TEXT: Lace & Steel
  Written by
  Paul Kidd
  Interiors by
  Donna Barr
  Cover by
  David Cherry
  Copyright 1998-2003 Pharos Press
  http://www.electricmulch.com/pharos
  
  Contents
  FOREWORD CONCERNING
  ROLE PLAYING GAMES
  5
  INTRODUCTION
  6
  SO WHAT IS THE ATMOSPHERE
  OF LACE & STEEL?
  6
  PRELIMINARY NOTES
  6
  DICE CONVENTIONS & ABBREVIATIONS
  7
  DICE ROLL MODIFIERS (DRM)
  7
  EQUIPMENT
  7
  OPTIONAL EQUIPMENT
  7
  RACES
  8
  CIVILIZED RACES
  8
  HUMANS
  8
  HALF-HORSES (“CENTAURS”)
  9
  WILD RACES
  11
  SATYRS
  11
  HARPIES
  12
  MERFOLK
  12
  FAERIE RACES
  13
  FAIRIES
  13
  THE “HALFLINGS”
  14
  PIXIES
  14
  HOBGOBLINS AND GOBLINS
  15
  TROLLS
  15
  OGRES
  15
  CHARACTERISTICS
  16
  CHARACTERISTIC SCORES
  16
  FAVORING AND SLIGHTING CHARACTERISTICS
  16
  BUYING EXTRA CHARACTERISTIC POINTS
  16
  ROLLING A CHARACTER
  16
  THE CHARACTERISTICS
  17
  SPECIAL FACTORS
  18
  FATIGUE RATING
  18
  HIT POINTS
  18
  WOUND LEVEL
  18
  MAXIMUM HAND RATING
  18
  NEW DRAW RATING
  18
  OPTIONAL RATINGS
  18
  MAXIMUM SORCERY HAND
  18
  NEW SORCERY DRAW
  19
  DAMAGE
  19
  HEALING
  19
  WEIGHT
  20
  ENCUMBRANCE
  20
  SIGNIFICATORS
  21
  CHARACTERISTIC BONUSES OR SLIGHTS
  21
  DISPOSITION
  21
  THE DECK
  21
  THE MAJOR ARCANA
  22
  THE LESSER ARCANA
  24
  WANDS
  24
  CUPS
  25
  SWORDS
  26
  PENTACLES
  27
  SKILLS
  29
  BASIC TEST PROCEDURE
  29
  TESTING ONE CHARACTER AGAINST ANOTHER
  29
  DETERMINING THE TASK DIFFICULTY NUMBER
  29
  TASK DIFFICULTY NUMBER
  29
  THE COMPARISON CHART
  29
  SKILL RATINGS
  30
  WOUND DRMS
  30
  STARTING SKILLS
  30
  RANDOM GENERATION OF
  SOCIAL BACKGROUND
  30
  BASIC CHARACTER TEMPLATES
  31
  PURCHASING ADDITIONAL SKILLS
  32
  COST OF SKILL LEVELS
  32
  SKILL LISTS
  33
  SKILL CLARIFICATIONS
  34
  SOCIAL SKILLS
  34
  COURTLY SKILLS
  36
  MILITARY SKILLS
  37
  MOVEMENT AND PERCEPTION SKILLS
  38
  CRAFT SKILLS
  39
  KNOWLEDGE SKILLS
  41
  MAGICAL SKILLS
  42
  ONGOING EXPERIENCE
  43
  STUDY
  43
  MAINTAINING SKILLS
  43
  INTERPERSONAL RELATIONS
  44
  DISPOSITIONS
  44
  TIES AND ANTIPATHIES
  45
  USES OF TIES AND ANTIPATHIES
  45
  STARTING TIE/ANTIPATHY EXPERIENCE
  45
  NEW TIES AND ANTIPATHIES
  45
  CHANGES IN TIES AND ANTIPATHIES
  46
  MAJOR EMOTIONAL EVENTS
  46
  FAVORS
  46
  SPONTANEOUS NPC ACTIONS
  47
  FRIENDSHIP CONFLICTING WITH DISPOSITION
  47
  SEDUCTION
  47
  SELF IMAGE
  48
  SELF IMAGE “INVESTMENT”
  48
  OTHER INCREASES AND DECREASES
  IN SELF IMAGE
  49
  TIES AND ANTIPATHIES
  49
  MELEE COMBAT
  50
  THE DECK
  50
  RATIONALE
  50
  MAXIMUM NUMBER OF CARDS
  51
  INITIATIVE
  51
  SEQUENCE OF PLAY
  52
  DRAWING A NEW HAND
  53
  DESPERATE DEFENSE
  53
  LACK OF ATTACK CARDS
  53
  PLAYER RUNS OUT OF CARDS
  53
  
  DAMAGE
  53
  THE EFFECTS OF CHARACTER
  SKILL RATINGS ON COMBAT
  53
  SPECIAL CARDS
  54
  DODGE
  54
  INTUITION
  54
  DISENGAGE
  54
  CARD MODIFIERS (OPTIONAL)
  54
  FATIGUE (OPTIONAL)
  56
  ARMOR
  56
  TYPES OF ARMOR ARE AS FOLLOWS
  56
  WEAPONS
  59
  NOTES ON BRAWLING WEAPONS
  59
  WEAPON RATINGS
  59
  WEAPON RATINGS CHART
  59
  EXPLANATIONS OF WEAPON RATINGS
  59
  MULTIPLE OPPONENTS
  60
  MISSILE COMBAT
  61
  ACCURACY ROLLS
  61
  SEQUENCE OF FIRE
  61
  RELOADING
  61
  MOVEMENT
  61
  DAMAGE
  62
  MISSILE WEAPONS
  62
  MISFIRES AND BREAK DOWNS
  64
  MAGIC
  65
  MAGICAL TALENTS
  65
  ALCHEMY
  66
  ARTIFICIERY
  69
  ASTROLOGY
  71
  DEMONOLOGY
  73
  CREATING A DEMON
  73
  DEMON CHARACTERISTICS
  73
  USES OF DEMONS
  74
  HEDGE MAGICS
  75
  ILLUSION
  76
  MENTAL DISCIPLINES
  77
  NECROMANCY
  78
  SORCERY
  80
  MAGICAL COMBAT
  80
  THE SORCERY DECK
  80
  STARTING INITIATIVE
  80
  MAXIMUM SORCERY HAND
  80
  NEW SORCERY DRAW
  81
  SHIELDS
  81
  SEQUENCE OF PLAY
  82
  MAKING A NEW DRAW
  83
  SHORING UP DEFENSIVE SHIELDS
  83
  SPECIAL ATTACK CARDS
  83
  DAZZLE
  83
  DISRUPTION
  83
  FEINT
  83
  INTUITION
  83
  RIP-OFF
  83
  SORCERY FATIGUE
  84
  THE EFFECTS OF SKILL
  84
  MAGIC VS. ARMOR
  84
  MULTIPLE OPPONENTS
  84
  SORCEROUS COMBAT AGAINST
  85
  NON-SORCERERS
  85
  OTHER SORCERY SPELLS
  85
  MAGICAL ITEMS
  85
  MASSED COMBATS
  86
  MOVEMENT RATES
  87
  COMBAT ROLLS
  87
  THE ROLL
  87
  TO HIT
  87
  FACING DRMS
  88
  OTHER DRMS
  88
  SHIP VS. SHIP COMBAT
  89
  INITIATIVE (THE “WIND GAUGE”)
  89
  FIRING
  89
  CREW CASUALTIES
  89
  SMALL ARMS
  90
  SWIVELS
  90
  PLAYER CHARACTERS IN
  90
  MARITIME COMBAT
  90
  THE EFFECTS OF FLOTATION DAMAGE
  90
  BOARDING
  91
  MAGIC IN MASSED COMBAT
  91
  REPARTEE “COMBATS”
  92
  RESEARCH (COLLECTING DIRT)
  92
  REPARTEE VS. UNSKILLED TARGETS
  92
  MITTELMARCH
  93
  GEOGRAPHY OF THE SOUTHERN CONTINENT
  93
  POLITICAL NOTES
  93
  DUNCRUIGH
  93
  SCARMIS
  94
  NANTIERRE
  94
  ISLE OF AUREY
  95
  FORIJA
  95
  ALBERNIA
  96
  WELFLAND
  96
  THE TANTIC EMPIRE
  97
  RELIGION
  98
  ECOLOGY
  99
  THE KNOWN WORLD
  101
  THE NORTH EAST
  101
  THE WESTERN ISLES
  101
  TECHNOLOGY
  103
  WARFARE
  103
  CAVALRY (THE “HORSE”)
  103
  INFANTRY (THE “FOOT”)
  104
  ARTILLERY
  104
  SIEGE
  104
  NAVAL WARFARE
  105
  NON HUMAN RACES ON THE BATTLEFIELD
  105
  HALF-HORSES
  105
  HARPIES
  105
  SATYRS
  105
  
  PIXIES
  105
  OTHER HALFLINGS
  106
  BATTLEFIELD MAGIC
  106
  LANGUAGE & COMMUNICATION
  107
  MUSIC
  107
  INSTRUMENTS
  107
  DAILY LIFE
  108
  THE STATE
  108
  SOCIETY
  108
  MODES OF ADDRESS
  108
  HONOR
  109
  CRIME AND PUNISHMENT
  110
  CLEANLINESS
  110
  MORALS
  110
  POLITICAL MOVEMENTS
  110
  COURTLY LIFE
  111
  TOWN LIFE
  112
  THIEVERY
  112
  RURAL LIFE
  113
  MILITARY LIFE
  114
  IN BATTLE
  114
  THE SEAMAN’S LIFE
  115
  BATTLE
  116
  THE MAGICIAN’S LIFE
  116
  MONEY
  117
  SIMULATING COINS
  117
  STARTING FUNDS
  117
  WAGES
  118
  OFFICERS
  118
  COURT SINECURES
  118
  WEIGHTS AND MEASURES
  118
  ARMOR AND PROTECTIVE CLOTHING
  119
  FIREARMS
  123
  ARTILLERY
  127
  MELEE WEAPONS
  128
  CLOTHING
  132
  TRANSPORT
  137
  TRAVEL
  144
  SCIENTIFIC/SCHOLARLY EQUIPMENT
  146
  RUNNING ADVENTURES
  148
  USING THE TAROT TO CREATE
  ADVENTURE EPISODES
  148
  IMPROVISING ADVENTURE EPISODES
  148
  CHARACTER SIGNIFICATORS
  148
  ASTROLOGY SKILL
  148
  “PRESSED MEN”
  149
  A SCENARIO FOR ANY NUMBER OF PLAYERS
  149
  (PREFERABLY HUMAN MALES OF LOW BIRTH)
  149
  THE PRESS GANG
  149
  THE “TERMINATOR”
  150
  IMPORTANT CHARACTERS
  150
  TRAINING AND LIFE ABOARD
  155
  ADVENTURES AT SEA
  156
  THE “CUTTING OUT” EXPEDITION
  156
  THE LANDING
  156
  CROSS COUNTRY
  157
  THE SCONCE
  157
  THE TERMINATOR’S ATTACK
  157
  THE REWARDS
  157
  COMBAT
  158
  CAPTAIN HAUTFLEUR
  158
  REWARDS
  159
  ALBERNIAN “EXTRAS”
  159
  A MASKED BALL
  160
  THE INVITATION
  160
  PREPARING FOR THE BALL
  160
  (LADIES ONLY) GETTING DRESSED
  160
  SPYING
  161
  HAWKING
  161
  PREAMBLE TO THE BALL
  (MALE CHARACTERS ONLY)
  162
  THE BALL
  163
  CHARACTERS AT THE BALL
  163
  THE EVENINGS EVENTS
  (FEMALE CHARACTERS ONLY)
  166
  GETTING BITCHY
  166
  IT’S REPARTEE TIME!
  167
  THE REST OF THE EVENING
  167
  EXPERIENCE
  167
  THE EVENINGS EVENTS
  (MALE CHARACTERS ONLY)
  168
  AN INTERRUPTION
  168
  THE DUEL
  169
  THE AFTERMATH
  169
  NOTES ON SIMULATING GAMBLING
  169
  STOCK INCIDENTS
  170
  FAIRY MUSIC
  170
  THE FAIRY MARKET
  170
  SOMETHING NASTY IN THE WOODPILE
  171
  A QUESTION OF WARNETS
  171
  CATCHING DINNER
  172
  FOOD AND LODGINGS
  172
  AN UNSCRUPULOUS HOST
  172
  LACK OF ROOM OR FOOD
  172
  THE HAUNTED RUIN
  173
  INJUSTICE
  173
  OLD FOUR-AT-A-GULP
  173
  BIOGRAPHY
  174
  ABOUT THE AUTHOR
  174
  ABOUT THE ARTIST
  174
  NON-RANDOM CHARACTER
  GENERATION IN LACE & STEEL
  176
  
  5
  FOREWORD CONCERNING
  ROLE PLAYING GAMES
  (Ignore this section if you are an old hand at role playing games)
  For those of you who are new to the concept, a role playing game may be quite difficult to
  catch on to at first. Role playing games have no winners or losers, being played simply for the
  enjoyment of the exercise. A game will involve one or more players, each of whom creates an
  imaginary “character” which acts as a kind of alter ego, and whose adventures and misadventures
  will he guided by the will of its controlling player.
  The game is presided over by a Referee (also called the Referee). The referee acts as a storyteller,
  presenting the players with problems and information, and adjudicating the results of the player
  characters’ actions. A role playing game thus becomes an ongoing story in which both the players
  and the referee participate, the referee creating the general framework and the player characters
  creating the action.
  These rules are intended as a framework which will allow the referee and players to simulate
  the adventures of their characters and the workings of the game environment. They are not
  intended to cover every possible eventuality. Referees should feel free to improvise or adapt the rules
  to meet their particular needs.
  FOREWARD NOTE
  Throughtout the rule book, the
  side margins will be used to provide
  the reader with examples and
  optional rules.  These notes are
  supplemental to the main text, but
  are not essential.  Feel free to ignore
  these sections if you desire.
  
  6
  A LACE & STEEL adventure is
  romance, melodrama, magic and
  daring-do. Capturing a feeling of fun
  and fantasy is more important than
  stacking up the body count.
  Combat should be a part of the
  drama - Not the heart and soul of
  your game!
  Players will quickly find that the
  game system is designed to
  maximize the fun and drama
  caused by such crisis situations as
  fights, sorcerous battles and repartee
  exchanges. You will encounter
  difficulties when trying to run
  traditional “hack n’ slash” style
  adventures, with half a dozen
  characters constantly wading thigh
  deep through the blood of slain
  enemies. The combat system is not
  designed to accommodate this
  dubious style of play, nor does the
  author feel that this is a weakness in
  the system.
  Introduction
  LACE & STEEL is an attempt to create a fantastic game environment. With LACE & STEEL, I
  have sought to capture the elements of swashbuckling romance that are missing from the bulk of
  fantasy role playing games. Evil grand viziers, ladies in distress, the flash of rapiers and billow of
  sails in a fair wind! These are the elements of romantic fantasy, and it is just such things that
  dour, brutal medieval monster bashing games tend to ignore.
  LACE & STEEL is an unusual game to run for a number of reasons. The LACE & STEEL
  combat system uses a unique card based combat system, where melee combats are played out as a
  card game. Combats are thus time consuming and challenging, with player skill affecting the final
  combat result. Combat with other characters thus becomes very dangerous and very entertaining
  (when compared to a dice based combat system), removing the need for wacky monsters and
  toothy beasties to provide challenging opponents for player characters.
  Secondly, there are the interpersonal relations rules. Using these rules, the personalities of non-
  player characters become a major part of the game background environment. Players will
  constantly have to deal with difficult and cooperative people, and will have to learn to deal with
  friendships, enmities and self confidence as part of “day to day” adventuring. Loyalty, treachery,
  love and hate can all easily he simulated using the game rules, and will hopefully encourage referees
  to prepare thoughtful adventure plots.
  SO WHAT IS THE ATMOSPHERE OF LACE & STEEL?
  LACE & STEEL is highwaymen waiting by a mist-shrouded road, or the ferocious clash of
  cutlasses on the quarter deck. It is gallant young men scaling palace walls to visit their
  sweethearts. It is duelists meeting in the grey light of dawn, and plotters gathering in torch-lit
  cellars. LACE & STEEL is court intrigues and dazzling balls, secret messages and lovers met by
  moonlight. Just take your favorite romantic images, and live them through the game.
  Do have fun playing the game. I certainly have.
  PRELIMINARY NOTES
  LACE & STEEL is set in a world that is reminiscent of our own seventeenth century Europe -
  specifically 1640’s, which was the time of the English civil war and the thirty years war. The
  fantasy lands of “MITTELMARCH” have been chosen as the game’s setting in preference to a
  historical setting to encourage a feeling of fun and fantasy. Games set in historical environments
  usually seem too restrictive, and this has been the great failing of most games which use the
  “swashbuckling” genre.
  Several important decisions about the game’s equipment lists and background have been made
  deliberately. Flintlock weapons have been edited out, since matchlocks and wheellocks capture more
  of the feel of the period. You will also find no rules for “rapier and dagger” fencing, since the use of
  the main gauche went out of fashion the instant rapiers became light enough to both parry and
  riposte.
  The game systems have also been designed as they are for good reason. The card based combat
  systems are entertaining, but have a heavy reliance upon luck. This means that newcomers to the
  game are not completely disadvantaged when playing against more experienced hands. The
  combat system has enough fun and action in it to appeal to folk who swear that they hate role
  playing games (try showing it to some non-gamers and see if they will agree to play with you
  now!)
  Magic has been included in the game environment as an important facet of the game’s feel of
  fantasy. Nevertheless, it is very difficult to roll a character that qualifies as a Sorcerer. This is to
  make such characters rare - if it was easy to be a Sorcerer, then everyone would be one!
  
  7
  DICE CONVENTIONS & ABBREVIATIONS
  Whenever dice are rolled, the player will be told the type of dice required for the roll in an
  abbreviated form. The first number in the abbreviated term is the number of dice to be rolled. The
  next term specifies the type of dice to he used for the dice roll in the form of a capital “D” followed
  by the number of sides the required type of dice possesses. Thus 2D6 is the shorthand term for 2 six
  sided dice.
  Most of the game operates through that familiar old workhorse, the six sided die, which is the
  easiest and quickest of all dice to use. A six sided dice can be used to generate numbers between 1
  and 2 (a roll of 1, 2 or 3 yields a result of 1, and a roll of 4, 5 or 6 yields a result of 2). A six sided dice
  is also used to generate numbers between 1 and 3 (i.e. as a D3). Simply halve the value rolled on the
  six sided dice, remembering to round fractions up to the next whole number. Other types of dice are
  called “polyhedral dice”, and can be bought at most game and hobby shops.
  DICE ROLL MODIFIERS (DRM)
  When a number is to be added to or subtracted from a dice roll, it is referred to as a dice roll
  modifier (DRM). Thus a -1 DRM means that the players will subtract one from the score of their
  dice roll result.
  Since LACE & STEEL usually requires a player to roll low numbers, negative DRM numbers are
  beneficial, while positive DRMs are harmful.
  EQUIPMENT
  To play LACE & STEEL you will need the following essential items:
  2 six sided dice.
  The LACE & STEEL rule books and combat decks. Shuffle the decks well.
  Photocopies of the LACE & STEEL character sheet.
  Paper, pens, pencils and 1 or more players.
  OPTIONAL EQUIPMENT
  The following items might also be found useful, but are not absolutely essential.
   A Tarot deck (used for generating improvised adventure episodes and for determining character
  dispositions).
   A collection of washers and one cent coins (used to simulate money).
    SUPPLEMENTAL BOOKS
      It is the publisher’s policy (as
  well as the author’s feverish
  desire) to properly support their
  products with a range of
  supplemental material. Richly
  presented adventures, rules
  additions and background books
  will be made available to increase
  your enjoyment of the LACE &
  STEEL game system.
  
  8
  Comparative sizes:
  Human and Half-Horse.
  PLAYER CHARACTER RACES
    Players may generate characters
  that are one of the following races:
  Human
  Half-Horse
  Satyr
  Harpy
  Pixie
  Races
  The world of LACE & STEEL is populated by a number of races which coexist in an easy
  balance. The civilized races suppose themselves to comprise the bulk of the world’s population, and
  it is these races which band together into great cities and alliances. The “wild” races do not have
  such visible power or numbers, and seldom seem to create communities larger than towns. They
  have a certain amount of commerce with the civilized races.
  The faerie folk are the most enigmatic of the world’s inhabitants, and keep themselves very
  much aloof from the affairs of other races. They keep to the deep forests or high mountains, and
  seldom ever meet up with other folk. Only the halfling peoples have any real contact with other
  races, and of these, it is Pixies which seem to be the most commonly abroad in the civilized lands.
  The overall effect is a world which is largely populated by Humans and Half-Horses. A host of
  other races are widely known, and most folk will have seen them at one time or another, or will at
  least know them all by description. The net effect is a society which is far less “mundane” than
  one taken from our own history, with a great variety of differgnt peoples. The world which the
  game presents to its players should have recognizable imagery taken from the English civil war
  period, hut with a definite “Grimm’s fairy tale” feel. The world is constantly livened up by the
  strange and the unexpected.
  CIVILIZED RACES
  The so-called civilized races are to be found all over “Other Earth”. Humans (two-leggers) and
  Half-Horses (four-leggers) band together in mixed nations, letting geography dictate political
  affiliation rather than race. Both races live together in reasonable harmony, although they have the
  good sense to separate into communities (villages or suburbs) composed mostly of one or the other
  race. These communities will communicate freely with one another, and each race draws on
  services and talents which the other race can provide.
  HUMANS
  A prolific and flexible race, Humans take very readily to seafaring and urban living. The
  Humans of “Other Earth’s” southern continent are white skinned, and average between 160 and
  170 cm in height. Half-Horses usually refer to Humans as “two-leggers”.
  
  9
  HALF-HORSES (“CENTAURS”)
  Half-Horses (or “four-leggers”) consist of a human-like torso married to an equine body. Though
  smaller than a horse, Half-Horses tend to have at least 10 to 20 cm greater height than a human of
  similar strength, and weigh immensely more. Their equine sections come in a number of different
  colors, ranging from dapple grey to bay - characters should always specify their coloration.
  Half-Horses have a similar strength in the arms and upper body to that of a human, but they
  are able to apply their lower body’s strength very effectively to a number of tasks. Double the
  effective Strength of a Half-Horse in any task which requires the use of body weight (e.g.. Pushing a
  wagon out of a ditch). A Half-Horse is as speedy as a horse (effective speed = its Dexterity).
  Subtract a Half-Horse’s burden level from its Dexterity when determining its maximum speed in
  this manner. A Half-Horse’s burden level is found by dividing its total load in kilos by its
  (Strength + fatigue rating), rather than its fatigue rating alone.
  In addition, although the hands of a Half-Horse are as
  flexible as a man’s, and their bodies as capable of twisting,
  leaping or sidestepping as a Humans, a Half-Horse’s
  Dexterity will be penalized under many circumstances. Half-
  Horses must make a Dexterity roll whenever they attempt
  such simple actions as climbing a ladder, clambering through
  a window, or whirling quickly around. Half-Horses find it
  extremely difficult to move silently. Halve a Half-Horse’s
  effective Dexterity whenever its sheer bulk promises to get in
  the way (such as moving through brush). In combat, Half-
  Horses can lash out with iron hard hooves (add 3 to a Half-
  Horse’s effective strength when delivering a low brawling
  blow). A Half-Horse’s great length of leg gives them a reach
  of 1 in brawling combat. In melee combat against cavalry,
  treat Half-Horses as infantry but add three to their effective
  Strength when resisting a push from a horse.
  Half-Horses wear clothing on their upper bodies, and four
  legger women wear apron-like skirts. The equine hind-body is
  never clothed or armored, and this lack of covering can be a
  cause of embarrassment. Many a love-sick young male has
  had to hide his nether regions upon contemplating the
  charms of his sweetheart....  The position of a Half-Horse’s
  tail gives an extra dimension to its  body language. Feisty
  young males hold their tails high, and a female might
  involuntarily hike her tail when in the company of a male
  that she feels attracted to. Four-leggers always comb out their own tails - combing out another
  person’s tail is a sign of romantic attachment.
  Four-legger society is noticeably “earthier” than that of humans, and has a more relaxed
  attitude towards sexual morals. Each spring, four-leggers go through a “courting season”, where
  romantic interest runs unusually high. Most unattached males will become argumentative and
  stroppy, and fights become common. Mature aged sons will often fight with their fathers, or
  brother fight against brother as the family males contest for dominance.
  All in all, Half-Horse behavior can often be modeled on a cross between Humans and horses.
  Half-Horses will involuntarily kick if their tails are pulled or their hind legs grabbed. An enraged four
  legger will sidle up towards its opponent to allow fore feet or hind legs to come into play. The diet
  of four-leggers is exactly the same as that of Humans, although they eat a far greater bulk of food
  (usually grains and cereals). Their houses contain furniture designed for their height and stature
  (such as chairs upon which they rest their rumps). A polite four legger wipes its hooves before
  entering the house. Half-Horses use horses as beasts of burden and drayage much as Humans do.
  HALF-HORSE BEHAVIOR
  “Four-leggers” share many
  behavioral characteristics with
  horses. Large, strong males often
  end up as leaders of their fellows:.
  Half-Horses tend to respect
  someone who can give them a
  serious drubbing. Stallions will have
  short tempers when they have been
  active, and will fall into fist fights
  easily when “courting”.
    The “courting season” is a time
  when sexual urges run high.
  Daughters are quite literally locked
  up (and watched closely in case the
  little hoydens try to slip out the
  back door), and pregnancies often
  occur (as do resultant “blunderbuss
  weddings”). Of course, courtship
  and romance also occur in the
  normal way throughout the rest of
  the year. “Courting season” only
  lasts for a little while.
    While they can make good
  soldiers, Half-Horses feel a distinct
  aversion to the reek of blood. They
  are not great eaters of red meat.
   NOMENCLATURE
    Half-Horses object to the word
  “Centaur”, and will react angrily if
  called such. A centaur is an unclad
  barbarian that skulks in the wilds. A
  Half-Horse is a civilized being. Being
  aware of the all important
  distinction can save characters from
  mortally offending their four legged
  friends.
  
  10
  
  11
  WILD RACES
  The “wild” races live at the edge of the Human/Half-Horse world, and engage in a small
  amount of trade and commerce with them. These races all live in their own communities, and
  avoid the cities and towns of the civilized folk.
  SATYRS
  A Satyr is a small creature with the upper body of a human and the lower body of a goat.
  Satyrs are smaller and shorter than an average sized man, and have a maximum Strength of 11
  and a minimum Dexterity of 9. Their lower quarters are covered with shaggy fur, and they have
  short little tails which twitch back and forth when they become agitated. A Satyr also has a small
  pair of horns sprouting from it’s head, and pointed ears.
  Satyrs wear normal clothes on their upper bodies, but leave their lower sections bare. They
  never shoe their cloven-hoofed feet. They live in small communities, though a fair few seem to
  have adapted themselves to town life.
  Satyrs have a high libido, and many races are made uncomfortable by their habits of making
  constant sexual innuendo or of undressing people with their eyes. They are also regarded as a
  particularly sly folk. They are shrewd and cunning businessmen, and gain a great deal of
  enjoyment out of driving for hard bargains. This is balanced out by their tradition of being generous
  and polite hosts.
  Satyrs are prone to excesses of behavior which the more sedate Human and Half-Horse races
  find distasteful. They laugh loudly, argue volubly, fall into passionate love or affect attitudes of
  tragic melancholy with a speed which leaves other races breathless. This characteristic endears
  them to the faerie races, who have more truck with Satyrs than with any other species.
  Due to the configuration of their feet, Satyrs find it more difficult than a human to perform
  tasks such as climbing a rope ladder. Their tall keen ears have better hearing than that of any other
  race - even pixies!
  Comparative sizes:
  Satyr and Human shown to
  scale.
  THE YEARLY RUT
  Satyr males undergo a yearly
  “rutting” season, in which their
  libido goes suddenly into overdrive!
  Satyr males often become lovesick
  during this season, and energetically
  compete for the attentions of the
  womenfolk.
  For their own part, the Satyr
  women look forward to the yearly
  “courting season” with anticipation
  and delight. Courting season brings
  out the best qualities in the menfolk
  as well as their worst - Satyr males
  are more prone to enthusiastic
  romance than mere sexual lust.
  Courting season tends to be a time
  of fun and gaity, with boisterous
  behavior the rule of the day.
  
  12
  Comparative sizes:
  Human and Harpy female
  (Tiercel) shown to scale. Female
  Harpies are the dominant sex of
  their species, and are notably
  stronger and more aggressive than
  the males.
  HARPIES
  A harsh race which lives mostly in mountains, isolated islands, and other places which other
  races seldom covet. Harpies have fanged human heads and gigantic, upright avian bodies. Female
  harpies have fanged feminine faces and mammalian breasts (which we presume are covered in
  feathers) At the forward joint of their wings are long fingered hands (positioned much like the
  hands of a bat or pterodactyl). Their feet are the large, clawed members of some giant bird of prey.
  Harpies are not a graceful race. Their sharp, angular features and prominent canines seem to
  speak of a cruel personality. Likewise, their voices have a harsh, shrieking quality which other races
  find irritating to listen to. Much like the raptorial birds of the mundane world, Harpy females are
  larger and much more aggressive than the males (always favor a female Harpy’s strength
  characteristic). The females are far more haughty and commanding than the males, and have a
  higher social status than their mates. Though the males desire their women, they also fear them.
  The males are allowed to take much of the initiative in courtship, hesitantly approaching the
  fearsome females seeking approval and invitation, but half expecting the worst. Love between
  Harpies can be a dangerous game for the menfolk...
  Harpies have much the same characteristic brackets as Humans, but have difficulty
  performing delicate manual operations. Harpies may fly great distances but only if they are not
  suffering from an encumbrance penalty of more than 2. Reduce a Harpies’s wound level by 1 due
  to their hollow hone structure (minimum wound level of 1).
  Harpies may not wield weapons while flying, and may only brawl with their sharp claws
  (which do damage like a dagger). Harpies wear clothes for their torsos, and hats on their heads.
  Their dwellings are usually designed only to be reached by flying creatures.
  Harpies are not pleasant folk. When determining a Harpies’s disposition, draw twice, and take
  the personality which seems the most rotten. (But the player may choose to keep a “nice” draw if
  it is major arcana).
  MERFOLK
  An aquatic race whose bodies meld a humanoid torso onto the rear portions of a dolphin.
  Merfolk thus have hands, flukes and a tail. They are air breathers, and can speak the standard
  tongue of the southern continent at need. Amongst themselves, they seem to converse with tight
  pulses of sound, which they also use to navigate dark or murky water.
  Merfolk often have dealings with seaside communities and sailors, and appear at dockside fairs
  to trade fish, medicinal sea plants, pearls and coral for dried fruits, meats and gems. They are also
  often prevailed upon to perform marine salvage or rescue. They keep well away from sea battles
  and warfare. Their world is not really understood by land dwellers, and true communication of
  philosophy and abstract concepts proves difficult.
  
  13
  FAERIE RACES
  The races of faerie are the most fantastic and elusive of the creatures which inhabit “Other
  Earth”. Faerie races remain aloof from the other peoples, preferring the company of their own kind.
  Wandering members of these races have usually been cast out of their own communities due to
  their unorthodox attitudes, or because of misdemeanors.
  The faerie temperament is capricious and often cruel. Similarly, a faerie’s sympathies are also
  quickly aroused, which provokes him into extravagances of generosity. Faerie races are inclined to be
  vain, proud and boastful, and are always talkative. They are much given to melodramatic
  postures, extravagant rages and quick sulks. They are extremely sensitive to ridicule, which
  prompts them to paroxysms of rage. They admire beauty, and also oddity to the same degree - to
  the faerie, these are equivalent attributes. A fairy’s moods are seldom long lasting, and they quickly
  switch from joy to woe, wrath to friendship in a manner which bewilders other, more stolid races.
  FAIRIES
  True fairies are small (10 to 30 cm high) humanoid folk who vary their outward appearance
  entirely at whim. They cannot normally be seen unless they desire it or they are observed using
  “detect magic” skill. Fairies tend to live in small communities called “shees” (which change aspect
  as frequently as their owners), and they seldom move beyond the bounds of such places. Time at
  the heart of a fairy shee runs at seven times the rate of the rest of the world. Fairies like to pretend
  that they are immortal, but in fact they are not (they are so long lived that their claim is nearly
  true in any case).
  Fairies are intensely magical in a way which cannot even begin to be emulated by mundane
  races. Fairies are magic! Their magic is only ever used for their own amusement, although they
  might bargain magical objects or favors with a mortal for an object which they value.
  Fairies are jealous, impatient, malicious tricksters who are intolerant of intrusion. Woe betide
  an innocent trespasser who blunders into a shee! They might find themselves whipped with hazel
  twigs, or given the ears of an ass, or even showered with gold coins, since they enjoy
  dumbfounding mortals with good fortune no less than with sudden disaster.
  Fairies are hedonistic and promiscuous, craving novelty. This has lead to a certain intermingling
  of fairie blood with that of the other races. Persons with a high proportion of fairy blood may be
  told by such signs as slit-pupilled eyes, webbed fingers, pointed ears or green fingernails.
  For more information on the
  behavior of fairies, read LYONESSE
  by Jack Vance, and A
  MIDSUMMER NIGHT’S DREAM
  by William Shakespeare. These
  creatures have a dangerous
  combination of Godlike powers
  and childish moods. They are
  proud, vain, petty and absolutely,
  unspeakably powerful!
  Comparative sizes:
  Fairy and Human’s boot shown
  to scale.
  Please note that the actual size of
  fairies will vary pretty much
  according to their own whim. Fairy
  royalty will usually present
  themselves as being taller than their
  subjects, often taking on human
  stature (or even taller, more
  impressive aspects when
  circumstances merit it).
  
  14
  Comparative sizes:
  Pixie and Human shown to scale.
  THE “HALFLINGS”
  Halfling races are made up of a great part of common earthly matter, and thus lack the magic
  of true Fairies. They are all tied to a set physical form, and age and die like other mundane folk. On
  the other hand, halflings are less capricious and malicious than fairies, and have more dealings with
  other races. Many fairs will be visited by halflings, who hawk their potent pollen liqueurs and
  perfumes, delicate cloths pressed from dandelion or spider silk and luminous paints and inlays
  wrung from dandelions and fungi.
  PIXIES
  Pixies or “little folk” are a lightly built, dexterous race that love the forests, rivers, fens and
  mountains. In physical form they are small (110 cm), delicate huma3noids with sharply featured
  faces and naked ratlike tails. They have large slit-pupilled eyes, pointed ears, and delicate antennae
  which they use as organs of scent. Their most distinctive features are their wings, which are the
  delicate, patterned wings of moths or butterflies. The coloration of pixie wings vary widely from
  individual to individual, and can b.e as subtle in coloration as a moth’s, or flamboyant as a tropical
  butterfly. With the aid of these wings pixies may perform short flights of a few meters duration
  (Max distance = Strength x 10), or slow a fall down to a manageable speed.
  Pixies tend to live in closely grouped small communities, although there are quite a few town
  sized settlements. Their picturesque hive shaped houses are often placed in tasteful harmony with
  the landscape (usually high up in the trees or secreted amongst stumps and roots), and so their
  settlements can be missed by unwary travellers. Pixies are talkative and hospitable, passionate
  lovers and dedicated enemies. Their “cute” looks and erratic demeanor can sometimes blind other
  races to their keen sense of honor and their excitable passions (which can be a costly mistake).
  Pixie culture emphasizes aesthetics. Pixie cuisine is excellent, although they tend to eat the
  flesh of some insects, so be careful to ask what you are eating! Pixies are brewers of fine wines,
  artists, musicians, surgeons and craftsmen - the makers of clever mechanisms and clever jokes. In
  the military they perform the function of skirmishers and scouts. Their small size stops them
  from riding anything larger than one of their little ponies, and from handling muskets and saddle
  pistols. Their close combat weapons are confined to the rapier and dagger weapons which they use
  with energetic virtuosity.
  Pixies roll only 2D3 for strength, but roll 1D6 +10 for Dexterity. All Pixies gain a bonus of +1
  on their Intuition scores.
  
  15
  HOBGOBLINS AND GOBLINS
  Average sized humanoids with broad, ugly noses, pointed ears and webbed hands. These folk
  live in small, isolated communities out in the deep forests. They are a coarse, jolly folk, and are
  more vulgar than the pixies, whom they consider overly nice.
  TROLLS
  Large, scaly humanoids with a Strength of 1D6 +10 and a Dexterity of 2D6 +1. Their skins are
  as tough as a buff coat. Trolls are semi-aquatic, and tend to live solitary lives in fens or forests.
  Although not exactly hostile, they are petty. Trolls might build a bridge or plant an orchard, and
  then wait for a passerby to cross the bridge or pick the fruit. The troll will then appear and demand
  payment at an exorbitant rate. When dealing with trolls, a person must be careful to specify his
  precise meaning, and look for hidden connotations in every word, phrase and act.
  OGRES
  Huge, powerful, hideously ugly humanoids
  which may reach almost 3 meters in height. An
  Ogre’s Strength is effectively 25 to 30 (giving
  them a wound level of 5), and its Dexterity is
  about class 6 to 9. Ogres wield great cleavers and
  cutlasses which do 2 extra points of damage
  whenever they score follow up damage, get a +1
  to their armor penetration and weight, and have
  a reach of +2. Some ogres might have horns,
  outlandish assortments of extra facial features,
  or even multiple heads!
  Contrary to popular belief, Ogres are not
  necessarily stupid, nor do they always lack
  magic. Ogres love to eat the succulent flesh of
  children, and they will pay hobgoblins or trolls
  premium prices for any brats that they might
  catch. For this reason, Ogres are destroyed
  wherever they may be run to ground, and thus
  they are only found in remote or rugged terrain.
  Comparative sizes:
  Troll and Human shown to scale.
  Comparative sizes:
  Ogre and Human shown to scale.
  
  16
  NOTES ON FEMALE
  CHARACTERS
  LACE & STEEL encourages the
  role play of female characters -
  indeed, the opportunities for courtly
  role play and romance make female
  characters a lot of fun to play.
  The females of most of the
  sapient species are physically
  weaker than the males. Female
  characters always slight their
  Strength characteristic. In return,
  they may favor some other
  characteristic. The exception to this
  rule are females of the Harpy race,
  who are quite large and
  domineering. Harpy females always
  favor their Strength, at the cost of
  slighting some other characteristic.
  Please note! Female characters of
  Human, Half-Horse and Pixie races
  tend to be forced into fairly
  “historical” roles. If a player wishes
  to play a female character, but tires
  of flirtation and repartee, there is no
  need to despair! Harpy females
  should provide all the outlet for
  those feelings of dominance and
  aggression that anyone could desire!
  CHARACTERISTICS
  The following section details the physical
  and mental attributes of individual characters
  which we will simulate in this game. The
  characteristics are fairly simple, but between
  them they adequately simulate each
  character’s basic abilities.
  The characters used in LACE & STEEL
  have eight basic characteristics: Strength,
  Endurance, Dexterity, Reason, Intuition, Drive,
  Charisma and Magical aptitude.
  CHARACTERISTIC SCORES
  All characteristics are rolled on 2D6 + 3. If a character scores 14 or 15 on its initial dice roll for
  it’s Magical aptitude characteristic, it may roll an extra D6 -1 and add the result to its total
  Magical aptitude score.
  FAVORING AND SLIGHTING CHARACTERISTICS
  Before rolling a character, a player may choose to favor and slight some characteristics. The
  player may nominate up to three characteristics that his or her character will favor. For each
  characteristic that is favored, another characteristic must be slighted and vice versa.
  Favored characteristics are rolled for twice, with the final characteristic score being taken as the
  highest of the two dice rolls.
  Slighted characteristics are also rolled twice, with the final characteristic score being determined
  by the lowest of the two rolls.
  BUYING EXTRA CHARACTERISTIC POINTS
  All characters start the game with experience points equal to their Reason + their Drive. For a
  cost of 5 of these experience points each, characters may purchase extra characteristics points on
  any of their characteristics.
  Note that if a character’s Magical aptitude is raised up to a level of 14 through this technique,
  then the character will also gain the extra 1D6 -1 Magical aptitude score as detailed above.
  ROLLING A CHARACTER
  STAGE ONE
  To create a new character, firstly decide the character’s race and sex, and then draw a
  significator for the character from the tarot deck (see 21).
  Now the player is ready to determine his or her character’s characteristic scores.
  STAGE TWO
  Roll the character’s Strength, Dexterity, Endurance, Reason, Intuition, Drive, Charisma and
  Magical aptitude scores on 2D6+3. Add 1D6-1 to the character’s Magical aptitude if its initial dice
  for its Magical aptitude characteristic score was 14 or 15.
  STAGE THREE
  Work out the character’s ratings for Maximum hand, new draw etc. Do not work out repartee
  and sorcery ratings unless the player feels it to be necessary.
  STAGE FOUR
  Go to the rules section on skills, (page 30) and generate the character’s social class. The
  character must then have its skills selected and recorded.
  
  17
  THE CHARACTERISTICS
  The following characteristics serve to simulate the physical and mental faculties of the
  character. Readers should note that a character’s mental abilities are divided into Reason, Intuition
  and Drive; there is no all-encompassing measure for intelligence.
  STRENGTH is the expression of the brute force which the individual can apply. It is also
  used to indicate the character’s physical size and hulk. Strength is a measure of the character’s
  ability to lift weights and arm wrestle, and its ability to resist damage and shock.
  ENDURANCE is the measure of the character’s fitness and stamina. As such, it
  represents the amount of time that physical activity may be maintained. It should also be used in
  tests to resist disease.
  DEXTERITY measures the character’s coordination and agility. It is also used as a
  measure of the character’s hand-eye coordination and skill at fine manual tasks.
  REASON is a measure of the individual’s capacity for deduction, logic, memory and
  preplanning.
  INTUITION is used to determine the character’s “sixth sense” - his ability to outguess
  his opponents, or make an accurate assessment of a character at first meeting. Intuition also
  represents the character’s innate perception, and is checked whenever searching for hidden objects
  or trying to detect lies.
  DRIVE represents a character’s willpower and determination. It is a measure of the
  motivation and self discipline that a character can bring to bear on any task with which it is faced.
  DRIVE is tested whenever a character wishes to embark on a long and difficult project, or when his
  determination comes under attack.
  CHARISMA is a measure of the combined effect of the character’s physical appearance,
  personal bearing and speaking voice. Characters who are enlivened by an inner energy may have a
  high Charisma characteristic even if their physical appearance is not immediately overwhelming.
  Add 1 to the character’s Charisma if either its Dexterity or Drive characteristic is 13+. Subtract 1
  from the character’s Charisma if either of the character’s Dexterity, Reason or Drive characteristic
  scores are 7-.
  MAGICAL APTITUDE is used in conjunction with the magic system to represent
  the character’s ability to use magic. A character’s Magical aptitude characteristic represents the
  individual’s ability to sense and interact with other-worldly powers.
  SAMPLE CHARACTER
  LINETTE VULPINIERE
  To generate a new character, we
  must first decide upon the sex and
  species of the character, and draw a
  significator from the Tarot deck. The
  player decides that the character is
  to be a female human, and draws
  the card “The World” from the tarot
  deck as the character’s significator.
  This tells us that the character is a
  restless dreamer, and the player
  decides that Linette will be a bit of a
  “Tom Boy”, who will avoid learning
  the finer ladylike graces in favor of
  more adventurous skills.
  Linette’s Strength is slighted, but
  she decides to favor her Dexterity
  recompense. She must roll twice for
  her Strength and take the lowest
  value rolled, but she rolls twice for
  her Dexterity and take only the
  highest score. Her final
  characteristics are as follows:
  Name: Linette Vulpiniere
  Race: Human
  Sex: Female
  Social class: Gentle
  Strength:
    8
  Endurance:
  10
  Dexterity:
  13
  Reason:
  12
  Intuition:
  10
  Drive:
  10
  Charisma:
  12
  Magical Aptitude:
    8
  Hit Points:
    5
  
  18
  SAMPLE CHARACTER
  LINETTE (Continued)
  Wound level:
  1
  Maximum hand:
  6
  New draw rating:
  3
  Fatigue level:
  9
  Linette is quite a good character.
  Her physical strength is a hit on the
  low side, but this is not a problem in
  an environment dominated by
  rapiers and muskets. She is fairly
  charismatic (probably a
  combination of “Foxy” looks and
  an irrepressible personality), and
  quite dexterous. She will obviously
  never be a sorcerer or a beauty
  queen, but she is smart and quick
  enough to be a lively and interesting
  character.
  Continued Page 29
  SPECIAL FACTORS
  Each character is also rated for several special factors which are used in combat. These factors
  are the character’s Fatigue rating, Wound level, Maximum hand rating and New draw rating.
  FATIGUE RATING
  A character’s fatigue rating is found by averaging the character’s Strength and Endurance
  (rounding up).
  HIT POINTS
  A character’s hit points are found by averaging the character’s Strength and Endurance and
  halving the result. All fractions are rounded to the nearest whole number (0.5 rounds up)
  WOUND LEVEL
  A character’s “Wound Level” determines the amount of hit
  points damage that a character can sustain before it loses part of
  its maximum hand rating. Divide the character’s hit point losses
  from wounds by the character’s wound level (rounding down) to
  determine the number deducted from the character’s maximum
  hand.
  A character’s wound level is dependent upon the character’s
  strength and drive. The chart to the right is used to determine a
  character’s wound level.
  MAXIMUM HAND RATING
  The maximum number of cards that a character may retain in its
  hand during combat is dependent upon the character’s dexterity. The
  accompanying chart shows the relationship between a character’s
  dexterity and its maximum hand rating:
  NEW DRAW RATING
  A character’s new draw rating is dependent upon the character’s
  Intuition and Dexterity scores. Average these two characteristics, and
  lookup the resulting number on the chart to the right:
  OPTIONAL RATINGS
  The following ratings should be worked out for any characters who wish to become Sorcerers:
  MAXIMUM SORCERY HAND
  The maximum number of sorcery cards that may be held
  by any character is determined by the character’s Magical
  aptitude score on the chart to the left:
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  19
  NEW SORCERY DRAW
  Sorcerers may augment their hand of sorcery cards through new
  draws from the deck. The number of cards that they draw is
  determined by their new sorcery draw rating. This rating is
  determined by the character’s Reason score on the chart to the left.
  NEW REPARTEE
  REPARTEE HAND
  DRAW RATING
  These ratings should be
  determined for characters who
  gain the courtly skill “repartee”.
  DAMAGE
  Damage caused by weapons is determined by the draw of cards from the combat deck. The
  numerical value of these cards is subtracted directly from the victim’s hit points.
  When a character reaches zero hit points, it is unconscious. When its hit point score is equal to
  or less than (0 - the character’s wound level) then the character is dead.
  Remember that wounds directly affect a character’s maximum hand rating, (as determined by
  the character’s Wound Level).
  HEALING
  Wounds heal very slowly. At the end of each week, wounded characters must roll their Drive
  characteristic vs. 10. If the roll is successful, the character heals one hit point. Characters who are
  recovering from a grievous wound must roll a saving roll of their Strength vs. 10. If the roll fails,
  then their Strength and Dexterity characteristics are lowered by 1 until such a time as they can be
  cured through magic. This gives the character an “old wound” that can be used to gain sympathy
  from the ladies....
  STARTING EXPERIENCE
  All characters start the game with
  experience points equal to their
  Reason characteristic score plus
  their Drive characteristic score. Page
  32 of this book details the way in
  which these experience points are
  spent to purchase the character’s
  initial skills.
  REPARTEE AND SORCERY
  Magical skills and repartee are
  closed to all but a few. Repartee will
  basically be closed to characters
  who are not of gentle birth. Sorcery
  skill requires a Magical aptitude of
  16 or greater. Only determine a
  character’s Maximum Sorcery
  Hand, New Sorcery Draw, Repartee
  hand and New Repartee Draw
  ratings if the character actually
  qualifies for these skills, and intends
  to take them.
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  20
  FATIGUE IN COMBAT
  Subtract a characters armor
  fatigue penalty from their fatigue
  rating to determine their actual
  fatigue rating in combat.
  See page 56 for details on the
  way fatigue effects combat
  performance.
  WEIGHT
  Should players wish to determine the weight of a character, use the following formulae:
  Humans, Satyrs: Weight in kilos = (Strength x 5) + 4D10.
  Half-Horses: Weight in kilos = (Strength x 20) + 2D10.
  Little folk and Harpies: Weight in kilos = (Strength x 5) +1D10.
  ENCUMBRANCE
  Armor encumbers the wearer, reducing the wearer’s fatigue level. Subtract the character’s total
  armor fatigue penalty from the character’s fatigue rating.
  The weight borne by a character also drastically effects its performance in combat. Divide the
  weight in kilos carried by a character by its initial fatigue level (rounding down), to determine the
  character’s burden level. Subtract the character’s burden level from the character’s effective fatigue
  level and Dexterity whenever it enters combat. A character’s maximum running/galloping speed in
  paces per turn is also reduced by its (burden level x 2.5 paces). Halve the effective weight of any
  object that is carried upon a Half-Horse’s withers or back (the ‘horse’ section, not the human
  section).
  The greatest burden that any two-legged character can bear is equal to its Strength x 5 kilos.
  Half-Horses may carry a burden equal to their Strength x 10, as long as the weight falls mostly
  upon their withers and back. Pixies and Harpies may only carry a burden equal to their Strength in
  kilos if they still wish to fly at full speed and distance. Harpies can fly for short hops while carrying
  a burden equal to their Strength x 2 (pixies cannot fly at this level of burden).
  Movement and labor will also lower a character’s fatigue level when it enters combat. A
  character that has run or galloped for more than a turn, or who has been engaged in heavy manual
  labor immediately before the combat must roll its endurance vs. 10 (with its burden level acting as
  a DRM). If the roll is failed, then reduce the character’s fatigue level by 1.
  
  21
  SIGNIFICATORS
  LACE & STEEL uses a Tarot deck to provide a means of generating personalities and
  dispositions of characters. Each character draws one card from a tarot deck as its significator. This
  card will effect disposition and characteristic classes.
  CHARACTERISTIC BONUSES OR SLIGHTS
  Some cards will dictate a characteristic bonus or slight for the character in one or two particular
  areas. Characters who have a bonus in a characteristic should roll twice for the indicated
  characteristic and take the highest score thus rolled. The characteristic may never end up with a
  score of less than 11. Characters with a slighted characteristic should roll twice for the
  characteristic and take the worst score rolled. Slighted characteristics may never end up with a
  score higher than 9.
  DISPOSITION
  The character’s significator is used to give the character a “disposition” or personality. Each
  card of the lesser arcana has a disposition tied to it. Record this disposition on the character’s record
  sheet, and use this as a basis of the character’s role play.
  Remember that a character’s characteristic scores will give vital clues as to the overall
  personality of a character. A character whose disposition is sneaky and secretive will be played
  differently depending on whether it is smart or slow witted.
  THE DECK
  Tarot cards used in this game may be drawn from any normal Waite Tarot deck (don’t use an
  “Egyptian Tarot” or a “Crowley Tarot”, since these use different types of cards). If a Tarot deck is
  not at hand, then roll percentile dice to determine the card drawn (ignoring rolls of 78+). Once the
  type of card has been rolled, roll 1D6 to see if the card was normal or reversed (a 1, 2 or 3 causes the
  card to be reversed.).
  There are no apologies for any of the interpretations that I have affixed to the various tarot
  cards. We are trying to produce a game, and not a monograph on cartomancy.
  ADVENTURES FROM
  SIGNIFICATORS
  Tarot cards may be used as an
  Referee’s aid to improvising
  storylines and adventure ideas. By
  secretly drawing two or three cards
  from the tarot deck and consulting
  the results, the Referee can create
  new events based on the meanings
  of the cards he has drawn.
  Remember that tarot card meanings
  are in the eyes of the beholder. Trust
  what the pictures communicate to
  you as much as the meanings
  recorded in books on how to make
  tarot readings.
  For example, if the Referee draws
  the card DEATH, and the NINE OF
  SWORDS (which shows a man
  awakening from a nightmare), he
  might decide not to consult any
  written descriptions of the
  meanings of the cards. Nightmares
  and death? A haunting! The Referee
  decides to have one of the
  characters haunted by the spirit of
  an NPC he has cruelly murdered.
  The next phase of the game has
  thus been quickly established by a
  simple card draw.
  TAROT DECKS
  Remember! Use a “Waite” Tarot
  deck. Other types of Tarot decks
  have completely different cards!
  
  22
  THE MAJOR ARCANA
  The major arcana are powerful cards much tied to Magical aptitude. Only characters whose
  significator is a card from the major arcana may become sorcerers.
  0. THE FOOL
  Normal:  The character’s Intuition score is slighted. The character is prone to folly, extravagance and
  foolish enthusiasms. He is also attended by “fool’s luck”, which somehow saves him from the worst of
  his own excesses (Referees take note!).
  Reversed:  The charact er is either extremely vain or apathetic.
  1. THE MAGICIAN
  Normal:  The character has a bonus in its Magical aptitude and Drive characteristics. The character is
  self-confident of bearing, masterful and diplomatic.
  Reversed:  The character has a bonus in its Magical aptitude and Reason characteristics. The character
  is quiet and introverted - a bit of a loner.
  2. THE HIGH PRIESTESS
  Normal:  The character receives a bonus in its Magical aptitude and Drive characteristics. The character
  tends to be willful, self indulgent but forceful. If male, the character might be a dandy. If female, the
  character might be a “tease”.
  Reversed:  The character receives a bonus to its Drive. The character is conceited and passionate.
  3. THE EMPRESS
  Normal:  The character’s Intuition receives a bonus. The character is devious and secretive.
  Reversed:  The character gains a bonus on its Reason. The character is honest and responsible.
  4. THE EMPEROR
  Normal:  Drive and Reason receives a bonus. The character is a confident person, and is very loyal to
  his or her friends.
  Reversed:  The character’s Reason receive a bonus, but its Intuition is slighted. The character is
  generous and compassionate, but slightly “immature”.
  5. THE HIEROPHANT
  Normal:  The character gains a bonus to its Intuition. The character is occasionally struck by sudden
  bursts of inspiration or enthusiasm.
  Reversed:  The character tends to copy the opinions of its friends and associates.
  6. THE LOVERS
  Normal:  The character gains a bonus on its Charisma. The character is very attractive, and has a
  cheerful personality.
  Reversed:  The character’s Charisma gains a bonus. The character is vain, petulant, and used to getting
  its own way.
  7. THE CHARIOT
  Normal:  The character is proud, boisterous and vengeful.
  Reversed:  The character is argumentative and short tempered.
  8. STRENGTH
  Normal:  The character receives a bonus to its Drive. The character is courageous but generous to its
  foes.
  Reversed:  The character gains a bonus to its Drive. The character is proud, cruel, suspicious and
  untrustworthy.
  9. THE HERMIT
  Normal:  The character’s Reason receives a bonus. The character is cautious and cunning - a quiet rogue.
  Reversed:  The character’s Intuition gains a bonus. The character is unreasonably suspicious and
  mistrustful.
  10. THE WHEEL OF FORTUNE
  Normal:  The character’s Intuition gains a bonus. The character is a happy-go lucky, cheerful individual
  with considerable luck.
  Death
  
  23
  Reversed:  The character has been “spoiled” by too much good fortune. It has great expectations of
  advancement, and if crossed could go to great lengths to reach its goals.
  11. JUSTICE
  Normal:  The character’s Reason and Intuition both gain a bonus. The character is an astute judge of
  right and wrong, with a keen sense of justice.
  Reversed:  The character gains a bonus to its Drive, but slights its Intuition. The character is
  bureaucratic, bigoted and pompous.
  12. THE HANGED MAN
  Normal:  The character’s Magical aptitude and Intuition gain a bonus. The character is worldly wise,
  and views harmless vices with a pinch of salt.
  Reversed:  The character’s Magical aptitude gains a bonus. The character is selfish and power hungry.
  13. DEATH
  Normal:  The character receives a bonus on its Magical aptitude score. The character is of a coldly
  violent disposition - ruthless and amoral.
  Reversed:  The character’s Magical aptitude receives a bonus. The character is of a morbid or fatalistic
  disposition.
  14. TEMPERANCE
  Normal:  The character is economical and frugal, moderate and level-headed.
  Reversed:  The character is inquisitive and curious to the extreme. This will often supersede other
  considerations.
  15. THE DEVIL
  Normal:  The character’s Magical aptitude and Drive both receive a bonus. The character is stubborn,
  selfish and has a foul temper.
  Reversed:  The character is incapable of empathy or responsibility towards others, and gains pleasure
  from causing others hurt.
  16. THE TOWER
  Normal:  The character is proud and haughty - a disposition which might eventually cause him grief.
  Reversed:  The character is brash and self-assured - a disposition which covers up the character’s inner
  self-doubt and insecurity.
  17. THE STAR
  Normal:  The character’s Drive receives a bonus. The character is an optimist disposed towards
  overcoming all odds and carrying on regardless. The character cannot bear defeat, and overcompensates
  for his own failings.
  Reversed:  The character’s Drive receives a bonus. The character is rash and reckless.
  18. THE MOON
  Normal:  The character is paranoid.
  Reversed:  The character is chronically unstable. It will change its moods rapidly and unpredictably.
  19. THE SUN
  Normal:  The character is self content and happy. The character reacts badly to seeing cruelty or
  privation.
  Reversed:  The character is a rational pragmatist.
  20. THE LAST JUDGMENT
  Normal:  The character is brusque and decisive. The character believes that actions speak louder than
  words.
  Reversed:  The character’s Reason receives a bonus. The character is careful and exacting.
  21. THE WORLD
  Normal:  The character is a restless dreamer, avid for adventure and excitement.
  Reversed:  The character is a stolid individual who fears change.
  The Devil
  
  24
   The Five of Wands
  THE LESSER ARCANA
  The cards of the lesser arcana are divided into four suits, wands, swords, cups and pentacles,
  each of which are herein discussed separately.
  WANDS
  The suit of wands is often tied to the passions or emotions, art and spiritual matters.
  22. KING OF WANDS
  Normal:  The character is friendly, honest and conscientious. An animated, ardent character of strong
  convictions and honorable nature.
  Reversed:  The character is austere, and tends to be severe in his judgments, gruff but tolerant.
  23. QUEEN OF WANDS
  Normal:  The character is affectionate and loyal, but not vulgar and lustful. An honorable character
  who sets great store on true love.
  Reversed:  The character is amorous and deceitful - a self-centered, jealous personality.
  24. KNIGHT OF WANDS
  Normal:  The character is friendly, and has an inquisitive nature. The character prefers reason to
  outright violence.
  Reversed: A restless character who is very unsure of his or her own needs. This character can be
  witlessly cruel, in that it uses others and discards them once its needs are satisfied.
  25. PAGE OF WANDS
  Normal: A steadfast, faithful character with a decided romantic streak. He can be a dangerous rival.
  Reversed: A talkative character.
  26. TEN OF WANDS
  Normal: A character of dark moods and sudden depressions. These might manifest as outbursts of anger,
  slumps into apathy, or perhaps even as a sharp sarcastic wit.
  Reversed: The character is a born troublemaker who revels in intrigue and deception.
  27. NINE OF WANDS
  Normal: A bold character who reacts strongly against opposition.
  Reversed: The character is careful and cautious, bold and wily.
  28. EIGHT OF WANDS
  Normal: A busy, active character who combines optimism with great industry.
  Reversed: An extremely polite character whose conscience suffers from any unfairness to his or her
  fellows.
  29. SEVEN OF WANDS
  Normal: A highly competitive character.
  Reversed: An anxious, timid character who dislikes conflict. It might show unknown qualities of valor
  in a real emergency (or it might not).
  30. SIX OF WANDS
  Normal: The character is an independent spirit, a striver against all odds who revels in his own
  individuality.
  Reversed: The character fears and loathes failure.
  31. FIVE OF WANDS
  Normal: The character desires fame and fortune, riches and power above all else.
  Reversed: The character is a sly trickster, cunning, devious and glib.
  32. FOUR OF WANDS
  Normal: The character is quiet, calm and gets on well with his or her fellows. The character is peaceful,
  but will stand up for what it sees as right.
  Reversed: The character is boisterous, open, cheerful, and very friendly.
  
  25
  33. THREE OF WANDS
  Normal: A planner, an entrepreneur.
  Reversed: The character’s experiences have taught it pessimism and disappointment.
  34. TWO OF WANDS
  Normal:  The character is jaded and seeks new experiences. It becomes readily bored with mundane
  events and trivialities.
  Reversed: The character has a finely developed sense of wonder and delight. The character is fascinated
  by magic, legends and tales of adventure.
  35. ACE OF WANDS
  Normal: A creative person, confident, imaginative, and often having the superior luck which surely
  follows such people.
  Reversed: The character is completely decadent - either an intellectual poseur, or an indolent hedonist.
  CUPS
  The suit of science, study, visions and pleasure.
  36. KING OF CUPS
  Normal: An individual with an exacting sense of the social order and where he or she stands within it.
  Nevertheless the character is creative and fair.
  Reversed: A dishonest, double-dealing character, unjust, exacting and brimming with vice. A spreader of
  malicious gossip and a hatcher of plots.
  37. QUEEN OF CUPS
  Normal: The character is honest and virtuous to a fault. Prim and proper.
  Reversed: A vague, dreamy sort of character who seldom worries about practicality.
  38. KNIGHT OF CUPS
  Normal: The character is fastidious and finicky. If of gentle birth, then the character will be a snob.
  Reversed: The character is subtle and clever. A born liar or trickster. If the character has a good
  charisma, it can be assumed to have a suave, attractive manner.
  39. PAGE OF CUPS
  Normal: A quiet, studious sort of person who attempts to apply himself to tasks with the best of his
  ability.
  Reversed: The character is tasteful but reserved - a quiet individual with no patience for boisterous or
  coarse behavior.
  40. TEN OF CUPS
  Normal: The character is serene and hard to anger.
  Reversed: The character is prideful and sensitive about his own reputation and honor.
  41. NINE OF CUPS
  Normal: The character loves ease and luxury, good food, good clothes and pleasant company above all
  else.
  Reversed: The character is truthful, loyal, with a love of liberty.
  42. EIGHT OF CUPS
  Normal: The character is a dour aesthetic, finding little joy in the physical world. The character might
  be a philosopher, a student, a mystic or an intellectual.
  Reversed: The character is a dour miser, a hoarder of goods. The character will be unwilling to do
  anything which does not result in his own gain.
  43. SEVEN OF CUPS
  Normal: The character is a plotter and planner, much given to careful deliberation. The character is
  sentimental and imaginative.
  Reversed: The character is a determined, innovative entrepreneur.
  The Page of Cups
  
  26
  The Knight of  Swords
  44. SIX OF CUPS
  Normal: The character is a forward thinker with grandiose plans and ideas. A dreamer of grand dreams.
  Reversed: The character is notably eager, and has a ready enthusiasm.
  45. FIVE OF CUPS
  Normal: The character suffers from an overdeveloped conscience, and will tend to overcompensate for
  his own faults and wrongs done to others.
  Reversed: The character is a great starter of projects, but seldom finishes any. High Drive characters will
  have a great deal of energy, but a limited attention span.
  46. FOUR OF CUPS
  Normal: The character has a rigid personal code of behavior, and judges those around him by his or her
  own harsh standards. A potential crusader or puritan.
  Reversed: A gregarious character who seldom develops deep loyalties. The character feels most
  comfortable as an accepted member of a group.
  47. THREE OF CUPS
  Normal: A card of healing and solace, this indicates that the character is of a helpful and understanding
  disposition. The character will react badly if it hurts others.
  Reversed: The character thrives on success and achievement. A believer in action.
  48. TWO OF CUPS
  Normal: The character is passionate. This extends into the realms of both love and hate. Loyalty,
  revenge and suddenly falling in love all come easily to this character.
  Reversed: The character is rash and reckless, seldom reckoning the odds or considering the long term
  results of Its actions.
  49. ACE OF CUPS
  Normal: The character is good natured and humorous, canny and world wise.
  Reversed: The character is rebellious against authority.
  SWORDS
  The cards of action, command, militant intelligence and authority.
  50. KING OF SWORDS
  Normal:  A militant character, he or she will desire positions of command and authority - whether they
  are truly suited for it or not.
  Reversed: A cruel, savage character - fierce, brutal and barbarous. A definite streak of perverse sadism.
  51. QUEEN OF SWORDS
  Normal: A dutiful character who will perform violent acts, but who gains no pleasure from them. The
  character desires no acclaim for these acts except for their own knowledge of having done what was
  necessary as efficiently as possible.
  Reversed: The character is malicious and spiteful, and artful in deceit.
  52. KNIGHT OF SWORDS
  Normal: The character has a brave, proud, destructive temperament. A show off.
  Reversed: The character is an imprudent braggart.
  53. PAGE OF SWORDS
  Normal: A character who loves positions of responsibility, who is cunning and secretive.
  Reversed: The character is suspicious and sneaky.
  54. TEN OF SWORDS
  Normal: The character is cynical. Wary of power and authority, the character views justice and altruism
  in a suspicious light.
  Reversed: The character is extremely stiff and formal. The character likes the idea of holding a position
  of power, and when holding such positions will be at pains to demonstrate its authority and maintain
  “proper” standards.
  
  27
  55. NINE OF SWORDS
  Normal: The character is fey - a person with a death wish, with an apathetic attitude towards hopes and
  dreams.
  Reversed: The character is of a hysterical (theatrical?) disposition, and overreacts to most situations.
  Fear, anger, love and laughter will always be kept to extremes.
  56. EIGHT OF SWORDS
  Normal: A rebel without a cause, the character is disappointed with the status quo.
  Reversed: A person who admires authority. A potential sycophant.
  57. SEVEN OF SWORDS
  Normal: An opportunist. The character takes whatever he can, whenever he can, with no concern for
  others.
  Reversed: The character is talkative in a malicious way - a slanderer or spreader of gossip.
  58. SIX OF SWORDS
  Normal: The character has a fascination for travel and far climes.
  Reversed: The character is practical of disposition. A sad romantic who searches for their perfect love.
  59. FIVE OF SWORDS
  Normal: A character whose Self Image is tied in to proving himself better than those around him. The
  character will always go further or claim to have done better.
  Reversed: The character gains pleasure form degrading others - a bully.
  60. FOUR OF SWORDS
  Normal: The character is a loner who needs little support from his fellows. Not unfriendly, but a man/
  woman of few words.
  Reversed: The character is cautious but avaricious.
  61. THREE OF SWORDS
  Normal: The character has attitudes and beliefs which have made its own folk reject it. A sad, proud
  character who has a firm set of ideals.
  Reversed: A character with no respect for authority. Smug and self satisfied.
  62. TWO OF SWORDS
  Normal: The character is law abiding and responsible. It thinks of the long range effects of its actions.
  Loyal and affectionate, the character is brave and cooperates well with others.
  Reversed: The character is a charlatan - a poseur who speaks brave words but rarely follows these with
  actions. The character is chiefly interested in preserving its own skin at any cost.
  63. ACE OF SWORDS
  Normal: An active, aggressive character who revels in martial triumph and the exercise of authority.
  Reversed: An aggressive, active forceful character who does not like being crossed.
  PENTACLES
  The suit of business, utility, acquisition.
  64. KING OF PENTACLES
  Normal: A valorous character of firm moral fibre. The character dislikes unnecessary effort.
  Reversed: A lazy, corrupt individual.
  65. QUEEN OF PENTACLES
  Normal: A generous character that tries to uphold standards of justice. Potentially a very appealing
  personality.
  Reversed: A suspicious character that calculatingly examines the motives of everyone around it.
  66. KNIGHT OF PENTACLES
  Normal: A dedicated, responsible character who might be a bit too inclined to practicality (read also
  “dull”).
  Reversed: An idle character who shirks its duties and obligations at every turn. The character is careless
  and easily distracted.
  The Five of Pentacles
  
  28
  The Tower
  67. PAGE OF PENTACLES
  Normal: A level headed, serious character who values the qualities of reason and introspection.
  Reversed: A spendthrift or wastrel with a cheerful disposition. The character has the fool’s luck that
  seems to accompany such folk.
  68. TEN OF PENTACLES
  Normal: A stable, rational character who tries to curb rash companions. The character will deliberate
  before hazarding money or time on uncertain endeavors.
  Reversed: A compulsive gamble and taker of risks. The character lives for hazard and adventure - wine,
  women and the toss of the dice.
  69. NINE OF PENTACLES
  Normal: A prudent character who expects to reap rewards from planning and industry.
  Reversed: A rogue. Witty, adventurous with an endless source of cheek and humor.
  70. EIGHT OF PENTACLES
  Normal: The character is a diligent worker who delights in seeing his own efforts bear fruit.
  Reversed: The character is vain and self important. The character has an exacting disposition, and never
  misses a chance to turn a profit, even from friends.
  71. SEVEN OF PENTACLES
  Normal: The character delights in business, barter and haggling. There is no delight like that of getting a
  good deal!
  Reversed: The character is anxious about money - a careful investor who never loans out cash.
  72. SIX OF PENTACLES
  Normal: A character who is generous in his attitudes and hospitality.
  Reversed: The character is amorous and greedy, with a real need to display his wealth and prowess.
  73. FIVE OF PENTACLES
  Normal: The card of a loyal friend and trusted retainer. The character will try to remain steadfast to its
  friends, liege lord or principles through all adversity.
  Reversed: The character has no real convictions or loyalties except to himself. Self seeking, false hearted
  and amoral.
  74. FOUR OF PENTACLES
  Normal: The character has an easy grace of manner which comes from being at ease with its career and
  station.
  Reversed: The character is jealous of those who have what he or she lacks (money, power, love). The
  character might have a bitter, spiteful streak.
  75. THREE OF PENTACLES
  Normal: A character who revels in invention, innovation and the products of his own labors. A practical
  person rather than a mad inventor.
  Reversed: A petty character who resents the successes of others.
  76. TWO OF PENTACLES
  Normal: A gay, happy character with a great joi de vie. The character is still practical and industrious,
  but knows how to enjoy itself.
  Reversed: A dandy or “wit” who plays a role of gaiety, frivolity and intelligence.
  77. ACE OF PENTACLES
  Normal: An easy going, friendly character which is nevertheless interested in self advancement.
  Reversed: The character is acquisitive (money, art, companionship). Conspicuous display of wealth,
  snobbery and social climbing are all trademarks of this significator.
  
  29
  SKILLS
  Whenever a character attempts to perform a task, a skill check must be made. All skill checks
  are made against the characteristic which seems most relevant to the task being attempted (e.g. if
  the character was trying to fire a gun, then his Dexterity would be tested. If the character was
  trying to perform mathematical calculations, then his Reason characteristic is tested).
  Referees should feel free to discuss with players over which characteristics should be tested by
  various tasks.
  BASIC TEST PROCEDURE
  Whenever a task is attempted, the appropriate characteristic is tested to decide upon the
  success or failure of the character’s attempt. Subtract the difficulty number (determined by the
  chart below) from the characteristic being tested, and look this number up on the comparison
  chart (below). Beside the number thus yielded, you will see a second number - the required dice roll.
  This is the number that must he rolled or less on 2D6 in order for the test to succeed.
  The referee should sometimes check the results of character’s skill tests in secret, since the
  success or failure of some tasks might not be obvious until some time passes.
  TESTING ONE CHARACTER AGAINST ANOTHER
  When the attempt is being made against an animate object (such as another person) the
  relevant characteristics of both parties are used in the test. Subtract the relevant characteristic of
  the defender from the relevant characteristic of the character who initiated the test (the
  “attacker”), and roll the dice as detailed above. DRM’s to the dice roll are decided by subtracting the
  attacker’s skill level from the defender’s skill level. If the roll succeeds, then the “attacker” has won.
  If the roll fails, then the defender wins.
  DETERMINING THE TASK DIFFICULTY NUMBER
  The referee must decide the difficulty of the task which the character is undertaking. The
  following chart is then used to assign these abstract levels of difficulty a number suitable for using
  on the comparison chart.
  TASK DIFFICULTY NUMBER
  This number is compared defensively against the testing
  characteristic on this comparison chart.
  THE COMPARISON CHART
  Subtract the task difficulty number or the
  defender’s relevant characteristic from the relevant
  characteristic of the character who is performing the
  test. The number yielded by this is now looked up at
  the top of the comparison chart. This gives a column
  in which the dice score required for success can be seen
  below the dividing line. The roll succeeds on any dice
  result equal to or less than the specified number. A
  failed comparison roll will often have more severe
  results if the roll is failed by a wide margin (e.g.. By
  more than 2 points).
  SKILL TESTS
  When in doubt as to what
  characteristics affect a skill use, the
  Referee must alway have the final
  decision. When in doubt, you may
  average two characteristics.
  INTUITION is a useful
  characteristic for testing against
  sheer luck or random chance. Roll
  vs. INTUITION for such strange
  actions as checking for secret doors,
  noticing evil auras etc.
  EXAMPLE OF A SKILL TEST
  In a desperate attempt to escape
  her pursuers, Linette decides that
  she wants to try jumping her horse
  over a burning fence. The Referee
  rules that she must make a RIDING
  skill roll to successfully complete
  the task. She will have to roll against
  her DEXTERITY, modified by her
  skill in RIDING.
  The horse is frightened of the fire,
  and the fence is high, so the Referee
  rules that it is a difficult task (a
  difficulty number of 15). Linette has
  a DEXTERITY of 13. We now
  subtract the difficulty number from
  the characteristic being tested.
  Linette’s 13 DEXTERITY minus the
  difficulty number of 15 gives a
  result of -2.
  We now go to the -2 column on
  the comparison chart (the fourth
  column from the Top). Looking
  across, we see that the required dice
  roll is a 5 or less on 2D6. Since her
  iding skill is 0, there is no DRM.
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  30
  Linette rolls, and scores a 7. She
  fails! Since she has failed her roll by
  2 full points, something particularly
  bad has happened as a result of
  Linette’s failure. The Referee rules
  that the horse has thrown her, rather
  than simply refused the jump.
  Linette ends up on the ground with
  her shapely rump well and truly
  bruised for her trouble.
  SOCIAL STATUS
  OPTIONAL RULE
  Characters can be rated for their
  status and respectability within their
  own social class. Roll 2D6+3, and
  record this number on the
  character’s record sheet. The higher
  the number, the greater the
  character’s social status within its
  own social class. This number can
  be used as a “characteristic” when
  rolling to determine success in some
  social situations (e.g. when checking
  to see whether a character is invited
  to a social function, or gains an
  interview with an official).
  Reputation and scandal will
  effect a character’s social status.
  Vary a character’s status rating as
  incidents seem to effect it. Status
  point increases can be part of the
  rewards of a successful adventure.
  Status point subtraction can be the
  penalty for unseemly behavior and
  poor role play.
  Social status is only measured in
  relation to other people of the
  character’s own social class. A
  character might be the most
  respectable peasant in the village,
  but to the nobility, he is still just a
  peasant!!!
  SKILL RATINGS
  A character’s level of competence with its skills is measured on a scale from 0 and up. A skill
  level of 0 or higher is required for a character to be capable of taking a test in specialist fields (such as
  knowledge or combat skills).
  Skill ratings make skill tests easier to pass. For every level of skill possessed by a character, the
  player receives a DRM of -1 when rolling a skill test vs. that skill.
  There is no effective limit to the range of skill levels - skills of up to 5 or 6 might well be
  encountered, although people with skills at such levels will be famous within their fields. As a
  general rule of thumb, treat people with a level zero skill as having a fair grounding in a skill,
  characters with skill levels of 1 and 2 as being competent, and characters with level 3 or 4 skills as
  being experts. Other higher level skills would be termed “masters”.
  WOUND DRMS
  A character’s wounds adversely effect its chances of success with any skill. Every 2 full points
  of maximum hand rating lost due to wounds will give the wounded character a DRM of +1 on its
  skill rolls.
  STARTING SKILLS
  All characters have a starting “template” of skills gained from their social background. To this
  basic background template are added additional levels of skill purchased through skill points.
  To generate a character’s skills, first generate the character’s social background on the table
  below, and copy out the initial skills for that social character type onto the character’s record sheet.
  RANDOM GENERATION OF SOCIAL BACKGROUND
  HALF-HORSES,
      HUMANS
               SATYRS
       HARPY,  PIXIE
  Referees should try to construct groups of
  characters into some sort of coherent whole. For
  instance, if a party consists of a female noble, a
  female gentlewoman and a male rural middle class
  character, then the referee might decide that the
  gentlewoman is lady in waiting to the noblewoman,
  and the male character is a servant/companion in the
  pay of the ladies.
  All characters are assumed to possess level zero in
  such skills as spin yarn, persuade, pistol, long arms,
  brawling, sneak, spot hidden and first aid. “Unusual
  skills” are skills which are rare amongst the social
  class in question.
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  31
  BASIC CHARACTER TEMPLATES ARE AS FOLLOWS:
  NOBLE OR GENTLE BIRTH - MALE
  Nobles and gentlemen receive a level zero skill in the following areas:
  2 social skills
  Literacy
  1 courtly skill
  Etiquette
  Thrusting Sword
  Riding*
  Unusual skills: Cutlass, Brawling, all craft skills
  * This chart is also used for female Harpies. A Half-Horse or Harpy should substitute another social skill
  for Riding.
  NOBLE OR GENTLE BIRTH - FEMALE
  2 social skills
  Literacy
  2 courtly skills
  Etiquette
  Riding*
  Unusual skills: All combat skills, all craft skills, Streetwise
  * A Half-Horse should substitute another social skill for Riding.
  URBAN MIDDLE CLASS - MALE
  3 social skills
  Literacy
  Sword (Thrusting or Cutting)
  1 craft skill at level 1 *
  Unusual skills: All courtly skills
  * The character might instead choose to take this level of skill in Law or Administration (making him a
  clerk), or Legend Lore (if the character is a mage’s apprentice).
  RURAL MIDDLE CLASS - MALE
  1 social skill
  Literacy
  Sword (Thrusting or Cutting) or Dagger skill
  Riding*
  Farming
  Travel 1
  Unusual skills: All courtly skills
  * A Half-Horse should substitute another social skill for Riding.
  MIDDLE CLASS - FEMALE
  3 social skills
  Literacy
  2 of the following skills: Merchant, Farming, Chief, Medicine,
  Legend Lore or Tailoring.
  Unusual skills: All combat skills
  COMMONER - MALE
  Carousing
  2 social skills
  1 craft skill
  Brawling 1
  Cutting Sword
  Travel 1
  Unusual skills: All knowledge skills (except Legend Lore)
  Banned skills: All courtly skills.
  SAMPLE CHARACTER
  LINETTE (CONTINUED)
  As a starting character, Linette has
  her initial skills for being of “gentle”
  birth, plus 22 experience points to
  spend on purchasing additional
  skills. Linette’s starting skills for her
  social background are as follows.
  2 social skills (Linette chooses
  Dancing and Persuade)
  Literacy 2 courtly skills (Linette
  chooses Political lore and
  Hawking)
  Etiquette
  Riding
  All of these skills are initially at
  level zero.
  Linette must now spend her
  initial experience points. Firstly she
  purchases a skill level of 2 with the
  sword (in which she initially has no
  skill at all), costing 5 (for level zero)
  +3 (for level one) +5 (for level two)
  points, for a total of 13 experience
  points! This has been an expensive
  purchase because of the extra two
  experience points per level that she
  must pay for martial skills (these
  being unusual skills for a
  gentlewoman).
  Linette now raises her Pistol skill
  to level 2, costing 3 + 5 points for a
  total of 8 (Linette already has a skill
  level of zero with the pistol, as do all
  characters). She now has only one
  experience point remaining, and
  decides to use this to raise her
  Persuasion skill to level one.
  
  32
  Linette does not have a great
  variety of skills, since she has
  chosen to adopt skills which are
  very difficult for a person of her
  class and sex to learn. She will have
  to avoid courtly functions and petty
  intrigues, since she does not have
  the skills to deal properly with them
  - skills which all her peers will have
  in abundance. Linette will thus find
  that she is a bit of a loner, since she
  is not really suited to the company
  of her peers. This suits her just fine,
  since she dreads the thought of
  being married off until she is well
  and truly ready.
  COMMONER - FEMALE
  3 social skills at level 1
  l craft skill
  Travel 1
  Unusual skills: All combat skills, Leadership, all knowledge skills (except Legend Lore)
  Banned skills: All courtly skills.
  LOWER CLASS PIXIE
  2 social skills
  Legend Lore
  Literacy
  Thrusting Sword or Dagger
  1 knowledge skill
  1 craft skill
  LOWER CLASS HARPY
  2 social skills
  Brawling
  Sword (Cutting or Thrusting)
  l craft skill
  Travel 1
  PURCHASING ADDITIONAL SKILLS
  Additional starting skills are purchased using experience points. Each character starts the game
  with experience points equal to its Reason characteristic added to its Drive.
  COST OF SKILL LEVELS
  Additional skills are bought as individual levels of
  skill. Characters must purchase each level of a skill
  with experience points. Thus if a character wanted to
  purchase a skill level of 4 in a skill, he must pay the
  experience points costs for level zero, 1, 2, 3 and 4. If a
  character wishes to increase a skill in which it already
  has 0 or more levels of skill, it need only purchase the
  desired additional levels.
  Skills which are unusual for the character’s social
  “template” cost 2 experience points extra per level
  (only for initial purchase - not for experience increase
  during an adventure). Banned skills cost double the
  normal experience points cost.
  Skills should be purchased in such a way as to fit the character for some sort of role or career.
  Sample careers might include the following:
  Courtier
  Soldier
  Scholar
  Merchant
  Craftsman
  Farmer
  Thief
  Sailor
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  33
  SOCIAL SKILLS
  Assess Personality
  Carousing
  Dancing
  Detect Lie
  Gambling
  Leadership
  Literacy
  Persuade
  Play Musical Instrument
  Spin Yarn
  Streetwise
  COURTLY SKILLS
  Etiquette
  Fashion
  Flirtation
  Hawking
  Orate
  Poetry
  Political Lore
  Repartee
  KNOWLEDGE SKILLS
  Administration
  Geography
  Law
  Legend Lore
  Military tactics
  Natural lore
  Navigation
  Philosophy
  Siege Engineer
  Weather Lore
  MILITARY SKILLS
  Archery
  Artillery
  Brawling
  Cutting Sword
  Lance
  Long arms
  Pistol
  Polearms
  Thrown Weapons
  Thrusting Sword
  SKILL LISTS
  The following list is intended as a guideline for players and referees as to the general types of skill
  that might be available for purchase by characters. Referees should feel free to expand upon this list
  as they see fit.
  MOVEMENT AND PERCEPTION SKILLS
  Climbing
  Detect magic
  Riding
  Sneak
  Spot Hidden Object
  Swimming
  Tracking
  Travel
  CRAFT SKILLS
  Artist
  Carpentry
  Cook
  Cut Purse
  Farming
  Farrier
  First Aid
  Gunsmith
  Juggling
  Leather Work
  Lock Picking
  Medicine
  Merchant
  Metalwork
  Seamanship
  Tailoring
  MAGICAL SKILLS
  Alchemy
  Artificiery
  Astrology
  Demonology
  Hedge Magics
  Illusion
  Mental Disciplines
  Necromancy
  Sorcery
  BASIC SKILLS
  Remember. All characters start
  the game with level zero in the
  following skills:
   Brawling
   First Aid
   Long Arms
   Persuade
   Pistol
   Sneak
   Spin Yam
   Spot Hidden
  
  34
  SKILL CLARIFICATIONS
  The following lists are prepared as an aid to referees and players in deciding the applications of
  the various skills listed above. Magical skills will be examined in detail in the chapter on magic.
  SOCIAL SKILLS
  The social skills are concerned with the never ceasing interplay between people. They are the
  talents of being popular with your fellows, or of discovering their little foibles. They are often useful
  for saving face or boosting self confidence in social situations. Social skills are available to any
  character from any walk of life.
  ASSESS PERSONALITY
  The character has a knack of knowing another person’s disposition after being in their
  company for a while. This skill is also useful for detecting hidden enmities or friendships.
  CAROUSING
  The talent of making a successful impression on others in a boisterous environment.
  Carousing skill can be used to measure a character’s ability to out drink other characters, to attract
  the attention of wenches and slatterns, to make coarse jokes and sing bawdy songs for the
  amusement of others. A successful roll vs. carousing skill might well win friends and raise the
  character’s Self Image for a while, but will certainly give the character a headache the morning
  after.
  DANCING
  The character is capable and comfortable with dancing and expressive body movement. While
  most characters will be able to fumble their way through a dance if shown the steps, only a
  character with dancing skill will seem comfortable and graceful while dancing.
  DETECT LIE
  This skill is used whenever one character lies to another. A successful roll on behalf of the
  character who is being lied to will allow that character to realize that it is being fed “baloney”.
  GAMBLING
  The
  character has a
  knack for
  playing games
  of cards, dice
  etc. for money.
  This skill
  encompasses
  talents in
  reading the
  ploys of other
  players, as well
  as a number of
  techniques for
  cheating.
  
  35
  LEADERSHIP
  Leadership skill is used as a modifier on many Charisma rolls. Mostly used for motivating
  underlings, Leadership skill can also be used to reinforce loyalty or even smooth over enmities
  between subordinates.
  LITERACY
  The skill of reading, writing, and successful written expression. Characters who lack literacy
  skill are unable to read or write. Characters who possess high levels of literacy are capable of gaining
  the optimum effect out of the written word.
  PERSUADE
  The skill of getting others to perform favors that they do not really want to perform. Use
  persuasion skill as a DRM on favor rolls.
  PLAY MUSICAL INSTRUMENT
  This skill either allows the character to play one of the musical instruments available in LACE
  & STEEL, or makes the character a trained singer. The character must choose which instrument it
  may play. This skill also allows the character to read musical notation.
  SPIN YARN
  The character is talented at telling fanciful tales, telling smooth and consistent cover stories,
  and could generally be considered glib of tongue.
  STREETWISE
  The character is wise in the ways of “underground” society. Characters who have streetwise
  skill are capable of finding thieves for hire and buyers for stolen goods.
  Social skills should be an integral
  part of any adventure. A ball, a party,
  carousing in a tavern or inspiring
  your followers are all part and parcel
  of an entertaining game.
  
  36
  THE GENTLE ART OF
  COURTLY LOVE
  Courtly skills are the stuff of pure
  romance. The lady, the dandy, the
  courtier and the spy will rely upon
  these skills as their stock in trade.
  COURTLY SKILLS
  The courtly skill are social skills which mostly apply to only the uppermost strata of society.
  Like social skills, they are often useful for avoiding Self Image losses (embarrassment) in social
  situations.
  ETIQUETTE
  The character is familiar with the complexities of formal address, bows, salutes and curtsies.
  The character is also schooled in heraldry, the recognition of orders and awards, table manners and
  formal dress. Etiquette skill is essential for avoiding disgrace at courtly functions, but is rarely
  “tested” by normal circumstances.
  FASHION
  The skill of fashion consciousness. Fashion experts are able to keep abreast of all the latest
  fashions, and to select and coordinate garments which accord with the very latest trends.
  Characters who are skilled in fashion can order and develop outfits which are the very avant garde
  of fashion, setting the trends that others will follow and gaining a reputation thereby.
  FLIRTATION
  Mostly a female skill, a character skilled in flirtation may engage the interest and admiration of
  characters of the opposite sex. Flirtation is a complex skill, and can be used to tease and entice
  without ever becoming a blatant sexual invitation. Successful use of flirtation skill will definitely
  boost the user’s Self Image.
  HAWKING
  A blood sport much enjoyed by those who can afford it. Hawking skill enables a character to
  train a bird for the hunt, raising a bird from a mere fledgling. When out on a hunt, hawking skill
  will determine how well the character’s bird performs - and whether it comes back once launched!
  ORATE
  The character is skilled a public speaking, intriguing conversation and debate. This skill includes
  talents in the choice of lively and attractive language in all situations - not just in public
  announcements.
  POETRY
  The character is capable of creating attractive, meaningful or thought provoking poetic prose.
  POLITICAL LORE
  This skill is a general “current affairs” knowledge. Characters who are skilled in political lore are
  aware of current political alliances between states, noble families and clans. Characters who have
  this skill will know the doings and backgrounds of important public figures, and will recognize such
  characters when they see them. Politically aware characters are able to assess current events, and
  predict their effects on the near future. This skill is vital to diplomats, courtiers and spies.
  REPARTEE
  The skill of being a successful “wit”. Repartee is the ability to pepper one’s conversation with a
  constant stream of witticisms, ironies and ambiguities. It can be used both to make the user seem
  more intelligent in the eyes of his or her peers, and to make the victim seem ridiculous. A successful
  use of repartee will never cause direct insult, but will still be able to carry insulting meaning.
  Characters should be careful how and where they use repartee skill. While it is useful at a ball,
  or for taking a rival down a peg or two, it could cause trouble if used in a tavern.
  
  37
  MILITARY SKILLS
  Military skills are the skills of combat, and are acquired through long hours of practice and
  practical experience.
  ARCHERY
  The character is skilled at firing bows. Archery is practised both as a military skill by the Forijan
  nomads, and is a sport in more civilized climes. The skill of archery may be used on foot or
  horseback, but horse archers who have not learned their craft amongst the nomads will have to roll
  vs. their riding skill to avoid falling off their mount!
  ARTILLERY
  The character is a gunner, capable of efficiently loading, aiming firing and deploying artillery
  pieces. Artillery skill will assist in the speedy loading and accurate firing of cannon. Skilled gunners
  can direct the fire of a battery of guns, greatly increasing the overall effect of the battery’s fire.
  Old time gunners can usually be told by their constant cries of “Eh? What did you say?”
  BRAWLING
  The skill of infighting with hands, feet, teeth, improvised weapons and cudgels. Brawling skill
  also allows the character to wield daggers and knives.
  CUTTING SWORDS
  The use of one handed cutting swords (cutlasses, sabres and hunting swords). “Cutting
  Sword” skill also covers the use of one handed axes (“Polaxes”), hammers and maces.
  This skill is more common amongst the lower orders than “Thrusting Sword” skill.
  LANCE
  The character may use the couched cavalry lance. This skill is slowly dying out, since sword
  and pistol have now replaced the lance as the dominant cavalry weapons. LACE & STEEL’s
  equipment section details special rules for the use of lances in the cavalry charge.
  Lance skill is appropriate for Half-Horses, since it makes good use of their mobility (Four-
  Leggers make awful pikemen due to the huge area that they occupy). Half-Horse lancers are at a
  disadvantage when facing cavalry.
  LONG ARMS
  The ability to accurately fire muskets, carbines and similar shoulder fired firearms.
  PISTOL
  The ability to accurately fire pistols.
  POLEARMS
  The use of spears, halberds, partisans etc. in hand-to-hand combat.
  THROWN WEAPONS
  The ability to accurately cast knives or throwing darts. These weapons are completely
  inaccurate over distances of more than 10 paces (thrown knives) or 20 paces (darts), and roll to hit
  vs. 10 at all ranges. They suffer the +2 armor modifier of daggers, and never cause “follow up”
  damage unless the hit was scored on the target’s high line.
  THRUSTING SWORD
  The skill of fencing with rapiers and “backswords”. No gentleman’s education is complete
  without a firm grounding in the basics of fencing.
  Military Skills will inevitably  be
  very common specialties amongst
  player characters. Too much
  concentration on the skills of
  violence can make a boring
  character, however. In Lace & Steel,
  flirtation, repartee and detect lie
  might be of more use to characters
  than skill with pistol, knife and
  sword.
  
  38
  Movement and perception skills
  will often come under test during an
  adventure. Thieves and soldiers of
  fortune will find skills such as Sneak
  and Spot hidden objects amongst
  their most useful abilities. Other
  movement skills are more
  specialized and will be tested under
  stress less often. Never the less, a
  well rounded character should clock
  up a few skill levels within this
  category. A quick escape on a fast
  horse, or a swan dive out of a
  window into the castle moat can be
  difficult without the appropriate
  skills.
  MOVEMENT AND PERCEPTION SKILLS
  These skills are grouped together for no special reason. All of these skills involve training of the
  character’s senses, or the learning of new movement skills.
  CLIMBING
  The ability to swiftly and efficiently scamper up ropes, trees and rubble, or to cling to
  precarious perches.
  DETECT MAGIC
  The ability to sense the mana which surrounds a magic item, sorcerers or a place of power. Skill
  rolls with this ability are taken vs. the character’s Magical aptitude score, and will usually be vs. 15
  or 20 (magic is quite hard to detect). Although anyone can learn the slight, it will normally be
  confined to characters who have a high Magical aptitude score.
  RIDING
  The ability to stay astride a horse or mule and make the wretched thing go in the desired
  direction at the desired speed. At higher levels this skill can he used for having the character’s
  mount jump obstacles without the character falling off, or for urging the mount to greater bursts
  of speed.
  This skill is also used to control panicking mounts, or to keep the mount steady while firing
  pistols or carbines from the saddle (an unsteady mount will cause a penalty of 1 higher difficulty
  level to the shot).
  SNEAK
  The skill of moving quietly and of hiding oneself efficiently.
  SPOT HIDDEN OBJECT
  The ability to see hidden things, spot hidden characters, or notice minor visual details. To find a
  hidden character, roll the seeker’s spot hidden object skill vs. his target’s sneak skill.
  SWIMMING
  The ability to keep oneself afloat in water. The level of skill will indicate the character’s
  endurance at this task.
  TRACKING
  The ability to follow foot prints, and to interpret the signs and clues left behind by the quarry.
  TRAVEL
  The character
  is hardened to the
  “joys” of the road,
  and is used to
  sleeping in the
  open. Travel skill is
  used as a modifier
  to travel fatigue
  rolls. Travel skill
  cannot be learned
  through study,
  but only through
  experience.
  
  39
  CRAFT SKILLS
  The crafts are knowledge skills which also involve a mastery of manual techniques. There are
  many more craft skills than those listed here, and players are welcome to become brewers, glaziers,
  potters or masons if they so desire.
  ARTIST
  The character is a skilled drawer/painter, or a skilled sculptor.
  CARPENTRY
  The character is skilled in the construction, repair and decoration of wooden artifacts. This skill
  can be used for making cabinets or repairing ships.
  COOK
  While most characters are at least capable of frying meat or boiling potatoes, it takes a skilled
  cook to make a truly appetizing or complex meal. Good cooks can make the best out of available
  materials.
  CUT PURSE
  The character is skilled in the dubious art of picking
  pockets, removing necklaces, cutting purses from victims
  belts and other illegal sleights of hand. This skill is learned
  only from thieves guilds.
  FARMING
  The character is skilled at raising crops and livestock. Skilled farmers know of proper land
  management, allowing them to get the best out of the soil by choosing the right crops for the
  right areas. A good farmer actually increases the wealth of the soil he tills.
  FARRIER
  The character is skilled in the care of horses and dray
  beasts. Skilled farriers are good judges of “horse flesh”, and
  can detect superior or inferior quality beasts. Farriers can
  treat the ills and injuries that these animals acquire, and
  can break and train new mounts.
  FIRST AID
  The skill of stanching blood loss, setting bones and
  bandaging wounds.
  GUNSMITH
  The character can make muskets and pistols when provided with the proper tools and
  materials. A highly skilled gunsmith can make superior quality arms with increased handiness,
  reliability and accuracy.
  JUGGLING
  The character is skilled in juggling and tumbling.
  LEATHER WORK
  The character can produce commercial quality leather goods, including shoes, boots, holsters,
  buff coats and saddles.
  LOCK PICKING
  The character can tease open locks. This skill is only learned through thieves guilds.
  The function of craft skills is to
  provide characters with a means of
  earning a living. Characters who are
  not landed gentry, or out and out
  mercenaries will definitely need
  some  sort of trade.
  
  40
  The craft skills are
  not considered appropriate for
  people of gentle birth.
  After all, what’s the point in
  having a Coach and four, if
  there’re no peasants to run over
  with it!
  MEDICINE
  A doctor is skilled in
  assisting the long term
  recovery of patients and
  the combating of disease
  and fevers. If a wounded
  character is attended by a
  doctor, the doctor’s skill
  level is used as a beneficial
  DRM on the character’s
  wound recovery rolls.
  MERCHANT
  A merchant is a skilled
  buyer and seller of goods.
  Merchants know the
  normal price for most
  goods, and are skilled at
  enticing their customers
  into paying more than
  this level. Merchant skill
  is tested whenever the
  character shops for
  bargains or tries to sell at
  high profit. Merchants are
  also skilled at basic
  arithmetical calculation
  and the use of weights
  and measures.
  METAL WORK
  Metal workers are
  capable of producing
  useful metal artifacts
  including pike heads, axes
  and such. Characters at
  skill level 2 or higher must
  specialize, becoming either
  armorers, sword smiths or
  cannon founders.
  SEAMANSHIP
  A sailor is skilled in the dozens of minor skills needed to help crew a ship. Seamanship skill
  includes small boat handling, the setting of sails, the tying of esoteric knots etc. It also governs the
  character’s ability to skillfully direct the handling of a ship, and its knowledge of the tactics of sea
  combat.
  It is no disgrace for a noble or gentleman to learn seamanship.
  TAILORING
  The character is skilled at the production of useful and beautiful clothes.
  
  41
  KNOWLEDGE SKILLS
  Knowledge skills encompass all of the scholarly skills which do not require vulgar manual labor.
  They are thus considered suitable for study by characters of gentle birth.
  ADMINISTRATION
  A skilled administrator is able to efficiently organize and supervise a bureaucratic organization.
  Administrators in LACE & STEEL are also able to handle arithmetic calculations, and acquire a
  knowledge of the right people to see and the right questions to ask in order to get things done. As
  such, administration skill acts as a sort of “streetwise” knowledge for society’s bureaucratic classes.
  GEOGRAPHY
  A knowledge of the physical layout of the known world, its peoples and their general customs.
  LANGUAGES
  Each character is presumed to speak their native tongue with fluency, and is capable of
  understanding regional dialects if they are pronounced carefully. Other languages must be learned
  as a skill.
  The languages which a character may choose to learn are as follows.
  AULD TANTIC
  The character can read and speak the ancient language of Tantus, in which many magical
  texts and scholarly works are written. Knowledge of Auld Tantish is the mark of the true scholar.
  The modern Tantic language is largely descended from the original Tantic tongue, though it
  now bears little relation to the classical form.
  MODERN TANTIC
  The corrupt form of the ancient tongue of the once-mighty Tantic empire. Modern Tantic is
  spoken in Duncruigh, Welfland, The Tantic empire, Forija and Scarmis.
  ALAMARIAN
  The musical language of Nantierre and Albernia. Some duchies of the Tantic empire speak a
  corrupted form of the Alamarian tongue.
  HARABIAN
  The ability to speak the principal tongue used in the far-off land of Harabi. This is a useful skill
  for far-ranging traders and explorers.
  LAW
  Characters skilled at law have a firm knowledge of the legal codes of all known states (all
  civilized countries have legal codes based on Tantic tradition). This skill may be used to successfully
  defend or prosecute a character in a court of law.
  LEGEND LORE
  The character is well versed in folk lore and legend. Characters who have a skill in Legend Lore
  have a wealth of knowledge about famous magical items, historical events, magic users of renown
  and sundry other topics.
  MILITARY TACTICS
  The skill of conducting large military forces in battle. This skill encompasses a knowledge of
  battle tactics as well as the principles of campaign strategy. A successful general will also need
  leadership to control his staff, a corps of Administrators and a good set of wits if he is to avoid
  disaster. Mere tactical aptitude is not enough...
  NATURAL LORE
  Characters who are skilled in natural lore are able to identify herbs and plants, and are familiar
  with the life cycles and habits of non sentient animals.
  No lady or gentleman can be
  considered truly fit for society
  without the benefit of a Knowledge
  Skill.
  Genteel skills such as languages
  and philosophy mark a truly
  polished education.
  
  42
  Magical skills are normally
  learned by private tuition and Study.
  There are no magical ‘schools’ that
  may  be attended, although Magi do
  tend to form clubs societies m
  which they swap information and
  source material.
  Some of the branches of magic
  would be considered
  ungentlemanly or unladylike (such
  as artificiery).
  NAVIGATION
  The character is skilled in using the sun, stars, charts and compasses to determine its location
  on the globe. The current state of the art will allow navigators to determine how far north or south
  they might be from the equator (longitude), hut as yet there is no way of telling distances travelled
  east or west (latitude). Navigators thus make use of log hooks recorded by their predecessors which
  record helm headings, rates of speed and estimates of distances crossed. Exploring new seaways is
  thus time consuming, dangerous, and often profitless.
  PHILOSOPHY
  The character is skilled in formal philosophical discourse. This includes a knowledge of the
  Christian religion, biblical texts and the major Gnostic variations on “mainline” Christianity.
  SIEGE ENGINEER
  Siege Engineers are skilled at constructing and breaking into fortifications. This skill includes
  knowledge of excavation and wall construction, demolitions, the siting of batteries and a host of
  similar talents.
  WEATHER LORE
  The measure of a character’s ability to predict the weather. This can he used to give short term
  predictions (e.g. that there will he no storms tomorrow), or more generalized long term predictions
  (e.g.. It looks like it’s going to be a long cold winter). A very useful skill for farmers and sailors.
  MAGICAL SKILLS
  A full list of magical skills in provided starting on page 65. The most important thing to note
  with magical skills is that they come in “schools” or disciplines, each of which contains a number
  of specific spells. Characters must purchase skill levels within specific schools. Every level of skill
  within a school (from zero onwards) that they acquire also gains them the knowledge of one of the
  spells within the school. Individual spells may also be purchased separately.
  
  43
  ONGOING EXPERIENCE
  LACE & STEEL characters should have the opportunity to expand their skills and abilities as
  part of the rewards of an adventure. Refining a player character’s known skills and having it
  develop new areas of knowledge is a major part of the fun of any game.
  At the end of each adventure, each character should roll for experience with every skill that it
  used during the scenario. Roll the character’s score in whatever characteristic seems to most govern
  the use of the skill vs. 10, using the character’s skill level as a positive DRM on the dice (e.g.. If a
  character has a skill level of 1 in an area, it will add 1 to its dice score when making the check). This
  makes it harder to gain experience in areas in which the character already has high skill levels.
  NOTE: A character’s Self Image DRM will effect all experience rolls made at the end of an
  adventure. Read the Self Image rules carefully, and use them well - they are vitally important to
  the experience system!
  If the character’s experience roll is made, then the character acquires one experience point with
  the tested skill. If the experience roll was 2 points or more below the minimum required score, and
  the character made particularly effective or frequent use of the skill during the past scenario, then
  the character gains 1 D3 experience points with the skill.
  When enough experience points are accumulated to raise a skill up to the next skill level,
  increase the character’s level of competence with the skill by one and reduce the experience points
  track for the skill to zero until fresh experience points are earned.
  If a character earns experience in a magical field, its new experience points may either he spent
  on increasing its expertise in the field, or in gaining a new ability within the field.
  STUDY
  Skills may also be learned through study. Two months study in a field will entitle the character
  to experience rolls in the field of study, but only if the character successfully makes a roll of its Drive
  vs. 10.
  Study might he done as part of a job. If a character was press ganged onto a ship, then it
  would probably pick up seamanship zero without having to make any drive rolls, since its “study”
  in the subject is compulsory.
  MAINTAINING SKILLS
  Skills must he maintained through constant use. If a character spends a year or more without
  using a skill, it must roll its Reason score vs. 10. If the roll is failed, then the character’s skill goes a
  bit rusty- reduce it temporarily by 1 skill level (to a minimum of level 0). Skill levels lost in this way
  may he regained at the cost of 1 experience point per level.
  EXPERIENCE
  Linette returns from an
  adventure, and the Referee tells her
  to make experience rolls.
  During the course of her
  adventure, Linette has made rolls
  against her pistol skill, her riding skill
  and her brawling skill. She thus has
  three checks to make. Let’s look at
  her first roll - the roll for experience
  in PISTOL skill.
  For her pistol skill, she will roll vs.
  her DEXTERITY (the characteristic
  that most affects pistol skill rolls).
  She must roll her DEXTERITY of
  13 vs. the task difficulty of 10. We
  subtract the task difficulty number
  (10) from her characteristic of 13,
  giving us a result of +3. The +3
  column of the comparison chart
  yields a required dice roll result of 9-
  on 2D6 for success). BUT Linette
  has a pistol skill of 2. This counts as
  an adverse DRM on the dice roll,
  adding 2 to whatever number she
  rolls. Linette rolls her two dice, and
  scores a seven. Adding two to the
  result brings her dice score up to
  nine - still a success. She gains one
  experience point in pistol skill.
  Looking at the charts which tell
  us the cost of purchasing skills, we
  find that to go from skill level 2 to
  skill level 3 will cost four experience
  points. Linette is thus three points
  short of going up another level in her
  skill, but she keeps the single
  experience point that she has earned
  in pistol skill, writing it down on her
  character sheet. As her adventures
  continue, she may one day
  accumulate enough points to raise
  her skill up to level three.
  
  44
  INTERPERSONAL RELATIONS
  Romance, courage, loyalty and
  treachery are the classical elements
  of the “swashbuckling” genre. Lace
  & Steel provides the unique
  opportunity to simulate emotions
  and attachments as part of the game
  system.
  An integral part of an adventure
  should be the ties, antipathies and
  Self Image developments that occur
  as the scenario progresses.
  Adventures should be written in
  such a way as to take advantage of
  the interpersonal relations rules.
  Will the fair female spy stay loyal
  to her country at the price of seeing
  her lover imprisoned?
  Will a ship’s crew mutiny against
  their captain?
  In Lace & Steel, this can be easily
  simulated by the game system!
  Don’t be afraid to liberally dose
  your adventures with potential
  sweethearts, lovers or even arch
  enemies. Ongoing ties and
  antipathies will absolutely make
  your campaign! The need to woo
  sweethearts, protect loved ones or
  pursue vendettas is what separates
  a true romantic fantasy campaign
  from the traditional “dungeon
  bash”.
  INTERPERSONAL
  RELATIONS
  As a major part of its policy of encouraging good role-playing, LACE & STEEL seeks to provide
  all characters with personalities. People form a major part of the game environment, and it is the
  personalities that the players encounter (rather than exotic toothy monsters) which will add spice
  to play.
  LACE &
  STEEL is a
  conflict
  game, and
  not a
  combat
  game. In
  making
  allowances
  for
  personality
  development
  and
  interpersonal
  relations,
  this game
  seeks to
  move into a
  new sphere
  of conflict.
  While
  seldom
  lethal,
  interpersonal
  conflicts can
  be expressed
  in workable
  game terms,
  and can
  prove to be
  highly
  entertaining.
  Using the interpersonal relations rules, LACE & STEEL adventures may easily he set up for
  court intrigue situations, spying, politics or mutinies at sea. The referee’s imagination is the only
  limit.
  DISPOSITIONS
  The first aspect of interpersonal relations simulated by LACE & STEEL is character
  dispositions. All characters and NPCs must draw a card from the Tarot deck to provide their
  character with its initial disposition.
  Use the disposition thus obtained as a general guideline to the role-playing of that character.
  This greatly eases the difficulty of creating believable and entertaining NPCs, and forces players
  into actually playing a role rather than acting out their own personalities all of the time.
  
  45
  TIES AND ANTIPATHIES
  The second aspect of interpersonal relations simulated by LACE & STEEL are personal ties and
  antipathies. This allows a Referee to simulate the friends, enemies and beliefs of a character in
  simple game terms.
  A tie is a feeling of friendship, loyalty, respect or duty towards a person, a nation, a group or an
  idea. An antipathy is a feeling of distaste, disgust or aversion to a thing. Ties/antipathies are
  treated very much like skills, being given a rating of zero or more. This rating is termed the tie or
  antipathy’s strength.
  USES OF TIES AND ANTIPATHIES
  If a character is expected to perform an action which goes against its ties and antipathies, the
  character must make a successful roll of its Drive vs. the difficulty of the task in order to do so. The
  strength of the character’s tie or antipathy is used as a DRM on this roll.
  Tie and antipathy strengths are also used in the Self Image rules to determine the Self Image
  points that may he put into a task “investment” (see below). They also effect the Self Image gains
  that may he had from acting within the parameters of the character’s friendships and hatreds.
  Ties and antipathies thus effect characters’ experience and abilities - choose them with care!
  STARTING TIE/ANTIPATHY EXPERIENCE
  Unless a person grew up sealed in a wicker basket, he will normally have a number of ties and
  antipathies. Starting characters will have about 2D3 items/people/concepts with which they have
  ties of level zero or higher. There is a total of 2D3 levels of tie/antipathy strength to split between
  these starting ties/antipathies. Some ties or antipathies might thus start at level zero.
  Sample entities with which characters might develop ties or antipathies include:
  • An ideal (e.g.. Chivalry, justice, maintaining the social order or the law)
  • Another character (e.g.. A leader, friend, enemy or lover).
  • A military unit
  • A nation, town or family
  • An abstract phobia (e.g.. Fear of water, heights or fire)
  Players should be discouraged from having their characters take a tie with themselves, since
  this is already covered by giving the character a conceited disposition. Ties/antipathies must be
  taken with things which will have a concrete effect on the character’s personality and role play -
  referees must prevent useless or trivial ties and antipathies at all costs, since this trivializes the
  game. Friends, enemies and beliefs are appropriate - favorite foods and favorite colors are not!
  NEW TIES AND ANTIPATHIES
  When characters are first given a real opportunity to form an opinion about a person or
  organization, roll the Charisma score of the potential new friend/enemy vs. 10 on the comparison
  chart. If the roll is successful, and there is a good basis for the development of a new tie, then the
  target character will develop a level zero tie with the character/concept in question. If the roll fails,
  and there is reasonable basis for an antipathy to develop; the target character will instead develop a
  level zero antipathy.
  If the charisma roll comes up as a natural 2 or 12, then an extreme emotional reaction might
  occur. If the dice comes up as a 2, then the character will develop a tie level of 2D2 with the subject
  (representing an instant affability of even love at first sight). Likewise if the charisma roll comes up
  as a 12, the antipathy thus developed will be at 1D3-1 strength rather than at level zero. Such
  feelings will often be mutual to both parties, and both will roll dice for increased tie/antipathy
  levels.
  SEDUCTION
  Completely dazzled by the good
  looks and easy laughter of her friend
  Alain (she has a tie of 3 with him),
  Linette sets out to offer him her
  virtue. Alain likes her, but Linette
  hopes to make their attachment
  much deeper. Unfortunately, Alain
  does not really see her in a romantic
  light.
  All through the summers
  evening, she hangs on his every
  word, wide eyed and dreamy.
  Finally getting up the courage to
  broach the subject, she makes her
  play to seduce Alain. She has a tie of
  3 with Alain, so this acts as her “Self
  Image investment” (see page 48). If
  she wins his heart, she will gain a
  bonus of -3 Self Image. If she fails,
  then she will receive a penalty of +3
  on her Self Image.
  Linette rolls her charisma of 12
  vs. Alain’s drive of 11. This gives her
  a roll of 8- on 2D6. Alain has a tie
  level of I with Linette, and so she
  receives a DRM of -1 on the roll.
  Unfortunately, Linette rolls a 10!
  Alain panics when she tells him of
  her feelings, and explains that he
  really wants to just stay good
  friends. Heartbroken, Linette flees
  back to her rooms, her self
  confidence shattered.
  - Men!
  
  46
  EXAMPLE OF THE INTER
  PERSONAL RULES IN PLAY
  INCIDENT I
  Anton the thief climbs into the
  royal palace in the) dead of night
  intending to perform a daring
  robbery. White doing so, he fails his
  sneak roll and makes a noise,
  attracting the attention off
  Marguerite (one of the ladies in
  waiting). Marguerite comes into the
  room to investigate.
  Anton hides in the shadows, and
  pounces on Marguerite as she
  passes. In flinging her to the couch
  to silence her Anton sees such a
  look of shock and alarm on her face
  that he desists from roughly holding
  her and motions her to quiet.
  Marguerite decides to do so since
  she is curious about this completely
  unexpected visitor. He does not
  seem dangerous, but rather seems
  very handsome and daring....
  On impulse, Anton gently
  reaches forward and kisses her. A
  charisma roll is now made to see if
  any changes in Marguerite’s ties and
  antipathies result. The dice roll a
  natural 2, giving an initial tie level of
  2D2. Marguerite rolls, and scores a
  total of 4 - love at first sight! The
  Referee rules that the feeling is
  mutual, and Anton now rolls 2D2
  for his own tie level with
  Marguerite, scoring a 4 also. Their
  encounter is obviously sheer fate at
  work, and we shall draw a curtain
  over this scene before we lose our
  “G” rating...
  CHANGES IN TIES AND ANTIPATHIES
  A character’s ties and antipathies will fluctuate in strength as they come under test. If an
  event occurs which might possibly increase or decrease a character’s tie or antipathy strengths, roll
  the character’s Reason score vs. 10. If the roll is failed, then increase/decrease the character’s tie or
  antipathy by 1 level of strength.
  If a level zero tie drops to -1, then the tie disappears and is replaced by a level 0 antipathy and
  vice versa.
  MAJOR EMOTIONAL EVENTS
  Certain crises may trigger far greater changes to tie/antipathy experience levels than stated
  above (such as discovering that your beloved leader is a vicious, loathsome psychopath). In such
  cases, double the character’s experience changes resulting from the tie/antipathy experience roll.
  To simulate the emotional confusion caused by nasty revelations, the referee may decide to
  seesaw ties, antipathies and Self Image up and down several times before reaching a final result.
  Favors
  When a character approaches an NPC, to request a favor, the NPC’s tie strength with the
  character may he used to determine whether or not the favor will he granted. Roll the NPC’s
  Reason, Drive or Intuition score (whichever seems appropriate) vs. the difficulty of the favor, a
  successful roll meaning that the favor is granted. Use the NPC’s tie strength as a DRM on the roll.
  Difficulty levels of favors:
  Very simple favor (often expected as a social nicety):
    2
  Minor favor (no real trouble to perform):
    5
  Major favor (definitely inconvenient to perform):
  10
  Very difficult or dangerous favor:
  20
  
  47
  SPONTANEOUS NPC ACTIONS
  The above system may also be used to check for spontaneous actions which might be
  performed by an NPC. Non player characters who have formed a good impression of a player
  character might do favors for the player character entirely by their own initiative (e.g.. Minor offers
  of assistance, “carry your bags, ma’am?”, etc.). Likewise, NPC’s who have a dislike of the player
  character
  might
  perform
  minor
  actions of
  spite
  (spreading
  gossip or
  starting
  an
  unpleasant
  rumor).
  Favors
  will have
  increased
  chances of
  being
  granted if
  an NPC
  realizes
  that they
  are
  important
  to the
  player
  character.
  In
  situations
  where the
  favor, if
  granted, will result in preventing the death or injury of a person with whom the NPC has no
  feelings of antipathy, drop the favor’s difficulty by one level.
  FRIENDSHIP CONFLICTING WITH DISPOSITION
  Favors or tests of friendship will sometimes require a person to go against their disposition,
  causing a certain amount of internal conflict. Going against a character’s disposition will be a
  difficult task.
  These sort of tests are optional for player characters, since it is really up to the controlling
  player to determine whether its interests are best served by assisting the character’s friend, or by
  remaining true to its disposition.
  SEDUCTION
  To seduce a character, roll the would-be seducer’s Charisma vs. the “target’s” Drive
  characteristic. Use the target’s tie strength with the seducer as a negative DRM on the roll. If the
  roll is successful, then the seducer gets his or her way.
  This technique assumes a not-unwilling “target”. Characters may never be seduced by
  characters with whom they have an antipathy.
  CROSS RACIAL
  RELATIONSHIPS
  Love between members of
  different species is not uncommon.
  It is simply a matter of whether
  a) Both parties find one another
  attractive.
  b) Sexual relations are physically
  possible.
  Satyrs are renowned for their
  romantic interest in Humans and
  Pixie nymphs. Pixies, too, have been
  known to fall hopelessly in love
  with Humans and vice-versa.
  Humans have also been known to
  moon over the charms of Merfolk -
  a difficult liaison at best!
  Harpy females are renowned for
  their wide ranging sexual tastes.
  Harpy Tiercels are used to gratifying
  their whims and desires, and it can
  be dangerous to deny them! Their
  strength, domineering attitudes and
  aggressive energy can be a
  frightening experience to a male of
  another species - but it is rumored
  to have its attractions!
  For obvious reasons, Half-
  Horses will clearly not indulge in
  physical intimacy with other races.
  
  48
  SELF IMAGE
  To simulate courage and morale,
  characters should roll their drive
  characteristics vs. the difficulty of
  the task. DRMs would include each
  individual’s Self Image, as well as
  the leadership skill of the group’s
  commander. If the bulk of a group
  seems inclined to perform a
  particular courageous act, then the
  laggards will probably go along for
  the ride anyway.
  INCIDENT 2
  The boarding action is raging, and
  Linette’s Captain goes down under
  an enemy blade, leaving Linette in
  charge of the ship’s defense.
  Linette leaps onto the enemy
  crewman who has slain the captain,
  and kills him in single combat.
  Linette had a tie level of 2 with the
  Captain, and so the Referee rules
  that avenging her friend in this way
  increases her Self Image by a DRM
  of -2.
  Linette’s crew have suffered
  enough casualties to force her to
  make a leadership/charisma roll to
  hold them in place (see the massed
  combat rules). With the bonus of -2
  from her bolstered Self Image,
  Linette easily makes her roll and
  rallies the crew to the attack.
  SELF IMAGE
  The final aspect of psychology which these rules will attempt to simulate is the Self Image or
  ego of individual characters. The ego rules provide the means through which the disposition and
  tie/antipathy rules come firmly into play.
  A character’s Charisma and Drive characteristics are directly affected by the character’s Self
  Image. Self Image is expressed as a positive or negative DRM which will be applied to all dice rolls
  using either of these characteristics. Self Image DRM’s also effect all experience rolls (see the rules
  on ongoing experience).
  The normal state of a character’s Self Image is zero, or “neutral”. If a character feels particularly
  confident, its Self Image DRM may drop down to -1 through to -3 (remember that negative
  DRM’s are useful, and that positive DRMs are harmful). If a character feels had about itself, its Self
  Image will move up to a maximum of +3 (Self Image could conceivably suffer even greater
  deprivations, hut this would usually lead to apathy or even suicide).
  Changes in Self Image are only temporary, lasting a few days at most. All depressions are
  eventually conquered, and all feelings of elation must eventually disappear. For short times,
  however, Self Image ratings can become quite important. To dissipate adverse Self Image modifiers,
  roll drive vs. 10 each day to lose one point of DRM (remember that the Self Image DRM will effect
  this roll, however!)
  The exception to these temporary lowerings of Self Image are those caused by truly despicable
  acts. If a character performs an act which completely outrages all that it knows to he right, then
  the character will retain its Self Image penalty until it redeems itself.
  SELF IMAGE “INVESTMENT”
  A task or promise may have Self Image points hound to it, and this is used to determine the
  amount of Self Image modifier lost or gained if the promise is broken or the task fails.
  Self Image investment is determined by the referee assigning an arbitrary value to the task
  (usually a number between 1 and 4). If the character succeeds in its goals, then subtract the Self
  Image value invested in the task from the character’s Self Image modifier. If the character fails in
  its aims, add the invested value to the character’s Self Image modifier.
  The amount of Self Image points invested in tasks etc. can be decided arbitrarily between the
  referee and the player, taking the character’s disposition into full account (as a rule of thumb, don’t
  exceed a total of the characters Drive divided by 4). Where a promise is made to another character,
  or where a task heavily involves another character, the Self Image investment should he equal to
  the tie level that exists between them.
  The character’s success or failure in its chosen tasks will thus affect the character’s Self Image.
  Keep a written record of all investments, and apply the bonuses and penalties thus accumulated
  with energy and discretion. The Self Image system is one of the most important systems of LACE
  & STEEL - don’t ignore it!
  
  49
  OTHER INCREASES AND DECREASES IN SELF IMAGE
  As a general rule, things which make the character feel good will increase the character’s Self
  Image, and things which make the character feel bad will decrease the character’s Self Image.
  When a character performs an action which satisfies its dispositions, it will feel good (e.g. A greedy
  character feels good when it makes a large amount of money). When a character performs an
  action which goes against its disposition, it will feel bad. When a player feels that his character has
  done something good or bad, the referee is free to impose changes to the character’s Self Image.
  Thus, if the player’s conscience seems to be bothering him about one of his character’s actions, by
  all means drop the character’s Self Image. Each of these cases will increase or decrease the
  character’s Self Image by one or more points, depending on the judgement of the referee.
  TIES AND ANTIPATHIES
  Successfully contributing to something with which you have a tie (e.g. Rescuing your lady-
  love), or harming something with which you have an antipathy will influence a character’s Self
  Image. The points lost or gained will usually be equal to the character’s tie or antipathy level (or
  half the level rounding down if the act was fairly minor).
  INCIDENT 3
  Linette returns from an
  adventure downhearted. She has
  failed in her attempt to rescue her
  friend Alain from a prison galley. Her
  tie with Alain was level 3, and so
  she had invested 3 Self Image points
  in the action. Since she has failed,
  these points are added to her Self
  Image modifier. Wounded and
  dejected, she returns home to plan
  another attempt.
  Linette’s Self Image penalty will
  have an adverse effect on her healing
  rolls, since she is depressed and
  upset about her poor suffering
  friend. Her experience rolls for her
  adventure will also be adversely
  affected by her Self Image modifier -
  since she feels that she has failed,
  she will have a hard time learning
  from the experience.
  
  50
  MELEE COMBAT
  Blade on blade, naked steel
  gleaming in dawn’s early light! The
  lighting thrust and parry of rapiers as
  arch enemies meet in their final
  conflict. These are the classical
  elements of combat in romantic
  fantasy, and this is what Lace &
  Steel tries to capture.
  The Lace & Steel combat system
  has been designed to bring a feeling
  of drama, risk and skill into role
  playing game combats. Duels
  suddenly become fearsome events.
  Combats become memorable
  because of the skill of your
  opponent, or the close whisper of
  death. The ultimate test of your
  own mettle is to face your
  opponent blade to blade, skill to
  skill. This is not a thing that can be
  dismissed in a mere flurry of dice
  rolls.
  The card based system is slow
  compared to the quick, skill-less
  dice systems usually found in
  RPGs. I think you might find the
  experience refreshing.
  MELEE COMBAT
  Melee combat is played as a card game, rather than as a collection of random dice rolls. Using a
  card based system, “LACE & STEEL” combats seesaw back and forth in the thrust and parry
  manner of a fencing duel, with the outcome usually being decided by a single devastating hit.
  The fencing styles used in LACE & STEEL are not unlike those used in modern fencing. The
  sword movements are almost completely like those used today in epee fencing, except that the
  sword is usually kept centered on the opponent’s eyes rather than the chest or throat. Standard
  footwork also includes graceful sidesteps and turns, unlike modern fencing which has become
  overly linear.
  Cutlass and broadsword technique uses similar footwork, but different cutting techniques to
  modern sabre fencing (due to the fact that real cutlasses and sabres have rather more inertia than
  modern fencing weapons). Cuts are delivered with considerable back-swing of the arm, or are
  preceded by a sweeping circle pivoting around the fencer’s wrist much like Chinese sword
  technique.
  THE DECK
  The 52 card
  deck is divided
  into 3 different
  “attack lines”,
  upper, middle
  and low. There
  are also dodge
  cards, and a
  special intuition
  card. All of these
  cards bear a
  number, and a
  suit marker.
  There are two
  suits - Rapiers
  and Roses.
  Dodge cards
  and intuition
  cards have a
  bracketed
  numerical value
  for the purposes
  of determining
  initiative and damage.
  There are more mid line cards than upper, and more upper line cards than low.
  Shuffle the cards well - they will tend to cluster together in the same attack lines. Players
  might even want to draw cards alternatively from the top and the bottom of the deck to ensure
  the randomness of the draw.
  RATIONALE
  The upper attack line represents attacks aimed at the target’s head and neck, and occasionally
  includes the shoulders or arms. The mid line covers the upper torso and the arms, and the low line
  the lower abdomen, groin and legs. Hits to any of these lines may be deadly, and minor wounds all
  lessen the target’s fighting abilities in some way.
  
  51
  MAXIMUM NUMBER OF CARDS
  Every character is rated for the maximum number of cards that it may hold in its hand (the
  average character may hold 5). Wounds and fatigue lessen the maximum number of cards which
  may be held in a character’s hand.
  No character may hold more cards than its maximum hand rating. If the character ends up
  with more cards than it may legally hold, then the controlling player must discard cards until the
  maximum hand limit is met. If a character is to draw new cards from the deck, it may never draw
  more than its current maximum hand rating.
  When starting a combat, each character is dealt cards equal to its maximum hand.
  INITIATIVE
  The character which holds the initiative is the attacking character. Attacking characters play
  attack cards, and continue to do so until they lose the initiative, whereupon their opponent
  becomes the attacker and plays attack cards of his own.
  At the start of a combat, both combatants cut the deck to determine which character begins
  the fight with the initiative. The player whose card shows the highest numerical value wins the
  initiative. If the numerical values are drawn, then the attack line of the cards is examined - mid line
  beats low line, and upper line beats mid line.
  If one character has an intuition score 2 or more points higher than his opponent, he adds one
  to the numerical score of his card when determining initiative at the start of a combat.
  Initiative in mounted combat is determined as normal, unless one combatant has a far higher
  momentum than his opponent (e.g. one is galloping and the other is trotting) in which case the
  faster moving rider automatically gains the initiative.
  KEEPING THE DECK
  SHUFFLED
  It can be a good idea to deal cards
  out from the combat deck
  alternatively from the top and
  bottom of the pack. This
  ensures that the cards coming
  into play are well and truly
  shuffled.
  Only use this technique when
  playing. Lace & Steel. Don’t try
  doing this in other card games.
  Your opponent might shoot
  you!
  
  52
  EXAMPLE OF COMBAT
  In the midst of a fierce and
  bloody boarding action, Linette
  finds herself facing the enemy pirate
  captain in a duel. Both use rapiers,
  and both are wearing buff coats, to
  which Linette has added a plate
  gorget.
  Both combatants are evenly
  matched as far as skill. Linette has a
  Max Hand rating of 6, and her
  opponent a Max Hand of 5, but
  Linette is far the weaker in Strength
  and Endurance. She must hope for a
  quick kill before her opponent can
  wear her down.
  Both characters are dealt a full
  hand of cards, and each cuts the
  deck to find out who starts the
  combat with the initiative. The
  captain draws a three (mid line),
  while Linette draws a three (low
  line), and so the pirate captain will
  attack first (since mid beats lower).
  The pirate plays a mid line card,
  secretly playing a feint card (with a
  numerical value of 1) to draw out
  Linette’s defense. Linette counters
  with a mid line - 4 card. Beating her
  opponent’s attack card by such a
  high margin would normally give
  the initiative to Linette, but since the
  card played by the attacker was a
  feint, the attacker retains the
  advantage. The first pass is over.
  Again the pirate attacks in mid
  line, and this time Linette counters
  and wins the initiative. Linette now
  attacks in high line with a high line 4
  card. The pirate has a “stop-hit” card
  (mid line -1), and gleefully
  announces a stop hit in the mid line,
  feeling sure that he has drawn out all
  of Linette’s mid line cards. Linette
  looks at her hand and discovers that
  her only mid line card is a mid line -
  3 (disarm) possibly a very useful
  card, and she plays this as her
  defense.
  Linette’s parry is 2 points higher
  than the attacking card. Under the
  rules for the disarmament card, this
  means that she has successfully
  disarmed her opponent. The pirate’s
  blade goes spinning from his hand,
  his stop-hit a failure.
  SEQUENCE OF PLAY
  The combat takes place in “rounds” of play. Each round is the determination of one attack, and
  the events which result from this attack attempt. 10 rounds of combat typically average about
  ten seconds of time (one turn of missile combat).
  A single attack and the defensive move made to counter it are referred to as a pass. A round of
  combat might have more than one pass if stop hit cards are played, or if one character is facing
  multiple opponents.
  STEP ONE - PLAY ATTACK CARD
  The attacker selects a card marked with an attack line, and plays this face down. The attacker
  calls out the line in which the attack is being made (e.g. “upper”), but conceals the card’s numerical
  value.
  STEP TWO - DEFEND AGAINST ATTACK CARD
  The defender now selects a defensive
  card, and plays this card face down.
  STEP THREE - HIT
  DETERMINATION
  Both players flip their facedown cards.
  If the defender’s card is in the same attack
  line, and is of equal or higher numerical
  value than the attacker’s card, then the
  attack has been parried.
  If the attacker’s card is in a different
  attack line to the defender’s card, or is of a
  higher numerical value, then the attack has
  succeeded (see the section on “Damage”).
  STEP FOUR - DRAW NEW CARDS
  At the end of each pass, both players determine the drawing of new cards.
  Check the suits of the attack and parry cards. If the suits match, then the defender draws a
  new card from the deck. If the suits are mismatched, then the attacker draw a new card. These
  cards may only be drawn if the character entitled to draw new cards was not hit in the current
  pass.
  Some cards are marked “draw” or “rip-off”. Draw cards allow the player to augment his hand
  by drawing new cards from the deck. Rip-off cards allow the player to draw cards at random from
  his opponent’s hand and transfer them to his own. If draw cards or rip-off cards are played, the
  characters who played them now draw or rip-off cards as indicated. The attacker draws/rips-off
  first, followed by the defender.
  New cards may only be drawn by characters who were not wounded during the current pass.
  STEP FIVE - DETERMINE INITIATIVE FOR NEXT ROUND
  The players now check to see which character has the initiative; The attacker will keep the
  initiative unless the defender’s parry card beat the attack card’s numerical value by one or more
  points.
  The round is now repeated, return to step one, with the character who now holds the initiative
  playing the part of the attacker.
  
  53
  DRAWING A NEW HAND
  There are three circumstances under which completely new hands are drawn from the deck in
  the middle of a combat. The number of cards drawn from the deck to make up the new hand will
  vary from character to character (all characters are rated for their “new draw” rating, which governs
  how many new cards they will draw to replace their old hand). The average new draw rating is
  three.
  DESPERATE DEFENSE
  If a character is attacked, he has the option of making a “desperate defense”. The defending
  player discards his current hand, and draws three new cards from the deck. This action may only
  be done once in any given round by any given player.
  This is a dangerous hut useful ploy which all players will use at some time or another. If a
  character is caught without a defense card in the same line as the attack which has been made on
  it, a desperate defense may well save the day.
  LACK OF ATTACK CARDS
  If a character wins the initiative, and has no cards marked with attack lines, he must discard
  his current hand and draw new cards from the deck.
  PLAYER RUNS OUT OF CARDS
  If a character runs completely out of cards, he may draw a new hand from the deck the next
  time he comes under attack or wins the initiative. The player is allowed to discard this new draw
  and immediately attempt a “desperate defense” (see above).
  DAMAGE
  When a parry or dodge fails to stop an attack, the defender is wounded.
  STEP ONE - DETERMINE DAMAGE RATING
  If the defensive card was in the same attack line as the attacking card, subtract the numerical
  value of the defensive card from that of the attacking card to yield the damage rating.
  If the defensive card was not in the same attacking line as the attack card, then the damage
  rating is equal to the numerical value of the attacking card.
  STEP TWO - “FOLLOW-UP” DAMAGE
  If the damage rating thus determined is higher than one, check the suits of the attack and
  defense cards. If the suits are mismatched, then the attacker draws another card from the deck and
  adds the card’s numerical value to his damage rating. Dodge cards and intuition cards are given a
  bracketed numerical rating which is used for determining damage in this way.
  Reduce the follow-up damage caused to a target by one if the attacker has a lower strength
  rating than its victim.
  THE EFFECTS OF CHARACTER SKILL RATINGS
  ON COMBAT
  In a combat where one character is more skilled than his opponent, the more skillful character
  gains a decided advantage.
  Whenever the higher skilled character draws cards (due to suit matching, desperate defense or
  initial deals at the start of the fight), he will draw additional cards equal to the difference between
  the two combatant’s skill ratings. The character must discard cards from this draw until the draw
  equals the amount to which he would normally be entitled.
  In addition, characters who outmatch their opponents by 2 or more levels of skill will actually
  get to see their opponent’s attack cards, rather than having their opponent play these cards face
  down.
  Linette’s initial attack must now
  be determined, and the disarmed
  pirate has no option except to try a
  desperate defense, hoping to draw a
  “dodge” card. He throws out his old
  hand, and draws three new cards -
  none of which are dodge cards! He
  plays a card from his hand anyway
  (a low line -1 card in Roses suit.
  Linette now flips over her card,
  revealing it to be in Rapiers suit. The
  suits mismatch, and so Linette
  draws an extra card of damage.
  Linette skewers him for four points
  (from the original card) plus another
  five points gained from drawing a
  “dodge” card from the deck for her
  extra damage. Linette’s follow up
  damage is reduced by 1, since she
  has a lower strength than her
  opponent - this brings the total
  damage to her target down to eight
  points. Eight points of damage
  through the throat ends the pirates
  buccaneering days forever.
  
  54
  SPECIAL CARDS
  The following cards are special “wild” cards which are not marked with attack lines. Special
  cards have a bracketed numerical value which is used for determining initiative at the start of a
  fight, or for determining damage.
  DODGE
  The character jumps back or twists aside, cleverly avoiding the enemy’s blow.
  A dodge card automatically negates any attack. If the suits on the attack card and the dodge
  card are mismatched, then the attacker will retain the initiative, otherwise the defender will snatch
  the initiative from the attacker.
  INTUITION
  Cunningly measuring up his foe, the character suddenly gains an insight into his opponent’s
  potential moves.
  This card may be played immediately before either combatant makes an attack. The round is
  halted, and the player who plays this card may now inspect his opponent’s hand of cards before
  play continues.
  DISENGAGE
  The characters clash, and then suddenly separate - once again beginning to circle for advantage.
  This card may be played instead of a normal attack card by any character that holds the
  initiative. The character who played the card may opt to flee (which he does without his opponent
  getting a strike against his back). On the other hand, the character may opt to reengage, and both
  combatants draw-for starting initiative as if the combat was just beginning anew. The character
  playing the card will also gain back one point of Max Hand lost through fatigue if he elects to
  reengage.
  CARD MODIFIERS (OPTIONAL)
  The following modifiers are applied to a number of cards in the deck. Cards bearing
  modifications have uses over and above those described above.
  STOP-HIT
  Anticipating the enemy blow, the character lashes out with a hit of his own, preempting the
  enemy attack.
  Once the enemy announces an attack and plays his card face down, the defender may play a
  “stop-hit” card. This is played as an attack card. The erstwhile attacker must parry or dodge the
  stop hit before the defender is required to deal with the original attack.
  The stop-hit card thus gives the defender the chance to kill his opponent before his opponent’s
  blow has the opportunity to land. Check the suits as normal to see if either player gains a new
  card before continuing play (the character playing the stop-hit has temporarily become the
  attacker for the purposes of suit matching).
  The initiative for the next round will be won or lost by the original blow, and is never
  determined by the stop-hit.
  Only one stop-hit card may be played per round (you can’t stop-hit a stop-hit)
  FEINT
  The character cunningly makes a swift strike at his opponent, drawing him out to make him
  vulnerable to a serious attack.
  A low level attack card which will not lose the initiative if the opposing player’s parry exceeds
  it in numerical value. The feint is thus a useful card for drawing out your opponent’s high
  numbered defense cards. It is vulnerable to a riposte.
  
  55
  RIPOSTE
  The character’s parry twists aside his opponent’s weapon, letting the defender press home an
  attack.
  When used as a defensive card, the riposte will automatically win the defender the initiative for
  the next round, providing that the attacker’s blow was successfully parried.
  Ripostes always win the initiative from feints.
  DISARM
  With a lightning twist of the blade, the character beats at his opponent’s weapon.
  A “disarm” attempt is a special form of attack or defense. If the disarm card exceeds the
  opposing player’s card value by 2 or more points, it will disarm him and render him helpless (the
  character may now only play dodge or intuition cards until his opponent allows him to take up
  his sword).
  A useful card in the attack or defense, the disarm card cannot actually cause injury to the
  victim unless successfully used to parry a stop-hit (in which case the original attack must still be
  made, striking down the defender even as his blade spins out of his hand.)
  Disarmed characters may pick up their weapon whenever they successfully win the initiative
  off their attacker.
  DRAW
  The character’s move has given it new options for attack and defense.
  When this card is played, the player may augment his hand by drawing two new cards from
  the deck. Discount the effect of a draw card if the character who plays the card was wounded in
  the current pass.
  RIP-OFF
  Your opponent is taken aback by the sudden audacity of your move.
  As soon as this card is flipped over, the character who plays the card may take a random card
  from his opponent’s hand and add it to his own.
  Rip-off attempts occur before the drawing of new cards or before “disruption” occurs. Attackers
  rip-off cards before defenders. Discount the effect of a “rip-off” card if the character who plays the
  card was wounded in the current pass.
  LOCK HILTS
  As you parry your opponent’s blade, your hilts lock together. Both fencers strain to overbalance
  their opponent and free their blade for a telling blow.
  If a “lock hilts” card is played as a successful parry, then the normal flow of the melee briefly
  halts while the combatants match their strengths against one another. The defender must roll his/
  her Strength vs. its opponent’s Strength. The combatant that wins the roll not only gains the
  initiative, but rips his/her opponent off for 2 cards.
  REPARTEE IN COMBAT
  Two combatants who mutually
  wish to engage in repartee while
  fighting are quite at liberty to do so.
  At the start of the combat, roll a test
  of the two character’s repartee skills
  (using each character’s Reason score
  as their tested characteristic). The
  winner gets to snatch two random
  cards from their opponent’s melee
  hand and add them to their own.
  Repartee exchanges of this kind will
  then also take place whenever the
  combatants disengage or lock hilts.
  
  56
  ARMOR
  Linette wears a plate gorget to
  protect her upper attack line (this
  allows her some protection, but also
  lets her wear her hair flowing free
  under her floppy hat - everyone
  deserves a little vanity). Her
  protection in the upper line is 1
  point.
  Linette takes a hit in the upper
  line from a cutlass in combat. She
  would normally take the damage
  immediately, but since she wears
  armor in that attack line, the armor
  must be penetrated before the
  damage may be dealt.
  The attacker draws a card from
  the deck to penetrate the armor, and
  draws a 1. Since this equals the
  value of Linette’s armor, the blow
  fails to penetrate. Linette has luckily
  escaped being damaged.
  Remember that blows which
  score follow up damage on their
  targets draw twice when checking
  for armor penetration.
  LIVING AND WORKING IN
  ARMOR
  Armor is extremely
  cumbersome. It is also very hot.
  Most troops will remove their
  armor at the first opportunity.
  Sleeping in armor? Forget it!
  Troops in the field tend to have
  set ways of wearing their clothes.
  The broad ‘Falling bands’ (collars)
  currently in vogue are usually
  knotted at the throat to prevent
  their becoming an inconvenience.
  Sleeves and coats are often left
  unbuttoned for coolness and ease
  of movement.
  FATIGUE (OPTIONAL)
  Fencing with thrusting weapons is not a contest of brute strength. In a proper lunge, the
  entire weight of the attacker is behind the point of his blade, making his strength largely irrelevant
  to the amount of damage caused. The main effect of strength on swordplay is to allow stronger
  characters to wear down weaker opponents through sheer endurance.
  Characters become slower and less coordinated as they become tired. If fatigue rules are being
  played, then each player must keep his character’s discarded attack, parry and dodge cards in a
  separate pile (keep cards discarded due to desperate defense in a general discard pile).
  As part of character generation, each character determines its Fatigue Rating. Whenever a
  character accumulates discarded cards equal to its fatigue rating, decrease its wound level/
  maximum hand rating by one. Dump the character’s discard pile into the general discard pile and
  start keeping tally of discarded cards once again. Using this method it is quite possible to wear the
  character down to zero maximum hand rating due to exhaustion.
  Fatigued characters will recover maximum hand rating points lost through fatigue at the rate
  of 1 point per 5 minutes rest. They will also recover 1 point of fatigue whenever they choose to
  pass the initiative over to their opponent (simply announce that the character is resting, and pass
  the initiative over to the opposing character).
  ARMOR
  Characters may wear armor as a means of protecting themselves. Armor covers a line of attack
  (upper, middle or low) with a numerical protective value. If a hit is scored on an attack line that is
  protected by armor, the attacker must draw a card from the deck. The damage from the hit will
  only take effect if the card thus drawn exceeds the numerical value of the target’s armor protection.
  If “follow-up” damage was scored on the target, then two cards are drawn for armor penetration,
  and the penetration will be decided by the highest value on either of the two cards thus drawn.
  If multiple types of armor are worn in one attack line, only the piece of armor with the highest
  protective value is counted.
  TYPES OF ARMOR ARE AS FOLLOWS
  Where three protective
  values are given, the first
  value is the item’s
  protective value against
  firearms, The second value
  is the armor’s protection
  against thrusting
  weapons, and the third
  value is used as the armor’s
  protective value against
  brawling weapons, cutting
  weapons and broadswords.
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  57
  
  58
  
  59
  WEAPONS
  There are five main types of melee weapons available in “LACE & STEEL”, Thrusting Swords,
  cutting swords, polearms, daggers, and brawling weapons (fists, feet and cudgels).
  NOTES ON BRAWLING WEAPONS
  The category of “brawling weapons” includes fists, feet, rocks, musket butts and cudgels -
  anything which comes to hand. Damage from brawling weapons lasts only 5 minutes or so.
  “Grievous wounds” caused by brawling weapons merely stun the victim for a minute or two.
  Wounds which would normally kill the victim are instead knockouts, which drop the victim
  unconscious for about 5 to 10 minutes (unless the damage was caused by an upper line hit by a
  heavy cudgel such as a musket butt, in which case the damage would be lethal).
  Brawling weapons will increase the numerical value of their attack cards by 1 when wielded by
  a character whose strength exceeds its opponents by 2 or more points. In addition, hits caused by
  characters whose strength is three or more points lower than their opponents may be recovered in
  the same manner as fatigue (by passing initiative - see above).
  Brawling weapons (except cudgels) cannot parry swords, cutlasses or polearms (only other
  brawling weapons or daggers). Against heavy blade weapons, a brawlers only defense is dodging.
  WEAPON RATINGS
  Weapons are rated for reach, heft, armor modifier and Minimum Strength. When characters
  with the same weapon types fight one another, there are no modifications to the basic rules
  (except for armor penetration - see below). When characters armed with different weapons fight
  one another, the relative capabilities of their weapons become important.
  WEAPON RATINGS CHART
  EXPLANATIONS OF WEAPON RATINGS
   REACH
  The character with the longest
  weapon “danger space” receives a bonus
  when initiative is determined at the
  start of a fight. The character wielding
  the longest weapon adds the difference
  between the two opposing weapon’s
  reach ratings to the numerical value of
  its card when determining initiative at
  the start of a combat.
  Note that a weapon’s danger space
  is not always governed by the actual
  length of the weapon. A balestra attack
  with an rapier can reach a target about
  four paces away, giving it a greater
  reach than a clubbed musket.
  MELEE WEAPON PRICES:
  Cheap Rapier
  6 Silvers
  Cheap Backsword
  8 Silvers
  GOOD Rapier or
    Backsword
  2 Marks
  Cutlass
  4 Silvers
  Hunting Sword
  6 Silvers
  Cheap Sabre
  6 Silvers
  GOOD Sabre
  2 Marks
  Wooden Hafted
    Poleaxe/Hammer
  4 Silvers
  Steel Hafted
   Poleaxe or Hammer 8 Silvers
  Poor Knife
  6 Groats
  Cheap Knife
  1 Silver
  Good Knife
  6 Silvers
  Polearms
  6 Silvers
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  60
  ONE COMBATANT AGAINST
  MANY
  At first glance, fighting a group of
  opponents looks suicidal. It is not a
  technique that could be reasonably
  recommended.
  But - a highly skilled swordsman
  can take on multiple opponents and
  have a good chance of success. In
  fact, these combats will become
  very challenging. Master
  swordsmen can be kept occupied
  by bogging them Down with
  bunches of goons, preventing them
  from blithely dispatching their
  outmatched opponents singly. This
  is a good technique for stopping
  amazingly skilled characters from
  riding roughshod over your
  campaign!
  HE FT
  A combatant’s Strength becomes very important when it parries an attack from a cutting or
  brawling weapon or a backsword. Add the character’s Strength to the heft of its weapon. If the
  defender’s total is 2 or more points lower than his or her opponent’s, then the numerical value of
  all parries by the character with the smaller total will be lowered by one.
  The lighter weapon in any combat receives a +1 bonus to its initiative draw at the start of the
  combat, unless it is 2 or more points shorter than the opposing blade.
  ARMOR MODIFIER
  The armor modifier is added or subtracted from the defensive value of the target’s armor (if
  worn).
  MINIMUM STRENGTH
  All weapons have a Minimum Strength requirement. If a character uses a weapon that has a
  higher Minimum Strength requirement than the characters strength, then subtract one from the
  character’s fatigue level, and one from the character’s initiative card draws at the start of a
  combat.
  If the result is equal to the user’s strength, then subtract one from the character’s initiative
  card draws at the start of a combat.
  If the result is lower than the user’s strength, then the weapon may be used with no penalties.
  MULTIPLE OPPONENTS
  If a single character ends up fighting multiple opponents, it will soon find itself in trouble.
  The multiple attackers combine their hands into one (adding their maximum hand ratings
  together), and are generally treated in all ways as a single character. Each pass, they may perform a
  maximum of one attack, parry or dodge, as if they were a single individual. The new draw rating,
  wound level and fatigue rating of the group equals the average of the total ratings of the members
  who make up the group. The group will fatigue in the normal way.
  As a “corporate entity” of this kind suffers damage, its abilities will lessen.
  When enough maximum hand damage is dealt to a group to grievously wound or kill its
  weakest member, then that character will drop out of action.
  
  61
  MISSILE COMBAT
  Missile combat takes place in ten second turns. In one turn of missile combat, meleeing
  characters may play a total of 10 passes.
  ACCURACY ROLLS
  The firing of missile
  weapons is done as a task.
  When firing at fast
  moving target or a target
  which is obscured by soft
  cover, add an extra step to
  the difficulty level of the
  shot (e.g. a difficult task
  becomes very difficult). Use a similar technique if a character should decide to deliberately aim for
  one particular hit line of his target (e.g. high line).
  SEQUENCE OF FIRE
  When more than one character fires in a single turn, the characters with the highest initiative
  fire first. Initiative is determined by adding the character’s new draw rating to the handiness factor
  of its missile weapon. Characters with tied values fire simultaneously.
  Missile fire is always determined before melee or sorcerous combat takes place, unless the
  missile armed characters are taken by surprise. If characters are going to move during the turn,
  missile armed troops who choose to remain stationary during the turn may delay their fire until
  the most opportune moment during the movement phase. Characters who fire just before being
  contacted in melee (short range) will always lose the initiative when starting the melee combat.
  Characters armed with a pistol in each hand may fire both weapons in the same missile turn.
  The second pistol receives a -4 handiness penalty, and has an accuracy DRM of +2.
  RELOADING
  Firearms take one or more Turns to reload. The missile weapons list details the different basic
  reloading times for the different weapons. Completing a turn of reloading occupies all of a
  character’s attention - reloading characters may neither move, give orders nor fire other weapons.
  A weapon may be reloaded in more or less time than the number specified on the chart.
  Characters who are reloading missile weapons must make a skill roll vs. their weapon skill (average
  difficulty) one turn before their weapon is due to be reloaded. If the roll is passed, then the weapon
  is reloaded one turn earlier than the time specified in the missile weapons list. If the roll is a critical
  failure, then reloading the weapon takes one turn longer.
  If the reloading roll equaled 11 or 12 after skill DRMs are applied, then the character panics and
  fires off its ramrod. The shot misses, and the weapon is useless until a new ramrod can be found.
  MOVEMENT
  Once initial firing has been done, all characters may move. In one turn a character may walk
  up to 15 paces, jog 30 paces, run 40 paces or sprint (40 paces + dexterity). Running or sprinting for
  one turn will fatigue the character doing so, counting as if the character had already played 1 or 2
  cards (respectively) when melee combat is reached.
  Example
  A cavalryman races towards a
  musketeer, who opts to fire his
  musket at the cavalryman at short
  range, just before contact. The target
  difficulty is average. Although the
  horseman is a fast moving target,
  the Referee decrees that no difficulty
  additions due to the target’s speed
  will apply, since the horseman is
  galloping straight towards the firer.
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  62
  EXAMPLE OF MISSILE FIRE
  RULES
  Linette staggers to the side of the
  confused melee of a boarding action
  and reloads her saddle pistol. As
  soon as this task is completed,
  Linette looks up to see the enemy
  pirates swinging the evil muzzle of a
  swivel gun to bear on her
  shipmates. Linette elects to fire at
  the gunner and stop him firing.
  Linette has a new draw rating of
  three, as does the pirate gunner. The
  handiness of Linette’s saddle pistol
  is 1. While the handiness of a swivel
  is -2. This gives Linette an initiative
  total of four, and the swivel gunner a
  total of zero. Linette’s fire is thus
  determined before that of the pirate.
  The range is 30 paces - long range
  for a pistol but medium range for
  the swivel’s hail shot. Linette must
  roll her dexterity of 13 vs. a very
  difficult task (difficulty number 20).
  Subtracting 20 from 13 gives us a
  total of -7. Cross referencing this on
  the comparison chart yields a
  required dice roll of 3 or less on
  2D6.
  Linette rolls a five, but her pistol
  skill level of 2 subtract from her dice
  total, bringing her final dice score
  down to three - a hit! The Referee
  rules it the pirate has hard cover for
  his low line (due to the wooden
  bulwark), so Linette now draws a
  card from the deck to determine the
  location of the hit (as it turns out,
  the pirate is hit in the high line).
  Linette now draws for damage,
  scoring a 2 in rapiers suit, entitling
  her to another draw for additional
  damage. Linette draws again, this
  time getting a 4. The pirate gunner
  thus takes a total of six points of
  damage, and drops to the ground
  stone dead. The swivel may not fire
  this turn, although another pirate
  might pluck up enough courage to
  man the gun next turn if he makes a
  successful Drive roll.
  Mounted characters and Half-Horses may walk at 15 paces per turn, trot at 30 paces, canter
  at 60 paces and gallop at (10 x speed characteristic) paces per turn.
  If characters move into contact with enemy troops, melee will take place during the next turn.
  Wounded characters may not sprint if their wound level has been exceeded and their maximum
  hand rating has suffered a loss. Characters who suffer wounds in the low line halve their normal
  movement rates.
  DAMAGE
  When a character is struck by missile fire, draw a card at random from the combat deck. If the
  suit of this card comes up RAPIERS, then draw a second card. The added numerical values of the
  cards drawn in this manner are subtracted from the target’s Hit points/maximum hand rating in
  precisely the same manner as damage in melee combat. Subtract 1 from the numerical value of the
  second damage card if the weapon being fired is a pistol or carbine.
  Subtract 1 from the numerical value of each damage card if the wound was caused by a
  weapon which fired at long range or extreme range. Subtract 2 from each damage card if the range
  was maximum.
  The line which is attacked is decided by the first damage card drawn (unless that card was a
  dodge or intuition card, in which case the line may be determined by cutting the deck). Attack lines
  for missile weapons are only important for reasons or armor penetration or cover. If the target
  character is in cover, there is a chance that the missile will not strike him. Cover will block shots in
  the low line, or the low and mid lines depending on its height and the character’s stance.
  MISSILE WEAPONS
  The missile weapons in “LACE & STEEL” are mostly smoothbore gunpowder weapons. Slow
  to load, inaccurate over long ranges and made useless by rain and wind, firearms should do little to
  restrict the romantic feel of the game.
  PISTOLS
  Lace & Steel’s pistols come in two basic configurations - pistols and long barreled saddle pistols.
  Normal pistols have a handiness of 2, and saddle pistols have a handiness of 1.
  Remember that pistols subtract one from their follow-up damage (due to their smaller, lighter
  ball).
  LONG ARMS
  Muskets, blunderbusses and carbines are “long arms”. Muskets are long barreled, heavy caliber
  matchlock weapons which are the usual missile armament of common soldiers. Carbines are short
  barreled, pistol caliber wheel-lock muskets used by skirmishers. While lighter and handier, they
  suffer from a reduced range. Carbines have a handiness of 0, and muskets a handiness of -1.
  Blunderbusses are short, bell-mouthed muskets designed to fire a cloud of small shot, chains and
  nails. They have a handiness of 0. Carbines and blunderbusses may be reloaded from the kneeling
  position or from the saddle, while muskets must be reloaded by characters who are standing.
  Reduce the protective value of armor by 1 vs. musket fire out to long range. Remember that
  carbines lower their follow-up damage by one.
  BOWS
  Short composite bows are still used by the nomadic tribesmen of Forija. These tribesmen are
  adept at firing their bows from horseback, but make little use of them as infantry weapons.
  Although bows are fast firing and reasonably accurate, they have serious drawbacks compared
  to firearms. Arrows fired at long range or further are easily dodged by alert characters. Give the
  archer a DRM of (+ half of his targets new draw rating) if he fires at a character who is both
  watching the archer and spends the turn dodging/evading. Characters who are firing, reloading,
  giving orders or charging may not dodge arrow fire.
  
  63
  Bows are poor at armor penetration, and must test for penetration at all ranges. All armor
  raises its protection by 1 vs. bows at long range and over. Flight arrows (used for long range
  shooting) are very light, and do -1 point of damage from each damage card that they draw when
  they strike an opponent. Flight arrows are incapable of penetrating breastplates, close helmets and
  leg harness at extreme ranges or longer.
  Bows have a handiness of -2, but may he reloaded by moving cavalry or walking infantry/
  Half-Horses, unlike the game’s gunpowder weapons.
  SWIVELS
  A “Swivel” is a very small swivel mounted cannon primarily used for discharging “hail shot”
  (chains, nails and pistol balls), although it can fire a small solid shot. Swivels are usually crewed by
  2 characters, although they can be loaded by a single character in nine turns. They are most often
  found as foc’sle or aft castle mounted swivel armament on warships, designed to fire down onto
  the decks during a boarding engagement, although large boats sometimes mount them as a bow
  armament. Swivels have a handiness of -2.
  Solid shot is only used against large targets such as groups of enemy or buildings, since its
  accuracy is poor. Hits by solid shot ignore all armor, and do double the normal amount of damage
  to targets struck by the ½ pound ball.
  Hail shot is an area effect weapon which spreads out from the barrel in a 60° cone. All
  characters caught in the blast zone are rolled for as targets. Armor protects against hail shot at
  long range, and counts for one higher than its normal protective value at extreme range. Other
  people’s bodies offer complete protection from hail shot at medium range or more.
  MISSILE WEAPONS CHART
  All ranges
  are given in
  paces. Ranges
  that are
  underlined are
  the ranges at
  which the
  weapon will
  automatically
  penetrate an
  unproofed
  armor.
  ARMOR PENETRATION
  Gunpowder weapons draw for
  armor penetration in the same
  manner as melee weapons.
  Remember that many firearms
  automatically penetrate
  unproofed armors at certain ranges.
  PROOFING
  Some metal armors are ‘proofed’
  that is, made thick and heavy
  enough to withstand pistol and
  musket shot. These armors are
  actually tested by firing a pistol at
  them from 20 paces range, leaving a
  small dent on the upper left breast
  (buyers note: buy the armor if it has
  a dent, but say “no thanks” if the
  armor actually has a hole there...)
  Proofed armor is never
  automatically penetrated at any
  range. Firearms must always draw
  to overcome the armor’s
  protection.
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  64
  In conditions of steady rain,
  gunpowder weapons are effectively
  useless. Even with the barrels
  stopped with cork, and oilskin
  wrapped about the lock, only one in
  six has any chance of firing (roll a 6
  on 1D6).
  MISFIRES AND BREAK DOWNS
  Black powder firearms are not particularly reliable, and can suffer a number of different types of
  misfires and breakdowns.
  Firearms must check for misfires whenever a roll to hit with the weapon equals or exceeds the
  weapon’s misfire number (before adding or subtracting skill DRMs) as shown on the chart below:
  Type of weapon
  Misfire number
  Matchlock firearm
        11
  Wheellock firearm
        12
    or Snaphaunce
  Bow
        11
  Any missile weapon
     in fog or wind
        10
  Subtract 2 from a weapon’s misfire number in wet conditions.
  If a misfire occurs, then roll 2D6 on the following chart, subtracting the firer’s skill from the
  dice roll. A roll less than the indicated amount will simply add an extra turn to the weapon’s next
  reloading period. A roll in excess of the indicated amount will cause the weapon to snap a flint,
  jam, or be otherwise rendered temporarily useless. A roll of 11 or 12 always results in temporary
  breakage, regardless of the firer’s skill.
  Matchlock, wheellock
  7
  Snaphaunce
  6
  Bow
  8
  
  65
  MAGIC
  The world of LACE & STEEL pulses with an undercurrent of magic. The magical field of mana
  permeates and surrounds every object and every thought in an unperceived web of meaning. As
  mana gathers around a person or an object, the laws that rule the mundane universe become
  susceptible to change, and can even be warped by sheer power of will.
  Many philosophers conjecture that mana is actually created by awareness, and thus magic
  comes from life itself. Objects and places which gain admiration or antiquity will absorb mana like
  a sponge, and magical events will tend to cluster about them. Likewise some people seem to
  acquire mana (even after death), and will be connected with fantastic events and strange
  happenings. The souls of living beings are perhaps the creature’s awareness bound up into the
  creature’s disembodied mana.
  Mana is split into the twin aspects of light and shadow (which physically manifest
  themselves as heat and cold). Skilled sorcerers can draw on these two elements of the mana which
  surrounds them and use them as weapons, concentrating distilled ether into a physical form.
  Mana is the raw stuff of magic. By shaping or collecting mana, mere herbs may be formed into
  magic potions, and swords may he given marvelous properties.
  MAGICAL TALENTS
  Magic is
  a special
  talent closed
  to all but a
  select few.
  The magical
  skills are
  divided into
  several
  branches.
  Unlike other skills, magical skills will require practitioners to acquire experience at performing
  individual tasks covered by each general skill. Magical skills are closed to all characters whose
  Magical aptitude characteristics are 15 or lower.
  Most skill rolls for spell casting will be made vs. the magician’s Reason or Drive characteristic.
  Rolls vs. Intuition or Magical aptitude might sometimes be required, but only on rare occasions.
  Characters may acquire skills in as many branches of magic as they may qualify for. Some will
  obviously find it profitable to concentrate on one major field, and thus might become specialized
  alchemists, artificers or sorcerers.
  Most schools of magic have a number of different abilities encompassed within the main skill.
  Skill levels are bought in the school/discipline itself, and act as DRMs when performing specific
  tasks. Every time a character gains a level of skill in a field, it also learns one of the specific spells
  within the field. Each ability or technique available within the discipline may also be acquired
  separately (at a cost of 1 or 2 experience points each). Characters do not purchase separate skill
  levels in these abilities - once the technique/ability is purchased, the character brings its general skill
  into play on the particular task in question.
  Note: Casting or attempting to cast spells is very taxing both mentally and physically. Every
  time a character makes a dice roll to attempt a spell, it will gain a point of fatigue. Fatigue points
  will act as an adverse DRM on all spell casting attempts.
  If any spell casting roll is a critical failure, then the magician overtaxes himself. The magician
  may cast no more spells for the next 24 hours.
  MAGIC
  LACE &STEEL is a magical
  environment. Demons and imps,
  sorcery and strange creatures
  abound.
  Always try to maintain a slight
  ‘fairy tale’ feel to your campaign
  world, and you will hold
  mundanity at bay.
  Remember, ‘fairy tale’ doesn’t
  necessarily mean childish and nice.
  The dark and sinister halve as much
  a place in LACE & STEEL as the
  marvelous and surprising.
  Nightmarish terrors and evil
  creatures can lurk in the dark
  corners of your campaign, ready to
  lash out at the unwary...
  
  66
  BUYING MAGIC ARTIFACTS
  Potions and magic artifacts are
  available for sale if the buyer knows
  where to look. Unfortunately, magic
  users are rare enough to have very
  little competition, and so they will
  charge as much for their services as
  the market will bear. Potions and
  artifacts will usually sell for at least
  twice their cost of manufacture, but
  the wealth of the local buyers and
  the prices charged by the
  competition will all affect final
  prices.
  Most characters would have to
  make a STREETWISE skill roll to be
  able to find a shop selling potions
  and adjuncts. Referees should feel
  free to make magical curiosity shops
  interesting and weird places to visit.
  ALCHEMY
  Alchemy is the distillation of potions and magical adjuncts from natural materials such as
  herbs and essences. Alchemical skill may only be taken by any character who has a Magical
  aptitude of 15+.
  To successfully brew a potion, an alchemist must roll his Reason vs. the difficulty rating of the
  potion (listed below). The character’s Alchemy skill is used as a DRM when making the attempt.
  If the character’s skill roll is failed, then the potion is ineffective (unless the character made a critical
  failure, in which case the potion is poisonous, causing wounds equivalent to firearm damage on
  the victim). For this reason, it is best for the Referee to secretly check for the success of all attempts
  at brewing potions, rather than having a player roll.
  The formula for each type of potion must be learned separately at a cost of one or two
  experience points each. All potions require complex equipment and rare ingredients to prepare -
  they must be produced in the laboratory, and not in the field. Suggested potion types are as
  follows:
  SLEEPING DRAUGHT
  Experience points cost:
  1
  Difficulty:
  Easy
  Approximate cost to produce:
  5 silvers
  Time taken to brew:
  1 day
  Time taken to mature:
  2 days
  Sleeping draughts consist of a small vial of concentrated liquid. When mixed with another strong tasting
  fluid (such as wine) it has virtually no taste. Once ingested, this potion induces a deep and refreshing
  sleep.
  HEALING POTION
  Experience points cost:
  1
  Difficulty:
  Average
  Approximate cost to produce:
  10 silvers
  Time taken to brew:
  1 day
  Time taken to mature:
  1 month
  Ingesting a dose of this potion will heal one point of damage to a character’s maximum hand rating. A
  character may only ingest one dose of healing potion per day.
  Healing potions might take the form of a paste, poultice or swab. The water from a unicorn pool is a
  powerful healing potion in itself.
  DISEASE CURING POTION
  Experience points cost:
  1
  Difficulty:
  Difficult
  Approximate cost to produce:
  20 silvers or more
  Time taken to brew:
  2 days
  Time taken to mature:
  1 week
  This potion purifies the system of whatever disease the potion was formulated against. Sample diseases
  include plague, infections, swamp fever, and colds/flu/pneumonia. Each type of disease cure must be
  learned separately.
  
  67
  POISON
  Experience points cost:
  1
  Difficulty:
  Average
  Approximate cost to produce:
  10 silvers
  Time taken to brew:
  1 day
  Time taken to mature:
  0
  When ingested, poison will attack its victims’s maximum hand rating just like any other weapon. Draw
  one card of damage * and if the card suit is RAPIERS, draw a second card, then subtract the totaled
  numerical values of the cards from the victim’s maximum hand rating as usual.
  If the second card drawn is also in the RAPIER suit, then the victim will suffer more damage the
  following day (1 extra card of damage).
  Note that some poisons may be collected from natural sources without recourse to alchemy skill, but
  can be amazingly difficult to collect...
  POISON ANTIDOTE
  Experience points cost:
  2
  Difficulty:
  Average
  Approximate cost to produce:
  10 silvers
  Time taken to brew:
  1/2 day
  Time taken to mature:
  0
  Cures the effects of poison if ingested before the victim actually dies. Poison antidotes are made vs. a
  specific type of poison - a sample of the poison or of a poisoned victim’s blood will be required in order
  to formulate the correct antidote.
  MIND ENHANCING POTION *
  Experience points cost:
  2
  Difficulty:
  Difficult
  Approximate cost to produce:
  2 Marks
  Time taken to brew:
  2 days
  Time taken to mature:
  1 month
  Upon ingesting this potion, a character will fall into a deep trance for two hours, after which it will
  awaken in a state of extreme exultation. For the next two hours after awakening, all skill rolls vs. the
  character’s Reason, Intuition and Drive characteristics are taken with an additional DRM of -1. Once
  the potion wears off, the recipient will collapse in utter exhaustion, and will be useless for half a day or
  more.
  COORDINATION POTION *
  Experience points cost:
  2
  Difficulty:
  Difficult
  Approximate cost to produce:
  2 Marks
  Time taken to brew:
  1 day
  Time taken to mature:
  1 month
  Characters who take this potion become very aggressive and hyperactive. Raise the character’s
  Dexterity by 5, and recalculate the character’s maximum hand and new draw ratings accordingly. The
  potion will last for approximately 2 hours, after which the recipient will drop unconscious for 24 hours.
  STAMINA POTION *
  Experience points cost:
  2
  Difficulty:
  Difficult
  Approximate cost to produce:
  2 Marks
  Time taken to brew:
  1 day
  Time taken to mature:
  1 month
  Increases the subjects strength by 5 for the next two hours, after which the character will fall
  unconscious for 24 hours. If ingested in conjunction with a potion of coordination, the subject will take
  a random card of damage to its wound level/maximum hand rating once the potion wears off.
  
  68
  ADDICTION NOTE
  Potions whose titles are followed
  by an asterisk are ADDICTIVE. If a
  character takes two addictive
  potions of the same type in a single
  week, it must test its Drive vs. 10 to
  avoid addiction. Addicts must ingest
  one such potion per week or suffer
  a DRM of +1 on all skill tests until
  they can gain a “fix”. The effects of
  the potions ingested by such addicts
  slowly diminish over time, until
  finally the potion has no real effect
  upon the addict at all except to ease
  the character’s craving.
  An addiction is broken if the
  character can be kept from fueling
  its addiction for a whole month.
  Each day in which a character tries
  to go “cold turkey”, it must roll its
  Drive vs. 10 to avoid giving in and
  trying to find a “fix”. Most addicts
  will have to be closely watched or
  even physically restrained.
  STASIS POTION
  Experience points cost:
  2
  Difficulty:
  Difficult
  Approximate cost to produce:
  100 Marks
  Time taken to brew:
  1 day
  Time taken to mature:
  1 month
  Once ingested, the subject falls into a state of suspended animation for a full year. Unfeeling and
  unconscious, the subject will not age, deteriorate from the effects of disease or poison or suffer any
  other such effects.
  Any character that can brew a stasis potion can brew an antidote. This costs 100 Marks to produce, and
  takes 2 days to prepare and a week to mature. It can be used to counter act a stasis potion, awakening
  the victim with no ill effects.
  DREAM TRANCE POTION
  Experience points cost:
  2
  Difficulty:
  Average
  Approximate cost to produce:
  1 Mark
  Time taken to brew:
  1 day
  Time taken to mature:
  1 month
  When a character ingests this potion, it will fall into a deep trance for 8 hours. If the character falls
  asleep near an object or place that the character holds firmly in the mind whilst slipping into slumber, it
  may gain valuable information about the object of its concern. Likewise if the character falls asleep
  while concentrating upon a vexing problem, the character might gain valuable clues to its solution when
  it awakens.
  When the character awakens, it must roll its Intuition vs. 10. If the roll was successful, the character
  will have gained a useful piece of information about the object or problem in question.
  CREATE HOMONCULOUS
  Experience points cost:
  2
  Difficulty:
  Very difficult
  Approximate cost to produce:
  100 Marks
  Time taken to brew:
  1 week
  Time taken to mature:
  1 month
  Using samples of his own tissue a skilled alchemists may create a tiny (8" high) living being as his
  familiar. Fashioned as a warped parody of the mage’s own form, a Homonculous can be a useful and
  amusing assistant around the laboratory. Homonculi have infallible memories for details, a Dexterity of
  15, a Strength of 1, and other characteristic scores equaling those of their creator. Any Reason based skill
  test taken with the assistance of a Homonculous is made at a DRM of -1.
  While usually full of tricks and practical jokes, a Homonculi tend to be fond of their creators, and must
  always obey their creators if ordered to perform an action.
  
  69
  ARTIFICIERY
  Artificiery is the sorcerous science of producing magical machines and tools. Artificers work on
  long projects, and can expect few immediate results from their craft. On the other hand, Artificers
  can expect few troubles in gaining employment!
  Artificier skill is only open to characters whose Magical aptitude is 18+. Artificers will also be
  required to learn craft skills, since a successful craft skill roll will be required on many projects.
  When working on a project, the artificier must make its skill roll vs. the difficulty of the task
  (artificier skill counts as a DRM to this roll). If the roll fails, then the project is a complete washout,
  and the time and materials spent are wasted.
  MAGICAL LOCKS
  Experience points cost:
  l
  Difficulty:
  Average
  Approximate cost to produce:
  10 Marks
  Time taken to create:
  1 week
  Magical locks may only be opened by the key which closed them. They are impossible to pick or shoot
  open, and will require stronger methods of forced entry (like a petard or a keg of gunpowder).
  MAGICAL BOXES
  Experience points cost:
  1
  Difficulty:
  Difficult
  Approximate cost to produce:
  10 Marks per cubic foot of external size
  Time taken to create:
  2 weeks per cubic foot of external size.
  The creation of boxes or containers whose insides are twice the volume of their outsides.
  SLOW GLASS
  Experience points cost:
  1
  Difficulty:
  Difficult
  Approximate cost to produce:
  100 Marks
  Time taken to create:
  2 weeks
  Required craft skill:
  Glass work
  A magical lens which slows down the light which falls onto it. Light which enters one side of the lens
  will pass out the other side 24 hours later. A useful device for spies, lenses of slow glass can be placed in
  an area and collected later, where the events that occurred in the lenses view may be studied at leisure.
  Artificiery will probably not
  appeal to most player characters,
  since the skill requires a fairly sessile
  life-style. Artificers are vital to the
  game background, however, and
  have thus been included in detail.
  LACE & STEEL is an environment
  where magical nick knacks and
  wondrous devices constantly
  appear to add color to the campaign.
  
  70
  The list of magical devices
  offered here is extremely limited.
  Referees should feel free to enrich
  this list as desired. Magical devices
  such as mechanical songbirds,
  magical mirrors, weird and
  powerful objects of all shapes and
  kinds should lurk m the corners of
  palaces and workshops ready to
  surprise and delight the players
  (either that or scare the hell out of
  them).
  MAGICAL WEAPONS
  Experience points cost:
  2
  Difficulty:
  Difficult
  Approximate cost to produce:
  1000 Marks
  Time taken to create:
  2 months
  Required craft skill:
  Metal work
  Painstakingly crafted weapons fashioned from special alloys under exacting conditions. The construction
  of magical weapons must be started at the beginning of a lunar month, and must be ended before the
  next month is up. The artificier thus requires isolation for the duration of the project.
  The final stage of creating a magical weapon is performed in one of two ways. The sword must either
  be quenched by being thrust through the heart of a living victim, or buried in a holy place for a year.
  The success or failure of the project may be assessed only after one or the other of these acts is
  performed.
  Magical weapons draw one additional damage card when entitled to draw for extra damage
  (mismatched suits on the attack & defense cards when damage is caused), and discard the card with the
  lowest numerical value.
  MAGICAL ARMOR
  Experience points cost:
  2
  Difficulty:
  Difficult
  Approximate cost to produce:
  500 Marks
  Time taken to create:
  1 month
  Required craft skill:
  Metal work
  Breastplates, tassets, gorgets or helmets with one more point of protection than normal. Magical armor
  also provides protection against sorcerous attacks, and resists firearms at all ranges.
  Magical armor must either be tempered by being quenched in the lifeblood of an intelligent being, or
  buried in a holy place for a year, much like magical weapons.
  There are no magical buff coats...
  “GREAT DEVICE”
  Experience points cost:
  2 or 3 (or even more)
  Difficulty:
  Very difficult
  Approximate cost to produce:
  10,000 Marks +
  Time taken to create:
  2 years or more
  Upon expending the required experience point, the artificier conceives of some great project, and
  devotes the next year to researching its construction and laying out the design plans. With this work
  completed, the artificier may begin the actual construction.
  “Great devices” are grandiose projects constructed over prolonged periods of time with the permission of
  the Referee. They might include such creations as mechanical riding beasts, magical toys or fearsome
  engines of destruction. Each such project must be researched separately and paid for with experience
  points.
  
  71
  ASTROLOGY
  Astrology is the complex science of predicting events through the motions of the stars and
  heavenly bodies. The performance of an astrological calculation is a complex task taking anywhere
  from a day to a week. The astrologer must make careful calculations requiring references to a large
  store of manuals and charts, and the use of an astrolabe. The astrologer might also have to take
  star sightings through telescopes.
  Astrological calculations require the astrologer to know the precise time and place in which the
  subject of his calculations was born or created. Astrologers will thus often become adept at Legend
  Lore.
  Astrology skill is closed to characters who do not have a Magical aptitude of 16+ and
  navigation skill.
  Like the other magical skills listed above, there are a number of different abilities grouped under
  the general skill of ‘“Astrology”. Each ability must be acquired separately, at a cost of 1 experience
  point each.
  Astrology is an expensive profession when initially setting up shop. Astrolabes will cost about
  8 Marks, small astronomer’s telescopes might cost 20 Marks or more, and the usual prices must be
  paid for books, charts and manuals.
  DIVINE PERSONALITY
  Experience points cost:
  1
  Difficulty level:
  Average
  The astrologer casts a horoscope and discovers the disposition of his subject, the target’s profession, and
  a general indication of the character’s level of competence within that profession.
  DIVINE MAGICAL APTITUDE
  Experience points cost:
  1
  Difficulty level:
  Average
  The astrologer casts a horoscope and discovers his opponent’s Magical aptitude rating, and its highest
  level of expertise with a magical skill. This spell can also be used to determine the power of a magical
  object.
  DIVINE OMENS
  Experience points cost:
  1
  Difficulty level:
  Difficult
  The character may attempt to make readings to gain foreknowledge of up and coming critical or
  disastrous events. This does not give precise details as to the nature of the event, only a general
  indication that an event of a certain kind might be expected. The character may also divine a lucky day
  for an event to occur. This does not necessarily guarantee the success of the venture in question...
  LOCATE PERSON
  Experience points cost:
  2
  Difficulty level:
  Difficult
  The astrologer may tell the general location of the character being sought - but only if he knows the
  times and places of birth of the character in question and his companions.
  LOCATE OBJECT
  Experience points cost:
  2
  Difficulty level:
  Very difficult
  The astrologer divines the location of a lost object. To successfully locate an object through divination,
  the astrologer must know the date and place in which the object was created, and the birth date of the
  object’s creator.
  Harpy Astrologress.
  No court is complete without its
  astrologer!
  
  72
  SAMPLE DEMON
  “Randolph the rotten” is a tyro
  demonologist, who sets out to
  create his demon for the first time.
  Randolph wants to be revenged on
  the woman who spurned him (this
  unhappy affair has left Randolph
  quite unbalanced). He has no ties to
  anything anymore - but he does
  have an antipathy of 4 towards his
  ex-lady love! He also has an
  antipathy of 4 towards this lady’s
  new beau.
  Randolph has a drive of 14, and
  thus his demon’s characteristics are
  all rated at a value of 14. BUT
  Randolph has 8 points of
  antipathies. This gives him 8 points
  to split up between the demon’s 5
  characteristics. Randolph chooses to
  put two points into increasing the
  demon’s dexterity up to 16 (to give
  it a maximum hand rating of 7), and
  bundles the remaining 6 points into
  strength and endurance to make the
  creature tougher. Gloating over the
  fact that he will finally give his
  enemies just what they deserve,
  Randolph performs the
  summonation ceremony.
  If Randolph’s demon actually
  manages to kill its two targets, the
  objects of his antipathy will die and
  he will no longer have valid
  antipathies against these two
  individuals. His demon becomes
  weaker. Randolph will have to find
  new hatreds if he wishes to keep his
  demon strong...
  
  73
  DEMONOLOGY
  Demons are beings of raw mana brought to life by the fears and hatreds of sentient creatures.
  They are hostile, inimitable creatures which hover at the very edge of consciousness.
  Every person has his own demon, which represents his subconscious hatreds, fears and lusts.
  These demons are non-corporeal, and will be encountered only in nightmares. Demonologists gain
  the skill of giving their own demons physical form, using them as tools and increasing their powers
  rather than dismissing them and weakening them with wisdom and patience (as all sensible
  people seek to do).
  Demonology skill is open to characters who have a magical aptitude of 17+. It is a skill which
  would only be learned by the sick, the power hungry or the perverse.
  CREATING A DEMON
  The creation of a demon is a taxing and dangerous task which requires weeks of preparation.
  The ceremony itself requires absolute concentration, and is always performed on blasphemed
  ground. The ceremony will require about 10 marks worth of incense, herbs and adjuncts.
  To successfully firing a demon into corporeal being, the summoner must roll its Drive vs. 15,
  with its Demonology skill acting as a DRM. Mind enhancement potions will give a bonus to this
  roll, and are usually considered essential to the summonation ceremony.
  A successful roll creates a demon. A roll which fails by more than 2 points causes the
  summoner’s demon to overwhelm and destroy him utterly. Any given person can only create one
  demon. One is enough....
  DEMON CHARACTERISTICS
  When a demon is summoned, it will appear directly beside the its summoner, popping into
  existence out of the ether in which it lives. The mage may then give it instructions as to its task
  and limitations.
  The appearance of a Demon is always terrifying, always nauseating, for they are the creatures
  of nightmare itself. Their physical structure varies as widely as the people who summon them,
  but they are usually chaotic collections of the images that the summoner loathes most. As such
  they are usually fiendish combinations of octopus, insect, spider and devil, with unmistakable
  reminders of disease and decay. The first sight of a demon will cause convulsions of absolute terror
  in any person. Characters who behold a Demon unexpectedly must make a drive roll vs. 10 even to
  be able to flee from such an apparition...
  Demons are rated for their Strength, Dexterity, Reason, Intuition and Drive. A demon’s
  characteristics all equal its summoner’s Drive. Every antipathy point that the summoner
  possesses at the time of initial summoning is added power to the Demon, providing extra
  characteristic points that may be added to the Demon’s characteristics. Rotten people thus have
  stronger Demons.
  The summoner’s Self Image has a profound effect upon its Demon’s efficiency. Add the
  summoner’s Self Image modifier to the creature’s maximum hand rating. In addition, the
  summoner’s Self Image modifier should be applied to all rolls made by the Demon. Unlike the
  characteristics bonus for antipathies, this modifier changes with the changes in the summoner
  from moment to moment. A demon can be seriously weakened by proper psychological assault on
  its master.
  Summoned demons have a physical existence, and are halted by doors, windows and precipices
  just like anyone else. Demons can, however, swim, crawl up sheer surfaces and squeeze through
  astonishingly small gaps (due to their amorphous bodies). Demons move with the speed of a
  galloping horse for short periods. They can smell the souls of living men much like scavengers scent
  carrion, and can track a man by the smell of his soul. They are susceptible only to damage from
  fire, sorcery, silvered blades or silver bullets. Demons are unkillable while their creator lives. As long
  as a demon’s creator is alive, Demons whose hit points are brought to zero or lower will merely
  dissipate back to the spirit world, where they will regenerate at a rate of 1 Max Hand point per
  day. Demons released by the death of their creator will roam free to live quietly or cause havoc
  according to their whims.
  Demons may never cross hallowed ground.
  A demonic summation
  ceremony is a time consuming and
  dangerous business. The ceremony
  itself must take place in a ritually
  cleaned and asperged environment
  with a lot of floorspace and a
  minimum of nosy neighbors. After
  hours of prayer to the dark powers,
  the celebrant must then draw out a
  complex series of pentagrams and
  protective patterns. Once this is
  completed, the ceremony can begin
  in earnest.
  The actual summonation
  ceremony must be properly
  “consecrated”. This requires the
  summoner to perform some dire
  act - the sacrifice of an animal, an act
  of treachery, or something even
  more foul. Only the most depraved,
  power-hungry or insane magicians
  would ever stoop to demonology. A
  demonologist’s soul is sick and
  diseased - carefully nurtured as a
  festering source of cruelty and hate.
  A demonologist has a terrifying
  love/hate relationship with his or
  her own demon, adoring it, loathing
  it, commanding it, FEARING it. A
  person’s demon is their nemesis,
  their worst fears - their self. By
  giving their dark side a lethal
  physical form, by setting it free to
  slay and wallow in destruction, they
  seal their own dooms. Eventually a
  demonologist’s demon will slay
  them - it is almost a foregone
  conclusion.
  Strangely enough, most
  demonologists don’t seem to care.
  
  74
  DEMONOLOGY NOTE
  Assassination at the hands of a
  demon is a very real threat to men
  of power. Most important persons
  will take precautions. The carrying
  of silvered weapons is the ultimate
  act of self aggrandizement - the
  wearer proclaims that he thinks he
  is important enough to be in danger
  of demonic attack.
  USES OF DEMONS
  Once a demon is created, it hovers in the spirit plane near its summoner, waiting to be called.
  The demon’s creator may call on the demon at need, bringing it into physical existence. Roll the
  summoner’s Drive vs. 10 (modified by demonology skill) to bring forth the Demon, rolling once per
  turn until the Demon appears. If the roll fails by more than 2 points, the summoner must roll
  2D6. On a 12, the demon becomes enraged, and attacks its summoner, fighting him until it has
  destroyed him or until it is dissipated.
  Demons may be used as warriors or assassins, or set as guards or laborers. They will obey verbal
  instructions literally, but will often use their own initiative to perform acts of malice, cruelty or
  destruction if these are not prescribed by their instructions. Once they have completed a mission,
  they will return to their summoner.
  All demons have a sorcerous shield of 4 cards, which may be replenished by a maximum of 1
  card per turn. In sorcerous combat, demons may assist their masters by increasing his effective
  sorcery skill and magical hand rating by 1.
  In physical combat, demons are very dangerous opponents. They have a combat skill of 4,
  modified by the inverse of their summoner’s Self Image score (a positive score gives a negative
  bonus). They fight with tough, horny extremities, teeth, horns or whatever, which are treated as
  edged melee weapons. Ignore weapon reach and weight when fighting a demon. Demons are
  covered in horny, rubbery or scaly hides which count as 3 points of “proofed” armor. Wounds
  caused by demons will always fester, and require the swift use of disease curing potions or
  amputation in order to save the victim from gangrene.
  
  75
  HEDGE MAGICS
  Hedge magic is the somewhat derogatory term used in sorcerous circles to describe the “nature”
  oriented magical powers. Hedge Magics are only usable by characters whose Magical aptitude is
  16+, and whose Intuition score is 12+.
  ANIMAL SPEECH
  Experience points cost:
  1
  Difficulty level:
  Average to very difficult, depending on message given
  The magician may give simple verbal instructions to non-sentient creatures. This might be used to get a
  small creature to carry a message, or tell a riding beast to go and wait at a certain location. The
  complexity of the instructions and the attention span of the beast will affect the task’s difficulty level.
  PURIFY FOOD/WATER
  Experience points cost:
  1
  Difficulty level:
  Average
  This spell purges food or water of disease, staleness and (to a lesser extent) decay. It can be a useful spell
  for travelers.
  FIND DIRECTION
  Experience points cost:
  1
  Difficulty level:
  Average
  Upon casting this spell successfully, the mage will immediately gain his bearings.
  FERTILITY
  Experience points cost:
  l
  Difficulty level:
  Difficult
  The mage may increase the chance of a creature bearing young, or increase the crop yield of a field for
  one season. There is a reverse version of this spell, called “Blight” or “Curse”, which has the opposite
  effects.
  SCRYING
  Experience points cost:
  2
  Difficulty level:
  Difficult
  The mage uses a crystal ball or a pond/puddle
  of pure water to act as a window through
  which he may observe distant events. Scrying is
  not a precise art - sometimes the mage will be
  shown random snatches of the past, present or
  future, with little or no indication of which is
  which. If the mage is searching for a specific
  character or event, the task becomes very
  difficult.
  GRAFTING AND GROWING
  Experience points cost:
  2
  Difficulty level:
  Very difficult
  Through a careful program of growth and
  experimentation, the mage may mutate and
  modify plants, even going so far as to combine
  organs normally associated with animal life
  with living plant matter. These creations are
  rooted in place, but make useful spies, door
  guards or decorations. In this way “hedge
  mages” produce many fantastic creations,
  including such wonders as the guardian “Eye
  bushes” of Craggy Tor.
  HEDGE MAGIC
  Spying out the enemy’s lair with
  an animal eyes spell is an
  opportunity to delve into another
  level of role playing. The player
  should now take the role of his
  animal agent as it timidly sets out on
  the mission that he has given it (the
  magic user effectively becomes the
  animal, directing its actions at will).
  Gigantic cats, housekeeper’s
  brooms, owls and spiders all
  become the player’s foes and
  problems as he steps into a new
  scale of existence.
  
  76
  PRACTICAL ILLUSION
  Hattie is an illusionist who is
  down on her luck. All she has to eat
  is cabbage. Trying to make her meal
  more appetizing, she casts a
  combined visual, tactile and
  olfactory illusion over the nasty
  vegetable, trying to make it appear
  to be a roast chicken.
  Overcoming her own drive
  requires a roll of 7- on 2D6. Her
  illusion skill of 2 gives her a -2 DRM
  on the roll. Hattie rolls an 8. Minus
  two for her skill DRM brings her
  score down to 6: Success!
  In her heart of hearts, Hattie
  knows that she is really eating a
  cabbage. Certainly the nutrition is
  that of cabbage and not roast foul.
  But for all intents and purposes the
  cabbage looks like a chicken, tastes
  like a chicken, smells like a chicken,
  and has the texture of chicken meat.
  Hattie may live like a pauper, but
  today she dines like a King!
  ANIMAL EYES
  Experience points cost:
  2
  Difficulty level:
  Very difficult
  The Mage establishes a rapport with a non-sentient animal of some type. For the next hour or so (as
  long as the mage maintains his concentration) the mage may direct the actions of the subject animal,
  seeing through its eyes and hearing with its ears, feeling whatever the subject feels - effectively becoming
  the creature for the duration of the spell. If the subject creature Is slain while this spell is active, the
  controlling mage will go into shock, falling comatose for a day or more.
  ILLUSION
  Any character with a magical aptitude of 16+ may learn the slights of illusion. Illusionists
  gain the ability to affect the senses and emotions of others. Rolls to cause living targets to believe
  in an illusion are always made by matching the illusionist’s drive vs. that of his target, with the
  illusionist’s skill as a DRM on the roll.
  BEMUSE
  Experience points cost:
  2
  The Mage tries to overcome his victim’s drive. If this is successful, then the target becomes confused
  and befuddled, and will not act except in self defense. This spell has a maximum range of 100 paces,
  and lasts for about 2 minutes. The victim may roll to break the bemusement once per combat turn if it
  is surrounded by violent or exciting circumstances (e.g. a fight).
  ILLUSION (SPECIFY VISUAL, SONIC, OLFACTORY OR TACTILE)
  Experience points cost:
  1
  Illusions of sight, taste/smell, touch and sound can be molded together into a single spell, and only a
  single roll is made by the target to resist the entire illusion.
  Illusions may only change the appearance of a real object - they do not create apparitions out of thin air.
  Illusions do not effect the apparent mass or dimensions of the object which is being disguised.
  The creation of an illusion requires concentration. The subject of the illusion must be clearly pictured in
  the illusionist’s mind, and the illusionist must therefore test to maintain an illusion whenever he is
  distracted from concentrating upon it (e.g. by gunfire or by having to talk).
  As a rule, visual illusions may only cover a small physical area (e.g. about the size of a person’s body).
  Simple visual illusions that flow over an existing object may be larger (e.g. it is possible to use illusion to
  change the color of a horse).
  Illusions have many uses. A mage might cast an illusion over his own features, or disguise his voice. He
  might hide a door, create an imaginary pistol or change the cards in a card game to suit his own
  advantage. It costs 1 fatigue point per 10 minutes to maintain an Illusion.
  
  77
  MENTAL DISCIPLINES
  Mental Disciplines are rare talents open only to those characters whose Magical aptitude
  scores are 15+, and whose Drive scores equal or exceed 14. Each discipline must be acquired
  separately.
  HYPNOTIC INTERROGATION
  Experience points cost:
  1
  Difficulty level:
  Difficult
  The mage may read the surface thoughts of a victim who is in a state of shock, panic, fear or distress.
  ESP
  Experience points cost:
  1
  Difficulty level:
  Difficult
  The mage may tell if he is being watched, discussed, or is about to be ambushed.
  LEVITATION
  Experience points cost:
  1
  Difficulty level:
  Difficult
  Upon entering a trance for two to ten minutes, the mage may elevate himself off the ground for a
  number of yards equal to his Drive characteristic. The Mage may leave his trance once he loses contact
  with the ground, and may control his height and rate of ascent. After ten minutes, the mage must roll
  his drive vs. an average task to maintain his height, otherwise he will drift back down to earth.
  ASTRAL PROJECTION
  Experience points cost:
  2
  Difficulty level:
  Very difficult
  The mage goes into a trance for an hour or more, during which time he projects his spirit (visible as a
  ghost of his true form) across great distances. His spirit form may observe its surroundings, speak, hear.
  It is vulnerable to the attentions of guardian spirits, which may fight the spirit in mental combat (roll
  each spirit’s Drive vs. its opponent’s Drive. If the roll is successful, reduce the target’s Magical aptitude
  by 1D6. If either character’s Magical aptitude reaches zero, it is dissipated/dead).
  Astral travel is dangerous to the unskilled. If a character’s first attempt at astral projection fails, then the
  character’s spirit loses its way back to its body. The body will die in a week or so unless another mage
  can use astral projection to find the wandering spirit and bring it back home.
  
  78
  NECROMANCY
  Necromancy is the art of dealing with the dead, and communing with the spirit world. It
  is only open to characters with a Magical aptitude of 20 or more. Necromancy does not
  involve the actual animation of corpses. This has been known to happen, but only through
  direct treaty with the Devil, whose province includes the souls and remains of the damned.
  Necromancy is viewed with horrid fascination by the public. Necromancers are shunned,
  and most characters feel ill at ease in their ghoulish company.
  Necromancy can be a useful skill for talking to dead party members!
  SPEAK WITH DEAD
  Experience points cost: 1
  Difficulty level:
  Average if corpse of the subject is present.
  Difficult if no corpse is present, but the task is performed at the site of the subject’s death -
  otherwise the task is very difficult.
  The necromancer raises the spirit of a dead person and may speak with it. Spirits do not like
  returning to the worlds of the living, and will leave if their interest is not held. It is thus easiest to
  deal with spirits whose own interests are served by communicating the information desired (e.g..
  If the ghost was asked to reveal the name of its murderer).
  This spell is dangerous if wrongly cast, since the enraged spirit might attack the necromancer and
  attempt to possess him (roll the spirit’s Drive vs. the Necromancer’s Drive for success).
  Possession attempts will not be made by gentle or sad spirits, but only by the shades of the angry
  or greedy.
  COMMAND DEAD
  Experience points cost: 2
  Difficulty level:
  Difficult
  The necromancer may force a spirit to perform an act that goes against its will (e.g. hold a spirit
  in place until it answers his questions, or cause the spirit to appear to another character and
  deliver a message).
  SPIRIT BINDING
  Experience points cost: 1
  Difficulty level:
  Very difficult
  The necromancer may bind a spirit into the land of the living as a ghost. The spirit is confined to
  a set area until the spell is lifted or the necromancer dies. If combined with a command spell, the
  spirit may be forced to perform certain actions within its specified domain (deliver warnings,
  attempt possession etc.).
  EXORCISM
  Experience points cost: 2
  Difficulty level:
  Very difficult
  The necromancer may liberate a bound spirit, or force a spirit to cease possession of another
  character’s body. It can also be used to force a Demon temporarily back into the spirit plane (roll
  the necromancer’s drive vs. that of the Demon).
  
  79
  The dead desire blood! Summanation of
  spirits must be accompanied by blood
  sacrifice.
  
  80
  SORCERY SAMPLE
  1 - Linette’s companion Annalise
  is a sorcerer, and she finds herself
  locked in mortal combat with an
  enemy sorcerer. Both antagonists
  have a skill of four and a maximum
  sorcery hand of 4. Annalise’s New
  Draw rating of 3 is equaled by her
  opponent’s score. Annalise looks
  like she might have quite a fight on
  her hands!
  Of the four cards dealt to her,
  Annalise takes three of the most
  powerful and puts these face up in
  front of her as her shield (a LIGHT
  2, and a SHADOW 2 and 4). Her
  opponent only puts up two cards
  as his shield (a LIGHT 3 and a
  SHADOW 4) - he’s keeping the
  other two cards for offense.
  Both combatants cut the deck to
  test for initiative, and Annalise gets
  the highest card (winning her the
  initiative). She elects to go for a new
  draw. Annalise now draws three
  cards from the deck and adds these
  to her hand. She now has four cards
  in her hand. With a maximum
  sorcery hand of 4, this is as many as
  she can ever hold (her shield cards
  don’t count towards this total).
  Annalise’s action is over, and the
  initiative passes over to her
  opponent.
  Annalise’s opponent chooses to
  make an attack. He plays a single
  card face up - a SHADOW 2, and
  adds a second card to his attack - a
  SHADOW 4 (this time face down).
  Both cards can truly be linked into
  one attack in this manner, since they
  are both in the same element and
  the same suit (skulls). This has
  exhausted his hand, but makes for a
  fairly powerful attack.
  SORCERY
  Sorcery is the skill of manipulating the 2 main elements of LACE &STEEL’s magic - light and
  shadow. It is the skill of magical combat - a destructive talent of enormous potential. Sorcery skill
  is only open to characters whose Magical aptitude score is 15+, and whose significator is one of
  the major arcana.
  There are two main elements known to the magic of LACE &STEEL - Light and Shadow. Light
  is an element embodying heat and anger, and Shadow embodies cold, and calculating ruthlessness.
  Sorcerous attacks create finely directed blasts of intense heat or cold which are capable of causing
  fearful wounds to flesh or massive structural damage to wood, metal or stone. The physical
  damage caused by sorcery attacks is halved outside of 100 paces range, and sorcerous attacks have
  a maximum range equal to the sorcerers (Magical aptitude + Drive) x 10 paces. Sorcery attacks
  operate only within line of sight of the spell caster.
  Sorcerers engaged in sorcerous combat will be readily noticeable to other characters. Auras of
  force swirl around the sorcerer, lunging forth to strike down an opponent or fend off enemy magics.
  The sorcerer will often be standing within a protective circle scribed upon the ground, a ring of
  symbols and runes which flicker with the forces of raw magic.
  MAGICAL COMBAT
  Like melee combat, contests of sorcery are simulated by a card game. More calculating and
  planned than melee combats, LACE & STEEL’s magical combat system allows players to build up
  careful defenses and plan their moves a turn or two in advance. One turn of sorcery combat takes
  ten seconds (the same as a normal missile fire turn). Missile fire and melee are determined before
  sorcery attacks are made. Sorcerers should be made aware that whatever their powers, one bullet
  can still lay them low just like anybody else.
  THE SORCERY DECK
  The sorcery deck consists of 52 cards. The cards are divided into elemental cards (marked “Light”
  or “Shadow” after the element that they represent) and special purpose cards (marked “Intuition”,
  “Disruption”, “Feint” and “Dazzle”). Cards are divided into two suits, RAPIERS and ROSES.
  Elemental cards are given a numerical value between l and 5. Special purpose cards have a
  bracketed numerical value which is used for determining initiative at the start of the game.
  STARTING INITIATIVE
  The sorcerer with the highest skill will start the combat with the initiative. If both
  combatants are of equal skill level, then both players cut the deck. The player who draws the card
  with the highest numerical value will win the initiative.
  MAXIMUM SORCERY HAND
  The maximum number of sorcery cards that may be held
  by any character is determined by the character’s Magical
  aptitude score on this chart:
  The character’s maximum sorcery hand must not be
  confused with its normal Max Hand rating. As the character
  takes damage, its maximum sorcery hand rating will suffer at
  the same rate as its Max Hand rating, but it is the damage to a
  character’s hit points which will determine when a character
  becomes grievously wounded or dies.
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  81
  The cards played face up as part of a character’s “shield” (see below) do not count towards its
  maximum hand.
  NEW SORCERY DRAW
  Sorcerers may augment their hand of sorcery cards through new
  draws from the deck. The number of cards that they draw is
  determined by their new sorcery draw rating. This rating is
  determined by the character’s Reason score on this chart:
  SHIELDS
  Upon entering into sorcerous combat, a sorcerer will establish a defensive shield. After taking
  their initial deals, all sorcerers select cards from their hand to act as part of their defensive shield.
  Shield cards are placed face up in front of the player. The number of cards used as a character’s
  sorcerous shield may never exceed the character’s Sorcery Skill Rating, or its current Maximum
  Sorcery Hand Rating. If a sorcerer’s maximum sorcery hand rating drops below the number of
  cards currently played as the sorcerer’s shield, then the sorcerer must discard shield cards until his
  number of shield cards meets the new limit.
  The numerical value of the cards played as a character’s shield is the measure of its strength.
  The establishment of a sorcerous shield requires the magician to stay within a carefully defined
  circle of protection (about 2 yards in diameter). Moving outside of this circle will deprive the sorcerer
  of all but one card of shield defense. The establishment of a circle of protection takes about 10
  seconds (1 missile turn). If a mage suffers a surprise attack from sorcery, his defensive shield is
  initially limited to zero cards (unless he has a Drive characteristic of 12+, in which case his shield is
  determined by a random draw from the sorcery deck). The shield may be increased as part of the
  normal sequence of play (see below).
  Annalise may now attempt to
  parry the incoming attack. To do so,
  she must produce cards of the
  LIGHT element from her hand
  (LIGHT opposes SHADOW). She
  figures that the little SHADOW 2
  card that she can see face up is
  probably a bluff. The second,
  hidden card must be quite
  powerful, so she had best go all out
  to block the attack. Sadly, Annalise
  has only one LIGHT card - a
  LIGHT 4. She plays this by way of
  parry.
  The attacker now flips over his
  hidden attack card, revealing a total
  attack strength of 6. Subtracting
  Annalise’s parry value of 4 gives a
  total of 2 points of damage against
  Annalise. This 2 points of remaining
  damage now batters at Annalise’s
  shield. Since she has a 2 point card
  in her shield, Annalise discards this.
  Her defenses are weakened, but not
  broken, but her opponent retains
  the initiative, since he managed to
  score a damaging hit.
  The enemy sorcerer has no cards
  in his hand, rather limiting his choice
  of actions at this point. He takes a
  new draw of three cards,
  replenishing his depleted hand. The
  initiative thus passes over to
  Annalise.
  Annalise goes over to the attack
  while she still can. She lays down a
  SHADOW 1 attack card face up,
  and attaches a FEINT card face
  down. Her opponent falls for the
  bluff and wastes a very powerful
  pair of LIGHT cards in a parry. Since
  her FEINT card retains her the
  initiative, Annalise now gets a
  second try. This time she hurtles in a
  face up SHADOW 4 card, backed
  by a Second SHADOW 4 card (in
  the same suit of course). Eat black
  Ice, beetle breath!
  Her opponent cannot parry,
  completely lacking any card of the
  element of LIGHT (Linette’s parry
  drew them all out of his hand). All 8
  points of Linette’s attack smash into
  his shield. His shield has a total of
  seven points of protection - It goes
  down with a bang and a flash! The
  enemy sorcerer suffers physical
  damage
  To determine the damage done,
  we subtract the total protective
  value of the shield from the
  incoming blast (8 minus 7 gives us
  only 1 point of damage). The
  enemy sorcerer takes 1 hit point of
  damage, and his shield is gone.
  Linette also retains the initiative,
  since she managed to make a
  damaging hit on her opponent. It
  looks like Annalise has this one in
  the bag. Her opponent surrenders
  and begs for mercy.
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  82
  SEQUENCE OF PLAY
  Whenever a character gains the initiative, it may choose to make one of the following actions.
  - Play an attack.
  - Make a new draw.
  - Shore up his defensive shield.
  - Play an intuition card.
  The effects of these actions are explained below:
  Any of these ploys takes about 10 seconds (therefore there is one magic turns to the missile
  turn). Missile fire and melee take place before sorcery. It is thus possible to shoot a sorcerer or run
  him through before he is able to cast a spell.
  PLAYING ATTACKS
  PHASE ONE - PLAYING ATTACK CARDS
  To play an attack, the player must announce his character’s intention to attack, and the
  element with which he is attacking. The attacker then plays his attack cards.
  Attack cards are played by first placing an element card face-up on the table. Additional cards
  may now be added to the attack, and these are placed face down below the initial card. Additional
  attack cards must be in both the same element and the same suit as the face-up card. The total
  number of cards included in one attack may never exceed the attacker’s skill level
  PHASE TWO - DEFENDER PARRIES INCOMING ATTACK
  The defender may now attempt to parry the incoming attack. To do so, the defender must
  play cards from its hand in defense.
  In order to block the incoming attack, these defensive cards must be in the opposite element to
  the incoming attack (Shadow cancels Light and Light cancels Shadow). As in the attack, multiple
  cards may be played in the defense, but only if the cards are all in the same element and suit.
  Once the defender has arrayed his parry cards, the attacker reveals his face down attack cards.
  Total the numerical values of the attack and defense cards, and subtract the numerical value of the
  defense from that of the attack. If the result is zero or less, then the attack has been fended off, and
  the defender now gains the initiative. If the attacking value is higher than the defense, then the
  remaining value (once the defensive total is subtracted from the attacking total) goes onto the
  target as damage. If the attacker manages to damage his opponent, he retains the initiative next
  turn.
  PHASE THREE - DAMAGE TO TARGET’S SHIELD
  The target’s shield blocks incoming damage which has not been fended off by the defender’s
  parry.
  When a character’s shield is damaged, one or more shield cards of a value at least equaling the
  damage must be discarded. Individual shield cards may not be broken down for cards of lesser value
  - if one point of damage has been caused to a character’s shield and the shield consists of a card
  with a value of 4, then the card must been discarded.
  PHASE FOUR - DAMAGE TO OPPONENT
  If the incoming damage exceeded the numerical value of the target’s shield, then the remaining
  damage goes through onto the target. The numerical value of the damage done is subtracted from
  the target’s Hit points/Maximum hand rating just as in normal physical combat, with the same
  wound results.
  
  83
  MAKING A NEW DRAW
  The character who has the initiative may choose to draw new cards from the deck to augment
  his hand of sorcery cards.
  The player draws a number of cards equal to his new sorcery draw rating or his maximum
  sorcery hand rating (whichever is lower), and adds these to his hand. If the cards now held in his
  hand exceed the character’s maximum sorcery hand rating, the player must discard excess cards
  until his hand falls back within this set limit.
  Once this process is finished, the initiative passes over to the character’s opponent.
  SHORING UP DEFENSIVE SHIELDS
  The character who has the initiative may choose to modify its shield defenses in one of two
  ways. The character may either take one card from its sorcery hand and add this card to its shield,
  or the character may discard two cards from its current shield and replace them with a single card
  taken from its sorcery hand.
  Once this process is finished, the initiative will pass to the character’s opponent.
  SPECIAL ATTACK CARDS
  There are a number of special cards in the sorcery deck which cause special effects when they
  are played as part of an attack.
  DAZZLE
  The attack will cause the defender to discard one of his shield cards the moment this “Dazzle”
  card is played, before the effects of the defender’s parry are calculated.
  DISRUPTION
  Once the effects of the attack have been determined, and all damage has been caused, the
  defender must discard his current hand and replace the cards thus lost with an equal number of
  new cards drawn from the sorcery deck.
  FEINT
  This card may be attached to an attack if it is in the same suit as the face-up attack card.
  Played face down, it is designed to mislead the defender into thinking that the attack is stronger
  than it actually is (feint cards have a bracketed numerical value which is only used for determining
  initiative at the start of the game, and not for damage).
  Feint cards have the additional advantage of retaining the attacker’s initiative if his attack is
  parried.
  INTUITION
  Playing this card when the character wins the initiative allows the sorcerer to see his
  opponents hand (the initiative then passes on to his opponent).
  Alternatively, an intuition card may be played by a defender once the attacker has laid down
  his attack cards. The defender may then inspect his opponent’s face down attack cards before
  committing defensive cards to his parry attempt.
  RIP-OFF
  Once the attack is determined and all damage has been caused, the attacker may take a
  random card from his opponent’s hand and add it to his own.
  
  84
  Remember that sorcerers are still
  vulnerable! Although a powerful
  sorcerous attack is more than
  enough to destroy most characters,
  non-magi are still capable of fighting
  back!
  Missile fire comes before spell
  casting, so magicians beware!
  SORCERY FATIGUE
  A character’s Drive characteristic is used to determine the mental fatigue that a character
  suffers when engaged in sorcerous combat. Each character must keep a track of its own element
  cards discarded due to attacks, parries or damage to the character’s shield.
  Every time the numerical value of the element cards that a character has played equals its
  Drive characteristic score, lower the character’s maximum sorcery hand rating by one. Throw
  away the character’s discard pile, and start keeping a new track of elemental cards discarded by the
  character. In this way it is quite possible for a sorcerer to tire himself into a zero maximum sorcery
  hand rating, removing his ability to cast spells.
  Mental fatigue of this kind will be recovered in a few hours if the sorcerer is left undisturbed to
  rest and recuperate.
  THE EFFECTS OF SKILL
  A sorcerer’s skill affects the number of cards held in his shield and the number of cards which
  may be played in an attack. In addition, it affects the numerical value of element cards which the
  character can safely play. If a character plays any attack or defense cards whose numerical values
  exceed the character’s skill levels, then the character is meddling with forces beyond his control.
  If the character uses these ‘“uncontrolled” cards in an attack, and the attack is parried, or if the
  “uncontrolled” card is used in an unsuccessful parry attempt, then the “uncontrolled” card will
  damage their user. The user will suffer damage equal to the numerical value of the card minus the
  character’s skill level.
  MAGIC VS. ARMOR
  Sorcerous attacks must check to penetrate armor in the
  same manner as physical assaults. The penetration of
  sorcerous attacks is influenced by the power of the damage
  which gets through to the target.
  Armor that is struck by a sorcerous attack reduces its
  protective value by 1 once the results of the attack have been
  determined, even if the attack does not penetrate.
  Remember that armor reduces a character’s fatigue rating, which will reduce an armored
  sorcerer’s endurance in sorcerous combat.
  MULTIPLE OPPONENTS
  If a sorcerer faces multiple opponents in sorcerous combat, then his opponents will band
  together their hands into one large hand and one large shield. Character’s banded together in this
  way are treated as the one “player” for purposes of initiative and the playing of attacks and
  parries. Damage will be split evenly between the multiple characters.
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  85
  SORCEROUS COMBAT AGAINST
  NON-SORCERERS
  Characters who are not sorcerers are not immediately vulnerable to sorcerous attack. Sorcery
  attacks may only be delivered against targets within line of sight, so concealment is an adequate
  defense.
  Attacks against characters who do not have a sorcerous shield must roll to hit the target. The
  sorcerer must roll his/her Drive vs. 10 in order to hit (or drive vs. 15 or 20 under difficult
  circumstances).
  As has already been noted, sorcery takes place after initial missile combat during a missile turn.
  It is therefore possible for non-sorcerers to slay a sorcerer before he has the opportunity to cast a
  spell.
  OTHER SORCERY SPELLS
  The control of light and shade has several uses other than out and out sorcerous attack, as
  shown below:
  QUENCH
  Experience points cost:
  1
  Difficulty level:
  Difficult
  A blast of intense cold is used to condense water out of the air. This is used mostly for fighting fires, but
  can also be used to create drinking water.
  CREATE LIGHT
  Experience points cost:
  1
  Difficulty level:
  Easy
  The sorcerer creates a glowing ball of light. The ball costs 1 level of sorcerous fatigue to maintain for
  every 30 minutes of the light’s existence.
  MAGICAL ITEMS
  Readers by
  now will have
  seen that a
  number of
  magical items
  such as swords,
  armors, potions
  and creatures
  may be created by
  mages. The labor
  that goes into all of these objects makes them rare. They are not the sort of objects that will be
  found lying around, but are all mostly used by someone or other, and valued for their powers.
  “Common” magic items may be produced on commission, but will be extremely expensive. Most
  competent magicians are patronized by court or guild, and will be hard pressed to find time for
  private commissions. The prices of healing potions etc. are given in the equipment section of the
  rules.
  There are also magical items and places which are not the product of “common” magic. The
  effects of such magic is up to the Referee, but suggestions would include objects or places which
  add one card to a sorcerer’s defensive shield, bowers in which healing takes place with greater ease
  and speed. There might be amulets which lessen the mental fatigue caused by sorcery, or which
  protect the wearer from poison or illness. Fairy magic could produce all manner of weird and bizarre
  curios which could be used to brighten up a campaign.
  Always remember that LACE & STEEL is a realm of fantasy. A little magic adds sparkle to any
  adventure.
  SORCERERS VS. NON
  SORCERERS
  While in the midst of an
  adventure, Linette runs afoul of a
  sorcerer, who flings a bolt of energy
  at her even as she tries to duck
  around a corner and flee. The
  sorcerer draws his full hand of cards
  from the sorcery deck, and ends up
  with an interesting collection of
  cards. The sorcerer puts three of his
  LIGHT cards together into a single
  bolt (a 2 and a pair of 3’s - that
  ought to do her in nicely!) and
  makes this his attack.
  In order to hit, the sorcerer must
  match his Drive of 15 vs. a task
  difficulty of 15 (the Referee rules
  that the task is difficult, since Linette
  is ducking behind cover). 15 minus
  15 gives us a total of 0. We look up
  the 0 column on the comparison
  chart, and find that the required
  success roll is a 7- on 2D6. Ouch!
  The sorcerer rolls an eight. A
  miss! Linette will live to fight
  another day (the lucky little %(@*!).
  OTHER SORCERY SKILLS
  Linette needs to start a campfire,
  and is diligently making Dexterity
  rolls vs. 20 to ignite the damp wood
  when Annalise comes along. Anna
  shoves her finger into the fire, and
  pumps a LIGHT 1 card into the
  kindling. WHOOMPH! Instant fire.
  Linette’s little problem is solved in a
  trice.
  
  86
  The ring of steel on steel, the
  confusion and terror of battle
  massed combats can be a useful
  way of bringing drama into a
  campaign. The political background
  of ‘Mittelmarch’ is written in such a
  way as to suggest scenarios for
  warfare and mayhem. Siege and
  battle, ship to ship action and
  ferocious skirmishes are all possible
  parts of a roleplaying campaign.
  MASSED COMBATS
  For quick resolution of combats which involve a large number of characters, LACE & STEEL
  uses a map based “massed combat” system. This is played on a 1 hex = 5 paces ground scale, with
  a time scale of 1 turn = 10 seconds (1 missile turn). All characters are represented by a counter or
  figure. Attacks may only be to the front hex side of the attacking character.
  The wounding and combat systems described below are not intended for use against
  important characters (player characters, major bad guys etc.). Such persons must be dueled with or
  wounded using the systems described under the melee and missile combat sections of the rules.
  Both sides array their characters (only 2 characters may be stacked in a single hex and still
  fence without penalty, though up to 4 characters with pikes may effectively fight in the same
  hex).
  STEP ONE - DETERMINATION OF INITIATIVE
  The player whose side has the character with the highest leadership skill must now roll vs. his
  opponent’s leadership (rolling vs. Reason). If the roll is successful, then that player’s side has the
  initiative for the coming turn. If the roll fails, then the initiative passes over to the enemy.
  Characters that are equipped with more than one weapon must now decide what weapon
  they will use during the turn (e.g. discard a boarding pike in favor of a cutlass).
  STEP TWO - MISSILE FIRE
  The player who lost the initiative nominates any of its characters that will fire or reload during
  this turn, and indicates the targets at which the missile troops will shoot. The player who won
  the initiative now nominates the characters on his/her own side that will fire or reload. Troops
  which fire or reload will not be allowed to move during steps three and four of the turn.
  Both players now roll to hit with all missile fire in the normal fashion. Characters hit by
  missile fire are wounded and any character that is hit by more than 2 points under the minimum
  required dice roll to hit is killed. All missile fire is assumed to be simultaneous.
  STEP THREE - SIDE “A” MOVES
  The side which won the initiative now moves any or all of its characters. Characters may only
  he moved if they neither fired nor reloaded during step one of the turn. Characters in hexes adjacent
  to enemy characters may not move (unless they turn and flee), hut may change facing.
  
  87
  STEP FOUR - SIDE “B” MOVES
  The side which lost the initiative now moves any or all of its characters. Characters may only
  be moved if they neither fired nor reloaded during step one of the turn. Characters contacted by the
  enemy during stage three of the turn may not be moved or turned to face their attackers..
  STEP FIVE - MELEE DETERMINATION
  All melee rolls are now made, the player who has won the initiative rolling all dice. Casualties
  are removed.
  STEP SIX - MORALE
  If one side lost twice as many casualties as they caused during the turn, and is down to 75% of
  its original strength or less, all characters belonging to that side will attempt to retreat back one
  hex unless their leader can roll his leadership skill vs. 10 (roll vs. Charisma). If this roll fails, then the
  leader will be penalized by a DRM of +2 when initiative rolls are made at the start of next turn.
  If one side lost twice as many casualties as they caused during the turn, and is down to 50% of
  its original strength or less, the leader of that side must roll his leadership skill vs. 10 (roll vs. Drive).
  If the roll is failed, then the leader will attempt to surrender.
  MOVEMENT RATES
  All two-legged characters may walk up to three hexes per turn or run up to (8+ Dexterity
  divided by 5) hexes per turn. Characters who run must do so in a straight line, but may turn to
  face any hex side or hex spine before they commence movement. Walking characters may change
  facing before, during and after entering any hex. All movement stops once a character enters a hex
  which adjoins an enemy hex. Four-legged creatures may move considerably faster, usually walking
  up to 3 hexes per turn, cantering 12 hexes per turn, and galloping up to (Speed characteristic x 2)
  hexes per turn. Pixies may fly at sprinting speed. Harpies may fly at speeds equal to their
  dexterity x 2 hexes per turn. Flying Harpies may only change facing after they enter a hex.
  Many hexes have an increased movement cost (e.g. it costs 2 or more movement points to
  enter them). Such hexes include areas where the footing is unsure (e.g. areas littered with debris or
  ropes such as a ship’s deck). Moving across a linear obstacle (such as the side of a ship) takes a full
  turn. Moving up a steep slope or staircase costs double the normal movement cost.
  Characters that are lightly wounded may not run/gallop, and lower their walking movement
  rate by l hex per turn.
  COMBAT ROLLS
  All characters who have an opponent in an adjacent hex may enter into melee combat.
  Combat rolls are always made by the player who has the initiative (the “attacker”). Pikes may
  reach out to strike targets that are one hex away from physical contact. Roll results of  N+1 or
  more made while the target is out of melee range are ignored.
  THE ROLL
  TO HIT
  Roll the attacker’s weapon
  skill vs. the defender’s skill level
  on the comparison chart. If
  the roll was failed, then the
  attacker will suffer adverse
  effects. If the roll succeeds,
  then the defender will suffer.
  MASSED COMBAT
  A handy game aid for playing
  massed combats is a clear hex
  overlay - a sheet of clear plastic
  printed with hexes (most good
  games shops will have these in
  stock). With an overlay roll, an
  Referee may draw maps of
  everything from ship decks to
  fortresses on paper, and then lay a
  hex grid over the top. This makes an
  easy method of coming up with
  quick skirmish maps right before
  your players’ eyes.
  FIGURES
  Should players wish to fight out
  combats on a wargames table, treat
  1 hex as 1 inch on the table top.
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  88
  FACING DRMS
  The facing of the attacker and defender in a melee will effect the attackers roll to hit.
  Turn the defender to face its frontal hex towards the attacker. Every hex face that the defender
  must turn to do so will give a -1 DRM to the attacker’s combat dice roll.
  Now turn the attacker to face its frontal hex towards the defender. Every hex face that the
  attacker must turn to do so will give a +1 DRM to the attacker’s combat dice roll.
  OTHER DRMS
  Character is lightly wounded, +1 DRM. (per light wound)
  Cavalry vs. infantry or Half-Horses (unless infantry is armed with polearm) = a DRM of -1
  (or -2 if the infantryman is moving)
  Cantering or galloping cavalry/Half-Horses receive a DRM of -l, (unless contacting polearms)
  Galloping/cantering cavalry receive a DRM of +2 when facing infantry polearms.
  If the defender fired* or reloaded during this turn, the attack roll is given a -1 DRM.
  If the attacker fired* or reloaded during this turn, the attack roll is made with a +1 DRM.
  If the defender changed weapons during this turn, the attack roll is given a -1 DRM.
  If the defender wears heavier armor than the attacker, the roll is made with a DRM of +1.
  Polearm rolling vs. shorter weapon = a DRM of -1.
  Infantry sword rolling vs. a polearm, or halberd/partisan rolling vs. a pike (unless the attacker
  is on a lower level, or is fighting across a linear obstacle) = a DRM of -1.
  * Long arms or 2 pistols only. Characters who have a pistol in one hand and a sword in the
  other are not penalized for firing in the same turn as they enter melee combat.
  Referees should also award penalties for attacking opponents who are higher than the attacker,
  or who are in protective cover. Wounded characters are assumed to be incapable of fighting, but
  may reload firearms for their unwounded companions.
  
  89
  SHIP VS. SHIP COMBAT
  All ships are given ratings for firepower and structure, which represent their offensive and
  defensive capabilities. The ship lists also detail each type of vessel’s maneuverability, and the
  typical number of crew. Each ship has a flotation factor equal to four times its structure rating.
  INITIATIVE (THE “WIND GAUGE”)
  A maritime combat is enacted in Turns of three phases. At the beginning of each turn, the
  captain with the highest Intuition score must roll a test of his seamanship skill vs. that of his
  opponent (testing vs. the character’s Reason score) If the roll is successful, then the character who
  rolled the dice has won the initiative for the turn - otherwise the initiative goes to the captain’s
  opponent. The maneuverability rating of each ship is added to its captain’s skill rating for the
  purposes of rolling for initiative.
  If one captain or the other gains the initiative by more than 2 points on the dice, then he has
  managed to cross his opponent’s stern. The ship that loses the initiative roll will only be able to fire
  with 10% of its guns (rounding down).
  In each phase of the turn, the player with the initiative rolls to hit the opposing ship before
  the other vessel returns fire. In addition, the initiative player may elect to board his opponent after
  the third fire phase has passed.
  The ship which gains the initiative may elect to break off the combat if it is not currently
  grappled with the enemy. If the enemy does not wish the combat to end then both captains must
  draw a card from the combat deck. If the captain who has the initiative draws a card with a higher
  numerical value than his opponent’s, then his ship may break off and flee the battle.
  FIRING
  Roll the firing ship’s firepower vs. the target’s structure. If the roll is successful, then damage
  has been caused to the target.
  If damage has been done, then draw one card from the combat deck for every 5 points of
  firepower (or part thereof) possessed by the attacking ship (though unskilled crews might only
  draw 1 card for every 6 or 7 gunnery factors). The numerical value of the card thus drawn is
  subtracted from the target’s flotation factor. For each card of a numerical value of 3 or more that
  comes up Roses, reduce the target’s firepower by 1 point. If a ship’s gunnery ever drops to 0, then it
  loses the ability to fire.
  If any cards turn up as a 5 or 6, then a mast has been shot away (give the vessel a DRM of +2
  on her wind gauge rolls). Once all of a ship’s masts are gone, she is unable to maneuver and will
  always lose the initiative.
  CREW CASUALTIES
  Crew casualties are calculated by drawing one card from the combat deck and multiplying the
  flotation damage caused to the target by (the numerical value of the new card -1). This yields the
  number of crew wounded or killed. Halve the damage caused once the target’s crew complement
  drops below 50% of its starting level. The last 10% of a ship’s crew is never affected by gunnery
  casualties, and must be eliminated through a boarding action, musketry, or by sinking the ship
  from under them. Divide crew casualties proportionately between soldiers and seamen.
  
  90
  SMALL ARMS
  Men o’ War will usually carry soldiers (or “marines”) who add their firepower to the combat. In
  the third phase of any turn, a ship’s complement of soldiers may fire. Draw 1 card from the
  combat deck for every 20 soldiers on ship, and apply these to the enemy as crew casualties. Divide
  these casualties evenly between enemy soldiers and crew. Small arms fire is conducted
  simultaneously, and is not effected by wind gauge.
  SWIVELS
  Many ships carry small swivel guns in their tops designed to spray the enemy decks with
  canister. In the third phase of any turn, swivel guns may fire. Each swivel which elects to fire
  draws one card from the combat deck, and applies this as casualties to the enemy crew.
  Swivels which fire during the fire phase of the turn will he unloaded during the boarding phase.
  Swivels may he lost during action. Every time a ship gains a DRM of +1 to its
  maneuverability due to structural damage, roll 2D6. On a 7-, the ship loses one swivel gun, and
  takes an extra card of crew damage (due to the gunners being wiped off the face of Other Earth).
  PLAYER CHARACTERS IN
  MARITIME COMBAT
  Every time a ship loses 20% of its crew, player characters should roll 2D6 to save themselves
  from taking damage. On a roll of 11, they have been wounded (draw 1 card from the combat deck
  and subtract this from their maximum hand rating). On a roll of 12, they have been killed.
  THE EFFECTS OF FLOTATION DAMAGE
  Every 20% loss to a ship’s flotation value gives the ship a DRM of +1 to its wind gauge rolls.
  If a ship’s flotation drops to zero, it flounders (the ship may no longer move, and always loses
  the initiative). Draw a card from the
  combat deck, and consult the following
  chart after examining the card’s numerical
  value:
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  91
  BOARDING
  Boarding combats use the massed combat system detailed above. Boarding is declared after all
  firing has been determined. Marines will start a boarding action with loaded weapons even if they
  have fired during the fire phase. Swivel guns that have fired during the fire phase will start the
  boarding action unloaded.
  Use the ships deck plan’s provided with these rules as the battlefield. The two ships might
  meet end to end, or side by side, so Referees will have to decide how the ships adjoin. About 30% of
  a multi-decker’s crew will be below decks at the start of a combat. Any hatch can disgorge 10
  crewmen per turn. A number of crew may be in the rigging (about 15%, divided evenly between the
  surviving masts). Characters may climb down from rigging on making a climb roll vs. 10.
  Characters may climb up into the rigging on making a climb roll vs. 15 (note that “in the rigging”
  implies being in the lower shrouds, where such characters may fire at targets on the main deck).
  Characters in open gunports may thrust with pikes or fire small arms at their opposite numbers.
  If a quick abstract system of determining boarding combats is desired (wimp) then each ship
  draws 1 combat card per 10 crew or soldiers, and applies this total to the other side as casualties.
  Keep going until one or the other side surrenders.
  MAGIC IN MASSED COMBAT
  Sorcerous attacks come at the end of the missile turn, immediately before determining morale.
  Sorcerous attacks should be done in the usual way, playing cards against targets and shoring up
  defenses as described under the magic system.
  In maritime combat, sorcerers may attempt to cause structural damage to a ship or casualties
  to its crew during the infantry fire phase. To cause structural damage, the sorcerer must draw a
  card from the sorcery deck and subtract its numerical value from his skill rating. This yields the
  structural damage that the sorcerer causes to the enemy ship. Otherwise the sorcerer may choose
  to fire at the enemy crew, counting as a full squad of musketeers when he does so.
  
  92
  REPARTEE COMBAT
  Raechel curtseyed and smiled
  prettily at Miriam, her shimmering
  skirts making a pool of color all
  about her as she bowed.
  “Why Darling! You do look
  lovely tonight! How do you keep
  your hair that color?”
  Miriam fluttered her ivory fan.
  “Why Raechel, 1 dress it with a
  balsam 1 purchased from a little
  shop on Ducat street - right next to
  your wig maker’s.”  Miriam looked
  her opponent up and down with
  mock interest. “What an interesting
  outfit! I’m sure that fashion will
  come back into style some day.”
  Raechel bared her teeth. “Yes
  darling. Well 1 can’t wear those off-
  the shoulder things you favor. On
  me they just look cheap and tacky..
  ,,
  Miriam closed her fan with a
  bang and spun off in a haughty
  billow of silks. Raechel smirked
  after her, glowing with malicious
  pleasure. It looked like it was going
  to be a wonderful evening....
  REPARTEE “COMBATS”
  It is suggested that bouts of repartee be treated as a card based “combat” using the normal
  combat deck. This can make a court ball as interesting to play as a fencing combat, though with
  less dire results.
  The normal combat deck is used, with each card played representing a remark as opposed to a
  blow. “High line “remarks are assumed to be comments on intellectual topics. The “mid line”
  represents comments on physical appearance or circumstances, and “low line” comments are “low
  blows” (insults or innuendo). All combat is played out in precisely the same manner as a sword
  fight, though with no fatigue rules or weapons. Hits affect the victim’s maximum repartee hand
  (see below). When a character’s maximum repartee hand drops to zero, all further “damage” adds
  to the victim’s Self Image rating (bringing it to a maximum of +4). The combat then ends, since
  the victim will then either shriek in outrage, storm “offstage” or burst into tears.
  A character’s abilities at repartee are found by using the following charts:
  MAXIMUM REPARTEE HAND:
  NEW REPARTEE DRAW RATING:
  RESEARCH (COLLECTING DIRT)
  Proper preparation for a repartee encounter can give a character bonuses to its repartee ratings.
  If a character collects carefully researched scandal and gossip about another person, then increase
  the character’s New Draw Rating in combats against that particular person.
  REPARTEE VS. UNSKILLED TARGETS
  Repartee “attacks” may be made against characters who do not have repartee skill. If the
  unskilled character then chooses to engage in repartee, play out a combat as normal, but the
  unskilled character may only use “dodges” as defense (e.g. evasions and changes of subject as
  opposed to clever turns of phrase).
  Any participant in a repartee “combat” may end the “combat” at any time simply by adding 1
  to the character’s Self Image modifier and declaring the contest at an end.
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  93
  MITTELMARCH
  LACE & STEEL is set in an “alternative earth” inhabited by a number of different races. It is a
  world of magic and wonder, where fantastic events are known to happen.
  Assume that the inhabitants refer to their world as “Earth” or “The World”. The section of this
  “Other Earth” which currently concerns us in this game is the civilized southern continent. The
  rest of the world is as yet “undiscovered”, but bold adventurers are now sallying forth on great
  voyages of discovery, and more and more is being found out about the world every year. The great
  age of exploration has begun!
  GEOGRAPHY OF THE SOUTHERN CONTINENT
  The great southern continent of “Other Earth” is termed Mittelmarch, a name which also
  applies to the nearby islands of Duncruigh and Scarmis. Six major nations hold sway over the
  divided continent, keeping the world in a constant turmoil of war, alliance and diplomatic
  maneuver.
  A peninsula to the north east of the continent divides the southern nations from the
  mysterious lands of the east. The peninsular mountains are home to a number of warring tribes
  who act as a buffer between the east or west, although incursions from the east are common. The
  holy land is located in the east, and is now in the domain of the strange nations of Harabi.
  POLITICAL NOTES
  This is an era of change, with new political systems vying with traditional medieval modes of
  government. In many nations the central authority of the crown is rising to challenge the power
  of the great noble families, causing internal dissent and political intrigue. The new age of
  exploration and discovery is opening up hopes of a new life for the downtrodden and dreams of
  riches in the minds of merchants and monarchs. It is a time of exploration, conflict and war.
  The southern continent is in a constant state of unrest. Duncruigh and Nantierre are in the
  throws of an extended war, with the tiny republic of Welfland being the cockpit in which the
  armies meet. This conflict has also drawn in the Tantic empire and Albernia, and the war may yet
  escalate into a wider scale.
  Meanwhile, far to the north, the mysterious
  land of Harabi offers riches to traders and
  colonists. Of the plans of the Harabian sultans,
  no one can truly say...
  DUNCRUIGH
  An innovative maritime nation ruled by the
  young (and tantalizingly, eligible) King Firined.
  The royal line of Duncruigh are Half-Horses,
  and Firined is generally liked by the more
  adventurous citizens of his nation. Firined is a
  firm, well educated ruler who has set up an
  efficient bureaucracy and a fair legal system
  which gives great opportunity to the middle
  classes at the expense of the nobility. This has not endeared him to the reactionary elements at his
  court.
  Duncruigh is a naval nation renowned for the speed of its ships and the boldness of its sailors.
  The Duncruighan navy controls the straits of Nantierre, countering the ever present threat of
  invasion from Nantierre. The small Duncruighan army is well disciplined, and has at its core a
  number of regularly maintained regiments which are cleverly set up for expansion and training
  THE POLITICS OF
  MITTELMARCH
  LACE & STEEL’s political
  background is designed to provide
  readers with hints of possible
  adventures. With conflict brewing
  and plots thickening, it should be
  easy for Referees to invent court
  intrigues, spying missions and
  military missions to occupy unruly
  player characters.
  DUNCRUIGH
  (Dun-kreeg)
  The island kingdom, preserved
  from invasion for centuries by the
  sea that surrounds it. As a leader of
  maritime exploration and political
  meddling upon the continent, it is a
  good choice of homeland for player
  characters.
  
  94
  SCARMIS
  A powerful island nation of the
  cold south. Scarmis has a powerful
  army, but is preoccupied with an
  ongoing war against Forija.
  NANTIERRE
  Implacable foes of Duncruigh
  and the Tantic Empire. Nantierre is
  justly famous for its cuisine, its
  fashion, its cosmopolitanism, the
  touchy honor of its nobility and the
  size of its army!
  duties during war time. The war in Welfland is being used as a means of “seasoning” a number of
  units, which have been lent to the Welfland republic for the duration of the campaign season.
  Duncruigh is in a constant state of hostility with Nantierre (the basis of this lies in a
  Nantierran invasion attempt some 12 years ago, in the time of old King Firnel).
  Duncruigh is a trading nation which has grown prosperous through trade with the mysterious
  northern land of Harabi. Duncruigh has a number of possessions and bases in the Harabian seas,
  where they face a constant struggle to fend off local warlords, Nantierran intruders and pirates.
  SCARMIS
  A dour martial nation hardened to the
  bitter weather of the far south. Scarmis is
  ruled by the energetic King Cleon, a talented
  soldier and tireless administrator.
  Scarmis has a powerful army equipped to
  extremely high standards. It also has an
  efficient navy, although its navigators are not
  as experienced as those of Duncruigh. The
  military forces of Scarmis have recently been
  engaged on the continent in a war against the
  newly consolidated empire of Forija. As a
  result, the Scarmians have lost control of the
  south western peninsula (their only territorial
  foothold on the continent), and now plan a
  reconquest.
  Scarmian ships range well into the
  western and southern seas, where they gather
  furs, oil, ambergris and ivory. A recent gold
  strike in the far western isles has caused some
  excitement.
  Nantierre would greatly love an alliance with Scarmis to gain the navy she needs to tackle
  Duncruigh. Scarmis has no desire to fight a war with Duncruigh at present, so all negotiations
  along this line have been firmly rebuffed.
  NANTIERRE
  Nantierre is an energetic, martial nation ruled
  by Queen Aelis (a haughty young Half-Horse).
  Where Firined of Duncruigh is cool, cunning and
  dignified, Aelis of Nantierre is passionate, devious
  and proud. Fond of dynamic personal leadership,
  Aelis is a popular leader, although the populace has
  small enthusiasm for her military adventurism at
  present.
  Nantierre has a large and powerful army, but
  her navy now lies mostly at the bottom of the Nantierran straits after tangling with the
  Duncruighan fleet. The Nantierran army is very conventional, with few surprises as to tactics,
  equipment or organization. Official appointments are usually based upon social class and family
  rather than standards of ability, and it is difficult for a poor man to advance to high rank.
  Nantierre considers itself at war with Duncruigh, but is unable to properly pursue the matter
  due to its lack of a strong fleet. A Nantierran fleet is slowly being readied within fortified ports all
  along the south western coast, but dares not sally forth to rehearse tactics due to the presence of
  powerful Duncruighan patrols. Queen Aelis has a vocal dislike for King Firined of Duncruigh, and
  
  95
  takes every new Duncruighan success as a personal slight. One noble who suggested that she
  make peace between the two countries by offering marriage to Firined was immediately dismissed
  from court, and now supervises an onion works near the Tantic border.
  ISLE OF AUREY
  A rough, wild island ruled by petty barons. The
  council of barons is currently dominated by Casmir of
  Redet, a cool, calculating human. Casmir has lead the
  barons to declare fealty to Firined of Duncruigh, but
  the island is in a constant state of civil war as one
  baron after another defies the power of the council.
  Aurey is not a civilized land, and still retains
  much more of the barbarity of the middle ages than
  the other lands. Feuds and wild celebrations are
  common, and the natives do not seem to set much
  store by civilized etiquette. Cattle raids, the kidnap of
  fair daughters and piracy seem to be a natural part of
  the native culture. Aurian clothing styles are different from those of other lands, with its use of
  plaids, kilts and tartan cloth.
  FORIJA
  The Forijan empire is a new
  addition to the map of
  Mittelmarch, having only
  recently been formed. In a
  dazzling display of military
  conquest combined with cunning
  political marriages, the tiny
  kingdom of Forija absorbed the
  scattered city states and minor
  nations of the east and welded
  them together into a single
  political entity. The wide,
  boisterous land of Forija is
  currently ruled by the charismatic
  King Vorsk. Vorsk is a burly,
  boisterous human, who somehow
  combines a love of tradition with
  a delight in learning and
  innovation. A capable warrior and an energetic administrator, Vorsk has completed his fathers work
  in establishing Forija as a major nation, conquering the north eastern nomad nations and resisting
  Scaramian attempts at expansion into Forijan territory.
  Forijan nobility are not “gentlemen” by northern standards, being taken with loud song,
  extremes of emotion and public display. Visits from Forijan embassies are dreaded by court
  seneschals and excitedly anticipated by the ladies. Forijan fashion is very different from that of the
  north, and Forijans speak with a thick accent which places subjects before verbs (“we are this
  understanding, yes?”).
  The Forijan army stresses cavalry over infantry tactics, although they have access to good
  conventional infantry from their northern possessions. The flamboyant Forijan winged hussars are
  some of the few heavy cavalry to retain the lance as a primary combat weapon. The nomadic
  nations also provide the Forijan military with light cavalry - an arm in which most western armies
  find themselves somewhat deficient. Native Forijan infantry tend to be skirmishers.
  Forija has recently been at war with Scarmis, shoving the Scarmians out of their possessions in
  the rich southwestern peninsula.
  AUREY
  (Or-ee)
  Wild islands rife with clan feuds
  and ancient magics. The ferocious
  highland warriors are justly feared.
  FORIJA
  (For-ee-ja)
  Flamboyant, strong, and
  ambitious, Forija is a new force on
  the political map, challenging the
  power of Scarmis in the frozen
  south.
  
  96
  ALBERNIA
  Ruthless, ambitious and riddled
  with court intrigue, Albernians are
  the ready made bad-guys for any
  campaign! Albernian spies are
  everywhere, their ships viciously
  contest the sea lanes with the
  Duncruighan navy, and their armies
  are poised to intervene in the war to
  the south.
  WELFLAND
  A tiny nation which has
  suddenly found itself made into the
  cockpit of Mittelmarch, Welfland
  can provide an “interesting” location
  for adventures. Wracked with battle,
  torn apart by civil war and bitter
  conflicts, it is a country that can
  offer many causes worth fighting
  for.
  ALBERNIA
  A proud and sometimes cruel nation
  which occupies the warm northern
  peninsula of Mittelmarch. Albernia is ruled
  by the ancient house of Ruecha (humans),
  whose current scion, the boy King Grevira, is
  too young to rule in full stead. The real
  power in Albernia is held by the Regent
  Vasquez, who is a shrewd and ruthless
  politician. The only other claimant to the
  throne is Grevira’s cousin, Frielle, who is now
  betrothed to the regent.
  The Albernian accent is soft and hissing,
  and can be quite musical. Albernian fashion
  is somewhat more frivolous than that of the
  western nations. The typical Albernian is
  sensitive about his honor and his social
  “place”, and mistrusts foreigners.
  Albernia has a reasonably strong navy and a competent army. They are somewhat hampered
  by a venal system of administration, which blocks impoverished but deserving officers from
  reaching positions of authority.
  Albernia has possessions in the northern Harabian seas, where they often come into conflict
  with the Duncruighans. Albernia has a tentative alliance with Nantierre.
  WELFLAND
  A small republic perched
  uncomfortably between Nantierre,
  Albernia and the Tantic empire. The old
  King of Welfland, Reglemont the
  Unjust was deposed by a bloody
  revolution, and now resides in
  Nantierre. Reglemont seeks to
  overthrow the republic and reinstate his
  rulership, and to this end he has tied his
  interests to those of Nantierre.
  Nantierre has been at war with
  republican Welfland for the past year,
  seeking to reinstate Reglemont. The
  Welflanders have proved surprisingly
  stubborn, and have successfully defended their dikes and hedges against the invading Nantierrese
  forces. Both Duncruigh and the Tantic empire have supported the republic with supplies, skilled
  personnel and volunteer troops. It seems likely that Welfland will become a cockpit for the
  continuing northern war.
  Welfland is a small, waterlogged country which has a good trade network which extends up to
  the Harabian seas. Its sailors are skilled and its shipyards could produce large quantities of ships
  (although she has a small navy at present). The Welflandish armies are quite conventional, but
  have good morale in the defense of their homeland and republic.
  The “typical” Welflander is talkative and generous, and has a ready sense of fair justice. The
  republican system has not ended the class distinctions between nobility, gentry and common folk,
  since each “social order” elects its own representative to the Welfland parliament.
  
  97
  THE TANTIC EMPIRE
  The traditions of the ancient Tantic
  empire are still maintained by their latter day
  inheritors. The Tantic empire occupies the
  area once conquered and colonized by the
  original Tantic empire millennia ago. The
  modern Tantic empire can show a definite (if
  somewhat torturous) descent from the
  original empire. Although language, customs
  and day to day life match those of most other
  countries, the Tantic empire has numerous
  ancient traditions which reflect their ancient
  past.
  The Tantic empire is composed of 12
  separate Principalities and Grand Duchies:
  Parvek, Oriol, Nammergil, Kaylia, Liauren,
  Mordenburg, Undic, Berden-Vassmarl,
  Clement, Faudren, Reiss-Claren and Darion. Each of these tiny states is ruled by a hereditary
  house, and the ruler of each Principality/Grand Duchy sits on the Imperial Council. The empire
  itself is ruled by an Emperor, who is elected by the council from amongst its own members at the
  death of the old ruler.
  The current emperor is Haudric the 18th, Emperor of Tantus and Grand Duke of Parvek.
  Haudric is an intelligent, calculating ruler who is wise in the ways of politics. His position was
  won after a long period of careful negotiation and secret conniving, culminating in his election as
  emperor and the execution of his sworn enemy, the Prince of Faudren. Faudren is now ruled by
  Haudric’s first cousin, Prince Eremor.
  Haudric has met with Firined of Duncruigh, and the two have cooperated together to prevent
  Nantierre from overwhelming the Welflandish republic.
  THE TANTIC IMPERlUM
  A land of tiny principalities and
  ancient traditions, Tantus has
  legendary roots extending back to
  ancient times. A haven of culture
  and science, Tantus is also a place of
  brooding forests, dark magics and
  haunted ruins.
  
  98
  RELIGIOUS BELIEF
  Although LACE & STEEL is not a
  “puritan” environment, religious
  convictions still run strong with
  most of Mittelmarch’s inhabitants.
  The average person is fairly pious,
  and blasphemous oaths are
  considered shocking.
  God aids the Godly. Therefore
  the general opinion is that if one
  maintains a pious attitude, one will
  gain the Lord’s favor and assistance.
  The state and military officialdoms
  make a great show of religious belief
  (administration and battle being
  areas where divine aid is not so
  much desirable as essential!) In the
  military, blaspheming and impiety
  are punished, and religious display is
  lavishly pursued.
  After all - a soldier needs all the
  help he can get...
  RELIGION
  With magic in such ready evidence, religion and superstition come naturally to the inhabitants
  of “Other Earth”.
  The standard religion of the southern continent is Christianity. The story of Christ in other
  earth is identical to Christian mythology in our own world, except that the legends are fitted into
  southern continent geography. Christ was thus crucified by the Tantic empire rather than by
  Romans.
  There is an organized church, with each nation having its own clerical hierarchy. In a tradition
  long established since the Christian faith was officially adopted by the Tantic empire, each nation
  sends its chief cleric to a yearly council at the imperial capital. Here the great men debate over
  points of doctrine and organize the affairs of the church. The church of “Other Earth” has never
  undergone a great split such as Europe suffered in the 16th century, and gnostic doctrines are
  tolerated as long as their beliefs are not too far removed from mainstream dogma.
  The end result is a church which contains some elements of earthly Catholic ritual, but with a
  level of toleration, debate and variety which is closer to that of the early Christian church. There is
  no belief in “saints”, no inquisition and no blots on the clerical conscience such as the Albigensian
  crusade. The wars which are being fought all across the continent are the result of dynastic
  ambition, rather than a clash of religious dogma.
  The inhabitants of the southern continent also believe in ghosts and spirits (many glens and
  waterfalls have their attendant sylph or nymph). These creatures really do exist, though they may
  or may not choose to manifest to mere mortals. They are easy to placate as long as proper respect
  for their place of residence is shown.
  As a final note on religion, readers should bear in mind that most aspects of Hebrew/Christian
  mythology are present in “Other Earth”. Lucifer truly exists, as does a whole pantheon of Devils
  (the distinction between Devils and mere demons is that Devils are fallen angels, whereas demons
  are the embodiment of a living person’s dark under-mind). Trafficking with the Devil is the only
  heresy which automatically rings all of the Church’s alarm bells, and it is the only thing which
  will spark religiously inspired persecution.
  
  99
  ECOLOGY
  The southern continent of LACE & STEEL’s “Other Earth” has a mild climate. Most areas
  experience warm summer days and occasional snowfall in winter. Length of year, day and season
  are the same as our own. “Other Earth” has one moon, mild tides, and clearly visible stellar
  constellations.
  Plant life on the southern continent is similar to Europe or Northern America, with the notable
  addition of a wide variety of magical species. Remember that this is a fantasy environment, so
  indulge your imagination about local florae. Mandrake roots really do look like people, and scream
  when they are pulled up! All manner of weird and wonderful herbs can be found, and only a skilled
  naturalist or alchemist will know of more than a few.
  The animal life is similar to that of Europe. As well as wolves, deer, wildcats and squirrels, a fair
  few magical species can be found living alongside their more mundane cousins. A few of the more
  important mundane and fantastic species are found below.
  BASILISK
  Small snakes with crested, beaked heads which
  exhale a poisonous vapor. These creatures are
  vermin, and can be very dangerous in an enclosed
  space. They are killed whenever found.
  GRIFFIN
  Airborne carnivores which inhabit high
  mountain regions. Griffins are about the size of a
  large dog or a small lion, and can be dangerous to
  small livestock or unattended children. They have a
  cruelly beaked head equipped with feline ears, and a
  sturdy body fitted out with a huge pair of feathered
  wings and a single pair of leonine feet. At the rear of
  the furry body is a long, feather tufted tail. Readers
  will note that these are not quite the griffins of
  earthly myth.
  In combat a griffin has a maximum hand rating
  of 5, and fights in the manner described for wolves. If
  the combat goes against them, they will attempt to
  fly off as long as they have suffered no damage to
  their mid attack line (which indicates damage to a
  wing or the flight muscles).
  MINI DRAG
  A tiny relative to the dragon, mini drags are very
  small (10 cm body length) reptiles with 4 gauzy
  wings (much like a dragon fly). They are ferocious
  hunters of beetles, grubs, moths and flies, and will
  also eat berries and fruit. Mini drags are much prized
  as pets.
  SHAMBLER SLOTH
  Huge, gentle ground sloths with pale fur and violet
  eyes. Slow witted and amiable, sloths are herbivores
  which exist by eating foliage in forests. Their great,
  scythe shaped claws deter most predators.
  ECOLOGY NOTE
  LACE & STEEL is not intended
  to be a game where players are
  expected to encounter monsters all
  of the time. The beasts listed above
  are mostly there for background
  atmosphere, and should not form
  the standard opponents that a
  player character fights.
  
  100
  FIGHTING BEASTS AND
  MONSTERS
  Beasties with horrible teethies
  can be dangerous opponents to an
  unarmed man, but are easy meat for
  an armed and alert intelligent
  creature. Combat with beasts is
  handled in the usual fashion, but
  animals cannot parry edged
  weapons (they may only dodge).
  By way of compensation, most
  beasts will be strong. Due to their
  high Intuitions and Dexterities,
  most beasts will also have a new
  draw     of 4. Claws, fangs and tusks
  will normally do damage equivalent
  to knives and daggers.
  UNICORN
  Beautiful horselike creatures with leonine tails,
  cloven hooves, a goat’s beard and a long straight
  horn on their foreheads. These elusive creatures
  cannot be held prisoner against their wills, for they
  soon sicken and die, and are thus left free to roam
  as they please. It is bad luck to kill a unicorn.
  Some unicorns have been known to adopt a
  person as a friend of their own free will, and they
  will allow that person to ride them like a horse or
  will fight to defend them. Gaining the friendship
  of a unicorn in this way is a sign of future
  greatness and good fortune.
  Unicorns of “Other Earth” do not have any
  strange fixations about virgins, and might befriend
  just about anyone. The people that they befriend are usually “good” folk. The stats of a unicorn
  will be similar to those of a fast race horse.
  During the full moon, unicorns bathe in secluded pools. A unicorn pool is a place of great mana.
  Water from a unicorn pool is said to prevent mortification in wounds, and has a purifying
  influence on the blood.
  WARNETS
  Large, energetic relatives of wasps and bees which
  grow up to 2 inches in body length. These creatures seem
  to be highly intelligent, and are no danger to people as
  long as people leave them alone. Instead, they seem to be
  constantly engaged in wars against their own kind, with
  alliances of nests clashing in ferocious battle far up in the
  trees. Warnets have been seen wielding thorns or strips of
  sticky web as weapons.
  Some farmers have been known to strike up a kind of alliance with warnets which serves both
  parties well. By providing a nest of warnets with bowls of sugar water or honey and giving them
  access to over ripe fruit, the farmers gain a diligent set of wardens who chase off pests from their
  orchards.
  WOLF
  Wolves are not usually dangerous to fit and
  healthy folk, but can attack sick or weak looking
  opponents. They usually stay within deep forest
  unless a cold winter drives their usual prey down
  into the richer farmlands. Wolves have a
  maximum hand rating of 4, and attack with the
  equivalent of an edged weapon. They cannot
  parry weapons other than teeth, and may only
  avoid enemy blows by dodging.
  
  101
  THE KNOWN WORLD
  The civilization of the southern continent is beginning a great age of colonization and
  exploration. Trading and exploring ships have discovered new lands to the north and west, and the
  sea lanes have become battlefields for the new maritime powers.
  It is common knowledge on the southern continent that the world is round like a ball.
  Astrologers are also able to prove that the world revolves around the sun. The sun of “Other Earth”
  is held to be the center of the universe, and all the constellations parade around the sun and earth.
  There are substantial mathematical proofs of this theory.
  Astral travelers have tried to cross the gulfs of space to the closest planets without success.
  The most famous of all astral travelers, the great sage Ugorio is said to have sent his awareness to
  the closest planet, Beora, but since his soul never returned to his body it is difficult to confirm or
  deny this claim.
  THE NORTH EAST
  The hot northeastern nations (collectively called Harabi after the most southern nation on the
  continent) have long been known to the mariners of the south, and nations such as Duncruigh and
  Welfland have always traded with the northerners for spice, silks and damasks. Harabian nations,
  on the other hand, value much southern produce such as fine guns, magical herbs, heavy horses
  and precision machinery. Harabian clothing tends to include loose baggy trousers, bright sashes
  and gowns, turbans and curl-toed boots.
  Harabi is a collection of warring princely states. Their culture is very different from that of the
  south, including a very rigid division of noble ranks, and a slave class. Typical Harabian soldiers are
  matchlockmen, horse archers, carabineers and pikemen, often armored in intricate composite
  armors of brigantine and plate. The typical Harabian sword is a curved scimitar. Solid breastplates
  and articulated armor are not used by the inhabitants of the far east. Harabian states to the far
  north use armored war elephants in combat as platforms for musketeers and pikemen.
  Harabian women often wear loose baggy trousers like their men, and get by with amounts of
  clothing which would raise a blush in cooler southern climes. Harabian males may legally have
  many wives, but the women may declare themselves legally “free” assuming the same social rights
  and duties as males (often serving as warriors and marrying multiple husbands).
  Duncruigh and Welfland have permanent trading bases at several Harabian cities. Trade has
  proved profitable, despite the very long, arduous journey and the ravages of north sea pirates
  (Harabian corsairs). Several northern ports also act as bases for southern pirate ships or Albernian
  privateers.
  THE WESTERN ISLES
  The western isles are a recently discovered phenomena, and Duncruigh, Nantierre and Scarmis
  have all established small colonies there. The land is fertile, but inhabited only by scattered stone
  age savages ignorant even of basic farming and animal husbandry. No one has yet found much of a
  use for such land, since the massive distance between the western isles and Mittelmarch makes
  communication and support between colonies and their homelands very difficult. A recent gold
  strike in the Scaramian settled regions might make development more profitable.
  It is possible that even more extensive lands lie further to the west. There are numerous hints
  of an ancient, vanished civilization in this region. Further evidence (and even greater discoveries)
  could yet lie to the west.
  NOTE
  The game’s political environment
  is designed to give Referees
  inspiration for developing
  background to their adventure plots.
  Readers will note that there is plenty
  of scope for spying, assassination,
  piracy, exploration, colonization.
  There should be no need to feel that
  the game’s background
  environment is constrictive or
  limited! Remember that this is a
  magical environment, and strange
  places lie awaiting discovery.
  
  102
  
  103
  TECHNOLOGY
  The technology used in the world of “Other Earth” is very similar to Europe of the 1640’s, with
  a few notable exceptions. The tolerance of “Other Earth’s” Christian church has been a great bonus
  to the establishment of clear thinking and experimentation, and the proliferation of magic has had
  a pronounced effect on the state of many technologies (such as medicine).
  The southern continent has recently emerged from a period of medieval technology. The relics
  of this period are readily noticeable. Castles dot the land in various stages of repair (the inhabited
  castles have usually been reworked into country houses or surrounded by star fortifications). Many
  bridges and roads are relics of the Tantic empire, which are still in good use after more than a
  thousand years.
  In general, technology is quite well advanced. Watermills and windmills provide power for grain
  mills, powder mills, automatic hammers etc., as well as the drawing of water. Clocks and watches
  are made by skilled artisans, and optical instruments are reasonably common amongst those who
  can afford them.
  WARFARE
  The advent of gunpowder has seen a revolution in warfare, with infantry firepower replacing
  cavalry shock action as the major factor in any battle. The development of firepower tactics and
  the need to quickly maneuver large formations of troops has lead to the formation of well drilled,
  disciplined units of foot and horse. Regiments of troops tend to be raised at the state’s expense,
  although some units are raised and equipped by entrepreneurs.
  CAVALRY (THE “HORSE”)
  Cavalry tactics combine firepower and shock to take advantage of the horseman’s mobility.
  Charges are performed at the gallop, sword in hand. Pistols are fired at point blank range within
  the melee, and are also used in the pursuit and to crack an infantry line before a charge. Skirmishing
  cavalry use carbines to harass their enemy. Lances are now only rarely used in battle, since the
  training of lancers is both lengthy and expensive.
  The heaviest cavalry are the cuirassiers who wear Three Quarter Armor and ride extremely
  large, robust horses. Lighter armed troops with breast plates and buff coats are more common due
  to their higher mobility and the cheaper cost of their mounts. Another popular branch of the
  “horse” are dragoons, infantry mounted on cheap horses. These “rapid deployment” troops are
  proving more and more useful in the new age of maneuver and firepower.
  In battle, cavalry are responsible for scouting, foraging, shock action and protecting the flanks
  of the more ponderous infantry. A charging horse can easily cross the entire range of a musket in
  less time than it takes to reload. Infantry must thus stay in or near formed bodies to avoid being
  overrun.
  BATTLE
  With warfare raging in Welfland,
  and a larger conflict threatening to
  break out at any moment, battle,
  siege and sea fight could all sweep
  player characters up into their cold
  embrace.
  If player characters are caught up
  in battle, the battle field
  environment must be well
  presented to the players if the fear
  and excitement are to be properly
  captured. The descriptions on page
  114 might be useful in establishing a
  feel of drama. When combined with
  hair raising action, this should
  provide players with enough
  excitement to last them for a little
  while at least!
  
  104
  Warfare in Mittelmarch is a
  science. The techniques of
  deployment, discipline, leadership
  and tactics are firmly based upon
  ancient principles modified by
  recent innovation. Fighting styles are
  perfect given the tools currently in
  use. The “pike and shot” period is
  one of the most colorful - made all
  the more so in LACE & STEEL by
  the addition of magic and non
  human races.
  Despite the lace and ribbons, the
  honor and ceremony, warfare is
  brutal. The weapons used at this
  period cause horrific wounds, and
  are used with ruthless efficiency.
  Despite their curled hair and their
  silken clothes, the fops and dandies,
  courtiers and gentlemen are capable
  of astonishing feats of courage. It is
  a time when beauty and grace meld
  with ferocity and cruelty - a world
  of paradox.
  INFANTRY (THE “FOOT”)
  Infantry is divided into two basic categories - pike and shot. Every infantry regiment consists
  of two bodies of shot and one of pike. Pike are armored close combat troops whose primary task is
  to protect the musketeers of their formation from cavalry. In combat they form up in deep, closely
  packed ranks, presenting a hedge of points to their enemy. The reach of their weapons is the surest
  protection against cavalry, and their superior equipment makes them more than a match for
  musketeers in close combat with other infantry. The typical pikeman wears a morion helmet and
  a breast & back. Tassets are often discarded in favor of a long skirted buff coat. Some pikemen also
  discard the helmet in favor of a comfortable hat. They are armed with a long pike and a sword.
  Pikes are an important weapon, in that they encompass any infantry unit’s shock troops.
  Musket volleys are used as a prelude to the pike assault - for it is the pikes who deliver the decisive
  blow.
  The shot element of an infantry regiment is armed with match-lock muskets, and lacks
  protective body armor. Current practice amongst the most disciplined regiments is to fire by
  platoon volley, with each platoon firing in unison and reloading. Volley fire is a remarkable
  improvement over the earlier “countermarch fire”, where each man fired and then retired to the rear
  to reload, and has replaced the clumsier system of salvo fire, where an entire regiment fired off its
  weapons all at once. The lack of bayonets makes the musketeers reliant upon their pike armed
  comrades for protection from cavalry.
  Infantry formations are quite deep (usually 4 to 6 ranks for musketeers, and 6 to 12 ranks for
  pike). The danger of direct cavalry assault and infantry shock tactics makes deep formations such
  as this extremely important.
  Skirmishing troops are occasionally used, and a skirmish line is often referred to as a “forlorn
  hope”. Skirmishers screen the main formation of troops from harassment by enemy skirmishers,
  and line and occupy close terrain. They rarely operate more than a hundred paces away from their
  parent regiments, since cavalry can ride them down with great ease.
  ARTILLERY
  The artillery is not a particularly mobile arm, but still has great importance in battle as a
  support for the line of battle. Guns fire solid shot or canister, while specialized siege mortars lob
  explosive bombshells. Gunnery is a well defined science, and field pieces can be quite accurate in the
  hand of truly skilled crew.
  Light “galloper guns” are a recent development - light guns mounted on mobile carriages and
  accompanied by mounted gunners. Galloper guns are capable of moving forward with fast moving
  columns and cavalry assaults. Their short range makes them very vulnerable to counter battery
  fire from heavier pieces.
  SIEGE
  Important trade centers, ports and communications nexi are protected by fortifications. Forts
  are very important in the scheme of warfare, and become important bargaining points in peace
  settlements. The construction of fortifications has moved from being an art to a science, and the
  most modern forts are remarkable examples of engineering. Called star forts, these fortifications
  utilize systems of sloped angular walls to reduce the effects of enemy siege guns. The strength of
  those star forts makes a siege no easy business, and a small holding force can tie down a large
  besieging force for months, giving their attackers a severe mauling into the bargain.
  Field fortifications are a common means by which outnumbered forces may augment their
  defenses. Lines of trenches and earthen ramparts will be thrown up, with gun batteries carefully
  protected by gabions (wicker baskets filled with earth). Many energetic commanders refuse to use
  field fortifications, since they tie the army to one spot, limiting tactical options.
  Small earthwork forts called sconces will often be set up during a campaign to command a
  road, river or town. These will often house only 2 to 4 guns.
  
  105
  Besieging a fort is a matter of digging “parallels” - trenches and batteries which move ever closer
  to the fortress wall, allowing guns to be brought into ever lessening range of the walls. The task of
  sappers is made dangerous due to enemy mortars, gunfire and sniping, and leading sappers will
  often wear siege armor consisting of a close helm, proofed breastplate and tassets.
  When a breach finally occurs, assault troops will storm forward under the cover of a mortar
  barrage, hurling grenades and dashing into the fortress. Many forts will surrender before the final
  assault.
  NAVAL WARFARE
  Ships have become floating gun platforms, and the broadside reigns supreme. Ships maneuver
  back and forth, each trying to steal upwind of her opponent, cross behind her and rake her stern. In
  battle, formations of ponderous ships of the line will be flanked and preceded by lighter scouting
  vessels. The use of these scouts greatly extends the search radius of a fleet, and increases the chance
  of snatching the wind gauge from the enemy.
  NON HUMAN RACES ON THE BATTLEFIELD
  All armies contain a substantial proportion of nonhuman troops. Though Half-Horses are the
  best represented, contingents of other less numerous races can usually be found in most musters.
  The capabilities of these peoples give warfare on “Other Earth” a very different flavor to that of
  17th century Europe.
  HALF-HORSES
  Half-Horses are the most numerous nonhuman race in civilized lands, and have much of
  humanity’s martial temperament. Half-Horses take to the field as a type of cavalry/infantry
  hybrid, being faster afoot than human infantry but too lightly built to take on true cavalry on
  even odds. They will usually act as carabineers, cooperating closely with human troops.
  Half-Horses also commonly form the crews of mobile “galloper guns”. Though few four-leggers
  choose the seafaring life, those who end up at sea are usually gunners and marines.
  HARPIES
  Harpies are often hired as scouts and skirmishers by other races (whenever they can be coaxed
  away from their interminable feuds). Harpies perform valuable service as airborne scouts, and are
  often sent forward to occupy valuable terrain (such as bridges etc.). The excel in raids and sorties.
  When flying, Harpies usually use grenades for air to ground attack, dropping bombshells from
  on high. Harpies will usually carry carbines for use once they have grounded (muskets are too long
  to be carried slung).
  A few ships carry a Harpy or two within their crew which are used for scouting or messenger
  duties at sea.
  SATYRS
  Satyrs rarely form homogeneous regiments, but usually band together into companies of
  musketeers which then attach themselves to human units (they make terrible pikemen or
  artillerymen due to their small size).
  PIXIES
  Pixies are masterful skirmishers who often fight as mounted infantry, riding into their area of
  operations on their little ponies and then dismounting. They excel at fighting in woodlands and
  even in urban areas due to their ability to flit up to rooftop level with great ease. They are also
  accomplished hamstringers of horses!
  The nonhuman races are every
  bit as warlike as humanity, being
  subject to much the same passions
  and ambitions. Nonhumans are
  often not capable of the same level
  of systematic cruelty as humans,
  but are often subjected to swift
  rages and seasonal foul tempers.
  
  106
  Pixies will usually only fight in defense of their homes. They are notoriously disinterested in
  joining in organized military ventures, though they are often persuaded to do so in order to
  indirectly defend their own territory.
  OTHER HALFLINGS
  Other halflings will sometimes appear in battle, often as part of a human infantry regiment or
  a wizard’s retinue.
  BATTLEFIELD MAGIC
  Magic is very much a part of warfare. No infantry regiment is complete without a regimental
  sorcerer, nor will a warship feel safe without a mage. In combat, these men rain down destruction
  with the efficiency of a squad of musketeers. In addition, they perform valuable ancillary services as
  doctors, scouts and advisors. Assassination at the hands (tentacles?) of a Demon is a very real fear
  for a battle commander, and astral travel and scrying are commonly used to scout out the enemy
  forces. Any command staff will always include a number of mages of varying talents.
  Sorcerers are of limited utility during the mobile phase of a land battle, but come into their own
  once their unit has come to grips. Most sorcerers will combat their opposite number first before
  turning their attention to the rank and file. Sorcerers will be kept safely within the ranks of their
  unit to protect them from snipers and gunfire until they are able to properly use their powers.
  
  107
  LANGUAGE &
  COMMUNICATION
  Most nations of Mittelmarch all use a language which is based on the tongue of the ancient
  Tantic empire. Through the centuries, the Tantic language has been modified and corrupted into
  regional dialects. Each nation now has a set dialect and accent which makes its citizen’s speech
  almost incomprehensible to the foreigner.
  The “corrupt” or modern Tantic language is used in the nations of Duncruigh, the Tantic
  empire, Scarmis and Forija. The common root of these dialects means that folk from different
  regions can understand one another if they speak slowly and clearly.
  Modern Tantic normally has a grammatical structure similar to English. The basic “Auld
  Tantic” root language uses sounds similar to English or German, but each nation modifies this
  with its own pronunciations and with words borrowed from the region’s original native languages.
  The second language used in Mittelmarch is the Alamarian language, derived from the tongue
  used by the ancient barbarian tribes which defied the might of the Tantic empire. Alamarian is
  spoken in Nantierre and Albernia (once again with great differences in regional dialect). In sound
  and grammatical structure Alamarian is similar to French or Spanish.
  MUSIC
  Music and song are highly developed arts in the lands of Mittelmarch. Song is used as a vehicle
  for extremely clever poetical lyrics, and satirical political themes are common. A skilled musician
  can take a simple fisherman’s tune and endow it with clever depths of meaning, modulating and
  improvising on the basic tune to produce an extraordinary work of art.
  The folk of Mittelmarch are very musically literate. Any fair will be brightened by wandering
  minstrels and song sellers. Traveling bands of musicians acquire reputations, and their
  performances are anticipated with interest and greatly discussed. Taverns will book musicians
  weeks in advance and advertise their performances.
  INSTRUMENTS
  Common instruments include the following
  Bagpipes
  Drum
  Fiddle
  Harp
  Harpsichord
  Horn
  Lute
  Organ
  Recorder
  Reed horn
  Trumpet
  Viol
  Languages that might appear
  in a campaign are as follows:
  Tantic (the tongue of Duncruigh,
  Welfland, Tantis, Forija and
  Scarmis)
  Auld Tantic (The “Classical”
  language of Mittelmarch)
  Alamarian (The tongue of
  Nantierre and Albernia)
  Harabian (The language spoken
  by the distant nations of the
  north east)
  Regional dialects are common,
  and can almost be languages in
  themselves. The thick brogue
  spoken on the Isles of Aurey is
  nearly incomprehensible to a Forijan
  Nomad.
  
  108
  PATRONAGE AND
  DEFERENCE
  The social pyramid is held
  together by a complex web of
  patronage and deference. The lower
  orders defer to their social superiors,
  and in return receive protection and
  support. All social classes have
  duties and obligations extending
  above and below themselves on the
  social ladder.
  RACIAL HARMONY
  LACE & STEEL presents the
  reader with an unusual society - a
  society in which a number of
  different races cooperate easily
  together.
  Any given nation will have a
  population composed of Humans
  and Half-Horses, with a lesser
  amount of Satyrs. Pixies and
  Harpies will exist in separate
  communities within the national
  boundaries, paying taxes and trading
  with their neighbors while
  maintaining some degree of
  isolation.
  The overall result is a society
  where races work together in
  reasonable harmony. Every species
  has its own particular talents and
  weaknesses - by working together,
  each individual species becomes
  part of a stronger overall
  community.
  DAILY LIFE
  Day to day life in LACE & STEEL is very similar to that of 17th century Europe - only cleaner.
  The proliferation of magic has lead to a lack of disease and plague, and the easy attitude of the
  Church towards differences of religious opinion encourages tolerance and rationality - both things
  that 17th century Europe could have done with. It is an elegant period, where style and grace are
  supreme virtues, and where courage and innovation flourish.
  LACE & STEEL has been designed to he a fantastic, swashbuckling environment, and so it has
  its fair share of injustice and bad guys. People being what they are, the ruthless ambition of rulers,
  the scheming of nobles and the violent battles of the underworld will provide quite enough conflict
  without the added “spice” of religious persecution.
  THE STATE
  The southern continent is currently in an age of absolutism, with most nations being governed
  by an all powerful monarch who works without the restraint of a parliament or constitution
  (notable exceptions being Duncruigh, which has just established a formal bill of rights, and the
  republic of Welfland, which is ruled by democratic process). Monarchs are seen as powerful
  repositories of mana, and extraordinary events and abilities must therefore be generated.
  Despite the power of the monarch, most nations have a set of powerful noble families who
  wield enormous influence and power. These families often control the ministerial and advisory
  positions, holding the keys to national power. Many of these great houses are absolute overlords of
  their own lands, controlling their own troops and levying their own taxes. These families spend
  huge amounts of effort intriguing against each other in a never-ending effort to become the power
  behind the throne (note that the King of Duncruigh has ousted the great noble families from
  holding major positions, awarding them instead to talented commoners who owe their positions
  to royal favor. This has gained him enemies, but increased the monarch’s power).
  SOCIETY
  The society of LACE & STEEL is divided into three main social orders - the nobility, the middle
  classes and the “lower orders”.
  The nobility is divided into titled nobility and gentry (folk accorded status and privilege but
  lacking titles). The noble orders perform all the direction and control of the society, providing army
  officers, patrons of trade and commerce, scholars and high ranking civil servants. Despite this,
  many nobles are comparatively poor, and must support themselves through careers in the military
  or with the navy.
  The middle classes are a rising power, and the new age of exploration, trade and colonization
  holds the seeds of their greatness. Society has now entered an age where the strong or the
  imaginative can make their own fortune, and it is the middle classes with their education and
  entrepreneurial adventurism which benefit most readily.
  The lower orders are divided into freemen and indentured sub-classes. A freeman owes service to
  no one, and may come and go as he pleases. These form the bulk of the laboring classes. Indentured
  men are effectively serfs, who are placed in debt to another person for the value of their indenture.
  Indentured individuals must work for the holder of their indenture until they have paid off their
  debt. Folk fall into indenture through debt, or as punishment for misdemeanors.
  MODES OF ADDRESS
  As shown in the section on language, there are a variety of different modes of address. The
  term “Force” is used as a very formal address for monarchs and mages, referring to the erudition
  and power embodied in such folk. “Anome” is used when formally addressing magistrates. The
  
  109
  term “Dignity” is a more polite term than a mere “Sir”, and has its uses when dealing formally
  with higher orders.
  Visible respect is paid to persons of higher social rank by doffing the hat. Soldiers who wear
  helmets will simply tug at the forepeak rather than removing the whole helmet. Women will
  curtsy.
  HONOR
  The concept of honorable or gentlemanly conduct runs strongly through the society of the
  southern continent. Generosity towards enemies, the keeping of the verbal word and courtesy
  towards women are all valued, and contribute towards a gentleman’s reputation. Honor also
  includes proper piety towards local spirits, and the protection of guests. Likewise, guests are
  expected to aid and assist their host.
  “Honor” also has its dark side, of course. Vendettas and duels are the inevitable result of any
  formalized celebration of pride.
  Duels are the means by which nobles and gentlemen decide matters of honor. Duels are always
  fought with swords (pistol duels have not yet developed, and are a damned silly idea in any case).
  A duel is usually fought only until one combatant is wounded. A doctor is at hand to deal with
  any injuries which result. According to the dueling code, if two men fight a duel, then their
  argument is ended, and they may meet in public with no stigmata attached.
  Another aspect of the honor system is ransom. Captive gentlemen and nobles are seldom
  imprisoned when taken as prisoners of war, but are instead usually ransomed back to their own
  side (usually for about the equivalent of a years pay). The payment of a ransom depends entirely
  on the resources of the prisoner - if the prisoner cannot pay, then he remains a prisoner!
  ON BEING A GENTLEMAN
  Many low born player characters
  will show an interest in aping their
  betters. Be warned: dressing a
  sparrow in peacock’s plumes does
  not make it a peacock. Manners,
  accent and attitudes all mark a
  gentleman from a low born
  imitation.
  Sadly, it is virtually impossible for
  a low born commoner to ever truly
  become a gentleman. Money, titles
  and careful training might never
  make the character accepted by his
  peers as one of themselves. Wealthy,
  titled ex-bourgeoisie may well club
  together for mutual support and
  society.
  THE “BRAVE FIGURE”
  The Albernian gentry and nobility
  have a very different concept of
  honor to that of their neighbors.
  Lying, cheating, assassination -  the
  Albernian male nobility do not
  blanch at any act if it preserves their
  “brave figure”.
  Albernians will break oaths
  without compunction, cheat, lie and
  deceive without a thought - and
  take little offense at such acts being
  directed towards themselves. What
  must be preserved at all cost is the
  facade of virility and manliness. To
  laugh at an Albernian is to earn a
  mortal enemy - an enemy whose
  honor will be satisfied the moment
  his hired assassin reports that his
  commission is completed.
  
  110
  CRIME AND PUNISHMENT
  Legal punishment in LACE & STEEL can be savage. Murder, treason and mutiny are all repaid
  with the noose or the axe, and serious misdemeanor will earn flogging. Very minor crimes can be
  punished by humiliation, where the miscreant is forced to stand in the market place crying out his
  crime to all who pass.
  There are few prisons in LACE & STEEL due to the system of indenture. Rather than lose
  valuable labor by having it rot in a cell, prisoners will be indentured (virtually sold into slavery). The
  worse the crime, the worse place the indentured prisoner will he sent to. Thieves and thugs will
  find themselves working an oar in a galley (hey, how could we have a swashbuckling game
  without slave galleys?). Less heinous offenders will find themselves building roads or digging peat.
  An indenture lasts until the value of the miscreant’s debt is paid off.
  CLEANLINESS
  LACE & STEEL is a physically cleaner environment than 17th and 18th century earth. There is
  a germ theory of disease, which leads to clean streets, well-tended wounds and good food
  preparation practices.
  MORALS
  Morals are reasonably “fluid” at present. It is not a “puritan” age, and dalliance, wild times and
  general flirtation are much in evidence. Marriage is an honorable institution, so beware enraged
  husbands....
  All other considerations aside, remember that honor is the measure of a gentleman. There is a
  fine line between being a rogue and being a cad and a bounder. A true gentleman would never trifle
  with the affections of a sincere lady.
  POLITICAL MOVEMENTS
  The monarchical system of government in most nations of Mittelmarch will confine politics
  to the royal court. Political factions will vie for the ear of the monarch, maneuvering for positions of
  influence and power.
  Duncruigh and Welfland both have parliaments. This allows more common folk the
  opportunity to delve into the mire of party politics.
  LEVELING
  A recent development on the political scene are the “levelers”. Levelers believe that God intended
  men to he equal, and that it is a crime before God that some men live in luxury while others live in
  poverty and squalor. Levelers believe that the man-made distinctions between social classes should
  he cast down, and that wealth should he distributed evenly. Men should live together in a state of
  mutual support and aid, each helping his brother.
  To most people, levelers are dangerous crackpots and fanatics. To some of the more inventive
  and rebellious poor, leveling seems a dream that is worth dying for.
  Levelers identify themselves by wearing a green ribbon about their hat or sleeve.
  THE LUNATIC FRINGE
  There are a large number of lunatic sects who can often be seen in market places (usually either
  preaching at the crowds or clapped in the pillories!) Some of these groups are very odd fish indeed. A
  major group are the “Diggers”, who occupy common lands and plant crops, attempting to
  establish self sufficient communes. Diggers are usually run off their settlements as soon as they
  become established, since the local villagers need their common lands for grazing their flocks!
  
  111
  COURTLY LIFE
  Most wealthy nobles will bring themselves and their families to their nation’s capital city for
  much of the year, where they will maintain themselves in expensive “town houses”. The reason for
  this expense and bother is simple - the royal court.
  For nobles, the day to day life in the capital city is exciting and rewarding, filled with an endless
  pageant of parties, balls, soirees and gatherings. Evenings will be spent at musical performances,
  and the daytime will be spent in hunting, sports, business deals or at the royal residence paying
  court to the monarch.
  This expensive round of events is very necessary to the establishment of position and
  reputation. Where a character goes, who he accompanies and what they do communicates their
  political affiliations, their plans and their weaknesses to a huge number of careful watchers. By
  attending the balls and enduring the parties, the ambitious can gain allies and patrons, gain
  valuable information and increase their chances of acquiring appointments and positions. The
  trivial language of repartee is used to slander opponents - and in an environment where rumor can
  quickly become established as fact, this is a valuable weapon and defense.
  Characters who enter into the courtly round can be kept royally entertained. Their attendance
  at affairs will be the ground on which they establish their allies and enemies, and where they will
  engage in the world of back-room politics. They must avoid the perils of gambling, dueling and
  espionage, while maintaining their reputations and images.
  Most gamers traditionally avoid playing within the “courtly” environment since they feel that
  it presents little challenge. Referees should examine the rich and varied possibilities of romance,
  espionage and intrigue that it offers. Here is the environment where coups are launched, devious
  political deals are hatched, and the leaders of important missions are chosen. A well set out courtly
  environment will consist of a stock of NPCs, each with their own aims and goals - which is
  surprisingly easy to set up. It makes an excellent background to adventures.
  In Lace & Steel, the court is
  actually an adventure environment!
  The ballrooms, gaming tables and
  drawing rooms can offer as much
  challenge as the battlefield - plot and
  intrigue, duels and assassins can
  make courtly life every bit as
  dangerous! But for those who tire of
  violent roleplaying, the courtly
  round gives the opportunity for
  conflict and problem solving
  without relying upon bloodshed to
  provide excitement.
  
  TOWN LIFE
  The towns are the center of fashionable social life, of learning, and of technical crafts and
  trade. Towns have large populations, and thus most have a garrison of soldiers which are used
  in the capacity of police to keep law and order in the streets. Many towns will he fortified.
  Life within a town can be fast moving and exciting. Humans and Half-Horses live
  together in very close circumstances, mingling freely throughout the town. The coffee shops
  and chocolate houses are common meeting points for the gentry and middle classes, and these
  become dens of gossip and political debate. More deals are closed or opinions formed in these
  places than in the market place or counting house, and characters will find that their
  reputations amongst the regulars of such places can be very important indeed. Here is the
  place to meet merchants and lawyers, gentry and entrepreneurs - the prime movers of many
  adventures (e.g. the guy who will hire characters to perform a task).
  At the lower end of the social scale are ale houses and taverns which are the social
  gathering places of the lower orders. Here is the place where good food and jolly company can
  be had, stolen goods “fenced” and desperados hired. It will be a common haunt tor player
  characters who seek employment.
  If player characters develop a constant haunt, then the Referee should flesh it out with a
  proprietor, the proprietor’s daughter, serving wenches, regular customers etc. to allow the
  characters a chance to gain valuable acquaintances and contacts. Non-player characters are a
  major source of background atmosphere and resources.
  All towns have a market at least once a week, and this is a good place to pick up bargains,
  hire laborers, swap gossip and hear the news read out. Political leaflets, scurrilous songs,
  traveling performers and recruiting parties for the army and navy all add to the color and
  atmosphere. A lively presentation of a town market can provide a fun background for
  characters seeking to buy equipment or getting to into a new town.
  THIEVERY
  Most towns have an active “underworld” which consists of thieves, bullies and
  assassins. Certain taverns will be the secret haunt of such folk, and it is here that murders
  and robberies can be arranged - if you can gain admittance. There are no formalized
  “thieve’s guilds”, but sometimes there will be thieves brotherhoods whose members
  agree not to work against each other, and who collaborate together from time to time.
  The underworld is a complex and frightening world which may become important
  to characters who cast themselves as thieves. It will be vital in such cases to establish a
  proper underworld for the character to interact with. Just like a courtly environment, the
  Referee must establish a list of NPCs - thieves, thugs, assassins, buyers of stolen goods and
  providers of forbidden materials - even sorcerers and alchemists who specialize in providing
  potions and spells to those who pay their price. All of these characters should be given
  dispositions, aims and goals, which will rapidly bring the whole scene to life. The fun that
  this adds to a campaign is certainly worth the evening’s work that it will take to set up!
  
  113
  RURAL LIFE
  Much of the wealth of a country comes from its rural regions, with their farms and stables.
  Rural characters will usually hail from a small community which gains its wealth from farming,
  animal husbandry and related industries.
  Rural communities are invariably composed mostly of a single race. The communities of
  different races are always close by each other, and most farms will have both human and Half-
  Horse workers. A Half-Horse village will often use the local human blacksmith (who are rumored
  to be better than Half-Horse smiths), or a human farmer will hire a number of sturdy Half-Horses
  for performing heavy work. There is constant travel between the various communities as farmers
  and traders hawk their wares, or perform social visits.
  A typical rural community will have a number of influential citizens (the more responsible or
  well-to-do locals) who take on the task of local administration through elected counselors. Markets
  and community meetings provide the platform for discourse and public opinion. A rural
  community relies upon its members supporting one another. Rich or poor, all will come together
  for harvest ceremonies, marriages and markets, binding their community together.
  Any community of this kind will have its fair share of “odd characters” and “bad apples”,
  which makes each settlement unique. This can provide rich background for adventure scenarios.
  TOWN ENCOUNTERS (2D6)
    2
  Recruiting Party
    3
  Mountebank*
    4
  Thief or Prostitute
    5
  Street Vendor
    6
  Political Agitators
  7-8
  Common Citizen
    9
  Soldiers**
   10
  Travelers
   11
  Merchant
   12
  Nobility or Gentry
  RURAL ENCOUNTERS
    2
  Recruiting Party
    3
  Soldiers**
    4
  Village idiot
    5
  Thugs
    6
  Laborers
  7-8
  Farmer/farmer’s wife
    9
  Well-to-do farmer
  10
  Travelers
  11
  Wealthy traveler
  12
  Mayor
  *e.g. a charlatan/confidence
  trickster of some kind
  ** There is a 1 in 6 chance that
  the soldiers will be conducting a
  search of some kind - e.g. fugitives,
  contraband etc.
  
  114
  MILITARY LIFE
  Regiments of troops are usually stationed in the area in which they were raised, so that the
  officers and soldiers will participate in the same evening life as their civilian counterparts (courtly
  functions, taverns etc.).
  The advent of massive state-recruited armies and the collapse of the feudal military system
  has ended the strict social stratification of the various arms of service. The cavalry is no longer filled
  only with nobility and gentry, but recruits its men from commoners and trains them to ride from
  scratch (although most recruits will be country lads who are already familiar with horses).
  Infantry regiments contain their fair share of upper classes. The pike is seen as a more honorable
  weapon than the musket (due to its primary role as a decisive shock weapon), and is thus a more
  popular arm of the infantry amongst the well to do. Artillerymen are now professional regular
  soldiers, usually with secure jobs even in peacetime.
  There are few ranks in the military. Private soldiers are kept in line by corporals and sergeants,
  and sergeants are rated in seniority depending upon years of service. Officers consist of ensigns (or
  “cornets” in the cavalry), lieutenants, captains, lieutenant colonels and colonels. Generals are rated
  for the size of their command (e.g. a brigade general or an army commander).
  Military posturing lacks much of the “slap and bang” of the modern world. The “attention”
  position keeps the left hand on the hip, and salutes are replaced by the removal of the hat. Odd
  ceremonies include the parading of the colors, where the ensigns dance and toss and twirl their
  banners during a parade, and captured colors are marched before the regiment held upside down by
  their captors. Tipple horns and drums make martial music quite gay and pretty, and military
  spectacle is thus very colorful and elegant.
  Common soldiers are recruited by specialized recruiting parties which scour the markets, fairs
  and taverns for good material. A recruiting sergeant is a master of persuasion and oratory, who
  attracts his custom through charisma, story telling and charm. He will he assisted by “plain-
  clothed” helpers who can circulate amongst the crowd to encourage the dubious, and to be the
  leaders in any sudden drive to sign up. A good recruiting party is a finely tuned act, and master
  performers can reap in a rich reward (recruiting parties are paid a bounty for each man they enlist).
  See if player characters are dumb enough to sign up...
  IN BATTLE
  The infantry’s line of battle is a terrifying place - an assembly of nightmarish images. The
  clockwork crash of platoon volleys, choking smoke shot through with flashes of fire and the
  screams of the wounded. Bullets buzz through the smoke, twitching eddies through the fog and
  thudding into earth or flesh. Sergeants walking up and down the line steadying the troops, hauling
  the sobbing wounded back out of the line of fire and passing dead men’s muskets to men with
  jammed weapons. The shouts of the officers calling the rhythm of fire. Grim pikemen await the
  moment to scream down upon the enemy, sheltering behind the musketeers until needed.
  For the cavalry, battle can be the
  surge and speed of a good horse under
  you, bright steel in your hand and
  banners whipping in the breeze, and
  the crack of your pistol as you fire
  into your enemy’s teeth - a time
  when a man feels larger than life and
  more alive than he has ever been. On
  the other hand, it can also he a
  whirling nightmare of sword clash
  and pistol shot, the scream of
  wounded horses and piked riders.
  
  115
  War ain’t fun, but the proper presentation of the battlefield environment can be invaluable. If
  you are interested in playing large battles, I would suggest using a good set of figure rules for the
  English civil war period (such as “Tertio”). Homemade counters can be substituted for figurines if
  you lack the funds for miniatures (try using the rules modifications for 5mm scale, which give a
  better sense of spectacle and grand tactics than those used for 15 and 25mm). Magic can be
  simulated by treating mages as short ranged ultralight guns, and allowing them to affect the
  morale of enemy units. Individual unit leaders can be created as NPCs, and their dispositions and
  charisma will have a definite effect on unit morale and tactical decisions. Battles fought in this
  way can he a valuable addition to campaign backgrounds.
  Skirmish campaigns are also a possibility (especially if integrated with role play). Use the
  massed combat rules to simulate conflicts. These games can be played with figurines, since each
  player would only be required to collect a couple of dozen models. Model figures for LACE & STEEL
  will be forthcoming, so figures of nonhuman races in 17th century dress should be no problems.
  THE SEAMAN’S LIFE
  Life on a cramped, creaking square-rigger can be very uncomfortable, although the environment
  is cleaner and the food is better than the ships of our own 17th & 18th century. The ship’s mage
  ensures that food is kept fresh, wounds are properly tended and that water is clean. In times of
  emergency, the navy often has recourse to press gangs, who snatch unwary folk off the streets and
  tumble them aboard ship. Discipline is not readily enforced with the lash, but the threat of corporal
  punishment exists, and insolence, theft or cowardice will gain a sailor a flogging. Pirates and
  mutineers will dangle from a yard arm with little ceremony. The lower deck takes care of its own -
  sailors who steal from their fellows or who get too fond of their knives can end up falling
  overboard....
  Day to day life aboard a warship is an endless round of gun drill and sail drill. Experienced
  hands instruct novices (“Landsmen”) in their duties. Cutlass drill, splicing broken ropes and
  stitching torn sails take up much of the daily watch. The ship’s officers oversee the operations in
  the rigging, while the sailing master directs the set of the helm and sails to his satisfaction. The
  Captain rules the ship as a distant lord and master, directing his underlings through the ship’s
  chain of command. Relaxation is a tot of rum, a yarn with your mates and tapping your foot to
  the tunes of the ship’s fiddler.
  A ship is an enclosed community. Characters on shipboard will need to know their
  watchmates and officers as a vital part of their environment.
  NAUTICAL PROBLEMS
  Campaigns set aboard a ship will
  provide players with a host of
  problems to solve and adventures
  to undertake. Some ideas for
  adventures and outings might
  include the following:
  Watering Party: The player
  characters must land via boat in
  hostile territory to seek fresh water
  for their ship.
  Storms: Skill rolls will be
  required to preserve life and limb
  against the onslaught of mother
  nature.
  Mutiny: Troublemakers below
  decks start to split the crew.
  Crime: A crime is committed,
  and the wrong man is punished!
  The player characters must find the
  true culprit before it’s too late!
  Difficult Passengers:
  Diplomats, nobles or important
  merchants, ladies and their maids
  can all sometimes be found as
  shipboard passengers. Their
  petulant needs and readiness to take
  offence, or conversely the need to
  protect them from the rest of the
  crew can all add to the fun of the
  voyage.
  Fever: A disgusting disease grips
  the ship, and one by one the crew
  succumbs. In LACE & STEEL, this
  could become even more deadly.
  What if the awful nightmare of one
  fever victim should begin to take
  form as a demon and stalk the ship?
  
  116
  BATTLE
  In battle, a ship is stripped for action by ripping down the screens which divide the lower decks
  up into separate areas, and all goods and furniture are taken below the waterline or lashed down
  out of the way. Sand is spread across the decks for good traction, and cutlasses and pikes are placed
  in racks for handy reach. Nets are spread above the upper deck guns to prevent falling rigging from
  striking the gun crews. When the command is given, the gunports are opened, and the great guns
  are run out ready for action. Gunners plug their ears with cotton and tie their scarves about their
  heads in readiness for the noise of the guns, and most crew will strip to the waist. All lamps and
  fires are doused. The ship’s boats are removed from the deck and placed in tow, to be cast adrift
  immediately before contact.
  Once action begins, the great guns dominate the scene with their deafening crash and choking
  smoke, making the hull leap and shudder with the force of their recoil. Enemy cannon balls plough
  through the hull, shattering cannon and pulping crew, sending up lethal splinters of wood which
  scythe through the air like darts. The gun crews cheer crazily as they fire and load, as if sheer
  enthusiasm will give more power to their shots. Musket balls drive into the deck as enemy
  sharpshooters fire on the ship’s officers, and chain shot howls overhead, ripping into the rigging
  and canvas. Blood runs into the scuppers with a nightmarish slowness, as petty officers drag the
  wounded away from the violently recoiling guns.
  When ships come close enough to board, the hulls meet with a grinding crash and the soldiers
  and sailors on both decks surge to the nets. Pistol shots and the clash of steel on steel turn the
  decks into whirling confusion. Swivel guns blaze from the tops, blasting fantastic gory swathes
  through the struggling figures below. Meanwhile, below decks the gun crews thrust pikes and fire
  pistols through the gunports at their opposite numbers. The action ends only when one or the
  other ship is captured as a prize, or when the exhausted crews stagger apart of their own accord.
  The battle ends when a ship strikes its colors in surrender, or when she goes to the bottom.
  Captured ships are sold in auction, with half of the resulting money going to the capturing ships
  Captain and crew.
  THE MAGICIAN’S LIFE
  Magic is learned through apprenticeship to a capable teacher, and the student’s attitudes to his
  craft will he heavily influenced by his or her teacher. The kindly old hedge wizard will teach
  different spells and different attitudes than those passed down from a sinister demonologist.
  Those few individuals talented enough to acquire skills at magic will find their abilities much in
  demand. The underworld, the military and wealthy nobles can all find use for mages. Magicians
  can also find healthy practices as apothecaries and medics.
  Mages need to be constantly aware of their fellow practitioners, and spend most of their time
  intriguing against one another. Mages will often form-loosely knit societies in which they will
  meet and discuss their affairs, sometimes establishing rules of conduct for their members. This does
  not stop them from constantly seeking to gain advantage over each other (quite the opposite in
  fact!). Characters who become magicians will want to know details of their competitors and
  potential allies and enemies, so Referees should be prepared to create appropriate NPCs.
  Playing a mage can be a lot of fun. Magicians should be encouraged to create bizarre residences,
  to seek out rare objects and to consult/spy on their fellow practitioners. Magicians will often need
  to go on far-roaming adventures to seek new experience and materials. Likewise a mage might find
  himself demonically transported to far shores by an enemy, or at the receiving end of a terror
  campaign or assassination attempt. Since mages have special powers, they tend to attract special
  attention.
  
  117
  MONEY
  LACE & STEEL’s money is divided into Gold Marks, Silver Pieces and Copper Groats. The
  exchange rates are as follows
  12 Copper Groats = 1 Silver piece (called a schilling).
  12 Silver pieces = 1 Gold Mark.
  The smallest coins are half and quarter groats, which are quite literally made by cutting a groat
  into segments.
  SIMULATING COINS
  The author has found that a new dimension is added to game play when a player character’s
  funds are simulated by solid objects. One or two cent pieces can simulate copper groats, and heavy
  washers make good silver and gold pieces. Washers or disks can be had from any hardware store. Go
  for big washers (20 to 25mm is good) with small central holes, such as muffler washers. Brass
  washers are used for
  gold marks, and steel
  washers for silver
  schillings.
  “Real” money is
  excellent fun to use,
  and players soon
  develop odd habits
  such as fondling their
  money or stacking it
  into neat little piles.
  Parting with money
  can be a traumatic
  experience for miserly
  players, since they are
  handing over a physical object rather than just crossing a number off a piece of paper. Players will
  also tend to keep a less ready tag on their wealth, which adds a bit of spice to play.
  A character’s stock of coins should be kept in bags or envelopes for easy transport (and to
  discourage players from counting their funds too often), and at the end of a sessions play all such
  bags will he kept by the Referee and stored with the player’s character sheets.
  STARTING FUNDS
  Wealthy nobles start the game with 1D100 gold Marks.
  Poor nobles and gentlemen receive initial funds equal to 4D10 gold Marks.
  Middle class characters initially receive lD20 gold Marks.
  Lower class characters start the game with 2D20 silver Pieces.
  Wealthy nobles and wealthy gentlefolk have a chance of receiving a monthly allowance from
  their families or estates. Roll 1D6. On a score of 4, 5 or 6, the character has a monthly allowance of
  lD10 Marks.
  Although the upper classes start the game with more money than those from the “lower
  orders”, they will be expected to spend more. Gentlemen and nobles will have to purchase fine
  horses, good blades, elaborate clothes and eat fine food if they expect to maintain their Self Image
  and the respect of their fellows.
  BANKS, WRITS AND
  BANKNOTES
  Although there is no “paper
  money” in LACE & STEEL, there is
  a system of promissory notes
  similar to the modern “check”. Since
  individuals who have enough
  wealth to matter always keep their
  money in a bank, they are also able
  to issue notes that are redeemable
  from their account at their bank.
  Promissory notes are also useful for
  signing away estates and sisters, etc.
  when gambling!
  Metal coins are minted at central
  state mints to set specifications.
  However, cities under siege
  sometimes mint their own coin
  from bar stock, and major towns
  are sometimes allowed to mint
  coins in times of emergency. In the
  end, it is the weight of the coin that
  is important, and not whose head is
  stamped on the back!
  
  118
  WAGES
  These are the pay rates for various jobs that player characters might commonly be expected to
  hold. Hirelings are not expected to provide their own equipment. If they do, then the employer
  would normally enter into an agreement to reimburse his employee for any equipment losses.
  Type of job
  Weekly wages
  Infantryman
  2 silvers
  Cavalryman
  5 silvers
  Dragoon
  3 silvers
  Sergeant
  +1 silver
  Skilled labor
  3 silvers
  Common labor
  1 silver
  OFFICERS
  Colonel
  2 Marks
  Captain
  1 Mark
  Lieutenant
  10 silvers
  Ensign
  8 silvers
  COURT SINECURES
  Lady in waiting
  1 Mark
  Minor functionary
  1 Mark
  These pay rates do not include food or drink, but do include lodging. The pay of palace guard
  troops would be double the rate listed above.
  Check the sections on food, drink and entertainment to see how easily characters can make
  ends meet.
  WEIGHTS AND MEASURES
  All measurements have been given in metric form as a convenience to the reader. The
  proliferation of local measurements and special terms would otherwise have proved too confusing
  to the reader.
  The standard
  distance
  measurement used
  throughout these
  rules is the pace,
  which represents a
  double pace (e.g.
  right foot forward,
  then left foot). This
  is a distance of about
  1 meter or 1 yard.
  The measure is
  standardized at the
  distance crossed by
  an average sized,
  two-legged creature.
  
  119
  ARMOR AND PROTECTIVE
  CLOTHING
  Armor soon disappears in an environment dominated by thrusting weapons and firearms. The
  armor of LACE & STEEL protects the wearer’s most vulnerable points from attack, but does not
  attempt to provide complete coverage (the exception being the three quarter armors worn by
  heavy cavalry). Plate armor and thick leathers are common, but armor formats such as chainmail
  and scale are highly dangerous to the wearer when struck by bullets, and have disappeared entirely.
  Plate armor can be made bullet proof, and the best breastplates are “proofed” against pistol fire.
  The evidence of this proofing is a small dent over the left breast where the smith has fired a pistol
  at the armor at a range of 20 paces.
  The weight of pieces of armor is not listed, since the fatigue penalties for the different items are
  incorporated into the armor statistics chart. (See page 122). For the purposes of determining the
  weight of a horse’s rider for fatigue purposes, however, increase the rider’s weight by 10% if it wears
  light armor (breastplate & helmet), and by 50% if it wears three quarter armor.
  HEAD AND THROAT PROTECTION
  HELMETS
  Helmets fall into 3 basic types - the morion, the
  lobster tailed pot and the close helm.
  A morion is a footman’s helmet which combines
  a bowl with cheek guards and a wide, flaring brim.
  They are simple to make, protect the wearer against
  the weather with as much facility as a hat, and are
  useful in a variety of other roles (e.g. gathering
  strawberries or as a shaving bowl).
  A morion helmet costs about 3 silvers.
  Lobster tailed pots (or zischagge) are cavalry
  helmets. They consist of a hemispherical bowl, to
  which are attached an articulated neck guard, a frontal
  brim and a set of cheek guards. These helmets guard the
  wearer’s face with a sliding nasal or a pivoting bar visor
  (the “fall”) attached to the forepeak. The bowls of these
  helmets usually bear a low ridge, although some
  variants equipped with nasal bars have fluted skulls for
  added strength.
  A lobster tailed pot costs 6 silvers.
  A close helm is worn in conjunction with 3/4 armor. It is a full
  helmet which entirely encases the wearer’s head with heavy metal. The
  solid visor of a close helm gives good protection against pistol shot, but is
  very confining. Any character who wears a close helm receives a DRM of
  +1 on all attempts to spot hidden objects/foes, read signals or sneak.
  The protective value of a close helm includes the effect of a gorget, which
  is purchased inclusive with the listed price.
  A close helm costs about 10 silvers.
  Linette much admires a suit of
  three quarter cavalry armor that she
  sees in a shop and decides to try it
  on (luckily there is space enough
  under the pigeon breasted chest
  plate to allow for her - ah
  “endowments”). The complete suit
  consists of a closed helm, half armor
  and leg harness, for a total fatigue
  penalty of 7 (2+3+2). When we
  work out Linette’s fatigue level
  when wearing the armor, we find
  that it is depressingly low (her
  strength averaged with her
  endurance is 9, minus 7 points of
  fatigue penalty and halving the result
  gives her a fatigue level of only 1 !)
  Oh dear! Linette can hardly move in
  the stupid thing when she is afoot,
  although it gets much lighter when
  she gets onto horseback (giving her
  a fatigue level when mounted of 2).
  Rats! Sadly shaking her head,
  Linette leaves the suit on the racks.
  It looks wonderful, but it is Just too
  heavy. Maybe one day she’ll find a
  magic one that weighs nothing.
  Now that would be a fine thing!
  
  120
  HALF-HORSE ARMOR
  Humans and Half-Horses wear
  much the same armor. Half-Horses
  will protect their humanoid
  sections, and will wear tassets to
  protect their front legs, but will leave
  their equine hind bodies largely
  unprotected. Thus Half-Horses are
  never protected by their armor from
  low blows delivered from the sides
  or rear.
  The astute will notice that there is
  no horse armor in use in
  Mittelmarch. Horse armor could
  never be made heavy enough to
  withstand firearms and still preserve
  some skerrick of the horse’s
  maneuverability, and so it has been
  abandoned altogether.
  Half-Horses always count as If
  they are on foot (and not mounted)
  for fatigue penalty purposes. Four-
  leggers pay the full fatigue penalty
  for armor at all times.
  IRON SECRETS
  A hemispherical padded steel cap designed to be worn
  beneath a hat. “Iron secrets” are not easily seen when
  concealed by other headgear, and are popular due to their light
  weight.
  An “Iron secret” costs about 2 silvers.
  MONTERO CAPS
  Billed leather caps with a fold down neck guard. The crown and
  neck guard are reinforced with steel strips. This construction gives it
  reasonable protection against slashes and punctures, but no
  protective value against firearms.
  Monteros are a popular item of wear amongst soldiers due to
  their simple construction, light weight and comfort.
  A montero cap costs about 1 silver piece.
  GORGETS
  A protective collar which shields the throat,
  clavicles and thorax. Gorgets are always worn as
  part of a half armor (see below), but are a popular
  piece of armor by themselves. Most officers in
  infantry units will wear a gorget even if they
  wear no other armor.
  Gorgets cost about 2 silver pieces.
  TORSO PROTECTION
  BREAST & BACK
  Rigid back and breastplates are a very common
  form of armor much worn by cavalry and pikemen.
  Breastplates give the wearer exceedingly good torso
  protection for a minimal loss of flexibility.
  The best breastplates are “proofed” (tested for
  resistance against pistols at 20 paces range). Proofed
  breastplates count their armor protection against
  pistols and carbines even at close range, but are
  extremely encumbering when worn by characters who are on foot (including Half-Horses!).
  Mounted cavalrymen receive no extra penalties for wearing proofed armor.
  A full breast and back costs 8 silver pieces.
  A breast and back with a “proofed” breastplate costs 1 mark.
  
  121
  HALF ARMOR
  Back and breast, gorget, and articulated armor for the
  upper arms. Plate vambraces protect the wearer’s lower arms,
  the hands are protected by plate gauntlets, and the shoulders
  are covered by smooth, articulated shoulder guards. The net
  result is complete plate armor protection for the upper body.
  The breastplates of half armors are always “proofed”. Half
  armors may be combined with tassets.
  Half armors are usually combined with leg harness to
  form a suit of three quarter armor (usually called a “lobster
  suit”). These suits are worn by the heaviest cavalry, but are
  not suitable for wear on foot.
  The encumbrance for wearing a suit of half armor is
  halved for characters on horseback.
  A set of mass produced half armor encompassing a proofed breastplate, a back plate, gorget, arm
  harness, bridle gauntlet and shoulder guards costs 4 marks.
  A tailored half armor costs at least 6 marks.
  BUFF COATS
  Hide jerkins are common wear for hunters, and so tend to be
  commonplace on the battlefield as well. Buff coats are made from very
  thick leather (often as thick through as your little finger), and are quite
  capable of blocking a sword cut. They are reasonably light, very
  weatherproof, and are easily maintained once properly oiled and
  dressed.
  Buff coats often have extensive skirts which extend down to cover
  the wearer’s thighs and upper legs.
  A short buff coat costs 8 silvers.
  A buffcoat which extends down to cover the low line costs 12 silvers.
  THIGH AND LEG PROTECTION
  TASSETS
  Two metal flaps to protect the upper thighs, to which
  is added an articulated plate flap to cover the wearer’s
  rump. Tassets are usually added to infantry armor to
  increase the protective value of the suit.
  Tassets cost about 4 silvers.
  LEG HARNESS
  Articulated plate housings for the legs which attach
  directly onto the wearer’s breastplate. The leg coverage is
  accompanied by an articulated flap which covers the
  wearer’s rump. The encumbrance of leg harness is halved
  for characters who are on horseback.
  Leg harness costs about 8 silvers.
  Half-Horse Leg Harness
  The leg armor worn by Half-
  Horses offers the same protection
  as tassets, at the same
  encumbrance.
  
  122
  ARMOR PRICES
  Closed Helm
  10 Silvers
  Morion Helmet
  3 Silvers
  Lobster tail helmet
  6 Silvers
  Iron Secret
  2 Silvers
  Montero Cap
  1 Silver
  Gorget
  2 Silvers
  Half Armor
  6 Marks
  Breastplate
  8 Silvers
  Proofed Breast
  1 Mark
  Long Buff Coat
  1 Mark
  Short Buff Coat
  8 Silvers
  Tassets
  4 Silvers
  Leg Harness
  8 Silvers
  Bridle Gauntlet
  6 Silvers
  ARMOR
  STATISTICS
  Where three protective
  values are given, the first value
  is the item’s protective value
  against firearms, the second
  value is the armor’s protection
  against thrusting weapons,
  and the third value is used as
  the armor’s protective value
  against brawling weapons,
  cutting weapons and
  broadswords.
  OTHER ITEMS
  BRIDLE GAUNTLETS
  A bridle gauntlet is a heavy metal
  sheath for the forearm of the wearer’s non
  sword arm. The gauntlet includes a jointed
  metal glove to protect the hand, and curves
  around to protect the wearer’s elbow. They
  are too heavy to wear on the sword arm.
  A bridle gauntlet’s main protective
  value is its ability to block incoming blows.
  An unarmed man may parry with his
  bridle gauntlet even if deprived of his sword.
  Such parries are at -1 to the normal
  numerical value of the defensive cards thus
  played.
  Bridle gauntlets weigh one kilo, and cost 6 silvers.
  PLUMES
  Helmet plumes cost between a groat (for a bunch of pheasant feathers) to a silver piece (for a
  spray of brightly colored ostrich plumes). Some common soldiers have been known to affix sprays
  of oak leaves to their helmets as simple decoration.
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  123
  FIREARMS
  Gunpowder weapons are the universal missile weapons in LACE & STEEL, having almost
  completely replaced bows and crossbows. As a result, the heavy forms of personal armor have
  largely disappeared.
  LACE & STEEL’s firearms use a sulphurous blend of powder which produces a great deal of
  thick, yellow smoke. Concentrated gunfire will create a masking blanket of dirty smoke which is
  impenetrable to view. Rain, wet fog and high winds make gunpowder weapons useless. Sentries
  will usually plug their gun muzzles and wrap their locks with rags to protect them from damp, a
  process which takes one missile turn to free the weapon for action.
  Firearms shoot a fair puff of smoke out of their touch holes as they fire, and this can panic
  many inexperienced gunners and throw them off their aim. This flash also smudges the faces of
  musketeers with dirty black powder stains, and can singe the whiskers of the unwary novice.
  Matchlocks use a spring operated lock to touch a smouldering match to the powder in the
  touch hole of the firearm. Matchlocks require a lit match in order to fire (lighting a match requires a
  dexterity roll vs. 10 per turn if the match is being lit via a tinder box). This burning match makes it
  hard to conceal the musketeer at night, and can also prove dangerous near loose powder. Burning
  match consumes itself at a rate of 1/2cm per turn. Lit match may be carried looped about the arm
  or belt with a protective cover being fitted about the glowing end. Most musketeers will carry
  lengths of spare match looped through their belt or wound about their hat or wrist.
  Wheellocks are clockwork mechanisms which operate by spinning a toothed pyrite wheel
  against a flint, showering sparks down into the priming pan. They are more expensive, more
  easily broken and more reliable than matchlocks. Wheellock weapons are wound (or “spanned”) by
  a spanning key, which is usually kept on a chain around the user’s neck. Wheellocks must not he
  left wound for action for long periods, since this weakens the springs. Lower the misfire number of
  a wheellock weapon by 1 for every ½ day that it is left cocked.
  Snaphaunce firearms work on the flintlock principle, using a spring loaded arm to strike a flint
  against a steel, showering sparks into the priming pan. Unlike true flintlocks, the priming pan
  cover must be swivelled aside manually before firing. Snaphaunces have some of the reliability of a
  wheel lock without the crippling expense.
  The cocking/winding and priming of firearms constitutes the last turn of reloading of the
  weapon. Weapons may be carried “charged” (primed) but carrying a charged weapon around for
  any length of time will usually cause the priming powder to knock itself loose (lower the weapon’s
  misfire number by 2 or more).
  All weapons come complete with a ramrod, cleaning tools and ball extractors (in case of jams).
  Custom made guns will vary widely from the basic models listed below. Amongst the
  unusual, experimental systems being played with are weapons with rifled barrels which have a
  greatly extended range, but a lowered reliability and double the normal reloading time. Double
  barreled pistols can also be bought, once again with a reduced reliability number. Double barreled
  weapons should also receive a penalty to their handiness rating.
  All custom made weapons will be prohibitively expensive.
  
  124
  PISTOLS
  Pistols are low powered wheellock firearms designed to be held in one hand. They come in two
  formats - saddle pistols (66 cm in length, 1.5 kilos in weight) and pistols (40 cm length, 1 kilo in
  weight). Pistol bullets come 50 bullets to the kilo.
  Pistols are bulky weapons, and usually have a heavy pommel on the butt to balance the
  weight of the barrel. Saddle pistols make particularly effective cudgels, although this can damage
  the weapon’s lock. All pistols are fired by canting the weapon to one side so that the touch hole is
  uppermost (held in the same manner as a sword during the thrust). For this reason, left handed
  and right handed pistols are different, in that they have their locks on the left or right sides of the
  weapon respectively.
  Pistols have a belt hook attached to their stocks which allow them to be securely thrust
  through a belt or sash for easy access. When holstered, pistols are carried with the butts forwards,
  and are drawn by reaching across the body in the manner of a sword.
  A pair of wheellock pistols costs about 3 gold marks.
  A pair of snaphaunce pistols costs 30 pieces of silver.
  BLUNDERBUSSES
  A blunderbuss is a short, hell mouthed musketoon designed to fire a cloud of small shot - very
  much like a modern shotgun. Blunderbusses discharge their loads of “swan shot” (a dozen small
  bullets) in an untidy cloud which may roll to hit characters that are closely grouped (friend or foe).
  They are poor weapons for penetrating armor. Beyond medium range, halve the damage inflicted
  by a blunderbuss against its target.
  Blunderbusses are about 60 cm in length, and weigh 4 kilos. They use twice the powder charges
  of muskets. They get about 16 shots per kilogram.
  A matchlock blunderbuss costs 8 silvers.
  A snaphaunce blunderbuss costs 14 silvers.
  CARBINES
  Shoulder fired weapons of the same caliber as pistols, carbines use pistol bullets hut a musket
  charging flask. Most carbines are wheellocks, but some are matchlocks. Carbines are about 76 cm
  in length and weigh 4 kilos.
  Carbines are the weapons of skirmishers, and are lighter and handier than muskets. They come
  equipped with a snaffle sling (a shoulder strap with detachable eyelet for speedy unslinging of the
  weapon). Carbines can be loaded from the kneeling position.
  Matchlock carbines cost 8 silver pieces.
  Snaphaunce carbines cost 14 silver pieces.
  Wheellock carbines cost 2 gold marks.
  MUSKETS
  Heavy, long barreled firearms fired from the shoulder. Muskets must he propped on a forked
  rest in order to fire. Muskets are normally matchlocks, although wheellock muskets are sometimes
  used by the wealthy or by specialist guard units. Muskets are generally 140 cms long and weigh
  about 6.5 kilos, and their bullets come at 24 to the kilo.
  Matchlock muskets cost 8 silver pieces.
  Snaphaunce muskets cost 14 silvers.
  
  125
  BOWS
  Bows still see service with the nomadic tribes of eastern Forija, but have otherwise been
  completely supplanted by gunpowder weapons. The typical Forijan bow is a composite recurve
  bow with a pull of about 40 to 50 kilos. Firing a bow is tiring - every shot with a bow counts as the
  same fatigue as a melee action.
  Bows are very poor at armor penetration (armor counts as +1 protection vs. bows at long
  range and over), but are swift to reload. Bows may be reloaded from a moving horse, or by a
  walking character, although this will cause a +1 DRM on the character’s reloading roll.
  Bows are at least as badly affected by foul weather as firearms, since their strings stretch and
  their glues soften. Bows which become thoroughly wet (e.g. from being soaked in a river for a day)
  will become warped and useless. Bows are not carried fully strung unless trouble is expected - reduce
  a bow’s reliability by 1 for every 2 days that it is left fully strung (though high quality bows may
  be left strung for longer periods without any danger). Instead, most bows will be kept “half strung”
  (with the string attached at one end, and slipped loosely across the other). Stringing a how which
  has been kept “half strung” is taken as a reloading action.
  Bows must be carried in a bow case (which has a flap to protect the bow against the weather).
  Contrary to popular belief, bows may not be “slung across the back” - this is a good way of getting
  strangled!
  A composite bow costs 1 mark.
  Arrows cost 1 groat each (specify flight or bodkin).
  Quivers with an attached bow case cost 2 silvers.
  The quiver holds a maximum of 24 arrows.
  A quiver for carrying 36 arrows costs 6 groats.
  Spare how strings cost 2 groats.
  MISSILE
  WEAPONS
  CHART
  All ranges
  are given in
  paces. Ranges
  that are
  underlined are
  the ranges at
  which the
  weapon will
  automatically
  penetrate
  an
  unproofed
  armor.
  THE COMPLEAT MUSKETEER
  A musketeer’s full
  accoutrements consist of the
  following:
  1 matchlock musket @ 8 silver
  schillings.
  1 bandolier @ 1 silver schilling.
  1 charging flask @ 1 silver piece.
  A full measure of charging
  powder @ 8 groats.
  1 priming flask @ 1 silver piece.
  A full measure of priming
  powder @ 1 silver schilling.
  1 kilo of bullets (in a bullet bag)
  @ 5 groats.
  1 meter of slow match @ 1
  groat.
  Total cost: 13 silver schillings,
       2 groats.
  Total weight: 8 1/2 kilos
  The musketeer has 24 shots, 12
  of which are in cartridges on the
  bandolier.
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  126
  FIREARM PRICES
  Wheellock Pistols
    (Pair)
  3 Marks
  Snaphaunce Pistols
    (Pair)
  30 Silvers
  Blunderbuss
    (Matchlock)
  8 Silvers
  Blunderbuss
    (Wheellock)
  14 Silvers
  Carbine (Matchlock) 8 Silvers
  Carbine
    (Snaphaunce)
  14 Silvers
  Carbine (Wheellock) 2 Marks
  Matchlock Musket
    (Matchlock)
  8 Silvers
  Musket
    (Snaphaunce)
  14 Silvers
  Bow
  1 Mark
  ACCESSORIES
  BANDOLIER
  A leather shoulder belt from which dangle 12 charge bottles, each a wooden, tin or leather container
  which holds the powder and bullet for one firing of a musket. Once the charges from a musketeer’s
  bandolier are used up, apply a DRM of +1 to the character’s reloading rolls. A bandolier weighs about
  1/2 a kilo.
  Bandoliers cost 1 silver piece.
  CHARGING FLASK
  Charging flasks are powder flasks equipped with a lever which will deliver a measure of powder
  sufficient for the loading of a firearm. Charging flasks come in pistol and musket versions. Charging
  flasks are equipped with a belt hook which allows them to be clipped onto a sword belt, or they can be
  hung on a cord from a bandolier. Charging flasks hold powder sufficient for 24 musket shots or 50 pistol
  shots. Their weight is 1/4 of a kilo.
  Charging flasks cost 1 silver piece, although fancy versions made from carved horn can be had at a
  higher price (5 to 10 silvers).
  PRIMING FLASK
  A small flask (much smaller than a charging flask) which delivers a measure of fine powder used to
  prime a firearm’s touch hole. A priming flask contains enough fine powder to last for 50 shots, and
  weighs about 1/4 of a kilo. If a firearm is primed with charging powder rather than priming powder,
  lower its misfire number by 1.
  Priming flasks cost 1 silver piece.
  BULLET BAG
  A small leather or canvas hag which contains a kilo of bullets. Bullet bags are kept on the Bandoleer or
  sword belt hanger, and are of negligible weight.
  Bullet bags cost one groat.
  BULLETS
  A kilo of leaden bullets costs 4 groats.
  MATCH
  The “slow match” used for matchlock weapons consists of cord impregnated with saltpeter
  and vinegar.
  A 1 meter length of match costs 1 groat.
  POWDER
  Powder comes in standard measures suitable for filling priming flasks or charging flasks.
  A measure of charging powder costs 8 groats.
  A measure of priming powder costs 12 groats.
  
  127
  ARTILLERY
  Smooth bore artillery pieces are usually made of cast bronze (cast iron guns are less reliable).
  Most guns are laboriously hauled into battle behind teams of horses, with the gunners
  accompanying the weapon on foot, although some “flying batteries” of light guns are
  accompanied by mounted gunners. Guns fire cast iron solid shot, and “langridge” (a sort of canister
  shot composed of chains, nails, musket balls etc.) and “hailshot” (musket balls).
  Standard guns include light weapons of up to 2.5 kilos weight of shot, field pieces of up to 7
  kilos shot weight, and siege pieces with shot weights of up to 28 kilos! There are also a variety of
  unwieldy heavy mortars used to lob explosive shells across fortress walls during sieges.
  The names of cannon vary according to their size e.g.
  Weapon name
  Weight of shot
  Falconet
  .5 kilos
  Falcon
  1 kilo
  Saker
  2.5 kilos
  Demi-culverin
  4 kilos
  Culverin
  7 kilos
  etc.
  The astute will note that cannon are named after birds of prey in ascending order of size. A
  “musket” is the smallest member of the hunting hawks, so small arms also fit into this neat little
  scheme of things.
  Guns are very expensive pieces of machinery. A falconet will cost about 30 gold marks. Other
  guns will be custom jobs, costing a varying amount of money depending on the size of weapon
  and the availability of materials.
  Master gunners can be told by the tool of their trade, the “gunner’s quadrant”. This is an “L”
  shaped brass set square & plumb bob used for aiming guns, and it is usually found thrust through
  the gunner’s sash when not in use. A gunner’s quadrant is a precision measure, and costs 2 silver
  pieces. Master gunners would also carry priming flasks.
  Guns may he easily sabotaged by driving a nail into the touch hole and filing it roughly flat.
  Called “spiking” a gun, this is perhaps the quickest way of rendering a gun useless, since the touch
  hole must he drilled out in order for the gun to he made usable once again.
  Other explosive devices of note are “petards”, heavy shaped charges used to blow down gates
  and doors. These items are about the size of a barrel (or larger), and are usually wheeled up to their
  target and braced in place with a stout pole. Grenades (small spheres of metal or glass filled with
  powder and pistol balls) are also well known, and are commonly used in sieges for tossing over
  palisades and trenches. They are not commonly used in the field, since they can explode
  prematurely and cause wounds to the thrower and his mates.
  Grenades are hideously dangerous to use. A roll of 12 when throwing a grenade indicates a
  premature explosion, and the thrower will suffer the effects of the cast unless he is completely
  protected by cover, or the grenade was being dropped from a height. An exploding grenade
  automatically does missile damage to everyone within 5 paces, and all characters within 10 paces
  should roll an 8- on 2D6 to avoid taking one random card of damage from fragments.
  Grenades
  Cost: 4 copper groats
  Weight: 5 kilos
  Reload Time: (Time taken to
  prepare weapon and light fuse) 2
  Turns
  A grenadier must carry a lit
  slowmatch, which is kept burning
  inside a protective cover and stored
  on the bandolier.
  The maximum thrown range of a
  grenade = Str x 5 paces. Rolls to hit
  at out to half maximum range are
  made vs. 10. Throws at greater....
  than half range are made vs. 15.
  Harpies may drop grenades from
  on high. They must roll their
  dexterity vs. the height / 5 in order
  to hit the target.
  
  128
  Linette falls off her horse. Since
  she is carrying a poor quality rapier,
  the Referee decides to check to see if
  the sword was damaged. He
  decides to roll 2 dice. On an 11 or
  12, the sword will break (this is just
  an arbitrary random dice roll created
  at the spur of the moment by the
  Referee).
  The dice roll, and come up “box
  cars” (a 12). SNAP! Linette screams
  blue murder. This is just typical of
  her luck!
  MELEE WEAPONS
  Hand to hand encounters are a frequent occurrence in LACE & STEEL. All nations maintain a
  dueling tradition amongst the nobility and gentry, and the commonality sometimes settles legal
  questions through lethal or nonlethal combat. In a military environment dominated by slow
  loading, one shot firearms, melee weapons become an essential part of the soldier’s armament.
  Swords are carried in a sheath which is attached to the swordbelt by a hanger. The hanger is
  linked to the swordbelt by a hook and eye, making it easy to detach at need. It is customary to
  unhook the hanger and discard the sheath upon drawing a sword to prevent the sheath from
  entangling the fencer’s legs in combat.
  The fencing style currently in vogue uses the fencer’s blade as his main defense. This renders
  obsolete the earlier “rapier and dagger” style of fencing, since the rapier blade is now maneuverable
  enough to defend the fencer without recourse to a secondary weapon.
  THRUSTING SWORDS
  LACE & STEEL’s rapiers are long straight bladed Thrusting Swords. The blades are about 100
  cm in length and are sharpened all along their length. A complex swept hilt or cup guard provides
  protection for the hand, and the twisting metal of the guard or upturned rim of the cup is capable
  of entangling or even breaking an enemy blade. A rapier weighs about 3/4 of a kilo.
  The “backsword” or broadsword is primarily a cavalry weapon. About 90 cm in length with a
  straight, two edged blade, these basket hilted weapons have game statistics identical to those of a
  cutlass, except that their length is increased to 2 when being used from horseback. Essentially a cut
  and thrust weapon, a character’s level of competence with a backsword is measured by its
  Thrusting Sword skill, even though more use of the edge is made than with the rapier. Backswords
  weigh about 1 kilo.
  There are two main qualities of sword - “ammunition” quality and good quality. Ammunition
  quality swords are cheap mass production items, and can shatter upon taking a heavy shock.
  They also tend to break if used for such mundane tasks as cutting brush or sod.
  An ammunition quality rapier costs 6 silvers.
  An ammunition quality backsword costs 8 silver pieces.
  A good quality rapier or backsword costs 2 Marks.
  A silvered rapier or backsword costs 10 marks.
  
  129
  CUTTING SWORDS
  There are a number of heavy cutting swords still in use in LACE & STEEL. The cutlass is a
  short, single edged, broad bladed weapon with very little “point” which is commonly used by
  seamen. A similar weapon is the “hunting sword”, a short, single edged, curved blade much used by
  hunters and woodsmen. Both of these swords are about 65 to 70 cm long, and are weighted
  towards the point, making them cumbersome during the finer fencing maneuvers but devastating
  in a slash. Cutlasses usually have a rough basket hilt, and hunting swords usually make do with
  an elegantly efficient bow guard. Both of these weapons will stand up to rough service as brush
  gathering and butchering tools, cutting rigging and splitting kindling.
  These short cutting swords should be given an advantage when fighting in close quarters (e.g.
  amongst rigging or inside cramped rooms). This can be done by lowering the “new draw” rating of
  the wielders of longer weapons.
  Sabres are longer, more slender weapons than cutlasses or hunting swords. They consist of a
  long, curved blade, with the user’s hand being protected by an elegant bow-guard. Sabres are slowly
  gaining popularity amongst the cavalry, and are used by most infantry in Forijan territories. Poor
  quality sabres are susceptible to breakage in the same manner as ammunition quality rapiers.
  Cutlasses and hunting swords weigh about 1 kg. Sabres weigh about 3/4 of a kilo.
  A cutlass costs 4 silver pieces.
  A hunting sword costs 6 silver pieces.
  An ammunition quality sabre costs 6 silver pieces.
  A good quality sabre costs about 2 marks.
  A silvered cutting sword costs 10 marks.
  POLAXES, MACES AND HAMMERS
  These weapons all still find favor as “lobster crackers” designed to overcome heavy body armor.
  Polaxes, maces and hammers all consist of a metal business end attached to a wooden haft. They
  have a shorter reach than most swords, but their increased impact makes them very efficient at
  punching through armor.
  Axes, hammers and maces are all wielded through using cutting swords skill. Hafted side arms
  of this kind weigh about 1 kilo.
  A wooden hafted polaxe or hammer costs about 4 silvers.
  A sturdy polaxe or hammer with a steel haft costs about 8 silvers.
  DAGGERS AND KNIVES
  Daggers and knives of all shapes and sizes are common weapons, since they are universally
  carried as tools. Knives are single edged, whereas daggers have two edges. A knife is more specifically
  used as a tool than daggers, hut both are equally dangerous as weapons.
  In combat, knives are used in both an overhand grip (like a sword) and in an underhand (“ice
  pick”) grip. The fighter’s free hand is kept cautiously presented towards the enemy, ready to grab
  an opponents weapon arm.. Dagger attacks are made in short, brutal arcs with the fighter
  stepping in with his weapon to put the maximum force behind the blow.
  Knife fights are deadly serious affairs. A dagger wound is quite as lethal as a sword thrust, and
  knife fights usually lack the air of gentlemanly good conduct which accompanies a rapier duel.
  Cheap quality knives may break if subjected to undue stress (such as using them as levers).
  Knives and daggers are all of negligible weight.
  A cheap knife will cost about 6 groats. An ammunition quality dagger will cost about 1 silver. A good
  quality dagger costs 6 silvers.
  
  130
  LANCES
  A Forijan winged hussar charges
  an enemy cuirassier with his lance.
  Having been missed by the
  cuirassier’s pistol shot, the lancer
  now gets to try and score a hit with
  the lance. He must roll his dexterity
  of 10 vs. his opponent’s dexterity
  (also 10). This gives the lancer a
  basic success roll of 7-.
  The lancer has a very extensive
  horse that has a higher strength than
  his opponent. As he has a bigger
  horse, the lancer receives a DRM
  of -1. Thus the lancer must roll a 8-
  to hit.
  The lancer rolls a 9. A miss! The
  two horsemen are now in combat.
  The lancer will have to discard his
  lance, automatically giving his
  opponent the initiative as they both
  match swords.
  POLEARMS
  Important polearms in hand to hand combats are halberds, partisans and pikes. These
  weapons are handy enough to be dangerous weapons in hand to hand combat, and long enough to
  give the user an advantage over swords and clubbed muskets.
  Partisans and halberds are often carried by infantry officers and sergeants as badges of rank.
  These leading staves are useful for dressing ranks, signaling, prodding up laggards, and can be seen
  over the heads of the common troops. The close combat element of some infantry regiments have
  discarded their pikes in favor of halberds, since these are long enough to hold off cavalry while being
  handier to carry (the formation becomes more flexible since it no longer requires great depth). These
  units are obviously at a disadvantage against pikemen in an open encounter, although this is
  balanced by the greater proportion of shot used by such units.
  Pikes are long hafted spears used by the close combat element of most infantry units, and by
  the frontal wave of many boarding assaults. A long, unwieldy weapon, pikes are about 6 meters in
  length, although most soldiers lop a meter off the weapon to bring it down to a more manageable
  size. In close combat, pikes are gripped halfway down the shaft, making them surprisingly quick
  and dangerous.
  All polearms are octagonal or hexagonal shafts to prevent them turning in the user’s hand.
  Steel strips run down the top 30 to 50 cm of the haft to prevent the business end of the weapon
  being lopped off in combat. Most polearms have a tassel just below the head of the weapon to
  prevent rain or blood running down onto the haft.
   A typical polearm weighs about 2 ½ to three kilos, and costs 6 silver pieces.
  CAVALRY LANCE
  The lance has effectively gone out of use in the period covered by LACE & STEEL, but some
  units of cuirassiers still cling to it even though most cavalry now use sword and pistol.
  Lances used in a cavalry charge do not use the fencing system described in the melee combat
  rules, but instead rely upon a dice roll. Lances may only be used in this way against weapons with
  an equal or shorter reach than their own. Roll the lancer’s Dexterity vs. his opponent’s (modified
  by the weapon skills of both parties). Give a DRM of -1 to the character with the heaviest horse (if
  the lancer is attacking another horseman). Half-Horses attempting to use a lance vs. cavalry
  receive a DRM of +1. A successful roll indicates that the lance has hit. Lances used in a charge
  always do follow-up damage, and have an armor modifier of -2.
  When used in melee with a halted or slowly moving/trotting horse, the lance is not very
  effective. Fight using the normal melee rules. The lancer may opt to discard his lance and draw a
  sidearm immediately after making a charge attack, or whenever he wins the initiative in melee, but
  this will hand the initiative to his opponent.
  A lance consists of a hollow tube of hardwood, tipped by a spear point and pennon, with a
  thick, solid grip at the base. The user’s hand is protected and his grip improved by a metal plate or
  a hardwood hall. Lances weigh about 3 kilos, and are very cumbersome. No-one will carry a spare
  lance, nor may a rider carry a lance and a carbine! Lances are carried in a stirrup bucket, and fully
  occupy one of the rider’s hands at all times. Lancers may not fire pistols while charging.
  A lance costs about 3 silvers.
  
  131
  WEAPON RATINGS CHART
  ACCESSORIES
   SWORD BELT
  A sword belt clasps about the
  wearer’s waist and serves to support
  the sword, dagger and purse. The sword
  belt is fitted with a “hanger”, a flat piece
  of leather fitted with a hole to which
  the scabbard is attached via a hook and
  eye. This facilitates the easy removal of
  the scabbard when entering combat.
  A plain sword belt costs about 3 groats.
  A well finished sword belt costs 1 silver
  piece.
  A decorated sword belt costs at least 4
  silver pieces.
  SABRETACHE
  A utility pouch which hangs from the sword belt. A sabretache is a flat sided wallet which is
  used to hold pens, notepaper, cash, maps etc.
  A plain sabretache costs about 4 groats.
  A decorative sabretache costs at least 1 silver piece.
  FOILS
  Light, blunt practice swords, complete with mask, glove and jacket cost about 1 Mark per set.
  MELEE WEAPONS PRICES
  Rapier  (Ammunition
  Quality)
  4 Silvers
  Rapier  (Good
  Quality)
  2 Marks
  Backsword
   (Ammunition Quality) 8 Silvers
  Backsword (Good
  Quality)
  2 Marks
  Cutlass
  4 Silvers
  Hunting Sword
  6 Silvers
  Sabre  (Ammunition
  Quality)
  6 Silvers
  Sabre (Good Quality)
  2 Marks
  Polaxe (Wooden Haft)
  4 Silvers
  Polearm (Steal Haft)
  8 Silvers
  Knife (Cheap)
  6 Groats
  Dagger  (Ammunition
  Quality)
  1 Silver
  Dagger  (Good Quality) 6 Silvers
  Polearm
  6 Silvers
  Lance
  3 Silvers
  Silvered Weapon
  10 Marks
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  132
  Characters do not simply start
  the game owning clothes. Clothing
  must be bought as part of each
  character’s initial purchase of
  equipment.
  Remember that clothing is a
  means of communication. Choice
  of quality, cut and color are a
  statement about the wearer. Players
  should be encouraged to record
  such details on their character
  sheets. Live a little!
  CLOTHING
  In a “swashbuckling”’ environment, clothing is vital to the feel of the game. Clothing is an
  important part of the image projected by most characters. Poor quality clothing will cause adverse
  DRMs when dealing with better dressed characters.
  All player characters must purchase clothing as part of their starting equipment. Spare
  clothing weighs about 1 or 2 kilos to carry. Players might want to write down the color and cut of
  their clothes as an aid to keeping a track of their character’s appearance.
  CLOTHING STYLES
  Clothing styles are dictated by utility and technology. Trousers and skirts fit loosely not
  simply because of the pleasing soft lines that this gives them, but because tight leg covering are
  restrictive and uncomfortable. Lace making and knitting are widely known as “frogging” (hussar
  style cross-braiding). Lace, bows and ribbons are part of male as well as female dress, and represent
  wealth and gentility.
  Male dress styles consist of long jackets (cassocks) which reach down to cover the rump or
  upper thighs. Collars are small and upright, hut are always hidden beneath the projecting shirt
  collar. These wide, white collars are termed falling bands. A falling band is worn with all clothing,
  even armor, and its size and material conveys much information about the wealth and personality
  of its wearer.
  The shoulders of many coats bear “swallow’s wing” epaulets, giving a swaggering masculine
  line to the coat’s shoulders. Sleeves are loose, and are often designed to be opened via buttons down
  the inside seam. Thus sleeves may he opened and left to hang loose for style or convenience. Good
  coats will often have a bright, attractive lining which will show when the sleeves are worn open. A
  good deal of lace or linen shirt cuff usually peeks through past the coat. Trousers are loose fitting
  and reach just past the knee. Head gear usually consists of a broad rimmed hat, although other
  types of headgear are known.
  Frogging is a Forijan fashion which has caught on
  in more northern climes. Forijan influenced coats will
  have bold cross-braids running across the chest, and
  bright sashes clinching in the waist. Forijan
  footwear also tends to have pointed toes which
  curve slightly upwards.
  Female dress styles consist of flaring skirts worn
  over multiple petticoats. Waist lines are low,
  emphasizing the wearer’s figure to the best possible
  degree. The bodice retains the same soft lines, and
  evening gowns can be very low cut. A Lady’s
  sleeves may be long or short, but usually show
  a large amount of lace or linen cuff. Head gear
  usually consists of lace caps or wimples,
  though broad brimmed hats in the male style
  will be worn for protection against the weather.
  Current hairstyles for men of most classes
  have the hair loose and shoulder length. Male
  tradesfolk and apprentices from urban areas will
  usually wear short hair (thus gaining the name
  “roundheads”). Women wear their hair long, often with
  a frontal fringe.
  
  133
  WOMEN’S CLOTHING
  Female dress consists of comfortable bodices and flaring skirts. Underwear tends to be soft,
  comfortable pantalettes, and supportive corsets. Women who wish to engage in rough, unladylike
  activities will wear men’s clothes.
  HOW TO BE “THE BELLE OF THE BALL”
  Ladies’ dress at balls and courtly functions is a competitive field, and ladies go to great expense
  and trouble to outdo one another in appearance. While men’s formal gear operates within set
  parameters, Ladies will hate the idea of being seen in the same ball gown twice.
  Lady’s ball gowns have an appeal rating which is generated by rolling 2D6, and add both the
  client’s fashion skill and the tailor’s/seamstress’s tailoring skill to the result. A further 1 is added to
  the result for every extra 5 marks spent on the dress (for a maximum money bonus of +4).
  Subtract 1 from a gown’s appeal if it has ever been worn in public before.
  When two Ladies encounter one another at a formal courtly function, check to see which one’s
  outfit outdoes the other’s. Add each woman’s gown’s appeal rating to the wearer’s Charisma. The
  lady with the lowest Charisma now rolls the dice, comparing her totaled Charisma and gown
  rating vs. that of her “opponent”. Whoever loses the
  roll gets a +1 Self Image penalty in any relations
  involving the other character for the rest of the
  evening.
  BALL GOWN
  Sumptuous confections of satin and silk with
  wide hooped skirts, and plunging necklines designed
  to enhance the wearer’s decolletage. Ball gowns are
  bulky, and require a trunk for proper storage.
  A ball gown costs a minimum of 5 marks.
  RICH GOWN
  A bodice and skirt of silk or velvet which shows
  the wearer’s figure off to great advantage. Rich
  clothing will he the day to day wear of the wealthy,
  or the formal clothes of the “well to do”. Such
  gowns are worn as less than full formal wear at
  occasions where appearance might be important.
  Rich gowns cost a minimum of 2 marks.
  GOOD GOWN
  An attractive outfit of fine cloth, usually
  trimmed with lace. This style of clothes shows the
  wearer off to great advantage. Country styles will
  be brightened with embroidery and ribbons, whereas those worn by urbane gentry will be elegantly
  simple.
  A good gown costs about 6 silvers.
  PLAIN GOWN
  A sturdy, plain outfit of good quality cloth designed for utility and not for looks.
  A plain gown costs about 3 silvers.
  POOR GOWN
  A rough, simple gown made from coarse, low quality cloth. Such clothing is usually plain
  brown in color.
  A poor gown costs about 1 silver, but old clothes will cost about 6 groats.
  BALL DRESSES
  Linette is being dragged into a
  court ball, and is mortally afraid of
  making a fool of herself.
  Unfortunately, there is no way out
  of it. Her patron, the Lady DeWarde,
  is footing the bill, and will pay a
  maximum of 10 marks for the
  dress. Linette glumly accepts her
  awful fate and goes off to the
  seamstress.
  Luckily, Linette has managed to
  befriend a lady of the court who can
  give her fashion advice. This lady
  has a skill of 1, and the Referee rules
  that this will help Linette’s dress
  look better if the lady can roll her
  Intuition vs. 10 (helping someone
  else choose clothes is always a trial).
  The lady successfully makes the
  roll, much to Linette’s relief.
  Linette’s dress has a total appeal
  rating of 2D6 plus relevant DRMs.
  The DRMs are +1 for her friend’s
  fashion skill, +1 for the extra 5
  marks being spent on the dress, and
  +3 for her seamstresses level three
  tailoring skill. This gives Linette a
  total DRM of +5.
  Linette rolls her dice, and scores a
  12! This gives her a total appeal
  rating in her dress of 17. Gorgeous!
  Linette is surprised to find herself
  the belle of the ball. This will be a
  great help in bolstering her fragile
  Self Image during the terrifying
  evening to come.
  
  134
  WOMEN’S ACCESSORIES
  JEWELRY
  Jewelry can cost anything from 1 mark onwards. Jewelry is used to give DRMs to the clash of
  ball gown vs. ball gown at a formal function. If one contestant’s jewelry is at least 50% higher in
  value than her opponent’s, then that lady receives a -1 DRM to her roll when contesting her ball
  gown’s attractiveness vs. the other woman’s.
  FANS
  Fans are useful shields behind which private comments may be passed. They can conceal a
  face, or be used to signal. Female characters who have a fan should receive a bonus when using
  flirtation in a ballroom environment.
  Paper fans cost about 1 silver piece.
  Carved ivory fans cost about 2 marks.
  Elaborate fans of peacock feathers cost about 6 marks.
  POMANDERS
  Filigree balls containing perfume which are slung from the wrist by a fine ribbon. Delicate use
  of a pomander can he a subtle means of communicating distaste. Pomanders cost at least 4 marks.
  MUFFS
  Lush fur muffs are common additions to formal winter wear. They are also useful for carrying
  and concealing small items. Muffs cost about 1 mark.
  BOOTS
  Normal women’s footwear is low heeled ankle boots. Such boots cost about 1 silver.
  SLIPPERS
  Indoor “delicate” lady’s footwear consists of cloth slippers. Slippers cost about 4 silvers.
  MEN’S CLOTHING
  Men’s clothing consists of loose shirts, short breeches (just past knee length) and comfortable
  thigh length coats.
  COURT CLOTHES
  Closely tailored clothes of silk and satin, festooned with ribbons and silver buckles. Court
  clothes include a magnificent silken shirt with a broad lace falling band and multiple tiers of lace
  cuffs.
  Men’s court clothes cost about 5 marks minimum.
  RICH CLOTHES
  Well tailored clothes fashionable from velvet worn over a silk shirt. Ribbons, buckles and lace
  trim the whole suit. Rich clothing will be the day to day wear of the wealthy, or the formal clothes
  of the “well to do”.
  Rich clothing costs about 2 marks.
  GOOD CLOTHES
  Sturdy, attractive clothing made from high quality cloth. Good men’s clothing includes a fine
  linen shirt, woolen stockings and lace over-stockings. The uniforms of special guard troops might
  well be classed as good clothes, usually being of bright colored cloth tricked out with lace and braid.
  Such gear costs about 6 silvers.
  PLAIN CLOTHES
  Hard wearing clothing made from good cloth designed for day to day wear. Plain clothing
  includes a linen shirt and good woolen stockings. Most military uniforms will be plain clothes,
  usually dyed a bright color to distinguish them from common civilian truck.
  Plain men’s clothes cost about 3 silvers.
  
  135
  POOR CLOTHES
  Rough clothing made from strong, coarse material and dyed in some dull color.
  Poor clothes cost about 1 silver, but tattier versions could be had for 6 groats.
  MEN’S ACCESSORIES
  HATS
  Hats are common day to day wear for all men (although some races with very flat skulls will
  not wear them e.g. Dragons). Most hats are low, flat crowned affairs with broad, sweeping brims.
  They are circled with some sort of hat band (often with a buckle). An alternative sort of hat favored
  by the lower classes in trading professions is the stocking cap, a knitted “beanie” with a long tail
  which is left hanging down beside one ear. These hats are warm, but fit closely enough to the head
  to avoid being a nuisance when worn indoors or in ship’s rigging.
  A knitted woolen stocking cap with a tassel costs about 2 groats.
  A broad brimmed hat of leather costs 8 groats.
  A cloth montero cap of bright cloth costs 6 groats.
  A broad brimmed hat of good felt costs 1 silver.
  A gentleman’s hat of fine felt, decked with ribbon in the band costs about 4 silvers.
  HAT PLUMES
  Common feathers such as pheasant tail feathers cost about 2 groats. A pair of ostrich plumes
  dyed into bright colors cost about 1 silver.
  FOOTWEAR
  Men’s footwear consists of low heeled shoes which cost 1 silver for common shoes, or 2 silvers
  for good shoes. Wooden clogs might be had for a groat, and sailors in hot climes might wear home
  made rope or straw sandals.
  “Bucket” boots are very long riding boots, reaching to the wearer’s mid thigh to protect the leg
  from chafing against the riding leathers. Spurs are attached to the boots with a “butterfly leather”,
  which may be unstrapped and removed at need.
  Sack boots are shorter riding hoots worn with 3/4 armor or worn on foot. They reach
  somewhat above the knee.
  The tops of riding boots are folded down when the wearer intends walking, and the lace over
  stocking will usually show over the top.
  Plain riding boots cost 4 silvers.
  Fine riding boots cost 1 mark.
  Spurs cost 1 silver.
  CANES
  A brass headed walking cane will cost about 4 silvers. Silver topped ivory canes will cost about 1
  mark. Canes might be used to conceal a sword, but such swords are shorter and lighter than a
  rapier blade.
  SASHES
  Military officers are usually distinguished by broad, colorful sashes. These sashes can be either
  worn about the waist, or bandolier style from the shoulder. They are always tied in a large,
  decorative how in the small of the back or at the hip
  A colored linen sash costs 4 groats.
  A bright satin or silk sash with tassels costs about 1 silver.
  
  136
  CLOTHING PRICES
  Male Clothing
  Knitted Cap
  2 Groats
  Leather Hat8 Groats
  Cloth Montero
  6 Groats
  Felt Hat
  1 Silver
  Fine Felt Hat
  4 Silvers
  Feathers
  2 Groats
  Plumes
  1 Silver
  Riding Boots
  4 Silvers
  Fine Boots
  1 Mark
  Shoes
  1 Silver
  Good Shoes
  2 Silvers
  Clogs
  1 Groat
  Sandals
  1 Groat
  Court Clothes
  5 Marks
  Rich Clothes
  2 Marks
  Good Clothes
  6 Silvers
  Plain Clothes
  3 Silvers
  Poor Clothes
  6 Groats
  to 1 Silver
  Women’s Clothing
  Ball Gown
  5 Marks +
  Rich Gown
  2 Marks
  Good Gown
  6 Silvers
  Plain Gown
  3 Silvers
  Poor Gown
  6 Groats
  to 1 Silver
  Slippers
  4 Silvers
  Boots
  1 Silver
  Jewelry
  1 Mark +
  FOUL WEATHER CLOTHING
  HEAVY CLOAK
  A calf length cloak with multiple mantles over the shoulder. Heavy cloaks are made of very
  close woven wool covered with oil cloth, and are quite rain proof if worn with a broad hat. A heavy
  cloak costs about 2 silvers, and weighs a kilo.
  GREATCOAT
  A long woolen coat designed to be worn over normal clothing in cold weather.
  A plain woolen greatcoat costs 3 silvers.
  A fine woolen greatcoat trimmed with fur costs 1 mark.
  An attractive greatcoat lined with fine fur costs 4 marks.
  A fine fur coat costs 12 marks or more.
  OTHER ACCESSORIES
  MASKS
  A plain black domino mask costs about 4 groats. More elaborate domino masks might cost
  about 1 Silver. Carnival masks made into fantastic shapes might cost 2 silvers or more.
  CLOAKS
  A cheap woolen cloak costs 1 Silver. A good woolen cloak costs 4 silvers. A fine woolen cloak,
  lined with good cloth costs about 10 silvers. An elegant silken cloak, decorated, lined and trimmed
  costs about 2 marks.
  SPECIAL NOTES ON HALF-HORSE CLOTHING
  Half-Horses
  clothe their
  upper bodies in
  much the same
  manner as
  humans. Male
  Half-Horses
  wear no
  clothing on the
  “equine”
  segment of
  their bodies.
  Female Half-
  Horses wear
  apron-like skirts
  which reach
  down to the pastern (ankle) at the front, but which leave their equine section exposed.
  Pay normal costs for clothing for Half-Horses. “Four-leggers” wear horse shoes on their hooves,
  which cost the same as those used for normal horses (see the section on transport).
  CLOTHING FOR OTHER RACES
  All other races (except merfolk) wear clothes, and must pay the costs listed above. Clothing for
  Harpies consists of sleeveless coats or tunics. Satyrs wear human style clothing on their upper
  bodies and leave their lower half bare. Pixies wear clothing of normal kinds, although Pixie clothes
  make allowance for tails and wings.
  And before you ask - no! Half-Horses and Satyrs do not receive rebates on normal clothing
  prices for not wearing trousers.
  
  137
  TRANSPORT
  Most folk travel from place to place by the use of their own two feet. For those who can afford
  it, however, there are a number of alternatives to walking.
  HORSES
  Horses are a part of everyday life. They function as efficient (though expensive) beasts of
  burden and transportation.
  EQUINE CHARACTERISTICS
  Horses have four basic characteristics which define their capabilities - Speed, Maneuverability,
  Strength and Endurance.
  A horse’s speed dictates its maximum rate of movement in the gallop (10 paces x the horse’s
  speed rating per missile turn). Note that not all horses gallop - “hacks” will never rise above a
  canter. A gallop is only maintained for a number of turns equal to the horse’s endurance
  characteristic.
  Horses that are grain fed add 2 to their speed.
  Maneuverability represents the horse’s ability to turn, carricole, jump obstacles and climb steep
  slopes. Roll vs. a horse’s maneuverability whenever the horse moves through muddy ground, or if
  the rider attempts to perform a rapid maneuver.
  A horse’s Strength represents the animal’s raw size and muscle power. It is used whenever the
  animal attempts to carry a heavy load, and is used in close combat (see below). A horse’s strength
  also governs how much of a load it can carry. Every 10 kilos over the horse’s (strength x 10)
  subtracts 1 from the horses effective speed, maneuverability and endurance.
  A horse’s Endurance represents the amount of time that it may bear a load or keep moving. In
  a long, hard slog, a horse will keep moving at a walk without rest for a number of hours equal to 1/
  4 of its endurance. If a character is pushing his horse into a long period of high speed (a canter), the
  character must roll for his horse every hour of travel. Roll vs. 10 in the first hour, 15 in the second,
  20 in the third, 25 in the fourth etc. If the roll is failed, then the animal “breaks down” and will not
  move. Roll the animal’s strength vs. 10. On a failed strength roll, the animal actually dies of
  exhaustion.
  Horses that are grain fed add 2 to their endurance.
  Each of these characteristics is rolled on 3D6. In addition, special (and therefore expensive)
  breeds of horse will have an extra D6 in one or two of these characteristics, or an extra 1D6+1D3 in
  one characteristic.
  HORSES
  Linette falls in love with a rangy
  steppe pony from Forija. Although
  everyone else says that it is shaggy
  and ugly, she thinks it is cute.
  What’s more, her friend the ostler is
  suitably impressed by the beast. She
  buys the horse (as a trained
  warhorse with 1 extra die in 2
  characteristics this horse costs 12
  marks), and rolls up its
  characteristics.
  The creature has an extra dice of
  characteristic points added to its
  Speed and Maneuverability. This
  gives it characteristics as follows:
  Speed (3D6+3): 19
  Maneuverability (3D6+3): 18
  Strength (2D6+3): 8
  Endurance (2D6+3): 11
  An excellent mount. Ugly as he
  is, Linette is overjoyed with her buy.
  
  138
  HORSE “QUIRKS”
  (OPTIONAL RULE)
  When a player acquires a horse,
  roll 2D6. On a score of 12, the
  player’s horse will have special
  characteristics. Roll 2D6 on the table
  below:
    2
  Very ugly
    3
  Lazy
    4
  Cowardly
    5
  Greedy
    6
  Unusual color or feature
    7
  Handsome/Beautiful
    8
  Good performance on
  heavy/wet ground
    9
  Good performance on
  slopes (sure footed)
  10
  Good jumper
  11
  Quick starter
  12
  Very intelligent*
  *Roll 2D6 again - on a score of
  12, the horse is able to understand
  speech, can count etc.
  This helps give player characters
  mounts with character. Greedy
  horses can slyly sneak meals out of
  apple baskets, embarrassing their
  owner. Lazy horses can require
  riding rolls to motivate them,
  intelligent horses can be loyal
  companions or smart-arse jokers.
  Pick a personality trait for the beast
  and play him or her in character.
  EXAMPLES OF THESE SPECIAL BREEDS OF HORSE INCLUDE
  A CAVALRY CHARGER has an extra die in both its speed and strength.
  A DESTRIER (a cuirassier’s mount) has an extra 1D6+1D3 in its strength.
  A speedy HARABIAN STALLION would have an extra die in each of its speed and endurance.
  A FINE RACING HORSE would add 1D6+1D3 to its speed.
  A QUARTER-HORSE would have an extra die in both its maneuverability and endurance.
  PIXIE PONIES are a special breed. These creatures are about the size of a shetland pony,
  though they are far more slender. Pixie ponies have shaggy grey fur (like a wolf), and have a pair of
  feathery antennae. They have a speed and maneuverability of 1d6+10, and strength of 2D3. They
  never grow larger than strength 7.
  TRAINING
  Harness trained horses are not trained to respond to a rider, but will pull loads.
  Riding trained horses will bear a rider. If additional training is paid for, they will also jump
  obstacles etc.
  A Warhorse will bear a rider and jump. In addition, warhorses are trained not to shy from fire,
  carrion or loud noise (gunfire), nor will they panic if crossing a wooden bridge (other horses will
  have to be lead across such bridges). Trained war horses will “bear down” on infantry in combat.
  Non-warhorses which are exposed to gunfire etc. will panic, requiring a drive roll vs. 15 (with the
  rider’s riding skill acting as a DRM) to calm the horse.
  
  139
  MOUNTED COMBAT
  MOUNTED VS. MOUNTED
  Combat is determined as normal, but the combatant’s horses push and shove against one
  another for advantage. When testing for starting initiative, the character with the strongest horse
  draws an extra card. If one character’s horse is 3 or more points weaker than his opponent’s horse,
  then the weaker horse will lose 1D3 endurance points per missile turn. When a horse’s endurance
  drops to zero, the horse will collapse.
  The big, heavy horses don’t have it all their own way however. Maneuverability plays an
  important part in a cavalry melee. The character with the least maneuverable horse (found by
  rolling Maneuverability vs. Maneuverability modified by Riding Skill), lowers his maximum draw
  rating by 1.
  MIXED CAVALRY AND INFANTRY COMBATS
  Combat is handled in the usual fashion, except that characters on foot may not strike at a
  cavalryman’s high line unless the infantryman is wielding a polearm. Likewise the cavalryman
  may never strike at the infantryman’s low line, counting low blows as shots against the
  infantryman’s high line or mid line (attacker’s choice).
  Missile fire which strikes a mounted character in the low attack line always hits the horse. Roll
  the strength of the damage caused vs. half the horses strength. A successful roll kills the horse
  outright. A failed roll reduces the horse’s strength, endurance, speed and maneuverability by half
  the numerical value of the damage caused. When a horse is wounded, the rider must roll his Riding
  Skill vs. 10 to avoid being thrown. If the horse’s strength is brought to zero, the horse dies. If other
  characteristics are brought to zero, then the horse collapses (and will die eventually). The rider of a
  wounded horse must make a riding roll vs. his drive in order to control his mount, otherwise the
  horse will throw him to the ground.
  FOOT VS. MOUNTED
  The infantryman may attack the rider’s horse whenever he attempts a low blow (announce
  that the attack is against the horse when playing the attack card face down). Damage scored on
  the horse is subtracted from all of the horse’s characteristics (the horse dies if its strength reaches 0,
  or collapses if any other characteristic = 0). When a horse is wounded, the rider must roll vs. his
  riding skill, testing his drive vs. 10 to control the beast and avoid being thrown. Blows against a
  horse may be parried by the rider in the normal fashion (low line cards only).
  If a horse goes down, the rider must roll its dexterity vs. 10, with a positive DRM of +1 if it is
  wearing a breastplate, or +2 if it is wearing a half or 3/4 armor. If the roll is failed, then the
  infantryman gets one free attack at the rider as he lies helpless on the ground, otherwise the rider
  will roll clear of the horse and the combat will continue as normal on foot. Riders who have come
  off a horse in this fashion must lower their fatigue level by one.
  The pike is the anti-cavalry weapon par excellence. Pikemen always gain starting initiative
  against cavalrymen, and add 2 to the numerical value of their attack cards if their target is charging
  towards the pike wielder.
  MOUNTED VS. FOOT
  Mounted characters may bring their horses into play against their targets. At the beginning of
  each missile turn, warhorses may “bear down” on infantrymen. Roll the horse’s strength vs. the
  infantryman’s at the start of each turn. If the roll succeeds, reduce the infantryman’s fatigue level
  by 1. If the roll is a critical success (succeeds by 2 or more points under the required roll), then the
  infantryman is knocked off its feet. The mounted player draws a card from the combat deck, and
  applies this as damage to his opponent. The combat will then continue as normal, but the
  cavalryman will have the initiative.
  Linette finds herself matching
  swords from horseback with a
  cavalryman mounted on a big,
  brutal charger (Strength 16). Having
  the bigger horse gives her opponent
  a bonus when determining the
  initiative at the start of their sword
  fight. In addition, Linette’s horse
  loses 1D3 points of endurance
  every 10 melee passes since the
  enemy horse shoves and batters at
  her wiry little mount. She is more
  maneuverable, however, and so she
  actually manages to dispatch her
  opponent easily, since his new draw
  rating is lowered by 1.
  Linette sees more enemy cavalry
  coming for her, and turns to flee. As
  she gallops off, she fires back over
  her saddle at her pursuers with her
  pistol, and scores a hit on one. She
  draws a card for hit location, and
  strikes her enemy in the low line -
  she has hit his horse!
  Linette draws for damage, and
  gets a powerful hit (with her follow
  up damage, her total damage score is
  8). With a strength of 16 and an
  endurance of 10, the enemy horse
  has a total of 8 hit points. Eight
  points of damage brings the enemy
  horse to a grinding halt, and it
  collapses to the ground throwing
  the rider. Pleased at the confusion
  she has caused, Linette claps her
  heels to her ugly horse and spurs
  off, easily outdistancing her clumsy
  pursuers.
  
  140
  PRICES
  Harness horses cost 2 marks.
  Riding horses cost 4 marks.
  A riding horse which is also trained as a jumper costs 5 marks.
  Warhorses cost 7 marks. 1 extra die in 1 characteristic costs +2 Marks.
  1 extra die in 2 characteristics costs +5 Marks.
  An additional 1D6+1D3 in 1 characteristic costs +8 Marks.
  Handsome horses or horses of unusual colors will sell for a higher price.
  SADDLES & TACK.
  To ride a horse, characters will need saddles and tack. The purchase of “saddles and tack”
  includes a heavy saddle, a pair of pistol holsters mounted just before the pommel, bridle, stirrups,
  saddle cloth etc. Saddles and tack weigh a total of 10 kilos.
  Plain saddles with pistol holsters cost about 1 mark. Well tooled saddles & holsters cost about 2
  marks. Elaborately decorated saddles, holsters and tack cost at least 10 marks.
  OSTLERY
  Horses require a great deal of care. Horses on the move will not normally be able to keep
  themselves fed merely on wayside grass (particularly on well traveled outes). Proper forage must be
  found (hay, gathered grass etc.) and in rural territory the gathering of enough forage to feed a
  mount for a day will take an hour or two at least.
  Horses acquire fatigue if they are hard pressed day after day. Lower a horse’s endurance by 1 for
  each full day it is pressed to continuously travel or exert itself. The fatigue caused by 1 day’s travel
  is nullified by ½ a day’s rest, or by giving the horse a good ale steep with its grain at night. Every
  day of travel, riders should roll 2D6. On a score of 11+ their horse has thrown a shoe, and has its
  speed halved until it can be re-shod.
  The reader will have already noted that grain fed horses are better conditioned than forage fed
  horses. Horses must be continually fed on grain and oats to qualify as “grain fed” (at least 3 meals
  in 4 must be grain).
  Every evening that a rider stops at an inn, the rider’s horse must be cared for in some way. The
  nightly charges for feeding and keeping horses at an inn are as follows.
  Hay and forage; 1 groat
  Grain and oats;  3 groats
  Ale steep; 5 groats
  Stabling; 1 groat
  Shoeing; 8 groats
  OTHER BEASTS OF BURDEN
  Oxen, donkeys and mules are common cargo carrying beasts due to their relative cheapness.
  Oxen are very slow, seldom rising above walking pace. They mostly serve as heavy dray beasts
  pulling carts and ploughs. Donkeys are not really suitable for serious riding or towing duties, but
  can carry a fair burden on their backs. Mules are reasonably cheap riding beasts, but will never rise
  above a canter.
  An ox costs about 8 silvers.
  A donkey costs 12 silvers.
  A trained mule costs about 1 mark.
  
  141
  VEHICLES
  There are numerous types of vehicles which may be drawn or carried in LACE & STEEL.
  Vehicles will normally be confined to roads, since they bog down in soft or uneven surfaces.
  Note that the following costs for the hire of vehicles do not include drivers and servants.
  SEDAN CHAIR
  A covered booth containing a comfortable chair. Sedan chairs are carried by 4 servants, and are
  thus used only by the wealthy, and only over short distances within cities.
  A sedan chair costs about 10 marks to purchase, or 1 Silver piece to hire for an evening.
  CART
  2 wheeled carts are commonly used for transporting light cargoes. They may be pulled by 1 or
  2 oxen or horses.
  A cart costs about 12 silvers. Spare wheels cost 1 Silver piece. A cart will cost about 4 groats to
  hire for a day.
  WAGON
  4 wheeled wagons are used to lug heavy cargoes. They are pulled by 2 or more oxen or dray
  horses.
  A wagon costs about 1 mark, and may be hired at a rate of 8 groats per day. Spare wheels cost
  the same as cart wheels.
  CARRIAGE
  Persons of gentle birth and sufficient funds will often make their long distance travel in a
  carriage. Carriages have four wheels, and are sprung and upholstered for the passenger’s comfort.
  Carriages may carry up to four passengers inside the cabin, and outside the cabin there is room for
  a driver and a driver’s mate at the front of the carriage, and two footmen on the rear.
  A plain carriage costs 40 marks. A well appointed carriage costs about 100 marks. The hire of a
  carriage costs about 1 mark a day. A seat on a highway passenger coach costs 1 or 2 silvers,
  depending on the distance to be traveled.
  STAGECOACHES
  Most towns are linked by
  stagecoach routes, which shuttle
  passengers speedily along
  highways. Passage in a stagecoach
  costs 1 or 2 silvers, depending upon
  the distance that will be traveled.
  Highwaymen often waylay
  stagecoaches (since the routes and
  timetables are well known), and the
  driver’s assistant will normally be
  armed with a blunderbuss to
  prepare him against such an
  emergency. Even so the coach’s
  crew have a responsibility to see
  that their passengers remain
  unharmed, and they will surrender if
  their charges come under serious
  threat.
  Many Highwaymen have
  reputations for gallant or eccentric
  behavior (e.g. they never steal from
  a lady, will ransom a lady’s’ jewels
  in return for a kiss, or only steal
  lupins etc.). Some highwaymen
  become quite famous, and many
  ladies half hope that they will be
  lucky enough to be held up by
  them!
  
  142
  BOATS AND SHIPS
  Water travel is usually faster, more economical and requires less effort than travel by land.
  Apart from seagoing vessels and coastal boats, water vehicles will also be found plying rivers, lakes
  and canals. There is no cheaper way to ship cargo than by boat or barge.
  ROWING BOATS
  Small boats are commonly used for fishing, or for transport out to large ships. A small sailing
  dinghy costs about 2 marks, while a ship’s long boat costs about 4 marks. Spare oars cost about 8
  groats, and spare sails cost about 2 silvers.
  Given the prices of boats, fisher folk treasure their craft and hand them down from father to
  son. A boat thief is just about the very worst sort of criminal to such simple people, and culprits
  are beaten and handed over to the authorities if caught.
  BARGES
  Barges are a common sight on rivers and canals. Barges are low, flat platforms designed to
  transport bulk cargo along calm waters. Most barges will be towed along by one or more horses or
  oxen which plod along a tow path which runs beside the canal or river.
  Passage on a barge between 2 nearby points along the same waterway should only cost a groat
  or two. Cargo transport will cost about 6 groats to 1 silver per tonne.
  SHIPS
  The southern continent is just entering a great age of exploration and discovery. New lands and
  trade routes are being discovered every year, and the maritime nations bitterly contest the sea lanes
  for supremacy. The seafaring life is not quite as grim as its historical counterpart thanks to higher
  standards of cleanliness, good nutrition (thanks to the alchemists), disease curing potions, and
  purify food and water spells. The seaman’s profession is well respected, and sailors tend to be more
  well-to-do and better educated than their historical counterparts.
  The sailing technology of LACE & STEEL is well advanced. Multiple decked ships with
  combined square/lateen rigs serve as steady gun platforms in combat. The ships are close rigged,
  and can sail within about 60° of the wind. Sea combats consist of hard pounding and tight sailing,
  usually followed by a bitter boarding action. The stout sides of most sailing vessels will withstand
  long ranged cannon shot (which simply springs the boards and causes the ship to take water). The
  difficulty of actually sinking a wooden ship means that most actions eventually come down to
  cutlass point.
  The ships of LACE & STEEL have straight “beakheads”, 3 or 4 masts and 2 to 3 decks. The
  largest warships are about 1600 tons displacement, and measure about 65 meters in length and 12
  meters in beam.
  Ships are virtually autonomous communities in their own right. A full ship’s company
  includes blacksmiths, carpenters, coopers, divers and cooks, and many other skilled crew apart from
  sailing crew and gunners. Characters who choose the sea as their profession might find themselves
  cast in any one of a number of roles.
  The author must confess to being a hopeless fan of pirate movies. Characters who go seafaring
  should be kept busy with evil bosuns, fearful storms, doldrums and crew dissent. The actual
  combats should be played up for all they’re worth.
  
  143
  SHIP STATISTICS
  STRUCTURE
  A ship’s structure value is equal to its tonnage divided by 50, unless the ship is larger than 1000
  tons, in which case the structure = 10 + (1 per 100 tons total displacement).
  GUNNERY
  Tonnage divided by 50 (halved or quartered for merchantmen). 1 gunnery factor represents
  about 2 heavy cannon (1 on each broadside of the ship), or a larger number of lighter guns.
  CREW
  The gunnery crew
  =
  12 x the ship’s gunnery factor.
  The sailing crew
  =
  1/4 of the tonnage
  Warships will carry soldiers
  =
  to 1/10 x the ship’s tonnage.
  MANEUVERABILITY
  A ship’s maneuverability rating is used as a DRM on the vessel’s “wind gauge” (initiative) rolls.
  Ships maneuverability ratings are dependent upon their tonnage displacement.
  Tonnage is 100 to 450 tons
  DRM =  -2
  Tonnage is 451 to 700 tons
  DRM =  -1
  Tonnage is 701 tons to 900 tons
  DRM =   0
  Tonnage is 901 tons to 1200 tons
  DRM = +1
  Tonnage is 1201 tons to 1600 tons
  DRM = +2
  The speed of a ship is directly related to its maneuverability rating. Small ships tend to be fast
  ships, and have shallower drafts than their heavier brethren.
  SWIVELS
  Most ships will mount 1 swivel per 400 tons. Some merchantmen will be armed with swivels
  alone, in which case they might be expected to carry a total of 4 to 6 swivel guns regardless of size.
  MERCHANTMEN
  Merchant ships are round bowed sailing craft of between 100 and 1200 tons displacement.
  They can carry cargo totaling about a third to a quarter of their displacement in weight. Merchant
  ships are slow, and have a +1 penalty to their “wind gauge” rolls. They also have only 3/4 the
  sailing crew of warships.
  MEN O’ WAR
  Men o’ war are “race” bowed vessels capable of higher speeds than the average merchant ship.
  Warships carry the heavy guns necessary to cause real damage to other vessels.
  Men o’ war add an additional 10% to their structure.
  Warships may choose to add an extra 10% (rounding up) to their gunnery factor at a cost
  of +1 to their maneuverability.
  PASSAGE ABOARD SHIP
  Passage aboard ship includes bedding and food. Luxury passage has the passenger seated at the
  Captain’s table served by the entire crew. Deck class passage has the passenger living in a
  hammock in the forecastle and eating with the crew.
  The following costs are for sea travel along coasts or out to popular ports. Long and involved
  sea journeys might require transfer to several different ships.
  Deck class passage costs 1 mark.
  Cabin class passage costs 4 marks.
  Luxury passage costs 10 marks.
  Passage for a horse costs 8 silvers. The owner must also provide food for the beast.
  THE “SAUCY GANNET”
  The “Saucy Gannet” is a new
  Man ‘o War of 1500 tons. Looking
  at the charts, we see that this gives
  her statistics as follows:
  Structure: 28 (25 points, +10%
  [2.5 rounded up] for being a Man ‘o
  War.)
  Gunnery Factor: 30
  Gunnery Crew: 360
  Sailing Crew: 325
  Soldiers: 150
  Maneuverability: +2
  Swivels: 4
  
  144
  TRAVEL FATIGUE
  After a miserable day on the road,
  Linette is just about ready to call it
  quits. Adventuring isn’t all the fun
  it’s made out to be. With her short
  rations, Linette has had to make
  two rolls of her endurance vs. 10,
  and has failed both times. She has
  become WEARY (-1 to  her
  Strength, Endurance and Dexterity).
  What’s worse, she slipped over in
  the gutter and splashed face first
  into a mud puddle, and has had to
  endure the laughs of passersby ever
  since. The roadside inn is the most
  welcome sight she has ever seen.
  Linette orders a meal, and goes
  off to repair her Self Image by
  having a bath. The compensatory
  action of bathing and turning out for
  dinner in her prettiest clothes will
  cancel Linette’s Self Image DRM
  caused by her embarrassing
  accident.
  Now for her WEARINESS. She
  arranges for a single room. This will
  cure her travel fatigue on a 9 or less.
  Linette has ordered a good quality
  meal, which gives her a DRM of -1
  on her travel fatigue recovery roll. In
  addition, she drinks wine with her
  meal, giving her an extra DRM of -1
  on her recovery roll.
  Linette has her meal, listens to the
  jokes and music in the tap room,
  and tells a few tales of her own
  while sharing drinks with the other
  guests. After a good nights sleep, she
  makes her recovery roll - a six.
  Success! Much restored, Linette:
  feels able to go on with her journey
  the next day.
  TRAVEL
  Traveling long distances by foot or horseback can be very wearying. LACE & STEEL seeks to
  make traveling tiresome, and frequent stops at taverns rewarding by introducing the following
  travel rules.
  TRAVEL FATIGUE
  Whenever characters travel for a day on foot or horseback, or 2 days by coach, they must check
  for travel fatigue. The characters must make a roll of their endurance vs. 10 (with a DRM of the
  character’s traveling skill). If the character is on short rations for the day, then 2 rolls must be
  made. Failed rolls indicate that the character has accumulated travel fatigue, and must now roll
  1D6 on Table 1 below
  Losses to characteristics due to travel fatigue are temporary, but are cumulative until a
  recovery roll is made (see below).
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  145
  RESTORING TRAVEL FATIGUE
  The characteristic losses
  imposed on travelers by travel
  fatigue are eliminated by a
  good meal and a good night’s
  rest. This means that a meal
  must be prepared by a cook,
  with a skill roll being
  successfully made vs. cooking
  skill. Tavern meals have a set
  chance of restoring weary
  travelers depending upon the
  quality of the meal.
  If the night’s rest which
  follows the meal is in the
  open, then a roll must be
  made of each traveler’s drive vs. 10. If the roll was failed, then the character restores only 50% of its
  ailments.
  COSTS FOR TAVERN MEALS ETC. ARE AS FOLLOWS
   INN ACCOMMODATIONS (INCLUDES BREAKFAST)
  Sleeping on a bench in the common room (Cures travel fatigue on a 5-) 1 groat
  Sleeping in a shared room (Cures travel fatigue on a 7-) 3 groats
  Sleeping in a single room (Cures travel fatigue on a roll of 9-) 6 groats
  One night in a well appointed room complete with bath, room service etc. (Cures travel fatigue
  on a roll of 10-) 2 silvers
  TAVERN MEALS
  Poor quality food and drink (DRM of +1 on travel fatigue recovery roll) 1 groat
  Average quality meal and drinks (DRM of 0 on travel fatigue recovery roll) 3 groats
  Good quality meal and drinks (DRM of -1 on travel fatigue recovery roll) 6 groats
  Luxurious quality meal and drinks (DRM of -2 on travel fatigue recovery roll) 2 silvers
  DRINK
  Tankard of ale 1/2 groat
  Tankard of “sack” (coarse, cheap wine) 1 groat
  Bottle of common wine 4 groats
  Bottle of rum 6 groats
  Bottle of good wine 1 silver or more
  Drink is normally included with a meal, but characters may well desire more drinks both before
  and after a meal, or when carousing. A few drinks taken in good company will give a DRM of -1 on
  travel fatigue recovery rolls. Travel Skill acts as a DRM on recovery rolls.
  As an alternative means of alleviating travel fatigue, travelers may elect to take a day’s rest.
  This will cure travel fatigue on a 6- unless the weather turns bad, or the spot chosen for the days
  rest turns out to be less than peaceful.
  Please note that these restoration techniques do not cure colds or restore lost or damaged
  equipment! Staying in a warm, comfortable inn with a bottle of grog is the best way of curing a
  cold, so apply DRMs to cold recovery rolls for good food and accommodation, or adverse DRMs for
  staying out in the cold and wet.
  HIGHWAY ENCOUNTERS
   2
  Recruiting party.
   3
  Highwaymen. *
   4
  Troll or ogre.
   5
  Laborer.
   6
  Farmers (going to/
  returning from market).
   7
  Stagecoach.
   8
  Soldiers. **
   9
  Travelers.
  10
  Oafs, thugs
  or brigands. *
  11
  Unusual weather (rain.
  hail. storm, heat, etc.).
  12
  Nobleman/
  Noblewoman
  and entourage **
  * Will often ignore numerous or
  well armed parties.
  ** 1 in 6 chance of being on a
  vital mission of some kind.
  
  146
  SONGS AND LEAFLETS
  A typical figure found in a
  Mittelmarch marketplace is the
  pamphleteer. These folk sell news
  sheets, song lyrics, political
  pamphlets or information on
  various topics for a minimal price.
  The level of education during this
  period is quite good. Most
  commoners will know someone
  who can read and write, and will
  take pamphlets and newspapers to
  these people to have them read.
  Songs are written to match
  common tunes that everyone
  knows (tunes such as
  ‘Greensleeves’, ‘Prince Rupert’s
  March’ and ‘Mary Mary Quite
  Contrary’ are tunes that were used
  in this way in our own world - the
  lyrics that are now associated with
  these tunes are simply the ones that
  were popular/printable enough to
  be passed down to us).
  SCIENTIFIC/SCHOLARLY
  EQUIPMENT
  LACE & STEEL is currently in a “printing age”, where books are being type set and printed on a
  large scale, and the literacy rate is spreading. Political leaflets and scurrilous songs are handed out at
  every market, and houses of learning are now serving minor gentry and middle class scholars as
  well as the offspring of the nobility. Poetry, plays and technical texts are now freely available to the
  public, giving all people the opportunity to intellectually better themselves.
  Having a book printed is a very expensive business. It is customary to entice a wealthy
  nobleman to patronize a book (underwriting the initial printing expenses), and therefore the most
  widely read authors will be those with influence at court.
  PRINTED MATTER
  Books are reasonably well available in cities and towns, but are very uncommon in areas of
  smaller population. They are printed using movable type, and are often decorated with lithographs
  and wood cut prints. New books are made in “uncut” form, necessitating the separation of every
  pair of pages with a knife. It is easy to see which sections of a book have interested the reader if
  some of the pages are cut, while others remain joined.
  POCKET BOOK
  Small books designed to fit in a coat pocket. These texts are popular for travelers. Pocket books
  are by necessity short, and lack internal illustrations.
  A typical pocket book might cost 2 silvers.
  BOOK
  Large books are not particularly portable. The price of a book might vary between 4 silvers and
  10 marks, depending upon the rarity of the volume.
  MAPS AND CHARTS
  Reliable maps and technical charts will cost at least 8 silvers. They are normally stored in a
  folio or a wooden or ivory tube for protection (tubes or folios might cost about 1 Silver or more).
  LEAFLETS
  Leaflets and
  broadsheets will
  cost about 2
  silvers for the
  initial type
  setting, and 1
  groat for every 4
  copies produced.
  Delivery might
  take a day or
  two.
  
  147
  OPTICAL INSTRUMENTS
  The glaziers of LACE & STEEL are capable of producing very fine lenses.
  PERSPECTIVE GLASS
  A “perspective glass” is a telescope. Small folding telescopes are very useful items for military
  officers, and are reasonably robust. Small brass shutters protect the outer lens, and the folded
  instrument would be a tube about 20 cm long. Folding telescopes weigh about ½ a kilo.
  Heavier astronomer’s glasses are mounted on tripods, and are in no way portable.
  A small folding perspective glass costs about 10 marks. An astronomer’s glass costs about 20
  marks.
  SPECTACLES
  Spectacles are now widely in use amongst the poor of sight amongst the middle and upper
  classes. Spectacles cost about 2 marks.
  Monocles are sometimes used as an alternative to spectacles by military minded noblemen.
  The cost is about the same as that for a pair of spectacles.
  QUIZZING GLASS
  A magnifying lens set into a long, decorative handle. “Quizzing glasses” are a part of a noble’s
  court dress, and are used for “takin a closer look” at something that has attracted the user’s
  attention. The effect is thus to exaggerate the user’s interest, rather than to actually aid the user’s
  sight.
  A quizzing glass costs about 2 marks. Ivory handled “deluxe” models would cost about 6
  marks. Male characters who are using a quizzing glass and who are engaged in repartee with
  another male character who lacks a quizzing glass should receive a favorable DRM.
  SCIENTIFIC HARDWARE
  The mathematicians of LACE & STEEL have been able to perfect very accurate measures and
  scales. Such items are difficult to reproduce, requiring meticulous care, and are therefore somewhat
  expensive.
  ALCHEMIST’S EQUIPMENT
  Crocks, scales, mortises and pestles are an essential part of any alchemist’s workshop, and
  these adjuncts don’t come cheaply. A simple set of such gear costs about 8 marks.
  ASTROLABE
  A type of slide rule used for making astrological calculations. Astrolabes cost about 8 marks for
  a simple model, and 16 for a complex version (which gives the astrologer a -1 DRM on all
  astrological skill rolls).
  NAVIGATION TOOLS
  Navigational dividers, sextants etc can be bought for about 4 marks. They are essential to
  accurate navigation. Their total weight might be about 2 kilos.
  
  148
  Example
  “Gentlemen:
  You see a lovely young woman
  (wearing peasant dress) running
  towards you, weeping and wailing.
  Twenty paces behind her you see an
  angry group of men, all 5 or 6 of
  whom wave fists or cudgels. They
  seem intent on beating the poor girl.
  The girl sees you and sobs in
  relief. She runs straight towards you
  with desperate hope in her lovely
  eyes.”
  Note: The girl might be a thief or
  witch who is being chased by the
  enraged townsfolk. She will cry out
  to the player characters for
  protection, involving them in a
  sticky situation.
  RUNNING ADVENTURES
  LACE & STEEL is an atmospheric game, and so melodrama and feel should always be
  emphasized throughout any adventure.
  An adventure is like a story or movie, where the Referee and players have the unique
  opportunity to develop the storyline and enhance the drama through their own decisions and
  imagination. For the best entertainment value, the participants must be given the opportunity to
  enter into the realm of the fantastic, and play out some of their own favorite romantic fantasy
  images.
  A good adventure will bring to life some sort of image that the player can relate to, whether it
  be swinging across the deck on a rope with your cutlass between your teeth, or grimly ordering a
  cavalry troop into the charge, or alighting from a carriage all dressed for the court ball (fashionably
  late as usual). LACE & STEEL deals with a genre which is the very quintessence of swashbuckling
  adventure, courtly splendor and dashing romance, so there should be few problems in creating
  scenarios and campaigns which capture this atmosphere.
  The following pre-prepared adventures are designed to introduce the reader to the wide variety
  of adventures that can be run for LACE & STEEL. Each one is suitable for use as a single scenario,
  or can act as the lead-in to an ongoing campaign. They also contain incidents, descriptions and
  characters that may be used in the reader’s own scenarios.
  USING THE TAROT TO CREATE ADVENTURE
  EPISODES
  Tarot cards may be used as a general play aid, assisting the Referee in his or her task of thinking
  up story lines in which to involve the player characters.
  IMPROVISING ADVENTURE EPISODES
  Whenever the Referee needs to come up with a brief plot of future events from the “top of the
  head”, try pulling out two cards from the tarot deck, and looking up the results in the guide book
  that comes with the deck. This might provide a good idea for a set of events which the characters
  might have the opportunity to get involved in. Thus the Referee might draw a Five of Wands
  (showing a group of young men squabbling and contesting with one another) and The High
  Priestess. This might suggest to the Referee that the characters should be given the opportunity to
  make fools of themselves over a woman, or that a woman might start a plot, fight or argument
  which will somehow involve the player characters.
  CHARACTER SIGNIFICATORS
  The appearance of the cards which act as the significators of player or non player characters in
  such a tarot reading can be used as an indication that that particular character will become central
  to the up and coming events.
  ASTROLOGY SKILL
  Characters who have a high skill in astrology could be given the opportunity to see the first of
  the two cards drawn, thus gaining a limited, confused foreknowledge of events. Otherwise the
  Referee should be careful to keep the cards which have been drawn carefully concealed. This is for
  two main reasons
  A) To prevent players from gaining unfair hints about coming events
  B) To prevent the annoyance caused by players who style themselves as skilled tarot card
  readers. There’s always some dozy blighter who wants to impress everyone with how much he or
  she knows about the tarot. Remember: the Referee always knows more than the players - when in
  doubt, just look wise and smirk knowingly...
  
  149
  “PRESSED MEN”
  A SCENARIO FOR ANY NUMBER OF PLAYERS
  (PREFERABLY HUMAN MALES OF LOW BIRTH)
  This scenario is designed as a means of introducing characters and players to the seafaring life.
  It is a good introduction into a campaign, and certainly cuts down on all the tedious buying of
  equipment that usually slows down the start of a new game.
  The scenario is most suited to characters who are not gentlemen or nobles. If gentry are being
  played as characters, then they should perhaps be worked into the adventure as criminals or
  prisoners of war who have been pressed into naval service.
  THE PRESS GANG
  Consciousness returns slowly and painfully, and you begin to grope your way across a flat, unsteady wooden
  surface. The stench of tar and salt lies thick upon the air, making your stomach queasy and your head
  spin. As your wits slowly return, it dawns on you that the rocking motion around you may not all be in
  your head...
  The player characters have been up late at night drinking in a dockside tavern, and their
  inebriated bodies have been snatched up by a press gang and dragged on board a ship of war. The
  characters have been stripped by their captors, and own only the clothes they stand in.
  The ship has put to sea, and the characters awaken to the melodious tones of Petty officer
  Woodcock. Woodcock’s initial greeting will be a rain of kicks and blows, and shouts of “on your feet,
  filth!”’ In their queasy condition, the party will do just about anything to stop all the noise and
  racket.
  As you stand in line, you blearily see a huge bear of a man dressed in seafarer’s clothes. A rope dangles from
  his wrist, with which he lashes laggards into line.
  You have never seen such a hypnotically ugly person in your whole life. Hugely strong, scarred, pot bellied
  and with mad, staring eyes, the fellow seems like he might fly into a hysterical fit of rage at any
  moment, or slaver in the corner like some sort of beast. His head twitches uncontrollably on its neck as he
  looks the line over, and he cackles with glee. Suddenly he looks past you, and snaps smartly to
  attention.
  Onto the deck stalks First Lieutenant Marko, a tall, grim figure in his austere blue uniform. He
  nods to the “beast” and says “Thank you Petty Officer Woodcock”. He looks over the party and
  informs them that they are now in the navy aboard his majesty’s ship “Terminator”. The party is
  to be placed in amongst the lower deck gun crews.
  If a player character interrupts or protests, Woodcock will lash out with his huge fist and
  punch the offender in the stomach. The victim will fold over and lie helplessly on the deck spewing
  his guts out. The rest of the party will see Woodcock’s eyes as he attacks - childlike blue eyes
  quivering on the edge of madness. The Lieutenant will wait calmly until Woodcock has
  administered his treatment, and then continue on as if nothing has happened.
  Cackling with glee, his absurd,
  childlike blue eyes gleaming,
  Woodcock will shove his characters
  below decks. He will bully and
  terrify the player characters, trying
  to provoke a reaction, for he
  desperately hopes to make an
  example of one of the new men. He
  will push the player characters into
  dangerous jobs (e.g. sending terrified
  landsmen up to the tallest yardarm),
  hoping for that one word or act of
  rebellion that will let him have a
  player character seized up and
  flogged.
  
  150
  The “Terminator” is not a happy
  ship. The crew lives in mortal terror
  of their captain and petty officers,
  fearing and loathing their leaders.
  Fear rules the “Terminator” - fear of
  the rope and lash. The ships
  discipline is ruthlessly administered
  by the first lieutenant with little
  regard for justice. As long as the
  scum from below decks are
  trembling the captain is happy.
  THE “TERMINATOR”
  Duncruigh’s HMS Terminator is a 1200 ton man of war. A newly built and outfitted three
  master with 2 decks, her statistics are as follows:
  Name: Terminator - 1200 ton Man o’ war
  Structure: 22
  Gunnery factor: 24
  Crew: The ideal crew is 588 seamen, +120 soldiers (80 musketeers and 40 armored halberdiers).
  The Terminator currently lacks 60 seamen to make up its full complement. The ship’s crew
  includes 2 Harpies (used as scouts and couriers), 6 Half-Horses, 1 Satyr and a Troll.
  Maneuverability: +1
  Swivel guns: 3
  The Terminator is about 60 meters long and 10 meters abeam. Her armament consists of 60
  guns (24 culverins, 24 demi-culverins and 12 sakers). Her crew is newly gathered, and is not yet well
  trained.
  IMPORTANT CHARACTERS
  CAPTAIN HARDICH
  Disposition: Justice (R) - The captain is bureaucratic, bigoted and pompous.
  CHARACTERISTICS:
  Strength:
    9
  Endurance:
  10
  Dexterity:
  12
  Reason:
  12
  Intuition:
    8
  Drive:
  14
  Charisma:
  13
  Magical Aptitude:
    8
  Hit Points:
    5
  Wound level:
    1
  Maximum hand:
    5
  New draw:
    3
  SKILLS:
  Seamanship - 4, Navigation - 2, Military Tactics - 2, Thrusting Sword - 2, Pistol - 2,
  Leadership - 2, Administration - 2, Artillery - 0
  Description: A individual who firmly believes in social distinctions and the inferiority of the lower
  classes. He cares nothing for the welfare of the folk on the lower decks, but only for the running of an
  efficient ship. Justice takes second place to efficiency. He has chosen his officers for their family
  backgrounds rather than records. Brutal warrant officers are applauded for their efficiency and zeal.
  Hardich’s ship runs well, even though he does nothing to encourage the love of the common crew. This
  is because every man soon knows his place, and what is expected of him. Players will soon find that the
  ship lacks heart and love - which might prove important in the trials to come.
  
  151
  FIRST LIEUTENANT MARKO
  Disposition: The Tower (R). The Lieutenant is proud and haughty, which conceals his inner
  uncertainty and fears. He feels a constant need to prove his power over his subordinates.
  CHARACTERISTICS:
  Strength:
  10
  Endurance:
    9
  Dexterity:
  10
  Reason:
  10
  Intuition:
  11
  Drive:
  12
  Charisma:
    7
  Magical Aptitude:
  12
  Hit Points:
    5
  Wound level:
    1
  Maximum hand:
    5
  New draw:
    3
  SKILLS:
  Seamanship - 3, Navigation - 2, Military Tactics - l, Leadership - l, Gunnery - 2, Thrusting Sword - 2,
  Pistol -1, Law - 0, Fashion - 1
  Description: Tall, spindly and grim, Marko always keeps to a forbidding martial character. He is always
  impeccably dressed. Marko fears the scum from the lower decks, and is glad to have his Bosun act as go-
  between. He will pick on men as scapegoats for any unforeseen accidents and events, and delights in
  having such men savagely punished.
  SECOND LIEUTENANT PAVEL
  Disposition: Two of Swords: Lieutenant Pavel is law abiding and responsible, taking care of his men
  and dispensing an even handed justice. He is patriotic and brave, and cooperates well with others.
  CHARACTERISTICS:
  Strength:
    8
  Endurance:
  13
  Dexterity:
  11
  Reason:
  11
  Intuition:
  12
  Drive:
  12
  Charisma:
  13
  Magical Aptitude:
  10
  Hit Points:
    5
  Wound level:
    0
  Maximum hand:
    6
  New draw:
    4
  SKILLS:
  Seamanship - 4, Navigation - 2, Military Tactics - 1, Thrusting Sword - 3, Pistol - 1, Leadership - 3,
  Administration - 0, Artillery - l
  Description: A handsome, level headed officer who cares for his men. Pavel is extremely popular, and
  most sailors feverishly wish that he was the Captain. Pavel will attempt to shield men from the excesses
  of petty officers such as Woodcock, but First Lieutenant Marko will often interfere and foil him in this
  regard.
  The conflict between the first
  and second lieutenants might well
  come to a head during the course of
  the adventure. Start a list of ties and
  antipathies for Lieutenant Pavel (he
  begins the scenario with a level 0
  antipathy for the Captain and
  Lieutenant Marko, and a level three
  tie to his duty). Once his hatred of
  his superior officers begins to
  challenge his tie to duty, trouble
  might start. Roll his antipathies v.s.
  his ties to see if the lieutenant “flies
  off the handle” and calls his superior
  out to a duel, or becomes
  insubordinate.
  
  152
  LIFE UNDER WOODCOCK
  The indignities that Woodcock
  heaps upon the player characters are
  many and varied. This man is evil!
  He is brutal, amoral and twisted.
  To make life easier, Woodcock
  bullies underlings into completely
  cowtowing to him. By falsely
  reporting subordinates for
  misdemeanors, engineering
  equipment breakages or provoking
  incidents of insubordination,
  Woodcock can have crewmen
  seized up and flogged. To avoid this
  fate, the players and seamen must
  pay him their rum rations, fruit
  rations, polish his boots and run
  errands. They might even be called
  upon to provide less savory services
  (shudder).
  Play Woodcock well and he will
  haunt your player’s nightmares
  forever!
  KILLING WOODCOCK
  Killing Woodcock is virtually
  impossible. The Referee must make
  all relevant dice rolls in secret. If a
  player fires a musket at him during
  battle, it should jam. If they put
  poison in his beer mug, he will gulp
  his drink down and ask for more
  with no ill effects (he will choose
  that day of all days to switch
  drinking mugs!). Woodcock will
  realize that his crewmates are after
  his hide, and might arrange suitable
  accidents for the ringleaders.
  Though it is possible to get him,
  Referees should stretch this out for
  as long as possible. When dealing
  with someone like Woodcock, there
  must be no chances taken. If an
  escape is possible, then he will make
  it somehow. Any murder attempt
  must be a sure thing in order to
  succeed.
  PETTY OFFICER WOODCOCK
  Disposition: The Moon (R): Woodcock is an unstable psychopath, who tends to quickly switch
  between giggling amusement and extreme brutality. A sick man.
  CHARACTERISTICS:
  Strength:
  15
  Endurance:
  13
  Dexterity:
    8
  Reason:
    9
  Intuition:
  13
  Drive:
  14
  Charisma:
    5
  Magical Aptitude:
  13
  Hit Points:
    7
  Wound level:
    3
  Maximum hand:
    5
  New draw:
    3
  SKILLS:
  Long Arms - 1, Pistol - 1, Cutting Sword - 2, Brawling - 3, Dagger - l, Seamanship - 2, Swimming - 1,
  Gunnery - 1, Legend Lore - 0, Climbing -  l, Spot Hidden - 1, Weather Lore - 1
  Description: This huge, brutal individual will soon become the pivotal hatred of the player character’s
  lives. A cackling, brutal disciplinarian, Woodcock also happens to be a thief and an extortionist. He will
  soon find weaker characters and manage to have them flogged for some imaginary offence. Once this
  has happened, he will use this example to extort money and favors from others, and will soon have the
  entire watch working for him.
  Woodcock is barking mad. He tends to look at his potential victims and giggle, and often speaks into
  thin air (“I hate them! I really do, you know! I really hate them!” or “They’re all going to die, soon. All
  of them!”). He is hugely strong, and shambles about like some half-tamed beast. He is hypnotically ugly,
  with a long, livid scar across his face and a huge pot belly. Woodcock is always the perfect sailor when in
  the presence of his superiors, and knows all the tricks of dealing with the upper echelons. Most officers
  simply don’t know how they could manage without him, and will treat complaints against him as
  seditious nonsense.
  Woodcock is well steeped in the lore of magic, and will scare simple sailors with the mystical air about
  him - for Woodcock is the man who cannot die. Woodcock has survived walking the plank (swimming
  calmly to shore 2 days later), and has suffered innumerable wounds. He (and everyone else on board) is
  firmly convinced that he cannot die. He has an utter contempt for pain, and simply knows that all his
  wounds will heal. Sailors will tell players tales of Petty Officer Woodcock - that he was in the front of a
  group which was blown apart by grapeshot, and when the smoke cleared, only he was left alive,
  cackling and capering. Tales are told of the times sailors have tried to shoot him down from behind, and
  of how the bullets mysteriously missed, leaving Woodcock to kill his would-be murderer with his own
  hands, giggling all the time. In battle he is ferociously brave, constantly giggling to his companions “Stick
  near me mates - they can’t kill me, so you’re safe with me. They can’t kill me!”
  Referees must play up Woodcock for all that he is worth, and make the player character’s lives a misery.
  The players will probable decide to kill him - but how do you kill a man who cannot die? If their
  intentions are found out, they will surely hang, so they must be careful!
  
  153
  RODGER AURICULUS, SHIP’S MAGE
  Disposition: The Empress. Rodger is a devious, secretive little sneak.
  CHARACTERISTICS:
  Strength:
    6
  Endurance:
    7
  Dexterity:
  13
  Reason:
  12
  Intuition:
    9
  Drive:
  10
  Charisma:
    5
  Magical Aptitude:
  18
  Hit Points:
    5
  Wound level:
    1
  Maximum hand:
    6
  New draw:
    3
  Sorcery hand:
    5
  Sorcery draw:
    3
  SKILLS:
  Legend Lore - 1, Sorcery - 3, Alchemy - 2 (Can brew poisons, “cure fever” potions and healing potions),
  Hedge Magic - 0 (Can purify food and water), Detect magic - 1, Sneak - 2
  Description: With a devious manner and a voice like Peter Laurey, Rodger makes a perfect ship’s mage.
  He has come to sea to escape embarrassments at home, but has taken his fallen fortunes in his stride.
  The ship’s mage should be much in evidence during the scenario, if only to emphasize the fact that this
  is a fantasy adventure. He will give poison to player characters if they can trade information, but might
  use his knowledge to their discomforture later on in the adventure.
  SEAMAN URIAH QUIZLING
  Disposition: Five of Pentacles (R): Uriah is self seeking and amoral little creep.
  CHARACTERISTICS:
  Strength:
    7
  Endurance:
  12
  Dexterity:
  12
  Reason:
    8
  Intuition:
  13
  Charisma:
    8
  Magical Aptitude:
    7
  Hit Points:
    5
  Wound level:
    0
  Maximum hand:
    5
  New draw:
    4
  SKILLS:
  Sneak - 2, Artillery -1, Cutting Sword - 1, Dagger - 2,
  Gambling - l, Carousing - 1, Jeweler - 0, Carpentry - 1
  Description: An ingratiating little cur who is attached to the player character’s gun team. He is a spy
  for Woodcock, and keeps him informed of plots and gossip amongst the men.
  Uriah is greedy and ambitious. He is also cowardly, but he fears Woodcock more than the player
  characters.
  THE SUPPORTING CAST
  The ships company is full of all
  manner of characters. The selection
  offered here are merely those who
  come most easily into the notice of
  the player characters. Feel free to
  create NPC’s at whim. Thieves and
  troublemakers, bullies and thugs,
  story tellers and “Gun room
  lawyers” can all be found.
  
  154
  TRADE GOODS
  At the start of the adventure, the
  player characters h-ave no funds
  and no goods of value except the
  clothes on their backs. This gives
  them virtually no purchasing
  power.
  All crewmen receive a daily rum
  ration (1/4 pint) that can be traded
  off for goods and services (One
  day’s rum ration has the
  purchasing power equivalent to
  about 2 groats). This can be used
  to acquire knives, clothes, other
  food or small favors that may
  make life more bearable. If the ship
  ever reaches port, the crew will
  receive back pay, but only the
  most trusted crew members will
  actually be allowed ashore to
  spend it. The rest of the sailors will
  have to barter with “bum boats”
  that come out from the shore to
  offer fruit, spirits and women to
  the sailors.
  SEAMAN KERAGH
  Disposition: Ten of Pentacles (R): A compulsive gambler and risk taker, with a happy-go-lucky air.
  CHARACTERISTICS:
  Strength:
  10
  Endurance:
  10
  Dexterity:
  10
  Reason:
    8
  Intuition:
  12
  Drive:
  12
  Charisma:
  12
  Magical aptitude:
    6
  Hit Points:
    5
  Wound level:
    1
  Maximum hand:
    5
  New draw:
    3
  SKILLS:
  Gambling - 1, Artillery - 2, Seamanship - 1, Swimming - 0, Cutting Sword - 1, Dagger - 1, Long Arms - 1
  Description: Keragh is a “Half-Horse” - one of only six such on board. He is excused all duties in the
  rigging or boats, and instead finds employment on the captain and gun deck, where his strength comes
  into play.
  A cheerful member of the watch and a good worker, Keragh loves to play at cards and dice. He will
  constantly prevail upon characters to gamble with their scant funds or their rum ration. He will make
  bets on all manner of odd things (e.g. He might bet that his own gun scores more hits than the player
  character’s weapon in a battle).
  “OLD MAN”
  Disposition: Ten of Pentacles: A wise, rational character who will try to curb his rash companions.
  CHARACTERISTICS:
  Strength:
    9
  Endurance:
  13
  Dexterity:
  10
  Reason:
  10
  Intuition:
  13
  Drive:
  11
  Charisma:
  12
  Magical Aptitude:
  12
  Hit Points:
    6
  Wound level:
    1
  Maximum hand:
    5
  New draw:
    3
  SKILLS:
  Spin Yarn - 1, Leadership - 3, Seamanship - 2, Cutting Sword -1, Brawling - 1, Long Arms - 1
  Description: The “Old Man” is a grizzled old hand who is a member of the player character’s mess. He
  is a wise old fellow (no one knows just how old) who has seen just about everything, and knows the
  wisdom of careful planning and forethought. A man with a keen sense of justice and fair play, he is slow
  to rouse but tends to act decisively when he does finally move. Woodcock keeps away from him.
  The old man will fill his shipmate’s evenings with tales of far places and weird happenings. He is a
  colorful and helpful character, with an endearing streak of larceny and humor.
  
  155
  SEAMAN SNAGGLETOOTH
  Disposition: Six of Swords: Snaggletooth likes being onboard ship, since he likes to discover new things
  and see new places. He is a practical person at all times.
  CHARACTERISTICS:
  Strength:
  16
  Endurance:
  14
  Dexterity:
  11
  Reason:
    5
  Intuition:
  12
  Drive:
    8
  Charisma:
    6
  Magical Aptitude:
    8
  Hit Points:
    8
  Wound level:
    4
  Maximum hand:
    5
  New draw:
    3
  SKILLS:
  Brawling - 2, Singing - 1, Swimming - 2, Weather Lore - 1
  Description: Snaggletooth is a Troll. Large, green and scaly, he is also extremely thick in an easy going
  sort of way. Snaggletooth has become familiar with navy life, with all of its little perks and hidden
  traps, and always acts within the rules. He is employed on the gun deck as a gun layer and shot carrier,
  and seems entirely happy.
  Snaggletooth is mostly included as background color. He sings very strange songs when he is particularly
  happy or sad. He has a childlike enthusiasm for games, and goes into sulks when he loses. Play him up as
  much as seems necessary to add fun to life below decks. He could be a good ally in the fight against
  Woodcock, but he would be very difficult to motivate - after all, Woodcock always stays within the
  rules...
  TRAINING AND LIFE ABOARD
  The player characters end up on the lower deck’s gun crew as the pivotal members of a cannon
  team. This spares them the nerve wracking duty of the “top men”, who scamper up into the
  upper shrouds to trim sails and brail-up canvas, but they are also expected to learn to assist with
  the main sails, etc.
  The player characters will all be assigned jobs such as “Rammer”, “Gun layer”, “Spike man” or
  “Loader” depending upon their stature and abilities. They service one of the heavy culverins on the
  lower deck, in company with several other teams under the watchful eye of Petty Officer
  Woodcock and a Junior Lieutenant. The characters sleep on the self-same deck by their gun, in the
  weird lamp-lit world of lower decks.
  A square-rigged ship can be a strange place. The hull trembles and vibrates as the sails thrust
  1200 tons of timber and artillery through the waves, and the hull houses a constant mutter of
  creaking planks and ropes. The air is thick with the smell of tar and salt. Canvas screens stretched
  across the beams separate the lower deck into semiprivate sections (but you can hear every word
  the neighbors say, so watch out!) Within these “rooms” swing hammocks, each holding their
  owner’s small bundle of possessions. Off-duty sailors swap yarns, play games or practice
  handicrafts, relaxing after the rigors of their watch.
  Player’s should initially be confused and harried by having a petty officer yell at them to “climb
  up and help brail the fore-to’glnt’sl” or take a message to the “loblolly” boys (surgeon’s assistants).
  Terrorize your players by forcing them up into the “tops”, or having dangerous duties given the
  slowest gun crew during gun drill. The practical upshot of all this will be to have all character’s roll
  their Reason vs. 10 to acquire level 0 seamanship skill, Dexterity vs. 10 to acquire a level of climbing
  skill and Reason vs. 10 to gain level 0 artillery skill.
  Oh - A life on the ocean waves, Is
  the key to a watery grave...
  The lower decks have their own
  codes and methods of justice. The
  strong tend to cow the weak, and
  factionalism is rife. Nevertheless, the
  typical sailor has a strong sense of
  justice. The crew is universal in its
  hatred of Woodcock. Unfortunately,
  they fear the consequences of
  defying authority. The “Terminator”
  is not kind to mutineers!
  SETTING SAIL
  Once all the carefree, happy crew
  are safely aboard, the “Terminator”
  heads out to the fabled Northern
  seas to patrol the waters around the
  spice islands. Hot summer nights,
  blazing sun and desert islands
  provide an exotic environment of
  adventure, likewise fever and storm
  can offer constant peril. The North
  Seas are home to Albernian ships as
  much as Duncruighan vessels, and
  privateers, pirates and enemy
  vessels prowl the seas.
  
  156
  Characters will have access to
  cutlasses, boarding axes and
  boarding pikes, and will probably
  pick up a knife from somewhere.
  Other equipment can be purchased
  aboard. Typical pay will be 1 silver
  per week, collectible once per
  month.
  ADVENTURES AT SEA
  The following incidents are set aboard the Terminator and should be integrated into an ongoing
  campaign. Referees should flesh out shipboard life with numerous encounters with the evil Petty
  Officer Woodcock, gaming sessions, larcenous undertakings and mutinous mutterings below decks.
  THE “CUTTING OUT” EXPEDITION
  The ship heaves-to off a headland, and First Lieutenant Marko calls the player character’s out
  on deck (with the ever present Woodcock at his elbow). He addresses the group as follows:
  Marko paces up and down, his eyes never seeming to look at you. He turns to you with an expression of
  distaste, and then comes to some sort of decision.
  “Men, you are being sent on a mission which will be our first real encounter with the enemy. Tomorrow at
  dawn the Terminator will go into the next bay and attack a number of Albernian merchant vessels which
  are stationed there. Unfortunately the bay is protected by a small sconce which commands the bay, and
  so we are sending in a landing party tonight to capture the fort and spike the guns. Petty Officer
  Woodcock has told me of your enthusiasm for this task, and so l have decided to accede to your request to
  go on this dangerous mission.”
  “1 must say that this sudden devotion to duty on your part is most heartening. Well done men! “
  Marko immediately leaves, and Woodcock gives you an evil grin before following him...
  The party will leave at dusk in a jolly boat, and will be armed with muskets, pistols and
  swords. The storming party will be lead by the Second Lieutenant, who is accompanied by a couple
  of other marines (enough to raise the party’s numbers to 12). The group is to land on the beach
  under cover of darkness, and proceed to the fort (which is about 3 miles away across the headland).
  The Terminator will attack at dawn - the guns must be silenced by then. The Terminator will pick
  up the shore party once it has secured its prizes.
  THE LANDING
  The boat will come into shore on a murky night. The half moon makes the beach a place of
  eerie shadows and booming surf. The sailors at the front of the boat leap out and run up the beach
  while the rest of the party begins to drag the boat up the sand towards the nearby trees.
  As the party starts to shift the boat, they will be attacked by a group of 4 or 5 Alberninan
  irregular cavalry:
  Suddenly a volley of shots ring out, lighting up the darkness. A man near the boat screams and
  is hurtled back into the surf, firing his musket uselessly into the air. The beach trembles to the
  sound of hoofbeats as the night erupts into chaos!
  Kill off one or two of the NPC sailors in the initial volley (enough to show the players that
  their enemy means business!) The enemy cavalry will all have average characteristics (e.g. a score
  of 10, and a sword skill of 1), and ride awful horses which have characteristics of 7 in all categories.
  They are armed with carbines (now unloaded), backswords and unloaded pistols, and wear buff
  coats and helmets. They start off in the tree line some 50 meters up the beach, and trot down
  towards the group by the boat waving their swords and yelling like banshees.
  All the sailor’s firearms must subtract one from their reliability due to their trip through the
  salt and spray. The cavalrymen are moving targets in the dark, and so might prove somewhat
  difficult to hit. The player characters who were furthest up the beach have not been seen by the
  cavalry, and may take advantage of this in any way that they see fit.
  
  157
  Somewhere in the course of the melee, Second Lieutenant Pavel gets grievously wounded (but
  not killed). The players should manage to drive the enemy off or kill the lot, and should hopefully
  decide to carry on with the mission without their officer, who is conscious enough to give them
  encouraging little messages or patriotic orations.
  CROSS COUNTRY
  Moving up the rocky headland is difficult and tiring. All characters must roll for travel fatigue.
  Wounded characters, and characters who are carrying a wounded comrade must roll twice.
  There is a picket post at the top of the headland which must be bypassed. 1 musketeer stands
  on watch (spot hidden skill of 2, intuition 12), while another two eat a meal and mind their supply
  of signal rockets. Players may either try to sneak past, or bump off the sentry.
  THE SCONCE
  From the hill, the characters can see down into the bay, where two merchant ships lie at
  anchor. A small square sconce lies within the protection of the headlands, and from the light of the
  garrison’s campfires the party sees that the fort has 4 Cannon royale (30 kg shot!), all mounted
  facing towards the sea. A small gate is guarded by a sentry, and a sentry walks the walls. Between
  the fort and the hillside is a collection of tents, and a number of soldiers (20 or 30) are camped
  within.
  The characters will have to skirt through the slumbering camp somehow, and come up with
  some plan for getting into the fort. Luckily the garrison is not too alert, but normal precautions
  will be taken. If the guns can be sabotaged somehow, the party must still get away!
  THE TERMINATOR’S ATTACK
  At dawn the Terminator will attack. If the sconce has not been disabled, then the ship will
  bombard the fort and camp. The forts guns and walls are too powerful for the ship, and it will sail
  off (presuming the landing party to be dead).
  THE REWARDS
  The merchantmen will be sold in a prize court, and should give the common crew about 2
  marks in prize money. The shore party will be rewarded if their attack was successful, and so
  might earn as much as three marks.
  The Island
  The player characters will land
  upon the island of Montuega, a
  desert island with a sheltered,
  fortified anchorage on the south
  side. There is a lookout post atop a
  tall hill, with a signal beacon that will
  be lit should enemy ships be
  sighted.
  The night of the landing is hot
  and breathless, the air heavy with
  the hum of mosquitoes. There is a
  half-moon that casts weird
  shadows across the beach, and the
  rush and rumble of the surf muffles
  all but the loudest sounds.
  There are tiny sea urchins in the
  shallow waters at the edge of the
  beach. Lieutenant Pavel warns the
  seamen dragging the boat into shore
  to keep their boots on!
  
  158
  “Deck thar! Sail off the bow!“
  The captain coolly paces over to
  the railings, and rakes the
  officers with his icy glare.
  “Midshipman of the watch!
  Aloft with your perspective
  glass if you please”
  A twelve year old cabin boy in
  a loose fitting uniform
  scrambles the shrouds and
  perches far above the deck.
  Finally his shrill voice pipes
  down to the listeners below.
  “Albernian Man o’ war Sir!
  Ship of the second rate!”
  The Captain flashes a glance to
  his officers. “Clear for
  action. “
  The marines race to their posts
  at the gangways, and the
  rattle of drums fills the air.
  Seamen race to their posts
  and cannon are loaded as
  the “Terminator” readies
  itself for battle!
  COMBAT
  The Terminator encounters an Albernian Man o’ war of about the same tonnage and engages.
  Play out the combat as described in the rules (The Albernian ship has a Captain with a
  Seamanship skill of 3 and an Intuition of 12). Once the ships grapple, a boarding action will
  commence. The player characters are down on the lower gun deck, and know nothing of this
  Cannon roar and flash - men scream in agony as wood and steel scythe through the air. An enemy ball
  smashes into a nearby cannon, which hurtles backwards over the crew. The gundeck becomes choked
  with smoke, lit from within by the flash of the guns. A man staggers past you in the choking smoke,
  clutching at his eyes and screaming hysterically. All through the din and confusion you keep shouting and
  cheering, firing ball after ball from your long cannon at the encroaching enemy hull broadside for
  broadside! Over all chants the calm voice of the gunnery officer: “Stop vents! Sponge out! Load!”
  Suddenly the guns go silent, and a furious spate of small arms fire comes from the upper decks. With a crash
  the two hulls meet side by side, and a voice shouts from above ‘Ware boarders! “
  The players are in a gunport about 5 meters from a gunport on the opposing ship. They must
  now engage the enemy gun crew of 5 men in a duel of pistol shot and pike thrust (pikes are kept in
  a nearby rack). It should be possible for a bold party to enter the enemy gunport, and lead the lower
  deck gun crews into the enemy decks. The party might then go on to climb to the enemy’s upper
  decks and attack the enemy command crew on the poop.
  This is a damned good idea, because the Terminator has been boarded, and is losing the fight!
  CAPTAIN HAUTFLEUR
  CHARACTERISTICS:
  Strength:
    9
  Endurance:
  10
  Dexterity:
  12
  Reason:
  12
  Intuition:
  12
  Drive:
    8
  Charisma:
  10
  Magical aptitude:
    8
  Hit Points:
    5
  Wound level:
    1
  Maximum hand:
    5
  New draw:
    3
  SKILLS:
  Thrusting Sword - 2, Pistol - 1
  The captain wears a helmet and breastplate, and carries a rapier and pistol.
  The enemy ship will surrender once their captain is killed or forced to surrender.
  To liven up the scenario, the Referee might want to have the players see a fanatical torch-
  bearing Albernian officer race down towards the forward powder magazine. The player characters
  will have to beat him there (perhaps by swinging down from the poop deck on a rope!) and kill
  him before he can blow the magazine and kill everyone aboard both ships. A blazing torch used in
  combat should be treated as a cudgel which deals an extra +1 follow up damage.
  
  159
  REWARDS
  If the enemy ship is captured, then everyone might expect about 10 silvers in prize money. If
  the players were instrumental in the vessel’s capture, they might receive as much as 2 marks.
  This combat is also an ideal time to bump off Woodcock, if the party has not already done so.
  ALBERNIAN “EXTRAS”
  The Referee might find that the following characters make useful enemies to parties.
  OTHER RANDOM NPC’S
  Most ships will include Harpies
  amongst their crews, and these
  vicious creatures are an invaluable
  part of the vessel’s complement of
  soldiers. Likewise Pixies make
  nimble “top men”, and often serve
  as sail crew. Non humans are
  always a possibility for NPC
  crewmen.
  The “average” character will have
  level 10 in all characteristics, a Max
  Hand of 5, a new draw of three, and
  a sword skill of 1. Typical seamen
  will be armed with either a sword,
  polearm or an axe.
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  160
  MEETING MARISSA
  ARCADIE (FEMALE
  CHARACTERS)
  While scurrying about the
  seamstresse’s establishments, the
  player characters will encounter
  Marissa Arcadie (Marissa will
  probably be being fitted for her
  dress at the time the player
  characters enter the dress shop).
  Exquisitely obnoxious, Marissa
  should quickly establish herself as
  the enemy.
  If desired, the Referee can
  establish a deeper reason behind this
  enmity on Marissa’s part. Perhaps
  the player character is newly arrived
  from out of town, and Marissa
  fears that the new arrival will steal
  attention at the ball. On the other
  hand, perhaps Marissa and the
  player character have had dealings
  before....
  THE TOWN
  This adventure takes place in an
  unspecified section of Mittelmarch,
  in a large town. Feel free to bring to
  town to life with a bustling market
  place, dangerous streets, elegant
  salons and mansions. For her own
  part the player character will be
  living in a townhouse (possibly
  with relatives), with access to a
  coach, servants and a chaperone.
  A MASKED BALL
  This is a “courtly” scenario designed to be played by one or two characters of gentle or noble
  birth. It may be played by either male or female characters, since the scenario contains incidents
  which will amuse and entertain either or both.
  The adventure will work perfectly with player characters who are Half-Horses. Make sure that
  the romantic interest NPCs, Marissa Arcadie and Morton Fitz-Clarion are the same race as the
  player characters.
  THE INVITATION
  The player characters receive an invitation to a masked ball, which promises to be a major
  social event.
  Their dignities the Marquis and Marchioness D’ Argenon will hold a Masque on the evening of
  next Monday week.
  The family D’Argenon would be most deeply pleased for the company of..........
  at the banquet and ball.
  The festivities will be at the family’s town residence from dusk until dawn.
  The Argenons are renowned for their lavish entertainments, and everybody who is anybody
  will be there. It is an exciting sign of social recognition to have been invited - definitely an occasion
  not to be missed.
  PREPARING FOR THE BALL
  (LADIES ONLY) GETTING DRESSED
  Female characters will definitely want to organize a new ball gown for the event, but time is
  fairly short (14 days). The minimum time that a tailor/seamstress could produce a dress without
  working 24 hours a day would be 4 days.
  There are a number of reputable seamstresses in town, most of whom have about level 2
  tailoring skill (although 2 have level 3 tailoring skill, and 1 has level 4 tailoring skill). The tailor with
  level 4 skill is already well and truly booked out by women who have got news of the ball long
  before the player characters (amongst them is Marissa Arcadie, a pretentious woman who any
  female character will have met several times before).
  This means that a player character who seeks a dress must be satisfied with one of the level 2
  or 3 tailors, and be automatically disadvantaged at the ball! The player might choose any one of a
  number of ways to remedy this awful situation, e.g.:
  Bribe the level four seamstress (she will refuse, and the scandal will spread about town!), or
  somehow manage to cancel one of the other ladies’ orders. Another seamstress might be found.
  There is in fact a “hidden talent” buried in town, just waiting to be discovered. She is Paulette
  Kerin, a poor country girl who has just come to town to tend her brother’s dying wife. She has a
  tailoring skill of 5, but no real knowledge of courtly fashion. Working for gentle folk has never
  occurred to her, and she makes ends meet by doing pretty country frocks for country festivals,
  scraping enough money together to buy medicines and food for her patient.
  Paulette’s work could be accidentally discovered on a shopping expedition to a common market
  or some other similar accident. She would have to be tracked down through streetwise skill, or by
  clever deduction. She will be found in a small house somewhere in the poorer segment of the
  artist’s quarter (an expedition into this seedy part of town could be an adventure in itself for a
  gentle lady!)
  
  161
  Paulette is a gentle, kindly soul who lives in a sad state of poverty. She would be surprised and
  delighted to work for a grand lady, but says she cannot leave her sister-in-law unattended, and so
  she will have to refuse the player character’s offer. If an arrangement can be made where the player
  character gets a proper doctor to see the ailing patient, and then has an appropriate cure disease
  potion made up and given to the seamstress’s sister in law, then Paulette will be pleased and
  gratified to make a dress (she must still be paid, however!)
  Paulette’s gratitude and inspiration is such that the resulting dress will be very good indeed (roll
  3 dice for appeal and discard the lowest). The dress will be an unusual style, and will create a great
  deal of comment and interest at the party. Paulette is obviously something of a discovery.
  SPYING
  Finding out what the competition will be wearing could be a great advantage. Money paid to
  junior seamstresses at the major tailors will secure details on the cut and color of other ladies’
  dresses which are being prepared for the upcoming ball. If a character gains this information, have
  them roll their fashion sense vs. 10 (rolling vs. intuition). If the roll was successful, then increase
  the appeal of their own ball gown by 1 (or by 2 if the roll was more than 2 points under the
  minimum score required).
  HAWKING
  The D’Argenon family will be holding a hawking
  expedition the week before the ball, and characters with
  hawking skill might be able to wrangle themselves an
  invitation if they just “happen” to drop by the
  D’Argenon residence on some other pretext (the
  characters would discover the Marchioness tending her
  hawk, which will give them a reason for bringing up
  the subject).
  The hawking expedition can be role-played. A hawk is rated for two characteristics - speed and
  size - between which it splits 5 dice (minimum of one dice per characteristic). Prey that is flushed
  also has speed and size ratings, with numerical values determined as follows.
  To catch prey, a hawk must first stoop down upon it (roll the hawk’s speed vs. the speed of its
  prey, modified by the handler’s hawking skill level). To make a kill, the hawk must then match its
  size vs. its target’s size (hawking skill does not modify this roll).
  Please note that if the hawk’s size is double or more than that of its target, it will ignore such
  trivial prey and return to the glove. A natural roll of 12 during a “stooping roll” will have the hawk
  ignore the prey and go off flying free. The handler must roll vs. its hawking skill (testing vs. Drive
  or Intuition) in order to recover the bird.
  As prey is randomly flushed, hunters with a hawk which seems appropriate to the prey may
  release their birds. If a hunter’s bird catches more prey than it misses during the day’s outing, then
  the hunter may increase its Self Image modifier by 1.
  If the player characters make a good impression, then the Marchioness will begin talking about
  the upcoming party. This counts as successful “spying” (see above). In addition, the characters
  will be forewarned of the guests who will be there. The Marchioness will give a female player
  character a few juicy bits of gossip which will increase her repartee hand vs. Marissa Arcadie by 1
  for the evening of the party.
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  162
  PREAMBLE TO THE BALL
  (MALE CHARACTERS ONLY)
  Male characters should have a peripheral involvement in a ladie’s preparations for the ball. The
  scenario will really start for them when they go to visit the Marchioness or go on the hawking
  expedition (even if they don’t hawk, they can at least ride along and keep the ladies company).
  While on the hawking expedition, the character will suddenly see the most wonderful woman
  that he has ever beheld - Theresa Mantienne:
  You sit astride your horse with the other onlookers, admiring the terrible beauty of a hawk’s flight. Suddenly
  you become aware of a haunting, musky feminine scent on the air. Like a man enchanted, you swing
  towards the source.
  A small way away from you is the most wonderful woman that you have ever seen. Her sweet, plain face is
  hardly the epitome of fashionable beauty, but is warmed from within by such grace and gentle humor
  that you feel your heart catch in your throat. Her slight figure is sitting sidesaddle on the back of one of
  the D’Argenon’s spare horses. You notice that her hands, so at ease on the reins of the horse, seem
  rougher than those of the other ladies in the party. For some reason, this makes you curious and sad.
  Suddenly you notice that she has seen your scrutiny, and stares back. For a long moment you gaze into her
  deep brown eyes, and see her face soften. Her tired, worried expression drains away, to be replaced by
  dreamy bemusement. Then suddenly her pupils widen, and the smile goes out of her eyes. She whirls her
  horse around and swiftly trots away...
  Obviously, if Theresa is a Half-Horse, then this description will have to be slightly modified.
  The helpless player character gains an immediate tie of 2 with this vision of loveliness.
  Inquiries as to her name and station will reveal that she is the gentlewoman Theresa Mantienne.
  This is not good news, since the player character’s father was instrumental in ruining her father,
  ex-governmental minister Aurey Mantienne. This would probably explain her strange behavior.
  Talking with the Marchioness will reveal that the family has fallen on hard times.
  If the player can make a poetry or repartee roll, successfully sing or play an instrument or
  some similar such activity while near to Theresa, she will gain a +1 tie with him. She will hide her
  attraction well (roll Detect Lie skill to see that her aversion is elaborately feigned). Theresa will
  coldly rebuff any direct advances on behalf of the player character.
  If the player character manages to impress the Marchioness, she will gossip along about the
  upcoming party for a while, revealing that Theresa will wear a distinctive mask (shaped like blue
  moth wings).
  The player character’s time before the ball will be spent in a constant seesawing of hopes and
  fears (raise and lower his Self Image at random). Theresa will firmly refuse to see the player
  character, nor will she accept gifts, poems or serenades.
  
  163
  THE BALL
  The ball begins with a buffet at seven, and dancing at eight. The D’Argenon residence is set in
  large bowered gardens. The party takes place in a huge ballroom, which is surrounded by smaller
  rooms which will be used for games of whist or dominoes (gentlemen’s gambling activities),
  refreshment, quiet reading or gossip.
  The ideal arrival at the ball will be in a private “coach and four”, fashionably late (by an hour or
  so). No lady would dream of turning up unaccompanied, nor of turning up with an unsuitable
  companion (this would give an opponent a +1 to their repartee hand when engaging the lady in
  repartee “combat”). Noble characters will be announced at the head of the hall by a footman,
  unless they ask to be admitted incognito.
  The ball is to be a masque. All guests will wear a domino mask of some kind, which will be
  removed at midnight. Most people at the ball will be readily recognizable despite their masks -
  although there might be a few surprises!
  CHARACTERS AT THE BALL
  MARISSA ARCADIE
  Disposition: The Lovers (R) Marissa is vain and petulant. She is an habitual tease, and is annoyingly
  self important.
  CHARACTERISTICS:
  Strength:
    7
  Endurance:
    9
  Dexterity:
  12
  Reason:
  12
  Intuition:
  11
  Charisma:
  12
  Magical aptitude:
  10
  Hit Points:
    4
  Repartee hand:
    5
  Repartee draw:
    3
  SKILLS:
  Etiquette - 2, Fashion -1, Poetry -1, Political Lore -1, Dancing - 0, Persuade -1, Sneak -1, Repartee - 2
  Description: Marissa is an exquisitely obnoxious character who will intrude herself into the player
  character’s attentions early on in the evening. She is an irritatingly “posh” lady who delights in making
  other women look foolish. Men tend to find her extremely attractive.
  Marissa will become a repartee opponent for any female player character sometime during the evening.
  She will also try to grab the attention of a male player character, delighting in any trouble that this
  might cause.
  Marissa wears a ball gown with an appeal rating of 16.
  THUGS
  Aurey Mantienne will be
  displeased by any attentions from a
  male player character towards his
  daughter. If the player character
  persists, Mantienne will have
  brigands waylay the character one
  dark night to beat him black and
  blue. They will only draw weapons
  if the player character does so. If
  necessary, the player can be rescued
  by the timely intervention of the
  enigmatic Duke of Dunharrow (Still
  in Mufti). He will gladly aid the
  player character, but will keep his
  own identity a secret.
  DESCRIBING THE BALL
  To capture the full romance of
  the moment, the Referee will have
  to be prepared to outdo his/her self
  when describing the D’Argenons
  ball. Coaches with proud horses,
  footmen lining the stairs, the still
  evening air touched with the
  fragrance of roses... The evening
  should capture a feeling of magic.
  Beguile your players with visions of
  grace and beauty. You will hopefully
  find the effort well spent.
  
  164
  THE BALLROOM CROWD
  The D’Argenon’s ball is attended
  by about 200 of the local gentry and
  nobility -  everybody who is
  anybody will make sure to attend!
  The characters listed in this section
  are only those who most readily
  come to the player characters’
  attention. Feel free to populate your
  masque with fops, dandies, giddy
  young girls and predatory ladies.
  The air is thick with flirtation, and
  many a whispered tryst will occur
  as the night grows old.
  GOSSIP (FEMALE
  CHARACTERS)
  The nifty gossip that the player
  character might uncover is quite
  rich. Marissa Arcadie’s affections
  have been spumed, a dashing
  stranger has been seen about town,
  and foreign gentlemen have taken
  up residence in a house by Market
  Street. Most alarmingly, the player
  character will uncover the reason
  why her invitation was so late -
  most other people received their
  invitations two weeks ago -
  Marissa Arcadie was entrusted with
  the delivery
  A STRANGE MESSENGER
  While scurrying about town, one
  player character is questioned by a
  strange, discreet servant (Roland,
  Duke of Dunharrow’s footman).
  He quizzes the player character
  about her identity, and whether or
  not she will be attending the
  masque, but will reveal no
  information as to why the
  questions are being asked.
  If there is a second player
  character present, she can also be
  drawn off by a mysterious stranger.
  This person (an agent of the Duke’s
  enemies - the mysterious foreigners
  who have taken up residence in
  town) will try to encourage the
  second player character to agree to
  help them at the ball. This
  mysterious messenger simply
  wishes to point out a character at
  the ball (it will be Roland), and the
  player character need only lure him
  out onto the terrace alone. What
  could be simpler?
  THERESA MANTIENNE
  Disposition: Queen of Wands: Theresa is potentially a deeply affectionate character who sets great
  store on true love.
  CHARACTERISTICS:
  Strength:
    5
  Endurance:
  11
  Dexterity:
  14
  Reason:
  12
  Intuition:
    7
  Drive:
  13
  Charisma:
  13
  Magical aptitude:
  12
  Hit Points:
    4
  SKILLS:
  Assess Lie - 1, Dancing - 0, Detect Lie - 1, Play Lute - 1, Riding - 0, Travel - 1, Farming - 2,
  Administration - 1
  Description: Theresa is the only daughter of the disgraced gentleman Aurey Mantienne. Since her
  father’s fall from power, Theresa has kept her family going, taking over the management of her family’s
  estates and doing common manual labor just to make ends meet. She is a practical girl who harbors
  wistful romantic longings, but who remains fiercely loyal to her ailing father.
  The Marchioness D’ Argenon has always been a friend of the Mantienne family, and helps them
  whenever she can. She is determined to make sure that Theresa keeps in touch with polite society so as
  to catch her a worthwhile husband. Theresa has been loaned one of the ball dresses owned by the
  Marchioness’ daughter, and is present at the ball against her wishes (although she has tried to beg out of
  the occasion, the Marchioness will not hear a word of it!)
  Theresa wears a distinctive blue mask shaped like moth wings.
  THE MARCHIONESS D’ ARGENON
  Disposition: Nine of Pentacles (R): The Marchioness is a witty, lively gossip with a kind heart.
  CHARACTERISTICS:
  Strength:
  12 (big woman!)
  Endurance:
    7
  Dexterity:
    8
  Reason:
    8
  Intuition:
  13
  Drive:
    8
  Charisma:
  10
  Magical Aptitude:
    6
  Hit Points
    5
  SKILLS:
  Spin Yarn - 2, Assess Personality - 2,
  Detect Lie - 2, Etiquette - 2
  Description: Theresa’s guardian angel is a canny, gossip loving woman of great good humor. She has an
  uncanny talent for assessing a person’s true intentions and feelings, and has the wit and tact to use these
  skills well.
  
  165
  MORTON FITZ-CLARION
  Disposition: Queen of Swords (R): Morton is malicious, spiteful, and deceitful.
  CHARACTERISTICS
  Strength:
  10
  Endurance:
  10
  Dexterity:
  13
  Reason:
  10
  Intuition:
  13
  Drive:
  11
  Charisma:
    9
  Magical Aptitude:
    5
  Hit Points:
    5
  Wound Level:
    1
  Maximum hand:
    6
  New Draw:
    3
  SKILLS.
  Thrusting Sword - 3, Etiquette - 2, Repartee - 2
  Description: A sinister character with a considerable reputation as a duelist. He will seek to provoke a
  duel with any male player character who pays court to Theresa Mantierre. Morton’s intentions towards
  Theresa are dishonorable, and Theresa has spurned him. He has acquired the loan on her family’s farm,
  and seeks to force Theresa to be his by threatening to foreclose! What a cad !
  THE HANDSOME MASKED STRANGER
  (OTHERWISE KNOWN AS HIS ROYAL HIGHNESS ROLAND, THE DUKE OF
  DUNHARROW)
  Disposition: The Hierophant: His Highness is a charismatic devil who is subject to sudden bursts of
  energy, enthusiasm or inspiration.
  CHARACTERISTICS:
  Strength:
    9
  Endurance:
    8
  Dexterity:
  13
  Reason:
  12
  Intuition:
  12
  Drive:
  13
  Charisma:
  13
  Magical aptitude:
  12
  Hit Points:
    4
  SKILLS. (Only those relevant to this scenario!):
  Spin Yam - 1, Gambling - 1, Oratory - 2, Literacy - 2, Political Lore - 3
  Description: The lonely (and tantalizingly eligible) “Laird” of Dunharrow has slipped away from his
  townhouse tonight and has crashed the party incognito to have some fun. He is a romantic at heart, and
  is tired of being approached by offers of political marriage. He would be delighted to meet a lady who
  values him for himself - and thus the masque offers him a unique opportunity....  The Duke will be
  interested in gambling, gossip and talking to the ladies. If someone impresses him during the evening,
  they might get a surprise job offer at a later date! The Duke is usually shy and polite around womenfolk
  (although his mask has given him courage for the evening) and would back off in embarrassed confusion
  if approached boldly and directly with offers D’ l’amour.
  OTHER CHARACTERS
  The Referee should be prepared to improvise a number of giggling daughters of the nobility,
  haughty poseurs and upper class twits to flesh out the party.
  FITZ-CLARION
  If desired, male characters can
  have run-ins with Morton Fitz-
  Clarion in the early part of the
  evening, thus developing an
  antipathy towards him. He might
  become an opponent at the gaming
  tables, a repartee encounter -
  anything that might throw the
  player into conflict with him.
  Just remember the more you
  hate him, the better it feels to defeat
  him!
  ENDING THE SCENARIO
  FOR MALES
  For male player characters, this
  scenario will probably culminate in a
  duel with Morton Fitz-Clarion.
  Though lightning fast and superbly
  skilled, Fitz-Clarion has a weakened
  left leg. Being forewarned of this
  ailment might save the player
  character’s life. Increase the
  numerical value of Fitz-Clarion’s
  opponent’s attack cards by 1 if they
  follow a low line attack, and by a
  further 1 if Fitz-Clarion dodged the
  previous blow. If Fitz-Clarion is
  forced to do a desperate defence
  against a low line attack, he draws
  only 1 new card and not three.
  
  166
  This section of the adventure
  introduces the players to the
  repartee rules. Carefully read page
  92 to learn the repartee conflict rules
  before beginning the card game.
  THE EVENINGS EVENTS
  (FEMALE CHARACTERS ONLY)
  Once at the party, a female character should face down a couple of other female characters in
  a test of dresses to give them an idea of how they stand for the evening’s activities. They should
  make a roll vs. Etiquette (using either Reason, Intuition or Charisma) to avoid a +1 to their Self
  Image for the rest of the evening. Play up the party for atmosphere and interest. The lady might
  play an instrument, play (gamble) at whist or make a business deal if desired.
  The character should then notice the handsome masked stranger (see above)
  Suddenly the crowd parts, and you see a beautifully dressed man in a plain mask walking towards you. For
  some reason, you feel your breath catch in your throat, and your heart begins to beat faster. Even though
  he is wearing a mask, he is surely the most handsome man you have ever seen! His eyes stare at you
  with a wistful longing which seems strangely touching. He hesitates for a moment, and then goes back to
  talking to a pair of gentlemen who stand nearby.
  The lady should now receive a tie of 1 with the masked stranger.
  From the corner of your eye you see that little snake Marissa Arcadie attach herself to the masked stranger’s
  group, and begin talking to one of the two other gentlemen. She gains an introduction to the masked
  stranger, and you can see her intentions as plain as the nose on her simpering little face!
  Since you know Marissa, it would not be too forward of you to go over to say hello to the rotten little minx,
  gain an introduction to the handsome stranger and head her off...
  That should be enough to get any girl worth her salt moving over to meet the masked
  stranger.
  GETTING BITCHY
  Once the player character reaches the stranger’s group, Marissa will shoot her a dark look and
  be forced to perform introductions. The masked stranger will choose to remain anonymous, which
  seems very intriguing and exciting.
  The player should roll the attractiveness of her own dress vs. that of Marissa. The character
  will now be able to roll her Flirtation skill vs. Marissa’s, and the winner will gain a dance with the
  stranger. If the player character wins the Flirtation roll and does not disgrace herself on the dance
  floor, then she must check for tie experience increase with the stranger, who pays her a flattering
  degree of entranced, tender attention.
  There will be more talk, and Marissa will begin to make catty comments, trying to edge in the
  way and gain the stranger’s sole attention.
  
  167
  IT’S REPARTEE TIME!
  The girls should now play out a repartee “combat”. The loser will storm off and leave the
  handsome stranger in the company of her foe.
  THE REST OF THE EVENING
  Assuming the player character wins in repartee vs. Marissa, the rest of the evening will be
  spent in the company of the stranger (who gains a level 4 tie with the player character). The lady
  should gain at least 1 or 2 more tie points with her mysterious beau.
  Suddenly, just before the unmasking at midnight, the stranger hurriedly takes his leave and
  races for the door, leaving the player character standing in confusion by the dance floor. Upset as
  she might be, she notices another masked stranger detach himself from the crowd and sidle off in
  pursuit in a very suspicious way.
  If the lady follows, she will see the handsome stranger get into a plain carriage and drive off
  (unless he is a Half-Horse, in which case he will walk home on his own four feet), followed by the
  suspicious stranger on horseback. Neither one is moving particularly fast. The lady can grab her
  cloak and bundle into her own carriage and pursue the pair.
  The chase eventually leads into the deserted streets of the artist’s quarter, where the handsome
  stranger dismounts from his carriage and proceeds on foot into the alleys. The other man follows
  quietly, and moves to stand behind a corner watching. The handsome stranger stands under a
  lamp and removes his mask, revealing a pale, good-looking face. As he does this, the other man
  reaches under his cloak and produces a pistol, which he aims at the handsome stranger.
  At this point, the player character will have several options. She may scream, which would
  make the assassin whip around and fire off the shot at her. She may yell a warning, which will
  make the assassin turn around, see her and then snap off a shot at his startled target (up the
  difficulty level from average to difficult). The player character might also have wormed her way
  quite close to the assassin, in which case she might toss her cloak over his head. The possibilities
  are nearly endless.
  The assassin will run off once he has fired. If the handsome stranger is struck, then he will fall
  to the ground in a faint. If the player character is struck, then the handsome stranger will run to
  her aid and take her back to his abode where she will be tended by his private physician. Either way,
  the girl should eventually learn her beau’s identity.
  EXPERIENCE
  Self Image gains for the evening will include a -1 for each level of tie that the female player
  character has gained with the handsome stranger. Experience rolls should be made against all skills
  used throughout the evening.
  ALTERNATIVE ENDING
  (FEMALE CHARACTERS)
  In a scenario run for a female
  character, a variety of different
  endings might occur. If a second
  player character has been beguiled
  into helping some unknown,
  sinister strangers coax the Duke of
  Dunharrow out onto the terrace,
  then another ending is possible. The
  Duke will be waylaid, beaten
  unconscious and dragged into a
  carriage. The player character who
  has fallen for him will then have to
  pursue the kidnappers in her own
  coach!
  
  168
  THE EVENINGS EVENTS
  (MALE CHARACTERS ONLY)
  If the player character wishes to track down Theresa Mantienne at the ball he had best enter
  the hall unannounced. He will then be at liberty to stalk the house and try to find her. With the
  anonymity of his mask, he might just be able to impress Theresa without her family loyalties
  affecting her judgment.
  The start of the evening should be spent in meeting some terrible empty-headed “bimbos”, and
  in small talk. He will find Theresa wistfully watching a game of whist. Asking her to play will
  cause her to ruefully shake her head (she has no money). She will gladly watch the player character
  try a few hands, and will be glad for him if he wins or sorry if he loses (she’s a nice girl). Take this as
  an opportunity to play a few rounds of gambling (see below).
  Theresa should now be won over. Dancing, poetry, music or repartee might at least engage her
  full attention, and then the character can roll his charisma vs. 10 in order to increase Theresa’s tie
  level with her gallant masked companion.
  AN INTERRUPTION
  Just as everything seems to be going well, a black-clad stranger (Morton Fitz-Clarion) forces his
  way through the crowd and angrily demands to talk to Theresa (he seems to know her quite well).
  Theresa’s eyes show annoyance, hatred and alarm at the intrusion.
  The stranger sweeps Theresa off into a nearby corner, and a heated discussion begins. Theresa
  remains icily cold, while the stranger seems confident and threatening.
  If the player character sneaks closer, he will hear that Morton is threatening foreclosure on
  Theresa’s family’s debts unless she should marry him. She replies with a cold fury, saying that he
  is lucky that she has no brothers to avenge such an insult. Morton laughs aloud, and grabs
  Theresa, and tells her that she has no choice - she must answer him now or face the consequences.
  The player character should now step in and stop Morton from hurting Theresa. Morton will
  then try to provoke a duel. If he succeeds, or if the player character provokes one himself, Morton
  will dismask himself, and turn angrily to the weeping Theresa:
  “It seems you have attracted this fools affections, my dear. I will kill me this idiot, and then we shall return to
  our business!”
  
  169
  THE DUEL
  Morton Fitz-Clarion will storm outside (the duel is to be settled immediately out in the
  mansion grounds). Theresa will beg her masked benefactor not to fight: Fitz-Clarion is one of the
  most renowned blades in the city! This is possibly a good time for the player to dumbfound
  Theresa by having his character remove his mask.
  Theresa will follow the character and inform him of Fitz-Clarion’s weak leg (see page 165.) This
  is the only way the player character will stand a chance.
  The combat is now fought in the normal way, going to the death, or until one party is too
  wounded to continue (a wounded character may cry “enough!” upon taking a hit, ending the
  combat there and then at a cost of +1 to his Self Image). Killing Fitz-Clarion is a better solution to
  the problem than merely defeating him, since leaving him alive will earn the character a mortal
  enemy. Once the combat is over, Theresa will rush to the player character’s side.
  Theresa will gain 1 or 2 tie points with her benefactor, no matter how the combat turns out. It
  has been a long time since anyone offered Theresa affection or loyalty....
  Unfortunately, Theresa’s father (also at the party) has recognized the player character. He
  appears from out of the crowd (hobbling on a cane) and drags Theresa from the player character’s
  side. The player character will gain one last despairing look from her eyes before she is dragged from
  his sight. He should immediately roll for tie experience increase.
  THE AFTERMATH
  The character’s Self Image will gain an extra -1 for each level of tie that Theresa gained with
  the player character. The character may then make experience rolls for all skills used during the
  scenario.
  So what happens now? Well, Theresa is forbidden to see her new paramour, and so she
  languishes in her family’s heavily guarded mansion. In order to see her and declare his love, the
  player character will have to sneak in at night past the guards, scaling the walls and up onto her
  balcony in the moonlight. The pair of lovers are just going to have to see what happens from there.
  Meanwhile, there is a strong possibility that Fitz-Clarion is still out there somewhere planning
  both the lovers’ dooms.
  This should be enough for any Referee to go on. Good luck!
  NOTES ON SIMULATING GAMBLING
  Gambling can be done by matching dice rolls of one gambler vs. another, or by playing a real
  game of cards with the more skilled characters being allowed free draws or special powers. Make
  sure that you use simulated coins, which will give your game a better feel.
  Another alternative is to devise a simple game using LACE & STEEL’s combat cards. For
  instance, characters could draw a hand of cards of a number equal to their new draw rating, +1 for
  every 2 points (or part thereof) by which their Reason score exceeds 12. Each player can then
  discard cards equal to his gambling skill (one at a time until their limit is reached). Both players
  would then bet on their hand (a minimum bet of 1 silver) and the player with the highest
  numerical total of cards in his hand would win the pass.
  THE COMBAT
  This section introduces the
  player to melee combat rules of Lace
  Steel. Carefully read through the
  combat rules from page 52
  onwards, and make sure everyone
  involved in the combat understands
  the card game!
  
  170
  FAIRIES
  Though gifted with near Godlike
  powers and capricious
  imaginations, fairies are tightly
  bound by their own laws and
  restraints.
  - Fairies are always held by their
  word -  to the letter. They will
  exploit any loopholes or unspoken
  clauses if they can.
  - Fairies may never freely give.
  They must always bargain or barter
  favor for favor.
  - No Fairy gift is ever completely
  without “side effects.” For every
  good thing a fairy gift can do, it will
  have a corresponding bad effect.
  Thus fairy gold fades to dust in the
  sunlight, or an ever full purse will
  actually teleport in money from
  someone else’s pocket.
  Punishment: Fairy honor
  requires them to retaliate against any
  slight. Fairy humour requires any
  punishment to be cruel and apt.
  STOCK INCIDENTS
  Running an ongoing role-playing campaign can be a very difficult proposition. One of the
  major problems that most Referees have with running a campaign is conceiving of the dozens of
  minor incidents which should pad out their player’s day to day existences.
  The following pages provide notes and comments on a variety of situations that an
  innovative Referee can rapidly expand into an brief, entertaining scenario.
  FAIRY MUSIC
  Characters walking through a secluded area of wildlands hear the sound of music wafting on
  the evening air. If the sounds are followed, the characters will come to the edge of a clearing or circle
  of fungi in which a party of strange Fairies are energetically dancing to the music played by a Fairy
  band.
  Characters should make sneak rolls. If the rolls are failed, then the Fairies will be disturbed by
  the characters blundering in upon them, and will shriek with outrage and disappear. The
  characters will suffer some sort of malicious curse - such as being made to speak backwards for 30
  days or being teleported 100 miles away!
  If the characters make their sneak rolls, then the music will stop and the Fairies will greet their
  watchers courteously. They will ask the characters their opinion of the music (beware their ire if
  you criticize it! You would be required to play beside them without pause for a week!). The
  characters will then be invited to dance.
  Agreeing to dance with the Fairies is a mistake. Once a character starts to dance, they cannot
  stop as long as the music plays, and they will dance far past the point of exhaustion. At the end of
  the dance, some days will have passed and the characters will be miles away, footsore and sick
  with exhaustion. Roll the character’s Dexterity vs. 10. If the roll failed, then the Fairies take pity on
  such a clumsy dancer and put a spell on his or her feet. For a year and a day, the character will
  always dance whenever it hears music. All characters who danced with the Fairies may roll for
  experience in dancing skill.
  If the characters refuse to dance with the Fairies, they must come up with a glib reason (“Oh
  we cannot possibly match such artistry - we shall just watch and admire your skill!”). Flattery
  might earn the characters a skin of potent Fairy wine, or the gift of Fairy dancing shoes (which
  allow a character to dance without incurring fatigue whenever they are worn).
  THE FAIRY MARKET
  Once every year a market is held at a clearing in an enchanted forest. Halflings, Fairies and
  normal folk all come to set up booths and display their wares. The ingredients for all manner of
  potions will be found at bargain prices, as will all manner of magical apparatus and curiosities.
  Mountebanks and charlatans come to cry the benefits of their powders and salves, and performers
  come to demonstrate their skills. Many powerful magicians come to the fair dressed incognito,
  consulting with friends and cautiously greeting enemies (a truce is held for the duration of the fair).
  It is the most colorful market in the kingdom.
  The fair is a golden opportunity for impoverished characters to try to make a few groats.
  Characters could try to sell food or trinkets (baking pies or casting fake amulets), and can be kept
  busy paying booth fees, spying on competitors, and coming up with imaginative ways of
  hawking their wares.
  Since local magicians all come to the fair, their houses are therefore left attended. The party
  might be approached by an unscrupulous trader who will tell them that he will pay top rates for
  any items of interest pilfered from such places....
  
  171
  SOMETHING NASTY IN THE WOODPILE
  The characters take shelter in a house on a rainy autumn night, and the temperature begins to
  drop. Anyone who goes near the huge woodpile which lies stacked under the eaves of the house
  feels sick and faint, so gathering wood for the fire is a problem.
  The problem is caused by a little Basilisk, who has curled up into the woodpile to hibernate.
  His venomous breath hangs in a cloud around the region of the woodpile, and makes it impossible
  to approach. He could probably be chased out of the woodpile by making a great deal of noise -
  although hammering on the woodpile will only make him burrow further towards the middle in
  order to escape the racket.
  If the characters gather wood from elsewhere (which is difficult in the rain), the basilisk will feel
  the lovely heat, and come indoors through a knothole....
  A QUESTION OF WARNETS
  Upon camping for the night, small items of equipment begin to go missing from the
  characters’ supplies (this can be done in combination with players being taken aside for private
  chats with the Referee, to generate an atmosphere of suspicion and mistrust between the
  characters). Swiped items include shiny objects, sewing needles, powder charges and tinder boxes.
  Upon sitting back to contemplate the night sky, an intuitive character will get the feeling that
  he is being watched...
  “Ah, just look at those stars - they’re like thousands of tiny little eyes”
  “- Harry...  “
  “Yes Robert?”
  “- Those are thousands of tiny little eyes... ”
  The party is the victim of a nearby hive of warnets, who have been attracted by the fire and
  have come to look for items of interest. The morning will reveal the blighters nest, which is now
  stuffed full of minor items of value.
  Getting angry is only going to get the characters stung. Warnets can be traded with (they like
  sugar, overripe fruit, needles and thread, scalpel blades etc), and this is a good means of getting back
  the items which the warnets found least useful.
  If the party trades with the warnets, they might also be given a coin of great antiquity. The
  warnets have picked this up from a hidden ruin which contains a magical or haunted garden
  (which they regularly visit to collect fruits and nectar). Following warnet nectar gathering parties
  will lead the party to the ruin.
  If there was an old torture chamber underneath the old buildings, then the warnets might lead
  the characters to rack and ruin....
  
  172
  CATCHING DINNER
  The party of characters catches sight of a low tunnel forged through the brush or brambles.
  Some sort of fresh looking dung lies on the ground nearby.
  The tunnel is a “pig run” - a pathway forged by a wild boar. The party can be lead up the path
  by tracks, and terrified by rustling noises and heavy breathing in the bushes.
  The episode can end with the quarry revealed as being a tiny piglet. This piglet might lead the
  players back to its mother, or it might run across thin ice - whatever seems to be necessary to
  make the episode fun or alarming.
  FOOD AND LODGINGS
  Getting decent food and lodgings at an inn can be made a problem in itself. This can be done in
  any one of several different ways:
  AN UNSCRUPULOUS HOST
  The innkeeper can be an unscrupulous man. He might notice that the player characters have
  more money than seems good for them, and make a few “mistakes” at tallying up their tab. This
  will be facilitated by offering the party a lot of drink, so that they lose any track of what they have
  actually ordered. Tavern girls might also offer to provide certain extracurricular favors, and take the
  opportunity to rifle the player characters’ purses in their sleep.
  LACK OF ROOM OR FOOD
  The player characters find that the one and only inn is fully occupied, and that the only food
  they can be offered is extremely poor fare. By talking to a rude and obnoxious guest, who has hired
  a private room and ordered a sumptuous dinner, the guests find out that they can expect no service
  tonight.
  The players might decide to draw away the obnoxious guest through a ruse, and then take
  charge of both his dinner and his room.
  
  173
  THE HAUNTED RUIN
  A ruined castle offers the only hope of shelter at night. The crumbling ruins are overgrown
  with hawthom and whins (thorns), and the wind howls eerily through the broken stones.
  Pick a character who has a turn at guard duty in the wee hours of the night, and take the
  character’s player aside. Tell the player that he or she can see a figure moving through the ruins, or
  that they can hear music, or any other tale which suggests itself. Return the player to the group,
  and watch the fun.
  The problem is that only the one selected player will ever see/hear anything out In the ruins. If
  he or she keeps waking up the others, they will become stroppy in short measure. The selected
  victim will keep having visions until someone else takes over guard duty.
  If the victim goes to sleep, it will suffer from vivid dreams (a corpse stooping over their bed, an
  evil presence drawing nearer, or a sad eyed girl watching him from the battlements). This should
  keep the party awake for the rest of the night
  The haunting can be terrifying or enchanting - the victim might see and hear echoes of
  haunting beauty rather than something blood curdling. The nights events might have
  repercussions on the following day, since they might induce searches of the rubble, desecration of
  mouldy old graves or the finding of odd artifacts.
  INJUSTICE
  Upon entering a village, the characters encounter the friend or relative of a person who is to be
  executed in the village square on the following morn. It will be revealed that the accused is actually
  innocent of any crime, but is the victim of a cruel and ambitious local magnate who he has had
  the misfortune to cross (e.g.. An old man has denied the local squire free access to his young
  daughter).
  The object should be to stimulate the players into taking some sort of action, or into making a
  conscious decision to walk away and leave the situation alone. This should provide fuel for Self
  Image change, friendships and enmities with very little strain on the Referee’s imagination.
  OLD FOUR-AT-A-GULP
  The player characters are walking along an isolated road towards evening when they come
  across a gallows, from which swings four corpses. Sitting at the foot of the gallows is a gaunt
  young man, who carries a long stick.
  The man introduces himself as “Scavenger William”. He declares his profession to be a simple
  one. He waits at the foot of a gallows until its occupants drop to the ground of their own accord.
  He then claims their clothes and accoutrements. He will agree that his profession is unusual, but
  will point out that there is little competition, and that he has ample time for relaxation and
  contemplation.
  Scavenger William informs the party that the gallows is called “four-at-a-gulp”, since it always
  claims its victims in batches of four. He proceeds to describe each of the felons currently dangling
  from the engine, their personality, their crimes and their capture. If his audience seems willing, he
  will begin to regale the party with his knowledge of when the corpses will drop, prodding the
  corpses with his stick to emphasize his points:
  “Look you at this fellow now, sir: The characteristic stretching of the vertebrae and the
  greenness of the flesh usually indicates a ripe plum which will drop sometime on the morrow!”
  Scavenger William could be a bandit who seeks to spy out the parties goods, and detain them
  long enough so that they must continue along the road in the dark. On the other hand, he could
  just be a disturbingly ghoulish encounter who can light up an otherwise boring day..
  
  174
  BIOGRAPHY
  ABOUT THE AUTHOR
  Name: Paul Kidd
  Occupation: Games Designer
  Favorite movie: The Scarlet Pimpernel (1980’s version with Anthony Andrews
  and Jane Seymore. Yeah!)
  Preferred weapon: Left handed swept-hilt rapier
  Paul Kidd is one of Australia’s best selling fantasy authors, with novels in print
  throughout the USA, UK and Germany. He is also one of Australia’s top selling
  comicbook and computer games authors. Paul also writes scripts for animation and TV comedy.
  An avid role playing gamer and wargamer, Paul is forever designing games of all shapes and kinds. He now has 3 RPG games to
  his credit, plus a growing repertoire of board games and wargames rules.
  Paul has a long series of excuses for his preoccupation with swashbuckling. The distant descendant of a famous seafaring
  personality, he has a rather unfortunate hang-up on swords. An epee fencer, he also has extensive experience in foil, sabre, kendo,
  SCA and various silly martial arts weapons. As an impressionable youth, he joined the Royal Australian Army Reserve, enlisting
  with the 4/19th Prince of Wales Light Horse (Hussars), partially to play with things that go boom, and partly for the pleasure of
  being able to claim that he was the finest swordsman in the regiment (actually - the only swordsman in the regiment).
  Eventually the medication took hold and he left.
  ABOUT THE ARTIST
  Name: Donna Barr
  Nationality: American
  Occupation: Artist
  Preferred weapon: Short magazine Lee-Enfield.303.
  Since l986,  Donna Barr has been a constant, energetic and respected presence in
  drawn-book publishing.  Her award-winning, critically acclaimed THE DESERT
  PEACH and STINZ enjoy a loyal, worldwide audience.
  THE DESERT PEACH is The Desert Fox’s Gay Brother, and is about Love, Honor, Death and Tea.   It does to World War Two
  what needs to be done.  STINZ is about a black centaur stallion — but really about all us two-leggers.  Both books have been
  recognized as masterful portrayals of the outsider’s view.  Her military themes are firmly supported by her own three-year service
  in the US Army.
  She has been called “charming and witty,” and is always ready to entertain.
  Donna lives in Bremerton, Washington, with her husband and army buddy, Dan, a gang of thoroughly spoiled cats, and
  “Tree,” Kitsap County’s grandest Deodar Fir.
  If you have trouble finding Donna’s excellent drawn books, you can order them from her web site at
  http://www.stinz.com/home/
  
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  Included for your enjoyment, Non-random Character Generation in Lace & Steel
  Copyright 1996 by Steffan O'Sullivan, included with permission.
  http://www.io.com/~sos/
  Lace & Steel is an awesome game of swashbuckling in a low-magic world much like earth.  I personally dislike random
  character generation systems, however, so the game is a little irritating in that sense.
  But take heart!  Those who dislike random character generation can still use Lace & Steel quite easily.  Use the following rules
  instead of the listed rules.
  P. 16: Rolling a Character
  Stage One: unchanged.
  Stage Two: Instead of rolling for Strength, Dexterity, Endurance, Reason, Intuition, Drive, Charisma, and Magical Aptitude,
  players distribute 80 points among the eight characteristics as they please.  (For more cinematic games, the GM may increase this
  to 85 points or even more.)  There are only a few restrictions on how the points may be spent:
  • The minimum score for any characteristic is 5.
  • The maximum score for Magical Aptitude is 20.
  • The maximum score for any other characteristic is 15.
  Certain races have different maximums and minimums as follows:
  Pixies: Only 78 points to spend on characteristics.  Strength between 2 and 6, inclusive.  Dexterity and Intuition may be
  as high as 16.
  Satyrs: limits as listed.
  Modifications to Half-Horse characteristics are unchanged.
  Stage Three: unchanged.
  Stage Four: P. 30.  The GM will tell the players which Social Classes their characters may be from.  The players will then
  choose the Social Class they wish to play from this range.  Follow the skill rules exactly using this information.
  Other rules that need to be addressed:
  Experience points: unchanged.  Each player has (Reason+Drive) experience points at character creation to spend on either
  characteristics or skills.  Each five experience points spent on a characteristic raises it one level, as stated on p. 16.  Skills may be
  purchased as listed in the table on p. 32.
  Significators: allow the player to choose a card from the list as his/her character's significator.  If the card refers to a “bonus” or
  "slight" in a given characteristic, the character receives no actual bonus or penalty.  Instead, this simply means that any
  characteristic labelled as a bonus must be higher than ten, and any labelled as a slight must be lower than ten.  If the player
  doesn't wish to set the appropriate characteristic to these levels, he or she must choose a different card as significator.
  Note that the Significator chosen also has an effect on Disposition - see p. 44.
  Starting Tie/Antipathy Experience: instead of 2D3 as listed on p. 45, use four levels to distribute among starting ties.  The GM
  may vary this number, of course, granting each player five or even six levels of ties, for example.
  
SOURCE: textdata/thevault/Lace & Steel/Lace & Steel Corebook.pdf