take a long time. A basic long-term project (like tinkering up a new feature for a device) is four segments. Truly longterm projects (establishing an airtight cover identity for your colleague) can be twelve segments. A long-term project is a good catch-all for dealing with any unusual player goal, including things that circumvent or change elements of the mechanics or setting.  faction clocks Each faction has its own objectives. The Houses of the Esultare have more advanced goals (covered under The GM’s Turn). When the PCs have downtime, the GM may tick forward the other faction clocks for the Houses Minor, The Uncouth, or The Outsiders that pique the players’ or their own interest. In this way, the world around the PCs is dynamic and things happen that they are not directly connected to, changing the overall situation in the city and creating new opportunities and challenges. The PCs may also directly affect NPC faction clocks, based on the errands and other tasks they complete. Discuss known faction projects that they might aid or interfere with, and also consider how a PC operation might affect the NPC clocks, whether the players intended it or not. romance clocks The budding relationship between a PC and their paramour is represented by a six-part clock, that also functions like a tug-of-war clock. Once a PC completes this clock, they acquire a paramour and can build heat (a general measure of how torrid and fraught the relationship is). This heat can be spent in a number of ways detailed in the Romance section.


25 Position & Effect Position and effect are the most commonly used tools at the table. Any time a roll needs to be made, you will first ask the GM what your position and effect are. If your position (how controlled the situation is) or effect (how much impact you can make in the situation) are unfavorable, there are ways to increase your chances of success. position There are three positions in Court of Blades: controlled, risky, and desperate. A controlled position means that you are at the lowest risk of having complications arise from a gaffe or misstep. Though a consequence from a mistake (not convincing the doorman of your purpose for needing an audience) or poor choice (yelling during a covert mission), can quickly change your position to risky. While your position is risky, you are in danger of more serious complications occurring. You take too long to get the door open, for instance, and now the neighbors are growing suspicious. Risky is generally the “sweet spot” for gameplay, where most of your rolls will happen. But, enough unfortunate rolls can quickly push your position to desperate. Desperate situations offer the greatest danger to everyone involved. Morran has failed to disarm the guard and now the two of them are locked up over a blade. The situation is now desperate. If Morran fails to control that steel someone will undoubtedly take harm. effect In Court of Blades, you achieve goals by taking actions and facing consequences. But how many actions does it take to achieve a particular goal? That depends on the effect level of your actions. The GM judges the effect level using the profiles below. Which one best matches the action at hand—great, standard, or limited? Each effect level indicates the questions that should be answered for that effect, as well as how many segments to tick if you are using a progress clock.


26 Effect Levels / Clock Ticks— Great, 3 Clock Ticks You achieve more than usual. How does the extra effort manifest? What additional benefit do you enjoy? Standard, 2 Clock Ticks You achieve what we would expect as “normal” with this action. Is that enough, or is there more left to do? Limited, 1 Clock Tick You achieve a partial or weak effect. How is your impact diminished? What effort remains to achieve your goal? Assessing Factors To assess effect level, first start with your gut feeling, given this situation. Then, if needed, assess three factors that may modify the effect level: potency, scale, and quality. If the PC has an advantage in a given factor, consider a higher effect level. If they have a disadvantage, consider a reduced effect level. potency The potency factor considers particular weaknesses, taking extra time or a bigger risk, or the influence of arcane powers. For example, an infiltrator is more potent if all the lights are extinguished and they move about in the dark. If you are in a situation where you have more or less potency due to the fiction, this can be represented as more or less effect for your related action rolls. Your potency is also altered when you are confronting something with a higher or lower tier.


27 quality Quality represents the effectiveness of tools, weapons, or other resources, usually summarized by tier. Fine items count as +1 bonus in quality, stacking with tier. Trieste is picking the lock to a diplomat’s apartment.  Her coterie is tier III and she has fine lockpicks—so she’s effectively tier IV for this purpose. The diplomat is exceptionally well-connected, and tier V. Trieste is outclassed in quality, so her effect will be limited on the lock. scale Scale represents the number of opponents, size of an area covered, scope of influence, et cetera. Larger scale can be an advantage or disadvantage depending on the situation. In battle, more people are better. When infiltrating, more people are a hindrance. When considering factors, effect level might be reduced below limited, resulting in zero effect—or increased beyond great, resulting in an extreme effect. If a PC special ability gives “+1 effect,” it comes into play after the GM has assessed the effect level. For example, if you ended up with zero effect, the +1 effect bonus from your ability would bump them up to limited effect. Also, remember that a PC can push themselves (take 2 stress) to get +1 effect on their action. Every factor will not always apply to every situation. You do not have to do an exact accounting every time, either. Use the factors to help you make a stronger judgment call—do not feel beholden to them. consequences When a PC suffers an effect from an enemy or a taut situation, it is called a consequence. Consequences are the companion to effects. PCs have effects on the world around them and they suffer consequences in return from the risks they face.


28 trading position for effect After factors are considered and the GM has announced the effect level, a player might want to trade position for effect, or vice versa. For instance, if they are going to make a risky roll with standard effect (the most common scenario, generally), they might instead want to push their luck and make a desperate roll but with great effect. This kind of trade-off is not included in the effect factors because it’s not an element the GM should assess when setting the effect level. Once the level is set, though, you can offer the trade-off to the player if it makes sense in the situation. “I maneuver across the courtyard and vault over the wall, hiding in the shadows by the canal dock and gondola.” “I don’t think you can make it across in one quick dash. The scale of the courtyard is a factor here, so your effect will be limited. Let’s say you can get halfway across with this action, then you’ll have to figure out how to traverse the other half of the space (and the guards there) to reach the other side.” “I didn’t realize it was that far. Hmmm. Okay, what if I just go as fast as I can. Can I get all the way across if I make a desperate roll?” “You can certainly try!” tier Tier is an important factor in Court of Blades. Tier is a representation of the overall difficulty that others can expect from you, and that you can expect in return when trying to work with or against something else. That can be another House, or faction, or it can be a person or creature. You will begin the game at tier II, the same as the House you serve. You are already a part of a powerful House, and they lend their strengths to you as you do their business. When they go up in tier (through your good work on their behalf), you will as well. For example, the Brizolatto family (a member of the Uncouth faction) is tier IV, and the House you serve starts at tier II. The House you serve has a larger standing home guard, more money, and more sheer crushing power, but for the purposes of convincing the Brizolattos to do anything for you, you have to account for their unique strengths: a large network of gangs, the ability to intercept information and be ready for you, the difficulty you’ll have trying to strong arm them, or their friends in unexpected and high places. Since open warfare is frowned upon unless it’s approved by the First Court, these advantages


29 place the Brizolatto family at a higher tier compared to the House you serve. At least for now. Rolling against something with a higher or lower tier means that the GM takes the power difference in the situation into consideration when deciding your position and effect. Acting against a stronger target can result in things becoming desperate or your normal successes being limited. Pursuing action against a weaker target can result in things becoming controlled, or your normal success being greater. Tier is discussed further under The Faction Game (page 55). Setting Position & Effect The GM sets position and effect for an action roll at the same time, after the player says what they are doing and chooses their action. Usually, risky / standard is the default combination, modified by the action being used, the strength of the opposition, and any related factors. The ability to set position and effect as independent variables gives you nine possible combinations, to help you convey a wide array of fictional circumstances. For example, if a character is facing off alone against a small rival coterie, the situation might be: • She fights the coterie straight up, rushing into their midst, hacking away in a wild skirmish. In this case, being threatened by the larger force lowers her position to indicate greater risk, and the scale of the coterie reduces her effect (desperate / limited). • She fights the coterie from a choke-point, like a narrow alleyway where their numbers can’t overwhelm her at once. She’s not threatened by several at once, so her risk is similar to a one-on-one fight, but there are still a lot of combatants to deal with, so her effect is reduced (risky / limited). • She doesn’t fight the coterie, instead trying to maneuver her way past them and escape. She’s still under threat from many attacks, so her position is worse, but if the ground is open and the coterie can’t easily corral her, then her effect for escaping isn’t reduced (desperate / standard). If she had some immediate means of escape (like leaping onto a speeding carriage), then her effect might even be increased (desperate / great).


30 • The coterie isn’t aware of her yet—she’s set up in a sniper position on a nearby roof. She takes a shot against one of them. Their greater numbers aren’t a factor, so her effect isn’t reduced, and she’s not immediately in any danger (controlled / great). • Maybe instead, she wants to fire off a salvo of suppressing fire against the whole coterie, in which case their scale applies (controlled / limited). If the coterie is on guard for potential trouble, her position is more dangerous (risky / great). If the coterie is alerted to a sniper, then the effect may be reduced further, as they scatter and take cover (risky / limited). If the coterie is able to muster covering fire while they fall back to a safe position, then things are even worse for our retainer (desperate / limited). Consequences & Harm Enemy actions, bad circumstances, or the outcome of a roll can inflict consequences on a PC. A given circumstance might result in one or more consequences, depending on the situation. The GM determines the consequences, flowing from the fiction, style and tone established by the game group. There are five types (below). reduced effect This consequence represents diminished performance. The PC’s action is not as effective as they had anticipated. You hit him, but it is only a flesh wound. She accepts the forged invitation, but she will keep her eye on you throughout the night. You are able to scale the wall, but it’s slow going—you’re only halfway up. This consequence essentially reduces the effect level of the PC’s action by one after accounting for all other factors. complication This consequence represents trouble, mounting danger, or a new threat. The GM might introduce an immediate problem that results from the action right now: the room catches fire, you are disarmed, the coterie takes +1 exposure from evidence or witnesses, you lose status with a faction, the target evades you and now the chase is on, reinforcements arrive, et cetera. Or the GM might tick a clock for the complication, instead. Maybe there is a clock for the alert level of the guards at the manor. Or maybe the GM creates


31 a new clock for the suspicion of the noble guests at the masquerade party and ticks it. Fill one tick on a clock for a minor complication or two ticks for a standard complication. A serious complication is more severe: reinforcements surround and trap you, the room catches fire and falling ceiling beams block the door, your dueling foil is broken, the coterie suffers +2 exposure, your target slips out of sight, et cetera. Fill three ticks on a clock working against the coterie for a serious complication. Don’t inflict a complication that negates a successful roll. If a PC tries to corner someone and gets a 4/5, do not say that the person escapes. The player’s roll succeeded, so the person is cornered... maybe the PC must wrestle them into position and during the scuffle they grab the PC’s pistol. Or perhaps the person is not who they first appeared. lost opportunity This consequence represents a shifting circumstance. You had an opportunity to achieve your goal with this action, but it slips away. To try again, you need a new approach—usually a new form of action or a change in circumstances. Maybe you tried to Skirmish with the noble to trap her on the balcony, but she evades you and leaps out of reach. If you want to trap her now, you will have to try another way—maybe by Swaying her with your roguish charm. worse position This consequence represents losing control of the situation—the action carries you into a more dangerous position. Perhaps you make the leap across to the next rooftop, only to end up dangling by your fingertips. You have not failed, but you have likewise not succeeded yet, either. You can try again, re-rolling at the new, worse position. This is a good consequence to choose to show escalating action. A situation might go from controlled, to risky, to desperate as the action plays out and the PC gets deeper and deeper in trouble. harm This consequence represents a long-lasting debility (or death). It can be physical or social in nature. When you suffer harm, record the specific injury on your character’s playbook sheet equal to the level of harm you suffer. If you suffer lesser harm, record it in the bottom row. If you suffer moderate harm, write it in the middle row. If you suffer severe harm, record it in the top row. See examples of harm and the harm tracker on the following page.


32 Your character suffers the penalty indicated at the end of the row if any or all harm recorded in that row applies to the situation at hand. So, if you have “Embarrassed” and “Battered” harm in the bottom row, you will suffer reduced effect when you try to talk your way out of a risky situation with the Al-Mari diplomat. When you are impaired by harm in the top row (severe harm, level 3), your character is incapacitated and can’t do anything unless you have help from someone else or push yourself to perform the action. If you need to mark a harm level, but the row is already filled, the harm moves up to the next row above. So, if you suffered lesser harm (level 1) but had no empty spaces in the first row, you would have to record moderate harm (level 2), instead. If you run out of spaces on the top row and need to mark harm there, your character suffers a catastrophic, permanent consequence (loss of a limb, sudden death, et cetera, depending on the circumstances). This character has three harm: a “relieved from duty” (level 3, severe) plus “embarrassed” and “battered” (both level 1, lesser). If they suffer another level 1 harm, it will move up to level 2. If they suffer another level 3 harm, it will move up to level 4: Potentially Fatal. harm examples Potentially Fatal (4): Physical; Electrocuted, Drowned, Stabbed in the Heart, Lost Limb. Social; Excommunicated, Fugitive, Enemy of the State. Severe (3): Physical; Impaled, Broken Leg, Shot in Chest, Badly Burned, Terrified. Social; Relieved from Duty, Disgraced, Shunned. Moderate (2): Physical; Exhausted, Deep Cut to Arm, Concussion, Panicked, Seduced. Social; Atoning, Out of Favor with House X, Openly Mocked by House X.


33 Lesser (1): Physical; Battered, Drained, Distracted, Scared, Confused. Social; Embarrassed, Chastised, Whispers Behind your Back. Harm like “embarrassed” or “exhausted” can be a good fallback consequence if there’s nothing else threatening a PC (like when they spend all night studying those old books, looking for any clues to their enemy’s weaknesses before he strikes). Healing Harm Each House of the Esultare has either a Physician or a Grace in their employ, indicating whether a House is more aligned with science and bodily health or invested in faith and arcane healing, respectively.  Healing harm in-between errands is handled by the House’s Physician or Grace. They begin with +2d in both Tinker and Channel. Additional skill in healing is obtained as the House advances in rank amongst the Esultare, see: Esultare House Rank Bonuses (page 61) for details. • A Grace rolling to heal physical harm does so with standard effect. Greater effect on arcane harm. • A Physician rolling to heal arcane harm does so with standard effect. Greater effect on physical harm. • Social harm is handled through a four-part healing clock like physical harm. However, the PC’s damaged reputation never benefits from the House’s healer. They will have to Consort or Sway to stamp out lingering effects of social harm themselves, or get someone to intercede on their behalf. When intercession outside of the House’s knowledge is called for, it may be helpful to know that most city healers roll with +1d, or +2d if they are very skilled. The PCs pay 1 influence for each healing roll made with a city healer, though the healer could still require something extra in return for their service. Coteries can choose to take on a special long-term project to make contact with a more skilled Physician or Grace within the city as needed. • Lesser harm (minor issues like bruised, tired, embarrassed, and so on) naturally goes away in the resting period between errands. You do not need to roll to heal lesser harm. 


34 Anyone can roll as the House’s healer during downtime. Take the highest result. To account for the “greater effect” for physicians healing physical harm, or Graces healing arcane harm, treat all rolls as one result higher. IE. 1-3 becomes a 4/5, a 4/5 becomes a 6, and a 6 becomes a critical success.  1-3: Mark 1 tick on the healing clock for one of your harms. 4/5: Mark 2 ticks on the healing clock for one of your harms. 6: Mark 3 ticks on the healing clock for one of your harms. Critical: Mark all ticks on the healing clock for one harm. Example: Mina has level 2 harm: cracked ribs (physical), level 3 harm: hexed (arcane), and level 1 harm: rebuffed (social). Mina is having a terrible day. The House she serves employs a Grace for its healer. When she decides to heal her arcane harm: hexed, her teammate rolling as the healer rolls a 6. Because the healer is a Grace, that 6 is treated like a critical success and Mina’s hex is cured in one roll.  Next, she attempts to heal her physical harm: cracked ribs. This time the healer rolls a 3, and with no bonus to physical heals as a Grace, Mina marks only one tick off of her level 2 harm healing clock. She decides to keep the harm rather than spending influence for more downtime actions so it follows her into the next session. However, her level 1 harm: rebuffed, naturally heals itself with a (narrative) good rest. Your healing clock is located on your character sheet. It is always a four segment clock. When you fill your healing clock, reduce each instance of harm on your sheet by one level, then clear the clock. If you have more segments to mark, they “roll over.” Whenever you suffer new harm, clear any ticks on your healing clock. 


35 Resistance & Armor When your PC suffers a consequence that you would rather not, you can choose to resist it. Just tell the GM, “No, I don’t think so. I’m resisting that.” Resistance is always automatically effective—the GM will tell you if the consequence is reduced in severity or if you avoid it entirely. Then, you will make a resistance roll to see how much stress your character suffers as a result of their resistance. You make the roll using one of your character’s attributes (Mind, Body, or Spirit). The GM chooses the attribute, based on the nature of consequences: • Mind: Consequences from deception or understanding. • Body: Consequences from physical strain or injury. • Spirit: Consequences from mental strain or willpower. Your character suffers 6 stress when they resist, minus the highest die result from the resistance roll. So, if you rolled a 4, you would suffer 2 stress. If you rolled a 6, you would suffer zero stress. If you get a critical result, you also clear 1 stress. Ian’s character, Silas, is in a heated debate with members of the First Court, a desperate position as he tries to Sway the Court. One of the Judges makes a cutting allusion to a recent failed bid of Silas’ to bribe a chamberlain of the First Court. Since the position was desperate, the GM inflicts severe harm (modified by any other factors). They tell Ian to record level 3 harm, “Disgraced” on Silas’s sheet. Ian decides to resist the harm, instead. The GM says he can reduce the harm by one level if he resists it. Ian rolls 3d for Silas’s Mind attribute and gets a 5. Silas takes 1 stress and the harm is reduced to level 2, “Shamed.” Usually, a resistance roll reduces the severity of a consequence. If it looks as though you are going to suffer fatal harm, for example, a resistance roll would reduce the harm to severe, instead. Or if you got a complication when you were sneaking into the manor house, and the GM was about to mark three ticks on the “Alert” clock, she would only mark two (or maybe one) if you resisted the complication. You may only roll against a given consequence once. The GM also has the option to rule that your character completely avoids the consequence. For instance, maybe you are in a sword fight and the consequence is getting disarmed. When you resist, the GM decides you avoid that consequence completely, keeping hold of your weapon.


36 By adjusting which consequences are reduced vs. which are avoided, the GM establishes the overall tone of your game. For a more daring game, most consequences will be avoided. For a grittier game, resistance will only reduce most consequences. The GM may also threaten several consequences at once, allowing the player to choose which ones to resist (and make rolls for each). “She stabs you and then leaps off the balcony. Level 2 harm and you lose the opportunity to catch her with fighting.” “I’ll resist losing the opportunity by grappling her as she attacks. She can stab me, but I don’t want to let her escape.” Once you decide to resist a consequence and roll, you suffer the stress indicated. You cannot roll first and see how much stress you’ll take, then decide whether or not to resist. resistance roll • 1d for each Attribute rating. • You reduce or avoid the effects of the consequence (GM chooses). • Suffer 6 stress minus the highest die result. • Critical: Clear 1 stress. armor If you have a type of armor that applies to the situation, you can mark an armor box to reduce or avoid a consequence, instead of rolling to resist. For example, Silas is taking level 2 harm, “Cut to the Ribs,” and the duel isn’t even over yet, so Ian decides to use Silas’s armor to reduce the harm. He marks the armor box and the harm becomes level 1, “Bruised.” When an armor box is marked, it cannot be used again until it is restored. It has already saved your life and gotten damaged in the process. All of your armor is restored when you choose your load for the next errand.


37 special armor Every playbook is granted a special armor feature. This feature is a special ability which allows the playbook to resist a single consequence or complication per errand related to a specific area of expertise. In many ways it is like the armor which any playbook can acquire with load. When a consequence that might be resisted by the special armor is mentioned, the player marks off the armor and describes how their armor saves them.  The difference lies in which cases the special armor is used. For instance, the Eye may resist a complication related to detection or security against them or their coterie for which they are present. Their expertise can be the difference between a guard spotting the coterie as they climbed the walls of the Lovell compound or becoming waylaid by the clockwork tumblers safeguarding the vaults of the Bank of Brass and Bone, but their coterie cannot benefit from their knowledge if they are not physically present. death There are a two main ways for a PC to die: • If they suffer level 4 fatal harm and they do not resist it, they die. Sometimes this is a choice a player wants to make, because they feel like it would not make sense for the character to survive, or it seems right for their character to die here. • If they need to record harm at level 3 and it is already filled, the character suffers a catastrophic consequence, which might mean sudden death (depending on the circumstances). When your character dies, you have options. You can create a new retainer to play. Maybe you “promote” one of the NPCs in your game to a PC, or create a brand-new character who joins the coterie.


38 Fortune Roll The fortune roll is a tool the GM can use to aid in decision making. You use a fortune roll in two different ways: When you need to make a determination about a situation the PCs aren’t directly involved in and don’t want to simply decide the outcome. Two rival factions in the Groan are fighting. How does that turn out? The GM makes a fortune roll for each of them. One gets a good result but the other gets limited effect. The GM decides that the first faction takes over some of their rivals’ territory but suffer some injuries during the skirmish. When an outcome is uncertain, but no other roll applies to the situation at hand. While the riot breaks out in the Twist, Bertrand and his coterie are caught between The Unburnt, The Motley, and House Bastien pikemen. As the fires rage and the three sides close in on the crossroads where the coterie try to make their escape, the GM makes a fortune roll. Will the Unburnt honor their contract? Will they hold back the Motley? Are they in league with the Bastien Pikemen? Do they even know the PCs are here? When you make a fortune roll you may use any trait rating to determine the dice pool of the roll. • When a faction takes an action with uncertain outcome, you might use their tier rating to make a fortune roll. • When an NPC operates independently, use their quality rating for a fortune roll. • When a supernatural power manifests with uncertain results, you might use its magnitude for a fortune roll. • When a PC gathers information, you might make a fortune roll using their action rating to determine the amount of the information they get. If no trait applies, roll 1d for sheer luck or create a dice pool (from 1to 4) based on the situation at hand. If two parties are directly opposed, make a fortune roll for each side to see how they do, then assess the outcome of the situation by comparing their performance levels. The fortune roll is also a good tool to help the GM manage all the various moving parts of the world. Sometimes a quick roll is enough to answer a question or inspire an idea for what might happen next.


39 Other examples of fortune rolls: • The PCs instigate a war between two factions, then sit back and watch the fireworks. How does it turn out? Does either side dominate? Are they both made vulnerable by the conflict? Make a few fortune rolls to find out. • A strange sickness is sweeping the city. How badly is a crime ridden district hit by the outbreak? The GM assigns a magnitude to the plague, and makes a fortune roll to judge the extent of its contamination. • The Hawk stakes out a good spot and makes a sniper shot against a foreign diplomat when he enters his residence. The controlled Hunt roll is a success, but is great effect enough to instantly kill them? Instead of making a progress clock for his mortality, the GM decides to use a simple fortune roll with his “toughness” as a trait to see if he can possibly survive the attack. The roll is a 4/5: the bullet misses his heart, but hits him in the lung—it’s a mortal wound. He’s on death’s door, with only hours to live, unless someone can get an expert Physician or Grace to him in time. • The City Watch is putting a case together against the PC coterie. How quickly will their evidence result in House dismissal and arrests? The coterie’s shame level counts as a major advantage for the watchmen. • The PCs face off in a skirmish with a veteran Mercy and her sisterexorcists. The tide of battle goes in the PCs’ favor, and many of their retinue are killed. One of the players asks if the Mercy will surrender to spare the rest of her team’s lives. The GM isn’t sure. How cold-hearted is this Mercy? She’s hunted demons, looked them in the eye without flinching... is there anything human left inside her? The GM makes a 2d fortune roll for “human feelings” to see if a spark of compassion remains in her heart. If so, maybe one of the PCs can roll to Consort, Sway, or Command her to stand down. fortune roll • 1d for each Trait rating. • +1d for each Major Advantage • -1d for each Major Disadvantage 1-3: Bad result / Poor, little effect. 4/5: Mixed result / Limited, partial effect. 6: Good result / Standard, full effect Critical: Exceptional result / Great, extreme effect.


40 Engagement Roll The engagement roll is a special type of fortune roll which comes into play when the Coterie has the necessary plan and detail to begin an errand. First, they decide what type of plan they are undertaking. The plans are outlined on every Playbook for reference and are as follows: Assault, Deception, Stealth, Arcane, Social, or Transport. There are two reasons for choosing a general plan before beginning an errand. First, it keeps the Coterie on the same page. If half of the Coterie wants to use Stealth to bypass the Elanda House Guard and steal their ledgers while the other half of the Coterie wants to run a Social errand and earn formal access to Elanda’s ledgers, it is best to iron out this wrinkle before the engagement roll is made. The second reason involves taking advantage of bonuses awarded by some abilities or Spheres of Influence. Example: The Grand Gate has the following Perks: +1d to gather information regarding comings and goings within Ilrien. Take +1 to your engagement roll when acting on that information. When the Players are ready to make the engagement roll, they begin with 1d for sheer audacity on the part of the Coterie, with the total number of dice rolled modified by any major advantages or disadvantages affecting them. Major Advantages and Disadvantages • Is this errand particularly bold and daring? Take +1d. Is it overly complex or contingent on luck or outside factors? Take -1d. • Does the plan leverage one of the House’s strengths? Take +1d. Is the target strongest against this approach or are they prepared for this eventuality? Take -1d. • Can any of your friends or contacts provide aid or insight into this errand? Take +1d. Are your enemies or rivals interfering in this errand? Take -1d. • Will this errand in some way endanger or reflect poorly upon one of your paramours? Take +1d and lose 1 heat with them. Will you allow your paramour or their reputation to complicate this errand? Take -1d and gain 1 heat with them. 


41 • Are there other elements you wish to consider? Maybe a lower-tier target might afford you +1d, or a higher-tier target gives you -1d. Maybe there’s a situation in the district which makes the errand more or less troublesome. 1-3: You’re in a desperate position when the action starts. 4/5: You are in a risky position when the action starts. 6: You’re in a controlled position when the action starts. Critical: Exceptional result. You’ve already overcome the first obstacle, and are in a controlled position for whatever is next. The engagement roll assumes the PCs approach the object of the errand with as much care, attention, and intelligence as they can, given the nature of the plan and detail they have provided. We do not need to play out tentative maneuvers or special preparations. The engagement roll covers that. The PCs are already in action, shadowing the courier, maneuvering across the ballroom at the Corvetto masquerade, cornering the double agent, etc. Cut directly to the action resulting from of the approach. Gathering Information The flow of information from the GM to the players about the fictional world is very important in a roleplaying game. By default, the GM tells the players what their characters perceive, suspect, and intuit. But there’s just too much going on to say everything—it would take forever and be boring, too. The players have a tool at their disposal to more fully investigate the fictional world. When you want to know something specific about the fictional world, your character can gather information. The GM will ask you how your character gathers the info. Alternately, if it is information your character might already know, the GM may ask how they learned it in the past. If it’s common knowledge, the GM will simply answer your questions. If there’s an obstacle to the discovery of the answer, an action roll is called for. If it’s not common knowledge but there’s no obstacle, a simple fortune roll determines the quality of the information you gather.


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