Song of Ice and Fire Roleplaying Quick-Start Rules

Song of Ice and Fire Roleplaying Quick-Start Rules
Quick-Start Rules
Design: Robert J. Schwalb and Steve Kenson Additional Writing: Jesse Scoble Editing: Kara Hamilton
Development: Steve Kenson Art Direction and Graphic Design: Hal Mangold
Cover Art: Christophe Swal Cartography: Andrew Law
Interior Art: Mark Evans, Pat Loboyko, Christophe Swal and Mike Vilardi
Green Ronin President Chris Pramas
Green Ronin Staff Bill Bodden, Steve Kenson, Nicole Lindroos, Hal Mangold, Chris Pramas, Evan Sass, Robert J. Schwalb, Marc Schmalz
A Song of Ice and Fire Roleplaying Quick-Start is ©2008 Green Ronin Publishing, LLC. All rights reserved. Reference to other copyrighted
material in no way constitutes a challenge to the respective copyright holders of that material. A Song of Ice and Fire Roleplaying, Green Ronin,
and their associated logos are trademarks of Green Ronin Publishing, LLC. Printed in the U.S.A.
A Song of Ice and Fire is © 1996-2008 Geroge R. R. Martin, All rights reserved
Green Ronin Publishing 3815 S. Othello St., Suite 100 #304 Seattle, WA 98118
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Ours Is the Fury!
Welcome to the beginning of A
also has no predetermined
Song of Ice and Fire Roleplaying! “He is the prince that was promised, and his is the song of ice and fire.”
ending; play can continue for
as long as you and the other
Many different paths may have
—A Clash of Kings players wish, and your story
brought you here, and we’ll take
a look at them before we dive
can stretch over many different
into the world of adventure, excitement, opportunity, and betrayal that is the play sessions, just as a novel does over many chapters, and even many books
Seven Kingdoms of Westeros.
in an ongoing series.
These Quick-Start rules and the adventure Journey to King’s Landing are
mean to be your introduction to both the A Song of Ice and Fire Roleplaying
game and to the fantasy world detailed in George R.R. Martin’s best-selling
series of novels.
What Is A Song of Ice
and Fire Roleplaying?
What Is Roleplaying?
A Song of Ice and Fire Roleplaying (or SIFRP for short) is a game based on the
best-selling fantasy series by George R. R. Martin, a sweeping epic of war
and the struggle for political power and survival set in the Seven Kingdoms
of Westeros. The series encompasses the novels A Game of Thrones, A Clash
of Kings, A Storm of Swords, A Feast for Crows, and the forthcoming A Dance
With Dragons.
In a roleplaying game, you and other players take the roles of characters in an
adventure story. One of the players, called the Narrator, takes on the job of
starting the story and telling you about the situations your characters find
themselves in. The players decide what their characters do, and the game rules
determine how successful they are. The Narrator then moves the story along
by describing what happens next, and so forth. As the game unfolds, you
detail an entire story involving your characters, like the chapters of a novel
or the episodes of a television series.
In this world, seasons last for years, not months, and family generations can be
traced back for thousands of years to the Age of Heroes. Ancestral weapons
may be worth more than a lordling’s only daughter, and castles may have
flown a score of banners in their storied histories.
Magic lives mostly in the myths and faded dreams of earlier generations. The
learned maesters say it died out a lifetime ago, with the last of the dragons,
Roleplaying games are unique in that no one player “wins” the game, since
the goal is for everybody to have fun creating the story. A roleplaying game
but others say it still exists amongst the maegi and warlocks of the exotic
eastern lands.
along the way. You’ll also find a complete set of pre-generated characters for
playing this adventure.
A Song of Ice and Fire Roleplaying is about Machiavellian court politics, family
alliances and enmities, the rise and fall of kingdoms, and the clash of armies,
but it is also about honor and duty, family, the responsibilities of leadership,
love and loss; tournaments, murders, conspiracies, prophecies, dreams, war,
great victories, and terrible defeats. It’s about knights, both false and true…
and it’s about dragons.
Would-be players should read over the material other than the adventure,
becoming familiar with the game’s rules. One player, the Narrator, should also read
the adventure in order to get the game started.The players (up to six) choose which
characters they wish to play—roll dice if there’s a conflict, with the highest roll
getting to pick first. Then the Narrator starts off the adventure by describing the
first scene to the players and letting them choose how their characters react.
Welcome to the world of A Song of Ice and Fire, and remember the words of
House Stark: “Winter is coming.”
You may wish to pause the action of the game from time to time to consult
the rules found in this book until you’re familiar and comfortable with them.
There’s nothing wrong with this, and you may need some practice before
you’re completely familiar with how everything in SIFRP works. The character
sheets in this book include summaries and quick references of important
game information for ease of use during play.
How to Use This Book
A Song of Ice and Fire Roleplaying Quick-Start is intended to give you a taste
of the SIFRP game and how it plays. Included in this book is a summary
of the game’s rules and how it is played, along with a short introductory
adventure, “Journey to King’s Landing,” wherein a small band of characters
travel through the Seven Kingdoms and face danger at one of their stops
Most of all, have fun spinning out your first A Song of Ice and Fire Roleplaying
tale! Use your imagination and, if the game strikes out in an unexpected
direction, run with it! Make things up and spin scenes and events out as
necessary to make the story fun and interesting for everyone.
A World of Ice and Fire
The events of George
Known as the War
R.R. Martin’s saga, “When you play the game of thrones, you win or you die. There is no middle ground.”
of the Usurper, or
A Song of Ice and
Robert’s Rebellion,
—Cersei Lannister, A Game of T hrones this conflict saw
Fire, take place on
the island continent
Robert unite many
of Westeros, a realm known as the Seven Kingdoms. The Targaryen dynasty of the great houses behind his cause and launch a terrible crusade to kill
ruled Westeros for centuries, but fifteen years before the series begins, they the Targaryen family, root and branch.
were overthrown in a bloody conflict remembered as the War of the Usurper.
A Song of Ice and Fire Roleplaying focuses on the period leading up to the The war was bloody and brutal, but it was short-lived, with the Targaryen
first book, A Game of Thrones. The new king, Robert Baratheon, has presided death knell rung on the banks of the Trident. There, Robert Baratheon
over a decade of uneasy peace but change is in the wind. Few know it yet, slew Crown Prince Rhaegar, shattering his breastplate, and turning the
tide of battle. As Robert and his allies marched toward King’s Landing,
but winter is coming.
Tywin Lannister, Lord of Casterly Rock, approached the city. The Mad
King, thinking his old ally returned to save his reign, threw open the gates,
welcoming the enemy to sack the city.
While his home crumbled around him, Aerys II seized on one last hope
and plotted to burn the city to ashes. Before he could enact his plan, a
member of his Kingsguard, Jaime Lannister, betrayed his oaths. Within
sight of the sinister Iron Throne, seat of power over all of Westeros, Jaime
Lannister murdered King Aerys II. With that one betrayal, the city was
saved and the war was ended. Robert Baratheon was named King of the
Realm and wedded Tywin Lannister’s daughter to gain her family’s great
wealth and support.
Aegon Targaryen, known to history as the Conqueror, invaded and united
Westeros. His forces swept across the land, wresting control from the
Andal lords, who themselves had conquered the First Men thousands of
years ago. The dynasty King Aegon founded lasted for nearly three hundred
years. Despite many tumultuous upheavals, including civil wars, uprisings,
and rebellions, the Targaryens survived, but all things end, and so did the
Conqueror’s dynasty when King Aerys II ascended to the throne. Known
as the Mad King, he ushered in the fall of this once great and mighty
Upon the Iron Throne
A Madman’s War
It is now the reign of Robert Baratheon, the First of his Name, King of the
Andals, and the Rhoynar and the First Men, Lord of the Seven Kingdoms
and Protector of the Realm. His ascent brought renewed stability to Westeros,
reviving the Seven Kingdoms after the madness of Aerys II. That said, these
last years have not all been peace, and Robert’s reign has seen its fair share
Aerys II was cruel and insane. He saw enemies in every shadow and turned
his subjects against him through inhumane acts of despotic power. In the
end, Robert Baratheon, Lord of Storm’s End led an uprising against the
king after Crown Prince Rhaegar Targaryen abducted Robert’s betrothed.
A World of Ice and Fire
of rebellion and uprising, and there are whispers of corruption, plots, and
treasonous talk spilling from King’s Landing, the seat of Robert’s power.
Worse, not all the Targaryens were slain in Robert’s war. Rumors of
the last heir exiled to the Free Cities drift into the ports of the
Seven Kingdoms, where those still loyal to the old dynasty
cling to their vows in the hopes of one day restoring the
rightful rulers to the throne.
The Westerlands
The Westerlands are home to the Lannisters who rule from
Casterly Rock. The region is also home to some of the richest
gold and silver mines in all the Seven Kingdoms. It is a small
region, dominated by Lannisport and the Rock, the seat
of power for Lord Tywin Lannister, Warden of the West
and father of Queen Cersei.
The Seven
The Reach
South of the Westerlands sits the Reach, the largest region
next to the North. Its northern boundary is the Gold
Road, which runs from the Rock to King’s Landing, and it
includes everything to the southwest of the Stormlands and
Dorne. The Reach contains the Shield Islands, the Arbor, and
the vast city of Oldtown. It is rich and vibrant, warm and bountiful,
and ruled by the Tyrells of Highgarden.
The Seven Kingdoms are greater than the man seated
on the Iron Throne, and these mighty realms have stood
since before the Targaryens. They trace their lineage back
to the Age of Heroes, when magic permeated the land, dark
things crept in the light of the winter moon, and the greatest deeds of
mortals were done.
The Stormlands
The North
The Stormlands, south of King’s Landing and Blackwater Bay and
east of the Reach, stretch down to the Sea of Dorne. The
Stormlands are small, but filled with thick forests of the
rainwood and the kingswood. The Stormlands also include
Shipbreaker Bay, Cape Wrath, and the Isle of Tarth. The
Baratheon family seat is at Storm’s End, held by King
Robert’s younger brother, Lord Renly Baratheon.
Far from King’s Landing is a wild and untamed region
known simply as the North. Distance allows the people
of this land to preserve the customs passed down since
the days of the First Men. Bounded by the Wall, a
continent-spanning barrier constructed of solid ice
to the north, the Bay of Ice to the west, the Bay of
Seals to the east, and the boggy wetlands of the Neck
to the south, it is oft-regarded as an uncivilized land,
where men worship strange gods and hold to stranger
beliefs. Ruling the North is Lord Eddard Stark of
House Stark, who governs his lands from his sprawling
castle Winterfell.
This region, the most southern and hot-blooded realm of
Westeros, lies between the Sea of Dorne and the Dornish
Marches, where the Red Mountains form a natural border
with the rest of Westeros. Dorne also forms the shore of the
Summer Sea. It is ruled by the Martells from Sunspear.
The Vale of Arryn
South and east of the North is the Vale of Arryn, surrounded by the
stony peninsulas of the Fingers, the rocky and barren Bay of Crabs, and the
foreboding Mountains of the Moon. Lord Jon Arryn, Warden of the East,
Defender of the Vale, and Hand of the King rules these lands
from his mountain fastness called the Eyrie.
The Iron Islands
The Iron Islands sit most apart from the other realms, lying off the western coast
of Westeros, but touching the edges of the North, the Riverlands, and
the Westerlands. The Iron Islands lie in Ironman’s Bay, west of the
Trident and the Neck, and contain seven notable islands and
many sea-swept chunks of rock. The ironmen follow their
own religion, the Old Way of the Drowned God, and this
makes them distinct from the other peoples of the Seven
Kingdoms. House Greyjoy of Pyke rules the ironmen
The Riverlands
The Kingsroad, which runs all the way from the Wall
to King’s Landing in the south, passes by the western
border of the Vale, paralleling the mighty waters of
the Green Fork of the Trident. The Trident marks the
Riverlands, a lush and bountiful region ruled by House
Tully from Riverrun. It contains the lake called Gods
Eye, which holds the Isle of Faces, the site of an ancient
pact between the First Men and the mysterious children
of the forest. The Riverlands are bordered by the Neck to
the North, the Vale to the east, the Westerlands to the west,
and King’s Landing and the Reach to the south.
King’s Landing
Home to the king and queen and seat of the Iron Throne,
King’s Landing is the heart of the Seven Kingdoms.
Once seen as the territory of the Targaryens (whose home
and seat were on the isle of Dragonstone), King’s Landing
remains the capital under King Baratheon and Queen Cersei.
It is the largest city in the Seven Kingdoms, and the center of
trade, politics, and adventure.
The stage is set, the players are in their places…
Step into the world of Westeros,
and try your hand at the Game of Thrones!
In A Song of Ice and Fire Roleplaying, each player controls one or more
characters, sometimes called player characters or PCs, to differentiate them
from the other characters in the game. A character is your alter ego; it’s your
door to the Seven Kingdoms, your persona, avatar, or proxy in the game.
Abilities define how the characters interact with the world. They describe
those areas in which a character excels and those in which he could use a
Characters have various defining game traits, but a character is more than
bit of help. A character’s abilities also provide a glimpse of style, possibly
just a set of numbers; your character has a history, personality, goals, outlooks,
motivation, and strategy in surviving the game of thrones or the battlefield. Of
ambitions, beliefs and more. It’s up
course, to the untrained eye, abilities
to you to decide what your character
look very much like a collection of
looks like and how he or she behaves,
but these numbers have
—Balon Greyjoy numbers,
since creating, defining, and playing
meaning and in them is where lives
your character go a long way toward
your character.
making the game fun. This section provides an overview of how SIFRP defines
characters, using abilities, qualities, and destiny.
Ability Rank
A character’s rating in an ability is measured by rank, a number listed after
the ability, like “Athletics 2” or “Fighting 4”. The greater your rank, the better
you are at using that ability. Rank says a lot about your character and knowing
what it means can help you translate the numbers into useful descriptions.
Abilities are ranked from 1 (the lowest) to 7 (the highest), as follows:
Important Terms
The following terms are used regularly in A Song of Ice and Fire
ability: One of the defining game traits of a character. Abilities
are measure by rank.
Rank 1 — Deficient
This rank in an ability means you’re deficient. Routine tasks are a challenge.
Generally, an ability at this rank is the result of some other physical or mental
ability test (or simply test): Using an ability to attempt an action
where the outcome is in doubt. A test involves rolling a number
of six-sided dice (the test dice) equal to the tested ability’s rank
and adding them together.
Rank 2 — Average
bonus die: A bonus die is an extra die rolled during an ability
test, but then a number of low dice equal to the number of bonus
dice rolled is dropped from the test before the remaining dice are
added to determine the result.
Most folks in Westeros have abilities at this rank. Having rank 2 in an ability
means you can handle routine tasks and manage challenging things given
enough time. Certain things, however, are beyond your ability. Abilities start
out at rank 2 by default.
character: A player’s assumed persona in the context of the game.
Rank 3 — Talented
degree (of success): A measure of how successful an ability test is,
beyond mere success or failure.
A cut above the average, having rank 3 in an ability means you have a special
knack or a minimum amount of training, such as a few hours put in with a
practice sword or having ridden a horse a few times in your life.
Destiny Points: A measure of a character’s future potential, used
by players during the game to influence fate and outcomes where
that character is concerned.
Rank 4 — Trained
At this rank, you combine your natural talents with extensive training.
Your skill exceeds that of the average individual. You can confidently tackle
challenging tasks without trouble and, with a little luck, can pull off some
pretty impressive stunts.
dice: Randomizers used to determine the outcomes of uncertain
events in the game. SIFRP uses six-sided dice, sometimes
abbreviated “d6”.
drawback: A character quality with a negative affect on the
character, such as a disability.
Rank 5 — Accomplished
modifier: A bonus or penalty that applies to the result of an ability
test, expressed as +# or –#.
Intensive training coupled with natural talent places you far above the
common man. In fact, people with rank 5 are often the best at what they do
in an area, having surpassed their peers in their craft.
penalty die: A die subtracted from the test dice (starting with the
lowest first) after any bonus dice have been discarded, before the
dice are summed to determine the result.
Rank 6 — Master
By rank 6, you are considered one of the best in the world at the ability. People
use you as an example, seek you out to learn and improve their training, or
simply to meet you.
quality: A positive character quality, providing a particular defined
game advantage.
rank: A measure of a character’s ability, ranging from 1 (impaired)
to 7 (legendary). Abilities have an average rank of 2 by default.
Rank 7 — Paragon
result: The value arrived at by adding up all of the test dice rolled
for an ability test.
Rank 7 is as high as any can hope to achieve. So rare is this rank, people with
this level of ability are considered legends, once in a generation, if that.
SIFRP: An abbreviation for A Song of Ice and Fire Roleplaying. Refers
to the game, as opposed to the A Song of Ice and Fire novel series.
Where rank represents talent combined with training, Specialties reflect a
narrowing of an ability’s focus, the result of specific development in one of
test die: A die that is rolled and added as part of an ability test.
the many areas an ability encompasses. Specialties, like abilities, are ranked
from 1 to 7. They are designated as a number followed by a B (for “bonus”).
So, if you had rank 2 in the Axes specialty, you’d note it as Axes 2B. Your
specialty rank cannot exceed your ability rank.
Your rank in a specialty provides a number of bonus dice toward your ability
test. Also, when an opponent tests against your passive test result, you may
add the rank of a specialty that most closely applies to the passive test. For
example, if a spy tries to sneak past you, he rolls a Stealth test against your
passive Awareness test. Assuming you have Awareness 4, your passive result
would be 16 (4 times rank 4). If, however, you had a Notice 2 specialty, your
passive result would be 18 instead (16 + 2 for the specialty rank).
Ability Descriptions
The following are brief descriptions of the abilities and what they do. The
SIFRP rulebook, naturally, provides more detailed descriptions and guidelines
for using the various abilities.
Agility measures dexterity, nimbleness, reflexes, and flexibility. In some ways,
it describes how comfortable you are in your body, how well you master your
movement, and how well you react to your surroundings.
Animal Handling
Animal Handling encompasses various skills and techniques used to train,
work, and care for animals. Whenever you would regain control over a
panicked mount, train a dog to serve as a guardian, or train ravens to carry
messages, you test this ability.
Athletics describes the degree of training, the application of physical fitness,
coordination, training, and raw muscle. Athletics is an important ability in
that it determines how far you can jump, how fast you run, how quickly you
move, and how strong you are.
Healing represents skill with and understanding of the accumulated
medical knowledge throughout the world. Rank in this ability reflects an
understanding of health and recovery, with the highest ranks representing
talents held only by the greatest of maesters.
Awareness measures your senses, how quickly you can respond to changes in
your environment and your ability to see through double-talk and feints to
arrive at the truth of the matter. Whenever you perceive your surroundings
or assess another person, use Awareness.
Knowledge describes your general understanding and awareness of the world
in which you live. It represents a broad spectrum of subjects, ranging from
history, agriculture, economics, politics, and numerous other subjects.
Cunning encapsulates intelligence, intellect, and the application of all
your collected knowledge in a practical way. Typically, Cunning comes
into play whenever you might recall an important detail or instruction,
work through a puzzle, or solve some other problem such as researching
and deciphering codes.
Language is the ability to communicate in a tongue, usually through speech,
but among the best educated, also through the written word. The starting
rank you have in this ability applies to your knowledge of the Common
Tongue spoken throughout Westeros. When you improve this ability, you
may improve your ability with the Common Tongue or choose to speak
other languages.
Deception measures your gift at duplicity, your ability to lie and deceive. You
use Deception to mask your intentions and hide your agenda. You also use
Deception to pretend to be someone other than who you really are, to affect
a different accent, and pull off a disguise.
Marksmanship represents your skill and accuracy with ranged weapons.
Whenever you make an attack using a ranged weapon, you test
Endurance measures your physical well-being, your health and hardiness.
Your Endurance determines how much punishment you can take as well as
how quickly you recover from injury.
Persuasion is the ability to manipulate the emotions and beliefs of others.
With this ability, you can modify how others see you, shape their attitudes
towards others, convince them of things they might not otherwise agree to,
and more.
Fighting describes your skill at arms, your ability to wield weapons effectively
in combat. Whenever you would attack unarmed or using a hand-held weapon
you test fighting.
You can spend a Destiny Point at any time, even when it’s not your turn,
though it’s polite to let other players finish their turns first. You may only
spend a single Destiny Point at a time for any one of the following effects.
Status describes the circumstances of your birth and the knowledge those
circumstances grant you. The higher your rank, the more likely you will be
able to recognize heraldry, the better your reputation, and the stronger your
knowledge of managing people and lands.
• Gain +1 bonus die on a test. This die can exceed the normal limits on
bonus dice.
• Convert one of your bonus dice into a test die.
• Remove –1 penalty die.
• Bestow a –1 penalty die on an opponent for one test.
• Take an extra Lesser Action.
• Ignore your Armor Penalty for one round.
• Improve or worsen another character’s disposition by one-step (see the
Intrigue section).
• Negate another character’s use of a spent Destiny Point.
• Add a minor detail to a scene, such as a shoddy lock, a minor clue, or some
other useful but small element that can help move the story along.
Stealth represents your ability to creep about unseen and unheard. Whenever
you would move without being noticed, you test Stealth.
Survival is the ability to get by in the wild—hunting, foraging, avoiding
getting lost, and following tracks. The Survival skill is important for a variety
of people in that hunting remains an important method of providing food for
one’s family, especially in the more remote corners of Westeros.
Burning Destiny Points
Thievery is a catchall ability for any skill involving larcenous activities.
Examples include picking locks, hand tricks, and general robbery.
When spending a Destiny Point is not enough, you can “burn” a Destiny Point
for a much greater effect. Burning a Destiny Point permanently reduces the
number of Destiny Points you have. In effect, they function like extra lives,
giving you much more control over the dice when they turn against you.
Destiny Points are rare and precious commodities, so burn them wisely.
Warfare describes a character’s talents at managing the battlefield, ranging
from the ability to issue commands, strategic knowledge for maneuvering
armies, to tactical knowledge for dealing with small engagements.
As with spending Destiny Points, you may only burn one at a time. A burned
Destiny Point can achieve any one of the following results.
Will is your mental fortitude, reflecting the state of your mind’s health and
endurance. It represents your ability to withstand fear in the face of appalling
violence or supernatural phenomena, and also serves as the foundation for
your ability to resist being manipulated by others.
• Convert all of your bonus dice into test dice for one test.
• Add +5 to one of your test results.
• Automatically succeed on one test as if you had rolled the Difficulty exactly
(without any extra degrees of success).
• Remove all damage and injuries (though not wounds).
• When defeated, decide the consequences of your own defeat.
• Transform another character’s successful test into a failed test.
• Automatically compel another character in an intrigue.
• Permanently remove the penalties associated with a negative quality.
• Negate the effects of another character’s burned Destiny Point.
• Add a significant detail to a scene, such as gaining a major clue, finding a
way out of a nasty predicament, or some other significant and useful
element that shifts the story in your favor.
• Avoid certain death. When you use this option, you character is presumed
dead and is removed from the story until such time as the Narrator
deems it appropriate for the character’s return.
Destiny is the ability to shape the outcomes of your experiences by subtly
altering the story in ways to let you overcome adversity and lift yourself above
the fickle fortunes of mere luck. As your character grows older and more
accomplished, you may invest your destiny into qualities, which manifest
as specific advantages, but also ground you, binding you to the fabric of the
setting. Each time you acquire a quality, you bring yourself closer to realizing
your destiny. Of course, you might resist, you might flee your fate, but then
who’s to say that your flight wasn’t planned all along?
Your fate lives in Destiny Points. Through them, you take control of the
story, create opportunities where none exist, escape near certain death, or use
them to advance you own cause. You may use your Destiny Points in one of
three ways: spend, burn, or invest. You spend a Destiny Point to change the
game in a minor way. You burn a Destiny Point to change the game in a
significant way. Or, you invest a Destiny Point to acquire a permanent benefit.
Younger characters have more Destiny Points, while older characters have
fewer, because they have invested more of them. Investing Destiny Points is
detailed in the A Song of Ice and Fire Roleplaying rulebook, while spending
and burning Destiny Points are describe here.
A primary use of Destiny is acquiring various qualities, innate advantages,
ranging from prowess in combat to social graces to wealth or even rare
supernatural gifts. Several qualities are described for the characters in this
book, and many more are presented in the A Song of Ice and Fire Roleplaying
Spending Destiny Points
The easiest and most conservative use of Destiny Points is to spend them.
Whenever you spend a Destiny Point, you adjust your circumstances. You
might alter the outcome of a test, or assume narrative control over the story
in some minor way. Once you spend the Destiny Point, you cannot use it
again until you achieve a story goal, the climax of a particular chapter in your
character’s life. Since you should be able to achieve a story goal in one or two
game sessions, you are rarely without your Destiny Points for long.
The characters of the A Song of Ice and Fire saga are often flawed, some fatally
so. Others struggle to overcome the setbacks fate has dealt them. Thus some
SIFRP characters have drawbacks, negative qualities, imposing some penalty
or difficulty on the character. You can see several drawbacks described for
the sample characters in this book, including Bastard Born and Flaw. Other
drawbacks in SIFRP include things like Craven, Crippled, Debt, Nemesis,
and Outcast.
Playing the Game
Playing the Game
The Dice
Step One: Declare the action
Step Two: Choose the ability
Like many roleplaying games, SIFRP uses dice to resolve the success or failure
of dramatic actions and choices that crop up during game play. SIFRP uses
six-sided dice, the same kind you’ll find in many family games, but widely
available just about anywhere. To play this game, you’ll need at least ten
dice, but having more can’t hurt. Players may want their own set of dice or
can share dice.
Step Three: Set the Difficulty
Step Four: Roll the dice
Step Five: Sum the dice and apply modifiers
Step Six: Compare the result to the Difficulty
Step Seven: Describe the outcome
Using Dice
Step One: Declare the Action
The number of dice you roll describe your chances of success at any given
task. The ability that best describes the action you’re attempting to perform Before you roll the dice, declare what it is you want to do. The Narrator
determines how many dice you roll. When rolling dice to try something, you’re determines whether the action requires a test. As a rule, if the intended
action has no significant risk or
said to be testing the ability or
no consequences for failure, there’s
rolling an ability test. These dice
no need for a test, though the
are called test dice and when you
—Varys Narrator is the final word on what
roll them you add them up to get
requires a test and when. Actions
a result. So, if you test a rank 3
ability, for example, you roll three six-sided dice. Say you get a 2, a 3, and a that might require tests include, but are not limited to, fighting, climbing,
jumping, recalling a bit of useful information, addressing the king, sailing a
5. You add the numbers up to get a result of 10.
ship through inclement weather, and so on. In short, if the action’s outcome
Sometimes, you’ll get to roll additional dice called bonus dice. Bonus dice isn’t certain or may have dramatic consequences, it probably requires a test.
are not added, but instead improve your chances at getting a better result.
Example: Nicole’s character, Lady Renee, happens upon a pair of conspirators
You never roll bonus dice by themselves, but roll them along with your test
discussing their plans to kill her father, Lord Tybalt. Clinging to the shadows,
dice and then keep the highest dice equal your test dice. Bonus dice are
she strains to hear their whispers.
abbreviated with #B, with the # describing how many bonus dice you get to
roll. So, in the previous example, if you test a rank 3 ability with two bonus
Step Two: Choose the Ability
dice (2B), you roll five six-sided dice, and add up the highest three numbers
(equal to the number of test dice).
Once the Narrator decides whether a test is appropriate, determine the ability
to be tested. Abilities are flexible, allowing both you and the Narrator to use
a variety of methods to overcome challenges in the game. A particular action
A modifier is a bonus or penalty applied to a test result. Modifiers are may use one ability in one set of circumstances, and another in a completely
expressed as +# or –#, with the # telling you what to add to or subtract from different environment. For example, you might use Persuasion to bluff your
your test result. Modifiers are gained as a result of situational factors, such as way past a guard or Status to fall back on your notoriety and standing to
remove the guard from your path. Even though these are two distinct methods,
smoke or fog, being injured, and so on.
the intended outcome is the same—getting past the guard.
Penalty Dice
Generally, the Narrator determines the ability, but you do have some say in
what ability you’d like to use. Just state what you want to use and how you
intend to use it, and, if reasonable enough, the Narrator ought to allow it.
Obviously, using Language to scale a wall or stab an enemy is ridiculous, so
common sense must prevail.
Penalty dice are drawbacks imposed by wounds, flaws, or certain actions.
Each penalty die cancels one test die when adding up your result, starting
with the lowest remaining die. You apply the penalty die after you roll and
after you drop any bonus dice. Penalty dice are abbreviated as #P, so when
you see –1P, it means you have one penalty die.
Example: Since Renee eavesdrops on the conversation, the Narrator decides
the relevant ability is Awareness.
Example: Steve’s character, Reinhart, suffers a wound, imposing 1 penalty
die on all tests. In the thick of combat, he shoots an arrow from his longbow
at a charging Wildling. Steve has Marksmanship 4 (Bows 2). He rolls six
dice and gets a 6, 5, 4, 4, 3, and 1. He drops the 1 and 3 for his bonus dice.
He must also drop one of his 4s because of the penalty die from his wound,
giving him a result of 15.
Step Three: Set the Difficulty
Once the ability is determined, the Narrator sets the test’s Difficulty. The
Difficulty describes the complexity and challenge of the action. To help assess
how hard a task is, a Difficulty number has a descriptor, such as Routine for
Difficulty 6, Challenging for Difficulty 9 and so on. See Difficulty later in
this section for details.
Testing Abilities
Example: The Narrator considers the scene. It’s dark so Renee can’t see the
conspirators, can’t see their body language. They’re also a bit off and whispering.
The Narrator decides the Difficulty is Formidable (12).
Whenever you attempt something with dramatic consequences or when the
outcome of the action is not certain, you test your abilities. A test is a roll
of the dice with the aim of exceeding the action’s Difficulty. The number of
dice you roll is determined by the most relevant ability, so if you try to stab
a Gold Cloak with your sword, you use Fighting, or if you’re trying to scale
a keep’s wall, test Athletics. Testing abilities is easy once you get the hang of
it, with a few simple steps.
Step Four: Roll the Dice
Knowing which ability to use and the Difficulty of the task, you roll a number
of test dice equal to the ability. Many times, you may roll additional dice in
the form of extra test dice or bonus dice.
Playing the Game
Example: Lady Renee has Awareness 3, giving her three dice off the bat.
However, she also has 2B in Listening, a specialty of Awareness, so she has
two bonus dice. She rolls five dice, but only adds up the highest three.
Basic Test
A basic test is the default for just about every action. If the game or situation
doesn’t indicate another type of test, use a basic test to resolve the action. The
process is as outlined under Testing Abilities, previously.
Step Five: Sum the Dice and Apply Modifiers
Once you roll the dice, sum the highest results equal to your test dice and
add or subtract any modifiers. The total is the test result.
Extended Test
Some actions are so involved, or try to achieve so much, they require multiple basic
tests to determine success, an extended test. A character climbing a steep cliff may
have to test Athletics several times to reach the top, while a maester researching
the lineage of a family purported to come from the Blackfyre pr etenders might
need several successful Knowledge tests to find the evidence he needs. When
the situation demands, the Narrator may inform you that you need two or more
successful tests to complete your action. Each test covers a particular span of time.
Once you achieve the required number of successes, your task is complete.
Example: Nicole rolls five dice (three test dice and two bonus dice from her
specialty) and gets a 6, 6, 5, 2, and a 1. She discards two dice, the 1 and
the 2, since they count for her bonus dice and adds up the rest, getting a 17
as her result.
Step Six: Compare the Result AND Difficulty
Now that you have a total, compare the result to the action’s Difficulty. If the
result equals or exceeds the Difficulty, you succeed. If the result is less than
the Difficulty, you fail.
Competition Test
Competition tests occur whenever two characters work toward or compete
for the same goal. Both characters roll tests against the same Difficulty. The
character that beats the difficulty by the greatest degree wins.
Example: The test Difficulty was Formidable (12). Since Nicole beat the
Difficulty with her 17, she succeeds!
Step Seven: Describe the Outcome
Example: Chris and Hal are in a foot race. Both will eventually cross the
finish line, but they’re competing to see who crosses it first. The Narrator calls
for both players to roll Automatic (0) Athletics competition tests. Chris has
Athletics 3, while Hal has Athletics 2 (Run 1). Chris rolls and gets a 6, 4,
and 1, for a total of 11. Hall rolls and gets a 5, 2, and a 2. He drops one of
the 2s for his bonus die, leaving him with 7. Chris wins the race.
Once the outcome of the test is determined, the Narrator describes the results,
providing any relevant consequences of success or failure.
Example: Nicole’s roll was good enough for Renee to hear most of the
conversation, which the Narrator summarizes. Although both conspirators
are careful to keep their identities concealed, Nicole now knows how they
intend to go about their treachery and with this information, Renee may be
able to stop their foul plan.
Conflict Test
Conflict tests are used most commonly in combat, warfare, and intrigue. A
Conflict test is always used to resolve anything that would function as an
“attack.” For these purpose, an attack might be a swing of a sword, sneaking
past a guard, or using your wiles to seduce a noble; effectively, anytime you
would “do” something to someone else, you roll a Conflict test. Unlike a Basic
test or Competition test, where you are testing against the challenge and
complexity of the action attempted, a Conflict test pits your ability directly
against your opponent. The Difficulty of these tests is your opponent’s Defense.
Generally, your opponent’s Defense is equal to four times the rank in the
ability used to oppose your attack; Awareness
against Stealth, for example. However, in the
case of combat, your opponent’s Defense is
the sum of his ranks in several abilities. For
details, see Fighting.
Types of Test
Rolling tests is more or less the same no matter what you’re attempting.
How you interpret success varies. In all cases, you roll a number of test dice
equal to the ability rank, plus bonus dice gained from a specialty, plus or
minus any modifiers and compare the result to the Difficulty to determine
success or failure.
Who Rolls?
When faced with a Conflict test, it can
sometimes be confusing about who rolls
and who “defends.” Consider, for example, a
character hiding from a guard. To determine
who rolls the test, consider who is the active
opponent. If the guard is actively searching
for the character whose simply standing in
the shadows or in a wardrobe, it falls to the
guard to roll the test. On the other hand,
if a character attempts to sneak past an
unobservant guard, the player rolls the Stealth
test against the guard’s passive Awareness.
Simultaneous Conflicts
Sometimes, opponents “attack” each other at the
same time. In these cases, both characters test
and the one with the highest result wins the
conflict. Going back to the hidden character and
the searching guard, if the hiding character tries
to sneak past an actively searching guard, both would test their respective abilities
and the victory goes to the character with the highest result.
Degree of Success
You need only equal the test’s Difficulty to get a success. Beating the difficulty
by a significant degree, however, can produce greater results. For many tests,
you complete the action bit faster or with slightly improved results. For some,
such as Fighting or Marksmanship tests, you can deal additional damage with
a greater degree of success.
Every action has a Difficulty, a number that describes how hard the action
is to accomplish. If your test result equals or exceeds the Difficulty, your
attempt succeeds. Difficulties are ranked in three-point increments, starting
at 0 for automatic actions and climbing all the way to 21 (or higher) for
nearly impossible ones. See the Difficulties table for details on the different
levels of Difficulty.
Degree of Success
Test Result Exceeds Difficulty by…
One, marginal success
Three, incredible success
Using Degrees of Success
Very Hard
Two, great success
Four, astonishing success
Many times a marginal success is all you need. However, the Narrator may
require a success by a particular degree for an action to succeed, especially when
time and quality are factors. For example, successfully singing a dirge for the
fallen son of a powerful lord may be a Challenging (9) test, but if the character
wishes a private audience with the lord, he may need an incredible success (three
degrees) on the same test, effectively making it a Very Hard (19) test. Of course,
not achieving the required degree of success doesn’t mean the character didn’t
perform well, just not well enough to achieve the desired goal.
Degree of Success
Fighting is a fact of life, and death,
Finally, Free Actions consume
in the Seven Kingdoms. A liege- “Oak and iron, guard me well or else I’m dead and doomed to hell.”
very little time. Usually, these
lord must be prepared to fight to
include shouting orders
—Old Saying things
defend his lands, a bannerman
to men under your command,
to defend his liege-lord, and the
drawing a weapon, and just
smallfolk to fill out the ranks of their armies. Brutal exchanges of sword and about anything else that consumes little or no time. Generally, you can
axe, and the deadly consequences of these battles, are the fierce action of the perform as many Free Actions as you like, but your Narrator may judge
game of thrones. Combat is dangerous and can leave characters dreadfully extensive conversation or rooting around in a saddlebag more timewounded, captured, or even dead.
consuming than a Free Action allows.
Rounds, Turns,
and Actions
Damage and Defeat
The object of every combat is to defeat your enemies. Defeat usually, but not
always, means killing your foes. However, if your opponent yields, flees, or is
knocked unconscious, you’ve still defeated him. The currency of defeat is damage
and most combat actions are geared toward dealing damage enough to kill,
maim, or force your enemy to yield. Since healing and recovery are uncertain
in the world of SIFRP, rare is the combat that goes to the bitter end.
When a combat begins, SIFRP breaks up game play into discrete moments
called rounds, each lasting approximately six seconds. Thus ten rounds of
combat equals about a minute of game time.
During a round, each player and each opponent gets a turn to act. A turn is
an opportunity to do something significant (or not) that may affect how the
combat develops. While there’s only six seconds in the round, each character
acts in order, so a character going first applies the effects of his or her choices
before characters going later in the round.
The Conflict Test
The primary method for dealing damage is through Conflict tests. You test
Fighting or Marksmanship against your opponent’s Combat Defense. A
success deals damage determined by the weapon you’re using with extra
damage gained by getting more degrees of success. The opponent’s Armor
Rating reduces the damage, but any left over comes off your opponent’s
Health. Once you reduce an opponent to 0 Health, you defeat him and decide
the consequences of his defeat.
On a character’s turn, the player may choose any of a variety of actions. Most
fall into one of three types: Greater, Lesser, and Free.
A Greater Action consumes the largest chunk of a combatant’s turn,
representing a furious series of sword blows, running across the battlefield,
and so on.
Combat Statistics
Lesser Actions are similar to Greater Actions, but they take up less time
allowing you to combine two Lesser Actions on your turn instead of taking
one Greater Action. You can’t save unspent Lesser Actions for the following
round, so be sure to use them up before the round ends.
From certain key abilities, you derive vital combat statistics such as your
Combat Defense, Health, and movement. What follows is a summary of the
game’s combat statistics and the methods for coming up with their values.
Hand Axe
Braavosi Blade
Defensive +1, Off-hand +1
Fast, Two-handed
Bulk 1, Powerful, Shattering 2, Slow, Two-handed
Grab, Off-hand +1
Off-hand +1
Long Blade
Shield, Large
Long Blade
Bastard Sword
Grab, Off-hand +1
Fast, Off-hand +1
Defensive +1, Fast
Defensive +1, Off-hand +1
Bulk 1, Defensive +4
Defensive +1, Off-hand +1
Defensive +2
Short Blade
Short Blade
Animal Handling+3
Bulk 1, Mounted, Powerful, Reach, Slow
Long Range, Piercing 1, Two-handed, Unwieldy
Long Range, Piercing 1, Reload (Lesser), Slow, Two-handed
Close Range
Shield, Tower
Tourney Lance
Bow, Double-Curved
Short Blade
Crossbow, Light
Hand Axe
Crossbow, Medium
Bulk 2, Defensive +6
Off-hand +2
Piercing 2
Fast, Two-handed
Long Range, Powerful, Two-handed
Long Range, Reload (Lesser), Slow
Close Range
Close Range, Fast
Close Range
Combat Defense
Health = Endurance rank x 3
The first line of defense against attack, your Combat Defense equals your
ranks in:
Agility + Athletics + Awareness
+ Defensive bonus (from shields or parrying weapons)
– Armor Penalty (from worn armor)
Example: Hal’s hedge knight has Endurance 4, so his Health is 12 (4 x 3).
Move describes how far your character goes when you use an action to move
on your turn. Most characters move 4 yards when unarmored or unburdened
by bulky items. For every two bonus dice of the Run specialty, you move an
extra yard on a move, but if you have only Athletics 1, your move is only 3
yards. Characters wearing armor may move slower. Every two points of Bulk
armor has reduces move by 1 yard.
Example: Hal calculates his hedge knight’s Combat Defense. He has
Agility 3, Athletics 4, and Awareness 3. His base Combat Defense is 10.
When armed with a large shield, he increases his Combat Defense to 14
and when wearing his full plate armor, he drops his Combat Defense to
8. A large shield has a Defensive rating of +4 and full plate has an Armor
Penalty of –6.
Example: Hal’s character has 2B in Run, so his movement is 6 yards.
However, his full plate has Bulk 3, reducing his move by 1 to 5 yards.
Health is your ability to absorb damage and keep fighting. It doesn’t matter
how much damage you’ve taken to Health; so long as you have at least one
point left, your abilities aren’t reduced and you can keep on fighting.
Armor signifies a warrior’s status, wealth, and prowess, but even though armor
serves to reinforce or diminish a warrior’s reputation, armor is fundamentally
for protection. All armor has three abilities, as shown on the Armor table:
Rating, Penalty, and Bulk.
your rank in the associated ability. Most Fighting weapons use Athletics and
most ranged weapons use Agility, but there are exceptions.
Armor Rating
Armor Penalty
Robes, vestments
Leather, soft
Leather, hard
Plate and Mail
Full Plate
Multiply this base damage by the degree of success on your attack test; so a
marginal success (one degree) does the base damage, two degrees do double
that, three degrees triple, and so forth. Only after you have totaled the damage
by degree do you reduce it by your opponent’s Armor Rating.
Weapons have qualities, much as characters do. Weapon qualities can take
the form of advantages that provide a tactical benefit in combat, while others
impose drawbacks to make up for improved damage or an advantage. Most
weapons have at least one quality.
An Adaptable weapon is designed for use with one or two hands. When you
wield this weapon with two hands, increase the weapon’s damage by +1.
Some weapons are heavy or unwieldy, and thus slow you down in combat. If a
weapon has a bulk rating, it applies toward your total bulk for the purposes of
reducing your movement.
Armor Rating
Armor offers some amount of protection, represented by its Armor Rating.
When you take damage in combat, you reduce the damage taken by your
Armor Rating. Damage can be reduced to 0, but not below 0.
Armor Penalty
Armor can turn aside killing blows, but it does so at a cost. Heavier forms
of armor interfere with your movements, making you slower to react to
opponents and making it more difficult to maintain your balance in the heat
of combat. All forms of armor impose a penalty you apply to the results of
Agility tests and to your Combat Defense.
Armor Bulk
Heavier armors impose Bulk. As mentioned, every two points of Bulk reduce
your move by one yard and every point of Bulk reduces your sprint speed
by one yard.
Weapons are more than just tools. Like armor, they are symbols of status,
training, and expertise. A combatant armed with a Braavosi blade fights
differently from a warrior wielding a greatsword. The Weapons table
provides summaries of the most common weapons found in Westeros and
used in the Quick-Start rules. Like armor, weapons have their own abilities
to describe them.
The Specialty entry shows which Specialty applies to your Fighting test when
wielding this weapon in combat.
Some weapons are easier to wield than are others. To reflect the weapon’s
complexity, some weapons require a minimum rank in its specialty to use
properly. For each rank you lack, you take a penalty die on your Fighting
Test. If you meet the rank required by the weapon, you lose those bonus dice
on your Fighting Test.
The damage a weapon deals is derived from both its construction and the
ability of its wielder. The base damage is equal to your rank in the listed ability.
Many weapons include modifiers as well, which you add to or subtract from
Close Range
A Close Range weapon has an effective range of 10 yards, meaning you can
attack opponents within 10 yards at no penalty. You can attack opponents
beyond this range, but you gain a –1 penalty die for every 10 yards beyond
this range. Thus, attacking an opponent that’s 11 yards away imposes a –1
penalty die on your attack test.
Defensive weapons serve a dual function. They can be used as weapons,
but they are often more effective in knocking aside your enemies’ attacks.
When armed with a Defensive weapon and not attacking with it, you add
the weapon’s Defensive rating to your Combat Defense. Many Defensive
weapons also have the Off-Hand quality, allowing you to wield them and
a primary weapon at the same time. If you choose to add your Off-Hand
bonus to your damage, you lose the Defensive bonus until the start of your
next turn.
Grab weapons let you grab and hold onto an opponent, preventing them
from moving away from you. Whenever you successfully hit an opponent
with a Grab weapon and your attack test result also equals or beats the
opponent’s passive Athletics result (Strength applies to this), you may, if
you choose, grab that opponent.
A grabbed opponent cannot move until you release him (doing so is a
Free Action) or until that opponent beats you on an opposed Fighting
test (Brawling applies to this test, and it is a Lesser Action). A grabbed
opponent can only make attacks using Brawling weapons or Short Blades.
Finally, grabbed opponents take a –5 penalty to their Combat Defense (to
a minimum of 1).
Usuing a Grab weapon does have its limitations. While you grab an opponent,
you cannot move and may only make attacks against that opponent using a
Grab or Off-hand weapon.
Long Range
A Fast weapon is designed to slip past your opponent’s defenses and to strike
rapidly. When you make a divided attack using a Fast weapon, you gain +1
bonus die on each test. Bonus dice, as always, cannot exceed the number of
test dice rolled per attack.
Provided you have a clear shot, you can fire a Long Range weapon at targets
up to 100 yards away. For every additional 100 yards of distance (or fraction
thereof ) between you and your target, you take a –1 penalty die on your
Marksmanship test.
Mounted weapons are too large and bulky to be used on foot and are intended
for use while mounted on a horse or some other steed. Using these weapons
on foot imposes –2 penalty dice on your Fighting tests.
An Off-hand weapon can be wielded in your off-hand, allowing you to add
your Off-hand modifier to your primary weapon damage on a successful
Fighting test. To gain this benefit, you must make a Two-Weapon attack (see
Two-Weapon Attack, page 14).
Piercing weapons bypass armor. When you hit an opponent with a Piercing
weapon, your damage ignores an amount of Armor Rating equal to the
listed value.
Strong characters can put more muscle behind Powerful weapons and thus
deal more damage with it on a successful hit. For every bonus die you have
in Strength, you can increase a Powerful weapon’s damage by +1 when you
sucessfully hit.
When armed with a Reach weapon, you can attack opponents that are not
adjacent to you. You can roll a Fighting test with a Reach weapon against
any opponent up to 3 yards away. However, attacking a foe inside three yards
with a Reach weapon is more difficuly. Doing so imposes a –1 penalty die
on your Fighting test.
A Marksmanship weapon with the Reload quality requires an action to reload
the weapon after it has been fired. The quality specifies what sort of action is
required to reload the weapon, either Lesser or Greater.
Shattering weapons are designed to smash through shields, parrying
weapons, and armor. Whenever you get more than one degree of success
on a Fighting test using a Shattering weapon, you reduce the opponent’s
Defensive bonus or Armor Bonus by the amount indicated by the quality.
The Shattering weapon affects weapons with a Defensive bonus first.
Reducing a weapon’s Defensive bonus or an armor’s Armor Bonus to 0 or
less destroys it.
A Slow weapon is cumbersome and difficult to wield with speed and grace.
You may not make Divided Attacks using these weapons.
Large weapons, you need both hands to use a Two-Handed weapon in combat.
If you use only one hand, you take–2 penalty dice on your Fighting test.
Combat Sequence
All combats use the same series of steps, repeated over a number of rounds
until the combat ends. This procedure is quite simple and after running a few
combats, you won’t even have to reference these steps; they’ll become second
nature. The sequence is:
Step One: Initiative
Initiative sets the order of when each combatant takes his turn. Each
combatant (or group of similar combatants) tests Agility (bonus dice from
Quickness apply). The Narrator then arranges the results from highest to
lowest. The character with the highest result goes first, followed by the next
highest, and so on until every combatant has had a turn to act.
If there’s a tie, compare ranks in the Quickness specialty. If there’s still a tie,
the characters test Agility again to see who goes first. The result of this second
test doesn’t change the order in the initiative as it relates to other combatants;
it only determines which tied combatant goes first.
The Agility test result describes the earliest a character may act in the round.
You may always wait until later in the round to act, but you cannot interrupt
another character’s turn once it begins. You may only take your action after
another character has completely finished his turn.
Step Two: Action
Combat lives in actions. The choices combatants make, the success or failure
of their rolls, and how they interact with the battlefield all work together to
simulate the thrill and danger of battle. Your imagination is the only limit
on what you can attempt in battle, but this extensive section covers the most
likely and most successful actions a character might attempt.
Each character, in order of highest initiative to lowest, acts, taking one Greater
Action or two Lesser Actions. A Lesser Action could be moving, attacking,
standing up, or diving for cover. A Greater Action includes dodging, charging,
knocking a foe to the ground, pulling a rider from his horse, and so on. As a
rule of thumb, a Lesser Action takes about 3 seconds of time, while a Greater
Action takes 6. So, if you want to try something not described in this chapter,
your Narrator will judge how long the effort will take and whether or not
your action qualifies as a Lesser or Greater Action.
Attack (Lesser)
The attack is obviously the most common action in combat. Anytime you are
armed with a weapon, unarmed (but feisty), or when wielding an improvised
weapon, you may attack an opponent.
When armed with a Fighting weapon, you must be adjacent to your opponent.
This is called being engaged.
When armed with a Reach Fighting weapon, you can attack foes up to three
yards away.
When armed with a Close Range Marksmanship weapon, you can attack
foes within 10 yards at no penalty.
When armed with a Long Range Marksmanship weapon, you can attack
foes within 100 yards at no penalty.
If you meet the conditions, roll a Fighting or Marksmanship test and compare
the result to your opponent’s Combat Defense. A successful hit deals base
damage and any degrees gained on the test allow you to deal extra damage.
Once you have totaled the damage, your opponent reduces the damage by
his AR and applies any that’s left over to his Health.
Step One: Initiative
Step Two: Action
Step Three: Resolution
Example: Gerald attacks a sworn sword to his rival’s house. Gerald has
Fighting 4 and Long Blades 4. His opponent has Combat Defense 8. Gerald’s
player rolls eight dice and keeps the best four, getting a result of 19. A hit by
11. Normally, a longsword deals damage equal to the attacker’s Athletics rank,
plus 1. Gerald has rank 4, so a regular successful attack (with one degree of
success) would deal 4 damage. However, Gerald got three degrees of success
hits. The hedge knight wears mail (AR 5), which reduces the damage (4) to
0. Gerald’s next attack is a 10 as well, which hits but is not enough to get
past the knight’s armor.
Mounted Attacks
A mounted attack occurs whenever you attack from the back of a
steed. Fighting from horseback provides a variety of advantages,
including enhanced mobility, the advantage of height, and, if the
mount is trained for war, the steed’s own hoof and bite attacks.
When riding a steed, you gain the following benefit:
Two-Weapon Attack (Greater)
Whenever you wield a weapon in your primary hand and an Off-hand
weapon in your other hand, you can combine them to make a more powerful
attack. Simply add the weapon’s Off-hand modifier to your primary weapon’s
damage. You deal this damage on a successful Fighting test. If your Off-hand
weapon has the Defensive quality, you lose its benefit until the start of your
next turn.
Use the mount’s movement in place of your own.
Gain +1 bonus die on Fighting tests to attack unmounted
Example: Mikala is a vicious mercenary from beyond the Narrow Sea.
Favoring the fighting style of Braavos, she wields a Braavosi blade in her
right hand and a dagger in her left. She’s toyed with the brute for a few
rounds, nicking him here and there, but has finally grown weary of the
conflict and decides to go for the kill. She drops the +1 Defensive bonus from
her dirk to add +1 to her damage. She attacks and hits with three degrees.
Normally, she would deal 4 damage with her Braavosi blade, but because
she also attacked with her dirk, she deals 5. After her degrees, she inflicts an
impressive 15 points of damage.
When riding a steed trained for war, you also gain the following
If your mount doesn’t move during your turn, increase your
damage on a successful Fighting test by +2.
Attacking Steeds
Although deemed dishonorable to attack a rider’s steed, your
mount is still at risk of injury when you ride it into battle. Enemies
may choose to attack you or your steed. Should your mount’s
Health fall to 0, it dies. You may spend a Destiny Point to give
your steed an injury or wound to remove this damage as normal,
however (see Injuries later in this section).
Combining Attacks (Greater)
Although divided and two weapon attacks all require Greater Actions, you
can combine them into a single attack as follows. You may split your Fighting
dice between multiple opponents. Resolve the attacks as normal, but increase
the damage of every attack by your Off-Hand weapon.
Slain Steeds
Should your mount die, you must immediately make a Formidable
(12) Animal Handling test. If you succeed, you leap clear of the
collapsing steed and land within a yard of the poor beast. If you fail,
you take damage from the fall (ignoring armor) equal to the mount’s
rank in Athletics and you are trapped beneath the dead animal.
Freeing yourself requires a Greater Action and a Challenging (9)
Agility or Athletics test (bonus dice from Contortions or Strength
apply). Other characters may assist as normal, or pull you out by
succeeding on a test against the same difficulty. While trapped, you
take a –5 penalty to your Combat Defense.
Other Actions
In addition to attack, there are a number of other actions you might perform
in combat.
Assist As a Lesser Action, you can assist an ally on a test. If assisting on an attack,
you must be adjacent to your ally’s opponent. For other tests, your ally must
be able to clearly see and hear you and may need to be adjacent, depending
on the task to which you’re lending your assistance. You grant one-half your
ability rank as bonus dice (with a minimum one die) to the ally you are
trying to help. As normal, the number of useable bonus dice cannot exceed
the character’s test dice.
Pulling a Rider from a Mount (Greater)
In addition to a straightforward attack, you can also try to pull a
rider from his mount. You may do so only if you are armed with
a Grab weapon or a pole-arm. Roll a Fighting test against your
opponent’s passive Animal Handling result (plus Ride specialty).
If you succeed, you pull your opponent from his mount and he
lands prone on the ground adjacent to his steed.
Catch your Breath
You can take a quick rest as a Greater Action to catch your breath. Roll an
Automatic (0) Endurance test. Success removes one point of damage. Each
additional degree removes an additional point of damage.
(he beat the test by at least 10), and so deals three times this damage (4 x
3) for 12 damage. His foe wears ring mail (AR 4) so the armor reduces the
damage to 8, a solid and ugly hit.
Divided Attack (Greater)
When faced with multiple opponents, you may attempt to attack more than
one at a time, a divided attack. When doing so, you divide your Fighting
test dice in any way you wish between your chosen opponents. You may also
need to split your bonus dice, if any, as bonus dice on a test cannot exceed the
number of test dice. Resolve each attack separately, as normal.
Example: Seeing Gerald strike down the sworn sword in short order, two
hedge knights come barreling toward the warrior to get revenge. Now faced
with two opponents, Gerald decides to attack both in the same round. He
splits his attack evenly, so his first attack uses two test dice plus two bonus dice
from his specialty and his second attack is the same. The hedge knights both
have a Combat Defense of 9. On Gerald’s first attack, he gets a 10, which
Throwing caution to the wind, you surge forward to destroy your enemies.
A charge allows you to combine movement with an attack. You can charge
any opponent that’s up to twice your move away. At the end of your charge,
make a standard attack. You take a –1 penalty die on the attack, but increase
the weapon’s damage by +2.
Dodge Greater
In the face of overwhelming odds, sometimes it’s best just to get out of the way.
When you take the dodge action, you may move up to half your movement
if you choose, usually to reach cover. Roll an Agility test. The result replaces
your Combat Defense (even if worse) until your next turn. Add any Defensive
bonuses gained from weapons to your test result.
Interact Lesser
Manipulating an object includes picking something up from the ground,
moving an object, retrieving a stowed possession, drawing a weapon from a
scabbard, and so on. It also includes opening doors or windows, pulling levers,
and anything else you would move, shove, or pull in the environment. Interact
also allows you to mount a horse or climb inside of a vehicle.
Some hard to reach items, such as a small item at the bottom of a pack, may
require more time as determined by the Narrator.
Move and Draw
You can draw a weapon while moving, but you take a –1 penalty die on all
attacks until your next turn.
A move is a brisk walk and you may move a number of yards equal to your
Move. If you spend both Lesser Actions to move, you can move up to twice
your Move.
You may also sprint. Sprinting allows you to move up to four times your
Drop Prone/Stand Up
You can drop to the ground or get to your feet as a Lesser Action. If your Bulk
Rating is 2 or more, it requires a Greater Action for you to stand.
Drive or Ride
When mounted on a steed, your mount’s action is spent moving or attacking,
however you must spend a Lesser Action to control your beast if it is trained
for war or a Greater Action if not. If your steed is injured, regardless of its
training, controlling the animal is a Greater Action.
Vehicles drawn by animals work much in the same way as riding the animals
themselves. Driving a vehicle requires a Lesser Action each round. If the
driver is slain or leaves his post, the vehicle moves as long as the animal
is inclined to pull it, usually in the direction it was pointed last. Other
characters on the vehicle may move about normally, but the vehicle counts
as treacherous terrain. If moving would carry a passenger out of the vehicle,
he or she may take damage from the fall. A fall from a slow moving vehicle
deals 1d6–3 points of damage, while a fall from a fast moving deals 1d6+3
points of damage.
If you spend your entire turn preparing to take an action on your next turn,
you gain +2 bonus dice on the test, subject to the normal limits on bonus
dice. Any excess bonus dice are lost. Multiple rounds spent preparing are not
cumulative, and if circumstances prevent you from taking the action you’ve
prepared for and you do something else, the bonus dice are lost.
Use Ability
You may use abilities not directly related to the fight. You might use Athletics
to break down a door, Awareness to look for an exit, Agility to catch a swinging
rope, and so on. The test’s difficulty depends on the action intended, but some
tasks may be harder, given the distractions of the combat.
In addition, many abilities can be used in one round, but some are more
involved and may require several rounds or longer to complete, indicating
you have to spend the time working toward completing the task while the
conflict rages around you.
Destiny Points
Destiny Points grant you a bit more control over your fates letting you modify
circumstances in minor and major ways. Spending or burning a Destiny Point in
combat is not an action. For details on using Destiny Points, see page 6.
Step Three: Resolution
Combat proceeds over a number of rounds, with each participant acting on
their turn until the combat ends. Each round gives each combatant a new
set of actions and an opportunity to spend them in whatever way they wish.
Repeat this step until there is a clear victor.
Once one side has fled or has been defeated, the combat is at an end and the
victors determine the fates of the losers.
Whenever an opponent hits you in combat, you are at risk of taking damage.
Any damage taken in excess of your Armor Rating applies to your Health.
Damage doesn’t reduce your effectiveness in any way unless it reduces your
Health to 0 or less, at which point you are defeated.
Reducing Damage
Although you have a small pool Health, there are ways to remove damage
and thus enable you to avoid defeat. Reducing or removing damage in any of
the following ways does not count as an action. Furthermore, you can reduce
damage at any time, even if it’s not your turn. These methods are in addition
to the catch your breath action.
Generally speaking, unimportant characters — nameless soldiers run by the
Narrator, for example — do not use these options or the catch your breath
action; they simply suffer Health damage and are defeated when they reach
0 Health. This tends to simplify matters, limiting the more involved options
to important characters in the story.
Damage Outside of Conflicts
Certain situations may result in injuries that do not directly result from conflict. For example, a captured character noted for his skill at swordplay
might have his sword-hand severed (like a certain famous member of the Kingsguard). Such a loss has repercussions throughout the character’s
life, possibly across a wide number of abilities, more than would normally result from a permanent injury. In these cases, the character burns a
Destiny Point and gains a flaw rather than dying.
Aside from lasting injuries, any damage a character takes in or out of combat can be reduced using the normal rules. A character who catches
fire, for example, could reduce the damage by taking one or more injuries (burns) or wounds (severe burns). Likewise, a character that falls from a
height could reduce the damage by breaking a bone (injury) or shattering a leg (wound). If damage exceeds the character’s Health, the character
usually dies—nature isn’t forgiving. As damage is removed at the end of the encounter, any damage sustained out of combat has no effect unless
it results in an injury or wound.
Some threats are so deadly not even a wound is enough to avoid death. A fall from hundreds of feet, being dipped into a pool of lava, or drinking
a tankard full of wildfire are so lethal that surviving them requires the intercession of fate. Whenever you are faced with certain death, you can
only avoid it by burning a Destiny Point.
An injury is minor, but lasting compared to damage. Anytime you take
damage, you can accept an injury to reduce the damage taken by an amount
equal to your Endurance rank. Each injury you accept imposes a –1 penalty
to the results of all of your tests. You cannot accept more injuries than your
Endurance rank.
Example: Battling a savage warrior of the Burned Men, Mikel is hit for 7 points
of damage. Knowing he can’t take all the damage, he opts to take an injury. His
Endurance is 3, so he can remove 3 points of damage per injury. He takes two,
reducing the damage by 6 to just 1 point. For the duration of the combat, however,
he reduces all test results by –2, and can suffer only one more injury.
This is the most common outcome of defeat. You are dead. Depending on the
era in which you play as well as where you died, your corpse might stir into
unlife, becoming a wight… if you believe in that sort of thing.
Your opponent might leave you alive, but with something to remember.
Examples include a wicked scar across the face, the loss of an eye, thumb,
or some other body part. Permanently reduce one ability of your opponent’s
choice by one rank.
Some attacks are so brutal, so deadly, the only way you can avoid defeat is
by accepting a wound. A wound removes all damage from a single attack in
exchange for a –1 penalty die on all tests. You cannot accept more wounds
than your Endurance rank. If your number of wounds exceeds your Endurance
rank, you die.
Example: An assassin leaps out of the shadows and strikes Roberk with a
dagger, dealing 20 points of damage, more than enough to defeat him outright.
Knowing the assassin intends to kill him, Roberk cannot accept that outcome.
He could reduce the damage with injuries, but they would cripple him for
the duration of the fight. Instead, he accepts a wound, gaining a –1 penalty
die on all tests, but taking no other damage.
Your opponent holds you or some possession for ransom. In tournaments,
this usually means the victor gains the loser’s armor and horse. In war, it
might mean captivity until the loser’s family can offer up sufficient coin or a
valuable hostage of their own.
Take the Black
Those who see honor in service to the Night’s Watch may allow their enemies
to take the black and join the rangers on the Wall. For many, this is a fate
worse than death as it means being stripped of status, family, and worldly
possession. For those who value life above such minor things, taking the
black offers a change to live.
If at any time your Health drops to 0 or lower, you are defeated and removed
from the combat. The opponent that defeated you decides what happens to
you. Common choices include any of the following.
You are knocked out and left for dead. You awaken two to twelve hours later
(roll two dice and add the results). While unconscious, you are helpless and
may be killed or eaten by someone or something else. This fate is often the
same as death.
You may choose to yield in order to choose the outcome of your defeat. If
you fear imminent defeat, you may, on your turn, offer the Narrator terms
by which your character will go down to defeat, including
the outcome. So, for example, you can offer to have your
character defeated and left unconscious, or taken for
ransom. The Narrator has the option of accepting your
terms, making a counter-offer, or rejecting them. If you then
reject the Narrator’s counter-offer, you cannot yield.
Destiny and Defeat
You may also burn a Destiny Point to choose a fate other
than the one your opponent chooses for you. If your family
is particularly poor, you might choose maiming or death
over a ransom. Similarly, if your opponent would see you
dead, you might opt for unconsciousness instead.
The injuries and wounds you sustain in combat heal…
eventually. The rate at which you recover depends on the
type of injury you sustain. Damage to Health vanishes
rapidly. Injuries take longer, sometimes as long as a week
or more. Wounds can plague you for months. Such are the
perils of battle.
Damage is little more than cuts, scrapes, and bruises. At the
end of the combat, you remove all damage to your Health.
Injuries are more significant than damage and take longer
to heal. One day after gaining an injury, you may roll an
Injury Recovery
Light or
No fighting, riding,
or physical activity
Travel, some physical activity
Fighting, riding,
hard physical activity
Wound Recovery
Routine (6)
Light or
Challenging (9)
Formidable (12)
Endurance test. The difficulty depends on your activity level during that day.
Reference the Injury Recovery table, above. A successful test removes one injury.
Each additional degree removes an additional injury. A failed test, however, means
you don’t recover at all. If you fail the test by 5 or more, you gain another injury.
If you cannot accept another injury, you gain a wound instead.
Wounds are serious injuries, taking the longest to heal and causing the most
lasting harm. One week after gaining a wound, you may roll an Endurance
test. The difficulty depends on your activity level during that week. Reference
the Wound Recovery table, above. A successful test removes one wound.
Three degrees of success remove an additional wound (for a total of two).
If, however, you fail the Endurance test by 5 or more, you gain another
No fighting, riding,
or physical activity
Challenging (9)
Fighting, riding,
hard physical activity
Heroic (21)
Travel, some physical activity
Hard (15)
wound. If you cannot accept another wound (your wounds already equal your
Endurance rank), you die.
The best way to recover from an injury is to receive Healing. The Healing
ability can help to speed recovery from injuries by allowing the healer to
substitute the Healing test result for the Endurance test. Since injuries and
wounds impose penalties on all tests, including recovery, the presence of a
healer can greatly improve a character’s chances to recover. To use Healing, a
healer must devote at least four hours per day to treat the injured character.
When the character would roll an Endurance test, the healer rolls a Healing
test instead. A failed Healing test does not result in the worsening of
Bold deeds and heroic acts live large in the minds of the young and naïve, but
behind them, behind the endless ranks of knights and soldiers, are the true
movers and shakers of the land. The swords and those who wield them are
potent weapons, but they are tools all the same, used and discarded as need
be. The ones who guide these weapons are those playing the game of thrones,
the political machinations that can ignite a war or bring peace to a ravaged
land. Intrigue and its masters hold true power in Westeros, and their cunning
is just as deadly as the greatest knight in the Seven Kingdoms.
Intrigues have two essential components: the exchange and influence.
Exchanges are the framework in which the intrigue unfolds, while influence
describes the objective of each participant in the exchange.
Intrigue Statistics
Several abilities describe your effectiveness in an intrigue. What follows is a
summary of the game’s intrigue statistics and the methods for determining
your derived statistics.
Intrigue Defense
The first line of defense against influence is your Intrigue Defense, combining
your perceptiveness, intelligence, and social standing. Your Intrigue Defense
equals your ranks in:
Awareness + Cunning + Status + Circumstantial Bonuses
The Exchange
An intrigue is broken up into loose units of time called exchanges. An exchange
is not a fixed amount of time: One exchange might last just a few seconds,
while another might extend for hours. The Narrator assesses the time that passes
during each exchange based on the amount of time spent roleplaying, while also
accounting for the circumstances surrounding the intrigue as a whole.
During an exchange, each participant has a turn to act. On a turn, the player
rolls ability tests or performs some other maneuver to shift the intrigue in
their favor. Once each player has had a turn, the exchange ends and either
the intrigue resolves or a new exchange begins.
Example: Nicole’s noble has Awareness 3, Cunning 4, and Status 5. Adding
up her ranks in these abilities, her Intrigue Defense is 12.
Composure is your ability to withstand the pressures of negotiation and
persuasion. When an opponent successfully influences you, reduce your
Composure by your opponent’s influence. You are not affected adversely unless
your Composure falls to 0, at which point you are defeated.
Composure = Will rank x 3
Example: Nicole’s noble has Will 4, so her Composure is 12.
The aim of every intrigue is to gain enough influence to compel your
opponent to say, reveal, do, or act as you wish. Whether you’re trying to
change a person’s mind, pass yourself off as someone or something else, or Disposition is a particular outlook as it relates to your opponent in an
even just get them into bed, the process is the same. In a way, influence intrigue, describing whether your character sees that person in a good
functions a lot like damage. As with combat, you roll a conflict test—using light or bad, intends that person harm or wishes to help them. Disposition
Deception or Persuasion, rather than Fighting or Marksmanship—against establishes the parameters about how you intend to play your character
your opponent’s Intrigue Defense. A success generates an amount of during the intrigue. Moreover, your disposition acts as a form of “armor,”
influence applies to your target’s Composure. When Composure reaches 0,
protecting you from your
your opponent is defeated
opponent’s influence. It’s
and the victor chooses the “Some battles are won with swords and spears, others with quills and ravens.”
far harder to convince a
—Tywin Lannister person who hates you to
help than a person who loves you. Thus, whenever your opponent applies
influence to your Composure, you first reduce the amount of influence by
your Disposition Rating (or DR).
Disposition also interacts with your efforts at Deception and Persuasion,
by providing modifiers to your test results. It can be difficult to mask your
disdain when trying to befriend a long-time enemy, just as it’s hard to deceive
someone you love. The effects of disposition on your words, body language,
and other elements of the intrigue cannot be understated. You might armor
yourself in scorn, but find yourself powerless to change your thinking about
those around you.
There are seven ranks of disposition, much like the ranks of abilities. Three
are favorable, three are unfavorable, and the seventh is indifference, neither
favorable nor unfavorable. Descriptions of each follow while the relevant
Disposition Rating and modifiers to Deception and Persuasion tests are
given on the Dispositions table.
Deception Modifier
Persuasion Modifier
Affection implies love and adoration, feelings of obligation and strong loyalty
such as that shared between most spouses, parents and their children, and so
on. A character of this disposition gives into most requests even if the request
is to their detriment. Affectionate characters are likely to overlook faults in
the person they adore and they would give their lives for that person.
A friendly disposition suggests feelings of kinship and goodwill, found
in most siblings, long-time allies, and members of the same household.
Friendly can also serve to define the relationship between knights bound to
a common cause and the ties that bind the closest members of the Watch to
each other and their commanders. Friendly characters are willing to do you
favors and may take risks on your behalf. They won’t betray you, and that’s
what counts most.
Amiable characters see you in a positive light, and consider you an
acquaintance, but not necessarily a friend. Such characters are unlikely to
put themselves at risk for you, but are helpful if it benefits them. An amiable
character may betray you, but only for a good reason.
Unfriendly characters simply do not like you. These feelings may be
grounded in good reason or not, but regardless they hold you in disdain.
Such characters will not seek to actively hurt you, but they won’t interfere
with those who would and can be convinced to conspire against you with
little trouble.
Malicious characters actively work against you, doing whatever they possibly
can to harm you, even if it means putting themselves at risk. Malicious
characters would wage war against you, harm your family, and do just
about anything else they can to destroy or discredit you. Such characters
are your direst enemies.
Starting Disposition
At the beginning of an intrigue, all participants set their starting disposition.
The default is indifferent when dealing with new characters, but players are
free to choose whatever disposition they like for their characters. The choice
of disposition should always be based on what the character knows about their
opponent, past encounters with the character, and their feelings regarding
the character’s behavior.
While it may be tempting to think in game terms, weighing the mechanical
benefits of each disposition, avoid doing so and try to choose honestly based
on how you think your character would feel. Your character’s disposition may
also have unforeseen consequences. For example, if a representative of another
house engages you in intrigue and you automatically set your disposition to
malicious, you’re bound to make an enemy of that character by your rudeness
and hostility. Conversely, simply defaulting to affectionate when trying to
persuade another character is risky, as it leaves you open to manipulation. In
short, consider how your character ought to feel and pick a disposition that
best fits your character’s perspective.
Evolving Dispositions
Over the course of an intrigue, a character’s disposition is bound to change.
The events of an exchange, coupled with roleplaying, allow players and the
Narrator to adjust their characters’ dispositions in response to what happened
during the previous exchange. At the start of every new exchange, each
participant may improve or worsen their disposition by one step.
The only exception to this is when a character was successfully influenced on the
previous exchange. Such a character cannot worsen their disposition towards the
influencing character during the next exchange, although they may improve it.
Intrigue Sequence
Whenever a social situation arises that cannot be resolved through simple
roleplaying alone, an intrigue occurs. Such encounters can include negotiations
and interrogations, but can also represent seduction, forging alliances,
provoking attacks and a variety of other actions. All intrigues follow the same
sequence of steps, described in detail in the following sections.
Step One: Objective
Step Two: Initiative
An indifferent character has no strong feelings toward you, one way or the
other. He may be convinced to help you, following orders out of duty, and may
consent to other favors if he gets something in return. Indifferent characters
won’t take risks to help you unless suitably compensated.
Dislike indicates a general unfriendliness, a certain uncomfortable frostiness.
Whether this disposition originates from distrust, reputation, or some
past misdeed, the character will not take risks for you and may entertain
conspiracies against you.
Step Three: Technique
Step Four: Roleplaying
Step F ive: Actions
Step One: Objective
The core of every intrigue is your objective, what you hope to achieve. An
objective is your motivation, what you want your opponent to do, say, or a
development you want to prevent. Without an objective, you don’t have an
intrigue—you’re just roleplaying, which, of course, has a place in the game,
but doesn’t often advance the story in any significant way.
Objectives tend to live in the background of the intrigue, not revealing
themselves until one side achieves victory. Your objective colors your
roleplaying and gives you a position from which you can argue. What follows
is broad selection of objectives that prompt intrigues. This list is by no means
complete, but it gives you a good foundation for coming up with objectives
relevant to your situation in the game.
Note that your objective is the immediate desired outcome for the intrigue.
Many intrigues in the game of thrones have far-ranging objectives. So you
might ultimately have your eye on the throne of the Seven Kingdoms, but it
will take many lesser intrigues, and smaller objectives, before you can reach
so very high.
Many intrigues involve cultivating alliances, forging friendships, whether
for the short-term or long. Your expected outcome is to foment feelings of
kinship with your target to make future exchanges easier or even unnecessary.
Friendship, obviously, covers a lot of ground and with this objective you
might seduce someone, arrange a marriage, build an alliance, or simply gain
a new friend.
just provide descriptive features, techniques indicate how much influence a
character gains with a successful test and the consequences of defeat.
You may substitute Deception for Persuasion tests to simulate any of the
following techniques. You may only do so when trying to deceive your
opponent, such as charming under false pretenses or bargaining with no
intention of making good on your promises. You make this decision when
you choose your objective. When testing Deception, roll bonus dice from one
of your Deception specialties most appropriate to the technique you’re trying
to emulate. If you have bonus dice in the Persuasion specialty, you may use
those dice or the listed Deception specialty, whichever is greater.
Using Techniques
Whenever you roll a Deception or Persuasion conflict test to influence your
opponent, you may roll bonus dice from a specialty corresponding to the
technique. The difficulty is your opponent’s Intrigue Defense. A successful test
influences an amount determined by the technique you used (usually equal
to your rank in an ability) multiplied by your degree of success. You need not
choose the same technique each exchange and may select a different technique
that best matches how you portrayed your character during the exchange.
When a service is your objective, you want your opponent to do something
for you. What that something is can be just about anything, from loaning you
a few gold dragons to spying on the Queen, giving you a good deal on a new
sword, or sparing your life when your opponent has every right to take it.
You may also engage in intrigues to dupe your opponent, feeding false
information, setting up your foe for a potential double-cross, and masking
your true intention behind a deceptive façade. When deceit is your objective,
you gain influence by rolling Deception tests instead of Persuasion tests.
Changing Objectives
There are bound to be times when you enter an intrigue hoping to come
away with one thing and discover something much more interesting. At the
start of a new exchange, you may change your objective, but if you do, your
opponent automatically recovers an amount of Composure equal to his Will
rank as you subtly change course.
Step Two: Initiative
To determine who tests when, each participant in the intrigue rolls a Status
test (bonus dice from Reputation apply). The Narrator records each result
and arranges them in order from highest to lowest. The highest result goes
first, followed by the next, and then the next highest until everyone has acted.
Note that the test result does not require a character to act in this order; it
merely describes the earliest they can act. A participant may wait and see
what other participants do before acting.
Step Three: Technique
If dispositions are armor for intrigue, techniques are weapons. Techniques
describe the tactics a character employs during an intrigue, but more than
Cunning rank
Persuasion rank
Will rank
Cunning rank
Will rank
Act or Bluff
Persuasion rank
Awareness rank
Knowledge is power, and information stands as one of the most common
objectives for engaging in an intrigue. With this objective, you hope to acquire
information, learn rumors, gossip, or anything else you might need to gain
an edge over your enemies. Information might involve maneuvering in the
royal court or trawling the streets and taverns of King’s Landing listening for
useful whispers. Regardless, information is a valuable commodity and vital
for navigating the perils of the game of thrones.
When you Bargain, you are asking the target to do something in exchange
for recompense in some form. Bargain can be used to bribe a guard, form
alliances, attain services, and so on, but it only works so long as you live up
to your side of the bargain.
Bargain is used to negotiate a service in which the target does something
for you in exchange for something you provide. This can be as simple as a
monetary transaction, exchanging gold dragons for some good or service, or
it could be some other form of arrangement.
Use Charm whenever you would cultivate a friendship, improving the target’s
disposition to make him or her more amenable to your position in future
intrigues. When you use this technique, you ply your target with complements,
empathizing with their plights and conditions, and work to adapt yourself
to your subject’s desires.
When you defeat an opponent using charm, you improve the target’s
disposition by one-step. The improved disposition lasts until circumstances
would worsen their disposition against you—such as a betrayal on your part
or a rival inciting the opponent against you. In addition, you gain an extra
test die on all Deception and Persuasion tests during your next intrigue
against this opponent.
Sometimes a forceful argument can get your point across where charm or
seduction might fail. Convince imparts your position or idea by simply putting
the idea out there in a reasoned and logical manner. It is often less effective
because it isn’t backed up by a threat and there may not be something in it for
the subject. Thus, it often takes longer to convince a subject of your position
especially when they are ill-disposed against you.
A use of convince does nothing to improve the target’s disposition, but instead
gets them to support your position or grant you assistance. Even dire enemies
can be convinced to help provided they have sufficient cause, though there’s
nothing to say the enemy won’t use the opportunity to betray you later. A
convinced target assists you through the particular trial but no further.
Incite is used to make your subject angry, to fill them with loathing or rage
against someone or something. Incite is risky since the unchecked emotion
created can cause the subject to react brashly.
Inciting a target involves turning the opponent against another opponent,
usually by producing evidence of betrayal, vile acts, or revealing any other
sordid details your opponent might find repugnant. Incite is powerful but
it produces short-term effects. An incited target’s attitude to the individual,
organization, or house you indicate shifts a number of steps down equal to
your Persuasion rank. Each day after, the target’s attitude improves by onestep until it returns to its starting disposition, unless circumstances affirm
the new disposition.
One of the most powerful techniques, Intimidate uses bluster and threats used
to frighten or cow your opponent. A successful use of intimidate either drives
off the target if he can flee or improves his disposition to amiable (or one-step
better if already amiable), for as long as you remain in the target’s presence
if the target cannot flee. The target does as you ask, reveals information and
possibly lies if he believes he has no other recourse to escape your presence.
An intimidated target’s disposition in future intrigues is always unfriendly
or worse.
Of all the techniques, seduction is the most subtle. Use of this technique
requires patience and practice, a keen eye for body language and innuendo to
guide your own words and behavior. If you defeat an opponent using Seduce,
you fill the subject with feelings of desire or at the very least the willingness to
give into your advances. You improve the target’s Disposition by a number of
steps equal to your Persuasion rank. If the target is attracted to you, capable
of physical love, and as it least friendly, he or she gives in. As such, it may
take several intrigues to seduce a target properly.
Each day after the encounter, the target’s disposition shifts down one until it
falls to one step below their starting disposition. You can sustain the feelings
of attraction by courting the individual and using charm to create a more
permanent improvement in disposition. Characters with dispositions that
started at dislike or worse but who are seduced pretend to be attracted and
even go so far as to engage in lovemaking or some other act of passion. They
only follow through if they believe such an act will advance their position or
give them some advantage over you—whether it’s to plant a bastard in the
womb or a knife in the throat.
Taunting is risky. You goad another character into action based on barbs and
insults. You can use taunt to provoke the character to do something but at
the cost of worsening their disposition toward you. An opponent who has
an amiable or better Disposition does what you want but after completing
the task, Disposition worsens by one step. An opponent whose Disposition
is indifferent or dislike may or may not perform the task based on the
danger posed to them. Again, their Disposition worsens by one-step. Finally,
opponents with dispositions worse than dislike attack you, or flee
if attacking is not an option.
Step Four: Roleplaying
Roleplaying is the heart of intrigue. During this step, the players
may argue and debate, connive and negotiate, discussing their
options and making their case. There is no clear order of action
here, but rather this step is intended to be freeform and loose,
lasting as long as needed until the Narrator opts to move toward
the next step, usually occurring at a dramatic moment when a
player makes clear their desires, but before the answer to that
desire is revealed.
Of course, not all groups are comfortable with improvised acting
and may prefer a more mechanical approach to resolving these
scenes. If this is the case, or if the intrigue is particularly small
and insignificant to the larger scenario, the Narrator may skip this
step and move onto the next.
The Effects of Roleplaying
SIFRP is a roleplaying game and therefore strong portrayals of
your character as well as convincing arguments can and do have
an effect on intrigues. Good roleplaying modifies your chances by
granting bonus dice, usually one or two, but sometimes as many
as three for extremely convincing performances. Naturally, some
roleplaying sequences may result in saying the absolute wrong
thing at the wrong time, which may affect a character’s efforts
by applying penalty dice or imposing a flat penalty of –1 to –5
depending on the seriousness of the gaff.
Not all groups include talented actors and some players may be
reluctant to participate in such an immersive roleplaying scene.
The Narrator should not penalize players if they are not suited
for this sort of game-play.
Step Five: Actions
Shield of Reputation
During an exchange, a player may choose and perform one of following
actions. Each participant has but one action.
You may support another character’s arguments, encouraging them as they
debate and argue. If you succeed on a Challenging (9) Persuasion test, you
can lend one-half (round down) your rank in Persuasion as a modifier to your
ally’s next conflict test result.
You give up your action for the exchange. You gain +2 bonus dice on any one
test you take during the next exchange. Bonus dice gained in this way cannot
exceed your rank in the ability you’re testing. Once you roll a test and use
these bonus dice, excess bonus dice are lost.
Fast Talk
You can unleash a stream of nonsense in the hopes of distracting your opponent
and putting them off guard. Make a Persuasion test against the target’s passive
Will result. If you achieve at least one degree, the target loses his Cunning rank
from his Intrigue Defense until the end of the next exchange.
Influence is the most common action in an intrigue. It reflects your effort to
modify your opponent’s behavior. Roll a Deception or Persuasion test against
your opponent’s Influence Defense, gaining bonus dice from your chosen
technique. A successful test indicates you influence your opponent by an
amount described under your technique, multiplied by your degree of success.
Reduce the total influence by your opponent’s Disposition rating. Remaining
influence applies to your target’s Composure. An opponent reduced to 0
Composure is defeated.
You try to manipulate your opponent’s emotions by goading them into using a
specific technique. You must beat or equal your opponent’s passive Will result
(of Will x 4) with a Persuasion test. If so, you may choose your opponent’s
technique for the next exchange.
During an intrigue, you can restore someone else’s Composure by rolling
a Formidable (12) Persuasion test to mollify a target. Your test is modified
by the target’s Disposition as normal. Success restores Composure equal
to your Persuasion rank; each additional degree of success restores an extra
point of Composure.
You need not suffer the indignity of an aggressive opponent and provided
there’s an avenue of escape, you can quit an intrigue. Upon doing so, the
intrigue ends, but there are often repercussions as determined by the Narrator,
especially if there are witnesses to your weakness.
Alternatively, when an opponent proves uninterested in discussion or
negotiation and resists your efforts, you may quit the intrigue without trouble,
though questions and information offered may raise suspicions and have
other consequences.
Read Target
In lieu of coercing a target, you can hold back and read your target’s disposition
and technique. Make an Awareness test against your target’s passive Deception
result. If you equal or beat your target’s test result, you learn the target’s current
disposition and technique for this exchange. As a result of this insight, you
gain an extra test die on all Deception and Persuasion tests for the duration
of the intrigue. You may use this action just once per intrigue.
You can fall back on your reputation and status to influence your opponent.
Make a Status test against your opponent’s passive Will result. If you succeed,
the target’s disposition improves by one-step. You may use this action just
once per intrigue.
Switch to Combat
On your turn, you can abandon the intrigue and attack your opponent.
Clearly, this may not be an option in every intrigue and attacking may have
other consequences. Once you switch to combat, the intrigue immediately
ends and combat begins.
You may shore up your defenses and set yourself against your target. Roll a
Will test (bonus dice from Discipline apply). The result of the test replaces
your Intrigue Defense until the end of the next exchange.
When an opponent successfully influences you in an intrigue, you may lose
some of your Composure, bringing you closer to falling under their sway. Any
influence in excess of your Disposition Rating applies to your Composure.
Loss of Composure doesn’t affect you unless it reduces your value to 0 or less,
at which point you are defeated.
The primary way to reduce influence is through your Disposition Rating. You
subtract this value from the influence your opponent earns with a successful
Deception or Persuasion test.
The other way to reduce outside influence upon you is to accept a measure
of Frustration. Each point of Frustration gained removes an amount of
influence equal to your Will rank. However, each point of Frustration gained
imposes a –1 penalty die all Deception and Persuasion tests for the duration
of the intrigue. If your accumulated Frustration exceeds your Will rank, you
are defeated because you lose your Composure. At the end of the intrigue,
win or lose, all accumulated Frustration is removed.
If your Composure is reduced to 0 or less, or your accumulated frustration
exceeds your Will rank, you are defeated, and the victor achieves the stated
goal of the intrigue.
You may choose to yield to an opponent, offering a compromise outcome,
rather than going down to defeat, if you wish. You can only yield on your turn
in an exchange, and your opponent may accept, offer a counter-proposal, or
refuse. If you in turn refuse a counter-offer, then the intrigue continues and
you may not yield. Yielding is an option for when defeat seems certain and
you want to offer an opponent an immediate, lesser, victory to put a quick
end to the conflict.
Destiny and Defeat
You may also burn a Destiny Point when defeated to choose an outcome
other than your opponent’s stated goal. The Narrator must approve the new
As with combat, unimportant character in the story generally don’t avoid
influence through Frustration, and they tend to yield quickly when the
intrigue goes against them. This allows the Narrator to dispense with such
minor intrigues quickly when it becomes clear the character has the upper
hand (assuming the intrigue was important enough to test the characters’
abilities to begin with).
Journey to King’s Landing
Journey to King’s Landing
Journey to King’s Landing is a short, introductory adventure story for A Song
of Ice and Fire Roleplaying, intended to introduce new players and give them
a feel for how the game, and the world of Westeros, work. It can also serve
as a lead-in to the adventure series Peril at King’s Landing, available in Fall
2008 from Green Ronin Publishing.
The characters are on their way to the great city of King’s Landing, ostensibly
to attend a tourney declared by King Robert Baratheon. Along the way,
they stop for the night at an inn, encounter some local ill-will, and have an
encounter with a group of bandits, which may or may not include one or
more characters being kidnapped and taken to the bandits’ encampment.
They must deal with the bandits, one way or another, and continue along
their way to King’s Landing.
In Scene One, the group encounters evidence of the bandits’ work along the
road to King’s Landing. As night comes on, they find a local inn and make
arrangements to stay for the night.
In Scene Two, the party hunkers down at the inn for the night, allowing
time for the players to try out various game systems in the events that play
out around the late afternoon and evening. Various things may pass in the
night between characters.
In Scene Three, the bandits attack the party along the road, attempting to
take all their goods, or else the characters (alerted to the bandits’ spy at the
inn) follow and attack them at their camp. Either way, the characters must
deal with the threat and continue on their journey.
The Characters
Six pre-generated characters are provided for use with this adventure, all
members of a minor noble house; the young heir and his entourage. Provide
copies of their character sheets (photocopies, scans, or the actual pages taken
out of this book) to the players. If you have the full A Song of Ice and Fire
Roleplaying rules, you can have players create their own characters for this
adventure, if desired. This is the best option if you intend to use this adventure
as a lead-in to the events of Peril at King’s Landing.
The character sheets come complete with background information and
descriptions. Encourage players to roleplay the characters based on this
information. Not all of a character’s background information may come into
play in this short adventure (indeed, it’s unlikely for much of it to come up),
but the information can still add to the players’ roleplaying and enjoyment of
their characters and a good opportunity may arise for unexpected revelations
and character development!
Scene One: On the Road
In this scene, the characters make their way along the road towards the
crossroads where they will take the Kingsroad south to King’s Landing. Along
the way, they find evidence of trouble in the area as the day grows late and
they are in need of a place to stop for the night.
Journey to King’s Landing
Read the following aloud to the players to set the scene:
Let the characters react to the bodies as their players see fit. They may wish
to investigate further, to try and see that the murdered men receive a proper
burial, or they may choose to harden their hearts to the unfortunate tableau,
focusing on the road ahead, and whatever dangers might await them.
A tourney. King Robert Baratheon, ruler of the Seven Kingdoms,
has declared a tourney and festival in the great city of King’s
Landing. All the lords and bannermen of the Seven Kingdoms are
invited to attend, where there will be feasting , merriment, and great
jousts for the finest knights in all the land to prove their mettle, along
with a grand melee to claim the rich prizes offered by the crown (to
say nothing of the adoration and cheers of the crowd).
If the characters examine the bodies further, have the players roll an Easy (3)
Cunning test, and provide them with information based on the result:
Failure: They learn nothing more than was described to them initially.
Success (one degree): Rust stains on their clothing show all of the men
once wore armor, although it is nowhere to be seen. Even their boots
have been taken. From the condition of the bodies, they can’t have
been dead for much more than a day or so.
It is also not lost on you that this tourney represents an important
opportunity for your house: to forge alliances, learn all the latest
news and gossip of the court, and to meet those men and women
who represent the great houses of Westeros. In the years to come,
some of these noble folk will be your allies or liege-lords, others your
enemies. It pays to know which way the wind is blowing, so the riches
won in this tourney may be far more than mere gold.
Success (two or more degrees): The older men’s hands are calloused and
their arms developed such that it is clear they were knights, the young
man perhaps their squire.
Septa Alanna and other characters may wish to see the bodies properly
buried, or to at least pray to the gods for their souls. Digging graves is slow,
messy work in the muddy ground, but so is gathering enough stones for a
cairn, while a pyre of any sort simply isn’t an option in the damp weather.
The characters can also decide to take the bodies with them (slinging them
over the back of their horses) or to ride on to the inn ahead and come back
with help and proper tools to bury the bodies. More importantly, whatever
they choose, if the characters disturb the bodies or spend any time near them
before moving on, they’re surprised when one of them moves!
You’ve set off on the long journey to the Kingsroad that will take you
southward to King’s Landing itself. What started out as an exciting
adventure on a bright summer morning has taken a gray turn, as a steady
drizzle has begun to dampened your spirits as much as it has your sodden
clothing. Even heavy wool cloaks only do so much to keep out the damp
and the subsequent chill. There is supposed to be an inn at the crossroads
and you fervently hope so, as a warm fire and some dry clothes and decent
food would go a long way towards improving your mood.
The Squire’s Tale
Give the players an opportunity to briefly introduce and describe their
characters and what they’re doing with the party headed to the tournament.
You may want to allow the players the opportunity for a little roleplaying to
get into character, talking to each other about the unpleasant weather, what
they can expect to find when they reach King’s Landing, their hopes for the
tourney, and so forth.
If you have fewer than six players for the game, you can either exclude the
characters the players did not choose, or else you can have them as part of
the party and run them as Narrator characters. This is helpful as it provides
you with a “voice” for communicating in-character with the rest of the group
and allows you to encourage roleplaying among the players.
If you have a full compliment of players and still want to introduce a Narrator
character among the group for this purpose, copy Nicholas Rivers’ character sheet
and select a suitable name for a scout or woodsman who accompanies the party.
This character can end up a victim of the bandits later in the story, if you want.
A Crows’ Feast
Once the players have gotten settled and had the opportunity to introduce
their characters and roleplay a bit, read the following aloud to them:
A shiver not related to the rainy chill passes through you as a murder
of crows takes wing, cawing and squawking, from along the road
ahead. Overlaying the damp smell of leaves is the stench of death
wafting towards you on the wind.
Alongside the road in a shallow gulley the bodies lay: three men,
although one of them barely more than a boy. They’re clothed
in little more than their undergarments and a layer of mud and
blood, and their wounds bear witness to the fightt before they
died. Whoever killed them must have stripped them of all their
goods before dumping their bodies alongside the road, and their
dark eye-sockets, eaten out by the crows, bear mute testimony of
the evils of men.
Jodrell, the squire to Ser Tymon, one of the slain knights, still clings to life. He’s
severely wounded, however, and dying. His gut wound is already badly infected,
he’s lost too much blood, and he’s beyond even the skills of Maester Rudolphus
to save (as any attempt at a Healing test shows the would-be healer).
The presence of the characters, and any activity around the bodies, causes
Jodrell to stir and moan in pain. Any further attention from the characters
brings him to bleary consciousness, barely able to speak.
Through cracked and bloodied lips, Jodrell can tell the characters the following.
Paraphrase the information in Jodrell’s voice based on what the characters do
and say and whether they ask the dying squire any questions.
Jodrell, his master Tymon, and fellow knight Ser Roddik, were also traveling
to King’s Landing for the tourney. Late in the evening, they were set upon
by some bandits, a group of four rough-looking men, who attacked from
ambush. The men must have been sell-swords or former soldiers themselves,
as they were well armed and did not fight like brigands. They unhorsed
both knights and slew them. Jodrell was stabbed and flung into the ditch.
He lost consciousness and doesn’t remember anything more until the
characters arrived.
Once he has told the characters the previous information, Jodrell expires. For
some added poignancy you can have the squire ask his “rescuers” to see to
it that the men are buried as befits knights, to avenge their deaths, or both.
Although he bears no sign, Jodrell is a faithful worshipper of the Seven, and
will take comfort from the spiritual ministrations of Septa Alanna, should she
offer them. Attempts to move Jodrell merely aggravate his wounds, causing
him to lose consciousness and die immediately.
Scene Two:
At the Crossroads
In this scene, the party reaches the inn at the crossroads. Their reception
depends somewhat on the condition of their arrival, but they may find more
than just a warm meal and bed for the night.
Journey to King’s Landing
Landing, but is stopping over and trading his services fixing things
at the inn for food and lodging.
The Inn at the Crossroads
Corvin: A sell-sword who claims to be headed for King’s Landing, although
he says he has been laid-up at the inn for a while, having caught cold
in the foul weather. He tends to keep by the hearth, sniffling and
coughing quietly, while drinking hot tea. Not surprisingly, people
tend to avoid him. In truth, Corvin is working with the bandits and
staying at the inn to watch out for potential marks.
The Inn at the Crossroads has a place in the Song of Ice and Fire
saga. If you choose, this inn may be the same one described in
the novels, or a different place along the road to King’s Landing.
Certainly, there are a great many inns along the major roads, any
one of them often the same as any other, so it’s a fairly simple
matter to make this a different inn. Likewise, inns are known to
change hands from time to time, outlasting their keepers. There’s
always a need for an inn along a busy road, but innkeeps sometimes
meet with unpleasant fates. This, too, may be the case for your
version of the inn.
Feel free to add other characters to the mix at the inn, as suits your ideas for
interactions and the like. You can even have the players suggest a few more,
providing ideas for people they want their characters to meet.
After the characters leave behind the carnage of the bandits’ attack and headed
for the inn, read the following aloud to the players:
The sight of the timbers and thatched roof of the inn are welcome
in the unending drizzle, even more so is the curl of blue-grey smoke
from the fieldstone chimney, speaking to you of a warm hearth and,
hopefully, some warm food and drink as respite from your travels.
As the shadows grow long, and you are fatigued from the day’s ride,
to say nothing of your encounter with the bandits’ handiwork a way
back, you spur yourselves onward towards the inn’s muddy yard.
This is a fairly free-form scene where the characters can spend a bit of time at
the inn, and rest for the night before heading out again to continue their journey.
Exactly what happens depends on what opportunities the players choose to take,
although you can encourage them in certain directions as need be.
Some Needed Practice
One opportunity the stopover at the inn presents is a chance to practice playing
the game. For example, when the party arrives, damp, muddy, and chilled, in
the common room of the inn, you can give the players the opportunity to try
out the intrigue system by running a quick negotiation with Masha over the
cost of their food and lodging for the night. Look over the Intrigue rules
starting on page 17. Masha’s disposition is indifferent towards the characters
(and, presumably, they towards her). Her intrigue statistics are:
The innkeeper is an old woman named Masha Heedle: gray-haired, her
teeth stained red from the sourleaf she’s constantly chewing. She has some
youngsters to help out with the work around the place; it’s never quite clear if
they’re relations or just cast-offs who have found a home with her. Although
she’s all business with travelers and customers, Masha has a soft spot for
children. Also present are:
Brenna: A comely servant girl in her late teens; she brings food and drink to
the guests and spends the rest of her time cleaning up (and occasionally
flirting with attractive strangers).
Davin: A stout lad who serves as the inn’s stable-hand and general porter
for things too heavy for Masha or Brenna to handle.
Horace: A traveling tinker resting up at the inn, Horace is an old greybeard
who has traveled a great deal. He is also on his way towards King’s
Masha Heedle: Persuasion 3 / Bargain 2B, Intrigue Defense 6,
Composure 6
It shouldn’t be too difficult for a character (Rhys, Rudolphus, or Alanna,
most likely) to negotiate a reasonable price with the innkeep. Other potential
opportunities to try out some of the game systems at the inn include:
• A character might try seducing a servant girl or stable-hand, or just another
passing traveler. Play out another intrigue for the attempt. This can
get particularly interesting if a Narrator-controlled character takes
an interest in one of the party and initiates the intrigue, more so if its
someone interested in the squire Jonah (who is actually a girl!).
• A character could engage in a dicing game with some other travelers; play
out an intrigue using Deception to see if the character can pull off a
successful win.
Characters like Rhys, Merik, Nicholas,
and Jonah might take arms practice in
the yard either in the early evening or
the following morning. This provides
a chance to try out the combat system,
pitting characters against each other. In
this instance, defeat is defined as being
flat on your back in the mud with a
sword-point at your throat rather than
death. You may also bar players from
taking injuries or wounds to lessen their
damage, unless they want to chalk them
up to accidents that take place during
the practice, in which case any real
injury (much less wound) puts a stop
to things right way. It also leaves that
character the worse for wear when a real
fight happens later (see Scene Three).
Similarly, the fighting-men of the
party might take up archery or
throwing practice out behind the
inn, allowing for a chance to try out
the ranged combat rules as well.
Journey to King’s Landing
The Trouble on the Road
Chances are, the characters may inquire about the victims of the bandit attack
they encountered on the road to the inn, either to find out more about what
happened, or to seek assistance in burying the bodies and, possibly, dealing
with the problem.
At heart, Ander is a bully and a coward, brave when fighting from ambush
and backed up by his men, but more likely to fold when truly challenged.
“Ser” Ander
Animal Handling 3
Unfortunately, the folk at the inn are not particularly inclined to help with
either request. Davin is the only able-bodied young man and he’s not really
a fighter. He could help move or bury the bodies, but Masha prefers he stay
close to the inn. She suggests, “Let the dead attend to themselves.” Horace
begs off because of his age, while Corvin complains of his illness, having no
desire to worsen it out in the cold and the damp.
If the characters press the matter, they can engage in a short intrigue with the
chosen character(s) to persuade them to cooperate. Although he conceals it,
Corvin is unfriendly towards the characters (regarding them as targets) while the
others are indifferent. Brenna or Davin might even be amiable, if you feel either
is taken with one or more of the characters (there being a certain romance to a
group of important strangers on their way to the King’s own tournament).
What Passes in the Night
After the party has retired for the night, Corvin slips away from the inn to
tell the other bandits about them and anything he has learned from carefully
observing and overhearing them throughout the course of the evening.
Unless one or more of the characters stay awake on watch at or outside the
inn, they do not notice Corvin’s departure. If some of them are on watch, or
sleeping out in the stable, for example, they might notice something; secretly
roll a test of Corvin’s Stealth 4 (with a bonus die for Sneaking) against their
Alertness. Someone who notices Corvin slipping away can try and follow,
rolling a Stealth test against Corvin’s Alertness 2; he’s on his guard and
watching for signs that he’s being followed. Alternately, the character can
confront him.
Athletics 3
F ighting 4
Combat Defense 4 (8 with large shield) / Armor Rating 5 (mail)
Health 6 / Move 2 yards
“Ser” Ander, Rogue Knight
The leader of the small group of bandits is a rogue hedge knight who has
turned to banditry. “Ser” Ander (although he is no longer worthy of the
title), still has the armor and weapons of a knight, but he has no lands, no
title, nor much in the way of scruples. He has it in his head to raid along
the road to King’s Landing while the getting is good, then perhaps moving
on to better territory. He even holds the private fantasy of going on to the
King’s tourney himself, perhaps winning in the lists or the melee and gaining
royal favor, once he has the money he needs to buy himself arms fitting of
a man of his prowess.
4+1B / 4 damage
Heavy Shield
4–1P / 1 damage; bulk 1, defensive +4
4+1B / 6 damage; bulk 2, mounted, powerful, reach, slow
Wort and Cole, Bandits
Wort and Cole, along with Corvin, make up the rest of Ander’s band of
brigands. Wort and Cole are ex-soldiers and sometime poachers who simply
find it easier to take what they want, and to follow the orders of men like
Ander. They’re unshaven, unwashed, and not overly clever, but find none of
that matters so long as you know how to swing an axe. Corvin is more of a
sell-sword and considers himself sophisticated; he is, at least in comparison
to the company he keeps.
Wort and Cole
F ighting 3
1B Axes
Stealth 4
1B Sneak
Survival 3
Combat Defense 4 / Armor Rating 5 (mail)
Health 6 / Move 4 yards
More likely, Corvin goes unseen and returns to his compatriots, who decide
to prepare a suitable “welcome” for the party when they leave the inn in the
One way or another, the party will have to deal with the bandits troubling
this stretch of the road before moving on. Either they take note of the spy
watching the inn and manage to follow him back to the bandit camp (allowing
them the opportunity to turn the tables and surprise the brigands), capture
him and force information about the bandits from him, or else the bandits
ambush them along the road not long after they’ve left the inn.
War Lance
If confronted, Corvin either lies about wanting some air (curious given how
much he previously insisted on remaining indoors) or simply makes a break
for it. If he thinks he can lull a single character and catch him or her off-guard,
the brigand attacks. If defeated, the character is taken hostage and brought
back to the bandit camp for ransoming or to use as a bargaining chip.
Scene Three:
The Bandits’ Challenge
1B Long Blade, 1B Lance
Hunting Bow
3+1B / 2 damage / adaptable
2 / 2 damage / long range, two-handed
If Corvin left the inn unnoticed the previous night, or the characters prevented
him without finding his encampment, then the bandits ambush the party
just a mile or so away from the inn at a convenient spot along the road. See
the Ambush Site map for details.
Ander and Corvin sit astride horses around the bend in the road, weapons
at the ready, while Wort and Cole fire their bows from the concealment of
the woods alongside the road before wading into the fight with their axes.
Whether the bandits attack immediately or attempt to parley with the
party depends on Corvin’s assessment of their strength and willingness to
negotiate. If Ander thinks he can win without fighting, he’ll try it, signaling
for a bowshot from the woods to emphasize the strength of his bargaining
position, if necessary. He also won’t hesitate to threaten Alanna or Rudolphus
(as the non-warriors of the party) if he thinks it will gain him something.
If Corvin has reported the party is unlikely to negotiate, then the bandits strike
first, looking to take out Merik and Nicholas Rivers (as the most dangerous
looking fighters). Ander underestimates Rhys, dismissing him as “just a boy”
initially, which may well prove a fatal mistake.
If Ander or at least two of the other bandits are defeated, the rest flee unless
they have an overwhelming advantage. The brigands are not above taking
Journey to King’s Landing
over a mile from the inn and the crossroads in
the surrounding woodland. It’s a simple, rude
camp in a forest clearing where the men sleep
under tents and tie up their horses. It’s also
where they stash what they’ve taken from
their victims thus far: 24 copper pennies,
87 silver stags, 4 gold dragons, a shield and
longsword, plus the horses and their tack,
harness, and supplies.
If the party approaches the bandit camp
cautiously (a Stealth test against the bandits’
passive Awareness of 8), they can take them
unawares. If they do so, the characters all gain
an extra test die on their attack tests in the
first round of combat. Otherwise, the bandits
detect the approaching characters in time to
take action, and there is no modifier.
defeated characters hostage (or much else, for that matter). They use any
captured party members as bargaining chips.
Keep in mind that Ander and Corvin are mounted and their horses are
trained for combat. See the Mounted Attacks section of the Fighting rules
for details.
The Bandit Camp
If the characters manage to follow Corvin from the inn, or capture him and
force the information from him, they can find the bandits’ encampment, just
Still, attacking the bandits at their camp
may allow characters to gain the upper
hand. In particular, none of the bandits will
be mounted. If the party strikes swiftly, they
can score a decisive win. As in the ambush
encounter, if Ander or two or more of the
other bandits are defeated, the rest either
yield or flee, depending on the options open
to them.
Further Adventures
Although this adventure is over, the story of the characters, and A Song of
Ice and Fire Roleplaying, is just beginning! What will they find awaiting
them when they arrive in King’s Landing? Why has King Robert called this
tourney (apart from an opportunity to fight, feast, and wench)? Who will
be in attendance and what schemes and agendas will they bring with them?
Is there more to the bandit attacks along the road to King’s Landing than
there first appears?
Quick-Start Characters
The following pages present a set of characters for playing the A Song of Ice and Fire Roleplaying Quick-Start adventure, “Journey to King’s Landing.”
You may photocopythese pages for your own personal use. Each character is complete and ready to play, and uses the following format:
Character Name
This section discusses how the character fits in the household, defines some of the character’s responsibilities, and what role the character might
fill in an adventure. In addition, some salient personality and historical features are included to give you a sketch of the character’s background.
Characters are defined by their choice of abilities and specialties, those areas in which the character has some degree of talent. Each character lists
all abilities possessed by the character that exceed 2. Attached to the ability is its rank, expressed as a number such as 3. If the character has any
specialties related to the ability, they are listed beneath the ability and indented to set them apart. Specialties also include the number of bonus
dice invested and are expressed with a number and a B, 3B for example.
This section describes the salient features and derived abilities needed for playing through intrigues and combats. At the top, you’ll find the
character’s Awareness rank and passive result. Next are the Intrigue attributes including Defense and Composure. Finally, you’ll find Movement
and Sprint, followed by Combat Defense, Armor Rating, and Health. The last section lists all the weapons, armor, wealth, and important personal
possessions the character has at the start of the game.
Qualities, including Destiny Points, follow, along with descriptions of their game effects.
Lord Rhys
All your life you have known you would one day assume the leadership of
your house: you have trained for it since you were old enough to speak and
walk. You just always hoped it would not be as soon as it has been. Although
you are only fourteen, you are “Lord Rhys” and your father is months dead
and buried.
It was a hunting accident: a chase through the thick woods near your home,
the barking of the hounds, and the thundering of the hooves. A low-hanging
branch, they said, a blow to his head and a topple from the saddle at speed. For
nearly two weeks he lay, out of his wits, in his bed, force fed water and honey to
sustain the thinning thread of his life. Towards the end came fever, fits, and cries
in the night of enemies attacking him, confusion over what year it was and who
was speaking to him, until death was a merciful release from his pain.
Since then, you have done what was needful, tried to be strong for your house
and your family. Your mother Alanna took your father’s death especially hard,
seeking solace in her faith, leaving you to look after your younger siblings,
Animal Handling 2
Endurance 3
F ighting 3
Long Blades 1B
Marksmanship 3
Bows 1B
Status 6
Breeding 1B, Stewardship 1B
Language (Common Tongue) 3
Warfare 3
You’re most grateful for the aid of your closest advisors, who were also your
father’s men. Your Uncle, Ser Merik, is a seasoned knight who fought at
your father’s side in wartime, and has been his loyal bannerman. His level
headedness and stable presence gives you confidence. Maester Rudolphus,
who has been your teacher since you were a child, is a voice of reason and
understanding for you, giving you sage advice. You once thought there was
nothing he did not know, but learned otherwise when he was unable to save
your father’s life. It was not his fault, you mother said the Seven chose to
call your father to them, and it would not be fair to begrudge your beloved
teacher... though you still have to tell yourself that from time to time.
Now you and your entourage are on your way to the fabled King’s Landing,
a journey you had hoped to make one day at your father’s side. Now you go
on your own, to proclaim your right to lead your house before King Robert,
and to do honor to the memory of your father and your ancestors. You know
they are watching over you and so you will not—you must not—fail.
Ride 1B
Cunning 3
Persuasion 3
your brother Kellin, only ten, and your little sister Brianna, called “Bree,”
just turned seven.
Command 1B
Will 3
Awareness 2 (8)
Intrigue Defense 11 / Composure 9
Move 3 / Sprint 14
Combat Defense 3 (5 with shield) / Armor Rating 5 / Health 9
3+1B (3 damage)
Hunting Bow
3+1B (2 damage; long range, two-handed)
3 (1 damage; defensive +2)
mail, shield, longsword and scabbard, longbow, quiver with 10
arrows, signet ring, courser, saddle, 24 gold dragons
Destiny Points: You have two Destiny Points to spend during the
game. See Destiny Points for a brief summary of what you can do
with them.
Head of House: You command your house and are responsible
for the upkeep of your lands, the security of your people, and
the dispensation of your fortunes. Add +2 to the results of
all Status tests.
Head for Numbers: Whenever you roll for household events, you may
add your Cunning rank (3) to your Status test result. In addition, when
testing Status to generate funds for you or your household, you may re-roll a
number of 1s equal to your rank in Stewardship (or one, in your case).
Weapon Mastery : When you wield a longsword in combat, you
increase its damage by +1.
Ser Merik
Your older brother Nolan was always heir to your house and you were glad
enough of it; you never aspired to lordly title or the fealty of vassals. You have
always been more comfortable among simpler men: fighting men, craftsmen,
and the smallfolk of your house’s lands. Even as a boy, you found more friends
among the sons of your father’s vassals and the castle’s tradesmen than among
the landed sons and daughters of your father’s peers. Nolan was always the
one with the gifted tongue, who knew the right things to say and do, so you
were pleased and proud to support him in his rightful rule.
Indeed, the only thing you ever envied your brother was the hand of the
beautiful Alanna, his wife. Although Nolan was the mind and strong
hand of the castle, Alanna has long been its heart and soul. She brought
joy and color and laughter to its halls, and delighted in music and fêtes.
You never spoke of your love for her—she was your brother’s betrothed,
and then wife!—but you swore to defend her with your life, if need
be. Since Nolan’s passing, you have longed to reach out to Alanna,
to comfort her, but propriety has stayed your hand and choked off
your voice. Any road, she seems to have found her solace in the
Sept, praying to the gods.
You were married yourself, but only for a short time. Her name was
Shawna, a shy young thing; the daughter of a house that wished
to curry favor with your father by the match. She died less than
a year after your wedding, in
childbirth, the babe she
bore along with her.
You never remarried,
although you
have had your dalliances and distractions from time to time. You preferred
instead to focus your time and attention on serving your house, first your
brother, and now his son, Rhys. Although the lad is gifted, and much like his
father, you know he will need you in the months and even years to come if he
is to grow into the strong leader and lord you know he can be.
Now comes this summons to the tourney at King’s Landing. Ordinarily, you
would welcome such an opportunity: to joust and test your mettle against
the finest knights in the Seven Kingdoms, but now you have other concerns,
and must look out for your young lord and for the Lady... that is, for Septa
Alanna, who has chosen to accompany you.
Agility 3
Animal Handling 3
Ride 1B
Athletics 3
Strength 2B
Awareness 3
Endurance 4:
Resilience 2B
F ighting 5
Language (Common Tongue) 3
Long Blades 2B / Spears 1B
Status 4
Warfare 3
Awareness 3 (12)
Intrigue Defense 9 / Composure 6
Move 3 / Sprint 14 (with lance, Move 2 / Sprint 12)
Combat Defense 3 (5 with shield) / Armor Rating 10 / Health 12
Bastard Sword
5+1B (4 damage; adaptable)
Tourney Lance
3+1B (6 damage; bulk 2,
mounted, powerful, reach, slow)
5 (1 damage; defensive +2)
Personal plate armor, shield, bastard sword and scabbard, tourney lance,
saddle, destrier, 16 gold dragons
Destiny Points: You have one Destiny Point to spend during
the game. See Destiny Points for a brief summary of what you
can do with them.
Anointed: Add +2 to the result of all Status tests. You may
draw strength from your commitment to the knightly virtues.
Once per day, as a Free Action, increase both Defenses and all
passive ability results by +5 for 1 round.
F law: You take a –1 penalty die on all tests involving the
Thievery ability.
Long Blade F ighter I: When armed with a Long Blade, you
may sacrifice your Long Blades bonus dice on a Fighting test to
gain +1 degree of success if you successfully hit your opponent.
In addition, adversaries wielding non-shield parrying
weapons take a –1 penalty to their Combat Defense
against your attacks.
Sponsor: A person of quality (in this case,
Lord Rhys), vouches for you and serves as
your patron.
Maester Rudolphus
Although arms and iron may rule the Seven Kingdoms, you have always
believed reason and lore are the means to rule wisely and well. Perhaps this is
because you’ve never had any aptitude for arms or fighting—a fact drilled into
you as a lad—but you were always clever and a quick study when it came to
books and learning. So you were able to earn yourself a place at the Citadel, to
train as a maester. You still fondly recall your days there, when boundless vistas
of knowledge opened up to you, and you found the companionship of like
minds. You think wistfully of long nights discussing history and philosophy
over cups of mulled wine. Those were fine days, indeed.
Not at all like the dark days of Robert’s Rebellion, when war split the Seven
Kingdoms and arms and iron once again decided the future. Your own family
paid dearly for King Robert’s victory: your father and brothers dead on the
battlefield, your house gone in all but name, married off with your older sister
to some bannerman of Robert’s, your lands joined with his (if he even had
any to begin with), his sons now ruling over it.
Animal Handling 3
Cunning 4
Decipher 1B, Memory 1B
Knowledge 4
Education 2B
Healing 3
Language (Ancient Valyrian) 2
Status 4
Will 3
You’ve always found Rhys an apt pupil, certainly more open to learning than
his father or uncle. You’ve no quarrel with Ser Merik, save that he seems to
think a young man can learn everything he needs to know in the arms-yard,
the stables, and the whorehouse. Still, Merik is a loyal and honorable man, if
perhaps a bit thickheaded and stubborn. Similarly, you have generally found
Lady Alanna an ally in your quest to educate her children. Her sole blind spot
has always been her unquestioning faith, whereas you are a man of reason.
The gods, whatever their names and visages, have little to do with affairs in
the world in your experience.
Treat Ailment 1B, Treat Injury 1B
Language (Common Tongue) 3
Persuasion 3
Still, such was no longer your concern. You took commission with a noble
house and a lord who, if he did not fully appreciate the value of learning
himself, at least sought it for his children. You become the tutor to young
Rhys, and later to Kellin and even little Brianna, and quietly swore you would
teach them to appreciate history, philosophy, and all the learned arts and
sciences in addition to force and skill at arms. It was the way to change the
world, or at least your small corner of it, for the better.
Convince 1B
Stewardship 1B
Awareness 2 (8)
Intrigue Defense 10 / Composure 9
Move 4 / Sprint 15
Combat Defense 6 / Armor Rating 1 / Health 6
2 (2 damage; fast, two-handed)
2 (1 damage; defensive +1, off-hand +1)
Personal robes, quarterstaff, dagger with sheath, maester’s chain, writing
kit, 2 ravens, bag of corn, tomes concerning the subject of
heraldry, history, and legends, 16 gold dragons
Destiny Points: You have one Destiny Point to spend during the game.
See Destiny Points for a brief summary of what you can do with them.
F law: You take a –1 penalty die on all tests involving the Marksmanship
Knowledge Focus (Heraldry): When testing Knowledge of heraldry,
convert your Education bonus dice into test dice.
Knowledge Focus (History and Legends): When testing Knowledge
of history and legends, convert your Education bonus dice into test dice.
Master of Ravens: You may dispatch ravens to bear messages. When
doing so, make an Animal Handling test. The difficulty depends on the
distance the raven must travel. For distances up to 50 miles, you must
succeed on an Easy (3) test. For every additional 25 miles, increase the
difficulty by 3. The Narrator rolls these tests in secret on your behalf
to determine whether or not the raven arrives.
Nicholas Rivers
Although you grew up in the halls and yards of a castle, you have always felt
the most at home beyond its walls in the wilds. The serenity of the forest calls
to you, along with the thrill of riding at full gallop, and the excitement of the
hunt and the chase. The sole stain upon that experience for you is the death
of the Lord Nolan, a good liege and a man you have known and respected
since childhood. He always treated you kindly and well, although you did
not know why until fairly recently.
You were born a bastard, you see. Your mother, Elen, worked as a servant in
the castle. She chanced to meet a young man at a festival and fell pregnant
by him, but never saw him again. So she raised you on her own, with the
aid of friends and relations. Lord Nolan was kind enough to ensure she
kept her place in the castle and that her son was looked after and, when the
time came, given work in the stables with the Master of Horses, since he so
loved working with horses himself. It was not until your mother lay on her
deathbed from sickness that she told you, and you alone, your father was
Lord Nolan, from a dalliance before he married. You hoped, perhaps one
day, to reach out to your father but he, too, was taken, and may have never
known that you knew of him.
For your part, you are content with your place in the world. You certainly
have no aspirations to claim title and lands, for you are no lord, nor suited
to the courtly life. Give you the open sky, a stable yard, and a horse under
you, and you are happy. You hope to be named the new Master of Horse
one day, under Lord Rhys, your half-brother, you have come to realize. You
struggle from time to time with this knowledge, and whether to reveal it
to anyone, but then you wonder: why
upset the hay cart? Let the past remain
the past. Rhys is lord now, and the
house and lands are his, and rightly
so. You should be content with
the good fortune the gods have granted and leave well enough alone, even
though there are times when it would be a comfort to have a brother to share
the simple pleasures of the ride and the hunt.
Agility 4
Animal Handling 3
Athletics 4
Run 1B / Strength 1B
Endurance 5
Resilience 1B
Awareness 3
Notice 1B
F ighting 3
Axes 2B / Brawling 1B / Spears 1B
Marksmanship 3
Status 3
Will 3
Awareness 3 (12 base, 13 Notice)
Intrigue Defense 8 / Composure 9
Move 4 / Sprint 15
Combat Defense 9 (11 with shield) / Armor Rating 6 / Health 15
3+2B (4 damage; adaptable)
3+1B (4 damage; fast, two-handed)
3 (2 damage; defensive +2)
3 (2 damage; defensive +1, off-hand +1)
ring mail, shield, battleaxe,
dagger with sheath, spear, livery, 10
gold dragons
Destiny Points: You have one Destiny
Point to spend during the game. See
Destiny Points for a brief summary of
what you can do with them.
Armor Mastery : Armor you wear fits like a
second skin. Increase your armor’s AR by +1 and reduce
the Bulk (if any) by 1.
Axe F ighter I: Whenever you are armed with an axe and roll a Fighting
test to attack a foe, you can sacrifice a number of bonus dice to threaten
a bleeding wound. A damaged foe takes additional damage at the start
of his next turn. The amount of damage is equal to the number of bonus
dice sacrificed. This damage ignores AR, as it comes from an already
existing wound.
Bastard Born: As a bastard, you take a –1 penalty die on all Persuasion
tests when interacting with characters with a higher Status.
Weapon Mastery: When you wield a battleaxe in combat, you increase
its damage by +1.
Squire Jonah
Never before in your life have you been so excited and so nervous as to journey
to King’s Landing. Only in your wildest dreams did you once dare to hope
to travel to a king’s tourney as the squire of a noble and seasoned knight, to
see the greatest knights and names of the Seven Kingdoms come together
for a display of valor, arms, and prowess. Those who know you think it the
youthful fancy of a wide-eyed country boy, but they do not know—no one
knows—how “Squire Jonah” was not that long ago betrothed to a man nearly
three times her age.
From the time you were little, you wanted nothing to do with dresses and
dolls and learning to behave like a proper lady. No, you preferred getting dirty
playing with boys and dreaming of one day taking up sword and shield yourself
as a brave knight. Nothing your beleaguered parents did could dissuade you,
Agility 4
Animal Handling 3
Athletics 3
including punishments and stern lectures. Everything just hardened your
resolve to become a great fighter, like the stories of the ancient warrior-queens
like Nymeria. Still, your parents were just as stubborn, and did whatever they
could to force you into the mold of a proper young lady.
The last straw was when they sold you off in marriage to some old landed
knight twice widowed and nearly three times your age. You hated the
disgusting old man from the moment you laid eyes on him and swore you
would rather die than marry him. That very night, while the rest of the
household slept after the feast to celebrate your engagement, you gathered
a few items and slipped out your window and into the night. Cutting your
hair short and wearing a boy’s clothes you stole off a wash-line, you passed
yourself as “Jonah” rather than “Jhenna” and eventually found service in Lord
Nolan’s household as a stable-boy and now squire.
Quickness 1B
Ride 1B
Awareness 4
Endurance 3
F ighting 3
Status 3
Stealth 3 (+4 when sneaking)
Thievery 3
Sneak 1B
Steal 1B
Awareness 4 (16)
Intrigue Defense 8 / Composure 6
Move 5 / Sprint 25
Combat Defense 10 (11 with shield) / Armor Rating 2 / Health 9
Small Sword
3 (3 damage; fast)
3 (1 damage; defensive +1, off-hand +1)
Hand Axe
Thrown Hand Axe
Light Crossbow
3 (2 damage; defensive +1, off-hand +1)
2 (3 damage; close range)
2 (5 damage; long range, reload
lesser, slow)
soft leather, buckler, small sword, hand axe, light crossbow,
quiver with 12 bolts, livery, 8 gold dragons
Destiny Points: You have three Destiny Points to spend during the
game. See Destiny Points for a brief summary of what you can do with
Face in the Crowd: You can make a Stealth check to blend-in as a
Free Action. In addition, you add your Cunning rank (2) to your Stealth
test result to blend-in.
Fast: Your starting move is 5 yards. When running, you move five
times your move.
Furtive: When testing Stealth to sneak, you may re-roll any 1s. In
addition, you may add your Agility rank to your Stealth test result
when sneaking.
Septa Alanna
“The gods are mysterious, by turns kind and cruel, and they do not explain
themselves to the likes of mortals, in much the same way as kings and lords
are mysterious in their ways to the smallfolk.” So you learned when you were
only a child and your momma perished from a fever. You were raised by kindly
Septas in the service of your father, brought up to be a proper lady and taught
all the skills you would need one day when you ran a household of your own.
Although you feared the stony faces of the Seven as a child, you learned to
love and respect them, and to understand they loved you and wished for you
to lead a proper and righteous life, pleasing in their sight.
How they smiled upon you when they chose Nolan for your husband: a
dashing and brave man, wise and gentle and kind to you. Although your
marriage was arranged, you loved him from the moment you first beheld
his handsome face, felt your hand in his as he raised it to his lips. The years
following your marriage were ones of great contentment. You made a good
home for your husband, and gave him three wonderful children, including a
son and heir, your first baby, Rhys. How strange it seems now to look at the
serious-faced young man in armor sitting astride a horse, remembering the
tiny babe that suckled at your breast. Rhys is a man now, and you a widow.
The house is his and will rightly pass to his wife when the time comes. The
Seven give, and then they take away.
You grieved for a long time after Nolan’s death. You grieve still, in some
ways, and probably always will, but you no longer seek to follow him into the
embrace of death. That time will come soon enough, as it does for all mortal
creatures. For now, your children need you, and the gods have demanded a
different kind of service. Although you are still young, you have passed from
the embrace of the Mother and heard the call of the Crone.
Agility 3
Awareness 3
Cunning 3
Healing 3
Empathy 1B
Knowledge 3
Education 1B, Research 1B
Persuasion 3
Bargain 1B / Charm 1B / Convince 1B
Will 5
Coordinate 1B / Discipline 1B
Language (Common Tongue) 3
Status 4
Awareness 3 (12 base, 13 Empathy)
Intrigue Defense 10 / Composure 16
Move 3 / Sprint 14
Combat Defense 8 (+12 with shield) / Armor Rating 1 / Health 6
2 (2 damage)
Heavy Crossbow
2 (5 damage; long range, piercing
2, reload greater, slow, two-handed,
Large Shield
2 (1 damage; bulk 1, defensive +4)
Personal robes, large shield, mace, heavy crossbow, quiver with 10 bolts,
icon of the Crone, 9 gold dragons
Destiny Points: You have one Destiny Point to spend during the
game. See Destiny Points for a brief summary of what you can do with
Favored of the Smallfolk: When interacting with characters Status
3 or lower, you gain a +1 bonus die on all Persuasion tests.
Pious: Once per day, you may call upon your faith to help you and your
efforts. You gain +1 test die on a single test.
Stubborn: Add the number of bonus dice you have in Discipline to
your Composure.
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