written by

Jeremy Strandberg

illustrated by
Lucie Arnoux

arranged by
Jason Lutes

proofread by
Rob Rendell
Matt Wetherbee

published by
Lampblack & Brimstone
 Kickstarter Backer Playkit
updated 10/28/2021

Dear backers,

Thanks for bringing Stonetop to life! We hope that you’ll enjoy this preview of
the final product.

A few things you should know going in:

These documents are close to their final form, but still part of a work-in-
progress, and incomplete. That being said, everything you need to run the
game is here.
If you spot typos or areas where the language is unclear, we invite you to
comment on the PDFs.
If you have questions or comments about the gameplay or mechanics, please
share your thoughts on the Stonetop Discord: https://discord.gg/wNE3Xky
A number of chapters are missing because they are not yet in shareable form.
Any updates to this playkit will be announced on the Discord.
All page number references are indicated by XX, because we won’t know the
proper page numbers until everything is in final layout. This means you’ll
need to find the pages yourself ! Apologies for the inconvenience.

Happy gaming,
Jeremy, Lucie, and Jason
No one knows how the Stone got there, nor what the runes cut into its surface
might mean. Few can even recount how the village sprang up around it. Most
take the Stone for granted as the heart of their little settlement, an anchor that
holds them fast at the edge of the known world. When a storm sweeps in across
the Flats, the Stone pulls lightning from the clouds like—well, like nothing else
at all. While outsiders might cower before this deafening display, the residents
merely offer passing prayers to Tor, the Rain-Maker, and go about their
business.

You are one of these, who call Stonetop home. One of a handful of notable
figures who stand out—admired, respected (maybe even reviled) for one reason
or another. If there’s a problem in need of solving, or trouble brewing, people
look to you for the solution. Or the cause. Or both.

And right now, as the first wildflowers show their heads among the windswept
grasses beyond the Wall, there’s trouble brewing. The world itself seems to be
darkening, like the sky before those late-summer storms. Everyone can feel it.
And some are afraid.

These are good people, your kith and kin. If you don’t step up to protect them,
who will?
Welcome to Stonetop
In order to play this game, you’ll need Stonetop is about the life of a small village
three or more people, including you. and its people over many years. The game
One of them—probably you, since you’re itself won’t take that long to play, but it is
reading this book—will be game master, designed to build and deepen over many
or GM. Everyone else is a player, each in sessions, each of which will be 2-4 hours in
charge of a player-character (PC) who’s length. You can think of it like a TV series,
one of the notable figures mentioned in the developing over multiple episodes.
intro at left.
Once you’ve got your players together for
Together, they’re in charge of the village your first session, you can start playing by
itself, which is kind of a character in following the step-by-step instructions in
its own right. The job of the players is the Getting Started chapter on page XX.
to say what their characters do in the As GM though, before that first session,
game world. As GM, you’re the host and you’ll need to familiarize yourself with the
moderator: you’ll lead the conversation, rules by reading through the first chapter
react to the players’ decisions, and describe of this book—The Basics, starting on the
everything about the world that falls next page.
outside the purview of the PCs.
Getting Started

Get ready
Review the setting
Set expectations
Discuss tone and content
Create characters
Introduce the PCs
Let spring break forth
After the session
Getting Started

Get ready
As far as physical preparation goes, beyond
this book you’ll need hard copies of the
following:
Make sure that everyone is on board with
the concept of Stonetop: that they’ll play
1 copy of each character playbook
the heroes of a small, isolated village. If
1 copy of the Steading playbook
someone wants to play a rootless, treasure-
1-4 copies of the Setting Overview
hunting mercenary, they’re unlikely to
1-3 copies of the Moves & Gear
enjoy themselves, and that will drag down
handout (on colored paper if you can)
the game for everyone.
1 copy of the Arcana cards
1 copy of the GM playbook
Prior to the first session, ask your players
to read the Setting Overview handout,
Print the PDFs for these documents
at least the first page. Encourage them to
double-sided (flipped on the short edge).
think about any content that they want to
exclude, veil, or handle in a particular way
After you’ve printed everything:
(see page XX). Consider posting a shared
document online where you and your play-
1) Staple the Stonetop Steading Play-
ers can record these things anonymously.
book, Moves & Gear, and Setting
Overview in the top left corner.
Set the expectation that the first session
will mostly involve creating characters and
2) Fold the character playbooks into
the village itself. It’s still play, and quite
individual booklets.
fun, but it’s not the immersive, portraying-
your-character type of play that they might
3) Cut out the “inserts” and slip the class-
expect. (This is different if you choose to
specific inserts into their appropriate
use an adventure starter, see page XX.)
playbooks.
It’s fine if players want to look over the
4) Keep the Inventory inserts stacked
character playbooks beforehand, but
and handy. Set aside the Revenant,
discourage anyone from making decisions
Ghost, and Thrall inserts.
just yet. Character creation should be done
together, as a group.
5) Assemble the GM Playbook. Stack the
sheets so that “Nearby Threats” is face-
As the GM, familiarize yourself with the
up. Fold all the pages over to make a
Setting Overview, the Steading playbook,
booklet. Staple it along the spine.
and the Moves & Gear handouts. You
should have a sense of what each class
6) If you have time, cut out all the Arcana
playbook is about, but you don’t need to
cards, major and minor.
understand them in depth. Look at a few
of the Major Arcana and Minor Arcana
There’s nothing secret in any of these
handouts to get a sense for what they are
documents, so if any of your players are
and what they’re like, but there’s no need
around ask them to help with the folding,
to study them in detail. If you have time,
cutting and, stapling!
read through the rest of this book and the
Setting Guide.

60
 Getting Started

If you’re playing electronically, you’ll need

to configure and distribute materials in Set expectations
whatever way works best for you, your Refer to the first page of the Setting Over-
players, and the platform that you’re using view. Ask everyone if they’re comfortable
to play. Make sure that everyone has access with the players’ agenda and principles.
to electronic copies of: Clarify and answer questions. Emphasize
the importance of collaboration.
The Stonetop Steading Playbook
The Setting Overview Explain that you have an agenda and prin-
The Moves & Gear handout ciples, too. Specifically, your agenda is to:
The character playbooks and inserts
Portray a rich and mysterious world
Make the arcana handouts available indi- Punctuate their lives with adventure
vidually, as needed. Play to find out what happens

For materials optimized for online play, visit Make it clear that you’ll be fleshing out
lampblack-and-brimstone.com/stonetop. the world together. There are no “official”
answers to many of the questions raised by
Review the setting the Setting Guide. There are many blanks
to filled in. You (the GM) have a set-
Once you’ve gathered for the first session, ting guide, but it’s mostly filled with ideas
ask everyone to take 10-15 minutes to rather than truths.
read the Setting Overview handout. Do
so even if everyone reviewed the handout
in advance. It helps to refresh memories
and get everyone on the same page.

When everyone’s done, ask the group

what questions they have. Answer to the
best of your ability, inviting others to help.
Note that some questions (like “Where did
the Forest Folk go?”) are mysteries that can
only be answered in play.

Ask everyone what they find intriguing

or exciting. What catches their imagina-
tion and makes them want to learn more?
Take notes! Be sure to include these topics
in the game.

61
Getting Started

Discuss tone Grab the Stonetop Steading Playbook and

find the section on Content. Explain the
and content difference between excluded content and
veiled content.
Talk to your group about tone: Stonetop
takes itself seriously, grounding itself in Excluded content just won’t be in the
human concerns. The PCs are exceptional, game, period. For example, if “torture” is
but they aren’t super-human. Violence has excluded, then PCs won’t torture anyone;
consequences. Monsters are scary. Magic is monsters and NPCs won’t torture anyone;
strange and dangerous. People matter. no one will threaten anyone with torture;
no one will have torture as part of their
The setting, playbooks, and rules go a long backstory. No torture, not even off-camera.
way towards establishing a consistent
tone, but you and your players ultimately Veiled content can be part of the game,
determine the game’s tone in play. Obvi- but only off-camera. If “torture” is veiled,
ously, you can play the game however you then PCs, NPCs, and monsters can all
want. You’ll almost certainly have moments threaten to torture each other, or have
of levity and silliness—you’re doing this been tortured in the past. PCs, NPCs, and
for fun, after all—but Stonetop works best monsters can commit torture, too, but if
when everyone mostly plays it straight. they do, you “fade to black” or “pan away”
and the actual torture happens off-camera.
Next, discuss any content that you and You can—and probably should—address
your players actively want to exclude, veil, the aftermath of the torture on-camera,
or handle in a particular way. Explain why but skip the torture itself.
this is important, reading or paraphrasing
the following: Excluded or veiled content can be broad
(“slavery”) or specific (“graphic depictions
“This game is collaborative, with each of of harm to eyes”). It can be potentially
us contributing to the game’s fiction. We upsetting (“torture”), or something that a
each have our own tastes, sensibilities, and player finds distasteful or mood-breaking
boundaries, which the others can’t fully (“punny names”), or even trivial (“NPCs
anticipate. So, before we start play, we’re named ‘Sean’”).
going to establish guidelines for the content
that we’ll include in the game. The goal is to Start by sharing the content that you (the
make the game enjoyable, comfortable, safe, GM) want to exclude or veil, plus any
and welcoming for everyone, and that’s more such content that was shared with you in
important than anyone’s sense of realism or advance. Then give the players a few min-
historical accuracy.” utes to consider what (else) they want to
exclude or veil. Ask for them to share, and
If someone strongly objects to establishing note the content on the steading playbook.
content guidelines, or refuses to respect the
wishes, boundaries, and dignity of their
fellow human beings, then consider
whether you really want to spend hours
and hours playing with them.

62
 Getting Started

If you suspect that some players will be shy Finally, ask if anyone has special requests
about sharing, have the whole group write regarding specific content. Is there certain
their excluded/veiled content on note cards, content that anyone wants to handle in a
anonymously, and then hand them in (or particular way? Are there any truths they
send them to you via e-mail, chat, etc.). want to assert about the world, the village,
or the game? For example:
Anyone can call for content to be excluded
or veiled. If one player wants to exclude “Spiders are okay, but I need us to
something that another player wants to avoid describing their legs.’”
veil, then that content is excluded. “I’m cool with bigotry between the
Hillfolk and Gordin’s Delve, but I
It’s fine to ask each other for clarifica- want Stonetop to be an open-minded
tion on what exactly is being excluded or and welcoming place.”
veiled, but don’t ask for reasons. Players “I don’t want the Stone to be some
can volunteer their reasons, but sometimes source of ancient evil.”
those reasons are private, unpleasant, or “I want to play a woman Marshal,
even traumatic and no one should be asked defying a woman’s ‘proper place!’”
to unpack that for a game. “Let’s say that gender norms in Stone-
top are super fluid and accepting.”
Let everyone know that they can call for
new content to be excluded or veiled at Discuss, negotiate, and compromise as
any time, in this session, between sessions, needed, trying to find common ground
or during future sessions. They don’t need that works for everyone, and note these
to speak now or forever hold their peace. special requests in the steading playbook.

Making corrections
Mistakes will happen. When excluded If you or a player realize that you’re
content comes up in play, or veiled con- uncomfortable with content that come up
tent gets included on-screen, whoever during a previous session, discuss it before
notices should call “time out” and point the next session. Update the steading
out what happened. Don’t make a big playbook and fix the fiction as needed.
deal about it; acknowledge the mistake,
fix the fiction if necessary, and move on. “Fix the fiction” means: decide as a
group what happened instead. This isn’t
Likewise, if anyone realizes mid-session meant to undo the consequences of play-
that some particular content is bothering ers’ rolls or decisions, but rather to bring
them, they can call a time out. Identify the fiction back in line with the comfort
the content that needs to be handled level of the group.
differently (clarifying as needed, but not
asking for reasons). Update the steading If a player consistently ignores the
playbook. Fix the fiction. Check in with group’s content guidelines, talk to them
the player and make sure they’re okay. about it between sessions. If they persist,
When everyone’s ready, continue. stop playing with them.

63
Getting Started

Create
Do I have to pick from these
appearances? No, they can make up

characters
something else. The appearances are
there to spark their creativity.
After your review the setting, set expecta- Do I have to pick one of these names?
tions, and establish content guidelines, it’s No, but the name lists are meant to
time to make characters! Do this together, give the world a cohesive feel. The
during the first session. steading playbook includes extra names
if they want to pick something else.
First, have everyone pick a character play-
book. Refer to the “Setting at a Glance” Do I have to live in Stonetop? Yes, at
handout for a quick overview of each, and least for now. There are only two excep-
discuss who would like to play which class. tions: a Blessed with the Raised by
This will be much quicker and easier than Wolves background and a Lightbearer
reviewing the entirety of each playbook. If with the Itinerant Mystic background.
anyone is unsure, have them read the front Even they should have close ties to the
page of the playbooks they are considering. village, and be there often.
As each person makes their choice, hand How does “armor” work? Their armor
them the appropriate playbook, along with value is (usually) based on their current
any class-specific inserts. Everyone gets gear. Armor reduces any damage they
an Inventory insert as well. If someone take. Multiple items with “x armor”
chooses the Seeker, hand them the Major don’t stack with each other, but items
Arcana cards and tell them they’ll need to that grant “+x armor” do stack (with
choose one before play proper begins, as each other, and with “x armor” items).
indicated by their playbook. 0-1 armor is typical. 2 armor is tough.
3 armor is the best a starting character
Ask each player to work through their can get.
playbook from front to back, making
choices and filling in blanks as needed. What does or mean? The item
Answer questions as they arise. Common counts against their load. If they bring
questions at this stage include: it on an expedition, they’ll mark that
many on their Inventory insert. They
My background says “go mark this can mark up to 3 4 with a light load,
now.” What does that mean? If they up to 6 4 with a normal load, and up
take that background, they should open to 9 4 with a heavy load.
their playbook and mark that particular
move, option, or special possession now Items without a or are either
(so that they don’t forget to do so later). small (they don’t count against your
load, but you typically carry only ~4 of
What does my instinct do? It describes them on each expedition) or something
how their character tends to behave. that you don’t carry on your person. It
Each session, they get XP if they should be obvious which.
demonstrate their instinct in play, or
struggle against it.

64
 Getting Started

Can I have a different special What does “roll + [STAT]” mean?

possession? Sure, but keep it setting- They’ll roll 2d6 and add the modifier
appropriate and on par with the other they’ve assigned to that stat. If the total
options. Check other playbooks for is a 10+, yay! If the total is 7-9, okay. If
inspiration. the total is 6-, uh-oh.

Do I get any (other) weapons or gear? What happens if I roll a 6 or less?

Special possessions are the unique or If a move doesn’t specify what happens
interesting things that they own or on a 6-, then it means that the player
have access to. Every character has marks XP and something bad happens.
access to common weapons, armor, and You (the GM) decide exactly what.
gear included on the Inventory insert.
They shouldn’t define their Inventory at What does “advantage” mean?
the start of play. They’ll do that when They roll an extra die and discard the
they first Outfit for an expedition. lowest. Usually, that means rolling 3d6
and keeping the 2 best dice. If they
How much damage do weapons do? have “disadvantage,” they roll an extra
Damage is based on the playbook, not die and discard the highest (usually
on the weapon. The Heavy deals 1d10 3d6, keep the 2 worst). If they have
damage and the Lightbearer deals 1d4, advantage or disadvantage on a damage
regardless of whether they use a dagger roll, they roll their damage die twice
or a maul. Some weapons of war deal and keep the best/worst roll (and then
“+1 damage,” but that’s an exception. add any bonus dice from moves).

No, they don’t add their STR (or Should I fill in the back page, too?
DEX) to their damage rolls. Yes. They should complete the left
column of their playbook’s back page,
What do the various tags mean? making choices or answering questions
Hand, close, reach, near, and far describe as they wish, within the content guide-
a weapon or light source’s useful range. lines established by the group.
From closest to furthest, the ranges are
hand < close < reach < near < far. If you’re using an adventure starter, (see
page XX), you might have specific instruc-
Piercing weapons ignore some of the tions for certain playbooks.
target’s armor. X piercing means that
the weapon’s piercing value is equal to
Stonetop’s Prosperity (+0 by default).

Precise weapons let them use DEX to

Clash (instead of STR).

Forceful, messy, awkward, reload, area,

dangerous, and warm are fictional cues.
They have no numeric effects, but they
color the fiction—which is important!

65
Getting Started

Introduce the PCs

Adventure starters
Everyone should stop and wait at the
Introductions section of their playbooks, If you want to start an adventure
which comprises the second column on right away, during the first session,
the back page. They can read it over and then download an adventure starter
think about answers to the questions, but from lamblack-and-brimstone.com.
shouldn’t make any hard decisions until
everyone’s ready to do so as a group. Each starter presents abbreviated
steps for character creation and
When all the players are at that point, set introductions, and then launches into
expectations: they’ll take turns introducing a specific adventure. The results won’t
themselves, adding details, asking and an- be as unique or fleshed out as what
swering questions about each other and the you get with the standard process, but
setting as it develops through conversation. you’ll get to the action more quickly!

While this happens, encourage them to...

3
1 Vital info
Choose someone to go first. They’ll
Pay attention: take interest in what introduce themselves by name, pronouns,
everyone else says. background (and playbook, if unclear),
Ask and answer questions: if they origin, and appearance.
want to know more about something
that comes up, ask. Answer questions Ask questions based on their class and
asked of you honestly. background. Use the following questions as
Play off of each other: incorporate a guide, but of course ask whatever your cu-
details mentioned by others into your riosity demands. Encourage the other play-
own contributions. ers to do so as well: “Anyone else curious
about anything that was just mentioned?”
As GM, you’ll ask a lot of questions, too.
See the following pages for suggestions. It’s okay to leave blanks! If someone isn’t
sure about a detail, or doesn’t want to
Whenever someone wants or needs to add decide just yet, that’s fine. Make a note and
a new NPC to the mix, suggest that they come back to it later—or just leave it as an
pick one of the unused names from the open question to be answered in play.
front of their playbook. Additional names
are available in the steading playbook. Also If their origin is someplace other than
give each NPC an occupation and trait. Stonetop, ask them the following (unless
the answer is obvious):
Take notes! Add NPCs to the steading
playbook as you go, or take more freeform What brought you (or your family) to
notes for now and update the Residents of Stonetop? Why here, specifically?
Stonetop and Notable Neighbors later. Who else, if anyone, came with you?
How long ago was this? Decades?
Years? Months? Days?

66
 Getting Started

The Blessed The Fox

Initiate The Natural

Who are your fellow initiates? What mundane craft, trade, or skill do
How long ago were you initiated? you excel at, better than anyone?
How were you chosen? By lineage? By What well-earned reputation do
trial? By sign or omen? you have?
Did anyone else seek your role? What lies get whispered behind
What did initiation rites entail? Were your back?
they public or secret? Festive or somber? What secret do you know? About whom?
What do your duties as an initiate entail?
A Life of Crime
Raised by Wolves What criminal enterprise were you a
Were you one of the Forest Folk? Stolen, part of ? Who ran the show?
lost, or abandoned? Something else? How did you get into that life?
Did you grow up in the Great Woods? How did you get out?
On the Flats? Somewhere else? Who or what did you leave behind?
What drew you to Stonetop? What ties Who here knows about your past?
you to the village?
When did you first make yourself known The Prodigal Returned
to the village? How did that happen? Why did you leave? How long ago?
Do you live in town? On the outskirts? Where did you go first? Why?
In the Wood? How often do you visit? Where were you the longest?
What brought you home? When?
Vessel What has changed most while you
How did you gain or become aware of were away?
your power? When did this happen?
How has your life changed since gaining
your powers?
Do you have a mentor? Or are you self
taught, going by instinct and insight?
Do you hold some formal position as a
servant of Danu?

67
Getting Started

The Heavy The Judge

Sheriff Legacy
Is this a formal position, or just How long have you been the Judge? How
something everyone agrees on? long before that were you the apprentice?
How long have you acted as sheriff ? Who was the Judge before you? Are
Who, if anyone, did this job before you? they still alive?
Just where exactly did you learn how to How were you chosen as the prior
fight so well? Judge’s apprentice?
What is the symbol of your authority
Blood-Soaked Past (hammer, shield, or helm)? Where does
How did you earn your grim reputation? the Chronicle say it come from?
What did people used to call you, back
in your dark bloody days? Missionary
What prompted you to put all that Where are you from, originally? Where
behind you? When did that happen? did you do your apprenticeship?
Who here knows about your past? How were you chosen as an apprentice?
Who have you, personally, lost How long were you an apprentice? How
to violence? long have you been a full Judge?
Of the Judges in the other steadings
Storm-Marked (Reagan, Haeris, and Rahat)…
When did the marks manifest? How? ...which was your mentor?
Are they a symbol of your strength, ...which was a fellow apprentice?
speed, and courage? Or the source? ...which is reliable but inflexible?
Are the marks a blessing? Or a curse? ...which is clever but ambitious?
How do folks in Stonetop generally ...which lacks the necessary mettle?
treat you? When did you arrive in Stonetop? How
were you received?
Was there a prior Judge in Stonetop, or
are you the first?
What is the symbol of your authority
(hammer, shield, or helm)? Was it be-
stowed by your order, or did you find it?

Prophet
How did Aratis call you to her service?
What is the symbol of your authority
(hammer, shield, or helm)? Where and
how did you acquire it?
How did you establish yourself as
Stonetop’s Judge?

68
 Getting Started

The Lightbearer The Marshal

Auspicious Birth Scion

How was your birth marked by Helior? Who ran the militia before you?
How did your connection to Helior When did you take charge?
shape your youth? Did anyone else want your position?
Do you hold some formal position as a What is the nature of your crew? Why
servant of Helior? are they so respected?
Who in town resents you, or at least How do you recruit or initiate members?
what you represent?
Who in town is your most Penitent
devoted disciple? Where did you and your crew operate,
before? What kind of bloody business
Itinerant Mystic did you all get up to?
What is it that keeps drawing you back What caused you to set that life aside?
to Stonetop? Did any of your old crew refuse to join
Where else do you regularly travel to? you? Last you heard, what are they up to?
How long have you lived this Who spoke on your behalf when you
wandering lifestyle? first arrived? Who still doesn’t trust you?
Why is it that some folk from Stonetop Did you take over Stonetop’s militia
are always so happy to see you? from someone else? How’d that go?
Why is it that some folk from Stonetop How well has your crew integrated
can’t wait to see you go? into Stonetop?

Soul on Fire Luminary

What sort of vice or iniquity once Are you touched by the gods? Does
ruled your life? ancient blood flow in your veins? Or
What brought you so low, only to find are you just the one who stepped up
succor in Helior’s light? when needed?
Do you hold some formal position as a When and how did it become clear
servant of Helior? that you were a natural leader?
How have the people of Stonetop When did you take charge of the militia?
responded to your preaching? Who, if anyone, ran the militia
before you?
What is the nature of your crew?
How do you recruit or initiate members?

69
Getting Started

The Ranger The Seeker

Mighty Hunter Patriot

How long have you plied the Wood? What grim event convinced you that
Who first taught you their ways? Stonetop and the people you love are
Did you ever meet the Forest Folk, in danger?
before they disappeared? Where do you Who else knows about your arcana and
think they went? the powers you tamper with?
What deed are you most renowned for? How did you learn so much of the Things
Below, and your other area of expertise?
Wide Wanderer
What drives you to wander, when Antiquarian
others stay safely at home? How did you learn so much of the
Why do you call Stonetop home? Why Makers, and your other area of expertise?
do you always return here? What do other scholars claim the Stone
Of the folks you added to the list of really is? What do you think, instead?
neighbors (Tirny, Eser, etc.)… What convinced you that Stonetop holds
...which one wants you dead? the key to your greatest discoveries?
...which one is always glad to see you? What is it you hope to find here?
...which one owes you a life debt? What is it that keeps you here?
What’s one place you’ve always wanted
to visit, but have never been? Witch Hunter
What set you on the path of hunting evil?
Beast-Bonded What have you sacrificed, walking
What type of beast is your companion? this path?
What’s its name? Tell us about it! How did you come to be so well versed
How long ago did you bond with your in your chosen subjects?
companion, and how did it happen? Why do you (still) call Stonetop home?
What special power do you have with
your animal companion?
Who in town does your companion
adore?
Who in town does your companion
terrify?

70
 Getting Started

Have the players go around and share their

The Would-Be Hero
special possessions and how they earn their
Impetuous keep. Most players will naturally tie their
What was your first taste of danger possessions into how they contribute to the
and excitement? village, but if they don’t, press them on it.
What do you dream of becoming?
What hero of old do you idolize? Ask the questions below, plus whatever
Who have you let down the most? else you’re curious about. Take notes, and
update the steading playbook as needed.
Drive
Smithy or tannery
What happened to set you down
Are you the town’s smith/tanner, or
this path?
their apprentice, or what?
When and where did this happen?
How long have you been doing this?
What was your life like before then?
How’d you get started?
Destined
Tools (carpenter’s, husbandry, etc.)
What are the elements of your destiny?
Do you earn your keep with these tools?
How and when was your destiny (or
Or is it something you do on the side?
what you know of it) revealed to you?
Where did you get them? How did you
Is your destiny a curse? A blessing? Do
learn to use them?
you even believe in it?
Who knows about your destiny? How
Apiary, aviary, chandlery, goat herd,
much? How much do they believe?
glassworks, or herb garden
How big is it? And where?
23 Special possessions Is it yours? Yours to manage? Or what?
The next step is to establish each How long has it been in Stonetop?
character’s special possessions, and how What’s its importance to the village?
they contribute to the village. During this
round, you’re trying to figure out where the Distillery
PCs fit into daily life. Are you the publican? Or related
to them?
Almost everyone in Stonetop helps in the How long have you been doing this?
fields, at least during spring planting and How good is your stuff ? Whose is better?
fall harvest. Most of the crops (beans, po-
tatoes, barley) get stored in the granary and Anything else
doled out as needed. Folks keep their own How did you come to possess that?
homes, with gardens and small livestock. When?
What do others know/think about it?
A dozen or so folks ply the Great Wood. What does it mean to you? To the town?
There are only a few full-time craftsfolk: a
publican, a cobbler, a tanner, a smith, and Finally, ask everyone:
a midwife. Other crafts (carpentry, pottery,
weaving, etc.) get done on the side, by Can you read and write? If so, who
whoever has the skills and the tools. Most taught you, and when?
trade is based on barter, debt, and honor.
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Getting Started

33 World building The Heavy

The next round has each player
describe the specific choices they’ve made A History of Violence
in the left column on the back of their For each of the things that everyone
playbook. Each playbook has a different set talks about: When did this happen?
of prompts and questions. Where were you? What prompted it?
Who was with you? How exactly did
This step helps your group develop their you ___?
specific version of the Stonetop world. The For each thing that folks are less keen
nature of the gods, the village’s history, to discuss: What’s the story, there?
and more might get established. As players Who, what, where, and when?
reveal details about their characters and For the things keeping them up at
the setting, take more notes and ask more night: Who else have your shared this
questions. Pay particular attention to any with? Who are you keeping it from?
threats or tensions that they introduce.
These will become very important soon!
The Judge
Here are some things to ask each character.
You don’t have to ask them all, and you The Chronicle
certainly aren’t limited to these. How was the Chronicle built/discovered?
Who all is welcome in the Chronicle?
Why is the Chronicle located where it is?
The Blessed If the Chronicle is haunted: Whose
spirit(s) do you think they are? How
Sacred Pouch often do they appear?
How did you get your sacred pouch? If the Chronicle contains dangerous
What’s it made from, and how is artifacts: What do they look like? How
it adorned? do you know they’re dangerous? Who
else knows about them? How did they
The Earth Mother get there?
Is Danu generally worshipped, avoided,
petitioned, or appeased? The Lawkeeper
Why do the villagers leave the offerings How many true disciples of Aratis are
that they do? Why are these things present in Stonetop? Just a handful? A
sacred to Danu? What do they symbolize? sizeable minority? A majority?
How is Danu’s worship different among How do Aratis’s true disciples feel
other peoples? Do her chosen (like you) about the reverence of other gods?
recognize any sort of fellowship? What was the most recent dispute
you’ve been called on to settle? How
The Fox did you rule?

Tall Tales
Where did this happen? When? Who
was with you? How exactly did you ___?
Sure, that’s what you tell everyone, but
what really happened?
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 Getting Started

The Lightbearer The Ranger

Praise the Day Something Wicked This Way Comes

Ask them about any apparent contra- Ask for details, but leave some questions
dictions. For example, if the worship of unanswered. The threat should feel
Helior is widely persecuted but his shrine mysterious, at least at the outset.
in Stonetop is given the place of highest
honor... how do they explain that? Where exactly did this happen? When?
Why do you think that?
Why does Helior’s proper worship
consist of the things that it does? Why
The Seeker
do those things please him so?
Do Helior’s worshippers abroad recognize Collection
you as the appointed servant that you are? Ask about their major arcana, the minor
What was the previous Lightbearer arcana that have unlocked, and the minor
called? When did they live and die? arcana they have not yet mastered:
Were there other Lightbearers How long have you had it/known
before them? about it?
Which invocations do you know? Who else knows about it?
Where is it/where do you keep it?
The Marshal When did you (start to) unlock
its secrets?
War Stories What do you hope to accomplish
Ask for details. Drill down on their with it?
answers to fill in any gaps in your sense of
what happened.
The Would-Be Hero
Would you call it a victory, a defeat, or Fear & Anger
a draw? From whence does this fear come?
What part did your crew play? What When did you first experience it?
part did you play? What is the source of your anger? Why
How do you think it would it have does ___ fill you with righteous fury?
gone, had you not been there?
What are your crew’s tags, instinct, and
cost? Who are these people?(No need
to name each one just yet, but who are
they in general or as a group?)

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Getting Started

3 3
4 5 NPC connections 3 3
6 7 PC connections
The next step creates more In step 6, the players start to
connections between the PCs and NPCs in flesh out the relationships between their PCs.
the village. Go around and on each player’s
turn, have them pick any one question from The first player picks a question from step
step 4, answering it with the name of one or 6, and asks it aloud to the other players.
more NPCs who live in Stonetop. Anyone can answer “me,” and the asking
player writes their name down in the space
Ask follow-up questions as they occur to provided. Then, the next player goes, and
you (“Owena is your wife—do you have the next. Repeat until everyone has gone.
any kids?” “You’re secretly watching over
Gerlt? Why?”) Encourage the players to If no one bites on a particular question,
ask each other questions as well. talk it through. Encourage the others to
really consider it, but don’t force someone
Players can invent new NPCs or reuse to say “me.” If no one bites, have the player
NPCs previously established. If they ask a different question.
introduce a new NPC, suggest that they
pick a name from the unused choices on As always, ask follow-up questions to flesh
their playbook. out the details. “So, Ari, you’ve been with
Vahid the entire way, huh? You met back in
Add new NPCs to the Notables list on the Lygos, then. What brought you together?”
Stonetop Steading Playbook. Assign each
one an occupation and a trait. (Alternately, When everyone has gone once, repeat the
just take notes for now and add them to process, with each player asking another
the playbook later.) question or passing. When everyone has
passed, move on.
Once everyone has gone once, repeat the
process. This time, though, the players can
pass instead of answering another question.
Only two players?
Keep going until everyone has passed. If you’ve got only two players, the
questions in step 5 (“Which one
Before you move on to step 6, ask each of you...?”) won’t work as-written.
PC the following (unless the answers are Here’s an alternative.
already clear):
On each player’s turn, have them pick
Are you married? Single? Betrothed? two questions from their list and pose
Widowed? Any kids? them to the other PC as an either/or,
Are your parents still alive? Your rephrasing as needed. For example,
grandparents? Siblings? the Blessed might ask “Do you doubt
the power of Danu, or have you
participated in a sacred rite with me?”
The other player then chooses. Have
them go back and forth like this, as
many times as they want.

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 Getting Started

3
8 Homes
Also, add any new points of interest to
the appropriate maps. For example, if the
Finally, find the Stonetop Steading
Seeker knows the location of some creepy
Playbook. On the first page, add a point of
carvings in a limestone cave, in the cliff
interest for each PC’s home. Ask questions,
face a few miles north of town, then add it
such as…
to the Vicinity map.
Who do you live with? Family? By
Once you’ve updated the maps, it’s time to
yourself ? Do any of you live together?
Why is your home there, as opposed to let spring break forth.
somewhere else?
Where do your parents/grandparents/
siblings/etc. live?
Where is the smith/tannery/
Chronicle/aviary/chandlery/etc.?

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Getting Started

Let spring After

break forth the session
Ask the players to decide whose character You’ve got a pile of NPCs, relationships,
is the most hopeful. Refer them to the Sea- events, and details. Now you need to turn
sons Change move on the Moves & Gear them into something coherent and useful
handout (on the third page, under Home- for both you and your players. You also
front Moves). Tell them that spring has just need to plan the first adventure.
broken forth upon the land, and ask them to
roll +Fortunes (+1, in this case). Organize your notes
Take some time to update the Residents
On a 10+, ask them to choose one of these: of Stonetop and the Notable Neighbors
sections of the steading playbook. Include
Interesting news each NPC who was established, with their
Valuable insight occupation, connection(s) to the PCs or
Trade opportunity other NPCs, and perhaps a notable trait.
(You can leave the trait off for now, and
You’re looking for a plot hook, something ask the players about them in play.)
to kick off the first adventure. The other
choices (Danu’s blessing or unexpected Space on the steading playbook is limited
bounty) don’t provide that sort of hook. and the playbook can be hard to update
in play. Also, you might have notes about
On a 7-9, have them choose whatever gain NPCs that you don’t want the players to
they like. You’ll combine that with a threat see. Consider recording your NPCs on a
to create your starting situation. spreadsheet or other electronic document.
Lampblack-and-brimstone.com/stone-
On a 6-, chuckle grimly and start thinking top includes an example.
about threats.
If you’re a visual thinker, consider making a
Make a note of the result, and update the relationship map. Each “node” on the map
steading playbook if needed. Then start represents a character (PC or NPC). Cluster
to wrap up. It’ll be tempting to jump into characters together by location (Stonetop
character and start playing right away, but residents here, Hillfolk there) and further
don’t do it. You need to time to think about cluster them by affiliation (the Initiates of
everything the players have given you and Danu, the Marshal’s crew, etc.). Draw lines
prepare the first adventure. between characters and groups, with a note
describing the relationship (like “mother/
Before you go, ask the players: daughter,” “budding romance,” or “watching
closely”). A relationship map helps you and
What excites you the most about your players “see” the social landscape of the
playing your character? game, but it requires a lot of work to create
and maintain.
Whatever they tell you, write it down. Try
to work it into the first adventure.

76
 Getting Started

Create a timeline, arranging the events “I wonder…”

that your players established from oldest to Keep a running list of open questions—
most-recent. things that you wonder about, but either…

As you organize your notes, you’ll find … you don’t know how to answer yet, or
contradictions like “Vahid got here last … you want to leave unanswered for now
year, but Blodwen was initiated two years and see it get answered through play.
ago—he couldn’t have participated in the
initiation rites!” Either ask the players “I wonder... what did happen to the Forest
about them (before or at the start of the Folk? What was that thing Vahid faced
next session) or just make a decision about when he got the Mindgem? What exactly
how to correct the contradiction if you is making the crinwin so bold?”
think it’s a low-impact change.
Refer to these questions as you prepare
You’ll also spot potential connections adventures. Use the list to help identify
that you missed during Introductions. For the adventure’s central opportunity or
example, if Rhianna started running the threat, or to help write the setup questions
militia five years ago, after her predecessor that you’ll ask the characters.
was killed fighting bandits, then you might
think, “It’d be interesting if those bandits Refer to this list during your sessions,
were Brennan and his Claws, who now run when you need something interesting to
the watch in Marshedge.” If you’re okay say. Can you say something that answers
with just deciding that this is true, add it one of these questions? Or that hints at the
to your NPC notes and/or timeline. If you answer? Can you turn one of these ques-
think it might be true, but aren’t sure, then tions back on the characters, and ask them
add it to your “I wonder...” list. to give you the answers?

Share your updated list of NPCs and your Update these questions between sessions.
timeline with the players. Ask them to If a question has been answered, remove it.
review it before the next session, to help If a new question occurs to you, add it to
get everyone on the same page. Point out the list.
any lingering questions for them to answer,
and any changes that you’ve made. Ask for
feedback, and incorporate it as appropriate. Plan the first adventure
Look at your notes, your threats, your “I
wonder...” list, and the results of the that
Identify threats first Seasons Change roll and use them to
Look over your notes again and identify prepare your first adventure. See page XX
the sources of trouble or ongoing problems for guidance.
for the PCs or the village. Write these up
as threats (see page XX), to whatever level
of detail makes sense right now.

If your notes imply a threat, but the

threat’s nature isn’t entirely clear, add it to
your “I wonder...” list.

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Running Stonetop

Your agenda
The core loop
The spotlight
Scenes & loose play
Your GM moves
Your principles
Other things to do
GMing is a practice
Prep
Running Stonetop

There are dozens of ways to GM a role- Your first goal is to portray a rich and
playing game. There’s a particular way to mysterious world: alive and breathing,
run Stonetop. This is how. The rest of the filled with detail and humanity and depth.
game is built on this approach. Mundane concerns—crops, trade, weather,
the opinions of your neighbors—are im-
Remember: the game is a conversation. portant. Fantastic elements are important,
You’ll say things, the other players will say too, but they are strange and scary and
things. You’ll ask each other questions, poorly understood. The past sleeps unqui-
interrupt, talk over each other. The game’s etly. Questions abound.
rules kick in at particular moments and
show us where the conversation goes. Your second goal is to punctuate the char-
acters’ lives with adventure. The PCs have
As the GM, you have a special role in the lives to live, homes to take care of, families
conversation. It’s your job to describe the to feed. They have demands on their time.
world, say what happens, and portray Your job is to make that stuff matter, but
monsters and NPCs. You’ll facilitate and also to interrupt it with threats and op-
make rulings. You’ll ask for input. You’ll portunities that only the PCs can (or will)
frame scenes and point the spotlight. The address. Adventures will occupy the bulk of
game invests you, the GM, with a lot of the players’ time, but they shouldn’t occupy
power—and a lot of responsibility. the bulk of the characters’ time.

Your agenda Finally, most importantly, play to find out

what happens. It’s your job to portray a
These are your goals when running Stonetop: rich and mysterious world, to threaten
that which the PCs care about or dangle
Portray a rich and mysterious world opportunities, and then to see where things
Punctuate the characters’ lives go from there. You’ll make plans, yes. You’ll
with adventure make preparations. But once play begins,
Play to find out what happens it’s your job to follow where the players
lead, where the dice lead, and where the
Everything you say and do as the GM is fiction leads.
meant to support these three goals, and no
others. It’s not your agenda (for example) And the reward is this: to be genuinely
to challenge the players’ skill, or to provide surprised by the story that—naturally,
“fair” fights, or to punish the characters. organically, magically—unfolds. A tale you
It’s absolutely not your agenda to control could never weave by yourself.
the players or force “your” story to go the
way you think it should. When in doubt,
ask yourself: this thing you’re considering
doing, which of these three goals does it
support? If the answer is “none of them,”
then don’t do it. Do something else.

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 Running Stonetop

The core loop

When you run this game, this is what
you do. There’s more to it, of course,
but this is the underlying
structure of the conversation
between you and the players.

1) Establish the situation

Frame the action
Describe the environment
Give details and specifics
Ask questions, ask for input
Portray NPCs and monsters
Answer questions, clarify

2) Make a soft GM move

Provoke action and/or increase tension.

3) Ask “What do you do?” In practice, the conversation is fluid, messy,

and chaotic. It’ll be interrupted by ques-
4) Resolve their actions tions about rules and fictional details. Play-
If they trigger a player move, do ers will kibbitz and joke, discuss options, or
what the move says. play out scenes with each other in-charac-
If they roll a 6- or they ignore ter. You’ll often juggle two or more “loops”
trouble, make a hard GM move of conversation at a time, jumping between
(establish badness). players whose characters are each up to
Otherwise, say what happens. their own thing.

5) Repeat But beneath it all is this structure, this

Is the situation clear and grabby? loop. If you ever feel lost, and you aren’t
Can the PC(s) act? Back to step 3. sure what to do or say next, then figure
Is the situation clear, but escalating out where you are in this loop and go from
before the PCs act? Back to step 2. there.
Is the situation clear, but needs a
nudge? Back to step 2. Now, let’s look at each step in detail.
Is the situation unclear? Does it
need recapping or updating? Back
to step 1.
Is the current scene or situation
over? Wrap up, look for the next
one. Back to step 1.

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3
1 Establish the situation
Give details and specifics
Say (or ask) what’s happening. Who’s
It’s your job to establish the situa-
tions that the PCs find themselves in. Do doing what? Where is everyone relative to
any or all of the following, as needed, in each other? What can the characters see,
whatever order makes sense. hear, and sense?

Again, focus on what matters. In a social

Frame the action
situation, focus on people: who’s there, how
Determine who, where, and when.
they look, how they’re acting. If they’re
Address one or more of the PCs and say
exploring a ruin, focus on the environment.
(or ask) where they are. Say (or ask) who
In an action scene, focus on the terrain and
else is there. Say (or ask) when this is hap-
the combatants, their position, and their
pening (the season, the time of day, how
momentum.
long after the last scene or situation).
Include the occasional non-essential detail.
Describe the environment
In a social scene, mention how the food
For a place you haven’t seen “on camera”
tastes or how the room feels. In a fight
before, say (or ask) what it’s like. For a
scene, throw in a smell or something that
place that you’ve seen before, say (or ask)
an enemy is wearing. This sort of extra
how it’s changed (if at all).
detail can add real texture to the situation.
Include up to 3 strong impressions from
Use maps, props, and comparisons to
different senses—the shocking red of
convey space and relationships. Sketch
blood on snow, the crackling fire in the
the room. Use tokens or meeples. Refer to
hearth, the smell of rain and wet earth.
real-world spaces (“He’s about where Bob
Sometimes include emotional impres-
is, relative to you.”). Similes and metaphors
sions (the tension in the room, the grief
are your friends!
on their faces) or moral impressions (the
dirty, desperate beggars contrasted with the
finely-dressed, well-fed gentry).
Improvisation & prep
Focus on what matters. If they’re at the Yes, you’re making all this stuff up
public house, focus on the people there, (or asking the players to). You’ll do
the noise, and the feel. If they’re explor- some prep in advance (see page XX)
ing a ruin, focus on space, footing, sight, or pull from the setting guide, but
and sound. Keep it short, no more than 3 during play you improvise many of
impressions to start. Players will zone out the specifics.
if you give them too much, and they’ll ask
for more detail where they need or want Once a detail is established, treat
it. You want punchy and evocative, not it like it’s been true all along. Build
flowery. Hemingway, not Tolkien. and riff on it. Look for connections.
Ask yourself the obvious questions
and decide on the (probably obvious)
answers. Weave it all together into a
rich, mysterious world.

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 Running Stonetop

Ask questions Portray NPCs and monsters

You don’t have to provide all the details If there are non-player characters (NPCs)
yourself. One of your principles (page involved, describe them. Say what they’re
XX) is to ask questions and build on the doing. If the PCs interact with them, say
answers. Invite the players to contribute how the NPCs respond. Speak in their
to the scene by asking their characters voice and say what they say. If that’s daunt-
about stuff that they know, feel, or have ing for you, or you just want to cut to the
experienced. “Caradoc, what’s the most chase, then describe what they say rather
overwhelming smell in the tannery?” Or than actually saying it.
“Vahid, you’ve been to this pool before.
What’s it look like? Describe it for us.” If the situation includes monsters—beasts,
spirits, crinwin, and the like—then portray
Ask questions about what the characters them, too. Describe them: how big they are,
are feeling or experiencing. Don’t ask them how they move, what they sound and smell
to make up the key details, but maybe like. Say what they do, what they’re focused
prompt them for a detail that fits a theme. on. Say how they respond to the PCs.
“Rhianna, what feature jumps out at you
about this bandit? Like, what sets him Answer questions, clarify
apart from the others?” Or “Blodwen, what The players will interrupt you and ask
here makes this place feel cozy and safe?” questions. Be honest and generous with
truth and detail. If the answer wouldn’t
Ask questions about what they’re doing and be clear to the PCs, say so and tell them
what they’re up to, about how they spend what it’d take to figure that out (a soft GM
their time and who they hang out with, etc. move, page XX). Your job is to portray
When they’re on an expedition, ask for their a rich and fantastic world, not to make
marching order. When they Make Camp, them jump through hoops and figure out
ask them what they’re eating, what the what you’re thinking.
campsite is like, who takes which watch, etc.
Sometimes, the players will say something
Ask questions about what they’re thinking that indicates a misunderstanding of the
and what they’re feeling. “Vahid, what’s on situation. “I slice the back of his leg,” the
your mind?” “Rhianna, what’s got you the Fox says, when you pictured the violence
most worried right now?” happening on the other side of the public
room with the PCs watching. When that
sort of thing happens, clarify the situa-
tion with the players. Explain how you
see things, but also be willing to adjust
your sense of the situation to match theirs.
“Huh? No, this is happening on the other
side of the pub. I don’t think you’d have let
it get to this point if you were right there,
do you?”

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3
2 Make a soft GM move 3
3 “What do you do?”
The situation is clear? Good. Now, After you make a soft GM move,
make a soft GM move—say something to ask “What do you do?” This hands the
provoke action and/or increase tension. conversation back to the player(s) and
Pick one of your GM moves (see page XX) prompts them to say something.
and do that.
You don’t have to literally say, “What
To provoke action: say that something bad do you do?” Sometimes, your move will
is about to happen, or is in the process include a question. When portraying an
of happening, but give the PCs a chance NPC, you might make your move and just
to do something about it. “As your hand look at the players expectantly. But if you’re
finds your knife-hilt, the crinwin is like unsure, ask: “What do you do?”
‘hiissssss’ and leaps, fingers going for your
throat, what do you do?” If they say something that doesn’t make
sense—something you think is impossible,
You can also provoke action by offering invalid, or unreasonable—then tell them
them an opportunity, or by presenting that. Clarify the fiction. If they persist, tell
options and prompting them to pick. them the consequences and/or require-
“Okay, it tumbled past you. It’s surprised ments. Ask if they still want to do it.
and you’ve got a moment. You could jump
on its back and try to stab it. Or get out of If they ask questions, answer them. If
there. What do you do?” the answers aren’t obvious, tell them the
requirements. “You’ll have to poke around
In a social scene, your NPCs might ask a bit and Seek Insight.” Then put the ball
for something or demand something. They back in their court: “What do you do?”
might say something vulnerable or emo-
tional and then look at the PC, expecting
them to react. Players jumping in
Players might seize the initiative
Soft moves don’t always provoke action.
and declare an action before you ask
Sometimes, they just crank up the tension.
“What do you do?” or even before
You might use up their stuff, foreshadow
you’ve made a soft GM move. Great!
trouble, or add trouble to a scene in a way
It means they’re engaged, and the
that can’t be acted on right away. “You’ve
situation is grabby enough that they
been down here for a while, your torches
want to act on it. You can jump
are starting to get low.” Or “There’s another
straight to resolving their action.
tremor. A bit of dirt falls from the ceiling.
What do you do?”
With that said: don’t let players
dominate the conversation. If you’re
in the middle of making a move, or
think that something would happen
before they could act, or want to give
someone else a chance to act, then
tell them to hold their horses!

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3
4 Resolve their action
Hard GM moves
Make a hard GM move when a PC...
The player says what their character
does. Establish how the situation changes,
or what their action reveals about the situ- ... ignores a threat or trouble entirely; or
ation. ... triggers a move but rolls a 6- (and the
move doesn’t say otherwise).
Did they trigger a player move? If so,
which one? Resolve that move. If you Making a hard GM move means that
aren’t sure whether they triggered a move, you establish badness. Describe the
or you need more info before resolving it, consequences of the PC’s actions. Say
ask questions. Clarify their intent and/or how things go wrong. Make the situation
how they’re going about it. Discuss with significantly worse. Pick a GM move from
the table. your lists (page XX) or just say the obvious
bad thing. “Ooh, a 5, huh? It’s too fast!
When a player triggers a move, then Before your knife clears the sheath, it’s on
follow the move’s procedures. Reveal you, WHOOMP, take a d6 damage and
whatever information the move entitles you’re on your back, one of its claws is on
them to. Work with the player to establish your throat and the other is pinning your
how the situation has changed. (See page knife-hand by the wrist, what do you do?”
XX for more detail.)
When they roll a 6-, your hard move will
When a player’s move prompts you to add often involve the PC’s action failing. Say
something to the fiction, and you’re not (or ask) how it goes wrong and/or what the
sure what to say, then look to your GM consequences are. But a 6- doesn’t always
moves for inspiration (page XX). mean that the PC’s action fails. It means
you establish badness. Maybe something
If they trigger a move and roll a 6-, then bad happens before they can do their
they mark XP and you make a hard GM thing; maybe they do what they set out to
move (unless the move specifically says do, but that causes (or reveals) something
otherwise). very bad indeed. The badness might not
even be directly connected to the action
If they do something that doesn’t trigger they took—it could simply follow directly
a player move, then they’re looking to you on its heels.
to see what happens. Did they ignore a
threat or trouble that you warned about A hard move should always establish bad-
previously? Make a hard GM move. ness, but you decide just how bad it is. Use
the situation, the fiction, the description of
Otherwise, say what happens and how the player’s actions, and so forth to inform
that changes the situation. Maybe just say your hard moves. Sometimes, a hard move
“Okay” and then either shift the spotlight isn’t much worse than a soft one.
(page XX) or say “Then what do you do?”

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53 Repeat
If the situation is unclear, or if it needs
recapping or updating, then go back to
You’ve resolved the PC’s actions.
step 1. Re-establish the situation. Then
The situation is changed, or further re-
make a soft GM move and ask, “What do
vealed, and play snowballs from there.
you do?”
If the situation is clear and grabby, and
If the current scene or situation is over,
one or more PCs are in position to act,
then wrap things up. Take care of logistics,
then jump straight back to step 3 and ask
bookkeeping and other metagame stuff.
them, “What do you do?”
Figure out what the next situation or scene
is, and then go back to step 1. Establish
If the situation is clear, but things will
the (new) situation, make a soft GM move,
escalate before the PCs are able to act,
and ask, “What do you do?”
then jump back to step 2. Make a soft GM
move to show how things are changing.
Resolve their actions. See how the situa-
Then ask, “What do you do?”
tion changes. Repeat. This is the core loop
of the game.
Likewise, if the situation is clear but kind
of static, and the players need a nudge,
then jump back to step 2. Make a soft GM
move and ask, “What do you do?”

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The spotlight It’s okay if players interrupt each other, or

kibitz, or have their characters act “out of
As you play the game, you’ll change who order.” Some moves (like Defend) give
you’re addressing, moment to moment. them explicit permission to do so!
Whoever you’re talking to right now is in
the spotlight. With that said: don’t be afraid to shut
down an overly eager or aggressive player
Sometimes you’ll keep the spotlight un- with a polite-yet-firm reprimand. “Andrew,
focused and address the group as a whole. you’re being rude. I’m talking to Jamie
Often, you’ll focus it on just one char- right now.”
acter. When lots of action is happening
simultaneously, you swing it back and forth
between individuals and groups.
Split the party
It’s going to happen. The PCs will
There’s no formal process for managing split up—intentionally or because
the spotlight. The most obvious time to you separate them or capture some-
move the spotlight is after you resolve a one—and now you’ve got two smaller
PC’s action. Address a different character groups. It’s okay. Splitting the party
and describe the situation to them. Make can be a lot of fun.
a soft move at them. Ask them, “What do
you do?” Splitting the party means that you’re
juggling multiple conversations and
You can, however, move the spotlight scenes at once. Move the spotlight
whenever it makes sense. For example, if back-and-forth between the different
you ask “What do you do?” and... scenes, the way a film editor smash-
cuts between scenes in a movie.
… the player freezes or stalls, then shift
to someone else, giving the first player Don’t linger too long on one group.
time to think. Come back to them later; Try to keep everyone involved and
or... interested in what’s going on in the
… the PC does something that will take other scenes. You might cut between
time, then shift to someone else. Come scenes on every “action” or player
back to the first PC as they finish (or as move, or resolve a few “loops” of con-
something interrupts them); or... versation between each cut. There’s
… they make a move and you’re not sure a rhythm and an art to this, and
how to resolve it, then buy yourself different types of scenes benefit from
time to think by shifting to someone different approaches. Exploration and
else. Come back to resolve the first dialogue benefit from longer cuts.
player’s move later. High-tension, high-action scenes
work well with short, quick cuts and
Use the spotlight to be a good facilitator. lots of cliffhangers.
Keep everyone involved. Make sure every-
one gets some good screen time and has a
chance to contribute.

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Scenes and
Scenes are cinematic and immersive, some-
times tense, often exciting. Players might

loose play
lose themselves in their characters and feel
real emotions about what’s happening.
During play, the conversation will naturally Good scenes have a purpose. There’s a
shift between scenes and loose play. This reason you framed this scene with these
isn’t a formal distinction, or even always a characters in this place, right? What are
conscious one. You’ll often shift between the PCs trying to accomplish? What are
them naturally and instinctively. you trying to convey? What question are
you hoping to answer? What conflict is
Scenes are zoomed-in. They feature being resolved? Knowing the purpose of a
specific characters in a particular place at scene helps you focus your details, descrip-
a particular time. You follow the action tions, and GM moves. And if you can’t
moment-to-moment. Details are plenti- identify a scene’s purpose, then maybe you
ful and specific. Players speak in character, don’t need the scene!
and you portray NPCs in-character as well.
Even if you and the players don’t actually When the scene’s purpose is addressed,
speak in your characters’ voices, you still or the scene fizzles out, then wrap it up.
talk about the conversation at a zoomed-in, Transition into the next obvious scene
detailed level. (“You enter the next room and see...”) or
shift into loose play.
During a scene, you might describe the
clearing in the woods where the PCs
find themselves, the sound of the rush-
ing stream and how the bear sniffs
and twitches it ears and scans the
treeline for danger. “Rhianna,
you don’t think it’s spotted you
yet, what do you do?”

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Loose play is what happens between Time tends to be fluid during loose play.
scenes. You still follow the core loop, but “Okay, y’all head out and by noon you’ve
it’s zoomed out. Instead of describing what reached the crossroads.” “Oh, hey. Before
happens here and now, you’ll talk about we left, can we say that I Traded & Bar-
what happens over minutes, hours, days, or tered for some bendis root?” Sure we can.
weeks. You summarize and compress, skip
minutiae and gloss over stretches of time. Loose play is more relaxed, less intense.
You do more talking about the characters Take care of bookkeeping and logistics
than portraying the characters. between scenes. Check your notes, make
updates, and maybe roll up some random
During loose play, you might describe the loot (page XX). Have meta-discussions.
PCs moving through the Great Wood, the Talk about the characters’ plans and
quiet tension as they try to avoid notice, goals (“What are we trying to accom-
the heat and biting insects getting worse as plish again?”) See if the players have any
the day goes on. You might ask questions requests (“I’d like to have a scene with
like “Caradoc, what does your mind keep Andras”). Take breaks, talk about real-life
wandering to?” or “Rhianna, how long to stuff, and enjoy each other’s company.
you plan on going before making camp?”
A lot of in-fiction time passes during loose
Player moves still work during loose play, but play, especially while the players travel or
on a zoomed-out scale. They might Struggle spend time at home between adventures. But
as One to reach home before nightfall, or you want the bulk of the real-world time to
Seek Insight by watching the newcomers be in scenes. Scene-based play is much more
over the course of a few days. visceral, rich, and exciting. Push loose play
towards scenes. As soon as the next scene
suggests itself, frame it and zoom back in on
detailed, moment-to-moment play.

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Your GM moves
These aren’t technical terms. When you
reveal an unwelcome truth, you just do
that. You establish something in the fiction
When it’s time to make a GM move and
that the characters wish wasn’t true. When
you’re not sure what to say, pick one of these
you hurt someone, you say how someone
and do it. These are your basic GM moves:
gets hurt.
ä Announce trouble (future or offscreen)
Your GM moves should inspire and
ä Reveal an unwelcome truth
empower you; they shouldn’t constrain
ä Ask a provocative question
you. Use them when you’re unsure of what
ä Put someone in a spot
to do, or when you’re in a rut and want
ä Use up their resources
to change things up. Don’t stress yourself
ä Turn their move back on them
making sure that every move you make
ä Demonstrate a downside
matches something from this list.
ä Hurt someone
ä Separate them
ä Capture someone
ä Offer an opportunity (with or without
a cost)
ä Tell them the consequences/
requirements (then ask)
ä Advance a countdown/grim portent

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Making Your Move Along the same lines, your moves should
Whenever the situation is clear and you reflect the specifics of the situation.
want to push the action along, make a Say that a PC faces a charging aurochs,
soft move. Say something that prompts the triggers Clash, and rolls a 6-. If the PC is
PCs to act and/or increases the tension. a mighty-thewed Heavy who braced his
Make soft moves all the time, as part of the spear against the charge, then your hard
core loop of the game. move would look very different than if PC
was a willowy Fox who tried to dodge the
When the PCs ignore trouble that you’ve charge and stab it like a matador.
previously established, or when they roll
a 6- on a player move, then make a hard Don’t say the name of your move, just
GM move. Establish badness. Make some- say what happens in the fiction. Don’t say
thing happen that the PCs don’t want, or “You rolled a 4 so I’m separating you.”
make something that the PCs want no Say “Rhianna, you wake up and realize
longer possible. that Caradoc’s not on watch. He’s doesn’t
come back anytime soon. His blanket is
You can also make a GM move when a discarded by the edge of the firelight.”
player’s move prompts you to add some-
thing to the fiction. For example, when
they Defy Danger and roll a 7-9, you’re Other GM moves
told to present a lesser success, a cost, or a You have other lists of GM moves
consequence. You might use up their re- available to you, too.
sources as a cost (“You can do it, but you’ll
have to drop your supplies.”) or put them Use your exploration moves when the
in a spot as a consequence (“You make it, PCs are on an expedition or exploring
but the ground shifts as you land and starts a location (see pages XX and XX).
to give way.”), or demonstrate a down-
side as a lesser success (“You get clear, but Use threat moves to bring a threat or
Andras is still limping and falls behind, the its influence into a scene, or when it’s
creature’s closing in!”). already involved (see page XX)

Always make a move that follows from Use homefront moves when the
the established situation and/or your PCs are at home or spending time in
prep. If they’re tracking crinwin through another steading, to make interesting
the woods and they roll a 6-, it’d be a per- stuff happen there (see page XX).
fectly fine move to reveal that they’re lost.
But it’d be weird and uncool to say “Rocks Use moves specific to a location
fall out of the sky and smash you, everyone (page XX), a danger (page XX), or
take 1d10 damage!” an NPC (page XX) when those ele-
ments are in play.

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Examples of GM moves Reveal an unwelcome truth

Establish something as true, something
Announce trouble that they really wish wasn’t. Maybe it was
(future or offscreen) true all along but you’re just revealing it
This is one of your most versatile moves. now. Or maybe (especially as a hard move)
Trouble almost always provokes a reaction, you’re deciding right now that this bad
or at least gets folks worrying and cranks thing is true and letting them know. Both
up the tension. ways work.

As a hard move, you can turn a previously This is a great move to use when they Know
peaceful scene into a fight or conflict, or Things or Seek Insight. On a 7+, you owe
maybe make it clear that the PCs’ actions them honest answers or interesting (maybe
will have consequences later. useful) information, but there’s no reason
they have to happy about what they learn.
And on a 6-, you can really twist the screws.
“WHOOMP WHOOM WHOOMP!
Rhianna, there’s a banging at your door,
waking you up from that much-needed “‘Vvvasil? Heavvvens, no. Vvvassil
sleep. Lowri’s calling your name and you leffft town thhhis past autumn. Back
hear the watch-bells clanging. What do down to Lygos, I heard.’ He smiles,
you do?” and it’s like he has too many teeth. “But
ssssurely we can make some sort offff…
“As Caradoc and Blodwen leave, this arrangement?’”
nasty piece of work watches them go.
He’s got a face full of scars, a cruel sneer, “What happened here recently? Well,
and a knife at his hip. He nudges the guy there’s like a dozen sets of prints in the
next to him, nods at the door, and they mud, all churned up like there was a
get up and go. What do you do?” fight. A few splashes of blood, too, on
the foliage. It’s pretty clear Lowri got
“Glenys gives you hard stare for a few jumped by the crinwin.”
moments, then she’s like, ‘FINE.’ And
she huffs and stomps off. She’s out of your “Oof, a 6-? Well, you search the hills for
hair for now, but you just know that the rest of the day and... I guess you don’t
you’re going to have to deal with that find her? No, wait. You know what? You
later.” do find Mari. Maybe half a mile from
the logging camp, you find her body.
Something stabbed her, impaled her right
through the gut.”

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Ask a provocative question Put someone in a spot
Ask a question that spurs a decision or This is a more aggressive version of an-
response, even if it’s just an emotional nouncing trouble—they’ve got to do
response or a decision not to act. You can something, now, or it’ll get ugly.
ask the question yourself or put it in the
mouth of one of your NPCs. Alternately: “Someone” can be a PC or an NPC, and
ask a question that asserts badness but that you can play with the spotlight. Maybe
gives the player a chance to author it. the person you put in the spot isn’t the one
does something about it.
“Rhianna, Eira’s looking grim, and she’s
like: ‘Garet’s losing a lot of blood. I don’t “So close! You make the jump, but smack
think he’s gonna make it, and he’s gonna into the bough. You slip, just barely grab-
slow us down something frightful. You bing on. You’re hanging from that bough
want me to do the necessary?’’ like this, gasping for air, like 80 feet up,
and your grip starting to go. What do
“Caradoc, you come in at the very end you do?”
of all this, I think. You saw that cloud of
smoke billowing out of Vahid’s mouth. “The big guy stands and glares down
And there’s Vahid, just acting totally at you. ‘What’d you call me, you skinny
normal about everything. What’s going little rat?’ Rhianna, you see this happen
through your head right now?” and notice like three other guys, burly
miner types, standing up too, not a smile
“Oof, a 4? Well, I think you manage to among them. What do you do?”
offend her, like really hurt her feelings.
What do you say or do that does that?” “So, it’s like you said, the drake calms as
you place your hand on its snout, and
it’s like a mewling kitten. But Caradoc,
you’re watching from the brush, and
as Blodwen’s calming that one, you spy
another drake, behind her to her right,
slinking up. It’s about to pounce on her,
you’re sure of it, what do you do?”

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Use up their resources

Something happens that whittles away at “It’s been like an hour since you came
their stuff, or that takes it away from them down here. I think your torch is getting
entirely. “Resources” here can be... low. Like, maybe you’ve got 10 minutes
of light left? What do you do?”
... concrete and specific (their shield,
their torch, their lamp oil); “ Yeah, so your grip slips and down you
... concrete but abstract (supplies, ammo); tumble, smacking against branches all
... intangible (their reputation, some- the way, WAM WACK WHOOMP. You
one’s trust); and/or land flat on you back, and you’re pretty
... entirely mechanical abstractions (HP, sure you felt something break in your
Fortunes, Loyalty, etc.). pack. Lose 2 uses of supplies and take
1d6 of damage, ignoring armor. What
When they lose something abstract, in- do you do?”
tangible, or purely mechanical, you should
always bring that back to the fiction and “ Yup, he was totally standing right
show how it manifests. “He glares a little, behind you as you said that last bit. You
then shakes his head, disillusioned. If he look back and he’s just beet red, on the
held any Loyalty, he’s got 1 less now.” verge of crying or yelling, you’re not sure.
But he just turns and stomps off into
As a soft move, use this move to ratchet up the fields. I think he just lost any Loyalty
the tension. Those 4 HP might not mean he was holding. What do you do?”
much now, but after a couple more blows
the player is going to start getting nervous.

When you use up a specific resource, the

loss can be temporary (“he swats the knife
out of your hand, it goes flying across the
room”) or permanent (“the blow shatters
your shield”).

You’ll often find yourself making this move

along with other moves, and that’s okay.
HP, in particular, get used up part and
parcel with other moves (see the Dealing
Damage and Inflicting Debilities sidebar,
page XX.)

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Demonstrate a downside Turn their move back on them

Show the limits of their moves, or the This is a good one to use on a 6-. Take
baggage that comes with being (e.g.) the the move they were making, and flip it
Heavy. Show them just how a crude weap- somehow. Maybe you give the advantage to
on fares against an iron sword or shield. their foes, maybe you have them come up
Show them why wearing warm armor in with something bad for you to work with,
the blazing sun is a bad idea. Show them maybe their move constrains their options
why it’s hard to be short, or tall, or young, instead of expanding them. Get creative.
or old, or whatever.
“Oh, I think you know all about this evil
“Caradoc, Rhianna, as you’re watch- quicksilver, Vahid. Why don’t you tell
ing the crinwin from the brush, you us about the horrible encounter you had
hear this, ka-chunk ka-chunk ka-chunk. with it back down south, and how it’s
Vahid’s pack, for sure, and the crinwin left you shaken to this day.”
hear it too. What do you do?”
“A miss, huh? Tell you what, ask one of
“Caradoc, the second time you try to the Seek Insight questions anyhow, but
interject, Brennan’s like ‘Grown-ups you’ll have disadvantage to do anything
are talking, boy.’ And he turns back to BUT act on the answer.”
Rhianna. ‘Now, you were saying…?’”
“ Yeah, she’s just not buying it. There’s no
“ Your spear jabs in, and the aurochs way you’re going to convince her to squeal
bellows, but then it rears and twists on Mutra. In fact, she starts twisting
and the spear’s shaft snaps off. You’re left the conversation around, asking you
holding half of a stick.” questions, tripping you up, getting you
flustered. What do you think it’d take for
her to get you to spill the beans on where
Vahid has the weather vane hidden?”

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Hurt someone For example: if you say, “that thing has

Inflict a specific, problematic injury or 6-inch long teeth and jaws that can crush
wound on a PC or an NPC they care trees… if it gets you, you’ll be missing bits,
about. Something more than just losing you sure you want to just stand there and
HP. Something painful, bloody, conse- swing at it?” and they reply “Yeah, no guts
quential, or all three. no glory!” and then roll a 7-9 to Clash…
well, you warned them. Say goodbye to
Using this move definitely means the that arm and hello to a fountain of blood.
victim takes damage, and against a PC it
might also mean that they mark a debility. On the other hand, if you’ve presented this
It definitely means that they’ve now got a thing as a threat but not, like, an arm-
problematic wound (see page XX). It’s a chomping-off threat, on a 7-9 you might say
part of the fiction, something they have to “It chomps down, there’s blood everywhere,
deal with and something you can use as a and it starts to shake you around. There’s
basis for your GM moves. this weird, calm part of your brain that’s
like ‘Oh my arm is about to get torn off,’
How badly you hurt them depends on the but the rest of you just AAAGH. Take a
fiction, whether the harm came from a 7+ d10+3 damage and mark Weakened. What
or a 6-, the damage rolled, and the tags on do you do?” Still a pretty hard move, I’d say,
the damage (messy, forceful, etc.). When but one they might recover from. Taking
you hurt them because they rolled a 7-9 their arm without warning? Not cool.
to Clash with a guy with a club, and they
only take 2 damage, that’s going to look a With that said: feel free to hurt NPCs
lot different than a 6- against a rage drake more aggressively and brutally than you
dealing 12 messy damage. hurt the PCs. Taking a follower’s arm (for
example) is a great way to show that this
Feel free to describe the general nature of thing’s attacks are messy and terrible, rais-
the wound (“He stabs you in the thigh and ing the stakes without deprotagonizing
you feel your leg buckle.”), then have the the PCs. (Word of advice, though: don’t
player roll damage (“Take d6+2 damage.”) brutalize an animal companion without
and modulate the injury based on the warning; players get super precious with
damage dealt (“3 damage? Okay, I think their pets.)
you drop to one knee and your leg is like
on fire, but it’ll still hold your weight,” ver- Once inflicted, a wound or injury is part
sus “Yikes, 8 damage? You still up? Well, of the fiction. It might cause the PC to
your leg gives out under you and it’s just Defy Danger to attempt something that
gushing blood.”) wouldn’t otherwise be dangerous. It might
be the fictional justification for another
As a rule, only inflict a permanent, dis- move you make. It might prompt you to
abling injury if you’ve warned them it’s make moves that escalate the injury.
possible (explicitly or by telegraphing/
demonstrating the danger), and either they For more about HP, damage, debilities, and
rolled a 6- or they knowingly ignored the problematic wounds, see the Harm and
danger. Don’t spring that stuff on them. Healing chapter (page XX).

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Dealing damage and

inflicting debilities
“Dealing damage” isn’t a GM move
“It like reaches out towards Eira, its by itself; it’s a thing that happens as
hand expanding like mist and clutching part of another GM move. When
her chest, and she just starts moaning you make a move that involves a
and convulsing and you see bits of her character getting banged up, hurt,
skin blackening. She takes 1d12 damage, knocked around, or injured, then deal
ignoring armor. Is she still up? No? damage to them as part of that move.
Okay, well it drops her and she just Tell the player how much damage
slumps to the ground. What do you do?” they take (usually a die roll, based on
the monster that inflicted it or the
“It just SQUEEZES and you can’t circumstances surrounding it). They
breathe, can’t move, then SNAP you feel lose that many HP. If they’re reduced
a rib go and HOLY CRAP this hurts. to 0, they’re out of the action and
Take a d8+3 damage, ignoring armor, quite likely at Death’s Door.
and mark Weakened. Vahid, you finish
lighting the naphtha as this happens, see Likewise, you don’t have a move for
Caradoc turning blue in its coils. What “inflict a debility.” You can inflict a
do you do?” debility when you hurt someone or
use up their resources, when you
“Oh dear. 9 damage? And you’re still up? make any other move that would re-
Yeah, um... I think as you try to wrench sult in them being Weakened, Dazed,
your arm free, it, um… crap, I think it or Miserable (“You realize that your
just chomps down hard and there’s just hands are shaking, your legs wob-
this searing pain and you go stagger- bling… mark Weakened”).
ing back. You’re free, but you look down
and your right arm is just gone. Blood is For more on damage and debilities,
spurting, you feel cold, and you think you see the Harm and Healing chapter
might faint. What do you do?” (page XX).

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Separate them Capture someone

Split the party. Put foes or obstacles On a soft version of this move, capture
between them. Have someone fall behind. them but stay in the scene, giving them
Have a follower or other NPC go missing. a chance to escape (or others a chance to
Send someone tumbling down the slope, rescue them). On a hard version, maybe cut
taking them out of the fight. That sort straight to the next scene—captured, bound,
of thing. dragged off who knows where—and just
gloss over the details of how they got there.
This move often pairs well with put them
in a spot. Because what’s worse than being
in a spot? Being alone in a spot. “Brennan whistles and Ragan, calm and
quick as anything, he just grabs Blodwen
and spins her around, knife to her throat.
“Blodwen, after maybe twenty minutes Brennan sighs, steps back behind them.
of pushing through the tall grass, you all ‘I’d hoped it wouldn’t come to this, but
get a little spread out and you realize you you don’t leave me much choice. We’ll be
can’t see anyone else. At first you can hear going, and I’m sure the young lass here
them so no big deal, but then the sound would appreciate it if you all kept your
of them moving through the grass is lost hands where I can see them.’ They start
in the constant wind. What do you do?” backing away, what do you do?”

“Oof. Yeah, as you give her your spiel “Caradoc, you touch the sphere it’s like
she’s kind of stone faced, no response. WHOOSH. You’re floating in space,
Then there’s this pause, and she sorta looking down over your body. The world
gasps and sobs and then come the wa- is gray and hazy and washed out, and
terworks. ‘Dammit, Caradoc.’ And she you can’t really feel your feet. Vahid, you
turns and slams the door and you can come home a couple hours later and find
hear her weeping. What do you do?” Caradoc just slumped over the ice-sphere,
his fingers touching it and all blue. He’s
“Okay, cool, so Vahid you’re a bit further not responding. What do you do?”
down the hall, right? With Lowri
holding the lantern for you? Well, as you “ Yeah, Vahid, Lowri is like waving the
start to make out the runes—something torch around in the dark and you’re both
about ‘portal’ or ‘doorway’ or maybe peering out, looking for whatever made
‘road’—there’s this CUH-CLUNK that that noise, and we the audience see this
you feel in your chest, everyone does, and shadowy form loom up behind you with
then a screeching metal-on-metal sound these long, spindly fingers. Those fingers
and this steel curtain drops from the clamp down over your mouth, Vahid,
ceiling, cutting off the hallway. BOOM. and another shape grabs Lowri. There’s
Vahid, you and Lowri are on the far side a brief struggle and then the camera like
of it, by yourselves, dust billowing all pans down to the lantern on the floor, on
over. What do you do?” its side, cracked and flickering. We hear
sounds of you two getting dragged away.
Rhianna, while this is happening…”

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Offer an opportunity Tell them the consequences/

(with or without a cost) requirements (then ask)
Give them an opening, a chance to act. Use this move as an interrupt, as a way to
The opportunity can be specific (“If you clarify the fiction and set the stakes when
act now, you’ll have the drop on them.”) or they say they want to do a thing. “If you do
general (“They don’t seem to have spotted that, you realize that __, right?”
you, what do you do?”). It can come with
a definite cost (“...but it’ll make a bunch of Use this move, also, to give them a path
noise and raise the alarm.”) or a potential forward when the way is otherwise
cost (“...but you’ll have to hurry to make it blocked. Use it to force a meaningful
in time”) or no cost at all. decision. Use it to make them pay (in time,
resources, opportunity, etc.) if they want to
You’ll often make this move without follow a course of action.
realizing it. When you just hand a player
the initiative—when there’s a tense, ac-
tive situation and you ask “What do you “What about Garet’s body, Rhianna? If
do?” without first announcing trouble or you leave it, the rest of the crew is going
putting them in a spot or otherwise mak- grumble—you know how superstitious
ing them react—you’re offering them an they are. You could burn it, but that’ll
opportunity. take time and give away your position.
What do you do?”

“3 damage? With his armor, that’s not “If you do that, cool, but you won’t have
enough to drop him. I think he jerks back a chance to get clear. You’ll be caught in
and you just like score a slice down his the blast for sure. You do it?”
cheek. But he’s on his heels, what do you do?”
“ Yeah, no. Your hands are shaking, your
“They’re not taking the bait, Rhianna. mouth is dry, you can’t think about any-
But you if you made a show of heading thing but that baleful, hateful eye. You
out of camp and leaving Andras and want to take a shot, you’re going to have
Blodwen there alone? That’d do it. What to get it together first. What do you do?”
do you do?”
“Vahid, you can’t make heads or tails
“What here is useful or valuable to you? of these runes, not right now at least.
That glowing blue crystal set in the wall. Maybe if you took a rubbing and had
If you smash it, it’ll unleash all sorts of time to study them back home, with all
chaos, just the distraction you need.” your books and notes and everything.
But not out here. What do you do?”

“That thing is made of solid stone.

Your arrows aren’t going to do squat,
Rhianna. You want to hurt this thing, or
even slow it down, you’re going to need
to hit it with something big and heavy.”

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Advance towards impending doom

Threats (page XX) and hazards (page XX) “ You find Nia in that collapsed house on
might have impending dooms, each with a the edge of town. You’ve got to squeeze
series of grim portents leading up to them. in there, and your eyes have to adjust to
When you make this move, you decide the dark, but when they do, your stomach
that one of those grim portents has come drops. There’re chalk drawings of spiders
to pass, and show it to the characters. all over the walls, and… an altar? With
this mass of sticks, fur, and web that you
In practice, this move almost always realize is an idol of a big spider. Nia’s
manifests as another move. You announce all smiling and like ‘Hi Blodwen, do you
trouble or reveal an unwelcome truth or like my drawings?’ What do you do?”
put someone in a spot (etc.) in a way that
demonstrates that the grim portent has “So, you’re stabbing at it over your
come to pass. shoulder, but stumbling around as you
do. And I think, yeah, you kill it, but you
Rarely, you might chuckle evilly and tick a end up staggering back into one of the
box, and say that they’ve got a bad feeling old columns. There’s this loud CRACK
or that a cold wind blows, without actually and some creaking and dust starts to
revealing the portent just yet. When you pour down from the ceiling. Vahid, you
do this, be sure to commit to the portent see this happen, what do you do?”
having come to pass offscreen. If you don’t,
you haven’t really made a move at all. “Caradoc, as you drift off to sleep, you
find yourself dreaming. A really weird,
vivid dream. It’s like when you were in
that old Maker-tomb and looking up,
but… different. More claustrophobic.
Like you’re buried in dirt, have been
forever, and there’s this light above, far
away. But it’s… enough, you know?
Something to move towards? And so
you stretch, and claw through the dirt,
towards the light, and you snap awake
and holy crap, everything’s shaking and
people are screaming and kids are crying,
it’s an earthquake! What do you do?”

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An example of play
Everyone’s arrived. We’ve chatted, gotten It’s the first time we’ve seen the Foothills in-
comfortable, and we’re ready to get started. game, so I ask questions like “What striking
The session starts in loose play. I ask if any- difference do you notice between these hills
one wants to recap. Rhianna’s player does. and the Great Wood?”

“We sent a logging crew to the Foothills. But After they answer my questions, I zoom in
some sort of goat-demon spooked them, and and frame an actual scene, giving details
it­­—or something—wounded Andras. They and specifics. “ You reach the camp just
sent him back. We’ve gone up to investigate. after sunset. It’s on the wayside, but even
Did we get anything useful out of Andras so, they’ve set up felled logs like a barricade.
before we left?” They’re all huddled round a feeble cooking
fire. Everyone’s quiet, tense, gripping hatch-
Blodwen says “He was pretty out of it. We ets. They spook a bit when you show up, but
got him stable, but he kept moaning ‘that when they realize that it’s you four, there’s
eye!’ And I think he made a pass at me.” a murmur of relief. ‘It’s Rhianna,’ and “the
Blessed,’ and ‘Thank Tor.’” (Notice how I’m
“Right, right! You’d already outfitted and focusing on feelings and behaviors more
started up to the Foothills,” I say. than the tactical layout, because those are
the details that matter. I’m also portraying
I ask some questions to help us warm up. my NPCs.) “Hey, Rhianna, who’d you put
“But before we start—Caradoc, who do in charge?’ (Asking more questions!)
you think gave you guff about going on yet
another adventure? And Vahid, why are “Huh. Elios, I guess.”
you so happy to get out of town for a bit?”
I make my soft move and ask a provocative
We learn how Sawyl the Tanner’s been question. “Cool. He’s like, ‘ You didn’t bring
looking for a new apprentice and how the wagon. So we’re done? We can go home?’
Caradoc feels all sorts of guilty about it. We Others nod, hopeful. What do you do?”
also learn that Vahid needs a break from
the widow Maire, who’s been cramping his Rhianna asks me, player-to-GM, “Wait,
“confirmed bachelor” style. I take some notes! hold up. Is my crew here?” I answer her
question, tell her that they aren’t, then ask
Okay, let’s do this. I frame the action and her again what she does.
then describe the environment. “The four
of you enter the Foothills in the afternoon of Rhianna replies (in that stern voice of
the second day out. The hills rise out of the hers), “Where’s my crew at, Elios?” Time
Flats, and the road wends between them. to resolve her action. She’s pressing Elios
Young, thin trees dot the slopes, getting (Persuade, maybe?) but there’s no reason for
bigger and older as you press further into him to resist and so the move doesn’t trigger.
the hills. As the sun dips low, you finally get I just say what happens and reply in Elios’s
some blessed shade.” (Some of those details voice. “They’re still out. Hunting.’”
are from the almanac; the rest I made up).
(continued on next page)

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(continued from previous page) “Ooh, I watch carefully and try to figure out
what’s up. Seek Insight?” It is, but he rolls a
The situation’s clear but could use a nudge, 4. Time for a hard move!
so I keep talking as Elios and make another
soft move (announce trouble). “‘ You know, I announce trouble.“ You’re sure that Iwan
they should’ve been back by now.’ What do and Mari know more than they’re saying,
you do?” but before you can act on that, there’s this
horrible roar and crashing sound from up
The PCs discuss searching for the crew, but in the hills, then smaller shouts—like people
opt to stay put and get more info. They still fighting. You all hear it. What do you do?”
aren’t triggering any moves (they’re asking
questions that the loggers would willingly They ask questions and I clarify the situa-
answer) so I just portray my NPC. Elios tion a bit (its dark, the fight sounds pretty
and Terrwyn say how they both saw the close, none of them know these hills well).
demon a week ago, before Andras was Then Rhianna says “Let’s go. Into the hills.”
attacked. “Like a big goat, with a human
skull, three eyes, and a huge horn.” That ends the scene! There’s a bit of loose play
as we talk logistics. Vahid and Blodwen
I was going to offer an opportunity but each bring a torch, lit from the cooking fire.
Vahid jumps in. “Have I ever heard of “ You head out?” I ask. They do.
something like this?” That triggers Know
Things, so he rolls +INT and gets an 8. I zoom out and describe the situation in
general: “It’s dark, the hills are steep and
I know from my prep that this demon-goat wooded, and you’re navigating by sound,
is actually a guardian spirit, and that following the sounds of battle.” I make my
the real threat is a hagr, so I use one of my soft move and tell them the requirements.
exploration moves and hint at more than “If you’re trying to get there quickly, that’ll
meets the eye. “Sounds like a shaksa, a trigger Struggle as One—the danger being
spirit or demon the folks up north believe in. that you get lost or separated or hurt on
Like a guardian of graveyards? Or maybe the way. If you take your time and move
that’s a metaphor and it’s like the lord of the carefully, you won’t trigger a move—but
charnal grounds? How do you know this?” you probably won’t get there in time to help
with the fight. What do you do?”
“Oh, from a religious text of theirs, I read
it in a library down south. I’ll keep it to They decide to Struggle as One. We resolve
myself for now.” the move and they each roll well, and so we
transition to next scene. “It’s a desperate,
I update the situation. “It’s full night now half-blind run through the woods, but then
and the crew still isn’t back.” I focus the you pop out into a clearing. In your flicker-
spotlight and offer an opportunity. “Hey, ing torch light, you see Eira and Lowri
Caradoc, while they talked to Elios and facing off against this huge, hulking brute,
Terrwyn, you noticed some glances between like 12 feet tall and half as wide.”
the others. Like, they’re scared. But maybe
hiding something, too? What do you do?”

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I barely take a breath before making my soft That resolves Rhianna’s move, so I shift the
move (put someone in a spot): “It hoists spotlight and offer an opportunity. “Blod-
a small tree like a club and roars, about wen, do you still want to Defend?”
to smash them both, and they’re both just
staring at this thing, gaping.” I’ve been ad- She does, and rolls a 9. She immediately
dressing the group, the spotlight unfocused, spends her Readiness to draw all attention
so now I tighten it up. “Rhianna, Blodwen, from her ward (Rhianna, now) to herself.
you got here first—what do you do?” “Cool, what does this look like?” I ask.

Rhianna’s player doesn’t hesitate. “I shoot it. “I step in front of Rhianna, waving my
In the head. Let Fly?” Yes, but I tell her to torch and yelling, like ‘ YAAAAAA!’”
wait until we see what Blodwen’s doing.
It works, of course. I say how the hagr turns
Blodwen asks questions. “So this is like a its eye on her, filling her with that same
person? Just really big?” Yup. “And it hasn’t feeling of dread that Rhianna had.
noticed us? Yup, for now, they just got there.
“Do I recognize it? Like is it maybe one of I shift the spotlight to Caradoc and Vahid.
our loggers, mutated or something?” I tell them that they just arrived, quickly
recap the situation, then offer an opportu-
“Eh,” I tell her. “I doubt you could tell at a nity. “It’s focused on Blodwen right now,
quick glance in torchlight. You could take a what do you do?”
moment and Seek Insight. Do you?”
Vahid takes the situation in by Seeking In-
“No. Could I like yell and wave the torch sight. We decide to resolve that later, because
and distract it?” she asks. Caradoc’s player Caradoc rushes in, shield up and spear stab-
notes that this sounds like the trigger for bing low. Blodwen had its attention, so we
Defend (“jump in to protect others”) and we agree that Caradoc can get close enough to
all agree. But we also agree that Rhianna attack, but it’s still very able and willing to
would get her shot off before that happens. fight back. This triggers Clash, but Caradoc
gets a 4.
Rhianna gets an 8 to Let Fly, and chooses
to put herself in danger to get the shot. She I need to make a hard move, and the obvious
only does 3 damage, less 1 armor. It’s barely thing is to hurt him. “I guess it sees you com-
hurt, and I need to put Rhianna in danger. ing, Caradoc, and swings that tree branch
before you can close. you get smacked in the
“I think you’ve got to step into the clearing to head and everything’s just white and your
get the shot, yeah? You clip it in the shoulder, ears are ringing and what is even going on?
and—good news—it checks its swing, snarls Take a d10+3 damage and mark Dazed.
and turns your way, leaves Eira and Lowri Rhianna, you snap out of it and see it club
alone. Bad news, though, is that it fixes you Caradoc in the head, he just went flying and
with its big, bulging, horrible eye and your landed in a heap. What do you do?”
mind just goes blank, your knees start to
wobble, you can’t even think.” And we go from there.

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Your principles Follow the rules

There are many rules, especially in the form
These principles are your guidelines, your of player moves: basic moves and follower
best practices, your rules of behavior for moves, special moves, exploration moves,
running Stonetop. Strive to follow them. and steading moves. Each playbook has
They are the surest way to achieve your moves. Inserts have moves. Arcana have
agenda. moves. Dangers, discoveries, threats, and
locations can all have player-facing moves.
Follow the rules
Begin and end with the fiction Hopefully this is obvious, but: when a
Address the characters, not the players move is triggered, follow the procedures
Ask questions and build on the answers in the move and say what the move
Be a fan of the player characters requires of you. The rules are there to push
Embrace the fantastic and the mundane the conversation and the fiction in certain
Exploit the setting guide directions, and to clarify what happens in
Respect your prep moments of uncertainty.
Bring your characters to life
Think offscreen, too Give the players the full benefits of their
Bring it home moves and their rolls. Challenge their abil-
Let things breathe ity to trigger those moves, sure, and temper
Let things burn the results based on the established fiction
and your prep. But don’t fudge the results
Following your principles isn’t always easy. of a move because you think things should
Sometimes it’s unclear what a given prin- go a particular way, or because you’re wor-
ciple looks like in the moment. Sometimes, ried that things will be “too easy” or “too
the principles will conflict. A big part of hard.” That’s not your job. You’re playing to
your job is to interpret these principles and find out what happens, right?
apply them as you think best. You’ll often
do this instinctively, and how exactly you You don’t get to invoke a player move un-
follow your principles is a big part of your less its trigger is actually met. You don’t get
own personal style of GMing. to say, “The crinwin attacks you, roll +DEX
to Defy Danger!” Gods, no. You say that
the crinwin leaps at them and ask, “What
do you do?” If they do something that
triggers a move, then you do that.

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It’s okay if, in service of your other prin-

ciples, you suggest something in the spirit Bad: “ You attack the hagr? Cool, roll to
of the rules instead of following their exact Clash. A 10? Do you evade its attack or
letter, but be up front about it and get deal extra damage? Okay, roll your dam-
consent. “You got a 7-9 to Clash? Roll your age +1d6. 7 damage? It’s still up and hits
damage. 9!? Yikes. So, I know it says you you back for 1d10+3 forceful, knocking
expose yourself to your enemy’s attack but you down. It’s coming at you again, what
I’m thinking the ‘attack’ in this case is that do you do?”
your axe gets wedged into his skull and it’s
gonna take a bit to get it free. That okay Good: “ You attack the hagr? Cool,
with you?” what’s that look like? Stabbing up into
its gut? Yeah, sure, roll Clash. A 10?
Begin and end with the fiction Do you evade its attack or deal extra
Remember: “the fiction” is the shared, damage? Okay, roll your damage +1d6.
imagined space that you and the players 7 damage? So like you said, you stab
establish through conversation, and the it in its gut and the hagr doubles over,
various characters’ actions and relative howling in pain, but before you can get
positions within that imaginary space. away it just uncoils and backhands you
across the face. Take d10+3 damage as
When rules are invoked—when a player you go flying and land in a heap, head
triggers a move or rolls damage or spends spinning. You hear it lumbering towards
a resource or whatever—ground the rules you, grunting in pain and anger. What
in the fiction. If you can’t picture what the do you do?”
character is actually doing or how they’re
doing it, then ask questions and clarify the
fiction before going to the dice. After the Address the characters,
dice are rolled, and the rules say what hap- not the players
pens, describe what that looks like in the Ask the characters what they do. Tell the
fiction (or ask the player to). Fiction, then characters what they see and hear. Tell the
rules, then back to fiction. Always. characters what’s obvious to them. Don’t
say, “Brian, what is Vahid doing to keep
Likewise, when you make a GM move, make awake?” Say instead: “Vahid, what are you
a move that flows from the fiction as estab- doing to keep awake?” Don’t tell Jamie,
lished. Don’t say the name of the move— “Rhianna can tell that he’s lying.” Say (in
keep that to yourself—but describe how it Iwan’s whiny voice) “No way, Rhianna, you
manifests in the fiction. Show, don’t tell. know I’d never do that,” and then (in your
own voice), “But he looks away and you
Beginning and ending with the fiction can just tell he’s full of crap.”
is a crucial part of portraying a rich and
mysterious world. If you skimp on the By speaking this way, you keep the game
fiction and just focus on the mechanics, focused on the fiction. You push the play-
you’ll find that your world is bland, boring, ers to think, speak, and respond as their
and anemic. characters. You establish fiction as the
characters perceive it, because that’s who
you’re addressing.

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Ask questions and build Ask questions that assert details while
on the answers asking for input. “Vahid, what have you
Ask questions all the time, all over the place. noticed that all the missing children have
in common?” “Rhianna, what little ritual do
Ask questions to establish intent. “Before folks always do when crossing the Stream?”
you all head out in the morning, is there
anything else anyone wants to do?” Ask the characters to paint the scene for
you, by asking them for details on a theme.
Ask questions to clarify intent and get “What here tells each of you that this is a
yourself on the same page as the players. place touched by the fae?” “What do you
“Yeah, I guess you can get around him. But see here that you’ve seen a thousand times
what are you hoping to accomplish here?” before?” “What’s the most striking thing
about the Flats in early spring?”
Ask questions to clarify the fiction. “Sure,
you can Seek Insight. What does that Ask questions that do more than one of
look like?” the above. “Caradoc, when you all got
back to town, whose reaction surprised you
Ask the characters what they’re thinking the most? How did they react, and how did
or feeling. “Caradoc, you’re standing there, you feel about it?”
bleeding from where Wynfor stabbed
you, and the look in his eye—you barely Reincorporate their answers into the
recognize him. What’s going through your fiction, right away or later on. Don’t shut
head right now?” down their answers unless it’s to point out
a contradiction. Ask follow-up questions.
Ask the characters about their past or their Think about what their answers imply
day-to-day lives. “Rhianna, who taught you and extrapolate from there. Their answers
how to hunt and track?” “Blodwen, you live might surprise you—that’s part of the
with your mother, right? Any other siblings? fun—but carry on as if that answer has
What’s the place look like inside?” always been a true and obvious part of the
established world.
Ask the characters about things they would
know. “Rhianna, you’ve met Brennan before. When you ask your players to contribute
What’s his most distinguishing feature?” to the fiction, it helps you play to find out
what happens. Your players will always
Ask the characters about things they’ve come up with details that you wouldn’t,
heard or what they believe, where their an- and that makes the world you’re all
swers might not be entirely true. “Blodwen, creating a little more surprising. When
what stories have you heard about the Quiet you build on the details that players have
Twins and how they came to haunt the established, it helps you portray a rich and
Stream? What do you think the truth is?” mysterious world. People are often more
invested in things they helped create, and
when you bring up a character or a detail
that they introduced four sessions back,
and it matters, that really brings the world
to life.

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The Line
In Stonetop and games like it, there’s a
line between what the players are re-
sponsible for and what you as the GM
are responsible for. The players are in
charge of their characters: what they do
and say; what they feel and think; how
they live; their past experiences. As the
GM, you’re in charge of the world: the
environment, the NPCs, the dangers
and the discoveries.

Some of the questions described here

blur the line. When you ask Vahid
what the missing children all have in
common, you’re really asking Vahid’s
player to do something that’s gener-
Be a fan of the player characters ally the responsibility of the GM:
The PCs are the protagonists of the story. make up details about the world.
Keep the focus of the game on them. Root
for them. Celebrate their victories. Lament The trick is to address the charac-
their losses. Let yourself wonder things ters, not the players. Don’t ask the
about them, and then find ways to get the player to make up what they find in
answers through play. Care about them. Be the next room or how an NPC reacts
their fans. or how the trap hurts them. Ask
the character about something they
Being a fan of the player characters doesn’t know, something they feel, something
mean letting them do whatever they want. they have experienced. This puts the
You’re the author of their adversity. You request back on their side of the line.
need to punctuate their lives with adven- It’s a sleight of mind, but it’s an effec-
ture. Threaten them. Hurt them. Go after tive one.
the things they care about. Give them all
sorts of difficult choices. Even so, blurring the line can be
uncomfortable or off-putting for some
But also: give them opportunities, both to players. Some players are totally fine
shine in the moment and to make things with making up details about the
better in the long run. Let them enjoy the world, but others will find that it takes
things they work for. away from their sense of immersion or
makes the world feel hollow and made
Stonetop gives the player characters lots of up. Adjust the questions you ask, and
agency. Respect that. Don’t shortchange how you ask them, to fit your and your
them out of their moves or their rolls. See players’ preferences.
what they do with their power, status, and
competence. Play to find out what happens.

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Embrace the fantastic and Exploit the setting guide

the mundane Stonetop comes with a lot of established
The world is filled with fantastic elements: setting, but it leaves a lot of blanks for you
spirits, monsters, fickle fae, the ancient and your players to fill in during play. The
works of the Makers, the darkness of the setting is intended to serve as a spring-
Things Below. Play up these elements. Use board for your creativity. It helps set a tone
them to make the world mysterious. and gives you all a common starting point.
It provides details to riff on. It hints at
But at the same time, ground the game in answers but doesn’t always give them. Use
human concerns: the turn of seasons, the the established setting to portray a rich
coming harvest, friends and neighbors. and mysterious world.
Threaten the PCs with real-world dangers:
harsh weather, wild beasts, starvation, Use the setting guide to inspire, but don’t
exposure. Ask about the provisions they feel beholden to it. If your players give you
brought or how they got that cloak. Make something that contradicts the established
the world rich with mundane detail. setting, don’t negate their input just be-
cause the book says so. They book isn’t the
Contrast the fantastic and the mun- authority, it’s a resource for you to exploit.
dane against each other. If an adventure
revolves around a supernatural threat With that said: be thoughtful about what
or opportunity, then be sure to include you change or discard. It’s safer to change
perfectly mundane challenges, dangers, specific details than to change broad
and discoveries. If a session involves mostly themes. If the Fox says that Brennan used
mundane concerns (like a trade mission to to run a gang in Marshedge and killed his
Marshedge or an aurochs hunt), sprinkle way to power (as opposed to the setting
in some fantastic elements. The interplay guide’s story about how he was a bandit
between the two makes the world that who the council hired as their marshal),
much richer and more mysterious. then no big deal. But if you and the Seeker
decide that the Makers were gnome-sized
tinkers instead of inscrutable titans, then
you’ll need to rethink all sorts of setting
details (the size of the roads, the scale of
the Ruined Tower, the themes associated
with each type of Maker, and so forth).

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Respect your prep Bring your characters to life

Between sessions, you’ll make preparations Name your NPCs. Give them distinct
(i.e. “prep”). You’ll write up threats and personalities. Wants, needs, and quirks.
NPCs. You’ll create or choose dangers and Opinions and beliefs. If you can manage it,
discoveries. You’ll think of encounters and portray them with distinct voices or man-
design locations to explore. nerisms. Bring them to life and play them
as if they were real people.
Some prep involves possibilities: things
that the PCs might discover, dangers that Describe your NPCs with memorable
they could face, problems that might arise. traits. Players often have a hard time
This sort of prep lives in a quantum state. remembering that the smith is named
But until you actually use these ideas and Taliesen, but they’ll remember that the
introduce them to the fiction, these ideas smith is a big loud guy with a shock of
aren’t true. They’re just ideas—ideas that white hair.
help you punctuate the characters’ lives
with adventure. Don’t let PCs walk all over your NPCs. Be
a fan of the player characters, sure, but that
A lot of your prep, though, involves doesn’t mean you should have your NPCs
making decisions—real, binding decisions just do whatever the PCs want. If it feels
about how the world is. This includes stuff like the PCs are pressuring or enticing
like a monster’s instinct, moves, and hit your NPCs into doing something that they
points, or how a location got to be the way wouldn’t want to do, well, that’s what the
that it is, or who killed the widow Mari. It Persuade move is for.
might include decisions about what will
happen if the PCs don’t intervene, or how Bring your non-human characters to life,
an NPC would react to X or Y. This type too. Describe how they look, of course, but
of prep is part of the fiction already, even if also how they move, what they sound and
you haven’t yet revealed it to the players. smell like, how they act.

Make these decisions carefully and Beasts, spirits, even the utterly alien Things
thoughtfully. Take your time. Follow the Below—they’ve all got personalities.
guidelines in the upcoming chapters. Develop a sense of their motives and how
they act under pressure. For beasts, think
Then, during play, respect your prep. Treat about their ecologies. For the undead, what
it as fictional truth. Describe the world, keeps them from passing through the Black
portray your characters, and make GM Gates? For magical entities, think about
moves with these decisions in mind. If the strange rules they follow. For all of the
you’ve done your prep well, you’ll find that above: put those details on screen, or at least
sticking to it not only helps you portray a hint at them. It goes a long way towards
rich and mysterious world, it also (para- portraying a rich and mysterious world.
doxically) helps you play to find out what
happens.

See page XX for more on prep.

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Think offscreen, too Bring it home

When you establish the situation, answer Make the village of Stonetop itself the
questions, or make moves, think about foundation of your game, the beginning
events off-screen. What are your NPCs and end of the PC’s adventures. Threaten
and monsters doing? What have they the town, its livelihood, or its citizens. Give
done? What traces did they leave? What them chances to make progress towards
have they been up to that becomes improvements, or to finally put down
evident? What are they doing now that lingering threats.
might become relevant later? Weave the
answers into what you say. When the PCs set off on an adventure,
show how their neighbors react. Who
Think, too, about what the PCs are doing turns out to see them off ? Who is sick
and how it would shape off-screen events. If with worry that they won’t return? Who
they make a lot of noise moving through the grumbles that this is folly? Who gives
Great Wood, who hears them coming and them something to take, because it’s dan-
how do they react? If they make an alliance gerous to go alone?
with Gordin’s Delve, how do the Hillfolk—
who have a beef with the Delvers—respond? During adventures, ask questions that tie
If they told the town that they’d be gone for back to the PCs’ lives in Stonetop. Who
five days and they’re gone for two weeks, taught you how to hunt? Who came here
who assumes that they’re dead? Who steps with you all those years back, and what
up and tries to take charge? Who takes the happened to them? Which old-timer
opportunity to do what they want? once had a run-in with these creatures?
Whose life would be most changed by this
Thinking offscreen helps you portray a treasure? Whose smile do you find yourself
rich and mysterious world, because the thinking about, out here, under the stars?
world will feel larger than the PCs. It helps
you punctuate the characters’ lives with When the PCs return home, consider
adventure, because off-screen threats and what has happened while they were gone
opportunities quickly become things for and describe how the townsfolk greet
the PCs to deal with. And it helps you them. Who is happiest? Who resents their
play to find out what happens, because it return? Who blames them for stirring up
gets you thinking about consequences and all this trouble anyhow, never mind that
cause/effect on a broader scale. they’ve put things right?

Between adventures, ask the characters

about their day-to-day lives and relation-
ships. Show how the town changes in
response to its troubles and the opportuni-
ties the PCs have seized. Describe NPCs
growing older, having children, aspiring to
more, settling for less. Show how they’ve
been affected by the PCs’ adventures.
Bring it home.

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Let things breathe Let things burn

Allow stretches of time to pass between As much as you like your plans, as much
adventures, or even between individual as you come to love some of your NPCs,
moves. It’s a big world out there, and the as much as the players will grow attached:
PCs have mundane, daily tasks to attend protect no one and nothing.
to. Avoid the temptation to follow the PCs
lives from day to day, hour to hour. Have Many GMs have a tendency, a very natural
weeks or months go by with a single state- tendency, to coddle the PCs and to shield
ment: “The next three weeks keep you all the NPCs that they care about. To preserve
occupied with the harvest, and then...” the status quo. To save their villains for a
future confrontation, even when the PCs’
When a threat looms, it need not be im- moves and rolls and bold action should
mediate and dire. You can show signs of it rightly put them in the ground.
stirring but keep it distant and remote. Ask
the PCs what they do about it, but you can That tendency? Burn it away. Then let ev-
resolve their response over days or weeks. erything else burn, too. You’re not playing
Zoom in and frame a scene only when the to preserve your darlings. You’re playing to
fiction calls for immediate, specific action; find out what happens.
zoom back out as soon as that’s over. Let
the threat simmer until it boils over and be- This doesn’t mean that you should go out
comes something the PCs have to deal with. of your way to destroy the things that the
characters love. It does mean that you
should threaten those things, and that if the
characters fail to save them, you should fol-
low through. Be okay with hard, irrevocable
consequences. Play with fire. Let things burn.

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Other things Draw maps. Lots of maps. Not just as

to do
part of your prep, but as a prop or a point
of reference during play. When a fight
breaks out and there’s a lot going on,
Take notes. You’ll end up generating lots throw a quick sketch of the terrain on a
of details, and it can be hard to keep track whiteboard or a piece of paper (or throw
of it all. You’ll need to figure out the best out some minis if you have them). When
tool and the level of detail that works for they explore a ruin, draw a rough map (or
you, but things you might want to write encourage them to) to help establish the
down include: physical space. When they go to a new
steading, give them a map of the different
NPC names (and traits, and relevant districts and parts of town.
relationships)
Historical events that you and players Add to existing maps, too. Put the PC’s
establish (and when/where/who) homes on the steading map. Add points
Interesting details that you don’t want of interest that come up during play. Draw
to forget the course of their journey on the Vicinity
A summary of events each session or World’s End maps.
You can write up formal session recaps to Leave blanks in your maps and in your
share with your players, but mostly these prep, to be filled in during play or at a
notes are for you. Write only as much as later time. Leave yourself things to wonder
you’ll find useful. about. If a question occurs to you, you don’t
have to answer it (or ask the players to
answer it) right now. Leave it as a blank,
maybe jot it down in your notes, and come
back to it in a future session.

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Keep things moving. Don’t let the momen-

tum of the game sputter out. Frame scenes
aggressively, zooming in and out to match
the level of interest (yours and the players’).
When nothing’s happening, either make a
GM move or skip ahead in time to where
something interesting is happening.
The Die of Fate
One way to disclaim decision making
Involve everyone. Keep moving the is to let the dice decide. Often, that
spotlight around the table. Make sure ev- means letting the results of a PC
eryone gets some good screen time. Don’t move determine what happens. But
be afraid to shut down an overly eager or you can also use the Die of Fate.
aggressive player with a polite-but-firm
reprimand. “Andrew, hold that thought, The Die of Fate is just a die roll, usu-
please—I’m talking to Jamie right now.” ally a d6, with a lower result meaning
bad and a higher result meaning
Take breaks. They let everyone reflect on good. Have a player roll the Die of
what’s happened and think about what Fate when you don’t have a particular
they want to do next. They let you—the opinion on what should happen or
real-world people hanging out—get to how something should go, and/or
know each other better or catch up on real- when it’s just a matter of luck. How’s
world stuff or just joke around. That stuff ’s the weather today? What do they
important, too. encounter en route? How many uses
of supplies can they loot? In general,
Engage your players in world-building, and a 1-2 is bad, a 3-4 is neutral or mixed,
make sure they realize the setting is theirs and 5-6 is pretty good.
as much as it is yours. When they ask you
something about the world, and you don’t Sometimes, you’ll prep a set of results
have an answer at the ready, turn it back on for the Die of Fate. For example, what
them. “Good question. Blodwen, what DO happens when they make camp?
the people of Stonetop do with their dead?”
1 Crinwin attack camp!
Sometimes, disclaim decision making. 2-3 Crinwin try to lure someone out
Put an outcome in the character’s hands of camp.
(“He’s a bloody mess, but he’s not dead. 4-5 They’re out there, just
You can save him if you want. Do you?”). watching you.
Discuss an outcome with the players 6 You avoid their notice.
(“What do you think? Is Andras alive or
dead?”). Let the dice decide (“You know Don’t feel limited to a d6, especially
what, roll Death’s Door for him.”). Let not when you’ve got a table of results
your NPCs decide, based on their instincts, set up in advance. If you’ve got 12
their wants and needs, your notes, and your interesting outcomes, have them roll
own sense of their internal logic. (“No, he’s a d12.
not the type to come back as a ghost, so…

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What not to do Don’t make them roll just because, or

because “maybe they wouldn’t notice,” or
Don’t plan a storyline or a plot. Don’t plan
any of that garbage. Like, you know how in
the PCs’ character arcs. Don’t plan dramatic
other games, you’ll decide that a monster
moments, where the PCs arrive just as this
is sneaking up on camp and ask the PC for
particular thing happens (regardless of how
a perception check? That’s not a thing in
long they took to get there or what they did
Stonetop.
before). Don’t assume the PCs will take a
certain course of action, or that they’ll suc-
Instead, you just make a soft GM move,
ceed or fail at a particular task. All of that
like announce trouble, that hints at the
flies in the face of playing to find out what
monster’s presence. “You realize that the
happens. That’s you deciding what will hap-
crickets have all gone quiet. And then,
pen, in advance, by yourself. Absolutely not
maybe it’s just your imagination. But you
what you’re here to do.
thought you heard something… laugh-
ing? Out in the woods. What do you do?”
Instead: prep situations, and possible
And maybe they wake the others or maybe
encounters, and places to explore. Prep
they call out or maybe they peer carefully
threats and NPCs with good actionable
out into the woods and cock their head,
instincts, maybe some grim portents and
triggering Seek Insight. However they
impending dooms. See the Prep section
respond, you run the game from there.
(page XX) for how to do this.
Don’t stop making GM moves, especially
Don’t tell them what to roll before they’ve
when the players roll 10+. You’ll describe
told you what they’re doing. You do not
what happens, yeah, and you’ll give them
get to say crap like “the bandit attacks, Defy
the success that they earned. Sometimes a
Danger with DEX.” Because 1) That’s not
player will just grab the initiative and follow
how it works and 2) What if they don’t
up (and that’s cool, run with it). But usually,
act quickly or with finesse (the trigger for
the players will still be looking at you to see
Defying Danger with DEX)? What if they
what happens. The fiction churns along and
knock his attack aside and bash him with
bad guys keep doing bad things.
their shield? What if they grit the blow and
run him through? What if they toss dirt in
So when the Heavy rolls a 10+ to Clash
his eyes and kick his groin? When you tell
and deals her damage and the foe’s still
the players to make a move, without them
standing and there are like two other bad-
first telling you that they’ve done something
dies nearby, don’t just go, “Cool, he’s still
to trigger the move, you’re taking control of
standing, what do you do?”
their characters and dictating what they do.
You’re breaking the rules of the game.
Instead: think about how the first foe
responds to getting hit, and what the other
Instead: make your soft GM move and
two foes are doing. Make a move that takes
ask, “What do you do?” Then, based on
all that into account, and then ask “What
the answer, decide together whether they
do you do?”
triggered a move and which move they
triggered. Then they roll that move, and
you resolve it from there.

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GMing is
When you’ve got some time, review the
session in light of your agenda. Did you

a practice
portray a rich and mysterious world, or
did the world feel flat, hollow, arbitrary?
Did you punctuate their lives with
Running any RPG is a practice, like yoga adventure, or did you let things drag? Did
or music or martial arts. It’s not something you play to find out what happens, or
that you master. There’s always room for did you force things down the path that
improvement, always something to learn. you thought they should go? If you didn’t
pursue your agenda, ask yourself: “What
Running Stonetop specifically is its own would pursuing my agenda have looked
skill, its own practice. Even if you’ve got like?” Next time, do that.
experience running similar games (like
Dungeon World or Apocalypse World), there’s Look over your principles. Did you ever
a learning curve. Stonetop is easier to pick fail to follow them? How did it impact the
up if you’ve run other games, but that ex- game? What would following the principle
perience can work against you, too! You’ll have looked like instead?
have to unlearn habits and adjust to new
approaches, and that can be hard. Think about moments where you were
stumped, unsure what to do. Then look at
The point is: running Stonetop isn’t exactly the core loop. Where were you in the loop
easy, but you get better at it by doing it, when you got stuck? What could you have
by reflecting on how things went, and by done differently? What sort of prep might
trying to do better next time. have helped? Maybe prep something like
that before the next session.
During the first adventure, focus on your
agenda (page XX), on following the core Review the player moves (basic, special,
loop (page XX), and on recognizing the expedition, etc.) Did you miss any moves
triggers of the basic player moves (page getting triggered? Did you call for a player
XX). Lean on your prep—that’s what it’s move, even though its trigger wasn’t really
for—and take your time. Expect things met? For moves that were used, did you
to be a little rocky as you and your players follow their procedures correctly?
learn the rules. Don’t worry about punchy
descriptions or voicing NPCs or sticking Next session, try to do better. Write down
to every single principle. 2-3 things you want to do or focus on. Put
them somewhere you can see them. During
After the first “in character” session, ask the session, try to do them.
your players for feedback. What did they
enjoy? What felt rocky? What do they Repeat the process. Ask for feedback.
want to see more of in future sessions? Ask Review the session in light of your agenda,
for clarification if you need it, but don’t get your principles, the rules, and the core
defensive and don’t try to explain yourself. loop. Prep to shore up your weaknesses. Set
Try to be humble and receptive. goals. Try again. Repeat.

Get good. Then get better. Then get great.

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Prep
Why prep? A few reasons:

To give you interesting stuff to say.

Prep is what you do between sessions, the
lonely fun (or for some, the stressful work)
To speed up play, and not make everyone
of getting ready for the next game. Prep
wait while you decide what happens, or stat
involves reviewing your notes from previous
up a monster, or draw a map.
sessions, thinking about what might happen
in the next session, and doing stuff that you
To shore up your weaknesses. If you, say,
don’t want to do during play.
always forget about the PCs’ followers and
let them fade into the background, maybe
prep some interesting things for those fol-
lowers to say or do.

To hone your craft. Some stuff is better

when you have time to think about it—it’s
more consistent or thematic, it flows better,
it builds on stuff that came up earlier, etc.

To give yourself permission to play hard

and visit badness on the PCs. If you’ve got
a tendency to pull punches (and don’t we
all?), it can really help to have an impend-
ing doom established or to give your bad
guys a move like “tear an arm off.”

Prep only as much as you find useful and

valuable. Unless you’re making something
for other GMs to use, there’s no point in
writing down details that are self-evident
to you. Don’t write down what Nia looks
like unless you think you’ll forget or it’s
something you specifically want to call
attention to in play.

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Consider prepping some or all of Dangers

the following:
The hazards and monsters and hostile
NPCs that the PCs might encounter. Find
Threats entries in the Setting Guide to use, or
The ongoing, recurring problems that cause make your own. You can do this on the fly,
trouble for the PCs. Things that are going of course, but it takes up table time and
to get worse if left unchecked, or compli- it’s best to have it done in advance. See
cated relationships that you want to ex- the chapter on Dangers (page XX) for
plore more in play. There’s a whole chapter guidelines.
on prepping and using threats (page XX).
Discoveries
Hooks Puzzles, clues, mysteries, treasures,
When you want to push the PCs into the arcana… these are all discoveries. Some
field with a threat or an opportunity, it of them you’ll just wing on the fly. Some
pays to prepare a hook. A hook involves: you’ll want to make a few notes on. Some
setup questions, a plan for framing initial (especially arcana) you’ll want to write up
scenes, some specific GM moves you plan in detail. See page XX for more.
to make, and some possible reactions. See
the First Adventure chapter (page XX) for NPCs
guidelines on preparing a hook.
If there are NPCs that you expect they’ll
encounter in play, think about their names,
Expeditions the questions you’ll ask about them, their
If you know (or suspect) that the PCs will defining traits, how you’ll describe them and
leave town, you might prepare your choices portray them. Maybe give them an instinct,
for the Chart a Course move (see page connections, and motivations. If an NPC
XX). Consider drawing a map, prepping might end up as a follower, consider writing
points of interest, and roughly imagining down their stats, tags, moves, cost, and in-
a few encounters that they might have en stinct before play. See page XX for guidelines.
route. See the What to prep section of the
Expeditions chapter (page XX) for details. All this prep might seem like it goes
against playing to find out what happens,
Locations but it really doesn’t. You’re not prepping
a story, or a plot, or an inevitable series
Think about each important place you
of scenes that follow one after the other.
expect the PCs to explore or encounter
You’re prepping things that give you inter-
during a session. What’s it like? How will
esting stuff to say, that speed up play, that
you describe it? What questions will you
shore up your weaknesses and hone your
ask about it? What’s its story? Do you need
craft, and that give yourself permission
a map or a visual aid? Are there dangers or
to play hard. Good prep doesn’t involve
discoveries within? See page XX for ideas.
scripting everything out; it involves laying
a groundwork to help you improvise.

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Player Moves

Basic Moves
Special Moves
Player Moves

Basic Moves
The opposite is also true: if they do it,
they have to do it. When they say that
they run past the crinwin and you deem it
The basic moves are the ones that every
dangerous, high-stakes, and chancy, they’re
player and PC can use, the ones that get
Defying Danger. They can back out (“Oh, I
used most often, and the ones that drive
didn’t realize, I don’t want to do that”), but
most of the game.
if they carry on, the move triggers and they
need to roll.
Each move has a trigger, which tells us
when the move kicks in. The trigger is
It’s everyone’s job to watch for moves get-
almost always fictional; the player declares
ting triggered, even if it’s usually you who
that their character does something that
makes the call. Any player can, at any time,
meets the trigger, and the rest of the move
say “isn’t that Defend?” and if the table
tells us how to resolve that course of action.
agrees, then the triggering player makes
with the dice. If there’s disagreement about
Players might trigger a move intentionally,
whether a move is getting triggered, or
describing actions that they know meet the
which move is getting triggered, talk it
trigger. Or, they might also say “I want to
out, ask questions, and remember to follow
Clash” or “I Defend.” That’s fine. But when
your principles and pursue your agenda.
they do, it’s your job to draw the fiction out
of them. “Cool, what do you do?” “Okay,
great, what’s that look like?” If you can’t
picture it, ask for more detail. To do it,
they have to do it.

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 Player Moves

When a move says to “roll +[STAT],” that

means: roll 2d6 and add whichever stat is Advantage
indicated (STR, DEX, etc.). A result of a
10+ is a strong hit; a 7-9 is a weak hit (but and disadvantage
still a hit). The basic moves all say what When a player has advantage on a
happens on a 10+ or a 7-9. roll, they roll an extra die and discard
the lowest. On a most moves, that
On a 6 or less, it’s a miss. That means: means rolling 3d6 and totaling the
two highest dice.
They mark XP
You make a hard GM move (page XX) When a player has disadvantage on a
roll, they roll an extra die and discard
Your hard move might reflect the PC the highest. On most moves, that
screwing up, but it could also reflect means rolling 3d6 and totaling two
something preventing them from succeed- lowest dice.
ing or even attempting the action they
declared. It could even reflect them doing When a player has both advantage
what they set out to do, but with terrible and disadvantage on a roll, they can-
consequences. cel each other out.

The basic moves don’t say what happens on See “The Special Moves” (page XX)
a 6-; this is just how they work. for details.

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Player Moves

When you call for Defy Danger, say what

DEFY DANGER the danger and/or the stakes are. “That
When danger looms, the stakes are sounds like Defy Danger, the danger is
high, and you do something chancy, that it’ll notice before you can stab it.”
check if another move applies. If Or “I think that’s Defy Danger, and on a
not, roll... miss, you’ll freeze up with fear.” If you can’t
articulate the danger or the stakes, they’re
... +STR to power through or test not Defying Danger.
your might
... +DEX to employ speed, agility, If it’s unclear which stat they’re using, ask
or finesse questions until it is. If it could go either
... +CON to endure or hold steady way, say what you’re thinking and let the
... +INT to apply expertise or enact a player pick. “That could either be testing
clever plan your might or enduring, so STR or CON,
... +WIS to exert willpower or rely on your choice.”
your senses
... +CHA to charm, bluff, impress, Don’t suffer nonsense. If you say “an arrow
or fit in is flying at you, what do you do?” and they
reply with something like “I flash a smile
On a 10+, you pull it off as well as at the arrow and charm it into missing
one could hope; on a 7-9, you can do me,” they aren’t Defying Danger—they’re
it, but the GM will present a lesser taking an arrow in the face. Tell them the
success, a cost, or a consequence (and consequences and ask if they still want to
maybe a choice between them, or a do that.
chance to back down).
On a 10+, they do it as well as one could
hope. Describe what happens (or ask them
If a PC’s action could trigger both Defy to). Often, you’ll give them an opportunity
Danger and another move (like swing- to act. But if the danger was particularly
ing a hatchet at the drake that’s chewing dire or their action particular desperate (or
on their leg), then the other move takes reckless), then maybe the best one could
precedence (in this case, Clash). hope for is simply avoiding the worst of it.

Don’t call for Defy Danger just because

you think “they should have to roll.” If
a character does something chancy, but
there’s no looming danger or the stakes just
aren’t that high, then don’t roll make the
roll. Just make a call and say what happens,
following your principles and agenda.

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 Player Moves

On a 7-9, present a lesser success, cost, or Caradoc is hanging from a tree, his grip
consequence. There should be something slipping. He swings his legs up around
obvious, or else they wouldn’t be Defying the bough, then pulls himself up. “ Yeah,
Danger. that’s Defying Danger—the danger is
that you fall like 80 feet. Sounds like
Lesser success: they get most of what testing your might, so +STR?”
they wanted but not all of it. “You leap
across the pit, but end up hanging half- “Sounds right,” he says, and rolls. On
off. It’ll take time to pull yourself up.” a 7-9, I’ll go with a cost and have him
mark weakened from fear and fatigue.
Cost: they do it, but they lose or suffer But, no, he rolls a 10, so I say “Cool, you
something in the process. “You leap do it, just like you said.” Then I offer an
across the pit, but land badly and twist opportunity. “It takes a moment to catch
your ankle.” your breath, but from here it’s an easy
climb up to the nest. What do you do?”
Consequence: they do it, but with an
unwelcome outcome. “You leap across Blodwen freezes, hearing the trills of
the pit, but the platform crumbles as drakes as they encircle her in the grass.
you jump. No going back that way!” She pulls out a clay pot, then tosses it,
hoping to distract them.
Consider giving them a choice between
two or more lesser successes/costs/conse- “Clever! Sounds like Defying Danger
quences, and/or the chance to back down with INT.” She rolls a 7 and I give her a
and not do the thing after all. Players often choice: “They take the bait, but you’re not
feel better about adversity that they choose free and clear yet. You can either mark
than they feel about adversity imposed off 2 more uses of supplies and huck more
upon them. Just be sure to make the bad stuff past them, to draw them away. Or
options proportional. you can try to slip away now, Defying
Danger with DEX. What do you do?”
Remember: a 7-9 is still fundamentally a
success. Don’t make the lesser success, cost, Rhianna rushes past the crinwin. “I
or consequence so bad that they’d have think you’re Defying Danger here, with
been better off doing nothing. DEX to rely on speed.” On a 10+ she’ll
get past them, no problem, and make it
On a 6-, though? Go nuts. The danger to the mouth of the cave.
comes to bear before they can act, or as
they act. Or, their action is successful but But she gets a 9 and I opt for a conse-
things get much worse as a result. Do quence: “As you rush past them, a couple
something that flows naturally from the turn and tackle you.” Rhianna’s player
fiction and your prep. Let things burn. calls shenanigans—a 7-9 should still be
fundamentally successful. “Oh, right!” I
say. “ You get to the mouth of the cave,
but two crinwin are bounding after you,
hot on your tail, what do you do?”

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Player Moves

Choose “they can accomplish more than

AID they could alone” if the main move would
When you help someone who has not be impossible without help, or if you think
yet rolled, the GM picks 1: the Aid makes the main move take less
time or have greater effect. Choose “they
They can accomplish more than gain advantage on their roll” if the first PC
they could alone could do it alone but the Aid makes it easier.
They gain advantage on their roll. Clarify the player’s intent and approach if
you’re unsure which option applies.
Either way, you are exposed to any
risk, cost, or consequence associated Involve both characters in any negative
with their roll. results of the move. Even on a 10+ with no
obvious consequence, consider making a
soft move at the Aiding character to show
Invoke this move when one PC triggers a how their Aid put them at risk.
move and another PC (or follower) assists,
or if two or more characters make the same Optional technique: when Aid grants
move at once. advantage, have the helping player roll the
extra d6. It makes them feel more involved!
As with any move: to do it, they have to
do it. If a player says something vague like
“yeah, I’ll Aid!” or “can I help?” then say
“sure, how do you help?” If they can’t come
up with something plausible, then Aid
doesn’t trigger.

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 Player Moves

The PCs are investigating the clearing where Rhianna yells “bring it down!” and she,
Pryder and Rheinal were attacked. Vahid Garet, and Eira (her crew members) start
pokes around, looking for clues. “Sounds like peppering the drake with arrows. That’s Let
you’re Seeking Insight,” I say. Fly with her crew providing Aid. Rhianna
absolutely could make the move on her own,
Rhianna says she’ll have her crew look so gets to roll with advantage.
around, too. “Especially Lowri, he’s the best
tracker. Should I Seek Insight, too?” Alas, she still gets a 6. “Roll damage any-
how,” I say, “but even if you bring it down,
“No, let’s say that he’s Aiding Vahid,” I say. it rushes in and bashes you with its bony
“Are y’all splitting up the clearing, to work crest for d8+2 forceful damage, tossing you
more quickly? Or, like working together, kick- aside, and then it claws either Eira or Garet
ing ideas around, giving him advantage?” for another d8+2, messy and 1 piercing.
Who does it get?”
“How much time could we save?” Rhianna
asks. I tell her that it’d save maybe 30 minutes. “I have to pick?”
“Hmm. No, let’s be thorough. I’ll have Lowri
back Vahid up and advise.” “ Yup.”

“Okay! Vahid, roll to Seek Insight with Blodwen has called up a wind spirit and
advantage.” is asking it to scout the crumbling ruins.
“ You’re going to have to roll +CHA for
Caradoc is pinned by a nailadd—a giant Persuade,” I say.
spider—and it’s about to bite him with
those venomous jaws. He twists and shoves “Can I help? asks Vahid. I ask him how he
it, trying to get free, and we’ve all agreed does it. “Maybe I know something about these
that this is Defying Danger with STR. spirits, like what motivates them?” But that’s
not Aiding, that’s Knowing Things. Maybe
“Can I help?” asks Blodwen. he does Know Things and uses what I tell
him to Aid, but he’s not Aiding now!
“Sure, what do you do to help?”
The chamber collapsed, pinning Blodwen
“I’ll move in and start yelling at it, poking it under a pile of debris and timber. Caradoc
with my staff. I don’t want to hurt it, though!” staggers over and pries up one the timbers.
(Blodwen’s got a soft spot for critters.) “ You’re still stuck under a bunch of rubble,
though, Blodwen. If you want to dig free,
“Riiight, no hurting the giant spider. Roll that’d be Defying Danger with STR.
with advantage, Caradoc.” He gets an 8, The danger is that you can’t get free before
and I pick a cost that involves Blodwen. Caradoc’s strength gives out.”
“Caradoc, you hear yelling and feel the thing
shift, and manage to roll free. But as you do, Caradoc asks if he’s Aiding. “ You are!” I say.
you see it knock Blodwen’s staff from her grip. “ You’re giving her the chance to try to get
It’s about to pounce on her. What do you do?” free. But she’s not going to get advantage, if
that’s what you mean.”

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Player Moves

A character can jump in to Defend another

DEFEND after you’ve already described an attack
When you take up a defensive stance landing, as long as everyone agrees that,
or jump in to protect others, roll yeah, they could have done that.
+CON: on a 10+, hold 3 Readiness
(or 4 if you bear a shield); on a 7-9, On a 7+, the player holds Readiness and
hold 1 Readiness (or 2 with a shield). can spend it to do one of the listed options,
You can spend Readiness 1-for-1 to: no roll required. Players can spend Readi-
ness multiple times in response to a single
Suffer an attack’s damage/effects attack, but can only pick each option once
instead of your ward against any given attack. Remember to
Halve an attack’s effect or damage begin and end with the fiction—ask the
Draw all attention from your player what it looks like when they spend
ward to yourself their Readiness.
Strike back at an attacker (deal
your damage, with disadvantage) Players can spend Readiness only in ways
that make sense. They can’t interrupt an
When you go on the offense, cease to attack that they can’t perceive, or strike
focus on defense, or the threat passes, back at a foe that’s out of reach.
lose any Readiness that you hold.
Halving an attack’s damage/effects reduces
the damage before applying Armor. Work
This move can trigger proactively or with the player to determine what halving
reactively. the effect means. Maybe they stagger instead
of falling, or maybe the tentacle grabs just
Proactively: there’s danger afoot but no one arm instead of fully ensnaring them.
imminent, in-process attack. They ready
themselves to receive and repel danger: If they strike back at an attacker, any tags
planting their feet, raising shield and spear, on their damage (like forceful or messy)
eyes sharp, etc. Maybe they step near/in apply. This option won’t, by itself, stop or
front of the person they mean to Defend. prevent the attack, even if they drop the
Maybe they dig in to hold a position or attacker. They’re spending Readiness in
protect some valuable item. Maybe they’re response to the attack, not before it.
just Defending themselves.
Players can trigger other moves while they
Reactively: you’ve made a move that estab- hold Readiness, and spend it in response
lishes a specific, imminent attack against to those moves’ outcomes. That’s the point!
one character, and another character’s But if they get aggressive or give up their
player says something like “I step in front defensive stance, the Readiness is lost.
of them!” or “I tackle them out of the way.”
This version only works when they protect When someone Defends proactively and
someone (or maybe something) else. If rolls a 6-, escalate the situation aggressively.
they’re reactively protecting themselves, If they Defend reactively and gets a 6-,
that’s Defy Danger or maybe Clash. well, your hard move will probably be
pretty obvious.

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 Player Moves

Rheinal (an NPC) gets pounced on by a

nailadd, and Vahid tries to save him. “I Blodwen is tending to Pryder’s wounds
grab him and pull him behind me.” That’s when Caradoc hears a strange motley of
Defend! Vahid rolls an 8, and spends his 1 animal noises approaching—crinwin! He
Readiness immediately. gulps, moves to the entrance, and hoists his
shield and spear. That’s a defensive position,
“It’s going to tackle him, do 1d8 damage, and for sure, so he rolls +CON to Defend. He
pump him full of poison,” I say. “If you want gets a 10+, and holds 3 Readiness, +1 for
to save him, you could either take the blow, his shield.
or halve the damage/effect.” He asks if he can
roll the damage before deciding and I’m like “The first two crinwin rush you, one bounding
“Of course!” He rolls a 5, and chooses to suffer at your face and the other going low! What do
the attack in Rheinal’s place, poison and all. you do?”

Caradoc trips while running from a drake, He holds his ground, shield up, stabbing as
and Rhianna turns and starts yelling at it, they get near. That’s fighting in melee, so a
getting between them. “Sounds like you’re Clash. “Do I keep my Readiness?” he asks,
Defending Caradoc, yeah?” and yeah, I think he does—he’s fighting, but
defensively. (If he’d rushed out to meet them,
“ Yup. I promised his ma I’d bring him home then no, his Readiness would be gone).
safe.” She rolls a 7, spending her Readiness
to draw attention from her ward to herself. Alas, he rolls a 4 to Clash so I put him a
“I’m yelling, clanging my spear and knife, spot, and hard: “The first one bowls you over
and circling so it’s not looking at Caradoc.” while the second grabs your leg and bites
down, hard! That’ll be d6+1 damage.” He
“Cool! Caradoc, that drake was right on rolls 5 damage, but spends 1 Readiness to
you, but it just turned to hiss at Rhianna. halve the attack’s damage and effects. That
You’re able to get to your feet, what do you becomes 3 damage, less 1 for his Armor.
do?” He, of course, decides to stab it (and “What’s this look like, then?” I ask “How are
Rhianna curses under her breath). the effects halved?”

Blodwen approaches Wynfor, who’s got “I think I keep my feet, but the first one is
this creepy, beatific look on her face. Vahid’s hanging on my shield while the other one
hanging back, guarding the door. He rolled chomps my ankle. And, yeah, I’ll spend one
Defend, and is holding 1 Readiness. more Readiness to strike back, bashing the
one on my shield against door frame. Cool?”
When Wynfor stabs Blodwen out of the blue,
Vahid is like “I spend Readiness to halve Very cool. He deals his damage (with disad-
the damage!” But I don’t think so. He’s by vantage), and he’s still got 2 Readiness left.
the door, 3 or 4 paces away, and she knifed
Blodwen with no warning. “Keep your “Okay, Blodwen, while this is going on...”
Readiness,” I say, “but you weren’t in posi-
tion to protect Blodwen from Wynfor at all.”

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Player Moves

Answer honestly, generously, and helpfully.

SEEK INSIGHT Rely on your prep and sense of the fiction
When you study a situation or person, to guide you. You’ll often need to make up
looking to the GM for insight, roll details on the fly. These details become true
+WIS: on a 10+, ask the GM 3 ques- parts of the fiction!
tions from the list below; on a 7-9, ask
1; either way, take advantage on your If you’re unsure how to answer, ask the
next move to act on the answers. player for guidance. “Well, the old coins are
obviously valuable, but what sort of thing
What happened here recently? were you looking for?”
What is about to happen?
What should I be on the Begin and end with the fiction! Don’t just
lookout for? say that Siowan is about to betray them;
What here is useful or valuable describe how Siowan’s acting nervous,
to me? glancing at the door like someone’s about
Who or what is really in to burst in. Alternately: give them a direct,
control here? simple answer and then ask them what
What here is not what it appears details led them to that conclusion.
to be?
Adjust your answers to reflect the fiction.
The move isn’t magic; it doesn’t let PCs
Seek Insight triggers when a character know things that they couldn’t. A quick
does something to gain insight. Don’t call scan of the room from the entrance should
for the move just because a player asks give less-specific and less-useful insights
what they see or hear. Call for it when they than if they get in there and interact.
look to you to put the pieces together, or to
reveal more than what’s obvious. The best answer is often the obvious one.
“What’s valuable? The coins. Everything
The PC must actually study a situation or else is junk.” Sometimes, the only honest
person. If the player just says that they Seek answer is “nothing.” “There’s nothing to be
Insight, ask what that looks like. It could be on the lookout for. This place is quite safe.”
subtle (“I scan his office while they talk”) or “No one’s in control. It’s a damn free-
overt (“I toss the room—taking books off for-all.” Such answers remove doubt and
shelves, looking in those pots, tapping the clarify the situation (and the PC still gets
walls, etc.”), but it has to be something. advantage to act on the answer).

On a 7+, the player asks one or more ques- On a 10+, the player gets advantage on
tions from the list. The list drives players to only one roll, the first one that acts on any
ask meaningful questions, ones that grant of the answers. If they ask three questions,
insight rather than just detail. No need to they get advantage once, not thrice.
be a stickler about it, though. If they ask
a good question that’s not on the list, feel On a 6- during a tense, dangerous scene,
free to answer it. Or, accept their question your move will often involve the character
but answer a question from the list. getting interrupted or surprised as they
study the situation.

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 Player Moves

When they get a 6- to Seek Insight in Don’t remove a player’s agency on a 6-. You
“safe” situation, you might use your move might turn their move back on them and
to announce trouble that wasn’t there feed them false information or a bad idea,
before. You might reveal an unwelcome but only do so if the player is onboard and
truth or advance towards impending enjoys the dramatic irony. Likewise, don’t
doom, deciding that something bad hap- presume that the PC acts contrary to how
pened off-camera before they got here. Or the player triggered the move. If they said
you might use up their resources and say they were scanning the room, don’t say that
how they learn nothing but their torches they stepped inside and sprung a trap.
are running low.

The PCs are staring up at a crinwin nest. I know that Sajra the swyn (a giant,
They ask about its size (“big as a house”), the hypnotic, monkey-headed snake) is behind
tree it’s in (“like a sequoia redwood”) and if the attack, but I don’t see how Rhianna could
there’s movement in the nest (“nope”). Then deduce that. I give her as useful of an answer
Rhianna asks “Any recent activity? We’ll as I think the evidence could allow: “Down
look for tracks and whatnot.” That’s looking the path, you find a… drake scale? But big-
for insight, so she triggers Seeking Insight. ger, flatter, with a golden shimmer to it.”

She rolls +WIS (with advantage from her She asks if she recognizes it. “I don’t know,”
crew Aiding) and gets a 10. “Is the nest still I say, “sounds like you’re Knowing Things?”
active? Any signs of recent activity?” she asks. And she agrees, and rolls with advantage
I direct her to ask a question from the list. for following up on an answer.

“Oh, yeah. Um, what should I be on the A fae named Thornthumb is telling them
lookout for? Like, are any crinwin still about the swyn’s lair, but his eyes linger on
around?” I say no, nothing to be on the Vahid’s pack (where the Mindgem is). Va-
lookout for. The nest is unoccupied, damaged hid doesn’t like that one bit. “I size him up,
even. Garet (from her crew) calls her over trying to figure out what he’s up to.” That’s
and shows her the crinwin bodies he found, Seeking Insight, but he gets a 3.
rotting away in the brush.
I turn his move back on him, revealing
“Whoa. Uh… what happened here recently?” something valuable to the fae. “ You, like,
go to pick up your pack, but drop it and the
They find more crinwin corpses, and some Mindgem falls out!” But Vahid’s player isn’t
that look like they killed each other. “A few having it. He wasn’t touching his pack, and
weeks old, at least. But not enough corpses the Mindgem is packed at the very bottom.
for a full a nest. And you find signs of crin-
win dragging off other crinwin, in the same “Shoot, you’re right. How about this? Before
general direction they carried off Pryder.” you can get a read on him, he like bounds off
through the brush, beckoning you to follow.
“What the hell?” spits Rhianna. “Um… ‘Show you the way, safe and secret,’ he says!”
who or what is really in control here? Like, But something about his smile still unnerves
who or what is behind this?” you, Vahid. What do you all do?”

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Player Moves

On a 7+, their maneuver works (or mostly

CLASH works, on a 7-9) and they’ve got a chance
When you fight in melee or close to hurt their foe—the damage roll tells
quarters, roll +STR: on a 10+, your us how much. Even if they don’t drop
maneuver works as expected (deal their foe (or get through its Armor), their
your damage) and pick 1. maneuver still basically works. The fictional
situation should change to reflect that!
Avoid, prevent, or counter your
enemy’s attack “Suffer your enemy’s attack,” doesn’t just
Strike hard and fast, for 1d6 mean taking damage. It means that you
extra damage, but suffer your use the enemy to make an aggressive, hard
enemy’s attack GM move against the character. You can
hurt them (“it smashes your helmet and
On a 7-9, your maneuver works, the world is spinning—take 1d8+3 damage
mostly (deal your damage) but you and mark dazed”), but you can also put
suffer your enemy’s attack. them in a spot (“you stab it, but it smashes
you against the railing for 1d6 damage,
and the railing cracks and starts to give”),
This move covers an exchange of hand-to- or use up their resources (“you stab it, but
hand combat: a PC tries to hurt or subdue it bucks and twists and your spear goes
a foe, and the foe is either actively trying to flying”), or make any other GM move that
hurt/subdue them back, or is able and will- makes sense—especially one of the mon-
ing to start. If the foe can’t or won’t fight ster’s moves! If the move would potentially
back, it’s not Clash—the PC just deals hurt the PC, rough them up, or take them
damage (or murders them outright). out, then deal damage as part of the move.

If you announce an attack (“it leaps at you, When a PC deals damage and suffers an
what do you do?”) and the character reacts enemy’s attack, have the player roll damage
by both defending themselves and striking before you decide what the enemy’s attack
back, then that’s Clash. They don’t usually looks like. If you know you’re going to do
need to Defy Danger first, unless they were something that deals damage to the PC,
already in a precarious position. you can roll (or have the player roll) the
monster’s damage before deciding on your
If a player says something like “I attack” or move. Let the damage dealt (plus Armor,
“I stab it,” probe for more detail. It’s easier tags, and whether each combatant is left
to resolve this move when you can picture standing) inform the move that you make.
their maneuver and understand its intent.
On a 6-, the obvious result is that the
If their attack just wouldn’t work, then player’s maneuver fails and they suffer the
Clash doesn’t trigger. Instead, tell them enemy’s attack. But you can make any
the requirements (“you need to get inside move that follows your principles. Maybe
his guard first”) or reveal an unwelcome they strike a killing blow, but the monster
truth (“your spear goes right through, it’s falls and crushes a follower! Maybe they
like stabbing mist”) or put them in a spot cut down this foe but the next one clocks
(“it swats your spear aside and jabs at your them on the head and the PC is captured.
throat, what do you do?”).
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 Player Moves

When a character’s attack could feasibly When multiple combatants deal damage to
hurt multiple foes—because of the area a single foe, roll one combatant’s damage
tag, because they describe it in a way that (usually the best one) and add +1 damage
makes sense, etc.—then they roll to Clash for each capable attacker after the first.
just once for the whole group, but they roll Apply tags from all attackers as they
damage separately for each individual foe. make sense.

When multiple PCs and/or followers See also “Running monsters and combat”
attack a foe at once, one of them Clashes (page XX), especially “Foes they can’t hurt”
while the others Aid. (page XX), “Multiple combatants” (page XX),
and “Keeping fights interesting” (page XX).

The nailadd lets Caradoc go and pounces on “Do you avoid its attack? Or do extra dam-
Blodwen, biting her with paralytic venom. age?” She opts for the extra damage and
Caradoc’s like “I attack! Clash?” rolls a d8 (her damage die) plus a d6, for 7
damage total. That’s enough to drop it, but
“Probably, yeah. What’s this look like?” she also suffers the crinwin’s attack. I con-
sider having it hurt her, bashing her head
“I roll to my feet, pick up my shield and rush with a rock while she stabs it, but decide to
in to bash it off her.” reveal an unwelcome truth instead.

Blodwen asks if it’s even Clash, since it’s fo- “So, you stab it like five or six times, its cold
cused on her. “ Yeah,” I say, “it just poisoned black blood pouring over you. But crinwin
you, and it’s super quick. I think it’s able to are cowardly, right? A good stab should
defend itself from Caradoc.” have sent this thing running. This one? It
keeps choking you, making those coo-cooing
So Caradoc rolls +STR and gets an 11, noises, not blinking or flinching until it
wisely choosing to avoid the enemy’s attack. bleeds out. Take a d6 damage, and what’s
Alas, his damage is only a 2, not enough going through your head right now?”
to get past the spider’s armor. “So, nothing
happens?” he asks. The swyn locked eyes with Vahid and tried
to crush his will, but Vahid resisted and has
“It doesn’t take damage, but your maneuver successfully pretended otherwise. “It slithers
works. You bash it clear off of Blodwen, and closer,” I tell him, “hissing ‘coommme with
it flops on its back, flailing for a bit while it meee.’ It turns to go, what do you do?”
tries to right itself. What do you do?”
“I’ve got my lantern out, right? I smash it
The crinwin has Rhianna pinned, making in the face. Clash?”
these weird cooing noises as it tries to choke
her. “I push it back with one hand and pull The swyn thought Vahid was under its sway
my knife with the other. Stab stab.” That’s and not expecting an attack. “No, no Clash.
fighting in close quarters, so she rolls +STR Just deal your damage!”
to Clash. She gets a 12!

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Player Moves

INTERFERE
When you try to foil another PC’s
action and neither of you back
down, roll...

... +STR to power through or test

your might
... +DEX to employ speed, agility,
or finesse
... +CON to endure or hold steady
... +INT to apply expertise or enact a
clever plan
... +WIS to exert willpower or rely on
your senses
... +CHA to charm, bluff, impress, or
fit in

On a 10+, they pick 1 from the list

below; on a 7-9, they pick 1 from the On a 7-9, the Interfering character is
list below but you are left off-balance, off-balance, exposed, or vulnerable. Give
exposed, or otherwise vulnerable. the other PC an opportunity to retaliate.
If that’s impossible or unlikely, put the
Do it anyway, but with disadvan- Interfering character in a spot and/or shift
tage on their (next) roll the spotlight to someone else.
Relent, change course, or other-
wise allow their move to be foiled On a 6-, the obvious outcome is that they
fail to prevent the initial PC’s action. The
initial PC does what they started doing,
Invoke this move when a PC acts, another and either that triggers a PC move or you
PC tries to stop them, and the first PC say what happens. Don’t let the initial PC
persists. Stop and discuss the situation, back down now! They committed, or else
giving both players the chance to back off. Interfere wouldn’t have been rolled.
Either player can relent without going to
the dice. Technically, though, a 6- to Interfere
means you get to make a hard GM move.
On a 7+, the initial player (the one being Maybe the Interfering PC foils the initial
interfered with) chooses: act anyway with action after all, but doing makes things
disadvantage on their next roll, or relent. much, much worse.
If they choose to act, but doing so doesn’t
trigger a move, then they take disadvan- To be clear: Interfere doesn’t apply against
tage on their next roll—even if that roll is monsters or most NPCs. It might apply
unrelated. Ask the acting player why the against followers, when they’re acting on
disadvantage lingers. Maybe they’re angry another PC’s orders, but you’ll need to
or distracted, or doubting themselves. figure that out case-by-case.

132
 Player Moves

Wynfor just stabbed Blodwen, to everyone’s Rhianna falls back and walks with Vahid
surprise, and Rhianna reacts: “Oh screw for a bit. “Vahid, what’s up with you and
this. I shoot her. In the leg.” Eira? You’re creeping her out.” Vahid is
evasive and Rhianna’s like “ Yeah, I stop
Even though Blodwen just got stabbed by and peer through your enigmatic old man
the glassy-eyed girl, she’s says “RHIANNA, routine. Seek Insight?”
NO!” and puts her hand up to stop her. I ask
Rhianna if she shoots. If she does, Blodwen “Sure,” I say. Vahid asks if there’s anything
will be Interfering. he can do about that. “ You can Interfere.
But tell us what that looks like.”
But Rhianna holds her shot. “I’ve still got
my bow drawn, though. ‘Back off, girl, “I smile awkwardly and say something
and drop the knife. I’d rather not have to about being a lonely old man looking at a
explain a hole in your leg to your ma.’” pretty younger woman, even though that’s
not what’s going on at all.” Interesting! We
Caradoc is still hearing the swyn’s voice, agree that he’s Interfering and rolls +CHA.
hissing bad ideas in his head, and Rhianna He rolls a 4.
just gave him a dressing down. I lean in
and say “Sssseee? Contempt! Shhhow her I consider turning his move back on him
what you’re made ovvv.” I offer him an XP and giving Rhianna advantage to Seek
if he attacks Rhianna, and he goes for it. Insight. But I’d rather let this issue sim-
mer, so I announce trouble and cut the
“I growl and swing my shield at her, like conversation short. “Rhianna, he gives you
SHUT UP! Clash?” that bogus line but before you can process it,
Garet yells ‘DRAKES!’ and there’s a snarl
“Probably, but hold on. Rhianna, Caradoc and shouting up ahead, what do you do?”
is attacking you, what do you do?”
Thornthumb offers Blodwen a pretty flower,
“What? No. I step back, dodging that shield and she goes to take it. Vahid Interferes, try-
and kicking his leg out from under him.” ing to slap it from the spriggans’ hand. He
gets a 10, but Blodwen decides to take the
Caradoc doesn’t back down and neither does flower anyhow. “I think he knocks it out of
Rhianna, so she rolls +DEX to Interfere. my hand, and I’m like ‘Vahid! Apologize!’”
She gets a 7. Caradoc can either Clash with Vahid clenches his jaw and apologizes, then
disadvantage or let his attack be foiled. He stomps off. Thornthumb grins as he goes.
lets it be foiled, but Rhianna’s off-balance
and/or vulnerable. Because she acted despite Vahid’s 10+ to
Interfere, Blodwen has disadvantage on her
“Rhianna, you kick Caradoc’s leg out but he next roll. I ask her why she thinks that is.
tumbles into you. You both fall, him on top.
Caradoc, you’re on your back, Rhianna under “I’m disturbed,” she says. “I’m telling myself
you, her face right by your elbow, and that that the flower was just a sweet gesture, but
voice hissing ‘ssstrike her!’ What do you do?” I keep thinking about Thornthumb’s grin
and wondering if Vahid was right.”

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Player Moves

Things that might convince an NPC include:

PERSUADE (vs NPCs)
When you press or entice an NPC, say A promise/oath/vow
what you want them to do (or not A chance to do it safely/freely/discreetly
do). If they have reason to resist, roll Appeasing or appealing to their ego/
+CHA: on a 10+, they either do as honor/conscience/fears
you want or reveal the easiest way to A convincing deception
convince them; on a 7-9, they reveal A better/fair/excessive offer
something you can do to convince Helping them/doing it with them
them, though it’ll likely be costly, Violence (or a credible threat thereof )
tricky, or distasteful. Something they want or need (coin/
food/booze/etc.)
Assurance/proof/corroboration
This version of Persuade triggers when a Pressure/permission/help from ____
PC tries to convince an NPC to do some- Or anything else that makes sense
thing. If you, as the NPC, put up resistance
and the PC persists, it’s Persuade. Clarify Reveal how the NPC can be convinced via
what they want the NPC to do/not do, and their words or reactions, and/or as insights
challenge their approach if it doesn’t make that occur to the PC. It doesn’t have to be
sense. “How would she know you want her easy, or even plausible, but the revelation
to do that? Do you, like, ask?” has to be true.

Once the goal is set, decide if the NPC It’s okay to offer two or more alternatives
has reason to resist. Consider their instinct, on how the NPC could be convinced.
personality, background, wants, needs, “He’s waiting for a bribe; a few coppers
fears, etc. If they’ve no reason to resist, they would do it. Or you could rough him up a
do it. But if the NPC has a reason (even an bit, you’re pretty sure that’d work, too.”
irrational one), then call for the roll.
On a 6-, you might make it clear that
On a 10+, weigh the PC’s approach against the NPC won’t be swayed, interrupt the
the NPC’s resistance. If the resistance was conversation, and/or end the scene. Or,
weak or the PC’s approach is strong, just you might have the NPC comply but with
have the NPC do it. But if you don’t think complications (treachery, overzealous-
the PC’s approach would cut it, reveal the ness, misunderstanding, etc.). Or maybe
easiest way the PC could convince them. the whole interaction offends someone
else, upsets the social order, or otherwise
On a 7-9, the NPC isn’t convinced yet but generates chaos. Your threat (page XX)
they’ll reveal a way they could be. You don’t and homefront moves (page XX) will be
have to make the requirement tricky, costly, helpful here.
or distasteful, but its more fun if you do.

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 Player Moves

The PCs just killed a bunch of crinwin, only “More like I’m trying to get her to trust me
to see more pale, unblinking eyes staring and start talking.” Nia is terrified, which is
down at them. “Ugh,” says Rhianna, “we cause to resist, so Blodwen rolls. She gets a
barely took care of this lot. I try to scare 10, and I think about Nia and look at the
them off. Persuade?” list of things that could convince her. I think
appeasing her fears would do it.
“Cool. What do you do, exactly?”
“Her eyes lock on the flatbread, and she
“I hoist the nearest crinwin corpse by its swallows, but then her eyes dart to Caradoc,
head. Glare out at the other crinwin. Then then Rhianna, then her crew. She’s scared
I’ll saw its head off, start yelling, and chuck of the warriors. You bet she’d calm down if
the head into the woods. And keep yelling.” they were gone.” Blodwen asks the others to
step outside, and they agree. “Cool. As soon
Yikes! And yet, the crinwin outnumber as they leave, the girl snatches the bread
them and the PCs are pretty beaten-up, so and wolfs it down, staring at you. Then she
I think they have reason to resist. Rhianna gulps, and says ‘More?’ What do you do?”
rolls +CHA and gets an 11. I think that
little display was plenty, so I say “They Vahid is up in Gordin’s Delve, selling a
scamper right off and you’re left standing sphere of silver filigree. Mutra the Yellow
there, covered in black blood. Caradoc, how has offered two handfuls of silver for it.
are you feeling about Rhianna right now?” “Why, this is worth four handfuls of silver
at least,” says Vahid. “I could get two hand-
Caradoc is keeping watch with Garet, and fuls just by melting it down.”
he pries a bit. “‘ You’ve been with Rhianna’s
crew for a long time, right? You ever seen “Sounds like you’re pressing him into giving
anything like… uh, like that?’ I’m trying you more coin for it, yeah? He’s definitely
to get him talking, maybe learn something got reason to resist, so roll to Persuade.” On
about Rhianna’s past. Persuade?” a 10+, I think Mutra would ask for more
info about the sphere’s provenance, and give
I consider making him roll, but I realize up the silver for the truth or a convincing
that Garet’s got no real reason to resist. lie. And on a miss, I think I’d reveal an
“Sure, but don’t bother rolling, he’s happy unwelcome truth, saying that Mutra says
to talk. Rhianna, what’s a good story for no deal but Vahid suspects that he’ll send
him to tell Caradoc? Like, a time you did thugs to try and steal the sphere later.
something bloody and ruthless?”
But Vahid gets an 8, and I go for something
Blodwen crouches down to eye-level with distasteful. “Fah! You’d barely get a single
Nia, keeping her distance and holding out handful if you melted thhhis down. But I
some flatbread. “Hey. Hey, are you hungry?” tell you what… I’ll pay two handfuls now,
and if you show my man Gunthhher where
I’m sure she’s enticing the girl to do something, you found thhhis beauty, I’ll thhhrow in
but I’m not sure what. “Are you, like, trying to two more handfuls of silver on his safe
get her to come out from the corner?” return.” He smiles with his too-sharp teeth.
“Do we havvve a deal?”

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Player Moves

On a 10+, the target player marks XP if they

PERSUADE (vs PCs) do what’s being asked of them without any
When you press or entice a PC and further convincing. If they refuse, they must
they resist, ask their player: “Could I reveal how they could be convinced. They
possibly get you to do this, yes or no?” can make this revelation in-character (“I’ll
If they say “no,” let it drop. do this, Rhianna, but only if you promise
that no one gets killed”) or described as in-
If they say “yes,” you can roll +CHA: sight (“My eyes dart to Vahid, and I think
on a 10+, they mark XP if they do you’d realize that I won’t answer with him
what you want, and if they don’t, they in the room”) or discussed player-to-player
must say how you could convince (“I’ll agree to stay, but only if you promise
them; on a 7-9, they mark XP if they to bring that thing’s corpse home for me
do what you want (but can refuse or to study”).
make a counter-offer if they like).
On a 7-9, the target player marks XP
if they do what’s being asked of them
When one PC wants another PC to do without any further convincing. They don’t
something, and the other PC is putting up mark XP if they make a counter-offer
resistance, invoke this move. (even if they eventually agree to it).

The first part of the move—where the first On a 6-, you might turn their move
player asks if they could possibly convince back on them and let the targeted player
the other player’s character—is crucial. It ask how they could get the Persuading
prevents the mechanics from pressuring a character to do something. Or you could
player into doing something that they don’t interrupt the conversation with some other
think their character would do. move, like introducing a threat or chang-
ing the environment. Don’t presume
If the answer is “no,” ask the target player actions or reactions from either player, and
how the first chracter can tell. Is it clear in don’t tell them how they feel. If you’re
their eyes? Do they say something? Do they stumped, query the table (particularly the
walk away? “What’s this look like?” If the targeted player) for ideas.
first character keeps pressuring them, call
a time out and tell their player that they
need to let it drop—they’re being rude, not Persuade or Interfere?
respecting their fellow player, and ignoring
the rules of the game. Use Persuade when one PC tries to
get another PC to agree to a course
If the answer is “yes,” then ask the first of action. Use Interfere when one PC
player (the one whose character is doing has initiated a course of action, and
the pressing/enticing) if they want to roll. If another PC tries to stop or foil them.
they roll, cool. If they don’t roll, they need to
let it drop. If one PC Persuades another, the
other PC can Interfere with that
attempt at persuasion (by exercising
willpower, bluffing, etc.).

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 Player Moves

The swyn is dead, the children rescued, and pressuring him and roll with disadvantage.
they’re getting ready to head home. But Vahid “I Aid,” says Blodwen. “I step up behind
doesn’t want to go. “There’s so much here to Rhianna and give him the doe eyes. ‘Vahid.
learn! We can’t just leave!” Please.’” We agree that this would help, and
the advantage from her Aid cancels out the
Rhianna is resisting, so I direct Vahid’s disadvantage from Vahid Interfering.
player to this move. He asks her player if he
could possibly convince her. “Okay, so I’m rolling +CHA, then? That’s
it?” It is, and she gets a 10. If Vahid agrees
Rhianna’s player very quickly says “No.” I to come now, with no more discussion, he’ll
ask what that looks like, how Vahid can tell mark XP. But if he refuses, he has to reveal
she won’t budge. “Oh I lose it. ‘Dammit it, how they could convince him.
Vahid. We’re going and that’s final!”
“Okay, okay…I’ll come. But only if you let
Vahid replies with “Fine. Leave then. But me put sanctifying marks on the entrances.
I’m staying. I can make my own way home.” And promise me that we’ll come back to
explore this place. And don’t tell anyone else
Rhianna sighs, pinches the bridge of her about it. Deal?”
nose, and very calmly says. “No, Vahid. You
won’t. You will get lost. And die. Please I clarify that he’s revealing how they can con-
come with us.” So now she is pressing him. vince him, rather than agreeing outright. If
he wants the XP, he has to just agree without
But Vahid doesn’t cave. “ You could convince those caveats. “ Yup!” he says.
me,” he says, “But you’ll have to have roll.
And I’ll Interfere by being stubborn as hell.” “Fine,” sighs Rhianna. “ You’ve got ten
Rhianna says she’ll roll Persuade, and Vahid minutes. Go make your marks. Blodwen,
rolls to Interfere (with WIS, for willpower). keep an eye on him.”
He gets an 11, and Rhianna decides to keep

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Player Moves

On a 10+, tell them something interesting

KNOW THINGS and useful (and true) about the subject. It
When you consult your accumulated should suggest a clear course of action, or
knowledge, roll +INT: on a 10+, the rule one out, or both. It can help to start
GM will tell you something inter- with “the interesting thing is ____” (giving
esting and useful about the topic at some background info) “and the useful
hand; on a 7-9, the GM will tell you thing is ____” (adding that extra, useful de-
something interesting—it’s on you tail). If you’re unsure whether you’ve given
to make it useful; either way, the GM them something useful, ask!
might ask “how do you know this?”
On a 7-9, you owe them something inter-
esting, but it’s on them to make it useful. If
When a player asks you what/if they know you’re stuck for ideas, try one of these:
about something, ask them if they want to
Know Things. You can also prompt them: Think of something useful/actionable,
“You might know about this as a tanner’s but tell them something that only hints
apprentice, want to Know Things?” at that info without spelling it out.

Don’t have players Know Things to recall Reveal two useful but contr adictory
common knowledge (like the fact that the things, without deciding which one is
roads are relatively safe) or to remember true until put to the test. When the
details that they’ve simply forgotten (like PCs act on the info, look to the Die of
how Seren told everyone in session 2 that Fate or the results of their moves to
fae can’t abide the touch of iron). Just decide which one is true.
remind them of the truth and move on.
Tell them something useful that they
If it’s unclear what they’re Knowing Things can’t easily act on. “Their plumage is
about, or what they hope to learn, then ask! quite valuable to southern merchants,
It’ll make the move much easier to resolve. and live young even more so! But this
one’s rushing at you right now. What
Players don’t have to explain how they’d do you do?”
know about a topic before rolling. They
can roll, and then you tell them something Feel free to ask players for input on the
interesting and/or useful and ask them “how answers, especially on topics you haven’t
do you know this?” The stories your players prepped. “Sure, you tell me. How do these
come up with can be pure gold. drakes hunt, and how can you use that to
your advantage?”
If there’s really no way a character would
know about a topic, then say so. “No, this If multiple players want to Know Things
is just beyond your experience.” But do so on the same topic, then have one player
sparingly! The game is better when players roll while another Aids. Discourage players
Know Things freely, even if it’s a stretch. from Knowing Things on the same topic
multiple times. If they try, use a GM move
to push the scene along.

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 Player Moves

On a 6-, you might put them in a spot You can, on a 6-, turn their move back
while they ponder, or introduce a danger on them and tell them something that
(suddenly: hagrs!). You might reveal an they believe to be true but that will get
unwelcome truth, or ask the player to do them into trouble if they act on it. This
so. You might offer an opportunity with a only works if the players are all on board,
significant (maybe unseen) cost. You might because the players know that they rolled
demonstrate a downside to their sheltered a miss. Be careful, and don’t overdo it. You
upbringing and say they just don’t know, or can almost always do something more
tell them the requirements (“you’ll need interesting than lie.
to talk to Seren about this”).

The PCs have been following the trail for a Vahid Knows Things about this plant-man
few hours. Rhianna asks “Is there anything they just caught stealing from their camp.
out this way? My crew and I are hunters, On a 10+, I plan on telling him that this is
we know the Woods pretty well.” a fae, and that fae are bound to keep their
word and repay debts.
“You’re not far from the Red Grove,” I say,
because that’s common knowledge. She asks if Alas, Vahid gets a 6. I decide to tell him
there’s anything else. “Sounds like Knowing something interesting anyway, asking a
Things. Are you looking for more info about provocative question as I do. “Oh, yeah,
the Red Grove, or what?” She wants to you’ve met this jerk before, not long after
know about other points of interest: ruins, you got to Stonetop. He’s a fae, a thief
lairs, that sort of thing. “Cool, roll +INT.” named Thornthumb. How did he trick you
that one time, and what did he steal?”
On a 6-, I’d probably have the feathered
drakes from my notes show up. But she gets Blodwen is wondering how they can free
an 11, so I make with the info. “There’s a big Wynfor’s mind from the swyn’s influence.
Maker ruin, maybe another day’s march this She Knows Things and gets a 9.
direction. It’s mostly buried, and it’d be a
long way for crinwin to drag a boy as big as “There’s an herb,” I say, “uh… moonwort. It
Pryder. But it’s the most notable landmark clears the mind of enchantment. Or is that
you can think of. And it’s big enough to hold silverwort? Shoot, one clears the mind, the
a crinwin nest and some human captives. Is other makes you see things, but you can’t re-
that sufficiently useful?” I ask. call which is which. How’d you learn this?”

“ Yeah. Definitely.” says Rhianna. “That’s “Oh, from Gwendyl. But she’s not the best
probably where they’re headed, then.” teacher, and I haven’t had a reason to use
either herb. I can use supplies to have some,
“How do you know about the ruin?” I ask. right? I’ve got an herb garden back home.”

“Oh, I think pa and I tracked a rabid wolf “Sure,” I say. “But which one?” And unless
this way when I was a kid. Found it dead, she does something clever, I’ll wait until she
near the ruin, but we got spooked and left.” gives some to Wynfor, then have her roll the
Die of Fate. On a 4+, she guesses right!

139
Player Moves

Cover, bad lighting, high winds, or the

LET FLY chaos of a melee might make a shot harder
When you launch a ranged attack, or riskier than normal. Or, a player might
roll +DEX: on a 10+, you have a clear want to declare a particularly difficult shot.
shot—deal your damage; on a 7-9, You can handle this by...
deal your damage but pick 1:
... telling them the requirements: “You
You must move or hold steady to need to get closer/get a better angle/
get the shot, placing you in danger wait for them step apart.” Or “You
Take what you can get; you have want to shoot it in the eye? It’ll take
disadvantage on your damage roll time to line up the shot, and you’ll
Deplete your ammo, marking the need to wait for the right moment.”
next status next to your weapon
(don’t pick this if it’s thrown) ... telling them the consequences: “Oof.
That’ll be a particularly tricky shot; you
can Let Fly, but you’ll have disadvantage
Like Clash, Let Fly triggers only if there’s on the roll.” Or “If you get a 6-, you’ll
a real chance of harming the target. If hit Caradoc instead.”
there isn’t, and they shoot anyway, then
reveal an unwelcome truth, tell them the ... both: “You’ll need to take time and
consequences, or put them in a spot. line up the shot, and if you roll a 6-,
you’ll be hitting the hostage for sure.”
Unlike Clash, this move does trigger
against an unaware or unprepared target; If circumstances allow a character to attack
there’s no free “deal damage” against some- multiple foes at once, they should roll to
one beyond a PC’s reach. Let Fly once, but (on a 7+) roll damage
separately for each target.

140
 Player Moves

On a 7+, the PC launches their attack and

deals their damage, but the damage roll Rhianna rolls to her knees and sees that the
(and the target’s armor and HP) indicates feathered drake has just sliced Garet open.
how effective the attack was. If the damage “I notch, draw, and shoot it,” she says.
is negligible, that probably means a grazing
shot; if the damage is negated, then the shot “Vahid’s right there,” I say. “ You shoot
bounced off the armor or the target evaded it. and miss, you’ll hit him. You still take
the shot?” I’m telling the consequences
Even when the damage is negated, most and asking. She shoots, and gets a 10,
foes react to being shot (or shot at). De- but does only 2 damage. With the drake’s
scribe how the enemy reacts and consider 1 Armor, it’s just a scratch. “But the good
offering an opportunity, either to the news is that you got its attention. It
PC who Let Fly or someone else. Some looks up from Garet and hisses. Vahid,
enemies, though, are too tough or uncaring you’re right there, what do you do?”
to flinch (even when they take a solid hit),
and that’s a nice, scary twist. The nailadd is about to pounce on Vahid,
but Caradoc asks if he can throw his spear
If the player rolls a 7-9 and chooses to at it. “Sure,” I say. “Roll to Let Fly.”
let you place them in danger, that usually
means that you make a soft move (one that Caradoc rolls a 7. “I’ll move to get the
provokes action) rather than a hard one shot, putting myself in danger.” He does
(one that establishes badness). Warn them 4 damage, enough to hurt to spider but
if picking this option will result in imme- not drop it.
diate consequences like taking damage.
“ Your spear thunks into it, but it turns
If the player chooses to depelete their and leaps on you instead, doing d6 dam-
ammo, that could mean they took multiple age and tackling you to the ground.”
shots or it could mean that they’re starting
to run low. If they pick this option, their “Really? I don’t get to, like, dodge?”
ammo can’t be recovered after the fight—
it’s lost or broken. “ Yeah, yeah. You’re right. Sorry. It’s
leaping at you, what do you?”
On a 6-, you get to decide what happens
and it’s almost certainly bad. Don’t assume The PCs are behind a fallen tree, with
that their shot misses! They might get three Hillfolk up on a ridge, shooting at
interrupted before taking the shot, or they them. Rhianna motions to her crew, who
might take the shot (and even hit) but notch arrows, draw, and take turns pop-
something bad happens as a result. If an ping up and shooting back. “Let Fly?”
ally or bystander was nearby, they might
hit them instead. “Eh,” I say. “Between the high ground
and their cover, I don’t think you’ve got
a realistic chance of hitting them. This
might make them duck, giving you a
chance to move. But that’d be Defying
Danger, not Let Fly.”

141
Player Moves

Special Moves
Advantage/disadvantage don’t “stack.”
They’re binary—either you have them, or
you don’t. For example, if someone Seeks
These moves are always in play, but they
Insight and gets a 7+, they get advantage
either affect other moves or are triggered
on their next roll to act on the answer. If
by very specific circumstances.
someone also Aids them on that roll, they
can’t get advantage again. They roll 3d6 and
ADVANTAGE/DISADVANTAGE discard the lowest die.
When you make a roll with advan-
tage, roll an extra die and discard the If someone has both advantage and
lowest result. disadvantage on the same roll, the two
cancel each other out and the roll is made
When you make a roll with disadvan- normally. By default, it doesn’t matter if
tage, roll an extra die and discard the you have multiple sources of advantage vs.
highest result. a single source of disadvantage (or vice ver-
sa). But if you and your players really want
When you make a roll with both to get into counting how many instances of
advantage and disadvantage, they advantage or disadvantage a player has, you
cancel each other out. can. It won’t break the game, but it might
slow it down.
If you have advantage/disadvantage on
a damage roll, roll the main die twice Players might have advantage on a roll
and discard the lower/higher result. because...
Then add any bonus dice that apply.
... a move (like Aid or Seek Insight) says
they do;
Advantage usually means: roll 3d6 and ... some sort of equipment or arcana gives
keep the two highest dice. Disadvantage them advantage; or
usually means: roll 3d6 and keeping the ... you offer an opportunity to make a
two lowest dice. If there’s a tie for lowest particular roll with advantage (but see
or highest, discard one of them; it doesn’t the sidebar on the opposite page).
matter which.
Players might have disadvantage on a roll
For damage rolls, advantage/disadvantage because...
apply only to the “main” die. If a player
gets any bonus damage dice, those dice get ... a move (like Interfere) says they do;
added after you pick the highest/lowest die. ... they have marked a debility (see page
For example, the Heavy (who has advan- XX) and roll one of the affected stats;
tage when they deal damage) rolls a 10+ to ... some sort of equipment or arcana
Clash, and chooses to strike hard and fast imposes disadvantage; or
for +1d6 damage. They roll 2d10, deal dam- ... you reveal a downside or tell them the
age equal to the highest of those two dice, consequences, and it involves rolling
and deal +1d6 damage on top of that. with disadvantage (but see the sidebar
on the opposite page).

142
 Player Moves

BURN BRIGHTLY
Adjusting difficulty When you have enough XP to Level
In many RPGs, the GM routinely Up (6 + twice your current level), you
applies bonuses or penalties to player may spend 2 XP after any roll to add
rolls to reflect the difficulty or ease of +1 to that roll (maximum +1 per roll).
their tasks. In Stonetop, you can apply
advantage or disadvantage “on the
fly” to do the same thing, but do so PCs can’t Level Up (see page XX) while
sparingly—it undercuts the impact on an expedition, which means they might
of moves, arcana, and debilities end up accumulating surplus XP. This
that specifically grant advantage or move lets them spend some of that XP to
disadvantage. ensure success.

If a character’s action seems particu- The fact that PCs can Burn Brightly helps
larly easy or difficult, consider these slow the rate at which PCs can level up,
instead of advantage or disadvantage: and it helps prevent “double-leveling.” It
also subtly tips things in the players’ favor
Are they even triggering a move? once they’ve been in the field for a long
Can you just say that they do it, or time and suffered a number of setbacks.
know it, or figure it out? “No, don’t
Clash, just deal damage.” Or, can Keep an eye out for players rolling 6s or
you just say “no” and tell them the 9s, and ask the player if they have enough
requirements for making it work? XP to Burn Brightly. If they have enough,
“You can’t make that jump with all they’ll probably do it.
your gear, you’ll need to drop down
to a light load first.” Players will most often Burn Brightly
when they roll 2d6 for a move, but they
Can you adjust the risks? If they can use it on any roll—including damage
have a strong position, make it clear rolls or even the Die of Fate.
that the risks are less. “Suffering his
attack just means that he’ll get inside
your guard.” If they’re in a desperate
position, tell them just how bad it
could get. “On a 7-9, you’ll have one
last chance to catch the ledge, but on
a 6- you’re rolling Death’s Door.”

Can you adjust the scope? If things

are easy for the PC, let a single roll
accomplish more, or reveal more, etc.
If things are hard, break the action
down into smaller moves, each of
which can only accomplish part of
their goal.

143
Player Moves

Each player can then note how things have

END OF SESSION changed between them and someone else.
When a session ends, point out how The change need not be reciprocal, or even
you demonstrated or struggled with rational, but it should feel genuine. If no one
your instinct. If you can, mark XP. objects, the player marks XP. (Max 1 XP per
session, even if multiple relations changed.)
Say how your relationship with or
opinion of a PC, NPC, or group has Other players can offer suggestions, ask
changed. If you can, mark XP. questions, or challenge assertions. The goal
is for everyone to reflect on the session,
Answer these questions as a group. and to reward players for getting into char-
For each “yes,” everyone marks XP. acter; the goal isn’t to wheedle for XP.

Did we learn more about the For the four questions, discuss them as a
world or its history? group. Everyone (including you, the GM)
Did we defeat a threat to has to agree that a question is answered
Stonetop or the region? “yes.” If anyone dissents, no XP for that
Did we improve our standing question. It’s good to ask for specific ex-
with our neighbors? amples of each “yes,” just to make sure that
Did we make a lasting improve- everyone is on the same page.
ment to Stonetop, or tangible
progress towards doing so? After answering the questions, each player
(including you, the GM) should point out
Praise something about the session something they liked: a player’s clever idea, a
(in the fiction or around the table) bit of roleplaying, the lack of fights, learning
that you enjoyed or appreciated. where the Forest Folk went, when Bob called
“time out” and checked in with everyone, etc.
Finally, offer up a wish for future
sessions: more __, less __, a chance to Lastly, each player (including you) should
__, handling __ in a different way, etc. offer a wish for future sessions. Wishes
Wishes can be about what happens might express...
in the fiction or around the table. The
GM will take notes. ... a player’s hopes for what happens (“I’d
like a chance to take down Ifan”);
... a request for specific scenes (“I’d love
The End of Session move is a ritual. It to see Caradoc and Andras bond a bit”);
helps your group reflect on the session and ... a desire to do things differently (“Can
improve your game. we try to speak in-character more?”);
... feedback on your GMing (“I’d like
Players can point out any moment where more detail about our surroundings
their PC’s instinct was reflected in play, for when fights break out”); and/or
good or for ill, intentionally or not. If no ... or anything else about the game, really.
one objects, the player marks XP. (Max 1
XP per session, even if their instinct came Take notes, ask for clarification, and do
up more than once.) your best to make those wishes come true.

144
 Player Moves

DEATH’S DOOR Other player moves

When you are dying, you glimpse the
Last Door and the Lady of Crows Other player moves are discussed in
(describe them). Then, roll +nothing: detail elsewhere:
on a 10+, you wrest yourself back to
the realm of the living—return to Follower moves
1 HP but say how your brush with Order Followers (page XX)
death has marked you; on a 7-9, the Strengthen a Bond (page XX)
Lady waves you off—you’re no longer
dying but you’re out of the action; on Expedition moves
a 6-, your time has come—choose 1: Chart a Course (page XX)
Outfit (page XX)
Make one last move as if you Requisition (page XX)
rolled a 12+, then step through Have What You Need (page XX)
the Last Door Recover (page XX)
Refuse to go; gain the Revenant Forage (page XX)
or Ghost insert Keep Company (page XX)
Call on one of the Things Below Make Camp (page XX)
by name and beseech it to inter- Struggle as One (page XX)
cede; gain the Thrall insert Return Triumphant (page XX)

Homefront moves
This move is discussed in detail in the next Bolster (page XX)
chapter, Harm and Healing. See page XX. Deploy (page XX)
Level Up (page XX)
Make a Plan (page XX)
Meet With Disaster (page XX)
Muster (page XX)
Pull Together (page XX)
Seasons Change (page XX)
Trade and Barter (page XX)

If a character does something that

could meet the trigger for more than
one player move, use which ever
one seems most applicable to the
current situation. In general, a more-
specific move takes precedence over
a more-general move, and everything
takes precedence over Defy Danger.
Discuss it with your players and come
to a consensus if you can, or make a
call if you can’t.

145
Harm & Healing

Hit points and damage

Debilities
Problematic wounds
Death and dying
Healing and recovery
Harm & Healing

Hits points
Player characters and their followers often
find themselves in danger, exposed to

and damage
injury and harm. Seeing them get hurt and
then seeing how they deal with it is a big
part of playing to find out what happens.
Every character (PC, NPC, and monster)
There are basically four types of harm that has Hit Points (HP). When a character
a character can suffer: gets hurt, knocked around, roughed up, or
otherwise takes abuse, they lose HP. This is
Damage to their Hit Points (HP) called “taking damage;” when you do it to
Debilities someone else, it’s called “dealing damage.”
Fictionally problematic wounds When someone is reduced to 0 HP, they
Death or a lethal wound are out of the action and quite possibly
dead or dying.
Any time a character (PC or NPC) is hurt
in the fiction, they suffer some or all of HP are a game element: they don’t
these types of harm. Each affects a charac- represent any one particular thing in the
ter in different ways. fiction. They’re a combination of fighting
spirit, determination, pluck, luck, and skill;
the ability to turn what should be a lethal
blow into a graze. HP definitely are not
a measure of how injured or uninjured a
character is.

Mechanically, HP serve as plot armor and

as a pacing mechanism. A PC with 20 HP
can be confident that they’ll survive the
first exchange in a fight. But once a PC
has only 5 or 6 HP remaining, any blow
from any foe could take them out—and
that makes everything more tense and
dangerous.

PCs generally have more HP than NPCs

or monsters. That’s because they’re the pro-
tagonists; we’re telling their story, so they
get more lucky breaks and near misses.

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 Harm & Healing

Damage If the damage isn’t associated with a

prepared danger, then ask yourself what it
Taking damage means losing HP, poten-
could likely do to a normal person. If the
tially being taken out of the action. A char-
worst it’s likely to do is…
acter takes damage when...
… cause bruises and scrapes, pain, or light
… a player-facing move specifically says
burns, it inflicts d4 damage.
that they do;
… cause nasty flesh wounds, bruises, or
… you hurt them (they take damage
burns, it inflicts d6 damage.
along with the fictional hurt);
… break bones, cause deep/wide burns, or
… you use up their resources, and HP
debilitate with pain, it inflicts d8 damage.
are the resource you use up; or
… cause death or dismemberment, it
… you make any GM move that involves
inflicts d10 damage.
them getting hit, knocked around,
roughed up, suffering pain, etc.
Armor
If you make a GM move and that move Subtract the victim’s armor rating from
could theoretically kill, disable, or knock the damage they take. This can reduce the
out a normal person, then deal damage as damage to 0, meaning they don’t lose any
well. Dealing damage should almost never HP. Good for them! They still got hit/
be your move, but it will often be part of tossed around/whatever, but it hasn’t used
your move. up any of their vitality, luck, or plot armor.

How much damage? If the attack has the “[x] piercing” tag,
If the source of the damage is a prepared ignore [x] points of armor for that attack.
danger (see page XX), use the danger’s So, if you deal 5 damage (1 piercing) and
stats. For example, if your move is to have the target has 2 armor, their armor is ef-
a hagr pluck a PC up from the ground and fectively only 1 for that attack; they lose 4
start choking them, then you’d deal the HP (but their armor value is still 2 against
hagr’s 1d10+3 damage. future attacks).

When multiple combatants deal damage If the attack “ignores armor,” then the
at the same time, roll the single highest armor doesn’t apply. They take the full
damage die among them and add +1 for damage. Apply this tag on the fly when
each additional combatant. The tags from the fiction dictates: chainmail doesn’t help
all the combatants apply. So if six coed- when you’re engulfed in flames, and no
wig (thorn-spirits, dealing d6 damage, 1 amount of physical armor protects you
piercing) and a bidwraig (tree spirit, d8+3 from a psychic assault.
damage, forceful) all pound on the Heavy at
once, the Heavy is taking is d8+9 damage A handful of player-facing moves tell the
(1 piercing, forceful)—and probably having player to “lose [x] HP” (as opposed to “take
a very bad day. [x] damage”). Armor never applies to this
sort of HP loss.

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Harm & Healing

Taking damage Regaining hit points

When a character takes damage, they A PC or follower regains HP when...
reduce their current HP by that amount. If
they are reduced to 0 HP, then they are out … they Recover (see page XX);
of the action. … they Make Camp, and choose to
regain HP;
When a player character is reduced to 0 … they’re at Death’s Door and roll a 10+;
HP and the source of the damage was po- … they have a few days of downtime
tentially lethal, then the PC is at Death’s and Convalesce;
Door and makes that move accordingly … another move says that they do; or
(see page XX). If the source of damage … you offer them an opportunity to
isn’t likely to kill anyone, then the PC regain HP and they take it.
is simply out of the action: unconscious,
gasping for breath, panicking, trapped, etc. Non-follower NPCs and monsters regain
Consider asking the player how or why HP when you decide that they do. Use
they’re taken out. A character disabled this the player moves as guidelines: a few
way can’t save themselves; they remain minutes of rest and access to supplies will
disabled until someone helps them, or until restore 3-5 HP; a night’s rest will restore
you say otherwise. HP equal to half their maximum; a few
days of rest and recovery will restore them
When an NPC or monster is reduced to 0 to full HP. The fiction, of course, takes
HP, their fate is in your hands. If the source precedence. A supernaturally tough and re-
of damage was potentially lethal, then they’re silient creature might restore its HP more
probably dead or will be soon. Otherwise, quickly; a magical construct might not
they’re out of the action and no longer in regain HP unless someone or something
the fight, but you get to say how. Remem- repairs or recharges it.
ber, though: it’s not your job to protect your
NPCs or monsters. Let things burn. Remember, HP aren’t “meat points.”
Regaining HP doesn’t mean that wounds
Followers (see page XX) are NPCs, so you have closed or bones have knitted; it means
get to decide what happens to them at 0 they’ve grown accustomed to the pain,
HP. You can, however, choose to have the gotten the bleeding to stop, caught their
player roll Death’s Door for them. breath. The injuries are still there until
they heal. It’s just that the character has
If you hurt them, then the lost HP are part more fight back in them, and is once again
of the fictional harm. Otherwise, taking further away from a lethal blow.
damage means scratches and bruises, sore
muscles, rattled teeth, cut lips and bleeding
noses, loss of breath, dizziness, pain and
weariness and fatigue. It’s the wear and
tear that grinds someone down but doesn’t
take them out of a fight.

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 Harm & Healing

Debilities
In other words: marking debilities is both
prescriptive and descriptive. Prescriptive:
a move says they mark the debility, and
Player characters can suffer up to three
they then suffer that condition in the fic-
different debilities:
tion. Descriptive: something happens in
the fiction that would leave the character
Weakened: the character is fatigued,
weakened, or dazed, or miserable, and thus
tired, sluggish, shaky. They suffer disad-
the character marks the debility and suffers
vantage when rolling +STR or +DEX.
the mechanical penalty.
Dazed: the character is out of it, be-
fuddled, not thinking clearly. They
If a move tells the player to “mark a debil-
suffer disadvantage when rolling +INT
ity,” they can choose the debility to mark.
or +WIS.
Ask them what that looks like in the
Miserable: the character is greatly dis-
fiction. The Lightbearer’s invocation leaves
tressed, grumpy or angry, unwell, in
them miserable? Why that debility? What
pain. They suffer disadvantage when
are the symptoms? What does this look
rolling +CON or +CHA.
like to everyone else?
In addition to the mechanical penalty,
If a move causes a player to mark a specific
debilities have fictional consequences. A
debility, and it’s already marked, then they
miserable character is miserable, and you
caught a break. Maybe the condition gets a
should weave that into your descriptions
little worse in the fiction, but the mechani-
and you GM moves. A debility might
cal penalty stays the same. If marking the
mean that someone has to Defy Danger
specific debility is an optional choice, and
when they otherwise wouldn’t need to.
it’s already marked, then they can’t choose
that option.
Marking Debilities
Players mark debilities on the character If a move requires that a PC marks a debil-
sheets to indicate that their character suf- ity as part of its trigger, and the debility is
fers from them. Player characters might already marked, then they can’t trigger the
mark a debility because... move. For example, if the Heavy already
has all three debilities marked, they can’t
… they trigger a player move, and that trigger Unfettered.
move says that they mark a debility;
… you hurt them, and the harm you in-
flict includes them marking a debility;
… you demonstrate a downside, or offer
an opportunity with a cost, or tell them
the consequences, and the downside/
cost/consequence is them marking a
debility; or
… you make any other GM move that
involves them becoming weakened,
dazed, or miserable, and have them
mark that debility.

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Harm & Healing

Clearing debilities NPCs, monsters,

A player character can clear a debility when... and debilities
Monsters and NPCs don’t mark debilities,
… they Recover, and explain how they’re and player-facing moves never allow PCs
treating the debility (see page XX). to inflict them on NPCs or monsters.
… they Make Camp, and choose to clear Monsters and most NPCs don’t roll for
a debility. moves, so suffering disadvantage on
… they have a few days of downtime and two stats doesn’t make any sense.
Convalesce.
… some other player move says they do. So: if a monster suffers an effect that
… you offer them an opportunity to clear would leave them weakened, they don’t
a debility, and they take it. mark weakened—you just describe them as
being slower or shaky. Maybe you offer the
Clearing a debility means: they erase the PCs an opportunity as a result?
mark on their character sheet, they no lon-
ger take the mechanical penalty, and their Followers (page XX) can trigger player
character is no longer actively distressed by moves. If you want, assign a debility to
the effects in the fiction. a follower as a temporary tag (weakened,
dazed, or miserable), imposing disadvantage
Clearing a debility doesn’t mean that any on any relevant rolls. But mostly, you should
accompanying injury is healed—it means reflect a follower’s current state in how you
they’ve treated it as best they can and it’s portray them, and how they act, and what
no longer actively hindering them. If they they’re capable of or willing to do.
marked weakened because of a torn bicep,
clearing the debility probably means it’s
bandaged and the arm is in a sling. It’ll still
take time to fully heal.

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 Harm & Healing

Problematic How do you decide?

wounds The PCs have just suffered an attack,
ignored a threat, or rolled a 6- and
A problematic wound is one with lasting you think you’re going to do harm.
fictional consequences. Characters suffer Do you deal damage? Do you have
them when you hurt them or make anoth- them mark a debility? Do you inflict
er GM move that involves a character get- a problematic wound and if so, how
ting hurt in a specific, consequential way. bad do you make it?
Simply describe the wound in the fiction.
It’s now true! A twisted ankle can’t bear There’s no hard-and-fast rule, but
weight. A blow to the head leaves them you should follow your principles and
staggering and dizzy. A severed hand is make a GM move that flows from
severed, and they’re probably bleeding out the fiction. Often, you’ll pick a GM
(and in shock). These sorts of problematic move (like put them in a spot or a
wounds should be particularly common monster move like bash prey to the
when messy attacks are involved. ground, senseless), and the specific
fiction of your move means that they
Problematic wounds often involve PCs also take damage or mark a debility.
marking debilities and always involve taking
damage (i.e. losing HP). If an NPC breaks Other times, you’ll know that you
a PC’s fingers, the PC can’t make a fist, is want to do something harmful, but
probably weakened or dazed or miserable won’t have a specific move in mind.
from the pain, and is going to take 1d8 In that case, have the player roll the
damage (ignores armor). The damage won’t damage taken and let that inform the
kill them if they drop to 0 HP, but it could nature and severity of your move. See
take them out of the action. page XX for more guidance.

Keep in mind the tags of the attacks

involved. Messy attacks are especially
destructive, and should often hurt
them or use up their resources
(destroying shields, weapons, or gear).
Forceful attacks knock victims around;
even if they do no damage, they
should still change the momentum or
positioning of the fight.

When the PCs or followers deal

damage to monsters, use the descrip-
tion of their attack, the amount of
damage dealt, how many HP the foe
has left, and the tags on the attack to
inform the fictional results.

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Harm & Healing

Problematic wounds
in play
Incorporate problematic wounds into the
fiction and into your GM moves. When
a player rolls a 7-9 or a 6-, maybe use the
problematic wound to justify the result.
Use your moves to bring an injury to the
forefront of the story or to have it compli-
cate the situation.

Use up their resources: “ You make it up

and out of that gulley, but the wound in
your side is still bleeding. You get a wave of
dizziness as you stand. It passes, but take
another 1d6 damage, ignoring armor. You
still up?”

Demonstrate a downside: (after rolling

a 7-9 to Defy Danger and escape from a
hagr) “Like you said… you duck under the
log as he swings it and rush past him before
he can recover. But about five strides away,
Announce trouble (future or offscreen): your knee buckles and you collapse to the
“Andras is white as a sheet, and that snake ground. It’s that injury from earlier. Your
bite is red and swollen and you see angry knee is just this burning mass of pain, and
red lines following his veins up his arm. you hear the hagr grunt and pull the log
What do you do?” free and start to lumber toward you, what
do you do?”
Reveal an unwelcome truth: “Oof. Yeah,
Blodwen, you peel the bandages back from Tell them the consequences: “ You’re just
Geralt’s wound, and… it’s not good. It gushing blood. If you don’t put a tourni-
smells bad, the flesh is kind of black, and quet on it soon, you’re going to bleed out.
there’s a greenish pus. It’s infected, and it’s Of course, your hands are shaking and
going to get worse. What do you do?” everything feels numb. Mark Weakened if
you haven’t already, and you’ll be Defying
Put someone in a spot: “It claws at your Danger to do anything involving fine mo-
face before you hurl it away. Take d6 dam- tor control. What do you do?”
age. You’re still up? Okay, I think it gashed
your forehead and blood starts pouring into Tell them the requirements: “If you want
your eyes. You can’t really see, but you hear to walk on that ankle, you’ll need to splint it
it scuffling about, getting ready to pounce and find a cane or a crutch. And something
again. What do you do?” to dull the pain would be good, too. What
do you do?”

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 Harm & Healing

Death and dying

On a 10+, they’re back in action and no longer
dying, but they are marked in mind, body, or
soul. The player decides how, but feel free to
When a PC is reduced to 0 HP by an attack
offer suggestions, like a nasty scar, a lost eye,
that could kill them, they’re dying and must
visions of the Last Door, or a murder of crows,
make this move. They might also be dying
always nearby. Whatever they pick, bring the
because the fiction demands it: if they fall
mark up often in play. Maybe even write it up
100 feet onto rocks, they don’t take damage,
as a threat (an affliction, see page XX).
they’re at 0 HP and on Death’s Door.
On a 7-9+, the character is no longer dying
DEATH’S DOOR but they’re unconscious (or close enough)
When you are dying, you glimpse the until you say otherwise.
Last Door and the Lady of Crows
(describe them). Then, roll +nothing: On a 6-, their time has come and the sane
on a 10+, you wrest yourself back to thing to do is pass through the Last Door.
the realm of the living—return to They can make one last move, but after that
1 HP but say how your brush with they’re dead. There’s no saving them. They
death has marked you; on a 7-9, the can’t use that last move to avoid death. Only
Lady waves you off—you’re no longer the rarest of magic can bring them back.
dying but you’re out of the action; on
a 6-, your time has come—choose 1: If they refuse to go, ask why. Have them
look at the Ghost or Revenant inserts and
Make one last move as if you pick their Terrible Purpose. If they can’t
rolled a 12+, then step through tell you, they shouldn’t pick this option.
the Last Door
Refuse to go; gain the Revenant To become a Thrall, the PC must know
or Ghost insert the name of a Thing Below. If none of the
Call on one of the Things Below Things Below have come up in play, maybe
by name and beseech it to inter- the PC can Know Things before dying?
cede; gain the Thrall insert
If the character “sticks around,” they are in
for a steady downward progression, becom-
If you like, you can hold off on resolving this ing more and more unstable and monstrous.
move until the scene wraps up or the other Play up the horror. Show how their “lives”
PCs get a little spotlight. If someone tries are no longer the same. Push their Terrible
to save the dying PC (tending to wounds, Purpose or Impulse into play. For a Ghost
etc.), then they’re Aiding the Death’s Door or Revenant, create their Terrible Purpose as
roll. The “risks, costs, or consequences” they an affliction; for a Thrall, create their master
expose themselves to will depend largely on as a magical entity (see Threats, page XX).
how they Aid, your table’s take on the Lady An undead PC should feel like they’re on
of Crows, and the result of the roll. borrowed time—because they are. The other
PCs should be wary of their undead ally.
The Lady of Crows and the Last Door are Wary, at the very least.
for you and your table to describe. They might
even appear differently for different characters.

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Harm & Healing

Healing
Once a given character regains HP via Re-
cover, they can’t do so again until they take

and recovery
more damage. This means that a PC can’t
take like 12 points of damage and bounce
back with a quick breather. (And if some
The following moves deal with regaining doofus says “I’ll just nick my arm for 1 HP
HP, clearing debilities, and treating or and then Recover again,” either tell them
recovering from problematic wounds. that they aren’t losing any HP because it’s a
very controlled situation, or hurt them and
RECOVER make that cut a problematic wound with
When you take time to catch your 1d6 damage that ignores armor.)
breath and tend to what ails you,
expend 1 use of supplies and recover Remember, regaining HP does not mean
HP equal to 4+Prosperity. You can’t healing wounds. Those bruises, scratches,
gain this benefit again until you take etc. are still there.
more damage.
For debilities and problematic wounds,
When you tend to a debility or a prob- prompt them to describe how they tend
lematic wound, say how. The GM will to the injury. If it sounds reasonable and
either say that it’s taken care of or tell effective, just say, “Cool, it’s taken care of.”
you what’s required to do so (Defying But you can also tell them what else is
Danger, expending supplies or some required, such as...
other resource, finding ___, Making
Camp, etc.). … Knowing Things to know what to do;
… Defying Danger, the danger being...
... the pain.
As with any move: ask them what this ... them thrashing as you work.
looks like. Are they tending to wounds? ... the wound/condition getting worse.
Having a snack? Applying a poultice? ... that ___ arrives/happens before
Chewing on willow bark? What? you finish.
... drawing the attention of ___
Often, multiple PCs will Recover at once. ... that you need to use up/use more ___;
That’s fine. It’s a good time to ask pro- … expending (more) supplies, whisky, etc.;
vocative questions and encourage them to … finding ___ (an herb, the antivenom,
do a little role playing between themselves. fresh water, something to use as a
stent, etc.);
Each character who regains HP must … Making Camp/letting them rest; or
expend 1 use of supplies, or someone … doing something drastic (cauterizing,
else must expend a use on their behalf. amputating, field surgery, etc.).
The steading’s Prosperity directly affects
the quality of those supplies and thus Combine these requirements with “and”
the number of HP recovered. A steading and “or” as you see fit. If they meet the
with Prosperity +1 (moderate) can provide requirements, then the debility is cleared
heartier fair and more potent herbs than a and/or the problematic wound is stabilized
steading with Prosperity +0 (poor). (though almost certainly not healed).

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 Harm & Healing

They’ve dispatched the bears in the cave but before they can staunch the bleeding. Also,
Caradoc got himself smacked around in the they’ll need to expend a use of supplies for
process. He’s lost 9 HP and he’s Dazed—he the tourniquet and stitches. “ You do it?” I
got swatted on his shield and slammed ask. She does, and reaches for the dice.
against the cave wall. He’s out of breath and
sore but I never established a specific injury. She rolls an 8 and I give her a choice
between a cost and a lesser success. “ You stop
While the others investigate the cave, Caradoc the bleeding and save his life, but he’s in bad
asks “Can I Recover?” Sure, but I ask what shape. You can spend a second use of supplies
that looks like, what sort of supplies he’s using. to keep him going with some sort of stimu-
“I think I’ll slump up against the cave wall, lant herb. He’ll be awake with 4 HP and
drop my shield and spear, take a few deep able to move about slowly, but he’ll be in a
breathes. Maybe take a shot of whisky, and lot of pain and likely to hurt himself again.
eat some flatbread.” Cool! He marks off a use Or you can leave him, stable but flitting in
of supplies and regains 4 HP (the steading’s and out of consciousness, unable to walk on
Prosperity is currently 0). I also think that’s his own. What do you do?”
sufficient to clear his Dazed debility, too.

He’s still down 5 HP, and asks if he can

Recover again. “Nope,” I say. “Not until you
take more damage.”

Geralt (one of Rhianna’s crew) got his leg

slashed open by a feathered drake. He’s still
conscious, but at 0 HP and bleeding badly.
He won’t last long.

The fight is over, and Rhianna and

Blodwen rush over and see if they can
save his life. Blodwen takes charge.
“Rhianna, apply pressure above
the wound. I’ll make a tourni-
quet. Then, I don’t know, stitch
him up, I guess?”

She’s tending to a
problematic wound,
which is one of the
triggers for Recover.
Looking at my list of
possible requirements, I think
that she’s Defying Danger with
INT, the danger being that
Geralt will bleed out and die

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MAKE CAMP The party is en route to Marshedge and

When you settle in to rest in an unsafe had an almost-disastrous encounter with
area, answer the GM’s questions the nosgolau as they camped near Titan
about your campsite. Each member Bones. They got Vahid back (barely) but
of the party must consume 1 use of he’s dazed and weakened. He also took
supplies or provisions; if you use a a lot of damage, and he’s down to 6 of his
mess kit (requires fire & water), then 1 16 HP. Caradoc and Rhianna took some
use can provide for up to four people. damage, too. Blodwen’s just fine.

If you eat and drink your fill, and get Once they make it back to camp, they
at least a few hours of sleep, pick 1. all get a few hours of sleep. They ate and
drank before the attack, so they each get
Regain HP equal to ½ your max to make a choice.
Clear a debility
Blodwen’s already at max HP and
If your rest was particularly peaceful, has no debilities. “Do I get advantage,
comfortable, or enjoyable, you also then?” she asks. Nope! She might not be
gain advantage on your next roll. beaten up, but she’s still sleeping on hard
pave stones and huddled in a cloak.

When the PCs are beaten up or exhausted, Caradoc and Rhianna each opt to regain
they’ll want to Make Camp. If they have HP. Caradoc has 16 HP max, and he’s
time, a mess kit, fire, and water, they got only 7 left. He regains 8 HP (half
can regain a lot of HP and/or clear some of his max) and ends up with 15 HP.
debilities with just 1-2 uses of supplies. He could Recover to get that last 1 HP
back, but decides that it’s not worth it.
To make a choice, they need all three: food, Rhianna has lost fewer than half her
drink, and sleep. Anyone who also uses a max HP, so she’s back up to full.
bedroll regains +1d6 HP, regardless of
which choice they make. Vahid has a tough choice: he can clear
one of his debilities or he can recover
Regaining HP or clearing a debility doesn’t HP. “How about I regain HP points
make problematic wounds go away. PCs from Making Camp, and then Recover
must treat them with the Recover move, to clear those debilities?” I ask how he’s
and such wounds take time to fully heal. tends to the debilities. “Oh, I’ll eat a
huge meal, way more than it seems like I
To get advantage on their next roll, things should be able to tuck away.”
need to be great, not merely adequate. This
should be the exception, not the rule. “Okay, let’s say this, then. You’ll regain
half your max HP, bringing back up to
For more about Making Camp, and how 14. And if you eat 1 use of supplies, you
to decide on what (if anything) happens can clear weakened. But you’ll still be
during the night, see page XX. dazed until you Make Camp again and
get some good sleep. Deal?”

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 Harm & Healing

CONVALESCE Rhianna lost her right arm at Three-

When you rest for a few days in safety Coven Lake (and she got off easy; Andras
and comfort, set your HP back to didn’t make it home at all). Some quick
your max and clear all your debili- thinking saved her life, but she’s unsure
ties. When you rest for a few weeks how she’ll be an effective warrior and
under the care of a healer, you heal any archer. She’s not about to retire, though.
problematic wounds that can heal. If
you have suffered a permanent injury So, we Make a Plan. “What do you hope
or impairment, either retire or Make a to accomplish? Are you looking to replace
Plan to adapt to it. or regrow the arm through magic? Or
learn to shoot one-handed?” Rhianna’s
practical to a fault, and doesn’t even con-
This move lets the PCs “reset” between sider a magical option. I look at the list of
expeditions. It’s an opportunity to let time possible requirements, and write down:
pass and have the seasons change. It’s also
a great time to ask questions and use your O You must design and make some
homefront moves. See page XX for ideas. prosthetic or device for drawing
& releasing a bow one-handed
Convalescing will heal most wounds, but it O You must learn to use the device
can’t regrow lost limbs or repair a shattered O It’ll take months of practice
knee. The character can either retire or
Make a Plan and adapt. We decide that a leather mouth-bit
attached to the bowstring would let her
If a PC retires, the player stops actively pull and release. It’s a simple thing to
playing them. The character has lost the make with help from Sawyl the tanner.
edge and nerve that makes them a PC. The
player should make a new character, and Later, I frame a scene with Rhianna
the retired character becomes an NPC. practicing her new setup. I ask what it
looks like, what she’s struggling with.
If the player wants their PC to adapt, then Then Andras’s mom comes by and thanks
use the Make a Plan move (page XX) to Rhianna for taking him under her
clarify their goal and what’s required to wing, saying how proud she was to have
reach it. This might involve something ex- Andras protecting the village. Rhianna’s
traordinary (like getting a clockwork hand left feeling all sorts of bitter over losing
from the Ustrina) but usually it’s a matter him in search of Vahid’s damn fire-jewel.
of ingenuity, practice, and grit.
Autumn comes before Rhianna’s had the
Don’t make the requirements unduly months of practice she needs, and the PCs
hard. Your job is to be a fan of the player end up hunting a dark presence that’s been
characters and punctuate their lives with stalking the Wood. “For now,” I say, “your
adventure. It is not to penalize them for bow will have the reload tag and you’ll
getting hurt. You want to see these tough, Let Fly with disadvantage. But once you
determined, resourceful characters adapt to get another month of practice, you’ll shoot
their setbacks. Give them a path to recov- and Let Fly without penalty.”
ery and see how they handle it.
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First Adventure

Goals
Structure
Background
Setup questions
Setting the scene
Dropping the hook
Heading out
First Adventure

Goals Explore relationships

Take those NPCs and relationships that
Introductions are complete. Spring has were established during introductions
sprung forth. You’ve got a rich tapestry of and push them into the spotlight. How
characters, relationships, and backstories. does Vahid treat his betrothed? How does
It’s time for the first adventure! Let’s put Blodwen feel about Rhianna’s promise to
all that stuff into play and see the PCs keep her safe?
in action.
Don’t just explore relationships that were
You’ve got two broad options for the first explicitly established during introductions;
adventure: use an adventure starter, or make explore the relationships they imply, too!
something up entirely (more on that later). Rhianna promised Blodwen’s sister, Mare,
that she’d keep Blodwen safe? Well, what’s
Either way, your goals for the first adven- the relationship between Mare and Rhi-
ture are: anna? Between Mare and Blodwen?
Keep an eye out for surprises, too! It might
Paint a picture of daily life not have come up during introductions,
Explore relationships but maybe when you play Garet (one of
Identify what’s important to them Rhianna’s crew), you find that he’s flirting
Push them into the field with Blodwen. That’s great! Run with it
Establish details, but leave blanks and see where that goes.
Play up both the mundane and
the mysterious Identify what’s important
Draw them back home
to them
There’s nothing like a crisis to make some-
Paint a picture of daily life one’s priorities come to the forefront. Keep
Your first adventure should start in Stone- an eye on the decisions that characters
top and help make it real. The setup and make, and where their interests lie. That’ll
the initial scenes should show off mundane be all sorts of fodder for later.
slices of life and reinforce the fact that this
is the PCs’ home—and that it’s a home
worth fighting for.

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 First Adventure

Push them into the field Establish details,

Whatever you do, don’t spend very long in leave blanks
Stonetop itself. Get them into the field, on Both in the village and in the wider world,
an adventure, as soon as possible. you want to be asking questions like crazy
and establishing all sorts of concrete
“Wait, what?” you might be thinking. “We details. Who lives in those houses just
just spent all that time establishing the outside the ringwall? What flowers grow
village… aren’t we going to DO something all around the old fae waystones? Where
with it?” did Vahid get that fancy lantern?

Yes, you are—just not right now. Right But leave blanks, too. Leave some details
now, your job is to get the action rolling to wonder about, some mysteries to fill in
and punctuate their lives with adventure. later. How did the Silent Twins die? What
The village and its inhabitants are the is hiding in the Maw? Why is Elios such a
backdrop for that adventure, the motiva- joyless prick?
tion for it, but (at least to start), they
shouldn’t be focus of it.
Play up both the mundane
Apocalypse World and related games (like and the mysterious
Sagas of the Icelanders and Monsterhearts) tell Stonetop adventures should include a
you to spend the first session just following healthy dose of both mundane concerns
the PCs around, establishing NPCs with in- and mysterious elements. If the adventure
compatible interests and untenable arrange- hook is mundane (like a chance to capture
ments. If you do that with Stonetop, the PCs some wild horses), lace the adventure with
will soon have the blood of their fellow strangeness and magic. If the hook is mys-
villagers on their hands. And that’s going to terious, pay attention to mundane details
lead to a very different type of game. like weather and supplies and the fact that
someone’s mother is worried sick.
No: get them out of town. Get them
adventuring on the town’s behalf, sweating
Draw them back home
and bleeding for their kith and kin. Don’t
Whatever the first adventure is, it should
let Stonetop itself be a major source of
end with them returning to Stonetop. This
conflict—yet.
should happen pretty naturally, but avoid
things like trapping the whole party in
some fae’s demesne or having them follow
a bunch of slavers to Lygos. Let them go
home. Encourage them to go home. The
whole premise of the game falls apart if
they don’t.

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First Adventure

Structure Adventure starters

Regardless of whether you use an adven- Adventure starters are pre-made
ture starter or a custom adventure, the first adventures that you can use to
first adventure will generally follow this kickstart your game. You can make
structure in play: characters and jump into the first
adventure all in one session!
1) Start with the setup, in which you ask a
bunch of loaded questions that provide With that said: adventure starters
context and establish motivation. This bypass the full introduction process
might include a “love letter” or two (see described in the Getting Started
page XX). chapter. Starters include their own
abbreviated setup procedures, and de-
2) Then set the scene, zooming in on a lay establishing a lot of details about
particular place and time in the vil- the village and the world until after
lage. You’ll frame the scene, ask more the first adventure is complete.
questions, and make some homefront
moves that show off the town and Even if you don’t use an adventure
explore relationships. starter in full, you might find them
useful as examples and sources of
3) Once the scene is established, drop threats, dangers, discoveries, and maps.
the hook. Shows signs of trouble,
reveal an unwelcome truth, offer an op- You can find these adventure starters at
portunity, tell them the consequences, www.lampblack-and-brimstone.com.
etc. Spend a little time seeing how the
PCs and NPCs react.

4) Assuming the PCs take the hook, 7) Then there’s the aftermath: the
they’ll make preparations: they’ll journey home, the triumphant (or not-
Chart a Course, Outfit, Requisition, so) return, the reactions of their friends,
and recruit followers to join them. family, and neighbors, and a return to
day-to-day life. But there will be ques-
5) They will likely travel towards the tions unanswered, threats still at large,
focal point of the adventure. The jour- further opportunities to explore—the
ney will likely be an adventure itself. source of future adventures!
They might even be forced to turn
back, letting the opportunity slip away Of course, the PCs might not take your
or the problem get worse. hook. Or, they might get distracted by
something that happens on the jour-
6) The journey (probably) leads them to ney, and decide its more important than
the resolution of the adventure: the whatever you expected the focal point to
danger or opportunity that spurred be. That’s all fine! Follow your agenda and
them out the door in the first place. principles, make moves, and keep asking
They explore, talk to NPCs, sneak, them what they do.
fight, make a daring escape, etc.

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 First Adventure

Background On a 10+, an opportunity

If they rolled a 10+ on their Seasons Change
A good first adventure requires prepara- roll, they will have chosen “interesting news”
tion. At the very least, you should: or “valuable insight” or “trade opportunity.”
All three choices represent an opportunity.
Identify the central threat or opportunity The opportunity should be both...
Write up your threat(s)
Plan your hook … external, so as to get the PCs out of
the steading, but also...
Having this information planned in … nearby, within a few days of Stonetop,
advance helps you portray a rich and so that they can get there and back
mysterious world. You could theoretically with a modest amount of rations.
ad lib the threat and hook, asking the char-
acters questions to fill in the blanks. But If they chose “interesting news”, then pick
you’ll end up with a much more cohesive, (or ask the players to pick):
textured, and thematic adventure if you
prepare this information in advance. A steading improvement and one of its
requirements; or...
some other goal the players established
During introductions, the group kept during introductions (solving a mys-
focusing on the recent crinwin raids, the tery, finding a treasure, mastering an
abducted children, and effects this has arcana, etc.).
had on town.
Now, think of something that would put
Vahid rolled the seasons change roll and that requirement or goal in reach, and how
got a 7, choosing “unexpected bounty.” the PCs could learn of the opportunity.
But there’s also a threat that will emerge
or make itself worse.
Vahid is keen to pursue “The Stream,
I’ve got a lot to work with. Let’s see Diverted” improvement. One possible
where this goes! requirement is inventing a way to make
water flow uphill. Had he rolled a 10+
on Seasons Change and chosen “interest-
ing news,” I’d have tied the opportunity
Identify the central threat relate to that.
or opportunity
The first adventure will center around an What could put this in reach? Well, the
opportunity or a threat. The “spring breaks Ruined Tower has all those old pipes and
forth” roll (and the player’s choice) at the an underground reservoir. Vahid could
end of introductions will tell you which. study that stuff and learn how to make a
pump. How could he hear of it? A shady
treasure hunter might show up in town,
having explored the Ruined Tower
and seen pipes pumping water from the
ground! He’ll show Vahid, for a price...

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First Adventure

If they chose “valuable insight”, then pick

a threat that came up during introductions. Vahid wants to find the intricate helm
If nothing stands out, ask the player who that would serve as the Mindgem’s head.
rolled what they’re most worried about. Had he rolled a 10+, he might have
Think about that threat. Why haven’t they asked for an opportunity to acquire it.
done something about it before now? What The Ustrina could have found it and
information would allow them to address sold it to someone in Gordin’s Delve,
it (a vulnerability, the location of its lair, its someone who knows Vahid is interested
motives, etc.)? Pick something the PCs can in this sort of thing. Of course, they’d ask
act on, fill in the details, and think about a pretty penny for it, or more likely, some
how that could be revealed to the PCs. service only Vahid could grant...

The obvious threat that came up during On a 7-9, a threat and a gain
introductions was the crinwin—they raided If they rolled a 7-9, then a threat to the
the town just a few weeks ago and one of the steading presents itself (or gets worse). But
town’s youth went missing in the raid. they also will have chosen a seasonal gain.
The threat will be the main focus of the
Why hasn’t anything been done about first adventure, but how it presents itself
the crinwin? Well, they’re stealthy, vi- should be influenced by whatever seasonal
cious things living in the Great Wood— gain they chose.
it’d be foolish to try to track them down.
What info would let the PCs address the As you design the threat, be sure to make it...
threat? The location of their lair! Maybe
a hunter could spot some crinwin and be … external, so as to get the PCs out of
brave enough to track them to their lair. the steading; but...
… nearby, within a few days of Stonetop,
 so that they can get there and back
If they chose “trade opportunity”, pick (or with a modest amount of supplies;
ask the players to pick) one of the following: … Stonetop’s problem, something that
directly threatens the villagers and that
Something from the Special Items list no one else will deal with; and
that would benefit the whole town (like … urgent, something that will get worse
another horse, a pair of donkeys, etc.). if not addressed.
Something of powerful symbolic
value (like a suit of steel armor bearing Pick a threat that came up during intro-
Aratis’s symbol). ductions, or something new that strikes
A minor arcana of some utility, or your fancy (from the setting guide, or from
something that would help unlock the your own fevered imagination). Ask your-
secrets of a major arcanum. self: why has this become a problem now?
A mundane item made of exotic mate- Why wasn’t it a problem before, and what
rial (like a chest carved from dark ice). changed to make it a problem? Try to tie
Now, who could offer such a thing? the reason to some of the details that came
What would they want in exchange? up during introductions.
And why are they offering it to Stone-
top instead of someone else?

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 First Adventure

During introductions, Rhianna’s war During introductions, Blodwen ex-

story was about a nighttime raid by the pressed interest in figuring out where
crinwin, just a few weeks ago, and how the Forest Folk went. She could learn
they tried to drag kids off into the Wood. about that by exploring one of their
Caradoc was supposed to be watch- old encampments—perhaps a Maker-
ing after Wynfor, but he left Wynfor ruin that they abandoned and that is
alone so he could go “prove” himself in now home to the swyn. A hunter could
the battle. When things settled down, stumble on the ruin and note the old
Wynfor was missing. The search party Forest Folk markings, as well as sign
never found anything. And on top of all that the crinwin are nearby. The hunter
that, Rhianna is worried that something could then bring that news home—with
is driving the crinwin, making them crinwin in hot pursuit!
bolder and more organized. The crinwin
will clearly be the threat.
If they chose “valuable insight”, then the
So, why have the crinwin become so bold threat makes itself known or gets worse,
of late? I’m thinking they have fallen un- but in a way that reveals something useful
der the sway of a swyn (a big, arrogant, about how to address it or about what’s
hypnotic, monkey-headed serpent). Dur- causing it.
ing the raid, they were trying to kidnap
children with specific traits to add to the
The crinwin get bolder and more aggres-
swyn’s “collection.” The swyn recently
sive, eventually attacking during the day
moved into (or emerged from?) an old
and trying to drag off children from the
Maker-ruin, not too far from town.
Stream. But maybe the kids’ parents fend
them off and capture one of the
After deciding on the threat, and why crinwin—giving the PCs a chance to
it’s become a problem now, decide how it learn what the crinwin want, or where
manifests and how to present it. Use the they live, or what’s driving them.
seasonal gain that the players chose to

guide you.

If they chose “interesting news”, then

choose a goal or a step towards a steading
improvement (see the 10+ entry) and tie that
to the threat. They might learn of the threat
by pursuing the opportunity, or the opportu-
nity could be a direct result of the threat.

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First Adventure

If they chose “unexpected bounty”, then the Alternatively, you could just ask the players
threat should be revealed in the course of col- to pick something expensive (Value 3) from
lecting said bounty. Choose a bounty—trade, the Special Items list that they’d like to
plentiful game, valuables found in the Wood, trade for, and choose an appropriate neigh-
etc.—that will put villagers (or someone they bor that’s willing to sell it. What they want
deal with) in the path of the threat. in exchange, though, is something that puts
the villagers in the path of the threat.
I need a bounty that will draw villagers
out into the Wood despite the crinwin. I I don’t feel like introducing the fae at this
decide that spring has broken warm and point, so I ask the players to pick some-
early, and game is plentiful, and trappers thing they’d like to trade for. They want a
are busy setting snares and harvesting donkey, and cart if they can manage it. A
fur and meat. One of the trappers could merchant from Marshedge would gladly
be abducted by the crinwin. provide them, in exchange for 2 Surplus
worth of furs and leather. The town only
has 1 Surplus; Rhianna and her crew of
If they chose “trade opportunity”, iden- hunters could try to earn an extra Sur-
tify a neighboring community that would plus, but doing so will put them in the
either be affected by the threat or become crinwin’s (and the swyn’s) territory.
aware of it while traveling to Stonetop. This
is the neighbor that will make the trade
offer. Choose something they have that the If they chose “Danu’s Blessing”, then use
PCs would want. If you can, try to link the the fine weather as an excuse to put villag-
neighbor’s offer to the threat. Otherwise, ers in the path of the threat.
just have the trading party report the threat
while making the deal.
A pair of young sweethearts could take
to sneaking out to the Old Wall at night,
The crinwin (and their swyn master) taking advantage of the early thaw to
dwell in the Great Wood, and the only get a little alone-time. Then, one night,
“neighbors” who might encounter them the crinwin could jump them and drag
are the fae or the spirits and beasts of the one of them off into the Wood!
wild. Blodwen can speak to spirits and
beasts, but I can’t think of anything they
would want to trade. The fae, though…
fae make deals all the time. Maybe the
swyn stole something from a spriggan
(like a pinecone that holds a child’s voice)
and the spriggan wants it back. It could
approach the PCs with an offer—recover
the pinecone from this old Maker-ruin,
and he’ll trade them a bottle of ffyrnig
tonic or the secret to making Truth Seeds.


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 First Adventure

On a 6-, threats abound Next, think about how the threat has
Things are going to start bad and they’re already manifested and affected the town.
going to get worse. If the threat was established during
introductions, what has happened since
Start with a threat, one that came up those established events? If the threat is
during introductions. If no threats were new, how did it first start? Either way, ask
established, or none of them feel imminent yourself how bad its gotten. It should be
or appropriately bad, then pick something pretty bad. Don’t worry about the details
from an almanac or make something up. just yet. You’ll ask the players for those
If multiple threats were established, or during Setup.
you have ideas for more, then pick one to
be the main threat for the adventure to These recent events—or the hook (when
revolve around. Use the extra threats to add you drop it)—will almost certainly trigger
texture and urgency and a sense of doom Meet with Disaster, reducing the village’s
(threats abound!) but mostly keep them Fortunes by 1 (from +1 down to +0).
simmering in the background.
We already established that crinwin
As you design the main threat, be sure to
raided the town a few weeks ago and
make it...
that Wynfor (Caradoc’s nephew), went
missing. Rhianna’s worried about some-
… external, so as to get the PCs out of
thing organizing the crinwin, which
the steading; but...
I’ve decided is a swyn (a big, arrogant,
… nearby, within a few days of Stonetop,
hypnotic, monkey-headed serpent). It
so that they can get there and back
recently moved into (or emerged from?)
with a modest amount of supplies;
some nearby Maker-ruins.
… Stonetop’s problem, something that
directly threatens the villagers and that
Swyn are collectors, so I think: the
no one else will deal with; and
crinwin are collecting children for their
… urgent, something that will get worse
master. Since the raid, search parties
if not addressed.
have failed to find the child and have
been attacked themselves. At least one of
Ask yourself: what does the threat want?
the searchers was killed. More raids have
Why is the threat such a problem for
happened, targeting the homes nearest to
Stonetop? Why has it become a problem
the Great Wood. Trappers and hunt-
now when it wasn’t a problem before?
ers have been attacked and refuse to go
What changed? Try to tie your answers to
out into the Wood. And most recently,
details that came up in during introductions.
another child will have been taken from
the steading just before dawn.

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First Adventure

Write up your Threat(s)

Vahid rolled a 7-9 for Seasons Change
If your initial adventure involves a threat,
and my central threat is the swyn that’s
then flesh it out using the guidelines in the
driving the crinwin to steal children. I
Threats chapter (page XX). Try to come up
write it up like so:
with an impending doom, and make the
first grim portent the hook for your first
adventure. Sajra the Swyn (villain)
Instinct: to indulge its ego.
Also write up any related threats, or at least
assign them a threat type and instinct. Recently moved into a ruined Green
Lord’s tomb about 1½ days from
Think, too, about other threats identified town (why???). Has taken over a few
during introductions that could overlap or nests of crinwin (rabble; to covet) and
cross paths with this adventure, or just add they’ve been collecting children for
texture. Are there other looming dangers? it. Already has Wynfor (Caradoc’s
Are there any individuals, institutions, or nephew) and another child (who???).
afflictions in town that will add to the PC’s
l More children go missing.
problems? Write them up as well—at least
l Some of the (entranced)
with a threat type and an instinct.
 children return.
l Children recruit followers.
l Reveals itself, demands servitude.
l Impending doom: subjugates the
town, killing or mesmerizing any
opposition.

Stakes: Will Brynfor’s parents forgive

Caradoc? Who will fall under Sajra’s
sway? What will become of the stolen
children brought under Sajra’s control?

The crinwin themselves are also a threat,

a rabble (instinct: to covet). But I don’t
go into more detail. It’s really the swyn
that’s the threat.

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 First Adventure

Refine your hook

Vahid got a 7-9 for the first Seasons
You’ve identified the central opportunity or
Change move and chose “unexpected
threat for the adventure. You’ve got some idea
bounty.” I decided that spring broke
how that threat will manifest, based on the
warm and early, with small game abun-
results of the first Seasons Change move.
dant. Trappers are busy plying the Wood,
despite the crinwin threat. One of these
Now, firm up the details. What exactly is
trappers will get abducted by crinwin.
going to happen? When will this happen?
Where? Who will be involved? Who will
But wait... that won’t be actionable
witness it and what will they report? Don’t get
by itself. Plus, the crinwin have been
too specific just yet, but you should be able to
abducting children; why would they grab
answer these questions in general terms.
a fully grown trapper?
As you refine your hook, make sure that it...
Oh! They won’t grab the trapper, they’ll
take his son (who’s out with him check-
… is actionable, giving the PCs some
ing snares). The trapper’s son is bigger
chance to actually do something about
than the other kids, and the trapper will
it, and implying an obvious first step
stab one of the crinwin, giving the PCs a
for them to take;
trail to follow. That’s actionable!
… involves all of the PCs, giving them all
a chance to react to it and have their
I consider having the trapper use some
input; and
sort of signal whistle to call for help,
… communicates urgency, making it
drawing the PCs to the site of the attack.
clear that if the PCs just sit on their
But I reject that, because it’d be too easy
hands, something bad will happen and/
to have Rhianna and her crew rush out
or an opportunity will be lost.
to help and leave everyone else behind in
the village.
The details of the hook will help you
identify the setup questions that you need
No, the trapper will run back into town
to ask, as well as the when and where you’ll
yelling for help. That’ll give all the PCs
frame the first scene.
the opportunity to be involved. And all
this will happen in the morning, mean-
ing they have a chance to try to track
down the boy in daylight. They might be
able to save him if they act quickly!

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First Adventure

Setup questions
But also: your players will come up with
details that you never would. And even
when they don’t come up with anything
Before you set your first scene, ask a bunch
unexpected, the fact that they came up
of loaded questions. Your goal here is to:
with it instead of you gives the whole thing
a more authentic texture. The world feels
Establish key details
more real, less like something that one
Highlight relevant setting elements
person is just making up.
Foreshadow
Make things personal
My hook assumes that spring broke
If you have time, write these questions warm and early and that the trappers
down as part of your prep. Write in pencil, are out in the Wood catching game. That
for now! You’re likely to make a few revi- gives me these questions:
sions as you go.
When was the last time spring came
You might also end up writing a “love this early and was this warm?
letter” or two, instead of or in addition to What type of game are the trappers
some of your questions. busy trapping?

Establish key details The crinwin have been actively raiding

What details need to be established before lately, so I feel like there must be some-
you start play? What needs to be true for thing that lets the trappers feel at least a
your hook to make sense? What obvious little safe. That gives me this question:
questions arise as you think about those
things? Ask leading questions that estab- How do trappers ward off crinwin?
lish those things, but at the same time give Do you think it really works?
the players some creative control.
Finally, my central threat is the swyn,
Why do this? Why not just tell the players and the crinwin are collecting children
the things that need to be true? for it. We know Wynfor (Caradoc’s
nephew) went missing during the last
Mostly: because it’s more interactive. If you crinwin raid, but “collecting” implies
ask someone to think about a question and more of a pattern than that. I think
create an answer, they process the details of there must be a previous child who
the question more deeply. That’s true even went missing, and the village gave up
if the question is about something rather on searching for her. To establish those
mundane and inconsequential. Answering details, I’ll ask:
makes them get engage with the world
that we’re creating together, and it gives Who was the youth who went miss-
them a little more ownership of that world. ing in the Wood a few weeks before
that nighttime raid by the crinwin?
Why did you all give up searching
for her?

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Highlight setting elements

Thinking about it more, the whole “crin-
Next, identify any unique setting elements
win mimic noises and voices” thing isn’t
(like the Makers, the wards on the roads,
relevant to the hook or how the PCs react
the Pale Hunter, the widespread fear of
to it. I decide to drop that question.
water, etc.) that will play a significant role
in the hook, or that would directly inform
Likewise, I know that the swyn is hid-
the PC’s reactions to the hook. Write a
ing in the tomb of a mummified Green
question about each of those elements, just
Lord, so I consider asking some questions
to make sure it’s something that the players
about the Green Lords or their ruins out
are familiar with.
in the Wood. But on second thought, it’s
not relevant yet—and it wouldn’t make
The crinwin are a setting element unique any sense to ask about it.
to Stonetop, and they’ll obviously play
a big part in this. They’ve come up a lot
during introductions, but some of the Foreshadow
more “common knowledge” details about Ask yourself if there’s anything that you
crinwin haven’t come up, like the fact want to foreshadow: a threat, a motive, a
that they’re child-sized, and arboreal, consequence, a discovery, etc. Write a ques-
and live in big papery nests in the trees, tion or two that points in that direction,
and that they mimic sounds. So asking without being too obvious.
about some of those might be a good idea.
I jot down these questions: Foreshadowing questions are tricky! If you
can’t come up with a way to be subtle, just
After the crinwin raid, what feature skip the foreshadowing!
about their small, hairless, child-like
bodies did you find most unnerving?
When you’ve seen crinwin moving The swyn is collecting children, right? I’d
quickly through the forest canopy, like to hint at that. So, I want these kids
what natural creature do they most to have something in common, some-
remind you of ? thing that makes them worthy for the
Remember that time you got lured swyn’s collection. I don’t care particularly
off into the Woods by some crinwin? care what that is, though, so that becomes
Whose voice were they mimicking, the question (about the girl who went
that got you to follow them? missing prior to the raid):

  What did this girl have in common

If there’s a setting element that you’re pretty with Wynfor and the other kids the
sure will come up, but that won’t be directly crinwin tried to abduct?
relevant to the hook itself... don’t ask about
it yet. Wait to ask questions about it until I’d like to hint at the swyn itself, but I
they encounter that setting element in play, can’t think of any way to ask a question
or at least until its alluded to. about it that won’t be a dead giveaway
 that, yup, the swyn is the boss. So I leave
that out.

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First Adventure

Make things personal When prepping questions in advance,

look at each one that you’ve written and
Ask questions of each character, so that
personalize it. Decide to whom you’ll ask
all the players are involved. Try to balance
each question. Fine tune each question to
the number of questions you’re asking to
make sense from the character’s perspec-
each. If there’s an imbalance, try asking one
tive (remember: address these questions to
character what they think about another
the characters, not the players). Play on
character’s answer or past behaviors—and
the themes that have started to emerge for
feel free to make it all sorts of loaded.
that character. Ask the questions in such
For example: “Vahid, why do you think
a way that they presume the character’s
Rhianna was wrong to call off the search
direct involvement. Or, frame the questions
for the first missing girl?”
so that the player is telling you what their
character believes or has heard, rather than
what they know.

The point is to make the whole starting

situation directly relevant to the characters,
to give them motivations and personal
stakes. Get these questions right, and the
players will bite on your hook with very
little prompting.

As you revise the questions, also think

about the order in which you’ll ask them.
There’s a real art to this, and no hard-and-
fast rule for it. Generally, go chronologi-
cally. Ask first about things that happened
further in the past, then ask about things
that have been happening more recently
(or that are still happening). And don’t be
afraid to cut, either! If you can’t figure out
when to ask a question, ask yourself if it’s
really necessary!

174
 First Adventure

I want to start by asking about the missing I could ask the other question about the
girl, the one taken prior to the raid. I think crinwin now (about how they move
Caradoc would identify with her, so he gets through the trees), but it doesn’t really fit
this question. It becomes: and honestly, the more I think about it, the
less I want to include it. I decide to cut it!
“Caradoc, who was the girl who went
missing, a few weeks before that night- I do still want to ask about the early spring
time raid by the crinwin? Why was she and the plentiful game. I pick Blodwen for
out in the Wood, alone, in late winter?” these, but because she’s so young, I rephrase
the questions to ask what others are saying
Next, I’ll ask Rhianna why they stopped and doing. I also crunch them together:
searching for the girl, because she’s the
marshal and her crew are all woodsmen. I “Blodwen, when does Seren the Eldest
tweak it to make it her decision to stop look- say we last had such a warm and early
ing, and to twist the knife with some guilt: spring? What sort of game has been
especially plentiful, prompting trappers
“Rhianna, what prompted you to call to spend so much time in the Wood?”
off the search for this girl, empty handed?
Why do her parents still blame you?” For the question about how trappers ward
off crinwin, I feel like this is something
I think that the next logical question would Rhianna would know about because of how
be about the detail shared by this missing girl much time she and her crew spend in the
and Wynfor. This seems like a chance to play Wood. But I like the idea of getting Vahid
up Vahid’s cleverness and caginess. I phrase involved, playing up his know-it-all status
it so that it’s something he’s figured out but and the brewing tension between him and
maybe hasn’t shared with others: Rhianna. So I split the questions like so:

“Vahid, it’s occurred to you that this girl “Rhianna, what do folks who ply the
shares a trait with Wynfor, and with Wood—like you and your crew—always
the other kids that the crinwin tried to wear to keep the crinwin at bay?”
abduct. What is that common trait?” “Vahid, why do you doubt the efficacy of
this anti-crinwin charm?”
Chronologically, the next question is the
one about the dead crinwin. I want to Okay! I’m feeling good, but I’d like to give
ask Blodwen this one, given her ties to the Caradoc one more. I’ll prompt some hope
natural and unnatural. I tweak it just a and urgency with this:
little, to play up the “soft hearted” theme
that emerged for her during introductions. “Caradoc, why are you so certain that
It becomes: the missing children are alive?”

“Blodwen, after the crinwin raid, when

you examined their small, hairless,
child-like bodies… what unnatural
feature did you find so tragic?”

175
 First Adventure

Love letters
Consider writing one or more “love let- For best results, write the love letter on
ters” to go along with these questions. an index card or print it out before play.
A love letter usually... Give it to the character at whatever part
of the setup makes sense, and have them
… is addressed to a particular PC; read it aloud.
… establishes some sort of experience
that the PC has had (or is still having);
… has them describe something about I’d like to ask something that fore-
the experience; shadows the swyn, but directly asking
… tells them to roll with an appropri- anything about the swyn would be too
ate stat; obvious. Instead of asking a question,
… and, based on the result of the roll, I write this love letter to Blodwen.
either... It establishes a few of the rumored
… has the player invent or ask for threats in the Wood (including the
1 or 2 useful details; or swyn) and gives her the option to
… gives the PC some sort of learn more about them
resource for the upcoming in play.
adventure.

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176
First Adventure

Setting
Next, ask questions that establish details and
explore daily life. What are you doing? Who’s

the scene
with you? What are you eating? What are
you looking forward to? Whose eye do you
hope to catch? If you can, work in questions
After the setup questions have been an- that reinforce the setup and/or foreshadow
swered, start play in Stonetop. Your goal is the hook. “What loss is felt here, caused by
to establish what mundane, daily life looks the crinwin’s last raid?” That sort of thing.
like, so that you can drop the hook right in
the middle of it. Once the scene is set, spend some time
making homefront moves and seeing how
Work backwards from the hook. What the PCs react. These GM moves are dis-
time of day will the hook happen? What cussed fully in chapter XX (“Homefront”),
do you want to be happening in town? but for now, work off this list:
Where will the hook drop? Where should
the PCs be when it does? Introduce someone
Reveal simmering tensions
Frame a scene to support all that. Tell the Present a want or need
players the time of day, what’s going on, Remind them of their obligations
what the weather’s like. Zoom in on a Quicken a threat or crisis
specific place in the village or just outside Oppose their wishes
it, either by dictating a place or asking the Play them against each other
PCs where they are. Change a relationship
Show them how others really feel

Avoid serious conflicts or dramatic reveals.

It’s okay to have a PC argue with their
spouse if that’s something they often do,
but don’t, like, spring the fact that the
spouse has been having an affair! You’re
establishing daily life (including daily
drama), not setting things on fire. Not yet.

For preparation, jot down:

A sentence or two describing

the scene(s).
The questions you intend to ask.
The homefront moves you plan to make,
with whatever details you find useful.

These aren’t the only things you’ll say or

ask, and you can adjust them as needed,
but they’ll give you a solid starting point.

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 First Adventure

The trapper should stagger into town in the Next, I’ll ask the other PCs the following:
morning, giving the PCs some daylight to
work with. The trapper and his son would “Where are each of you this morning?
have set off at first light, and the attack What task or chore are you working on?”
would have come a couple hours later. So, “Who’s with you and what are you
the trapper would get back to town mid- talking about?”
morning. That’s when I’ll set the scene: As you look about, what do you each see
that you’ve seen a thousand times before?”
“It’s mid-morning. Farmers till the fields “Who or what do you encounter that
and folks go about their chores. It’s another makes you think of the missing children
fine, clear day, still cool but likely to get and the recent crinwin raid?”
warm.”
I’ll ask follow-up questions and improvise
To play up the “unexpected bounty,” I’ll zoom based on what they give me, but I definitely
in on Caradoc—he’s the tanner’s apprentice. want to make these GM moves:

“Caradoc, you’re at work, hides and furs Remind them of their obligations: Tegwen
all over. (Blodwen’s mother), nags her about not at-
tending to some mundane thing.
“What unsavory task does Sawyl
have you working on this morning? Play them against each other: Eira,
“Are you glad for the all the work the Rhianna’s lieutenant, complains to her that
trappers are bringing in, or annoyed? Vahid has been creeping on her.
“Aside from the gore, entrails, and
noxious fumes, what’s the worst part “Remember that time you got lured
of this job?” off into the Woods by some crinwin?
Whose voice were they mimicking, that
Maybe I’ll make some moves here, play out an got you to follow them?”
interaction with Sawyl. I’ll wing it.

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First Adventure

Dropping Reactions
After you’ve dropped your hook, it’s time

the hook to explore everyone’s reactions. If your

hook is compelling, the PCs will likely
Once the initial scene is set, it’s time to head out to deal with things. But before
drop the hook. Make GM moves that (or maybe as) they make preparations,
introduce the core threat or opportunity of show how others respond to the hook and
the adventure and prompt the PCs to act. the PCs’ intended course of action.

You can (and should) keep asking ques- This is a great time to think about NPCs
tions after you drop the hook. You might with relationships to the PCs. How does
need to ask such questions in order to make the Heavy’s spouse respond to him going
the hook “grabby” enough. With that said, out into the field again? What does the
limit your questions to things the characters Would-be Hero’s father say? Who thinks
would know the answer to already (“How the expedition is folly? Who wants to
are you related to Gorlas? Why is everyone come with? Lean heavily on the home-
so quick to dismiss him?”) rather than ask- front moves during this segment.
ing the players to invent entirely new ele-
ments (“Who comes barging in, muttering You’re not just doing this to show off the
about crinwin nests?”) NPC’s; you want to see how the PCs
respond to both the hook and the NPCs.
For preparation, write down the moves you Keep an eye out for PCs triggering moves,
intend to make and how they’ll manifest, especially Persuade, Seek Insight, Know
plus any questions you plan to ask. This Things, and Defy Danger (the danger be-
might mean coming up with specifics that ing that someone takes offense, or doesn’t
have been vague in your mind so far: who, believe their lies, or so on). Take notes on
exactly, burst in with news of a crinwin whose feathers the PC’s ruffle, who gets
nest? Why should the PCs trust him? in their way, and who reveals themselves
What exactly did he see? Either decide on to be on their side. Some of these people
these things now, or decide that you’ll ask will likely become Threats after the first
the characters for the answer during play. adventure.

None of this prep is set in stone! You’ll When prepping the adventure, jot down
often need to adapt and improvise based some notes including:
on the details established during setup and
the initial scene. Stay loose! The NPCs who you think will be present.
The moves that you think you’ll make
and the NPCs you think you’ll use to
  make them.
Any questions you plan on asking.

Again, none of this is set in stone! Adapt

as needed to reflect the events in play.

If they ignore the hook

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 First Adventure

I start thinking about how I’ll drop the Reveal an unwelcome truth: Pryder was
hook, and I realize that I haven’t named dragged off by crinwin. They were out
the trapper or his son. I’ll do that now. I checking snares early this morning and got
grab the Steading Playbook and skim the separated near the Stream. Rheinal heard
Residents section. I could create a new, ran- Pryder cry out. He found Pryder strug-
dom NPC, but I see Pryder, the youth who gling with crinwin, then he got jumped.
Blodwen said is beloved of the Goddess and Rheinal stabbed one crinwin, got clocked on
her duty to protect. That’s perfect, so he’s the the head, and passed out. When he came to,
son. I pick a name for his father, Rheinal, Pryder and the crinwin were gone. If any-
and add him to the residents list. one asks: yes, Pryder shares the same trait
that the other missing kids had in common.
Now, I start planning out the moves for
my hook and filling in specific details. I also Ask a loaded question: “Vahid, you notice
start thinking about questions I might ask that Rheinal still wears his anti-crinwin
for each move, to make the hook more per- charm, for all the good it did him; do you
sonal and motivating to the PCs. My notes say anything?”
end up like this:
Offer an opportunity: The attack happened
Announce trouble: Someone’s yelling from an hour or two ago, and Pryder is consider-
down in the Wood. They’re getting closer ably bigger than the other kids who were
to town. abducted. They would have had to drag him,
leaving a pretty obvious trail. Plus, Rheinal
Introduce someone: It’s Rheinal. Some- wounded one of them—it’d be dripping
one, let’s say Morwenna (Caradoc’s crush) blood.
is helping him up the cliffside trail from
the Wood. He’s barely standing, panicked, “Rhianna, which member of your crew
covered in blood. is the best tracker?”
“Blodwen, whose hound has the best
“Blodwen, Rheinal is Pryder’s father, nose? Think you could get them to loan
one of the trappers. Aside from his you its sense of smell?”
devotion to his family, what’s his most
notable trait?”

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First Adventure

The hook will take place on the outskirt of Present a want or needs: Rheinal insists
town, at the top of the trail leading down into on gathering a search party right away, and
the Wood. These NPCs are likely to be there: going with them to rescue his son, despite
barely being able to stand.
Rheinal, obviously
Morwenna (Caradoc’s crush), Point out a flaw in a person or plan (one
helping Rheinal up the cliffside path of Gwendl’s moves): Gwendl insists that
Gwendl the Matron (one of Blod- Rheinal isn’t going anywhere, injured as he
wen’s mentors, village healer) will is. Surely he can give Rhianna and company
arrive soon directions to where the attack happened.
Sawyl the tanner (Caradoc’s boss);
the tannery is right there Show them how others really feel: Mor-
Eira (Rhianna’s lieutenant, who wenna gives Caradoc an admiring glance if
Vahid secretly watches) will probably be he says he plans to join the expedition.
talking to Rhianna, and will probably
come along Reveal simmering tensions: Glenys throws
shade at Caradoc, blaming him for Wynfor’s
That’s plenty of NPCs for the initial scene, but abduction (“ You’ve done enough, haven’t
I also expect there to be some interaction with: you?”). The missing girl’s parents are bitter
and say something to Rhianna like “Maybe
Glenys (Caradoc’s aunt, Wynfor’s mom) don’t give up this time.”
and the other missing child’s parents.
Tegwen, Blodwen’s somewhat over Oppose their wishes: Tegwen forbids
bearing mother. Blodwen from going, but has no authority
to do so.
I start thinking about some of the moves
that these people might make: Play them against each other: “Rhianna,
are you really going to let Blodwen and
Caradoc come along?”


182
 First Adventure

Most likely, the PCs will take your hook think about what will happen if the PCs
and go deal with the threat/seize the op- do nothing. If there’s a central threat, lean
portunity. But what if they don’t? heavily on its grim portents. Jot down a
few moves that you’ll make to show the
First and foremost: do not force them to consequences of inaction, and be prepared
act on the hook. It’s not your job to lead to improvise.
them down a pre-planned story. It’s your
job to portray a rich, mysterious world, to
punctuate their lives with adventure, and If the PCs don’t go after Pryder, then I’ll
to play to find out what happens. It’s the probably make the following moves:
players’ job to decide what their characters
do, to balance risk against reward and show Reveal simmering tensions: townsfolk
you what matters to them. It’s their choice snub Rhianna and disrespect her; she
whether to act on your hook, and how. catches some of her crew complaining to
Don’t take that away from them. Eira about inaction.

So what do you do if you drop your hook, Present a want or need: Rheinal,
ask your questions, have your NPCs react, Glenys, and the other parents of missing
and the PCs don’t do what you expect? children plea with Rhianna to do some-
thing about the crinwin.
What you do is run the damn game. Make
GM moves that follow your principles Quicken a threat or crisis: Another child
and work toward your agenda. Portray goes missing, stolen from a home at the
your threats and your NPCs with integrity. edge of town.
Don’t punish the players for ignoring your
hook, but show them what happens as a Oppose their wishes: Rheinal puts a
consequence. posse together to go looking for the kids.

The PCs let an opportunity pass? Okay, cool Hurt Them: If they leave without the
with you, but how do your NPCs react? PCs, they’re attacked and many are
Who’s upset? Who goes off on their own killed by crinwin.
to try and seize the opportunity on their
own? What trouble do they get into? Is the Advance a grim portent: Wynfor and
opportunity still there, or does it fade away? the missing girl appear at the edge of
Does someone else (another steading, the town, dirty and thin but glowing with a
fae, a villain, etc.) act on it instead? weird inner joy.

The PCs ignored a threat? Okay, cool with

you, but start advancing grim portents and
showing the PCs the results. Show how
the NPCs react, rationally or irrationally.
Show how things get worse. Think danger-
ous, and let the world burn if the PCs don’t
do anything about it.
When you’re prepping the adventure,

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First Adventure

Heading out Travel

After preparations, they’ll head toward the
Eventually, they’ll be off on an adventure! threat or opportunity. This involves you...
Here’s how that usually plays out.
… presenting legs of travel and points of
Preparations interest, describing the environment
and the weather;
When the PCs announce their intentions
… asking lots of questions, like, “What’s
to head out and pursue the opportunity or
the worst about slogging through these
deal with the threat, they’ll often trigger
hills?” or “What do the old-timers say
these moves:
about this place?”;
… making GM moves, like having their
Chart a Course, in which they tell you
followers cause or get into trouble,
where they plan to go and you tell
providing a choice of paths, presenting
them what’s involved in getting there.
the challenges that you outlined when
Outfit, in which they “gear up” for
the Charted a Course, and introducing
the expedition.
other dangers and discoveries;
Requisition, in which they might
… asking “What do you do?”; and
borrow town assets (like horses or carts).
… resolving the PC’s actions.
As they make these moves, sprinkle in
You’ll repeat these as necessary, zooming
various homefront and other GM moves as
in and out as you make GM moves and
appropriate. For example, when they Chart
the players make moves of their own. They
a Course, maybe ask a loaded question to
might encounter something that distracts
the Ranger about the dangers they might
them from their primary goal, or that gets
find. When they Outfit, maybe introduce
them lost, or that beats them up so badly
someone, like the publican who provides
that they turn back and head home in de-
them with whisky for the road.
feat. Or, they might reach their destination
with ease. It’s all good!
The PCs might also Trade & Barter, Know
Things, Seek Insight, or Persuade. They
Travel (and the prep you might do for it)
might recruit some followers (page XX),
is detailed in the Expeditions chapter (see
or have some folks insist on coming along.
page XX).
They might set the town to work while
they’re gone and have them Pull Together
(page XX), or Muster the town’s defenses
(page XX).

See the Expeditions chapter (page XX) for

more details.

184
 First Adventure

Resolution Aftermath
Eventually, probably, the PCs will get At some point, the PCs will call it quits
where they’re going and attempt to deal and decide to head home. Maybe they’ve
with the threat or seize the opportunity. seized the opportunity or put down the
You’ll zoom in on the action, describe the threat. Maybe not, and they either lost
situation, and make GM moves. The PCs their chance or are too exhausted to con-
will respond and trigger their moves. We’ll tinue. This is the aftermath.
all find out what happens together.
During the aftermath, the PCs tie up loose
When prepping the adventure, list the ends and return home. You update your
sites, dangers, and discoveries that you notes—especially your threats—to reflect
expect to feature in the resolution. For each how the world has changed and identify
one, do as much preparation as you find any new problems the PCs might have to
valuable. See the following chapters for deal with.
guidelines on how to prepare these things:
When preparing an adventure, there’s not
Sites (page XX) much you can—or should—prepare for the
Dangers (page XX) aftermath. So much depends on the events
Discoveries (page XX) of the adventure itself; there’s almost no
NPCs (page XX) way to predict when the PCs will head for
home, what loose threads will be out there,
what issues they will be dealing with, etc.
Mostly, you’ll play it by ear.

For guidance on what to do at the end of

the adventure, see the “Heading home”
section of the Expeditions chapter (page
XX) and the Between Sessions chapter
(page XX).

185
 Threats

When to write up threats

Writing a threat
Example threats
Updating threats
Threats

A threat is an ongoing problem that will Here’s an example of a fully written threat:
cause trouble for the PCs if left unchecked.
When you recognize or decide that some-
thing—an NPC, a monster, a situation—is Nia (wildcard)
going to be a worsening or recurring issue, Instinct: to befriend spiders
it’s probably worth writing up as a threat.
Young girl, spider-touched after her
Writing up threats is not strictly required, ordeal with the Mother-of-Spiders.
but doing so will make things easier to Blodwen’s niece; daughter of Cadoc
manage as the world of your campaign (see Town Council).
grows more complex. Your GM playbook
l Talks and plays with spiders
(see page XX) includes pages designed to
l Sets up a spider “shrine”
help you keep track of threats.
l Brings home a baby nailadd
Not every NPC, monster, or situation (giant spider)
l Impending doom: it kills someone
needs to be (or should be) a threat. The
giant spiders between the PCs and the old
Maker-ruins? If they’re not going to get Stakes: How will the town react to
worse as time passes, they’re probably just her? Can her link to the spiders be
a danger to be faced if the PCs want to broken? Can it be used for good?
explore the ruins.

In other words, don’t bother writing up a Nia is an example of an NPC who has be-
threat unless you know it’s going to be a come a threat. She’s not a villain or even a
big deal. danger—she’s a little girl, Blodwen’s niece,
someone the PCs rescued—but her link to
the Mother-of-Spiders makes her a source
of future trouble. She’s a threat.

188
 Threats

Here’s another example: And one last example:

Thornthumb (magical entity) Anwen (villain)

Instinct: to acquire Instinct: to maintain order at all costs

Dwelt in the Green Lord’s Tomb. Exiled from Stonetop years back,
Tried to steal from PCs, but they after poisoning folk (weak ones)
caught him. Helped them kill Sajra. during a harsh winter (less mouths to
Grudgingly promised Vahid not to feed). Runs a bar/brothel in Gordin’s
try to steal from, harm, or trap them. Delve; fingers in lots of pies. Ropr
Lusts after the Mindgem. Scared of (beast, to keep Anwen’s favor) is her
Rhianna. Thinks Caradoc is an easy #2. Soft spot for Iona (wildcard, to
mark. Blodwen owes him for the live comfortably).
flower he gave her.
GM moves:
When you dicker with Thornthumb, ä Find someone’s weakness
roll +CHA: on a 10+, he’ll trade for ä Sacrifice another to advance a goal
but a pittance (a song, a kiss, a flask of ä Have someone killed
whisky); on a 7-9, he asks for some-
thing innocuous but with an insidious 
cost (like a song, which you forget ut- Anwen hasn’t shown up on screen yet. She
terly after singing, or a kiss—but not was a player’s answer to “Who’s the worst
a kiss right now, no no, the memory person you know of in Gordin’s Delve,
of your first kiss); on a 6-, what he and why are they so scary?” She’s not a
wants, you’ll surely miss. problem yet, but the PCs are headed
to Gordin’s Delve, and she sure
will be. She and her minions
are threats.
Thornthumb was a mon-
ster that the PCs met in Writing up threats is a way
play. They captured him, to track loose ends and
allied with him, were simmering conflicts, which
betrayed by him, and helps you portray a rich
extracted a promise and mysterious world.
from him to let Threats provide prob-
them be. But he’s lems and bad outcomes
still out there, to spring on the PCs,
and he’s the making it easier to
type of guy to punctuate their lives
hold a grudge. with adventure. And
He’s a threat. a threat’s write-up makes
it easier to portray that
threat with integrity, help-
ing you play to see
what happens.
189
Threats

When to When Seasons Change

The Seasons Change move sometimes tells

write up threats you to introduce or worsen a threat, or that

threats abound. This might prompt you
Threats are prep: you write them up to create a new threat, one that the PCs
between sessions. When you write up a haven’t encountered before. The threat’s
threat, you make real, binding decisions type, instinct, and grim portents will help
about it that require thought and care. you to flesh out the hook of any related
Don’t do this during play. adventure (page XX).

Specifically, you should write up threats…

Vahid rolled a 7-9 on the first Seasons
Change, which means their first adven-
After introductions ture will involve a threat. I decided that
As you review your notes (page XX), pick out the crinwin have come under the sway
the ongoing problems that the players estab- of a swyn (a big, hypnotic, monkey-faced
lished. Write them up as threats, to whatever snake) and they are stealing children to
level of detail makes sense right now. add to the swyn’s collection.

The swyn is the real source of the trouble,

During introductions, the players told so I write it up as a threat (a villain).
me about a recent raid by crinwin, about
Blodwen’s overbearing mother, Tegwen,
and the Mindgem. I add them to the
threat trackers (as a rabble, a wildcard,
and a supernatural entity), but wait to
flesh them out until I know more.

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After a session When preparing

If someone introduced an element (NPC, an adventure
monster, situation, etc.) during a session, When you just know that a new threat is
and it might cause trouble later, write it going to show up, and you already have a
up as a threat while it’s still fresh in your notion of what it looks like, it’s a good idea
mind. Or at least make note of it, and to write it up before your next session. This
write it up in full later. This will serve as a could happen when the players tell you that
reminder to bring it up in future sessions. they’re going to do X, and you know that
doing X will mean encountering Y, and Y
After their first adventure, the PCs feels like trouble. Or it could happen when
returned to explore the ancient tomb you end a session on a cliffhanger (like with
and Blodwen disturbed the spirit of the a missed homefront roll, or with something
mummified Green Lord interred within. scary approaching) and between sessions you
While it mostly keeps to its blissful, con- decide that you’ll introduce a new threat.
structed afterlife, it could definitely cause
trouble for the PCs later. At the end of the last session, the PCs
(well, Vahid) talked about going to
I write it up as a threat (a magical entity). Three-Coven Lake to find part of the
Mindgem’s body. I think it’d be cool
to have a group of Hillfolk devoted to
keeping folks away from the lakes, and to
keep the horrors of the lakes contained. I
name them The White Hand and write
them up as a threat (an institution).

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Threats

Writing 3
1 Name & type
Give your threat a straightforward

a threat name, that easily distinguishes it from any

other threats you’re already tracking.
To write up a threat, follow these steps.
The most important steps come first; the Every threat also has a type, which de-
later steps are optional. scribes its fundamental nature, its place in
the world and in the ongoing story. There
1) Give the threat a name and type. are eight different threat types, described
2) Add it to the appropriate threat on the following pages.
tracker.
3) Give it an instinct, if it doesn’t already It will usually be obvious which type a new
have one. threat belongs to. If its not obvious, skim
4) Write a quick description, including the moves for each type and pick the type
related threats and NPCs. that fits best. A description of each type
5) If it has momentum: write out its (and its associated moves) appear on the
impending doom and grim portents. following pages.
6) Optional: write some stakes questions.
7) Optional: pick or write GM moves to Threat types in play
further define its behavior/capabilities. Each threat type comes with a series of
8) Optional: write custom player moves. GM moves, which reflect how that type
of threat typically causes trouble. You can
use a threat’s special moves whenever the
threat is involved, on screen or off. You’re
not limited to those moves—you can,
of course, still use all your standard GM
moves like reveal an unwelcome truth or
put them in a spot—but the threat moves
are a great inspiration for how that type of
threat acts.

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 Threats

For our first adventure, I’ve decided that

a swyn has moved into (or emerged
from?) some Maker-ruins in the Great
Wood. It’s brought the nearby crinwin
under its hypnotic control, and they’ve
been abducting children for the
swyn’s collection.

The swyn were originally creations

of the Green Lords, whose names all
have a Slavic feel to them. I start with
“Tajra,” tweak it a little, and write
down “Sajra, the Swyn” as its name.

Sajra the Swyn is a big, hypnotic,

monkey-headed snake, narcissistic, a
collector with exacting tastes, capable of
turning the weak-willed into fawning
servants. Looking at the list of threat
types, I briefly consider making it a
supernatural entity, but that doesn’t feel
right. No, it’s pretty clearly a villain.

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Threats

threat type threat type

Affliction Beast
Afflictions aren’t people or monsters Beasts are monsters, animals, or NPCs
or tangible things. They’re behaviors, driven by basic need and instinct.
circumstances, or conditions that make Most often, they’re literally beasts
people suffer, bring them into conflict, (natural or not). They might be smart,
or just make them worry and fret. maybe as smart or smarter than most
people, but they go around following
Afflictions can affect just an individual their stomach or their loins or their
or two (even a specific PC), a group, a big stupid ego.
population, or even an entire region.
 A beast threat could reflect a single,
GM moves for afflictions: specific creature, a family/pack/herd,
ä Worsen or quicken or even an entire species.
ä Spread to others/suck others in 
ä Mutate, take on a new form/aspect GM moves for beasts:
ä Eat away at something/someone ä Show up where it’s not wanted
ä Strip someone of honor/dignity ä Stalk or pursue prey
ä Drive someone to desperation ä Protect its home or family
ä Justify selfishness, neglect ä Make a show of strength, aggression
ä Drive a wedge between people ä Build or expand a nest/den/lair
ä Cause delusion, stubbornness, ä Modify its environment
foolishness ä Flee or panic or rage
ä Sow panic or despair ä Consume something (or someone)
ä Trigger shortages, hoarding ä Grow or diminish, in size or
ä Prompt violence, hatred, blame numbers
 
Example afflictions: Example beasts:
The black pox (instinct: to infect The cave bears (instinct: to fill
and spread) their bellies. protect their young)
Braith’s feud with Thecla (instinct: The wisent herd, protected by a
to make people pick sides) pact with the PCs (instinct: to act
The drought (instinct: to deplete with impunity)
resources) Grigor Rocksplitter (instinct: to
Quicksilver taint (instinct: to make sure everyone knows how
cause delusions) great he is)
“A woman’s place” (instinct: to The frythrancs (instinct: to
place limitations, on everyone) dominate their territory)
Resentment toward the Hillfolk The nailadd swarm (instinct: to
(instinct: to prevent cooperation) breed and spread out)
The slave trade (instinct: to deny Orub the Hagr (instinct: to com-
humanity) pulsively shape his environment)

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 Threats

threat type threat type

Institution MacGuffin
Institutions are people, groups, or MacGuffins are things—objects,
positions that have power within a places, even secrets—that stir up
community (or multiple communi- conflict. A MacGuffin might have
ties). They could be formal things, power to cause trouble itself, or it
like a cult or a government, or just could simply be something valuable
positions of respect (like a council that gets people fighting over it.
of elders). An institution often has a
specific leader, but not always. If there’s a thing in your game that
you think is a source of trouble, its
An institution transcends the individ- probably a MacGuffin.
uals who comprise it, and its instinct
reflects the purpose or behavior of the When choosing an instinct for a
institution as a whole. But it acts via MacGuffin, focus on how it causes
individuals, usually ones invested in trouble rather than what it does. The
its continuing influence. aetherium weather vane adjusts the
 weather, but it’s a threat because
GM moves for institutions: others covet it.
ä Sway public opinion 
ä Put someone in their place GM moves for MacGuffins:
ä Change a rule, law, or custom ä Reveal a secret
ä Acquire leverage, resources, influence ä Draw attention to itself
ä Denounce something or someone ä Point to something else
ä Support a course of action ä Generate envy/fear/discord
ä Recruit new members or minions ä Weigh heavily, become a burden
ä Squabble amongst themselves ä Be the target of theft
ä Change leadership ä Go missing
ä Negotiate a deal or treaty ä Perform its function, heedlessly
ä Send someone else to do their ä Fail at the worst possible moment
dirty work ä Leave its mark on someone or thing
 ä Become something greater, or lesser
Example institutions: 
Aratis’s priesthood (instinct: to Example MacGuffins:
preserve civilization, at all costs) The Chronicle’s vault of artifacts
Marshedge Town Council (instinct: (instinct: to harbor badness)
to maintain the status quo) The Lore Tree of Yevena (instinct:
The Cult of Azm Har (instinct: to to reveal dangerous secrets)
hoard knowledge, power, people) The Blood-Quenched Sword
The nascent town council (instinct: (instinct: to encourage violence)
to keep the PCs in check) The aetherium weather vane
The Ferrite Union (instinct: to (instinct: to inspire jealousy)
undermine the Bosses’ control)

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Threats

threat type threat type

Magical entity Rabble
Magical entities include spirits, many A rabble is a group, with or without
fae, the Things Below, even gods or a leader, united by emotion, blood, or
their agents. They are beings that live circumstance rather than by of any
and breathe magic and power, for sort of common purpose or goal.
whom mundane concerns like food
and shelter are alien or superfluous. A rabble’s instinct represents how the
group as a whole behaves. Any given
Magical entities are often bound by individual within the group might
strange, seemingly arbitrary limitations not share the instinct and might even
and laws. They must often act on the oppose it.
world subtly or through intermediaries. 
 GM moves for rabble:
GM moves for magical entities: ä Grow or gather in numbers
ä Spy on someone, unseen/from afar ä Claim territory or resources
ä Sense powerful longings/emotions ä Fall under a (new) leader’s sway
ä Appear in glimpses, dreams, visions ä Undergo internal turmoil
ä Offer service, secrets, power ä Make a show of strength/numbers
ä Demand an oath or sacrifice ä Declare an enemy or an alliance
ä Lay a curse ä Turn on one of their own
ä Twist a bargain to its favor ä Overwhelm a position or a
ä Send forth minions to do its bidding weaker group
ä Shape its environs, per its nature ä Despoil, loot, pillage, burn
ä Pursue alien goals ä Refuse to be controlled/contained
ä Foster rivalries with similar powers ä Disperse, scatter, flee
ä Grow or diminish in strength 
 Example rabble:
Example magical entities: Hillfolk refugees (instinct: to not
Hec’tumel, Slithering One! Pale fit in)
Serpent! Death Is Its Eyes! (instinct: The slave rebellion (instinct: to
to smother life, hope, and light) throw off their shackles)
Mother-of-Spiders (instinct: to Daedre the Red’s bandits (instinct:
see her many children spread) to do whatever the hell they want)
False idol spirit (instinct: to break The Seven Brothers, fae revellers
free of its bondage) (instinct: to drag others into their
Nectarsweet the fae (instinct: to wanton excess)
be adored) Heledd’s family (instinct: to close
The shade of Nikalor (instinct: ranks and protect their own)
to enjoy the pleasures of the flesh) The secret cult of the false idol
Yevena, mummified Green Lord (instinct: to pursue power, fortune,
(instinct: to preserve its glorious and respect)
afterlife)

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 Threats

threat type threat type

Villain Wildcard
Villains are just the worst. They are Wildcards are individuals who cause
individuals with the ruthlessness, trouble because they’re a mystery.
drive, and power to make life awful Or because the PCs care about them
for any number of other people. but can’t trust them. Or because
they’re opposed to the PCs, but aren’t
Villains often act via minions or in- necessarily bad people. If you feel like
termediaries. When they get involved an NPC is a threat, but none of the
directly, they always try to act from a other threat types seem to fit, make
position of strength or personal safety. them a wildcard.
They often have a backup plan or two.
 Make “triangles” between wildcards
GM moves for villains: and the PCs. Play up the old friend-
ä Grasp power, recklessly ship between the Heavy and Esylt
ä Gain followers or allies the town busybody. Then have Esylt
ä Find someone’s weakness undermine the Judge’s authority, sit
ä Make an offer, with strings attached back, and watch the sparks fly.
ä Demand concessions, obedience, 
or respect GM moves for wildcards:
ä Make threats, veiled or not ä Aggressively pursue their instinct
ä Outmaneuver their enemies ä Show their worth, or lack thereof
ä Attack cautiously, holding reserves ä Display the contents of their heart
ä Attack ruthlessly, with little warning ä Provide advice/aid, wanted or not
ä Reveal preparations made in ä Reveal a secret, or keep one closely
advance ä Draw attention to themselves/others
ä Sacrifice another to advance a goal ä Appear unannounced
ä Betray an ally or a trust ä Act strangely (for them)
ä Take a prisoner ä Bear witness
ä Do the unthinkable ä Tell stories (true or not)
 ä Make/keep/break/demand a promise
Example villains: ä Force an issue or a confrontation
Brennan (instinct: to maintain or ä Stand resolute and refuse to budge
increase his power) 
Marc, Hillfolk slaver (instinct: to Example wildcards:
glorify himself and his clan) Esylt, the town busybody (instinct:
Iwan, schmuck-turned-sorcerer to cling to how things “should” be)
(instinct: to get what he thinks Afon, fae-touched Initiate of
the world owes him) Danu (instinct: to act impulsively)
The Eyeless Crinwin (instinct: to Andras (instinct: to try to impress
set free the Living Darkness) Rhianna and Blodwen)
Mozairog Mind-on-Fire (instinct: Muirdoc, the pretty boy (instinct:
to return the Fomoraig to glory) to toy with hearts)

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3
2 Threat tracker 3
3 Instinct
Your GM Playbook has three Every threat has an instinct, writ-
spreads for tracking threats: ten in the format “to <do something>.”
This is the primary behavior that makes
Homefront threats, for NPCs or it a problem, that causes it to come into
groups that live in town, for afflictions conflict with or harm others. If it didn’t
that directly affect them, or for anything have this instinct, it wouldn’t be a threat.
else located there.
Nearby threats, for threats that dwell Many other game elements (like dan-
within a couple days travel of home. gers and some NPCs) will already have
Distant threats, for anything further an instinct assigned. If such an element
than that. becomes a long-term threat, then either
use its existing instinct or write up a new
Pick the corresponding tracker. Add the instinct to reflect how its typical behavior
threat’s name, maybe a quick descriptor has changed or become more problematic.
(e.g., “Sawyl, disgruntled hunter”), fol-
lowed by its type in parentheses. Draw a If you’re writing up a threat that doesn’t
line from the name to its location on the have an instinct yet (like a curse, or some
threat tracker’s map. NPC you just made up), decide on its
instinct now. See the descriptions of each
As you continue to write up this threat, threat type for examples.
you might find it useful to add key details
to the tracker (like its instinct or maybe a Whatever instinct you chose, write it down
stakes question). Keep it short and simple, in your notes, under the threat’s name type.
though. You won’t be able to fit the full If you think it’ll be helpful, and you have
write-up for every threat. space, add it to the threat tracker, too.

Sajra’s lair is a Maker-ruin about a According to the bestiary, a swyn’s instinct

day and a half from town in the Great is “to indulge its ego.” That’s perfectly
Wood, so I add it to the Nearby Threats horrid, and can lead to all sorts of villain-
tracker, on the right hand side. I write ous behavior (like collecting children). I
down “Sajra the Swyn (villain)” and reuse that for this specific threat’s instinct.
draw a line to a likely spot in the woods.

Instincts in play
Use a threat’s instinct to guide how it
behaves and reacts. If you’re unsure what a
threat would do, look to its instinct. Have it
do that.

When doing prep, use a threat’s instinct to

inform the sort of trouble it causes and to
help you frame your adventure hooks.

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 Threats

3
4 Description As I make notes, I realize that I have
Jot down some notes, including any
some blanks. What is the nature of the
or all of the following that seem important:
Maker-ruin? Why has Sajra become a
threat NOW, when it wasn’t a threat
Who or what the threat is.
just a few months ago? What other
How it came to be a problem for the
children does it have?
PCs, or how they first encountered it.
Its relationship(s) to NPCs, monsters,
I decide that it’s already abducted one or
points of interest, or other threats.
two other children, but I’ll ask the players
who has been taken. As for the Maker-
These notes are for your benefit, so write
ruin, I really like the idea that it’s a
only what’s useful to you, what you want to
mummy-tomb for one of the Green Lords.
remind yourself of later. Don’t waste time
So, either Sajra was in stasis in that tomb
or space on stuff that’s obvious (to you).
and recently released, or it just moved
there from some place further in the Wood.
Sometimes, you’ll be writing up a threat and
I can’t imagine a Green Lord choosing to
realize that it’s made up of (or commands)
spend eternity with such a foul, over-
lesser threats. When that happens, either...
bearing creature, so I think Sajra must
have moved in recently. Which prompts
... fully write up that other threat, as its
another question: what drove it here? I
own entry on the threat tracker and in
don’t feel a need to answer that just yet, so
your notes; or…
I leave it as blank.
... pick a type and instinct for the lesser
threat, and include them (in parentheses)
I had already established the crinwin
as part of the main threat’s description.
as a threat (a rabble, instinct: to covet)
when reviewing my notes after character
When writing a threat’s description, you
creation. They’re subservient to Sajra,
might identify blanks—details that haven’t
though, so I don’t think they warrant a
been established yet. When you notice
full write-up (yet).
such a blank, either fill it in now (with
whatever makes sense) or choose to leave it
At this point, my write-up looks like this:
as a blank that will get filled in during play.

Sajra the Swyn (villain)

I know that Sajra is a swyn, and I know Instinct: to indulge its ego
what a swyn is, so I don’t bother putting
that in its description. I do note that it’s Recently moved into a ruined Green
dwelling in an old Maker-ruin, that it Lord’s tomb about 1½ days from
commands the crinwin, and that it collects town (from where?). Has dominated a
children (including Caradoc’s nephew). few nests of crinwin (rabble; to covet);
they’ve been stealing children for it.
Has Wynfor (Caradoc’s nephew) and
another child (who?).

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Threats

3
5 Impending doom
Grim portents
Once you’ve established that a threat has
If the threat has momentum—if it’s
changing, pursuing an agenda, or getting an impending doom, and what it is, come
worse—then ask yourself: what irrevocable up with 2-4 grim portents. These are
bad thing that will happen if it proceeds milestones, steps along the way that will
unchecked? That is its impending doom. demonstrate the threat’s progression. Grim
portents should be concrete, observable
An impending doom doesn’t have to be things: things the PCs can see, or get word
world-shaking or terrible. It could be as of, or feel the effects of. And—crucially—
petty as “Elios leaves Dilwen, and Dilwen grim portents should something the PCs
never forgives Rhianna.” can react to and possibly prevent.

Of course, an impending doom can be Just to be clear: grim portents are things
world-shaking and terrible: “The Fomoraig that happen in the world around the PCs.
rise and wage war on the fae.” Or: “Barrier They are NOT things that the PCs do.
Pass falls and the hordes sweep south.” “Townsfolk form a cult” is a solid grim
portent; “the PCs learn who the cultists
The key thing about an impending doom are” is not. It presumes that the PCs care
is that it’s irreversible. Once it’s happened, enough to investigate the cult, that they
there’s no going back. It will fundamentally investigate, and that they succeed. That’s
change the threat and the things it affects. not a grim portent—that’s a railroad.
The PCs might convince Elios to return, but
the relationship is broken now and Dilwen Similarly, a grim portent can be an event
still won’t forgive Rhianna. They might end that involves the PCs, but it should never
the Fomoraig-fae war, but the Great Wood dictate an outcome. “The cultists attack
has still been ravaged by the conflict. the PCs in their homes” is a great. You can
safely assume the PCs will at some point
Don’t overthink it! Just ask yourself: “Where be home, and who knows how the attack
is this going?” and write that down. If you will play out? “The cultists capture the
can’t think of something, that’s fine! Not all PCs” is not okay, because it assumes that
threats have an impending doom. If a doom cultists succeed at capturing them. Again,
occurs to you later, you can always come that’s a railroad.
back and add it to the threat.
Writing grim portents
If you’re having trouble coming up with
Sajra is newly arrived to the area, and grim portents, look at the GM moves for
it’s assembling servants (the crinwin) the threat type. If the threat is a monster or
and collecting children. It’s driven by its a follower, look at their moves, too. Those
terrible ego, and wants to be adored. If moves represent what the threat does and
left unchecked, Sajra will eventually try how it causes trouble. Use them—along
to take control of Stonetop. And if the with the threat’s instinct—to inspire your
PCs don’t stop it, Sajra will succeed. So grim portents.
her impending doom is: “Subjugates the
people of Stonetop.”

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 Threats

Here’s another trick: work backwards. Start

at the impending doom, and ask yourself The first grim portent for Sajra is obvious
“What discrete, observable event would to me: more children go missing! But I’m
happen just before this? What would the not quite sure what comes next. What
situation look like?” That becomes the last are steps between “having crinwin collect
grim portent. Then, what would happen children” and “Sajra subjugates Stonetop?”
before that? That’s another grim portent.
Keep working backward until you have a Working backwards: what would happen
grim portent that’s visible from the current just before the town being subjugated?
state of things.
Looking at the GM moves for villains,
As you write your grim portents, you’ll I see demand concessions, obedience,
probably find yourself changing your mind or respect and think: it would give the
and maybe even rewriting the impending town an ultimatum! Accept it as their
doom. That’s fine! But try to keep things master, their god even, or be destroyed.
loose; a high-level outline is way more use- This lines up with its instinct (to
ful and flexible than a detailed plan. indulge its ego). It can turn the weak-
willed into fawning servants (one of
Dooms and portents in play its monster moves) but it wants the bulk
Grim portents and impending dooms are of the town to recognize its beauty and
your plans. They’re what will happen unless magnificence and serve willingly. Okay,
the PCs intervene. what would it do before making such an
ultimatum? It would gain followers or
One of your basic GM moves is advance allies in town. How would it do that?
towards impending doom. Look at the Possibly by finding someone’s weakness
grim portents for one of your threats, and then making an offer, with strings
check the next one off, and show the PCs attached. But how? Villains usually act
some sign that it’s occurred or occurring. through minions or intermediaries... the
You might make this move when… children! It will send some of the stolen
children home, thoroughly under its
… the Seasons Change, and their roll influence, and have them spy and recruit
results in a threat getting worse or followers.
threats abounding. In the next session,
or during an upcoming scene, show That gives me the following grim portents
them that grim portent or doom has and impending doom:
come to pass.
… the players roll a 6- and this is the hard l More children go missing.
move you want to make. You’ll often l Some of the (entranced)
do this for moves that made during children return.
loose play (page XX), but not always. l Children recruit followers.
… the PCs have spent time away from l Reveals itself, demands servitude.
the area where a threat is active, and l Impending doom: subjugates the
then they return to that area. Show town, killing or mesmerizing any
them how things have gotten worse. opposition.

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3
6 Stakes (optional) For Sajra the Swyn, I wonder:
Ask yourself some questions about
the threat and the people affected by it.
Will Brynfor’s parents forgive
What do you wonder about? What do you
Caradoc?
want to discover in play? These questions
What will become of the stolen
become your stakes.
children, the ones brought under
Sajra’s control?
You can ask stakes questions about PCs or
What brought Sajra to move into
NPCs, about groups or places or things.
the Green Lord’s tomb, anyway?
They can be about big things, or small,
personal things. Whatever you ask about, it
That last one, though, isn’t a stakes
should pique your interest and you should
question—it’s a detail about the past. I
be genuinely curious about the answer.
add the first two to my threat write-up
as stakes, and add a question about why
Stakes questions should be about the future,
Sajra arrived to the description.
not the past. What will happen, not what
has happened. You might have questions
about the past to fill in later, between ses-
sions or during play, but those aren’t stakes. Stakes in play
By making something a stakes question,
Some examples of good stakes questions: you are resolving not to answer it yourself.
Instead, you are disclaiming responsibility,
Will Vahid convince Eira to trust him? letting yourself be surprised by how things
Will Elios rise to the occasion? turn out. Here’s how you do that.
Who will Mabyn end up with?
Who will die in the coming battle? First and foremost: put your stakes on
Will Tiwlip find her missing dog? screen! If you wonder whether Nia’s link
Will the Claws accept Kiran’s authority? to the spiders can be broken, have Nia’s
Can Ergben be redeemed? mother show up on the Blessed’s doorstep
begging her to do “cure” her daughter.
Stakes questions shouldn’t boil down to, Then, do any or all of the following:
“Will this grim portent/impending doom
come to pass?” You’ve already answered Put it in the PCs’ hands. Tell them the
that! A grim portent or impending doom consequences or requirements, and see
will come to pass unless the PCs prevent what they do about it.
it. Ask about things that are uncertain, that Play NPCs with integrity. If a stakes
haven’t been decided. questions boils down to “what would
this NPC do?” then base your answer
Not every threat needs stakes. When you on the NPC’s instinct, their past actions
first introduce a threat, you might not and relationships, your sense of who
know (or care) enough to ask them. That’s this person really is. Yes, you’re making
okay! You can add stakes questions later, the decision, but you’re basing it on
as the threat evolves or as you become how the NPC would act, rather than
interested. Or a threat might never develop on how you want the story to go.
stakes. That’s fine, too.

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 Threats

Follow the moves and the dice. If the The point of this process—writing stakes
PCs trigger a move, and that move can that you’re interested in, putting them on
answer a stakes question (or get you screen, and letting the PCs and your NPCs
closer to an answer), then let it happen. and the dice resolve them naturally—is to
Make the obvious move, the one that make the game more fulfilling for you. It’s a
moves towards an answer. reward to yourself, to say “I wonder, can they
Let it simmer. If you put a stakes ques- break Nia’s bond to the spiders?” and then
tion on screen and it doesn’t get let yourself be surprised by the answer.
resolved, it’s okay to move on and leave
it unanswered. Don’t force it. Come
back to it later when it makes sense.

So there we are, Blodwen’s sister at her door, Blodwen’s Persuading, so I follow the
begging Blodwen to “cure” Nia of her link to moves and the dice. She rolls a 7. I have to
the spiders. I wonder how it’ll turn out! reveal how Nia could be convinced, but it’ll
be tricky, costly, or distasteful. “She doesn’t
I start by putting it in the PC’s hands. want to, but the way her eyes go to her dad,
“Blodwen, you could try to Suck the Poison you’re sure that if HE said how worried
Out. It might cleanse Nia’s connection to and scared it made him, she’d go along with
the spiders, but… it’d be like if someone took it. Good luck with that. What do you do?”
away your Spirit Tongue. What do you do?”
Blodwen pulls the parents aside, whispering
Blodwen is willing to try, but not without that they should be honest with Nia, tell her
Nia’s consent. She follows her sister home how scared they are and how much they care
and finds Nia in the corner, playing cats- about her, eyes on Nia’s dad the whole time.
cradle with a spider, her big tough-guy dad She’s Persuading again, but she gets a 5.
glowering on. Blodwen explains to Nia Nia’s dad loses it, starts yelling at Nia, order-
that the whole spider thing is upsetting her ing her to agree. The girl starts crying and
parents, that the link can be broken but she runs out of the house and goes to hide some
won’t do it without Nia’s permission. place dark (probably with a lot of spiders).

Nia’s instinct is “to befriend spiders,” and I I still haven’t answered the
think that she likes playing with them. So I question decisively (“can the link
play my NPC with integrity and say “But I be broken?”), but it won’t be
don’t want to lose my friends,” all sweet and answered now. I decide to
innocent. “Her mom sobs and her dad chokes let it simmer and
up and bites down on his finger.” we’ll answer the
question later.
I’m thinking the issue is settled, but Blodwen
presses on. “Your mam and pappy are scared
of spiders, Nia, really scared. And it makes
them sad and scared when you talk to them.
Are you sure you won’t reconsider?”

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Threats

3
7 GM moves (optional) As a monster, Sajra already has GM
If you want to further define how
moves and even a player-facing move
the threat behaves or what it’s capable of,
for “When the swyn compels you to act
pick or write 2-4 GM moves.
against your will….” Most of these
will be relevant only when the PCs face
Start by looking at the GM moves for the
Sajra directly, at which point I’ll have
threat’s type (page XX). If any of them
its monster stats handy. But a couple of
seem particularly appropriate for this
its GM moves describe its capabilities as
threat, add them to its write-up. Likewise,
a big-picture threat, so I add those to my
if the threat is also a monster, identify any
write-up. My threat now looks like this:
monster moves that help you understand
how it causes trouble over time, and add
those to the write-up. Sajra the Swyn (villain)
Instinct: to indulge its ego
Finally, ask yourself if there’s anything that
you think this threat can or will do that Recently moved into a ruined Green
isn’t clearly defined, and that you want to Lord’s tomb about 1½ days from
remind yourself of or give yourself permis- town (from where and why?). Has
sion to do. Write these as GM moves, dominated a few nests of crinwin
so that they complete the sentence: “the (rabble; to covet); they’ve been stealing
threat can/will __.” children for it. Has Wynfor (Caradoc’s
nephew) and another child (who?).
3
8 Player moves (optional) l More children go missing.
Sometimes a threat will suggest a
l Some of the (entranced)
unique player-facing move, one that’s only
children return.
triggered when interacting with the threat,
l Children recruit followers.
its minions, or its domain. For example,
l Reveals itself, demands servitude.
“When you remove a canopic jar from the
l Impending doom: subjugates the
sarcophagus, roll +CHA….”
town, killing or mesmerizing any
opposition.
If a threat is also a monster, a hazard, an arti-
fact or arcanum, it might already have some
Stakes: Will Brynfor’s parents forgive
player-facing moves associated with it. Add
Caradoc? What will become of the
these moves (or a reminder about them) to
stolen children brought under Sajra’s
your notes if you think it’ll be helpful.
control?
Not every threat calls for custom moves. Don’t
GM moves:
bother writing one up unless it adds value.
ä Plant a suggestion in another’s mind
ä Turn the weak-willed into
See the Making Stonetop Yours chapter
fawning servants
for guidance on writing custom player-
facing moves.

204
 Threats

Example threats Mutra the Teeth (villain)

The threats here and on the following Instinct: to acquire
pages are more examples. These threats
might not exist in your game, and if they A boss in Gordin’s Delve. His crews
do, they might look very different. Use mine, salvage artifacts. Bought Green
them as inspiration, nothing more. Lord stuff from Vahid, Rhianna;
wants to know/acquire more.

Tegwen (wildcard) l Pays merchants, travelers to scope

Instinct: to undermine others’ worth out Stonetop
l Embeds agent(s) in Stonetop
Blodwen’s mother, jealous of her l Agent(s) identify key treasure(s)
importance to the village and her l Mutra demands treasure(s) for a
relationship with Gwendyl and Seren. pittance, or else
Resents Rhianna. Distrusts Vahid. l Impending doom: Agent(s) kill
Thinks Caradoc is a fool. someone, steal treasure(s)

Stakes: How far will she go to GM moves:

control Blodwen? How much will ä Interrupt trade with Gordin’s Delve
Blodwen put up with? ä Turn old allies against Stonetop

GM moves:
ä Provide (unwanted?) advice or aid
ä Force an issue or a confrontation Crinwin (rabble)
ä Wield guilt like a weapon Instinct: to covet humanity

Free of Sajra’s control, they’ve become

more obsessed with Stonetop.
Garet’s Wound (affliction) l Establish nests closer to town.
Instinct: to keep Garet in danger l Attack lone villagers in the Wood.
Garet’s leg got mauled by feathered l Start killing live stock and stealing
drakes; Blodwen patched him up but stuff from the village at night.
he’s still walking on it. Could get bad. l More/bigger nests nearby, anyone
in the Wood is attacked/kidnapped
l Wound isn’t healing well, Garet is l Impending doom: crinwin invade,
weak and slow. move in, and imprison survivors
l Wound gets infected, needs to be
amputated. When you Deploy the village militia
l Garet becomess feverish, delirious. against crinwin raids, add this to the
l Impending doom: Garet dies. list of choices for a 7-9:

Stakes: What decisions will Rhianna ä The crinwin steal 1d4 Surplus
make? How will Blodwen handle it? ä A important item goes missing

205
Threats

The Pale Crinwin (wildcard) Farmers Guild (rabble)

Instinct: to learn more and more Instinct: to improve their lot in life

A curious, “friendly” crinwin some- Idealists led by Dermos and Tierney,

what exiled from its peers. Vahid maybe 100 backers. Want a spot on
communicated with “him,” sort of. Its the Marshedge town council to start.
fascinated with writing, drawings.
l Council refuses to recognize them.
Stakes: Will the PCs figure out how l Guild organizes a strike in protest
to reliably communicate with “him?” l Brennan has Claws/new recruits
Will the villagers accept crinwin as break strike, kill Dermos/Tierney
anything but vermin or monsters? l Resentment grows, loyalists from
the watch side with farmers
When you try to communicate with l Impending doom: Riots, looting,
the pale crinwin through noises or killing, Marshedge in flames.
pantomime, describe what you’re
trying to convey and roll +INT: on a Stakes: Will Dermos and Brin get
10+, message received; on a 7-9, he together? Will Kiran follow orders or
gets the gist but not the details; on a his conscience?
6-, hoo boy does he get it wrong.

The Marshedge Council

Nailadd Swarm (beasts) (institution)
Instinct: to breed and spread out. Instinct: to preserve the status quo.

Giant spiders, spreading out via The head of each guild (including the
the waystones at the behest of the fen-walkers) and a rep from each of
Mother-of-Spiders. the Old Families. Brennan isn’t on
the council but he surely influences it.
l Nearest waystone is infested,
nailadd hunting near Stonetop. GM moves:
l Game is scarce, hunters/trappers ä Cut off Stonetop’s supply of
are attacked, stay in town. something
l Spiders raid Stonetop, killing ä Stall, bicker, refuse to make
some, dragging off others. decisions
l Impending doom: Overrun and
infest the village!

Stakes: Will Blodwen bring herself to

help kill them? Will Andras over-
come his fear of spiders?

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 Threats

The White Hand (institution) TRADE EMBARGO

Instinct: to contain the evil of the (affliction)
lakes, no matter what it takes Instinct: to punish Stonetop

A holy sect of Hillfolk who patrol the After the PCs sided with the Farmers
Steplands. Guild, Brennan had the council cut
off trade with Stonetop.
Stakes: How will the PCs react to
them, if they learn of their purpose? When you Outfit from Stonetop, start
with 1 fewer small items than normal,
GM moves: and supplies each have 1 fewer use.
ä Denounce trespassers as unclean
ä Sense the taint of corruption When you Recover using supplies
ä Spread word among the Hillfolk from Stonetop, you or your patient
ä Outmaneuver their prey recover 1 HP less than normal.

When you Trade or Barter for

anything that would come through
The Mindgem’s Heart Marshedge, you have disadvantage.
(macguffin)
Instinct: to empower, ignite, awaken

A chunk of makerglass that burns The Shadowy Presence

with terrible heat, recovered from (magical entity)
Three-Coven Lake. Currently kept in
Instinct: to devour life, light, warmth
Vahid’s kiln.
The wraith of a Green Lord. Bound
Stakes: What will Vahid do with the beneath that mound the PCs found
Heart? How will Maire react to its near the spider ziggurat. It tasted
presence in Vahid’s house? Caradoc’s blood, so he’s tied to it.
Awakened by the Mindgem’s Heart.
GM moves:
ä Perform its function, heedlessly l Earthquake sets it free
ä Draw attention to itself l Rampages through Great Wood,
ä Catch something on fire mindlessly stalking/feeding
ä Provide a potent supply of l Catches “scent” of the Heart,
magical energy moves towards Stonetop
l Starts attacking villagers at night
l Impending doom: Devours the
Heart, becoming a permanent
vortex of death and darkness

Stakes: How will its link to Caradoc

affect what happens?

207
Threats

Updating
threats
Threats change over time. Between each
session, review your threats and update
them as needed. For each threat, if…

… it’s no longer a threat (because it’s

dead, it’s left, the conflict has been
resolved, etc.), then cross it off the
threat tracker;
… its threat type no longer rings true
(because you got it wrong, or because
its nature has changed), then pick a
new one;
… its instinct no longer rings true or has
changed, then revise it;
… there’s something new that you want
to remember, then add that to its
description;
… any of its grim portents have come to
pass, then tick them off;
… the PCs foiled it or changed its
Consider also: did you introduce any
course, then update its grim portents
new threats in play? Were there any new
and impending doom appropriately,
enemies or rivals? Any monsters that might
or cross them off if the doom has been
return to cause trouble later? NPCs who
completely averted;
the PCs can’t trust? Groups in conflict, with
… it’s moving towards something bad
the PCs or with the status quo? Did you
(but it wasn’t before), then write an
introduce any difficult circumstances that
impending doom and grim portents;
will worsen or at least persist? Did the PCs
… any of its stakes questions were
acquire anything that others really want,
answered, or are no longer relevant,
or that will draw attention, or just cause
cross them off;
trouble by itself ? Write them up as threats.
… there’s something new that you
wonder about and that interests you,
then write a new stakes question;
… its behavior or capabilities have
changed (or been revealed), then write
some new GM moves for it; and/or
… it moved closer or farther away, then
move it from one threat tracker
to another.

208
 Threats

We just finished our first session of actual During that first session of play, we also
play. Rheinal stumbled home. The crinwin met Owain, whose daughter disappeared
abducted Pryder. The PCs organized an the previous winter. He and Glenys (Cara-
expedition to rescue him. There was a fair doc’s aunt and mother of Wynfor, who was
bit of interaction with the NPCs in town, abducted in the late-winter crinwin raid)
and no small amount of drama. were bitter and nasty towards the PCs,
especially Rhianna.
I had previously written up Tegwen,
Blodwen’s mother, as a wildcard threat (“to I start writing them up as a rabble threat,
nitpick and snipe”). But in play, I found but when I look at the threat moves, I real-
myself portraying her as much nastier, ize that no, the parents aren’t the threat. The
more abusive and manipulative. Blodwen’s threat is “Distrust of the PCs,” an afflic-
player was on board with that, so I update tion, and the parents are just wrapped up
her instinct to be “to undermine others’ in it. I write it up as a threat (instinct: “to
value,” I make note of her attitude towards fester”). I don’t have a sense for where this is
the various PCs, and I write some stakes going just yet, so I don’t write an impend-
questions (“How far will she go to control ing doom. But I am curious: Can Rhianna
Blodwen? How much will Blodwen put up regain Owain and Glenys’s respect? Will
with?”). Glenys ever forgive Caradoc? I write those
down as stakes questions.

209
Expeditions

Preparations
Running the journey
PC moves
Going home
What to prep
Expeditions

Preparations
The characters decide to leave town.
Maybe you’ve presented a threat and
they’re off to deal with it. Maybe you’ve
dangled an opportunity and they want to
seize it. Maybe they have plans of their CHART A COURSE
own, something they want to accomplish, When you wish to travel to a distant
and it involves leaving home. It’s time for place, name or describe your destina-
an expedition. tion (“Gordin’s Delve,” “the hagr’s
lair,” or “wherever these tracks lead”).
Before the players leave town and head out If the route is unclear, tell the GM
into the wild, they’ll make preparations: how you intend to reach it. The GM
they Chart a Course, Outfit, and maybe will then tell you what’s required, the
Requisition, and do whatever else they risks, and how long it will likely take.
need to do before leaving home.
When you set out on the journey,
Once they’re ready, they’ll head out. You’ll the GM will present each of the
establish new situations as they move from challenges one at a time—plus any
place to place, make soft GM moves to surprises that you couldn’t have seen
prompt decisions and introduce challenges, coming—in whatever order makes
and ask them, “What do you do?” You’ll the most sense. Address them all and
resolve the PC’s actions, using the basic reach your destination.
player moves and the expedition moves
(described later in this chapter).
When the players start talking about
leaving town, direct them to this move.
They’ll eventually move on. You’ll transi-
Use it to clarify their destination and how
tion to the next landmark or challenge.
they intend to get there. If they have no
You’ll establishing the situation there and
ideas, prompt them to Know Things. Their
repeat the process.
route doesn’t need to be perfectly clear—
something like, “We follow the tracks” is
They might reach their destination with
fine—but they should have some idea of
ease. Or, they might get lost. They might
where they’re going and how they’re going
encounter something that distracts them
to get there.
from their goal. They might get beaten
up so badly that they turn back and head
Once they’ve established their destination
home in defeat. It’s all good—play to find
and route, tell them as many of the fol-
out what happens.
lowing as make sense. Make your choices
based on the seasons, the terrain, how well
Travel is an important part of Stonetop. It’s
they know the area, the dangers that lurk
a chance to flesh out and explore the wider
there, the threats you’ve established and
world. It’s dangerous and hard, which rein-
their grim portents. Don’t worry so much
forces the importance of home and its rela-
about the order right now, and feel free to
tive safety. Travel isn’t something to gloss
rephrase or tweak the wording. If it makes
over. Give it the screen time it deserves!
sense, add entirely new items.

212
 Expeditions

You must first travel to ____, and from Write your choices down with tick boxes
there to your destination next to them. Ideally, put this someplace
You must wait until ____ public so the players can see it, too. This
You need a knowledgeable guide/ will help the players make preparations,
accurate map/detailed directions and it’ll serve as your narrative to-do list
You’ll need to bring ____ once the journey starts.
You need to watch out for ____
The way is perilous, plagued with dangers As the PCs Outfit or otherwise prepare,
You risk getting lost remind them of the requirements. “Does
You must surmount/cross/brave ____ everyone have something warm, like a
on the way cloak or thick hides?” “You’ll need to bring
The terrain itself is treacherous; you a horse and cart—someone’s going to need
risk injury on the way to Requisition for that.” “You still need to
The way will be hard and grueling; find a guide, a map, or accurate directions...
you risk exhausting yourselves or how do you go about that?”
your resources
You risk drawing the attention of ____ If they fail (or refuse) to meet the require-
It’ll take at least ____ days (and a cor- ments, tell them the consequences and
responding amount of supplies) ask what they do. “Okay, without a guide,
You don’t know how long it’ll take you’ll risk getting lost.” “Okay, but without
enough supplies, you’ll definitely need to
You’ll usually link these with “and” but Forage, and that’s both time-consuming
can also use a merciful “or.” “You’ll need and risky.” “Okay, but without warm
to bring warm clothes OR the way will clothes you will probably freeze to death.
be hard and grueling.” “You need to wait What do you do?” Sometimes, they’ll fail
until daybreak OR you risk getting lost.” to meet the requirements and call the
journey off.
If you choose “First you must travel to
___,” then Chart a Course for each leg Once they set out on the journey, you’ll
of the journey. You can nest this require- frame scenes and situations that show
ment two or three levels deep. A journey to them traveling and approaching their
Lygos might require traveling to Marshed- destination. During some of those scenes,
ge, and from there to the arid South, and you’ll make GM moves that introduce
from there to Lygos proper. the challenges you outlined. You’ll ask the
players what they do, resolve the situation,
Answer whatever questions the players and—assuming the PCs keep going—
have. Clarify your statements. Don’t be move on to the next one. See Running the
afraid to negotiate or change your mind. Journey (page XX).

213
Expeditions

“… a corresponding amount of supplies”

“Supplies” are something characters can In other words, when they use a mess kit...
have in their inventory. They represent
stuff that the PCs might need or want ... a party of up to 4 will expend 1 use
on an expedition: food, water, whisky, of supplies per day;
bandages, salves, etc. The steading’s ... a party of 5-8 will expend 2 uses
Prosperity stat affects the quality and of supplies per day; or
quantity of supplies available to the ... a party of 9-12 will expend 3 uses
PCs; they add the steading’s Prosperity of supplies per day.
to the number of uses they get out of
each 4 of supplies. If they don’t use a mess kit, each party
member will expend 1 use of supplies
Supplies get used when... per day. Obviously, it’s very favorable to
bring and use a mess kit!
... they Recover (see page XX);
... they Make Camp (see pages XX Pack animals can graze or browse,
and XX); and carry enough extra feed to “cover”
... they Have What They Need (see themselves. Use your best judgement
page XX) to produce additional for other animals. The Ranger’s pet wolf
small items; and can probably fend for itself, and small
... you use up their resources, and critters don’t need much food, but well-
supplies are what you use up. heeled hounds probably need to be fed
from the party’s supplies.
By default, each person in the party
consumes 1 use of supplies per day. But If the party travels with a pack animal
if someone has and uses a mess kit or a cart laden with at least 1 Surplus
(which requires water and fire) then 1 use worth of supplies, then there’s no need
of supplies can cover up to four people. to track individual meals and uses. As
long as they have access to their stash,
they can effectively re-Outfit out if it.

214
 Expeditions

Winter has been brutal and Stonetop is Vahid convinces the others to visit Three-
running out of food. Rhianna and Caradoc Coven Lake in search of the Mindgem’s
decide to go hunt the cave bears south of ever-burning heart. “Just the four us,” says
town, despite Blodwen’s reservations. Rhianna. “I’m not risking my crew on this.”
“Sounds like you’re Charting a Course,” I Andras insists on coming, though—mostly
say. “How do you intend to get there?” because he’s sweet on Blodwen.

Rhianna: “Their lair is “How do you intend to get there?” I ask.

a cave in the bluff, right? If we follow the They’ll take the Highway to Marshedge,
bluff south, we’ll find them.” resupply there, then follow the Sruth
upstream to Three-Coven Lake. That seems
I look at the list and jot down: legit, so I look over the list and write down:

O It’ll take at least 1 day there and O First, you’ll need to travel to Marshedge
back (little need to worry about O You need to wait until summer OR
supplies) you’ll need to bring warm clothes
O You’ll need to bring at least 3 sledges O It’ll take at least 8 days (and 8
to haul the meat home, if you want uses of supplies each, or 16 uses
enough to feed everyone total if you use a mess kit)
O You’ll need to bring warm clothes O You need to watch out for nosgolau
O You’ll need to watch out for crinwin O It’ll take at least 4 days from
O The way is grueling (cold, snow) Marshedge, and a corresponding
O You risk getting lost number of supplies
O You risk drawing the attention of O You need a knowledgeable guide OR
the cave bears as you approach! you risk getting lost
O The way is perilous, plagued
I read these off and Rhianna’s like, “We risk with danger
getting lost? We’re just following the cliff face O The terrain is treacherous; you risk injury
south.” Oh, sure. Of course. I cross it off the list. O The way is grueling; you risk exhaustion
Vahid asks why they need a guide, given
that they’ll just be heading upstream. “Well,”
I say, “The terrain’s pretty rugged. There will
be places you can’t stick to the river, and who
knows how many little tributaries feed it.”

“Hmm. I did spend time wandering the

Steplands before I got to Stonetop. Maybe
I’ve got the lay of the land?”

“Maybe. But you’ve never actually been to

the lake, right? So you still risk getting lost.”

“Ah,” Vahid says. “ Yeah, that makes sense.”

215
Expeditions

Players can put as many of their marks in

OUTFIT the “undefined” sections as they like. They
When you prepare for an expedition can then Have What You Need (page XX)
in a friendly community, mark as many during the expedition to transfer those
on your Inventory insert as you wish undefined marks to specific items. Yes,
to carry, either on specific items or in it’s a good idea for players to leave their
“undefined.” Mark up to 3 for a inventory as “undefined” as possible, only
light load (quick and quiet), 4-6 for declaring specific items as they need or
a normal load, or 7-9 for heavy load want them.
(noisy, slow, quick to tire). Also, mark
a number of in the Small Items Players might pick specific items because
section equal to 4+Prosperity (again, they know that they’ll need them (for
on specific items or in Undefined). example, if they Charted a Course and
you told them they’d need to bring warm
You can select: clothes) or just because they’re sure that
they’ll want them (like a Ranger’s bow).
Items printed on the Inventory sheet
Other common, mundane items Items printed on the Inventory sheets are
Any of your personal possessions things that any PC has access to and that
Special items for which you would be useful on an expedition. PCs can
Trade & Barter also bring personal possessions: the special
possessions that they picked at character
Tell the GM what you’re bringing creation, special items that they’ve acquired
and answer their questions about your via Trade & Barter (page XX), gifts they’ve
gear and where you got it. received from others, or items acquired in
the field. They can also pick any common,
mundane item that everyone agrees would
When a player Outfits, they decide how be available in a small iron-age village
many to mark on their Inventory insert, (a bucket, some seed, a wooden spoon, a
and thus how heavy a load they’ll carry. basket, etc.).
Some playbook moves only work with a
certain load or lighter, but mostly a charac- Followers need to Outfit, too! You might
ter’s load just informs the fiction and your tell their player what they bring, or have
GM moves. “The slope’s steep, but with the player decide.
plenty of handholds. It’s no problem unless
you’ve got a heavy load—then you’ll be Have everyone announce their load and any
Defying Danger. What do you do?” specific items they’re bringing. Ask about
their choices! Maybe frame little scenes,
Small items don’t count towards a charac- using this move to show what NPCs think
ter’s load. They’re things that could fit in a of them. Maybe the party’s lunch gets packed
purse or boot with room to spare—some up by the missing boy’s kin. Maybe the smith
coins, a tinderbox, a knife, etc. The player gives the Would-be Hero a dagger as a sign
can mark a number of in Small items of respect. Or maybe they have a spat with
equal to 4 + the steading’s Prosperity. their mom over taking their dead father’s
shield. Bring it home!

216
 Expeditions

Rhianna says “Okay, let’s get us some bears. Rhianna’s unhappy about how much crap
The four of us and my crew. Plus Andras, he’s carrying. “Magpie” he says, with a smile
the new kid, to see if he works out. Outfit?” and shrug. For small items, he marks his
Ward of Still Waters and 3 in undefined.
“Sure,” I say. “Don’t forget, you’ll need
warm clothes. And at least three sledges.” Caradoc brings a normal load: the same
4 spear and 4 4 shield he brought on
Rhianna looks at her Inventory sheet. She the last expedition, a 4 cloak, and 2 4
knows she’ll want her 4 longbow and a 4 undefined. He puts all 4 small item marks in
wool cloak. She’ll also carry a 4 4 sledge, undefined.
putting her at 4 4 total. That’s a normal
load already, so she marks 2 4 in undefined This is the first time Caradoc has brought
for a total of 6 4. She puts all 4 of her a cloak on an expedition—it was a bit of a
small item marks in undefined. thing in the last adventure that he didn’t
have one. So I ask, “Where did you get that
Rhianna also Outfits for her crew. They’ll each cloak, Caradoc?”
carry a normal load, with a 4 bow and iron
arrows, 4 4 thick hides, and 3 4 undefined. “Um… from Morwena, I think?”
“There are six of them, including Andras.
Some of them will have sledges… we’ll figure “Oh, totally! She catches you in the square
out how many later.” as the crew is gathering. She’s got a bundle
under her arm and avoids eye contact. ‘I…
Blodwen takes a normal load: 4 4 thick I was weaving this for you… before… and,
hides, a 4 staff, and 3 4 undefined. She puts well, the embroidery on the back isn’t done,
all 4 of her small item marks in undefined. but if you insist on going out there again…
She’s got her sacred pouch, of course, but it well, you’ll need something warm. So…
doesn’t take up space in her inventory. here.’ And she blushes and shoves it in your
arms and runs off. What do you do?”
Vahid decides to take a heavy
load: the 4 4 Mindgem,
a 4 wool cloak, the
4 Six Locks of Sajua,
and 5 4 undefined.

217
Expeditions

Players generally don’t need to Requisition

REQUISITION to access the steading’s Surplus, though you
When you borrow some of the stead- might decide that they need to if it’d seem
ing’s assets for an expedition (like the wasteful or overly risky to the rest of town.
horses or a plow), roll +Fortunes: on
a 10+, go ahead, but bring it back A 10+ result means that folks are willing
safely; on a 7-9, you’ll need to do to let them do it, with the expectation that
some convincing; on a 6-, don’t mark they bring the asset back. It’s possible that
XP—you can take the asset with you, the characters don’t expect that to happen,
but if you do, reduce Fortunes by 1. but as long as they keep up the pretense,
they can borrow the asset.

At the start of play, Stonetop owns a few A 7-9 result means that someone voices
communal assets: a couple sturdy draft an objection, but they aren’t intractable.
horses, a pair of carts, a pair of iron plows, Think about why they’re objecting (Is the
and a big wagon. You might also consider asset needed in town for something? Do
some of the main tradesfolk’s’ tools (like they have beef with one of the PCs?) and
the smithy’s anvil or the tanner’s vats) as present that to the players. This will likely
town assets. lead to a Persuade (or similar) roll. If they
convince whoever is objecting, they can
If the PCs want to take these with them, borrow the asset (per a 10+).
they must make this move. The steading’s
Fortunes reflect how likely the other vil- A 6- means that folks ain’t having it.
lagers are to let them have their way and Maybe the asset is currently in use. Maybe
put these important assets at risk. If they’re Padrig’s going to need to haul some goods
borrowing multiple, related assets (like the up to Gordin’s Delve and there’s no way
horses and the wagon), they only need to the PCs will be back in time. Maybe folks
make this move once. are just dead set against the PCs risking
such an important asset on one of their
As always, establish the fiction before damn fool quests.
triggering the roll. Who are they asking for
permission? Who should they ask? Who If the players decide to take the asset
has the right to say “yes?” Who’s doing the anyhow, ask them how they do it. Do they
asking, and how? If the fiction isn’t clear, throw their weight around? Do they sneak
ask questions until it is. the asset out in the middle of the night?
Whatever they do, they don’t need to play
If they want to borrow an asset that’s out the specifics or make any other rolls as
actively needed or in use (e.g. taking the they do it. But it’ll harm the town’s morale
horses and plows during planting, or the and cohesiveness, reducing Fortunes by 1.
horses or carts during harvest), then tell
them the consequences/requirements If the PCs borrow an asset and fail to bring
and ask. Unless the expedition is urgent it home safely, that almost always counts as
and important to the town’s survival, they Meeting with Disaster (see page XX). Re-
might just need to wait (and shouldn’t they duce the town’s Fortunes by 1 (or more!).
be helping in the fields anyhow?).

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 Expeditions

Other preparations
Vahid has convinced Rhianna to do
These might happen before the PCs Outfit
this expedition to Three-Coven Lake.
and Requisition or after, or sometimes in
Since they’re going through Marshedge,
the middle of making choices.
Rhianna’s keen to do some trading. “Let’s
bring my crew, a horse, a cart, and…
Zoom in and out as appropriate, switching
3 Surplus? We can trade for a donkey
between loose play and scenes. Gloss over
and supplies, and maybe turn a profit on
the hours spent interviewing townsfolk,
whatever’s left. We’ll send my crew back
but maybe play out the scene where they
with the horse and wagon, and load up
interrogate the sketchy newcomer or try
our new donkey for the expedition.”
to convince the smith to hand over the
bronze armor.
“Smart,” I say. “But you’ll definitely need
to wait until summer, then. It’s planting
You might even jump back and forth in
season, and the horses are in use. And
time as they take care of all the details.
you’ll have to Requisition.”
Don’t sweat it.
They wait! When the time comes, Rhianna
Trading & bartering
Requisitions. “What’s this look like?” I ask.
If the PCs want a special item for the
She says that she hinted at the plan to Fion
trip—like bendis root, a nice lantern, or a
a while back, and as planting finishes, they
bronze weapon—they’ll need to Trade &
have a sit-down in the pub. Rhianna rolls
Barter. This takes time. If they’re in a rush
+Fortunes (currently +0), with advantage
or have other priorities before they leave,
because of her Logistics move.
this won’t be an option. See the Homefront
chapter (page XX) for details.
On a 10+, I’d say how Fion liked the
plan, and has a list of things to trade for.
Gathering information
On a 7-9, I’d present Fion as suspicious,
The PCs might have questions they want or
but give Rhianna a chance to convince
need answered before leaving. They could
her. But Rhianna rolls a 6, even with
Know Things (“Has anything like this hap-
advantage, and Fion puts her foot
pened before?”) or Seek Insight (“I go down
down. “Look, I know what this is about.
and investigate the scene of the attack”).
You’re going after one of Vahid’s unholy
They might interview an NPC to see what
trinkets. Well, I can’t stop you, but I ain’t
they know, and/or use class-specific moves
giving you my blessing. And you’ll take
like the Blessed’s Call the Spirits.
one o’ the horses over my dead body!”
Reward and encourage research, but keep
Rhianna seriously considers going over
in mind how long these things take. If they
her head—the trade mission really is a
dawdle, tell them the consequences and
good idea! But, no… the town’s Fortunes
ask. “Yeah, sure, but it’ll take a few hours
are only at +0, and they can’t really af-
and the longer you wait, the harder it’ll be
ford a hit right now. “I’m sorry you feel
to follow that trail.”
that way, Fion,” says Rhianna, raising
a cup of whisky. “I guess we’ll just do this
the hard way.”

219
Expeditions

Bringing NPCs and followers Putting others to work

Established followers (page XX) like the Before they go, the PCs might set the
Marshal’s crew will usually join an expedi- townsfolk to work. For example:
tion if asked, but they might need convinc-
ing if the mission is foolish or against the They could Muster (see page XX), getting
follower’s goals. the town ready for trouble. Have them
roll before leaving; they’ll need to choose
Other NPCs might offer to join the PCs, “the muster holds together… even without
or insist on doing so. If the PCs seek out your presence” if they want it to stick while
NPCs to join them, then you might of- they’re gone.
fer an opportunity or maybe introduce
someone interesting. They might Know They could Pull Together (see page XX),
Things (“Do I know anyone who’d come having folks repair the granary or prepare
into the Woods with us?”) or Seek Insight fortifications or whatnot. They should
(“Who here is useful or valuable to me?”), commit resources up front, but shouldn’t
and/or Persuade (“Rheinal, we need your roll until they head home. That way, the
help”). Candidates could also become ap- players learn the success of the effort at the
parent through a Muster (see page XX), or same time their characters do.
organically in play.
They might set individuals to a task, like
As always, follow your principles and your searching the Chronicle or keeping an eye
sense of the world. Begin and end with on Ergben. They might need to convince
the fiction, but also be a fan of the char- the NPC to do it. If the NPC is a follower,
acters and ask questions and build on the the task might trigger a move (like Seek In-
answers. “No, there’s no alchemist in town. sight or Defy Danger)—in which case, have
But the tanner sure knows their chemics… the player roll for the follower when the
what’s their name, and how well do you PCs return home, to see how it went. If the
know them?” NPC isn’t a follower, then just decide what
happens and reveal it when the PCs return.
If an NPC comes along, and they’ll fol-
low the PC’s lead, then write them up as Make note of any such projects, so that you
followers (page XX) with tags, an instinct don’t forget them later.
and cost, HP and damage. Otherwise, just
flesh them out as an NPC (page XX), in as Miscellaneous
much or as little detail as you see fit. Your players will certainly come up with
other things to do before leaving. Follow
Well-trained beasts (like hounds or the the fiction and your principles. Zoom in
town’s horses) also count as followers, but and out as you see fit. Tie their actions back
livestock like goats and sheep don’t. You to the townsfolk and ask lots of questions.
can tell a good hound what to do. A goat? If they trigger a move that impacts their
Not so much. preparations or that would be quickly
resolved, have them roll it before they leave.
Followers Outfit just like PCs (page XX). If they trigger a move that takes time to
You decide what other NPCs bring with resolve, roll it when they return.
them, now or later as you see fit.

220
 Expeditions

Flashbacks
Sometimes, the PCs get into the field
and a player realizes that they should While out on the bear hunt, Blodwen
have done something before they left. realizes that she’d really like to have
Let simple things go with “yeah, sure, of borrowed one of the horse’s moves,
course.” For more involved activities, con- “Sniff out danger on the wind.” She
sider playing it out as a flashback. Frame a asks if she could have done that.
scene in the past and play it out normally,
with moves and rolls and such. When the Now, Blodwen can calm animals with
scene is done, jump back to “now.” a touch and they generally love her, but
we’ve established these horses as rather
The key thing about flashbacks is that they nervous, so this isn’t a sure thing. I
shouldn’t contradict or nullify anything decide to do a flashback. “Okay, quick…
that’s happened “on screen” already. For ex- it’s back this morning, just before you all
ample, if the PCs have already gotten lost left. You’re in the stable, the horses are
trying to follow some tracks, don’t let them still sleeping. Which one do you wake up,
flashback to borrow a bloodhound. and how?”

It’s your call whether to allow a flash- “Oh, Fflur, I think. She’s the more
back, keeping your principles in mind. sensible of the two. I put my hand on
When in doubt, ask the table at large for her nose and whisper her name, and as
their opinion. she wakes, I offer her a little handful
of barley that I secreted away.” Fflur
munches away and nuzzles Blodwen’s
hand, asking for more. “I need a favor
first, old friend. I’m going out in the
Wood today, and you’ll be here, safe and
sound. I could use your sense of smell.
Can you loan that to me?”

That’s Persuade, and I think Fflur

has reason to resist. Her instinct is
“to panic”—she might be the more
sensible horse, but she’s still a horse.
Blodwen rolls +CHA and gets a 7-9.
Fflur’s like “But, how will I know if
predators are coming? Or if the stable
burns? Or… or… or predators?” I tell
Blodwen that she needs to give Fflur
some concrete assurance that she’ll be
safe without it.

221
Expeditions

Running
the journey
The PCs have made their preparations.
They’re doing this. “We head out,” they say.
They’re looking at you. Now what?

Break the journey up into points of

interest and legs of travel. The points of
interest are the landmarks and the spots
where you know something interesting
will happen. The legs of travel are the paths
between those points.

Then, run the game:

Legs of travel
1) Establish the situation: they’re either
Look at the PC’s route and find the next
on a leg of travel, or they’ve arrived at a
point of interest—the next landmark or
point of interest. Describe the environ-
spot where you plan to frame a scene.
ment, provide details, ask questions,
Identify the path that the PCs will take to
portray characters, etc.
get there. That’s the next leg of travel.
2) Make a soft GM move, especially an
If the leg of travel is trivial—uneventful,
exploration move (see page XX).
through familiar terrain, relatively short—
Maybe your move introduces one of
then gloss over it. Briefly describe the
the challenges from Chart a Course.
weather, the route, and how long it takes,
then frame a scene at the next point of
3) Ask “What do you do?” or otherwise
interest. “You head down the path into the
figure out what they’re up to.
Great Wood. It’s a fine, warm day, and in a
few minutes you’re standing at the Stream.”
4) Resolve their actions. If they trigger
a player move, do what it says (and see
Otherwise, play out the leg of travel as
the expedition moves, starting on page
a situation, one that’s mostly handled
XX). If they roll a 6- or ignore a threat,
through loose play (page XX). Here’s how.
make a hard GM move. Otherwise, say
what happens.
Frame the action
Say where they find themselves, and how
5) Repeat. Continue to update the situa-
long they’ve been going (minutes, hours,
tion, make soft GM moves, ask what
days). “Okay, you head out? A half-hour
they do, and resolve their actions until
later, you find yourselves past the Old
there’s nothing interesting left to say
Wall, stepping onto the West Road. An
or do in the current situation. Then,
hour later, you’re surrounded by the Flats,
transition to the next leg of travel or
Stonetop a blip on the horizon.”
the next point of interest.

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 Expeditions

Describe the environment Ask questions

If the leg of travel goes through unfamiliar Keep players engaged and create a sense of
terrain—an environment that the players time passing as they travel by asking lots
have never seen before, or one that has of questions.
changed significantly since the PCs last
came through—then spend some time If the leg goes through unfamiliar terrain,
describing the environment. then ask the characters questions about the
terrain or what it’s like to travel through it.
Start with the obvious details: the nature of The regional almanac entries each include
the terrain, its size and scale, the weather questions you might ask, and you can
(see page XX), and anything that they always ask questions like:
couldn’t help but notice. Provide up to 3
impressions from different senses: things What’s the most striking thing that
they see, hear, smell, or feel (physically or you notice about this terrain?
emotionally) as they travel. The almanac What the best/worst/most unexpected
entries for each region include examples. thing about this leg of the journey?
What have you heard about this area?
Keep your descriptions concise. Players will When were you here last? How has
zone out if you give them too much detail, it changed?
and they’ll ask questions when they want How are you dealing with the weather?
or need more. What are you looking forward to?
What are you thinking/worrying about?
If the leg goes through familiar terrain—
an environment that the players have seen If the leg goes through familiar terrain,
before—then just describe the current you should still ask questions, but focus
weather and maybe remind them what this those questions on the weather, or what the
terrain is like. PCs are thinking or talking about. Or sug-
gest that they Keep Company (page XX),
and let them ask questions of each other.
223
Expeditions

Portray NPCs Or you might zoom in, frame a little scene

If there are any NPCs on the journey, and make your move there. “A few hours
describe what they’re up to, what they’re later, your hound starts barking for you to
talking about, how they’re reacting to this follow him. When you catch up, he’s in
leg of travel. Maybe ask players what they a clearing with a torn-up carcass, crows
have their followers doing, or how they pecking at it. A wisent, probably, and
think their followers act. pretty fresh. What do you do?”

Add details, answer questions, Resolve their actions

clarify the situation Ask them what they do. If they trigger a
Elaborate on the situation as much or as player move, resolve it. If they roll a 6-, or
little as your player’s interest demands. If if they ignore an established threat, then
they’re engaged and enjoying themselves, make a hard GM move. Otherwise, say
asking questions and offering more details, what happens.
then let things breathe and spend some
time just talking about the leg of travel. A player’s action might prompt you to
zoom in and frame a scene (if you haven’t
Likewise, if there’s confusion or disagree- already). Great! You’re in a scene now.
ment about what’s going on, try to clarify
and get everyone on the same page. See page XX for expedition moves that the
PCs are likely use while traveling.
Make a soft GM move
Once the situation is well-established, Repeat
and you feel like it’s time to nudge things Have you zoomed in and framed a scene?
along, make a soft GM move. Cool. Play out the scene—establishing the
situation, making soft GM moves, asking
Present one of the challenges you listed “what do you do?” and resolving their
when they Charted a Course (page XX) actions—until the scene is finished. Then
Present an encounter from your prep move on to the next scene or situation, or
(page XX), or from the setting guide zoom back out to loose play and resolve
Have an NPC or follower get into or what’s left of this leg of travel.
start some trouble
Stir up conflict between the PCs Is there still more to do in this leg of
Offer them an opportunity to do travel? Like, another challenge for you to
something as they travel, or else to present or another encounter to present?
arrive at the next point of interest. Make a soft GM move to introduce it,
then resolve their actions, and see where
Your exploration moves (page XX) will be that leaves you.
particularly useful here.
When there’s nothing left of interest to
You might stay in loose play and make say or do on this leg of travel, then briefly
your move while still zoomed out. “Dark describe the rest of it—the weather, the
clouds start to loom and you can tell that a terrain, how long it takes—and frame a
storm’s brewing. Do you want to press on scene at the next point of interest.
or seek shelter?”

224
 Expeditions

Points of interest Describe the environment

A point of interest is either... If this place is unfamiliar to the players,
then describe it. What makes it distinct
... a landmark that has not yet been seen from the surrounding terrain? What are
in play (or that has changed since the its obvious, defining features? Provide up
PC’s last visit); to 3 impressions on different senses (see
... a specific place where you plan to frame the almanac entries for ideas). Add more
a scene and make a GM move; or details as they become relevant.
... the journey’s destination.
Pick impressions and details that matter:
So, the first time the PCs ford the Stream
“on screen,” it’s a point of interest. After Any scene: light, visibility, space, anything
that, it’s only a point of interest if some- constant and unignorable (wind, rain, heat,
thing significant has changed or if you plan cold, sound of a stream, etc.).
to do something there like have the PCs
encounter the Quiet Twins. Social scenes: the people present, details
that reflect their physical or emotional
Some points of interest will be obvious and state, their attitudes, the “feel” of the place.
known in advance; others will be surprises.
You might prepare the points of a journey Exploration scenes: footing, line of sight,
between sessions (page XX) or decide on likely paths, details that tell the place’s
the next point when the PCs head out story and reflect what has happened here.
from their current location. You might
even decide to add a point of interest on Action scenes: dangers of course, but also
the fly, in the middle of a leg, usually in footing, clearance, distance, obstacles, line
response to a player’s move. of sight, relative positions, momentum,
things to knock over/fall from/burn, etc.
Frame the action
Establish the PCs arriving at the point of If the PCs know this place, because
interest. Say when they get there. Zoom in, they’ve been here before “off screen” or
make it a scene. because they picked the spot themselves,
then consider asking them to provide some
Normally, you’ll frame the scene with the of these details. “Vahid, you’ve been to this
PCs at the point of interest, having already pool before. What’s it like?”
arrived. But if you want to build tension—
because you know there’s danger lurking, If this place is familiar to the players, then
or you want them to feel like there is—then just remind them what it’s like and point
frame the scene with the location in sight out anything that’s changed since the last
but still at a distance. Then watch the play- time they visited it in play.
ers get all twitchy and suspicious.

225
Expeditions

Ask questions Make a soft GM move

If this is the first time the players visit a If you zoomed in on this place solely
known landmark in play (like the Stream because it’s a landmark that hasn’t been
or the Crossroads), ask the characters ques- seen on screen before, and you don’t really
tions about the place. The almanac entries have anything else to do here, then just
for each locale include questions you might offer them an opportunity. “Okay, does
ask, and you can always ask questions like: anyone want to have a conversation in-
character? Or do something else here? Or
What’s the most striking thing that do you move on?”
you notice about this place?
What here tells you that this is a place Otherwise, make a soft GM move. Say
where/of/that __? something that provokes the PCs to act
What have you heard about this place? and/or that increases tension. Your explo-
When were you here last? How has ration moves (next page) will be particu-
it changed? larly useful here.
How does this place make you feel?
What are you thinking/worrying about? Resolve their actions, repeat
Play out the scene. Ask them what they do.
Build on the answers they give you, Resolve their actions. Establish how the
reincorporating them into the fiction and scene and the situation has changed. Re-
asking follow-up questions as they occur peat, moving the spotlight around between
to you. Take notes, and call back to these PCs. Play to find out what happens.
details later in play.
If this point of interest is their desti-
Portray NPCs nation, or if things have taken a dra-
If there are any NPCs on the journey, matic turn, then this scene might roll into
ask yourself how they’d react to this place. another scene, and another. Great! The
Drop this into your descriptions to remind journey is over, at least for now, and they’re
the players (and yourself ) that they’re here. likely exploring a site (page XX) or another
Maybe get ready to make a soft GM move steading (page XX).
with (or against) an NPC.
When the party decides to move on,
Add details, answer questions, figure out what their next point interest is,
clarify the scene what the next leg of travel is to get there,
Flesh out the scene as much as you need and frame the action on that leg of travel.
to, in response to player questions or PC If they decide to go home, see page XX.
actions. Draw a quick map or picture if you
think it will help. Figure out who’s where
and doing what. If there’s confusion or
disagreement about what’s going on, try to
get everyone on the same page.

226
 Expeditions

Exploration moves Provide a choice of paths

Add these to your arsenal of GM moves Present the proverbial fork in the road and
once the players leave town and head into ask them which way they go. There might be
the wider world. These same moves get other paths, and they might do something
used when exploring sites (see page XX), different, but you’re presenting the obvious
but here, we’ll discuss how to use them as options and prompting them to choose.
part of a journey.
Try to give them some indication of how
Your exploration moves are: the options are different. Otherwise, their
choice isn’t meaningful.
ä Provide a choice of paths
ä Hint at more than meets the eye The available paths don’t have to be literal
ä Offer riches at a price paths, or they don’t both have to be. For
ä Present a discovery example, the choice could be between
ä Point to a looming danger stopping and exploring this ruin, or press-
ä Introduce a danger, person, or faction ing on towards their destination.
ä Bar the way
As a hard move, provide a choice between
paths that they don’t want to take.

“The cave is maybe 30 or 40 paces off to

your right, no sign of movement around
it. But, Blodwen, you spot tracks in the
snow. Big ones, leading from the cave
and off to your left. What do you do?”

“Okay, the sledges are loaded. Are you

going to head back the way you came?
The crinwin will almost certainly notice
you if you do. Or you could cut deeper
into the Woods and try to circle around
them, but that’ll take longer. What do
you do?”

“As hard as you push yourselves, by the

time the sun’s almost set, you’re still a good
half-hour away from town, maybe more.
Do you press on, traveling in the dark? Or
you do start looking for some place to spend
the night out here?”

227
Expeditions

Hint at more than meets the eye Offer riches at a price

Drop a hint that there’s something inter- Show them something valuable, but costly
esting here, a discovery to be discovered or difficult to get. Then sit back and see if
or a lie to be uncovered. This move often they think it’s worth it.
spurs the players to Seek Insight or Know
Things or otherwise look closer. Consider “riches” to be anything the PCs
would consider valuable. That could be
To make this move, point out something actual riches, or just some sort of supply
out of place or something fraught with or resource they desperately need. And
meaning, but don’t say what it means. Be consider “price” to be any sort of cost: time
a little coy about it. It’s a hint, not an an- or safety, effort or attention or retribution.
nouncement.
As a hard move, offer something that you
know one of the PCs (or NPCs) on the
“Blodwen, while Rhianna and her crew journey really wants, but in a way that would
are butchering the bear, you get this... derail or jeopardize the overall expedition.
feeling. Like, sort of a chill, and not just Bonus points if the opportunity is fleeting,
from the cold. You think you’re being increasing the pressure to go after it.
watched. What do you do?”

“Vahid, as you watch the crinwin flee, “Rhianna, while they’re butchering the
you realize that they all headed for this bear by the stream, Lowri calls you over
great big redwood pine, maybe fifty paces and points out a huge set of hoof prints.
away. Just the sort of tree where they’d ‘Ceirwmawr, I’m sure of it. Fresh, too.’
nest. Everyone else is catching their His eyes gaze off deeper into the Wood.
breath and wiping off crinwin blood. ‘It’d be a feat to sing of, that’s for sure.
What do you do?” Not to mention a whole lotta meat.’
What do you do?”

“ You know, if that is a crinwin nest—

and it sure looks like one—there’s probably
all sorts of stolen stuff up there. Like, all
the things they’ve swiped from people this
past year. Maybe even your grandmother’s
ring, Caradoc. What do you do?”

228
 Expeditions

Present a discovery Point to a looming danger

Discoveries are interesting things that the This is the claw-print in the mud, the
PCs find but that aren’t inherently or im- wolves howling in the distance. This is the
mediately dangerous. They might be useful piles of sticks, strangely neat and tidy, sure
or valuable, or just something mysterious sign that a hagr dwells nearby.
that’s worth investigating.
Use this move to foreshadow future
When you make this move, you just put dangers, to make the PCs nervous and to
the discovery in front them. Describe it, prompt them to investigate or take precau-
tell them what they see/hear/smell/feel, tions. Or flee. They could also flee.
what (if anything) it does. Make it clear
that this is something of note. What they Here’s a good twist on this move: instead
do next is up to them. of telling them what they find, ask them
what they find that tells them __ is afoot.
“Blodwen, while you and Vahid wait for You can also ask a question that gets them
the others, the wind picks up and starts thinking about the danger without reveal-
tossing puffs of snow about. But then ing any specific sign of it. Like, “Caradoc,
you realize that, no, those puffs are a what sort of experience do you have with
little too intentional, and you hear—no, feathered drakes?” Or, “Vahid, what have
more like sense—a laughter in the wind. heard about the nosgolau, the night-lights
There’s a wind spirit flitting about. that are said to haunt the Flats and lure
What do you do?” travelers off the road?”
“ Yeah, Vahid, now that you’re closer,
and looking up at it, you can see that it’s “Rhianna, you’ve all been quietly trudging
definitely a nest. A papery thing, like for a couple hours through the snow when
a wasp nest, but way, way bigger. This the hair on the back of neck stands on end.
must be what the crinwin live in. What What do you see or hear that tells you that
do you do?” you’ve entered crinwin territory?”

“Blodwen, as you sniff the air, you catch

the unmistakable scent of a predator, one of
the bears, you’re sure of it. And not coming
from the cave… it’s coming from the east,
towards the Stream. What do you do?”

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Expeditions

Introduce a danger, person, As a hard move, you’ll often introduce a

or faction danger by jumping straight into a fight
With this move, you’re putting a danger or action scene. A stealthy foe or a hidden
on screen. You’re not pointing to it, it’s not hazard might even attack and deal damage
looming, it’s here, what do you do? before the PCs can react!

Alternately, you’re introducing an NPC

“Okay, so you all creep towards the
and giving the PCs a chance to interact
Stream. You hear the rush of water, and
with them. Or, you’re revealing that there’s
then you see it. It’s huge, like a horse
a subset of creatures or people that they
but stouter, pacing back and forth at
didn’t know about before: different strains
an opening in the ice. Its snout darts
of crinwin, a cult within the Hillfolk, rival-
into the water and pops up with one of
ries and allegiances among the fae, etc.
those silvery, scaly slug-things that you
sometimes see in the Stream, and it just
gobbles it down. Ugh. What do you do?”

“Crunch crunch squeak. Huff huff huff.

Crunch squeak. Rhianna, it takes you
a bit to realize it, but you’re hearing
footsteps in the snow, and heavy breath-
ing, and scrapes of the sledges… from the
party, of course, but also coming from up
in the trees, all around you. And just as
you realize that, Eira pulls back on her
bow and fires. ‘Crinwin!’ she yells!”

“They’re all gazing up at that nest,

Caradoc, when you notice a pair of
big pale eyes watching you from
behind a tree at ground level. As soon
as you register what you’re seeing, the
eyes are gone, and there’s a
scurrying up the tree. Then
those eyes poke out, looking
down at you. It seems…
different… than the
others. Curious, rather
than angry.

“What do you do?”

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 Expeditions

Bar the way

They encounter an obstacle, or hit a dead Use other moves, too!
end, or discover they lack something
needed to move ahead. They’ve got to find Just to be clear: you can and should
a way through, or over, or to backtrack and use your standard GM moves while
find a way around. the PCs are on a journey. Ask
provocative questions (“what’s your
Describe what’s barring the way forward, crew doing to get on your nerves?”),
and maybe give an option or two for what demonstrate downsides (“you’re
they could do instead. falling behind under all that gear”),
separate them (“down the hill you
go”), use up their resources (“expend
“It’s just not going to happen, Caradoc. 3 uses of supplies each, or 3 total if
You can barely scale the bluff yourself, and you use a mess kit”), tell them the
don’t see any way to drag those sledges up consequences/requirements (“you
here laden with bear meat. And it’s not like need fire to use a mess kit, but a fire
there’s anything up on the Flats for you to will draw attention from the crinwin”),
tie a rope around, either.” and so forth.

“ You drag the sledges northeast but,

shortly past the Stream, the drifts get
much deeper. It’d be grueling to wade
through and there’s no way you’d get
home by dark. Looks like the only path
left is back through crinwin territory.
What do you do?”

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Expeditions

Resolving Chart a Course As you resolve a leg of travel (page XX),

ask yourself whether this is a good place
When the PCs Charted a Course, you gave
to introduce a challenge. Likewise, as you
them a list of requirements and challenges
pick points of interest (page XX), pick
(see page XX).
spots where you can introduce a challenge.
You can also introduce a challenge after
Requirements you’ve framed a scene for any reason, often
Hopefully, they addressed the requirements in response to a PC’s move.
(like “You’ll need to bring __” or “You need
a knowledgeable guide”) before they left. If Usually: introduce a challenge by making a
they didn’t, tell them the consequences of soft GM move. Ask the PCs what they do
not being prepared. If they persist, either and resolve their actions. Repeat as needed.
bar the way or add some extra challenges The PCs might overcome the challenge
quickly and easily or things might snowball
to your list.
into a steaming mess. Follow the core loop
and play to find out what happens. When
Once they’re in the field, make soft GM
the situation is resolved, move on to the
moves that threaten the things they need,
next one.
and/or to show their downsides. Put
the guide in danger. Describe how loud
If you introduce a challenge in response
the horse and cart are or how heavy the
to a 6- on PC move, then feel free to drop
firewood is.
them right into the thick of it. If someone
gets a 6- to Forage (page XX) and one of
When it’s time to make a hard GM move,
the challenges is “you risk getting lost,”
consider targeting these same resources.
then you can just have them get lost as
What do they do when guide is injured, or
your hard move. You don’t have to threaten
the horse runs off in a panic?
them with getting lost, first. They’re lost!
If they no longer have what they need for
Present each challenge only once. After the
the journey, make them feel it. Show the
party deals with it, then tick that challenge
downsides or tell them the consequences
off your list. Present a different challenge,
or just bar the way, and see how they cope.
or the next point of interest, or the next
leg of travel, or have them arrive at their
Presenting challenges
destination.
Once the PCs head out on the journey,
you need to present the challenges that you
With that said: a challenge that they’ve
warned them about, plus any others that
addressed could come back to haunt them
they couldn’t see have seen coming. That
if they make poor decisions or if the dice
includes both surprises that you’ve prepped
don’t go their way. Yeah, they might have
in advance, or things that arise naturally
Struggled as One to handle the treacher-
from the fiction or the dice.
ous mire of Ferrier’s Fen, but they’re still
in the fen! A 6- on a future roll could still
send someone plunging into the water, and
running off blindly into the mists is still a
good way to get drowned.

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 Expeditions

The PCs are en route to Three-Coven Lake For their next point of interest, I pick a spot
from Marshedge. Their current leg of travel where I can introduce another challenge: a
has them following the Sruth into the Step- valley where three tributaries of the Sruth
lands. This seems like a good time to add a come together, and they risk picking the
challenge: “the terrain is treacherous.” wrong one and getting lost. I frame a scene
with them overlooking the valley, describe
I keep things zoomed out and tell them the the environment, and introduce the
consequences. “The rain has made the soil danger. “It’s not clear from here which one
loose and muddy. If you stick to the river, leads to Three-Coven Lake. Pick wrong and
you’ll be Struggling as One, risking a fall or you’ll end up lost or at least wasting lots of
even a mudslide. What do you do?” time. What do you do?” Vahid Spouts Lore
(recalling his previous wanderings in these
Rhianna uses her Read the Land move, parts) and gets an 11. I reveal that they
asking for the best way through. I impro- want the southern fork. Huzzah!
vise, saying that the southern slopes look
a bit rockier and more stable. She leads Their next point of interest will be wherever
them that way and gets advantage on her they Make Camp, and this leg is just more
Struggle as One roll (see page XX). Good rugged, muddy hills as they follow the
thing, too, because Caradoc and Vahid both tributary. They’ve already dealt with the
roll a 6-, getting caught in a mudslide. treacherous terrain, but I also said that
Rhianna uses her 10+ result to rescue Vahid the way will be grueling. So, I present a
(yanking him back from the scarp), but choice of paths. “Rhianna, you’re humping
Caradoc is in trouble and starts to get swept up the twentieth slope today, and it’s just
away down the slope! a wet slog. You’ve got a few hours of light
left. Do you want press on and Struggle
We zoom in and play out the scene. Caradoc as One with CON? Or look for a place to
barely manages to save himself, taking some camp, maybe hunt a bit?” They opt to stop
damage, getting very muddy, and losing all and Forage (see page XX), but get a 6-. This
his supplies in the process. They take a brief area is perilous, so I aggressively introduce a
rest and press on. danger. A Hillfolk ambush it is!

“The way is perilous, If you like, have them roll the Die of Fate.
filled with dangers”
This isn’t a specific challenge, it’s more 1d6 danger
of an ongoing threat. Save it for truly
1 A danger springs on them, unavoidable
dangerous legs of travel: Ferrier’s Fen, the
2-3 Introduce a danger, right in front of them
Steplands near the lakes, the Labyrinth, etc.
4-5 Point to a looming danger
6 Point to a looming danger, but also
On each leg of perilous travel, and each
present a discovery
time they Make Camp (page XX) in a
perilous area, point to a looming danger Also, feel free to spring dangers on them
or introduce a danger that’s already been any time that they roll a 6- (on any move),
established. Then see how they respond. or any time a move draws attention or a
generates a complication.
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Expeditions

Weather If you want, let the Die of Fate guide your

choices. For example, you could ask the
The weather is an important part of any
players what sort of weather they hope
journey. It colors the whole trip and can be
for, then have them roll a d6 to see how
a challenge all by itself. well fate complies. If they’re sneaking into
a mercenary camp in winter, they might
You decide when it rains and when the hope for winds and snow to hide their
sun shines, based on your agenda and approach. On a 1 or 2, nope, it’s a clear,
principles but also on your sense of theme still night with a bright moon, so cold that
and story. Include the weather when you every step squeaks. On a 3 or 4, there’s a
describe the environment (“It’s a chilly driving wind or a gentle snow. On a 5 or 6,
morning, a thin fog blanketing the land”) yeah, just what they wanted.
and invoke the weather with your GM
moves. Announce trouble by describing Another way to use the Die of Fate is with
how the wind picks up and the canopy preset results, based on the season. Here
sways and the sky goes dark. Bar the way are some general tables that do just that.
with a blizzard. Separate them in the fog. Use these as-is, or make your own for spe-
cific locales and specific seasons, informed
by the most recent Seasons Change move
(see page XX).

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 Expeditions

Weather tables
late winter/early spring spring/early summer
1d6 weather 1d6 weather
1 Snow/sleet/hail, an early thunderstorm 1 A heavy storm; high winds, hail,
or day of cold, soaking rains thunder, lightning
2-3 Cold and windy, maybe some 2 A day of steady, chilly rain
showers 3-4 Warm and windy, maybe some brief
4 Clouds on the horizon and steady showers
wind; roll twice tomorrow and 5-6 Warm, sunny, pleasant
take the lower roll
5-6 A fine, sunny spring day;
some clouds, some gusting winds

summer late summer/early autumn

1d6 weather 1d6 weather
1 A heavy storm; high winds, hail, 1 One last powerful thunderstorm or
thunder, lightning, tornadoes a day of cold, soaking rain
2 Blazing heat, still air, not a cloud 2 Windy with a few rain showers
in sight 3 Warm, clouds on the horizon, a steady
3 Hot and humid, with brief, wind (roll twice tomorrow and
drenching thunder storms take the lower roll)
4-5 Hot, muggy, some wind 4-5 Hot and dry during the day; cooler
6 Warm, sunny, breezy, perfect and windy at night
6 Warm, sunny, breezy, perfect

autumn winter
1d6 weather 1d6 weather
1 Cold, drenching rain and/or sleet 1 Blizzard: wind, snow, all of it
all day 2 Intense cold and wind
2 Cold, windy, an early snowfall 3 Very cold, very clear, very still
3 Chilly, windy, maybe some quick 4 Cold and snowy, or cold and windy
rain showers 5 Some snow, but mostly just dreary
4-6 Crisp, breezy 6 Warm (for winter) and sunny

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Expeditions

PC moves Loot, load,

These moves become relevant while the and inventory
PCs are on an expedition.
If a PC or follower acquires some-
thing in the field (like loot) and
HAVE WHAT YOU NEED wants to bring it along, they have to
When you decide that you had some- add it to their inventory.
thing all along, transfer a mark (or
marks) from your “undefined” inven- Small items (things that could fit in
tory to a specific item or a slot. If you a pocket, purse, or boot with room to
mark a slot, fill it with a common spare) don’t count against a character’s
mundane item or something from load. The player can just add it to the
your personal possessions. Small items section of their Inventory
sheet. There’s no hard limit on how
Alternately, you can expend a use of many small items they can carry, but
supplies to mark an additional small you can call shenanigans if you think
item/slot ( ). they’re being unreasonable.

Whatever you produce, it must be Items with a or count towards

something you could have had all a character’s load. Remember: 3 4 or
along. The GM or any player can veto less is a light load, 4-6 4 is normal,
unreasonable items. and 7-9 4 is a heavy load. They can
drop (or give away) items from their
inventory to make space, or they can
This move lets the players convert un- discard (or give away) undefined 4.
defined inventory into specific items. It
means that when they Outfit, they don’t If they want to carry 10 4 or more,
have to decide on everything that they’ve or something very heavy/awkward
brought with them; they determine how (like an unconscious ally or a loaded
much they’re carrying and can define their sledge), then not only will they be
inventory in the field. slow and noisy, but they’ll also risk
exhaustion, accident, and/or injury.
Once they use this move to produce an Tell them the consequences, then
item, that item is now in their inventory. continue to make it a significant part
They can drop it, use it up, break it, give it of the fiction and your moves.
to someone else, etc.

This move can only produce items the Ask questions about the stuff they produce.
character already owns or common, mun- “What kind of food did you bring?” “Who
dane items (like those on the Inventory in- did you get that from?” “What made you
sert or things that could be easily acquired think to bring that?” You’re not (usually)
in an iron-age home or farm). You can also trying to challenge their decisions; these
let them retroactively try to Trade & Barter questions provide texture and help you
for special items via a flashback. portray a rich and fantastic world.

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 Expeditions

They creep up towards the cave entrance, “Andras has the mess kit,” says Rhianna. “He
and peer in. “It’s really dark in there,” I say. insisted on coming, he can do the cooking.”
“Are you going in blind, or what?” She moves one his undefined 4 to a slot on
the follower sheet, and writes in “mess kit.”
Caradoc says, “I’ll use my lantern!” It’s not
a standard thing on the Inventory sheet, “Okay. I’ve got the supplies,” says Caradoc.
but it is one of his special possessions (a gift He erases an undefined 4. He’s about to
from Sawyl), so he can produce it with this mark one by “Supplies,” but realizes that
move. He moves a 4 from “undefined” to he’s going to expend all 4 uses, so he doesn’t
the slot with “ Sawyl’s lantern,” then bother. “Hey… it says here that a mess kit
says he’ll light it. “ You have a tinderbox?” requires fire and water. Does that mean we
He doesn’t, but it’s an option in the Small need to provide firewood, too?”
Items section of his Inventory sheet. He
moves a mark from his undefined small “Not necessarily,” says Vahid. “We estab-
items to the tinderbox, uses the tinderbox lished that merchants usually stock the
to light the lantern, and hands it over the waysides with wood and dried dung for
Blodwen, so that he can wield his shield and fires. Sort of a leave-a-penny, take-a-penny
spear. (Technically, she should now add it to thing. And the waysides all have wells.” I
her sheet and maybe give Caradoc one of her agree… they’ve got fire and water covered.
Undefined 4, but we all expect this to be
temporary so we just ignore it for now.) “Hmm,” says Rhianna. “Two days used
up 4 supplies. We’ve got another eight
“Okay,” I say, as they leave for Marshedge. days ahead of us… so that’s 16 more uses
“The first two days pass without incident. of supplies. Or four more diamonds.” She,
You find yourselves making camp, just be- Blodwen, Vahid, and Andras each convert
fore dark, at the wayside near Titan Bones. one of their undefined 4 into supplies.
Mark off two uses of supplies each, or 4 total
if someone has a mess kit.” “What sort of food are you carrying,
mostly?” I ask.
They look at each other, and realize that
no one has supplies in their Inventory, “Well,” says Rhianna, “It’d have to be some-
or a mess kit. “Well, you can Have What thing lightweight, enough to fill bellies,
You Need for supplies and a mess kit. One but only when cooked. Hmm. Looks like
diamond of supplies gives you 4 uses, and we’re eating oatmeal, kids.”
the mess kit is one diamond itself.”

The “veto” clause in the move is there to say things like “Wait, a clay pot? Didn’t
maintain plausibility. It means that you you tumble down a rocky slope earlier? I
can say “no” when a player decides they’ve don’t think anything fragile like that would
been wearing a bunch of mummer’s bells have survived.”
while they’ve been sneaking through a
silent ruin. It also means you can reveal an
unwelcome truth when appropriate, and

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Expeditions

With that said: they aren’t Struggling as

RECOVER One if one PC is essentially responsible
When you take time to catch your for everyone else’s fate. If they risk getting
breath and tend to what ails you, lost and the Ranger is navigating, then the
expend 1 use of supplies and regain Ranger is Defying Danger (maybe with
HP equal to 4+Prosperity. You can’t someone providing Aid). They’d only be
gain this benefit again until you take Struggling as One if they faced some ad-
more damage. ditional danger or challenge, against which
they all contended and contributed.
When you tend to a debility or a prob-
lematic wound, say how. The GM will When you call for them to Struggle as
either say that it’s taken care of or tell One, clarify the danger and the stakes. Use
you what else is required to do so. the same trick you use with Defy Danger:
“Sounds like you’re Struggling as One, and
the danger is getting stuck or exhausted by
Characters will often need to Recover the muck and mire.”
while on an expedition. This move is
described in detail in the Harm & Healing It’s possible—likely, even—that the PCs
chapter (page XX). will strive against multiple dangers. If the
dangers are sequential (like scaling the
cliff and then rushing to get back to camp
STRUGGLE AS ONE
before the storm hits), then resolve it as
When you Defy Danger as a group,
two separate moves. But if they’re dealing
establish the party’s approach and
with multiple dangers at once (like trying
each roll +STAT (per Defy Danger):
to reach the hilltop before nightfall while
on a 6-, you find yourself in a spot,
also avoiding hunting drakes), then it’s a
the GM will describe it or ask you
single set of rolls.
to; on a 7-9, you pull your weight;
on a 10+, you do well enough to get
“Establish the party’s approach” means
someone else out of a spot, if you can
“figure out how they’re going about this.”
tell us how.
What’s the plan? Who’s going first? Are
they using, say, a rope? Who’s on lookout?
If you roll a 6- but someone saves
And so forth. From there, figure out which
you, don’t mark XP.
stat(s) make the most sense. Use the same
guidelines you would for Defy Danger.
This move triggers when the whole party Everyone might roll the same stat, or (if
works together in the face of the same they break up the jobs), they might each
danger(s), usually over a period of time roll something different.
and when you don’t want to dwell on the
details. If you’re about to have everyone Those participating in the struggle can’t
Defy Danger, you should probably use Aid each other—they’re already involved!
this move instead. It’s intentionally more In order to Aid, a PC or follower must be
forgiving than everyone Defying Danger, somehow unaffected by the struggle (like
and it moves the action along more quickly. a Ranger’s bird flying ahead to scout as the
party trudges through the fen).

238
 Expeditions

Everyone rolls at once and figures out what If anyone finds themselves in a spot and
they got. Encourage them to keep their there isn’t a 10+ to save them (or the
results quiet for the moment. player who rolled 10+ can’t come up with
something plausible, or chooses not to),
Ask who got a 6-. Put them in a spot, then zoom in and play out the scene from
following your principles and exploiting there. Ask the affected character what they
your prep. (If someone received Aid, then do. Or, tell someone else what they see
put the helper in the spot with them, or and ask them what they do. Maybe they
instead of them.) just Defy Danger and roll a 10+ and it’s all
good. Maybe it snowballs into an absolute
Once you’ve described the spot, ask if any- disaster. Play to find out.
one got a 10+. Ask them to describe how
they get the character(s) out of their spot. If the scene resolves and they’ve gotten
If they come up with something plausible, themselves out of the spot, don’t make
then they do it—no more rolls required. them Struggle as One again against the
same challenge. Just skip ahead to the
If multiple characters get a 6-, you’ve got a end of the struggle. But if, in the process
few choices: of resolving any 6- results, the situation
changes such that they face a new or dif-
Put them in the same spot, or close ferent danger, then it’s okay to have them
enough. “Caradoc, Vahid, you’re trudging Struggle as One again.
along, and… the hill isn’t really moving,
is it? But then you realize, yeah, it is, it’s a Regardless of the results, this move is a
mudslide! The path you’re on starts to give great time to ask questions. “Blodwen, have
way.” In this case, a single 10+ might save you ever been up this high before? How
everyone, depending on the fiction and does the view make you feel?” “Vahid, as
what that player comes up with. the path slipped out under your feet and
you started to fall, what went through
Put them in different spots at the same your mind?” “Rhianna, after you’ve hauled
time. “Blodwen, as twilight falls, you find Caradoc back up on the path, huffing and
yourself falling behind, breathing hard, puffing… what do you say to him?”
losing sight of the others. Meanwhile,
Rhianna, you realize that you’ve lost track
of Eira in the grass. Like, oh crap, where is
she?” In this case, each 10+ will save only
one of them.

Pick one and put them in a spot, ignoring

the other 6- results for now. Resolve that
spot. Then, say how time has passed and
put the next character in a different spot.
This is a great technique to demonstrate a
really long and arduous trek, or one with
multiple dangers. In this case, each 10+ can
be used only once.

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Expeditions

One of Rhianna’s crew just came back with “Why do you… no, never mind. That pouch
a rusty spade and Rhianna’s sure of it—this is now snagged on a branch, suspended like
is crinwin territory. They hope to sneak this, and one of the marbles fell out, hit a
through and avoid a fight, kill the bears, rock. CLINK! Everyone’s stopped, holding
then find a way up the bluffs and head their breath. If you shift even a little, it’ll
home via the Flats. spill open and make a ton of noise. Anyone
got a 10+, able to help him out?”
“So, you’re being sneaky?” I ask. “Sounds like
you’re Struggling as One, and the danger is Rhianna does. “Any sign of crinwin? Like,
that the crinwin notice you. What does this did they hear that clink?”
look like? Are you all together, or spread out,
or what?” “ Yeah,” I say. “It’s painfully quiet. You’re
all stock still, not even breathing, and you
“We go single-file, weapons out,” says then you hear it. ‘Clink! Clink! Clink
Rhianna. “Just a couple paces between us. clink CLINK!’ in the distance. Crinwin,
Lowri scouts ahead, he’s got the sharpest mimicking the sound. A way off, but maybe
eyes. I’ll go next, and you three follow me. getting closer? What do you do?”
Step where I step. The rest of my crew will
bring up the rear. I’ll look for the firmest “I motion for everyone to be still, then I
ground, least likely to make noise. There’s no take that rusty spade we found and I hurl
point in hiding… we’ll just have to move it behind us, north and east. I’m hoping it’ll
quietly and hope that no one’s watching.” hit a tree and draw their attention while
we skedaddle. Yeah?”
Okay! I tell Rhianna she can roll +INT
or +WIS, since she’s looking for the firmest “Smart. Sounds like you’re Defying Danger
and quietest path, but everyone else will be with INT?”
rolling +DEX to follow her steps. Rhianna’s
crew rolls +1 (they’re stealthy), but Andras “I got a 10+ on my Struggle Together.
rolls +0 because none of his tags apply. The Doesn’t that mean I can just do it?”
dice hit the table.
“Oh, right, sorry. Yeah, it’s like you say…
“Okay, anyone get a 6 or less?” Vahid did. you throw the spade, hurl it maybe 30, 40
“Okay, cool. Don’t mark XP just yet. Let’s paces away. It ricochets off a tree, PING.
see… oh, yeah. All that weird gear you And then the crinwin start going ‘PING!
carry, because of Magpie? It’s not stowed PING!’ and you can tell they’re moving in
right for this stealthy stuff. You’re snagged that direction. What do you do?”
on something and if you try to move, it’s
going to fall and make a lot of noise. What “I slip back to Vahid, unsnag his pouch, give
do you think it is?” him a dirty look, and we get out of here.”

“Marbles,” says Vahid. “I’ve got a big pouch “Cool! Okay, off you go. And, Blodwen,
of them.” He moves an undefined mark on what was racing through you mind during
his Inventory sheet to a slot and writes in all of that?”
“pouch of marbles.”

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 Expeditions

The PCs have put fire to the crinwin nest “Sure, cool. Anyhow, you start stumbling.
and started heading back toward Stonetop. You get up each time, but you and Andras
I tell them the requirements. “Between are falling behind. Does anyone have a 10+
the fight, and the nest, and the bears… it’s and a way to help them out?”
getting late. If you want to get home before
dark, you’re going to have to Struggle as One. Rhianna does. “I curse a little, then tell
The danger is that you exhaust yourselves, or Lowri to take over for Vahid. And I have
take too long, or run into something else out Eira to take over for me. We’ll rotate
here. How do you do this?” through, every ten minutes or so, two people
get a breather.”
“Let’s put two people on each sledge and
haul ass. Vahid, Caradoc, and I will each That takes care of Vahid, but Caradoc still
take one, pared up with one of my crew. has a 6-. “Okay, you rotate like, three times,
Blodwen, you take point with Eira and pacing yourselves but making progress. Then,
Lowri, keep us going the right direction and Caradoc, there’s a lurch on your sledge. And a
watch for trouble. Yeah?” grinding sound. Something tears. Vahid, you
see that they’ve hit a log, buried in the snow.
Everyone agrees. “Blodwen, you’ll be rolling A branch snagged the sledge, and the whole
WIS. Everyone else, I think either STR or thing is stuck. Anyone else got a 10+?” They
CON, your choice. Vahid, you’ve got a heavy all look around, but no one does. Blodwen
load, so roll with disadvantage. Rhianna, and Rhianna’s crew both got 7-9s. “Okay,
your crew isn’t hardy or athletic or the like, Caradoc, mark XP. What do you all do?”
right? So I think they’re +0?”
And we play out the scene from there.
“Really? Lowri and Eira are navigating
and watching for trouble. And they’re all
Woods-wise.” That works for me, so, sure,
they roll +1.

Everyone rolls. Vahid and Caradoc both get

a 6-. I could put Vahid and Caradoc in a
spot together, but I feel like spreading it out.

“Vahid, you’re hauling, hauling, hauling,

right? Your nose is running, your eyes are
watering, your lungs are burning. When
was the last time you worked this hard for
this long?”

“Oh, I pull my weight around the village,”

he says. “It’s not a matter of hard work, it’s
the damn cold that’s doing it to me. My
lungs are just raw.”

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Expeditions

It’s particularly good to Keep Company on

KEEP COMPANY the way home from an adventure, as it gives
When you spend a stretch of time everyone a chance to reflect on how the
together, ask the others if they want recent events have affected them.
to Keep Company. If they do, take
turns asking a PC or NPC one of the Once you’ve decided to Keep Company,
following. prompt the players to start asking ques-
tions. Pick someone to go first (it can
What do you do that’s annoying/ be you if you want). Have them pick a
endearing? question, a character to ask about, and go.
What do I do that you find They can ask about other PCs or NPCs
annoying/endearing? who are present; you, of course, should ask
Who or what seems to be on about PCs.
your mind?
What do we find ourselves Just to be clear: the characters aren’t sitting
talking about? around, actually asking each other these
How do you/we pass the time? questions. You—the real-life players and
What new thing do you reveal GM—are asking each other questions
about yourself ? about each others’ characters.

If there’s a question or an answer that

This move helps to develop characters, piques your interest or that seems a bit
build camaraderie, reveal intraparty ten- vague, ask follow-up questions (and en-
sions, and so forth. Good, juicy stuff. courage the other players to do the same).
“Oh, you’re thinking about Morwena?
Watch for opportunities to invoke this How can we tell? Blodwen, what do you
move, but don’t overdo it. You or any player do when you see that?”
can decline, usually because you’ve Kept
Company recently or there’s something Sometimes these questions will lead to
more interesting that you or they want to little scenes. That’s great! Players might
get to. Check with the group and see if even trigger moves (like Persuade or Seek
they want to Keep Company when… Insight) before the next player asks their
question. All good.
… they Make Camp;
… there’s a stretch of uneventful travel;
… they Struggle as One, and everyone
gets a 7+;
… some of the party split off to go do
something, and you jump back to the
others who are waiting around;
… two or more characters share a watch; or...
… the party spends time doing some
boring task (like Foraging or chopping
timber up in the foothills).

242
 Expeditions

Vahid, Caradoc, Blodwen, and Rhianna “No,” he sighs. But then he blurts out “I
make camp near Titan Bones. They’ve mean, what am I supposed to do? Just stay
got Andras with them, but left the rest of home and do nothing when there’s danger
Rhianna’s crew behind. After handling the afoot? Let other people take care of it? Like,
logistics, I propose that we Keep Company Rhianna? Or, like, like you? Gods, I thought
and everyone agrees. “Okay, who wants to women wanted someone brave and tough
ask the first question?” and all that. But no, not Morwena. She just
wants me to stay home and dig in the dirt.”
Rhianna goes first. “Andras, what do you do
that’s endearing?” Andras is a follower, so “Ain’t nothing wrong with staying home
it’s my job to answer. “I think, mostly, he’s and tilling the earth,” Rhianna says under
just being competent and helpful and doesn’t her breath. (I shoot her player a little grin.)
need to be told to do anything. He’s come a
long way since you first took him under your The scene plays out, with Andras looking a
wing. And maybe, too, the way he’s moon- bit sullen. Rhianna uses Take the Measure
ing over Blodwen. It’s pretty cute.” to ask if she can trust him to keep things
professional, and I’m like “For now, yeah.”
That makes me wonder how Blodwen will
react, so I take my turn. “Blodwen, what Vahid hasn’t asked a question, so he goes. “I
is Andras doing that you find annoying or sit down next to Rhianna and offer her a
endearing?” (Notice how I didn’t choose one smoke. What new thing do you reveal about
or the other; I’m genuinely curious how she yourself ? I’m interested in that comment,
feels about him.) She thinks about it a bit about staying home and tilling the earth.”
and says that she keeps catching him looking
at her, then pretending he isn’t. He’s been Rhianna’s always cagey about her past, and I
doing it most of the trip.” “Is that annoy- half-expect her to cop out and say something
ing?” I ask, “Or endearing?” like “Nothing. I tell everyone to shut up and
get some sleep.” But out here, without most of
“Annoying,” she says. “Even though I’m do- her crew around, she opens up a bit. “I was
ing the same thing to Caradoc.” Oh? Oh! betrothed, once,” she says. “To a boy named…
Urien. He was a farmer’s son. Worthless with
I ask Blodwen to go next. “Caradoc, who a spear, but gentle and good with animals.
or what do you seem to be thinking about?” You’d have liked him, Blodwen.” Vahid asks
As if she needs to ask. “Morwena,” he says. what happened and she sighs and shakes her
“Definitely Morwena.” I ask how we can tell head. “Got sick. Caught the fever in late au-
and he’s like “Oh, I’m just sitting here mop- tumn, was dead by winter.” She gives a little
ing, the cloak she made for me pulled tight. smile. “Life sucks, then you die. Grab onto the
I’m kind of fingering the hem and staring off ones you got.” And then she’s like, “I’m look-
into space.” He gives a longing sigh. ing straight at Caradoc when I say this.”

I ask Blodwen how she reacts. She goes over “What?” he says, acting like he doesn’t get it.
and gives him a bowl of porridge. “Want to
talk about it?” she asks.

243
Expeditions

If the route is perilous, or if they need to

MAKE CAMP watch out for ___, or if they risk drawing
When you settle in to rest in an unsafe the attention of ___, then ask them how
area, answer the GM’s questions they address that.
about your campsite. Each member
of the party must consume 1 use of If it’s cold, ask them how they stay warm. If
supplies or provisions; if you use a they start a fire, ask what they use for fuel
mess kit (requires fire & water), then 1 or how they start it. If it’s wet, ask them
use can provide for up to four people. what they do (if anything) to stay dry.

If you eat and drink your fill, and get Ask what precautions they take to keep
at least a few hours of sleep, pick 1. animals out of their food. Ask them if they
set a watch, and the order.
Regain HP equal to ½ your max
Clear a debility As you ask these questions and get their
answers, be sure to show downsides to
If your rest was particularly peaceful, their stuff (“if you want to use a mess kit,
comfortable, or enjoyable, you also you’ll need to start a fire”) and tell them the
gain advantage on your next roll. consequences and ask (“if you start a fire,
you’re more likely to attract attention… do
you make one?”). But also, offer them op-
Make Camp happens when the party portunities, with or without a cost (“sure,
settles in to rest in an unsafe area. There’s you could look around for a better campsite,
a lot of judgement calls to be made. If maybe Seek Insight, but it’ll take some time
you’re handwaving a few days of travel on and you might not find anything before
the Maker’s roads, the move doesn’t trig- dark”).
ger every night. You can just use up their
resources (“okay, the next three days con- Once they settle in, but before you decide
sume 6 uses of supplies…”) and frame the what’s going to happen during the night,
next scene (“…and towards the end of your ask if they want to Keep Company.
fourth day of travel, you round the bend
and Gordin’s Delve looms above”) without You decide what (if anything) happens
ever bothering with Make Camp. during the night. Consider all the dangers
you’ve established and the preparations
But! If there’s danger afoot, or the PCs have that the party has made (or not made).
been hurt, or they’re investigating a point of Think about relevant threats and their
interest and they’re, like “I think we need to grim portents. If it’s obvious to you that
rest,” that is when this move triggers. a particular encounter would occur, then
it occurs. Decide who’s on watch when it
When they announce that they want to happens, frame the scene, make an appro-
Make Camp, think about where they are priate GM move, and play from there.
and what they are (or should be) worried
about. Then ask them questions.

244
 Expeditions

If you think that something might inter-

rupt their rest, but you aren’t sure, then call The party is en route to Marshedge in
for the Die of Fate. Consider giving them early summer. The first two days were
advantage or disadvantage on the roll, uneventful, but this is the first time we’ve
depending on how well-prepared they are. seen Titan Bones on screen, and there’s
Here’s a general-purpose result table: danger there, so I’ve zoomed in and
they’re Making Camp. We’ve already
decided that they’re making porridge with
1d6 occurrence
a mess kit, using fuel left in the wayside’s
1 Something dangerous approaches, common supplies. “But just enough to cook
inclined to do harm. with,” says Rhianna. “It’s plenty warm.
2 Something dangerous approaches, curious No need to announce our presence.” They
but not aggressive. set a watch order.
3 Something annoying happens (critters in
the food, rain, an argument, etc.). “Are you doing anything to prepare for
4-5 The night passes uneventfully. the nosgolau?” I ask. Vahid rigs up some
6 They observe something interesting, find twine strung with little bells, propped up
something useful, or otherwise gain some on blocks of firewood. “If anyone wanders
small boon; or the night passes uneventfully off, they’ll trip the wire and wake the rest
of us.” Nice.
For more about the benefits of Making
Camp, see Harm & Healing (page XX).
We use the Keep Company move, and
there’s some delightful teen drama.
Deprivation They settle in to sleep and I have to decide
If PCs don’t get food, drink, or rest, if and when the nosgolau show up. I’m
then at first the only consequence is pretty sure that they will. I ask Blodwen to
that they don’t get to make a choice roll the Die of Fate to see which watch they
when they Make Camp. But the appear in, and I figure if she gets a 6 then
longer they go with insufficient food, I’ll let them off easy. But, no, she rolls a 2.
water, or rest, the more danger they’re Vahid’s shift.
in. Start by asking them to Defy
Danger (the danger being their hun- I ask Vahid what he does to keep awake,
ger, thirst, or exhaustion). Escalate and what he’s thinking about, and then
with a debility, then more debilities. I introduce a danger. “Like an hour into
Make increasingly aggressive GM your watch, you realize you’re watching
moves (tell them the requirements this light off in the distance, up on Titan
or consequences, show downsides, Bones. And then it’s closer, and you hear
reveal unwelcome truths, etc.) as a whisper, someone calling your name.
they endure more deprivation. Use Someone who probably isn’t there, but who
the GM moves for afflictions (see you feel compelled to go to. Who is it?” Va-
Threats, page XX). Between sessions, hid says it’s Isra, his best friend from long,
write up their deprivation as a threat. long ago. There’s a custom move for this,
so I have Vahid roll +WIS and surprise,
surprise, things don’t go so well…

245
Expeditions

On a 7+, let them roll to see how many

FORAGE uses of provisions are at stake before they
When you spend a few hours seeking make their choices. You might also reveal
food in the wild, roll +WIS. In winter, the danger, risk, or challenge (at least its
you have disadvantage. On a 10+, pick general form). If they’re only getting a
2; on a 7-9, pick 1: paltry 1 use of provisions, at the risk of
getting lost, well... they might skip the
You acquire 4 provisions (1d6 uses) danger, thank you very much.
You acquire an extra 1d6 uses of
provisions Use the fiction, their choices, and the
You discover something interesting number of provisions at stake to fill in the
or useful details. If they get a 10+ and end up with
You avoid danger or risk (else, 2d6 uses of provisions with a risk, then
there is some) maybe they spot a big old buck and they
have to bring it down. If they get just 1
Provisions can substitute for supplies or 2 uses and avoid danger or risk, then
when you Make Camp, 1-for-1. perhaps they found wild carrots and some
birds’ eggs and so forth but the trip was
otherwise uneventful. Feel free to ask the
This move represents one “party” going out to player what they found, especially if they
gather food. If two or more go together, one avoided danger or risk.
of them is Foraging while the other Aids. If
they split up, they can each roll the move— On a miss, you might reveal an unwel-
potentially gathering more food but putting come truth that the land is barren or
themselves in more danger. picked clean, or show a downside of their
lack of experience in the wild, or hurt
It’s possible to travel while Foraging, but someone and have everyone in the party
as a rule they’ll cover only half the distance mark a debility from hunger. Or you could
they would otherwise. drop them right into a bad situation, like
getting gored by a wild boar or surrounded
by feathered drakes, and, hey, maybe they
can score some provisions after all.
246
 Expeditions

After a week on the road, mishap and

misadventure have depleted the party’s sup- Later, after resupplying in Marshedge and
plies. They’re all out, and still a couple days heading out towards Three-Coven Lake,
from Marshedge. Rhianna goes a-hunting, they once again find themselves short on
bringing Andras with her. food. Rhianna takes Andras hunting again,
but the rest of them stay at camp. They’re
“Are you, like, hunting game? Looking for well off the roads, now, and don’t want to
plants to eat? What’s the plan?” take chances.

“Hunting game. This is what we do back Rhianna and Andras roll to Forage and,
home for a living.” Sure, of course. She rolls alas, they get a 5. The party’s getting close
(with Aid from Andras) and gets a 10. They to Three-Coven Lake, less than a day away
roll a 3 for provisions, and decide to avoid (not that they know that). My notes include
danger or risk. a run-in with Hillfolk who are devoted to
keeping people away from the lake, and this
“Well, that’s not great. What do you think seems like a good time to spring it.
you brought down?”
“Okay, it’s a dreary, miserable day, but at
“Probably just some birds,” says Rhianna. least it’s no longer raining. Rhianna, you
“Maybe a few mourning doves?” and Andras have tracked a big old ram
through the hills for a bit, and you finally
Works for me. brought it down while it was drinking
from the stream. There’s plenty of meat for
Meanwhile, Blodwen and Caradoc are the taking, like maybe 8 provisions worth?
foraging near the road, looking for edible Andras has gone down to butcher the thing
plants and the like. Caradoc is Aiding; while you keep lookout.”
Blodwen rolls +WIS and gets an 8. They
roll the d6, for 2 uses of provisions. That’s just me setting the scene. Now I use
the Hillfolk’s monster move, outmaneuver
That’s a small number, but Blodwen’s trying their prey, and I go hard. “ You’re scanning
to impress Caradoc. “What’s the danger or the hills around you, and then, like, out of
challenge?” she asks. nowhere, there’s a mounted warrior on one
of the peaks. A Hillfolk. He whistles, and as
“Hmm. Blodwen, on a hunch, you follow he does, you realize the trick—he’s a distrac-
a swath of wildflowers up and around a tion! You see Andras look up, too, and right
curve in a hill, and there, coming from a then, an arrow comes from out of nowhere
dead old tree still gripping the side of the and tags him for 1d8 damage. Is he still up?
hill, there’s a big buzzing sound. Bees! Okay, cool, I think it took him in the leg, he’s
There’s lots of honey in there, for sure, 2 down and grabbing at it and his eyes are
uses of provisions, but you’ll have to get darting about in a panic, what do you do?”
it out. That’s your challenge. Or you can
turn around and go home safely but empty
handed. What do you do?”

247
Expeditions

Going home
Sometimes, though, returning home is as
much of an adventure as the initial journey,
maybe moreso. If the PCs…
The PCs will eventually turn back and
head for home. Now what?
… bring something/someone back that
makes the trip more difficult or
The return journey dangerous (like a few sledges full of
In general, gloss over the trip home. The bear meat or a pampered, whinging
points of interest that you described on the minstrel);
way out probably haven’t changed much. … are lost, badly injured, out of supplies,
They party already faced the challenges you or hunted;
established when they Charted a Course. … are racing to get home before some-
The trip home might still be long, and thing bad happens; or
grueling, and even dangerous, but unless … return home by a different route, with
there’s something new, just handwave most new challenges and points of interest…
of the journey.
… then Chart a Course back to Stonetop
The trip home is a time to ruminate and and play out the trip home just like you
consider. Describe the journey at a high resolved the initial journey.
level, maybe asking the characters some
questions. “Vahid, what part of that Green
Lord’s tomb do you keep thinking about?”
Arriving home
When the PCs get back home, consider:
“Blodwen, how are you feeling about Danu
right now?” “Rhianna, Caradoc... what are
Did they trigger any moves before they
you going to tell Wynfor’s mom?”
left that took time to resolve (like Pull
Together)? Roll and resolve them now!
Suggest that the group Keep Company. It’s
a great way to explore how the expedition
Did they Requisition town resources? If
has affected the PCs and their relation-
so, did they bring them back safely? If not,
ships. It also adds a sense of time passing.
the town Meets with Disaster (page XX).
If the party wraps up an expedition at or
Did they Return Triumphant? If so,
near the end of a session, then you might
resolve that move now. See the next page.
even skip the return trip entirely. Take care
of any bookkeeping that would happen
Did any of your threats advance towards
when they arrived home, either now or be-
their impending dooms? Think about how
tween sessions. Then start the next session
you’ll show the grim portents to the PCs.
with the PCs already at home, maybe with
some time having passed. Some love letters
How will various NPCs react to the PC’s
(page XX) can be useful here!
return? How will the PC’s success or fail-
ure impact the town? How will you show
this to the PCs?

From there, switch into “homefront” play.

See page XX for details.

248
 Expeditions

RETURN TRIUMPHANT What if they… don’t?

When you return home in triumph,
having saved your fellows, put down It’s possible that the PCs might not
the threat, seized an opportunity, etc., want to return home. They might
increase the steading's Fortunes by 1 want to continue exploring an area,
(to a maximum of +3). or resettle in a different town, or just
leave and never come back.

A successful adventure boosts morale and To help prevent this, remember to

sets the PC’s steading on the path towards bring it home. While the PCs are
prosperity—or at least it undoes some of the on an expedition, ask about NPCs
damage done by whatever disaster led to the that they care about. Remind them
expedition in the first place. of their responsibilities back home.
Ask them who or what they miss the
To trigger this move, the PCs’ return must most out here. Do this consistently,
be triumphant, something that makes folks so that the PCs feel connected to the
celebrate or at least talk excitedly. If crinwin village. Returning home will feel like
steal an infant and the PCs go into the the obvious thing to do.
Wood after them, triumph means saving the
kid. It doesn’t mean killing a few crinwin If they consider staying in the field,
and returning with the child’s corpse. remind them of the consequences.
Folks might assume that the PCs are
You’ll have to feel this out in play. If a dead, their jobs will go undone, less-
stranger limps into town raving about the competent folks might take charge,
ghostly raiders who attacked his caravan, etc. Practically, the PCs won’t be able
well, no one’s expecting the PCs to save his to Outfit without access to a friendly
companions. They’re probably goners, and town, or Level Up without at least a
triumph means putting those raiders down. temporary home base.
But if it was the town’s logging camp
in the Foothills that came under threat, That said, it’s not your job to force
triumph would mean getting most of the them home, it’s your job to play to
workers home safely, regardless of whether find out what happens. Sometimes
they took out raiders. Priorities! it makes sense for some or all of the
PCs to stay in the field (for example,
When in doubt, put it to the table: if any- to unite the Hillfolk against the
one (GM or player) thinks that the PCs’ southern slavers) or to leave town
return isn’t triumphant, then the move for good (because, say, the Seeker
doesn’t trigger. has become a liability). This might
mean the end of the campaign, or the
Remember to begin and end with the end of a particular PC’s story. But
fiction. Don’t just increase the steading’s it might also mean some significant
Fortunes, say (or ask) what that looks like. change to how the game plays. See
Show off the tearful reunions and the “Making Stonetop Yours” for ideas
celebrations. Have NPCs thank the PCs in (page XX).
public and private ways. Bring it home!
249
Expeditions

What to prep
Identify your points of interest, including…

… any landmark that has not yet been

If you know that an expedition is in the
seen in play (or that has changed since
PC’s future, there’s plenty you can prepare
the PC’s last visit);
in advance. You don’t need to prepare these
… any specific places where you plan to
things, but prep can help make the journey
frame a scene and make a GM move;
go more smoothly in play.
and...
… the journey’s destination.
First, chart the course. Look at where
they’re going, their likely route(s), and
Then identify the legs of travel between
make your choices for the Chart a Course
each point of interest. Note how long the leg
move. Write them down with little check
will likely take.
boxes next to them, so you can tick them
off as you present them in play.
For each leg of travel or point of interest,
make a few notes:
Next, draw a map of the route that you
expect them to take or the area you expect
A brief description, no more than
them to traverse. Grab a map of the vicin-
a sentence.
ity around Stonetop or the World’s End
2-3 impressions, ideally hitting senses
region and highlight or add the points of
other than visual.
interest relevant to the journey. Con-
Some questions you want to ask of
sider making a more zoomed-in map for
the players.
areas that aren’t very well detailed on the
Any challenges (from Chart a Course)
regional map.
that you plan to introduce there.
Any other dangers or discoveries you
expect to be encountered there.

250
 Expeditions

For regions or locations described in the them encounter a random hagr; have them
almanac, you can either copy the relevant encounter a hagr who is sullenly building a
details or just add a page reference to your new home for itself because the Mother of
notes (and maybe put a sticky on the page Spiders and her brood chased it out of its
in the setting guide). Feel free to add ques- old home.
tions or other details of your own devising!
Prepare up to 7 possible encounters that Consider making a Die of Fate table
could occur along the journey—dangers, for the weather (page XX), for events
discoveries, or events you can use when the while they make camp (page XX), or for
characters miss a roll, when a 7-9 implies encounters they might have while traveling
some sort of complication, or when you through a perilous area (page XX).
just need to break up the journey a bit.
Create each Site (page XX), Danger (page
For each encounter, limit yourself to 1-3 XX), Discovery (page XX), and NPC
sentences but try to tie them into a larger (page XX), they are likely to encounter, in
story. For creatures, include a disposition or as much or as little detail as you feel valu-
activity—what are they up to and how are able and appropriate.
they likely to react to the characters? For
any encounter, use it to show the characters Finally, write up any NPCs or followers that
(and more importantly, the players) the you expect to join the party (page XX).
bigger picture. For example, don’t just have

251
Expeditions

Let’s think back to the first adventure. I list my points of interest and legs of travel:
Crinwin (in service to a hypnotic, child-
collecting swyn) are going to abduct Pryder. * The Stream. It’ll be the first time
Rheinal, Pryder’s father, will stagger back they cross the Stream in play. I note its
into town, injured and covered in crinwin page number in the almanac and skim it.
blood. I expect the PCs to track the crinwin
and try to rescue Pryder. * The Great Wood (~1 hour). This will
be the first time exploring the Wood in
I Chart a Course in advance, writing down play. I crib impressions and questions
these requirements: from the almanac, and add “What sign
of a warm, early spring do you notice?”
O You must first travel to the scene
of Pryder’s abduction, and follow * Scene of Pryder’s abduction. I jot
the tracks from there down some impressions (“Blood on the
O You’ll need to bring a decent stone that hit Rheinal” and “Pryder’s
tracker crinwin-charm, discarded in the brush”).
O It'll probably take at least a day I’ll ad-lib any investigation that they do,
there and back, maybe more but this is where they’ll find the trail.
O You risk getting lost (losing the trail)
O You’ll need to watch out for * Following the trail (~ 5 hours). More
crinwin (obviously) and other travel through the Great Wood. They risk
dangers of the Wood like nailadd, getting lost here. They’ll pass by the Red
feathered drakes, and fae Grove, so I skim the entry in the alma-
O You risk drawing the attention nac, but I doubt they’ll go there.
of crinwin
* Camp site. Not a specific location, but
Next, I zoom in a little on the “Vicinity” they’ll need to Make Camp. I’ll play the
map and expand it a little, showing the location by ear, but they’ll need to watch
path that the crinwin took and the nearby out for crinwin or other dangers.
landmarks (the Red Grove).

Stonetop

Red Grove Swyn’s

Lair

X
252
 Expeditions

* More trail (4-5 hours). I’ll ask some

questions like “What’s the worst part of
hiking through the forest?” and “What do
you find yourself missing from home?”

* Old Crinwin Nest. Like a giant wasp

hive, torn apart by crinwin under
Sajra’s sway; signs of crinwin killing
each other.

* More trail (4-5 hours). They’re getting

closer, so they risk drawing attention of
crinwin as they travel.

* The Swyn’s Lair. An old Green Lord

barrow. I’ll work this up as a full-
fledged site for them to explore.

For possible encounters, I come up with the

following list.

* Three feathered drakes roaming

the area, hunting deer & wisents;
catch the PCs’ scent and think they
look slow and tasty.

* The crinwin that Rheinal wounded,

dead and abandoned by the others. I find the monster stats for feathered drakes,
crinwin, nailadd, spriggan, and swyn in the
* A spiteful spriggan, Thornthumb; almanac. I put little sticky flags on each one.
kicked out of the Maker-tomb by
(and lost his hoard to) the swyn; I spend a fair bit of time creating the swyn’s
tries to steal from PCs; willing to help lair as a site (see page XX). I also make
against swyn but will ultimately some notes about the abandoned crinwin
swindle/betray them. nest and the older Maker-ruins. I write up
some dangers and discoveries for each.
* An old Maker-ruin just off the tracks;
old Forest Folk glyphs on trees/rocks I make some notes on portraying NPCs:
nearby; half-dozen crinwin are Thornthumb, the missing kids (Pryder and
excavating it on Sajra’s behalf Brynfor), and Rheinal (Pryder’s father).
Rheinal might join the PCs, and he’ll take
* Crinwin, loyal to Sajra the Swyn, on orders, so I write him up as a follower.
patrol or keeping watch.
I’m ready to go.

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Dangers

Hazards
Monsters
Dangers

Dangers are likely to hurt the PCs or the

things they care about. There are two basic Dangers vs. threats
types of danger:
Dangers may or may not also be
threats (see page XX). Threats are
Hazards are environmental dangers, like
ongoing problems, things that will
traps, treacherous terrain, or weather.
come back to haunt the PCs later;
they might not be dangerous, but
Monsters are active dangers, usually things
they’re always troublesome. Dangers
with intent; adversaries that the PCs can
are immediate problems: things that
fight (or fight off ).
can hurt or hinder the PCs during a
scene, here and now.
PCs usually encounter dangers when
they’re on an expedition, or when things
Ultimately, the difference is what
get bad and a danger shows up in town.
you prep. Your prep for a threat tells
Ultimately, they’re just elements of the
you what they’re up to, what sort of
fiction: you frame a scene that includes a
trouble they might cause, how that
danger (or introduce one into a scene), you
trouble will escalate and where it’s
describe the situation, you make a move
ultimately going. Your prep for a dan-
using the danger, and you ask “what do you
ger tells you how to use a hazard or
do?” Go from there.
monster here and now, in a scene.
Like any element of the fiction, dangers
Lots of threats are also things that
can be improvised. Much of this chapter,
the PCs might fight. If they are, write
though, focuses on preparing dangers in
up a monster description for them
advance. The last chunk of the chapter
(see page XX) or find an appropriate
deals with running fights.
entry in the almanacs. Lots of mon-
sters that the PCs encounter might
become threats later. If they do, write
them up as a threat between sessions.

262
 Dangers

Hazards
You can also introduce hazards in response
to a player move. A new hazard is a great
consequence on a 7-9 roll to Defy Danger
Hazards are environmental dangers. They can
(“You get past the thug, but the lamp tips
impede or harm the PCs but lack initiative
onto the mattress—it’s on fire!”). When
and intent. Hazards can’t really be fought
someone Seeks Insight and asks, “What
and slain with spear and shield; they must be
should I be on the lookout for?” make up
avoided, endured, thwarted, or overcome.
a hazard and tell them about it. If they’re
traveling cross-country and someone gets
Improvising a hazard a 6- on pretty much anything, you could
Hazards don’t always need game mechanics introduce a danger and have the sky open
or stats. You’ll often just improvise them. up in a torrent of rain.

To improvise a hazard: imagine a physical Remember that on a 6-, when you make a
obstacle or danger that would make sense hard GM move and establish badness, you
in the environment. Then, frame a scene (if decide just how bad it is. That means you
you haven’t already) and make a GM move can introduce a hazard and immediately
to introduce the hazard. Ask the PCs what have it cause harm or badness, as long as
they do. If they ask clarifying questions, it makes sense in the fiction. But you don’t
make up answers that make sense but then have to. So when the Fox rolls a 6- to
act as if they were true all along. If the PCs Burgle a chest, you might jump straight to
do something with an obvious outcome, hurting them with a poison needle trap.
say what happens. If they trigger a player But you could also introduce a danger
move, resolve it. Use your knowledge of the and say that they notice these arcane runes
situation and your sense of the fiction to around the lip, and clearly some sort of
describe what happens next. harmful magic will be unleashed if the
chest is opened, what do you do?
When the players try to bypass or overcome
a hazard, you should regularly tell them When a hazard is present during a fight
the consequences/requirements and ask or any other sort of action scene, keep
if they still want to do that. Players should including it in the fiction and keep mak-
understand the risks before they commit to ing moves with it. A hazard is part of the
any course of action—even if the risks are environment and the fictional positioning
“you aren’t sure what will happen.” (page XX) of the characters; its presence
limits what the PCs can do and informs
Clever players will often come up with the results of their actions.
ways to bypass a hazard that don’t trigger
a move. Resist the urge to call for a move
(like Defy Danger or Struggle as One)
just because you think “there should be a
roll.” Always confirm that the trigger is, in
fact, being met. Otherwise, you’ll end up
invalidating the players’ creativity and you
might find yourself struggling to come up
with meaningful results on a 7-9 or 6-.

263
Dangers

Vahid, Caradoc, Blodwen, Rhianna, and They decide against jumping it. Vahid pokes
Andras are exploring the ruins around Three- the landing with his spear and otherwise
Coven Lake. They’re climbing a set of wide, takes in the situation, Seeking Insight. He
ancient stairs going up the side of a bluff. It’d gets a 7-9. “What here is useful or valuable
be a nasty fall into rocky water, but the stairs to me?” he asks.
so far have been well-built and stable.
I think about the situation and make a
I decide to change that, and introduce a dan- decision (remember, I’m making this up as
ger. “The stairs and bluff curve inward, away I go). “Well, the ledge that remains should
from the lake, then the stairs level off to a short bear your weight if you go one at a time,
landing. Vahid, you’re in front, so you see this but it’s impossible to tell. But when you look
first. The landing has partially collapsed, and closely, you realize that the cliff face has
while there’s enough left to scamper across, it some ridges that could be used as handholds.
doesn’t look entirely stable. The stairs on the Oh, and if you’ve got any rope in your gear,
other end look fine, though. What do you do?” that could be useful, too.”

They ask some questions about the drop (like I then offer riches at a price and say that he
50 or 60 feet, onto rocks) and the size of the can see the rest of the stairs from here. “They
landing (originally about 12 feet square, appear to be intact all the way up to the next
but there’s only like 2 or 3 feet left for most opening carved into the cliff, an ornate arch
of it, up against the cliff wall, and a gap of carved with Maker runes. What do you do?”
almost 9 feet).
“I really want to check that out,” says
“Only 9 feet? So we can just jump it, Vahid. After some discussion, they produce
right?” says Caradoc. some rope and tie each other together, then
scamper over the ledge one at a time, using
I tell them the consequences and ask. “It’s the handholds to brace themselves. The rope
certainly jumpable, but it’s not a sure thing. means that they’re Defying Danger as a
You’ll each have to Defy Danger, and any- group, so we resolve this using Struggle as
one with a normal or heavy load will be at One (and decide that everyone gets advan-
disadvantage. Oh, and I don’t think Andras tage on their rolls for acting on the answers
can make it—he’s still nursing that arrow from Seeking Insight).
wound in his leg, right? But the rest of you
can try if you want. What do you do?”

264
 Dangers

Damage from hazards

If a hazard (improvised or prepared) deals Certain death
damage, ask yourself what it could likely If a hazard (or other source of harm)
do to a normal person. would definitely, absolutely kill a
normal person, then it shouldn’t
worst outcome die deal damage to the PCs—it should
Bruises & scrapes, pain, light burns d4 immediately reduce them to 0 HP
and trigger the Death’s Door move.
Nasty flesh wounds, bruises, burns d6 If they survive, then that means they
Broken bones, bad burns, d8 caught a break. You can and should
debilitating pain still hurt them, badly.
Death or dismemberment d10
Telegraph this sort of hazard very
clearly. “If you fall, I’ll probably give
Then, assign effects to the hazard according
you one chance to catch yourself. But
to its capabilities (choose all that apply):
if that fails, it’s a 60-foot drop onto
jagged rocks and shallow water. You
if... effect won’t be taking HP damage, you’ll be
... armor can’t protect ignores armor rolling Death’s Door. You sure you
against it want to do this?”
... it slices through 1 piercing,
leather/hide messy
... it can tear metal apart 3 piercing,
messy
... it knocks them down forceful
or around
... it’s big/vicious/scary +2 damage
... the PCs have taken disadvantage
precautions
... it catches them off-guard advantage

Apply disadvantage to the damage roll if

the PCs knew (or suspected) about the
hazard and proactively did something to
protect themselves. For example, if the
hazard is a poisonous gas and they cover
their faces and mouths with damp cloth
before entering it, impose disadvantage on
the damage roll. By contrast, if the hazard
catches them flat-footed, hurting them
even before they realize it’s there, then ap-
ply advantage to the damage roll.

265
Dangers

Preparing hazards As a detailed description

If you’re preparing an expedition or a point Think about the hazard and its specific
of interest in advance, you might want to fictional details: Where is it? What does it
prepare some hazards. Prep hazards for look like? How does it work? What trig-
all the reasons you prep anything: to give gers it? What does it do? You might just
yourself interesting stuff to say, to speed up visualize it in your mind, or jot some notes
play, to shore up your weaknesses, to hone down, or even draw a picture or diagram.
your craft, and to give yourself permission
to play hard and visit badness on the PCs. In play, introduce this kind of hazard much
like you would if you were improvising it.
Prep your hazards as much as or as little as Frame a scene where the hazard is relevant,
you find valuable. Remember that prep is introduce it with a GM move, ask “what
for your benefit; unless you’re making notes do you do?” Answer the players’ questions
for someone else to use, there’s little point and resolve their actions based on your
in writing down stuff that’s obvious to you. understanding of the hazard.

There are a few approaches to preparing This approach tends to be good for traps,
hazards. You might prepare one as... because it means taking time in advance to
think through how the trap works. When
... a detailed description; you improvise a trap, it’s easy to make up
... a series of GM moves, possibly with details that don’t make sense under scrutiny.
an instinct;
... an impending doom (with grim portents); This approach is also good for physical
... one or more player-facing moves; or... obstacles, especially ones that aren’t par-
... some combination of the above. ticularly dynamic (like a chasm they might
want to cross, or a tree they might want to
There’s no hard and fast rule for when to climb). Having thought through the physi-
use each approach. Use whichever one cal space allows you to easily answer the
seems most appropriate for the hazard you players’ questions and resolve their actions.
have in mind.

266
 Dangers

For our first adventure, there’s a

ruined crinwin nest that the PCs
might encounter en route to
Sajra the swyn’s lair.

I suspect that the PCs might

want to investigate the nest, or
set fire to it, but I know that it’s
high up in a huge tree. The climb
would definitely be a hazard.

I make some notes: the nest is about 70 feet

up, and the lowest boughs are maybe 40
feet. The trunk is maybe 10 feet wide.
I look up sequoia redwood trees and
make a little sketch for reference.

A fall while climbing a tree this tall could

definitely kill a person, but it’s not certain
death. It’s definitely big and scary, would
knock someone around, and armor wouldn’t
help against it, so I set the damage as
1d10+2 (ignores armor, forceful).

There’s also an old Maker greenhouse near

Sajra’s lair, which enslaved crinwin
have been excavating for the swyn. I
decided earlier that it would include some
old magical seeds, locked away and still
unpilfered by the crinwin. Why? Because
they’re protected by a trap!

I think that the seeds are stored in an

impossibly well-preserved wooded chest.
If anyone disturbs the clasp without first
pressing two particular knots in the wood,
a thorn will shoot out of the clasp and prick
whoever is handling it. The thorn carries a
lethal poison (d10 damage, ignores armor,
will quickly necrotize flesh and stop a
heart if not treated). There’s a dead
crinwin in the room with a withered
black hand; it tried to open the
chest earlier.

267
Dangers

As GM moves
Think about how the hazard works and— That old ruined greenhouse that the
more importantly—how you intend to crinwin are excavating has a number
use it in play. Write out a series of fairly of animate, aggressive, vines that could
specific GM moves that reflect as many of cause all sorts of trouble for the PCs. I
the following as make sense: first consider writing them up as mon-
sters, but I realize that they can’t really
How the hazard’s presence is fore- be fought… no matter how many vines
shadowed or revealed they chop through, there will be more!
How the hazard harms or hinders Instead, I write the vines up as a hazard
How the hazard escalates or gets worse with the following GM moves:
How the hazard might thwart attempts
to overcome it. * Make quiet noises as they slowly
grow and creep (how it’s fore-
Consider adding conditional triggers to shadowed)
each of these moves, as a reminder of when * Seem to be moving, but stop when
to use them. looked at directly (how it’s fore-
shadowed)
If the hazard is dynamic and changing * Reveal a mass of vines entwining
(like a storm, an avalanche, a wildfire, etc.), a desiccated crinwin corpse
give it an instinct, written in the format “to (how it’s foreshadowed)
[do something].” During play, use the haz- * Slip a tendril around a limb,
ard’s instinct as a guide to how it behaves. slowly and quietly (how it hinders)
If you’re not sure what a hazard is going to * Sprout thorns and inject a numbing,
do next, do whatever its instinct suggests. euphoric poison (how it harms)
* Lash out with more tendrils to
Why use this approach? Mostly, because it subdue struggling prey (how it
helps you hone your craft. You can think escalates)
through pacing and escalation in advance,
rather than under pressure during play. I also give it an instinct: “to ensnare.”
This sort of prep can also make it easier to
let things burn; if you write a move like I’m not seeing this hazard as doing dam-
“slice off a limb” when you prep the hazard age—it just restrains prey, makes it bliss
in advance, you’ll be more likely to actually out and stop struggling, and then slowly
do that during play. suffocates it. I figure that anyone who gets
injected with the euphoric poison will
need to Defy Danger to do anything other
than relax and enjoy themselves.

268
 Dangers

As an impending doom
Write a series of increasingly bad events, Sajra the swyn’s lair is an old Green
ending with some final doom. Lord tomb, buried by ages of forest
growth. One of the chambers features a
Start by imagining the final, ultimate cracked, sagging roof held aloft by three
bad thing that can happen and write a ancient wooden pillars (and a fourth
short description, like “The throne room that collapsed many years ago). Some of
collapses.” Then, write 1-4 grim portents, Sajra’s crinwin have started building
events that represent how the hazard starts nests around the remaining pillars,
and how it escalates. Pair each portent with further weakening them.
damage and tags, if appropriate.
The PCs are likely to get into a fight
Put one or more check boxes next to each with the crinwin in this chamber, and
grim portent (multiple check boxes means the pillars could easily be harmed and
that portent happens multiple times). End start collapsing. I write up the hazard
with the impending doom. In play, when like this:
you make a GM move, you can advance
towards impending doom and have the Advance this each time one of
next event happen. the pillars is struck, or whenever it
feels right:
Optionally, you can write triggers that
cause the doom to get closer. The trigger OO A pillar cracks and buckles; dirt
might be fictional (“each time there’s a pours from ceiling
loud noise or powerful blow”) or mechani- O A pillar breaks; slabs fall (d8+1
cal (“each time someone rolls doubles”). damage, forceful)
O Another pillar breaks; the ceiling
During play, consider making the number starts to collapse (d10+1 damage,
of check boxes in the impending doom forceful)
public. This can ratchet up the tension and O IMPENDING DOOM: the room
it lets the players make decisions based on collapses, burying anyone still
how much time they have (or don’t have). within (Death’s Door); connecting
tunnels are blocked off

269
Dangers

As player moves
Write a custom player-facing move to reflect
the hazard (or part of it), like “When you
breathe in the horrible stench of the Maw, roll
+CON….” When the PCs encounter the
hazard and the move becomes relevant, share
it with the players. Resolve it like you would
any other player-facing move.

A player-facing move is a great way to estab-

lish and communicate stakes. You can tell a
player that they’ll have to Defy Danger to leap
across the chasm, but unless you also tell them
what will happen on a 10+, a 7-9, and 6-, they
don’t really know the risks. With a custom
move, you can bake the stakes right in.

Player moves are also a good way to handle

“weird” hazards, like magic that messes
with their minds or that follows strange
rules of cause-and-effect. A player move
can abstract these situations and give them
a vague, dreamlike quality.

Remember: everything begins and ends I previously wrote up the ruined crin-
with the fiction. If the PCs come up with a win nest—and the climb to reach it—as
clever way to bypass a hazard or its trig- just a detailed description. I noted that
ger, then your move might no longer apply. it might do 1d10+3 damage on a fall,
That’s great. Don’t negate their choices, their but thinking about it more, the fall could
creativity, or their abilities just because you’ve easily kill someone or seriously injure
got a cool custom move you want to use. them. I want the PCs to know just how
dangerous the climb could be, so I write
For guidelines on writing custom moves, up this custom move:
see page XX.
When you fall from the boughs of
As a combination the tree,
tree, take 1d10+3 damage
Many hazards will work best as a combina- (ignores armor, forceful) and roll
tion of these approaches. You might start +CON: on a 10+, you’re bruised and
with a detailed description of a trapped bleeding and in a lot of pain, but
chamber, then add a player-facing move for miraculously nothing’s busted; on a
what happens when they try to bypass the 7-9, something’s broken—ask the GM
trap in a particular way. Or you might write what; on a 6-, you landed bad and
up a series of GM moves and an instinct for you’re at Death’s Door.
a wildfire, plus a countdown describing how
the fire spreads. Get creative.

270
 Dangers

Sajra’s lair is an old Green Lord tomb, and When you enter the Hall of Gratitude,
Gratitude,
the mummified Maker is still ensconced in its you see a shifting tableau of ancient
central vault. To reach the vault, one must peoples living and learning at the feet
pass through the Hall of Humility and the of tall, magnificent beings. Roll +WIS: on
Hall of Gratitude. They are warded with fae a 10+, you witness someone learning a
magic to ensure that those who approach the skill or trade that is nowadays taken
vault do so with proper respect. I decide to for granted—describe the scene, then
write these hazards as custom moves. move on to the Hall of Offering; on a
7-9, you find yourself living one of these
When you enter the Hall of Humility,
Humility, ancient lives—describe the task you
choose 1: are performing for the Makers and how
you realize that this life isn’t yours,
* Tell us of a moment that left you then mark Dazed and move on to the
feeling humbled and small before Hall of Offering; on a 6-, the tableau
the natural world; you may then shifts and you find yourself living a life
proceed to the Hall of Gratitude. of savagery, brutality, sickness, hunger,
* Tell us of a personal triumph, a and want—tell us a hardship you experi-
moment that fills you with pride ence most cruelly, and mark all three
and self-satisfaction; you then debilities. Then tell us how you find your
exit the Hall of Humility and find true self again, and move on to the Hall
yourself back in the antechamber. of Offering.

271
 Monster format
0
Crinwin 1
Almanac entries in The Wider Horde, small, hoarder, cautious, stealthy 2
World include many monster 3 HP 3; Armor 1 (reflexes)
write-ups like this—use them 4 Damage claws, rocks, choking d6 (hand)
when you can, either as-is or 5 Special quality climbs/jumps like a squirrel
slightly modified. 6 Instinct to covet
ä Mimic noises, words, cries for help
0 Icon: a quick visual identi- 7 ä Hide or vanish into the trees
fier for different monster ä Snatch something and dart away
types, used for monsters entries
in the almanac. You don’t need 8 They’ve always been there, in the Wood,
to include these in monsters you lurking in the trees. For generations, the
write up. Forest Folk hunted them and kept their
numbers in check. No longer.
1 Name: what the monster is
called (by itself, by the people Out-of-place noises: partial bird calls,
who deal with it most, or by you, off-season insect buzz, a bear’s growl
the GM, for your own reference). 9 from the treetops, snippets of
nonsense speech
2 Tags: terms that help describe Figures scurrying, leaping, swinging
the monster. All monsters have through the branches
an organization tag (solitary, group, Sinewy strong fingers around your throat
or horde) that indicates how they Clammy, blackish blood; too cold and
hunt and fight; many have a size putrid to be natural
tag (tiny, small, large, or huge) that
describe how big they are. Other Something interesting: there’s something
tags describe a monster’s basic na- that everyone agrees will keep crinwin
ture (e.g. construct, spirit, undead), its at bay (a smell, a charm, a sound, a little
traits (e.g. stealthy, terrifying), or its ritual, etc.). What is it, and why are you
behaviors (e.g. organized, cautious). sure that it’s next to worthless?
See page XX for descriptions.
Something useful: there really is something
3 Hit points (HP) and Armor: that keeps crinwin at bay, but it involves
how much damage the monster
something uncommon, impractical, or both.
can take, and how well protected it
What is it, and why isn’t it common knowl-
is. When a monster is reduced to 0
edge (or at least commonly accepted)?
HP, it’s out of the action (uncon-
scious, disabled, dying, or dead—
your call). When a monster suffers
damage, reduce that damage by its
Armor. The description after the
Armor rating describes its source,
and any exceptions.

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 Damage: how the monster typi-
Monsters
4
Monsters are active dangers—things that
cally attacks, the damage it does,
the PCs can fight (or at least fight off ).
and the tags associated with that dam-
They are usually animate and sentient, or
age (see page XX for descriptions).
close enough. It’s a game term more than
anything else, covering beasts and people,
5 Special qualities: (optional)
constructs and spirits, and actually mon-
innate traits that impact play but
strous foes.
aren’t otherwise obvious or described by
tags. Special qualities can be advanta-
At left is an example monster, fully
geous (“echolocation” or “immune to
prepped, with its individual elements
heat/fire”), disadvantageous (“blind” or
called out.
“vulnerable to water/cold”), or neutral
(“made of crystalline rock”). These aren’t
GM moves, per se, but they can and
should inform the fiction that you estab-
lish and the GM moves that you make.

6 Instinct: what the monster typically

does that makes it come into
conflict with others. Use its instinct as a
guide to its behavior. When you’re not
sure how a monster would act, do what
its instinct suggests.

7 Moves: GM moves that you can

make with this monster. You’re not
limited to these moves—you can and
will use all your standard GM moves
like announce trouble or use up their
resources—but monster moves describe
specific ways that the monster fights or
causes trouble.

8 Description: a short description of

the monster’s physical form, its
habitat, behaviors, or nature.

9 Optional elements: including

lore (something interesting and
something useful, for when someone
Knows Things), or custom player moves
(e.g., “When you lock eyes with the
swyn, roll…”).

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Dangers

Creating monsters To create a monster:

Whenever you prep a threat or an expedition, 1) Conceptualize it

and you identify something that the PCs are 2) Name it
likely to fight, either find its monster entry in 3) Give it tags
the almanac or create the monster yourself. 4) Calculate hit points
5) Calculate Armor
6) Calculate damage
As I’ve planned my first adventure, I’ve 7) Write special qualities
identified a number of monsters that the 8) Write its instinct
PCs might encounter: crinwin, nailadd, 9) Write its moves
feathered drakes, and of course the swyn 10) Describe it
itself. All of these monsters have write- 11) Write any appropriate optional
ups in the almanacs, so I’ll just use those. elements: lore, player-facing moves, etc.
Sajra the swyn’s lair is an ancient Green If you’re improvising a monster during play,
Lord tomb, and in preparing the site, I just quickly conceptualize it (step 1) and
also decided that the final entrance to the then calculate its HP, Armor, and damage
actual burial vault would be guarded by (steps 4-6). Use your standard GM moves
two powerful fae servants. None of the to run it for now. If it becomes a recurring
fae described in the almanac fit the bill, so foe, take time during a break or between
I’ll make them from scratch. sessions to flesh it out with more details.

274
 Dangers

3
1 Concept I want two powerful fae guardians to
Before you do anything else, imag-
protect the Green Lord’s burial vault.
ine the monster. What is it? What does it
They’ll appear in the Hall of Offerings
look like? What does it do? Does it live
and greet anyone who makes it through
alone or with others? How does it fight,
the Halls of Humility and Gratitude.
eat, and live?
I know that they’re loyal to their Green
Lord master, and that they control access
You’ll usually have some ideas for the
to both its constructed afterlife and its
monster when you start this process. If
actual, physical burial vault.
you’re stuck, look at an appropriate alma-
nac entry and (if there is one) consult its
For a physical appearance, I lean on the
tables. Roll or choose a theme or two for
Green Lord themes of “plants and grow-
your monster, and use that to help flesh out
ing things” and “chimarae,” plus the fae
the concept.
tendency to blur binaries. I’m picturing
tall, powerfully built humanoids with
Another trick is to pick a monster from
flesh like wood, sprouting elk-like antlers.
more traditional fantasy settings, some-
thing that isn’t present in Stonetop. Identify
From the fae themes, I pick “fluidity of
what you find most interesting about it (its
time and space.” I think that they can
look, its powers, its symbolic meaning, its
basically twist and teleport intruders
behaviors or relationships to others, etc.)
around, and can appear or disappear
and craft a similar monster that “fits” into
as they please within their realm. I also
the mythos of Stonetop. For example, if
choose “debts/vows/obligations” and
you’re a big fan of ropers (cavern-dwelling
think that they extract promises from
monsters that look like giant stalagmites),
those who come before them.
you might decide to place something like
that in Labyrinth, keeping its powers but
changing its lore to align it with the Things
Below.

You should have a decent grasp on the

monster’s concept before you move on.
Your concept might change and evolve as
you work, but this process fleshes out a
concept that you already have. It doesn’t
generate the concept for you.

275
Dangers

3
2 Name
For monsters that are known to another
people (like the Hillfolk or the Man-
You’ll want a way to refer to the
monster, at least in your own notes. Write marchers), use a similar process as above
it down. but (for mysterious, rumored monsters)
translate the English description into a
If the monster has a proper name that it language appropriate for the people or
goes by, call it that, maybe with a short region. If it’s a mysterious monster known
description. For example, “Sajra the Swyn” to…
or “Daedre the Red, bandit leader.” Pick
proper names from an appropriate name … the Hillfolk, then translate it into
list or almanac entry, or make up some- Breton and drop some of the vowels,
thing similar. giving it a clipped, truncated sound.
… Marshedge, then translate it into Irish.
If the monster is known to the people of … the Manmarchers, then translate it
Stonetop, and it’s something they consider into German.
mundane or commonplace, then give it a … the folk of Barrier Pass, then translate
simple, descriptive name in plain English it into Nepali or Tibetan.
(like “feathered drake” or “butcherbird”). … Lygos or other parts south, then trans
late it into Greek, Hebrew, Persian, or
If the monster is surrounded in mystery, Arabic.
a thing of rumor and legend, then give it … the folk of Gordin’s Delve, then decide
a Welsh-sounding name (like “nailadd” which immigrant group originally
or “ceffylwraig”). Come up with a word named it, and translate it as above.
or description in English associated with
the monster, then run it through an online For monsters that are unknown and un-
translation service. Combine and tweak the named, give them spooky, descriptive titles
resulting translation (or try other phrases) in plain English, like “The Shadowy Pres-
until you find have something that sounds ence” or “The Killing Frost” or “The Thing
good and is simple enough to use in play. in the White Well.”
(You can use this technique to come up
with proper names, too.) For my fae guardians, I think that they
share a a title, bestowed on them by their
Green Lord master—something like “the
horned trees” or “the offering trees.” I try
translating a few words into Slovak and
find that “gift” can translate to “darček”
and “trees” translates into “stromy.” I
combine and simplify the two words
to become “the Darstrom.”

I write down the Darstrom, guardian

fae as their name.

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3 Tags What is it notable for?
Assemble a list of tags by answering (add all that apply) tag
the following questions.
Amassing trinkets and treasure hoarder
Avoiding fights, fleeing early cautious
How does it hunt or fight? (pick 1) tag Intelligence cunning
In large groups (6 or more) horde or devious
In small groups (2-5 per group) group Disturbing/terrible presence terrifying
By itself solitary Sneaking, surprising, ambushing stealthy
Using spells or magic magical
If an individual monster is part of a group, Working well in groups organized
but it still fights or hunts mostly on its own,
then give it the solitary tag (and appropriate If the creature possesses some other quality
HP and damage ratings; see below). that can be easily described in one word,
make up a tag.
How big is it? (pick 1) tag
Cat-sized or smaller tiny If the Darstrom fight, they fight as
Like a human child small a pair, so I give them the group tag.
Adult human-sized - They’re maybe 12 feet tall and quite
Like a horse, cart, etc. large massive, so I give them the large tag.
Like an elephant, or bigger huge They’re obviously fae, and notable both
for using magic and working well
together. I write down their tags as:
What is its nature?
group, large, fae, magical, organized.
(add all that apply) tag
Lacks physical form spirit
Between physical and spiritual fae
Made by someone construct
Alien to this world planar
Dead, but in denial undead

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3
4 Hit points What else applies? (pick all that do) hp
Determine the monster’s maximum
It’s particularly tough/durable +4
HP by answering the following questions:
It’s smiled upon by the fates +2
It’s animated by more than biology +4
How does it hunt or fight? (pick 1) hp It lacks vital organs +3
In large groups (6 or more, horde) 3
In small groups (2-5, group) 6
The Darstrom fight as a pair, with the
By itself (solitary) 12
group tag, so they start with 6 HP each.
They’re also large, giving them +4 HP.
Just to be clear: each monster in a horde has
The fae have strange forms, but they
3 HP, and each monster in a group has 6
are still living things with discernable
HP. This isn’t a shared pool of HP (unless
anatomy: they bleed, have hearts, brains,
you choose to abstract a group; see page
joints, and so forth. But the Darstrom—
XX).
with their woody flesh and massive
frames—are particularly tough. I give
How big is it? (pick 1) hp them +4 HP, for a total of 14 HP each.
Cat-sized or smaller -2
Like a human child -
Adult human-sized -
Like a horse, cart, etc. +4
Like an elephant, or bigger +8

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3
5 Armor What else applies?
Answer the following: (pick all that do) armor
It’s tiny +1
What is it protected by? (pick 1) armor It bears a shield or similar +1
Naught but cloth and flesh 0 It’s skilled in defense +1
Leathers or thick hide 1 It lacks vital organs +1
Mail, scale, or similar 2
Steel armor, boney plates, carapace 3 Make note (in parentheses, after the ar-
Potent magical wards or 4 mor) of the source(s) of the Armor rating
supernatural resilience and any notable exceptions.

The Darstrom have the typical fae

resilience to anything but iron, so I
start by giving them Armor 4. Even
against iron, they have wood-like flesh;
I think that counts as “thick hide.” They
have organs and anatomy, so no bonus
there, but I think that they’re skilled in
defense—they’re guardians, after all. I
write down:

Armor 5 (2 vs. iron; resistance or thick

hide; skill)

Yikes. These things are tough.

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3
6 Damage
Range tags
What is the monster’s typical form of
attack? Write it down, along with the mon- These tags indicate the range at
ster’s damage rating and appropriate tags. To which the monster’s attack is useful.
determine them, answer the following: PCs weapons also use these tags.
Use them to inform what’s possible,
How does it hunt or fight? (pick 1) damage what’s required, and what the likely
In large groups (6 or more, horde) d6 outcomes are (see “Fictional position-
In small groups (2-5, group) d8 ing,” page XX).
By itself (solitary) d10
tag description
What is the nature of hand tight quarters; up close
its armament? (pick 1) add and personal
Useful up close and personal hand close melee range, 1-2 steps away
Work well at sword’s reach close reach 3-4 steps away.
Can keep foes at bay reach near up to 30 or so steps away
Useful at range near and/ far quite the distance; 100 steps,
or far maybe more
Can hurt many foes area
Small and weak -1 damage How big is it? (pick 1) damage
die size
Cat-sized or smaller -2 damage,
Vicious and obvious +2 damage -range
Can cut through leather or hide 1 piercing, Like a human child -range
messy
Adult human-sized -
Can tear metal apart 3 piercing,
messy Like a horse, cart, etc. +1 damage,
+range
Can ignore armor entirely ignores
armor Like an elephant, or bigger +3 damage,
+range
Prone to breakage crude
“-range” means you should decrease its
range tag(s) one step, while “+range” means
you should add a range tag.

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What else applies?

(pick all that do) add
Its strength is unrelenting +1 damage,
forceful
It’s skilled in offense +advantage*
It strikes deftly +1 piercing
Physical injury is not the -1 damage
worst danger it poses die size
It (or its species) is ancient +1 damage
die size
It abhors violence +disadvantage*

* “+advantage” means you roll damage

twice and use the higher result, while
“+disadvantage” means you roll damage
twice and use the lower result.

If the monster has multiple, distinct modes

of attack (like big meaty fists and a 12-foot
club, or a toothy maw and a tail that flings
barbs), write each one down with its own
damage rating and tags.

The Darstrom are loathe to fight, but when I’m picturing them as implacably strong, so
they do, they smash foes with their trunk- I give them +2 damage and forceful. Their
like forelimbs, or plant those limbs and kick primary danger, though, comes from their
out with their legs. I write down “Powerful abilities to extract promises and to mess
blows” as their primary form of attack. with time and space. That reduces their die
size from a d8 to a d6, but they’re also quite
They fight as a pair (group tag), so they ancient (from the time of the Green Lords),
start with d8 damage. Their limbs are so I bump it back up to a d8. Because they
particularly long for their size, so I give loathe violence, they’ll have disadvantage
them the close range (rather than the hand on any damage rolls.
range). I consider giving them the +2 dam-
age for armaments that are “vicious and I write their damage entry as:
obvious,” but I don’t think that’s quite right.
Powerful blows: d8+3 damage w/disad-
They’re large, giving them +1 damage and vantage (close, reach, forceful).
an extra range. I add reach instead of hand,
because I think they’d better at keeping foes at
bay than fighting ones inside their guard.

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3
7 Special qualities The Darstrom have three glowing,
Consider writing a special quality
empty eyes. That’s weird and creepy, but
for each of the following that the monster
won’t really affect play. They have woody
possesses.
flesh, but I’ve already accounted for that
in their HP and Armor. I’ve already
An exceptional/limited sense (like “sees
noted their vulnerability to iron.
heat instead of light”)
A useful adaptation/defense (like “im-
They have no mouths, but “speak” tele-
mune to fire”)
pathically. I think they’re entirely honest.
A strange form or composition (like
And I think their presence messes with
“amorphous ooze” or “made of dust”)
time and space—things change places
A weakness or vulnerability (like “pow-
without moving, moments take minutes,
erless in sunlight”)
minutes pass in moments, that sort of
An effect on its surroundings (like
thing. Those are all important traits that
“flames dim and flicker in its presence”)
might influence play, so I write down
An important trait, not otherwise ob-
vious (like “can talk” for a bird)
Special qualities: telepathic; can’t
lie or mislead; subtly warps time
If it’s a construct, be sure to write a special
and space.
quality or two that reflect its construction
or purpose. If it’s planar, give it at least one
special quality about how it is unnatural or
doesn’t belong.

Only write specialty qualities that you

think will impact play, above and beyond
their basic description and other stats.
Don’t bother with special qualities for
things that are obvious or assumed. If
you’re writing up a giant demonic frog, you
don’t need to write down “amphibious” (it’s
a frog) but should probably write down
“coated in toxic, caustic slime.”

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3
8 Instinct 3
9 Moves
What does the monster do that Each monster should have a few
brings it into conflict with others, or leads GM moves. Write these moves so that
it to harm others? Write this in the format they finish the sentence “the monster can/
“to [do something].” will __.” For example: “surround and harry
prey” or “smash through obstacles” or
Good instincts describe a general pattern “sound the alarm.”
of behavior rather than a specific action.
“To gorge itself ” is a good instinct; “to If the monster… (choose all that apply)
swallow prey whole” is too specific (that’s
more like a move). With that said, try … is deceptive and sneaky, write a move
to write instincts that are distinctive. “To about its dirty tricks.
hunt” is an okay instinct; “to relentlessly
pursue its prey” is better. … uses spells or magic, write a move that
describes its powers.
It’s possible that a monster might have
multiple instincts, like a cave bear’s “to … works well in groups, write a move
fill its belly; to protect its young.” Do this about how it calls on or coordinates
sparingly; its best for nuanced monsters with others.
with conflicting motivations, or for mon-
sters who are strongly ruled by their base … is a spirit, but it can manifest or
natures. possess a physical form, write a move
that describes how it does so.
The Darstrom guard the entrance to … poses a primary danger other than
their Green Lord master’s burial vault physical injury, write a move to reflect
and constructed afterlife. They’ll chal- the true threat it poses.
lenge anyone who approaches, judging
them, demanding an offering, and … actively defends itself, write a move to
extracting a vow of peace and respect. describe that defense.
Ultimately, this behavior all stems from
a simple instinct: to protect its master. … has a special form of attack, write a
move to describe it, along with any tags
and—if appropriate—an alternative
damage value.

… has fewer than 3 moves, or if some-

thing seems to be missing, write
another move that describes what the
monster is notable for doing.

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Most monsters have three moves; simple Write moves that will help you use this
ones might only have two. Particularly monster at the table. A loosely-worded
important or dangerous foes can have four move (like “Bully and manipulate people”
or maybe even five. or “Cast a spell of fire and flame”) gives
you a lot of flexibility and permission, but
Don’t write monster moves that just de- it’s only helpful if you can improvise that
scribe its basic attack. If you gave it “stone- sort of action at the table. A more specific
tipped spear, d6 damage (close, reach),” then move (like “Threaten their family or repu-
don’t write a move “Stab foes with a spear.” tation” or “Conjure barely-controlled spells
You already know it can do that! If you re- of primordial fire”) will give you much
ally want a move to describe how it fights, more direction at the table, and might be
write something more interesting, like easier to use.
“Leap headlong into battle” or “Hem foes
in with a thicket of spears.”
The Darstrom use spells and magic, work
Likewise, avoid writing moves that are just well together, and their primary danger
“do its instinct.” Look for specific ways to isn’t from the wounds they inflict. That
express the instinct. If its instinct is, “To gives me three moves to write. I go with:
pursue prey,” then how does it pursue its
prey? Oh, it can “Scent prey from miles * Lock eyes and teleport them away
away?” or “Unerringly track a creature * Act in tandem, without hesitation
whose blood it’s tasted?” Excellent. * Lay a wasting curse on anyone
who breaks their promise of
respect and peace

That last one is a little wordy and un-

clear, so I split it up like so:

* Require an oath of good intentions

* Lay a wasting curse on
oath-breakers

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3
10 Description
Other things that you might include in the
description:
Write as much or as little of a
description of your monster as you like.
Remember, the audience here is you, us- How many there are
ing the monster during play. Write your Where they are found
description with that in mind. What they are likely to be doing when
the PCs encounter them
Think about how you’ll describe the Social structures and relationships
monster to your players during play. How Backstory and history
big is it, what does it look like, how does
it move, etc. Use similes and compari- Many monsters are also NPCs; if they’ll
sons to familiar objects (“it’s like a huge be talking to the PCs, consider coming
elk-centaur, with big old antlers on a skull up with a memorable, distinctive way to
head, exposed ribs and an extra pair of portray them at the table. (See page XX.)
creepy little T-rex arms”). Maybe sketch
something out, or find pictures online to I think a bit about how I’ll describe the
show your players. Darstrom and jot down these notes:
Tip: include at least one impression on a * 12 ft tall, humanoid, skin like
sense other than sight, like the skittering wood. Tree-trunk forearms, goat
sound it makes, the smell of ozone left legs, antlers. No mouth; three
in its wake, the cold sweat they feel in its glowing white eyes.
presence. Keep it concise and evocative. * Move like gorillas, or on crutches…
Limit yourself to three such impressions plant their big forearms and swing
at most. legs forward. Creaking wood sound.
* Weird, dreamlike presence.
“Wasn’t it just over there?”
* “Voice:” quiet, breathy. Repeat
every few words, like an echo.

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3
11 Optional elements
If you expect the players to Know Things
about the monster, then maybe prepare
If the monster has nuanced mo-
tivations or behaviors, consider writing “something interesting” (for a 7-9 result)
out tactics for the monster, as a series of and “something useful” (for a 10+) in
“if-then” conditions and behaviors. This advance. See Know Things (page XX) for
can help you portray your characters with guidance. Remember, though: these notes
integrity, and speed up play. are for your benefit. Don’t bother prep-
ping stuff you can improvise at the table,
To write tactics, think about how and or things that are obviously implied by the
where the PCs are most likely to encoun- monster’s stats. Prep lore to fill in gaps that
ter the monster. Write an “if ” or “when” aren’t otherwise apparent, or to pre-plan
statement for that, and what the monster just how much information you’ll give on a
will likely do as a response. What are the 7-9 or a 10+.
PCs likely to do next, and how would that
affect the monster’s behavior? Write an- Finally, consider writing one or more
other if/then for that. Keep following the custom player-facing moves. If there’s
likely forks in the paths, writing ifs/thens something the monster might do to the
until you’ve covered the likely results: the PCs, or an effect it might have on them,
monster attacking, the monster fleeing, the and a custom player-facing move would
monster agreeing to let them go, etc. help you resolve it in play, then write it
up. Player-facing moves are particularly
good for resolving nasty attacks or touchy,
unpleasant effects. Mind control, instant
“kill” powers (like petrification), and poison
are all good candidates.

For details on writing custom player-facing

moves, see page XX.

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I imagine the players might Know Things I’m also thinking that the Eiricainn’s telepathy
about the Eiricainn, and what they’d make them particularly difficult to deceive. I
consider to be a “worthy” offering. I think of write a player-facing move to reflect this.
something interesting and something useful,
and add that to the write-up. When I’m done, the Eiricainn’s write-up
looks like this.

THE DARSTROM, guardian fae Something interesting: fae often find

(group, large, fae, magical, organized) value in memories, experiences, or seem-
ingly worthless random items.
HP 14; Armor 5 (2 vs. iron, resistance or
hide, skill) Something useful: these fae seem to be
living in an isolated realm, cut off from
Powerful blows: d8+3 damage w/disadv. the real world; vivid memories of things
(close, reach, forceful) that are new to the world since the
time of the Green Lords would probably
Special qualities: telepathic, can’t lie or be particularly well-received.
mislead; subtly warps local time & space
When you attempt to deceive the Dar-
Instinct: to protect its master strom (even if you’re technically telling
* Lock eyes, then teleport them away the truth), roll +WIS: on a 10+, you hide
* Act in tandem, without hesitation your intentions and they’re none the
* Require an oath of good intentions wiser; on a 7-9, they’re suspicious and
* Lay a wasting curse on oath-breakers they probe a bit—either come clean now
or double-down and try to deceive them
12 feet tall, humanoid, skin like wood. even more; on a 6-, they’ve seen right
through you.
Tree-trunk forearms, goat legs, antlers.
No mouth, three glowing white eyes.

Move like gorillas, or on crutches—plant

their big forearms and swing legs for-
ward. Creaking wood sound.

Weird, dreamlike presence. “Wasn’t it

just over there?”

“Voice:” quiet, breathy. Repeat every

few words, like an echo.

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Running monsters
and combat
Remember, “monster” is just a term for
something that the PCs might end up
fighting. It includes hostile (or potentially
hostile) people as well as spirits and beasts
and honest-to-goodness monsters.

Regardless of their nature, monsters have

personalities—or at least patterns of
behavior—that are more nuanced than
just “kill the PCs.” Every monster has an
instinct. Most have a sense of self-preser-
vation. Many have wants, needs, fears, or
weaknesses that the PCs can leverage—
they’re characters as well as monsters.

Portray your characters with integrity.

Consider what this monster—with this Introducing monsters
instinct and these motives, facing these PCs Whenever it’s time to make a GM move,
who are acting in this way—would do. you can introduce a danger and put a
Then have it do that. Hint at the monster’s monster in the scene.
story and its inner life. Present monsters
who might not actually want to fight, or Don’t worry about your monsters being
who can be reasoned with, or scared away. “fair fights” or “balanced encounters” or
something that the PCs can even defeat.
But also, portray monsters as monsters. Worry about your monsters making sense.
Try to capture the fear of facing down a Portray a rich and mysterious world,
hungry predator or a big angry beast. Play right? If it makes sense for the PCs to
up the tension, desperation, and bloody stumble across a pair of (extremely danger-
consequences of a fight with another hu- ous) thunder drakes, go for it. Then play to
man being. Think about what it’d be like to find out what happens.
encounter a hungry ghost, or an other-
worldy fae, or a demon made of boundless Exactly how you introduce a monster will
hate and jealousy, and try to convey that to depend on the situation, the monster’s tags
your players. Make your monsters scary. and qualities and moves, and the actions of
the PCs. “Obvious” monsters encountered
Let things burn. Don’t protect your mon- in a wide-open space will give the PCs
sters, and don’t protect your NPCs, and don’t plenty of opportunity to plan and react.
protect the PCs. If the fiction and the dice Stealthy monsters in a dark, cluttered space
and your sense of what would happen all while the PCs stumble around in torch-
point toward injury or death, then go with it. light? Not so much.
Don’t fudge things in pursuit of some grand
story. Play to find out what happens.
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The PCs are up in Gordin’s Delve trying to Too quiet. You feel like you’re being watched.
trade off some valuables they found in the What do you do?”
Green Lord’s tomb. Rhianna’s off talking
to a contact. Vahid, Caradoc, and Blodwen Let’s say they Seek Insight, roll a 7-9, and
are at a pub. Caradoc and Blodwen get ask, “What should I be on the lookout for?”
up to leave and Vahid, he sees a couple of I’d say, “ You’re pretty sure someone’s fol-
unsavory types get up and follow. lowing you, or maybe circling ahead. And
these alleys are filled with good spots for
Now, if these guys are just a pair of local an ambush. What do you do?” Whatever it
miners that Caradoc managed to tick off, is, they’ll be on guard. My next move will
then I’ll introduce a danger and let the PCs probably be to introduce a danger, but
see them coming. “About halfway back to your softly and with a chance to react. “As you
hostel, you realize that you’re being followed. pass a dark side-alley, two thugs rush out
It’s those guys from the pub and they look towards you, what do you do?”
pissed. What do you do?” The PCs have all
sorts of options—they might try to lose them, But suppose they Seek Insight and get a
or set an ambush, or talk, or whatever. 6-, or just ignore my veiled threat and
blunder on. In that case, I’ll introduce a
But if these bad guys are stealthy cutthroats danger hard and painfully. “Caradoc, this
who regularly murder unwary travelers guy comes out of a dark side-alley and snags
in alleys and loot their corpses, then I’ll be your right arm, twists, and shoves you
much more aggressive about it. I’ll start face-first into a wall. Take 1d8 damage.
by hinting at more than meets the eye. Blodwen, you see a second guy step forward,
“ You find yourselves in a dark, empty little sneering, a glint of metal in his hand. What
trash-strewn square, and everything’s quiet. do you do?”

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The flow of battle Fights usually involve a lot of things hap-

pening at once. You need to manage the
Fighting foes is a big part of the game, but
spotlight and keep everyone involved.
combat isn’t a distinct mode of play. There’s
When there’s a pause in the action, address
no moment where you say “roll for initia-
a different character (ideally one who
tive” and different rules kick in. There’s no
hasn’t talked in a bit). Describe the situa-
orderly round-robin where everyone takes
tion from their point of view, make a GM
one action on their turn.
move, ask “What do you do?” Sometimes
you’ll move the spotlight after resolv-
When a fight starts, you run the game: de-
ing a single PC action or move. Other
scribe the situation, make a GM move, ask
times, you’ll resolve a few moves that flow
“what do you do?” Resolve their actions.
naturally together, and move the spotlight
Repeat. Fights in Stonetop are—like every-
when they’re done.
thing else in the game—a conversation.

Monsters don’t Clash or Let Fly; you don’t Blodwen Sought Insight and spotted
roll to see if their attacks succeed. Instead, some junk she could use as a weapon, but
you make a GM move. Usually, you describe I kept the spotlight on her and had the
the attack but stop short of it connecting. cutthroat attack. She says, “I’ll twist out
Ask the player(s) in the spotlight, “What do of the way, then dive for that broom!”
you do?” Whatever their response, it’s likely We agree she’s Defying Danger with
to trigger a move. Resolve the move, and let DEX (with advantage, for acting on
the situation snowball from there. Seek Insight).

She gets a 9, and I offer her a cost or a

Caradoc just got slammed face-first into
lesser success. “ You can get the broom
a building and a second cutthroat is
but you’ll be cut for 1d8 damage, or you
advancing on Blodwen, knife in hand
can dodge clear and not make it to the
(I’m announcing trouble). “What do
broom.” She decides to get the broom,
you do?” I ask.
taking 5 damage in the process. “Okay,
you’ve got it,” I say, “but your shoulder is
Blodwen left her staff back at the hostel;
bleeding from that cut.”
she’s basically unarmed. “I’ll give ground
and back away,” she says, “looking for
It’s been a while, so I move the spotlight
a stick or a rock or something to defend
to Caradoc. First, I recap his situation:
myself with.” That’s Seeking Insight, and
“So this guy has your right arm twisted
on a 6- the guy’s probably gonna shank
behind you and he’s pushing your face
her. But she gets an 8.
into the cold, rough brick wall.” Then I
make a soft GM move (one of my mon-
“ Yeah, sure, there’s a broken broom up
ster moves, fight dirty): “He grabs your
against the alley wall, you could use it
hair and pulls back, and you just know
as a club. And a few loose bricks.” I then
he’s about to smash your face back into
put her in a spot. “But as you see them,
that wall, what do you do?”
the guy comes at you, knife stabbing low
like this. What do you do?”

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A character actually suffers a monster’s A player’s actions are informed by their fic-
attack when... tional positioning—where they are, what
they’re doing, where their enemies are and
... you set up an attack with a soft move, what they’re doing, weapons, momentum,
and the PC ignores it; terrain, lighting, and everything else that
... the results of a PC’s move (like Clash) we’ve established about this situation.
says that they do; or
... the PC rolls a 6- on pretty much any Fictional positioning affects whether a
move, and you decide that they do. PC’s actions trigger a move, and which
move is triggered, and whether an action
Suffering a monster’s attack doesn’t (just) is even feasible. It also affects the range
mean that they take damage. It means of possible results, both good and bad. A
you use the monster to make an aggres- strong fictional position can mitigate the
sive, hard move. You can, of course, hurt bad results of a roll, and a desperate fic-
them. Or you can make any other hard tional position can mean that a 6- is really,
GM move that makes sense. If your move really bad.
involves the PC getting hurt, roughed up,
or worn down, then deal damage as part of Skillful players will look for ways to shape
that move. their fictional positioning, allowing them
to trigger more advantageous moves, set
themselves up for better results, or even
“So this guy’s got my right arm twisted? skip needing to roll entirely.
But my left arm’s free? When he pulls me
back by my hair, I’ll quick draw my new
dagger like this and stab behind me.” I
wasn’t expecting that, but it makes sense
based on how we’ve described things.
Clash it is!

He rolls a 4, and I start thinking about

hurting him and breaking his nose on
the wall. But Caradoc invokes Impetu-
ous Youth, bumping his result up to a
7-9 (at the cost of losing his knife). He
stabs the thug and deals damage (3 of
the thug’s 6 HP) but also suffers the
thug’s attack. I decide to turn his move
back on him. “He yells and lets go of
your right arm. But then he grabs your
left arm, the one with the knife, and like
twists it up and over like this, kicking
your legs out and smashing you down.
Take 1d8 damage, and oh yeah, your
knife goes flying from your hand.”

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I jump back to Blodwen, who just dove past I jump back to Caradoc, who’s in a spot of
her assailant and grabbed a broken broom his own—on the ground, no knife, angry
to use as a weapon. She got cut, but now has bad guy above him. “He’s still got your left
some distance between her and her attacker. arm twisted out behind you, and he’s like
I describe the situation: “ You grip the broom kneeling on your back.” I announce trouble.
and he turns to face you, a little more respect “He keeps adding pressure. It feels like your
in his eyes.” Then I offer an opportunity arm is going break or something. What do
for Blodwen to seize the initiative. “He you do?”
crouches down like this, knife at the ready—
you can tell he’s waiting for his moment. “I’ll, like, reach back with my right hand
What do you do?” and grab his face, try to gouge an eye or tear
his cheek or something.”
“Just like old Seren taught me. I’ll pretend
to be scared and present an opening. When That’s just not reasonable given the position
he attacks, I’ll sidestep and smack his wrist, this guy has him in. I clarify the situation,
then swing up and smack his face.” then tell him the requirements and ask.
“ You’re gonna need to get free of his hold
I could say “no, he doesn’t buy your act” or before you attack him. And if you want to
maybe even tell her the requirements and force yourself free, that’s going to be Defy
say she’ll have to Persuade to lure him in. Danger with STR. You do it?”
But I think this guy is a big bully, not ex-
pecting much of a fight, and he gets suckered “Wait, wait. I think this counts as a threat
in. “Cool, roll to Clash!” to my loved ones, right? These guys are try-
ing to kill Blodwen, not just me. Anger is a
She gets a 7-9, so her maneuver mostly Gift?” It’s a bit of a stretch, but sure. “Cool,
works but she suffers his attack. She rolls I spend 1 Resolve to act suddenly and catch
only a 1 for damage (vs. this guy’s 6 HP), him off-guard. Do I still need to roll?”
so I say that she smacks the knife out of his
hand but doesn’t get the follow-up swing “ You’re still in a really bad position here.
at his face. Because he no longer has his But I tell you what--I think catching him
knife, I make his attack softer than I would off guard means you can twist free and
have and put her in a spot. “Before you attack him at the same time. So a Clash
can swing up, his left hand grabs the shaft. instead of Defy Danger. Cool?” He agrees,
Then he grabs on with his right hand, and rolls a 10+, and manages to wrench free
you find yourself struggling over this broken with a yell and punch the thug out.
broom handle.”

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 Dangers

You’ll generally focus the spotlight on one As a fight goes on, avoid anything that feels
or two specific characters at a time. Other like “trading blows” or just a grinding away
players can interrupt and interject, within at each other’s HP. Use your GM moves
the bounds of what the fiction, the rules, and the results of PC moves to constantly
and politeness allow. Don’t be afraid to shift the momentum of the fight and the
shut down (politely yet firmly) a player fictional positioning. Even when one side
who keeps stealing the spotlight, or whose rolls low damage (or no damage), look for a
character is preoccupied, or who wants to way to make the situation change.
do something implausible.
Regularly ask yourself, “Would this monster
keep fighting?” Use its instinct as a guide, as
Caradoc finishes off his foe and I jump well as what you know about its personality
back to Blodwen, who’s struggling with and why it’s fighting in the first place. Cau-
the other cutthroat over the broken tious foes in particular will look to escape
broom handle. I show a downside and violence as soon as a fight goes south.
tell her “He’s a lot stronger than you, you
can barely hold on. What do you do?”
Caradoc gets a 12 on his Clash and does
Before she says anything, Caradoc jumps indeed tackle the cutthroat. He rolls only
in. “I spend my last Resolve and act sud- 1 damage, but his maneuver still works.
denly. I come out of nowhere and bowl “ You shove him up against the far wall
this guy over. Clash?” and he grunts a little.”

I’m tempted to say “No, this is happening I shift the focus back to Blodwen and
while you’re fighting with your guy.” But offer her an opportunity. “Whew, you’re
his move does let him spend Resolve to free. You notice this guy’s dagger at your
“act suddenly, catching them off-guard.” feet. What do you do?”

“Huh. Yeah, I guess. Roll it!” “I pick up the dagger and calmly walk
up to them. Caradoc has him pinned?”

“Eh, they’re still struggling, but

mostly, yeah.”

“I put his knife to his throat. ‘Stop. Piss off

right now and you live. Keep struggling
and I’ll bleed you like a spring lamb.”

I’m thinking that’s Persuade, but really,

he’s got no reason to resist. They’ve clearly
won, and this guy’s more of a knife-in-
the-dark type than a fight-to-the-death
type. “He stops struggling,” I say, “and his
eyes bug out at you, Blodwen. He nods a
little. Caradoc, do you let him go?”

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Foes they can’t hurt Make the PCs work for it. They might
Sometimes, the PCs can’t feasibly attack have to figure out a way to actually hurt
their foe. The monster might have a special this foe. They might need to Defy Danger
quality (like “made of stone”) or tag (like to get close enough, or Aid each other
huge) that makes them effectively invulner- to have any chance of overcoming its
able to the PC’s weapons. It might have defenses. They might need to use the
a move (like “swat arrows from the air”) environment to their advantage. They
that counters attacks. Fictional positioning might have to retreat or flee because they
might make an attack extra dangerous or just can’t hurt it. They might need to wait
impossible (it’s got a reach weapon and the for their moment. They might need to do
PC has a hand weapon). something drastic.

When you first present such a monster, con- Reward creativity and effort. If they have
vey how hard it’ll be to hurt. “It’s got this an idea or a move that would work—even
lashing, whip-like tail, at least 10 feet long.” one you never expected—then run with it.
“It’s like literally a moving tree, 30 feet tall Be a fan of the player characters. But also,
and made of wood.” “She moves with the respect your prep and the fiction. If your
calm confidence of a master fighter.” notes say that this monster is hurt only by
bronze, and they don’t have any bronze,
If the players say that they attack in a way don’t let them steamroll you into agreeing
that just wouldn’t work, then they don’t that it’s also vulnerable to, oh, silver.
trigger Clash or Let Fly. Instead, tell them
the requirements (“you’ll have to get past
that tail first”) or reveal an unwelcome
truth (“you chop into it full-strength,
and it just, like, takes a chip out of
it”) or put them in a spot (“she
side-steps like it’s nothing and
her own spear flashes at your
throat”) and ask, “What do
you do?”

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 Dangers

They’re exploring the ruins near Three- Fighting spirits

Coven Lake. The room gets suddenly
colder and the lanterns flicker, and (after Spirits are hard to fight because, by
a 6- to Seek Insight) a long, hand-like default, they lack a physical form.
shadow reaches out and grabs Vahid. He Most mundane attacks have no effect
drops his lantern and starts shaking in a and pass right through them. And
fit. I address the others: “What do you do?” yet the most dangerous spirits can
still attack physical creatures, even
Caradoc doesn’t hesitate. “I draw my knife without manifesting!
and slash into that shadowy limb, trying
to cut Vahid free. Clash?” Some spirits (like ghosts and
specters) are vulnerable to certain
“No, don’t roll.” I reveal an unwelcome materials. The PCs might also acquire
truth. “ Your knife goes right through the items (like the Twisted Spear) or
shadow, like there’s nothing even there, moves (like the Lightbearer’s Purify-
but your hand goes numb and there’s ing Flames) that can directly harm
frost on the blade. Rhianna, Blodwen, spirits. A spirit reduced to 0 HP this
you see this happen, what do you do?” way is destroyed or at least dispersed
Blodwen looks at her possessions and says for the time being.
“Bendis root! I’ve got some from my herb
garden.” She drops her staff, sets down Many spirits can manifest or possess
her lantern, and Has What She Needs to a physical form. The PCs can hurt
produce some. such a form, but reducing its HP to
0 simply destroys the form and/or
“It’ll take a few moments to get it out forces the spirit back into its intan-
and light it. You still do that?” (tell the gible state.
requirements and ask). Yup, she’s doing
it. “Rhianna, what are you doing?” You might find it useful to track a
spirit’s “manifest” HP separately from
“This is like a ghost, right? So what its “true” HP. If the PCs attack a
hurts ghosts? Iron? Silver?” manifest spirit with something that
could harm its true form, those at-
That’s Knowing Things, for sure, and she tacks damage both sets of HP.
rolls a 10+. “Silver. In fact, you’re pretty
sure that’s why Vahid got that silver
dagger last summer.”

“Oh. Oh! I’ll step in and pull it off of

him, then attack this thing.”

“Cool, roll to Clash!”

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Dangers

Multiple combatants When multiple PCs and/or followers

attack a foe at once, one of them rolls
When the PCs face multiple foes (and
Clash or Let Fly and the others Aid. If a
they often will), break up the action
group of followers attacks a single foe (or a
into multiple smaller engagements—the
significantly smaller group), they effectively
Ranger fights one crinwin, the Fox fights
Aid themselves.
another, the Marshal and his crew deal
with the rest of them. This isn’t anything
When multiple combatants deal damage
formal. It’s just a natural way to manage
to a single foe, roll one combatant’s damage
the scene.
(usually the best one) and add +1 extra
damage for each capable attacker after the
Unengaged foes—those that aren’t pinned
first. Apply tags from all the attackers as
down in combat—are all sorts of potential
they make sense. For example, if a PC fights
trouble. Incorporate them into your moves
two Hillfolk warriors (d8 damage, 1 pierc-
whenever you have the chance. Announce
ing) riding horses (d6+2 damage, forceful)
trouble and have them move to flank the
and suffers their attack, you’d probably roll
PCs. Show a downside of being outnum-
damage from one horse and add +3; that’s
bered and have them block a PC’s path.
d6+5 damage (1 piercing, forceful). Ouch.
Reveal an unwelcome truth and have one
come out of nowhere and smack a PC
Clever tactics can make a huge difference
when they roll a 6-. Bad guys don’t just sit
when dealing with multiple combatants.
around waiting to be attacked.
Holding a chokepoint reduces the number
of foes they have to fight at once. Focusing
When a PC or follower engages multiple
fire on a tough opponent can help drop it
foes, make more aggressive moves than
more quickly. Attacking a group’s flank and
when they face a single foe. If they ignore
dropping some of them before they can
the threat posed by multiple foes, tell them
react? Golden.
the consequences and ask. If they carry
on and ignore the threat, or roll a 6-, or
otherwise suffer the enemy’s attack, then
make your move extra hard.

When a PC or follower’s attack could feasi-

bly hurt multiple foes—because of the area
tag, because a group of followers is making
or Aiding the attack, or just because the
player describes it in a way that makes
sense—then the player rolls to Clash or
Let Fly just once, but they roll damage
separately against each foe.

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 Dangers

Rhianna, Garet, and Eira (two of her crew) first one goes down and the second is up but
find Caradoc barely holding a doorway injured. She also rolls her crew’s 1d6 dam-
against six crinwin. Some turn and hiss. age against each of the other two crinwin,
Rhianna says “We draw hatchets and wade getting a 4 and a 3. Garet drops his, Eira’s
in!” Her crew are archers but not warriors, is badly wounded but still up.
so she spends 1 of her crew’s Loyalty (see page
XX) to get them follow her lead. They also suffered the crinwin’s attack. I don’t
have a particular move in mind, but I know
Caradoc’s got two crinwin occupied, so I tell it’ll deal damage, so I start with that. “Rhi-
Rhianna she’ll be dealing with the other anna, each of you takes 1d6 damage from the
four. “How are you doing this?” crinwin you’re fighting. Actually, you take
1d6+1, because you fought two of them.”
“I’ll take point, chopping the first one and
plowing past him to get at the next. Garet’s “Really? Didn’t I cut the first one down
on my left, Eira’s on my right, a step behind, before it could hurt me?”
each hacking at one of their own.”
I could tell her that it got a lick in before
“Sounds like Clash with Aid from your it went down, but whatever. “Good point.
crew,” I say. “But they’re not providing ad- 1d6 damage to each of you.” She takes 4
vantage—they’re letting you fight multiple damage herself. Garet takes 1 and Eira
foes at once.” Rhianna rolls an 8. She and takes 5. They’re all still up, but Eira’s in
her crew deal their damage but suffer the trouble. I let that inform my move and I
enemy’s attack. put her in a spot. “Okay, so Eira got tripped
by hers and it’s on her chest, smashing her
Rhianna rolls her 1d8 damage twice (once head against the wall. She looks out of it
per crinwin she engaged), getting a 7 and a and, Rhianna, you’ve still got a crinwin in
2. Crinwin have 1 Armor and 3 HP, so the your face. Meanwhile, Caradoc…”

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Dangers

Abstracting groups
If the PCs have a group of followers, If one group outnumbers the other, they
then you’ll often want to abstract their get a +1 bonus to damage and Armor for
actions in combat. Resolve the group’s every multiplier past 1. For example, the
actions with as few individual moves as 20 crinwin outnumber the crew of six
possible. For example, if the Marshal’s by about 3:1, so they’d get a +2 bonus to
crew of six opens fire on a horde of 20 damage and Armor.
crinwin, have the Marshal make a single
Let Fly roll to see how it goes. Damage represents casualties. If one
group loses half its HP, then about half
If the group deals damage to another that group’s numbers are out the action.
group, or takes damage from another Adjust the bonuses to damage and
group, then you can roll damage once Armor accordingly! So if the crew of six
per side and abstract the results. A group dealt 4 damage to the crinwin when they
deals damage and has HP and Armor Let Fly, that’d do 1 damage after Armor
as though it was one individual member and reduce the crinwin from 3 HP to
of the group. For example, the marshal’s 2 HP. One third of the crinwin (let’s
crew of six would deal 1d6 damage, say seven of them) would be out of the
have 8 HP, and 1 Armor from their hide action, reducing their advantage to only
armor. The horde of crinwin would deal about 2:1. Their bonus to damage and
1d6 damage, have 3 HP, and have 1 Armor is now only +1.
Armor from their agility and reflexes.
Shift the spotlight between the group
and individual PCs. Switch the scale
and “zoom” of the action accordingly.
Foes that are engaged by individual
PCs aren’t really part of a group. So
if one PC ran in and attacked two
crinwin while another PC De-
fended and drew the attention of
another three, the Marshal’s crew
of six would be left contending
with only eight crinwin (20 to
start, less 7 dead from Letting Fly,
less 5 occupied by PCs). That’s
basically even numbers, so the
crinwin have lost their bonus to
Armor and damage.

A group reduced to 0 HP is routed,

massacred, or otherwise defeated. The
fate of individuals within each group is
up to you.

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Keeping fights interesting Demand the same of the players. If they

say “I stab it with my spear,” then reply
Fights should be exciting, dynamic, and
with “Okay, cool, what’s that look like?” If
tense. The players should never feel like
the player seems uncertain, or hesitant to
they’re just “trading blows” or trying to
commit, then offer them choices. “Are you,
deplete a foe’s HP. Players shouldn’t get
like, running at it? Bracing yourself ? Are
bored waiting for “their turn,” and the
you going for its gut or its wings or its face,
outcome should never be entirely certain.
or what?” If you can’t visualize the action,
ask for more detail.
Make soft GM moves all the damn time.
After every player move, describe the situ-
Consider the momentum of the action
ation and make a soft move: say something
and other elements of fictional positioning.
that provokes action or raises the tension.
Incorporate them into your descriptions
Then ask someone, “What do you do?”
and your GM moves. So if your soft move
Sometimes, your soft move will be offering
was “it swoops at your face, talons out”
an opportunity for a PC to act freely, or
and their response was “I brace myself
to follow up on a previous move’s success.
and drive my long spear into its gut!” and
It’s easy to do this accidentally, though,
they get a 7-9 to Clash, then the results
which results in the monsters seeming to
should take all that into account. “Yeah,
just stand there and not do anything. Be
you impale it, but its momentum yanks
intentional!
the spear out of your hands and they both
tumble over here, next to the edge. Roll
Make your moves—especially your mon-
your damage!”
ster attacks—colorful, descriptive, and
specific. Don’t just say, “It attacks you,” say
“It swoops down at you, talons out like this,
coming right at your face! What do you do?”

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Vary your GM moves, especially when a Give less-combat oriented characters

monster’s attack lands. Don’t always hurt opportunities to shine. Encourage the
them or put them in a spot. Lean on your Seeker to Know Things about the foe’s
monster moves to add variety. Sometimes, vulnerabilities. Include spirits or beasts
look at your list of GM moves and pick that the Blessed can interact with. Include
something you haven’t done in a while, just to victims to rescue, fragile treasures to pro-
keep things fresh. No matter what move you tect, and puzzles to solve. Not always, and
choose: if it involves roughing up the PCs, not every fight, but often enough to keep
or it could maybe take them out of the fight, everyone engaged.
then deal damage along with the move.
Incorporate the environment into your
When a PC “whiffs” a damage roll, respect description and your moves: lighting, ter-
the fiction of their attack and the fact rain, visibility, and the fog of war. They’re
that they (probably) got a 7+ on whatever on a massive staircase? Use a monster’s
move allowed them to deal damage in the attack to put them in a spot and bowl
first place. The low damage roll means that them half-over the edge. It’s pitch black
it wasn’t a telling blow, but it should still except for their sphere of torchlight? Have
change the fiction. “Only 2 damage? Yikes, the monsters retreat and then announce
you don’t pierce its hide. But it’s still disori- trouble, “You can’t see them, but you hear
ented a bit, and struggling for breath—looks their calls as they circle for another attack,
like you knocked the wind out of it.” what do you do?”

Keep in mind what other enemies are up Populate your battlefields with potential
to. The PC stabbed the monster that was energy—heavy things to knock over, high
swooping at him, but what are its friends places to fall off of, kindling to set aflame.
doing? Use your next soft move to bring Throw in some active hazards, too: raging
them into the action. “…looks like you fires, crumbling ceilings, sucking mire.
knocked the wind out of it. Meanwhile, the Present these elements as opportunities to
next one is swooping down at you while the PCs. Use them to answer “What here
you’re unarmed, what do you do?” is useful or valuable to me?” Incorporate
them into your GM moves, soft and hard.
Keep the spotlight moving. When one PC
isn’t actively engaged, make a soft move at
the current PC, then move the spotlight to
the idle PC and ask what they do about it.
“…the next one is swooping down at you
while you’re unarmed. Rhianna, you see this
happening, what do you do?”

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 Dangers

Recap and summarize the situation regu-

larly, especially as you move the spotlight Maps, tokens,
around. “Okay, so: Vahid’s on the upper
part of the stairs. His spear and the creature
and minis
he wounded are over here, near the edge. It’s often helpful to visually repre-
Caradoc, you’re hanging off that same ledge. sent a battle, especially one with lots
Blodwen, Rhianna, and Andras on the other of combatants and distinct zones.
side of the gap, with Blodwen holding the This could be anything from a crude
torch aloft and Rhianna and Andras scan- sketch of the battlefield to a full-
ning the skies. Caradoc, you feel your grip fledged diorama with 3D minis and
starting slip. What do you do all do?” terrain. Visualizations like this are
great for establishing the situation
End fights earlier rather than later. If it’s and making sure that everyone is on
clear that the PCs will win, have the bad the same page.
guys flee or surrender. If things start to
drag and someone rolls a 6-, use your hard Be careful, though, not to let the map
move to drastically change the situation—a dominate the game. Use the map to
new monster shows up, a PC gets captured visualize and communicate, but keep
and dragged off, a follower sacrifices the focus on the conversation. Begin
themselves to save the PC and finishes off and end with the fiction, not with
the monster. If the PCs want to flee, let meeples on the table or squiggles on
them Struggle as One to escape instead of the whiteboard! If someone says “I
playing out individual actions. circle around to the north and then
attack that guy up there,” pull them
Finally, remember that this isn’t easy. back into the fiction with something
GMing is a practice, not something you like, “As soon as you get to about here
master. You’ll likely start out forgetting to he snarls and charges you, ax raised
do all of this stuff, and that’s fine. Reflect like this—you still attack? Cool, what
a little bit after each session on what was does that look like?”
fun and exciting about your fights, and
what seemed to drag. Ask yourself what
you could have done differently, and try to
do that next time. Keep pushing yourself
to improve!

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NPCs & Followers

NPCs
NPCs in play
Creating NPCs
Followers
Follower moves
Followers in play
Creating followers
Updating followers
Losing followers
NPCs & Followers

NPCs NPCs in play

Part of your job as the GM is to portray
NPCs are non-player characters, anyone
NPCs. What they do, what they say, how
who exists in the game’s fiction who isn’t
they feel—that’s all up to you!
one of the PCs. This includes people, of
course, but also includes spirits of the wild,
Practically, you portray NPCs as part of
shades of the departed, and bound entities.
the core loop of play (page XX).
It can even include beasts like dogs, horses,
or plucky chickens. If it has a personality,
As you establish the situation, you say (or
and the PCs can communicate with it, it’s
ask) what NPCs are there. You say (or ask)
an NPC.
what they look like, how they’re dressed,
how they carry themselves. You say (or
Many NPCs are also threats (page XX)
ask) what they’re doing. You speak in their
that cause ongoing trouble for the PCs or
voices or summarize what they say.
the village. NPCs can also be monsters
(page XX) that the PCs can fight. This
When you make a GM move, you can use
chapter, though, discusses them as people
your NPCs to make it. You might an-
(or at least, as sapient beings) with whom
nounce trouble by having a follower sidle
the PCs interact.
up to the Marshal and whisper, “we’re being
followed.” You might put them in a spot
If an NPC takes orders from a PC,
by saying, “He’s about to scream bloody
deferring to them and generally doing
murder, what do you do?” You might show
what the PC says, then that NPC is a
a downside by saying, “looks like Mari got
follower. Players can trigger moves like
handsy with the serving staff again, and got
Clash or Seek Insight via their followers,
a pitcher of ale over her head, again, she’s
and followers can hold Loyalty that makes
about to lose her temper—again.”
them more likely to do what a PC wants.
They’re discussed in detail at the end of
When you resolve player actions, you’ll often
this chapter (page XX).
need to account for how NPCs react or are
affected. When the Fox tries to pass off a
barrel of swill as fine whisky, you have to de-
cide whether the merchant just falls for it, or
would never believe it or, might believe it but
only if the Fox Persuades them. When the
Marshal has her crew Aid her in an attack,
and she gets a 7-9, you have to decide which
crew member(s) suffer the enemy’s attack.

When PCs do something that doesn’t trigger

a move, you say what happens, and “what
happens” will often involve how NPCs react.
When the Would-Be Hero says, “I love you”
to his sweetheart for the first time, there’s no
player move that tells you how she responds.

310
 NPCs & Followers

The point is: portraying NPCs—framing

scenes with them, describing them, making Multiple NPCs at once
moves with them, saying how they react to You’ll inevitably have some scenes
PC actions—is a big part of running where multiple NPCs are in conflict
the game. or at least have conflicting opinions.
In such scenes, you need to balance
Modes of portrayal giving your NPCs life with being a
When you portray an NPC, you might ac- fan of the PCs.
tually speak in their voice, speaking in first-
person (“I… just don’t know if I can keep… Try to keep the conversation centered
doing this”). Or, you might just summarize on the PCs. Have NPCs appeal to
what they say and how they say it, speaking them and get them to take sides.
in third-person (“She tears up and says she
can’t keep doing this—it’s awkward”). If that doesn’t make sense, then focus
on conveying the gist of the conflict.
Speaking in an NPC’s voice tends to be Use third-person summaries more
more immersive and engaging than just than first-person portrayal. Very few
summarizing their words. It prompts players GMs can make an extended scene of
to respond in kind, speaking in the voice of “NPCs talking to each other” work.
their PCs. It allows you to show instead of
tell. And it can be an awful lot of fun. That doesn’t mean you should avoid
first-person portrayals when NPCs
Summarizing an NPC’s words is often are in conflict. It just means that you
easier to do. It doesn’t require skill in act- should do so sparingly. Frame the
ing. It’s easier to correct yourself. It often conflict with a few lines of dialogue
takes less time to summarize a conversa- from each NPC, and then zoom out
tion than to play it out. You can be more to summarize the conversation and
intentional about the info you share and their salient points.
the GM moves you make.
When you do portray multiple NPCs
In practice, you’ll often switch between in the same scene, be as clear as
modes. You might start in third-person you can when each NPC is talking.
but deliver a key line in an NPC’s voice. Having distinct voices or mannerisms
You might start in first-person, then zoom for each NPC can really help with
out to summarize their tale. You might de- this. Another trick is to shift your
scribe a conversation that involves multiple head/body from side to side as you
NPCs, but punctuate it with a few key switch characters, leaning left and
lines in specific voices. looking right as NPC #1, and the

Try to be mindful and intentional about

how you use modes of portrayal. Pick and
choose based on the needs of the scene, the
pacing of the session, and the preferences
of your players.

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Challenge yourself ! If your instinct is to Try to stick to the core loop! Establish the
always summarize what NPCs say, try a bit situation—the time and place, the NPCs
of first-personal portrayal. If you find that involved, the tone and gist of the conversa-
you always speak in-character, try summa- tion—and then make a soft GM move.
rizing conversations instead. GMing is a Have the NPC ask, “So, what can I do for
practice (page XX), and you only get better you?” Or, have them say something provoca-
at things you try! tive and give the player a chance to respond.
Or, step out of character and say how the
Dialogue scenes NPC is acting nervous, or how they look
unwell, or how there’s a strange new idol on
Many scenes will be dialogue scenes,
their hearth that wasn’t there before. Ask,
scenes where one or more PCs are talking
“What do you do?” Go from there.
to an NPC, and that’s the extent of the
action.
Remember to be honest and generous
with the truth and detail. When you make
It’s easy to fall into “just talking,” where
a GM move (soft or hard) via an NPC’s
you all are inhabiting the PCs and NPCs
voice, step out of character and be explicit
and just play-acting, seeing how they
about the implications of what you just
respond to each other. It’s fun, and it’s a
said. If you intend to portray an NPC
chance to give your characters life and to
being shifty and nervous, deliver their
let things breathe. But be careful! It’s also
lines and then say, “He’s being shifty and
easy to let dialogue scenes drag on and
nervous.” Don’t assume that your players
meander without purpose.
will properly interpret your portrayal.
Like all scenes, good dialogue scenes
Keep an eye out for players triggering
have a purpose. There’s a reason that you
moves during dialogues. If you (as an
(or your players) have initiated this con-
NPC) put up resistance and the PC per-
versation, between these characters. The
sists, they just triggered Persuade. If you
PCs are trying to accomplish something;
ask the PCs a pointed question and they
you’re trying to convey something; there’s
straight-up lie, they’re probably Defying
a question that needs answering; there’s a
Danger. If the PCs have special moves that
conflict to resolve—or escalate! Keep the
kick in during a conversation (like Under
reason for the scene in mind, even as you’re
Your Skin or Up With People), ask the
portraying the NPC(s) and speaking in
player if they want to use them.
their voice(s).
When the purpose of a scene has been
resolved, or when the dialogue starts to
fizzle out or swirl, wrap up the scene. Step
out of character, transition to the next
scene, move the spotlight, and/or shift into
loose play.

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Creating NPCs You’ll often improvise these details in play

and flesh out the NPC between sessions.
Remember that one of your principles is to But if you expect an NPC to appear in
give your characters life. an upcoming session, prep some or all of
these details in advance. As always, though,
You want your NPCs to be distinct and prep only as much as you find useful and
memorable, believable and compelling valuable.
people instead of just names on a sheet. A
world full of interesting NPCs is a rich
and mysterious world.
3
1 Name
Give the NPC a name, or ask the
players to do so. Choose from the appro-
You want your players to care about your priate name list or almanac entry, or use a
NPCs and their fates—even if that means name with a similar sound or origin.
hating them or wanting them dead. When
your players care about your NPCs, it’s Stonetop names are Welsh-inspired
much easier to punctuate the PCs’ lives Marshedge names are Irish-inspired
with adventure. Hillfolk names are Breton- or French-
inspired, but clipped and missing vowels
Finally, you want your NPCs to act with Manmarcher names are Germanic
integrity and their own internal logic. This Barrier Pass names are Tibetan- or
makes them more believable and compel- Nepalese-inspired
ling, but it also means you can fall back on, Southern names draw from Greek,
“What would this NPC do?” and answer it Hebrew, Persian, or Arabic.
honestly. It’s a key part of playing to find For other peoples (like the Ustrina),
out what happens. consult the appropriate almanac entry.

So: how do you do that? Add the NPC’s name to the steading
playbook.
1) Give them a name
2) Conceptualize them
Build on what’s established Prior to leaving on a trade mission to
Ask the PCs questions Gordin’s Delve, Rhianna Musters the
Pick a memorable trait village to guard against crinwin. She
3) Give up to 3 impressions about them gets a 10 and picks “1 or 2 individuals
4) Flesh out details as needed, such as: show real potential; ask the GM who
An instinct and how.” I don’t have anyone in mind,
Their connections to others so I look at the list of Stonetop names
Their motivations and say “Uh… let’s say that Andras
How you’ll embody them in play catches your eye to replace good old Garet.
Game stats: tags, HP, armor, And, oh, Elios. He’s some-one you can
damage, and GM moves leave in charge while you’re gone.” I add
both names as Notable Residents in the
You might also add details to treat them as steading playbook.
a follower (page XX), monster (page XX),
and/or threat (page XX).

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3
2 Concept
Ask questions
Many NPCs will be people who the PCs
Figure out who this person is.
What are the most obvious and important would know, or least know of, so ask your
things about them? What are their pro- players about them. They’ll care more
nouns? How old they are? Where are they about NPCs that they help create! Keep
from? If you had to describe them in just a in mind “the line” (page XX). Ask the
few words, what would they be? characters questions that they’d be able to
answer. The closer the PCs are to an NPC,
Build on what’s established the more questions you should ask.
Start with what you already know about
this NPC and extrapolate. If the NPC is For locals or people PCs know well:
written up as a follower, monster, or threat,
then their concept is already well-estab- Are you related to them? How?
lished and you just need to fill in some What’s their family situation?
details. But if you’re making up this NPC (Married? Kids? Parents? Siblings?)
from scratch, you’ll need to do more work. Who else are they close to? Who cares
about them?
No matter how sparse the details, you What do you like/dislike about them?
always know something about this NPC. What are they respected for?
How or why were they introduced? What What do others say behind their back?
can you infer about them based on that What’s their most notable feature?
context? What have you already estab- How have they always treated you?
lished about the world that can fill in the What do they seem to like/dislike?
blanks? Go with the obvious answers or
intentionally choose something that un- For outsiders, but ones the PCs know:
dermines a trope.
When/how did you first meet them?
Hold your ideas lightly for now. As you When did you last see them?
ask questions and choose traits for this What do you know of their family?
NPC, your initial concept for them might How would you describe them?
change. That’s great! Stay loose! Why do you (not) look forward to
seeing them again?
How have they changed since last
I just introduced Elios as a good person you met?
to take charge of the defenses while the
PCs head to Gordin’s Delve. I figure For folks the PCs have heard of but don’t
Elios is an established farmer, maybe actually know:
around Rhianna’s age. I in-stinctively
thought of him as a “he.” I tell this to What are they known for?
Rhianna. I’m now thinking of a good, What is said to be their most
well-liked family man, but we’ll see notable trait?
what my players have to say. Who do you know who’s met them?
How are they different than what
you expected?

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For specific NPCs, you can be much more Assign memorable traits
provocative. Frame your questions so that Give the NPC at least one specific, memo-
they assert things that you want to be true, rable trait and play that trait up. These
while still asking the player something traits become your touchstones for portray-
meaningful. When you introduce a merce- ing them. Folks might not remember that
nary from the Heavy’s blood-soaked past, the publican’s daughter is named “Tegid,”
maybe ask, “Why would you never want to but they’ll remember “the girl who runs
cross swords with them?” or “What das- everywhere.”
tardly deed did you once see them do?”
Pick traits from the list of NPC Traits in
If multiple PCs know the NPC, spread the steading playbook, or make them up, or
your questions around. Even better, ask ask the players to do so. Write these traits
questions that push the PCs towards down next to the NPC’s name, along with
conflicting opinions of the NPC. If you their occupation or lot in life, plus any key
asked the Heavy what dastardly deed they relationships.
saw this mercenary do, then maybe ask
the Seeker how that same mercenary once An NPC’s traits might flow naturally from
saved their life. what’s already established, but you can also
pick a trait that contrasts with what you
Build on the answers your players give you. know or what you’d expect. Maybe the burly
Clarify and ask follow-up questions, but smith also knows all the gossip. Maybe the
otherwise treat their answers as if they’ve Fox’s kind-hearted spouse harbors a hatred
been true all along. for the Hillfolk. Such contrasts make NPCs
more compelling and memorable.
I ask Rhianna, “So what makes Elios a
good choice to leave in charge?” She says Based on what we know, I jot down:
that he helps her drill the militia. Folks
have always looked to him when she’s out ELIOS (he/him): farmer, humorless,
in the Wood. “Why is that?” She says he ex-mercenary, Blodwen’s uncle
spent time as a mercenary when he was
younger, and has actual experience with I check the NPC Traits list, looking for
this stuff. Interesting! an interesting contrast. My eye catches
on “just got married.” I think it’s a bit
“Cool!” I say, then turn to Blodwen. fraught, and ask the PCs why. Vahid
“How are you related to him? And pops in with, “He married a younger
what’s he like?” She says that he’s her woman, someone very talkative and
uncle (her mother’s brother), a hard bubbly. It’s a weird match, but they seem
worker, gruff but always kind to her. happy enough. Well, she does. Elios is
never happy.”
I then ask Vahid what he dislikes about
Elios. And he’s like “Ugh. He’s the worst. I love it. I add “just married” to his
Can’t take a joke. No sense of humor at all.” write up, and make a note to figure out
who his new wife is, too!

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3
3 Impressions
Each impression should involve a differ-
ent sense or aspect of the NPC (see the
At this point, you should have a
sidebar for examples). Keep impressions
solid concept for the NPC, enough that
short, simple, and evocative. Give less
you can start portraying them.
detail than you think you need; let the
players’ imaginations fill in the rest.
If you’re creating this NPC on the fly,
frame a scene with them (if you haven’t al-
Maybe ask the PCs to help describe the
ready) and give up to 3 impressions about
NPC, especially if it’s someone they know
them, their surroundings, or what it’s like
well. Of the Would-be Hero’s crush, maybe
to be around them.
ask “What do you find most attractive
about them?” When Brennan the Claw
If you’re prepping the NPC in advance,
first appears on screen, maybe say “Rhi-
decide on these impressions now and write
anna, you’ve met him—what about his face
them down, to whatever level of detail you
makes it just so punchable?”
find helpful. Bring them up when you first
put the NPC on screen.
Most impressions should reflect an NPC’s
concept—they’re a way to show rather
than tell. But maybe give one impression
Impression examples that contrasts with the rest of the NPC:
Face: angular, broken nose, dimpled, give the dastardly mercenary soft, sad eyes,
freckles, hawk nose, leathery, or say that the well-dressed merchant reeks
missing teeth, paint, scar, scowl, of body odor. Such contrasts give your
soft, sunburnt, tattoo, warts, etc. NPCs depth and texture.
Eyes: big, bright, cool, cloudy, dark,
deep, droopy, missing, pale, small,
squinty, quick, watery, etc. I’m ready to portray Elios, so I frame
Hair: bald, curly, greasy, straight, the scene. “Like you said, Rhianna, you
thick, thin, etc. double the watches and step up drills. A
Body: big, heavyset, little, lithe, few days later, you find Elios, compe-
meaty, missing __, round, short, tently running a shield wall.”
stooped, tall, thick, thin, wiry, etc.
Presence: alert, brooding, cheery, I give some impressions that play up his
elegant, fidgety, friendly, haughty, role. “He’s got this deep, almost monotone
hunched, intense, serene, etc. voice that folks kind of lean in to hear, and
Scent: earthy, musky, floral, ripe, sour, a scar on his face that you assume he got
smoky, etc. in his days down south.” Then, to make
Clothes: boots, charms, clean, [color], him a little more human, I add, “And as he
dirty, furs, ribbons, silk, torc, watches folks practice, you realize that he’s,
threadbare, unkempt, etc. like, fidgeting with a… locket? Probably a
Voice: breathy, clipped, crass, gruff, gift from his new wife.”
high, hoarse, lilting, lisping, mon-
otone, mumbly, nasally, quavery,
rumbling, shrill, soft, stutter, etc.

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3
4 Additional details
These tricks are relatively easy to use on
the fly, while improvising a new NPC. If
Fill in the rest of an NPC’s details
you do use one, make a note to yourself
only as they become important and relevant
after the session about what trick you used,
to the story or to how you portray them.
so that you can portray the NPC consis-
tently in the future.
If you’re making the NPC up on the fly,
you likely won’t have time or the mental
bandwidth to do these intentionally. It’s As the scene unfolds, and Rhianna starts
common to just portray new NPCs natu- telling Elios her plans and how she wants
rally and instinctively, based on what you’ve him to be in charge, I lean into that “deep,
already established. You can then go back almost monotone voice” that I described
after the session and take notes about how him having. I lower my pitch and keep
your portrayed them, and/or flesh out some my tone flat. I realize that I’m doing the
of the missing details. voice of Eeyore, the sorrowful donkey from
Winnie-the-Pooh, and that seems right. I
If you’re prepping an NPC in advance, think jot down “Eeyore voice” in my notes.
about the following areas and make some
decisions about them. But remember: prep
only what’s useful and valuable to you. Instinct
Between sessions, consider writing an
Embodiment instinct for your NPC. Write them in this
Consider one or more of these tricks to format: “to [do something].”
help embody the NPC. Tricks like these
can help make the NPC distinctive, even if If the NPC is…
you’re not a natural performer.
… a monster (page XX) or threat (page
Pick an actor or character from TV, XX), their instinct should bring them
film, or theater. Tell the players to into conflict with others.
picture them as the NPC. Or, try to … a follower (page XX), their instinct
portray that character but don’t tell the should cause trouble for the PC who
players you’re doing so! leads them.
… anyone else, their instinct should
Pick someone you know personally. reflect their basic outlook and how they
Impersonate them, but don’t tell anyone. approach the world.

Pick a way of speaking or tweaking Use an NPC’s instinct to guide how they
your voice, a catch phrase, a physical behave and react. If you’re unsure what an
tic, or a behavior for this NPC. Use it NPC would do, look to their instinct. Have
whenever you portray them. them do that.

Find or create a picture of them.

Display it when portraying this NPC. After the session, I think about Elios a
bit and write this instinct for him:
To complain but get the job done.

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Connections to others Motivations

When you have time—usually between If you want to really flesh out an NPC’s
sessions—think about how this NPC gets internal life and motivations, ask yourself
along with others. Ask yourself some or all some or all of the following:
of the following:
What do want from the PCs?
What do they think of the PCs? What do they fear?
Who are they related to? Friends with? What angers them?
Who are they loyal to, and why? What do they long for?
Who do they dislike, and why? What do they think they deserve?
What do they aspire to do or be?
Ask yourself follow-up questions. If you’re
unsure of an answer, leave it as something Unless you really enjoy this kind of prep,
to wonder about for now. save these questions for NPCs whose
inner lives and motivations really matter.
Use the answers to portray the NPC, and In most cases, you can rely on an NPC’s
to help resolve PC actions. The smith concept, traits, and instincts.
dislikes the Fox’s spouse? The Fox might
have to Persuade the smith to do an oth-
erwise simple task. The smith is loyal to the Elios’s motivations seem straightfor-
midwife? Her support might get the smith ward to me. For now, humorlessness,
to agree. his instinct (“to complain but get the job
done”) and his new marriage give me
Don’t flesh out an NPC’s entire social plenty to work with.
network. Leave blanks, and fill in details as
they become relevant to play. In the future, though, maybe folks start
to doubt Rhianna’s leadership and look
My notes for Elios now look like this: to Elios instead. At that point, I might
ask myself some of these questions. What
does he want from the PCs? He wants
ELIOS (he/him): farmer, humorless, Rhianna to get her crap together. What
ex-mercenary, Blodwen’s uncle. does he fear? Being responsible for the
Newly married. Eeyore voice. entire town’s safety, but also his wife or
Instinct: to complain but get the infant son coming to harm. What angers
job done. him? The way Vahid and Caradoc keep
bringing trouble down on the village,
After the session, I ask myself some of and how Rhianna turns a blind eye
these questions and add these notes: towards that.

Respects Rhianna. Kind to Blodwen. Such answers would imply a looming

Vahid is a dangerous weirdo. Loyal to confrontation between Elios and Rhi-
his wife. anna, where he demanded that she do
reign in Caradoc and Vahid or else step
I need to flesh out his wife, but it can down from the role of marshal.
wait until I need her for a scene.

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Game stats
If you think that an NPC… When I first introduce Elios, I don’t ex-
pect him to get into a fight with the PCs,
… might get into a fight with the PCs, and he’s not causing them any trouble. So
stat them up as a monster (page XX). there’s no need to give him monster stats
… will cause ongoing trouble, write them or write him up as a threat.
up as a threat (page XX).
… will regularly act on a PC’s orders, stat He respects Rhianna, and generally defers
them up as a follower (page XX). to her when it comes to the town’s defenses,
… needs HP, armor, and a damage die, but I don’t really see him as her follower.
but isn’t a monster or follower, then
use the follower guidelines anyhow As play progresses, though, and the town
(page XX). Or just wing it. becomes frustrated with Rhian-na’s
leadership, I might decide that Elios
An NPC might not need these stats when has become an ongoing problem and I’d
you first create or conceive of them, but write him up as a threat (a wildcard,
that might change over time. A friendly probably, at least to start).
NPC might start following the PC’s lead
and become a follower. Or they might
become a source of ongoing trou-ble and
become a threat. Or both. Both is good.

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Followers
Here’s an example follower:

Followers are NPCs who generally take RHIANNA’S CREW, the hunters
orders from a PC and follow their lead. Group, archers, observant, stealthy,
They’re usually people, but well-trained respected, woods-wise
beasts, bound spirits, and even sentient HP 6; Armor 0
artifacts can count as followers. PCs can Damage: hatchet 1d6 (hand) or bow
gain followers mechanically (via their play- 1d6 (near, O low ammo, O out)
book, a move, or an arcanum), or naturally Instinct: to hew to tradition and
through the course of play. superstition
Cost: merry-making, as a group
Followers are, first and foremost, NPCs. (Loyalty OOO)
You, the GM ultimately decides what they
do and what they say, and what hap-pens Eira (lieutenant, cynical), Lowri
to them. What distinguishes them from (snores, sharp-eyed), Harri (skinny, old),
other NPCs is that... Garet (dead), two others.

… they’ll generally do as their PC says;

… they can accumulate Loyalty to their As the Marshal, Rhianna starts with a crew
PC, which makes them easier to lead and gets to define who they are. Her crew
and manage; and are the town’s hunters. We generally treat
… when a PC has them do something, them as a group, but Eira, Lowri, Harri,
they can trigger player moves. and poor departed Garet have all been
established as individuals.
Followers also get a full set of stats, very
similar to those of monsters (page XX). After Garet’s death, Rhianna recruited:
They have tags, HP, armor, a damage die,
an instinct, and possibly GM moves.
ANDRAS, apprentice hunter
Followers also have two additional stats: a Archer, observant, eager, rookie
cost and Loyalty. HP 6; Armor 0
Damage: hatchet 1d6 (hand) or bow
A follower’s cost describes what keeps 1d6 (near, O low ammo, O out)
them following a PC’s lead. It’s usually a Instinct: to try to impress Rhianna
few words, like “coin, payment, treasure” Cost recognition (Loyalty OOO)
or “affection, respect” or “training.” When
a PC pays the follower’s cost, the follower Young man, Padraig’s son. Sweet on
holds Loyalty. Blodwen. Tries real hard, asks lots of
questions.
Loyalty is a currency the followers can
hold. The follower’s player can spend that He caught her eye when she Mustered
Loyalty to get the follower to ignore fear, the village before a trip to Gordin’s Delve.
behave themselves, or do something they’d Over time, Andras became more and
rather not do. See the Strengthen Your more competent, eventually merging with
Bond move (page XX) for details. Rhianna’s crew of hunters.
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Here’s another example: And one more:

FFLUR, a draft horse ANDALAU OF THE FLUTE, dancing

Large, powerful, keen-nosed, hardy wind spirit
HP 10; Armor 0 Spirit, tiny, stealthy, mischievous
Damage: hoofs 1d6+3 (hand, close, HP 8; Armor 0
forceful) Damage: none
Instinct: to panic Instinct: to play and frolic
Cost: extensive care, grooming  > Manifest as a fluttering gust of
(Loyalty OOO) wind (harmed only by salt)
 > Deliver a whispery message
A chestnut mare, maybe 12 years  > Flit things about (dust, leaves,
old. Always hungry. More sensible etc.)
than Celyn, but still a horse.  > Annoy or spook someone
Cost: entertainment (Loyalty OOO)

Fflur is one of the town’s two horses, listed When you play a tune to make the
on the steading playbook as assets. The wind itself dance, the andalau
PCs Requisitioned her and a cart for their mani-fests, holding 1 Loyalty. When
trip Gordin’s Delve, but it was Blodwen’s you dismiss the spirit while it holds
player who named her. no Loyalty, the flute splits and falls
apart; the andalau is set free.
The horses are important to the town, and
Blodwen can talk to animals, so the players
and I were interested in Fflur as a charac- Vahid discovered a cracked flute of yew
ter. We decided to treat her as a follower. wood—a minor arcana (page XX)—in
Because Blodwen can speak to her and she the Green Lord’s tomb. After a few weeks
took the most interest, we agreed to treat of practice and misadventure, he can now
Fflur as Blodwen’s follower, specifically. summon the andalau that’s bound to the
flute. It’ll generally do what he says, but it’s
a fickle thing and he has to keep it happy or
the flute will shatter and become worthless.

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Follower moves do it—just like they would with any other

NPC. Loyalty (page XX) makes this easier,
These moves become relevant when PCs but most followers won’t charge a thunder
interact with their followers. drake without some convincing!

Assuming the follower does do what the

ORDER FOLLOWERS PC says, and that action would trigger a
When you direct your follower to do player-facing move if a PC did it, then
something that would trigger a player resolve the move normally. The player rolls
move, and they do it, they trigger the on the follower’s behalf, and makes any
move. If the move involves rolling, decisions they’d normally make if their PC
you roll for them. Instead of rolling triggered the move. If they roll a 6-, the
+STAT, roll and… player marks XP.
… if they have at least one appro- Followers don’t have stats like STR or
priate tag or move, add +1, or +2 INT. If a move calls for rolling +STAT,
if they’re also exceptional; the player looks at the follower’s tags and
… if they have no relevant tag or moves. If any of them indicate that the
move, add +0; and follower is good at this, the player adds
… if any of their tags would get in +1 (even if multiple tags or moves apply).
the way, roll with disadvantage. Otherwise, they add +0.
When a follower is without orders or If the follower is exceptional, AND they
they act on their own initiative, the have another tag or move that applies, then
GM says what they do and the player rolls +2. But if no other tag or
decides how it goes. move applies, the player still rolls +0 for an
exceptional follower.
Followers are NPCs—they don’t usually If any of a follower’s tags would actively
trigger player-facing moves. You might put hinder the move that they’re making, the
them in a spot and have a follower rush player rolls with disadvantage. A roll can
in to attack a foe they can’t beat, but that’s get both a +1 (or +2) and disadvantage. If
just you making a soft GM move. You Vahid sends his stealthy, mischievous wind
tell the players that this happens and ask, spirit to spy on someone, the stealthy tag
“What do you do?” No one rolls Clash for helps (+1) but the mischievous tag means
the reckless follower! that it might get distracted and try to
prank the target (imposing disadvantage).
That changes, though, when a follower acts
at a PC’s behest. The follower is acting as Try to resolve follower actions with as few
an extension of the PC’s will, and so we moves and rolls as possible. Zoom out and
look to the dice and player-facing moves to resolve complicated tasks with a single
find out what happens. Defy Danger. If a follower takes the same
action as a PC, treat that as the follower
If a PC tells a follower to do something Aiding the PC rather than triggering a
that they don’t want to do, the PC must move of their own.
Persuade or otherwise convince them to

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Rhianna just saw Caradoc get smashed by

the hagr, and she rushes to his side yelling, Eira is all but dead, the Shadowy Presence
“Eira, Lowri—shoot!” They recover their having sucked the life out of her. Blodwen
wits, knock arrows, and Let Fly. asks “Do we know how to treat this? I’ll
consult with Gwendyl and Seren.” We all
The crew have the archers tag (but not agree that Blodwen’s Ordering Followers,
the exceptional tag), so Rhianna rolls +1 but it’s unclear whether she’s having them
and gets a 7. The crew deals damage but Know Things, or Knowing Things and hav-
Rhianna has to pick: put them in danger, ing her followers Aid her. We decide on the
roll damage with disadvantage, or reduce latter, as it keeps the focus on the PC.
ammo. “I think they take a bunch of shots,”
she says, and marks (4) low ammo on her So, Blodwen rolls +INT, with advantage.
crew’s gear. She then rolls 1d6+1 (her crew’s She gets a 12 and I tell her “Eira’s soul has
damage, +1 because there are two of them been wounded. Gwendyl can fortify her
shooting) and gets a 5. body, but to actually heal her you’ll need to
go into a trance, contact her spirit, and try
“Nice!” I say. “It howls in pain and rears up, to restore it with your own. It’ll be hella
looking for what stung it, giving you time dangerous. What do you do?”
to reach Caradoc. Vahid, you’ve been watch-
ing this unfold, what do you do?” Blodwen and Seren have found Eira’s near-
feral soul. Blodwen tries to Persuade Eira to
Rhianna doesn’t trust the hostler up in let her help, but rolls a 4 and I put someone
Gordin’s Delve, so she tells Andras that he’ll in a spot. “After some coaxing, she lets you
be sleeping in the cart and keeping an eye on approach. But as you do, Seren curses and
it and the horse. shoots off. You see a pack of leering spirits
emerging from the mists, and she’s going to
Andras is a follower and he’ll be keeping face them down!”
watch off-screen, so I say, “I think you’re
having him Defy Danger, the danger being Blodwen asks if Seren is Defending or
whatever the hostler gets up to. But don’t Clashing. “Neither,” I say, “she’s doing this on
roll it just yet.” I have Rhianna roll the her own, not at your direction” Then I tell her
next day, after a few PC-focused scenes. the consequences. “She’s holding them off for
Andras’s observant tag applies, so she adds now, but she can’t keep it up for long. You can
+1 but she gets a 5. “Caradoc, a bloody- help her, but Eira will run away. Or you can
nosed Andras finds you at the inn, and he’s help Eira and hope you’re quick enough to get
like, They sthole Fflur! What do we do?’” Seren out of there. What do you do?”

Note that followers don’t have access to

the PC’s playbook moves. The Marshal can
order a follower to give a rousing speech,
but they won’t trigger We Happy Few. The
Ranger might have Big Game Hunter, but
their pet wolf doesn’t deal +2 damage vs.
large foes as a result.

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NPCs & Followers

When a follower’s cost is paid, they hold

STRENGTHEN YOUR BOND +1 Loyalty, up to 3. If a follower holds
When you pay your follower’s cost, 3 Loyalty, then Strengthen Your Bond
and you haven’t done so recently, they doesn’t trigger.
hold +1 Loyalty (max 3).
The follower holds the Loyalty but the PC
Spend your follower’s Loyalty 1-for-1 they follow (or rather, that PC’s player)
to have them: chooses to spend it. As a rule, a follower is
tied to one PC, and only that PC can pay its
Overcome their fear to do as you say cost or spend its Loyalty. But if an NPC fol-
Resist acting on their instinct/ lows the party as a whole, then any PC can
tags/traits generate or spend that follower’s Loyalty.
Do something they don’t want to
do (as long as it’s not abhor-rent A PC will typically spend a follower’s
or suicidal) Loyalty after you make a GM move and
show that the follower is afraid, or about
When a follower is without orders or to do something dumb, or doesn’t want
they act on their own initiative, the to do as they’re told. The player can spend
GM says what they do and decides Loyalty to resolve that problem without
how it goes. having to trigger a move like Persuade or
Defy Danger.

Each follower has a cost, like “genuine A player can proactively spend Loyalty, too,
affection” or “coin, payment, treasure” or but if they do, consider whether it’s really
“training.” When a PC pays that cost— necessary. If the follower wasn’t going to
when they provide it directly or ensure that balk or do something dumb, tell the player
the follower receives it—then the follower that there’s no need to spend the Loyalty
gains Loyalty. after all.

Paying a follower’s cost should be a mean- It’s easy to think of a follower’s cost and
ingful moment. Ideally, it should involve Loyalty as transactional: I did this for you,
intentional action taken by the PC. Put now you owe me. That’s true for some
the onus on the player to point out when followers, but for most, Loyalty represents
they’ve paid their follower’s cost, but of trust, respect, fondness, or even just habit.
course—as with any move—anyone can Ask the player what it looks like when
point out this move has been triggered. If they spend a follower’s Loyalty. Maybe
anyone disagrees, talk it out. the PC claps them on the shoulder and
says something inspiring. Maybe they
The PC and/or follower should have a sig- make eye contact and shake their head. Or
nificant scene “on camera” before they can maybe the follower just swallows hard and
Strengthen Their Bond again. If a PC pays does what needs to be done. Work with
a cost like “training” multiple times over a the player to establish how this particular
stretch of downtime or loose play, then the follower’s Loyalty manifests.
follower holds only +1 Loyalty.

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 NPCs & Followers

The trip to Gordin’s Delve takes four days,

and the first day we establish that Blodwen Things are getting creepy out in the woods.
is caring for Fflur. She’s taking pains to The sun just dimmed. Trees are bleeding.
groom her in the evening, brushing her Ominous shadows flit just out of sight.
down and keeping her company while she Vahid is painting a sanctifying mark on
grazes. We agree that this pays Fflur cost Caradoc’s shield, but it’ll take time.
(“extensive care, grooming”) and Blodwen’s
player marks 1 Loyalty for Fflur. “While they do that, Rhianna, your crew
is kind of freaking out. What do you do?”
The next day of travel passes without any She whistles and directs them to encircle the
significant scenes. Blodwen takes care of PCs, intending to have them Defend.
Fflur again when they make camp, and asks
if she Strengthens Their Bond again. “No,” “ Yeah, but I think they’re Defying Danger
I say, “you just did, right? Like, yeah, a day first,” I say, “the danger being their own
passed in-game but you’ve basically been fear. You know how superstitious they are!”
caring for her this whole time, right?” So
Fflur still holds just 1 Loyalty. “Uh, no,” says Rhianna. “I’ll spend their 1
Loyalty to overcome their fear to do as I say.
The next day, a frythanc (a huge bird of I don’t think it looks like much, that whistle
prey) swoops low over the party. The magic just snaps them out of it. So… I roll for
of the roads will keep them safe if they Defend, then?” She sure does!
stay put, but I show a downside and play
up Fflur’s instinct (“to panic”). “Blodwen, Gwendyl hasn’t shown up for Vahid’s
Fflur bucks, rears, and knocks you back, Breaking-of-Fast party, and Blodwen
tumbling onto the pavestones. She’s still in goes to her house to find out why. Gwendyl
the tackle, and if she keeps this up, she’ll, claims she doesn’t hold with “those deca-dent
like, break her leg. What do you do?” southern ways,” but really, she’s feel-ing
neglected by her favorite pupil.
“I get up and calmly approach, hands out
like ‘whoa, girl.” She’s trying to use her Into I expect Blodwen to press Gwendyl and trigger
the Lion’s Den move, which lets her calm Persuade. Instead, Blodwen gives her a hug,
beasts with a touch. apologizes for not being around, and says, “We
don’t need to go. Plenty to be done here.” They
“I know the move says she won’t harm you, spend a few hours cutting and bundling herbs.
but she’s still kicking and rearing. I think Then Blodwen asks if this pays Gwendyl’s cost
there’s still a danger that you flinch or show of “consideration, affection.” I sure think it does.
fear. You’ll be Defying Danger with WIS.
Or you could spend Fflur’s Loyalty to keep “ You know, there might be some baklava
her from acting on her instinct.” left at Vahid’s,” says Blodwen. “I spend
that Loyalty to get her to do something she
Blodwen uses the Loyalty and I ask what doesn’t want to do.” But, now that she’s
this looks like. “I’m like whispering to her, feeling better, I think Gwendyl would be
hands out, ‘shhh girl…” and she calms fine going to the party, and I tell Blodwen
down. Does that work?” It sure does! to hold onto that Loyalty.

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NPCs & Followers

Followers in play The burden of leadership

Followers can be useful, but they should
Followers are NPCs. They fall on your
also be sources of stress and conflict.
side of the Line (page XX), and it’s your
responsibility—not the players’—to
For starters, followers get scared. They
portray them, to say what they do and
might freeze up when surprised, or flee
what they say. A little blurring of the Line
from a terrifying foe, or panic in the face
is natural, but if a player portrays a follower
of supernatural horror. Tell the player
like they’re a second PC, pause the game
when this happens, and ask what they do.
and reset expectations.
If the PC gives them an order, the player
can spend 1 Loyalty to have the follower
As with any NPC, use followers as part
overcome their fear and do as they’re told.
of the core loop (page XX). Include them
Otherwise, ask yourself: would the follower
when you establish the situation. Make
do this willingly if they weren’t scared?
GM moves (soft or hard) with them or
against them. Decide how they react to the
If they would, then the PC is having them
PCs’ words and deeds—and that goes for
Defy Danger (the danger being that they
all the PCs, not just the PC they follow!
freeze up, panic, or screw up).
With that said, followers generally do
If they wouldn’t, then the follower needs
what their PC tells them to do, and they
to be convinced, via Persuade or some
often look to the PC for direction. It’s
other move.
perfectly fine to ask, “And what do you
have your crew do?” or to say something
Even when they aren’t scared, followers
like, “He looks at you expectantly, do you
won’t always do as they’re told. They might
tell him to do anything?”
resist orders if...
The more established the follower is, the
… they’re angry, miserable, shocked, or
more you should ask questions and build
otherwise overwhelmed;
on the answers. If the Marshal’s crew is
… the order is unreasonable, foolish,
like family, lean on them when fleshing
degrading, distasteful, etc.; and/or
out the individual members or even when
… the order goes against the follower’s
deciding what they’d do. “Rhianna, how do
instinct, tags, cost, or other traits.
you think Hari would react here?”
For example, a warrior follower will usu-ally
Remember, though: Order Followers trig-
be willing to go into battle, but if the odds
gers only when the PC directs a follower.
are overwhelming, or they haven’t eaten for
If you ask the player what they think their
a couple days and they’re wet and cold and
follower would do, and you agree that,
have had enough of this crap, well, they’re
yeah, they do that—that’s not Ordering
probably going to need some convincing!
Followers, and the follower doesn’t trigger
any moves. You just decide what happens.

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 NPCs & Followers

When you decide that a follower doesn’t

want to do as they’re told, then reveal that Vahid walks down the road from the
to the player! “He looks at you with tired logging camp and plays a spritely tune,
eyes and doesn’t even get up, what do you calling up the andalau that’s tied to his
do?” Or, “You want me to what? That’s… flute. Wind gusts and flits, and when Va-
no, no way.” Or, “You can tell he doesn’t hid stops playing I stage whisper, “More!
want to, you’re going to have to convince More more more!”
him—what do you do?”
Vahid wants the spirit to find those
The player can then choose to spend the ruins that Iwan visited, and lead him
follower’s Loyalty (if they hold any) to to them. Given the andalau’s instinct
have them “do something they don’t want (“to play and frolic”) and mischievous
to do.” Or the PC can Persuade the fol- tag, I don’t think it wants to. I sigh and
lower, or use a different move to convince whisper, “Boooorrrrring.”
them. Or they could let it drop and do
something else. Whatever they do, follow The Dancing Wind Spirit arcanum says
the rules and the dice and portray the fol- that the andalau holds 1 Loyalty when
lower with integrity, and play to find out it manifests; Vahid could just spend that.
what happens. But the flute will break if the spirit is dis-
missed with no Loyalty. Vahid Persuades
Play up a follower’s instinct, tags, and it instead. “Boring? Why, it’ll be a fine
traits as a source of trouble for the PCs. game of hide and seek!” He rolls an 8.
Does the Ranger’s wolf have an instinct of
“to fill its belly?” Then have it chomp on “It’s not convinced,” I say, “but if you turn
the obvious bait, or refuse to leave a carcass it into a game when it leads you to the
uneaten. Is one of the Marshal’s crew a ruins, it’d think that was fun. That’d even
gambler? Have her leave her post to join pay its cost.” Vahid offers that and the
a game of dice, or have a creditor from spirit agrees. The next morning, the spirit
Gordin’s Delve show up to collect. The returns. “Found it, found it, come, come,
player can spend 1 Loyalty to have their follow! Play!”
follower “resist acting on their instinct/
tags/traits,” but if they don’t, they need to Vahid tells Rhianna that he can lead
convince them to stop or else deal with the them to the ruins, and she has everyone
consequences. get ready to go. But when her supersti-
tious crew realizes that they’re following
Emphasizing a follower’s fear, foibles, and a fickle spirit on a game of “hot and
troublesome behaviors makes their Loyalty cold,” they dig their heels in. Now Rhi-
valuable! If a follower always just does anna has to convince them to go along
what the PC says and never gets scared or with this plan. If she had let the crew
acts up, then their player will see no reason celebrate last night, it would have paid
to pay the follower’s cost and Strengthen their cost and she could just spend their
Their Bond. Loyalty. But she didn’t, and they hold
no Loyalty, so now she’s going to need to
Persuade them.

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NPCs & Followers

Off-screen orders Followers in fights

When a player sends a follower off-screen Followers can have a big impact on fights.
to do something, resolve it with a single They can help even the odds or allow the
move (at most!). The PC won’t be there PCs a overwhelm a single foe. But followers
to give follow-up direction when things can also complicate the situation by panick-
snowball, so zoom out and pick a single ing, getting into trouble, or acting rashly.
move to represent the off-screen action.
Resolve that one move. Let all the other Keep followers in mind while you run
things that could go right or wrong color fights. They might defer to the PCs or look
the outcome. to them for direction, but they’ll rarely
just stand there! When you establish the
If you really can’t decide which move the situation or make a GM move, think about
follower is making, it’s Defy Danger. what the followers have been up to while
the spotlight was on the PCs. “You dispatch
In general, have the player roll for their this crinwin, but see another one on top of
follower’s off-screen move when the PCs Glaw. Hari’s lining up a shot, but hesitating.
could learn the outcome. If a PC leaves That other crinwin is fleeing with your mess
their follower in Gordin’s Delve to spy on kit in its hands. What do you do?”
Mutra the Teeth, have the player roll to
Seek Insight when the PC gets back to Remember, though, that followers only trig-
Gordin’s Delve. ger player moves when directed to do so by
their PC. If the PC ignores Hari and Glaw
Sometimes, though, you want to know and chases after the fleeing crinwin, then
the results upfront, so that you can weave it’s your call whether or not Hari shoots. If
it into unfolding events. Say the Marshal he does shoot, you decide whether his shot
has her crew sneak around to flank a foe. lands, or misses, or hits Glaw instead. But if
You might have the Marshal roll Defy the PC shouts, “Hari, shoot, dammit!” while
Danger right away, and then reveal the they rush after the fleeing crinwin—then
results maybe a scene or two later. “A 7, they’re Ordering Followers, and the player
huh? Okay, cool, cool.” Then, after the PCs rolls to have Hari Let Fly.
have snuck up on the bandit camp and are
about to attack: “There’s a commotion to Clear communication is hard during a
the north, and one figure drags another out fight! It’s loud, you don’t have much time
of the brush. Oh crap, they’ve got Hari! (or breath!), and everyone is rather preoc-
Everyone in camp is going to see what the cupied with not getting killed. Don’t let
fuss is about. What do you do?” players give elaborate, detailed orders while
a fight rages. A few words or hand signals
is probably all they get!

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 NPCs & Followers

If a PC’s orders are vague, ask what they Followers at 0 HP

intend and how the follower would know
When a follower is reduced to 0 HP, their
that. Give them leeway if they’ve worked
fate is in your hands. If the source of dam-
with the follower a long time. The Mar-
age was potentially lethal, then they’re out
shal’s crew have drilled and fought side-by-
of the action and you pick 1:
side for years, so “Hari, behind you!” could
convey “Hari, a foe is behind you, turn
They’re dead, immediately
and attack it!” But with a new follower, a
They trigger Death’s Door (even if they
warning like that would only get them to
weren’t directed to by their PC). Their
dodge, at best!
PC’s player rolls
They’re dying, and will either die or
For examples of followers in fights, see
trigger Death’s Door soon if no one
pages XX, XX, XX, XX, and XX.
intervenes
When followers Defend
Remember: it’s not your job to protect your
When a PC Orders Followers to Defend
NPCs, and followers are NPCs! Let things
and gets a 7+, the follower holds Readi-
burn.
ness but the player decides when and how
they spend it.
If the source of the damage wasn’t lethal,
then the follower is out of the action
When a player spends their follower’s
until you say otherwise or they regain HP
Readiness, consider whether the follower
(because of magic, someone’s move, or be-
would actually do what the player wants.
cause someone tends to their wounds and
Would they really suffer this attack in place
they Recover).
of their ward? Would they really draw all
attention to themselves? If the answer feels
Note: a Ranger’s animal companion is an
like “no,” then the player has to spend both
exception. They get a special move, Loyal
1 Readiness and 1 Loyalty—they’re unlike-
to the End, that dictates what happens
ly to have time to Persuade the follower!
when they reach 0 HP. No one wants to
see the dog die.
When a PC Defends and a follower Aids
them, that PC holds the Readiness but
they can spend it to have the follower suffer
the damage/effects of an attack, or to have
the follower draw all attention from their
ward to themselves. Ask the player what
this looks like. If they’re slyly using the
follower as a meat shield, then the follower
doesn’t get much say in the matter (but
they might have lots to say if they survive).
If the player just expects the follower to
take one for the team, well… that might
require spending Loyalty, too.

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NPCs & Followers

Group followers When a group follower makes a move and

suffers some sort of consequence, you can
A follower with the group tag represents
have that consequence affect the group as a
multiple individuals who share stats and
whole, or individual members of the group.
often act as one. The Marshal’s crew is
the most obvious example. Other groups
include the posse of villagers that the PCs I opt for a lesser success. “Okay, they slip
recruit to deal with the crinwin, or the trio forward and get into position, all except
of wraiths bound to that tattered mantle for one of them. They’re half-way to the
(the one adorned with teeth). ziggurat, and looking down, like they’re
stuck on something. Oh, crap, you realize
Members of a group have the same tags, it’s a web! And if they keep tugging at it
max HP, armor, damage, instinct, moves, like that, the spiders are sure to notice.”
and cost. They hold a common pool of Loy-
alty, but each have their own current HP.
They typically Outfit with the same gear. When a member of the group first stands
out, then flesh them out to whatever level
of detail makes sense at the moment.
The PCs and Rhianna’s crew have
Give them a name, a memorable trait, and
tracked the giant spiders through the
maybe an extra tag. Ask questions about
fae paths to an ancient ziggurat in the
them. Take notes, or have the player do so!
Great Wood. They think Nia is inside.
The crew each have 8 HP and are car-
rying a bow with bronze arrows, a I ask Rhianna which of her crew got stuck,
bronze hatchet, thick hides, and and she decides that it’s one of the hereto-
two undefined . They currently hold 1 fore undefined members. She looks at her
Loyalty as a group. Crew insert, which has potential names,
tags, and traits. “Um, Glaw. He’s small,
like short and scrawny, and I think he’s too
The PC who leads a group follower will serious. A bit of short-man syndrome going
often direct it to act as a whole. If this leads on.” She adds him to her insert.
to the group triggering a player move (per
Order Followers), then the player rolls once, “But he’s a veteran hunter, right? So
applying bonuses (and/or disadvantage) why do you think he’s sorta freaking out
based on the tags shared by the group. right now?”

“Oh, I think he’s often the butt of the

Rhianna says, “I signal my crew to sneak
crew’s jokes, and he just knows they
up and get in position. I want them cov-
aren’t gonna shut up about this. So he’s
ering us as we approach.” She’s Ordering
not like, panicking. But he’s on the verge
Followers, having them Defy Danger
of cussing up a storm.”
(the danger is, they get noticed or even
ambushed). She rolls for them, adding +1
for their stealthy tag, and gets a 7.

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 NPCs & Followers

When a PC directs an individual member A group follower holds a common pool of

of a group, they can trigger moves as if they Loyalty, which can be spent to affect either
were a follower themselves. The group’s tags the entire group or individual members.
and moves apply, plus any unique tags or The group’s cost usually needs to be paid
moves they have as an individual. to the group as a whole, but if the player
thinks it’s valuable to spend Loyalty on one
member of the group, they can!
Rhianna creeps forward and helps Glaw
cut himself free, Defying Danger herself
with a 10. I then offer an opportunity Glaw just saw something creepy and
and point out a tall, thin tree that leans supernatural, and Rhianna’s crew has
over the clearing. It’d be a tricky climb, an instinct of “to hew to tradition and
but offer a clear view into the whole on superstition.” So, I show a downside
the ziggurat’s roof. “What do you do?” and tell Rhianna that Glaw is clearly
shaken, on the verge of panic. It’s just
“It’s tall and skinny, you say? Sounds him, though. “What do you do?”
like a good job for someone… small. I
have Glaw climb it. ‘No need for the “I put a hand on his shoulder. ‘Nia’s in
others to know about the webs, eh? I’m, there, and she’s one of ours. I’m going in
uh, glad you spotted this tree and called with the Blessed, and Vahid, and Cara-
me over.’ I wink.” She’s asking him to doc. But I need you sharp out here.” I ask
do something dangerous, but I think she whether she’s Persuading him to stay cool
approached it really well. I see no reason or spending Loyalty to have him over-
for him to resist. come fear. “I’ll spend the Loyalty. I’m not
risking a 6- here.” The crew only held 1
“He looks up the skinny tree and nods, Loyalty to start with, and now it’s gone.
then drops his bow and extra gear and But Glaw will hold steady!
starts climbing. I think he’s Defying
Danger again; he risks falling, or mak-
ing a lot of noise.” We look at his tags
and decide that either stealthy (from
the group) or small (his personal tag)
could apply, but that still means just a
+1 bonus.

Rhianna rolls an 11, so Glaw scurries up

the tree, peers in, and comes back down
without problem. He’s pale as a sheet,
though. “Nia’s in there, yeah. She’s…
she’s standing stock-still, just staring at
this… tapestry? Of like a huge spider.
And the tapestry’s kind of… rippling.
It’s… it’s real creepy.”

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NPCs & Followers

Each member of a group has their own Members of a group usually Outfit with the
HP, and they take damage and lose HP same gear, but the player can have individu-
individually. If a multiple members of the als load up with different items if they’re
group take damage at once, roll damage willing to do the extra bookkeeping.
separately for each member and deduct it
from their current HP. Likewise, the PC can direct one crew
member to Have What They Need and
add an item to their inventory, without the
The Mother-of-Spiders sends a wave rest of the crew each producing the same
of arachnids after the PCs as they flee item. Keeping track of this is the player’s
the ziggurat with Nia. Rhianna’s crew responsibility, though!
provides cover fire (Aiding the PCs as
they Struggle as One), but that draws In general, don’t worry about small items
the attention of the swarm. or which member is carrying exactly how
many uses of supplies. The players can
Rhianna yells for them to run for the track this level of detail if they really want
waystone. We all agree that they’re Defy- to, but it’s rarely worth the effort.
ing Danger. Rhianna rolls +0 (none of
their tags apply to an outright sprint)
and, alas, gets a 2.

“That’s not good,” I say. “To start, they

each take 1d8 damage.” Rhianna rolls
a 1, 4, 5, 5, 6, and 8, less 1 each for the
crew’s armor. “So, Glaw didn’t take any
damage? Well, he catches up to y’all, but
you hear the others cry out. Vahid, you
glance back and see Hari get tackled.
What do you each do?”

Spiders chasing down Rhianna’s crew left to right,

Hari in background at far left getting taken down by spide

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 NPCs & Followers

Vahid chases off the spiders by using his When a group...

Fear of the Flame arcanum. Rhianna
goes back and drags Hari out of there. … Clashes or Lets Fly (or Aids a
Everyone makes it back to the waystone, PC in doing so), the attack can
where Thornthumb the spriggan has been hurt multiple foes. They roll the
waiting for them. move once, and roll damage
separately against each foe (see
Before heading back through the fae page XX). Consider abstracting
paths, Blodwen tends to Hari, restoring the exchange (page XX).
his HP and stabilizing him, but he’s still
paralyzed. Rhianna has Lowri turn … Clashes with or Lets Fly at a
his 2 undefined into a roll-out sledge single foe (or Aids a PC in doing
to carry Hari. She writes “ sledge so), they roll the move once (likely
(Lowri)” on her crew’s inventory list. with advantage) and one attacker’s
damage, +1 for each attacker after
She then has the rest of her crew each the first (see page XX).
turn one undefined into supplies,
for 20 uses total (five followers, 4 uses … Defends, then the group holds
each). The four PCs then Recover, as do a common pool of Readiness. The
the four followers who are down HP, us- PC spends it on behalf of either the
ing bandages and whisky and food that group as a whole or an individual
the followers brought with them. The member, whichever makes sense.
followers have 12 uses of supplies left.
… Recovers, then each member
Rhianna could decide that Glaw and Eira who regains HP must consume 1
used up all their supplies and now each use of Supplies.
carry only five total, but it doesn’t really
matter at this point. If it becomes impor- … Seeks Insight, then the PC can
tant later (like, if one of the crew members ask 3 questions or 1 question
gets separated from the group), we can total, not 3 or 1 per member of
decide then who was carrying what. the group.

… Struggles as One along with one

or more PCs, roll once for the
group. On a 6-, decide which
member(s) of the group to put in a
er.
spot. On a 10+, ask the player who
steps up to save someone, and how.

… incurs a cost, suffers an attack,

is put in danger, draws unwanted
attention, etc. you decide which
member(s) are affected, and how.

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Creating followers If you answer “no” to any of the above,

then don’t treat the NPC as a follower. This
PCs can gain followers... is not a hard-and-fast rubric, though. Your
group might want to treat the village horses
… from a playbook, background, move, or as followers, but other groups might not.
special possession;
… by unlocking the mysteries of certain The answers might also change over time.
arcana; or The troublesome refugee kid might not be
… organically through play. a follower to start, but after a season of liv-
ing with the Heavy, he might become one!
When a game mechanic says that a PC Likewise, an NPC might act as follower
gains a follower, it either provides the while they’re on a particular expedition
follower’s stats or has the player choose with the PCs, but cease to be one once
stats from various prompts. Work with they get home.
the player to flesh out the follower as you
would any NPC. But you don’t need to
worry assigning them stats—the mechan- The PCs are preparing for their trip to
ic does that for you! Gordin’s Delve. They’ve Mustered the
village and identified two useful NPCs:
Followers who arise organically through Elios (who Rhianna will leave in charge
play are a different story. They could come of the defenses while they’re gone) and
from anywhere and be just about anyone. Andras (a new recruit for her crew).
An NPC might start following one the They’ve also Requisitioned one of the
PCs around and doing what they say. A village’s horses and a cart.
PC might Trade & Barter to acquire a
hound, or Requisition one of the town’s Elios isn’t coming with them, and I don’t
horses. Maybe they recruit some villagers see him as just doing what Rhianna asks;
to hunt crinwin, or save a merchant from he’s not her follower. Andras, though, is
bandits, or team up with a Hillfolk rider to an eager kid hoping to join her crew. I’ll
kill some fell beast. definitely treat him as a follower.

Before you write someone up as a follower, The village horse has follower stats
ask yourself: provided, but at first we don’t think of it
as a follower. But as the PCs head out, it
Will they follow a PC’s lead, and becomes clear that Blodwen and the horse
generally take orders from that PC? (Fflur) are quite close. I’d like to disclaim
Do you and your players care enough some decision making when it comes to
about this NPC to give them stats? Fflur’s fate, and I’m happy to juggle an
Do you want to let the dice decide extra follower, so a follower she becomes!
their fate when their PC sends them
into danger (as opposed to deciding
what happens yourself )?
Are you okay with the extra book-
keeping, mechanics, and spotlight time
that a follower entails?

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If an NPC is not a follower, then they If you decide that a monster becomes a
don’t trigger moves when they act on the follower, then they already have stats. To
PC’s orders, and they don’t have a cost or convert a monster into a follower:
hold Loyalty. They might still have stats,
and they still be might be monsters (page 1) Add any tags that you see fit, to
XX) or threats (page XX). reflect its nature or capabilities.
2) Choose (or make up) a cost, using the
If you decide that an NPC is a follower, examples below for guidance.
then figure out which PC they follow. Also, 3) Add a spot to track its Loyalty (max 3).
they need stats: tags, HP, armor, damage,
instinct, cost, and maybe some GM moves. Otherwise, use its stats as-is.

Some followers will have stats already, If stats don’t already exist for the follower,
from an almanac entry or a player handout. then you need to make them. To do so:
For example, the village horses have stats
on the Stonetop steading playbook, and 1) Create them as an NPC (if you haven’t
you can find follower stats for a dog, mule, done so already; see page XX)
or horse in the Moves & Gear handout. If 2) Give them tags.
you decide to treat these as followers, then 3) Calculate hit points.
use these stats. 4) Calculate armor.
5) Calculate damage.
Note: you don’t have to treat someone or 6) Write their instinct.
something as a follower just because they 7) (Optional) Write their moves.
have stats in an almanac entry or on a 8) Write their cost.
handout. If a PC has just acquired a hound 9) Equip them.
but hasn’t had a chance to train it, it’s not
a follower. If you just don’t have the energy See the following pages for details.
to treat the fen-walker guide as a follower,
then don’t!

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3
1 Basics
If the follower is truly outstanding, then
give them the exceptional tag (see page
If you haven’t already done so, flesh
XX). Such followers should be rare; save
this follower out as an NPC. Give them
this tag for the best of the best.
a name, develop their concept, and think
about how you’ll describe them. Add ad-
If you’re creating a group follower, then
ditional details if they seem important or
pick tags that apply to the entire group.
valuable. See page XX for guidelines.
As individual members stand out, consider
giving each one a unique tag of their own.
Andras is a young lad who’s eager to
become one of the village hunters.
I ask Rhianna to pick two of the crew’s
tags that Andras already has. “Hmm.
First, we flesh him out as an NPC. I ask
I think he’s already good with a bow,
some questions of the PCs, and we learn
so archer. And I think he’s observant.
that he’s Padraig’s son and just a few
That’s one of those traits that’s hard to
months younger than Caradoc. Caradoc’s
teach, y’know?”
player also suggests that he fancies Blod-
wen, but hasn’t worked up the courage
Those are both useful traits, so I add
to say anything about it. That’s plenty to
eager (a mixed blessing) and rookie
work with!
(definitely problematic).

3
2 Tags
Give each follower 2-4 tags, some-
times more. Tags are adjectives or nouns, Tag examples
and they should finish the sentence, “This Useful tags: agile, archer, athletic,
follower is/is a __.” beautiful, brave, cunning, fast,
fierce, hardy, healer, intimidat-
Tags serve as a guide when you portray ing, magical, observant, organized,
the follower, informing how they act or patient, respected, self-sufficient,
what they will/won’t want to do; and affect sharp-eyed, stealthy, tireless, tracker,
what a player rolls when they Order Fol- warrior, ___-wise
lowers (page XX).
Problematic tags: bigoted, drunk,
Avoid overly broad tags like experienced, greedy, gullible, lecherous, naive,
invincible, skilled, incompetent, etc. You want proud, rookie, reckless, short-fused,
tags that apply some of the time, not all of stubborn, frail
the time!
Mixed blessing tags: animal-lover,
Give followers a mix of tags that are useful, annoying, big, bully, callous, cau-
problematic, and mixed blessings. More- tious, devious, eager, thieving, gos-
competent followers should have more sipy, honest, kind, little, shameless,
useful tags and fewer problematic ones, terrifying
but even highly skilled followers can have
some unpleasant quirks.

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 NPCs & Followers

3
3 Hit points 3
4 Armor
Determine the follower’s maximum Answer the following:
HP by answering the following questions:
What protects them? (pick 1) armor
How resilient are they? (pick 1) hp Naught but cloth and flesh 0
Weak/frail/soft 3 Leathers or thick hide 1
Able-bodied 6 Mail, scale, or similar 2
Tough/strong/hard 9 Steel, boney plates, carapace 3
Potent magical wards or 4
What else applies? (pick all that do) hp supernatural resilience
They are tiny -2
They are large +4 What else applies? (pick all that do) armor
The fates smile on them +2 They are tiny +1
They bear a shield or similar +1
They are skilled in defense +1
Andras strikes me as able-bodied—a
They lack vital organs +1
healthy young man with the strength to
pull a bow. He’s not tiny nor large, and
I’ve no reason to think the fates smile on Andras is just a young man, with no
him, so he has 6 HP. special skills or protections. He has 0
armor unless Rhianna opts to Outfit him
with thick hides or a shield.

3
5 Damage
Answer the following:

How dagerous are they? (pick 1) damage

Not very d4
Can defend themselves d6
Veteran fighter or predator d8
Andras, rookie hunter
standing ready
with bow, knife, old cloak Range and other tags are based on their
gear. For monstrous followers, use the
damage guidelines for monsters (page XX).

Again, Andras is an able-bodied youth

who’s good with a bow. He’s a rookie, but
I think he can defend himself just fine.
He does 1d6 damage.

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NPCs & Followers

3
6 Instinct 3
7 Moves (optional)
What does the follower do natu- Write up to 3 GM moves. Write
rally that causes trouble for the PC they them so that they complete the sentence:
follow? Write their instinct in this format: “The follower can/will ___.” For example:
“to [do something].” Example instincts for
followers include: ä Sniff out trouble on the wind
ä Weave a minor glamour
To take things too far ä Wander off on their own
To question leadership and authority
To cling tightly to tradition A follower’s moves can reflect abilities not
To act impulsively covered by a tag, or how they use a specific
To give in to temptation tag, and/or common behaviors (good or bad).
To not take things seriously
To freeze up in the face of danger These moves are mostly for you and this
step is completely optional, but the player
sees them and they can affect what the
I want to play up Andras’s eagerness, player rolls when they Order Followers
which I like as a contrast to Caradoc, (page XX).
who’s growing out of his “impetuous
youth” shtick. I double-down on his
eager tag and give him an instinct of I consider giving Andras some GM
“to try to impress Rhianna.” That should moves like “moon over Blodwen” or
be slightly exasperating and it’s likely to “make a rookie mistake,” but frankly I
push him into doing some dumb stuff, don’t feel like I need them. This moves
without making him a complete liability. wouldn’t affect any rolls that Rhianna
makes on his behalf, and they aren’t ma-
terially different from his tags or traits.
So, no moves, at least for now.

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 NPCs & Followers

3
8 Cost 3
9 Equipment
A follower’s cost describes what Either decide what gear the fol-
keeps them following a PC’s lead. It’s lower is carrying, or ask the player to
usually a few words, like “coin, payment, Outfit them as if they were a PC.
treasure” or “affection, respect” or “training.”

Choose one from the list below, or make For this first expedition up to Gordin’s
something up. When their cost is paid, Delve, I decide that he’ll show up with
they hold +1 Loyalty (max 3), per the his bow, a hand-me-down cloak, some
Strengthen Your Bond move (page XX). supplies, and an iron knife.

Coin, payment, treasure I write this down on an index card

Renown, public recognition and hand it to Rhianna’s player when
Affection, respect (from you) he shows up for their departure:
Knowledge (about what?)
Wrongs righted, good deeds done ANDRAS, apprentice hunter
Amusement, entertainment Archer, observant, eager, rookie
Progress (towards a particular goal) HP 6; Armor 0
Damage knife 1d6 (hand) or bow 1d6
(near, O low ammo, O out)
Andras is a young man, eager and a Instinct: to try to impress Rhianna
rookie, with an instinct of “to try to Cost: recognition (Loyalty OOO)
impress Rhianna.” I think that a word of
praise from Rhianna, especially in public, Young man, Padraig’s son. Sweet on
would mean the world to this kid. And so Blodwen. Tries real hard, asks lots of
I make that his cost: “Recognition.” questions.

<> Bow & iron arrows (near)

<> Old cloak (warm)
<> Supplies (uses OOOO)
Iron knife (hand)

Caradoc gives him some grief about

bringing a cloak when the weather is
still so warm (for autumn). Rhianna,
though, nods approvingly. “ You know
how to cook, kid?” He starts talking up
the (small) handful of dishes he can make
and she’s like “ Yeah, great, kid,” and she
adds a mess kit and two undefined
s to his gear.

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Updating followers
Followers can change over time. They
might change mechanically, like when the
Marshal takes the “Veteran Crew” move.
But often, they’ll change naturally over the
course of play.

Between sessions, review any followers that Blodwen at left, watching

the PCs have. For each one, if…

… their instinct and/or cost no longer

ring true, then revise them.
… any of their tags or moves no longer
ring true, then delete them or revise
them, whichever makes more sense
… they’ve shown a new aptitude, skill
or behavior, consider adding it as a tag
or move.
… they’ve become more resilient, or less Losing followers
so (due to personal growth, injury, Followers might die, of course. But they
illness, etc.), then adjust their max HP might also stop being followers for a num-
accordingly. ber of reasons.
… they’ve become considerably more or
less dangerous, then adjust their dam- The relationship between follower and
age die. PC might be temporary or situational.
… they’ve become a source of ongoing, When it no longer makes sense for them
active trouble for one of the PCs or to take orders from the PC, they stop
the village at large, write them up as a being a follower. They might return to fol-
threat (page XX) in addition to or in- lower status again, but for now, they have
stead of being a follower. their own life to live!
… it’s a group follower, did anyone leave
the group, or join it? Update the
group’s roster to reflect this. Fflur became Blodwen’s follower on their
… they no longer look to the PC for trip to Gordin’s Delve, but after they
leadership, or would no longer take return home, that doesn’t really make
orders from them, then they’re not a sense. The publican’s son takes care of the
follower anymore (see next page). horses, Fflur and Celyn, and they’re often
… they shift their loyalty from one PC out in the fields.
to another (or their current leader
passes off responsibility for them to Should the PCs bring Fflur on another
another PC), then tell the players, and expedition, we’ll likely treat her has
maybe demonstrate it via a scene in the Blodwen’s follower again. But around
next session. Tell the players to update town, she’s just a horse that Blodwen is
their notes accordingly. friendly with.

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 NPCs & Followers

Of course, it’s not always amicable when

a follower parts ways with their PC. If the
breakup is messy, then the follower might
very well become a threat (page XX). If the
follower has been harboring growing resent-
ment towards their PC, they might even
betray them in sudden and dramatic fashion.

g Eira walk away at right

Vahid’s put-upon wind spirit returns
from spying on Thornthumb, full of news
and playful energy—right as Vahid sits
down for dinner with the widow Maire.
He steps outside and pleads with the
spirit to behave for now, and promises
to play the flute out in the fields later, so
that the spirit can dance and frolic.

The andalau is out of Loyalty, so

A follower might change in a way that Vahid rolls to Persuade. Alas, he rolls a 4.
they no longer follower their PC. Maybe I ask Vahid how he thinks he screws this
they lose their nerve, or move away, or up, and he says that he loses his temper
have kids and settle down, or so forth. and starts shouting, trying to bully it
They might still be around as an NPC, but into behaving.
they’re no longer a follower.
I decide that the spirit has had enough.
Eira survives her brush with death, and “It gets quiet and still. Then, hoo boy. The
Blodwen heals her wounded soul, but she’s wind picks up, more and more, getting
never the same. It’s like she aged 20 years stronger. Gods, you didn’t think it could
in a week, and the next session, she tells be this strong. It howls, screams, and
Rhianna that she’s done. It’s an emotional snatches at the flute.” Vahid tries to hold
scene, and we actually see Rhianna cry. on, but rolls a 3 to Defy Danger, and the
When it’s over, she erases Eira from her flute gets smashed apart on the Stone.
Crew insert and I add “retired” to her
entry on the steading playbook. The spirit was tethered to that flute, and
now it’s not. It’s certainly no longer a
follower. An untethered spirit would
normally dissipate, but I think this one
holds a grudge. It vanishes for now, but
between sessions, I write it up as a threat
(a supernatural entity, instinct: “to tor-
ment Vahid”).

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