TEXT: Dlone
  tO GOA
  
  Credits
  Created by: Rose Bailey
  Monster Design: Benjamin Baugh
  Additional Worldbuilding: Erin Cardosi
  Art: Dayo_Art, Lorc, Rose Bailey
  For Malcom Cushman
  Made Possible By
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  Contents
  Introduction
  2
  1. Setting
  4
  Huldra
  5
  Twighlen
  6
  Droo
  6
  Hearths
  7
  Many Waters
  7
  Temples
  8
  The Dark
  8
  Labyrinths
  9
  Wonders
  9
  Craft
  9
  Spells
  9
  Ancient Wonders
  10
  2. Creation
  11
  1. Avatar
  12
  2. Traits
  12
  3. Quest
  13
  4. Name
  13
  3. Quests
  15
  Creating Scenes
  16
  Finding Experiences
  16
  Effects of Experienc-
  es
  17
  Episodic Quests
  17
  Effects of Experienc-
  es
  17
  4. Action
  20
  Hearts
  21
  Gaining Hearts
  21
  Spending Hearts
  21
  Running Out of 
  Hearts
  21
  Dice
  22
  Controller Dice
  22
  Character Dice
  22
  Approaches
  22
  Challenges
  22
  Setup
  22
  Playing the Chal-
  lenge
  23
  Hearts in Challenges
  24
  Battle
  24
  Dice
  24
  The Map
  25
  Rounds and Turns
  25
  Gestures
  27
  Basic Actions
  28
  Basic Effects
  28
  5. Treasures
  30
  6. Meadows and 
  Monsters
  36
  
  Introduction
  You are small, but brave. You have four hearts, 
  and through their passions you summon the tools 
  you need to give aid to those in need.You are 
  about to set out into the wide world. But be 
  wary and seek friends, for it’s...
  Dangerous to Go Alone!
  
  Let me welcome you once again to a world 
  of flashing swords and mighty enchantment... 
  but this one a little smaller and moodier 
  than the others, where everything’s just a lit-
  tle closer together and every interaction just 
  a little more intimate. Where the air bites a 
  little more, and makes you all the gladder to 
  gather with your fellows and cook cakes over 
  the hearth. Where what matters, as much or 
  more as anything else, is where your heart is 
  and what’s in it, where the adulting is hard 
  but the quests are still epic.
  Dangerous to Go Alone is a visit to a far-
  away world very close to my heart. It’s a bit 
  The Legend of Zelda, a bit The Dark Crystal, 
  and a lot listening to Enya’s The Celts on cold 
  winter nights while reading books of mythol-
  ogy and folklore.
  The world you’ll find in these pages is both 
  creepy and cozy, both spooky and whimsical, 
  and a place where a bold adventure of blades 
  and black magic can end by the fire with a 
  nice pot pie, or where a ghost story full of 
  frights and scares might call a lonely shade 
  back to a loving home.
  The rules revolve around emotional exer-
  tion and real-life physical motion. The for-
  mer means that you’ll spend and gain hearts 
  as you pursue your hero’s quests. The latter 
  means that when battle breaks out, every-
  thing’s a die -- you’ll roll, pop, and drop your 
  own character, flick monsters into walls, and 
  in general act out the action physically on 
  your tabletop or living room floor.
  Sound intriguing? Then turn the pages and 
  join me in the land of Fjar!
  What You’ll Need
  Dangerous to Go Alone is a roleplaying 
  game for 1-4 participants. Most of these are 
  the players, who take on the roles of origi-
  nal characters (OCs). The final participant 
  is the Princess, who plays the familiar char-
  acters (FCs), as well as monsters and the 
  world itself.
  You’ll need controller and character dice 
  for resolution and battle. Print these on card-
  stock using the included patterns, then fold 
  and tape them according to the instructions 
  on the patterns.
  Finally, you’ll need printed battle maps, a 
  dry-erase mat, or another way of representing 
  terrain at a 1” (2.54cm) scale.
  
  4
  1. Setting
  The world tree Myriad has countless -- perhaps infinite -- branch-
  es, each one a where and when both like and unlike its siblings. The 
  further from the trunk you get, the odder and more whimsical each 
  branch and twig and leaf becomes.
  One such leaf, tiny yet still so very vast, is Fjar. Here, large 
  islands adrift in a deepy and colorful sea. The lands have deep for-
  ests and rolling hills. Rivers run through the valleys, and the folx 
  of the islands live among and within the humble or humbling remains 
  of prior civilizations.
  
  5
  Heartforged Tools
  Each huldra has the power to summon a 
  single heartforged tool, something made of 
  the truths in their hearts, and crucially related 
  to their identity. For some, this is related to 
  their career or vocation -- a blacksmith whose 
  whole soul is bound up in their craft might 
  be able to summon an exceptional hammer.
  Huldra
  Huldra are little folx, who 
  came from the elf-realms long 
  ago. They’re affable (if moody), 
  and often live in carved out bar-
  rows, passage tombs, and even 
  burial ships. In particularly dan-
  gerous areas, they live in stock-
  aded towns.
  One of the reasons huldra are 
  so moody is that they’re all heart 
  -- almost literally! Huldra have 
  many hearts, and hearts grow, 
  change, and shrivel with mood 
  or injury. When a huldra puts 
  their heart into something... 
  well, they really do!
  Huldra don’t exactly live in 
  symbiosis with nature, but they 
  do know what they’re doing and 
  they’re generally friends to wild 
  animals. They’ve domesticated ice weasels, 
  cuddly and curious companions who are par-
  ticularly good at sniffing out trouble.
  Quests
  Huldra are by nature domestic, but it’s not 
  unheard of for one to go on a quest, large or 
  small. The huldra word for “quest” translates 
  literally as “something worth doing,” and 
  that’s how they think of them.
  
  6
  Twighlen
  Another people long-separated from the elf-
  realms, twighlen are tall and slender, at least 
  by huldra standards. They draw power from 
  the stars that shine in their eyes and hair in 
  much the same way huldra do from their 
  hearts. Silver stars show their sadness and 
  melancholy, while golden stars show mirth 
  and merriment.
  Twighlen live in castles, the motts made of 
  sacred earth and the keeps fashioned from 
  shining moonlight.
  Starspells
  Each twighlen has a single, unique spell, 
  which they learn in their very soul. This is 
  personal magic, often related to a destiny the 
  know but will choose whether or not to ful-
  fill.
  Droo
  Droo are born wizards, and no one (in-
  cluding, probably, them) knows even vaguely 
  where they came from. They may be nature 
  spirits from another world, or guardians sent 
  by a mysterious force on some forgotten mis-
  sion.
  Droo have no obvious legs beneath their 
  robes, and float everywhere. Their faces are 
  shrouded by veils and scarves, and shadowed 
  by great mushroom-like caps. Their large eyes 
  often glow through these concealing features, 
  and range from a single eye to many depend-
  ing on the Droo’s age.
  They often speak in riddles and questions, 
  but that’s not so much because they deliber-
  
  7
  ately obfuscate as because it’s how their na-
  tive language and idiom work. Droo sentenc-
  es usually invite the listener to conclude the 
  thought, and they bring this to the way they 
  speak with others.
  Droo live singly, in out of the way places like 
  sacred groves or even repurposed temples. 
  They eat fruit, nuts, and fungi, always just a 
  little too ripe or rotten for other folx.
  Insights
  Each droo always knows the answer to one 
  question, which they can ask and infer the 
  answer to at any time.
  Hearths
  All the folx of Fjar, even those who serve the 
  Dark One, respect the sanctity of the hearth. 
  A hearth, be it the long-burning fireplace of 
  a longhouse, the furnace in the heart of a 
  barrow, or the humble campfire of a band of 
  travelers, is a place of safety and fellowship. 
  No violence may be done around the hearth, 
  no cheating at cards or dice, and any cruel 
  word weighs gravely on the conscience of the 
  speaker.
  Sharing companionship at a hearth, or 
  staring into one alone to ease your thoughts, 
  binds you to that spot. If you are killed by 
  violence or injury, your body dissolves in 
  a soft glow, and you are returned to life at 
  the last hearth you bonded with. You will be 
  weakened -- “faded” as the huldra say -- and in 
  need of care and nourishment, but you are 
  very much alive.
  Those who are not bonded to a hearth fade 
  where they were slain, and fade very far in-
  deed, until they are simply pale, wandering 
  shades, waiting to be welcomed before a fire 
  once again, and for laughter and kindness to 
  make them whole again.
  It is for these shades that the folx of Fjar 
  tell ghost stories around the fire, to draw in 
  any passing shades, and help them to find 
  warmth and new life.
  Many Waters
  Long ago, many waters flowed down the 
  world tree. They were elemental, spiritual, de-
  fining. In the land of Fjar, they froze and be-
  came titanic glaciers -- titanic both in size and 
  in role. For the glaciers are Fjar’s primordial 
  gods, and the moment they froze was on the 
  night history began.
  Each of the great glaciers is slowly melting, 
  and their waters flow into the seas and riv-
  ers of Fjar. In ancient times, they carved the 
  mountains and valleys. Today, they feed the 
  forests and mosslands, and bubble up as the 
  springs and wells which nourish communi-
  ties.
  
  8
  Clear Water: Clear water is always a little 
  cold. It slakes thirst quickly, and though it 
  stings when applied to a wound, it prevents 
  infection.
  Blue Water: Blue water is always warm and 
  a little salty. But it’s fresh enough to drink, 
  and it pushes back fear and despair. 
  Red Water: Red water is a bitter drink, but 
  its sediments make it almost a meal. It feeds 
  passion and knits flesh.
  Green Water: Green water soothes all 
  pain, and enriches any experience in which it 
  plays a part. It speeds the growth of flora, and 
  farms irrigated with green water rarely fall to 
  famine.
  Temples
  Previous peoples built many monuments 
  to their values, magic, or patron spirits. They 
  often built atop sacred wells or springs, tying 
  the temple to glacial waters.
  A temple’s architecture depends on who 
  built it and why. Some are hilltop earth-
  works, while others are great edifices made 
  from stone quarried far away. Some celebrate 
  an element, like Fire, while others represent a 
  virtue, like Courage.
  Broadly, the purpose of a temple is to test 
  a person, and to lead them toward growth. 
  That person might need to face threatening 
  spirits to reach the center of the temple, but 
  those spirits are ultimately benevolent.
  Treasure in a temple is meant to help a per-
  son do good in the world. Temples protect 
  gifts from the past to the present, legacies to 
  be cherished and honored. A treasure might 
  be a mirror that turns darkness into light, a 
  mask that frightens evil spirits, or a stone that 
  always returns to your pocket if you lose it.
  Temples are best entered at night, so that 
  you can celebrate in the central shrine at 
  dawn, giving thanks for a lesson, treasure, 
  or great success. Completing a temple quest 
  helps someone you care about or improves 
  you personally.
  The Dark
  Many dangerous creatures stalk the lands. 
  Some are wild beasts, due respect and kind-
  ness. But some, many, have made their choice 
  to serve the Dark One. The Dark One is an 
  ancient sorcerer -- some even say a god! -- who 
  dwells in the underworld of Malhalla, home 
  to all the spirits of evil.
  Monsters who serve the Dark One do not 
  own their hearts, for they have exchanged 
  them for evil might. The Dark One keeps 
  those hearts in their great Glass Cauldron, 
  where they beat in perfect rhythm, producing 
  
  9
  a drumbeat heard and felt throughout Mal-
  halla.
  When a monster is struck down, they do 
  not return to the comfort of a hearth. Instead, 
  they disappear in a puff of smoke and find 
  themselves immediately in the heart-cauldron 
  of Malhalla, awaiting the call to serve the 
  Dark One again.
  Labyrinths
  When Malhalla intrudes into Fjar, it cre-
  ates labyrinths. Some are strongholds or cat-
  acombs purpose-built by armies of laboring 
  monsters. Others are natural caves and un-
  derground rivers that have been polluted by 
  the Dark One’s power.
  The area within, around, and above a laby-
  rinth becomes darker. Weather becomes hos-
  tile, monsters emerge as if from nowhere, and 
  once-natural hazards become truly malignant.
  Treasure in a labyrinth is something use-
  ful or sacred that the Dark One has hidden 
  away from the good folx and creatures of the 
  land. A treasure might be beautiful, like an 
  exquisite musical instrument, or helpful, like 
  a loom that sews cloth by itself.
  Labyrinths are best entered by day, for at 
  night they become fully part of Malhalla. 
  The air becomes unbearably cold, the shad-
  ows unfathomably deep, and doors open to 
  unknown horrors. Completing a a labyrinth 
  quest heals a nearby community or the land.
  Wonders
  Craft
  Craft is the magic of forge, saw, and song. 
  It transmutes one substance to another, or a 
  thought into a reality, or any combination or 
  reversal of those things. Craft is toil, physical 
  and mental. A crafter is exhausted by their 
  work as they create it; they pay the price of 
  magic as they perform it.
  Craft is often a communal activity; a fami-
  ly of huldra digging into a barrow, installing 
  supports, and furnishing it as a home are per-
  forming the magic of craft together.
  Spells
  Spells are the magic of formula and ritual, 
  of precise abstraction given elemental effect. 
  A spellweaver can conjure fire from etched 
  bones, turn trees to icicles by writing a forgot-
  ten number, or even command the dead by 
  stirring the soil of a grave.
  Spells and craft are not antagonistic -- many 
  artisans and sorceresses blend the two, and 
  many traditional practices draw no distinc-
  tion.
  
  10
  Ancient Wonders
  The world was not truly greater in the past. 
  All ages are are times of harmony and strife, 
  joy and grief. But there are arts practiced by 
  the ancients that have been lost to us today. 
  The world is full of wondrous artifacts from 
  prior ages, of physical memories that perform 
  miracles unseen today.
  Some of these wonders are bright, others 
  dark. Some have changed hands many times, 
  while others remain where they were last used 
  or reverently buried. And a great many have 
  been stolen by the Dark One, and hidden 
  in the labyrinths that grow where Malhalla 
  touches the world.
  
  11
  2. Creation
  Just about everything in Fjar’s a character, from the village inn-
  keeper to the Four Wind Sisters to the furred octopi who guard 
  the gates to other worlds. The most important characters are the 
  heroes you create!
  You might be a homey huldra forest witch, keeping her patch of 
  woods safe with the help of a furry friend and navigating an un-
  spoken romance with a local cat lady. Or you might be the cat lady, 
  protecting her charges... or even a loyal and energetic kitten, ex-
  cited to see the world!
  
  12
  For purposes of gameplay, characters are di-
  vided into two types.
  Original Characters (OCs) are the he-
  roes of the story. Each player has at least one 
  OC, whom they create and portray. The Prin-
  cess may have one, but most of the rules are 
  written as if “player” is a distinct role from 
  “princess.”
  Familiar Characters (FCs) can be creat-
  ed by anyone, but are primarily played by the 
  Princess. FCs are people on their own, but 
  also the faces of the world. Each FC reveals a 
  little bit about Fjar.
  The instructions in this chapter are mainly 
  for OCs, but you can use them to flesh out 
  FCs as well.
  1. Avatar
  Pick an avatar for your OC. An avatar is 
  like a sprite/model in a video game, or a so-
  cial media profile pic, but it doesn’t have to 
  be a picture -- it could be a song or a video. 
  Your avatar shows people the mood and at-
  mosphere your OC brings along with them.
  2. Traits
  Upbringing
  Write three facts about your OC’s upbring-
  ing -- things people expect of your folx, cul-
  ture, or profession.
  You can base these on the descriptions of 
  folx in Chapter 1 (so a huldra might be Short, 
  Companionable, Moody), an occupation (a 
  blacksmith might be Broad, Serious, Strong) 
  or a background entirely of your creation (an 
  exiled dreamthief from another leaf might be 
  Starcrossed, Willowy, Whimsical).
  Now, cross one off, and write how your 
  character isn’t like that.
  When you use one of these traits as an ap-
  proach, you always get one {A}. (See Chapter 
  4: Action.)
  Reminder
  When we make up characters, sometimes we 
  forget things about them, or the other players 
  do, or we get stuck and don’t know what our 
  heroes should do or thing! Write a reminder, 
  something you want to always come back to 
  whenever you get stuck. When you return to 
  your reminder in play, refill a {Heart}.
  Treasure
  Pick two treasures your OC carries. Trea-
  sures are objects of personal or mystical sig-
  nificance. 
  If you’re a huldra, one of your treasures will 
  be your heartforged tool, which cannot be 
  taken from you, and which appears and van-
  ishes at your will.
  
  13
  If you’re a twighlen, one of your treasures 
  will be your starspell, which can be built on 
  the magical effect of another treasure (such as 
  a horse friend who’s really Sister West Wind).
  If you’re a droo, one of your treasures will 
  be a simple question you always know the an-
  swer to, such as “Whose home is this?”
  If you’ve invented another origin, simply 
  pick two treasures of any kind.
  (See Chapter 4: Treasure for a list of pre-
  made treasures.)
  Hearts
  Begin play with 4 full hearts.
  3. Quest
  Create one or two starting quests, as de-
  scribed in Chapter 3: Quests.
  4. Name
  You probably have a name in mind already, 
  but now’s the time to write it down and make 
  it official!
  
  14
  
  15
  3. Quests
  Quests drive your character’s story. By engaging with 
  quests, you experience the world and develop connections 
  with it.
  You don’t have to be pursuing quests throughout all of 
  play, but they’re what you should always come back to: 
  if you’re not sure what to do, look at your quests and 
  create a scene around one of their experiences.
  
  16
  Quests are divided into two types: personal 
  and episodic.
  A personal quest defines your OC for at 
  least a few sessions of gameplay. Assuming 
  an important role, dealing with the ramifica-
  tions of a particular event, or pursuing a ma-
  jor personal goal are all good personal quests.
  An episodic quest is a pressing task your 
  OC wants to complete, either as a more de-
  tailed portion of a personal quest or for its 
  own sake.
  Our example personal quest is 
  {Make a Home 
  in the Forest}. This is a quest from playtesting, 
  which defined the early life of one of our he-
  roes.
  Here’s the write-up.
  Make a Home in the Forest
  12 experiences, divided into three mile-
  stones.
  • Make friends with a forest creature.
  • Find an object to make your house co-
  zier.
  • Protect your house against a threat.
  • Find a Sanctuary for you or a friend.
  • Seal a Labyrinth hidden in the forest.
  Each of the bullet points for the quest is an 
  experience. A quest should have around five 
  experiences, each of which has an imperative 
  action.
  Your character will usually have each expe-
  rience more than once. There’s no formal 
  number of times to have each, but playtesting 
  showed that good ones come up one to four 
  times.
  Creating Scenes
  You can create or ask for a scene specifical-
  ly to have an experience. For example, you 
  might decide that now would be a great time 
  to make friends with a forest creature, even 
  though there’s no specific forest creature in 
  the story right now.
  When you create a scene to have an experi-
  ence, start by filling in the parameters of the 
  experience. In other words, if you’re making 
  friends with a forest creature, decide what 
  creature you’d like to meet before starting the 
  scene. If you don’t have something specific in 
  mind, just talk it over with the GM or other 
  players.
  Finding Experiences
  Experiences often emerge in play. For ex-
  ample, you might visit a group of pine cone 
  hedgehogs, and make friends with one of 
  them. That counts as an experience, just the 
  
  17
  same as if you’d started the scene specifically 
  to have it.
  As you get used to playing, you’ll find that 
  both ways of getting to experiences flow in 
  and out of each other, and that you tend to 
  guide your character into the experiences on 
  your quest card gradually.
  Effects of Experiences
  When you have an experience, you refill one 
  {Heart}. Every fourth experience within a quest is 
  a milestone, which refills all your {Heart}s.
  When you have 12 experiences, you’ve com-
  pleted the quest! In addition to refilling, your 
  maximum {Heart}s increase by one!
  Finishing a quest is cause for celebration! 
  Have a scene or two to showcase what you’ve 
  gained or learned from the quest — both at 
  its conclusion and on the way there. If you’ve 
  made a home in the forest, you might have a 
  tea party with your new creature friends, or 
  you might watch the sun rise as a massive lab-
  yrinth crumbles before you.
  Episodic Quests
  Episodic quests arise in the course of play-
  ing out your character’s life and completing 
  their personal quests.
  Unlike a personal quest, an episodic quest 
  consists of only one to three experiences, 
  which you’ll usually determine when you set 
  out on the quest.
  The simplest kind of episodic quest is prob-
  ably sealing a labyrinth. Here’s how to write 
  that up.
  Seal the Well of Shadows
  • Find the Loom of Everlasting Warmth.
  • Defeat the Shadow Weaver.
  • Place your seal upon the stones of the 
  well.
  Experiences in an episodic quest are usual-
  ly straightforward, and sometimes they lead 
  in a path from one to another. If you’re seal-
  ing the Well of Shadows, you might need to 
  retrieve a treasure before you can defeat the 
  boss monster, and you probably can’t seal the 
  well until you’ve done both.
  Effects of Experiences
  As in a personal quest, each experience you 
  have refills a {Heart}. Completing an episodic 
  quest has the same effects as a milestone, as 
  
  18
  if you’d had four experiences on a personal 
  quest.
  An episodic quest can also count as prog-
  ress on a personal quest. In the examples, the 
  Well of Shadows is a labyrinth in the forest, 
  so sealing it counts as an experience toward 
  making your home there.
  
  19
  
  20
  4. Action
  Action revolves around hearts{{Heart} and dice. Each can be used sep-
  arately to decide what happens in the ongoing story, but they can 
  also come together.
  Here’s the quick version: hearts are like health, hit points, or, 
  well, hearts in video games or other RPGs. Narratively, they’re both 
  your emotional energy and, if you’re a huldra, your literal hearts.
  In addition to losing hearts when monsters damage you, you can 
  spend them to do hard things, or add special effects to your ac-
  tions or the scene.
  
  21
  Hearts
  As life and emotional energy, hearts help 
  you accomplish hard tasks, but you also need 
  to make sure to replenish them. Healthy heart 
  management is key to success.
  Gaining Hearts
  You can gain hearts in the following ways.
  Don’t Go Alone: When you accompany 
  someone into a dangerous situation for their 
  sake, gain {Heart}.
  Feels: When you emote strong feelings, gain 
  {Heart}. An emote is a clear expression of a gen-
  uine feeling through narration or dialogue.
  It Me: When you see your reflection in the 
  world and recognize it, gain {Heart}.
  Quest Experience: When you have a quest 
  experience, gain {Heart}.
  Quest Milestone: When you achieve a 
  quest milestone, refill all {Heart}s.
  Quest Completion: When you finish a 
  quest, gain a new heart container.
  (For more on quests and hearts, see the 
  Quests chapter.)
  Spending Hearts
  You can spend hearts for the following ac-
  tions.
  Adulting: Spend {Heart} to do something 
  someone of your age and upbringing could 
  do, but which requires a great effort.
  Big Mood: Spend {Heart} to evoke an emotion-
  al state in someone else.
  Resist: Spend {Heart} to avoid a serious injury 
  or dangerous effect.
  This is Fine: Spend {Heart} to put off an issue 
  for later.
  Vibes: Spend {Heart} to set a mood for the 
  scene, which everyone can feel and may in-
  fluence their choices.
  You can also spend additional hearts for 
  special tags.
  #squadgoals: Spend +1 {Heart}. An effect that 
  would normally apply only to you also ap-
  plies to someone else.
  #epic: Spend +1 {Heart} to do something far 
  beyond your usual abilities.
  Running Out of Hearts
  When you have no more hearts, or are struck 
  dead by other means, you collapse and your 
  body fades away. After brief, baffling dreams, 
  you reappear, pale and weakened, at the last 
  hearth you shared fellowship or grounded 
  yourself at. You have 1 {Heart}, and regain one 
  more from each day of rest, up to {Heart}{Heart}.
  
  22
  When a monster sworn to the Dark One 
  runs out of hearts, it disappears in smoke and 
  brimstone, reappearing in the Glass Caul-
  dron in Malhalla.
  Dice
  Controller Dice
  Controller dice are six-sided dice with sym-
  bols that roughly correspond to video game 
  controller buttons ({D-Pad}, {A}, {B}), plus a 
  special one for monsters (�). Like a video 
  game, you can bind different buttons to dif-
  ferent items and actions.
  For example, you might have your sword 
  on {A} and your fairy companion on {B}. 
  When you roll {A}, your sword hits an ene-
  my. When you roll {B}, the fairy distracts an 
  enemy. When you roll �, an enemy gets an 
  additional action.
  That’s the core: you get and spend 
  {Hearts}, 
  and you roll controller buttons. The system 
  then builds on that to handle more abstract 
  situations -- fights that aren’t just exchanges 
  of blows, riddle contests, and so on.
  Character Dice
  Character dice have pictures on them rep-
  resenting people and creatures in the game. 
  They’re like playing pieces in board games or 
  sprites in video games, but are also dice you 
  roll.
  Character dice for OCs have the same sym-
  bols as controller dice, but distributed dif-
  ferently. When a character die changes faces 
  (including from being moved around in bat-
  tle), the die’s player may immediately use the 
  symbols on the new face.
  Approaches
  At the beginning of a challenge or battle, 
  you bind approaches to the {A} and {B} sym-
  bols. In battle, approaches must be treasures. 
  In challenges, they can be more abstract.
  Challenges
  Challenges are problems that can’t be solved 
  just with adulting. You can spend a heart to 
  make a holiday dinner for a few guests, or even 
  a small village, but if your plans also involve 
  making sure a band of marauding grendlins 
  don’t demand all your precious veggies as 
  tribute, well, you’ve got a challenge on your 
  hands.
  Setup
  The first step is to frame the challenge. De-
  cide the following:
  1. Situation: What’s going on? How does 
  it start?
  
  23
  Example: My assistants and I are deep in 
  the middle of cooking a grand pumpkin stew, 
  always a favorite of the small children of our 
  huldra village. The gruff grendlins march up, 
  angrily tapping their bronze moustaches and 
  insisting we give them the stew and yet-to-be-
  used ingredients!
  2. Severity: How severe is it, in terms of 
  the amount of effort likely to be needed to 
  resolve it? Rate this from 1 to 4.
  Example: This is serious stuff, but nobody 
  appears to be about to come to blows. The 
  Princess and I rate it a severity 2.
  3. Stakes: At the start, what is your OC 
  attempting or trying to avoid being pushed 
  into? What’s the consequence of failing or 
  losing? These are the starting stakes.
  Example: The grendlins are trying to push 
  us into giving away our food. If I can’t get 
  them to back off, we’ll have a very sad holi-
  day!
  4. Approaches: This can be based on an 
  object, or it can be an emotional state or tac-
  tic.
  What’s your character’s {A} (primary) ap-
  proach? What’s their {B} (secondary or hid-
  den) approach?
  (You use the same two approaches through-
  out the challenge, unless the narrative takes 
  away your access to one or both. In that case, 
  just pick replacements that make sense.)
  Example: My staff of authority could im-
  press the grendlins, and I could secretly have 
  a pocketful of brass coins to bribe them with. 
  Or I could be Loud and Angry, and have a 
  backup of being Sympathetic to their desires. 
  I can combine any set of objects, emotions, 
  and tactics.
  Playing the Challenge
  Each turn of the challenge, every player (not 
  the Princess) rolls two controller dice and 
  their character die. The symbols each have a 
  meaning:
  {A}: Your primary approach helps you 
  move toward resolving the situation. Narrate 
  how, and reduce the severity by 1.
  Example: The grendlins step back when I 
  shout loudly at them. They weren’t expecting 
  backtalk, and now they’re not sure this village 
  is a pushover.
  {B}: Your secondary approach helps you 
  move toward resolving the situation. Narrate 
  how, switch your {A} and {B} approaches, 
  and reduce the severity by 1.
  Example: The grendlins hear in my voice 
  that I understand they’re hungry. The echoes 
  of emotion from their missing hearts tell 
  them that perhaps they’re coming on too 
  
  24
  strong. Addressing this feeling is now my {A} 
  approach.
  {D-Pad}: Choose between modifying the stakes 
  or canceling a �. If you choose to modify 
  the stakes, narrate how.
  Example: I choose to modify the stakes. In-
  stead of whether the grendlins walk off with 
  the food, we’re testing whether I can get them 
  to accept a portion of the already made food 
  and leave.
  �: Someone makes an aggressive move 
  that makes the situation tougher. Narrate 
  how, and increase the severity by 1.
  Example: While I talk to the grendlin lead-
  er, one of others gets annoyed at the delay. 
  His troopmates can barely restrain him from 
  seizing one of the villagers, and tensions in 
  the negotiation get higher!
  Take and narrate additional turns until se-
  verity reaches 0. If severity reaches 5, you lose 
  the current stakes.
  Hearts in Challenges
  You can spend {Heart}s in challenges for any 
  of their normal effects. If you spend one for 
  Adulting, you may reduce the severity of the 
  challenge by 1. If you spend one for This is 
  Fine, you may end the challenge on a cliff-
  hanger, but it will return at its current severity 
  later in the story.
  Battle
  In battle, your OC, other characters, and 
  enemies are represented by character dice. 
  When you use actions like attacks, you de-
  termine what happens by applying gestures 
  (like sliding or rolling dice) to character dice.
  A lot of the fun of battle is moving dice 
  around the map to represent the action. This 
  leads to the Principle of Drama: if you 
  see something cool you can do with the dice 
  and terrain that isn’t covered by the rules, go 
  ahead and do it! Roll a die up a wall, jump 
  from a platform to chain-stomp multiple ene-
  mies, and so on!
  Entities: A creature or interactive object 
  represented by a die is an entity.
  Terrain: Terrain is a map feature that 
  characters can collide with or interact with. 
  Walls, rocks, water, platforms, and so on are 
  terrain. Terrain may be blocking (characters 
  can’t pass through it) or flat (it can be walked 
  over or otherwise traversed).
  Dice
  In battle, you have your character die and 
  two controller dice. You roll or change your 
  character die with gestures (see below). You 
  roll your controller dice each turn.
  
  25
  When you roll any die, the face it lands on 
  has icons. You spend those icons to take ac-
  tions:
  • {D-Pad}: Make a move. You may save this 
  die to dodge an attack on another turn.
  • {A}: Use a primary item or power.
  • {B}: Use a secondary item or power.
  • �: Give an extra action to an enemy 
  of the Princess’s choice.
  You may discard any symbols you don’t 
  want to use except a �. You may also spend 
  any symbol except a � to change the trea-
  sure bound to {A} or {B}.
  The Map
  The map is a simple representation of the 
  physical space the battle takes place in. We 
  recommend a 10”-12” (about 25cm to 31cm) 
  square map.
  3d terrain built with Legos, toy blocks, war-
  game furnishings, and so on can provide rich 
  interactions between character dice and the 
  map, but isn’t necessary. If you use a flat-
  drawn map, and an entity moves through 
  blocking terrain, just move it back to the clos-
  est point inside the terrain.
  Many rules refer to spaces on the map. A 
  space is an area the size of an entity’s base. In 
  other words, when referring to a 1” character 
  die, 1 space is 1” (2.54cm).
  Character Dice
  Your character die isn’t just used to gain ac-
  tions -- it’s physically represents your OC on 
  the map. When it moves, rolls, etc, you move.
  When your character die is rolled or oth-
  erwise changes faces, use the icons it shows. 
  After that’s done, turn the die so that your 
  character is facing in the direction the front 
  face landed on, and the top face of the die 
  (the one with the character name) is facing 
  upward.
  If your die landed with its bottom or top 
  face-up, choose the direction your character is 
  facing and turn the die appropriately.
  Rounds and Turns
  A turn is when a player rolls dice and choos-
  es actions for their OC. A round is the time it 
  takes for every player to take a turn. It doesn’t 
  matter what order the players go in, as long 
  as they each get one and only one turn per 
  round.
  After each player turn, the Princess takes a 
  turn for one of the enemies they control. This 
  will usually be 
  {move} or 
  {close or ranged attack}, 
  but monsters may have special abilities.
  
  26
  Whenever a player rolls a �, the Princess 
  may immediately take an action for one of 
  their monsters.
  If a monster’s character die lands on a sym-
  bol other than �, one of the players may 
  spend that symbol immediately as if they had 
  rolled it. This includes when a 
  {ranged attack} 
  or other effect flips the monster over.
  
  27
  Gestures
  You control character dice using gestures. 
  The most common gestures are 
  {slide}, 
  {roll}, 
  {pop}, and {flick}.
  Burst (Location)
  Put your hand over location in a loose fist, 
  then rapidly release the fist so your palm be-
  comes flat. The burst will roll the dice in dif-
  ferent directions.
  Flick (Direction)
  Flick your finger against a die, flinging it in 
  direction.
  Pop (Source, Target)
  Press the side of source entity on the op-
  posite side from target entity until the die 
  flips, rolling the die toward target entity.
  Roll (Entity)
  Roll the die toward or away from entity.
  Slide (Spaces, Direction)
  Put your finger on the top of the die and 
  move it spaces in direction.
  Swipe (Entity, Side, Spaces)
  Swipe your finger across spaces adjacent to 
  side of the entity die.
  Turn (Entity, Face)
  Turn entity’s die to the specified face.
  Wave (Direction)
  With your fingers flattened together and 
  your wrist turned so that your fingertips are 
  facing down, slowly sweep them in direction, 
  thereby pushing or rolling the dice you touch.
  
  28
  Basic Actions
  Move/Roll
  Gesture: Slide (2) or Roll
  When the rules allow you a {move}:
  • You may slide your character up to 2 
  spaces in any direction. You may turn 
  them to face in any direction you like.
  • You may climb up or down from a piece 
  of terrain.
  You may forego a move to 
  {roll}. Roll your 
  character die in any direction.
  • Impacts have no result.
  Close Attack
  Gesture: Pop (self, enemy)
  Attack an enemy with a close weapon.
  • 
  {Hit} any entity you collide with. If more 
  than one damage, wallop instead.
  Ranged Attack
  Gesture: Turn (target)
  Attack an enemy with a ranged weapon.
  • Deal a hit. This attack cannot wallop, 
  but other attacks this turn can.
  • Target is flipped to its bottom face.
  Basic Effects
  Hit
  Gesture: Slide (1, away from damage 
  source)
  Impact: No effect
  When a character takes a single {Heart} of dam-
  age in a round, they are hit. 
  {Slide} them back 
  one space, without changing facing.
  Wallop
  Gesture: Flick (away from damage source)
  Impact: Take {Heart} damage if you hit one or 
  more enemies.
  When a character takes more than one 
  {Heart} of damage in a round, they are wal-
  loped. They’re knocked back, and potentially 
  bounced around.
  
  29
  
  30
  5. Treasures
  The treasures of Fjar are many and varied; mountains 
  made of glittering amethyst, lakes that heal and calm 
  the battered traveler, and communities that welcome 
  all and gather them together
   But heroes need somewhat more portable treasures, 
  so here we present the products of enchanting craft 
  alongside the loyalty of true friends.
  
  31
  Treasures use the following keywords, which 
  determine when and how you can use them.
  Friend: A friend restores {Heart} after a shared 
  rest or an hour of playtime and/or conver-
  sation. A friend can be bound as an {B} ap-
  proach in either a challenge or battle.
  Tool: A tool can be bound as an {A} or 
  {B} approach in a challenge, and as a {B} ap-
  proach in battle.
  Weapon: A weapon can be assigned as a 
  {B} approach in a challenge, and as an {A} or 
  {B} approach in battle.
  Bat Friend
  Friend
  Bat friend can always find fruit or insects, 
  depending on the type of bat.
  Adulting: Bat friend allows free adulting on 
  navigational problems.
  {B}: Bat friend can sense one hidden threat 
  or advantage.
  Bird Friend
  Friend
  This is Fine: When traveling involves a 
  challenge and you use This is Fine to put it 
  off for later, bird friend reduces the severity 
  of the challenge by 1.
  {B}: By flying around another creature’s 
  head or eye(s), bird friend prevents it from 
  taking physically aggressive action. 
  Bomb
  Tool
  Adulting: For the normal cost of adulting, 
  a bomb can clear any physical obstacle and 
  automatically adds #epic.
  {B}: The bomb becomes an entity, represent-
  ed by any die (faces don’t matter). 
  {Roll} the 
  die forward from the location of the char-
  acter throwing the bomb. Execute a 
  {burst} 
  where it lands. Any entity which is affected 
  by the 
  {burst} and hits a piece of blocking ter-
  rain takes one {heart} of damage. 
  Boomerang
  Tool, Weapon
  {B}: The boomerang can retrieve a small ob-
  ject that can be seen but not easily reached.
  {A}: The boomerang can make a 
  {ranged at-
  tack}
  {B}: The boomerang can make two 
  {ranged 
  attacks} which deal no damage but flip both 
  targets.
  
  32
  Bow
  Weapon
  Adulting: The bow can provide food for 
  several people after an Adulting spend.
  {A}: The bow may make a ranged attack.
  {A}{D-Pad}: At the end of the turn, the character 
  using the bow can move adjacent to a target 
  they hit this turn, regardless of distance or 
  obstacles.
  Candle
  Tool
  Big Mood: When used with Big Mood, the 
  candle allows any present friend of the user 
  to Resist cold or fear for free.
  {B}: The candle quickly lights a fire that 
  occupies 1 space and counts as an entity. 
  On the fire’s turn, the Princess may choose 
  whether to create another fire adjacent to 
  that fire. Colliding with the fire deals one 
  {Heart} of damage. A damaged fire disappears.
  {B}{B}: The candle flares so brightly that 
  one dazzled creature {flips} to its bottom side.
  Cookpot
  Tool
  If food for at least one person is available, 
  cooking in the cookpot makes enough for 
  everyone, producing the effects of Adulting 
  with #squadgoals.
  Furry Friend
  Friend
  This is Fine: When using This is Fine to 
  put off a challenge, also reduce its severity 
  by 1.
  {B}: Furry friend can steal an object from 
  another creature. An object smaller than 
  furry friend will be taken unnoticed, while 
  an object larger than furry friend will be no-
  ticed with a great deal of surprise.
  Health Potion
  Tool
  Resist: Use up health potion to Resist with-
  out a spend.
  {B}: Use up health potion to refill one {Heart}.
  
  33
  Horse Friend
  Friend
  Adulting: When adulting a difficult jour-
  ney, horse friend allows you to add #squad-
  goals to a fellow traveler without spending.
  {B}: Add #epic to an action for free.
  {B}: When riding horse friend in battle, you 
  may move in straight lines to any location on 
  the map. If terrain or enemies block the line, 
  you must stop your movement at that point.
  {B}{D-Pad}: When riding horse friend in battle, 
  you may create a {wave} in a straight line from 
  your position to anywhere on the map. Af-
  ter making the {wave}, move your character to 
  where it stopped.
  Mentor
  Friend
  Adulting: When your mentor helps you 
  adult to face a known future challenge, that 
  challenge’s severity is preemptively decreased 
  by 1.
  This is Fine: When your mentor comforts 
  you over a challenge put off with This is 
  Fine, gain {Heart}.
  Ocarina
  Tool
  Vibes: When performing, add #vibes for 
  free.
  {B}: Soothe someone’s anger, making them 
  stand down or hesitate.
  Power Bracelet
  Tool
  Adulting: When adulting to lift a difficult 
  object, add #epic for free.
  {A} or {B}: Hurl a piece of moveable terrain, 
  using it as a tool or weapon. Based on size 
  and epic-ness, this object deals 1-3 {Hearts}.
  Shield
  Weapon
  {A}: Stand firm to cancel any hostile gesture 
  that would cause you to move.
  {A}{D-Pad}: 
  {Move} and make a forward 
  {close at-
  tack} for one {Heart}, but always wallop.
  {B}: Parry to reduce damage taken for this 
  turn by one {Heart}. This may cancel a wallop.
  
  34
  Sword
  Weapon
  In battle, a sword’s default damage is one 
  {Heart}. Better swords can deal two or three 
  {Hearts}s.
  {A}: Swords can make 
  {close attacks} at ene-
  mies in front of or to the sides of the char-
  acter.
  {B}: Parry to reduce damage taken for this 
  turn by one {Heart}. This may cancel a wallop.
  Walking Stick
  Tool, Weapon
  In battle, walking sticks deal one {Heart} of dam-
  age.
  Adulting: When injury or fatigue makes 
  walking an Adulting task, you do not have 
  to spend a heart.
  {A}: When you make a 
  {close attack} in front 
  of you, you may 
  {flip} the enemy to their bot-
  tom face rather than deal damage.
  
  35
  
  36
  6. Meadows and Monsters
  Monsters, thinking creatures who have given their hearts to the 
  Dark One, come in many forms.
  The most numerous are the grendlins, creatures of many origins 
  given new form by being poured into the rusted and verdigrised ar-
  mor of long-dead warriors. They have many fellows, from vultures 
  who have traded their hearts to never feel hunger (or anything 
  else) again, to the creations of the Dark One’s apprentice warlocks 
  or tenuous allies.
  
  37
  For purposes of gameplay, monsters come 
  in four tiers.
  Mobs are monsters with at most one special 
  trick, rarely trouble in small numbers, some-
  times trouble in large numbers or in advan-
  tageous circumstances. Never named.
  Heavies are monsters with a couple of spe-
  cial tricks, usually circumstantial, rarely trou-
  ble individually, sometimes trouble in small 
  numbers or in advantageous circumstances. 
  Rarely named. 
  Mini-Bosses are monsters of unique power 
  and special abilities. Sometimes enhanced 
  version of lesser monsters, sometimes 
  unique specimens. Several special tricks. Al-
  ways named. 
  Bosses are monsters of singular power, al-
  ways named, and only defeated permanently 
  with special circumstances or when certain 
  conditions are met. They have several special 
  tricks. Some even have multiple forms, each 
  with different abilities.
  Sample Region: Vyr
  The high mountain meadows of Vyr’s lands 
  are shocking green, even in winter, and snow 
  never touches them. Blood-red poppies grow 
  from the grass, and enormous black-wooled 
  sheep graze there. The sheep are said to be 
  sacred, but nobody knows what god would 
  claim such ill-tempered beasts.
  The lands are owned by the witch Vyr, 
  who’s great sprawling tent of woolen cloth 
  sometimes wanders about on misty morn-
  ings, as if its poles were a spider’s legs. The 
  sheep are tended by the knitlings, small weird 
  silent folk in heavy woolen cloaks. 
  They say the poppies in Vyr’s meadows 
  spring from the bodies of fallen wanderers, 
  and their bodies are buried there to keep the 
  meadows green and free of snow, and if one 
  digs in the meadows there is a battlefield’s 
  worth of old bones just under the turn. But 
  no skulls. Not a single skull can be unearthed 
  in the bone-ridden meadows of Vyr.
  
  38
  Grendlins (mobs)
  Sent by the Dark One to support their dif-
  ficult alliance with Vyr, grendlins are stout 
  creatures with no visible skin. The mottled 
  green that looks like leathery, battered skin is 
  weathered and verdigrised brass, while their 
  dark moustaches are iron or bronze. Though 
  they live, they are encased head to toe in dead 
  metal. They are creatures to dread... yet, of all 
  the Dark One’s minions, they are the ones 
  most likely to be bribed with the return of 
  their hearts.
  Hearts: {Heart}{Heart}
  Damage: {Heart}
  Knocking and Scratching
  With their armor skin, grendlins often need 
  no metal weapons, cheerfully scratching with 
  their clawed gloves or bashing a victim with 
  their helmeted heads. Rather than 
  {pop} for a 
  {close attack}, a grendlin can {roll}.
  Nimble
  Grendlins are quick to get back on their 
  feet. A walloped grendlin can make an imme-
  diate, additional move, including a 
  {slide} or 
  {roll}, as long as they don’t go toward any entity 
  that damaged them this round.
  Feltlings (mobs)
  Sad, tattered figures made from scraps 
  of wool felt, yarn, and dirty fleece. They’re 
  brought to life by a single strand of Völva 
  Vyr’s hair woven into them. They have only 
  small minds, and are trusted with only basic 
  tasks. If made to fight, they do so with sticks, 
  rocks, and broken knitting needles, sheers, or 
  hoof-knives.
  Hearts: {Heart}
  Damage: {Heart}
  Heap of Rags
  When lying on the ground, they appear to 
  be small piles of dirty scrap fabric, and no 
  threat at all until a hero knows what to look 
  for. When first encountering them, a hero 
  will be ambushed.
  Afterwards, they can be spotted with {A} or 
  {B} when searching, or the ambush evaded 
  by {moving} in the first round. 
  Smother 
  Rather than cause damage, a felting can 
  cling onto a hero restricting the hero’s move-
  ment. In any round where a hero does not 
  {move}, feltlings engulf their limbs and slow 
  them down.
  
  39
  A {D-Pad}, {A} or {B} must be spent to shake 
  them off before the hero can take other ac-
  tions.    
  Knittlings (mobs)
  Knittlings are small and human-shaped, 
  and silent except when their tools make a 
  sound. They wear heavy woolen cloaks which 
  hide their bodies which are only revealed by 
  violent actions. 
  Inside their hoods, old human skulls laced 
  with brightly dyed yarn. Below, their bodies 
  are knitted from the same yarn. The skulls 
  give the knittlings useful intelligence, and 
  the witch who made them uses them as shep-
  herds of the sacred sheep. They can care for 
  the animals and defend them, knit new knit-
  tlings when they have a skull available, and 
  aid the Witch in the dyeing and spinning of 
  her yarns and thread.
  They are armed with the tools of shepherd, 
  knitter, weaver -- staves, knitting needles, 
  heavy steel shears, and shepherds’ slings.
  Hearts: {Heart}{Heart}
  Damage: {Heart} 
  Knitters
  If a knittling is struck down, one of its fel-
  lows will snatch up its skull and move to a 
  safe position and begin furiously re-knitting 
  the torn knittling’s body. Recovering the 
  skull will occupy the knittling for a round, as 
  will re-knitting its fellow’s fallen body. On the 
  
  40
  third round, both the revived and rescuing 
  knittlings spring back into combat.
  Spend an {A} or {B} to smash the skull of 
  a fallen knittling or knock it far enough away 
  that re-knitting is impossible. 
  Slingers
  If there is a knittling at 2 or more spaces dis-
  tant in a round when a hero does not slide or 
  roll closer to them, then the knittlings throw 
  sling-stones and inflict 1 {Heart} of damage. Keep 
  moving or stay close to avoid this! 
  Shepherds
  If there is a Vyric Sheep present, at least one 
  knittling will stay within 1 space of it at all 
  times, and if the sheep is attacked, the knit-
  tling will take the blow for the sheep.
  Shearers
  On a �, a knittling will cut something a 
  hero carries away, so it falls to the ground and 
  can not be used until recovered. This won’t 
  be a held item or one in a backpack, but one 
  readied for use. If no readied items remain, 
  the knittling will inflict damage as normal.     
  Vyric Sheep (heavies)
  Heavy of body, curved of horn, and foul of 
  temper. The black-wooled sheep of Vyr are 
  their own greatest defenders. They ignore 
  anyone who minds their manners and keeps 
  their distance, but walk into their meadows 
  and they attack with their curved horns and 
  aggressive charges. 
  Hearts: {Heart}{Heart}{Heart}
  Damage: {Heart}{Heart}
  Headbutt
  Even if they take no damage in a round, he-
  roes adjacent to a Vyric Sheep at the end of 
  their turn, will be 
  {slid} 1 space away from the 
  Sheep.
  Furious Charge
  On any round when any hero does not 
  {move}, a Vyric Sheep will pop toward a hero, 
  and inflict {Heart}{Heart}{Heart} of damage on anything 
  it hits, including other monsters.
  If struck, a hero will be walloped even if 
  they take no heart damage in the round. If 
  the sheep strikes a solid object rather than a 
  hero or monster (such as a big rock, tree, or 
  similar) the sheep are stunned and take no 
  action for a round.
  
  41
  Greedyguts
  Vyric Sheep are hungry, and can smell food 
  carried by a hero. If a hero carries food of 
  any kind (magical or ordinary), the sheep will 
  stop at nothing until they get it.
  If a sheep smells food, then rather than 
  cause a heart of damage, a � result causes 
  their backpack being torn open, spilling its 
  contents. Sheep will then take a round to eat 
  up all fallen food items.
  A hero who knows how hungry these sheep 
  are can distract them by throwing food items 
  with a {A}. {B}, or {D-Pad} and each food item 
  will distract all sheep in 5 spaces for 1 round 
  as all rush to eat it.
  
  42
  Loomybones (mini-boss)
  Not all the skeletons Vyr finds fit together 
  easily. Many of them belong to ancient beasts, 
  or come only in titanic fragments. She has 
  quilted thousands of these together into the 
  Loomybones, a gargantuan creature of cloth 
  and rattling bone.
  Hearts: {Heart}{Heart}{Heart}{Heart}{Heart}
  Damage: {Heart}{Heart}
  Dry Bones
  Where the Loomybones walks, all skeletal 
  fragments seek to join it. On a � rolled on 
  a controller die, the Loomybones may cause 
  buried bones to rise up and attack a hero. The 
  hero 
  {pops} away from the Loomybones. If they 
  collide with anything other than the ground, 
  they take one {Heart} damage per impact.
  Bonami
  The Loomybones surges across the land, 
  knocking aside those who threaten it. It 
  moves in a 
  {wave} of up to 3 spaces, and ev-
  ery character hit by the wave takes one {Heart} 
  of damage.
  The Volva’s Tent (boss) 
  When Völva Vyr is at home, she is an agree-
  able hostess, willing to share tea and tales and 
  quite unlikely to sew a guest’s bones into any-
  thing they don’t ask to be. But should anyone 
  -- particularly a hero -- attempt to enter the 
  great tend when Vyr is away, they will face the 
  wrath she has knitted into its every woolen 
  ligament.
  Hearts: {Heart}{Heart}{Heart}{Heart}{Heart}
  Damage: {Heart}{Heart}
  Stable Legs
  In order to 
  {flip} the tent to its bottom face, at 
  least two 
  {flip} effects must be applied. Neither 
  may deal damage on its own.
  The tent takes {Heart}{Heart}{Heart} to wallop.
  Kick
  The tent’s many legs lash out at any would-
  be burglar nearby. Any hero who ends their 
  turn adjacent to the tent is automatically wal-
  loped, regardless of damage taken.
  Cannonball
  The tent can use the full force of its thou-
  sand legs to leap into the air, vanishing from 
  sight... then crashing to the ground with 
  quaking force. In any round where the heroes 
  
  43
  roll more than two �, the tent may spend 
  all �s to jump.
  Temporarily remove the tent from the map, 
  then drop a die of any type onto the map from 
  1’ (~.33m) above. This is where the tent will 
  land. Roll a controller die for each hero, dis-
  carding any result other than {D-Pad}. Any hero 
  who rolled {D-Pad} may {move}.
  Now, execute a 
  {burst} at the landing site. Any 
  character hit by the 
  {burst} takes {Heart} damage as 
  the tent lands. Remove the targeting die, and 
  put the tent down in its place.
  Climbable (vulnerability)
  A player with an adjacent hero may spend 
  {D-Pad} for the hero to climb atop the tent. Any 
  �s the hero’s player rolled are canceled, and 
  any attacks deal an additional {Heart} of damage 
  (but cannot wallop).
  
  44
  
SOURCE: textdata/thevault/Deduped  Shit/Dangerous To Go Alone/Dangerous to Go Alone.pdf