STEVE JACKSON GAMES ONTENTS C Using Magical Objects in Mana and Life

STEVE FANTASY GAMES 01-1001 JACKSON the USA Printed in 2004 RINTING P ST VEMBER O ,1 Jeff Jeff Rose N 01-1001 John Zeleznik and DITION E BN 1-55634-519-4 and UBLISHED RD fantasy game. 3 IS P 9!BMF@JA:RSTPXVoYjZhZ_ZdZ` SJG03495 , Fourth Edition. any Andrew Andrew Hackard Eric Wilkerson and GURPS Basic Set GURPS Edited by requires the Eva Widermann, Abrar Ajmal, Alex Fernandez, Denis Loubet, Bob Stevlic, . Send a band of adventurers on impossible Denis Loubet, Bob Pat Stevlic, Morrissey, illiam H. Stoddard The information and ideas here will work with GURPS Fantasy W Illustrated by By Cover Art by Fourth Edition offers offers roleplayers a comprehensive guide to the GURPS u’ll find help in running your campaign here, in Roma Arcana or any ake the most flexible, most consistent RPG system there is, and From ancient myths to popular films, tales of heroes more But here there’s than theoretical guidelines and toolkits. A complete campaign setting, Roma Arcana, is ready to use in your own Yo T ou’ll find examples of imaginary plants and animals, unique and magic have captured the imagination. Now Fantasy entire fantasy genre. Building on the flexible, streamlined Fourth Edition rules, it lets you develop a campaign to explore the world of your favorite book or film – or create a new one from your own dreams. The main emphasis is in on settings historical from fantasy, the Bronze Age to the Renaissance, but the principles apply to any fantasy setting, from the prehistoric past to the remote future. Y monsters, nonhuman races, occupations, spells, and enchanted objects, ready to use in your own campaign – or to use as models for inventing your own. game. It can stand on its own, or fit into the Infinite background Worlds from missions in a magical Roman Empire, as they struggle to win honor and hold back the darkness. other setting: advice on creating balanced parties, devising scenarios to challenge them, and using the game rules to achieve dramatic effects. use it to run the campaign you dream of. STEVE FANTASY GAMES 01-1001 JACKSON the USA Printed in 2004 RINTING P ST VEMBER O ,1 Jeff Jeff Rose N 01-1001 John Zeleznik and DITION E BN 1-55634-519-4 and UBLISHED RD fantasy game. 3 IS P 9!BMF@JA:RSTPXVoYjZhZ_ZdZ` SJG03495 , Fourth Edition. any Andrew Andrew Hackard Eric Wilkerson and GURPS Basic Set GURPS Edited by requires the Eva Widermann, Abrar Ajmal, Alex Fernandez, Denis Loubet, Bob Stevlic, . Send a band of adventurers on impossible Denis Loubet, Bob Pat Stevlic, Morrissey, illiam H. Stoddard The information and ideas here will work with GURPS Fantasy W Illustrated by By Cover Art by Fourth Edition offers offers roleplayers a comprehensive guide to the GURPS u’ll find help in running your campaign here, in Roma Arcana or any ake the most flexible, most consistent RPG system there is, and From ancient myths to popular films, tales of heroes more But here there’s than theoretical guidelines and toolkits. A complete campaign setting, Roma Arcana, is ready to use in your own Yo T ou’ll find examples of imaginary plants and animals, unique and magic have captured the imagination. Now Fantasy entire fantasy genre. Building on the flexible, streamlined Fourth Edition rules, it lets you develop a campaign to explore the world of your favorite book or film – or create a new one from your own dreams. The main emphasis is in on settings historical from fantasy, the Bronze Age to the Renaissance, but the principles apply to any fantasy setting, from the prehistoric past to the remote future. Y monsters, nonhuman races, occupations, spells, and enchanted objects, ready to use in your own campaign – or to use as models for inventing your own. game. It can stand on its own, or fit into the Infinite background Worlds from missions in a magical Roman Empire, as they struggle to win honor and hold back the darkness. other setting: advice on creating balanced parties, devising scenarios to challenge them, and using the game rules to achieve dramatic effects. use it to run the campaign you dream of. Written by WILLIAM H. STODDARD Cover by DENIS LOUBET, PAT MORRISSEY, BOB STEVLIC, and JOHN ZELEZNIK Edited by ANDREW HACKARD and JEFF ROSE Additional Material by MICHAEL SUILEABHAIN-WILSON Illustrated by ABRAR AJMAL, ALEX FERNANDEZ, DENIS LOUBET, BOB STEVLIC, EVA WIDERMANN, and ERIC WILKERSON

ISBN 1-55634-519-4 Cartography by PHILIP REED 1 2 3 4 5 6 7 8 9 10 STEVE JACKSON GAMES ONTENTS C Using Magical Objects in Mana and Life ...... 44 NTRODUCTION I ...... 4 Campaigns ...... 29 Magical Networks ...... 45 About GURPS ...... 4 MAGICAL BEINGS ...... 29 Spirits of Place ...... 45 Spirits ...... 30 PLANTS AND ANIMALS ...... 46 1. PLANNING THE Spirits in the Material World . . . . 30 Plant and Animal Legends ...... 46 AMPAIGN Gods, Spirits, and Mana ...... 30 Imaginary Species ...... 47 C ...... 5 Gods ...... 31 Magical Species and GENRES ...... 6 Angels ...... 31 Mana Organs ...... 48 High Fantasy ...... 6 Demons ...... 32 Plant and Animal Spirits ...... 49 Low Fantasy ...... 6 Evil Gods ...... 32 MONSTERS ...... 49 Myths and Games ...... 6 Half-Mortals ...... 32 Giants ...... 50 Dark Fantasy ...... 7 Using Spirits in Campaigns . . . . . 33 Behind the Curtain: Light Fantasy ...... 7 Being a God ...... 33 How Strong Is a Giant? ...... 51 Sword and Sorcery ...... 7 MAGICAL REALMS ...... 34 Hybrids ...... 51 On the Borders ...... 7 Dreamlands ...... 34 The Chimera’s Pedigree ...... 52 Crossovers ...... 9 Faerie Realms ...... 35 Possessed Creatures ...... 52 SETTINGS ...... 10 Afterworlds ...... 35 Unnatural Swarms ...... 53 Fantasy Worlds ...... 10 Spirit Worlds ...... 35 Magical Creations ...... 53 Motifs, Part 1 ...... 11 Heavens ...... 35 Victims of Curses ...... 54 Fantasy in the Real World ...... 13 Hells ...... 36 Offspring of Gods ...... 55 Motifs, Part 2 ...... 14 Archetypical Realms ...... 36 Primordial Entities ...... 56 SCOPE ...... 15 Pocket Universes ...... 36 RACES AND CULTURES ...... 56 Point Campaigns ...... 15 THE DEAD ...... 37 Exotic Customs ...... 57 Area Campaigns ...... 15 Ghosts ...... 37 Races ...... 58 Arc Campaigns ...... 15 Ancestor Worship ...... 37 Interfertility ...... 58 Base and Mission Campaigns . . . 15 Afterworlds ...... 37 Wugs ...... 59 Campaign Style: Reincarnation ...... 37 Alternative Lycanthropies ...... 60 Aspects of Realism ...... 16 Resurrection ...... 38 Unique Beings ...... 61 Ascension and Deification ...... 38 Cultures ...... 61 2. THE SUPERNATURAL Revenants ...... 38 The Place of Humanity ...... 63 ...... 17 Languages ...... 64 3. WORLDS ...... 39 MAGIC AND TECHNOLOGY ...... 64 Behind the Curtain: Point Costs . . 18 Alternative Technologies ...... 65 MAGIC ...... 18 FRAMES ...... 39 Magically Enhanced Intrinsic Magic ...... 18 Planets ...... 39 Technology ...... 65 Subjective Magic ...... 19 Places ...... 40 Variant Natural Laws ...... 65 The Three Laws of Magic ...... 19 Many Worlds ...... 40 Technomagic ...... 66 Nature and Supernature ...... 20 Above and Below ...... 40 When Magic Becomes Knowing Good and Evil ...... 21 PLAYING WITH MAPS ...... 41 Technology ...... 66 Using Magic in Campaigns . . . . . 21 Earth ...... 41 Technologically MAGICAL OBJECTS ...... 22 Altering the Map ...... 41 Enhanced Magic ...... 66 Natural Magic ...... 22 Creating the Map ...... 41 Exotic Settings ...... 68 MAGICAL LANDSCAPES ...... 41 Alchemy ...... 23 CIVILIZATIONS ...... 68 Enchantment ...... 23 The Living Earth ...... 41 True Kings and Runic Enchantment ...... 25 Enhanced Environments ...... 42 Sacred Covenants ...... 68 Familiars and Fetishes ...... 26 Impossible Environments ...... 42 Supernatural Elites ...... 69 Named Objects ...... 26 Unevenly Distributed Magic . . . . . 43 Pirate Commonwealths ...... 69 Holy Relics ...... 26 Aspected Mana ...... 43 Fantastic Customs ...... 70 Foci ...... 28 Mana Basins ...... 43 Everyday Magic ...... 70

GURPS System Design STEVE JACKSON Prepress Checker MONICA STEPHENS Managing Editor ANDREW HACKARD Print Buyer MONICA STEPHENS GURPS Line Editor SEAN PUNCH Marketing Director PAUL CHAPMAN Production Manager MONIQUE CHAPMAN Sales Manager ROSS JEPSON Art Director STEVE JACKSON Errata Coordinator ANDY VETROMILE Page Design PHILIP REED GURPS FAQ Maintainer STÉPHANE THÉRIAULT Production Artist ALEX FERNANDEZ Lead Playtester: Peter V. Dell’Orto Playtesters: Kimara Bernard, James L. Cambias, Mike Dokachev, Kenneth Hite, Phil Masters, Kenneth Peters, David L. Pulver, Gene Seabolt, Michael Suileabhain-Wilson, and Chad Underkoffler GURPS, Warehouse 23, and the all-seeing pyramid are registered trademarks of Steve Jackson Games Incorporated. Pyramid and the names of all products published by Steve Jackson Games Incorporated are registered trademarks or trademarks of Steve Jackson Games Incorporated, or used under license. GURPS Fantasy is copyright © 1990, 1995, 2004 by Steve Jackson Games Incorporated. All rights reserved. Printed in the USA. The scanning, uploading, and distribution of this book via the Internet or via any other means without the permission of the publisher is illegal, and punishable by law. Please purchase only authorized electronic editions, and do not participate in or encourage the electronic piracy of copyrighted materials. Your support of the author’s rights is appreciated.

2CREDITS The Genius of a People ...... 70 Alternative Wizards ...... 124 Through a Glass, Darkly ...... 181 Magic as a Resource ...... 71 Why Are These Learning Experiences ...... 182 The Control of Magic ...... 71 People Together? ...... 127 The Responsibility of Power . . . 184 Religion ...... 72 ADVANTAGES, DISADVANTAGES, Shore Leave ...... 184 Foreign Relations ...... 73 AND SKILLS ...... 128 SUBPLOTS ...... 186 Multispecies Empires ...... 73 Appearance ...... 128 WAR IN FANTASY SETTINGS ...... 186 Advantages ...... 128 Varieties of Forces ...... 186 4. HISTORIES . . . . . 74 Behind the Curtain: Cost of Divided Strategic Positions ...... 188 and Restructurable Magery . . 130 Battles ...... 188 FRAMES ...... 75 Ally or Asset? ...... 132 Player Characters in Battle . . . . . 190 Historical Time ...... 75 New Perks ...... 132 Magic and Warfare ...... 190 Mythic Time ...... 75 Disadvantages ...... 132 Mythical Beasts in Combat . . . . . 193 Prophecy ...... 75 Magical Afflictions ...... 133 The Armies of Darkness ...... 194 Mythology, Part 1 ...... 76 New Meta-Traits ...... 133 PLAYING WITH TIMELINES ...... 77 Skills ...... 134 9. ROMA ARCANA . . 195 Real History ...... 77 New Techniques ...... 136 Mythology, Part 2 ...... 77 Skills and Size Modifiers ...... 137 Roma Arcana in the Divergent History ...... 78 Multiverse ...... 196 WEALTH AND STATUS ...... 137 Zeitgeists: Spirits of Time ...... 78 Currency and Prices ...... 137 A TIME OF TROUBLES ...... 196 Invented History ...... 79 Status and Cost of Living ...... 137 Foes and Menaces ...... 196 HISTORICAL ERAS ...... 79 Income ...... 138 Imperial Assets ...... 197 Dawn Ages ...... 79 MAP: THE ROMAN EMPIRE ...... 199 EQUIPMENT ...... 140 City-States ...... 80 Exotic Weapons ...... 141 Order of Battle ...... 200 Empires ...... 81 Vehicles ...... 141 Men of Destiny ...... 200 Decadence ...... 81 Petards ...... 143 Reunion ...... 201 Exhaustion ...... 82 Vehicular Weapons ...... 144 ROMAN FAITH ...... 201 Catastrophe ...... 83 Gods and Spirits ...... 201 Dark Ages ...... 84 Ancestors and New Beginnings ...... 85 7. MAGICAL ARTS . . 146 Household Cults ...... 202 DISTURBANCES ...... 85 USES OF MAGIC ...... 147 The Imperial Genius ...... 202 Natural Disasters ...... 86 Low Magic ...... 147 Sacrifices ...... 202 Plagues ...... 88 Formulaic Magic ...... 148 Prayer ...... 203 Wars ...... 89 Man Proposes, Divination ...... 203 Magical Disasters ...... 89 God Disposes ...... 148 Priesthoods ...... 204 Divine Punishments ...... 89 Naming the Arts ...... 150 Sacred Grounds ...... 204 SHADOWS OF THE PAST ...... 90 High Magic ...... 151 RIVAL BELIEFS ...... 205 Genealogies ...... 90 Mystery Cults ...... 205 Ruins ...... 90 Sorcery ...... 207 Relics ...... 91 Black Arts ...... 208 Skin-Turner Animal Forms . . . . . 209 5. LOCALITIES . . . . . 92 Astrology ...... 210 Philosophy ...... 210 SETTLEMENTS ...... 93 THE STRUCTURE OF MAGIC ...... 153 The Anger of the Gods ...... 210 Isolates ...... 93 Levels of Power ...... 153 Christianity ...... 211 Villages ...... 93 Levels of Skill and BESTIARY ...... 211 Towns ...... 94 Skill Hierarchies ...... 153 Empedocles’ Quest ...... 212 Cities ...... 94 Speed ...... 154 CHARACTERS ...... 213 Agrarian Magic ...... 95 Range ...... 154 Racial Templates ...... 213 Temporary Settlements ...... 95 Duration ...... 154 Ethnic Traits ...... 213 Imperial Capitals ...... 96 How Much Detail? ...... 154 Occupational Templates ...... 214 City of Wonders ...... 96 Ritualization ...... 155 Advantages, Disadvantages, SERVICES ...... 97 SYSTEMS OF MAGIC ...... 155 and Skills ...... 219 Medical Care ...... 98 Custom-Built Magic ...... 155 Wealth and Status ...... 221 Transportations ...... 98 Alternative Magic Systems . . . . . 155 Equipment ...... 223 Inns and Taverns ...... 98 Behind the Curtain: BURDIGALA ...... 224 Information Sources ...... 99 Making Gold ...... 156 Description ...... 224 Courts and Castles ...... 100 Modified Magic ...... 160 Who’s in Charge? ...... 224 Holy Places ...... 101 Magical Lenses ...... 163 MAP: BURDIGALA ...... 225 Sanctity ...... 101 True Names ...... 164 Temples and Cults ...... 225 Magical Capabilities ...... 102 Nonhuman Magic ...... 167 Schools ...... 225 Schools for Sorcerers ...... 102 EXPANDED SPELL LISTS ...... 168 Adventurers Wanted! ...... 226 Behind the Curtain: MAGICAL PLURALISM: HOW TO Sponsors of the Arcani ...... 226 How Many Mages? ...... 103 USE THIS CHAPTER ...... 172 THREATS AND STORYLINES ...... 226 Human Foes ...... 226 6. CHARACTERS . . . 104 8. STORYLINES . . . 173 Zoroastrian Magic ...... 227 CAMPAIGN STYLES AND Nonhuman Foes ...... 230 ADVENTURES ...... 174 POINT VALUES ...... 105 Adventure Seeds ...... 231 Into the Labyrinth ...... 174 Glossary ...... 232 RACIAL TEMPLATES ...... 105 Perilous Journeys ...... 175 ROMA ARCANA BIBLIOGRAPHY ...... 232 From Creature to Character . . . . . 106 Hunting Parties ...... 176 Cold Iron ...... 109 Warfare ...... 176 Behind the Curtain: Treasons, Stratagems, BIBLIOGRAPHY . . . 233 Selkie Design ...... 110 and Spoils ...... 177 Undead Lenses ...... 112 Diplomacy ...... 178 INDEX ...... 238 Player-Designed Races ...... 113 Investigations ...... 179 OCCUPATIONAL TEMPLATES ...... 114 Confrontations ...... 180

CONTENTS 3 INTRODUCTION Fantasy is the realm of the imagi- A great resource for creating fan- nation. If a fantasy writer wants to tell tasy comes from the legends, myths, stories about dragons, wizards, or and folklore of the past. Everyone fairy kingdoms, he doesn’t need his- knows about dragons, so readers and torical documentation or scientific players are already halfway to believ- explanations – he can just imagine ing in them. GURPS Fantasy ABOUT them. This gives writers more freedom describes many legendary beings, THE AUTHOR than any other genre. creatures, and objects, and gives William H. Stoddard is a freelance But “more freedom” doesn’t mean advice on using GURPS for your writer and editor living in San Diego, unlimited freedom. The reader has to own fantasies. California, in an apartment crammed believe that the characters and events The final chapter puts it all togeth- with books. He was introduced to are possible in the world of the story. A er in a new fantasy setting, Roma RPGs in 1975 and has played them fantasy world with its own logic – Arcana, based on the legends of ever since. His main other hobby is what critics call the inner consistency ancient Rome in its darkest and most research; new game books give him an of reality – yields more interesting sto- exciting time. If you want to start a excuse for even more library visits ries than a world where anything can new campaign in a familiar but exotic than he would make anyway. His pre- happen. setting, Roma Arcana is ready to play. vious work for Steve Jackson Games In roleplaying games, one source of If you’re using the Infinite Worlds includes GURPS Steampunk and that consistency is the rules system. A framework from the GURPS Basic four other books, as sole or co-author, good set of rules isn’t a barrier to the Set, Fourth Edition, you can fit Roma as well as contributions to numerous GM’s imagination . . . it’s a tool for Arcana into it as an alternative history, other books. making everything he imagines hold at once familiar and weird. And if He dedicates this book to the mem- together. GURPS Fantasy shows how you’d like to design your own original ory of Felon, felis optimus max- to run the fantasy campaign you real- world, Roma Arcana is a model you imusque, who supervised the writing ly want. can follow. of its earlier drafts.

About GURPS Steve Jackson Games is committed to full support Errata. Everyone makes mistakes, including us – of the GURPS system. Our address is SJ Games, Box but we do our best to fix our errors. Up-to-date errata 18957, Austin, TX 78760. Please include a self- sheets for all GURPS releases, including this book, are addressed, stamped envelope (SASE) any time you available on our website – see below. write us! We can also be reached by e-mail: Internet. Visit us on the World Wide Web at [email protected]. Resources include: www.sjgames.com for errata, updates, Q&A, free webforums, and much more. The GURPS Fantasy Pyramid (www.sjgames.com/pyramid/). Our web page is www.sjgames.com/gurps/books/fantasy/. online magazine includes new GURPS rules and arti- Bibliographies. Many of our books have extensive cles. It also covers the d20 system, Ars Magica, BESM, bibliographies, and we’re putting them online – with Call of Cthulhu, and many more top games – and links to let you buy the books that interest you! Go to other Steve Jackson Games releases like Illuminati, the book’s web page and look for the “Bibliography” Car Wars, Transhuman Space, and more. Pyramid link. subscribers also get opportunities to playtest new GURPSnet. This e-mail list hosts much of the online GURPS books! discussion of GURPS. To join, point your web brows- New supplements and adventures. GURPS contin- er to www.sjgames.com/mailman/listinfo/gurpsnet-l/. ues to grow, and we’ll be happy to let you know what’s new. For a current catalog, send us a legal-sized or Rules and statistics in this book are specifically 9”¥12” SASE – please use two stamps! – or just visit for the GURPS Basic Set, Fourth Edition. Page www.warehouse23.com. references that begin with B refer to that book, not e23. Our e-publishing division offers GURPS adven- this one. tures, play aids, and support not available anywhere else! Just head over to www.sjgames.com/e23/.

4INTRODUCTION CHAPTER ONE PLANNING THE CAMPAIGN

And, as imagination bodies forth Rhys said, “I’ll be there in a minute. face challenges and perils that are also The forms of things unknown, the I have to get this tablet properly larger than life. poet’s pen packed. Tell her to wait for me.” Most of the preparation for a fan- Turns them to shapes, and gives to tasy campaign goes into the develop- Fantasy occupies the middle airy nothing ment of the setting. However, the set- ground between history and myth. A local habitation and a name. ting exists for the sake of the cam- History attempts to describe what – William Shakespeare, paign. It’s much easier to decide what actually happened. Realistic fiction is A Midsummer Night’s Dream to include after deciding what kind of as close to history as possible; it may campaign it needs to support. This David Rhys brushed carefully at not have actually happened, but the applies to all kinds of gaming, but the unearthed clay tablet. Its surface reader believes its events could have especially to fantasy. A fantasy cam- was hard, as if it had been fired, but he happened. Myth attempts to describe paign offers a wider range of possibil- didn’t want to risk damaging the what captures the imagination; a good ities; narrowing them down takes cuneiform inscription. The words story creates its own sense of truth. more work. were Hittite, but in some peculiar Fantasy has elements from both. Its This chapter explores the different dialect, archaic or simply early. There heroes escape the limits of human fantasy campaigns by considering was something about “. . . that which existence. Their actions and their abil- three categories: genre, setting, and defeats the sorcerer . . .” ities can be larger than life. And they scope. If you’re basing a campaign on “Professor!” a favorite book or film, these defini- Moving with exaggerated slow tions of genre and setting can help you care, he turned partway toward the bring it into clearer focus. ladder that Andrew Jenkins had just descended. “Have you found something?” he asked. “Rose said I should ask you to have a look. It’s some sort of forge, she thinks, and there’s some sort of sword there. It looks rust- ed, so it might be iron.”

PLANNING THE CAMPAIGN 5 GENRES Genre is a way of predicting what Characters in a high fantasy setting names, “He is Fire. She is Dance. He is people will like. If two stories (or two may encounter true powers of the Destruction. She is Love.” campaigns) are in the same genre, world – gods or other mythic beings. – Roger Zelazny, Lord of Light people who enjoy one will usually Often, these encounters will be con- enjoy the other. Each genre has its versations instead of battles. Facing own audience, typical challenges for mythic foes in combat should frighten LOW FANTASY characters to face, and certain back- even the most capable adventurers. Low fantasy, is closer to realistic grounds for the action. Each genre However, attracting such beings’ fiction than to myth. Low fantasy sto- also emphasizes certain emotions and attention raises the heroes above ordi- ries focus on people’s daily lives and moods. nary mortals. Gods may single out the practical goals; magic provides a way Few stories are pure examples of greatest or worthiest mortals as their to achieve those goals, and makes it any one genre; some have elements champions, or even as potential future interesting. A low fantasy campaign from all of them. The same is true of recruits to godhood – or as problems asks what it’s like to live in a world of campaigns. Statements about genres to remove before they ascend to real monsters, magic, and demigods. are guidelines, not unbreakable rules. power. Most low fantasy magic is evenly Genre definitions can help suggest distributed in the world, not sharply Godhood is more than a name. It is things to include in a campaign to get focused in certain places. Its effects a condition of being . . . Being a god is the effect you want. are predictable and knowable. Low the quality of being able to be yourself to fantasy magic is less a source of won- such an extent that your passions cor- der than a toolkit. HIGH FANTASY respond with the forces of the universe, Characters in low fantasy are If fantasy occupies the middle so that those who look upon you know more concerned with practical goals, ground between myth and history, this without hearing your name spo- less with great passions. A high fan- high fantasy is closer to myth. ken. . . . One rules through one’s ruling tasy traitor might be motivated by Myths are about gods; high fantasy passion. Those who look upon gods passionate jealousy, tempted by the is about demigods, heroic warriors, then say, without even knowing their devil, or perversely sympathetic to and powerful magicians. But there’s more to it than that. In a high fantasy campaign, the power level is a means to create wonder and amazement. Magic should still evoke this wonder. For thousands of years, myths and Myths and Games folktales made flying a symbol of If fantasy falls between history and myth, then where does myth fall? power. The gods lived in heaven and If it’s possible to run a fantasy campaign, is it possible to run a mythic flew down to earth, or sent winged campaign? It depends on the myth. messengers on errands. Sorcerers Some myths are much like adventure stories. In Norse legend, Thor wove flying carpets, and cunning and Loki go to Jotunheim, the land of the frost giants, and have adven- inventors made artificial wings. Now, tures there. For example, they visit a giant’s house and engage in sport- millions of people fly all over the ing competitions with its residents. This could be an episode in a role- world – and it’s not much more excit- playing campaign, especially if the players like a touch of comedy. ing than taking the bus. Routine use During one of the contests, Thor tries to empty a drinking horn that’s can turn anything from a wonder into magically linked to the ocean, and drinks so much that he causes the first a convenience. If magic, especially tides. Action on this scale is beyond the scope of any spells, enchant- powerful magic, is common and reli- ments, or powers in most fantasy games. able, then it’s just another technology; Characters in myths are personifications of cosmic forces. Stories it won’t feel mythic. that emphasize this personification are often adventure stories, love Several things help keep magic stories, or murder mysteries, and can turn into game scenarios. amazing. First, distribute it unevenly. However, the cosmic forces inspire other kinds of stories – stories that Intensely magical events stand out explain the world’s origin, prophesy its end, or express horror at its more if they contrast with a less mag- inhuman vastness. ical background. Second, stress its Nothing prevents cosmic forces from entering a game. But they’re unpredictability, even to people who usually best presented through pure storytelling (see Mythology, pp. 76- use it regularly. Third, if possible, 77, for some suitable stories), not through rules. The powers of mythic make some magic unknown – not beings are never fully measured, nor their motives fully understood. just to the protagonists, but to everyone . . . perhaps even the gods.

6PLANNING THE CAMPAIGN the other side; a low fantasy traitor along the way. These threats usually Classic sword and sorcery usually wants 30 pieces of silver. Merchants aren’t lethal or irreversible. If the makes the swordsmen the main and criminals are minor figures, or heroes get turned into something icky, heroes. Sorcerers might be threats to entirely absent, in most high fantasy. there will be a way to turn them back. the hero or the people he protects, as In low fantasy, they are not only If they face a monster, it will have in Robert E. Howard’s Conan series prevalent, they may be the heroes. some unexpected weakness. Many and C.L. Moore’s Jirel of Joiry stories. light fantasy plots deal with complica- Or they might be the heroes’ mentors tions instead of threats; for example, a and patrons, as in Fritz Leiber’s tales DARK FANTASY heroine may have to find odd magical of Lankhmar. More recent sword and Dark fantasy borrows the mood of ingredients to free the hero from a sorcery often has heroes who can horror. It portrays magic as ominous spell. work magic. They may be equally . . . more likely to harm than help. Spells in light fantasy always risk skilled at nonmagical combat, or Supernatural beings are powerful going wrong in unexpected ways. belong to teams of adventurers where and indifferent to human concerns, if Supernatural beings are eccentric or some members provide the swords not outright malevolent; their atten- tricky, controlled by peculiar rules and others the sorcery. Adventurer tion is feared, not sought. Remember that give clever mortals ways to get teams have been the basis of most fan- the ancient custom of talking about the better of them. Learning their tasy roleplaying, all the way back to “the fair folk” (faeries) or “the kindly names (see True Names, p. 14) is a the original Dungeons & Dragons. ones” (the Furies of Greek myth) to classic example, as in the fairy tale Magic for adventurers has to be avoid giving offense. Any use of “Rumpelstiltskin.” The same theme fast, largely designed for combat effec- magic, even for virtuous purposes, shows up in stories about wishes tiveness. The wizard adventurer isn’t a should have a price. going wrong, or about making bar- scholarly recluse or a clever trickster, The elaborate mythologies that gains with the Devil and wriggling out but a human artillery weapon. Or, if underlie much high fantasy also form at the last minute. his powers are subtler, he needs non- an essential element in dark fantasy – In some ways, light fantasy relates magical combat skills to keep himself but in dark fantasy, most people may to low fantasy. Putting everyday peo- alive. Either approach avoids scenes not even have heard of them. In the ple and practical problems together where everyone else fights and the darkest settings, the ultimate truth with mythical beings and powerful wizard takes cover and waits for the may be maltheistic (p. 32), and the magic is a natural source of humorous battle to end. heroes may be doomed to struggle incongruities. Sword and sorcery can resemble hopelessly against evil and horror. On the other hand, some light fan- any other genre, but focuses mainly A great theme in dark fantasy is tasy comes closer to high fantasy. on action and combat. The sword- the hero’s sacrifice. This may be his Stories influenced by classic swash- and-sorcery version of high fantasy life, willingly given to kill a foe or buckling adventure, such as Steven features impressive spells, epic heroes, close the gates of hell; wounds and Brust’s The Phoenix Guards, have and battles that decide the fate of scars that will never heal; madness; or heroes who face real danger, but take kingdoms. The dark version is full of his own corruption by using evil to it lightly, or even welcome it out of a evil sorcery and terrifying monsters. defeat worse evil. He faces constant sense of personal honor. The low version often sends adventur- fear – not only for himself, but also ers into gritty urban environments to for the people he defends. Dark fan- contend with thieves’ and assassins’ tasies often end in tragedy. Their SWORD AND guilds or corrupt priests and aristo- heroes have appropriate traits, from crats. In light sword and sorcery, the tragic character flaws to curses or SORCERY heroes have to deal with flashy rivals unhappy destinies. The focus of sword and sorcery is and their own bad judgment. A cam- adventure, and the mood it produces paign focused on adventure can be in is excitement. The settings for sword any of these styles. LIGHT FANTASY and sorcery campaigns allow as much Where dark fantasy is full of grim adventuring as possible. Well-organ- consequences, light fantasy avoids ized civilizations are rare. Empty ON THE them. Its goal is to amuse the audi- lands roamed by barbarian nomads, ence (or the players). Inspirations for corrupt and decadent city-states, or BORDERS this kind of fantasy include the haunted ruins of earlier civiliza- A number of other genres have Shakespeare’s A Midsummer Night’s tions offer more entertainment – and some kinship to fantasy. Some have Dream, with its faeries playing tricks have fewer inconvenient laws. clearly fantastic elements, but aren’t on mortals, and fairy tales with happy Backgrounds for sword and sorcery usually classified as fantasy and may endings. Dark fantasies are often are often just quick sketches. appeal to different audiences. Others tragedies; light fantasies are usually Elaborate worldbuilding isn’t the appeal to fantasy audiences and are comedies. point of this genre; what matters is classified as fantasy, but lack one or Naturally, characters in light fanta- that there are armies to conquer, more typical elements. sy have to face problems and threats monsters to slay, and ruins to loot.

PLANNING THE CAMPAIGN 7 INDEX Absolute Direction advantage, Base and mission campaigns, Compulsive Behavior Duels, 11, 146, 180, 181, 187. 128. 15, 175. disadvantage, 219. Dungeons & Dragons, 7, 15, Absurdist fantasy, 13. Battle wizards, 190; Battle Conan, 7. 63, 84, 174. Accounting skill, 220. Wizard template, 118. Contacts advantage, 128. Dungeons, 100. Acute Senses advantages, 128. Beast races, 58. Contagion, Law of, 19. Duration of magic, 154. Adamant, 22, 40, 68, 192, 193. Beggar “job,” 139. Corporeal Undead meta-traits, Dwarves, 41, 56, 58, 62; Addiction disadvantage, 132. Berdaches, 57. 133. template, 107. Advantages, 128-132, 219. Bibliography, 233-237; Correspondence magic, 160; Earth spells, 169. Adventure seeds, 175-185, 231. Roma Arcana, 232. see also Three Laws of Earthquakes, 86. Adventures, 174-194. Biotech, 67. Magic. Eidetic Memory advantage, Afterworlds, 35, 37, 40; Bird of Paradise, 47. Cosmic forces, 6. 128, 219. see also Dead. Birds, 47. Cost of living, 137. Elves, 56, 58, 62; Agrarian magic, 95. Bless Plant spell, 172. Counting coup, 57. template, 108. Agriculture, 70, 71, 93-94, Blessed advantage, 128. Courtesan template, 214. Empires, 73, 81, 95, 96; 137. Blizzards, 87. Courtier job, 139. imperial capitals, 96. Air spells, 168-169. Blood magic, 167. Courts, see Kings. Enchantment and Air vehicles, 143. Bracing technique, 220. Craft and trade magic, 147, enchantment spells, 23-25, Alchemy, 152, 156; internal, Brontes, 55. 162. 149. 156; making gold, 156; Brontophonos, 227. Criminology skill, 135. Enclaves, 73. skill, 18, 23. Burdigala, 224-231; arcani, Critical studies of fantasy, End of the world, 77. All-heal, 22. 226; enemies, 227-231; 233. Engineer template, 215. Allies advantage, 128, 132. map, 225; schools, Crossover campaigns, 9. Enthrallment skill, 135. Allure talent, 132. 225-226; temples and Cults, 205-206, 225. Epidemics, 88; see also Alternate histories, 12, 41, 75, cults, 225. Cure Disease spell, 170. Disease. 78; see also Jumper. Cabal, 12, 196. Current Affairs skill, 135. Equipment, 140-145, 223. Amphisbaena, 211. Caesarion, 200. Curses, 54, 182. Espionage, 9, 177. Ancestor worship, 37, 90, 112, Camilla Rufa, 228. Cyberpunk, 9, 13, 36, 67, 158, Evil, and good, 21; 202. Campaigns, 21, 29, 41, 174; 166. evil gods, 32, 33. Angels, 31. character creation, 127; Dark ages, 84. Exhaustion, 82. Animals, 46, 105, 211-212; planning, 4; style, 16. Dark fantasy, 7, 21, 46, 82. Exotic lands, 8. animal languages, 47; King Cannibalism, 57. 162, 179. Expert Skill skills, 135. of Beasts, 47; mythical Cannon, 144. Dawn ages, 79. Faeries, 56, 132, 168; beasts in combat, 193. Carnivorous plants, 47. Dead, the, 37-38, 40, 230; realms, 35; template, 108. Animistic magic, 19. Castes, 73. thanatocracy, 69. Familiars, 26. Anthropophagy, 57. Castle Falkenstein, 9, 12. Deadlands, 9. Famines, 88. Ants, 48, 109. Castles, 100. Death, see Dead. Fantasy worlds, 10. Appearance, 128. Catastrophes, 83. Death-aspected mana, 44. Farmer job, 139. Arc campaigns, 15. Cave-ins, 86. Decadence, 81, 96. Fear spell, 171. Arcani, 226. Caves, 42. Deification, 38; see also Gods. Fetishes, 26, 128, 130. Archer template, 114. Centaur template, 105. Demons, 32, 36, 38, 148. Fiction, 234-235. Archetypal realms, 36. Chaldea, 196. Dependency disadvantage, Films, 236. Arctic, 42. Characters, 213-224. 132. Fires, 88, 95. Area campaigns, 15. Chariot Archery technique, Deserts, 42. Fisherman job, 139. Area Knowledge skill, 134. 136. Devilfish, 105; magic, 168; Fixed magic, 161. Aristodoulos, 230. Charismatic rulers, 69. template, 105. Flight spell, 171. Armies, see Warfare. Chi as magic, 157. Devotion talent, 132. Floods, 87. Armor, 97; Roman, 223. Chimera, 51-52. Diamond, 22. Foci, 28. Armorer job, 138. Chlodowic, 228. Dinosaurs, 195, 212, 227. Folklore, 99, 233. Artificer template, 114. Christian supernaturalism, 8. Diplomacy, 177. Food, 99, 137; spells, 169; Ascension, 38. Christianity, in Roma Arcana, Disadvantages, 132-133, 219. see also Agriculture. Aspected mana, 43. 211. Disease, 32, 88, 95; see also Fools, 11, 70. Aspidochelon, 211. Churches, 101, 102. Medicine. Forests, 42, 46; forest fires, 88. Assassin template, 115. Cities, 94, 96, 138, 199; Disturbances, 85-90. Formulaic magic, 148. Astrological magic, 163. capital, 96. Divination, 150, 179, 203. Fortresses, 191-192, 198; Astrology, 210, 229. City-states, 80. Divine punishments, 89. legionary, 198; Vauban Atlantis, 23, 74, 77. Classics, 233. Djinn, 25, 30, 61; djinn lamp, (star) fortresses, 191-192. Automata, 25, 66, 67. Clerical Investment, 148, 149. 25; template, 107. Fortune-Telling skill, 135, 150, Bacchus, cult of, 205. Code of Honor disadvantage, Dragons, 56, 61, 137, 176, 181; 220. Bahjam, 226. 132, 219. blood, 22; template, 107. Fossils, 41, 46. Bandit template, 116. Combat Art and Sport skills, Dread disadvantage, 133. Frenzy talent, 205. Barbarian template, 116. 135. Dreaming skill, 204. Future fantasy, 10. Bards and bardic gifts, 11, 79, Comic books, 8, 237. Dreamlands, 34. Games skills, 135. 99, 152; bardic magic, 156; Common tongue, 14. Droughts, 87. Games, 237. Bard talent, 132; Bard Communication and Empathy Druids, 197, 208, 229; Garumna, 230. template, 117. spells, 169. and satire, 209. Geneaologies, 90. Barmaid job, 138. Communism, 70. Drunkenness talent, 205. Genres, 6-9. Complex Illusion spell, 170. Dryads, 45, 49, 101, 133. Germanic tribes, 196.

238 INDEX Ghosts, 37, 38, 40, 90, 197; Independent Income 163; craft, 147, 162; Meta-Spells, 170-171. lens, 113. advantage, 140. devilfish, 168; duration, Meta-traits, 133-134. Ghouls, 58; template, 108. Industrial magic, 67. 154; fixed, 161; formulaic, Mind Control spells, 171. Giants, 50, 51. Infestations, 88. 148; industrial, 67; Mind-Sending spell, 169. Gladiator template, 215. Infinite Worlds, 195. intrinsic, 18; herbal, 158; Miracles, 151. Glamour, 69, 168, see also Infinity Patrol, 196, 217. high, 151; historical beliefs, Mistletoe, 22. Illusion. Information, 99. 151; laws of magic, 19; Mithraea, 199, 206-207. Gliders, 104. Inns, 98. low, 147; meditative, 151, Mithril, 65. Glorantha, 12. Insects, 48, 53, 109. 161; modular, 162; power Modular Abilities advantage, Gods, 6, 30, 31, 40, 45, 57, 96, Insubstantiality advantage, levels, 153; psionics as, 130. 101, 102, 148, 151, 164, 128. 158; range, 154; Modular magic, 162. 201, 209; divine Internal alchemy, 156. ritualization, 155, 158; Moly, 23, 48. punishments, 89; evil gods, Intrinsic magic, 18. sacrificial, 165; schools, Money, 137, 221; see also Loot. 32, 33; offspring of gods, Investigations, 179. 102, 183; shapeshifting as, Monsters, 49-52, 89, 197. 32, 55; theophagy, 57. Invisibility advantage, 129; 159; single-spell, 148; skill Moral attributes, 46. Gold, 137, 156, 221. spell, 170. levels, 153; speed, 154; Motifs, 11, 14. Golems, 25, 26, 53, 72. 131. Isis, 207. superpowers as, 159; Mountain ants, 48. Good and evil, 21, 58, 194. Isolates, 93. systems, 155; talents as, Mountains, 42. Goodwife talent, 132. Jobs, 138-139. 159; theistic, 19; and Movement spells, 171. Governments, 69-70, 95. Jumper advantage, 129. technology, 64-67; trance, Multiple magic systems, 172. Grace talent, 205. Jungles, 42. 151; and warfare, 190-194; Myrmidons, 109. Gryphons, 173. Kabbalah, 27, 157-158, 161. see also Alchemy, Mysteries, 179, 181-182. Guilds, 72, 94, 130. King of Beasts, 47. Enchantment, Runes. Mystery cults, 205-206. GURPS Third Edition, 237. Kings, 68, 70, 90, 95, 100, Magical, afflictions, 133; Mythic time, 75-76. Half-breeds, 32, 58. 137; The King’s Two Bodies attributes, 18, 21; beings, Mythology, 6, 46, 77, 233. Halflings, 61; template, 109. advantage, 128; True King 29; correspondences, 19, Named objects, 26, 132, 164. Half-mortals, 32. template, 125. 21; disasters, 89; energy, Named Possessions perk, 132. Hang from Saddle technique, Knight template, 121. see Mana; items, 131; Names, Law of, 19. 136. Lackey job, 139. landscapes, 41; networks, Naming magical arts, 150. Hazardous Materials skill, Landslides, 86. 45; objects, 22-29; realms, Natural disasters, 86-87. 135. Languages, 64; animal, 47. 34-36; technology, 64-67; Natural laws, 65. Head of Orpheus, 28. Larvae, 213. see also Enchantment. New beginnings, 85. Heal Plant spell, 171. Law of Similarity, 44. Magistrate template, 216. Night Vision advantage, 130; Healers and healing, 11, 98, Laws of magic, 19, 154, 163. Magivores, 48. spell, 170. 176; spells, 169-170. Laws, 72, 74, 85, 93, 100, 216. No-Hands Riding technique, Heaven, 35, 76, 176. Legends, 46; see also 136. Hedge wizards, 102, 103; Mythology. Nonhumans, 14, 56, 230; see template, 119. Legionary template, 216. also Races. Hell, 36, 134, 175, 176, 182, Legions, Roman, 198, 200. Nymphs, 45, 132, 202, 213, 202. Lenses, 163. 230. Herb Lore skill, 18. Levitation spell, 171. Oaths, 70, 147, 179. Herbal magic, 158. Ley lines, 44-45. Occupational templates, 114, Herecine, 47. Libraries, 99. 214-219. Hide spell, 170. Lich template, 113. Oceans, 42. High fantasy, 6, 46, 79. Light and Darkness spells, Omens, 150. High magic, 151. 170. Orcs, 56, 58, 62, 177; Hippocampus, 211. Light fantasy, 7, 46. template, 110. History, 90; historical beliefs Lighten Burden spell, 171. Orichalcum, 23. about magic, 151; Lilith, 54, 132, 164. Orpheus, head of, 28. historical settings, 10. Limes, 196, 198, 204. Outlaws, 14. Holy Man template, 120. Linguistics skill, 135. Mana, 18, 21, 30, 44, 67, 71, Oz, 10, 42, 43, 44, 46, 70. Holy places, 101-102; Loot, 91, 137, 140, 174, 189. 132; mana basins, 43; Panthers (mythical), 49. see also Sanctity. Lord of the Rings, see mana levels, 29, 101; Paranormal romance, 8. Horror, 8. J.R.R. Tolkien. mana organs, 22, 48. Parliament of Fowls, 47. Horses, 105, 132, 225; Low fantasy, 6. Manorialism and manors, 93. Parthian Empire, 196. superior horse, 105. Low magic, 147. Manticores, 48, 177. Patron advantage, 130. Hunting, 176. Lycanthropes, 49, 59, 60. 111, Maps, 41, 42, 91, 92; Peasant Adventurer Hurricanes, 87. 131, 133, 180, 196, 208; creating, 41. template, 122. Hybrids, 51, 67; see also Werewolf template, 111. Marine talent, 132. Peregrin template, 217. Half-Breeds. Maenads, 205. Market villages, 93-94. Perks, 132. Identify Plant spell, 171. Magery, 18, 67, 129, 130; Martial arts, 8. Persian Empire, 9. Illuminated fantasy, 13. frequency, 103; racial, 165, Master Builder talent, 132. Petards, 143. Illuminati, 70. 167-168; special types of Mathematics skill, 220. Pharmacy skill, 135. Illusion Disguise spell, 170. magery, 129. Matriarchy, 70. Philosopher template, 218. Illusion Shell spell, 170. Mages in Black, 20. Matrilineality, 57. Philosophy, 210. Illusion spells, 170. Magic, 17; agrarian, 95; Medicine, see Healers and Plagues, 88. Illusions, 20, 108, 185; alchemy as, 156; Healing. Plains, 42. see also Glamour. alternative and multiple Meditative magic, 151, 161. Planes, other, 12. Imp template, 109. systems, 155-168, 172; Megalogryphontes, 195, 212, Planetary spirits, 45. Impossible environments, 42, animistic, 19; astrological, 227. Planets, 10, 39-40. 68. 163; bardic, 156; chi as, Mercenary job, 139. Plant spells, 171. Income, 138. 157; correspondence, 160, Merchant template, 121. Plants, 46; carnivorous, 47.

INDEX 239 Pocket universes, 36. Runes and runic Space fantasy, see Planets. Theistic magic, 19. Point campaigns, 15, 175. enchantment, 25, 68, 163. Spear of Longinus, 28. Theocracy, 69. Point costs, 18. Sacred places, 149; see also Speed of magic, 154. Theophagy, 57. Police procedurals, 9, 81, 180. Sanctity. Spell creation, 167. Thieves, 177; template, 124. Portal fantasy, 13. Sacrifices, 7, 31, 62, 165, 201, Spellcaster template, 124. Thrown Weapon skills, 136. Possessed creatures, 52. 202; sacrificial magic, 165. Spies, 177. Thunderstones, 28, 55. Postumus, 200. Sage talent, 132. Spirits, 25, 30-33, 44, 101, Time, spirits of, 78. Potlatch, 57. Sanctity, 101-102, 148, 149, 128, 130, 132, 148, 164; Tolkien, J.R.R., 10, 12, 16, 58, Power levels, 153. 198, 204. ancestral, 112, 197, 201; 63, 64, 65, 68, 77, 125. Power sources, 65. Sandstorms, 87. of place, 45; planetary, 45; Tornadoes, 87. Prayer, 148, 149, 167, 202, 203. Satyrs, 212. of time, 78; traits, 134; Towns, 94; see also Cities, Prices, see Money. Savoir-Faire skill, 135. spirit worlds, 35. Villages. Priests, 152; Priest job, 139. Scholar template, 123. Status, 137, 221. Trade and craft magic, 162. Printing press, 100. Schools, 225; of magic, 102, Steampunk, 9, 65. Trance magic, 151. Projection advantage, 128. 183. Stop Bleeding spell, 169. Transportation, 98. Prophecy, 75, 150. Science fiction, 40, 75, 78; Striges, 212. Triceratops, 195, 212, 227. Psionics, 20; as magic, 158. see also Planets. Subjective magic, 19. Trickster gods, 46, 152. Purify Earth spell, 169. Science, 20, 100. Subplots, 185. Troll template, 110. Purse cutting technique, 136. Scope, 15-16. Superheroes, 49; superheroic True Faith, 148. Pyramid Magazine, 4. Scribes, 99. adventures, 8; superpowers True King template, 125. Quick March spell, 171. Scryguard spell, 170. as magic, 159. True names, 7, 14, 164, 177. Races, 56, 58; accursed, 59; Security Clearance advantage, Superior Horse template, 105. Tsunamis, 87. beast races, 58; insect 130. Supernatural horror, see Undead, 133; templates, races (wugs), 59; See Invisible advantage, 131. Horror. 112-113; see also Vampires, player-designed, 113. Seek Plant spell, 171. Supernatural, 17, see also The Dead. Racial magery, 165, 167-168. Selkies, 59, 61; template, 110. Magic. Unicorns, 49. Racial templates, 105. Sense of Duty disadvantage, Superpowers, see Superheroes. Unique beings, 61; see also Rain spell, 168. 133. Surgeon template, 219. Monsters. Range of magic, 154. Services, 97. Swamps, 42. Valerian, 201. Rank advantage, 130. Settings, 10-13. Swarms, 53. Vampires, 38, 56, 59, 60, Rapier Wit advantage, 130, Shadow Form advantage, 131. Swashbuckling, 9. 62-63, 90, 132, 133, 164, 209. Shadowrun, 7, 9. Sword and sorcery, 7, 82, 176. 167; template, 111. Rats, 53, 180. Shamanism, 149, 152, 209. Symbol Drawing skill, 220. Vaulting technique, 220. Realism, 16. Shape Stone spell, 169. Symbols, see Runes. Vehicles, 141-145; Reciprocity, 57. Shapeshifting advantage, 131; Syntactic magic, 163. enchanted, 26. Reincarnation, 37. as magic, 159; see also Systems of magic, 155. Vermin, 133. Relics, 26, 91; relic fantasy, 13. Lycanthropy. Talent advantage, 132. Village Sage template, 125. Religions, 37-38, 72, 90, 167; Shapur, 200. Talents as magic, 160. Villages, 93-94. Roman, 201. Sharp Turn technique, 136. Tattoos, 166. Visions, 14. Resurrection, 37. Ships, 142-145. Tavernkeeper job, 139. Volcanoes, 88, 101. Retrotech, 9. Shoot Backward technique, Taverns, 14, 98. Wainscot fantasy, 13. Revenants, 38. 136. Techniques, 136. Walk Through Earth spell, Reversal of customs, 70. Shoot Over Mount technique, Technology, 64-67. 169. Riddles, 14. 136. Tekumel, 64. Wands, 26. Riding skill, 135, 136; Shore leave adventures, Teleport spell, 171. Wardancer template, 126. techniques, 136, 220. 184-185. Television, 236. Warfare, 89, 176, 186-194; Ritual magic, 158; Sickness, see Disease. war in heaven, 76, 178; ritualization of magic, 155. Sieges, 188, 189; war stories, 9. Roma Arcana, 195-232; see also Fortresses. Wealth, 137, 221; see also Loot. adventure seeds, 231; Signature Gear advantage, Weapon Bond perk, 132. bestiary, 211-212; 131, 132. Weapons, 97, 223. bibliography, 232; Silence spell, 172. Wendigo, 52. and Christianity, 211; Silver, 137, 221. Werewolves, see Lycanthropy; characters, 213-224; Similarity, Law of, 19. Werewolf template, 112. equipment, 223; ethnic Simple Illusion spell, 170. Westerns, 9. traits, 213; glossary, 232; Single-Minded advantage, Whirlpools, 87. in the multiverse, 196; 132. Templates, occupational, 114; Wight template, 113. monsters, 197; Single-spell magic, 148. racial, 105. Wildness talent, 205. occupational templates, Skeletons, 113. Temples, 101, 102, 225. Wizard of Oz, see Oz. 214-219; prayer, 203; rank, Skills, 134-136; and Size Temporary Enchantment Wizard templates, 118, 119, 222; religions and cults, Modifiers, 137; levels, 153. spell, 23. 123. 201-206; skin-turners, 208; Skin-turners, see Temporary settlements, 95. Wolf, giant, 231. sorcery, 207-208; spirits, Lycanthropes. Teratocracy, 69. Women warriors, 14, 70. 197; status, 221; wealth, Slaves, 73, 93. Test Food spell, 169. World War II, 194. 221; weapons, 223. Slayer template, 123. Testudo technique, 220. Worlds, 10, 39-40. Roman Empire, fall of, 83; Smith job, 139. Thanatocracy, 69. Wugs, 59, 133. map, 199; Roma Arcana, Social Stigma disadvantage, Thaumatocracy, 69. Zeitgeists, 78. 195-232. 133, 219. Thaumatology, 151, 153, 167. Zenobia, 201. Romance, 8. Soothsaying, 150. Thaumaturgy, 151. Zombies, 38. Rukhs, 50. Sorcery, 151, 207; sorcerer The Dying Earth, 11, 162. Zoroastrianism, 9, 21, 81, Rulers, see Governments, template, 218. The King’s Two Bodies 196, 201, 226, 227. Kings. Sound spells, 172. advantage, 128.

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