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  Developed by: Jennifer Reynolds and Chuck Lauer 
  Layout and Formatting: Dana Brandt, Jennifer Reynolds 
  CD Cover: Dana Brandt and Leni 
  Cover Design: Leni 
  Character Sheet Design: Dana Brandt 
  Art: Kevin Bampton, Jerome Batali, Penny Bird,  
  Dana Brandt, Lillith Jakobs, Brandi Kincaid,  
  Melody LeBeau, Alex Morgan, Patrick Robenolt,  
  Christian Staedtler 
  Editors: Jennifer Reynolds, Dana Brandt, Chuck Lauer 
  Head Writer: Chuck Lauer 
  Writers: Chuck Lauer, Dana Brandt, Jennifer Reynolds 
  Consultants: Joshua Lyle and Kate Katsulas, Brian 
  Hughes, Ryan Smith 
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
  Insomnium Games would like to thank the following: 
   
  Playtesters: Matthew Ryder, Amy Rinck, John Rinck, Jess Upton, Willie West, Emma Taylor, Natalie James, Daniel Anderson, Mike “Xast” McCole, 
  Ibrahim Alahmad, Melody LeBeau, Patrick Robenolt, Stephen Wilds, Seychella, Jason Parker, Kate Katsulas, Dana Brandt, Feral, K. LaRoe and others. 
  You know who you are. 
   
  To the staff and friends of Visioncon, Conestoga, Archon, Gorilla Con, DieCon and SAGAcon.  
   
  A special thanks to Zachary Houghton for everything he has done with Games for G.I.s. 
   
  Finally, thanks to Mercedes Lackey, Larry Dixon, and Stephen Pagel for the advice and encouragement. Writing a game is a scary process; your warm 
  welcome and all the time you spent is much appreciated. We look forward to seeing you again soon. 
   
  Disclaimer: This game is a work of fiction. Any resemblance to any persons alive, dead, or in-between is purely the product of coincidence. Extreme 
  resemblance is in all likelihood the product of going off your meds, especially if you think that “in-between” is a legitimate category in the previous case. 
  Don't attack or kill people because you think they're supernatural. Your psychological issues do not give you magic powers. We do not condone or endorse 
  any of the activities that take place in this book, with the possible exceptions of eating, breathing and sleeping—and even those within the boundaries 
  dictated by physical and mental health professionals. This is a game, the product of nothing more than the twisted imaginations of a few people who 
  probably should have done something productive rather than putting this out. But we didn't, and we're trying to make this game entertaining. If you take 
  this as anything other than what it's intended to be—a work of fiction—you're not only totally misinterpreting the game, but also making it harder for 
  everyone else to have fun. Put down the books and dice until you get your head in the right place. Let's say that again. There are no supernatural creatures 
  as described in this book. Psychoses and neuroses do not grant magical powers. Do not hurt other people or yourself, or act in any way based on this work 
  of fiction. 
   
  It's sad that this next part needs to be said, but it does. There is no conspiracy to hide anything even remotely like this from the populace. The authors of 
  this are not bravely stepping forward with vital information cleverly disguised in the form of a roleplaying game. Not. Real. At all.  
   
  Reader discretion is strongly advised. 
   
  Find us online at http://insomniumgames.com for more about Insomnium Games and its products. 
   
  © 2006 Insomnium Games. All rights reserved. Reproduction without the written permission of the publisher is expressly forbidden, except for the 
  purposes of reviews, and for blank character sheets, which may be reproduced for personal use only. All characters, names, fictional places and text herein 
  are copyrighted by Insomnium Games.  
   
  The mention of or reference to any company or product in these pages is not a challenge to the trademark or copyright concerned. 
  1
  
   
  Insomnium Games Presents: 
   
  Abeo 
  A modern game of dark wonder. 
   
   
   
  Beautiful, deadly things are waiting for you. 
   
   
   
   
   
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  Introduction 
  The World of Fear and Wonder 
   
   
  The lever, the winch and the wheel are not the beginning and the end of the mechanisms 
  of creation; they are only the simplest solution. Society, industry and interaction are 
  poorly suited to deal with a world where cause and effect are not laws, but suggestions. In 
  Abeo, this stranger, more fluid world is the truer one. There are no rules when the dreams 
  we have with our eyes closed are just as real as the ones we share with them open. We are 
  encouraged to forget the fey lands of our most private hopes and fears, paying attention 
  instead to the monsters that lurk in alleyways, crackhouses, congress and corporate 
  boardrooms. There are rules for dealing with these horrors, and though we groan under 
  their weight, we can bear their finite power. 
   
  Unfortunately, there are monsters other than the mundane ones, and it doesn't take much 
  to see them. Today, a woman was found gruesomely murdered in a room locked from the 
  inside. Last week a man burst into flame in an enclosed office. There is no conspiracy to 
  hide these facts from the average man on the street; he does enough of the job himself. 
  Human torches and phantom murders just don't fit into the supremely defined cosmos of 
  his belief. 
   
  Belief in the absence of proof is faith. Belief in direct contradiction to proof is dangerous. 
  In Abeo, you play one of those remarkable people who have taken a mad step, removing 
  themselves from the danger of ignorance and placing themselves squarely in danger of 
  knowing entirely too much.  
   
  Reason defines the Phenomenal world, but emotion taps into the Noumenal world and 
  breaks it. Love does indeed conquer all, but so does hate. And fear. Fervor does more 
  than motivate, it directly affects the world, removing the veils of apathy and illusion; 
  fueling the ghost in the machine of causality. The vehement see that the world operates 
  by the rules of irony, poetry, and passion as much, if not more than it does by those of 
  gravity, electromagnetism, and the nuclear forces. It is only through a lateral shift in 
  perception that characters are able to do what they had previously thought impossible. 
  One must become insane to become free; to walk on water, you have to jump out of your 
  boat. 
   
  Characters in Abeo find themselves shuttling between a banal but safe world defined by 
  its objectivity and predictability, and a beautiful but deadly one bound only by Passion. 
  Faced with both Phenomenal and Noumenal challenges continuously, these individuals 
  often find themselves sliding into a particular kind of adaptive madness—a madness that 
  3
  
   
  simultaneously grants the character the power he needs to survive and drives him farther 
  away from the relationships and identity that he spent his life forming. These characters 
  are called Liminal in Abeo, and an endless number of other names within the world the 
  game defines. Those few who know enough to call them anything may understand them 
  to be sorcerers, angels, monsters, demons or simply family members slipping away, bit 
  by impossible bit. 
   
  Abeo is a game. While not real, it contains many of the elements of the world as we know 
  it. Or perhaps more accurately, as we think we know it. No longer able to content 
  themselves with sitcoms, political speeches, and student loan bills, they find themselves 
  thrust into a world where their every adversary is capable of breaking all the rules. 
  Maybe, if he survives, he will learn how to break them, too. 
   
  Role-Playing 
   
  Abeo is a role-playing game; part of a genre that is equal parts interpretive theater, 
  storytelling, and playing make-believe. In a role-playing game the players determine the 
  actions of the heroes of the story they—you—tell together. At least two players are 
  required to play, but four or five are ideal. One player is declared at the beginning as the 
  Narrator. The Narrator is responsible for everything from setting mood and theme to 
  determining the weather, to playing out every creature not controlled by one of the other 
  players. The other players all make characters of their own or choose from a list of pre-
  made ones. The player of a character is solely responsible for the actions that character 
  takes. The Narrator may declare, for example, that the characters find themselves locked 
  in a slowly flooding basement. The players then state the actions their characters take. 
  One may try to pick the lock while another looks for a window to break. The Narrator 
  then decides what solutions, if any, may solve the problem. 
   
  Of course, not everything that a character attempts will succeed. Individuals are all 
  differently skilled; one who is fully capable of taking care of himself in a bar fight may 
  be completely out of his depth in a political debate, whereas an intellectually oriented 
  character may have no clue how to react when Bruno the Bruiser comes after him with a 
  broken pool cue. Both the limitations and strengths of each character are recorded on his 
  character sheet, along with his vital statistics. More on the meaning and use of the values 
  found on the character sheet can be found in “Crisis System” (Page 79). 
   
  Chapter Breakdowns 
   
  This book is divided into eight main sections. Character Creation describes the process 
  by which a player creates a character for Abeo. Character Advancement explains the 
  process by which a character grows and changes—becoming more powerful or 
  dysfunctional over time. Possibly both. Crisis System gives all the details that a player or 
  Narrator needs to resolve conflict, mystery and challenges within the game. Magic 
  describes the ways that characters may use the forces of Passion and the unknown to 
  impact the world. This section also gives more detail on the differences between the 
  Noumenal and the Phenomenal—as well as the ways that these differences may affect 
  characters. Pathos gives you a list of innate powers to select from throughout the course 
  of the game. St. Augustine is a fully fleshed-out setting for characters to play in St. 
  Augustine, Florida, the oldest permanent European settlement in America. The Storyline 
  Revelations chapter should be kept off-limits to players—it's full of plot ideas, potential 
  challenges, conspiracies, and NPC stats. Lastly, Pre-Made Characters gives ten ready-to-
  play characters for players to immediately begin playing with.  
   
   
   
  Lexicon 
   
  Armor Resilience: How well armor stands up to abuse.  
   
   
  "Feelings are not supposed to 
  be logical. Dangerous is the 
  man who has rationalized his 
  emotions." 
  -David Borenstein 
   
   
  4
  
   
  Burnout: The act of temporarily lowering a character's Qualities in order to receive a 
  bonus to his roll. Burnout as a form of damage represents bruising and muscle strains that 
  are quick to heal.  
   
  Cascading Dice: The ability to "bump up" what die a character is using to increase the 
  character's range of performance. A higher die bought with Experience Points. 
  Consequences: Common side effects to having Pathos. Acquiring a Consequence with a 
  Pathos will lower the purchasing cost.  
  Creation Points (CPs): The amount of points a character has to allocate while making 
  their character. Starting characters begin with 150 of these points. 
  d4, d6, d8, d10: The abbreviation for the type of die used. A d4 is a four-sided die, a d6 a 
  six-sided, and so forth. 
  Defense Rating: The rating that measures how well a piece of armor protects a character.  
  Emotion: Points placed under a Passion to increase the Passion rating. For every ten 
  Emotion points in a particular Passion will increase it by one. Emotion points are what 
  many Liminals feed on. 
  Ethos: A combination of Logos and Pathos, where the user retains a semblance of 
  control over what they are attempting to accomplish through traditional forms of 
  spellcasting. In doing so, they end up with an effect that is more powerful than Logos, 
  while still being more predictable than Pathos. See Logos and Pathos. 
  Factors: Specific Quality traits used to further round out a character. They can be both 
  Positive and Negative and may grant modifiers in certain situations. 
  Fade: How distanced your character is from the Phenomenal world. The more 
  emotionally powerful a character becomes the more detached he is from the everyday 
  world. The more Fade a character has the less he is remembered by the average people 
  around him. See Noumenal. 
  Intensity: A level of emotional instability. The higher a character's rating in a particular 
  Passion the higher his Intensity in that Passion. Used without reference to a particular 
  Passion, Intensity refers to the rating of the character's highest Passion. 
  Logos: The subtle magic of the waking world, Logos relies on coincidence and faith for 
  proof of its existence. New Age crystal-wavers, Wiccan high priestesses and devout 
  Pentecostal Christians, among others, practice forms of it.  
  Mental Die: The die used when performing a task that uses Imagination, Perception, 
  Retention, and SES.  
  Noumenal: A way of looking at the world exclusive to those with Passion. This is also a 
  term for phenomena, creatures, and areas that can only be affected and perceived by those 
  with Passion. 
  Passions: The four stats that measure a character's emotional intensity. 
  Anguish: The pain felt when depression and total hopelessness sets in. 
  Dread: Paranoia, panic and fear of what is out there or of what may happen. 
  Fury: A deep, irrational anger, often in response to humiliation, retaliation and 
  loss. 
  Yearning: The desire and need to have something, whether that something is 
  revenge, acceptance or material possessions. 
  Pathos: Supernatural powers that are one of the results of Passion. 
  Peaking: Completing a task in a time one level above its type while assuming the player 
  rolled the highest number possible on the die used. 
  Phenomenal: The perspective, phenomena and creatures of the world as most understand 
  it: regular, ordered, and without clear supernatural influence. This is the only perspective 
  available to those without Passion. 
   
   
  "The world is a dangerous 
  place, not because of those who 
  do evil, but because of those 
  who look on and do nothing."
  -Albert Einstein 
   
   
  5
  
   
  Physical Die: The die used when performing a task that uses Agility, Resilience or 
  Strength. 
  Qualities: These ratings express a character's natural abilities and are separated into two 
  categories: Mental and Physical. Mental Qualities are Imagination, Perception and 
  Retention. Physical Qualities are Agility, Strength and Resilience.  
  Agility: A measure of a character's grace and speed. 
  Strength: The combination of brute force and the ability to wield it. 
  Imagination: How imaginative and creative a character is. 
  Perception: How aware the character is of his surroundings. 
  Resilience: Degree of physical exertion the character can withstand. Resilience 
  also measures a character's resistance to diseases. 
  Retention: Ability to memorize and recall information.  
  SES (Socioeconomic Status): A measure of a character's wealth, social adroitness and 
  status 
  Skill Categories: The measure of a character's broad understanding of a category of 
  information: “book knowledge” as distinct from “practical knowledge.” While a 
  character does not add them to Qualities or die rolls, Skill Categories do define the limits 
  of a character's practical knowledge. He can never have a rating in a Skill higher than his 
  rating in the Skill Category under which it falls. 
  Skills: A measure of a character's learned abilities, usually added to a Quality and the 
  result of a die roll to determine whether a character succeeds in a given task. 
  Target Number: A number a character has to match or exceed in order to successfully 
  perform an action. 
  Trauma: Damage taken from bullets, knives, fires and chemical burns, among other 
  things. This differs from Burnout in both its severity and the time it takes to heal a point 
  of it back. 
  Trappings: The game term for items required to perform rituals. Individual characters 
  may have a number of different terms for what these are actually called and are 
  encouraged to use those, examples include “tools,” “sacrifices,” and “spell components.”  
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
  "Everthing you meet, good or 
  bad, is literally a figment of 
  your thought patterns." 
  --Dolores Ashcroft-Norwick 
  Magical Use of Thought Form 
   
   
  6
  
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
  Chapter I: Character Creation 
  Dramatis Persona 
   
  All the myriad selves that I could have been grab at me while I sleep, pulling me down 
  deeper as I struggle to get to the surface. Cold, clammy hands tighten around my throat 
  while I beg for mercy from all around me. That's when I wake up with my hands wrapped 
  around my own neck. Lately I've been leaving bruises; it won't be much longer now.  
   
   
  The character is the means by which a player acts upon the events of the story's world. 
  When playing a character, the player temporarily leaves behind his own motivations and 
  personality to assume a different role in order to explore the themes and situations the 
  Narrator creates. A player determines everything a character does, from what shoes he 
  wears to what he says. 
   
  A player creates a character by imagining a concept that he would like to play, then 
  spending Creation Points (CPs) to describe and flesh out that concept's weaknesses and 
  strengths. Starting characters are created with 150 points, divided among Qualities, 
  Cascading Dice, Skills, Passion, and Pathos.  
   
  Though he may be skillfully designed, balanced and well played, a character without a 
  concept is a soulless, unsatisfying thing to play. Decide on your character's main 
  motivation. Is he devoted to his family, his job, his country? Himself? What makes him 
  tick? What is his Passion? Don't assign any point values yet, but think about it. Is he a 
  corporate climber with little regard for the well being of others? Yearning. Is he afraid of 
  snakes? Heights? Being burned alive? Embarrassment? Dread. Does he have a secret 
  that's eating him alive? A child he put up for adoption years ago that still haunts his 
  memories? A quiet affair that went horribly wrong? Anguish. Think of how this 
  character's daily life is affected by his Passion. 
   
  Players in Abeo also have to balance convincingly playing an unbalanced character and 
  the needs of the game. While people who have stepped off of the edge of reason are 
  fascinating and rich individuals to play, players should keep in mind their limitations. If 
  your character is Yearning-centered and obsessed with money, what's keeping him from 
  stealing everything that isn't nailed down? Something should keep the game from 
  devolving into an endless series of minor robberies; unless that's what you're going for, of 
  course. Anguished characters are depressed, true, but something is keeping them alive. 
  What is it? Think about not only your character's fixations, but the limits of those 
  obsessions as well.  
  Next, move into the details: is your character a Vietnam veteran? A tortured elementary 
  school teacher? Is he tall? Fat? Does he stutter? What colors does he wear? Does he have 
  7
  
   
  a family? Children? Does he like his job? Is he tidy, messy or in-between? Does he skip 
  showers or wear a certain perfume or cologne? Does he have any hobbies? 
   
  Following is a list of questions to help you flesh out your character idea. 
   
  General  
   
  1. What is your character's name? Does he have any nicknames he likes or dislikes? Is he 
  married, divorced or widowed? 
   
  2. Where did he grow up? Was he smothered with attention (whether he liked it or not) or 
  was he regularly left all alone? 
   
  3. What are his fondest memories of growing up? What scars may remain? 
   
  4. Does he look like he works outdoors or does he dress to kill? Is there a thick or 
  lingering accent from another region or country?  
   
  Relationships 
   
  1. What sort of relationship does he have with his living family members (or ones that 
  have died or vanished for that matter)? Has he been adopted? Does he know who his real 
  parents are?  
   
  2. Does he go to family reunions or spend the holidays with them? Does he still live, or 
  keep in close contact, with certain members of his family?  
   
  3. Is he particularly protective toward a friend or family member? Has he taken charge of 
  caring for someone? How do they feel about him doing so? 
   
  4. Does he have anyone he would consider an enemy? A prejudice toward a certain group 
  of people, a vendetta against another family (or his own) or someone he believes is out to 
  actively ruin his life? 
   
  5. Are his friendships few and far between or made with everyone he meets? Does he 
  enjoy socializing or see it as an unbearable necessity? 
   
   
   
  Home and Finances 
   
  1. What does he do for a living? Does he enjoy or despise the work? Is it what he 
  expected to do with his life?  
   
  2. How does he get along with his co-workers? Does he hang out with any of them 
  outside of work? Do they secretly dislike him, or is he paranoid about whether they 
  actually do? 
   
  3. Does he own anything he particularly cherishes? A pet, a family heirloom, a gift he 
  was given by his first love? Does he collect newspaper clippings or dumpster dive for 
  parts needed for his inventions?  
   
  4. Where does he live? How nice is the area? Do police regularly make arrests or have 
  gangs fully taken over? What is his relationship with his landlord and/or neighbors? 
   
  5. Is his house a mess? Does he have any roommates? Is it devoid of any belongings or 
  filled with clutter because of himself or others? 
   
   
   
   
  “Every author begins with a 
  character sketch. The biggest 
  mistake new writers make here 
  is in fetishizing the sketch and 
  refusing to evolve beyond that 
  point in their conception of the 
  people that populate their 
  stories.They forget that the 
  paper is not the whole of the 
  character. A pyramid's shape 
  projected onto a sheet of paper 
  is not the pyramid, though it 
  describes its limitations and 
  dimensions. Similarly, no 
  synopsis of a character is the 
  whole person, though it may 
  telegraph that character's 
  history and talents." 
  -Dan Morgan  
  Author's Weekly December 
  18th, 2004 
   
  8
  
   
  Mannerisms 
   
  1. What phrases, gestures or habits does he have? Examples: buying a lottery ticket every 
  Friday night, ending sentences with "you know?" or playing with his wedding ring when 
  nervous (or flirting with someone other than his spouse). 
   
  2. What is his personality like? Is he trustworthy? Does he fly off the handle or become 
  quiet when frustrated? Is he bullheaded or willing to change his mind at the drop of a hat? 
   
  3. Abeo is a very emotion-centered game; while you may not have points in a specific 
  Passion, it is assumed that your character still has fears, desires, dislikes and frustrations. 
  What are they? Does he love painting or become upset over hearing about plight of third 
  world workers? Does he always leave at least one light in his house on? Does he loathe 
  drug dealers? 
   
  4. When approached with a problem, is he more physical or does he try to think his way 
  around it? Does he actively try to intimidate others: physically, socially or financially? 
   
  Beliefs 
   
  1. What superstitions, if any, does the character have? How strongly does he believe 
  these superstitions work? What caused him to believe and practice them in the first place? 
   
  2. Does the character practice any religion? Why does he believe in this religion above 
  any other? Is it because of his family or because it was the prominent religion in the area 
  he grew up?  
   
  3. How devout is he? Does he try to convert others? Is his faith obvious or does it take a 
  while for someone to notice it? 
   
  4. What unexplainable events has the character come across in his life? How has he 
  reacted to them? How has he attempted to explain them away? 
   
  5. What unexplainable things does he believe in, or want to believe are real? Is he a 
  pessimist who wishes magic existed, or fanatical about uncovering a government 
  conspiracy? 
   
   
  After you have a clear idea of your character in mind, spend the 150 CPs in a way that 
  reflects your core concept. Qualities represent a character's raw ability: Strength, Agility, 
  Resilience, Imagination, Retention, Perception, and Socioeconomic Status.  
   
  Cascading Dice determine a character's range of performance. Skill Categories and Skills 
  represent a character's training and talent in specific areas. A character's Passion denotes 
  how far he has gone down the paths of insanity, his disconnect with the Phenomenal, and 
  his power within and over the Noumenal. 
   
  Examples of Groups 
   
  A group is the easiest way to get several players to interact with one another. By 
  considering the players and the Narrator's storyline, a group can be formed for any 
  number of reasons: survival, out of coincidence, for the accumulation of wealth, or 
  collaboration toward a common goal. Liminals are not the only threat to someone with 
  Intensity. Psychiatric wards, fanatics, political manipulations, and even family members 
  might endanger a group.  
   
  Liminals, by their very nature, become beings consumed by Passion, feasting on the 
  suffering of others. Family members, friends, and confidantes are all vulnerable to the 
   
   
  "I do not envy people who think 
  they have a complete 
  explanation of the world for the 
  simple reason that they are 
  obviously wrong." 
  Salman Rushdie 
   
   
  9
  
   
  depredations of creatures more powerful than the characters. Often used as pawns or 
  unwitting buffets for high-Intensity Liminals, many eventually end up as casualties, or 
  perhaps worse, enemies of the character. In the mind of characters, at least at the 
  beginning, that is exactly what Liminals consumed by Passion have become: creatures. 
  This sort of mentality leads to further complications among characters. A botched attempt 
  to destroy a target may not only endanger the group, but all those that they associate with. 
  If a character has not Faded completely himself, the law may still apply. Mistakenly 
  attacking the wrong person, or being caught in the act, will easily cast suspicion upon a 
  character and his allies. Liminals, for all their power, can't be everywhere at the same 
  time, and everywhere a character isn't looking is a place for danger to form. 
   
  Characters can never fully trust one another; Passion twists the psyche, virtues turn to 
  vices, and purpose may soon fall to hunger. This amorality easily builds up the Emotions 
  that in turn build Passion, and has been known to completely draw Liminals into Fade. 
  For this reason, many groups will fall upon one another long before they have a chance to 
  fall to outside threats. 
   
  These groups tend to be created among individuals out of necessity and circumstance, 
  more than desire. Many are aware that at least some Liminals were, at one time, human. 
  The ability to recognize and retaliate against such creatures, or other humans, in a manner 
  beyond the Phenomenal is essential to survival. Ad-hoc groups rarely form because of 
  compatible ideologies. Familiarity breeds contempt, and Liminal battles born from a 
  common need for survival often burns hotter, and centuries longer, than merely animal 
  fights for territory. 
   
  People   relate   to   one   another  differently  depending  on  their  Intensity  and  their 
  nderstanding, or interpretation, of the Phenomenal and the Noumenal. These are typically 
  divided into those with Intensity one through four and individuals who are Fading away. 
  Those with Intensity three are not necessarily aware of Noumenal feedings or able to 
  relate to a Liminal that has reached Intensity ten and feeds upon the emotional mass of 
  those he once knew. For the purpose of simplicity, Faded characters may be merged with 
  the five and above groups. 
   
  Hunters  
   
  Hunters tend to be very physical in nature, acting on the Passion that consumes them 
  most. Paranoia, vengeance, greed, and pity are all common drives; a hunter will often tell 
  himself anything to justify his actions. Due to their determination and necessary isolation, 
  hunters have a hard time with reliable funds, contacts, or even solid allies. Paranoia and 
  foresight force prudent hunters to either drift from through cities they hunt or bunker 
  down in their own neighborhoods, effectively cutting most human ties. 
   
  Murder is often regarded as a crime of Passion, and rightfully so. Soon as a character 
  starts taking life without remorse, the line between those that feed and those merely 
  staking out turf becomes blurred. Once violence is an option, it becomes progressively 
  easier to justify and rationalize its use. Friends and loved ones can no longer be trusted; 
  what happens when a character tells his wife that he was out killing the neighbor, or 
  worse? Putting up a barrier between their Phenomenal existence and Noumenal habits 
  causes a paradox that few can escape, or realize, until they themselves become the 
  hunted. Destroying another Liminal that has Faded often leaves no traces of the crime 
  and makes the world an arguably better place, but at what personal cost to the character? 
   
  Researchers  
   
  Researchers are often bands of intellectuals who try to decipher the Passions that form the 
  pillars of Liminal society, such as it is (or often isn't). Many researchers become blinded 
  to the consequences of their actions, attempting to define and isolate the Intensity they 
  feel, as well as its effects. Researchers must be particularly careful to avoid Fade, as they 
   
   
  "All that we see or seem 
  Is but a dream within a dream" 
  -Edgar Allen Poe 
   
   
  10
  
   
  may find their research suddenly missing, incomplete, or in laboratories to which they 
  have lost access. More often than not, a researcher will unwittingly develop the very 
  symptoms he is studying or trying to define. 
   
  Science is a jealous god, and is no more merciful when it refuses to follow rules. Driven 
  to the edge by their lack of conclusions, researchers have been known to conduct tests on 
  friends, family, and innocent passersby for no reason other than a character's driving need 
  for results. Researchers are notorious for gambling with innocent  people  to  better  cope  
  with  their  instability,  while  justifying  their  role as  
  puppeteer with vague references to a “better tomorrow.” Some bypass even the most 
  vestigial remains of their ethics without a second glance, quickly coming to refer to once-
  loved ones by serial numbers.  
   
  Cults  
   
  If God is with us, who then can stand against us? The absolute certainty of the zealot 
  blends dangerously easily with the unthinking zeal of the Liminal. Human society has 
  long dealt with the unknown by painting it in religious tones. If one scratches the surface 
  of even the most jaded New Yorker, there might be a frightened, barely civilized soul 
  debasing himself before a god he barely understands in order to gain protection from a 
  more immediate threat. Cults, with all of their attendant problems (authoritarian features, 
  the potential for violence, groupthink, and control) are probably the most common form 
  of Liminal group. They can take the form of secret societies, organizations within 
  mainstream religions, small congregations of heretics, magical working groups, or 
  whackjob millionaires who believe that one can reach godhood by overcoming past-life 
  memories of invasion by extraterrestrials. 
   
  Search and Rescue Groups  
   
  Probably the most rounded group, search and rescue teams have to be prepared for a 
  variety of situations. These groups seem to go out of their way to find any other Liminals 
  that share a connection with them. Many have forced other members into their midst 
  without regard for the true nature of those they encounter. Drawing in the lost and ailing, 
  characters often deny common sense and go to any extreme to save one another. Search 
  and rescue groups don't tend to survive long.  
  Aiding serial killers, kidnapping the institutionalized, even raiding installations for targets 
  they barely know, a search-and-rescue group operates on the instinct to survive and 
  rehabilitate. Nearly destroying themselves and those around them to complete an 
  objective, it is easy for these characters to fall prey to their own Passions. Resentment, 
  apathy, terror, and desire can lead to the misuse or destruction of those that relied on or 
  trusted a rescued character. When those the group protects are lost or prove beyond the 
  group's ability to control, how does it justify the cost?  
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
  "The imagination without 
  reason brings forth impossible 
  monsters. But joined to it is the 
  mother of the arts, and the 
  source of marvels."
  -Goya in Bordeaux 
   
   
  11
  
   
  Character Sheet Breakdown 
   
   
  Name: The name of the player. 
   
  Character: The name of the character.  
   
  Mental Die: The kind of Mental Die the character uses is 
  placed.  
   
  Initiative Base: The character's Initiative is his Agility 
  plus the Initiative 
  Skill 
  (if 
  purchased).  
   
  Mental 
  Qualities: 
  Imagination, 
  Perception 
  and 
  Retention are all 
  found here. The 
  lower boxes are 
  for Burnout. 
   
  Liminal 
  Appearance: 
  How 
  the 
  character 
  is 
  perceived 
  Noumenally. 
  Once there are 
  Liminal 
  peculiarities they 
  will be placed 
  here.  
   
  Consequences: 
  Any 
  Consequences a 
  character 
  receives.  
   
  Skills: Write in 
  each 
  Skill 
  Category 
  with 
  the 
  applicable 
  Skills in each of 
  these 
  boxes. 
  Make sure each Skill Category has its own set.  
   
   
   
  S.E.S.: The character's Socioeconomic Status.  
   
  Factors: This area gives room for Mental, S.E.S. and 
  Physical Factors.  
   
  Intensity: The rating showing how Intense a character 
  is. Intensity is equal to the rating of the highest Passion.  
   
  Experience: List how 
  much Experience has 
  been acquired for the 
  character 
  here. 
  Keeping track of how 
  much Experience has 
  been received in total 
  and how much has 
  been 
  spent 
  is 
  encouraged. 
   
  Session: The name of 
  the story this character 
  is a part of.  
   
  Physical 
  Qualities: 
  Agility, 
  Resilience 
  and Strength are listed 
  here. The grey boxes 
  below each are for 
  Burnout and Trauma.  
   
  Physical Die: List the 
  die that is used for 
  Physical actions here.  
   
  Natural 
  Defense: 
  Natural Defense is the 
  character's 
  Agility 
  plus Resilience. It is 
  listed here.  
   
  Magic: List Ethos, 
  Logos and Pathos that 
  the character has here.  
   
  Passions: The first set 
  of boxes is for the Passions themselves. The shaded 
  column is for the fluctuating Emotion ratings. 
   
   
   
   
   
   
   
   
  12
  
   
  Cascading Dice 
   
  Simply put, some people just have a greater range of performance than others. Some 
  people will forget their own names one day only to dazzle you with a brilliant insight into 
  quantum physics or human nature the next. They may not be especially bright, but they're 
  prone to “eureka” moments of which the others can only be jealous. This is a cascading 
  effect.  
   
  Players have the option of allocating points to "Cascading Dice." A character that has 
  purchased a Cascading Die rolls either a d8 or d10 instead of the usual d6 for Physical 
  tasks, Mental tasks or both. Cascading dice cost 20 points per level. Note that the Mental 
  Die and the Physical Die must be purchased separately. 
   
  Qualities 
   
  The Qualities are divided into two categories: Mental and Physical. The Mental Qualities 
  are Retention: the ability to remember and manipulate information, Imagination: the ability 
  to create ideas and to come up with innovative solutions to problems, and Perception: the 
  ability to notice and make sense of the world around them. 
   
  The Physical Qualities are Strength: the brute ability to lift, throw, jump, hit and push, 
  Resiliency: the capacity to persevere through strenuous activity, and Agility: the measure 
  of a character's speed and precision in movement.  
   
  Socioeconomic status is a special Quality. Abbreviated SES, it is a measure of the 
  amalgam of money, career, and friends that separates the "haves" from the "have-nots." It 
  determines everything from where and how you live to how many friends you have. SES 
  can be burned out like any other Quality, but recovers at a rate of one point per in-game 
  year, cannot be burned out through damage, and does not ever take Trauma. 
   
  Commonly accepted Qualities range from 1-6. Most people fit comfortably within the 1-6 
  range, with 3-4 being strictly average. Ones are the classic 98 pound weakling or woman 
  with all thumbs. Sixes are the truly remarkable; local celebrities at least, national figures 
  easily. Stephen Hawking would be rated at six in both Retention and Imagination. Six is, 
  quite simply, the absolute best a human being can achieve in either Qualities or Skills. 
  Anything higher than that is reserved for those supernaturally adept in a field of endeavor. 
  Either they're not people or they've made a deal with something inhuman.  
   
  On the other end of the scale, with an SES rating of one, an individual is dirt-poor, without 
  a home or even the money or credit rating to afford a soft drink. At six, a character is 
  almost incomprehensibly wealthy: A-list movie stars sometimes reach this level. While a 
  rating of seven or higher is theoretically possible, most people believe the stories regarding 
  the wealth of King Midas, Nicholas Flamel, and the king of El Dorado to be myths.  
   
  Decide what your character's Quality ratings should be. Each character begins with one 
  point in each Quality for free; Qualities cost five CPs each. 
   
  Quality Scale 
   
  Imagination 
   
  1. One is the bare minimum of Imagination someone can have and still be considered 
  human.  Characters with Imagination at this level are easy to recognize: they have entire 
  closets full of the same outfit, they listen to the same song on repeat for hours (if they 
  listen to music at all), and they lack the ability to make out even an original grocery list. 
  They may function in day-to-day life with repetitive, monotonous jobs. Anything that 
   
   
  "Dreaming permits each and 
  every one of us to be quietly 
  and safely insane every night of 
  our lives." 
  -William Demen 
   
   
  13
  
   
  requires creativity, problem solving abilities, or more personality than a wet cardboard 
  toilet paper roll is utterly beyond them.  
   
  2. This is the point of below average, but still serviceable, Imagination. At this level, 
  characters can function reasonably well most of the time. Their personalities, aesthetic 
  sense and social calendar are all the cookie-cutter average, if even that original. They've 
  never seen a movie that didn't have an actor or actress they recognized, and they have no 
  intention of ever doing so.  
   
  3. Three is the average person's Imagination. Characters with this level of Imagination 
  usually have hobbies, idiosyncrasies, and reasonably fleshed-out wardrobes. They've 
  occasionally done something crazy or different that no one else in a room has done, but at 
  the same time, they're unlikely to make waves. They may have seen one or two art house 
  flicks, or may read a book every couple of months or two. 
   
  4. Above-average, but not stunning; creative but not artistic people tend to fit at this level 
  of Imagination. The average member in a pack of coffee house Bohemians probably has an 
  imagination of four. These people often work in semi-creative endeavors: reporters, 
  advertising executives, politicians or local business owners. They begin to think out of the 
  box, but they still keep a foot inside, just in case. 
   
  5. An exceptional amount of Imagination; eccentric but small-time artists, actors, art 
  teachers, and college professors usually have at least this level of Imagination. The 
  character has probably read a book or two that no one else they know has read, may watch 
  art-house movies, and has one or two traits that make their less creative friends cringe. 
   
  6. Six is as creative as a person can get. When a character has this level of Imagination, it 
  becomes difficult for them to interact enjoyably with people on the bottom half of the 
  scale; they simply can't comprehend how someone wouldn't think of the things they do. 
  Nationally and internationally known writers, poets, actors, directors and other truly 
  exceptional artistic types tend to have Imaginations of six. 
   
  Perception 
   
  1. This is the lowest level of conscious Perception possible. The character may be blind, 
  deaf, or simply easily distracted, but he will fail to notice even the most obvious details, 
  events and objects. This type of person walks into walls (and traffic) if he's not careful. 
   
  2. Still below average, this is the lowest level of perception that a person can have and still 
  operate normally in the real world. Colloquially, he still lacks  
  the good sense to bring an umbrella with him out into the rain, and someone has to tap him 
  on the shoulder to get his attention. 
   
  3. The average person on the street will have a Perception at this level. He may still 
  occasionally miss details, but for the most part, he's pretty plugged into the world. Unless 
  someone is hiding from him, he'll know who's in a room, and if something is particularly 
  off, he'll probably notice. 
   
  4. This is the level of Perception at which a person starts to become exceptional. Not only 
  will he know who is in a room with him, he'll probably also notice if they've gotten a 
  haircut or are wearing a new perfume. They habitually process the world around them, and 
  even minor details begin to stand out if something's wrong. 
   
  5. Truly exceptionally Perceptive characters usually tend to gravitate toward particularly 
  detail-oriented fields; they make fantastic private investigators, musicians, computer 
  programmers, editors and police. Fives have a radar-like sense of their surroundings, with 
   
   
  "The interpretation of dreams 
  is the royal road to a 
  knowledge of the unconscious 
  activities of the mind.” 
  -Sigmund Freud 
   
   
  14
  
   
  every snapping twig, opening door and change in air pressure providing them clues to 
  what's happening. 
   
  6. At a Perception level of six, a character has a nearly supernatural awareness. Not only 
  will he notice the footprint in the soil in front of him, but also he'll be able to identify what 
  kind of shoe it came from. With high enough levels of Retention, he may even remember 
  that the bike messenger that nearly ran him over earlier in the day was wearing similar 
  shoes and was covered in mud. There are few mysteries that a character with a Perception 
  can't Sherlock into solution before lunch. 
   
  Retention 
   
  1. IQ: 84 and below. A character has to think before being able to tell someone what their 
  astrological sign is, if he ever knew what it was. While he can usually function, he’s slow 
  and usually has to look things up. In information- or education-intensive fields he usually 
  flounders and drowns. Formal logic is, if not impossible, prohibitively difficult. A=B and 
  B=C, but he still has the hardest time figuring out what else A equals. 
   
  2. IQ: 85-99. Still below average, the individuals at this level of Retention are, with 
  sufficient work, able to function normally in society. Though not particularly intelligent 
   by most definitions, he’s still able to remember important dates and facts, and is able to 
  synthesize information into other facts. Algebra and formal logic functions are difficult, 
  but not impossible.  
   
  3. IQ: 100-114. This is the average level of Retention. They're not spectacular, though at 
  this point, characters are able to put two and two together with reasonable facility. They 
  can read most instruction manuals and utilize them; and they rarely have to be walked 
  through the steps of a simple task twice. 
   
  4. IQ: 115-129. An individual at this level of Retention is bright, but not brilliant. He often 
  surprises those around him with insights or ideas that others wouldn't have considered. 
  Here a character easily understands information level with Boolean logic, and basic 
  statistical understanding comes intuitively.  
   
  5. IQ: 130-144. If a character at this level of Retention isn't a genius, he's pushing the 
  limits. Formal logic and most advanced mathematical concepts are easy for these 
  characters to understand. He’s occasionally prone to truly brilliant insights into whatever 
  he happens to be studying at the time. Characters will have difficulty carrying on a 
  meaningful conversation with an "average" person, as there's simply no possibility for an 
  exchange of ideas. They're skilled at generalizing data, and given half an opportunity, they 
  can usually teach themselves around the edges of virtually any field of study. This level of 
  Retention does not, however, mean the character is necessarily successful or driven. 
   
  6. IQ: 145-160+. To place this level of Retention in perspective, Einstein was considered 
  by some experts to "only" have an IQ of 160 (this is, of course an estimate; Einstein was 
  never formally tested). This is the level of the true genius. Others can only scratch their 
  heads in bewilderment at this kind of character's intelligence. These people are beyond 
  brilliant and well into the realm of incomprehensibility. They characters can analyze, 
  manipulate, and synthesize data easier than most can look it up on a computer. 
   
  Socioeconomic Status 
   
  SES is a special case; it can be burned, just like any other Quality, which in this case 
  represents liquidating assets, taking out loans or leaning on influential friends; but it 
  returns at a rate of one point of SES per in-game year, if the character doesn't burn out 
  again over the course of that year. The benefits gained from SES are always relative. In 
   
   
  "Man is the only creature that 
  refuses to be what he is."
  -Albert Camus 
   
   
  15
  
   
  large cities such as New York, Chicago or Boston, characters whose level of SES would 
  allow them to own a home in a smaller area will instead have larger, better-appointed 
  apartments. Similarly, characters with even a low SES in a small town are likely to know 
  at least one community mover and shaker, though such a contact's    utility     is    severely  
  limited by scale. The mayor of a town of 300, for example, would have less power than the 
  mayor of a metropolis of a million or more. Cost of living and wages also vary wildly from 
  location to location, and such differences, if important in your game, should be accounted 
  for. Consequently, all of the benefits and drawbacks associated with a particular level of 
  SES should be viewed as general guidelines, subject to change according to the needs of a 
  particular game or group, and always filtered through common sense. 
   
  Also note that each level's discretionary income represents a theoretical upper limit. 
  Characters at the referenced SES can spend that amount of money per week—to do so 
  regularly, however, is financial suicide. Characters who routinely spend up to their limit 
  should be required to burn out their SES or otherwise explain why they're blowing their 
  money so irresponsibly. A character's refinement is similarly dependent on how the player 
  makes his character behave. A character with a high SES who routinely assaults people at 
  a party or wolf whistles at passersby will still get responses appropriate to his actions. A 
  character that continuously acts in a situationally inappropriate manner should probably be 
  forced to take Burnout to his SES.  
   
  1. Poor: Nearly homeless, a character with an SES of one struggles from check to check or 
  job to job. Barely managing (and occasionally failing) to stay afloat, he probably has 
  roommates and more unpaid bills than paid ones. At this level the character works at a fast 
  food restaurant if he's lucky. He has a few unimportant people who'd be willing to give 
  him a ride someplace or bum him a cigarette. A character hovering at this level of SES 
  doesn't have enough disposable income to buy a small package of French fries without 
  cringing. Even with his employee discount. 
   
  Money: The character has access to no discretionary income. Any purchases that the 
  character makes must be made with money that he has gained in game. 
   
  Friends: The character knows no one of any importance, though some of his friends may 
  have a couch on which he can sleep a few times before totally alienating them. 
   
  Housing: The character almost certainly both lives with family members or roommates, 
  and has to deal with all of the attendant inconveniences. In all likelihood, he lives in an 
  apartment or squalid slum. The pipes are likely rusted, the roof might leak, and some of the 
  doors or windows might not open (or, for a little bit of security risk, shut). 
   
  Possessions: The character likely does not own a computer or any significant electronic 
  devices. He might own a TV and VCR. A DVD player is unlikely, but possible. He's lucky 
  if he has a landline—a cell phone is out of the question at this level. 
   
  Status/Refinement: The character is poor, and he looks poor. He acts poor, which is to say 
  without understanding of the social rules of a given situation. He might be loud, 
  contentiously opinionated or prone to causing a scene. He also might smell like 
  occasionally dirty laundry, have holes in his clothes, or have a dialect that tags him as 
  lacking money. 
   
  2. Lower Middle Class: A character at this level has finally managed to reach a point of 
  stability in his finances. He may work as a secretary or in retail or manufacturing work. 
  Alternately, he may be a small-time crook. The character has a few good friends who 
  usually manage to make ends meet. At this level and higher, taking time off of a job 
  becomes progressively more difficult, which may cause difficulty for characters in a game. 
   
   
   
  “Be careful what you pretend 
  to be because you are what you 
  pretend to be." 
  -Kurt Vonnegut 
   
   
  16
  
   
  Money: The character has access to as much as 75 dollars a week without burning out his 
  SES. 
  Friends: He might be a part of a small religious group, or have a few hunting buddies. In 
  dire straights, the character may be able to borrow as much as fifty dollars from his 
  friends.  
   
  Housing: The character may be able to live in a small apartment on his own, or in a very 
  small house. 
   
  Possessions: If the character has a car, it will be prone to breakdowns and will probably 
  have quite a few mechanical malfunctions (windows that don't open, doors that don't lock, 
  head- or dashboard lights burned out or missing). Keeping the car insured and gassed is an 
  almost constant worry for the character. He probably has an obsolete computer, and may 
  have a cell phone, though at this level he must pay attention to how much time he spends 
  talking on it. He probably has a TV, stereo and DVD player, though all are of poor quality. 
   
  Status/Refinement: A character at this level of SES is able to interact relatively smoothly 
  with most people. While he's not a community leader or role model, he manages to get by 
  without making too many people cringe. He's clean and usually knows when to be quiet.  
   
  3. Middle Class: A character at this level may be a supervisor, small business owner or 
  mid-level clerical worker. He has many acquaintances and could probably get a tow truck 
  in the middle of the night. At this level, a character could probably afford to spend three 
  hundred dollars a week without cutting the household budget too tightly. 
   
  Money: The character is able to spend as much as 300 dollars a week without burning out. 
   
  Friends: The character has quite a few friends, some of whom may be scattered in 
  different places across the country. He is probably able to, if necessary, borrow a couple 
  hundred dollars, though a loan from a bank would probably be less socially damaging.  
   
  Housing: The character may own a small home (though he probably still owes the bank 
  quite a bit for it). 
   
  Possessions: The character likely owns a reasonably reliable vehicle, an up-to-date 
  computer, a cell phone, well-stocked entertainment center, washing machine, dryer, and a 
  few assorted household gadgets (bread machine, ice-cream maker, etc.). He may even 
  drink bottled water instead of tap water and have a few status items, such as an SUV, 
  digital music player, or handheld computer. 
   
  Status/Refinement: The character is middle class; significant portions of Western culture 
  are devoted to the edification of people at approximately this level of SES. He is unlikely 
  to offend anyone, and while those at either extreme of the scale are likely to view him as 
  either uncouth or snobbish, such individuals are few, far-between, and unlikely to be 
  people with whom the character interacts much. 
   
  4. Upper Middle Class: A character at this level could be a doctor, local politician, lawyer, 
  or mid-size business owner. He has many acquaintances, and a few friends, some of whom 
  are somewhat influential. 
   
  Money: The character is now able to spend up to one thousand dollars a week on 
  nonessentials. 
   
  Friends: The character may play golf with a city council member, go to church with a 
  high-ranking member of the police force, or be in Christmas-card contact with a 
  congressman. He could probably approach his friends for a personal loan of a few 
   
   
  "I, a stranger and afraid in a 
  world I never made."
  -A.E. Housman 
   
   
  17
  
   
  thousand dollars, but at this point, having to ask for a personal loan from a friend is a bit 
  gauche.  
   
  Housing: The character probably owns a large home, and in all likelihood has part of a 
  timeshare. He almost certainly has a maid who cleans for him regularly, and possibly 
  someone that he keeps up with his yard work as well. 
   
  Possessions: The character either owns or can easily get most common items of practical 
  value. He almost certainly owns either a sports car or some other ostentatious symbol of 
  wealth. He's probably fairly adept at “keeping up with the Joneses” and may own a 
  collection (coins, paintings, pottery) of some value. 
   
  Status/Refinement: This is the point at which a character begins losing the ability to 
  meaningfully interact with those at the lower end of the spectrum. He may be perceived as 
  arrogant or condescending, but he is unlikely to cause any offense with his mannerisms, 
  conversation, or odor. 
   
  5. Rich: A character at this level of SES could be a big business CEO, a politician at the 
  national level, an in-demand medical specialist or a highly successful professional. 
  Characters  with  an  SES  of  six  have  a  staggering  number of acquaintances, and in a 
   pinch could probably affect statewide political processes. At this level, disposable income 
  jumps enormously.  
   
  Money: A character at this level can spend ten thousand dollars a week without feeling a 
  burn. 
   
  Friends: Getting a loan from a bank  and from a friend amount to essentially the same 
  thing. He may routinely have lunch with governors and the mayors of large cities, as well 
  as the occasional A-list celebrity. It is a relatively easy thing for the character to find out at 
  least a little about what's going on behind the scenes of any public scandal, and his opinion 
  may carry some weight with some of his politician friends. Of course, they're always 
  looking out for themselves as well, so any propositions that work against the interests of 
  the character's acquaintance, or even fail to directly help the acquaintance's goal, may be 
  rejected out of hand without some very skillful manipulation on the part of the character. 
   
  Housing: The character's house is probably more properly called an “estate.” He almost 
  certainly has a number of servants, a few of which probably live in his home. In extremely 
  large cities, a character of this level of SES may live in an extravagantly appointed 
  apartment building if he chooses to stay within the city. The Real Estate Positive Factor is 
  extremely common at this level, as characters at SES five almost always have a vacation 
  home. At this point, characters often have security staff patrolling their homes. 
   
  Possessions: If the character wants something, he has it, provided it's available for 
  purchase and doesn't cost more than a couple hundred thousand dollars. A player can 
  assume his character has any device in which his character would be interested, though 
  more exotic possessions, such as mass spectrometers or hydroelectric cars, depend entirely 
  upon how generous the Narrator is feeling. Still, even if a character doesn't already have 
  something at this level, odds are he can come up with some way of getting it.  
   
  Status/Refinement: A character at this level of SES almost never has trouble remembering 
  which fork to use, and can effortlessly blend in to almost any high-class function. His 
  considerable economic clout does come through in his interactions however, and, while 
  people may be eager to please and easy to manipulate for a character of this level, he can 
  still easily leave a bad taste in the mouth if he's not careful. 
   
  6. Unhappily Wealthy: This character doesn't really “work” in any normal sense unless he 
   
   
  "Crazy people who are 
  productive are geniuses. Crazy 
  people who are rich are 
  eccentric. Crazy people who 
  are neither productive nor rich 
  are just plain crazy. Geniuses 
  and crazy people are both out 
  in the middle of a deep ocean; 
  geniuses swim, crazy people 
  drown. Most of us are sitting 
  safely on the shore. Take a 
  chance and get your feet wet." 
  -Michael J. Gelb 
   
   
  18
  
   
  wants to. World-famous celebrities, members of an old money family, and hugely 
  successful entrepreneurs languish away at an SES of six. These characters don't so much 
  have acquaintances as servants, and they don't have as many friends as they do people who 
  owe them favors. Fairly large favors.  
  Money: At this level a character can spend one hundred thousand dollars a week or more. 
   
  Friends: While a character at this level may have friends, the acquaintance is to some 
  degree either sycophantic (with those of a significantly lower SES) or brittle and guarded 
  (with those of equal SES). When two characters of this level of SES come together, the 
  financially or politically impossible rapidly becomes possible, as the connections and 
  money implicit in the coming together of two such financial and social giants is world-
  shaking. Unfortunately, two such spheres of fortune and influence are certain to collide at 
  some point, and their interests will eventually put them at opposite ends of a deal. For this 
  reason, characters of this SES are guarded, often secretive individuals. 
   
  Housing: Sprawling, palatial mansions are de rigueur for a character at this level of SES. 
  At this point, the Real Estate Positive Factor is almost assumed for most. Vacation homes 
  scattered across the globe are not only not out of the question, but are common, or even 
  expected in some circles. Dozens of servants, a few themselves probably well paid enough 
  to be of SES four, populate a character of this SES's estate. Security is more numerous and 
  well armed at a character of this SES's home than the police forces of many small towns. 
   
  Possessions: If he wants it, he probably already has it. If he doesn't already have it, it's 
  because it can't be had or he's in the process of getting it. Legality and rarity is almost 
  never an issue for a character of this SES's ambition, though there are many things (F-14 
  jets, particle accelerators, and the paintings of certain masters, to name a few) that simply 
  aren't available to any single person. 
   
  Status/Refinement: At this point, a character's social advantage becomes nearly 
  overwhelming, ameliorated somewhat by the disconnect that comes with this level of 
  wealth and prestige. Every interaction can be tainted with paranoia; the character knows 
  that everyone has their price, and that price would probably fit comfortably in his bank 
  accounts. Blackmail from his closest confidantes becomes a concern, and kidnapping 
  attempts are almost assured. Even the most trusted friends, employees and, sometimes 
  family members, are viewed with continuous suspicion. There is no safety for a character 
  of this SES. 
   
  Agility 
   
  1. Beyond klutzy, this character can barely move without bucking his shins on desks, 
  chairs, and people. Objects seem to lunge toward him, and even typing is a feat of manual 
  dexterity that he can rarely manage. If he strains, this character may be able to safely jump 
  up to six inches. 
   
  2. Two left feet and all thumbs, this character  still  usually  manages  to  get 
  around without too much damage to himself and those around him. It's unlikely that he's 
  going to make much of a living as a waiter, but he can usually manage to function without 
  too much difficulty. He can safely jump up to a foot from a standing start. 
   
  3. An average character has an Agility of three. He's not particularly coordinated or quick, 
  but not poor at tasks requiring finesse. He can safely jump up to eighteen inches from a 
  standing start. 
   
  4. Characters at this level have usually taken some sort of dancing, gymnastics or martial 
  arts class. What's more, they were good. Even when not engaged in highly physical 
  activity, they move with an easy, feline grace. A character with an Agility of four has 
   
   
  "That is the truest sign of 
  insanity – insane people are 
  always sure they are fine. It is 
  only the sane people that are 
  willing to admit that they are 
  crazy."
  -Nora Ephron 
   
   
  19
  
   
  sufficient muscular control and understanding of his weight to jump up to two feet from a 
  standing position. 
   
  5. With an Agility of five, a character is astoundingly graceful. He could probably make a 
  decent living as a dancer, acrobat, or professional cat burglar. Even his most casual 
  movement reflects his extreme control over his body. He can jump up to a stunning three 
  feet from a standing position. 
   
  6. At Agility six, a character's body is an obedient extension of his mind; he makes 
  shopping for groceries look choreographed. He rarely misses anything thrown at or to him, 
  and he can make a roll to catch anything slower than an arrow without penalty. He can also 
  jump up to five feet from a standing position. 
   
  Resilience 
   
  1. Pitiful, puling, sickly: a character with Resilience one has set up shop on Death's door. 
  He flinches every time someone sneezes in his presence, and an overly firm handshake can 
  leave a bruise. He can't eat spicy or greasy food; rare steaks are dangerous. At this level, 
  the character probably also has at least one common food allergy (lactose, gluten, peanuts). 
  Strenuous activity lasting longer than a few minutes requires taking a breather, and he 
  must sleep for at least nine hours a night or take Burnout from exhaustion. 
   
  2. Certainly not stout, a character at this level is still able to weather the rigors of the 
  common cold with relative impunity. He may call in to work a little more often than his 
  bosses would like, and his trash can may be full of Kleenex, but he usually manages to 
  function. He no longer bruises quite so easily, but someone knocking into him in the hall 
  will still leave a mark, and he still has to carry around a roll of antacid tablets.  A  
  character at this  level 
   may engage in strenuous activity for up to fifteen minutes without needing a break, and 
  need only sleep for eight hours a night. 
   
  3. The average individual has a Resilience of three. He still gets sick occasionally. but can 
  eat, run, jump and play just like anyone else. He can engage in strenuous activity for up to 
  an hour without needing a breather. He needs to sleep seven hours a night or he will take 
  Burnout from exhaustion. 
   
  4. A character at this level of Resilience is impressive. He may exercise or just be blessed 
  by a strong constitution. He's rarely if ever ill, and can eat food that lower Resilience 
  characters would have thrown out long ago. He can engage in strenuous activity for up to 
  three hours without breaking, and he only needs to sleep six hours per night. 
   
  5. At five, a character is a machine. No one remembers the last time he even heard him 
  complain about so much as a sniffle, and he's not afraid to eat at the greasy spoon down the 
  street that's rumored to be on the edge of being shut down by the health department. He 
  endures up to eight hours of strenuous activity without burning out or resting, and he can 
  sleep five hours a night with no difficulty. 
   
  6. A character with a Resilience of six could be hit by a car and still have a better-than-
  even chance of walking away from it. He's probably never been sick, and doesn't 
  understand why people are so worried about what they eat. He can engage in up to twelve 
  hours of strenuous activity without burning out or resting, and he only sleeps for four 
  hours a night. 
   
  Strength 
   
  1. Nearly disabled, a character at this level of Strength is barely able to heave himself out 
   
   
  "The crux is that the vast 
  majority of the mass of the 
  universe seems to be missing."
  -William J Broad 
   
   
  20
  
   
  of bed in the morning. Whether due to disease, injury or inactivity, he can lift and carry, at 
  most, 25 pounds. A character at this level of Strength makes Charles Atlas spin in his 
  grave as even complete strangers offer to help him carry things; if he's less well liked, the 
  character may undergo harassment from his stouter peers. 
   
  2. Still weak, but functional, a character with a Strength of two is able to lift and carry up 
  to 50 pounds without burning out. He still gets kicked to the ground occasionally and is 
  unlikely to be a gym buff, but his bearing and frame are healthier than it would have been 
  at Strength one; his infirmity isn't broadcast quite the same way. 
   
  3. An average character has Strength three; he is able to lift and carry 100 pounds without 
  burning out. A character at this level rarely has trouble with most physical activities. 
   
  4. At Strength four a character is impressively strong. He may be a bodybuilder or laborer, 
  and may lift and carry up to 200 pounds without burning out. He can also pick up and 
  throw objects of up to 50 pounds four yards. At this level and higher, characters usually 
  begin to bulk up and become more physically intimidating. 
   
  5. With a Strength of five, a character is truly, prodigiously strong. He may lift and carry 
  up to 400 pounds without burning out, and can pick up and throw objects of up to 100 
  pounds up to five yards. Even the most belligerent barroom brawler thinks twice before 
  starting a fight with a character of this Strength. 
   
  6. A character at this level of Strength is a world-class weightlifter, whether he does so 
  professionally or not. Most suspect or assume that the character is on steroids, and 
  strangers begin to flinch when he makes sudden moves. He can lift and carry up to 800 
  pounds without burning out, and can pick up and throw objects of up to 200 pounds up to 
  six yards. 
   
  Factors 
   
  Two similar things are seldom identical. Two characters may be able to lift, push, think or 
  run precisely as well as each other, but they will still be fundamentally different in 
  temperament and skill. To account for these differences, players take Factors during 
  character creation or pay for them later with Experience Points. Factors are the tiny 
  differences in talent or training that make the difference between a generically agile 
  individual and a gymnast; they either provide additional abilities, such as fluency in 
  foreign languages, or grant a bonus to existing abilities, such as with Sprinter. A character 
  receives a number of Factor points equal to the number of Quality points he has. A 
  character with high ratings in several Qualities will therefore have a large number of 
  Factor points. A character can generally take a Factor up to three times, allowing him to be 
  particularly good at a single task. He could also take a number of different Factors, 
  representing a broad range of talent. 
   
  Alternately, a character can take Negative Factors. These are Factors that represent 
  particular ineptitudes; leveling penalties upon characters who attempt to perform certain 
  tasks. Rather than costing Factor points, characters with Negative Factors gain a number of 
  CPs equal to the value of the Negative Factor they take. As with Factors, a character can 
  take a Negative Factor up to three times. 
   
  Factors are based on the Quality to which they're attached. Most Factors relate to a Skill or 
  type of Skill; but some grant entirely new abilities, or take away common ones. Players 
  and Narrators should feel free to create new Factors or disallow existing ones based on the 
  needs of the game. 
   
  Factors usually grant a bonus to an existing Skill. This bonus is always plus one and can be 
   
   
  "A human being is a part of the 
  whole, called by us Universe, a 
  part limited in time and space. 
  He experiences himself, his 
  thoughts and feelings as 
  something separated from the 
  rest – a kind of optical delusion 
  of his consciousness. This 
  delusion is a kind of prison, 
  restricting us to our personal 
  desires and to affection for a 
  few persons nearest to us. Our 
  task must be to free from this 
  prison by widening our circle of 
  compassion and embrace all 
  living creatures and the whole 
  nature in its beauty." 
  -Max Frisch 
   
   
  21
  
   
  purchased up to three times, granting a total bonus of plus three. 
   
  Factor points may only be spent on Factors. Any Factor points left over at the end of 
  character creation are simply lost. At the Narrator's discretion, these points may be 
  converted into Experience Points. 
   
  Factor List 
   
  Imagination 
   
  Positive Wildcard (Variable Positive Factor) The character has one or more Positive 
  Factors, worth a number of points equal to the total the character spent on this Factor. The 
  character may have a rich aunt who dies and leaves him millions, a previously unknown 
  talent for magic, or stumble on a perfect hiding place over the course of a game. The 
  player should have no idea what the Factor is, and the Narrator is encouraged to keep his 
  plans for Wildcard secret until such time as it becomes an issue in the game.  
   
  Artist (1 pt. Positive Factor) The character receives a plus one bonus to creating works of 
  visual art: paint, sculpture, drawing, architecture, or even set design.  
   
  Engineer (1 pt. Positive Factor) The character is skilled at creating particularly enduring 
  works. Anything the character builds or designs has a Resilience of one greater than it 
  would have otherwise had. Of course, the design or object may not be elegant or attractive, 
  but it is strong. 
   
  Rhythm (1 pt. Positive Factor) The character receives a plus one bonus to instrumental, 
  vocal, and computerized musical endeavors: composition, performance and criticism, to 
  name a few. He also has a natural feel for words, gaining a one-point bonus to write poetry 
  or song lyrics. 
   
  Bullheaded  (3pt.  Positive  Factor)  Characters  attempting  to  make  the character act 
  against his normal inclination, whether through debate, emotional appeal, or Pathos, do so 
  at a one-point penalty. 
   
  Mimicry (3 pt. Positive Factor) The character is able to imitate the behavior and speech 
  of a specific individual. While, by itself, this isn't enough to fool anyone, this Factor grants 
  a plus one bonus to Disguise rolls, and may also provide a bonus during the use of certain 
  Ethos and Pathos. 
   
  Ventriloquism (3 pt. Positive Factor) The character is able to speak without moving his 
  lips, and is also able to make it sound as though his voice is coming from somewhere else. 
  Note that his voice will still be recognizable as his own unless the character has also taken 
  the Mimicry Factor. Each time the character takes this Factor, anyone attempting to locate 
  the source of the sound the character makes is subject to a one point penalty to do so.  
   
  Designer (5 pt. Positive Factor) The character's Imagination is considered to be one 
  higher for purposes of designing the practical aspect of devices, strategies, and even 
  situations. This bonus can “stack” with the bonus for Innovator. 
   
  Adept (7 pt. Positive Factor) The character is particularly magically talented. He receives 
  a plus one bonus to all rolls to use Logos, Pathos or Ethos. This Factor goes extremely well 
  thematically with the Negative Factor Mad Eyes.  
   
  Innovator (10 pt. Positive Factor) The character's Imagination is considered to be one 
  higher for purposes of coming up with unique solutions to problems, whether those 
  problems relate to strategy, lying, building a device, or artistic endeavors. The character's 
   
   
  "The universe is made of 
  stories, not atoms." 
  -Roger Penrose 
  The Emperor's New Mind 
   
   
  22
  
   
  flexibility and ability to think out of the box may unbalance the game in certain respects; 
  the Narrator should feel free to disallow this Factor if he fears its effect on the game. This 
  not only gives the character a one-point bonus to a significant proportion of his 
  Imagination rolls, it also allows the character to come up with solutions that a character of 
  his level of imagination may not have. For that matter, it may allow a character to come up 
  with solutions his player may not have. If a Narrator wishes to drop characters hints, this 
  Factor is a great way to do it. 
   
  Negative Wildcard (Variable Negative Factor) The character has one or more Negative 
  Factors, or will in the very near future, worth a number of points equal to the total number 
  of points he gained from this Factor. The player should have no idea what the Factor or 
  Factors is/are, and the Narrator is encouraged to keep his plans for Wildcard secret until 
  such time as it becomes an issue in the game. Additionally, the problems that the character 
  faces, since they are introduced during the story, are even more at the forefront than with 
  normal Negative Factors. The character may find out that he has been confused with a 
  criminal, that he is being hunted by a Liminal or that he is a test tube baby.  
   
  Liminal Buffet (2 pt. Negative Factor) Whenever a Liminal causes a character with this 
  Factor to behave in a way that nets them Emotion points, that Liminal receives an 
  additional Emotion point for each time the character takes this Factor. Characters with this 
  Factor are highly-sought-after meal tickets for many Liminals. Whether the character is 
  happy or even remotely sane when a Liminal is done feeding on him is a question of, at 
  best, tertiary importance for the kind of creature this character is likely to attract. 
   
  Mad Eyes (3 pt. Negative Factor) Normal people (those without Intensity) react to the 
  character as though his Intensity were one higher than it actually is, giving him a penalty to 
  virtually all social interactions. At lower levels, there is little system effect other than mild  
  discomfort.  At  higher  levels  of  Intensity,  life  becomes  more  difficult  for  the  
  character. His dysfunction broadcasts itself in his weirdly intense gaze, his carriage, and 
  his speech patterns. While few would be able to pinpoint exactly what it is about him that 
  makes it  unsettling to be around, the effect is there nonetheless. This does not increase a 
  character's Intensity for purposes of Pathos and Fade. 
   
  Nightmares (3 pt. Negative Factor) Any time the character is in a stressful situation 
  (which is to say, most of the time while involved in stories) he must succeed in an 
  Imagination+Meditation+Mental Die roll with a Target Number equal to his 
  Imagination+five+the number of times he has taken this Factor. If he does not succeed the 
  roll, he is tormented with nightmares, insomnia, or some other sleep-stealer and receives 
  no rest of any worth that night, making him subject to exhaustion rules. See “Sleep” on 
  page 87. 
   
  Speech Impediment (3 pt. Negative Factor) The character has a major speech 
  impediment that prevents him from being understood or taken seriously. All interactions 
  involving speech, including Logos, Pathos, and Ethos, occur with a one-point penalty. If 
  taken three times, this Factor indicates that a character is totally mute. He simply may not 
  communicate verbally or use any Logos, Pathos or Ethos that require speech. He may still, 
  however, communicate normally using sign language, writing or typing. 
   
  Bigot (5 pt. Negative Factor) The character receives a one point penalty on all rolls where 
  he is forced to act in the presence of a certain hated group. With each purchase of this 
  Factor, the character must choose a group of people: a racial group, a sexual minority, or a 
  religion. Whenever the character is forced to interact with people in that group, he takes a 
  penalty equal to the number of times he has taken this Factor to all rolls. This means that if 
  a character chooses to hate immigrants, homosexuals and Wiccans, he will take a three-
  point penalty to any and all actions not only done toward homosexuals, immigrants and 
  Wiccans, but all rolls in their presence. His hatred is such that it distracts him from even 
   
   
  "We are an impossibility in an 
  impossible universe."
  -Ray Bradbury 
   
   
  23
  
   
  normally-easy tasks. This is a particularly nasty Negative Factor, and Narrators are 
  encouraged to heavily involve the hated group. This Factor is not appropriate for all 
  games, and is especially inappropriate for certain players. Discretion is advised. 
   
  Flustered (5 pt. Negative Factor) If this Factor is taken once, the character takes a one-
  point penalty to any roll that follows a failed roll. A roll that fails due to this penalty also 
  counts as a "failed roll" for purposes of this Factor. Taken twice, the character takes a two-
  point penalty to all rolls for the rest of the scene if he fails. Taken three times, the character 
  takes a one-point penalty for the remainder of the scene for each roll that he fails. For 
  example, if a character fails one roll, his next roll is made with  a  one-point  penalty.  If  
  he fails that roll as well, his next roll is made with a two- 
  point penalty. If he fails that third roll, his next roll is made with a three point penalty, and 
  so on. As the character becomes increasingly flustered, he becomes unable to perform even 
  previously easy tasks with any success. 
   
  Perception 
   
  Sharp-Nosed (1 pt. Positive Factor) The character has an extremely sharp sense of smell; 
  he receives a plus one bonus to all Perception rolls involving scent for each time he has 
  taken this Factor. Taken once, the character is able to distinguish between similar scents 
  easily, though the range of smells he has access to is strictly normal. Taken twice, the 
  character is as skilled as a professional wine taster, able to identify the recipe of a dish 
  simply by smelling it, and can distinguish between vintages of wine by sniffing the cork. If 
  this Factor is taken three times, in addition to the plus three bonus granted to olfactory 
  rolls, the character is able to recognize individuals by scent, even from one or two yards 
  away, and in some cases may be able to identify animals and people by the smells they 
  leave behind. 
   
  Tactile (1 pt. Positive Factor) The character has an excellent sense of touch and receives 
  a plus one bonus to all Perception rolls involving that sense for each time he takes this 
  Factor. Taken once, the character can distinguish between even subtle gradations of texture 
  and material. Taken twice, the character is able to distinguish between blank paper and 
  paper that has been printed upon even while blindfolded. Taken three times, in addition to 
  the plus three bonus, the character is able to recognize vague printed shapes by touch, and 
  at the Narrator's discretion, may even be able to "read" particularly large and bold fonts 
  entirely by touching the page. 
   
  Long Ears (3 pt. Positive Factor) The character receives a plus one bonus to all 
  Perception rolls involving hearing. This Factor cannot be taken with Hard of Hearing. 
   
  Kinesic (3 pt. Positive Factor) The character receives a plus one bonus to all uses of the 
  Kinesics Skill within the Social Skill Category; he has a nearly supernatural awareness of 
  the body language and tone of others. 
   
  Surveyor (3 pt. Positive Factor) The character gains a one point bonus when attempting 
  to spot small changes in his environment. He can easily identify objects that have been 
  moved, added, tampered with, or are missing from an area. This Factor works equally well 
  with photographs and videotape, provided the character has been to or otherwise observed 
  the area he is surveying. The character receives a one-point bonus to all Perception rolls 
  involving changes that have occurred in his environment. 
   
  Integrated Memory (5 pt. Positive Factor) Where Photographic Memory and 
  Phonographic Memory allow a character to remember and recognize things relating to 
  sight and sound, Integrated Memory represents a character's talent for remembering things 
  that relate to touch, taste and smell. The character receives a plus one bonus to all rolls that 
  involve recognizing or remembering things that relate to these three senses. While the 
   
   
  "Pain is real when you get 
  other people to believe in it. If 
  no one believes in it but you, 
  your pain is madness or 
  hysteria."
  -Naomi Wolf 
   
   
  24
  
   
  senses themselves may not be that acute, the character is extremely plugged into the 
  memories associated with them. He might be able to recognize a person by their scent (if 
  he's close enough to smell them), recall the texture of a shirt, or remember the unique 
  flavors characteristic of a particular chef's cooking. 
   
  Sixth Sense (5 pt. Positive Factor) The character receives a plus one bonus to all rolls 
  involving the Sensitivity Skill within the Arcane Skill Category. Additionally, the Narrator 
  may make a Perception+Sensitivity+Mental Die roll before a character enters into a 
  dangerous situation. This roll receives a plus one bonus for every time the player took this 
  Factor for his player. If the roll succeeds, the character feels a vague sense of unease. Note 
  that this Factor doesn't convey any information, other than discomfort, and it only applies 
  when the character is himself in direct, physical danger. This isn't a "power," but a broad-
  based anxiety based on a character's connection to his subconscious. Characters with this 
  Factor also often feel uneasy, even when perfectly safe; there is nothing precise or 
  scientific about Sixth Sense. 
   
  No Sense of Smell (2 pt. Negative Factor) The character simply cannot smell; he 
  automatically fails all rolls involving his olfactory sense. He will not notice the scent of 
  petroleum from a leaky engine, and food tastes bland and unappealing. This Factor may 
  only be taken once. 
   
  Distracted (3 pt. Negative Factor) The character takes a one point penalty to all rolls 
  relating to Perception when he finds himself in a conversation or confrontation with three 
  or more people. Each time this Factor is taken it adds another point to this penalty.  
   
  Dyslexic (3 pt. Negative Factor) The character sees letters, numbers, and symbols 
  backwards. He cannot take the Speed Reader Factor, and he takes a penalty of one in any 
  task that involves reading or comprehending the written word. Learning to read a new 
  language is also prohibitively difficult; attempts to read another language that the character 
  has purchased less than three times have any penalties assessed against the roll doubled.  
   
   
  Hard of Hearing (5 pt. Negative Factor) The character takes a penalty of one to any roll 
  involving his sense of hearing for each time he takes this Factor. In many cases, this is 
  dangerous, as it will be more difficult for a character to notice any number of important 
  details; warning sirens, oncoming trains, traffic, and the angry mutter of a crowd. If this 
  Factor is taken three times, the character is entirely deaf. At this level he simply fails any 
  rolls that involve hearing. 
   
  Poor Eyesight (5 pt. Negative Factor) The character takes a penalty of one on any roll 
  involving his sense of sight for each time he takes this Factor. Note that most rolls involve 
  sight in one way or another. Certain equipment (such as braille books) and Skills and 
  Factors (such as Long Ears) may offset this penalty to some degree, but for the most part, a 
  character with this Negative Factor will have a hard time of things. A character cannot 
  bypass this penalty with glasses, contacts, or surgery; this lack of acuity is permanent, and 
  represents his vision after all corrective measures have been taken. 
   
  A character who takes this Negative Factor three times is blind. He simply fails any rolls 
  that involve sight. He may attempt many tasks using different senses, but in most cases, he 
  will simply never be as good at some tasks as people who can see. In combat, he always 
  operates as though he is in complete darkness. See page 95. 
   
  Retention 
   
  Mathematical Savant (1 pt. Positive Factor) The character receives a plus one bonus to 
  rolls directly involving mathematics and arithmetic. The character is able to perform 
   
   
  "He wore his passion for his 
  woman like a thorny crown. 
  He said Dolores, I live in fear. 
  My love for you's so 
  overpowering, I'm afraid I will 
  disappear." 
  -Simon and Garfunkel 
  Slip Sliding Away 
   
   
  25
  
   
  differential equations in his head, and is able to gauge shopping lists to the penny 
  (including coupons and tax). Note that this doesn't confer any bonus to the application of 
  this math. The character is no better at ballistics, pool, or golf than anyone else. 
   
  Teflon Skin (1 pt. Positive Factor) The character can argue, rationalize, and plead his 
  way out of quite a few sticky legal situations. He gains a one-point bonus to rolls involving 
  defending himself and/or another legally. If ever caught—the character gains this bonus in 
  situations ranging from trying to weasel his way out of a speeding ticket on the side of the 
  highway to defending himself in court against charges of first degree murder.  
   
  Analyst (3 pt. Positive Factor) The character is able to analyze complex situations and 
  come up with a solution with greater facility than most. He receives a plus one bonus to 
  rolls involving ciphers, puzzles, and logical conundrums. He can do cryptograms upside-
  down and in pen, should he be so inclined. 
   
  Focus (3 pt. Positive Factor) The character receives a plus one bonus to all rolls to resist 
  being distracted from the task at hand. Note that this bonus only applies when the character 
  is actively engaged in a task and there is some sort of distracting factor (noise, stress, 
  combat, another person attempting to distract the character). 
   
  Loophole (3 pt. Positive Factor) The character has a gift for understanding the legal 
  system, and a one-point bonus to rolls involving the use of the Law Skill. A character with 
  this Skill needn't necessarily be an attorney, or even have a rating in the Skill. In this latter 
  case, however, this Factor, even if taken three times, can only partially offset the four-
  point penalty for using a Skill using the Mental Die without a rating in the Skill. With that 
  being said, a character who has this Factor and isn't a lawyer would likely be madly 
  pursued by any number of law schools if he ever got around to taking the LSAT. 
   
   
   
  Mapper (3 pt. Positive Factor) This character has an excellent sense of spatial 
  orientation. He is almost never lost, and can usually give an approximate distance between 
  any two points with which he is familiar. He receives a plus one bonus to all rolls 
  involving location, including remembering exits, identifying the quickest route to a 
  location, and finding his way around a room in the dark. In this last case, the bonus from 
  Mapper stacks with the bonus from Photographic Memory. 
   
  Trivialist (3 pt. Positive Factor ) The character with this Factor is a master of minutae. 
  He makes rolls to remember a specific fact (name, date, location, definition) with a plus 
  one bonus. Note that this doesn't necessarily allow him to come up with solutions any 
  easier than anyone else. A character with this Factor and a low Retention is essentially an 
  encyclopedia; he has access to reams of information, but no real facility at using it. 
   
  Language (5 pt. Positive Factor) The character knows another language. Purchased once, 
  this allows a character to communicate basic ideas in a language ("Where can I buy food?" 
  "That man is chasing us."). Purchased twice, the character is able to get across and 
  understand technical and complex information, such as multi-step instructions and abstract 
  ideas, though the discussion lacks elegance and may take an extended amount of time. 
  Purchased three times, the character is as fluent in the chosen language as a native speaker; 
  he is able to argue, persuade and compose works of art in this language as easily as in his 
  own. Note that in order to use Pathos or Ethos that require a subject to understand the 
  statements a character makes, he must purchase the language at least twice. 
   
  This Factor can be purchased up to three times for each languages the character wishes to 
  know, though the character can be unevenly fluent in a number of languages.  
   
   
   
  "What do you do when you 
  want to be the creatures you’re 
  trying to kill?."
  -Jake Lanni 
   
   
  26
  
   
  Phonographic Memory (5 pt. Positive Factor) The character's auditory recall is amazing. 
  He receives a plus one bonus to remember anything he's overheard, even specific words in 
  languages, although he may not understand, numbers, and the pitches of unfamiliar 
  sounds. Note that this Factor doesn't help a character remember anything relating to any of 
  the other four senses. 
   
  Speed Reader (7 pt. Positive Factor) The character is able to read at least twice as fast as 
  the average person. He can easily get through a thick novel (800 pages) in four hours, 
  including breaks. If this Factor is purchased more than once, this speed is doubled again. 
  Taken three times, this Factor allows a character to read and comprehend even dense 
  technical manuals (if he would be able to understand them anyway) in under an hour. 
  Taken with Photographic Memory, this Factor can allow a character to spend less time 
  studying a Skill. Instead of spending a full day studying, a character who has taken this 
  Factor once need only spend eight hours studying. If he's taken it twice, he only needs to 
  spend four hours, and taken three times, this Factor reduces the necessary study time to 
  two hours. This does not decrease purchasing costs for Experience Points.  
  Photographic Memory (10 pt. Positive Factor) The character has fantastic visual recall. 
  He receives a plus one bonus to all rolls involving remembering something he's seen, 
  whether that's the location of people in a room, the clothing someone was wearing, or 
  specific phrases on a printed page, billboard, or napkin. At the Narrator's discretion, certain 
  easy-to-remember information (such as the color of a person's shirt) may not require a roll 
  at all. Note that this Factor does nothing to help a character remember anything relating to 
  any of the other four senses. 
   
  Reading and memorizing a textbook with this Factor can allow a character to temporarily 
  gain a Skill. If he reads and studies, uninterrupted, for a day, he is able to perform that 
  Skill for a number of days equal to the number of times he took this Factor without taking 
  the four- or two-point penalty usually associated with attempting a Skill without a rating. 
  Thus, if a character who purchased this Factor twice has no Skill in mechanics, but spends 
  a day studying a repair manual, he can spend the next two days fixing his vehicle without 
  taking the four-point penalty he would usually take in this case. If he had purchased the 
  Factor only once, he would only be able to work for a day before having to hit the book 
  again. In order to use this Factor, however, study material does need to be available. No 
  amount of navel-gazing will allow a character to learn anything about a Skill, though 
  certain Pathos may bypass this rule. 
   
  The character doesn't need to have a rating in the Skill Category under which the studied 
  Skill falls, as he isn't really gaining a rating, just an ability to lurch through the basics of 
  the Skill. Gaining a Skill permanently still requires the expenditure of Experience Points, 
  but this Factor provides an excellent justification for doing so. 
   
  Innumerate (3 pt. Negative Factor) The character is absolutely stupid when it comes to 
  math. If this Factor is taken once, he is unable to perform important functions like figuring 
  out the tip on a check without the use of a calculator. When he has to perform a task 
  involving numbers, he takes a one-point penalty on rolls relating to that task. If this 
  Negative Factor is taken twice, the character is unable to do even simple arithmetic 
  without at least a sheet of paper. While he may be able to pull off 2+2, much beyond that 
  just won't happen without some sort of tool. The character takes a four-point penalty to 
  rolls involving math, even when he's using a calculator or piece of scrap paper. Taken 
  three times, the character just doesn't get numbers. He may be brain damaged, 
  developmentally disabled, or just really really lazy when it comes to thinking, but for 
  whatever reason, if something involves numbers, he'll likely get it wrong. This includes 
  things like reading speed limit signs and knowing how much things cost. The character 
  probably has a decent idea of approximate values based on  context  (highways,  for  
  example, usually have speed  limits of between 50-70 miles  
  per hour, and hamburgers rarely cost more than twelve dollars), but approximate value is 
   
   
  "The most beautiful things are 
  those that madness prompts 
  and reason writes."
  -Andre Gide 
   
   
  27
  
   
  about the best he can manage. The character who has taken this Factor three times simply 
  fails any rolls involving numbers. A character who has taken this Negative Factor may 
  Burnout a point of Imagination to ignore the effects of this Factor for a single task. Note he 
  gets no bonus for Burnout in this case—it simply represents the character overcoming his 
  intellectual inertia in order to manage numerical work.  
   
  Retrograde Amnesiac (3 pt. Negative Factor) The character's memory is damaged; he is 
  unable to remember anything that happened prior to a relatively recent point in his history. 
  Taken once, the character has had time to rebuild his life—he knows his name, address and 
  job, though this knowledge may only be because of documents in his wallet. He knows 
  those who knew him before, but despite this, remembers nothing of their prior relationship. 
  Though he may have reached a point of stability, he never knows when an unpleasant 
  secret from his past may surface. Taken twice, the character is uncertain of his name, 
  address, or any information about the person he was before. He knows no one who knew 
  him, and has no way of finding anyone. He can only go on and hope that blind luck with 
  give him some revelation. Despite this, he has new friends, possibly a new name, and the 
  beginnings of a new life. Taken three times, the character has just awakened from his past. 
  He has no name, no identification, and no idea who or where he is. In all cases, the 
  character retains his Skills and knowledge (languages, city names, history, etc.) though he 
  has no memory of ever learning any of it. A particularly introspective character may glean 
  some vague idea of his past from an inventory of his skill and knowledge, but will be 
  unable to gain precise details. 
   
  Narrators are encouraged to use this Negative Factor to the fullest—what is an unpleasant 
  surprise for the character should be a surprise for the player as well. 
   
  Scatterbrained (3 pt. Negative Factor) The character takes a penalty of one to any action 
  that takes longer than a single round to complete. He is unable to focus well enough to 
  maintain concentration for any extended period of time. This Negative Factor cannot be 
  taken with Focus. 
   
   
  Rut (5 pt. Negative Factor) Whenever the character is confronted with a situation or 
  outcome  he  didn't expect, it takes him an additional round to react. The first round after 
  the surprise is spent in shock as the character attempts to process. If this Factor is taken  
  more  than once, the gap in time becomes one  round  greater for each time Rut is taken. If 
  the character is surprised by an attack, he is still unable to take action, even defensive 
  action, until his designated processing time is over. 
   
  Anterograde Amnesiac (7 pt. Negative Factor) The character's memory is fundamentally 
  flawed; he is unable to retain information gained after character creation. Taken once, this 
  is surmountable—the character is able to remember some names, vague circumstances and 
  details. With great effort, he is even able to learn new Skills, though the Experience Point 
  costs to learn anything except Pathos is doubled. Taken twice, the character is unable to 
  learn anything other than Pathos, though he is still occasionally able to remember 
  important names, faces and circumstances. Taken three times, the character is nearly 
  unplayable: permanently locked into how he began the game and unable to learn or grow 
  in any way except Pathos, which itself continuously surprises the character as much or 
  more than those around him. At this level, the character is unaware even that he is 
  amnesiac. While he is himself locked into a continuously repeating and erasing loop of 
  memory, the world around him moves on. It is highly recommended that only NPCs 
  should take this Factor more than once. This Factor can not be taken with Photographic 
  Memory, Phonographic Memory or Integrated Memory. 
   
  Illiterate (7 pt. Negative Factor) A character with this Negative Factor is unable to read 
  with any fluency. Taken once, this Negative Factor means that the character (barely) 
   
   
  "All great deeds and all great 
  thoughts have a ridiculous 
  beginning. Great works are 
  often born on a street corner 
  or in a restaurant's revolving 
  door."
  -Albert Camus 
   
   
  28
  
   
  knows enough words to survive at the bottom of society; he can understand a bus schedule, 
  get a drivers license, and can pick things off a menu without pictures. If this Negative 
  Factor is taken twice, the character can still compare written words to each other with 
  some facility (allowing him to find an address if someone wrote it down for him) and can 
  probably both write and recognize his name. Taken three times, this Negative Factor 
  indicates a character who is completely unfamiliar with writing and numbers. He cannot 
  write or recognize his own name, and everything written looks like everything else written. 
  He just lacks the familiarity with letters to distinguish them from each other. The character 
  may have never learned to read, or have some sort of disability. Alternately, the character 
  may be a fresh immigrant from another country that uses a totally different set of symbols 
  from the Roman Alphabet: China, Japan, the former Soviet Union or virtually anywhere in 
  the Middle East. 
   
  SES 
   
  Gadgets (2 pt. Positive Factor) The character has gadgets and things; he is wired beyond 
  the ultimate edges of his SES. A character with this Factor is considered to have an SES of 
  one higher for purposes of determining what things he has; they may be stolen goods, 
  things cheaply purchased off of an Internet auction, or gifts from affluent family members. 
  A character with an SES of one could, for example, have a cell phone and brand-new 
  computer if he took this Factor twice. A character with an SES of two could have a Palm 
  Pilot, bleeding edge laptop, and combination satellite radio/GPS in his 1989 El Camino. At 
  higher levels of SES, a character could have automated household processes and plasma-
  screen monitors mounted in every room in his house, all wired to a central computer 
  activated by voice. The Narrator should ultimately make the call on how appropriate any 
  given gadget is for the SES and the number of times this Factor has been taken. While 
  things such as computers, phones, cars and appliances can be purchased using this Factor, 
  other things, such as weapons or houses cannot. Also, though a character may own things 
  through this Factor, replacing these them should they wear out or become damaged is 
  almost impossible. 
   
  Low  on  Capital  (2  pt.  Negative  Factor)  The  character's  SES is considered to be one  
  lower for determining the availability of funds. While he still has all the other trappings of 
  a higher SES (friends, refinement, living arrangements and gadgets), he is living 
  unsustainably:  on  the  edge  of financial breakdown. He may be hounded by persistent 
   debt (and debt collectors), plunging stock values or recent unemployment. 
   
  Offputting (2 pt. Negative Factor) The character's SES is considered to be one lower 
  when SES is applied to social interaction. The character may have regrettable taste in 
  clothes, hygiene and vocabulary, or he may be actively obnoxious: loud, abrasive and 
  opinionated. Alternately, the character may revel in his unrefinement, being the 
  comfortable "millionaire next door," happily mingling several rungs below himself on the 
  financial ladder. 
   
  Secret Hideout (2 pt. Positive Factor) The character has a hidey-hole. There isn't any 
  guarantee of security, plumbing, electricity or sanitation, but it's someplace the character is 
  relatively sure only he knows about. Taken once, this represents a small nook: an alley 
  with an entrance obscured by the surrounding buildings or a cave out in the woods. Taken 
  twice, it could be a back office in a building that has had the front entrance boarded up or a 
  shack in the middle of nowhere. At this level, the hiding place has a door and a lock. 
  Taken three times, it could represent an underground room with lighting and plumbing or a 
  fully functioning cabin. Further purchases of this Factor may represent other bolt holes (on 
  a one-for-one basis) or a better hideout (again, on a one-for-one basis). When additional 
  locations are purchased, they start at the first level of comfort. Additional purchases of this 
  Factor must be allocated to comfort for each individual location. Note that the precise 
  location and nature of each hideout must be determined at the time of purchasing this 
   
   
  “Our society is run by insane 
  people for insane objectives. I 
  think we're being run by 
  maniacs for maniacal ends and 
  I think I'm liable to be put 
  away as insane for expressing 
  that. That's what's insane about 
  it”. 
  -John Lennon 
   
   
   
  29
  
   
  Factor. This Factor can be purchased as many times as the player likes, though only three 
  purchases can be allocated to any single location. 
   
  Easy on the Eyes (4 pt. Positive Factor) A character with this Factor just looks good. 
  Whether it's because of the character's natural elegance, gym-perfect body, or the 
  fortuitous convergence of some really great genes is irrelevant. For whatever reason, this 
  character is a knockout. Whenever making a roll that directly relates to the character's 
  appearance, the character takes a one-point bonus. Note that the character's appearance 
  must directly relate to the roll. Seduction and flirting information out of a secretary would 
  be affected by this Positive Factor. A character trying to lie himself into a party would not. 
  The Golden Tongue Positive Factor would be required for that. 
   
  Influential Friends (3 pt. Positive Factor) The character's SES is considered one point 
  higher  when  determining  who  he  knows.  This  can  be used for networking, calling in  
  favors,  or knowing what names to drop and when. On a less mechanical note, the 
  character knows  one  person  with  an  SES of  one higher than his.  If a character  takes  
  this  Factor multiple times, he may allocate additional purchases to either higher SES of 
  his "friend" (on a one-for-one basis) or additional friends (on a one for one basis). Note 
  that each purchase must be used for either additional friends or additional SES. Additional 
  "friends" start with a default SES of one higher than the character. The character may 
  know  this person through a professional organization, his family, or he may have gone to 
  high school or college with him. In any case, while the character and the friend have some 
  degree of friendliness, no one likes to be used. Characters who abuse this Factor may find 
  that their "friend" wants nothing to do with them. When buying this Factor, players should 
  determine the exact nature of the friend and relationship all of which is, of course, subject 
  to the Narrator's permission. 
   
  Labeled (3 pt. Negative Factor) The character has a bad reputation, deserved or not. 
  Taken once, this represents a bad credit rating and poor job references or a history with all 
  the wrong people in all the wrong ways. No one has taken action yet, but it can still make 
  things inconvenient. Taken twice, the character has some outstanding debts and/or a 
  criminal record. Taken three times, the character is actively hunted by someone; whether 
  that's the police, mafia or even less savory characters is up to the Narrator.  
   
  Real Estate (3 pt. Positive Factor ) The character either has a "vacation home" one SES 
  step down from his usual dwelling, or his usual dwelling is one SES step up from what it 
  would be. Thus a character with an SES of three could have a large house, rather than a 
  small one, or an apartment in another town. If he took this Factor twice, he could have 
  both. Furnishings and minimum household stocks are included. In the case of larger 
  houses, however, the staff necessary to maintain such an establishment is not. 
   
  Characters with additional houses or apartments must decide the location and layout of 
  these homes upon purchasing this Factor. Note that a character with more than one home 
  must spend at least some time there and make sure that all the appropriate bills are paid. A 
  character with a low SES can easily be driven into abject poverty by the expenses 
  associated with a mansion or a series of smaller residences. Any combination of "extra 
  residences" and "larger residences" can be taken. This Factor can be taken as many times 
  as the player likes, but particularly expensive houses or large numbers of locations may 
  require a great deal of explanation on the part of the player.  
   
  Money to Burn (4 pt. Positive Factor) The character's SES is considered to be one point 
  higher when determining his "cash on hand." He isn't able to buy a larger home, doesn't 
  know any additional people, and doesn't have any of the additional detritus of affluence, 
  but he does have a little extra pocket change. Note that while equipment, dinners, and 
  tanks of gas can be purchased with this, all gains that a character obtains with this Factor 
  are temporary. Additional homes, friends, or particular kinds of equipment must be 
   
   
  "...Much Madness is divinest 
  Sense to a discerning Eye 
  much Sense the Starkest 
  Madness..."
  -Emily Dickinson 
   
   
  30
  
   
  purchased using the appropriate Factor, or better, additional SES. 
   
  Golden Tongue (5 pt. Positive Factor) The character's tongue is sharpened to a razor's 
  edge; he is an artist, and words are his medium. Any SES rolls that he makes involving 
  social interaction, whether for flattery, intimidation or misdirection, are made with a plus 
  one bonus. 
   
  Safety Net (7 pt. Positive Factor) The character has a fallback option—things are almost 
  never as bad as they seem. Most of the time, this represents a character with a family of a 
  higher SES than his. It may, however, represent a particularly close group of friends, 
  someone on whom the character has blackmail or illegal access to a set of resources. 
  Whatever the reason for the character's access, the SES of his “safety net” is one higher 
  than his for each time he purchases this Factor. For example, if the character is SES two, 
  and he takes this Positive Factor three times, representing his rich grandparents, the 
  grandparents would have an SES of five. The character is able to use one single benefit of 
  this higher SES at any given time. Thus, he could live with them in a large manor rather 
  than an apartment, but while living with them, still only has access to the money that 
  comes with SES level one. If he were to move out, he would then be able to ask for money 
  (functionally having the “Money to Burn” Positive Factor) but would have to live on his 
  own, and the money would never be a certain thing. He could also borrow the family car 
  (when using the “possessions” benefit of SES) but then could not ask for money or live 
  with his “safety net.” The “status/refinement” and social benefits of SES cannot be 
  “borrowed” in this way. 
   
  Keep in mind that these benefits aren't just the characters' by right of birth. If gained 
  through family, the character must cultivate a relationship with the family member or 
  members on whom he occasionally depends. Further, whenever the character asks for 
  something, he is asking a favor. If he's the black sheep of a rich family, having to ask for 
  money will be an embarrassing and uncertain endeavor—the safety net, after all, always 
  has the option of saying “no.” No one likes to feel used. A character who uses or abuses 
  this Factor too often may find himself left to his own devices (or worse). This is even more 
  true if the character's means of getting these benefits is anything other than family or close 
  friends. A blackmailed character may finally decide to go to the police if the cost becomes 
  too high, or the character might be caught skimming off of the top of whatever business 
  he's stealing from. It is important for characters who take this Positive Factor to determine 
  how   exactly  they   receive   these  benefits,  and  how  exactly  he  is  treated  when he 
  asks for them/takes them. It's also important for the character to determine what aid is 
  available from this source, and what form this aid takes. For example, while it is entirely 
  reasonable for a crooked used-car salesman to have access to cars and some cash, he 
  would not be likely to have access to any housing benefits from this Positive Factor. As 
  always, common sense and Narrator approval should be all-important with this Factor. 
   
  Agility 
   
  Double-Jointed (1 pt. Positive Factor) The character is extremely limber; when 
  attempting to escape bonds such as rope or chain, the character receives a plus one bonus 
  to the action. Note that some bonds, such as straight jackets and handcuffs circumvent this 
  bonus. At the Narrator's discretion, certain attempts to escape may not receive the bonus. 
   
  Sprinter (1 pt. Positive Factor) The character's Agility is considered to be one higher 
  when determining how quickly he can move. Note that other Factors such as Marathoner 
  can be added to this Factor for truly impressive runners. 
   
  Ambidextrous (2 pt. Positive Factor) This Factor represents a character with impressive 
  control of his non-dominant hand. Each time this Factor is taken, the penalty for using a 
  one-handed device or weapon with the non-dominant hand is reduced by one. Taken three 
   
   
  "Sanity calms, but madness is 
  more interesting."
  -John Russel 
   
   
  31
  
   
  times, the character is really and truly ambidextrous: able to use both hands with equal 
  facility. There is no penalty for such a character to use his non-dominant hand. Note 
  however, that attempting properly two-handed tasks with one hand still incurs a penalty.  
   
  Dodging (3 pt. Positive Factor) The character has got a knack for getting out of the way 
  of trouble. Whenever attempting to dodge using Evasive, the character gets a one-point 
  bonus for each time this Factor has been taken. 
   
  Hip Shot (3 pt. Positive Factor) The character can draw a weapon freely at the beginning 
  of a round, without needing to spend an action to do so. Note that if he needs to put away 
  another weapon to draw, he must still spend an action putting away the first weapon. Each 
  additional purchase of this Factor allows a character to draw an additional weapon without 
  having to take an action. 
   
  Ranged Weapon Bonus (3 pt. Positive Factor) A character with this Factor is extremely 
  familiar with a certain ranged weapon. Not a certain type of weapon, but one particular 
  weapon; like grandfather's Colt or the bow he made on a camping trip. He knows its curves 
  and its idiosyncrasies like the insides of his own eyelids. Whenever trying to shoot that 
  weapon (and only that weapon) the character receives a one-point bonus for each time the 
  Factor is taken. 
   
  Crack Shot (4 pt. Positive Factor) A character with this Factor has an intuitive feel for 
  difficult shots. Whenever the character is attempting a shot that would normally have a 
  penalty, he is able to ignore one point of that penalty for each time he has taken this 
  Positive Factor. 
   
  Accuracy (5 pt. Positive Factor) The character receives a plus one bonus when 
  attempting to throw, shoot, or sling an object at another; darts, bullets, arrows and 
  baseballs are all covered by this Factor. 
   
  Bad Driver (1 pt. Negative Factor) The character is a terrible driver. He may be 
  distracted, nervous, or easily lost; in any event, whenever the character drives, he takes a 
  one-point penalty to the action. In certain highly-urban campaigns where driving is 
  unlikely to be an issue, the Narrator should feel free to disallow this Factor.  
  Easy Target (2 pt. Negative Factor) For whatever reason, a character with this Factor 
  seems to be in the wrong place at the wrong time. Whenever rolling to dodge or otherwise 
  avoid trouble by moving out of the way, the character receives a one-point penalty to that 
  roll each time purchased.  
   
  Slow (2 pt. Negative Factor) The character's Agility is considered to be one lower for 
  purposes of determining how quickly he can move, and in some cases, how quickly he can 
  perform a task, when not in combat. The character can have "smoker's lung," a weak ankle, 
  or just generally plodding. In any event, the character is unlikely to be winning any races.  
   
  Obvious (3 pt. Negative Factor) Try though he might, a character with this Factor just 
  can't seem to keep from being seen and heard. The character suffers a one-point penalty to 
  any roll involving trying to stay out of sight, keep quiet, or avoid drawing attention to 
  himself.  
   
  Resilience 
   
  Bellows Lungs (1 pt. Positive Factor) The character has an impressive lung capacity. In 
  addition to having to inhale less often when speaking, when determining how long he can 
  hold his breath, the character's Resilience is considered to be one higher. 
   
  Liver of Steel (3 pt. Positive Factor) The character's Resilience is considered to be one 
   
   
  "What is madness? To have 
  erroneous perceptions and to 
  reason correctly from them." 
  -Voltaire 
   
   
  32
  
   
  higher when determining his resistance to any drug or poison. Note that this applies 
  equally well to lifesaving drugs, poisons, painkillers, and alcohol. A character with this 
  Positive Factor may be able to drink platoons of Marines under the table, but he’ll be less 
  than thrilled the next day when no amount of aspirin will help. 
   
  Resist Torture (3 pt. Positive Factor) Whether because he enjoys it or because he just 
  doesn't feel pain the same way, the character's Resilience is considered to be one higher 
  when determining how well he can hold out against torture or discomfort. Additionally, 
  any penalties that the character would incur because of distraction from pain or discomfort 
  are lowered by one each time this Factor is taken.  
   
  Ascetic (5 pt Positive Factor) The character's Resilience is considered to be one higher 
  when determining how long he can stay without food. While he may still feel the pangs of 
  hunger or the irritability from an inadequate diet, he is still able to function. 
  Catnapper (5 pt. Positive Factor) The character's Resilience is considered to be one 
  higher when determining how much sleep he needs per night and how long he can go 
  without sleep. Note that this doesn't necessarily mean that the character is comfortable 
  with the amount of sleep he gets, but that he can function optimally on it. When this Factor 
  is purchased two or three times, the character no longer has to get sleep in unbroken 
  increments; he is able to survive on a multitude of naps, provided the total time sleeping 
  equals or exceeds the required number of hours. See sleeping rules on Page 87. 
   
  Marathoner (5 pt. Positive Factor) The character's Resilience is considered to be one 
  higher when determining how long he can maintain maximum effort. This applies equally 
  well to all physical tasks: running, lifting, carrying, swimming and climbing. 
   
  Stout Frame (7 pt. Positive Factor) The character is able to take a hit remarkably well. 
  He receives an additional point for damage, both Trauma and Burnout. This point cannot 
  be burned out in any circumstance other than being damaged. However, taking a hit to this 
  additional damage Quality does not affect his performance in any way. The damage "pool" 
  thus gained does not add to Natural Defense and must be healed at the normal rate, but a 
  character with this Factor can survive what would otherwise be killing blows. 
   
  Allergy (5 pt. Negative Factor) The character takes Burnout in the presence of a 
  particular substance. In all cases, the character takes a single point of Burnout each round 
  he is in direct contact with the substance. Taken once, the character is allergic to 
  something he's unlikely to run across often: certain industrial cleaners, obscure plants, or 
  exotic animals. Taken twice, the character is allergic to something more common: cat/dog 
  dander, cigarette smoke or food allergies. Taken three times, the character must take 
  constant care; he is highly allergic to things like fabric softeners, dust and mold. "Contact" 
  in this context can be as innocent as being in the same room as large amounts of the 
  allergen. This Factor is not intended for characters who are made uncomfortable in the 
  presence of certain allergens; while a certain character concept may demand that he be 
  vulnerable in this way, the game effects are minor enough that a Factor isn't warranted.  
   
  Sickly (2 pt. Negative Factor) The character's immune system is often not up to the task 
  of protecting the character. When attempting to resist drugs, disease, or infection, the 
  character's Resilience is considered to be one lower. Taken more than once, this represents 
  a character particularly prone to illness, as his Resilience is lowered even further. Such 
  characters are encouraged to explain their weakness through background.  
   
  Diseased (6 pt. Negative Factor) The character has a physical condition: taken once, the 
  character has a chronic but manageable disease that nonetheless affects his health. He loses 
  one point from a Physical Quality. Examples of this level of Diseased include diabetes, 
  severe asthma, mild fibromyalgia, hypoglycemia, and anemia. Taken twice the character 
  has a potentially life-threatening condition that has reached a stable state. He loses two 
   
   
  "What we fear comes to pass 
  more speedily than what we 
  hope."
  -Pubilis Syrus,
  Moral Sayings 
  (1st Century B.C.E.) 
   
   
  33
  
   
  points from Physical Qualities. Examples of this level of disease include cancers in 
  remission, severe fibromyalgia, and emphysema. Taken three times the character has a 
  disease that will almost certainly kill him: AIDS, metastasized cancers and severe strokes 
  are examples of this level of Diseased. The character loses three points from Physical 
  Qualities, and is in danger of being laid low at virtually any time. 
   
  Strength  
   
  Deceptive Strength (1 pt. Positive Factor) The character simply doesn't appear to be as 
  strong as he is. This can either represent a character who looks weaker than he is, and 
  whose  opponents  thus underestimate him, or a character who looks stronger than he is.  In 
  the second case, the character is likely able to get out of some potentially sticky situations 
  simply by bluffing. Each purchase of this Factor makes the character look roughly like 
  someone one point different from actual Strength. Thus, purchased twice, this Factor could 
   make a Strength three character look like a Strength five bruiser or a Strength one 
  weakling. There is no mechanical effect to this Factor; the Narrator should determine what, 
  if any, effect it has under any given circumstances. 
   
  Heft (2 pt. Positive Factor) The character's Strength is considered one higher when 
  determining what weapons he can use without penalty. The character is able to balance the 
  weapon in a way that compensates for his relative lack of Strength. He may look odd doing 
  it, but he can use whatever implement he's got as well as those better naturally equipped 
  for the task. 
   
  Power Lifter (2 pt. Positive Factor) The character's Strength is considered one higher 
  when determining the weight of objects he can lift and carry. 
   
  Bruiser (3 pt. Positive Factor) Violence doesn't need to be refined, and a character with 
  this Positive Factor knows it. He receives a one-point bonus to rolls to hit someone with 
  his fist or feet. This does not apply when the character is using other attacks, such as 
  clawing, biting, or even refined techniques such as a aimed shots. This Factor is the 
  crowning jewel of the character who has struggled to the nadir of human evolution.  
   
  Juggernaut (3 pt. Positive Factor) Once the character decides to go after something, he 
  becomes a powerhouse. He gets a one-point bonus to overcoming physical barriers—
  doors, walls, dressers, windows, bars, and people. Note that in this last case, the character 
  does not get a bonus to attack the individual standing in his way, just to roll over him like 
  a force of nature. 
   
  Pitcher (3 pt. Positive Factor) The character's Strength is considered one higher when 
  determining the weight of objects he can throw, the distance he can throw them, and the 
  speed at which said objects are thrown. Note that this Factor doesn't apply a bonus to 
  actually hitting anything. That requires the Agility Factor Accuracy. See pages 23-24 for 
  Agility rules.  
   
  Intimidating Appearance (3 pt. Positive Factor) Whether because of tattoos, piercings, 
  or  just  a naturally scary mien, the character receives a plus one bonus to all rolls 
  involving intimidation, even if those rolls do not involve the character's Strength Quality. 
  His sheer physical presence is enough to invoke dread, even in the most refined of 
  surroundings. 
   
  Athletic (7 pt. Positive Factor) The character receives a plus one bonus to all rolls 
  involving athletic ability; running, jumping swimming, and climbing to name a few. This 
  Factor specifically does not apply to hitting people, dodging, taking a hit, throwing things, 
  or lifting things. Other Factors must be purchased for a bonus on these actions. 
   
   
   
  "Fear is a tyrant and a despot, 
  more terrible than the rack, 
  more potent than the snake." 
  -Edgar Wallace 
  The Clue of the Twisted Candle 
   
   
  34
  
   
  Bad Back (1 pt. Negative Factor) The character's Strength is considered to be one less 
  when determining what he can lift and carry. 
   
  Glass Jaw (3 pt. Negative Factor) The character suffers from a one-point penalty 
  whenever attempting to bite someone or something. Additionally the character receives an 
  additional point of damage if the source of the damage is some sort of impact to the mouth 
  (usually a punch). A character may have this Negative Factor for any number of reasons: 
  poor dental hygiene, braces, inadequate calcium intake, or just an unfortunately brittle 
  smile. 
   
  Palsied Limb (4 pt. Negative Factor) There is something wrong with one of the 
  character's limbs. When performing actions that require two hands (and most actions do, 
  one way or another), the character takes a one point penalty. Alternately, the character may 
  have a palsied leg. In that case, all actions that require mobility take a one-point penalty. 
  Taken three times, the character is simply missing the limb in question. He automatically 
  fails most tasks that require having a matched set. Those tasks that he doesn't automatically 
  fail take twice as long and still have the three-point penalty associated with taking this 
  Factor three times. 
   
  Shrinking Violet (5 pt. Negative Factor) The character fights the way a snowball tans; 
  this Negative Factor reduces the character's die when attempting or defending against an 
  act of violence, whether armed or unarmed. If, for example, a character with the standard 
  d6 takes this Factor, he rolls a d4 when engaging in combat. If he began with a d8, taking 
  this Factor would reduce him to a d6, while taking it twice would reduce him to a d4. A 
  character with a d8 or higher may take this Factor three times, though reducing a die to 
  less than a d4 means the character simply receives no die roll. Characters who tend to take 
  this Factor include, but are not limited to, those with high Dread, pacifist characters and 
  ones who react poorly to pressure. 
   
  Skill Categories and Skills 
   
  Training is separated into two classifications: Skill Categories and Skills. The Skill 
  Category represents basic "book knowledge" of a wide subject; broad brush strokes of 
  understanding. Everything from a general understanding of art to familiarity with technical 
  skills are represented. Underneath each Skill Category is a set of Skills. The Skill, not the 
  Skill Category is used for determining die rolls. A character without a rating in a Skill may 
  attempt to do something covered by it anyway, though he will operate at a four-point 
  penalty if the task he's attempting uses the Mental Die or a two-point penalty if the task 
  uses the Physical Die.  
   
  Both Skills and Skill Categories run along the same basic scale as Qualities: ones represent 
  little understanding; the armchair quarterback or the man who changes his own oil. Sixes 
  are at the top of their fields: doctors with thriving practices, lawyers who argue before the 
  Supreme Court, and college athletes with full-ride scholarships.  
   
  Points in Skill Categories cost two CPs apiece; points in Skills cost one CP apiece.  
   
  The Skill Category determines the maximum rating a character can have in any given Skill. 
  This means a character's rating in a Skill can never exceed the rating in the Skill Category 
  under which it falls. A character never adds his rating in a Skill Category when rolling 
  dice. 
   
  On the other hand, a Skill Category may have a higher rating than any Skill beneath. 
  Vague understanding often comes before skilled experience, but it doesn't work as well the 
  other way around. 
   
   
   
  "There are only three sins – 
  causing pain, causing fear, 
  and causing anguish. The rest 
  is window dressing."
  -Roger Caras 
   
   
  35
  
   
  Skill Categories and Skills Scale 
   
  The scale for Skill Categories and Skills is similar to the scale for Qualities in that it uses 
  the same number of intervals to represent the range from atrocious to remarkable. The 
  primary difference is that Skill Categories and Skills represent progress along a trained 
  spectrum. A player needn't buy Driving or any other everyday activity unless he wants his 
  character to have been formally trained in that Skill or Skill Category (if he wanted his 
  character to be a chef, butler, or race car driver, for example). A high rating represents a 
  tremendous amount of talent and technical skill, in all likelihood it will be combined with 
  either Savant or Certification, if not both.  
  1. This is the bare minimum of training one can have and still be considered at all trained 
  in a task. Beginning students or hobbyists generally have this level of Skill.  
  2. When a character hits this level in a Skill or a Skill Category, he's begun exploring some 
  of the deeper aspects of the field. He's not good enough to begin practicing with any 
  notable proficiency within the category, but he's getting there making strides. 
  3. High-level students and truly talented amateurs are usually at this level of 
  understanding. At this point, a character is conversant with most of the central ideas and 
  theories of a field, and is reasonably proficient at a few tasks. 
  4. Beginning professionals are usually at this level. They can identify most problems 
  relating to their field quickly and efficiently, and are locally well known within 
  professional circles. 
  5. Experienced, talented professionals are usually level five. A character at this level is 
  astonishingly good at what he does, whether that's driving, painting, writing, teaching, or 
  surgery. While not infallible, there are few situations within his field that the character is 
  not familiar enough with to dissolve, fix, or create. This is the point at which a character 
  becomes known as an "expert." 
  6. Nobel Laureates, Pulitzer Prize Winners, Academy Award Winners and other 
  nationally/internationally known or respected experts fall into this level of Skill. This is it; 
  the top of the natural pile. 
  Skill List 
   
  Arcane 
   
  Arcane Skills are those that relate to religion, parapsychology or the unknown. Characters 
  with high ratings in this category tend to be professional psychics, religious leaders, nut 
  job conspiracy theorists, or some combination thereof. The use of both Logos and Ethos 
  are dependent on Skills falling under this Skill Category. Arcane contains the following 
  Skills: 
   
  Conspiracies is the collection of theories, speculation, and little-known facts that provide a 
  patchwork explanation for the incongruities that characters may find themselves faced with 
  in "straight" history, or even their daily lives. 
   
  Cryptozoology is the study and knowledge of creatures commonly regarded as extinct or 
  imaginary, covering everything from Bigfoot to vampires, ghosts, and, until recently, the 
  coelacanth. 
   
  Eldritch covers understanding of the beliefs, history, holidays and big names of the major 
  world religions. It also provides less detailed but accurate information about lesser known 
  sects, cults, and religions with smaller followings. While this Skill doesn't convey 
   
   
  Passion has little to do with 
  euphoria and everything to 
  do with patience. It is not 
  about feeling good. It is 
  about edurance. Like 
  patience, passion comes from 
  the same Latin root: pati. It 
  does not mean to flow with 
  exuberance. It means to 
  suffer."
  -Mark Danielewski
  House of Leaves 
   
   
  36
  
   
  knowledge of a language, it grants a basic familiarity with most symbolic or pictographic 
  symbol sets. More obscure meanings or symbols may warrant truly astronomical Target 
  Numbers, requiring many hours of research to decipher. Included within Eldritch is the 
  study of cross-cultural religious and magical rites. A character's rating in a Logos spell is 
  limited by his rating in this Skill. 
   
  Meditation is the use of combined deep breathing, visualization, and/or positioning to 
  reach a state of calm reflection or increased sensitivity. While individual methods may 
  vary, the basics remain the same across the board, though circumstances may make a 
  certain varieties of meditation impossible. 
   
  Parapsychology is the study of the untapped forces of the mind and unexplained forces of 
  the universe. This skill covers understanding of all kinds of Fortean and psychic 
  phenomena. 
   
  Sensitivity is more of a knack or a feeling than a Skill; with it, characters are able to sense 
  the presence of phenomena relating to Passion, Fade, and, to a lesser degree, Logos. A 
  character will never get detailed information from this Skill, though he may get hunches 
  about the general nature and location of what he's feeling at the Narrator’s discretion.  
   
  Art 
   
  Characters with a rating in the Art Skill Category tend to be proficient with music, 
  visual art, sculpture, performance, or some other form of creating works of beauty, 
  entertainment, or occasional utility. Artists, writers, ad executives and eccentrics often 
  have Skills within this Skill Category. 
   
  Music: Characters skilled in Music and trained (or perhaps talented) in the performance, 
  composition and appreciation of music. This includes both instrumental and vocal 
  varieties.  
   
  Industrual covers the ability to create. Characters with this Skill can sew, knit, work with 
  lumber, metal, stone, pottery, or ceramics, and, in short create. This Skill works equally 
  well for artist characters who tend to work with durable materials and engineers or 
  machinists.  
   
  Theater: A rating in Theater denotes the ability to engage in and appreciate performance, 
  including film, live theater and radio. Characters skilled in Theater are also skilled in 
  dance, including ballroom, tap, modern, jazz, and “club” dancing.  
   
  Visual Art represents training or talent in the creation and appreciation of two-dimensional 
  works of art. This includes drawing, sketching and painting. Additionally, this Skill covers 
  lighting, the aesthetics of design and photography, including development techniques.  
   
  Writing covers the ability to write poignant, evocative material within the demands of the 
  occasion. Journalism, poetry, fiction and even particularly creative conversation fit under 
  this Skill.  
   
  Collegiate 
   
  General academic knowledge falls into the Collegiate Skill Category. In addition to topics 
  like History, Science and Sociology, this Skill Category includes Skills relating to Finance 
  and Research. At least some familiarity with Skills in this category is essential for office-
  type professional characters of any stripe. 
   
   
   
   
  Science is nothing but 
  perception." 
  -Plato 
   
   
  37
  
   
  Business is the Skill of the financier, the banker, the lawyer, and the small business owner. 
  It covers everything from familiarity with compound-complex interest and investment 
  strategies, to the basics of contract negotiation. Creative investment, personal savings, and 
  business etiquette are all included within this Skill – a must have for any character wanting 
  to climb the SES ladder. 
   
  Law represents familiarity with the ins and outs of civil and criminal law, as well as the 
  particular rules of police and courts. While lawyers and law officials always have this 
  Skill, any character who violates the law, or who draws the attention of the police for 
  whatever reason, would do well to invest in it. 
   
  Logic represents familiarity and skill with the techniques of formal logic, ciphers, and 
  cryptography. If there's a riddle to be solved, Logic likely provides the tools to solve it. A 
  basic understanding of this Skill also allows characters to avoid logical pitfalls and see to 
  the core of an argument. Note that Logic also provides formal training in fallacies; an 
  unethical or desperate character can easily use a few well-placed bits of manipulation to 
  turn any argument in his favor. Few can stand against a master of Logic in a formal debate; 
  the persuasive power of this Skill is such that by the end, few would want to. 
   
  History covers understanding of the major movements, dates, individuals and thoughts of 
  the past. It also provides a basic understanding of the politics and culture of different 
  regions and time periods. This Skill is an excellent addition to a character with the 
  Language Factor, as it allows him to more completely understand the culture whose 
  language he speaks. 
   
  Research is arguably one of the most common Skills in Abeo. A rating in this Skill 
  represents familiarity with a wide variety of research methods and tools, from the Internet 
  to books to interview techniques. Monster hunters, academics, and trivia hounds all tend to 
  have ratings in this Skill.  
   
  Science at the lower levels of understanding conveys understanding of the terminology, 
  and to a lesser degree, the theories of "hard" scientific thought and advanced mathematics. 
  A character needn't have a rating in this Skill to add, subtract, multiply, or divide, but 
  algebraic functions, calculus, and formula work are utterly beyond the comprehension of a 
  character without this Skill. This Skill also conveys understanding of the practical 
  elements of chemistry, biology, physics and the other physical sciences; a rating is 
  essential for characters in medical fields. At the higher levels, Science also provides a 
  working knowledge of the cutting-edge theories of quantum mechanics, string theory, and 
  other theoretical but world-shattering ideas.  
   
  Sociology covers and understanding of the behavior and beliefs of large groups of people, 
  including buying behavior, politics, and the psychology of particular groups. Would-be 
  politicians, psychologists, and advertising executives all tend to have ratings in this Skill. 
   
  Computer  
   
  The Computer Skill Category covers knowledge of building, repairing, using, and 
  modifying computers. Any character can point, click, type, and surf the 'net, but a rating in 
  Skills within the Computer Skill Category is needed to go any further. Programmers, 
  technicians, webmasters, and Internet junkies are all likely to have ratings in Computer 
  Skills. 
   
  Devices: a rating in this Skill denotes an ability to operate, maintain, repair, modify, and 
  build computerized devices that are not computers themselves but interface with them. In 
  the case of creating computerized devices, unless the character is using an existing device, 
  he must also have all of the materials to build the gadget, along with an understanding of 
   
   
  "No passion so effectively robs 
  the mind of all its powers of 
  acting and reasoning as fear."
  -Edmond Burke 
   
   
  38
  
   
  Electronics from within the Technical Skill Category. Building devices is a multi-stage 
  process, requiring rolls for design, construction (often several rolls for the different 
  components) and a final roll the first time the device is used. Note that this Skill only 
  allows characters to build variants on existing devices. Creating entirely new gadgets 
  requires the Invention Skill from within the Technical Skill Category. 
   
  Hardware covers virtually all uses of computer the physical components of computers: 
  modification, construction, and repair. Computerized devices that are not computers 
  themselves (Palm Pilots, GPS systems) require the use of the Devices Skill. 
   
   
  Networks represents an understanding of the process of connecting two devices for the 
  purpose of exchanging information, and all its attendant issues. Security, wireless 
  processes, and hacking are all covered by this Skill. 
   
   
  Programming represents a broad proficiency with all forms of computer programming and 
  program maintenance including, but not limited to databases, web site design, video 
  games, decryption, design, compatability, and troubleshooting.  
   
  Criminal 
   
  The Criminal Skill Category covers a wide range of illegal behavior as well as techniques 
  used in law enforcement. Criminals, juvenile delinquents, intelligence operatives, 
  government agents and police are just a few of the types who may have a rating  in  
  Criminal Skills.  Remember that these  activities are  highly illegal and usually immoral; 
  no matter how good a character is at these Skills, if he keeps them up long enough, he will 
  get caught. 
   
  Auto Theft covers the process of stealing cars, motorcycles, and, if a character is feeling 
  particularly lucky, airplanes. This includes the entire process, from casing the vehicle to 
  bypassing security, hotwiring, and finally, selling or altering the car enough to avoid jail 
  time. Stealing a car often requires multiple rolls, one for each stage. Target Numbers can 
  vary wildly, from the standard eight for an old Accord in a parking lot, to 20 or higher for 
  high-end sports cars with sophisticated security devices. Other vehicles, such as personal 
  aircraft, or, for suicidal characters, military aircraft, can easily break the 40 mark. 
   
  Disguise covers understanding and use of makeup, posture, research, clothing and speech 
  necessary to assume someone’s identity. Trying to appear to be "someone" is relatively 
  easy; characters without extremely distinguishing characteristics should, under normal 
  circumstances, be able to do so with the standard Target Number of eight within a few 
  minutes, provided they have the proper materials. Attempting to appear as a specific type 
  of person, such as a security guard in a particular office building, is more difficult, often 
  requiring hours of research and preparation. Target Numbers for this kind of disguise can 
  range from 12 in easy cases to 20 or more for especially difficult types (bank security, 
  military personnel).   Trying to appear to be a specific individual is almost always near to  
  impossible. Characters may attempt it and succeed in dealings with people who have never 
  met, seen or heard the individual they're imitating, but any interaction with anyone at all 
  familiar with the person being imitated will reveal the imposture, usually with devastating 
  results. Note, some Pathos or Ethos powers may bypass this rule, but supernatural means 
  are the only ones that will work effectively to imitate a specific person. 
   
  Forgery represents the ability to fake documents and documentation, not just with 
  signatures, paper and ink, but more modern electronic means as well. Characters with a 
  rating in this Skill can create or falsify identification, money, or documentation. More 
  creative uses are also possible; with a few minutes of research, lots of good luck and a thin 
  magnet or black marker, a character might be able to alter UPC and security codes. 
   
   
   
  "From freedom, Deborah Blau 
  smashed headlong into the 
  collision of the two worlds. As 
  always before it was a weirdly 
  silent shattering. In the world 
  where she was most alive, the 
  sun split in the sky, the earth 
  erupted, her body was torn to 
  pieces, her teeth and bones 
  grazed and broken to 
  fragments. In the other place, 
  where the ghosts and shadows 
  lived, a car turned into a side 
  drive and down a road to where 
  an old red-brick building 
  stood." 
  -Joanne Greenberg 
  I Never Promised You a Rose 
  Garden 
   
  39
  
   
  Interrogation is used when a character needs to get information out of someone. It's rarely 
  subtle, and runs the spectrum from straightforward knee breaking to the more sophisticated  
  methods  of  psychological  torture.  This  Skill  also  includes  a  talent for getting answers 
  that reveal more than the subject intended and other similar tricks of information  
  gathering.  When  using this Skill,  remember that information gained under duress is 
  always suspect; often the threat of torture is far more effective than its actual use. Police 
  and mobsters especially tend to have ratings in this Skill. 
   
  Security: Breaking and entering just isn't as simple as it used to be. A modern thief needs 
  to  know  how  to  bypass  locks  (both  electronic and key-types), shut down and bypass  
  security systems, poison, knock out or befriend guard animals. This Skill covers all of 
  those techniques.  
   
  Sleight of Hand denotes the ability to use misdirection, stealth and fast moves to hide 
  activity. Everything from picking pockets and palming objects, to stealthily drawing a 
  weapon is covered by this Skill. These Skills can be just as effectively used to perform 
  magic tricks (after making an entire wallet disappear, coins should be a breeze), but few 
  stage or birthday party magicians have the personality or inclination to become petty 
  thieves. 
   
  Urban Stealth is the process of remaining unseen in civilization. The specifics of tailing 
  (on foot and in vehicles), hiding and sneaking are covered, as well as the more complex 
  methods of removing paper trails. 
   
  Urban Survival covers the etiquette of the criminal element, knowledge of gangs, and 
  more general street smarts. A character attempting to obtain contraband, whether drugs, 
  weapons, or information, usually uses this Skill. 
   
  Health 
   
  Mental and physical health are both covered by this Skill Category. Doctors, veterinarians, 
  psychiatrists, emergency personnel, and firefighters are all going to have spent at least a 
  few points within Health. 
   
  Alternative Medicine includes knowledge of acupuncture, chiropractic practice, 
  reflexology, and herbal medicine, as well as less commonly accepted remedies such as chi 
  gung, aromatherapy, and folk cures. These methods are rarely as effective as the more 
  straightforward methods of the General Practitioner Skill. The Narrator should add a plus 
  two to plus four penalty to all Target Numbers when a character attempts to use 
  Alternative Medicine alone; some ailments simply cannot be effectively treated by this 
  method at all. It is entirely up to the Narrator what health problems can and cannot be 
  ameliorated by this Skill. 
   
  However, this Skill can be used in conjunction with General Practitioner or Psychology. At 
  the Narrator's discretion, treating an ailing character with Alternative Medicine techniques 
  (at the standard Target Number of eight) may provide a plus one bonus to the General 
  Practitioner or Psychology treatment roll, with additional Degrees of Success adding 
  further bonuses (plus one for each Degree of Success). 
   
   
  General Practitioner: doctors, emergency personnel, and those with a basic knowledge of 
  first aid all likely have at least a few points in this Skill. Covering everything from treating 
  traumatic injuries to lingering illnesses, General Practitioner conveys familiarity with 
  diagnosis, treatment, and the practical use of the tools of the trade. A character who 
  purchases Certification in this Skill is qualified to be a doctor, with all of the attendant SES 
  and status benefits. 
   
   
   
   
  “I want to stand as close ot the 
  edge as I can without going 
  over. Out on the edge you can 
  see all kinds of things you can't 
  see from the center."
  -Kurt Vonnegut 
   
   
  40
  
   
  Psychology: characters with a rating in this Skill are familiar with the major names and 
  movements within psychology, as well as the basics of how of therapeutic practice. 
  Psychological treatment (whether through medication or therapy) is the only reliable 
  method of removing Intensity, making this Skill a potent (if time-consuming) method of 
  self-preservation. Note that in order to remain above-board as a therapist, a character must 
  be Certified in this Skill. In order to prescribe drugs, the character must also be a Certified 
  General Practitioner. 
   
  Veterinary:  a rating in this Skill denotes the ability to heal and work with animals, wild, 
  domestic, and farm. This covers basic biology, especially as relates to fauna, techniques 
  for healing animals, and also an understanding of how to affect animal behavior. 
   
  Outdoors 
   
  While an ability to survive outside of the city isn't as practical as it used to be, many still 
  cultivate the Skills within this Category, and some, such as Navigation and Exertion, are 
  useful under many circumstances under which characters may find themselves. Park 
  rangers, tour guides, survivalists and most branches of any nation's armed services will 
  have at least a few points in Skills in this Skill Category. 
   
  Animal Care includes training, proper technique, and care of animals, including pets, load-
  bearing animals (horses, donkeys, camels) and hunting animals (dogs, falcons). 
   
  Boating is the ability to sail, row, and drift effectively on the water. Everything from knot 
  and ropework to proper boat maintenance is included in this Skill. Note that most sailboats 
  cannot be effectively used by only one person, no matter how skilled he is. However, a 
  character with a rating in this Skill can easily organize a ship of inexperienced people into 
  motion ("Here. Hold this rope and don't move until I tell you to."). 
   
  Exertion includes all forms of strenuous activity: climbing, running, jumping, and even 
  organized sports. In situations involving physical activity that isn't covered by another 
  Skill (fighting, for example, will always be covered by the Basic Combat Skill Category) 
  the character rolls a Physical Quality+Exertion+Mental Die. 
   
  Foraging is the ability to survive in the wilderness. This Skill includes identification of 
  roots, plants, berries, and fruits for both nutrition and medicinal value. Properly using 
  medicinal herbs still requires the Alternative Medicine Skill. 
   
  Hunting covers killing, skinning, and preserving animals in all climates. It also includes 
  knowledge of tracking and the behavior of animals. While hides can be tanned with this 
  Skill, to do anything more would require the Industrial Skill Category. 
   
  Navigation is the ability to move around without getting lost. It includes a character's 
  ability to orient himself in darkness, as well as basic use of landmarks, compasses, stars, 
  and the growth patterns of plant life. 
   
  Outdoor Stealth covers all attempts to move without trace in a wilderness environment, 
  including camouflage, removing tracks, stalking and prowling silently, and hiding 
  campsites. 
   
  Social 
   
  The Social Skill Category is unique in that it rarely takes training to become proficient in 
  virtually any Skill within it. Essential Skills such as flattery, lying, and the ability to read 
  others are available to everyone, though few bother to cultivate them. Those with high 
  ratings in Social Skills tend to be political lobbyists, CEOs, small-business owners, and 
   
   
  "Beware the fury of a patient 
  man."
  -John Dryden 
   
   
  41
  
   
  con men. 
   
  Intimidation is to manipulation what brute force is to finesse. Not every use of this Skill 
  involves a direct physical threat, but such threats are definitely within its domain. The 
  subtler uses of Intimidation include veiled threats, poisonous looks, and carefully 
  calculated snubbing. Intimidated characters are more likely to go along with the character 
  who intimidated them, make mistakes, or give information away. This Skill is often used 
  with Strength, Imagination, and SES for physical, social and financial intimidating or 
  manipulating. 
  Kinesics: at least half of a conversation is listening, and at least half of listening is knowing 
  what the other person isn't saying. Kinesics covers the ability to determine an individual's 
  emotional state, such as whether he's lying, dangerous, or uncomfortable. This Skill is vital 
  for those characters who regularly interact with others. 
   
  Lying: maybe it's unethical, but it works. There are few, if any, characters that are able to 
  get away with telling the truth all the time. This Skill covers faking competency, flattery, 
  manipulation, fast talk, and garden-variety dishonesty. Without a rating in this Skill a 
  character is painfully obvious in his motives and actions; given most people's reaction to 
  the truth, he's also probably wildly unpopular. 
   
  Networking represents skill in knowing and cultivating relationships with all the right 
  people. It also denotes the ability to make sure all the right people know each other--and 
  remember who introduced them. With a high SES, a few well-placed calls and a couple of  
  introductions,  a master  of  Networking  can  move  millions  of  dollars,  affect  the  
  decisions of entire legislative bodies, or ruin a rival's career. Characters usually roll 
  SES+Networking+Mental Die to accomplish a task; rarely is any other Quality used with 
  this Skill. Note that Networking doesn't do much for those looking for instant gratification. 
  While this Skill is powerful, it almost always takes days at least for any actions a character 
  takes to have any effect whatsoever. 
   
  Observation is to the world as a whole what Research is to the sphere of information. It 
  delineates a character's ability to actively engage in his surroundings, and is rolled to 
  determine everything from spontaneously noticing a hidden detail to meticulous scrutiny 
  of an area. 
   
  Tenacity: no matter how much control a character has over others, if he himself is easily 
  manipulated or shaken, it won't do him an ounce of good. Tenacity denotes a character's 
  composure and ability to resist outside influence. As an instinctive action, the character 
  can roll Imagination+Tenacity+Mental Die to resist manipulation (natural or supernatural) 
  or to avoid acting on an emotional impulse. Secondarily, this Skill represents a character's 
  ability to focus on tasks and observations, even under distracting circumstances. Most 
  observation occurs using a Perception+Tenacity+Mental Die roll, with a Target Number 
  based on the obviousness of the "goal" information and any distracting conditions. 
   
  Technical 
   
  Probably the single broadest Skill Category, Technical covers everything from Auto 
  Repair and Plumbing to Architecture. Though usually professionals maintain a monopoly 
  on the higher levels, even a weekend handyman is likely to have a few points scattered in 
  this category. 
   
  Construction covers the ability to design and construct buildings. It includes contract 
  negotiation, blueprints, building codes, and zoning regulations as well as more practical 
  elements: the proper uses of the money, manpower, and equipment necessary to get a 
  building off of the ground and keep it there.  
   
   
   
  "The absolute yearning of one 
  human body for another 
  particular body and its 
  indifference to substitutes is 
  one of life's major mysteries." 
  -Jean "Iris" Murdoch 
   
   
  42
  
   
  Electronics: if it has wires, odds are, a character with a rating in this Skill can do 
  something to it. This Skill provides knowledge of how currents, voltage and circuits work, 
  as well as knowledge of how to build, maintain and modify these devices. Computers still 
  require Skills from within the Computer Skill Category, but with knowledge of this Skill, a 
  character can work from the ground up. This Skill also includes knowledge of wiring 
  appliances and houses. 
  Inventions: it's good to know how to work with other people's work, but some characters 
  want to know how to build new things. Knowledge of this Skill allows a character to 
  design entirely new devices, electronic or mechanical. It also includes the ability to jury-
  rig existing gadgets without the proper tools or equipment; such a character's knowledge of 
  the nuts and bolts of machinery allows him to bypass the usual routes of repair. A roll to 
  jury-rig a device will have a higher Target Number than a usual repair roll, and will 
  usually only work for a limited number of uses, but sometimes, when you don't have a 
  garage or even a wrench, you have to make do. 
   
  Actually creating new devices requires three rolls: one to design the device, one to build it, 
  and a final roll when the device is used  the  first time. If the character wishes, he can 
  create a "single-use" device, thus lowering the Target Number to design and build the 
  gadget, and eliminating the need for the final roll in the process. 
   
  Mechanics: a rating in this Skill shows that a character is proficient in the modification, 
  repair and maintenance of mechanized devices: engines, elevators, cars, and lifts. It also 
  includes elements of proper engineering and manufacture of the tools involved in 
  machinery. With the proper materials and months of time, a character can build anything 
  from ultralite planes to cars. Building these devices "from scratch," however, almost 
  always also requires high levels of Metalworking, Textiles, and/or Woodworking from the 
  Art Skill Category. 
   
  Basic Combat 
   
  Basic Combat covers hurting people, from punches to gunshots. Few make a living in the 
  field of professionalized violence, but those that do would be wise to invest in Skills  
  within this Skill Category. Police officers, mob enforcers, federal agents, martial artists, 
  and members of any nation's armed services will have ratings in Skills within Combat. 
   
  Armed Strike covers all rolls attempting to hit someone with a non-projectile weapon, such 
  as swords, pipes, axes and knives. 
   
  Block/Parry: a rating in this Skill denotes a character's ability to successfully stop an attack 
  using a weapon or shield. A character may attempt to block or parry an attack without any 
  sort of protection, but even if he succeeds, he will still take the weapon's Damage Rating in 
  Trauma, though he doesn't take damage from the opponent's Degrees of Success or 
  Strength.  
   
  Evasive: getting out of the way of a punch is oftentimes more important than being able to 
  throw one. Evasive covers all attempts to move out of the way of an oncoming attack.  
   
  Initiative is the character's ability to get in the first hit. Characters roll their 
  Agility+Initiative+Physical Die to determine who goes first in a combat. Without a rating 
  in this Skill, a character makes the roll using only his Agility+Physical Die. Additionally, 
  he also makes the roll at the two-point penalty assessed for making a roll with the Physical 
  Die without the proper Skill. 
   
  Projectile Strike is rolled when a character attempts to attack using a projectile or thrown 
  weapon. This includes guns, bows, throwing knives, shuriken, spears, Molotov cocktails 
  and, if the need arises, rocks.  
   
   
  "Yearning is not only a good 
  way to go crazy but also a 
  pretty good place to hide out 
  from hard truth."
  -Claude T. Bissell 
   
   
   
  43
  
   
   
  Unarmed Strike: punches, kicks, bites and headbutts all fall under the purview of this Skill. 
  If the character is attempting to harm someone without the use of a weapon,  this is the 
  Skill he uses to do so. Certain weapons, such as brass knuckles and tiger claws may still 
  use the "Unarmed Strike" rules; weapons that can be used in this manner are so noted in 
  their descriptions.  
   
  Savant 
   
  Characters may purchase Savant for a Skill Category; characters with Savant may roll any 
  Skill within the affected Skill Category without the penalty for attempting a task without 
  Skill. A character with a Savant in Social, for example, could use Lying without having a 
  four-point penalty, even if he had no rating in the Skill. 
   
  Savant costs ten CPs per Skill Category. 
   
   
  Certification 
   
  Characters may also purchase a Certification for a Skill in which they have a rating of four 
  or higher. Characters who are Certified in a Skill have all the requirements to practice the 
  Skill in which they are certified professionally. In the case of the medical field, the 
  character is a doctor, in law, the character is an attorney and member of the local bar 
  association. Certain Skills, such as those within the Criminal Skill Category, don't have 
  licensing requirements. In such cases, the character has the reputation and credibility to 
  practice said Skill. 
   
  In addition to the credibility and legal benefits of Certification, a character who is Certified 
  in a Skill rolls a die one higher than he normally would when attempting to use the Skill in 
  which he is Certified, representing the additional practice and skill (or luck) that a 
  character must have in order to be Certified. 
   
  Certification costs five CPs per Skill. 
   
  Passion 
   
  Passion covers the type of emotion each character draws their power from: Anguish, 
  Dread,  Fury,  and  Yearning.  Using one of the four Passions available a character will 
  alter the world about them. The character’s Intensity rating is equivalent to the rating of his 
  highest Passion and is a representation of how skewed his beliefs and perceptions are of 
  the world. For more information see page 64. 
   
  Determine your character's primary Passion and decide what your character's Intensity in 
  that Passion should be. Characters start with a rating of one in their primary Passion for  
  free.  Before  purchasing  additional  Intensity  in  any  Passion,  remember  that  an 
  individual can live with a Passion of one relatively easily, but greater degrees of Passion 
  usually represent years of unhealthy behavior; they are correspondingly difficult to both 
  gain and live with. A character's rating in a Passion is also called his Intensity in that 
  Passion.  
   
  Characters also receive a single Pathos in their Primary Passion for free. If a character 
  purchases a higher rating in his Passion with CPs, he may choose to have his free Pathos 
  be  of  whatever  rating  he has purchased the Passion to have. This means that a character  
  can begin with a free Pathos of up to level four. 
   
   
   
  "I don't need no arms around 
  me. And I don't need no drugs 
  to calm me. I have seen the 
  writing on the wall. Don't think 
  I need anything at all. No, don't 
  think I need anything at all. All 
  in all it was all just bricks in 
  the wall. All in all you were all 
  just bricks in the wall." 
  -Pink Floyd 
  Another Brick in the Wall 
   
   
  44
  
   
  Characters can also have ratings in more than one Passion. Additional points in Passion 
  cost ten points apiece. Characters are limited to an initial rating of no higher than four in 
  any one Passion at character creation. 
   
  Pathos and Ethos 
   
  Passion by itself grants a character an increased ability to perceive the Noumenal, but it's 
  Pathos (the untrained powers that come with Passion) and Ethos (directed magical 
  manipulation of Passion) that give characters in Abeo the ability to move mountains. 
  Characters start with one Pathos in their primary Passion, up to the level of their Intensity 
  for free. Additional Pathos cost five points each. A character cannot have any Pathos of a 
  rating higher than his Intensity in the Passion under which the Pathos falls.  
   
  Ethos mimics the effect of a Pathos power, but has no Intensity limitation associated with 
  it. A character can, with no more than a rating of one, purchase a Pathos power of any 
  level for any Passion, though purchase of powers rated higher than level four must occur 
  after character creation. Pathos of higher levels are prohibitively expensive to purchase and 
  use as Ethos; while it is powerful, the investment of time, Imagination and preparation 
  makes it less flexible, spontaneous and effective than simple Pathos. Characters may 
  purchase powers of up to level four at character creation. The cost is five CPs per Ethos, 
  regardless of level. 
   
   
   
  It is recommended that players not be allowed to start with Ethos higher than level four. If 
  it is allowed, Narrators are encouraged to require that characters spend ten points per level 
  of the Pathos to be purchased as Ethos. Ethos is already massively powerful and should for 
  this reason, if no other, be rare. 
   
  Logos  
   
  Logos is a function of logic, though it seems to bypass it. Essentially it is the manipulation 
  of symbols of cause and effect. As such the laws of the waking world bind it. Miraculous 
  coincidences can occur, and do. But they do not occur quickly, obviously or reliably. At 
  the same time, it can be a valuable resource when nothing else will work. Additionally, 
  even those without Intensity can use Logos. 
   
  Each “spell” must be purchased as a Skill, like any other. A character may not purchase 
  more points in that spell than he has in the Eldritch Skill. In order to purchase a Skill at all,  
  a  character  must  be a  Savant in the Arcane Skill Category. Logos spells require a 
   ritual that must be determined by the player at the time of purchase (and approved by the 
  Narrator). Additionally, Logos must be keyed to a certain Quality to which it will always 
  apply. In order to learn a Logos spell, the character must either research the spell as he 
  would any other Skill, or be taught it by another Magus. Logos is far from common, but 
  it's not all that rare, either. 
   
   
   
   
   
   
   
   
   
   
   
   
   
  "I have now reigned about 50 
  years in victory or peace, 
  beloved by my subjects, 
  dreaded by my enemies, and 
  respected by my allies. Riches 
  and honors, power and 
  pleasure, have diligently 
  numbered the days of pure and 
  genuine happiness which have 
  fallen to my lot. They amount to 
  fourteen." 
  -Abd Er-Rahman II 
   
   
  45
  
   
   
   
   
  Compiled Character Creation 
   
  Derived Values 
   
  Once you've determined all of a character's Qualities, Skill Categories, Skills, Cascading Dice, 
  Factors, Passion, Pathos and Ethos, determine the character's derived values: Natural Defense, 
  Intensity, and Initiative. Derived values are subject to frequent change; writing them in pencil on 
  the character sheet is recommended. 
   
  • The character's Natural Defense is the sum of his Resilience and Agility. 
  • Intensity is equal to the character's highest rating in his highest rated Passion. 
  • Initiative is the sum of the character's Agility and Initiative Skill. 
   
  Compiled Character Creation Costs 
   
  • Qualities: Five CPs each. 
  • Either Die: 20 CPs each. 
  • Skill Categories: Two CPs each.  
  • Skills: One CP each. 
  • Savant: Ten CPs each. 
  • Certification: Five CPs each. 
  • Passion:  Ten CPs each. 
  • Ethos: Five CPs each.  
  • Logos:  Two CPs each. 
  • Pathos: Five CPs each.  
   
  Skill Categories and Skills  
   
  • Arcane: Conspiracies, Cryptozology, Eldritch, Meditation, Parapsychology, Sensitivity 
  • Art: 3-D, Computer Art, Instrument, Metalcrafting, Textiles, Visual Arts, Vocals, Woodworking, 
  Writing 
  • Collegiate: Business, Law, Logic, History, Research, Science 
  • Computer: Devices, Hardware, Networks, Programming 
  • Criminal: Auto Theft, Disguise, Forgery, Interrogation, Security, Sleight of Hand, Urban Stealth, 
  Urban Survival 
  • Health: Alternative Medicine, General Practitioner, Psychology, Veterinary 
  • Social: Intimidation, Kinesics, Lying, Networking, Observation, Tenacity 
  • Outdoors: Animal Care, Boating, Exertion, Foraging, Hunting, Navigation, Outdoor Stealth 
  • Technical: Construction, Electronics, Inventions, Mechanics 
  • Basic Combat: Armed Strike, Block/Parry, Evasive, Initiative, Projectile Strike, Unarmed Strike 
   
  Passions and Intensity 
   
  • Anguish 
  • Dread 
  • Fury 
  • Yearning 
   
  Receive a single Pathos of any level, maximum of the character’s starting 
  Intensity, for free. Also receive the first point in Intensity for free.   
   
  46
  
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
  Chapter II Character Advancement: 
  Hard Lessons in a Hard World 
   
   
  Lacy watched the crib from the shadows in the corner. The only light in the room came 
  from a relentlessly cheerful night light shaped like an interlocked moon and stars. It was 
  almost time for the Keeper to show. Lacy huddled back against the wall and remembered 
  herself. I am glass on a mountain. I am a whisper in an earthquake. Hours passed, and 
  when the Care Bear clock on the bedstand clicked to two a.m., something stepped out of 
  the closet that would have looked like night itself, if someone managed to coat the night in 
  a layer of oil and malice. The thing, alluring and genderless, slunk to the crib and stood 
  for a moment.  
   
  A handful of seconds later, the baby cried once--a choked-short bleat that seemed more 
  animal than human. Almost at the same time, something under the crib began to rattle. As 
  the newborn thing skittered out from under the crib, the creature gathered it up in a 
  smooth motion with one hand and swept off his hat with the other before dumping the one 
  into the other with practiced aplomb.  
   
  Captivated in spite of herself, Lacy didn't realize how much danger she was in until she 
  tried to spring out of the corner with her knife. She could smell her own shock and fear 
  when she realized that her muscles wouldn't respond. The creature turned and looked at 
  her then, smiling demoniacally. It was reaching into the hat again when the light came on. 
  The creature swept back almost faster than Lacy could see as the door flew open. The 
  baby's mother stood in the doorway, concern written all over her face. Lacy cursed under 
  her breath and concentrated again on her own quiet insignificance as she slipped out the 
  window. 
   
  Character Advancement 
   
  As characters are played, they become more skilled. There are two separate measures of a 
  character's evolution: Experience Points, which represent a character's knowledge and 
  personal development, and Passion. Where Experience Points measure how a character has 
  grown and dealt with the problems life has sent him, Passion is a measure of how much a 
  character is enslaved to the irrational parts of his psyche. 
   
   
  47
  
   
  Experience 
   
  Characters can receive as little as one Experience Point per session and as many as twelve, 
  with the average being roughly four to six. Twelve Experience Points should be a rare 
  occurrence—entirely aside from the fact that granting loads of Experience Points 
  ultimately rewards mediocrity and discourages really good role-playing, Experience Points 
  are valuable, at least in part, because of their rarity. Because of this, both Experience 
  Points and the changes they create in characters are worth more to the players. Ultimately 
  though, it's up to the Narrator what kind of game he wants to run. 
   
  Experience in Abeo is awarded at the end of each session according to four criteria: the 
  personal goals or development of the individual character, how much that character 
  advanced (or at least affected the storyline), the amount of danger that character faced, and 
  out of character Experience. This last criterion is a bit trickier than the others. Out of 
  character Experience is reserved for those players who helped either the Narrator or the 
  game in some way, such as playing NPCs and helping a new player along. This does not 
  obligate the Narrator to give Experience to players who decide to go the “fawning 
  sycophant” route. Again, it's up to the Narrator to decide what does and does not merit this 
  Experience.  
   
  Within each category, Experience Points are assigned on a zero to three scale. If a 
  character faces extreme personal danger in a given session, for example, the Narrator may 
  grant him three Experience Points based on that. If that same player didn't personally 
  contribute to the game, or significantly advance either the storyline or his character's 
  personal development, he may not be granted any points in those, despite the three points 
  he was given for Danger. His total for that session would be three points. 
   
  Experience Points may be spent at the beginning of any session to raise any Quality, Skill 
  or Skill Category. Any given Quality, Skill, or Skill Category can only be raised by a 
  single point at a time. There are no “training times” listed here—they're largely an 
  unnecessary complication if players keep common sense in mind. No one goes from 
  janitor at the hospital to brain surgeon in a week.  
   
  While Experience cannot be used to buy Passion or Emotion, it can be used to buy Pathos, 
  Ethos and Logos. Further, a character may only buy Pathos for which he has an 
  appropriate level of Passion. If a character's rating in a Passion is less than the level of the 
  Pathos, he can't purchase it until his Passion is at the appropriate level. 
   
  Characters may choose to take a Consequence along with their Pathos. Though the 
  character gains a potentially crippling limitation, his Pathos come at a significantly 
  reduced price in Experience. A more in-depth discussion of Consequences will appear later 
  in this chapter. 
   
  The level of an Ethos power is equal to the level of the Pathos that it imitates. The 
  character is in no way limited by the level of his Passion when purchasing Ethos except 
  that he must, at all times, have at least a rating of one in at least one Passion. If he ever 
  becomes completely without Passion, he loses all ability to use both Ethos and Pathos. 
   
  Ethos may also be purchased with Consequences—the human mind is not built to bend the 
  way that these rituals force it to, and such mental strain often expresses itself in these 
  strange compulsions, addictions, psychosomatic allergies and phobias. 
   
  A character may choose to take an existing Pathos and construct an Ethos ritual that 
  imitates its effects. A character may only attempt this if he fulfills all the requirements of 
  learning Ethos in the first place. If he is successful—an outcome determined more by 
  discussion  with  the Narrator than by system, the character is able to teach this Ethos to 
   
   
  "When childhood dies, its 
  corpses are called adults and 
  they enter society, one of the 
  politer names of hell. That is 
  why we dread children, even if 
  we love them, they show us the 
  state of our decay." 
  -Brian Aldiss 
   
   
  48
  
   
   others who use a similar kind of magic. Further, if the character's Passion ever drops to 
  below the level of one of his Pathos, he is still able to use the power, albeit in an altered 
  form—that of Ethos.  
   
  Experience may also be used to buy a Positive Factor, buy off a Negative Factor, or buy a 
  Positive Factor additional times. As at character creation, characters are limited to taking 
  any given Factor a maximum of three times, unless otherwise stated. Factors cost in 
  Experience Points exactly what they cost in CPs, or alternately, exactly the amount of CPs 
  they gave the character. Common sense applies here as well. While a character could 
  reasonably buy off poor eyesight with the proper explanation, he cannot buy off having 
  only one leg. Absent supernatural intervention, he will always only have one leg, and no 
  amount of Experience Points can fix that. 
   
  Finally, Experience Points can be used to provide a bonus to any roll; God watches over 
  drunks, children and madmen, after all. Experience Points may be spent, one for one, to 
  give a single roll a bonus. The character may spend a number of Experience Points on a 
  single roll equal to his Intensity. This does not require an action, though the character does 
  need to decide whether he is spending Experience Points before he makes the roll. The 
  bonus can be provided to any roll the character makes. At higher Intensities, the character 
  may have mind-bogglingly good luck or sudden bursts of supernatural strength through 
  use of this ability.  
   
  As the number of Experience Points that can be spent is limited by Intensity, obviously, 
  only those characters with Intensity can use it.  
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
  "The vast majority of human 
  beings dislike and even dread 
  all notions with which theyare 
  not familiar. Hence it comes 
  about theat their first 
  appearance innovators have 
  always been divided as fools 
  and madmen."
  -Aldous Leonard Huxley 
   
   
  49
  
   
   
   
   
  Experience Cost Chart 
   
  Quality 
   
  1-2 = 5 Experience Points each. 
  3-4 = 10 Experience Points each. 
  5-6 = 20 Experience Points each. 
  7+ = 40 Experience Points each.  
    
   
  Skill Category 
   
  1-2 = 6 Experience Points each.  
  3-4 = 3 Experience Points each.  
  5-6 = 6 Experience Points each.  
  7+ = 12 Experience Points each.  
   
  Skill 
   
   
   
  1-2 = 3 Experience Points each.  
  3-4 = 2 Experience Points each.  
  5-6 = 4 Experience Points each.  
   
  7+ = 8 Experience Points each.  
   
  Mental or Physical Die = 20 
  Experience Points per die, per tier (d6 
  to d8, d8 to d10). A character must 
  purchase intervening tiers. To go 
  from a d6 to a d10 would thus cost 40 
  Experience Points total. Going from a 
  d4 to a d10 would cost 60 total. 
   
  Certification = 5 Experience Points 
  per Skill.  
   
  Savant = 20 Experience Points per 
  Skill Category.  
   
  Logos 
  Level 1-2 = 3 Experience Points each.  
  Level 3-4 = 2 Experience Points each.  
  Level 5-6 = 4 Experience Points each.  
  Level 7+ = 8 Experience Points each.  
   
   
   
   
   
   
   
   
   
  Pathos 
  Level 1-2 = 5 Experience Points each.  
  Level 3-4 = 10 Experience Points each.  
  Level 5-6 = 15 Experience Points each.  
  Level 7-8 = 20 Experience Points each.  
  Level 9-10 = 25 Experience Points each.  
   
  Pathos (with purchase of a Consequence) 
  Level 1-2 = 2 Experience Points each.  
  Level 3-4 = 4 Experience Points each.  
  Level 5-6 = 8 Experience Points each.  
  Level 7-8 = 12 Experience Points each.  
  Level 9-10 = 16 Experience Points each.  
   
  Ethos 
  Level 1-2 = 7 Experience Points each.  
  Level 3-4 = 13 Experience Points each.  
  Level 5-6 = 18 Experience Points each.  
  Level 7-8 = 25 Experience Points each.  
  Level 9-10 =30 Experience Points each.  
   
  Ethos (with purchase of a Consequence) 
  Level 1-2 =  3 Experience Points each. 
  Level 3-4 =  6 Experience Points each. 
  Level 5-6 =  9 Experience Points each. 
  Level 7-8 = 14 Experience Points each. 
  Level 9-10= 20 Experience Points each. 
   
  Pathos to Ethos conversion 
  Level 1-2 = 3 Experience Points per conversion. 
  Level 3-4 = 4 Experience Points per conversion. 
  Level 5-6 = 5 Experience Points per conversion. 
  Level 7-8 = 6 Experience Points per conversion. 
  Level 9-10 = 7 Experience Points per conversion. 
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
  50
  
   
  Passion 
   
  Emotion and Passion are central to Abeo; they determine not only the powers that a 
  character develops, but also how he relates to the world around him. Each Passion is 
  given a rating between 0-10. Most people maintain a zero in any given Passion over the 
  course of their lives. 
   
  Of course, this doesn't mean that they don't feel or act much like a Passionate person at 
  times. Whenever a character acts in a way consistent with a Passion, they receive a 
  number of points of Emotion equal to the rating of that action. This is represented on a 
  character sheet by marks underneath the Passion rating. For example, Barron gets into a 
  fight in a parking lot. This is a level three action on the Fury scale, so he would make 
  three marks beneath the Fury meter. Should he later see someone and start a fight with 
  them, a Fury four action, he would make another four marks underneath Fury, bringing 
  his total up to seven. 
  These points, called “Emotion Points,” disappear at a rate of one point per Passion per 
  in-game day.  
  Should a character reach ten Emotion Points beneath a Passion, their rating in that 
  Passion increases by one, and they would receive all the benefits and drawbacks of an 
  increased or first rating in Passion. From that time on, any actions that are taken that 
  would give the character points in that Passion have the Passion rating subtracted from 
  them. 
  If Barron, for example, reached a rating of one in Fury and then started a fight again, he 
  would only get three Emotion Points. (The Emotion Point rating of the action is four and 
  his rating in the Passion is one. 4-1=3). This means that unless Barron lowers his Fury, 
  he will not ever get Emotion Points for a verbal outburst with provocation, for example, 
  shouting back at someone who insulted him. If, however, he stole from a stranger to buy 
  a pack of cigarettes, (a Yearning four action) he would still get four Emotion Points in 
  Yearning, since that particular Passion is still at zero. 
  As with everything else in Abeo, common sense should rule the day. If the character 
  behaves in a manner that screams “Anguish” but his action doesn't appear on the scale, 
  the Narrator should make a quick judgment call on what level of action it would be if it 
  appeared on the scale and grant Emotion Points according to that. These lists are not 
  complete catalogs of the behavior of human beings under emotional duress; they are 
  guidelines. 
  Passion ratings do not ever fade on their own. Specific action, usually psychological 
  intervention, must be taken to lower them. Emotion and Passion cannot be purchased 
  with Experience Points. They must be gained through role-playing. If characters enter 
  the full-time care of mental-health professionals, their Passions disappear one at a time at 
  a rate of one point per full week in such care. If the character enters outpatient care, his  
  Passions  disappear,  one  by  one, at a rate of one point per month. If the character  
  does not regularly go to his appointments, therapy has no effect. These effects are in 
  addition to the effects of any drugs on which the character may be put. It's a good idea to 
  keep track of which points were lost due to therapy and which were lost due to 
  medication. 
  When a character's Passion drops below the level of any given Pathos, he loses the use of 
  that Pathos until he regains at least that level again. If the character purchased the power 
  as an Ethos, he can use it as an Ethos again. The Pathos does not disappear—it merely 
  becomes inactive (or changed to Ethos). 
  Unlike drugs, when a character stops going to therapy, his Passions do not begin coming 
  back on their own; he must build them up again through normal means. 
   
   
  "Our quaint metaphysical 
  opinions, in an hour of anguish, 
  are like playthings by the 
  bedside of a child deathly sick."
  -Samuel Taylor Coleridge 
   
   
  51
  
   
  Anguish 
  Beyond depression, disappointment, and despair, Anguish is total emotional pain. 
  Anguish is what a man feels when he holds his dying wife. Anguish is complete, utter 
  hopelessness. Beauty, truth and kindness are all lies. At times, it's hard for an Anguished 
  character to see life as anything other than an unbearable farce. Emotion Points in 
  Anguish are granted on the following scale. 
  1. Apologizing to a close friend for harm that the character may or may not have caused. 
  Writing, speaking or performing expressions of depression.  
  2. Apologizing to an acquaintance for harm that the character may or may not have 
  caused. Avoiding previously enjoyable activities.  
  3. Apologizing to a stranger for harm that the character may or may not have caused. 
  Avoiding the company of close friends or family.  
  4. Working to make reparations to a close friend for a wrong, real or perceived, done to 
  them.  
  5. Working to make reparations to an acquaintance for a wrong, real or perceived, done 
  to them.  
  6. Working to make reparations to a stranger for a wrong, real or perceived, done to 
  them. Causing someone to take a first-rank action on this Anguish scale or an equivalent 
  action. 
  7. Harming oneself in the process of making amends for actions against a close friend. 
  Deliberately causing harm to oneself without any reason, other than one's own self-
  loathing. “Harming oneself” can take the form of putting oneself in harm's way, cutting, 
  burning, depriving oneself of food, water, shelter and/or heat, donations or gifts to the 
  point of financial harm, or any of the other myriad ways people have of making their 
  own lives miserable. Causing someone to take a second-rank action on this Anguish 
  scale or an equivalent action. 
  8. Harming oneself in the process of making amends for actions against an acquaintance. 
  Causing someone to take a third-rank action on this Anguish scale or an equivalent 
  action. 
  9. Harming oneself in the process of making amends for actions against a complete 
  stranger. Causing someone to take a fourth-rank action on this Anguish scale or an 
  equivalent action. 
  10. Harming oneself in attempt at reparation for something that was definitely not the 
  character's fault. Engaging in any act likely to result in the character's death, solely for 
  the danger involved. Causing someone to take a fifth-rank or higher action on this 
  Anguish scale or equivalent. 
  Dread 
  Fear. Utter bone-chilling terror. This isn't simply a fear of the dark, this is the fear a 
  person feels when he has a loaded gun held to his forehead. The character can be afraid 
  of nearly anything--failure, ridicule, snakes or heights, but remember, the character can 
  fear this to a degree that most people have never felt. This Passion is also reflective of 
  paranoia, post-traumatic stress disorder, and agoraphobia (though this last would make a 
  terribly uninteresting player character). Dread Emotion Points are awarded according to 
  the following scale. 
  1. Avoiding a dangerous situation or reacting wildly-out-of-proportion where avoiding 
  the situation or reacting inappropriately engenders no risk to the character's dignity, 
   
   
  "...for no one is primarily 
  afraid of what a ghost may do 
  to him, but of the mere fact that 
  it is a ghost. It is "uncanny" 
  rather than dangerous, and the 
  special kind of fear it excites 
  may be called Dread. With the 
  Uncanny one has reached the 
  fringes of the Numinous." 
  -C.S. Lewis 
  The Problem of Pain 
   
   
  52
  
   
  health, or well being. Both the Narrator and the social rules of the situation define acting 
  "inappropriately" or "out-of-proportion". Screaming in fear and ducking into an alley is a 
  socially acceptable response to a gunfight or drive-by-shooting. It is not an acceptable 
  response to, say, cats. (Example: a character ducking and hiding every time he hears 
  garbage settle when walking in a dangerous neighborhood.). 
  2. Avoiding a dangerous situation or reacting inappropriately where doing so risks the 
  character's well being or social standing. (Example: a character ducking and hiding every 
  time he hears the door open when at a party in a dangerous neighborhood.) 
  3. Avoiding a dangerous situation or reacting inappropriately where doing so risks the 
  character's health or life. (Example: a character running away from a mugger with a 
  gun.)  
  4. Avoiding a volatile but safe situation (usually social) or acting inappropriately afraid 
  in said situation when doing so is without risk. (Example: a character refusing to sit with 
  his back to the door when meeting with his probation officer.) 
  5. Avoiding a volatile but safe situation where avoiding the situation risks the character's 
  well being or social standing. (Example: running away or trying to hide from his 
  probation officer when he's done nothing illegal or against his probation.) 
  6. Avoiding a volatile but safe situation where avoiding the situation risks the character's 
  life or health. (Example: a character refusing to meet his probation officer because the 
  officer is clearly under “their” control.) Causing someone to take a first-rank action on 
  this Dread scale or an equivalent action.  
  7. Avoiding a safe situation or reacting inappropriately in fear of it turning dangerous; 
  again without risk to the character's dignity, health or well being. (Example: a character  
  walking by a restaurant and refusing to eat there because the hostess looked suspicious 
  or making someone else take the first bite of his food because he's afraid it might be 
  poisoned.) Causing someone to take a second-rank action on this Dread scale or an 
  equivalent action.  
  8. Avoiding a safe situation or reacting inappropriately in fear of it turning dangerous, 
  where doing so places the character's well being or social standing at risk. (Example: a 
  character punching the hostess of a high-class party “before she had a chance to put the 
  poison in [his] drink.”) Causing someone to take a third-rank action on this Dread scale 
  or an equivalent action.  
  9. Avoiding a safe situation or acting inappropriately in fear of it turning dangerous 
  where doing so directly endangers the character's life. (Example: a character attacking a 
  police officer because he thinks that the officer is really an Illuminati spy.) Causing 
  someone to take a fourth-rank action on this Dread scale or an equivalent action.  
  10. Avoiding anything other than certain previously determined activities on the basis of 
  their potential danger or taking continuous inappropriate action. Note that the character 
  only receives points for this activity one time. (Example: a character refusing to ever sit 
  next to windows, setting up traps in his home, or insisting on an identifying code word 
  being included in phone conversations.) Causing someone to take a fifth-rank or higher 
  action on this Dread scale or an equivalent action.  
  Fury 
  Physical and emotional violence aren't just an option for some furious characters; they're 
  a necessity. Fury can be righteous indignation, blind, stupid bigotry, or just a reaction to 
  the world as they see it. Furious characters keep themselves from flying off the handle 
  only with effort, and in a world without consequences, their tempers would destroy 
  themselves and everyone around them. Fury also includes jealousy, hatred, bigotry, 
   
   
   
  "One of the things which 
  danger does to you after a time 
  is -, well, to kill emotion. I 
  don't think I shall ever feel 
  anything again except fear. 
  None of us can hate anymore – 
  or love."
  -Graham Creene
  -The Confidential Agent 
   
   
  53
  
   
  vengeance and social aggression. Fury Emotion Points are awarded according to the 
  following scale.  
  1. A verbal outburst or subtle insult with provocation.  
  2. A verbal outburst without provocation or a blatant insult.  
  3.Engaging in a fight or planning an elaborate, though ultimately harmless, revenge.  
  4. Starting a fight or an act of blatant, pointless bigotry. 
  5. Seriously injuring someone or planning an elaborate revenge that could potentially 
  result in serious social, economic or legal harm. 
  6. Attacking someone and accidentally killing him. Plotting elaborately to cause 
  someone severe physical harm. Taking potentially embarrassing or hurtful, but 
  ultimately harmless, action against those associated with the target of the character's ire 
  exclusively because of that association. Causing someone to take a first-rank action on 
  this Fury scale or an equivalent action. 
  7. Torture. Taking potentially socially, legally, financially or physically harmful action 
  against those associated with the target of the character's ire exclusively because of that 
  association. Causing someone to take a second-rank action on this Fury scale or an 
  equivalent action. 
  8. Attacking someone and deliberately killing him. Plotting someone's death. Causing 
  someone to take a third-rank action on this Fury scale or an equivalent action.  
  9. Torture followed by murder. Taking fatal action against those associated with the 
  target of the character's ire exclusively because of that association. Causing someone to 
  take a fourth-rank action on this Fury scale or an equivalent action. 
  10. Multiple murders, heinous acts of brutality. Torturing, murdering or otherwise totally 
  destroying everyone and everything associated with the target of the character's ire 
  exclusively because of that association. Causing someone to take a fifth-rank or higher 
  action on this Fury scale or an equivalent action.  
  Yearning 
  Have you ever wanted something so badly that it seemed like there was nothing left to 
  you but the wanting? Did it consume you, utterly, totally and endlessly? If so, you've felt 
  around the edges of Yearning. The way a heroin junkie yearns for their fix--that full-
  body, all-soul, physical need...that is how your character wants their object. A Yearning 
  character can want many things, money, power, success,  sex, clothing, or video games. 
  He can want one of those things, or he can want many of them, it doesn't matter. What 
  does matter is that he wants completely. 
  1. Lying to a complete stranger in order to get something. 
  2. Lying to an acquaintance in order to get something. 
  3. Lying to a close friend in order to get something.  
  4. Stealing from a complete stranger in order to get something.  
  5. Stealing from an acquaintance to get something.  
  6. Stealing from a close friend in order to get something. Causing someone to take a 
  first-rank action on this Yearning scale or an equivalent. 
  7. Attacking a complete stranger to get something. Causing someone to take a second-
   
   
  "What potions have I drunk of 
  Siren tears, Distill'd from 
  limbecks foul as hell within, 
  Applying fears to hopes, and 
  hopes to fears,  Still losing 
  when I saw myself to win."
  -William Shakespeare
  Sonnet 119 
   
   
  54
  
   
  rank action on this Yearning scale or an equivalent.   
  8. Attacking an acquaintance to get something. Causing someone to take a third-rank 
  action on this Yearning scale or an equivalent. 
  9. Attacking a close friend to get something. Causing someone to take a fourth-rank 
  action on this Yearning scale or an equivalent.  
  10. Murder, taking of the desired thing without any regard for any consequences. 
  Causing someone to take a fifth-rank or higher action on this Yearning scale or an 
  equivalent.  
  Intensity 
  The Deranged 
  As characters grow in Passion, it shows in the way that they relate to the world around 
  them. Never forget that Passion is essentially a rating that measures how intensely and 
  often a character feels a certain emotion: sadness, fear, desire, hatred. Characters at a 
  given ranking in a Passion behave, for the most part, according to the following rules. 
  Narrators are encouraged to reward characters who consistently play out their Passions 
  and to punish characters who routinely disregard them. 
  1. When a character has a Passion with a rating of one, he is almost always habitually in 
  the throes of that Passion. A Yearning character always seems to want something, and an 
  Anguished character never really manages to cheer up. 
  2. At two, the Passion is much more noticeable. The character begins to experience 
  surges of the Passion regularly. Yearning characters may go on shopping (or shoplifting) 
  sprees, Dread-filled characters can flee from even the most innocuous situations without 
  warning, Anguished characters may burst into tears, and Furious characters may start 
  shouting matches with complete strangers. Though the character settles back into his 
  default state relatively quickly, the next emotional volley isn't too far off.  
  3. When a character reaches a rating of three in a Passion, it has become an 
  overwhelming focus in his life. Once an outburst of a Passion has started, it may take 
  hours or even days of work to mellow out. After one or two crying jags, outbursts or 
  other expressions of dysfunction, loved ones may begin suggesting that the character see 
  a psychological professional. At this level of Passion, few of a character's relationships 
  (even, and perhaps especially, professional ones) can survive long.  
  4. The idea of harming someone to get what he wants, or even to satisfy an urge, seems 
  fully reasonable to a character with a Passion rated this highly. In Anguished characters, 
  this may take the form of the character harming himself or placing himself squarely in 
  harm's way. When filled with Fury, attacking the object of rage becomes inescapable. 
  The only question is whether the character will practice the self-control necessary to hold 
  off until he can do the most damage. A character at this level of Passion isn't an animal; 
  he's still able to plan, maneuver and hold off gratification in pursuit of his goals. A 
  character's single-minded drive at this level, however, is terrifying. Holding a job 
  becomes more difficult for a character as his co-workers and supervisors are made 
  progressively more uncomfortable by his instability. At this level, a character can, 
  without too much effort, be involuntarily committed. Most mental health facilities will 
  almost immediately put the character on some form of psychoactive medication.  
  5. At this level, very little will bring a character out of the sustained emotional outburst 
  that his life has become. The character is on a nearly constant high that almost totally 
  prevents him interacting normally with others. Holding a job or maintaining a family 
  usually becomes totally impossible at this level, though some characters may be able to 
  take “medical leave,” or a similar euphemism, from their responsibilities. 
   
   
  "The epistemology of the house 
  remains entirely commensurate 
  with its size. After all, one 
  always approaches the 
  unknown with greater caution 
  the first time around. Thus it 
  appears far more expansive 
  than it literally is. Knowledge 
  of the terrain on a second visit 
  dramatically contracts this 
  sense of distance. Who has 
  never gone for a walk through 
  som unfamiliar park and felt 
  that it was huge, only to return 
  a second time to discover that 
  the park is in fact much smaller 
  than intially perceived?" 
  -Mark Danielewski 
  House of Leaves 
   
  55
  
   
  The Psychotic 
  At levels 6-10, the character begins to settle back down into something approximating 
  normal behavior. The emotion has seemingly peaked and broken. It's not that the 
  character feels any less passionately. He is just better able to control the Passion and turn 
  it inward. While a character can likely be released from institutions once he has reached 
  this level, he may have some unpleasant surprises upon rejoining the world. While a 
  character can parrot normal behavior, he is anything but normal. The process of Fade has 
  begun. While the progression of emotional Intensity continues as before, with the level 
  of Passion being representative of the explosive Intensity of the character's Anguish, 
  Fury, Dread or Yearning, externally, the character appears much the same as he did at 
  level one or two no matter how high his Passions get past level five. He has learned to 
  control the outward expression of his inner state. At the same time, he has crested the hill 
  of what made him a human being. At levels 6-10, characters begin to develop 
  appearances that reflect their nature. As the character's Intensity increases, the player 
  chooses more (and more severe) ways that his character begins to appear different to 
  those who can see the Noumenal. Upon reaching this level of Intensity, the character 
  chooses some way that his character becomes markedly unusual. This appearance should 
  reflect something about the character or about the cultural expectations surrounding his 
  behavior—a corrupt attorney with a high Yearning, for example, might develop horns 
  and hooves. As the character grows in Intensity, the character's appearance changes are 
  not replaced by the more severe appearance trait—the more intense trait is added. By the 
  time a character reaches Intensity ten, he is clearly inhuman in a number of ways to any 
  who can see their strangeness. Several examples and an explanation of the system effect 
  of this appearance change follow. 
  6. At Intensity six, a character develops a barely noticeable sign of otherworldliness. He 
  may seem to move with a predatory, sinuous grace; he has an unnatural-looking scar, or 
  his fingernails are strangely thick and hooked. The Narrator may make a 
  Perception+Sensitivity+Intensity+Mental Die roll with a Target Number of 11 to see if a 
  character notices the strange quality of the Liminal. The Narrator might also wish to 
  make several rolls over the course of a long interaction with a Liminal at this Intensity if 
  the characters fail—there's nothing quite as jarring as realizing that you've been having 
  coffee and discussing finances for the past hour and a half with someone who may, in 
  fact, be the devil. This roll is a unique one, in that it combines Intensity, a Quality, and a 
  Skill, as well as a Mental Die roll. Narrators should remember to include all of the 
  variables. At this point, a character also begins to take penalties to social interactions. 
  Any rolls that the character makes to cajole, seduce, or otherwise interact with another 
  character who is not a Liminal in a way that requires the other character to be 
  comfortable take a one-point penalty. 
  7. At Intensity seven, a character's appearance has at least one definitely supernatural 
  quality to it. He may have unnaturally-colored or shaped eyes (red, silver, solid black, 
  slitted like a cat's, two pupils, no pupils), his hair—all of it—may grow in an unnatural  
  color (blue, green, purple), his bodily fluids (saliva, sweat, tears) may be some strange 
  material such as milk, blood, or vodka, or he might have cloven hooves instead of feet. 
  At this point, the Target Number of the character's Perception+Sensitivity+ 
  Intensity+Mental Die roll becomes 10. The character's social penalty is increased to two 
  points. 
  8. At Intensity eight, the Liminal's appearance changes become obvious. His hair or eyes 
  may shift colors over the course of a conversation, his skin might appear to consist of 
  very small interlocking scales, he may have an open, visible wound that doesn't bleed or 
  abnormally large, predatory-appearing canine teeth that show when he speaks. The 
  Target Number of the roll to notice the character's strangeness at this time becomes nine, 
  and the character's social penalty becomes three. 
  9. At Intensity nine, the character's deformity or difference is blatant. He may have small 
   
   
  "Nobody realizes that some 
  people expend tremendous 
  energy merely to be normal."
  -Albert Camus 
   
   
  56
  
   
  horns on his forehead, a tail or wings that never seem to stay entirely hidden. He may 
  always seem to be dripping wet (even in the driest weather), or he could be covered in 
  open, festering, clearly life-threatening (if not fatal) wounds. The Target Number of the 
  roll to see the character's nature is eight and the social penalty becomes four. 
  10. At this point, most characters will notice that a person at this level is a Liminal, and 
  that he is a powerful one at that. All the lights in a room may suddenly go dim around 
  him, or the smell of garbage may follow the Liminal no matter how clean he appears. He 
  may have a halo, or appear to be constantly wreathed in smoke. The Target Number of 
  the roll to see the character's Noumenal appearance becomes seven, and he takes a 
  penalty of five to all interactions with non-Liminals that require that the other character 
  be comfortable. 
  Fade 
  As the character grows in his Passion, he steadily becomes less a part of the world as 
  most understand it. When characters reach a rating of six in any one Passion, they begin 
  the process of Fade. By this point, characters are routinely straining the bounds of 
  credibility and sanity. As a character increasingly turns his back on the world of 
  meetings, licenses, and newspapers, the world of meetings, licenses and newspapers 
  responds by pushing the character away as well. The level of Fade is determined by the 
  character's rating in his highest Passion, also called his Intensity.  
  Note that this process is totally inexplicable to the characters. No one has handed them a 
  copy of Liminal Existence for Dummies. Further, though the system describes the effects 
  of Fade in clear, distinct steps, the process from a character's perspective is more gradual 
  and haphazard. Individual papers or bits of information may survive despite  everything  
  else  disappearing, and certain people will remember the character 
  even when everyone else has forgotten. Characters find themselves experiencing things 
  no one else does, with the exception of a few crazy people with whom he's forced by 
  circumstance to associate.  
  At the Narrator's discretion, the character may be allowed to keep some parts of his 
  former life, especially if those parts were or are essential to the character's concept. He 
  may be able to keep his house, as people simply ignore both the home and the people 
  living in it; or his credit cards, as his account information keeps falling through the 
  cracks, never quite getting canceled. It's important to remember that Fade is a way of 
  isolating and frightening characters, preventing them from interacting normally with the 
  people and institutions around them. It is not an excuse to antagonize the players. At the 
  same time, characters should lose something as they continue to Fade—that 
  disconnection, fear and bewilderment is central to the game. The following rules for 
  Fade are guidelines; Narrators should feel free to alter this progression as necessary (and 
  fun) for their game. 
  Intensity Six: The paperwork and electronic information that makes up his identity in 
  regard to faceless bureaucracies and corporations begins to unravel. His birth certificate 
  and social security number disappear; and information on him held in a database of any 
  kind goes missing. If characters investigate further, they may find that the documents or 
  information for which they're searching are lost, damaged beyond use, or simply missing 
  without explanation. Some small bits of information may survive, but they're isolated 
  and ineffective in attempts to reconstruct an identity. For example, a character may find 
  that he still has a membership to a video-rental store or a credit card, but no address or 
  phone number on the account. He can still rent videos and make charges up to his credit 
  limit, for what it's worth. On the upside, things like bills and debt start disappearing at 
  this level as well. If the character ever drops below this level of Fade, the paperwork will 
  reappear. The reappearance of this information is just as haphazard as its disappearance. 
  Not everything will come back. It is up to the Narrator to decide what the character can 
  and cannot regain if he drops below this point of Intensity. 
   
   
  "O Conscience! Into what 
  abyss of fears And horrors hast 
  thou driven me; out of which I 
  find no way, but deep to deeper 
  plunged!" 
  -John Milton 
  Paradise Lost 
   
   
  57
  
   
  The character probably still has his job at this point, but his paychecks will be sporadic at 
  best; payroll will consistently lose his paperwork, and he can forget about any 
  accumulated sick time, vacation or personal days. 
  Intensity Seven: The character's acquaintances begin forgetting about him. As a general 
  rule, if the character doesn't know both someone's first name and last name immediately 
  and without thinking, that person forgets the character. Acquaintances who themselves 
  have an Intensity of at least one are exempt from this forgetfulness. These acquaintances 
  are themselves straddling two mutually exclusive existences, though they may not realize 
  it yet, and their own madness, however gentle, shields their memory. 
  If the character is a celebrity, at this level of Fade, his fame instantly and without 
  explanation disappears. Events with which he was intimately involved show no record of 
  his influence, and those things he accomplished on his own seem to have either been 
  undone or performed by someone else. 
  At this point, anyone seeing the character who didn't previously know him will only be 
  able to describe him in the most vague of terms, if they remember interacting with him at 
  all. 
  Keeping a job here is nearly impossible. The character will have to constantly 
  reintroduce himself to everyone except those with whom he works most closely. 
  Clearances, email addresses, and office mail all disappear with disturbing regularity. 
  At this point and up, a character can no longer be effectively treated with either drugs or 
  therapy. Few (if any) therapists will be able to remember the character long enough to 
  develop a strategy for helping him, his charts never stay put long enough to be any use, 
  and drugs just don't work anymore. 
  Intensity Eight: A character's friends begin forgetting about him. This includes most co-
  workers. A character at this point will certainly not have a job. If he's lucky, he's 
  managed to keep a little bit of cash or a credit card that still works in order to survive. As 
  with acquaintances, friends are protected from this forgetting if they themselves have an 
  Intensity of at least one. Friends of the character who have an Intensity of one or higher 
  will themselves be in for a surreal ride as no one else seems to remember the character. 
  Intensity Nine: The character has nothing attached to his name. His driver's license 
  disappears, and even old photographs with the character in them either disappear, 
  develop damage where the character should be, or, most frighteningly, no longer show 
  the character. His keys don't work, and someone else almost certainly owns his house, 
  lives in his apartment, and drives his car. What's more, they have for years. For all 
  intents and purposes, the character never existed.  
  Intensity Ten: Everyone except those with an Intensity of one or higher has forgotten 
  the character. He may have a few meaningless scraps of paper with his name on them, 
  and can keep any possessions that he can actively protect, but almost nothing else 
  remains. Survival becomes a real concern at this level, if the character is attempting to 
  maintain anything at all like his old life. 
  Consequences 
  When purchasing Pathos, characters may choose to gain Consequences in order to buy it 
  at a discount. Each time a character purchases a power with a Consequence, he must pick 
  a consequence from one of four categories: Allergy, Addiction, Barrier, and Compulsion.  
  The first time a character chooses a Consequence from one of these categories, he 
  chooses what the focus of his allergy, addiction, barrier or compulsion is and gains the 
  first level of the category. Each subsequent time a character takes a Consequence from 
  that category, he takes the Consequence one higher on the scale in regard to the same 
  focus, losing the Consequence in that category he had before. If a character reaches level 
   
   
  "Illness, Insanity and Death are 
  the black angels that kept watch 
  over my cradle and 
  accompanied my all my life." 
  -Edvard Munch 
   
   
  58
  
   
  five in a category in regard to a particular focus, he can start over again with a new focus. 
  Note that when a character completes a category, he keeps the level five Allergy, 
  Addiction, Barrier or Compulsion and simply gains a new focus. 
  A character can be progressing in more than one category at a time. It is entirely possible 
  for a character to have a level four Allergy to sunlight, a level five Addiction to blood, a 
  level three Barrier to houses into which he hasn't been invited, and a level two 
  Compulsion to count piles of small objects placed in his path. In short, he's a 
  stereotypical   vampire.   The   next   time   that   character   purchases  a  Pathos  with  a  
  Consequence attached, he can choose to gain a level five Allergy to sunlight, a level four 
  Barrier to houses into which he hasn't been invited, a level two Compulsion to count 
  piles of small objects placed in his path, or, he could start a new focus for his Addiction. 
  He would still remain Addicted to blood at level five, but he would gain an additional 
  addiction at level one. 
  A character may only be progressing with one focus in any given category at a time. A 
  character cannot, for example, have a level one addiction to a dozen different substances. 
  He must purchase a focus all the way up to level five before moving on. 
  A character may not choose the same focus for two different categories. A character 
  cannot, for example, have both a Barrier Consequence and an Addiction Consequence in 
  regard to holy ground. Nor could he have an addiction to blood and an allergy to it as 
  well, no matter how masochistic the player is feeling. 
  A character retains all of his Consequences in full force as long as he has a rating of even 
  one in Intensity.  
  The effects of the different levels of Consequence are listed below, along with examples 
  of appropriate foci. As with everything else in Abeo, if the Narrator decides that a given 
  focus is inappropriate for the game, a given character, or polite company in general, a 
  character cannot use it. The Narrator has final say.  
  Addiction  
   
  When a character has an Addiction Consequence, he has an attraction to or need to 
  consume a certain substance produced by people. Normally, drinking a pint of human 
  blood or eating human fingernails would make someone sick, but a character with this 
  Consequence is able to consume almost endless amounts of the substance to which he is 
  addicted without ill effect. For purposes of the game, in order to have “consumed” the 
  substance, he must swallow a substantial amount. What constitutes a “substantial 
  amount” is left to the Narrator to decide. 
   
  Examples: blood and other bodily fluids, fingernail clippings, hair, bones, teeth, flesh, 
  breath, skin. 
   
  1. The character is attracted to and fascinated by the substance. There is no game effect 
  at this level, but the character likely takes any excuse to be in the presence of the 
  substance. 
   
  2. The character is distracted by the presence of the substance. If he has not consumed 
  any of the substance to which he is addicted that day, he operates at a one-point penalty 
  to all rolls in the presence of the substance to which he is addicted. 
  3. The character is paralyzed with fascination in the presence of the substance to which 
  he is addicted, or he will promptly move to feed. If he has not consumed any of the 
  substance that day, he operates at a penalty equal to his Intensity to all rolls in the 
  presence of the substance. The character does not suffer this penalty in regard to actions 
  in pursuit of “feeding.” If the character has “fed” that day, he suffers no ill effect, though 
  he remains attracted to the substance. 
   
   
   
  "Writing does not cause misery, 
  it is born of misery."
  -Montaign 
   
   
  59
  
   
  4. In addition to being paralyzed in the presence of the substance if the character has not 
  “fed” that day, the character must consume the substance at least once every 28 days. If a 
  character fails to consume the substance in that amount of time, he will not regain any 
  Burnout or Trauma until he consumes the substance again. 
   
  5. In addition to being paralyzed in the presence of the substance, the character also will 
  not regain Burnout or Trauma (even through the use of Pathos) if he has not “fed” that 
  day. 
   
  Allergy  
   
  When a character has an Allergy Consequence, in the presence of the substance or 
  circumstance to which he is allergic he has an adverse reaction that ranges from simple 
  fear to potential death. Most people would regard the reaction, even if fatal, as a 
  psychosomatic one. But then, a deer that's been hit by a car is different than a deer that's 
  been shot, for all that it doesn't matter much to the deer. Dead is still dead, no matter 
  what the reason.  
   
  Examples: sunlight, silver, water, iron, the sound of church bells, holy objects, salt, 
  wood. 
   
  1. The character feels a bone-chilling fear in the presence of the allergen. There is no 
  game effect, but the character will likely leave a situation where it is present at the first 
  opportunity. 
   
  2. The character feels highly uncomfortable in the presence of the allergen. As long as he 
  is exposed to it, he suffers a one-point penalty to all rolls. He also visibly pales, flushes, 
  sweats or otherwise shows his discomfort. 
   
   
  3. The character finds himself in severe pain when contacted by the allergen. The 
  character operates with a penalty equal to his Intensity to all rolls as long as he is 
  exposed. At this point, the character is visibly pained; rashes and hives may appear. 
   
  4. The character takes an amount of Burnout equal to his Intensity for every round in 
  which he is in contact with the Allergen. If he is rendered unconscious, no further 
  damage is done, but he will not regain consciousness until he is removed. 
  5. The character takes an amount of Trauma equal to his Intensity for every round in 
  which he is in contact with the allergen. The character continues to take damage after he 
  loses consciousness. Death is a very real possibility. Should an autopsy be done, the 
  character who died in this manner will likely reveal death due to natural causes (stroke, 
  heart attack, aneurysm). 
   
  Barrier 
   
  A character with a Barrier Consequence is unwilling or unable to cross a certain 
  boundary. He cannot be physically forced across by normal means; he will squirm out of 
  any hold and resist any push across the forbidden threshold. This kind of obsession, 
  while often regarded as relatively innocuous, is nonetheless a sign of severe mental 
  disturbance according to any professionals the character is likely to run across.  
   
  Examples: wax, running water, the threshold of buildings into which the character has 
  not been invited, holy ground. 
   
  1. The character feels a strong desire to avoid the forbidden threshold. There is no game 
  effect yet, but characters will take elaborate detours to avoid the verboten area. 
   
  2. If the character crosses the Barrier, he is distressed and distracted. He operates with a 
  one-point penalty to all rolls for an hour after crossing the Barrier. 
   
   
  "Sometimes it seems like we're 
  all living in some kind of 
  prison, and the crime is how 
  much we all hate ourselves."
  -My So-Called Life 
   
   
  60
  
   
  3. If the character crosses the Barrier, he is racked with excruciating pain. He operates 
  with a penalty equal to his Intensity for an hour after crossing. 
   
  4. If the character crosses the barrier, his body turns on itself, doing an amount of 
  Burnout equal to his Intensity. 
   
  5. The character simply cannot cross the Barrier. Only the most extreme direct, physical 
  action can move him across the Barrier, and even that feels resistance, not just from the 
  character, but from himself as well. The character will struggle with all of his power 
  against such a forcing across. If the character is forced across, he takes a number of 
  points of Trauma equal to his Intensity.  
   
  Compulsion 
   
  A character with a Compulsion Consequence feels the need to repeat a certain action. At 
  first, the repetition is largely subconscious; the character is hardly aware that he's doing 
  it, or if he is aware, he thinks that he's doing so for his own reasons. Eventually, the  
  Compulsion  becomes  all-consuming.  If  given the opportunity, the character will  
  engage in his Compulsion and do nothing else until he starves or is knocked 
  unconscious. The Narrator ultimately decides under what circumstances a character's 
  Compulsion triggers. Obviously, a character shouldn't have to count everything in a 
  room or stare endlessly into any reflective surface he happens by, but at the same time, 
  the character should regard mirrors or bags of rice with a certain attraction and/or 
  trepidation. 
   
  Examples: counting small piles of objects placed in his path, staring into a mirror, 
  telling the truth, telling lies, tying or untying knots. 
   
  1. At this level, the character engages in or repeats the behavior regularly without really 
  being aware of it. There is no system effect, but the character's little “quirk” can be 
  decidedly awkward in a social setting. 
   
  2. When presented with the opportunity to engage in the behavior, the character must 
  succeed in a Retention+Tenacity+Mental Die roll with a Target Number equal to 
  Imagination+Intensity in order to not engage in the behavior or to act contrary to his 
  Compulsion for five full minutes, regardless of what's happening in his surroundings. 
   
  3. When presented with the opportunity to engage in the behavior, the character must 
  succeed in a Retention+Tenacity+Mental Die roll with a Target Number equal to his 
  Imagination+Intensity in order to not engage in the behavior or to act contrary to his 
  Compulsion for a full hour. 
   
  4. When presented with the opportunity to engage in the behavior, the character must 
  succeed in a Retention+Tenacity+Mental Die roll with a Target Number equal to 
  Imagination+Intensity in order to not engage in the behavior or to act contrary to his 
  Compulsion for a full two hours. If the roll succeeds, the character takes an amount of 
  Burnout equal to his Intensity.  
   
  5. At this point, the character cannot act contrary to his compulsion or stop of his own 
  free will. He must be physically moved away, forcibly silenced or tricked into acting 
  contrary to his Compulsion or stopping. Note that the character does not want to be 
  tricked. He really wants to engage in his behavior of choice—the deception must be 
  complete. 
   
  Breath and Hunger 
   
  When a character reaches Intensity six, he begins to gain the ability to subsist on emotion 
  rather than the more mundane substances around him. Whenever the character gains 
   
   
  "The only antidote to mental 
  suffering is physical pain." 
  -Karl Marx 
   
   
  61
  
   
  Emotion Points in a Passion rated six or higher, he may use them to fuel his metabolism. 
  If the character spends three Emotion points, he may go for a day without eating, 
  drinking, sleeping or even breathing. The character also gains the ability to use Emotion 
  Points in place of Burnout. If the character spends three Emotion points, he may fuel a 
  single Pathos as though he had burned out the Quality usually required to fuel that 
  Pathos. This works equally well with Ethos, though the cost can quickly become 
  prohibitive. The character is still capable of gaining sustenance from food and water, and 
  he still needs to be sheltered somewhat from the elements. 
  Characters who reach Intensity six sometimes find themselves homeless, alone, and 
  inexplicably powerful. Battered by perceptions they don't understand and that no one 
  around them seems to share, they may begin to dress and behave eccentrically, 
  overlooking the way they appear to those around them. 
  At Intensity ten, a character is no longer human, really. He no longer gains any benefit 
  from eating, drinking, sleeping or breathing; he must survive entirely on Emotion. At the 
  same time, his metabolism increases in efficiency at this level. When using Emotion 
  points in Passions rated ten, a character need only use a single Emotion point  
  per day in order to survive. He must, however, consume an Emotion point every day, or 
  he begins to be affected as though he is starving. A character may also use an Emotion 
  point to fuel a Pathos or Ethos that normally requires a Quality to be burned out. Finally, 
  a character at this level may use an Emotion point to instantly heal a point of Burnout or 
  three points of Emotion to do the same for a point of Trauma. 
  When using Emotion points from other Passions, the exchange is still three to one, and 
  the character cannot use Emotion points in these Passions to recover from Burnout or 
  Trauma. 
  At this point, a character is no longer able to produce his own Emotion points for his 
  primary Passion. He can only receive Emotion points by causing another character to 
  behave in a way that gains him Emotion points in that Passion. The character receives a 
  number of points equal to the level of action that the other character takes on the 
  Emotion scale. The Intensity of the acting character is irrelevant to the number of 
  Emotion points that an Intensity ten Liminal gets. Thus, a Liminal with Fury ten who 
  caused another Liminal with Fury three to engage in a fight would receive three Fury 
  Emotion points for the character engaging in a fight, despite the fact that the Fury three 
  Liminal received none. 
  For this reason, Liminals often prey on one another—it's easy to get an individual 
  already hooked by a Passion to behave in a far more extreme manner than someone 
  without any Intensity. At the same time, Liminals are also more likely to be able to 
  recognize the character's game and defend themselves. There's also the problem that, in 
  feeding off of Liminal creatures, Intensity ten characters are making their victims more 
  intense and thus more powerful—creating both more dangerous prey and potential rivals. 
  Characters at Intensity ten rarely have any concern for their appearance. Most who 
  interact with them don't pay close enough attention to their appearance for it to matter. 
  People will see what they want to see, and as for those who see the truth—well, it never 
  hurts to dress to impress. Some of these characters wear fantastic or gruesome costumes 
  regardless of the social context in which they find themselves: ball gowns at a bus stop, 
  bloodstained togas in churches, and necklaces of human hands in a police station. Non-
  Liminals never really look at characters with Intensity this high anyway. By wearing 
  these outlandish costumes and trophies, such characters are able to broadcast their own 
  power, more effectively claiming territory and discouraging competition. 
  Of course there are also more subtle Liminals; these prefer speaking softly and carrying a 
  big stick to common braggadocio. Even a Liminal would be hard-pressed to pick some of 
  these out of a crowd without the help of their more ostentatious (and clearly 
  supernatural) differences from the un-madding crowd. 
  62
  
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
  Chapter III: Crisis System 
  Nuts and Bolts 
   
  The creature coiled back after Henry unloaded his final bullet at it. "Liar," it spat at him, 
  and Henry barely had time to register surprise that the thing could speak at all before it 
  continued. "You think I'm the monster, but at least I look like what I really am." Its tone 
  shifted, and three rows of teeth in three mouths parted: a sickening mockery of a smile. 
  "And what isn't what it looks like, well, it isn't true. And what isn't true is a lie. Liars go 
  to Hell, Henry. The Book says so." 
   
  He didn't even try to respond; Henry just ran out of the alley into the open rush hour 
  streets. The creature followed slowly, dozens of insectile limbs unfurling and ticking at 
  the pavement as it wove through the oblivious crowd. 
   
  Role-playing has been described as playing make-believe, except with more rules. Both 
  parts: make-believe and structure– are essential. Without an idea, plot and conflict to 
  build the story around, role-playing is reduced to an endless progression of die rolls on 
  random-encounter tables with only the bare minimum of the overused, tracing-paper-thin 
  genre conventions necessary to string together more mindless die-rolling. 
   
  At the same time, without rules, there is almost no way of satisfactorily resolving the 
  elements of uncertainty that make a game interesting. Characters either effortlessly 
  succeed in everything they attempt, or fail arbitrarily, if not capriciously, based on the 
  whims of the Narrator. The system in Abeo is designed to avoid both problems. 
   
  Before getting into the nuts-and-bolts of how Abeo works: a discussion. Ultimately, no 
  system, no matter how well designed or implemented, will succeed in conveying the 
  million and one variables that go into determining the success of even the simplest action 
  in the real world. A role-playing system, any role-playing system, is, at best, an 
  approximation: a rough simulation of reality. There is simply no way for a game to have 
  a standardized way of accounting for things like the glare that comes off of polished 
  surfaces at midday or the reduction in friction that comes during freezing rain. The 
  Narrator is thus encouraged to cut off players that seem to be analyzing a situation too 
  deeply in order to affect the rolls. Too many games get bogged down in the minutiae of 
  whether a character should get a one-point bonus to a roll because he's in a slightly 
  brighter part of the room after drinking a cup of coffee. 
   
  On the same note, if you have a player who carefully hoards bonuses and extenuating 
  circumstances, who has the rules highlighted and tabbed to show how “page XX clearly 
  says...”  and  uses  this  as  a justification to do something that just doesn't make  
  63
  
   
  sense, then don't let him do it. Common sense and Narrator fiat trump everything else in 
  this game. Even page XX. 
   
  Performing Actions 
   
  To determine whether a character in Abeo succeeds in performing a task, the player adds 
  his character's rating in one of his Qualities to his rating in a Skill, then rolls either his 
  Mental Die or his Physical Die. He then adds the number he rolled on the die to this 
  total. The result is compared to the task's Target Number, the number assigned by the 
  Narrator, reflecting the relative difficulty of the task, as well as the results of any 
  environmental circumstances. The precise Quality and Skill used as well as the die rolled 
  are determined by the task. For example, a character attempting to jump over an obstacle 
  while running would require the character to roll Strength+Exertion+Physical Die. The 
  Target Number for most standard tasks, such as noticing a small detail in a room or 
  successfully using first aid, is eight. More difficult or easier tasks will have either higher 
  or lower Target Numbers. 
   
  Easy 
   
  8 
  (Discover the date of a major historical event, break down a cheap apartment closet door, 
  drive in poor conditions, program a simple page in HTML, change a tire. climb a rope.) 
   
  Moderately Difficult        
  10  
  (Research the economic basis of the Civil War. Pick a cheap lock, drive in awful 
  conditions [torrential downpour, snowstorm], program a database, fix a simple engine 
  problem, climb a wall with proper equipment.) 
   
  Difficult  
  12 
  (Investigate new information about the Civil War and incorporate into a new historical 
  theory, drive in dangerous conditions [hurricane, blizzard], write a complete new 
  financial software package, change a transmission, basic surgery, climb a wall without 
  proper equipment.) 
   
  Extremely Difficult 
  15 
  (Incorporate new information on subatomic particles into an existing paradigm within 
  physics, find an obscure, but essential, factoid, pilot a helicopter in poor conditions, 
  create a new computer hardware device, break into a well-guarded building, perform 
  open-heart surgery, climb a nearly-sheer wall without proper equipment.) 
   
  Nearly Impossible 
  20 
  (Create a working theoretical basis for the combination of Einsteinian and Newtonian 
  Physics, pilot a helicopter in a hurricane, invent the next big thing in personal computing, 
  rob a high tech bank without getting caught, brain surgery, freeclimb a skyscraper.) 
   
  Some tasks can be attempted using a choice of Qualities. This is, however, always 
  subject to common sense. Strength is irrelevant for computer hacking rolls, and always 
  will be, barring a brilliant explanation on the part of the player attempting to use it. The 
  method the character uses to solve a problem or take an action determines which Quality 
  is used. A character can intimidate someone, for example, three ways (at least): 
   
   
  A subtle or refined threat: "You'll never work in this town again." (SES). 
   
   
   
   
  A blunt threat of force: "You really don't want to disappoint me, do you?" *sound of 
  cracking knuckles* (Strength). 
   
  An imaginative, explicit threat: "Did you know that the human retina isn't really part of 
  the eye? It's attached though. You can actually peel it off, if you're patient enough. It 
   
   
  "I eat too much to die 
  and not enough to stay alive 
  I'm sitting in the middle 
  Waiting." 
  -Manic Street Preachers 
  41st 7lb 
   
   
  64
  
   
  does take an awfully long time, but I'm game. How about you?" (Imagination). 
   
  In all three cases, the Skill “Intimidation” is used.  
   
  Characters attempting a task for which they have no Skill are subject to a penalty. If the 
  task attempted uses the Physical Die, the character takes a two-point penalty to his roll. If 
  the task uses the Mental Die, the character takes a four-point penalty to the roll. Note that 
  some tasks, such as brain surgery or use of advanced mathematics, are simply impossible 
  without the appropriate Skill. Whether a given action can even be attempted without the 
  requisite Skill is entirely the decision of the Narrator. 
   
  Environmental influences can also make tasks easier or harder: attempting first aid 
  outdoors in a pouring thunderstorm would warrant the Target Number being ten or even 
  higher depending on the severity of the wound. At the same time, first aid in a well-
  appointed doctor's office is much easier than in the field—in such a case, the Narrator 
  may decide to lower the target number to six, or even lower. 
   
  Sometimes when a character attempts an action, he is directly opposed by another 
  character. These contested actions are a fairly simple matter to resolve. Each character 
  rolls as though he were attempting the action against a Target Number. The character 
  with the highest total wins. If the result is a tie, the characters re-roll until there's a 
  winner. 
   
  If a character fails a roll and the circumstances allow for it, he may re-attempt the roll. In 
  such cases, the Narrator may assess a one-point penalty to the roll for each successive 
  attempt, representing a character's frustration and impatience, or in the case of actions 
  like picking locks, damage done to the tools or objects essential to the performance of 
  the task. 
   
  Example: Helen, a Flagler College journalism major with an unhealthy Yearning for 
  forbidden information, has a fascination with the ambiguous disappearances that seem 
  to pop up all over St. Augustine. After a semester of research, she has a thick manila 
  folder filled with police reports, interviews, and newspaper clippings about people 
  disappearing—not just from their homes, but also from all official paperwork and the 
  memories of almost all of those around them. She gets on the Internet to see if she can 
  find out anything about similar disappearances. The Narrator decides that since what 
  Helen is looking for is incredibly difficult to find, the Target Number to find anything out 
  is 10. She adds her Retention score of four to her Research score of three, coming up 
  with a total of seven. She then rolls her Mental Die, a d6, and comes up with a two. Her 
  total of nine is less than the Target Number of the task; after two hours of poring over 
  the barely-coherent websites of conspiracy enthusiasts and dry public records, she walks 
  away as empty-handed as she came. She elects to try again a few minutes later. The 
  Narrator assigns a one-point penalty to the roll this time, as Helen is frustrated and 
  unhappy because of her earlier failure. Sighing, she sits down in front of the computer 
  again.  
   
  Factors 
   
  As established in Chapter II, “Character Creation,” every individual has a unique set of 
  aptitudes and ineptitudes, represented in Abeo by Factors, both positive and negative. 
  When a Factor applies to a given task, as established within the description of the Factor, 
  it provides either a bonus (as in the case of “Mathematical Savant”) or a penalty (as in 
  the case of “Speech Impediment”) to the roll. 
   
  Example: The next day, Helen is at her favorite coffee shop, LiveWire, when she hears a 
  woman next to her talking on her cell phone about how her husband hasn't come home in 
  the past few days. She barely registers the topic before her friend Jessica sees her and 
  joins her at the table. Attempting to maintain the bare minimum interaction necessary for 
  politeness, Helen strains to listen to the woman on the cell phone over the small talk of 
   
   
  "The tragedy of it is that 
  nobody sees the look of 
  desperation on my face. 
  Thousands and thousands of us, 
  and we're passing one another 
  without a look of recognition." 
  -Henry Miller 
   
   
  65
  
   
  her friend. The Narrator decides that overhearing this conversation in spite of Jessica is 
  a task with a Target Number of eight. Jessica adds her Perception of three to her two in 
  the Skill Observation for a total of five. Normally, she would simply add her roll on her 
  Mental Die to this total and compare it to the Target Number. However, Helen has the 
  Positive Factor “Long Ears,” which gives her a bonus to rolls involving hearing. She 
  took this Factor once, so she gets a bonus of one to her roll. This brings the total that she 
  adds to her roll up to six. She rolls and gets a three on her Mental Die, making her total 
  nine, which beats the Target Number of eight. Nodding and murmuring noncommittally 
  at Jessica, Helen manages to catch that the woman next to her hasn't seen her husband 
  in days, and that his co-workers now refuse to admit that they ever even worked for him. 
  Helen smells a lead. 
   
  Burnout 
   
  Sometimes you have to give a little to get a little. Everyone has heard the apocryphal tale 
  of the mother who lifted a Volvo to save her baby trapped underneath. In Abeo, the 
  phenomenon of going above and beyond the scope of one's usual abilities in pursuit of a 
  goal is called Burnout. When performing an important task, characters may Burnout a 
  Quality to gain a higher score in that Quality for that one task. After the task is 
  completed, the character's rating in the Quality is reduced by the amount that it was 
  increased for purposes of that one task. The character can never Burnout more points in a  
  Quality  than  he  has.  If,  through  Burnout,  a  character's  Quality drops to zero, the 
  character immediately goes unconscious until he regains at least one point in the Quality. 
  This is true for every Quality but SES. A character at zero SES retains consciousness, but 
  not much else.  
   
  Note that it is the player's responsibility to state that he is using Burnout before he rolls 
  to attempt the task. If he fails, he's still lost the number of points in the Quality that he 
  spent. Also note that if the character is burning out SES, he must describe how he is 
  doing so—leaning on friends for a loan, calling in favors, mortgaging his house, etc. He 
  must also describe how this Burnout will help him in his roll. 
   
  Example: Helen sees the woman talking on the phone leaving the café. Running after 
  her, she is too late to see where the woman went. Scanning the crowd near the Ponce de 
  Leon Mall to see if she can find her, Helen is told to roll Perception+ Observation+ 
  Mental Die again, with a Target Number of eight. Knowing how important this lead 
  could be, Helen's player elects to have Helen strain to see if she can find the woman, 
  burning out a point of Perception in the process. For the purposes of this one roll, 
  Helen's Perception is four, rather than three. She rolls, getting a total of nine. She sees 
  the woman, still talking on her cell phone, entering the mall. She has a little bit of a 
  headache from the strain, but, triumphant, she jogs in after. Until she recovers from the 
  Burnout, Helen's Perception will be two, rather than three.  
   
  Degrees of Success and Failure 
   
  Attempts that total three or more higher or lower than the Target Number for a task may, 
  at the Narrator's discretion, have certain game effects. In extreme cases, an attempt may 
  backfire, doing more harm than good, or the character may succeed beyond their wildest 
  expectations.   
   
  Penalties may reduce a character to a total of less than zero. Degrees of Failure should be 
  calculated using this subzero number.  Wise characters will think twice before attempting 
  a stunt like this. 
   
  Degrees of Success 
   
  Target Number +3-5: The character not only succeeds, but does so with flair. There is no 
  numerical benefit, but the task is done efficiently and beautifully. Even professionals will 
   
   
  "...Delia's arms were inscribed 
  with a grid of self-inflicted 
  wounds, an intricate text of 
  self-loathing..."
  -Jay McInerney
  Brightness Falls 
   
   
  66
  
   
  be impressed. 
  Target Number +6-8: The character succeeds beautifully as above. Additionally, all 
  numerical portions of the task (range, duration, damage) may increase or decrease by 
  half, rounded in favor of the player. 
  Target Number +9-10: The character does beautifully and all numerical portions of the 
  attempted task may be doubled (or halved) in the favor of the player. This is the kind of 
  success that even the untrained will recognize as remarkable. Success greater than this is 
  possible, but past this point, the task is usually so spectacularly finished that any other 
  effects are merely cosmetic. 
  Degrees of Failure 
  Target Number -3-5: The character fails embarrassingly. There is no numerical penalty, 
  but most people would slink away, humiliated, at this point. 
  Target Number -6-8: The character fails and most likely harms himself, someone else, or 
  a significant piece of property in the process. If this failure occurs while attempting to 
  damage something or someone, treat the roll as though an attack was made against the 
  character. However, instead of assigning damage based on weapon rating plus the 
  amount rolled over the character's Natural Defense, use the amount rolled under the 
  character's Natural Defense as the damage assigned. 
  Example: Helen, having followed the woman to the mall, finds herself in the midst of a 
  fight in the food court. All thoughts of the woman with the disappearing husband gone, 
  Helen finds herself consumed with curiosity about the conflict. Masses of people are 
  flooding toward the exit, forcing Helen to move “upstream” in order to find out what's 
  happening. Barely managing to stay in place, much less make progress, Helen is beyond 
  frustrated when a very large, tall, and frightened-looking man picks her up and tries to 
  carry her out. She lashes out at him with her fists. Her Strength is two, and she has no 
  Skill in Unarmed Strike. Her Strength of two only nullifies the two-point penalty for 
  attempting a task without the appropriate Skill. She's down to a straight roll to try to hit 
  the man. His Natural Defense is eight, and Helen rolls a two on her Physical Die, a d6. 
  That's a full six points below the Target Number established by his Natural Defense. 
  Startled at her violence, the man drops her onto the pavement outside the mall. She lands 
  on her face, knocking a few teeth loose and going unconscious as she takes a full six 
  points of Burnout. 
  Target Number -8-10. In addition to potentially taking damage as above, Murphy's Law 
  goes into overdrive. Not only does everything go wrong that can go wrong, even a few 
  things that can't go wrong do. That window that just got broken had an alarm attached to 
  it, the thug had backup coming, it turns out that she does, in fact, have a sister. A wise 
  character rethinks his course of action.  
  Timing 
   
  Not all actions are the same or take the same amount of time. The Narrator determines 
  what interval of time is represented by each roll. As a general guideline, tasks can be 
  split into three categories. 
   
   
   
   
   
  Simple tasks take a few seconds at most: opening a door, putting on shoes, or squeezing a 
  trigger. Except in combat or high-pressure situations, characters can usually Peak on 
  these tasks with little difficulty. 
   
   
   
   
  Normal tasks take a few minutes at most; examples include reading a menu, carrying on 
  a brief conversation, and sending an e-mail. 
   
   
   
   
  "I chose the shadows, they did 
  not choose me, I stay here 
  securely not just because I feel 
  pain, but because 
  disappearance is by now the 
  easy way. The habit. The worn 
  path that I can trod knowingly 
  and be assured safe passage 
  home." 
  -Rod McKuen 
  Alone 
   
   
  67
  
   
   
   
  Complex tasks take an hour or longer; these include creating a spreadsheet, extended 
  conversations, and most research rolls. The Narrator may require that a player make a 
  roll for every hour that a character spends on one of these tasks, requiring that a certain 
  number of rolls be successful in order for the task to be completed. 
   
  Prolonged tasks take days or weeks to perform: climbing a mountain, building contacts 
  in a new area, writing a short story, creating a painting, or building a piece or set  of  
  furniture  from  lumber.  These  rolls generally assume that a character uses all 
   available time in pursuit of the task. Characters who take time out to perform other tasks 
  (or move, or go spook-hunting) usually have to spend even longer on the tasks. In some 
  time-sensitive areas, this lack of effort may be reflected in higher Target Numbers, or in 
  extreme cases, the character having to start over (often also with a higher Target 
  Number). The Narrator may require a player to make a roll for every day or week spent 
  working on the task, and may require that a certain number of the rolls be successful in 
  order for the task to be completed. 
   
  Grueling tasks take months or years to complete. Examples include writing a book, 
  building a house, creating a masterpiece in any medium, and investing in stocks. While 
  the time constraints on this are less rigid than with Prolonged tasks, the character is still 
  expected to spend a minimum of 10-20 hours a week on the task or risk the penalties 
  associated with insufficient effort described in Prolonged tasks. The Narrator may 
  require a player to make a roll for every month or year the character spends working on 
  the task, and may require that a certain number of the rolls be successful in order for the 
  task to be completed. 
   
   
   
   
  If there's an amount of time available to work on a task that far exceeds the amount of 
  time needed, the Narrator can allow a character to take his highest possible roll using the 
  appropriate die. The character moves the task up one level on task type, (Simple to 
  Normal, Normal to Complex, Complex to Prolonged, etc.) and at the end of that time, 
  treats the task as having been completed with the highest possible result for the die used. 
  Degrees of Success can apply in cases such as this. This process is called “Peaking.” 
   
  Staying Alive 
   
  Food: A character must eat an adequate amount of food at least once per day. When a 
  character does not eat for longer than a day, his body loses the ability to adequately 
  repair itself—he does not regain any points burned out in any Quality until he resumes 
  eating. After three days, a character begins burning out a point of Resilience every day. 
  Permanent damage is very possible. After only a few days, the body begins breaking 
  down to provide food. 
   
  Water: As a general rule of thumb, characters should consume an absolute minimum of a 
  liter of water per day. In actuality, in order to maintain normal functioning, a character 
  would need to consume just over two liters per day. On any day in which a character 
  fails to consume at least two liters of water, the character does not regain any Burnout. 
  On any day that the character does not consume at least one liter of water, he burns out a 
  point of Resilience. If the character goes longer than a number of days equal to one plus 
  Resilience without adequate fluid intake (whether through water, other liquids, or from 
  water-rich food,) or supernatural assistance, he dies. 
   
  The precise amount of water that a human being needs varies wildly according to 
  number  of  variables,  including  the  metabolism  of  the  individual  in  question,  the  
  temperature and humidity of the environment in which that individual finds himself, and 
  the water content of any foods that human is eating. Because of this, the Narrator is 
  encouraged to both adjust the figures given here to the needs of the story and to 
  ruthlessly shut down players who attempt to find examples in real life that contradict his 
   
   
  "The World of Madness is a lot 
  Bigger than the World of 
  Sane."
  -Marilyn Manson
  My Monkey 
   
   
  68
  
   
  ruling.  
   
  Breathing: A character can hold his breath for thirty seconds per point of Resilience. Past 
  this time, the character takes a point of Burnout per five seconds (or per turn) that he 
  continues to not breathe for whatever reason (whether because of suffocation, drowning, 
  or holding his breath). The instant the character loses consciousness, the first level of 
  suffocation Burnout is turned to Trauma. Additional levels of suffocation Burnout 
  becomes Trauma for each turn the character cannot breathe there after.  
   
  Sleep: Sleep is another one of those highly variable needs. For purposes of Abeo, a 
  character must sleep for a number of hours each night equal to ten minus Resilience. 
  Failure to sleep this minimum number of hours results in the character burning out a 
  point of either Perception or Retention. The character does not regain any points burned 
  out in Mental Qualities unless he receives at least his minimum amount of sleep. 
   
  A character who receives no sleep takes a point of Burnout to every Quality except 
  Imagination and SES for each night that he goes without sleep. A character with 
  Intensity of even one also gains a temporary point in his highest Passion (and thus 
  Intensity) for each night that he goes without any sleep. He gains no additional Pathos, 
  but his existing Pathos may, due to this increase in Passion and Intensity make his 
  existing Pathos more effective. 
   
  A character who reaches unconsciousness due to sleep deprivation will sleep for ten 
  hours—not even pain will rouse him for longer than a few seconds. 
   
  Drugs 
   
  Therapeutic Psychotropics: Mental health professionals prescribe these drugs. In real 
  life, many of these drugs can take weeks or months to fully come into their effects. For 
  purposes of the game, however, Narrators can safely assume that these drugs take effect 
  within a week, and that the effects of the drug last for a week after they have been taken. 
  In Abeo, these drugs can be split into four basic categories. 
   
  Antidepressants reduce a character's Anguish by one point in the first week, another 
  point in the second week, and so on until the character's Anguish reaches one. At this 
  point, the drug will take away no further Anguish. While under the influence of 
  antidepressants, a character cannot gain Emotion in Anguish. If the character stops 
  taking the medication, he regains his former level of Anguish at a rate of one point per 
  week. 
  Antipsychotics/Mood Stabilizers/Sedatives reduce a character's Yearning and Fury by 
  one point in the first week, another point in the second week, and so on until the 
  character's Yearning and Fury both reach one. At this point, the drug will take away no 
  further Fury or Yearning. While under the influence of anti-psychotics, mood stabilizers, 
  or sedatives, a character cannot gain Emotion in Fury or Yearning. If the character stops 
  taking the medication, he regains his former level of Fury and Yearning at a rate of one 
  point per week. 
   
  Anti-anxiety medications reduce a character's Dread by one point in the first week, 
  another point in the second week, and so on until the character's Dread reaches one. At 
  this point, the drug will take away no further Dread. While under the influence of anti-
  anxiety medication, a character cannot gain Emotion in Dread. If the character stops 
  taking the medication, he regains his former level of Dread at a rate of one point per 
  week. 
   
  Note that no member of the staff of Insomnium Games is a health care professional, nor 
  is anyone pretending to be. If you are having problems with mental illness, please, please 
  don't use a role-playing book as a reference. See someone who knows what they're 
  doing. Similarly, every one of the drugs mentioned here is tremendously complex, with 
   
   
  "The mind is its own place, and 
  in it self Can make a Heav'n of 
  Hell, a Hell of Heav'n." 
  -John Milton 
  Paradise Lost 
   
   
  69
  
   
  side effects and main effects, the complete documentation of any one of which would 
  occupy more space than any three role-playing books. The rules in this book are 
  simplified to the point of almost-pure fiction. 
   
  Narrators are encouraged to do a little research on names of the drugs characters may or 
  may not be on. Intellectual property law prevents Insomnium Games from reproducing 
  any of these proprietary names. 
   
  Recreational Drugs can have a host of effects within the game. Ultimately, it's up to the 
  Narrator to decide what drugs will have what, if any, effects. Following are some 
  possibilities for some of the drugs characters might run into over the course of a game. 
  As with the therapeutic psychotropics covered earlier, all of these drugs are both legally 
  and biologically complex. As before, the effects and side effects of the drugs here are 
  streamlined so that they fit into the game, not so that they accurately cover the actual 
  effects of the drugs. 
   
  Alcohol: A serving of alcohol causes an amount of Burnout to Mental Qualities (not 
  SES) equal to four minus the imbibing character's Resilience. If the character's 
  Resilience is high enough that alcohol will have no effect, he can consume up to twice 
  his Resilience in servings before feeling any effect (at which point, he burns out one 
  point in each Mental Quality [other than SES]). After this point, each drink causes one 
  additional point of Burnout. If the character reaches unconsciousness due to alcohol 
  consumption, one point of Burnout in every Quality is changed to Trauma. If the 
  character is roused, kept awake, or continues to consume alcohol for any reason, each 
  serving causes a point of Trauma.  
   
  Burnout gained through consumption of alcohol recovers at a rate of one alcoholically 
  induced Burnout per hour. Note that only Burnout gained through alcohol is regained at 
  this rate. Burnout gained through other means (even while drunk) takes the usual amount 
  of time to recover. 
   
  The Narrator is free to assess penalties the next day for hangovers, especially if the 
  character is attempting actions in the presence of loud noises, bright lights, or fragrant 
  food. 
   
  Hallucinogens (DMT, psilocybin, LSD, peyote, ayahusca, mescaline): Regardless of 
  the vector or particular drug, a single dose of a hallucinogenic substance raises the 
  character's highest Passion (and thus Intensity) by one. The character gains no new 
  Pathos, but his existing Pathos and his ability to perceive the Noumenal is increased. The  
  character  is  also  able  to Burnout a number of points of Imagination equal to the  
  number of doses of the hallucinogen he's taken without suffering the effects of Burnout, 
  effectively getting a free bonus of up to his Imagination to a number of rolls equal to the 
  doses of the hallucinogen he's taken. A character can take a number of doses equal to his 
  Resilience before the substance becomes poisonous. At that time, every dose causes a 
  point of Trauma to Resilience. If the character reaches zero Resilience, he loses 
  consciousness and permanently loses a point from his Resilience. After this point, the 
  character is permanently sensitive to hallucinogens and every dose he takes, for the rest 
  of his life causes a single point of Trauma to his Resilience. These points can be regained 
  through spending Experience.  
   
  The effects of the drugs last for a number of hours equal to ten minus the character's 
  Resilience.  
   
  Caffeine: The character receives a one-point bonus to Perception, Imagination and 
  Retention rolls for the next hour. If the character uses this bonus more than once a day, 
  he has become addicted and must consume at least that much the following day, or suffer 
  a one point penalty to Perception, Imagination and Retention rolls for that day. On that 
  day, he must consume twice the amount of caffeine he used the day before to gain the 
  bonus.  
   
   
  "Thoughts are the shadows of 
  our sensations – always darker, 
  emptier, simpler than these." 
  Friedrich Nietzsche 
   
   
  70
  
   
   
  It is up to the Narrator to decide how much caffeine is required to gain this bonus 
  initially. Keep in mind that in order to receive this bonus, the character must imbibe 
  significantly more than his usual amount. Thus, someone who wakes up with a cup of 
  coffee every morning shouldn't get the bonus when starting play. A single cup of coffee 
  or soft drink is probably not sufficient, but characters shouldn't have to down a bottle of 
  caffeine pills to get the bonus either. 
   
  Ecstasy (MDMA): Narrators should first keep in mind that drugs claiming to be ecstasy 
  rarely are. In the US, they're almost always cut with something else, making the 
  “ecstasy” in question toxic at much lower doses.  
   
  Assuming “pure” 3, 4-methylenedioxy-N-methamphetamine, which is a pretty big 
  assumption, the effects are as follows: when the character takes a dose of ecstasy, he 
  gains a number of points of Yearning equal to six minus his Resilience. At the same 
  time, if he has any Anguish, he loses an equal number of points. While under the 
  influence of Ecstasy, a character is unable to use any Anguish Pathos. This may change 
  his Intensity and ability to perceive the Noumenal as well. Note that the character does 
  not gain any Pathos, but existing Pathos may become more powerful through the use of 
  this drug. 
   
  While under the influence of the drug, characters lose the ability to effectively regulate 
  their body temperature. Any environmental stressors relating to heat or fluid balance 
  have their effects doubled. 
   
  Taking additional doses of MDMA has no additional effect. Once a character has hit the 
  “sweet spot” he can go no further. 
   
  If a character attempts to take more than one dose, two points of Trauma are inflicted per 
  dose.  
   
  The effects of ecstasy last for a number of hours equal to seven minus the character's 
  Resilience. 
   
  Marijuana: A single dose of marijuana (which, depending on the quality of the 
  marijuana in question can be as little as a single hit off of a joint or as much as a whole 
  pipe of packed stems and seeds) causes the character to Burnout a point of both 
  Retention and Agility and gain a point of either Perception or Imagination (player's 
  choice).  An  additional  dose  will  remove another point of Retention and Agility and  
   
  give another “ghost point” to either Imagination or Perception. This “ghost point” cannot 
  be burned out and is not subject to Trauma. At the same time, if the character is injured, 
  the “ghost point” will not allow the character to retain consciousness, or in extreme 
  cases, live.  
   
  While under the influence of this drug, the character is more difficult to distract 
  (effectively gaining a plus one bonus to rolls involving concentration), but is also likely 
  to be extremely hungry and thirsty. Inhibitions are also lowered. While these don't have a 
  game effect, the Narrator is encouraged to use these effects. 
   
  A character can't really overdose on marijuana, but he can easily lose consciousness.  
   
  A marijuana high lasts for an amount of hours equal to five minus the character's 
  Resilience. Consequently, this means that some characters are just immune to marijuana.  
   
   
   
   
   
   
  "Yesterday upon the stair
  I met a man who wasn't there
  He wasn't there again today
  I wish that man would go 
  away."
  -Hughes Mearns
  Antagonish 
   
   
  71
  
   
  Torture 
   
  A character employs several tactics in order to coherse information from unwilling 
  subjects. In these situations a contested Quality+Interrogation Die roll against the 
  victim's Quality + Tenacity Die roll. The Quality is picked depending upon which form 
  of torture that is desired. Physical forms of torture use Strength against the victim's 
  Resilience. The Quality may also be dictated by how the target is resisting, such as 
  Resilience to drugs or Retention against forms of subjugation and manipulation. 
   
  If a question is repeated, for any reason, in order to get new or different information the 
  aggressor needs to surpass his previous degree of success in the contested roll. Each 
  round of torture inflicts a level of Burnout appropriate to the form of trauma being 
  inflicted. Torture is not always accurate and may not produce the desired results, 
  especially if the subject does not know the information. 
   
  Many victims will spin halve truths and lies in order to bring the instance to a closure. 
  However, this is not a license for stubborn players to refrain from giving information 
  their characters would have surrendered under the circumstances. Ultimately, the 
  information and quality surrendered is up to the Narrator.  
   
  Torture may only be used in a situation where there is a clear target and he is unable to 
  defend himself or leave of his own volition. Most often this includes, but is not limited 
  to, binds, drugs, entrapment, police interrogation rooms, and even dungeons. 
   
  Combat 
   
  Initiative 
   
  At the start of each combat turn, the participants take their action in descending order of 
  initiative. Each character’s initiative score is determined with a roll of Agility+Initiative 
  (a Skill within the “Basic Combat” Skill Category)+Physical Die. Characters with tied 
  results roll again, and the character with the higher result on their die goes before the one 
  with a lower result. Because Initiative is a Skill, characters without it receive a two-point 
  penalty.  
   
  Example: Jarrod has tracked his rival, Alejandro, to the food court of the Ponce de 
  Leon Mall, intent on teaching him a painful lesson. Unfortunately for Jarrod, Alejandro 
  has noticed his approach. The two square off amongst the commotion of the food court 
  and roll initiative. 
   
  Jarrod’s Physical Die is only a d4; he has an Initiative rating of four and an Agility 
  Quality of three, so he adds the scores’ sum of seven to the die roll’s result. Jarrod’s die 
  result is a four, so his total initiative score is 11. 
   
  Alejandro, however, has also rolled an initiative of 11. The two roll their die again. 
  Jarrod rolls a three on his d4. Alejandro rolls his d8 for a two. Jarrod will go first this 
  round.  
   
  Had other people been involved in combat, their order of initiative would not have been 
  altered by the second roll Alejandro and Jarrod made. 
   
  Attacking 
   
  The most common maneuver in combat is to strike an opponent with a weapon, be it a 
  knife, a bullet, or your bare fist. This is accomplished like most other actions in the 
  game, using a die roll plus modifiers. The roll used, however, depends on the weapon. 
   
  Unarmed Attacks: These attacks are generally those the character makes without 
   
   
  "I force myself to contradict 
  myself to avoid conforming to 
  my own ideas." 
  -Marcel Ducham 
   
   
  72
  
   
  manufactured weaponry, though it sometimes includes brass knuckles or similar 
  equipment. These attacks are made using the character’s Strength+Unarmed Combat+ 
  Physical Die. 
   
  Armed Attacks: This category encompasses most close-range weapons, whether as 
  simple as a club or as massive as a zweihänder. These attacks are usually made by rolling 
  the character’s Strength+Armed Combat+Physical Die. Certain weapons may use the 
  character’s Agility instead of Strength. 
   
  Ranged Attacks: Thrown knives, crossbows, javelins, and even shot puts are types of 
  ranged attacks. When making an attack of this sort, use the character’s Physical Die+ 
  Agility+Ranged Combat. These sorts of attacks may also suffer from penalties for 
  attacking from extreme ranges. 
   
   
  Natural Defense: This is the ability to resist attacks. It is a combination of the character’s 
  ability to avoid being hit, as well as his innate toughness. A character’s Natural Defense 
  rating is the sum of his Agility plus Resilience. 
   
  Whatever form of attack the character is using, the Target Number for the roll is always 
  the other character’s Natural Defense. Armor may add to this score, however. 
   
  Example: Jarrod came to this fight prepared, and already has his knife in hand. He 
  closes on Alejandro and stabs for his chest, hoping to end this quickly. Since he’s using 
  an armed attack, he will roll his Physical Die+Strength+Armed Strike, or 
  d6+three+four. The Target Number for this attack will be Alejandro’s Natural Defense, 
  eight (Agility four + Resilience four). Jarrod rolls a two, which brings his attack total to 
  nine. This beats the Target Number of eight, so Jarrod’s strike lands true and inflicts its 
  damage. 
   
  Damage 
   
  When a character is hurt, his physical capacity is diminished. He begins to bleed, bones 
  break, and muscles tear. When a character is struck, he takes damage, which can be 
  either Burnout, in the case of concussive or blunt damage which heals quickly or the 
  more serious and difficult to heal damage called Trauma, to his Physical Quality equal to 
  the weapon’s damage rating plus the amount over his Natural Defense his opponent 
  rolled. When a Physical Quality is damaged, its score (and scores derived from that 
  Quality, like Natural Defense) is effectively lowered until the character is able to 
  recuperate. The injured character decides where to allocate the damage done to him, but 
  may not assign the damage to a Quality with a current score of one unless all of his 
  Physical Qualities are currently score at one. 
   
  Once a Physical Quality drops to zero, the character falls unconscious. Further damage is 
  assigned to the other non-zero Physical Qualities until they, too, reach zero. Once this 
  occurs, another point of damage means that the character is dying. 
   
  Example: Jarrod successfully attacked Alejandro with his knife, so it inflicts points of 
  damage equal to its Damage Rating – in this case, two, plus the amount over Alejandro's 
  Natural Defense that Jarrod rolled, in this case, one. Alejandro has Strength three, 
  Agility four, and Resilience four. He plans on using his pistol to take Jarrod down, and 
  doesn’t want to become too much of an easier target for Jarrod to hit, so he elects to 
  have two points of damage be done to his Strength and one to Resilience. Until he 
  recuperates, his Strength will effectively be reduced to one and his Resilience to three. 
   
  Alejandro had his pistol ready the moment he saw Jarrod, and is ready to defend himself. 
  He fires at Jarrod and successfully hits with a 13, beating Jarrod's Natural Defense  of  
  six  by  seven  points.  Jarrod  has  Strength three, Agility three, Resilience  
  three; the pistol has a damage rating of three. Jarrod decides, like Alejandro, that he’d 
   
   
  "Please subdue the anguish of 
  your soul. Nobody is destined 
  only to happiness or to pain. 
  The wheel of life takes one up 
  and down by turn."
  -Kalidasa 
   
   
  73
  
   
  prefer to take damage to his Strength first. However, he only has two points of Strength 
  to spare – his score in it cannot be reduced below one unless all of his Physical Qualities 
  are at one. He then assigns the damage to Agility, and comes across the same problem – 
  not enough spare points in the Quality. Jarrod realizes that his Resilience won’t be able 
  to take the damage either – he’s assigned six points of damage across his Physical 
  Qualities, and still has four left to assign. He reduces his Strength to zero, and Jarrod 
  falls unconscious. 
   
  Unfortunately for Jarrod, his problem gets much worse – with three more points of 
  damage to assign, his Agility and Resilience must now drop to zero as well. There is still 
  one point of damage remaining, meaning that Jarrod is now dying. 
   
  The Target Number to hit a character should never go below four. Even unconscious 
  characters have at least this level of Natural Defense. 
   
  Dying 
   
  Once all of a character’s Physical Qualities have been reduced to zero, another point of 
  damage will cause the character to begin dying. When a character is dying, he takes an 
  automatic point of Trauma every turn from hemorrhaging, sepsis, and other 
  complications. This damage (as well as any damage from external sources, should others 
  continue to beat on the unconscious character) is not applied directly to his Qualities. 
  Instead, the character can “safely” take a number of points of damage equal to his 
  normal, unmodified Resilience score. A character who drops to this point and is revived 
  will recover fully with time. 
   
  If a character does not receive treatment before taking damage beyond this point, his 
  wounds will never fully heal, and he permanently loses a point off of one of his Physical 
  or Mental Qualities (player’s choice) once he becomes conscious again. Once a dying 
  character takes twice his normal Resilience score’s points worth of damage, he is beyond 
  the reach of medical treatment and dies. 
   
  Example: Jarrod is lying on the floor of the food court, unconscious and dying. With 
  everyone running away after hearing Alejandro’s gun shot, Jarrod’s situation is grim. 
  Alejandro doesn’t stick around to finish Jarrod off quickly, leaving him to die slowly. 
  Already one point of damage towards death, he takes a second point the next round as 
  his wounds bleed out. Jarrod’s normal Resilience is three, which means that he can only 
  take three points of damage before he permanently loses a point from one of his Physical 
  Qualities. Unfortunately for Jarrod, no help arrives in the next two rounds, meaning he’s 
  now four points of damage toward death – and one point beyond the safe limit. When he 
  awakens, he will have to deduct one point from a Quality of his choice. Now with four 
  points of Trauma and a normal Resilience of three, Jarrod has two more turns to live – a 
  third turn will mean he’s taken a seventh point of damage and has died. 
  Complications 
   
  Blindness: Characters who are completely blind are generally unable to make ranged 
  attacks with any appreciable chance of success. If the circumstances give a blind 
  character a reasonable ability to approximate the target’s position (a narrow hallway, the 
  character is making a lot of noise, etc.) an attack may be made, but the target’s Natural 
  Defense is treated as being ten higher than normal. 
   
  Blind characters have an easier time attacking opponents with armed and unarmed 
  attacks than with ranged attacks. So long as the character is at least marginally aware of a 
  nearby character’s presence, he may make an attack. The target’s Natural Defense is 
  treated as being six higher than normal against these sorts of attacks. 
   
  Blind characters do not add their Agility to their Natural Defense as usual, as they cannot 
  appropriately react to threats. 
   
   
   
  "If you think you have things 
  under control, you're not going 
  fast enough." 
  -Marshal McLuhan 
   
   
  74
  
   
  Cover: Cover is a key method for a character to protect himself, particularly against 
  ranged attacks. When behind cover, a character gains a bonus to his Natural Defense 
  based on the quality of the cover. When hiding behind objects that obscure more than 
  block, like drapes or bushes, a character gains a two point bonus. More solid protection, 
  like a chair or large shield, provides a four point bonus. Large, sturdy items like a car 
  door or large tree provide a six point bonus. For cover that almost totally protects the 
  character, like hiding behind a wall or in a foxhole, rolls to strike the character take an 
  eight point penalty. Cover that’s virtually impenetrable but still somehow allows for an 
  attack to be made provides a plus ten bonus. 
   
  Not all cover is created equal, however. Firearms are capable of blasting through many 
  forms of cover without losing their killing power. Pistols, submachine guns, and other 
  low-powered weapons reduce the effectiveness of cover by two. Rifles, shotguns, and 
  other high-powered weapons reduce the effectiveness of cover by four. 
   
  Armed and unarmed attacks can more easily circumvent cover than ranged attacks, as the 
  attacker can move to a more advantageous angle and reach past the covering item. Cover 
  bonuses are halved against attacks made from close range. 
   
  Cover has its drawbacks, as well. The same mechanism that protects a character also 
  makes it harder to get a bead on the enemy. Enemies a character attacks from behind 
  cover gain a bonus to their Natural Defense equal to half the cover bonus you gain 
  against them.  
   
   
  Darkness: Functionally similar to cover, darkness protects characters against attacks by 
  making them more difficult to accurately locate. The given modifiers are for use at 
  actions at a range – attacks at more than a few feet, or spotting something in the distance, 
  for example. The penalties are half as severe at close ranges – for instance, reading or 
  making armed attacks. Dim lighting, like at twilight or in a restaurant, has a modifier of 
  plus two. Deeper darkness, like the light of the full moon, has a modifier of plus four. 
  Darkness equal to a cloudy night gives a plus six modifier. Darkness that is just short of 
  complete blackness, such as during a new moon, imposes a plus eight modifier. 
  Complete blackness, like in a sealed room, causes functional blindness (see Blindness).  
   
  Off Hand Use: Most characters are not ambidextrous, and therefore unable to use their 
  off hand as well as their primary hand. Any use of the character’s off hand imposes a 
  three-point penalty to rolls involving the non-dominant hand.. 
   
  Prostrate: Characters may become prostrate for various reasons – often because they 
  were tripped or want to reduce their profile. While prostrate, a character effectively loses 
  his Agility bonus from his Natural Defense, but gains a four point bonus to his Natural 
  Defense score against ranged attacks due to his low profile. Most firearms can be used 
  while prostrate without penalty, as can crossbows. Normal bows are virtually impossible 
  to use from this position. Perception rolls to notice the character also have a Target 
  Number four higher than usual. 
   
  Two-Handed Weapons: Many large weapons require two hands to use effectively. 
  Attempting to use a two-handed weapon with only one hand increases all Target 
  Numbers for the action (usually the target's Natural Defense) by twice the weapon’s 
  Strength requirement. 
   
  Evasive Actions: When a character is attacked and realizes he's going to be hit, he has the 
  option of making his next action a dodge. When doing this, the character rolls his 
  Agility+Evasive+Physical Die. He can Burnout and use Experience to increase his 
  likelihood of success if he wishes. If the result is higher than the roll to initially strike the 
  character, no damage is dealt to the dodging character. If the result is not higher than the 
  original striking roll, damage is assessed as normal. Regardless of the outcome, the 
  character loses his next action—he's already spent it dodging. If he chooses to Burnout a 
   
   
  "When all is said and done, 
  monotony may after all be the 
  best condition for creation."
  -Margaret Sackville 
   
   
  75
  
   
  point of Agility on the dodge in order to gain another action, he may still take that action. 
  The character must Burnout a number of points of Agility equal to the total number of 
  actions he plans on taking at the time of the dodge.  
   
  Parrying/Blocking: When a character is attacked, he also has the option of attempting to 
  block or parry the attack as his next action. Some attacks, such as those coming from a 
  gun, obviously can't be affected with a parry or a block. Common sense, is, as always, 
  the key. 
   
  If a character is able to block or parry, he rolls Agility+Block/Parry+Physical Die. He 
  can Burnout or use experience as with any other roll to increase his likelihood of success. 
  If the result of the roll is equal to or greater than the initial roll to hit, damage is not 
  assessed as normal. If the character is parrying or blocking with something capable of 
  taking the damage, no damage is done to the character—it is instead done to the item or 
  weapon. Most hand-to-hand weapons are capable of taking this kind of abuse with 
  relative impunity. Other objects may not stand up to the punishment as well. As a general 
  rule of thumb, items can be used to block or parry an attack two to three times before 
  they're completely destroyed. If the character attempts to block or parry the blow using 
  only his own body, he takes an amount of damage equal to the Damage Rating of the 
  weapon. The attacking character's roll is not taken into account in this case. 
   
  If the character fails in his Parry/Block roll, damage is assessed as normal. 
   
  If he succeeds with two or more Degrees of Success, the character may make an 
  immediate Agility+Parry/Block+Physical Die roll with a Target Number equal to his 
  opponent's Natural Defense plus three. The Parry/Blocking character needn't spend an 
  action for this. If he succeeds, he removes the attacker's weapon from his hands. The 
  attacking character must then spend an action retrieving the weapon before he can attack 
  with it again. By the time the attacking character is able to get to the weapon, however, 
  another character may have had the opportunity to take it. 
   
  Special Actions 
   
  Knockdown: The character attempting the knockdown rolls for an Unarmed Strike as 
  usual, however, his Target Number in this case is equal to the attacked character's Agility 
  plus Dodge. If the attacking character succeeds, the attacked character falls and must 
  spend an action getting up. As there is no Target Number to get up, players cannot add 
  Target Numbers to get additional actions in order to get up for free. Even if the character 
  falls, no damage is assessed in the case of this attack.  
   
  Grappling/Pinning: If a player states that his character is attempting a grappling or 
  pinning attack, he must make an attack in the same manner and with the same Target 
  Number as in Knockdown above. If he succeeds, he engages in an opposed Strength plus 
  Exertion roll. This roll is reattempted each round. As long as the attacking character 
  wins, neither character can take any physically-based action. The only exception to this 
  rule occurs if the grappling character chooses to choke his victim. Specific rules on this 
  are below. While grappling, both characters lose the Agility portion of their Natural 
  Defense, making both an easy target for further attacks. Ranged attacks like bullets are 
  likely to hit either or both characters. When attempting to attack a grappled or grappling 
  character with a ranged attack, if a character succeeds in the attack with anything less 
  than two degrees of success (five or more over the Target Number), there is a 50% 
  chance of striking the wrong target. If no coins are available to determine this, roll a d6. 
  On a roll of 1-3, the wrong target is struck. On a roll of 4-6, the proper target is attacked.  
   
  If a character has successfully grappled or pinned another character, he may choke that 
  character. In order to do so, he takes a two-point penalty to the opposed 
  Strength+Exertion+Physical Die roll on the round in which he is attempting to strangle 
  his victim. If the character still succeeds in his roll on that round, his victim takes a point 
  of Burnout in addition to his inability to perform any physical action. Further, while a 
   
   
  "We shape our tools and 
  thereafter our tools shape us."
  -Marshal McLuhan 
   
   
  76
  
   
  character is being choked, he cannot cry out, speak or breathe effectively. 
   
  Aimed Shot: A character may choose to aim at a particular part of another character's 
  body, thus doing damage to a particular Quality first. The character takes a penalty of 
  three to his roll. If he hits, he may choose which Quality a character must take damage 
  from first by aiming for particular body parts. For example, if a character is attempting to 
  stop another character who happens to be fleeing, he could take an Aimed Shot at the 
  character's leg and declare that he wants to aim for Agility. The character, if struck, must 
  take damage from his Agility first. Note that once the Quality attacked reaches one, the 
  character may assign the rest of the damage normally. Further Aimed Shots will have no 
  effect. 
   
  Disarming: If a character chooses to make an Aimed Shot at another character's hand, he 
  may do so with the usual three-point penalty. If he succeeds, he does a single point of 
  damage (regardless of the weapon) and knocks the weapon out of the other character's 
  hand. Note that in most cases, the character whose hand was struck will be unable to use 
  that hand for the remainder of the battle, subject, as always, to common sense. The 
  Narrator may make exceptions in the cases of certain weapons, such as brass knuckles. 
   
  Multiple Actions: In general, characters only receive one action per turn. Sometimes, 
  though, a situation demands a character multi-task to stay alive. In these cases, there are 
  two options open to a character. 
   
  First, a character can elect to Burnout a point of Agility. Each point burnt out this way 
  grants a character an extra action. The Agility point must be burnt out before the 
  character takes his first action, meaning that his Natural Defense and any Agility-based 
  actions he takes on his turn suffer from his lowered Agility Quality. Aside from the 
  Burnout penalties, this method imposes no extra hindrances on the actions the character 
  takes. 
   
  Secondly, a character can elect to accept increased Target Numbers on his actions in 
  exchange for the ability to take more actions. This must be decided before the character 
  takes his first action in the turn. The first action suffers a plus two penalty to its target 
  number, and each action beyond the first suffers an additional plus two, cumulative plus 
  four, penalty. The total number of actions the character in that round doesn’t need to be 
  declared ahead of time; he only needs to declare that he plans on taking multiple actions. 
  The maximum number of actions the character can take in this way is equal to his Agility 
  Quality.  
   
  Two Firearms: Action movies notwithstanding, effectively aiming two guns at once is 
  extraordinarily difficult. A character with a gun in each hand may fire both at the same 
  time as a single action, but each attack suffers a six-point penalty, in addition to the 
  standard three-point penalty to the shot from the gun in the character's off hand. A 
  character shooting two guns as two separate actions does not suffer the six-point penalty, 
  however the attack using the firearm in the character's off hand is still subject to the 
  three-point penalty for attempting a task with the non-dominant hand. 
  Two Melee Weapons: Attempts to use two melee weapons simultaneously are generally 
  clumsy without proper training in an appropriate fighting technique. An untrained 
  character can attempt to attack with both in the same action, but each attack suffers an 
  increased Target Number equal to the damage rating of the weapon, and the off-hand 
  weapon also suffers the standard three-point penalty to the roll (unless the character is 
  ambidextrous or using supernatural means). Each attack is resolved separately, thus 
  giving the character two chances to inflict damage. 
   
  Armor 
   
  Every piece of armor has two ratings. The first, the Defense Rating, measures how well a 
  piece of armor covers a character. The second, the Armor Resilience, measures how well 
  the armor stands up to abuse. The first rating is applied as a bonus to the character's 
   
   
  "The fragmentation of rational 
  knowledge in the post-modern 
  world has produced a focus on 
  information that is unaware of 
  its history." 
  -Marcus Breen 
   
   
  77
  
   
  Natural Defense. A character with a Natural Defense of five who wears a bulletproof 
  vest (giving him a bonus of plus three) has a modified Natural Defense of eight. Only 
  attacks that reach numbers higher than eight will penetrate or circumvent the armor and 
  cause damage.  
   
  A piece of armor's Armor Resilience is used when a strike achieves a number between 
  the character's normal Natural Defense and his Natural Defense with the armor. In these 
  cases, an amount of damage is applied to the armor equal to the amount over the 
  character's unmodified Natural Defense. For example, the bulletproof vest being worn by 
  the character in the above example has been through the wringer and has an Armor 
  Resilience of four. If the character is struck with a seven, the character takes no Trauma, 
  but the vest takes two, bringing it down to an Armor Resilience of two. If a piece of 
  armor reaches Armor Resilience zero, it no longer provides protection, and any damage 
  left over after the armor reaches zero is applied to the character normally. 
   
  Armor Types  
   
  Defense Rating: +1  
  Armor Resilience: +2  
   
  Homemade armor, such as reinforced clothing and leather, that does not impede 
  movement. For heads, hard hats and bicycle helmets.  
   
  Defense Rating: +2  
  Armor Resilience: +3 
   
  Armor made of bullet proof nylons, such as types of aramid fibers. Aramid fibers have 
  no melting point and a low flammability. Motorcycle helmets are within this category.  
   
  Defense Rating: +3 
  Armor Resilience: +4 
  Bullet proof vests, steel helmets and bullet proof goggles. Characters wearing bullet 
  proof goggles have a more narrow field of vision, giving them a Perception penalty of 
  two.  
   
  Healing 
   
  Burnout heals at a rate of one point per Quality per 12 hours without strain. "Strain" is 
  anything that causes Burnout or Trauma. 
  Example: Sammie sees the woman who has been haunting her acid flashbacks for the 
  past three weeks at a rally. When the woman turns and lunges to attack, Sammie's player 
  decides to Burnout two points of her Agility running away. Not wanting to take any 
  chances, she also makes a second roll to think of a good hiding place, burning out a 
  single point of Imagination. It will take her 24 hours without straining, that is to say, 
  burning  out,  to  fully recover from the escape.  If she had only burned out one point of 
   Agility and one point of Imagination it would have taken 12 hours to recover, as the two 
  points of Burnout were from different Qualities.  
   Trauma heals much more slowly. As with Burnout, each Quality is treated separately. 
  Trauma takes a week without straining to heal per point in each Quality, rather than 12 
  hours. 
  If a character has both Trauma and Burnout, the Burnout heals first, at its usual rate, 
  ignoring the Trauma. Erase the marks, one for each 12 hours without strain, skipping 
  over any Trauma points. 
   
   
   
  "The gods have two ways of 
  dealing harshly with us – the 
  first is to deny us our dreams, 
  and the second is to grant 
  them."
  -Oscar Wilde 
   
   
  78
  
   
  If a player wishes, he may move the Trauma points over to the newly empty space so he 
  has a clearer idea of his character's current Quality total. 
   
   
   
  If the character receive more Trauma or Burnout in the healing process, simply mark it in 
  at the time. 
   
   
   
  Once all of the Burnout has been healed, move on to the Trauma, erasing the marks at 
  the usual rate. 
   
   
   
   
   
   
   
   
  Weapons Chart
  Damage Bonus: +0 
  Burnout: Unarmed attacks that typically leave 
  bruises, such as punching, kicking and body-
  slamming an opponent does Burnout with a +0 
  Damage Bonus. The Narrator may choose to 
  adjust this bonus upward in the event of 
  accoutrements like steel-toed boots or a roll of 
  quarters clenched in a character's fist, though there 
  are few, if any circumstances under which these 
  kinds of attacks could warrant a greater than one-
  point Damage Bonus.   
  Punching 
  Strength Requirement: 1  
  Penalty Modifier: 0  
  Concealment: N/A 
  Range: Physical Contact 
  Kicking  
  Strength Requirement: 1  
  Penalty Modifier: 0  
  Concealment: N/A 
  Range: Physical Contact 
  Trauma: Unarmed attacks that have a significant 
  chance of breaking the skin will result in Trauma 
  damage, examples include biting or clawing with 
  non-supernatural nails. On average, you can only 
  do up to half your Strength in damage, rounded down, when 
  biting or clawing. This can be modified by a high enough 
  Degree of Success, or by supernatural means. 
  Biting  
  Strength Requirement: 1  
  Penalty Modifier: 0  
  Concealment: N/A 
  Range: Physical Contact 
  Clawing 
  Strength Requirement: 1 
  Penalty Modifier: 0  
  Concealment: N/A 
  Range: Physical Contact 
  Damage Bonus: +1 
  Burnout: A plus one bonus is given when a small blunt 
  object is used during the fight, such as hitting someone with 
  a pool ball, a brick or stone, flash light, blunt fist weapons 
  (such as a chain around the fist and blunt brass knuckles), 
  baton, beer bottle, mace spray, or phone. With a high 
  enough degree of success a beer bottle, or any other 
  breakable item, can shatter over them and become a Trauma 
  weapon worth half the initial weapon's Burnout bonus in 
  Trauma. 
   
  79
  
   
  Pool Ball 
  Strength Requirement: 1 
  Penalty Modifier: 0  
  Concealment: Easy  
  Range: Physical Contact or reasonable throwing 
  distance (determined by Agility). 
  Brick/Rock 
  Strength Requirement: 1 
  Penalty Modifier: 0 
  Concealment: Easy 
  Range: Physical Contact or reasonable throwing 
  distance (determined by Agility). 
  Flashlight 
  Strength Requirement: 1 
  Penalty Modifier: 0 
  Concealment: Easy 
  Range: Physical Contact or reasonable throwing 
  distance (determined by Agility). 
  Blunt Fist Weapons 
  Strength Requirement: 1 
  Penalty Modifier: 0 
  Concealment: Wearing: Hard, Pocketed: Easy 
  Range: Physical Contact 
  Baton 
  Strength Requirement: 1 
  Penalty Modifier: 0 
  Concealment: Average 
  Range: Physical Contact or reasonable throwing 
  distance (determined by Agility). 
  Beer Bottle 
  Strength Requirement: 1 
  Penalty Modifier: 0 
  Concealment: Easy 
  Range: Physical Contact or reasonable throwing 
  distance (determined by Agility). 
  Mace Spray 
  Strength Requirement: 1 
  Penalty Modifier: 0 
  Concealment: Easy 
  Range: 5 Yards. Requires Aimed Shot to the face. 
  Full-sized Phone (not Cellular) 
  Strength Requirement: 1 
  Penalty Modifier: 0 
  Concealment: Average 
  Range: Throwing distance determined by Agility.  
  Trauma: Knife (including a throwing knife), 
  broken glass, scrap metals, fork (small pronged 
  items, such as the prongs on plug-ins), pens and 
  pencils, compass needle, spiked brass knuckles, 
  keys. 
  Knife 
  Strength Requirement: 1 
  Penalty Modifier: 0 
  Concealment: Easy 
  Range: Throwing distance determined by Agility. 
  Broken Glass 
  Strength Requirement: 1 
  Penalty Modifier: 0 
  Concealment: Easy 
  Range: Physical Contact 
  Scrap Metals 
  Strength Requirement: 1 
  Penalty Modifier: 0 
  Concealment: Easy 
  Range: Physical Contact 
  Small Pronged Items 
  Strength Requirement: 1 
  Penalty Modifier: 0 
  Concealment: Easy 
  Range: Physical Contact 
  Writing Utensils 
  Strength Requirement: 1 
  Penalty Modifier: 0 
  Concealment: Easy 
  Range: Physical Contact 
  Compass Needle 
  Strength Requirement: 1 
  Penalty Modifier: 0 
  Concealment: Easy 
  Range: Physical Contact 
  Spiked Brass Knuckles 
  Strength Requirement: 1 
  Penalty Modifier: 0 
  Concealment: Wearing: Hard, Pocketed: Easy 
  Range: Physical Contact 
  Tiger Claws 
  Strength Requirement: 1 
  Penalty Modifier: 0 
  Concealment: Wearing: Hard, Pocketed: Easy 
  Range: Physical Contact 
  Keys 
  Strength Requirement: 1 
  Penalty Modifier: 0 
  Concealment: Easy 
  Range: Physical Contact 
  Damage Bonus: +2 
  Burnout: Baseball bat, pool cue, 2x4, pipes, chain whip 
  (anchored by a padlock, or other weighted item), tire iron, 
  bowling ball, mace, pepper spray (requires Aimed Shot), 
  80
  
   
  pellet gun and paintball gun.  
  Baseball Bat 
  Strength Requirement: 1 
  Penalty Modifier: 0 
  Concealment: Hard 
  Range: Physical Contact 
  Pool Cue 
  Strength Requirement: 1 
  Penalty Modifier: 0 
  Concealment: Impossible 
  Range: Physical Contact 
  Board or Piece of Wood 
  Strength Requirement: 1 
  Penalty Modifier: 0 
  Concealment: Hard 
  Range: Physical Contact 
  Anchored Chain Whip 
  Strength Requirement: 2 
  Penalty Modifier: 0 
  Concealment: Average 
  Range: Up to three feet. 
  Tire Iron 
  Strength Requirement: 1 
  Penalty Modifier: 0 
  Concealment: Average 
  Range: Physical Contact 
  Bowling Ball 
  Strength Requirement: 3 
  Penalty Modifier: 0 
  Concealment: Hard 
  Range: Physical Contact, possibly a very short 
  range throw. Narrator's discretion. 
  Mace 
  Strength Requirement: 3 
  Penalty Modifier: 0 
  Concealment: Hard 
  Range: Physical Contact 
  Pepper Spray 
  Strength Requirement: 1 
  Penalty Modifier: 0 
  Concealment: Easy 
  Range: 5 Yards. Requires Aimed Shot to the face.  
  Pellet Gun 
  Strength Requirement: 1 
  Penalty Modifier: 0 
  Concealment: Hard 
  Range: 25 Yards 
   
  Paintball Gun 
  Strength Requirement: 1 
  Penalty Modifier: 0 
  Concealment: Hard 
  Range: 25 Yards 
  Trauma: Any blade over 12" and under three feet in length 
  (such as a machete or short sword), a .22 rifle, hatchet, 
  spiked mace, crowbar, meat hook, hoe.  
  Blades 12" Through Three Feet 
  Strength Requirement: 2 
  Penalty Modifier: 0 
  Concealment: Hard 
  Range: Physical Contact 
  .22 Rifle 
  Strength Requirement: 2 
  Penalty Modifier: 0 
  Concealment: Hard 
  Range: 25 Yards 
  Hatchet 
  Strength Requirement: 2 
  Penalty Modifier: 0 
  Concealment: Average 
  Range: Physical Contact or reasonable throwing distance 
  (determined by Agility). 
  Spiked Mace 
  Strength Requirement: 3 
  Penalty Modifier: 0 
  Concealment: Hard 
  Range: Physical Contact 
  Crowbar 
  Strength Requirement: 3 
  Penalty Modifier: 0 
  Concealment: Average 
  Range: Physical Contact 
  Meat Hook 
  Strength Requirement: 2 
  Penalty Modifier: 0 
  Concealment: Average 
  Range: Physical Contact 
  Hoe 
  Strength Requirement: 3 
  Penalty Modifier: 0 
  Concealment: Impossible 
  Range: Physical Contact 
  Damage Bonus: +3 
  Burnout: Large weighted object (such as a television, 
  printer, or cinder block), sledge hammer, pry bar, shovel, 
  and folding chair. 
  81
  
   
  Weighted Object 
  Strength Requirement: 5 
  Penalty Modifier: +1 Penalty 
  Concealment: Impossible 
  Range: Physical Contact 
  Sledge Hammer 
  Strength Requirement: 5 
  Penalty Modifier: 0 
  Concealment: Impossible 
  Range: Physical Contact 
  Pry Bar 
  Strength Requirement: 5 
  Penalty Modifier: 0 
  Concealment: Impossible 
  Range: Physical Contact 
  Shovel 
  Strength Requirement: 3 
  Penalty Modifier: 0 
  Concealment: Impossible 
  Range: Physical Contact 
  Folding Chair 
  Strength Requirement: 3 
  Penalty Modifier: +1 Penalty 
  Concealment: Impossible 
  Range: Physical Contact 
  Trauma: Cross bow, hedge trimmer, long sword 
  (any sword that is over five feet and under five 
  feet in length), scythe, .38 special, 9mm.  
  Cross Bow 
  Strength Requirement: 3 
  Penalty Modifier: 0 
  Concealment: Hard 
  Range: 35 Yards 
  Hedge Trimmer 
  Strength Requirement: 4-5 to use as a weapon. 
  Penalty Modifier: +2 
  Concealment: Impossible 
  Range: Physical Contact 
  Long Swords 
  Strength Requirement: 4 
  Penalty Modifier: 0 
  Concealment: Hard 
  Range: Physical Contact 
  Scythe 
  Strength Requirement: 4-5 to use as a weapon. 
  Penalty Modifier: 0 
  Concealment: Impossible 
  Range: Physical Contact 
   
  .38 Special 
  Strength Requirement: 1 
  Penalty Modifier: 0 
  Concealment: Easy 
  Range: 30 Yards 
  9mm 
  Strength Requirement: 1 
  Penalty Modifier: 0 
  Concealment: Easy 
  Range: 30 Yards 
  Damage Bonus: +4 
  Trauma: High powered cross bow, molotov cocktail, 
  Claymore, Flamberge, .357, .40, .45 ACP.  
  High-Powered Crossbow 
  Strength Requirement: 4 
  Penalty Modifier: 0 
  Concealment: Average/Hard 
  Range: 75 Yards 
  Molotov Cocktail 
  Strength Requirement: 2 
  Penalty Modifier: 0 
  Concealment: Average until lit 
  Range: Determined by Agility. 
  Claymore 
  Strength Requirement: 5 
  Penalty Modifier: 0 
  Concealment: Impossible 
  Range: Physical Contact 
  Flamberge 
  Strength Requirement: 5 
  Penalty Modifier: 0 
  Concealment: Impossible 
  Range: Physical Contact 
  .357 
  Strength Requirement: 2 
  Penalty Modifier: 0 
  Concealment: Easy 
  Range: 45 Yards 
  .40 
  Strength Requirement: 2 
  Penalty Modifier: 0 
  Concealment: Easy 
  Range: 35 Yards 
  .45 ACP 
  Strength Requirement: 2 
  Penalty Modifier: 0 
  Concealment: Easy 
  Range: 40 Yards 
  82
  
   
  Damage Bonus: +5 
  Trauma: Pipe bomb, homemade explosives (for 
  people who want to make chemicals out of what 
  they have in their kitchen. Not military grade), 
  chainsaw (per round of contact), .50 AE, .454, .45 
  mag.  
  Pipe Bomb 
  Strength Requirement: 3 
  Penalty Modifier: 0 
  Concealment: Unknown 
  Range: Determined by Agility. 
  Homemade Explosives 
  Strength Requirement: 2 
  Penalty Modifier: 0 
  Concealment: Unknown 
  Range: Determined by Agility 
  Chainsaw 
  Strength Requirement: 4 
  Penalty Modifier: +2 Penalty 
  Concealment: Impossible 
  Range: Physical Contact 
  .50 AE 
  Strength Requirement: 3 
  Penalty Modifier: 0 
  Concealment: Average 
  Range: 40 Yards 
  .454 
  Strength Requirement: 3 
  Penalty Modifier: 0 
  Concealment: Average 
  Range: 45 Yards 
  .45 mag 
  Strength Requirement: 3 
  Penalty Modifier: 0 
  Concealment: Average 
  Range: 45 Yards 
  Damage Bonus: +6 
  Trauma: 12 gauge shotgun, frag grenade (base 
  minimum for military grade explosives), stick of 
  dynamite.  
  12 Gauge Shotgun 
  Strength Requirement: 3 
  Penalty Modifier: 0 
  Concealment: Hard  
  Range: 25 Yards 
  Frag Grenade 
  Strength Requirement: 2 
  Penalty Modifier: 0 
  Concealment: Unknown 
  Range: Determined by Agility. 
  Dynamite Stick 
  Strength Requirement: 2 
  Penalty Modifier: 0 
  Concealment: Unknown 
  Range: Determined by Agility. 
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
  83
  
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
  Chapter IV Magic:  
  Castles in the Sky 
   
   
  Popowycz--that was her name, she said--not Aliza, or Mrs. Popowycz, she tried to drown 
  the baby when it first come out, but mama said that no old witch was gonna drown no 
  baby of hers. Old Popowycz shook her fingers at Mama then, like she was one of them 
  California surfer boys I seen on TV, or like she was flicking water in her face. Popowycz 
  shook her fingers at Mama just like that, and she said that it ain't her fault, then, what 
  that baby comes to. Mama didn't say nothing else just paid her and said she wasn't 
  welcome no more in our home. Popowycz looked at mama real weird then, almost like 
  she felt sorry for her, and walked away, shaking her fingers one more time when she 
  stepped through the door. 
   
  I think that old witch tried to curse us, but it didn't work. The baby's the prettiest little girl 
  I ever seen, and she never cries or spits up or nothing. Now that Mama's gone, I have to 
  feed her anymore, but I don't mind, especially once her teeth sink in, and it feels like 
  Heaven until she stops. Then I wanna cry. She's the prettiest little girl I ever seen. 
   
  The Impossible Becomes Routine 
   
  In Abeo, participants play one of the individuals torn by passion and the wider world they 
  suddenly perceive. The common denominator of all of the characters in Abeo is the 
  emotion that allows them to see and do things that the average person cannot. These 
  aren't fickle variations in mood; they are beyond trends. They are part of the character as 
  much as his eyes or hands. And just as evident. With a high score in Fury, an individual 
  is already habitually angrier than most people will ever be for even a moment. An 
  anguished character cannot be entirely medicated into contentment--his sadness is an 
  inextricable part of his soul and his world.  
   
  84
  
   
  Normal people can see this. They can see the lust or fear in a character's eyes, and it 
  makes them uncomfortable. It may be that this discomfort glosses over the existence of 
  the character, much like it seems to occlude the existence of Noumenal phenomena. 
  Whatever  the  reason,  the  more  intense  a  character  becomes,  the less he can easily  
  interact with the apathetic. Over time characters drift: first from the institutions of the 
  world, then gradually from the world itself as their Passion fades them, one forgotten 
  relationship or document at a time. 
   
  A player's character is taking his first step on a journey away from the mass-market, safe, 
  standardized, one-size-fits-all world that he's used to. He's not the first and he won't be 
  the last, but it doesn't matter how many people have traveled down the road, it's still 
  scary, exhilarating, and new. The character is finding depths of passion he didn't know he 
  had even as he discovers the dark outer limits of his ethics. A character, over the course 
  of Abeo, slowly discovers the other denizens of the world he's ignored his whole life: 
  from the violent and dangerous predators of the unseen to the more seductive, but equally 
  dangerous dealmakers. In time, he may discover others who have seen what he's seen—
  things that most people regard as fairy tales. 
   
  Noumenal, Phenomenal, and Liminal 
   
  The landscapes, beings and experiences that make up the world commonly regarded as 
  “real” are collectively called the Phenomenal. There are rules for the Phenomenal: down 
  is always down, red is always red (even if someone can't see color, his lack of perception 
  is a deficiency within himself, not the world), and a thing doesn't have a meaning so 
  much as it has properties. Repeatability, objectivity, cause and effect are the ruling 
  principles of the Phenomenal. There are no ghosts, no monsters. The world is a cold, 
  uncaring, but ultimately safe place. 
   
  Characters who begin gaining Intensity, however, have had the scales removed from their 
  eyes; they see things that they've never seen before, and that those around them, in all 
  likelihood, never will see—the Noumenal. The Phenomenal is not the whole world, but a 
  single band on the broader spectrum of reality. In the Noumenal, Passion is the first and 
  last law—everything else is a suggestion, if even that. The impossible is routine there, 
  and the line between literal truth and metaphor blurs, often disappearing entirely. The 
  Noumenal is, in many ways, a larger place than the Phenomenal, more full of possibility, 
  more malleable. It is also more dangerous. Limiting Factors like space, gravity, and 
  conservation of energy do not apply to the predators of the Noumenal as they do in the 
  “real” world. The much-lauded intellectual capacity of humans: our ingenuity, pattern-
  recognition and planning skills are of far less use when the “rules” on which such skills 
  depend are absolutely governed by pure, uncivilized Passion. Likely the only thing that 
  has enabled humanity to survive in the world of Abeo is this: Noumenal creatures are just 
  as blind to the Phenomenal as most people are to the Noumenal. 
   
   
  Characters who have gained Intensity but who have not entirely turned into creatures of 
  the Noumenal see and walk in both worlds, though “world” is not a completely accurate 
  designation. The Noumenal and Phenomenal are more properly different ends of the 
  same spectrum, with most of creation sampling one end and calling it “complete.”  
   
  A metaphor: the honeybee can see much farther into the violet and ultraviolet end of the 
  spectrum than humans. Thus many flowers have developed patterns and “coloration” that 
  is completely invisible to people, geared instead toward the perceptions of the insects that 
  pollinate them. At the same time, honeybees cannot see into the red end of the spectrum 
  as humans can. A human and a bee looking at a field of flowers would thus see two 
  almost entirely different landscapes. Neither can be said to be more “accurate” than the 
  other, but then, neither is really complete either. 
   
  The whole world is like that field of flowers, except infinitely more varied across the 
   
   
  "Reality is that which, when 
  you stop believing in it, doesn't 
  go away." 
  -Phillip K. Dick 
   
   
  85
  
   
  Noumenal-Phenomenal spectrum. Both ends are valid, if fragmentary, views of the 
  world. Player characters in Abeo see the whole picture; they are the Liminal.  
   
  Liminal characters look at the world with strange eyes—an object's meaning, to one of 
  these characters, takes on a concrete appearance. Murder weapons can appear covered in 
  bloodstains; no amount of washing can remove the spectral gore that their use has left 
  behind. Prisons seem to forever carry the faintly sick smell and taste of despair and fear; 
  and even banks may be covered in a thin oil of avarice. The way that a character 
  perceives the Noumenal is different for each character. While the Narrator may say, “this 
  place still feels like terror,” one character may see it as spider webs draped across the 
  corners, while another may taste its fetid sweetness in the air. The sheer volume of 
  additional information that characters gain, as well as the characters' haphazard, chaotic 
  exposure to that information often renders it useless without the use of a specific Pathos 
  that enables the character to make sense of his surroundings. 
   
  Also, some things exist in the Noumenal that just don't in the Phenomenal. Characters 
  may see diaphanous cathedrals, phantom cars, or wings of houses long since burned to 
  the ground—emotional detritus that may be years or centuries old. These places and 
  objects, though rare, do exist and around them, the character may find himself disoriented 
  and torn as he attempts to see or pass through a place where fully half of him not only 
  doesn't belong, but doesn't exist. In these places, Noumenal and Phenomenal creatures, 
  objects and forces move around one another, seemingly unaware of each others' 
  existence. Sometimes, they even pass through each other, seemingly without ill effect, 
  though one or the other might seem to react to a sudden coldness, heat, or feeling of 
  electricity. Liminal characters may interact with these objects or places just as anyone 
  else interacts with a Phenomenal object, but while doing so, they slip under the collective 
  attention of those blind to the Noumenal.  
   
  Some few brave, foolhardy, or clever Liminals have learned to use these Noumenal half-
  places, ducking into them in order to hide from police or psychiatric professionals, or 
  settling into purely Phenomenal zone to avoid a Noumenal Predator. Pockets large 
  enough to hold a character, much less enable him to stand or walk, are extraordinarily 
  uncommon, though some large, old or particularly intense cities may have as many as one 
  or two dozen. Purely Phenomenal areas are rarer, but some exist; many house several 
  Liminals, huddled together, hiding from things they can't even begin to understand. Some 
  Liminal characters, however, refuse to hide from their would-be predators, instead 
  bending their own minds to use their enemies' weapons against them. These Liminals are 
  able to use one end of the spectrum to create change in the other—the power of madness, 
  the power of the Noumenal. This is Pathos.  
   
  Power brings with it danger, however. The denizens of the Noumenal world, and even 
  other Liminals—the ghoulies and ghosties of antique stories and modern nightmares—are 
  not bound by human conceptions of morality, but by a savage need for survival. By and 
  large, the wonders of the invisible world are red of tooth and claw, feral, frightening  and  
  predatory.  The  indifferent  masses are safe from the hunger of things  
  that go bump in the night; huddled within the unassailable fortress and prison of their 
  own apathy, they are by turns invisible and unappetizing. Player characters, however, 
  have no such luxury. Seeing into both the Noumenal and Phenomenal, they are also seen 
  by, and subject to the dangers of, both. 
   
  In terms of game mechanics, while the characters may notice creatures, landscapes or 
  events of a Noumenal nature, those around them may not. Individuals without Intensity 
  may react to Noumenal phenomena, walking around a purely Noumenal obstacle, or 
  getting out of the path of a Noumenal creature, but they will do so unconsciously and 
  without any memory of doing so. No amount of repetition or illustration will prove to 
  these people that they are reacting to forces that are, to them, invisible; they are really and 
  truly completely blind to Noumenal phenomena. When Noumenal phenomena have an 
  unquestionable effect on the phenomenal world, making individuals disappear, animating 
  inanimate objects, or otherwise doing the impossible, those without Intensity will either 
   
   
  "If I am not for myself, who will 
  I be? If I am only for myself, 
  what am I? And if not now, 
  when?"
  -Rabbi Hillel 
   
   
  86
  
   
  justify what they've seen (“Yes, officer, he pulled a gun out of his coat and shot the guy 
  right in front of me. No, I didn't see what he did with the gun.”) or gloss over it entirely 
  (“What are you talking about? There was no one else in this room.”). While recording 
  devices will likely catch some or most of what happened, those without Intensity who 
  watch or listen to the recording will react similarly to what they've seen, though some 
  might attribute the events to special effects or manipulation of the film/tape. This 
  blindness does not produce its own artifacts—witnesses may say that a man who was 
  killed by Pathos was shot, but there will be no bullets. This in itself provides ground for 
  an interesting story if a character is a police officer or private detective. 
   
  Logos 
   
  Some few characters already feel around the edges of the unknown, even without the 
  open eyes of ardor. In the ghettoes, santerios and vodoun struggle with the unseen to 
  ensure the well being of either their community or themselves. In bland suburbia, 
  disaffected teens and not a few adults plumb the depths of paperback “forbidden” tomes,  
  attempting  to  grind  their  enemies  to  dust  or  get  a  raise.  Unable  to  look elsewhere,  
  pastors  of  rural  churches  scour  catalogs  of  demons  and  ghosts to find 
   answers, and secret societies practice the forms of ritual without understanding their 
  intent. While the reasons range from the highly spiritual to the deeply profane, occult and 
  arcane knowledge is more common than at any other point in western history. Most of the 
  time, a rating in the Arcane Skill Category reflects a knowledge of ghost stories, fairy 
  tales, or cryptic theology. Occasionally, though more commonly as time goes on, a rating 
  in this Skill Category reflects an understanding and basic familiarity with magic. Magic 
  takes many forms, from the pacifying of the lwa in vodoun, to the arcane requirements of 
  a high magic ritual to searching the outer edges of cognitive and quantum sciences. Their 
  common denominator is that they search outside of commonly accepted causes to reach 
  certain effects.  
   
  In order to cast the Logos spell, the character spends a number of hours casting equal to 
  his rating in that spell. He then gets a bonus equal to his rating in the spell to rolls using 
  that Quality. He can only use this bonus once, though he can split it however he chooses 
  (if he has a rating of three, for example, he could give himself a one-point bonus three 
  times, a three-point bonus one time, or a two-point bonus and a one-point bonus). He 
  does not need to use this bonus on the first roll or rolls that he makes, but if he does not 
  use this entire bonus by the time he next sleeps, he simply loses it. Additionally, the 
  character may choose to use his bonus after the die has been rolled for a particular task. A 
  character may cast the spell a number of times in a day equal to his rating in the Logos 
  spell. 
   
  A character may choose to spend less time on the ritual than his rating allows. In that 
  case, the bonus he gets from casting the spell is equal to the number of hours he did 
  spend in the ritual rather than his full rating. The amount of time spent on a ritual must be 
  determined before the ritual begins. An interrupted casting gains the character no 
  benefits. If the Narrator determines that an event is likely to interrupt the casting of the 
  spell, 
  the 
  player 
  may 
  roll 
  Retention 
  (or 
  Resilience, 
  whichever 
  is 
  more 
  appropriate)+Tenacity+Mental Die against a Target Number determined by the Narrator. 
  A backfiring car may have a target number of six, while someone breaking into the ritual 
  space and trying to get the character to react could have a Target Number of twelve or 
  even higher. Even if the character opts for shorter castings, he can still only cast the spell 
  a number of times in a day equal to his rating. 
   
  When using a Logos rite, the character performs whatever actions are necessary to the 
  spell: burning sage and holly in a copper vessel, sacrificing a black pig to Ezili, or 
  participating in a Mass; Gnostic, Catholic or Black. Only the range of human behavior 
  limits the possibilities in religious observance, which is to say not at all.  
   
  Example: Gabe's player decides that he wants Gabe to have some knowledge of basic 
   
   
  "Creativity is not merely the 
  innocent sontaneity of our 
  youth and childhood; it must 
  also be married to the passion 
  of the adult human being, 
  which is a passion to live 
  beyond one's death."
  -Rollo May 
   
   
  87
  
   
  magic. He decides to buy a Logos spell keyed to Gabe's Retention. Since Gabe is 
  primarily a high magician, it only makes sense for him to have a high magic Logos spell. 
  Gabe is already a Savant in the Arcane Skill Category and has a rating of three in 
  Eldritch. Gabe can thus buy up to a rating of three for the spell. Gabe's player writes on 
  his character sheet “High Magic Retention Logos.” He then discusses with the Narrator 
  what things should be required for the spell. The Narrator and Gabe's player decide that 
  Gabe needs unused parchment, a yellow and violet robe, frankincense, and a specially 
  prepared lotus wand. Gabe needs these items every time he performs this ritual. They 
  don't have to be these particular items, however: any fresh parchment, violet an d yellow 
  robes, frankincense, and lotus wand will do (good luck finding a lotus wand on short 
  notice).  
   
  When Gabe casts the spell, he gathers all the materials and begins the ritual. Gabe 
  decides that he wants to make the ritual as powerful as possible, so he spends three hours 
  on the ritual—Gabe's player should describe in detail what precisely he does for the 
  ritual; in this case, drawing an “aetheric circle” with the lotus wand while wearing the 
  yellow and violet robes. Frankincense burns in the background, and Gabe spends hours 
  calling out to Raphael, the archangel of knowledge and communication, drawing his sign 
  and seal on the parchment. 
  Gabe now has a total bonus of three points to spend on Retention rolls before he goes to 
  sleep that night. He could raise three rolls by one point, one roll by three points, or one 
  roll by one point and another roll by two. Unlike with other bonuses, the character can 
  choose to apply bonuses gained from Logos after the roll has been made. Gabe may cast 
  this up to three times a day, but with a total casting time of nine hours for such an 
  undertaking, he's unlikely to do so without a very good reason. 
   
  Pathos 
   
  Passion creates effects that are, by definition, impossible: effects called Pathos. With 
  Pathos, burning need may manifest itself as literal flames, and an icy Dread may frost 
  windows. There are no limitations to Passion other than those of the frail vessel that 
  channels it. It is less subtle and burns itself out quicker than Logos, but, like Millay's 
  candle, it sheds a lovely light.  
   
  Where Logos is a function of cold logic and precision in purpose, Pathos is a creature of 
  fire. At lower levels, the magic of Pathos is quick, unconscious and largely within the 
  framework of the world as we understand it. Frightened characters realize sooner than 
  anyone else that there's danger afoot or dart toward an exit with a quick burst of supernal 
  speed. At higher intensities, it breaks the laws of physics and reason. Fortunately for most 
  people's understanding of the world, by the time these more blatant effects occur, the 
  characters have become the invisibly insane. Fade has taken over. 
   
  As characters grow in both instability and power, their Pathos manifest naturally as 
  expressions of their Anguish, Dread, Fury or Yearning. They do not need to be taught 
  these abilities or practice them; Pathos is a reflection of their raw emotions forcing 
  change onto the world. 
   
  Wracked by vehemence, a conduit for forces beyond the capacity of the logical mind to 
  comprehend, when a character begins manifesting obviously unnatural phenomena he 
  begins to fall away from the waking world. Some theoretically-minded passionate 
  individuals believe that the character begins to invest a portion of their own reality to fuel 
  what would not have otherwise come to pass. Others suspect that the character's 
  perspective becomes such that the world can no longer contain it. In any event, the 
  character slowly begins to lose his hold on the world that the indifferent understand. At 
  first the character finds himself losing small but important items; birth certificates, baby 
  pictures, old phone numbers or items rotting in storage. On closer investigation, the 
  character may discover that it isn't just the items in his possession disappearing, but 
  everything relating to him. Old paperwork becomes water-damaged or lost in a fire and 
   
   
  "Straying maps the path." 
  -Rumi 
   
   
  88
  
   
  photographs fade beyond recognition. As the descent into madness continues, old 
  acquaintances begin to forget. Eventually, the character is bereft of everything that linked 
  him to his normal life. His keys no longer work, and even family members fail to  
  recognize him,  or recognize that they ever existed at all. Eventually he cannot hold 
   a job, and over a course of a conversation people will forget that he's even there. He 
  becomes for all intents and purposes invisible, rootless and hopeless. 
   
  By this point, he can perform even the most blatantly unnatural acts without raising an 
  eyebrow. If a crowd didn't even notice that a man was present, how would they know if 
  he turned into mist and floated away? Even more direct methods will fail to catch the 
  attention of those without Intensity. A glowing dart of supernatural force that kills 
  someone will be interpreted as a tracer bullet, causing panic and confusion, but hardly 
  making people rethink what is possible. 
   
  The perceptions of the passionate, however, are immune to this effect. Having already in 
  some sense stepped beyond the world, even a single point in any Passion allows a 
  character to see what others will not. Passion isn't all that rare at the lower levels, and 
  most crowds of any significant size will have a few people who will recognize what is 
  truly happening should something blatant occur. Of course, these people are ridiculed 
  when their account differs from what everyone else saw, and the more unnatural their 
  perception, the more they are ignored. It's a steep, slippery path, for all that few slide 
  down it. 
   
  The process for using Pathos is determined by the Pathos itself. Most Pathos require that 
  a character Burnout a point of Imagination (or some other Quality) and roll that Quality 
  plus the Passion under which the Pathos falls plus either the Mental or Physical Die. In 
  whatever case, if a Quality is burned out and then rolled, the post-Burnout value of the 
  Quality is used. If a character has Retention of six before burning out and burns out a 
  point to activate an Anguish Pathos that uses the Mental die, his roll would be 
  five+Anguish+Mental Die. 
   
  Unless otherwise stated or implied, a Pathos requires an action to perform, though the 
  character cannot be distracted from the use of Pathos—there's no real thought process to 
  interrupt; it's all Passion. 
   
  If a character's Passion ever drops below the level of Pathos, he cannot use that Pathos 
  until he regains his former level of Passion. If the Pathos was originally purchased as an 
  Ethos, however, the character is able to use the Pathos just like any other Ethos. 
   
  If the character did not initially purchase the power as an Ethos and falls below the rating 
  of the Pathos, he simply cannot use the Pathos. If he wants to be able to perform the 
  Pathos as an Ethos, he will have to purchase it as such through the usual channels; though 
  he has previously used the power, he is unfamiliar with the ritual requirements of using it 
  with deliberation rather than Passion. 
   
   
  Ethos 
   
  Somewhere between logic and passion is Ethos, the path of the elect. When the raw 
  power of zeal is married to the practice and precision of the practitioner of Logos, 
  wonders are the impossible children. Where Pathos is largely unconscious and exacts a 
  high price, Ethos can perform many of the same tasks without the concerns of fade or the 
  prohibitions that come with them. Ethos rites are the spells of legend; the ability to spin 
  straw into gold, walk through a mirror into the world on the other side, or rise into the 
  clouds. 
   
  In order to perform Ethos a character must be a Savant in the Arcane Skill Category, and 
  must have a minimum rating of four in the Eldritch Skill. He then purchases a Pathos 
   
   
  "At a certain point in time, no 
  decision becomes the decision."
  -Watts Wacker 
   
   
  89
  
   
  using the standard costs, and makes note that he purchased it as an Ethos. The character 
  may purchase any Pathos as an Ethos, regardless of the level or the Passion to which it is 
  attached. 
   
  Characters must be taught Ethos by either another character who knows the Ethos and 
  practices a similar kind of magic (Wicca, Vodoun, High Magic, etc.) or he may turn an 
  existing Pathos into an Ethos if he has purchased the power normally. At this point, he is 
  able to teach the Ethos to another character, but again, only if that other character 
  practices a similar kind of magic. 
   
  The process of Ethos looks much like Logos. The character determines a ritual associated 
  with the Pathos consistent with his magical style, such as burning mistletoe and holly in a 
  copper vessel while importuning the old gods of the wood or sacrificing a goat to Met 
  Gran Bwa. To begin, the character burns out a point of Imagination and starts the casting. 
  If the Pathos requires the Burnout of a Quality other than Imagination, the character 
  burns out that Quality instead. If the Pathos requires no Burnout, the initial Burnout of 
  one Imagination is required. This ritual takes a number of hours equal to the difference 
  between the character's rating in the Passion to which the Pathos is attached and the level 
  of the Pathos. If a character with Anguish five used an Anguish seven Pathos as an Ethos, 
  the ritual would take two hours. If the character had no Anguish, the ritual would have 
  taken seven hours. 
  The character may Burnout additional points of Imagination (and only Imagination) in 
  order to shorten the casting time. The casting time is shortened by one hour for every 
  additional point of Imagination that the character burns out, to a minimum of a single 
  action. Note that even in such cases, the character needs all of the elements of the spell to 
  succeed, and he's likely chanting/speaking/singing nigh-incomprehensibly fast while any 
  gestures he attempts to make look more like seizures. Such behavior is, under any 
  circumstances, likely to draw unwelcome attention. 
  When the process of the ritual is completed, the character rolls the Quality required for 
  the Pathos plus the Passion of the Pathos (even if he has no rating in that Passion—in that 
  case, he simply doesn't add a number for the Passion)+either the Mental or Physical Die 
  as determined by the Pathos. The result is compared to the Target Number for the Pathos 
  as usual. Note that Ethos will almost certainly be weaker than its Pathos equivalent. This 
  is to be expected—the character, by using Ethos in the first place, is going against the 
  “laws of nature” inasmuch as such can be said to exist regarding the Noumenal. 
  If the character wishes, he can "store" the Ethos spell in an object used in the ritual for a 
  number of days equal to his Intensity in the appropriate Passion at the time of casting. He 
  may at any time in those days release the spell as an action, though he must be touching 
  the ritual object with his bare skin at the time. If the character doesn't use the Ethos 
  within the allotted time frame, the spell simply fades away. This cannot be done without 
  the purchase of a Pathos as Ethos. Pure Pathos is too instinctive and urgent to enable such 
  a use without training and practice. 
   
  If a character has purchased a Pathos as an Ethos and later reaches the level of the 
  Passion required for the Pathos normally, he no longer requires ritual implements to use 
  the power. He instinctively “knows” that such tools are unnecessary. If, however, he 
  wishes to “store” the Pathos, he may still do so, though he then requires at least one 
  element of the previous ritual in which to “store” the power. 
   
  People without Passion will still not notice that the character is performing a blatantly 
  unnatural act unless they have their attention drawn toward it somehow. Even a simple 
  "Here, look at this" is usually sufficient to make someone pay attention. They will, 
  however, do everything within their power to debunk the phenomena. While it is possible 
  to make small numbers of people begin to believe in the possibility of what is happening, 
  it's not a rewarding past time by any stretch of the imagination. 
   
   
   
  "The day ends whether or not I 
  get up, whether I fail or 
  achieve, no matter how hard I 
  struggle to understand why, I 
  still watch it come and go."  
  -Sunshine 
   
   
  90
  
   
  Ethos Trappings  
   
  Ethos rituals are almost always long and universally complex, involving any number of 
  ritual elements. Players are encouraged to determine the particulars of the Ethos their 
  characters cast and run these elements past the Narrator, who has final say on whether the 
  tools and symbolism are appropriate. Each game will have different requirements as to 
  the trappings involved in the casting of Ethos.  
   
  Narrators who wish for characters to be able to cast Ethos with relatively little 
  preparation ahead of time (or who wish for characters to always have access to their 
  Ethos if they have the time to cast it) may require no external elements, allowing 
  characters to cast their Ethos with nothing more than the appropriate divine calls, 
  demonic imprecations, numerological or temporal elements, postures or ritual 
  prohibitions. These games tend to highlight the supernatural, controllable aspects of 
  Abeo. Characters with access to Ethos with this level of ease have a cheap and relatively 
  easy advantage over those with no Passion. What's more, they can have this advantage 
  early and completely without Fade. If Narrators are comfortable with characters having 
  this level of power, they should, by all means, encourage this kind of ritual. 
  Narrators may alternately require that characters obtain exotic or hard-to-find elements in 
  order to successfully cast Ethos. Sacrifices of rare herbs, tools that must be purchased, 
  manufactured or first used on a certain day and time, or substances that require months or 
  even years of preparation to complete are all appropriate for this level of difficulty for 
  Ethos. Games with more difficult Ethos force the characters to act strangely in the pursuit 
  of their magic, highlighting the strangeness of the world in which they find themselves. 
   
  The following trappings, divided by Passion, are suggestions of appropriate elements to 
  incorporate into Ethos rituals. Everything—everything—on this list is a guideline, not a 
  rule. Elements of these rituals can easily move between Passions, and players should be 
  encouraged to come up with Ethos that make sense to them. Still, for those who are 
  stymied as to what to include: 
   
  Anguish: Symbolic marriages and births, menstruation, the element of water, mirrors, 
  chalices, cauldrons, mirrors, the time around sunset, ritual purifications, the color blue, 
  autumn, mercury, silver and fish. 
   
  Dread: Death, dying and the dead. Disease, vermin, secrets, winter, knots, trees, 
  execution, weapons, nightmares, sleep, binding, midnight, the color black and the 
  element of Earth. 
   
  Fury: Fire, explosion, sacrifice, noon, blood, destruction, heat, electricity, wands, candles, 
  garnet, bonfires, sunlight, storms, symbols of authority, lions, angels and summer. 
   
  Yearning: Meditation, light, wind, swords, incense, knives, dawn, the element of air 
  spring, tin, fragrant herbs, numerological manipulation, aventurine, topaz, amethyst, 
  symbolic phalli, song and poetry. 
   
  Predator and Prey  
   
  A player character has started his metamorphosis to a Noumenal creature, but others have 
  nearly finished, and they're hungry. Every boogeyman that has lurched its way out of the 
  human subconscious has a kernel of truth to it. The zhombi, marae, whampyr, dwellers at 
  the crossroads, and other things, nameless but equally frightening, hunt the Liminal to 
  provide their daily bread, blood, or tears. Many of these were people once upon a time, 
  others may have been, and still others are so totally alien to human understanding that it's 
  difficult to conceive of them as ever being more than incomprehensible masses of 
  appetite and power. 
   
  The lions, tigers and bears need blood (literal or metaphorical); they need food, they need  
   
   
  "I asked an 85-year old 
  professor, 'What makes you 
  cry?' He said, 'Whenever I see 
  or hear the truth."
  -William Sloan Coffin 
   
   
  91
  
   
  attention,  and  only  the  Liminal  can  give  it  to  them.  In time characters may 
   develop their own ways up the food chain through power or wits, but in the beginning 
  they are food, and all the wonders of the invisible world hear the dinner bell. 
   
  At the same time, they are slowly becoming these things out of legend. As their aging 
  slows, characters find their appetite for food decreased and for other things increasing. 
  Suddenly sunlight may hurt, or they may feel an unconquerable urge to count spilled 
  grains of rice. At the end of this progression, the character, forgotten and barely 
  recognizable as human, disappears entirely from the Phenomenal. No one knows at what 
  point the Liminal become something else entirely, but no one close to what they fear is 
  the edge is eager to find out for themselves. 
  Memes  
  When enough people pour their Passion into an idea, that idea can, and often does, 
  manifest. People may be created, conspiracies develop where there were none before, and 
  the creatures that children fear at night may suddenly become terrifyingly real. Even a lie, 
  if convincing enough, has the potential to become true with time. Many agencies, alien 
  sightings, and other bizarre phenomena have been simultaneously proven and explained 
  by some breakthrough or another, only to topple the next minute under skepticism. 
  Whether or not they exist tomorrow, the effects of these manifestations are all too real 
  today. 
   
  Below are some of the most common explanations and misconceptions among Liminals 
  for their condition. Narrators are encouraged to expand on these ideas and modify them 
  as necessary. Characters who always take extra precautions to avoid detection may find 
  themselves the center of a thorough investigation by an unknown agency. Such a 
  character might slowly slip to Fade as his "curse" settles in, causing him to be harmed by 
  sunlight or barring him from doorways without permission. Each character's belief as to 
  why they have powers and can see the Noumenal when nearly everyone around him 
  cannot should reflect his unique perspective. 
   
  Disease: Liminals may believe that their condition is the result of a disease, poison, or 
  engineered virus. Whatever the etiology, it's getting worse. Such a character is driven to 
  increasingly desperate ends as he tries to find a cure for his sickness. 
   
  Turned: Creatures that lurk in the night and feed upon the Emotions of people are the 
  stuff of fairy tales, and so are the ways that you join their ranks. Still, fairy tales, some 
  say, have a basis in truth. Strange bites, lycanthropy, or long denied blood in a Liminal's 
  veins could be the reason for their newfound Passion. New urges and monstrous appetites 
  often emerge and possibly even skew a Liminal's features. 
   
  Drug: The mind-altering and metabolic effects of many drugs are known to cause some 
  of the most intense states in existence. Illegal, over the counter, or homemade drugs are 
  used nearly everywhere for nearly everything imaginable. The Liminal's state might 
  simply be some really strange prescription drug interactions or a newly discovered 
  gateway to chemical enlightenment, depending on his perspective and temperament. 
   
  Occult: Through occult experimentation or long practice in ancient rites, some Liminals 
  have become a conduit of forces beyond the understanding of mortal men, or so they say. 
  Perhaps such a character uncovered a secret grimoire, learned the basics of alchemy, or 
  found a charm that works better than expected. The only question is, what is the cost and 
  how does the character learn more? 
   
  Religious Blessing/Curse: In every time, there are those chosen by a higher power to 
  carry the banner of righteousness and those who choose to act in the service of evil. 
  Characters who believe that they are the chosen of Heaven (or Hell) might believe that 
  they are angels among men, saints, bodhisattvas, avatars of gods, or demons.  
   
  Scientific: The singularity is near, and the character is the singularity. Maybe the world is  
   
   
  "There are more things in 
  heaven and earth, Horatio, 
  Than are dreamt of in your 
  philosophy."
  -Hamle 
   
   
  92
  
   
  closer  to  useful,  self-replicating  nanotechnology  than  anyone  knows. Maybe it's  
  already here. Maybe the character is a guinea pig in a massive government experiment, or 
  has been exposed to some previously unknown energy like some strange, unbalanced 
  character in a comic book. 
   
  Possessed: Characters might believe themselves to be the victims of a Noumenal 
  creature. People have often spoken of strange voices, losing control of their body, or 
  blacking out and waking up in another place entirely days later, clear signs of 
  possession—at least to characters who believe the possession theory. 
   
  Government/Conspiracies: The conspiracy is larger than you think. It's larger than 
  anyone thinks. Everyone knows that the government routinely tests unproven drugs on its 
  soldiers, and things like the Tuskegee experiments have shown time and again that those 
  on the receiving of “progress” rarely know what's really going on. Characters who 
  believe this may believe that the government, UN, secret societies, or extraterrestrials are 
  the cause of their woes. 
   
  Imprints 
   
  Particularly intense events in history often resonate for generations to come. Pearl 
  Harbor's visitors, even today, hear the echoing screams and buzzing roar of Imperial 
  bombers, and phantom children of Terezin seem to wander numbly through a nightmare 
  landscape of desperately faked happiness. The mental detritus of these dreadful 
  spectacles and dramas collect and coagulate—forming imprints that then endlessly play 
  out the events that formed them, either in part or in whole. 
   
  Imprints mindlessly reenact their genesis without change, in the same location, 
  sometimes for centuries. On certain hills in France, tourists sometimes report seeing the 
  battles of Vercingetorix and Caesar, smelling the smoke from burning villages, and 
  hearing the endless clash of arms over shouted Latin and Gaulish. Performance is not 
  guaranteed, and while the events themselves never change, a characters may see a battle 
  on one visit, smell it on another, and see it on a third. Any combination of senses and 
  experience within the bounds of the original event is possible—the particulars are up to 
  the Narrator. 
   
   
  Imprints are often mistaken as ghosts. The Imprints, for their part, don't seem to care 
  particularly who or what their audience is or isn't.. Particularly powerful Imprints may 
  interact with the world currently going on around them, albeit in a limited fashion, 
  lacking, as they do, intelligence. A tormented mother may witness her daughter dangling  
  from  the  second  story  banister  each  night,  or  pass  her  in  the  hall.  An especially 
  powerful Imprint might even give her mother a hug every morning before going out the 
  door to school, all depending on the circumstances and the Intensity of the Passions 
  involved. 
   
  Imprint Gardens are locations that contain multiple Imprints. Particularly impressive 
  Imprint Gardens may offer reenactments of battles, protests and slaughters, drawing the 
  obsessed and the merely curious with equal facility. These sites are often highly prized 
  and viciously defended Liminal hunting grounds. Some of them are widely known among 
  Liminals for the continual source of Emotion that can be harvested from visitors and even 
  occasionally the grounds themselves. 
   
  Once a site is drained of Emotion, the Imprints will stop occurring unless they are 
  “recharged” in some way. These sites may be fueled by outside sources, such as the 
  Anguish, Dread and Fury funneled to New York City on the 9/11 terrorist attacks. New 
  York currently contains one of the most powerful Imprint gardens in North America for 
  this reason. Modern technology has allowed more people to witness events as they 
  happen, sending massive waves of Emotion across the lines of sympathy. Though for 
   
   
  "Man is nothing else but what 
  he makes of himself." 
  -Satre 
   
   
  93
  
   
  every Imprint garden that arises, one is forgotten and simply Fades. 
   
  Imprints are static events that cycle with time and eventually Fade out as the Emotion 
  fueling it declines and finally evaporates, or is consumed altogether. When that happens, 
  the Imprint will vanish and that portion of history will fall to the drier memories of books 
  and academics. An Imprint that is attacked may vanish or simply ignore physical 
  interaction. Those playing parts in an Imprint garden will not react to a character beyond 
  recognizing someone is there, or a short exchange, before they continue on their way. As 
  always, a subjective interpretation of events may possibly sway the consensus and alter 
  an Imprint. If enough people believe Germany attacked Pearl Harbor, not the Japanese, 
  the Imprints will reflect the change. 
   
  One example of an Imprint is the “Girl of City Gates” in St. Augustine. When the 
  Spanish established themselves in St. Augustine, one of their larger works was a massive 
  wall on the north side of the city. Most of this wall has since crumbled or been 
  demolished, but one portion remains at the head of St. George Street. A ghostly girl, 
  around 13 or 14 years old, still wanders around the gate, looking for parents, the story 
  says, that never claimed her body after she died there of yellow fever. 
   
  The little girl, who has been named Elizabeth by the locals, is a particularly strong 
  Imprint, slowly developing her own consciousness. Some nights she can be seen dancing 
  on the City Gates, fully visible in all their old glory. Other nights she stands by the 
  dilapidated base and cries pitifully, gesturing for help from anyone who drives by before 
  vanishing. The police department learned long ago to ignore calls from out-of-towners 
  about the girl. 
   
  Thought Forms 
   
  Imprints are different from Thought Forms in at least one concrete way: consciousness. 
  Thought Forms are no longer chained to the repetitive cycles from which they were 
  formed, and they are able to interact normally with their environments, or at least as 
  normally as one can expect. Emotions have been so strongly meshed with thought that it 
  can hold form and function independent of the people who created it. As with Imprints, 
  Thought Forms are not limited to living creatures; if enough people believe in the holy 
  grail and its mystical properties, it may well  appear.  Mythologies  may  clash,  creating  
  many  Grails  with  many  different powers: immortality, the power to cure all ailments,  
  or even a curse upon the unworthy who try to touch it. 
   
  When people are formed in this manner they are pale reflections of the individual they 
  imitate. Thought Forms are created by the memories and impressions others have of the  
  subject,  not  by  the  soul and memories of the subject himself. A loved one who is  
  recreated will act like an entirely different person in many respects. While he could offer 
  the comfort and protection he is remembered for, he may suddenly lose the common 
  sense that he always had, but no one seemed to notice. He may also take up an interest 
  entirely different from those his “real” self had. Important characteristics too faded by 
  time, reputation or secrecy to be accurately remembered may be twisted or entirely 
  absent. 
   
  Once created, Thought Forms are completely on their own. They may betray lifelong 
  friends, make peace with blood enemies, or throw themselves into conflicts (both 
  political and physical) that the individual the Thought Form is modeled after would have 
  considered quixotic at best. Physically however, they are identical to the memories of 
  those who formed them. Popular icons have been known to walk off the pages of a novel 
  or out of a movie screen and into a world ill prepared to deal with them. Independent and 
  almost always confused or confusing, these characters are capable of anything that a 
  “real” person can do. Their only limitations are their ambition and understanding. 
   
  More than one author has been surprised to meet or hear about a character in the real 
   
   
  "Being here is a kind of 
  spiritual surrender. We see only 
  what the others see, the 
  thousands who were here in the 
  past, those who will come in the 
  future. We've agreed to e part 
  of a collective perception."
  -Don DeLillo 
   
   
  94
  
   
  world that he thought he created ex nihilio. Initially Liminal figures, Thought Forms 
  completely progress into the Phenomenal, often becoming exceptional, though purely 
  mundane, individuals. Patches in his personality he can craft and fill in on his own with 
  time. The more skillful the Thought Form, and the more powerful, the sharper and more 
  resolute these facets become.  
   
  Thought Forms may assume the lives of their living counterparts, with enough skill and 
  power. Even if the original is killed, these alternate forms will continue to exist, casting 
  doubt upon the portrayal of events. It is also entirely possible for a Thought Form to gain 
  Intensity, becoming Liminal again. It is important to note that, to the Thought Form, he is 
  the original. No memory of an individual includes the individual pretending to be 
  himself, thus nothing growing out of that memory can include it. 
   
  Thought Forms usually start out as Imprints. As Emotion pools, and thought slowly gives 
  it form, it will begin to develop distinctive properties. Recognizing certain people, the 
  world around itself, and interacting with objects and people normally, the Thought Form 
  will exhibit all traits of the modeled person or item. It will be a consistently solid object 
  by Phenomenal standards, with heartbeat, blood, and physical Qualities appropriate to 
  their modeled form, unless they fall to Intensity or Fade. Thought forms are rare, due to 
  the extreme nature of their creation, but no one knows (or even can know) just how rare 
  they are; their very nature prevents their knowing. 
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
  95
  
   
   
   
   
   
   
   
   
   
   
  Chapter V Pathos:  
  Madness and Power 
   
  She knew he was out there. At 10 PM every night when she locked up the building and 
  walked to the car she could feel his eyes on her. True, Joan had never seen him, but she 
  could picture his leering face in her mind; see how he would grab her from behind and 
  drag her into the nearby alley. Lately it had been getting worse - more vivid. Tonight as 
  she walked the blurred details she visualized of his face had become crisp; the sound of 
  his voice clear. So much so that when the coarse, beer scented hand clamped over her 
  mouth as she went to unlock her car she knew it was him. Through the muffled screams 
  and futile attempts at escaping her mind had already accepted the fact that she would 
  soon be dead. 
   
  Characters in Abeo find themselves swept up into a massive world wherein everything 
  they had previously taken to be true is called into question. They are alternately hunted, 
  recruited, wooed and disregarded by things—impossible things. And yet, these characters 
  find themselves with their own set of tools as well: Pathos. The insanity and perspective 
  that comes with Intensity also brings the ability to use raw Passion to create change in the 
  world. Following is a list of the Pathos that characters may develop as they fall farther 
  from their own minds. 
   
  Anguish 
   
  Impression (Anguish 1) The character burns one point of Imagination and rolls 
  Perception+Anguish+Mental Die to pick up the residue of an emotion previously felt at 
  his current location. The more powerful the emotion, the easier it is for the character to 
  pick up on it. This Pathos is most effective when used at a location of recent, massive 
  emotional upheaval, such as the site of a car accident, suicide or murder. Emotions will 
  be increasingly hard to detect in well-traveled locations or in the case of emotions eroded 
  by time. Degrees of Success will accumulate more complete, nuanced emotional portraits 
  of the situation, and may perhaps even allow the character to look back farther in time, at 
  the Narrator’s discretion. 
   
  Target Number 
  Item Intensity 
  7 
   
  Murder Scene. 
  9 
   
  Recent emotional disturbance. 
  11 
   
  Emotional disturbance, occupied location. 
  13 
   
  Faint disturbance, well traveled location. 
  96
  
   
  Habituation (Anguish 1) The character burns one Imagination in order to effectively 
  tune out any unwanted noise, smell, or other stimulus—Noumenal, Phenomenal or 
  Liminal—for a scene. The character must choose a stimulus to ignore when this Pathos is 
  activated. A character can choose a specific power to ignore, though it will only work for 
  that use of the power. If, however, a character were to choose the aggressor using the 
  power as the stimulus to ignore, no use of any Pathos or Ethos that requires the character 
  to sense it would affect the character. Unfortunately, the character would also be unable 
  to perceive his attacker at that point, leaving him absolutely defenseless against more 
  mundane forms of aggression. This “head in the sand” approach to self-defense can be 
  highly useful in dire circumstances, but makes a poor sole means of defense. This Pathos 
  can be canceled at any time, allowing the character to again perceive the stimulus. Note 
  that though the character may become immune to perception-requiring Pathos, he is still 
  subject to purely objective effects like explosions, physical damage and collapsing floors. 
   
  Pity (Anguish 1) The character burns one point of Imagination and subconsciously 
  broadcasts his Anguish. All characters within sight of the character must add the 
  Liminal's Anguish rating to the Target Number of any and all social rolls for the rest of 
  the scene. It becomes awkward to relate to the character, or to anyone else, while the 
  character is in such ostentatious pain. This penalty applies to any social situations that are 
  not physical in nature, including verbal confrontations and legal proceedings; even 
  successful prosecutors may alienate the jury if they appear to be picking on the defendant 
  or completely unsympathetic. 
   
  Sob Story (Anguish 1)  
  The character burns one Imagination and sends his Anguish into the ether. With a 
  Perception+Anguish+Mental Die roll, this Pathos communicates a basic and immediate 
  need (not want—the character must have his life or physical well-being endangered) of 
  the Liminal's to a single being unable to symbolically communicate with him (through 
  speech, sign language, gesture, writing, ideographs, etc): almost always an animal. A 
  foraging coyote affected by this power might leave scraps of food behind for a starving 
  character or a bloodhound may lead trackers off of a hiding character's scent. 
   
  Target Number 
  Creature 
  7 
   
  Domestic animal: cat, dog. 
  8 
   
  Exotic domestic animal: parrot, lizard. 
  10 
   
  Trained animal: guard dog, hound. 
  12 
   
  Wild prey animals: deer, rodents. 
  15 
   
  Wild predator animals: wolves, bears. 
   
   
  Withdrawn (Anguish 1) The character burns one point of Imagination and rolls 
  Retention+Anguish+Mental Die with a Target Number of nine to turn his Anguish into a 
  protective barrier around his mind. He must spend an action in order to do so. While his 
  mind is protected in this way, his Intensity is added to any roll used to prevent or defend 
  against mental compulsion or manipulation through Pathos or Ethos. This Pathos lasts for 
  a scene or until canceled by the character. While the Liminal is preoccupied with his own 
  pain in this way, he is unable to use any other Pathos. Note that while this protects the 
  character from supernatural manipulation, purely mundane forms of persuasion, 
  deception and control may still be fully effective. 
   
  Cookie Jar (Anguish 2) When a character performs an act that is of questionable 
  morality or contrary to law, a Liminal with this Pathos may target that character, burn an 
  Imagination and make a contested Retention+Anguish+Mental Die roll. If the Liminal is 
  successful, the target is ashamed of the action and will think twice before performing it 
  again. The character performing the illegal or immoral action must beat the character's 
  Pathos activation roll to perform the action again that day. Degrees of success may 
  extend the duration of this Pathos. 
   
  Degree of Success 
  Additional Duration  
   
   
  "We are accustomed to use our 
  eyes only with the memory of 
  what other people before us 
  have thought about the objects 
  we are looking at." 
  -Guy de Maupassant  
   
   
  97
  
   
  1 Degree 
   
  Additional day. 
  2 Degrees 
   
  One month. 
  3 Degrees 
   
  One year. 
   
  Floor Effect (Anguish 2) There's only so much that can go wrong, even for a character 
  with Anguish. When using this Pathos, the character burns out a point of Imagination and 
  rolls Imagination+Anguish+Mental Die with a Target Number of eight. The use of this 
  Pathos does not require an action. If the roll is successful, the odds are very slightly 
  stacked in favor of the character—his pessimism creates an equal and opposite reaction 
  as his expectations sabotage themselves Noumenally. There is no mechanical effect to 
  this Pathos, rather the precise expression of this subtle manipulation of probability is up 
  to the Narrator. The character may catch a bus at just the right moment, fall just in time to 
  miss a bullet aimed for his head, or be the closest person to an exit when a fight breaks 
  out, even if the exit was not mentioned prior to the use of the Pathos—this power, like 
  most Noumenal phenomena, is not subject to logic, causality, or a strict interpretation of 
  linear time, however; it will not rewrite what information has already been given by the 
  Narrator. 
   
  Otherworldly (Anguish 2) Upon the purchase of this Pathos, the character becomes 
  intimately tied to the Noumenal—he receives a permanent one-point bonus to any use of 
  Pathos, as well as any rolls made in attempting to perceive or manipulate the Noumenal.. 
  Unfortunately, the character's connection to the Noumenal works the other way as well—
  any attempt to affect the character through Pathos or the Noumenal also receives a one-
  point bonus. This Pathos cannot be “turned off,” the character is permanently tuned in, 
  with all attendant benefits and drawbacks. Note that this power does not affect the 
  character's Intensity—Fade is unaffected by this Pathos. This Pathos  
  can be taken up to three times, “stacking” the bonuses and drawbacks. For example, a 
  character who takes Otherworldly three times would then receive a three-point bonus to 
  all rolls to use Pathos. All attempts to use Pathos on him, however, would also receive a 
  three-point bonus. 
   
  Pretty When You Cry (Anguish 2) The character burns a point of Imagination and, with 
  a successful contested Imagination+Anguish+Mental Die roll, is able to convince an 
  individual to feel sorry for him. In minor cases (a small speeding ticket, late rent 
  payment, or accidental insult) this is usually enough to get the character out of hot water. 
  More severe transgressions (getting caught after committing a murder, theft, or assault) 
  will still have the normal repercussions, though the police officer, banker, or offended 
  party will feel sorry for the character while they arrest, report, or beat him. Degrees of 
  Success will make this Pathos more effective, however it is ultimately up to the Narrator 
  to decide if his plea is persuasive enough to escape trouble. 
   
  When You Cry You Cry Alone (Anguish 2) The character burns out a point of 
  Imagination while making a statement; the statement can be as innocuous as "have a nice 
  day" or as clear as "If you don't leave right now, I'm going to kill myself." After burning 
  out the Imagination and making the statement to a single person, he makes a contested 
  Imagination+Anguish+Mental Die roll. If the roll succeeds, the target is made 
  uncomfortable by the character's presence and will leave as soon as possible. Note that 
  the target is not obligated to leave, but he will take any excuse to do so, including 
  canceling appointments and getting off of a bus early. 
   
  Mutilation (Anguish 3) All life is suffering—and the character with this Pathos finds 
  utility in the monistic quality of his torment. After purchasing this Pathos, the character is 
  able to Burnout any Quality to fuel Pathos, regardless of the Quality the Pathos originally 
  required. If this Pathos is purchased as an Ethos, the ritual must be completed once a 
  week in order to maintain the effects of the power.  
   
  Bump (Anguish 3) The character burns out a point of Imagination and an existing Pathos 
  power (ether used by the character or by someone else) gains an additional effect. The 
  Narrator determines what this effect is, and this additional effect can change from use to 
   
   
  "After all, what is reality 
  anyway? Nothin' but a 
  collective hunch."
  -Lily Tomlin 
   
   
  98
  
   
  use. In many cases, this will allow a low-Intensity Pathos power to mimic the effects of a 
  higher-level one. This additional effect is always advantageous to the character that uses 
  this power, and frequently to the group as well. If the character uses this Pathos, he must 
  physically touch the character using the power.  
   
  A few examples: 
   
  Used on Unbound, the power may work on locked doors or windows. With Percussive 
  Maintenance the character may be able to make mechanisms function even if the device 
  is missing important parts. With Oracle the character could receive an important vision of 
  the future or the past, or alternately, may not suffer the negative effects of the Pathos. If 
  the Narrator can't think of an additional effect for the power, he may also assign a bonus 
  to a roll following the power equal to the Bumping character's Anguish.  
   
  This Pathos is a wild card; lacking hard and fast rules, it's excellent for use when no 
  solutions present themselves to the players. It also encourages creative use of existing 
  Pathos, and Narrators should feel free to reward particularly brilliant uses of this power 
  and punish excessive use with something bizarre or unforeseen. If no immediate 
  additional effect presents itself, the Narrator may choose to apply the Bumping 
  character's Intensity as a bonus to the activation roll for the Pathos to be Bumped. 
   
  Psychometry (Anguish 3) The character burns a point of Imagination while physically 
  touching a target and then makes a contested Retention+Anguish+Mental Die roll. If the 
  target is an item, this becomes a standard roll with a Target Number of nine. The 
  character is able to catch small glimpses of the history of a person or object he's touching.  
  Note  that  information  like  names, phone (or PIN) numbers, dates, specific  
  locations, or specific words of any variety are impossible to get by means of this Pathos. 
  The character experiences the target's history as a series of emotionally charged vignettes. 
  While the character is unlikely to get any useful specifics out of this Pathos, it's a good 
  way to get a general idea of a target's history and motivations. 
   
  Shame (Anguish 3) The character burns out a point of Imagination and makes a 
  contested Imagination+ Anguish+Mental Die roll in order to transfer his Anguish into his 
  target for the scene. If the roll is successful, the target is blindsided by a lifetime of 
  sudden regret slamming into his consciousness; he takes a one-point penalty to all actions 
  for the remainder of the scene, with an additional penalty of one point assessed for each 
  degree of success.  
   
  Shameless (Anguish 3) The character burns out a point of Imagination and rolls his 
  Imagination+Anguish+Mental Die against a Target Number of nine. If the character 
  succeeds, he manages to suppress his Anguish for the scene, nullifying the negative 
  effects of Passion (Fade, social penalties, visibility to Noumenal beings). 
   
  Glimpse (Anguish 4) The character burns a point of Imagination to briefly view the most 
  immediate consequence of an action that has already been taken. The character must be 
  in the presence of the action while it takes place. He rolls Perception+Anguish+Mental 
  Die with a Target Number determined by the specificity of the question asked to 
  determine particular details about the effects of an action. As the character sees the 
  plausible outcomes of the action, his subconscious simultaneously confronts him with the 
  thousand and one mistakes he's made over the course of his life, drawing out past 
  consequences and facing him with past failures. Drowning in a sea of his own regret, the 
  character is gripped with paralyzing nausea for the next hour. 
   
  Target Number 
   
  Question  
  10 
   
   
  General: “Will attempting this work?” 
  13 
   
   
  Detailed: “Will doing this hurt Brad?” 
  16 
   
   
  Specific: “How might doing this hurt Brad?” 
   
  Hyperchondria (Anguish 4) The character touches another individual or concentrates on 
   
   
  "There was a fantastic 
  universal sense that whatever 
  we were doing was right, that 
  we were winning....And that, I 
  think, was the handle – that 
  sense of inevitable victory over 
  the forces of Old and Evil. Not 
  in any mean or military sense; 
  we didn't need that. Our energy 
  would simply prevail. There 
  was no point in fighting – on 
  our side or theirs. We had all 
  the momentum; were riding the 
  crest of a high and beauttiful 
  wave. So now, less than five 
  years later, you can go up on a 
  steep hill in Las Vegas and look 
  West, and with the right kind of 
  eyes you can almost see the 
  high water mark – that place 
  where the wave finally broke 
  and rolled back.  
  -Hunter S. Thompson 
  Fear and Loathing in Las 
  Vegas 
   
   
   
   
  "In a place ravaged by fear and 
  haunts I have found hope. I 
  have discovered purpose."
  -Tuong Van Nguyen 
   
   
  99
  
   
  himself, burns out a point of Perception and rolls Perception+Anguish+Mental Die 
  against a Target Number of ten. If successful, the character is able to precisely determine 
  what, if anything, is wrong with the character he is touching (or himself), such as a 
  particular disease, injury, poison or Pathos. The character is able to apply a bonus equal 
  to his Intensity to any attempt to fix that problem. 
   
  Omen (Anguish 4) Red sky at morning, sailors take warning. When purchasing this 
  Pathos, the character specifies a particular circumstance, such as “death,” “danger,” 
  “dishonesty,” or “trap.” As long as the character maintains the Anguish or Intensity 
  necessary to keep this power (Anguish four if Omen was purchased as a Pathos or 
  Intensity one if it was purchased as an Ethos) the character has a built-in warning when 
  the circumstance is about to occur. After choosing what circumstance triggers this Pathos, 
  the character chooses a (relatively common) symbol to signal its occurrence, such  as  
  “roses,” “the ace of spades” or “three seagulls.” Whenever the circumstance is  
  about to occur, the Narrator rolls the character's Perception+Observation+Mental Die 
  against a Target Number determined by the relative obscurity of the signal (see table 
  below). If the roll succeeds, the Narrator inserts the signal into his description of the 
  scene. Note that not every occurrence of the symbol is going to be due to the 
  circumstance the character wishes to be warned about. The Narrator is encouraged to use 
  the symbol in circumstances not related to the situation of which the character wishes to 
  be warned if the character uses this power as his only means of warning. 
   
  Target Number 
   
  Chosen Signal  
  10 
   
   
  Commonly occurring symbol (roses, a cat crossing the  
   
   
   
   
   
  character's path). 
  13 
   
   
  Rare occurrence (rain from a sunny sky, a bird landing on   
   
   
   
  the character). 
  16+ 
   
   
  Incredibly Uncommon (A white rabbit approaching the   
   
   
   
   
   
   
  character, lightning striking something nearby). 
   
  If this power is purchased as an Ethos, the ritual must be completed once a week to 
  maintain its effects. 
   
  Pedant (Anguish 4) The character burns a point of Imagination after a conversation with 
  a single other individual. At the end of the conversation, the character makes a contested 
  Retention+Anguish+Mental Die roll. If the roll is successful, the specifics of the 
  conversation become hazy to the affected character. With Degrees of Success, the 
  conversation/interrogation/exchange becomes progressively hazier—even to the point of 
  the memory completely disappearing. 
   
  Degree of Success 
  Effects 
  Success  
   
  Details of the exchange disappear—though main points  
   
   
   
  remain. 
  1 Degree 
   
  Main points of the exchange disappear from memory. 
  2 Degrees 
   
  The subject and context of the exchange disappear. 
  3 Degrees 
   
  The victim of the Pathos forgets the exchange occurred at 
    
   
   
  all. 
   
  Second Sight (Anguish 4) The character is capable of making a contested 
  Perception+Anguish+Mental Die roll. In the case of an opposing Pathos or use of a 
  hiding Skill, those Qualities, Skills or Passions used by the opposing Pathos, Die or Skill 
  are substituted (if different) for the defending party's Perception+ Anguish+Mental Die 
  roll. If the character using this Pathos succeeds in the roll, he is able to see even normally 
  invisible, inconspicuous or hiding Liminal targets. This power is always active. In the 
  presence of an invisible being, the Narrator secretly makes the roll for the character and 
  tells him if he's successful. If there are multiple invisible beings, the roll is made 
  separately for each being. The character need not spend an action or Imagination to 
  activate this Pathos—additionally, if the character fails to win the contested roll, the roll 
  reoccurs    on    each 
   
   
  "I must be the author of my own 
  salvation." 
  -Laurie H. Huster 
   
   
  100
  
   
   succeeding round until the character with Second Sight sees the hidden Liminal or the 
  Liminal moves out of sensory range. 
   
  Framed (Anguish 5) The character burns out a point of Imagination after performing an 
  action, whether illegal or  merely embarrassing,  and is able to shift the blame to another. 
  With an Imagination+Anguish+Mental Die roll a passing bystander at the time of a 
  murder may be framed, or an innocent man may be taken in for a bank robbery. In any 
  event, the character leaves no trace; he's gotten off scot-free. This power works only on 
  indirect evidence. While fingerprints may smudge, footprints become obscured, and even 
  video cameras will fail to take sharp (or accurate) enough evidence to find the proper 
  culprit, a witness will not be fooled. This power is thus only effective without witnesses. 
  If a witness is later discovered or comes forward, the weight of supernaturally altered 
  evidence will shift from the framed individual to the character who actually committed 
  the act. This is true even after conviction (if there is one). Any Liminal may contest this 
  Pathos with an Anguish+Imagination+Mental Die roll. If he exceeds the character's 
  original score on this Pathos, he will immediately know the information is false. After the 
  use of this power, the character is paralyzed with guilt for the remainder of the scene. 
  While he may walk and say one or two words at a time, the shame of what he's done has 
  become too overwhelming for him to do anything but agonize.  
   
  Degree   Duration 
  1  
  Additional Day. 
  2  
  A week. 
  3  
  A month. 
   
  Oracle (Anguish 5) The character burns a point of Imagination to briefly view all 
  possible outcomes of an action he is about to undertake. In addition to seeing the possible 
  outcomes of the action, he gains a bonus equal to his Anguish for a single roll involved in 
  taking the action for which the character used Oracle. At the end of this roll, the character 
  is savaged by all the better roads he could have taken over the course of his life, much as 
  in Glimpse above, except to a much greater degree. At the end of the roll using Oracle, 
  the character is paralyzed for the next hour as in Glimpse, but also unable to use any 
  Pathos for the rest of the day (until he sleeps again). If the character doesn't sleep, the 
  regret releases its hold at the next sunrise. 
  Pessimist's Gift (Anguish 5) The character using this Pathos burns out a point of 
  Imagination and makes a contested Imagination+Anguish+Mental Die roll. If the 
  character using this Pathos succeeds, the victim finds himself plagued with unfortunate 
  luck for a day. In many ways, this Pathos functions as a perfect inversion of Floor Effect. 
  The victim's computer may crash continuously or he may find himself consistently 
  harried by random police DWI checkpoints, the sudden subject of an IRS audit, or on the 
  wrong end of a sick drunk. This Pathos lasts for a day, with Degrees of Success 
  increasing the duration. 
   
  Snark (Anguish 5) The character burns a point of Imagination and makes an unpleasant 
  (but arguably true) observation about his target, such as “Hey, Tubby—the diet soda isn't 
  going to help if you keep chugging the double cheeseburgers like that.” The target must 
  hear the insult to be affected by this power. Once the target has heard the insult, a 
  contested Imagination+Anguish+Mental Die roll takes place. With success the target is 
  humiliated by the insult and will go to great lengths to fix or deny his “problem.” He may 
  try new diets, skip meals, or forgo eating entirely. While under the effects of this Pathos, 
  the target may not engage in any behavior that might result in his “problem” becoming 
  worse, such as watching television (if the character's intelligence was targeted), eating 
  fast food (if the character's weight was insulted), or interacting in public (if the character 
  was accused of being socially inept). Degrees of success determine how long the target 
  remains under the sway of this Pathos. 
   
  Degree of Success 
  Duration 
  Success  
   
  One day. 
  1 Degree 
   
  Additional day. 
   
   
  "Was there ever any 
  domination that did not appear 
  natural to those who possessed 
  it?"
  -John Stuart Mill 
   
   
  101
  
   
  2 Degrees 
   
  A week. 
  3 Degrees 
   
  A month. 
   
  Sympathy Pain (Anguish 5) The character burns out a point of Imagination and 
  concentrates on a single target within sensory range. The character rolls 
  Imagination+Anguish+Mental 
  Die 
  against 
  the 
  target's 
  roll 
  of 
  Resilience+Anguish+Physical Die. If the character using Sympathy Pain succeeds, he 
  communicates his pain to the target. Overwhelmed by the sudden, bleak onslaught, the 
  targeted character takes an amount of temporary Burnout determined by the character's 
  Degree of Success. Burnout assessed by this Pathos will not cause permanent damage or 
  death, but may result in lack of consciousness. The character receiving the damage 
  chooses the Qualities affected by the Burnout assessed by this Pathos. Burnout assessed 
  by use of this Pathos returns to the targeted character at the end of the scene. 
   
  Degrees of Success  Burnout Incurred 
  Success  
   
    Two 
   
  1 Degree 
   
    Four 
  2 Degrees 
   
    Five 
  3 Degrees 
   
    Six 
   
  Apsi (Anguish 6): The character burns out a point of Imagination. For the remainder of 
  the scene, one target in the character's presence (that is, in the same room or, if outdoors, 
  within earshot) takes a penalty on all Pathos and Ethos rolls equal to the Anguish of the 
  character. If there is already Pathos in effect, the character who used it must immediately 
  make a Quality+(Passion with which the Pathos was associated)+Mental Die roll with a 
  Target Number equal to the character's Imagination+Anguish or have the effects of the 
  Pathos immediately cease. Note that this roll to continue existing Pathos is subject to the 
  penalty of the Pathos-using character's Anguish. 
   
  Example: Dorian Kinney is facing down a Liminal he knows only as Cackling Helen. He 
  knows that she's in the room, but he can't seem to find her. He also knows that she's likely 
  to try to escape through the television in front of him. Concentrating for a moment on  all  
  of  the  pain  the  supernatural  has  caused  him  over  the  course  of his life, he 
  activates Apsi. His Mental Die is a d8, an Imagination of five (after burning out for Apsi) 
  and an Anguish of six.  
   
  Cackling Helen currently has an Imagination of five and an Anguish of ten. Therefore, 
  Dorian's Target Number is fifteen. Dorian rolls his Imagination (five)+his Anguish 
  (six)+his Mental Die (d8). He rolls a six, for a total of seventeen. The Pathos is 
  immediately effective. Cackling Helen must immediately make a roll for her Unassuming 
  Pathos. She rolls Imagination (five)+Anguish(ten)+Her Mental Die (d8) against a Target 
  Number of Dorian's Imagination (five)+Anguish (six). Her Target Number would 
  normally be, therefore, 11, but because of the penalty from Dorian's new use of the 
  Pathos, her Target Number becomes 17 (11 +an additional penalty equal to Dorian's 
  Anguish (six). Helen rolls atrociously, getting only a one, for a total of 16. This was not 
  enough for her to maintain her Unassuming Pathos, so she immediately returns to a state 
  of normal perceptibility. Should she try to escape later in the scene through the 
  television, she would, take a penalty of 6 to any Pathos rolls associated with that escape. 
   
  If a particular Pathos power is permanent or slated to continue in duration after the 
  encounter with the character using Apsi, the Pathos power returns in effect once the 
  character using Apsi is no longer in the Pathos-using character's vicinity. 
   
  Gadfly (Anguish 6) A problem can't be fixed until it's known, and no one knows 
  problems better than a character with Anguish. The character touches the target of this 
  Pathos or concentrates on himself and burns out a point of Imagination, then rolls 
  Imagination+Anguish+Mental Die against a Target Number of 12. If the character 
  succeeds, his (or his target's) healing rate is doubled for the next week. Degrees of 
  Success extend this duration farther. 
   
   
  "There are no eternal facts, as 
  there are no absolute truths."
  -Friedrich Nietzsche 
   
   
  102
  
   
  Degrees of Success 
  Time  
  1 
   
   
  Additional week. 
  2 
   
   
  One month. 
  3 
   
   
  Two months. 
   
  Eyes of the Dead (Anguish 7) The character burns a point of Imagination and touches 
  the corpse of a person. Once this Pathos is invoked, he will immediately lose all sense of 
  himself and become that person for the final moments of his or her life. He does not 
  register a difference between bodies, and will experience every sensation the deceased 
  felt. Particularly violent or painful deaths will be experienced up until the final moments 
  of consciousness. At the end of that person’s life the character immediately rolls his 
  Anguish+Resilience+Mental Die at a Target Number that reflects the horror of the final 
  moments. He may even manifest some of the injuries of the deceased; Degrees of 
  Success allow him to absorb the shock of death with fewer repercussions. Failure while 
  using this Pathos can have a devastating effect upon the user. 
   
  Target Number 
   
  Cause of Passing 
  11 
   
   
  Passing away in bed. 
  13 
   
   
  Quick end: car accident, smoke inhalation. 
  16 
   
   
  Violent death: blood loss, poisoning. 
  19 
   
   
  Torture: rape, burned alive. 
   
  Degrees of Success 
  Effects 
  Success  
   
  The character falls into a seizure for 12 minus his Anguish  
   
   
  rating rounds. Frothing and full seizures will occur, and  
   
   
   
   
  Burnout equal to the character's Anguish rating will   
   
   
   
  ` 
  manifest. 
  1 Degree 
  The character falls into a seizure for 10 minus Anguish  
   
   
   
   
  rating rounds. Frothing and full seizures will occur, and  
   
   
   
   
  Burnout equal to half the character's Anguish rating   
   
   
   
   
  (rounded down) will manifest.  
  2 Degrees 
  The character is struck by the full enormity of death and  
   
   
   
   
  operates with a penalty to all actions equal to his Anguish  
   
   
   
   
  rating for the next hour. No injuries manifest.  
  3 Degrees 
  The character is shaken by dying, but is unharmed. 
   
  This experience is traumatic for any character, and will undoubtedly affect him for quite 
  some time. No one has been closer to death than he has and still lived to tell. This power, 
  used inappropriately (and with Degrees of Failure), has been known to destroy Liminals, 
  leaving them in comas or with new Consequences. 
   
  Switch Fate (Anguish 7) Using this Pathos, the character is capable of moving the 
  effects of another Pathos, such as bad luck, fears, physical changes, mental problems, or 
  even new abilities (if the Pathos effects to be moved are exclusive to the character who 
  initially purchased the Pathos) from one individual to another person or to himself. The 
  player specifies which Pathos he wishes his character to “absorb.” The character then 
  burns out a point of Imagination and touches the character who is currently under the 
  effects of the Pathos. If the target is willing, he simply absorbs the effects of that Pathos. 
  The character then touches the individual he wishes to move the Pathos to. If the second 
  target is willing, the effects of the Pathos simply move. If either target is unwilling, that 
  target must engage in a contested Imagination+Anguish+Mental Die roll with the 
  character.  
   
  If the first target successfully resists the character taking his Pathos, Switch Fate simply 
  fails. If the character successfully absorbs the Pathos and is unsuccessful in transferring 
  it, the next person the character touches for any reason will have to make the contested 
  Imagination+Anguish+ Mental Die roll. The character using this Pathos can only avoid 
  passing on this Pathos to the next person he touches by absorbing its effects into himself. 
   
   
   
  "As I was sitting in my chair 
  I knew the bottom wasn't there. 
  No legs nor back, but I just sat, 
  Ignoring little things like that." 
  -Hughs Mearn 
   
   
  103
  
   
  The character using Switch Fate does not have to be touching both targeted characters 
  simultaneously, but if the character u sing Switch Fate does not elect to take the removed 
  effects onto himself, the next person that he touches for any reason will have the effects 
  of the Pathos thrust upon him. While the character is "carrying" the effects of the Pathos 
  he is subject to all of the limitations and problems he will soon be transferring to 
  someone else. A character can only "hold" one Pathos at a time in this manner, though a 
  character can absorb any number of Pathos effects if he is willing to become permanently 
  affected by them. The character can also transfer any Pathos that he himself is subject to 
  by burning out a point of Imagination, touching the target to whom he wishes to pass on 
  the Pathos effects, and engaging in a contested Imagination+Anguish+Mental Die roll. 
  This power cannot be used to affect a character by a Pathos more than once. If a character 
  using Switch Fate attempts to add the effects of a Pathos power that a character is already 
  affected by, the transfer merely fails. In this case, the next person that the character 
  touches will have the effects thrust upon him. 
   
  Descry (Anguish 8) By burning out a point of Imagination, the character is able to see 
  through the links of sympathy in one particular way. This power is effective for a number 
  of miles equal to the character's Anguish around the character and only works for current 
  events. The precise means of seeing vary from character to character; a given character 
  may have a particular animal through whose eyes he's able to see or he may be able to 
  look into a puddle of seawater and see anything going on near it, or through a mirror, or 
  near a television. In any event, the medium of viewing must be limited in some material 
  way; a character cannot, for example, see through the air, as air is too common to be 
  limiting. This Pathos doesn't allow any particular facility with locating particular objects 
  or people. Looking for particulars is, for these characters, like flipping through the 
  stations on a TV. They may luck out, but the number of "stations" they have access to is 
  usually too massive to effectively search all examples of their chosen medium, even 
  within a limited radius. 
   
  If a character chooses a particular creature through which he sees, he has the option of 
  limiting his power to a half-dozen or less individual creatures. If he takes this road, he's 
  granted control of the creature while he looks through its eyes, enabling him to move 
  unobtrusively closer to a conversation in the form of a cockroach, or to buzz across the 
  ceiling of a highly-guarded building as a fly. If one of these creatures is killed, the 
  character isn't penalized; he's immediately able to find and imprint another such creature 
  as soon as he sees one, though he's likely to be unhappy, as he's formed an emotional or 
  practical bond with that particular animal. 
   
  If the character chooses the "object" medium of view, he can, at his option, allow others 
  to view what he's seeing. Anyone else wishing to watch must also burn a point of  
  Imagination,  but  from  that  point  onward, he's able to see everything the character  
  sees unless he specifically shuts off that portion of the power. This only works if the 
  character uses an external source to Descry. A character who sees things through light 
  bulbs must actually gaze into a light bulb and see things there to make this work. If he 
  simply sees things in his "mind's eye," he doesn't have the option of making it visible. 
   
  If the character knows what  particular object he's attempting to look through ("I want to 
  look through the TV at the conference center in room A.") He may do so, and will be able 
  to look through that particular object normally. Characters looking through the eyes of a 
  creature or object are able to see, hear, and smell normally, though they're subject to the 
  limitations of location. If, for example, a character being spied on is whispering, the 
  character is no more likely to understand what he's saying than if the character were 
  standing in the location from which he's viewing. Similarly, he won't understand anything 
  being said by someone speaking in a language he doesn't understand. It's also worth 
  mentioning that the character isn't automatically provided any context by this power, and 
  the most interesting conversations are the ones least likely to give the character 
  everything he needs to know. ("Do you have the stuff?" "Yeah, he was able to get it for 
  me." "Good, now we can do what we need to do.") 
   
   
   
  "Power is the most pompous 
  ideal yet; the more you gain the 
  fewer problems you solve."
  -Mark Adair 
   
   
  104
  
   
  If the character has another Pathos power that allows him to locate specific objects or 
  individuals, he can use that power in conjunction with this one to narrow the focus of his 
  Descrying. If a character is looking for a particular individual, he can also use the laws of 
  sympathy to make it easier to find them. There's no die roll for this; it's purely at the 
  Narrator's discretion, but having a sample of a character's handwriting, blood, or hair 
  clippings and tossing them into a puddle of rainwater should make it easier to locate the 
  puddle of rainwater closest to the character to which the sample belongs. 
   
  This power is active for as long as the character wishes, though while Descrying, his 
  attention is almost entirely on the scene he's viewing. Taking Trauma, breaking his line 
  of sight, or intense stimuli may break him out of his reverie, but unless he disengages or 
  has his attention diverted, he will be unable to talk, move, or perform anything but the 
  most basic functions such as breathing and blinking. 
   
  Note that all variables in this power (specific medium, animal or object, number of 
  creatures if animal, and external or internal view) must be decided at the time of this 
  Pathos' purchase. Once decided, these choices cannot be unmade except by purchasing 
  the Pathos again, at which point the character gains an additional means of information 
  gathering, without eliminating the means by which he Descried with his first purchase of 
  the Pathos. 
   
  Liquid/Gas Form (Anguish 8) The character burns out a point of Imagination and at the 
  end of the round turns into a single form, determined at the time of purchasing this 
  power. The character always becomes a specific single liquid or gas*; blood, tears, 
  chilling mist, smog, smoke, or a cloud of dust. Liquid characters are able to move slowly 
  (Agility in inches per round or approximately four miles per hour) in any direction, 
  including up walls and across ceilings, though they are subject to dripping and being 
  trapped within watertight containers. Characters in this state will still stain or abrade 
  surfaces they move across, depending on the material of which they're made. Gaseous 
  characters hang in the center of a room and can move in any direction, provided there's 
  not a prevailing wind (or even stiff breeze) greater than five mph or so. In the case of 
  such a wind, the character is only able to move with the wind until such time as he 
  decides to drop back into his normal form. In this form, however, the character is not 
  subject to gravity or to being trapped in anything less than an airtight container. No 
  matter what form he chooses, when a character becomes his chosen substance, he truly is 
  that substance in every way except his ability to move and think. Thus, blood will leave 
  genetic information behind and smoke will choke someone who has a smogged character 
  fly into his face. For this reason, Narrators shouldn't allow characters to pick substances 
  like napalm or chlorine gas unless they are willing to allow their players to abuse the 
  abilities their form will allow them. 
   
  The character is capable of nothing other than movement (or escape) in either form; he 
  cannot move objects, speak, or use Pathos that requires that they speak, make eye contact, 
  or manipulate objects. The character is also not subject to Trauma from guns, falls, kicks, 
  punches, swords, getting hit by cars, or other concussive, blunt or sharp impacts. The 
  character is subject to Trauma from heat, cold, gases, explosions, and mental attacks. In 
  most cases, these encounters will do normal damage, but due to the additional potential 
  vulnerability of this form, the Narrator may assign an additional one to three points of 
  Trauma. 
   
  *Or suspension, if your game gets particularly picky about states of matter, solutions and 
  mixtures. 
   
  Malinger (Anguish 8) By burning out a number of points of Imagination equal to the 
  damage he wishes to heal, the character can help others (or himself) to miraculously 
  recover from even the most severe injuries. The character concentrates on himself or 
  touches a willing target and burns out a number of points of Imagination equal to the 
  amount of Trauma or Burnout he wishes to heal in himself or another. The character then 
  rolls Imagination+Anguish+Mental Die with a Target Number of 14. If this roll is 
   
   
  "The feeling had something of 
  the quality of a very large 
  tearing vital pain spreading 
  chiefly over the chest but within 
  the organism – and yet the 
  feeling was not pain so much as 
  abhorrance." 
  -William James 
  The Varieties of Religious 
  Experiences 
   
   
  105
  
   
  successful, the affected Burnout or Trauma is instantly healed, though if the character 
  thus healed is not the character using Malinger, he is unable to do anything but walk and 
  stare numbly ahead for the next hour. The depth of Anguish to which he has been 
  exposed is too much for any mind to bear without bending or breaking. Degrees of 
  success may, at the Narrator's discretion, shorten (or even eliminate) this time. 
   
  Locus (Anguish 9) The character burns out a point of Imagination and concentrates on a 
  place he wishes to view. The character then rolls Anguish+Perception+Mental Die 
  against a Target Number determined by his familiarity with the location. The Target 
  Number can be lowered, at the Narrator's discretion, if the character has an object from 
  the location he is attempting to view. The character is then able to see, hear, smell, feel 
  and even taste from any vantage point in the location, though he may not in any way 
  affect the location unless he has another Pathos that specifically allows him to do so. 
  While in this state the character is not aware of his actual surroundings, though his 
  concentration may be broken by loud noises, impacts, or extreme sensory input from his 
  real location.  
   
  Target Number   
  Familiarity 
  15 
   
   
  The character's own home.  
   
  18 
   
   
  Familiar haunt. 
   
   
   
   
  20 
   
   
  Location visited infrequently. 
   
  22 
   
   
  Location only heard or read about. 
   
  Secret Shame (Anguish 9) By burning out a point of Imagination, physically touching a 
  target and making a contested Anguish+Retention+Mental Die roll, the character is able 
  to nearly instantly gather the history of a person or object he's touching. Specific 
  information like names, PIN numbers, and addresses are available to the character only if  
  the  victim  himself  were  likely  to  remember  them.  Note that this power gives an  
  individual total knowledge of another human being. To touch another's mind like this is a 
  tremendously life-altering experience, even for someone as twisted by Anguish as a 
  character using this Pathos must be. A character using this Pathos doesn't gain any of his 
  opponent's Skills or Pathos, but he does know how it feels to use them.  
   
  On the downside, because of the massive sympathy engendered by this kind of intimate 
  knowledge, the character permanently takes a penalty equal to his own Anguish to any 
  actions that he takes to harm this character, whether directly or indirectly. The victim of 
  this Pathos, however, is under no such compulsion. The character is also likely to keep 
  most (if not all) of the things he learned through this Pathos confidential, as he knows 
  exactly how it would feel to have those secrets revealed. 
   
  If the character uses this  power on an object, he may use the object for one scene as 
  though he had a Skill in using that object equal to his Anguish. If the object is a computer 
  or ATM, he is capable of using any passwords or information stored on that machine. At 
  the end of the scene in which this power is used, all benefits cease; the machine or object 
  that was read has no mind to speak of, so the information contained in it isn't 
  "predigested" by another consciousness in a way that enables the character using this 
  power to keep the information indefinitely, the way he can with people and animals. 
   
  Crucible (Anguish 10) The character spends an Emotion Point to instantly heal an 
  amount of Burnout or Trauma equal to his Anguish. The character may use this Pathos on 
  himself or on a willing target. 
   
  Dread 
   
  Charms  (Dread  1)  The  character  spends  a  point of Imagination and works to make 
  himself  appear  less  of  a  threat  to  animals  or  Noumenal  creatures  of  animal-level 
  intelligence. With a successful Dread+Perception+Mental Die roll against the creature's 
  Target Number he is able to approach his target without startling the creature and without 
   
   
  "Follow your bliss ...If you do 
  follow your bliss and put 
  yourself on a kind of track that 
  has been there all the while, 
  waiting for you, and the life 
  that you ought to be living is 
  the one you are living. When 
  you can see that, you begin to 
  meet people who are in your 
  field of bliss, and they open 
  doors to you. I say, follow your 
  bliss and don't be afraid, and 
  doors will open where you 
  didn't know they were going to 
  be."
  -Joseph Campbell 
   
   
  106
  
   
  danger to himself. 
   
  Target Number 
  Creature 
  8 
   
  Domestic animal: cat, dog. 
  9 
   
  Exotic domestic animal: parrot, lizard. 
  11 
   
  Trained animal: guard dog, hound. 
  13 
   
  Wild prey animals: deer, rodents. 
  16 
   
  Wild predator animals: wolves, bears. 
   
  Off the Trail (Dread 1) The character burns one point of Imagination and rolls 
  Imagination+Dread+Mental Die. The result of this roll becomes the Target Number for 
  any attempt to track that character (and only that character) for the rest of the scene. 
   
  Tail (Dread 1) The best defense is a good offense, and the best offense is one the victim 
  never sees coming. The character's obsessive attention to detail allows him to accurately 
  follow a target's every move. After burning out and making a Perception+Dread+Mental 
  Die roll, the character is able to add his Dread to any roll used to follow any one target 
  (stated at the activation of this Pathos) for the remainder of the scene. 
   
  “Them” (Dread 1) The character has become jumpy and paranoid in all the right ways. 
  When the character burns out a point of Imagination and successfully rolls 
  Perception+Dread+Mental Die with a Target Number of seven he is able to add his Dread 
  to any rolls attempting to determine hidden motives, hostile agencies, traps, or other nasty 
  surprises. 
   
  Prey Instinct (Dread 1) The character understands the food chain, and he understands 
  that the only way up it is to become a predator himself. He is able to process every detail 
  of his opponent's actions, enabling him to know what action a character engaged in 
  physical combat with him is going to take, even before his enemy himself knows. The 
  character burns out a point of Perception and rolls Perception+Dread+Mental Die with a 
  Target Number of seven. If the character is successful, he is able to add his Perception as 
  a bonus to all Initiative rolls for the scene, provided he knows that an attack is coming.  
   
  When the character reaches Dread five, the player is given the option of instinctively 
  burning out a point of Perception to activate this Pathos in the event of an ambush. If the 
  player decides not to do so, the character remains unaware of the impending hostility. If 
  he chooses to activate the Pathos, the character knows the attack is coming, even if the 
  Pathos activation roll somehow fails.  
   
  Chameleon (Dread 2) The character burns out a point of Imagination and rolls 
  Imagination+Dread+Mental Die against a Target Number of eight. If the roll is 
  successful, the character is able to add his Dread to all rolls attempting to hide or avoid 
  being spotted for the remainder of the scene. 
   
  Finals (Dread 2) The character burns a point of Imagination. He is then able to operate 
  for up to his Dread in days without sleep without taking Burnout. Note that he is still tired 
  and will take any excuse to sleep, but he is able to operate at full capacity. At the end of 
  this power's duration, the character must sleep uninterrupted for eight hours multiplied by 
  the number of days he operated without sleep or immediately take all the accumulated 
  Burnout for his days without rest. Note that in this state the character can sleep through 
  virtually anything; he will only wake if the player chooses to have the character do so. 
   
   
  Hypervigilance (Dread 2) The character burns out a point of Perception and rolls 
  Perception+Dread+Mental Die against a Target Number of eight. If the character is 
  successful, he becomes hyperaware of the potential dangers in his environment, enabling 
  him to add his Dread as a bonus to all Perception rolls for the remainder of the scene. 
   
  Paranoid (Dread 2): It is extremely difficult to catch a character using this Pathos by 
   
   
  "Faith consists in believing 
  when it is beyond the power of 
  reason to believe."
  -Voltaire 
   
   
  107
  
   
  surprise. If the character is going to encounter any unexpected event (anything from a 
  surprise 
  birthday 
  party 
  to 
  an 
  ambush) 
  the 
  Narrator 
  makes 
  a 
  secret 
  Perception+Dread+Mental Die roll against a Target Number of eight. If successful, the 
  character becomes aware that there is a threat coming. This Pathos provides no more 
  detail than that.  
   
  If the unexpected event is being hidden by a Pathos of some variety, the roll uses the 
  Pathos activation roll total for the “hiding” Pathos as the Target Number for Paranoid. 
  This Pathos only works for the character himself, not for his property or for those 
  associated with him. Note as well that no Burnout is required for this Pathos—the effect 
  is always active. 
   
  Tamper-Proof Seal (Dread 2) The character burns out a point of Perception and touches 
  a seal, door, or opening. The character then rolls Perception+Dread+Mental Die against a 
  Target Number of eight. If the roll is successful, the character knows when the last time 
  the entrance or exit was entered or exited, when a seal was broken, or when a door was 
  last opened. The character also has a vague understanding of why the targeted item or 
  location was breached. Through the use of this Pathos, the character might be able to 
  determine if someone has entered his home while he was gone or whether someone has 
  opened his prescription medication and slipped in poison. 
   
  Corruption (Dread 3) The character touches an inanimate object. He then burns out a 
  point of Imagination and makes an Imagination +Dread +Mental Die roll with a Target 
  Number of nine. If the roll is successful, the object the character touches ages a number 
  of years equal to the character's Dread in just a few moments. Paper yellows, wood 
  becomes brittle and cracked, and exposed metal begins to rust. At the Narrator's 
  discretion, this Pathos may make objects easier to break or harder to use. He may assess 
  penalties or bonuses to certain actions involving the objects equal to Degrees of Success 
  (or more, in some cases). 
   
  Don't Hurt Me (Dread 3) The character burns a point of Imagination and attempts to 
  cause one target not focused on the character to ignore him for the rest of the scene. The 
  character attempts to get out of the target's sight, then makes a contested Imagination+ 
  Dread+Mental Die roll. If the roll is successful, the target will ignore the character  for  
  the  scene.  Even  if  the  character succeeds, it's important to note that the target doesn't 
   leave the scene, but merely ignores the character. If the character does anything to draw 
  attention to himself, such as attacking the target or shouting, the power's effects are 
  nullified. The target still knows the character is there, but the character doesn't register as 
  being important. 
   
  Jitters (Dread 3) The character burns a point of Imagination and tells the target a 
  particularly harrowing story or anecdote (everything from "Once, when I was cleaning 
  out a basement I saw..." to "Do you know how many cockroach shells they allow per 
  pound of hamburger meat?") and makes a contested Imagination+Dread+Mental Die roll. 
  If the character succeeds, the target is seized with uncontrollable disgusted or frightened 
  shakes for the rest of the scene, causing everyone within a few yards to notice him or her 
  and levying a penalty equal to the character's Dread to the target's next roll. Shaken, 
  disgusted or distracted by what he just heard, the target is unable to adequately react to 
  the world around him for just a moment. At the Narrator's discretion, degrees of success 
  may apply this penalty to subsequent rolls in addition to the roll initially affected by 
  Jitters. 
   
  Last Ditch (Dread 3) The character burns a point of Imagination and adds his Dread 
  rating to a defensive action. The character is flooded with adrenaline, and his reflexes 
  peak. The character need not use an additional action to activate this Pathos—it is a 
  subconscious response to immediate physical threat. 
   
  Social Anxiety (Dread 3) Any elementary school bully or high-school queen bee can tell 
  you that the surest way to be certain that no one notices one's flaws is to make sure that 
   
   
  "Any insincere and evil friend 
  is more to be feared than a wild 
  beast; a wild beast may wound 
  your body, but an evil friend 
  will wound your mind."
  -Buddha 
   
   
  108
  
   
  someone else's problems are always the topic of discussion. When using this Pathos, the 
  character focuses on a target in the same social setting as the character, burns out a point 
  of Imagination and makes an opposed Imagination+ Dread+Mental Die roll. If the roll is 
  successful, the target's flaws immediately become apparent, levying a penalty equal to the 
  character's Dread to all of the target's rolls involving interaction with another human 
  being for the rest of the scene. At the same time, the character gains a bonus equal to his 
  Dread to all rolls involving interaction with another for the scene. If the character 
  interacts positively in any way with the target initially affected by this Pathos, the effects 
  of the Pathos immediately cease. The only safe acknowledgment the Liminal using this 
  Pathos can give his target is more of the abuse already, in all likelihood, being heaped on 
  him. 
   
  Confused, frightened and embarrassed, the target of this Pathos will instinctively 
  understand that the character using the Pathos is somehow involved in his social 
  nightmare. Though he can't express it, as his understanding hovers just below his 
  conscious awareness, the target will find himself gravitating toward the character and 
  attempting to interact with him, a dangerous set of affairs for both the target of the Pathos 
  and the character using it. 
   
  Stille (Dread 3) The character burns a single point of Imagination and subconsciously 
  causes one normally noisy event to take place nearly silently. When sneaking through a 
  building in the middle of the night, for example, the character may accidentally knock 
  over a stack of boxes or step on a creaky stair. The player may determine that his 
  character decides to use this Pathos power in these situations, and the situation will 
  simply occur silently. To use the previous examples, the stack of boxes slide to the side 
  and slough to the ground rather than knocking anything else over or rattling or the stair 
  simply doesn't creak. Note that this Pathos cannot be used on alarms or security devices 
  as it only works for a single event. This power could, at most, cause the alarm to go off a 
  few seconds late. Also note that while knocking over a box of marbles counts as a "single 
  event" for this power, if a character has to walk across packing bubbles, each step would 
  count as a separate event. This Pathos may also be used to silence a single scream. 
   
  Tension (Dread 3) The character burns a point of Imagination and rolls his 
  Resilence+Dread+Physical Die against a Target Number of nine. If the roll is successful, 
  the character's jitters and locked muscles function as a kind of combination distraction 
  and armor. If the character is successful, he may add half his Dread (rounded down) to 
  his Natural Defense for the rest of the scene. 
   
  Kid Fears (Dread 4) Everyone is afraid of something. The character burns a point of 
  Imagination and studies a target for at least three turns. At the end of this time, the 
  character 
  rolls 
  Perception+Dread+Mental 
  Die 
  against 
  his 
  opponent's 
  Imagination+Dread+Mental Die. If the character wins the roll, he gains a vague 
  understanding of what it is the target fears. This is only a vague understanding. The 
  character might discover that his target fears physical violence, but he wouldn't find out 
  that the target is specifically afraid of being mugged. Still, even a vague understanding of 
  an opponent's fears can be useful. 
   
  Mutter (Dread 4) The character burns out a point of Imagination and rolls 
  Imagination+Dread+Mental Die against a Target Number of ten. If the character is 
  successful, he is able to speak a single message to one target without fear of anyone 
  overhearing. His voice drips menace, and those around him subconsciously shy away 
  from the implications of anything he says. Those attempting to listen will get vague chills 
  and hear only an indecipherable murmur from the character. Even electronic recordings 
  of the character's voice will carry this sense of danger. The words and sounds the 
  character speaks are unaltered, but everyone except the targeted recipient undergoes a 
  minor subconscious revolt as their brains steadfastly refuse to understand what they hear. 
   
  Skew (Dread 4) After gaining this Pathos, the character's Dread colors every aspect of 
  his life. He may choose to substitute his Dread for any other Passion, both for purposes of 
   
   
  "If the world cannot be solved 
  by will alone, what do you 
  imagine to achieve but 
  disaster?" 
  -Mark Adair 
   
   
  109
  
   
  defending against Pathos and activating Pathos. Note that this power requires no Burnout  
  or  roll.  The  Dread  simply  inserts  itself  seamlessly   and   totally   into   the 
   character's life. 
   
  Note that though the character may use his Dread rating in place of his rating in another 
  Passion, he must still have the appropriate level in that Passion to purchase the Pathos in 
  the first place. 
   
  Unassuming (Dread 4) The character burns a point of Imagination at the beginning of a 
  scene. As long as he doesn't draw attention to himself (by yelling, attacking, running, 
  waving his arms about) and isn't obviously out of place (in a bank vault, for example) he 
  will remain entirely below the radar of everyone nearby. This is different from Please 
  Don't Hurt Me in that the character is unimportant to everyone in the vicinity rather than 
  just a single target and in that the character must not draw attention to himself even 
  before activating the Pathos. 
   
  What-if? (Dread 4) The character designates a target, burns one point of Imagination, 
  and engages in a contested Imagination+Dread+Mental Die roll. If the character is 
  successful, he may designate a specific behavior that the target has engaged in such as 
  fighting, engaging in illicit drug use, or saying a particular name. For the remainder of the 
  scene, the target is struck with fear of the potential outcomes of his action. Basic success 
  levies a one-point penalty to actions associated with the targeted behavior. Additionally, 
  if the targeted behavior is opposed by another character's roll, the targeted character 
  simply loses ties; he is unable to reroll. 
   
  Degrees of Success 
  Effects 
  1 Degree 
   
  The behavior takes twice as long to attempt, in addition to  
   
   
   
  the one-point penalty and the tie-loss.  
  2 Degrees 
   
  A penalty is assessed equal to the character's Dread to  
   
   
   
   
  attempt any action associated with the targeted behavior.  
  3 Degrees 
   
  The target cannot attempt the action for the scene. 
   
   
  Deepest Fears (Dread 5) A character may use this Pathos on any target of whom he has 
  a physical sample, regardless of the character's distance from his victim. The character 
  burns out a point of Imagination and engages in a contested Imagination+Dread+Mental 
  Die roll with the target while the target sleeps. If the character wins, the target is plagued 
  with nightmares. Though he remains asleep, the next day, he functions as though he 
  received no sleep at all. This process can be repeated for as many nights as the character 
  wishes, though it may only be attempted once per night. 
   
  Here be Dragons (Dread 5) The character burns out a point of Imagination after hiding 
  in an already inhospitable location such as an abandoned building, alley or cave. The 
  character then rolls Imagination+Dread+Mental Die against a Target Number of 11. An 
  individual searching for the character,  or characters, in the affected location  are  
  confronted  with  all  of  the  fears and worries associated with the area in  
  which the character or characters is/are hiding (spiders, muggers, collapsing staircases), 
  taking a penalty on all their rolls to search equal to the character using this Pathos' Dread. 
  This effect lasts for a scene. Additional Degrees of Success double either the numerical 
  effects of the penalty or the time frame of this Pathos—player's choice. 
   
  Infestation (Dread 5) The character burns out a point of Imagination and engages in a 
  contested Imagination+Dread+Mental Die roll with a designated target. If the character is 
  successful, the target hallucinates an insect, snake, or rodent running across his body. 
  One turn later, the target feels the hallucination begin to dig into his flesh. For a number 
  of turns equal to the Dread of the character using this Pathos, the target takes a penalty 
  equal to the character using this Pathos' Imagination . Degrees of Success will likely 
  extend the duration of this effect. 
   
   
   
  "He who makes a beast of 
  himself gets rid of the pain of 
  being a man."
  -Samuel Johnson 
   
   
  110
  
   
  Ransom Note (Dread 5) The character burns out a point of imagination and writes a 
  threatening message. The character then rolls Imagination+Dread+Mental Die against a 
  Target Number of 11. If the character succeeds, he is able to imbed a single message of 
  up to the same length as the message he initially wrote. When activating this Pathos, the 
  character designates a recipient who will understand the message. This recipient or 
  recipients can be an individual, a member of a group, or a person who fulfills a certain set 
  of requirements (“The first Liminal who enters this room.”). No one other than the 
  individual or group to whom the message is directed will be able to decipher the message, 
  though if the recipient is unfamiliar with the medium, he will be bewildered by his 
  understanding. The message is not cryptographically hidden, it is supernaturally 
  embedded in an otherwise threatening note. This note can be an email, letter, graffiti, or 
  even a painting in an art gallery.  
   
  Zeitgeist (Dread 5) Sometimes we recognize our own not by what we love in common, 
  but by what we fear in common. A character with this Pathos understands that terrified 
  sympathy and is able to play on it in order to appear to be “one of us” for purposes of 
  infiltrating a group. The character burns out a point of Imagination and rolls 
  Imagination+Dread+Mental Die against a target number determined by the group he is 
  attempting to infiltrate with this Pathos. If successful, the character will know how to 
  appear to be a good fit for the group, and with Degrees of Success he may find that he 
  knows passwords, secret handshakes and inside jokes as well. 
   
  Target Number 
  Type of Group 
  8 
   
   
  Large local group without much organization, such as a   
   
   
   
  hunting  lodge or church. 
  11 
   
   
  Medium-sized group with some organization, such as a city  
   
   
   
   
  police department, shipping company, or a pyramid scheme. 
  14 
   
   
  Small-sized group with a tightly-knit organization and  
   
   
   
   
   
   
  purpose  such as a legal firm, small agency, or activist  
   
   
   
   
   
  group. 
  17 
   
   
  Covert or supernatural group, cult, or executive board of a  
   
   
   
   
   
   
  corporation. 
   
  Burning Ears (Dread 6) The character burns a point of Imagination and makes a 
  Perception+Dread+Mental Die roll with a Target Number of 11. If the character is 
  successful, he is able to hear anything being said about them within a number of city 
  blocks equal to his Dread for a single scene. Degrees of Success allow the character to 
  determine the location of the speaker with greater precision. 
   
  Degrees of Success 
  Precision 
  Success  
   
  The character is able to determine that the speaker is within  
   
   
   
   
   
   
  the range of the power. 
  1 Degree 
   
  The character is able to determine the specific building in   
   
   
   
   
   
  which a speaker is located. 
  2 Degrees 
   
  The character is able to determine a specific room within a  
   
   
   
   
   
   
  particular building in which a speaker is located. 
  3 Degrees 
   
  The character is able to determine a speaker's position  
   
   
   
   
   
  within the room in which he is located, his posture, gestures   
   
   
   
   
  and a vague idea of his appearance. 
   
  Somnia (Dread 6) The character burns a point of Imagination and engages in a contested 
  Imagination+Dread+Mental Die roll with a target within sensory range. If the roll is 
  successful, the target will immediately fall asleep, regardless of the circumstances in 
  which he finds himself. The target will be in a restless, dreamless slumber until roused by 
  physical contact or the next sunrise. With Degrees of Success the sleep is progressively 
  deeper and may not allow the victim to wake until the duration of the Pathos has expired. 
   
  Degree of Success 
  Duration 
  1 Degree 
   
  Additional day. 
   
   
  "She felt again that small shiver 
  that occurred to her when 
  events hinted at a destiny being 
  played out, of unseen forces 
  intervening."
  -Dorothy Gilman 
   
   
  111
  
   
  2 Degrees 
   
  A week. 
  3 Degrees 
   
  A month. Note that a character who has slept this long  
   
   
   
   
   
   
  without eating or drinking will almost certainly require  
   
   
   
   
   
   
  medical attention, if he even manages to survive. 
   
  Note that this power is only effective for the scene in which it is activated and only works 
  to the limit of the range of the power. The character hears any and all conversations 
  within the range of the power, though he is only able to focus on one enough to pinpoint 
  the location. If the conversation is occurring over the phone, the character can only locate 
  one speaker at a time, and if one of the speakers is out of the range of the power, the 
  character will only hear half of the conversation. This Pathos doesn't allow a character  to  
  hear  an  entire  conversation, just those aspects that directly relate to him.  
  Finally, this power only relates to conversations that can be heard. Email, mail, note, and 
  sign-language conversations are still safe from intrusion with this Pathos. 
   
  Mass Somnia (Dread 7) The character burns out a point of Imagination and makes an 
  opposed Imagination+Dread+Mental Die roll against each individual within a number of 
  yards equal to his Intensity. Each individual that the character succeeds in his roll against 
  immediately falls asleep. The sleeping characters may, obviously, take no actions, and are 
  unaware of what is happening around them. Note that this state is, despite its origin, still 
  sleep. Shaking, attacking, or making loud noises around the sleeping individuals will still 
  wake them. Also note that if the character fails against even one individual in a group, 
  that one individual can easily wake everyone else. 
   
  Possum (Dread 7) The character burns a point of Resilience and rolls 
  Resilience+Dread+Physical Die against a Target Number of 12. If the roll is successful, 
  the character immediately collapses into a death-like state. While in this suspended state, 
  he character has no pulse, his eyes do not dilate, he does not breathe, and he no longer 
  bleeds. His skin cools, and, if this Pathos remains active long enough, rigor mortis will 
  set in. Needless to say, the character is unable to move.  
   
  Hovering between life and death, the character remains somewhat aware of his 
  surroundings, though only in a hazy, indistinct way. The character may remain like this 
  for up to an hour. Degrees of Success add one hour per degree. At the end of that time, 
  the character revives, for better or for worse. The character may cancel this Pathos at any 
  time. 
   
  Alibi (Dread 8) The character designates a target, burns out a point of Perception and 
  engages in a contested Perception+Dread+Mental Die roll with him. If the character is 
  successful, he may designate a one-hour span of time and experience exactly what his 
  target was experiencing at the time. No time passes for anyone else, but the character 
  experiences that hour in its entirety, retaining all salient details of any crimes, 
  conversations or television programs that the character was watching at the time. Note 
  that if the target was asleep or simply staring at a wall at the time in question, the 
  character is unlikely to get information of much use. Degrees of Success may allow the 
  character to experience more of his target's time, one hour per Degree, at the Narrator's 
  discretion. 
   
  Nightmare Genesis (Dread 8): The character burns out a point of Imagination, chooses 
  a target, and rolls Imagination+Dread+Mental Die. If he succeeds in the roll, he manifests 
  an object from a nearby individual's deepest fears. Nearly instantly, vaporous dream stuff 
  begins coalescing around the character who uses this Pathos, quickly solidifying into a 
  real, physical form at the end of the round. The character has no idea what he is going to 
  create unless he uses Kid Fears beforehand. By succeeding, the character is able to create 
  inanimate objects or small animals (guns, handfuls of hissing snakes).  
   
  With one Degree of Success, the character is able to bring human beings and large 
  objects into being (serial killers, specific abusers, tanks).  
   
   
   
  "What is the most innocent 
  place in any country. Is it not 
  the insane asylum? These 
  people drift through life truly 
  innocent, unable to see into 
  themselves at all. 
  -Arther Miller 
   
   
  112
  
   
  With two Degrees of Success or higher, the character is able to manifest full landscapes 
  for a time: yawning chasms, tropical jungles, or arctic wastelands.  
   
  These manifested items last for a number of minutes equal to the character's Dread, at 
  which time they dissolve into the same insubstantial mist from which they came. These 
  created materials are absolutely real, affecting not just the character who feared them in 
  the first place, but also everyone else within range. Animals or people temporarily 
  created will not attack the character using this Pathos, but everyone else within range is 
  fair game. 
   
  Buried Alive (Dread 9) The character burns a point of Imagination and engages in a 
  contested Imagination+Dread+Mental Die roll  with everyone within the character's 
  Dread in feet. The head of any character that loses this roll is immediately enveloped in a 
  noxious grey material that boils out of his nostrils, ears and eyes. This material strangles 
  and blinds the characters for a number of rounds equal to the Dread of the character using 
  this Pathos. Characters subject to this Pathos take modifiers and damage appropriate to 
  being blinded, deafened and suffocated. This Pathos may be dismissed at any time by the 
  character and is immediately stopped if the character using the Pathos loses 
  consciousness. When the power ends, the material simply dissolves into a harmless dust 
  before disappearing entirely. Degrees of Success increase both the severity and the 
  duration of this Pathos. Characters killed by this Pathos appear to have died of heart 
  attacks or “dry drowning.” 
   
  Degrees of Success 
  Effect 
  1 Degree 
   
  Lasts an additional turn, completely covers their head and   
   
   
   
   
   
  fills their mouth and nostrils. 
  2 Degrees 
   
  Lasts two additional turns, the nightmare expands enough to   
   
   
   
   
   
  capture their arms and torso, rendering the victims incapable  
   
   
   
  of any action except running. 
  3 Degrees 
   
  Lasts for the scene. The nightmare has fully consumed the  
   
   
   
   
   
   
  victim's form into a nightmarish cocoon and will last until  
   
   
   
   
   
   
  the victim suffocates or the Pathos is deactivated. 
   
  Nightmare Form (Dread 9) The character burns a point of imagination while in the 
  presence of a sleeping individual and immediately assumes the insubstantial form of a 
  nightmare. The character is invisible, intangible, and simultaneously completely aware of 
  his surroundings. He is still visible to those using Second Sight and similar powers and 
  can still be affected by Pathos. Purely physical phenomena, however, have no effect on 
  him. The character can remain in this form indefinitely and use any Pathos that doesn't 
  require a body, provided he always remains within his Dread multiplied by itself in yards 
  of a sleeping person. The character is able to instantly travel to any point within the 
  boundaries delineated by the sleeping individuals, and his range of motion is  
  limitless within these boundaries is absolutely limitless. Such a character can be a terror 
  in crowded apartment buildings at night. 
   
  Should the character ever find himself out of range of a sleeping individual, whether 
  because the sleeping person wakes or because he attempts to travel out of range, he 
  immediately shifts back to his normal physical form. 
   
  Arbitration (Dread 10) As with Alibi, the character designates a target, burns out a point 
  of Perception and engages in a contested Perception+Dread+Mental Die roll with him. If 
  the character is successful, he may designate a one-hour span of time and experience 
  exactly what his target was experiencing at the time. Unlike in Alibi, the character may 
  include any number of other (willing) people within his Dread in yards in the experience. 
  No time passes for anyone outside of this connection, but the characters experience that 
  hour in its entirety, retaining all salient details of any crimes, conversations or television 
  programs that the character was watching at the time. Degrees of Success may allow the 
  characters to experience more of the target's time, one hour per degree, at the Narrator's 
  discretion. Those unfamiliar with Noumenal phenomena may attribute the experience to a 
   
   
  "When you use words, you're 
  able to keep your mind alive. 
  Writing is my way of 
  reaffirming my own existence." 
  -Gao Xingjian 
   
   
   
  113
  
   
  particularly vivid daydream, if they remember it at all. 
   
  Speak of the Devil (Dread 10): A character with this Pathos is always aware when 
  someone uses his name. No Burnout is necessary; whenever anyone refers to the 
  character by his name or a common nickname, he is aware of the context in which his 
  name was spoken, as well as the exact statements that were made in reference to him. By 
  concentrating for a moment, the character is also able to pinpoint the exact location of the 
  person speaking his name. This applies equally well to written and electronic 
  communication. 
   
  Note that the character is only aware when people use his name or common nicknames. A 
  character named Brandon, for example, wouldn't hear any time anyone talked about any 
  Brandon, only when he is personally referred to. Similarly, the character wouldn't hear if 
  someone used a code name that he himself wouldn't recognize. 
   
  Fury 
   
  800 Pound Gorilla (Fury 1) The character burns out a point of Imagination and rolls 
  Imagination+Fury+Mental Die against a Target Number of seven. If the roll is successful, 
  the character is able to apply his rating in Fury as a bonus to a single social interaction 
  roll relating to intimidation or dominance. 
   
  Adrenaline Rush (Fury 1) After a character is impacted by an attack or event that does 
  Burnout damage, the player may, before recording the Burnout damage, choose to have 
  his character instinctively Burnout a point of Resilience and roll Resilience+ 
  Fury+Physical Die roll against a Target Number of seven. If the roll is successful,  the  
  character  is able to completely ignore a number of points of Burnout done by the event 
   or accident equal to his Intensity—often, the character is down a only single point of 
  Resilience, rather than the full amount of damage he would have taken. 
   
  Bully (Fury 1) The character burns out a point of Perception and rolls 
  Perception+Fury+Mental Die against a Target Number of seven. If the roll is successful, 
  the character is immediately able to instantly determine the physically weakest member 
  of any given group with which he is interacting. Degrees of Success may, at the 
  Narrator’s discretion, be applied as bonuses to attack rolls against that individual for the 
  remainder of the scene: one point per Degree of Success. 
   
  Force (Fury 1) The character burns out a point of Strength and rolls 
  Strength+Imagination+Mental Die against a Target Number of seven. If the roll is 
  successful, the character may substitute his Fury rating for his Strength in any Strength 
  roll for the remainder of the scene. If the character burns out his Strength to help with any 
  roll, the additional points gained through Burnout are applied on top of the character’s 
  rating in Fury as his Strength for that action. While this Pathos isn’t terribly useful at 
  lower levels of Fury, characters with higher levels of Fury can be unreal powerhouses 
  with this Pathos. 
   
  Lock and Pound (Fury 1) When the character using this Pathos makes an attack, the 
  player may choose to have his character instinctively Burnout a point of Strength and 
  make a contested Strength+Fury+Physical Die roll with his target before rolling to strike. 
  If his attack affects multiple victims, the character must choose a single target to be 
  affected by this Pathos. If the roll is successful, the character applies the number of points 
  by which he won the contested roll as a bonus to his normal attack roll. 
   
  Cowed (Fury 2) The character burns out a point of Imagination and rolls 
  Imagination+Fury+Mental Die while asking a target a simple yes or no question. The 
  character then engages in a contested Strength+Fury+Mental Die roll with his target. If 
  the character is successful, the target truthfully answers that question. Degrees of Success 
  may, at the Narrator’s discretion, allow the character to ask more yes or no questions: one 
   
   
  "We do not have to visit a 
  madhouse to find disordered 
  minds; our planet is the mental 
  institution of the universe."
  -Johann von Goethe 
   
   
  114
  
   
  question per Degree of Success. Unlike most Pathos, Cowed uses two Qualities 
  (Imagination and Strength) and also requires the character to roll Strength with his 
  Mental Die.  
   
  Friends Like These (Fury 2) The character shouts an insult at a target within hearing 
  and rolls Imagination+Fury+Mental Die against a Target Number of eight. If the roll is 
  successful, the target is able to use the character’s Fury as if it were his own for purposes 
  of determining the relative power of Pathos, resistance and Intensity. This effect lasts the 
  remainder of the scene. Though this Pathos must be initiated with an insult, it is almost 
  always used on a character’s friends and allies. At the end of the scene, the target will 
  still be jittery and short-tempered, but his Fury will have returned to its normal levels. 
  Any action taken while under the influence of this Pathos gives the character an amount 
  of Emotion points commensurate with his real Fury rating rather than his artificially 
  inflated one. Degrees of Success may make the target even more furious than the 
  character using this Pathos, at the Narrator’s discretion. 
   
  Powder Keg (Fury 2) The character burns a point of Imagination and touches an 
  inanimate object, rolling Imagination+Fury+Mental Die against a Target Number of 
  eight. If the roll is successful, the object then takes an amount of Trauma equal to the 
  character’s Fury. For only mildly angry characters, this Pathos expresses itself in 
  malfunctioning machinery or cracking glass. As the character reaches higher levels of 
  Fury, this Pathos power can easily warp thin metal, break a car windshield, or utterly 
  destroy more delicate devices. The level of destruction that is inflicted, up his rating, is 
  completely up to the character.  
   
  Righteous Indignation (Fury 2) When a character witnesses someone performing an act 
  against his (possibly twisted) moral code, he may instinctively Burnout a point of 
  Strength and roll Strength+Fury+Physical Die against a Target Number of eight. If the 
  roll is successful, the character is able to apply his Fury as a bonus to a single attack roll 
  against the perpetrator of the act. The character may “hold” this bonus for up to an hour 
  as he follows his target into a back alley, tails him down the street, or otherwise delays 
  the gratification of righting a clear wrong. 
   
  Shut Up (Fury 2) The character may burn a single point of Imagination to make another 
  character or animal be quiet. This effect is temporary and may only grant a few seconds 
  of silence before the target begins to yammer again. The character must make eye contact 
  with the animal or person, and tell them to be quiet, in some way. A character slowly 
  raising his finger to his lips and shouting threats at the target are both equally effective 
  when using this Pathos. The character then makes a contested Fury+ Imagincation + 
  Mental Die roll. If the character succeeds, the target is unable to talk, bark, chirp, or make 
  any deliberate noise for a round. Degrees of Success may, at the Narrator’s discretion, 
  increase the amount of time that the target is forced to remain silent: one round per 
  Degree of Success.  
   
  Berserker (Fury 3) When taking damage, the character may instinctively Burnout a 
  point of Resilience and roll Resilience+ Fury+ Mental Die against a Target Number of 
  nine. If the roll is successful, the character is able to shrug off an amount of damage 
  (Trauma or Burnout) equal to his rating in Fury that would have been assessed from that 
  one attack. He simply doesn’t take the damage. Degrees of Success have no effect on this 
  Pathos. Either the character is able to shrug of the injury or he isn’t. 
   
  Malfunction (Fury 3) The character spends a point of Imagination and focuses upon a 
  particular device within sensory range. With a successful Imagination+Fury+Mental Die 
  roll against a Target Number determined by the device's sophistication, the unit will 
  behave erratically and unreliably, shut down, or lose signal for the scene. Degrees of 
  Success may extend the malfunction, at the Narrator’s discretion, possibly resulting in 
  permanently ruined device. 
   
  Target Number 
   
  Sophistication 
   
   
  "Why am I so sympathetic to 
  the creatures I see preying on 
  the masses? The answer is 
  simple. Because I am one." 
  -Brenden 
   
   
  115
  
   
  10 
   
   
  Cell phone/computer. 
  12 
   
   
  Pencil sharpener/car. 
  15 
   
   
  Firearm. 
  18 
   
   
  Mechanical pen. 
   
  Next Topic (Fury 3) While engaged in a social interaction (of whatever stripe, from 
  casual conversation to courtroom interrogation) the character may Burnout a point of 
  Imagination, indicate his unwillingness to continue a discussion, and engage in a 
  contested Imagination+Fury+Mental Die roll with his target. If the roll is successful, the 
  target drops the topic currently under discussion, regardless of the relative importance of 
  the topic. Note that a security guard who has had this Pathos used against him won’t stop 
  arguing with a character and simply let him waltz into a secure building. In this 
  circumstance, the guard is more likely to simply call the police. This is, however, an 
  excellent Pathos to have when conversing with police, judges, psychiatrists, or jury 
  members. 
   
  Overdrive (Fury 3) Once a character has taken this Pathos, he is able to Burnout any 
  Quality to raise his Strength. He may Burnout two points of Imagination, for example, 
  and apply them as a bonus to a single Strength roll. No roll is necessary to activate this 
  Pathos and it does not require the character to take an action. 
   
  Staredown (Fury 3) The character makes eye contact with his target, then burns out a 
  point of Imagination and engages in a contested Imagination+ Fury+Mental Die roll with 
  that target. If the roll is successful, the target is totally immobile as long as the character 
  maintains eye contact with him and remains stonily silent. This Pathos effect ceases as 
  soon as the eye contact is broken for any reason. Note that most attacks will jar the victim 
  enough to knock his head out of alignment with the character’s eyes. If the character 
  performs no action other than staring at his victim, this Pathos can last for up to a scene. 
  Alpha (Fury 4) The character orders his target to engage in an act that can take no more 
  than a single round, burns out a point of Imagination and engages in a contested 
  Imagination+ Fury+ Mental Die roll. If the character using this Pathos is successful, the 
  target does what he is ordered, even if the action is directly dangerous or harmful to him. 
  Additional Degrees of Success may, at the Narrator’s discretion, allow the character to 
  give his target more orders.  
   
  Note that once the action is completed, the character who has had Alpha used on him will 
  almost certainly resent the order, and his resentment will, in all likelihood only be 
  worsened by the fact that he obeyed. Even if a target was not hostile to a character before, 
  after having this Pathos used on him, he almost certainly will be. 
   
  Gagged (Fury 4) The character tells his target to be silent in some way as in Shut Up, 
  burns a point of Imagination and engages in a contested Imagination+Fury+Mental Die 
  roll with him. If the character wins, the target is unable to speak as with Shut Up, but 
  with Gagged, the character is sufficiently intimidated to be silent for the remainder of the 
  scene or until the Pathos is deactivated. 
   
  Kiai (Fury 4) The character burns a point of Imagination and rolls his 
  Strength+Fury+Physical Die as though he is attempting to strike his target with a physical 
  attack., with Burnout damage assessed to the target as with a physical attack as well. The 
  target must be within range of hearing of the character using this Pathos, and must be 
  able to hear a shout in order for Kiai to work on him—deaf characters and characters 
  using Habituation are immune to this Pathos. 
   
  Murphy's Eye (Fury 4) The character burns a point of Imagination, makes eye contact 
  with his target, and wishes him bad luck (either out loud or silently). The character then 
  makes a contested Imagination+Fury+Mental Die roll. If the character is successful, the 
  target faces a degree of misfortune determined by the following table, modified by 
  Degrees of Success. 
   
   
   
  "There is a quake that rips the 
  soul asunder...it is the pain of 
  remembering."
  -Nrb 
   
   
  116
  
   
  Degree of Success 
  Effect 
  Success  
   
  A minor, but embarrassing misfortune happens to the target,   
   
   
   
  such as falling down at a party or tearing the seat of his    
   
   
   
   
  pants in a bank. No lasting harm occurs, but the target is  
   
   
   
  mortified. This can take up to an hour to occur. 
   
   
   
  1 Degree 
   
  A significant, humiliating misfortune happens to the target,  
   
   
   
  such as a furious, unstoppable need to urinate (likely    
   
   
   
   
   
   
  resulting in an "accident"), sudden onset of a minor but  
   
   
   
   
  embarrassing medical condition, such as allergies, resulting  
   
   
   
  in the target being unable to function for a day, a full-body  
   
   
   
  outbreak of acne, warts or boils, or unexplained,  
    
   
   
   
   
   
   
  conspicuous, highly embarrassing stains repeatedly   
   
   
   
   
  appearing for the rest of the day. These effects can take up  
   
   
   
   
   
  to a half an hour to begin. 
   2 Degrees  
   
  A damaging (though not physically) misfortune occurs,   
    
   
   
  such as the target's wife finding another woman's underwear  
    
   
   
  in the dryer, the boss finding pornography on his work  
   
    
   
   
  computer, or a particularly vindictive round of the target's  
    
   
   
  gossip being broadcast over an intercom. These effects  
   
    
   
   
  begin immediately, though the character may not begin to  
    
   
   
  face the consequences of these events for a few minutes   
    
   
   
  (less if he has a cell phone). 
  3 Degrees 
   
  Two instances of misfortune of the 2 Degrees of Success   
   
   
  Rile (Fury 4) The character shouts at his companions or allies, and with a successful 
  Imagination+Fury+Mental Die roll with a Target Number of ten, the character is able to 
  pass along one of his physical Factors to any willing individuals he designates within his 
  Fury in yards. Degrees of Success may, at the Narrator’s discretion, allow the character to 
  pass along more Factors. 
   
  Evil Eye (Fury 5) The character burns a point of Imagination, makes eye contact with his 
  target, and wishes him bad luck (either out loud or silently). The character then makes a 
  contested Imagination+Fury+Mental Die roll. If the character is successful, the target 
  faces a degree of misfortune determined by the following table, modified by Degrees of 
  Success. Effects of Evil Eye, unlike Murphy’s Eye, take place instantly. 
   
   
  Degree of Success 
  Effect 
  Success  
   
  A small but damaging incident takes place, injuring the   
   
   
   
   
   
  target, causing 1d4 Trauma (the victim trips, severely barks  
   
   
   
  his shins, or hits his head on a low-hanging door frame). 
  1 Degree 
   
  Misfortune strikes the target, causing 1d6 Trauma (a bike  
   
   
   
  messenger runs into him, a book or vase falls from a high  
   
   
   
  shelf, someone opens a door into his face). 
  2 Degrees 
   
  A major accident, causing 1d8 Trauma, occurs. The victim  
   
   
   
  may be struck by a (slow-moving) car, have a heavy   
   
   
   
  paperweight fall  on his head, or get into a car accident 
  3 Degrees 
   
  The character takes an amount of Trauma equal to the  
   
   
   
   
  character’s Fury+1d6 in a potentially fatal, and certainly   
   
   
   
  painful, accident.  
   
  Ignite (Fury 5) The character burns out a point of Imagination and instinctively makes 
  an Imagination+Fury+Mental Die roll with a Target Number of 11 while touching an 
  inanimate, flammable object. The fire is as intense as a normal fire would be if doused 
  with gasoline. The flammable portions of any object will be completely consumed within 
  ten minus the character’s Fury rating turns. Buildings take longer, but still burn 
  supernaturally fast. Due to the lack of a traceable accelerant, investigators are likely to 
  find the fire unusual, but not likely the result of Arson. This Pathos cannot be used on 
  anything except flammable objects. Attempting to use this Pathos on another character’s 
   
   
  "It is extremely difficult to like 
  oneself in a culture which 
  things you are a disease."
  -Chrystos 
   
   
  117
  
   
  clothing will cause three points of Trauma before the clothes completely burn away. In 
  order to successfully ignite a combatant’s clothing, a character must succeed in an attack 
  against the targeted  character. This Pathos does not require an action to activate. 
  Internal Bleeding (Fury 5) The character burns a point of Imagination and chooses a 
  target. He then engages in a contested Imagination +  Fury+Mental Die roll with that 
  target. If the roll is successful, any damage the character does to that target will take 
  twice as long to heal as normal. At the Narrator’s discretion, additional Degrees of 
  Success may double the healing time again: one doubling per Degree of Success. 
   
  Restraining Order (Fury 5) The character burns a point of Imagination, makes a 
  contested Imagination+ Fury+ Mental Die roll and tells the target to leave him alone. If 
  the character succeeds, the target leaves the character's presence as soon as humanly 
  possible, regardless of the social result. He will storm out of a party or get off of the bus 
  at the next stop, even if it isn't his. He will not, however, jump out of a window or 
  moving vehicle. The target must physically stay at least 200 yards away from the 
  character for an amount of time determined by the degree of success. If he attempts to 
  come closer than this to the character, memory of their last meeting will immediately 
  drive the target away. 
   
  Degree of Success 
  Time Frame 
  Success  
   
  Scene 
  1 Degree 
   
  Week 
  2 Degrees 
   
  Year 
  3 Degrees  
   
  Permanent 
   
  Note that just because the target cannot physically come near the character, it doesn't 
  mean that he can't cause problems or be involved in his life. The target must simply do so 
  remotely. 
   
  Unbound (Fury 5) The character burns a point of Imagination, and rolls 
  Imagination+Fury+Mental Die against a Target Number determined by the type of 
  restraint from which he is attempting to free himself. He can struggle his way out of any 
  personal bonds such as ropes, handcuffs, chains, or straight jackets, if he rolls well 
  enough. 
   
  Target Number   
  Binding 
  11 
   
   
  Rope 
   
   
   
   
  12 
   
   
  Chain 
   
   
   
   
  14 
   
   
  Handcuffs 
   
   
   
  18 
   
   
  Total restraint (straight jacket, stocks, handcuffs with   
   
   
   
  thumbcuffs) 
   
  If the character succeeds in the roll the bindings simply slide off. In cases where this is 
  impossible (such as with thumbcuffs and handcuffs together) one or both of the bindings 
  will also come undone. Degrees of Success have no effect with this Pathos. Either the 
  character frees himself or he doesn’t. 
   
  Hurt (Fury 6) The character burns out a point of Imagination and makes an unarmed 
  strike against a person or object, doing an amount of Burnout or Trauma (depending on 
  the attack) equal to his Fury. This strike is considered a part of the activation of this 
  Pathos; a character needn't burn a point of Agility or add the Target Numbers in order to 
  take multiple actions in order to use this Pathos. The character must declare the activation 
  of this power before he makes the strike, however. Hurt must be used with intent; it can't 
  be added as an afterthought to a normal strike. The character’s Fury takes the place of the 
  Burnout or Trauma that would normally be assessed—it is not added to the damage. 
  When using this Pathos, Degrees of Success should not be allowed to affect the results of 
  either the strike roll or the Pathos activation roll. 
   
  Jump (Fury 6) The character burns a point of Strength and rolls Strength+Fury+Physical 
   
   
  "The world needs anger. The 
  world often continues to allow 
  evil because it isn't angry 
  enough." 
  -Bede Jarrett 
  The House of Gold 
   
   
  118
  
   
  Die against a Target Number of 12. If the roll is successful, the character is able to jump a 
  number of yards equal to his Fury when jumping in any direction. This effect lasts for the 
  scene. At the Narrator’s discretion, Degrees of Success may multiply this effect, allowing 
  a character to jump two, three, or even four times his Fury in yards. 
   
  Percussive Maintenance (Fury 7) The character burns a point of Imagination and kicks, 
  hits, rattles or otherwise abuses a malfunctioning (but whole) piece of machinery. He 
  then rolls Imagination+Fury+Mental Die. When he has finished attacking the device, it 
  functions at peak efficiency for the character's Fury in minutes. Note that this power 
  requires that the machinery be whole. A car without an engine will not start, no matter 
  how hard the character hits it, and a computer that isn't plugged in will never work. 
   
  The level of damage that the character is attempting to "repair" determines the Target 
  Number for this Pathos. If a character fails at his first use of this Pathos, he may attempt 
  to use it again. At the Narrator’s discretion, Degrees of Success might allow a device to 
  function optimally for a number of hours, days or even weeks equal to the character’s 
  Fury. 
   
  Target Number   
  Level of Damage 
  7 
   
   
  Functional but breaking down. (Examples: rattling engine,  
   
   
   
   
   
   
  crashing computer, dying battery, creaking door.) 
   
  11  
   
   
  Recently deceased. (Examples: car that died on the side of  
   
   
   
  the road computer that just had its final crash, recently dead 
    
   
   
  battery) 
   
  15  
   
   
  Broken. (Examples: broken-down car with a cracked engine 
    
   
   
  block, computer with a damaged hard drive). 
   
  19 
   
   
  Junk. (Examples: abandoned car with no fully functional  
   
   
   
  parts, computer or batteries from a junkyard, door that has  
   
   
   
  completely rusted shut.) 
  Samson's Blow (Fury 7) The character burns out a point of Imagination, touches an 
  object (or a person) with his hand or foot and rolls Imagination+Fury+Mental Die. The 
  resultant total is applied directly as Trauma to the target. If the target is a person, the 
  character must first overcome the target's Natural Defense with a standard strike (using 
  the standard roll). The character needn't make a violent strike, he can simply touch the 
  object lightly  to  do  this  damage  to  it. Attempting a violent strike does not add to the  
  damage. 
  This strike is considered a part of the activation of this Pathos; a character needn't burn a 
  point of Agility or add the Target Numbers in order to take multiple actions in order to 
  use this Pathos. The character must declare the activation of this power before he makes 
  the strike, however. Samson's Blow must be used with intent; it can't be added as an 
  afterthought to a normal strike. 
  If the target is a person or animal and the target is able to absorb or avoid the blow (that 
  is, if the character fails to overcome the character's Natural Defense), the damage 
  discharges harmlessly. If the target is not capable of avoiding the blow or is an inanimate 
  object, the character's foot, fist, or hand delivers a massive amount of additional 
  concussive force; in some cases enough to shatter walls or blast doors from their hinges. 
  Distant Blow (Fury 8) The character burns out a point of Imagination and glares at 
  someone or something within uninterrupted line of sight. The character first rolls 
  Imagination+Fury+Mental Die if the target is a living creature. If the character wins, he 
  applies his total on that roll (not the total over his opponent’s roll) directly as Trauma to 
  the Target. This Pathos can be truly spectacular to watch. Objects affected with this 
   
   
  "Like an unchecked cancer, 
  hate corrodes the personality 
  and eats away its vital unity. 
  Hate destroys a man's sense of 
  values and his objectivity. It 
  causes him to describe the 
  beautiful as ugly and the ugly 
  as beautiful, and confuses the 
  truth with the false and the 
  false with the true."
  -Martin Luther King Jr. 
   
   
  119
  
   
  Pathos often seem to explode, and even the sturdiest walls buckle under the character’s 
  assault. Few victims survive an assault with this Pathos. 
  Fly (Fury 8) The character burns out a point of Imagination and makes an 
  Imagination+Fury+Mental Die roll. If the roll is successful, for the duration of the scene, 
  the character is able to fly. He is able to move at something like his normal walking and 
  running speed, except that Imagination is used in place of both Agility and Resilience for 
  purposes of determining speed and duration of a character’s possible run. Factors that 
  apply specifically to running or mundane forms of transit do not affect movement by 
  means of this Pathos. The character can hover, swoop and move freely in all directions. 
  Short of being affected by Apsi or similar powers, the character will not crash or injure 
  himself. When the Pathos expires, the character floats gently to the ground. 
  Telekinesis (Fury 9) The character burns out a point of Imagination and rolls 
  Imagination+ Fury+Mental Die against a Target Number of 15. If the roll is successful, 
  the character may, for a number of sequential rounds equal to his Intensity, move any 
  object that weighs up to fifty times his Intensity in pounds to anywhere within his visual 
  range. The object that the character moves does travel through intervening space, but can 
  do so 
   quickly enough that transit time doesn't matter. The character may “put down” an object 
  and “pick up” another during activation of this power, though he can only move one 
  object per round, and the amount of time he can use the power is limited in toto, not per 
  object, thus a character with Intensity nine can't throw around a crate for seven rounds, 
  then pick up a log and levitate it for another nine rounds. He would only be able to move 
  the log for two rounds in this case. The character must make a Imagination+Fury+Mental 
  Die roll against a targeted character's Natural Defense to attack him. The character 
  receives no weapon bonus, regardless of the object he is using, and whether the attack 
  does Burnout or Trauma depends entirely on the object used—the type of damage is 
  ultimately the Narrator's decision.  
  Shapeshift (Fury 9) The character burns out a point of Imagination and rolls 
  Imagination+ Fury+Mental Die against a Target Number of 15. If the roll is successful, 
  the character shifts into an animal, determined at the time of purchase of this power. This 
  power can be purchased multiple times for different creatures. The character is able to 
  stay in this form theoretically indefinitely, but is unable to use any Pathos requiring 
  capabilities the animal doesn't have (speech, hands, sex appeal). The animal is normal in 
  all ways except its intellectual capacity; indistinguishable from a normal specimen except 
  by Noumenal means. 
  The specific Qualities and abilities of the animal are entirely at the Narrator's discretion, 
  keeping in mind the natural capabilities of the animal in question. 
  Ground Zero (Fury 10) The character spends an Emotion point or burns out a point of 
  Imagination. He then makes a contested Imagination+Fury+Mental Die roll against all 
  individuals within the character’s Fury in yards. If the character is successful, every 
  person that lost the roll with the character and every item within the character’s Fury in 
  yards takes an amount of Trauma equal to the character’s Fury. The character cannot 
  choose who or what is affected by this Pathos. A roaring wave of force rushes out from 
  him, blasting everything unfortunate enough to be near at hand. After using this Pathos, 
  the character is unable to use any other Pathos for the remainder of the scene.  
  Yearning 
   
  Allure (Yearning 1) The character has a nearly perfect understanding of what his victims 
  want to hear. By burning a point of Imagination he can add his Yearning to all social 
  interactions relating to charming, seducing, and manipulating people. He is a virtuoso at 
  playing his targets' greed, lust and corruption. 
   
  Avarice (Yearning 1) The character has an increased sense of value in all items. He can  
   
   
  "The best lack all conviction, 
  while the worst are full of 
  passionate intensity."
  -William Butler Yeats 
   
   
  120
  
   
  precisely  assess  the  monetary  worth  of  material goods simply by burning out a  
  point of Imagination and rolling Perception+Yearning+Mental Die with a Target Number 
  of seven. The character is able to sift valuable antiques from the dross of garage sales, 
  rare albums from used bins, and golden investments in a sea of scams. Careful use of this 
  Pathos can allow a character to quickly gather needed capital or identify counterfeit bills, 
  shortchanged drug deals and social climbers wearing inauthentic name-brand clothing.  
   
  Bribery (Yearning 1) Everyone has their price, and with this Pathos, the character can 
  know what that price is. By burning out a point of Imagination, and successfully rolling 
  his Perception+Yearning+Mental Die against his target's SES+Yearning+Mental Die, the 
  character gets an idea of his target's secret vices: drugs, money, underage prostitutes or 
  power. The character must interact with his target for at least a few minutes to feel him 
  out before using this Pathos. 
   
  Cry for Attention (Yearning 1) The character burns out a point of Imagination and 
  shouts or otherwise makes himself conspicuous in order to make everyone within earshot 
  listen to what he has to say. No roll is necessary, but the character has no persuasive 
  power attached to his words; if anything, his audience may resent him for interrupting 
  their meal, conversation, or mugging. This is, however, an excellent way of seizing the 
  attention of even the most jaded, disinterested crowd. In combat, this a dangerous, but 
  effective, means of distracting the enemy. 
   
  Socialize (Yearning 1) The character has developed a very shrewd understanding of the 
  differences between classes. He is able to add his rating in Yearning to any roll used to 
  discover social climbers trying to rise above their station, and additionally may use his 
  Yearning in place of his SES when engaging in a contested roll that would normally use 
  SES. He need not Burnout an Imagination point to use this Pathos—this understanding 
  has become fundamental to his nature. 
   
  Caveat Emptor (Yearning 2) Occasionally a character finds himself needing to 
  convince someone to take a course of action that his target seems inclined, but reluctant 
  to take. The character may burn a point of Imagination and roll his 
  Yearning+Imagination+Mental Die to bring a character to their way of thinking. The 
  target must already be inclined to take the course of action; the target's reluctance 
  determines the Target Number as follows: 
   
  Target Number 
   
  Reluctance 
  8 
   
   
   Generally inclined, but unsure. (Examples: the 
  character is trying to get the target's phone number at 
  a bar or get an investor's support.) 
  11 
   
   
   Reluctant. (Examples: the character is trying to get 
  the target to give him confidential information in 
  exchange for money, is attempting to borrow a 
  significant amount of cash, or is attempting to get a 
  salesman to give him an item at cost.) 
  15 
   
   
   Inclined Against. (Examples: the character is trying 
  to get confidential information but is offering no 
  substantial reward, is trying to get the target to 
  participate in a blatantly illegal scheme, is trying to 
  get a salesman to sell him an item below cost.) 
   
  Creative Genius (Yearning 2) When creating or attempting to sell a product or work of 
  art, the character may Burnout a point of Imagination and roll Imagination+ 
  Yearning+Mental Die to infuse it with his own Yearning. Like calls to like, and this raw 
  need draws the possessive impulse of other characters. Anyone seeing the product or 
  artwork must defeat the character's initial Pathos roll or be so enamored of the    affected   
  item   that  he  will  pay  any  reasonable  price  to  own  it.  At  the  Narrator's discretion, 
  Degrees of Success may create increasingly desperate need. Note that the character using 
  this Pathos is not aware of the effects of the power once he has released it. He has done 
   
   
  "The unknown is a place I'd 
  rather not go because inside I 
  find precisely what I don't 
  want. Therein lies my faults, my 
  mistakes, and the portrait of my 
  failings. I can only hope no one 
  lays eyes upon it but me." 
  -Mark Adair 
   
   
  121
  
   
  his job—it's up to the greed and status-consciousness of his “customers” to do the rest. 
  This Pathos is only active for its first purchase or acquisition and only for the single item 
  on which it is used. After the initial acquisition, the character who gained the item may 
  find himself wondering why he willingly paid for it. A wise character using this Pathos is 
  careful to note that all sales are final. 
   
  Glimmer (Yearning 2) When the character wishes to draw a target's attention away from 
  himself, he may burn one point of Imagination and make a contested Yearning+ 
  Imagination+Mental Die roll. With any success the target is distracted for the turn by 
  sudden movement or light that flickers at the edge of his vision. For each Degree of 
  Success the target will be affected by this distraction for an additional turn, barring an 
  attack or circumstance to which the target could normally react.  
   
  Social Chameleon (Yearning 2) By burning out a point of Imagination, the character is 
  able to seamlessly blend in with any group that he chooses to. Note that he must be 
  appropriately dressed and comport himself in a manner consistent with the expectations 
  of those around him, but he is immune to the gaffes and faux pas that normally 
  accompany the kind of shameless deception in which the character engages himself. 
  Anyone attempting to see through the character's ruse must roll Perception+ 
  Yearning+Mental Die against the character's Imagination+Yearning+Mental Die in order 
  to catch on to the game the character is playing. With that being said, this Pathos allows a 
  character to blend in well enough that it's highly unlikely that anyone will become 
  suspicious enough to look closer without the use of Second Sight or an equivalent 
  unmasking Pathos.  
   
  Touch of Oil (Yearning 2) After burning out a point of Imagination, and successfully 
  rolling Imagination+Yearning+Mental Die with a Target Number of eight, the character 
  is able to add his Yearning to any roll attempting to circumvent mechanical security 
  measures through purely mundane means. A character must, for example, have 
  appropriate tools to pick a lock, but he has supernatural facility with those tools.  
   
  Carpe Diem (Yearning 3) By burning a point of Imagination and rolling 
  Yearning+Imagination+Mental Die, a character can attempt to blind another character to 
  the hazardous outcomes of a suggested course of action. The potential damage of the 
  suggestion determines the Target Number. 
   
  Target Number   
  Damage/Suggestion 
  7 
   
   
  Potential for minor inconvenience. ("Can I get in line in   
   
   
   
   
   
  front of you?) 
   
  10 
   
   
  Potential for embarrassment. ("Excuse me, sir, would you   
   
   
   
   
   
  mind holding my purse? Can you wear these shoes, too?") 
   
  14 
   
   
  Potential for professional harm. ("Why don't you just let me  
   
   
   
  in to see your boss?") 
   
  18 
   
   
  Potential for massive professional or small personal harm.  
   
   
   
   
  ("No, really, I'm not supposed to be in this cell; please let   
   
   
   
  me out." "He's not that big, and he just called you a jerk.   
   
   
   
   
  You should punch him.") 
   
  22  
   
   
  Potential for severe physical harm/suggestion of a crime.   
   
   
   
  ("Why don't you rob that bank?" "The street isn't that busy;  
   
   
   
   
  why don't you go run out and grab that cone?") 
   
  Note that the victim of this power will still not take the course of action unless he would  
  already  be  inclined  to  do so; a quiet accountant is unlikely to go rob a jewelry store just 
  because he forgot the consequences, and few people are willing to take any extensive 
  action to help a complete stranger unless the stranger in question makes it worth his time, 
   
   
  "Can anyone remember love? 
  It's like trying to summon up 
  the smell of roses in a cellar. 
  You might see a rose, but never 
  the perfume." 
  -Arthur Miller 
   
   
  122
  
   
  one way or another. 
   
  This power only works on a single, explicit course of action and can only be used on one 
  person at a time. The target also only overlooks the consequences for a number of hours 
  equal to the character's Yearning. At the end of that time the character will realize that 
  he's been fooled and may attempt to go after the character. 
   
  Craftsman (Yearning 3) The character burns out a point of Imagination and makes an 
  Imagination+ Yearning+ Mental Die roll against a Target Number of nine. If the roll is 
  successful, the character is able to add his Yearning as a bonus to all rolls to build, create 
  or repair an item or work of art for the rest of the scene. Degrees of Success may, at the 
  Narrator’s discretion, allow for even greater bonuses to this roll: two points of additional 
  bonus per Degree of Success. 
   
  Fad (Yearning 3) When creating or attempting to sell a product or work of art, the 
  character may Burnout a point of Imagination and roll Imagination+Yearning+ Mental 
  Die to infuse it with his own Yearning as in Creative Genius. Anyone seeing the product 
  or artwork must defeat the character's initial Pathos roll or become so enamored of the 
  affected item that he will pay any reasonable price to own it. At the Narrator's discretion, 
  degrees of success may create increasingly desperate need. Note that the character using 
  this Pathos is not aware of the effects of the power once he has released it. He has done 
  his job—it's up to the greed and status-consciousness of his “customers” to do the rest.  
   
  Unlike with Creative Genius, items affected with Fad retain their attractive quality 
  indefinitely, and any item functionally identical to the affected item has a similar effect 
  on potential consumers. With the use of this Pathos, something as common as a pair of 
  shoes may become worth killing over. 
   
  Gratuity (Yearning 3) By spending a point of Imagination and verbally suggesting it, a 
  character is able to make his victim misunderstand quantities or numbers. This can affect 
  the target's understanding of weights, measures, monetary amounts, or even arithmetic. 
  The character rolls Yearning+Retention+Mental Die and states the altered number he 
  wishes his target to perceive in a conversational or observational tone: reading off a total 
  due, counting out loud, or summarizing a transaction. After the affected character acts in 
  accordance with his understanding of the total, he will forget the precise number he 
  understood, possibly not ever becoming aware of the deception. This is a subtle, but 
  useful, power. 
   
  Target Number 
   
  Increase  
  7 
   
   
  Up/Down by 10% 
   
   
   
   
  11 
   
   
  Up/Down by 25% 
   
   
  15 
   
   
  Up/Down by 40% 
   
   
  19 
   
   
  Up/Down by 50% 
   
  Huckster’s Sense (Yearning 3) The character is able to identify the emotions (and 
  Passions) of those around him. If the character succeeds in a Perception+ 
  Yearning+Mental Die roll with a Target Number of nine, the character is able to know 
  precisely what Passions a character has, if any. At the Narrator’s discretion, Degrees of 
  Success may enable the character to determine what ratings a character has in his 
  Passions, and even particular Pathos. The character doesn’t receive this information in 
  any easily identifiable way—it’s simply a hunch. An accurate hunch, but a hunch 
  nonetheless. 
   
  Only Knocks Once (Yearning 4) The character first determines what situation he wants 
  or needs to create. This can be as vague as "I need money" or as specific as "I need 
  transportation to Miami." A character cannot say that he needs a foreign sports car or a 
  winning lottery ticket—that kind of demand is simply out of the scope of this power. 
  After determining the situation that he needs to create, the character burns a point of 
  Imagination and rolls Yearning+Perception+Mental Die. The result of the roll determines 
   
   
  "Dream lofty dreams, and as 
  you dream, so you shall 
  become. Your vision is the 
  promise of what you shall one 
  day be; your ideal is the 
  prophecy of what you shall at 
  last unveil."  
  -James Allen 
   
   
  123
  
   
  how effective the Pathos is, as follows: 
   
  Degree of Success 
  Example Effects 
  Success  
   
  Someone just happens to be driving the character's way and  
   
   
   
  offers the character a ride, the character finds five bucks on  
   
   
   
  the sidewalk, the character is perfectly qualified for a   
   
   
   
   
  promotion that happens to pop up. 
   
  1 Degree 
   
  The character wins a bus ticket to where he needs to be,   
   
   
   
  finds 20 bucks in a pair of pants or folded into a book, or the  
   
   
   
  character discovers that he's so impressed the boss that he's  
   
   
   
  created a position for the character.  
   
   
   
  2 Degrees 
   
  The character wins 50-100 dollars in a small-stakes lottery,  
   
   
   
  poker game, or from Bingo, wins a free plane ticket to  
   
   
   
   
  where they need to be, or he gets a sudden, massive   
   
   
   
   
  promotion. 
   
  3 Degrees 
   
  The character suddenly comes into 1,000 dollars, wins a   
   
   
   
  dozen flight vouchers, or is promoted to absolute sinecure. 
   
  Note that the effects of this Pathos may take a week or two to take effect, and the benefits 
  are by nature temporary. Even with a promotion, the improvement is short-term before 
  the character's pay and authority is reduced, or the character is so overwhelmed by the 
  workload that he has to step down. 
   
   
  Persuade (Yearning 4) At the cost of one point of Imagination, the character can make a 
  highly persuasive argument to a small group of three or more people in his presence. He 
  makes an Yearning+Imagination+Mental Die roll with a Target Number equal to the 
  combined Yearning+Imagination of all the people he's attempting to convince. If he 
  succeeds, the group is convinced of anything from accepting a product in a corporate 
  boardroom to engaging in peaceful protest. Note that this power only works on groups of 
  people, not individuals, as the power appeals to the combined interest of the group. Also 
  note that this power appeals to their interests, thus blatantly unprofitable propositions 
  ("You should give me all of your money now.") or violent actions are out of the question 
  unless the targets were already inclined to such action (a televangelist's audience or a 
  rioting mob, for example).  
   
  Potence (Yearning 4) The character spends a point of Imagination and rolls 
  Yearning+Imagination+Mental Die against a target's Yearning+Resilience+Physical Die. 
  The character activates this Pathos when he witnesses someone using a substance 
  (knowingly or unknowingly) that has some physiological or psychological effect on the 
  character using it. If the character using this Pathos is successful, the target then becomes 
  addicted to the substance for a day, willing to go to truly frightening extremes to get his 
  fix. Each Degree of Success extends the duration of this addiction. The target takes a 
  penalty equal to the character's Imagination to any action in the presence of the substance 
  to which he is addicted that does not directly contribute to him being able to consume that 
  substance. 
   
  Degree of Success 
  Duration 
  1 Degree 
   
  Additional day. 
  2 Degrees 
   
  A week. 
  3 Degrees 
   
  A month. 
   
  Purify (Yearning 4) The character burns a point of Imagination in order to suppress an 
  addiction or compulsion in himself or another (whom he must be touching) for one hour. 
  This Pathos allows a character to temporarily overcome Pathos such as Fad and Potence, 
  as well as to temporarily ignore certain Consequences. If this Pathos is used to nullify or 
  circumvent 
  an 
  existing 
  Pathos, 
  the 
  character 
  using 
  Purify 
  rolls 
   
   
  "People only see what they are 
  prepared to see."
  -Ralph Waldo Emerson 
   
   
  124
  
   
  Imagination+Yearning+Mental Die against the initial activation roll of the Pathos being 
  nullified. Degrees of Success may, at the Narrator's discretion, allow the character to 
  ignore his addiction or compulsion for longer periods of time, or even overcome them 
  completely. Note that Consequences cannot be permanently overcome by means of this 
  Pathos, no matter how many Degrees of Success a character accumulates. 
   
  Tagging (Yearning 4) The character burns out a point of Imagination and touches an 
  object, making an Imagination+Yearning+Mental Die roll with a Target Number of ten. 
  If the character succeeds, he has an instinctive understanding of the direction in which the 
  object lies for a number of subsequent days equal to his Yearning. This power is not 
  affected by range, however, if the object is destroyed, the character immediately knows. 
  Note that this does not tell the character the location of the object he has tagged, merely 
  its direction from him. 
   
  Bloodhound (Yearning 5) The character burns out a point of Imagination while 
  searching a room or small building. For the remainder of the scene, the character is able 
  to make a Perception+Observation+Mental Die roll with his Yearning applied as a bonus. 
  If the roll is successful, the character finds anything in the room that has been hidden. 
  The Narrator rolls secretly for the character, basing the Target Number of the roll on the 
  relative difficulty of finding any particular object, crevice, passage, trap, surveillance  
  tool  or  security  device.  (A  hollow  panel  in a wall would have a Target  
  Number of 10, for example, whereas a wiretap hidden in a false-bottomed safe inside a 
  hollow panel would have a Target Number of 15. Degrees of success may give the 
  character further information about hidden objects or locations, such as how they're 
  powered, what they do, how they're triggered, and possibly even where they come from. 
   
  Fugue (Yearning 5) The character begins speaking sonorously to his target and engages 
  in a contested Imagination+Yearning+Mental Die roll with him. If the Liminal using this 
  Pathos is successful, the target is temporarily forced into a state of high suggestibility for 
  a round. The target's connection with his memories is entirely severed—he will have no 
  idea who or where he is, and will be unable to use any Skill that is not entirely dependent 
  on muscle memory (over learned behavior like driving may, at the Narrator's discretion, 
  be retained). The target is not panicked by this sudden loss of identity, but instead finds 
  himself in a state of dreamy, bovine lassitude. He will obey any instructions that anyone 
  gives him for the round that do not directly endanger his physical well-being, though his 
  ability to perform is severely limited by his nearly-catatonic state. Degrees of Success 
  will extend the duration of this effect. 
   
  Degrees of Success 
  Time 
  1 Degree 
   
  Additional round. 
  2 Degrees  
   
  Five minutes. 
  3 Degrees 
   
  One hour. 
   
  Identification (Yearning 5) The character burns a point of Imagination and rolls 
  Yearning+Imagination+Mental Die to change a piece of identification. The Target 
  Number for this roll is based on the  type of identification the character is attempting to 
  imitate. The card will immediately appear to take on the changes the character wishes, 
  from showing a character's security clearance in a government installation to showing an 
  altered name or out of state driver’s license. This Pathos operates for a scene. Suspicious 
  individuals may roll Perception+ Yearning+ Mental Die against the Liminal's initial 
  activation roll in order to see past the thin veil of misperception covering the 
  identification.  
   
  Note that this Pathos does not actually physically alter the identification, merely how 
  people perceive it. Purely mechanical means of checking the identification (magnetic 
  strips,  security  codes,  etc.)  will  not  be  fooled  by  this Pathos. Similarly, any copies  
  made of the identification will initially reveal the information the character wishes to 
  convey, but will later revert to its true appearance. Wise Liminals use someone else's 
  identification for this Pathos for precisely that reason. 
   
   
  "Come Fairies, take me out of 
  this dull world, for I would ride 
  with you upon the wind and 
  dance upon the mountains like 
  a flame." 
  -WIlliam Butler Yeats 
   
   
  125
  
   
   
  Target Number 
   
  Type of Change/Identification to Be Imitated  
  11 
   
   
  Simple Change (change of name, information, home state). 
  13 
   
   
  Change in type (driver's license to military ID or movie   
   
   
   
   
   
  rental card to driver's license). 
  15 
   
   
  Security Change (Armored car driver ID, corporate   
   
   
   
  employee badge). 
  17 
   
   
  Severe Security Change (Police badge, Bar Association  
   
   
   
  membership). 
  21+ 
   
   
  Top Secret Clearance. 
   
  Lie (Yearning 5) The character burns out a point of Imagination and makes an 
  Imagination+Yearning+Mental 
  Die 
  roll, 
  opposed 
  by 
  his 
  target's 
  Perception+Yearning+Mental Die roll. He then makes a statement, such as "I'm really the 
  President of the Dominican Republic, traveling in disguise." If the lying character wins 
  the roll, he shores up the apparent veracity of his statement with raw Passion, making it 
  irresistibly believable. Note that obviously false statements such as "I'm invisible," will 
  be disbelieved; this Pathos isn't that powerful. However, a statement such as "I'm usually 
  invisible, but on the full moon I can be seen," will be believed, as long as the explanation 
  seems to account for all factors. Ultimately, the line between merely implausible and 
  manifestly untrue is up to the Narrator. 
   
  Territory (Yearning 5) When a character with this Pathos wants an additional degree of 
  security for objects or places he considers “his” (the actual legal ownership of the 
  location or item is irrelevant) he may designate an area (whose radius may not to exceed 
  his Yearning in yards) by delineating its boundaries in some way (a chalk outline, tape, or 
  thread for example). The character then rolls Imagination+ Yearning+ Mental Die against 
  a Target Number of 11. If the roll is successful, whenever someone (or something) enters 
  the character's territory, he instantly knows that he has been invaded. The effects of this 
  Pathos do not wear off unless the character deliberately renounces his hold on an area (or 
  his Yearning rating decreases, for whatever reason). The character may have as many of 
  these “territories” as he has points in Yearning, however, the character is unable to 
  determine which of his territories have been invaded without direct investigation—his 
  mental alarm does not inform him. Degrees of Success double the area that can be 
  affected by this Pathos.  
   
  Sadistic Need (Yearning 6) The character burns out a point of Imagination and engages 
  in a contested Imagination+Yearning+Mental Die roll with a target he is physically 
  touching. If the character succeeds, he pushes his own Yearning into the target, doing an 
  amount of (invisible) damage equal to his Yearning score for a single round. This sudden 
  influx of unadulterated wanting is so intense as to approach and even, by some accounts, 
  exceed physical pain. At the end of that round, all damage assessed by means of this 
  Pathos heals. At no point does the target appear to be actually injured, he merely behaves 
  as though he is. Though a character may lose consciousness by means of this Pathos, he 
  will never die or be permanently injured. This is a brutally effective form of torture, as a 
  person can undergo a nearly infinite amount of these “treatments” without physical ill 
  effect. At the Narrator's discretion, use of this Pathos may give a character a bonus equal 
  to his Yearning on Intimidation or Interrogation rolls against a victim. Degrees of 
  Success increase the amount of time that the “damage” from this Pathos remains. 
   
  Degrees of Success 
  Duration 
  1 Degree 
   
  Full day. 
  2 Degrees 
   
  Two days. 
  3 Degrees 
   
  One week. 
   
  Skeleton Key (Yearning 6) By spending a point of Imagination, the character is able to 
  turn any standard (non-electronic) key into a precise fit for a certain lock. Note that this 
  only works for that particular lock; using the key on other locks requires additional uses 
  of the Pathos. However, once a key has been "imprinted" with the pattern for a certain 
   
   
  "I hope our wisdom will grow 
  with our power, and teach us 
  that the less we use our power 
  the greater it will be." 
  -Thomas Jefferson 
   
   
  126
  
   
  lock, it will always hold the ability to open that particular lock. Frequent use of this 
  power on a single key can render it able to open a staggering number of doors, safe-
  deposit boxes, and trunks. This Pathos can also be used to create a key that will start a 
  car, but the door and the ignition count as two separate uses, even if the car uses only one 
  key for both. 
   
  9/10ths (Yearning 7) The character burns a point of Imagination and makes a contested 
  Yearning+Retention+Mental Die roll. If the roll succeeds, the character is able to 
  convince his target to give him a single item, whether it be a house, car, or gun. If asked, 
  the target will remember willingly giving up the item; the character's possession of the 
  item is perfectly legal, if a little odd-looking. The target will, at his earliest ability, sign 
  over any property and go through the proper paperwork if prompted (and necessary).  
   
  If the target succeeds in a reflexive contested Perception+ Yearning+ Mental Die roll, he 
  will feel something strange about the transaction, and may Burnout a point of Retention 
  to break free of the suggestion, refusing to sign over the item in question. The character 
  may, of course, try to convince the target again, but it is still subject to the same roll. 
  Obviously, this Pathos is only safe to use on those without any Yearning (or those 
  without any Perception—ideally, both). 
   
  Note that after giving up ownership of an item, many people will feel that the character is 
  obligated to them, and may go out of their way to remind the character of the obligation. 
   
  Sour Grapes (Yearning 7) The character spends a point of Imagination and consoles the 
  target. With a successful contested Yearning+Imagination+Mental Die roll, he manages 
  to strip his target of any desire the user of this Pathos wishes. The desensitization will last 
  one day, longer with Degrees of Success. A character may only be desensitized to one 
  thing at a time, and cannot be subject to this Pathos again while still under the influence 
  of another use. This power is ineffective against Consequences, and any attempt to 
  override the effects of the Pathos must beat the initial Pathos activation roll. Also note 
  that while this power can strip a person of any desire, they may still need to engage in the 
  activity. Thus, while a character may no longer feel hungry, he may still eat (with great 
  disgust) because failure to do so is actively dangerous. This is most useful when used on 
  heat-of-the-moment desires, such as  an  insulted biker's need to pound a character into 
  the pavement. Degrees of Success  
  increase the amount of time that the character loses the urge. If the desire would have 
  naturally expired in the intervening time, the wish disappears entirely. 
   
  Degree of Success 
  Duration 
  1 Degree 
   
  Additional day. 
  2 Degrees 
   
  A week. 
  3 Degrees 
   
  A month. 
   
  Ride Sympathy (Yearning 8): After stepping into a puddle, mirror, television, shadow, 
  closet or other suitable area/device, the character burns out a point of Imagination and 
  rolls Yearning+Imagination+Mental Die against a Target Number of 14. If the character 
  succeeds in the roll, he is able to travel a number of miles equal to his Yearning through a 
  means he must choose upon purchase of the Pathos, stepping out of a similar area or 
  device at the other end. This Pathos can be purchased additional times for multiple means 
  of transit. Additional Degrees of Success increases the possible distance traveled by a 
  factor of ten (one Degree of Success equals Passion times ten miles, two Degrees of 
  Success equals Passion times one hundred miles, three Degrees of Success equals Passion 
  times one thousand miles.). Failure results in the character failing to step through the 
  device or area. Degrees of Failure may result in the character arriving in the wrong 
  location, with greater Degrees of Failure resulting in increasingly embarrassing or 
  dangerous arrival locations. 
   
  If the character has the proper full name of the individual or location to which he wishes 
  to travel, he receives a two-point bonus to his roll. If he has a picture, likeness, social 
   
   
  "One often hears of a horse 
  that shivers with terror, or of a 
  dog that howls at something a 
  man's eyes cannot see, and 
  men who live primitive lives 
  where instinct does the work of 
  reason and are fully conscious 
  of many things that we cannot 
  perceive at all. As life becomes 
  more orderly, more deliberate, 
  the supernatural world sinks 
  father away."
  -William Butler Yeats 
   
   
  127
  
   
  security number or handwriting sample he receives a four-point bonus to his die roll. If he 
  has a physical sample of the individual or location to which he wishes to travel (paving 
  stone, blood, tears, hair clippings), he receives a six-point bonus to the roll. 
   
  The trip is itself supernaturally fast, lasting less than a minute as the character is pulled 
  by the force of his intention to his goal. The character will arrive at his destination in 
  twelve turns minus his Yearning rating. The character of the trip is determined by the 
  means by which the character travels. Mirrors are a funhouse tour of warped images and 
  inverted light; while zipping through televisions, the character is confronted with jeering 
  celebrities and overwhelming vistas of prime-time-news destruction. The Narrator is 
  encouraged to make the journey as traumatic as possible.   
   
  The character can carry up to 100 pounds times his Intensity with him when he uses this 
  Pathos; this extra weight can consist of equipment or living matter. 
   
  Whispers (Yearning 8) The character spends a point of Imagination and whispers the 
  suggestion of a course of action into the ear of his target. The suggestion must be 
  whispered, it cannot be spoken at a conversational level or shouted. This suggestion can 
  be as innocuous as “Wouldn't a cheeseburger be great right now?” or as dangerous as 
  “Why don't you go snort coke until you pass out?” With a contested 
  Yearning+Imagination+Mental  Die  roll  the  victim will be suddenly overtaken by this  
  compulsion. The character is speaking directly to the urges of the victim without 
  intermediary conscience or intellect standing in the way. Degrees of Success will extend 
  how long and to what extremes the victim is willing to go to fulfill his artificial desire. 
  The intention must be whispered before the roll; failure with this Pathos makes a 
  character look foolish at best. 
   
  Degree of Success 
  Limitations 
  1 
   
   
  Within moral regards of the character; the effect lasts for the   
   
   
   
   
   
  scene. 
  2 
   
   
  The character will act in any way that doesn't endanger him;  
   
   
   
  the effect lasts for an hour. 
  3 
   
   
  No act is too extreme; the effect lasts for a day unless the  
   
   
   
  desire is fulfilled. 
   
  Deal (Yearning 9) The character extracts an agreement from another individual, touches 
  that character, and burns out any amount of Imagination that he chooses. If the person 
  who made the agreement fails to fulfill the letter of the agreement in any way, that person 
  makes all rolls with a penalty equal to the amount of Imagination the character using 
  Deal burned out at the time of the agreement. Misfortune follows the penalized character 
  as all the forces of random chance and personal disaster align against him; car accidents, 
  power outages, random lawsuits and nosy neighbors plague him. This penalty lasts until 
  the character who welched on the deal fulfills his obligations (in many cases, an 
  impossible task) or a number of years pass equal to the Intensity of the character using 
  Deal. If the character using Deal fails to set time limitations on the agreement, ("You 
  hereby agree to kill Stephen Viet.") the character is able to avoid any negative 
  repercussions by simply procrastinating. Many Liminal individuals who use Deal write 
  elaborate contracts, full of clauses and subclauses, preventing their "customers" from 
  weaseling out of the agreement. 
   
  Note that the individual against whom the character uses Deal must agree of his own free 
  will, though bribery, blackmail, and outright physical threats are commonly used as 
  "incentive."  
   
   
  Trespass (Yearning 9) The character burns a point of Imagination and rolls his 
  Yearning+ Imagination+ Mental Die against the Target Number of the building he wishes 
  to infiltrate. If successful, he can enter the building, easily bypassing all mechanical 
  security measures. Locks fall open at the character's touch, lasers fail to trigger when the 
   
   
  "Take from the church the 
  miraculous, the supernatural, 
  the incomprehensible, the 
  unreasonable, the impossible, 
  the unknowable, and the 
  absurd, and nothing but a 
  vauum remains." 
  -Robert Green Ingersoll 
   
   
  128
  
   
  character passes through them, and cameras fail to pick up anything. Motion sensors will 
  not activate, and pressure plates will not register his passage.  
   
  Degrees of Success may, at the Narrator's discretion, enable to character to flawlessly 
  find his way through even the most unfamiliar building. Only a character with Intensity 
  may see the character while he is using Trespass—other individuals will simply fail to 
  register his presence, even if the observing Liminal draws attention to the Pathos-using 
  character. 
   
  This Pathos automatically stops when and if the character takes hostile, physical action 
  against another individual—otherwise it lasts for a scene. 
   
  Target Number 
   
  Building Security  
   
   
  12 
   
   
  Small Business with one alarm. 
   
   
  15 
   
   
  Small Business with motion sensors. 
   
  18 
   
   
  Small Bank with a small security suite. 
   
  21 
   
   
  Police Station will full security system. 
   
  23 
   
   
  Bank, complex or well-protected manor. 
   
   
  Made of Stars (Yearning 10) The character burns out a point of Imagination and 
  touches a willing target. The character then rolls Imagination+Yearning+Mental Die 
  against a Target Number determined by the degree to which the character wishes to 
  change his target. If he is successful, he is able to move the specified number of points 
  among Qualities as the character using the Pathos wishes. If the character is attempting to 
  move two points of Qualities and succeeds, he may take one point out of Resilience and 
  put it in SES and another point out of Imagination and put it in Retention. Or the 
  character may take two points from Resilience and place both in SES. Characters may 
  also choose to move any Factor, worth any number of points, provided all the points are 
  either removed from or added to Factors in a single Quality. Negative and Positive 
  Factors can both be moved in this way, though Negative Factors demand that another 
  Negative Factor take their place, and Positive Factors require the same. Negative and 
  Positive Factor Points may cancel each other out using this Pathos, however. In the end, 
  though, all Factors changed must relate in some way to a single Quality. 
   
  In any event, while this Pathos can create massive, life-altering changes, the change has 
  to come from somewhere—the wealth, talent or health granted by this Pathos isn't created 
  ex nihilio. The changes the character creates are instantaneous and inexplicable. Bank 
  accounts simply develop a few extra zeros, a character's eyes become sharper, or his 
  whole body responds in ways it never has before. 
   
  If the character attempts to use this Pathos on an unwilling target, the character must still 
  touch his victim and win an opposed Imagination+Yearning+Mental Die roll. The 
  character is generally only able to move one point in Qualities or a single Factor when 
  using this Pathos on an unwilling target, though, at the Narrator's discretion, this Pathos 
  may be effective for a number of additional points or Factors equal to the character's 
  Degrees of Success. 
   
  This Pathos may only be used successfully once every 28 days on a single target. 
   
  Target Number 
   
  Change 
  16 
   
   
  Movement of one Quality point/one Factor.    
  19 
   
   
  Movement of two Quality points/two Factors. 
  22 
   
   
  Movement of three Quality points/three Factors. 
  24 
   
   
  Movement of four Quality points/four Factors. 
   
   
   
   
  "The supernatural is the 
  natural not yet understood."
  -Elbert Hubbard 
   
   
  129
  
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
  Chapter VI: St Augustine 
  The Lovely, Deadly Land of Florida 
   
  Sometimes I can't hear myself think over the waves, but after I stopped hurting I felt 
  power in them. Sometimes the people by the ocean can hear me, and they run away. I 
  think I'll be able to go home soon if only they keep coming here. So I'm quiet now, I'm 
  quiet and I let the fishers come here to catch many fish. But sometimes I have to let them 
  know I'm here. I have to make them remember me. And that's when I tell them to speak to 
  me. To tell me stories. I tell them to speak up so I can hear them over the waves. 
   
  Over the course of its long life, the city has been attacked by Sir Francis Drake, looted by 
  other pirates, burned, once on purpose and a few times by accident, and endured nearly 
  every other disaster a city can possibly survive. Whether through stubbornness or faith in 
  the future, St. Augustine still stands, if not strong, then at least determined. 
   St. Augustine has an astonishingly low crime rate; especially considering the fact that 
  official census count of 12,000 people does not include any Liminal who has any degree 
  of Fade. Given the fact that the Faded are more likely than anyone else to be behind 
  unexplained murder, vandalism, and theft, this low crime rate is even more impressive. 
  Of course, the low crime rate, for its part, doesn't include any Liminal-on-Liminal 
  violence—there's no record or evidence in most cases to make a case. 
  A significant part of this low crime rate is directly due to the police. They aren't 
  particularly skilled or driven. They are, however, extraordinarily well funded. As a tourist 
  town almost totally dependent on people having fun when they come in, the appearance 
  of safety is a high civic priority. The police are also extraordinarily bored. Anything that 
  even begins to smack of suspicious activity is going to have the authorities on it in a 
  heartbeat. They're able to call equally fast, equally bored and equally well funded, too. 
  Characters may have access to Pathos and Noumenal pockets, but the police have access 
  to guns, armor, cars, handcuffs and SWAT teams. As a general rule, police should have a 
  total of eight plus d6 to roll in any combat-related situation, an initiative modifier of 
  eight, and a Natural Defense of eight. For the sake of simplicity, whenever a police 
  officer (or any NPC whose precise Qualities are inconsequential) burns out or takes 
  Trauma, subtract the Trauma or Burnout from all applicable numbers. Practically, this 
  means that an NPC like this has a single Quality with a rating of eight and no Skills. 
  130
  
   
  Anastasia Park 
   
  Events 
   
  Anastasia Island has been host to many bitter engagements. In 1837 two prominent 
  Seminole leaders, Osceola and Coacoochee, were captured when they came under a white 
  flag, along with seventy unarmed warriors. The Seminoles were quickly seized and 
  imprisoned at the Castillo de San Marcos, at that time called Fort Marion, for several 
  weeks. Over time, they became emaciated due to the poor living conditions. Feigning 
  sickness, Coacoochee and Hadjo, another imprisoned chief, along with a small band of 
  warriors survived on medicinal roots and nothing else. Eventually they became small 
  enough to fit out of the slot-like window of the Castillo prison and drop into the moat 
  below to escape from the "inescapable fort". 
   
  Unfortunately for the Seminole, Coacoochee was captured again in 1942. His recapture 
  marked the end of the Second Seminole war; he and most of the Seminole nation were 
  forced to move west past the Mississippi. Several other tribes in the area were even more 
  unfortunate, facing disease, forced labor, and a quiet end as they Faded out. 
   
  Small Pox infected one such tribe in spring. Just as the tribe began to gain strength, 
  winter settled in and destroyed their ability to resist. About of loggers methodically 
  finished all those who they believed managed to survive, then looted the bodies before 
  the tribe Faded out fully. Several members of the tribe survived the onslaught, consumed 
  by their Passion. 
   
  Many, now-Liminal, tribes began to gather in Anastasia Park, bound to the island, 
  consumed by their Fury at what was done to them and the Anguish of losing everything. 
  Establishing themselves among the other tribes, an uneasy truce was brokered. The 
  survivors couldn't afford internecine conflict—St. Augustine and its occupants made a 
  much more immediate threat.  
   
  Recently, the largest and most powerful tribe among the inhabitants pulled together all of 
  its members and vanished. Without a faction clearly able to step up and fill the position, 
  the truce among tribes has become shaky at best. Each group seems to be turning toward 
  watching their own territory and scraping up the Emotion of prey that happens to come 
  through. With the disappearance of the tribe a few other things have become noticeable in 
  Anastasia Park. 
   
  The night the tribe disappeared, throughout the Park, pools of rich Emotion, without 
  apparent source, sprang up, irregularly dotting the landscape. With no discernible pattern, 
  and the precious sources of energy appearing to be very limited in nature, some tribes 
  have altered their territories to absorb nearby pockets. Areas previously uncontested are 
  now hotbeds for powerful Liminals who roam the park where prey has already  become  
  an  issue.  Some  groups have sworn off hunting prey in the traditional 
   sense, raiding these pockets exclusively. The origin and effects of these energies have 
  yet to be determined, making several of the conservative very skittish about them. Some 
  tribes have set up defenses around them, determined to study or save them for 
  emergencies. 
   
  Location 
   
  Anastasia Island is a massive break of land that houses a portion of St. Augustine itself, 
  including the 1,700 acre national park. The island, accessible by several bridges, is a 
  prime location for tours, weekend visits, or scheduled events. Anastasia Park is open 
  year-round from 8am to sundown, and is popular enough to require that campers reserve 
  a site up to a year in advance during the busy summer months. The park features two 
  hundred parking spots, one hundred thirty-nine campsites, miles of trails accessible by 
  beach or forest, and marked off-road areas away from other scenic and wildlife-sensitive 
   
   
  “There’s nothing no one can do 
  in Anastastia but die – and me 
  and mine aren’t dying for it.” 
  -Swamp Cat  
   
   
  131
  
   
  locations.  
   
  The park maintains four miles of sandy white beaches and dunes, closed to vehicle 
  access, which are often used for many events by active citizens. Many events, 
  fundraisers, and wildlife enthusiasts flock to the park grounds annually, around a quarter 
  million per year. The beach is home to nesting turtles, dune mice, and a menagerie of 
  birds and crustaceans. Past the beachfront, low brush and grasses have gained root and 
  given rise to dunes that taper into groves of oak, southern magnolia, and red bay trees. 
   
  Also included within Anastasia Park, there is a tidal lagoon, Salt Run. This isolated inlet 
  serves as a prime fish hatchery, drawing in fishermen among other water enthusiasts. 
  Many forms of sea life can be found here, sheltered from the harsher elements of the 
  Atlantic Ocean. Visitors can bring their own equipment to windsurf, canoe, or kayak 
  here, or rent from the local sporting goods store. The island also features an outdoor 
  supplier for any other equipment, making this a popular family venue, along with newly 
  constructed children's playgrounds and picnic areas at Sea Turtle Pavilion. 
   
  Blue Circle Drive 
   
  Events 
   
  Fade has taken away Robert Atwater's reputation in his neighborhood, along with his 
  family and the belief that he could ever live a normal life. He attended the local 
  elementary school before dropping out in fourth grade and never returning. For a while, 
  speculation ran wild; notes were sent home, and friends paid him visits. Classmates that 
  stopped by to check up on him went home terrified and inconsolable, attempting to color 
  their rooms blue. This sort of behavior was hardly tolerated, and the cause of these 
  symptoms was obvious: the Atwater's child was to blame. One parent after another barred 
  their child from visiting Robert until none were allowed to pay him any visits. Soon after, 
  no one came around. 
   
  For a few months, Robert Atwater became a name spoken in hushed tones away from the 
  children. His own parents, his only remaining link to the world outside his room, were 
  haggard and drained from taking care of their isolated child. Talking about Robert was 
  best avoided for all parties around town, eventually making this sort of arrangement 
  routine. His parents refused to bring up Robert's condition outside of the house, and the 
  family fell from public view. A few years later, Robert himself disappeared from the 
  town's mind and thereafter the world at large. No one thought twice when his parents 
  moved out, leaving him behind in a room they ceased to realize existed.  
   
   
  When Bloody Mary no longer visited Robert, he finally emerged from the house a 
  disheveled, unsocialized, and unbalanced figure. His Intensity was so high that only 
  children who were plagued by Bloody Mary as he had been could see or understand him. 
  Gathering those that Bloody Mary terrorized together and promising them safety, 
  children previously abandoned by parents or the social system found a new home. 
  Robert, for his part, found a new purpose. 
   
  Location 
   
  The Blue Circle is a once-proud suburban home in the middle of a neighborhood that has 
  fallen to impoverishment. Little notice is paid to the cluttered yard, littered with all sorts 
  of oddities, all blue. Anything that the children could move, drag, and secure has been 
  fixed into the yard, forming a large circle around the perimeter, encompassing the house 
  and a well at the rear. The brick well, the house's only source of water, has been modified 
  with a hose and hand pump. Cluttered about the spigot are all manners of bottles and jugs 
  that have been painted blue. No water is allowed to pool inside the house for fear that 
  Bloody Mary may use it as a passage into the house. All reflective objects have been 
   
   
  "The belief in a supernatural 
  source of evil is not necessary: 
  men alone are quite capable of 
  every wickedness." 
  -Joseph Conrad 
   
   
   
  132
  
   
  stripped, covered or destroyed and removed from the premises upon Robert's command. 
   
  The house itself is two stories tall and built in the mid-seventies. Its original brown-
  ridged siding shows through beneath sloppy, blotched coats of blue paints and crayons. 
  All windows have been replaced with plywood, cardboard, excess scrap, and anything 
  they could scrounge up to secure their sanctuary. 
    
  Inside there has been an effort to transform it completely blue. The furniture, rickety 
  chairs, handsewn cloth beanbags, mattresses and blankets, are all in patchwork blues. All 
  residents wear one exclusive color and only feeling safe when they venture out while it is 
  raining, believing that the devil is hurt by fresh water. Their rituals and day-to-day 
  practices are based upon Robert's word and necessary survival. 
   
  Of the rooms inside, many have been converted to sleeping quarters for those that live 
  there. Robert's old bedroom is now the shrine to the Blue Lady, adorned with the doll as a 
  centerpiece. All surfaces of the room are covered in blue, even the flooring where the 
  carpet was removed to allow direct application of markers, crayons, and paint. 
   
  An old, weatherworn crate, filled with tarnished canned goods, candles and other gifts, is 
  collected by the children each Thursday. No one seems to know the source of these gifts, 
  although many, including Robert, himself, attribute it to the Blue Lady's favor. 
   
  In the house there are many rules, all enforced by Robert. All water must be kept inside a 
  sealed blue container, those who wear blue are safe from Bloody Mary, gifts to the Blue 
  Lady must be gathered and stored in the crate out back, and perhaps the most important–
  no reflective objects are allowed near or in the house. Joseph was the last person to 
  accidentally break this rule, bringing in a mirror that Robert looked into. Upon 
  doing so Robert clutched his face, screaming in terror as the mirror shattered against the 
  tile floor. None of the children know what he saw and no one has been able to pry an 
  answer out of Robert, who suffered from nightmares for days after. 
   
  Robert Atwater 
   
  A scraggly youth of 18, with blotchy patches of facial hair he regularly needs to trim or 
  shave; Robert is an exuberant caretaker. As the owner of the Blue Haven and father 
  figure of all the wayward children that end up there, he is a tireless perfectionist and strict 
  authoritarian. His rules in the Blue Circle are inviolable and all those who enter are made 
  aware both of these and the consequences that come with ignoring them. One would 
  never expect such resolute and absolute responsibility from an individual of his nature. 
  Most often found smiling and joking with the children, he truly is a tender spirit, 
  hardened by the necessities of survival. Every child who stays inside the Blue Circle 
  looks up to Robert as a leader and means of day-to-day existence. 
   
  It was common practice for children to challenge the 'myth' of Bloody Mary for any 
  number of reasons; Robert himself was no different. What was different was that Bloody 
  Mary appeared. As the creature slid through the bathroom mirror and raked out at him, 
  Robert fled from his bedroom across the house. With no one home, Robert was 
  considered easy prey. As she closed in on him, he took refuge in his mother's downstairs 
  guest room. Still haunted by the nail marks she left in his arm as he escaped her grasp, he 
  was thankful to later realize the blue tinted room was his only salvation. Unable (or 
  unwilling) to cross the blue threshold, Bloody Mary retreated. 
   
  Surviving Bloody Mary, Robert refused to leave the blue room that his mother had set up. 
  Violently opposed to even the suggestion of stepping close to the door, his parents moved 
  his bedroom downstairs, trying to relieve his terror. His parents could not understand 
  their son any longer; he destroyed any mirror he ran across and slowly colored any spot 
  in the room with blue crayons. Unable to afford intensive psychotherapy and unwilling to 
  send Robert away, he was allowed to continue his practices with fewer and fewer 
  attempts to dissuade him. Slowly transforming the entire room around the only doll his 
   
   
  "Your ability to rationalize 
  your own bad deeds makes you 
  believe that the whole world is 
  as amoral as you are."
  -Douglas Coupland 
   
   
   
  133
  
   
  mother owned, a small porcelain figurine with golden locks and an immaculate blue 
  dress, Robert created a ritual to ward off Bloody Mary. There was no doubt in his mind 
  that it was the Blue Lady's influence within the doll that had kept him safe the entire 
  time. 
   
   
  Robert eventually felt the threat of Bloody Mary fade. By this time his parents had 
  abandoned him, his desire to survive forced him to finally leave the blue room. Finding 
  other children who were faced with the terror he had fought off, he was able to confront 
  his own fear. Establishing his home as a fortress against Bloody Mary, other children 
  were invited to dwell with him. Under his ever vigilant guidance, the children of the Blue 
  Circle band together to escape the mirror witch's tyranny. Still haunted by his run in with 
  Bloody Mary, Robert has unknowingly grown up giving the one thing he dreads most a 
  reliable source of food. 
   
  Description 
   
  Robert is tall and rail thin, with gaunt and haggard features from a life of worry and 
  stress. Wearing a pair blue jeans and a blue shirt that is often too big for him, he seems 
  out of place in most any setting. His awkwardly lying brown hair looks as if it is trimmed 
  by one of “his” kids.  
   
  Robert Atwater, the founder of the Blue Circle group, is an 18 year old survivor of 
  Bloody Mary. While he is too old to reliably see her, he is determined to keep up the 
  fight. He has shacked up in an old house on a seedy, unkempt street where he runs an 
  unofficial halfway house to help protect children who have seen Bloody Mary.  
   
  He is becoming a creature of superstition. The children are there to be protected, but he 
  makes them perform a plethora of small rituals. Their Dread of what will happen if they 
  don't perform these rituals is what he will inevitably feed off of.  
   
  He has an Intensity of six. Years of careful living and talking to “the Blue Lady” have 
  allowed him to reduce his once much-higher rating, which he believes was due to a curse 
  that Bloody Mary, the Devil or one of his minions placed on him. He thought that the 
  only way it could be reversed was by killing the individual who “cursed” him. When the 
  “curse” subsided on its own, it left him confused but grateful to his benefactor, whom he 
  believes is the Blue Lady herself. 
   
  The stress from his theories is dealt with by smiling and remaining positive. He is deathly 
  afraid of Bloody Mary - both to deal with her himself and what may happen to whomever 
  he sends after her. Should he continue following this path then his cause is a lost one.  
   
  Robert recognizes that there are two types of magic: holy and unholy. There is a fine line 
  between good and evil that he nervously judges. He will do irrational things to "keep the 
  children safe." Good, helpful magic is from the Blue Lady; bad magic means the 
  practitioner is in league with Bloody Mary.  
   
  The Blue Lady is a doll the leader received when he was younger. The two brothers gave 
  it to him after discovering that he had been attacked by Bloody Mary. They aren't dumb - 
  they know what she does. The boy put so much hope into the doll that it became a lucky 
  charm of sorts. It became a goddess when he prayed for help and food was delivered. His 
  second attack came a few months before he turned 13. When he wasn't attacked again, 
  and rarely saw Bloody Mary thereafter, he attributed it to the doll's protective powers.  
   
  The Kids 
   
  Stacy Grzywyski, Ellen Weaver, Dakota Tanner, Joseph Stevenson and Malachi 
  Goodman were all students at St. Augustine Southwest Elementary over the previous 
  years. All of these students were either foster children or orphans who had taken up 
   
   
  "Don't take it on yourself. 
  Forget now. Live." 
  -Arthur Miller 
   
   
  134
  
   
  residency in the St. Augustine Children's Home. Inside the halls of the underfunded 
  establishment, nothing prevailed but the conflagration of children, toys, and the droning 
  of the television. The children were ushered through by one social worker after another, 
  none  ever  managing  to  reign  them  in  for  long.  At  the  urging  of  Ellen,  the group 
  assembled late one night to test Malachi. With his reputation on the line, he stepped up to 
  the top floor bathroom mirror and called out six words: Bloody Mary, Bloody Mary, 
  Bloody Mary. Unfortunately for Malachi, she answered the call. All five children were in 
  the room when she broke from the mirror in a bloody wailing heap, latching upon 
  Malachi. Abandoning their companion, the others managed to escape to the hallway. 
  Stacy, the last one to flee, paused to look back upon Malachi's fate only to catch sight of 
  his body disappearing into the mirror. 
   
  That night, the remaining four children fled the orphanage in terror. Surviving upon their 
  own for a few days by banding together, they were found by Robert. Immediately 
  bringing the children into his home, he listened to their story of Bloody Mary. When they 
  found that Robert too had seen the mirror demon, and survived, they took up residence 
  with him as their protector and mentor. Adopting Robert's teachings, they are fiercely 
  loyal, obeying his requests with a near militaristic fanaticism. Robert promised them that 
  one day they would get back at Bloody Mary, and they believe him. 
   
  Flagler College 
   
  Events 
   
  Flagler College is an accredited university that has been educating students for over a 
  quarter-century. The building started construction in 1885 and wasn't finished until 1888. 
  The college offers 20 majors, 26 minors and two pre-professional programs. The school 
  has emphases in liberal arts, education, and business with an average class size of 21. The 
  tuition is relatively affordable, making it a prime educational institution. Its charm is only 
  slightly marred by poltergeist activity, unexplained disappearances, and an unusual 
  number of students being admitted into therapy. 
   
  The school is housed within a sprawling complex of red brick Victorian architecture that 
  was once the impressive Ponce de Leon hotel in downtown St. Augustine. The hotel used 
  to house rich and famous New Englanders on their winter excursions, and the structure 
  shows it. Not even the ever-present haze of chalk dust and dry-erase marker fumes can 
  obscure the feeling of affluence and privilege that hangs over the building. 
   
  The original name of the hotel has been relegated to the girls' dormitory, Ponce de Leon 
  hall, where the majority of the school's supernatural activity has been witnessed. 
  Detractors and skeptics among the student body point note that dormitories are notorious 
  for being full of bored students looking for an opportunity to pull a prank or use the 
  historical significance to their own ends. 
   
  One of the most popular stories among the students is that of the death of Henry Flagler's 
  mistress. Flagler built the hotel and enjoyed vacationing there, himself. One winter while 
  he was staying at the Ponce de Leon with his mistress, his ailing wife, Ida Alice, came to 
  visit. 
   
  The mistress was fed and had servants to take care of her needs while Flagler kept her out 
  of sight, persuading her to stay on the fourth floor as the solitude slowly took reign over 
  her. She turned to heroin and spent most of her  time in the "mirrored suite". One 
  evening, she hung herself from a chandelier where her lover found her swaying during 
  his midnight rendez-vous.  
   
  Flagler had the room boarded over, hoping to lock away the past. Not long thereafter Ida 
  Alice became too emotionally instable to aid him in running the Ponce de Leon. He 
  quietly sent her to a sanatorium where she became worse and finally passed away.  
   
   
  "Some are born mad. Some 
  remain so."
  -Samuel Beckett 
   
   
  135
  
   
   
  In 1913, at the ripe old age of 84, Flagler fell down a flight of stairs at Whitehall. He 
  never fully recovered from the fall and died shortly thereafter. One of his last requests 
  was to hold the funeral at his hotel, insisting that all the doors and windows be open 
  during it. A janitor that didn't know about the request went through the hotel and shut 
  everything he could find. Many people believe that a gust of wind during the proceedings 
  was Henry Flagler, trying in vain to escape in time, only to be trapped in a tile after 
  hitting the closed windows.  
   
  Location 
   
  Flagler College is a massive, sprawling campus. Originally built with 540 rooms, the 
  grounds have been encroached upon by parking garages and additional campus facilities. 
  Passing through the iron gates adorned on either side with the gaping maws of marble 
  lions, students and faculty are greeted with an impressive two-story fountain and a well-
  tended courtyard overlooked by the Ponce de Leon Hall. 
  The Ponce de Leon Hall rises to a foreboding four stories with the white red-trimmed 
  arching terracotta designs that make all of the hotel's architecture so distinctive. The 
  structure forms a horseshoe with the leftmost wing making up the girls' dormitory. The 
  interior is as decadent and immaculate as the grounds themselves. 
   
  Inside the Hall the first three floors are used as dorms, the fourth floor having been 
  marked off-limits to students. While the entire fourth floor was not barred with the death 
  of Flagler's mistress and, in fact, housed the college's print shop and campus radio 
  station; it has since been deemed unstable and converted to storage. The mirrored room, 
  or Psychomantium, which was once used to alter the mind and call spirits, is still closed 
  to residents, and is padlocked against intrusion.  
   
  It is in this hall that many have spoken of odd noises, experiences, or dreams plaguing 
  them. Chandeliers have swung as though bearing the weight of a body, grossly that some 
  speculate to be the mistress herself. Others have complained of nightmares involving 
  terror-filled funhouse mirrors, strangulation, or an inescapable void that slowly consumes 
  them. 
   
   
  The Outliers 
   
  Barron Johnson 
   
  Born to an impoverished family, it was not the hardships he regularly endured growing 
  up that sparked turmoil and rage in Barron. It certainly wasn't the racism that being one 
  of the two-percent minority of the population made him continuously encounter. While 
  both of these factors were important to his development, they were everyday occurrences. 
  It was hardly the day to day striving for funds his family pinched and saved up to afford 
  him a decent living. He rectified that at an impressive age, dancing into the ranks of the 
  technical elite and computer savvy with ease. Beating out local competition for 
  scholarships was easy. Investing, monopolizing and even tripling his earnings was all 
  cakewalk. What really goaded him however was the lack of recognition and, more 
  particularly, feminine attention, he received for all of this. 
  It seemed that no matter where Barron turned throughout his accelerated high school, and 
  then his early start into college, that girls were not interested in him. Senior classmates 
  were loath to be affiliated with the obstinate, cantankerous youth who looked younger 
  than the local freshmen. Barron's sense of pride was beyond reason; he would often raise 
  his hand to point out erroneous information in his teacher's lectures or even their 
  grammar. His exceeding brilliance proved to alienate him, even in college when he was 
  again nearly three years younger than any classmates. There was no level of interaction 
  that a typical seventeen year old could hope to achieve with Barron. Worse yet, his 
  overbearing sense of self-worth nearly demanded that those in his presence elevate him to 
   
   
  "There is a pleasure, sure, In 
  being mad, which none but 
  madmen know."
  -John Dryden
  Spanish Friar 
   
   
  136
  
   
  a near-deific status. 
  It was after hours in the computer lab when he picked up Lucy's paper on Calabi-Yau 
  spaces and enfolded 12th dimensional phenomena. Thrusting the paper at her, he 
  demanded she correct the grammatical mistakes he had found, rephrase the awkward 
  sentence structure, and in short rewrite the thesis. Lucy instead invited him to coffee to 
  discuss his points and ideas on the topic. Lucy was the first person he was truly able to 
  relate with intellectually or that took his harsh criticism with ease. The deal only became 
  better to Barron when he met Lucy's roommate Sarah. Soon after that they formed the 
  Outliers, a reference to the groups' academic proficiency and obvious intelligence, under 
  Lucy as the group President. Things were great until Sam showed up: how the girls 
  tolerate this lax, slack-jawed grease monkey Barron still doesn't understand. 
  Despite his abrasive contentiousness, Barron really does think that Lucy and Sarah hung 
  the moon. Of all of them, Barron is the most intelligent. He also funds the group's every 
  activity, and does so uncomplainingly. 
  Description 
  Barron is self-assured the way Liberace was eccentric. Standing at five foot eight inches 
  tall his emaciated frame barely holds on his clothes. His chosen attire, consisting of 
  khakis, expensive clothing, polos, suit jackets, and all the flashy accessories he could 
  muster, made him a poster child for corporate chic and success. Unfortunately, they also 
  looked awkward and ill suited for a youth that isn't even old enough to purchase alcohol. 
  Sarah Neely 
  Sarah had two hobbies; getting high and redefining the world with arithmetic. Fortunately 
  for her, the latter was a highly regarded skill and the former wasn't discouraged. In fact, 
  few things were discouraged or encouraged by her father; he'd have to be sober enough to 
  pay attention to her for either to occur. This was just fine with Sarah. She's always been a 
  little withdrawn from normal interaction, driven instead by mathematical compulsion. 
  Numbers had always been her friends, constant, predictable companions to whom she 
  could relate. Numbers never seemed to betray or concern themselves with everyday life. 
  Numbers were an absolute: right or wrong, positive or negative, real or imaginary. Even 
  with their simplicity and her devotion to understanding them, she always felt empty; 
  lacking. It turns out, she stumbled across the other half of what made her whole 
  downstairs in her own house. 
  In addition to alcohol her father was more than willing to expand into other drugs. The 
  basement was home to an amateur marijuana farm complete with flood lamps that hung, 
  jury-rigged, from the ceiling. Her father was not impressed with Sarah's desire to edge 
  into his production, let alone meager stashes. Nor were her math teachers thrilled with her 
  venture into the world of drugs. Her friends were all “D” students, and it seemed that 
  Sarah was destined for the same failure. However, with the insight garnered, at least in 
  part through marijuana-fueled introspection, she was able to dramatically excel at 
  understanding mathematics. The day-to-day squabbles of the world fell away and the 
  problem presented itself before her, rendered and dynamic. With overnight success in 
  academia, Sarah withdrew from her friends, diving more and more into a narrow focus of 
  consciousness, addressing every problem and theorem she could find. The criticism fell 
  away and her teachers turned a blind eye on their baked but brilliant wunderkind. 
  Joining Flagler was a natural progression.  It was close to home, and had an award-
  winning mathematics department. Even there, few students could even be considered her 
  equal. Then there was Lucy. It wasn't a surprise that the pair would become roomies at 
  the dormitories. It was however, a surprise that Lucy seemed keenly aware of something 
  that she exclaimed was not in any textbook. Sarah really didn't care particularly, but what 
  Lucy was interested in caught her attention in one regard; her ideas went against the 
  grain. The idea that there was more than they could saw was interesting, something new 
  to calculate and define; something no one had said to her before. It was this venture into 
  the unknown that snared her focus, that blur at the edge of her senses where drugs had not 
  yet managed to take her. 
   
   
  "For those whom God to ruin 
  has designed He fits for fate, 
  and first destroys their mind." 
  -John Dryden 
  The Hind and the Panther 
   
   
  137
  
   
  Soon after, the others joined the group. Barron was nothing but slime no matter how she 
  looked at it. He was always condescending, and he clearly expected her to capitulate to 
  his desires. The very idea was nauseating, making Sam a welcome relief – and in some 
  regards a kindred spirit. His introverted soft-spoken approach and quiet intensity was 
  fascinating, or at least comforting, in contrast to Barron's advances. Lucy only held out 
  for so long against her quiet demands to incorporate Sam into the group; she too seemed 
  to understand the need, if only for Sarah's benefit. 
   
  Description 
  Sarah is the shortest of the bunch at five foot two. Appearing the most counter-culture 
  with long well kept dreadlocks that dangle to her lower back, she often chose relaxed jean 
  dresses, pants, and shirts with a design that was impulsively purchased at the time. She 
  usually wears a old pair of worn hiking boots that are her favorite. 
  Sam Dezendorf 
  Sam is a reserved individual who often only voices himself on matters after taking a 
  moment to weigh the options and assess what is necessary to complete an objective. His 
  soft-spoken but direct method has earned him a spot with the group, even if his 
  intelligence isn't quite up to par. Statistically, that's no surprise—not very many can be. 
  He is often the only member of the group, despite his relative lack of brilliance, to be able 
  to come up with a solution. Common sense is like that, sometimes. He tends towards a 
  more empathic outlook on any given situation than any of his companions. 
  Most of Sam's creativity takes form back at his home, roughly fifteen minutes drive from 
  campus. The downtrodden mobile home has earned him the condescension of the more 
  well-to-do students at Flagler; snobs, and sophisticates all of them. Particularly Barron. 
  However, those that know Sam will vouch that despite his sorry-looking estate and 
  laconic exterior, there is a sincerity to him that many lack. He is known for his 
  hardworking dedication to projects and his mechanical savvy. There are few things Sam 
  can't produce, given the materials, time, and tools necessary.  
  As an engineer, gearhead and dyslexic who hates reading, he was a far cry from the 
  group's intellectual stalwart. Chance took him where nothing else would have. Driving 
  home from Park Avenue one night, he drove by Sarah's broken-down car. Barron, who 
  was along with Sarah at the time, could offer little assistance besides loathing the 
  malfunctioning vehicle. When Sam arrived on scene and offered his assistance, Sarah 
  was more than grateful for the help, and for the protection he offered against Barron's 
  advances. Barron wasn't so enthused. With some work, Sam managed to get the 
  automobile working again, but lacked a few parts necessary to ensure it would stay that 
  way. He offered his services when the parts arrived. Sarah accepted. It wasn't long before 
  Sarah convinced Sam to meet Lucy, who promptly made him a part of the group. 
  It turns out Samuel's ability to fabricate and tweak almost any device was the final 
  reagent the Outliers needed. Barron is not pleased. 
  Description 
  Sam seems to be the average small-town grease monkey, weighing close to two hundred 
  pounds at five foot eleven. His short blond hair is often mussy and ill-kept. His favorite 
  outfit, a pair of overalls and comfortable (read, worn to near-transparency) t-shirt doesn't 
  help the impression he gives. He's muscular, but it's practical muscle, not the sculpted 
  vanity of most of his bodybuilding classmates. 
  Lucy Kroger 
  Lucy has been a die-hard weirdness-chaser since as a kid she caught the end of a 
  television special on ghosts and conspiracies that haven't aired long since. She never 
  caught the name of the show, and no one else remembers it, but Lucy can't forget. From 
  that point on, she strove to see and understand the inexplicable. It didn't help that her 
  intelligence allowed her to point out the flaws in the explanations she often got for what 
   
   
  "The alleged power to charm 
  down insanity, or ferocity in 
  beasts, is a power behind the 
  eye."
  -Ralph Waldo Emerson
  Conduct of Life – Of Behavio 
   
   
   
  138
  
   
  she found. She soon found, as many occultists do, that those she loved and lived with did 
  not find her interests healthy or productive. After her parents discovered her practicing a 
  summoning of Bloody Mary, she outwardly regressed from such interests. Going to St. 
  Augustine, with its endless supply of weirdness, was a given once she graduated high 
  school. 
  Moving to Florida was a godsend. With the time and freedom available to her, she took to 
  her old studies with a new vigor. It was in this pursuit she met Gabe, who told her about   
  the   Psychomantium.   The   entire  mysterious  fourth  floor,  with  its  habitual  
  manifestations of the supernatural was a dream come true.  
  Falling in with Sarah was one of the best things to ever happen to Lucy. Sarah's 
  intelligence and attitude made sure that the pair were coupled perfectly, more so than 
  staffing realized. Sarah is lethargic but persistent and Lucy had enough enthusiasm for 
  them both but little follow-through. 
  Barron's involvement was nearly accidental, his brooding nature and scathing attitude 
  making him unapproachable under normal circumstance. Thankfully, their common 
  intelligence and a research paper left in a public printer offered the opportunity. Inviting 
  Barron out for coffee and a discussion on enfolded space, they found a common bond in 
  the yearning to understand the undiscovered, if for different personal reasons. It was soon 
  after that Lucy founded the Outliers. The name was Barron's idea. Barron wouldn't stand 
  for the group without a formal structure with himself at least the official second in 
  command. Lucy, for her part, really didn't care. Sarah wasn't so happy with this new 
  commingling and soon after that, Sam was brought into the fold, partially to appease her. 
  Lucy recognized the talent Sam had, even if his presence rubbed Barron the wrong way. 
  She knew keeping the two from one another's throats would be difficult, but she liked 
  them both, and she couldn't afford to lose the skills that either of them had. 
  With her ties to Gabe, their experiments began to take on a life of their own. Gabe's 
  interest in the Psychomantium where Henry Flagler's mistress hung herself brought the 
  group a new field to research. Secretly involving themselves in his rituals, they began to 
  test Gabe's limits as well as other students in the dormitories beneath the closed fourth 
  floor. 
   
  Park Avenue 
   
  Events 
   
  Park Avenue has a poor reputation, largely deserved. During the beginning of the anti-
  drug crusades of the 70s, the club provided sanctuary for runners and addicts. Even 
  though there have been numerous raids, and now puts on pretensions of being law-
  abiding, the club still retains elements of its previous risqué nature. The bar has changed 
  ownership several times since the 70s, and now belongs to either two or three people, 
  depending whom you ask. Due to the general acceptance of these activities by the crowd 
  and locals, it has continued to cater to the traditional crowd while quietly accepting its 
  less lawful inhabitants. 
  There are a number of regulars that frequent the club at any given time. College students 
  filter through on the weekends, mingling with the rebellious high school dropouts with 
  fake identification, yuppies, and other...things. A plain woman with mousy brown hair 
  and a 70's throwback beaded jewelry ensemble comes every few days to dance with the 
  crowd. She is selective with her company, but when she finds a partner she never lays 
  eyes on anyone else the entire night. No one has been able to figure out her name and 
  somehow it always slips her partner's mind to ask. She never dances with someone for 
  more than a night, but that one night always leaves her dance partner exhausted at a table, 
  mumbling inaudibly to himself by closing time. 
  Location 
   
   
  "But the devil when he purports 
  any evil against man, first 
  perverts his mind." 
  -Euripides 
  Fragment (25 
   
   
  139
  
   
   
  Park Avenue is a popular nightclub. Its dark interior is lit by neon signs in a variety of 
  colors with dull, low hanging lights over the tables scattered throughout the east half of 
  the club. Across the floor from the bar, on the west half of the club, the stage is subtly 
  marked. A two foot black rise from the dance floor is a prime location for many of the 
  bands and acts who are eager to get a foot in the industry door. The dance floor is only 
  separated by trim lighting and bouncers during events. The wooden floor has been 
  painted over black to clearly mark the distinction between the seats dabbled along the 
  wall and the mass of bodies. 
  Opposite the stage and taking up the length of the east wall, the bar is a luminescent 
  island of chrome, lighting, and color. Beneath the bar's thick, bubbled Plexiglas surface is 
  a mirror. Inlaid with soft fluorescent lighting that casts its surface in a dazzling cascade of 
  color, the bubbled surface becomes a startling assortment of shapes and colors. Plexiglas 
  cabinets on the other side of the psychedelic bar give way to a soft purple from well-
  placed black lights, allowing the staff to distinguish themselves from the patrons. The 
  soft purple hues used in the shelving illuminates the bottles of liquor that seem to rotate 
  almost as much as the crowd. There aren't many ways to make a well lit bar appealing, 
  but Park Avenue manages all of them. 
  The interior as a whole is sparsely lit. Neon signs are placed randomly about the walls to 
  provide direction. The soft lighting of the ceiling spots are changed to fit the current 
  event or mood of the club. The club is a routine hangout for many of the Flagler students 
  and the masses who won't give up the drug scene. 
  Jack Daniels  
   
  Jeff Hainline is, or rather was, a freelance reporter. He finally managed to sell his one big 
  story, and after years of scrimping and saving, he bought Park Avenue with two of his old 
  college buddies. The three of them turned it into what it is today. Aggravated at all the 
  time he wasn't spending with her, his wife left him in the early stages of the business. The 
  combination of loneliness, endless work, and the easy availability of liquor quickly 
  turned him into a raging alcoholic.  
   
  He went farther down the path than anyone expected, and it wasn't long before Fade 
  started in. First, his contracts with his partners disappeared. Thinking they were trying to 
  force him out of the bar, he dove deeper into the bottle. Before long, even his best friends 
  seemed to forget him, which only sent him deeper. These days, Jeff abuses the open tab 
  that is the only reminder of his time as part owner of his favorite bar, and garnishes his 
  drinks with the despair of those who've come to forget their lives. Making friends with 
  complete strangers, he wallows in their misery and comes out feeling strangely refreshed.  
   
  Jeff isn't an idiot, and he knows that some of the things he's doing aren't natural. He hasn't 
  faded completely yet, but he's pretty far down the road. Since no one remembers anything 
  about him other than his favorite drink (Jack and Coke), he's decided to start going by the 
  name Jack Daniels, and dressing the part as well. In for a penny, in for a pound; the only 
  thing that seems to make him happy anymore is sharing the misery of others. 
   
  Jordan Montaigne 
   
  The part owner of Park Avenue, along with Jeff Hainline (AKA Jack Daniels), and Sean 
  Thatcher, Jordan has undergone more in the past quarter-year than most people face in 
  their entire lives. Three months ago, Jordan came home from a trip to see his teenage 
  daughter tearing his wife's throat out with her teeth. Without thinking, he grabbed the 
  poker by his fireplace and beat her off of his dying wife. Needle-sharp teeth clicked as 
  she snarled and leapt at him. Racked with horror and grief he blindly struck out until the 
  thing was nothing more than a smear against the bricks.  
   
   
   
  "Mad as a March hare."
  -James O. Halliwell
  Archaic Diet 
   
   
  140
  
   
  When the police came, they chalked up the attack to wild dogs; Jordan's babbling about 
  his "missing" daughter was eventually attributed to extreme grief. After searching the 
  house for pictures or hints of her whereabouts, the investigators found no evidence that 
  the Montaignes had ever had children. Devastated and disregarded, Jordan's whole life 
  had collapsed within the space of less than an hour. Worse, no one even seemed to realize 
  what all he'd lost.  
   
   
  Jordan knows that there are unholy creatures out there, and he's seen what they can do. 
  Now that he knows how to look, he's seeing them everywhere. After the third 
  abomination he killed, he realized that they don't leave traces behind, that there's nothing 
  to stop him from killing them all. Thus far, he's been lucky; none of the creatures he's 
  gone after have been expecting him, or really, expecting any sort of fight. He realizes he 
  won't always be lucky--every night he goes out just a little better armed, a little more 
  experienced, a little more deadly.  
   
  He also knows better than to talk about what he's doing. People who talk about killing 
  demons in the night get locked up – and he can't continue his one-man crusade from jail. 
  During the day and early evenings he does the paperwork for Park Avenue, but late at 
  night, he hunts.  
   
  Now that he's a little more familiar with the creatures he's killing, he realizes why Sean 
  doesn't remember that they had a third partner once upon a time. He, quite frankly, 
  doesn't know how to deal with the fact that his best friend has become someone he should 
  be butchering. For the moment, he can ignore the situation; Jeff doesn't seem to realize 
  that Jordan knows who he is. Still, Jordan knows that one of these days, he's going to 
  have to figure out what to do about the man calling himself Jack Daniels.  
   
  Description 
   
  Physically, Jordan is an unintimidating, somewhat overweight middle-aged man with 
  thinning brown hair, usually dressed in Dockers and a polo shirt. His shoes are scuffed 
  but expensive, often worn with tube socks. He looks, in general, like a man whose wife 
  has dressed him for the past fifteen years, but who now has to pick out his own outfits in 
  the morning. He's recently taken up smoking again; his wife made him quit ten years ago. 
  He's getting more exercise than he's ever gotten in his life, so his clothes hang 
  awkwardly; he recently punched a new hole in his belt. He hasn't bothered to go buy a 
  new one. 
   
  Townsend Books and Livewire Café 
   
  Townsend and Livewire share the same building, with two entrances - one for Livewire 
  at the north end of the building and one for Townsend on the South end. Run by a staff of 
  30-50 employees at any given time, the bookstore and café are the largest in St 
  Augustine. It is a walking distance from the Ponce de Leon Mall, making it an attractive 
  place for college students to hang out at for a few hours after the mall has closed at 7 PM.  
  Upon entering either of the doors at the front of the building, visitors are confronted with 
  a display of old black and white photographs of the city and a chalkboard advertising the 
  week's events for both Townsend (generally signings and book groups) and Livewire 
  (such as poetry readings and local musicians' performances). The scent of coffee and 
  baking cookies predominates in the hall and in the coffee shop through the door on the 
  east. The walls behind the displays are dark cream, offsetting the light brown marble of 
  the floor. This decorative theme continues throughout both the coffee shop and the 
  bookstore. 
  Livewire, on the east side of the building, is a frenetically paced hotbed of bohemians, 
  yuppies, artists, and tired college students just looking for a quick caffeine infusion. 
  Though the noise is constant, it's low-key, and even the most irritable customer finds 
   
   
  "He appears mad indeed but to 
  a few, because the majority is 
  infected with the same disease."
  -Horace 
  Satires 
   
   
  141
  
   
  himself relaxing under the influence of quiet local music and friendly barristas. Unless, of 
  course, Jacob is working. Along the bar, a half-dozen laptops, open to the public, give the 
  coffee shop its name; wireless internet access is broadcast through both stores. Wood and 
  faux-sandstone tables take up the center of the café; two of the walls are taken with 
  booths, and a small, short condiment counter, decorated in the same wood and sandstone 
  motif as the tables, squats opposite the registers. 
  Townsend Books, like its neighbor, is quiet and comfortable, with beige, overstuffed 
  chairs scattered in nooks and along the walls throughout the store. Sandstone-colored 
  pillars support the ceiling and flank the information desk in the center of the store. A 
  small section in the back sells CDs and DVDs and a massive kids' section takes up almost 
  the entire west half of the store. The staffers, while often abrupt to the point of rudeness, 
  are tremendously competent; they are rarely, if ever, seen using the computers to find 
  books. Their encyclopedic knowledge of published work is often put to the test by 
  customers loudly declaring that they should be able to find a book based on what color 
  the cover was, words that may or may have not been in the title, or how tall the author is. 
  Amazingly, they usually can. 
  Bloody Mary 
   
  When Laurie Harrison ran away from her husband because she was afraid he was going 
  to start beating her, she surprised everyone, especially her husband, David. He'd never 
  hurt a single person in his life, and in the year that they'd been married, never raised his 
  voice once. Or even disagreed if he could avoid it.  
   
  Truthfully, David had been worried for quite a while by her increasing paranoia. When he 
  got a call from the police that his wife had filled their car with gasoline and driven off 
  without paying, he knew she'd finally lost it. His suspicion was confirmed when he 
  discovered their savings and checking accounts emptied, most of her clothes gone, and 
  the bathroom cleaned out.  
   
  Meanwhile, Laurie, frantic at the thought that David might be following hot on her heels, 
  was speeding through a school zone when she saw a little girl crossing the street. She 
  swerved out of the way and into a ten-foot-deep ditch. That last act of desperation was 
  enough to send her over the edge of humanity and into something else. Fade grabbed her 
  life and twisted.  
   
  David forgot who she was, and only knew that his car had been stolen. The girl Laurie 
  almost ran over only remembered that someone nearly hit her. The ambulance that came 
  for her labeled it a hit and run. Laurie, less than a dozen feet from the paramedics, called 
  for help, but no one could hear her.  
  She listened to the girl tell everyone about the crazy lady who tried to hit her and drove 
  off. Then she listened to the paramedics report it to the police. Finally, she heard the 
  people living close to the school talk about it amongst themselves. Somewhere in this 
  mess, some of Laurie's fear turned itself into hate, but her Dread had already claimed her.  
   
  John and Edward Blackfield 
   
  One June 6th 1849 John Blackfield was born to an upright, well to do British family. His 
  parents, dreaming of having a large family, brought Edward Blackfield into the world 
  May 14th 1854. The pair were an odd mix growing up. John carried his father's natural 
  merchant presence and ambitions, while Edward, quiet and withdrawn, was gifted with 
  his mother's creativity. Even so, the pair remained quite close, looking after one another 
  as they grew up. 
   
  Pressing through the University system, John found more than just books. In 1869 John 
  became the father of Phineas, born of Elizabeth Blackfield. It was a momentous occasion 
  for the family, who were quick to seal the deal before birth with a wedding and generous 
  sum for the new couple. Edward had shown a startling talent for doll making and 
   
   
  "Go, madman! Rush over the 
  wildest Alps, that you may 
  please children and be made 
  the subject of declamation."
  -Juvenal
  Satires 
   
   
  142
  
   
  awarded his first-prize-winning creation to the couple at the ceremony. John quit 
  schooling to take up a place in his father's textile business in 1874 to provide for the 
  family. 
   
  A few years later, tragedy struck the blossoming couple quite suddenly; Phineas was 
  crushed during a factory accident in one of John's mills. John grew steadily more 
  absorbed in his work, unable to face his pain, instead allowing greed to consume him. 
  Elizabeth, for her part turned to alcohol. Oddly, Edward had warned John of this, quietly, 
  a few months before the tragedy struck. Speaking in soft tones that his doll had told him 
  it would happen, he returned to his craft, having long since withdrawn from all but John 
  himself. 
   
  Once again, the Blackfields were stuck with loss as Elizabeth's drinking consumed her, 
  bringing her to an early death in 1880.  A stony and turbulent John bid her farewell, 
  marking her passage at the funeral with a bitter tirade against her failures to better herself 
  and move on from tragedy.  
   
  Unbeknownst to those attending, John was once again warned by Edward as his 
  fascination with dolls began to manifest unhealthy side effects. Ignoring Edward's request 
  to abandon the textile business, John's leg was caught by pant leg and drawn between 
  gears, horridly mangling it.  
   
  With the loss of his wife and his leg twisted, he finally turned away from the business and 
  poured his assets into Edward's dolls. Opening a little shop with the now-eerily-perfect 
  creations, they soon began to rake in money from the parents of local children. While 
  many were suspicious of the brothers' motives, none could doubt that their dolls were, bar 
  none, the most beautiful that anyone had ever seen. The Blackfields' family, for their part, 
  withdrew their support from the brothers in disgust, unwilling to deal any longer with the 
  rumors and humiliation their sons brought on them. 
   
  In 1885, a close friend of the family and fan of Edward's work was found dead. Police 
  were quick to blame the brothers and sought evidence to convict the pair. Unable to bear 
  the strain, so they said, the brothers fled the country, retiring to St. Augustine. Promptly 
  reopening the doll shop, they settled in again, this time for fifty years, before anything 
  noteworthy occurred. 
   
  With the eruption of world war one and the following depression, the pair began to Fade 
  from the public's eye. Closing up shop in 1935, the enigmatic brothers weren't missed. 
  Keeping low from the town dealings, Edward's work would still pop up about town here 
  and there, but little else could be said of their activities during this period. 
   
  Apparently tired of the isolation, the Blackfields purchased a small manor closer to town 
  in 1982. Relocating once more, they settled into the spacious estate, where they remain 
  today. While the pair does not keep a formal shop open anymore, those seeking to have a 
  rare and expensive item crafted by Edward are still welcome to visit. Recently, John has 
  once more began to emerge into the world of politics and power among Liminals. Pulling 
  strings behind the scenes and selling information, John is quickly becoming a power 
  player in St. Augustine, and with well over a century of experience, there's no limit to 
  how far he can go. 
   
  Luis Estaban Solana II 
   
  Luis doesn't remember much of his life before this: the endless series of favors, faces and 
  money that have become his obsession. He knows that he has to be over a hundred years 
  old; sometimes-murky memories of dingy factories and cheap cigars, labor and 
  consuming desire for more come back to him. Somehow, he really can't make himself 
  care. These days, all Luis cares about is finding out what people want and giving it to 
  them. What they do with what he gives them doesn't matter as much as what they do for 
   
   
  "It is a common calamity; at 
  some one time we have all been 
  mad." 
  -Baptista Mantuanus 
  Eclogue 
   
   
  143
  
   
  him in return. Luis survives off of the high of Yearning fulfilled, no matter how 
  temporary; if his customers end up coming back for more, all the better. 
   
  For anyone with the Intensity to see it, Solana is actually covered in smooth copper scales 
  and always seems to be surrounded with a haze of heat.  
   
  Manolito Campero  
   
  Manolito is actually Maria's great uncle. In the late 1800's, he was the oldest son of a 
  large family and was making a comfortable living as the captain of a fishing vessel. 
  When a hurricane blew him off-course and into an area he'd never seen before, it 
  destroyed his ship and killed nearly all of his crew. In the middle of nowhere, what few 
  of the fishermen remained slowly died of exposure, disease and starvation as they 
  attempted to make a raft of what they had left. Manolito survived, barely, for the next 
  year, mapping what would later become southern Florida and attempting to make and 
  provision a raft that would bring him home. He feared, at first, that he wouldn't make it. 
  Eventually his fear turned to a despair that folded endlessly on itself until it was all he 
  could do to go through the motions.  
   
  Meanwhile, back in Cuba, his family succumbed to the effect of Manolito's Fade. By the 
  time he finally made it back, they had all forgotten that he existed at all. That was all it 
  took to send him over the edge of Anguish. At first, he just tried to make them remember. 
  When that failed, he tried to make them regret, and he still does. 
   
  Manolito has transformed into what his family calls a mar phantasma. His liquid form is 
  that of a large puddle of seawater, and he has the ability to see through the eyes of his 
  three seagulls: Pensamiento, Memoria, and Pesar using the Descry Pathos. Though he 
  could form a bond with more seagulls, he chooses not to, as he has become particularly 
  attached to these three. 
   
  Manolito, when not in the form of a puddle, appears as a handsome Hispanic gentleman 
  in his early to mid twenties, tall, well built, and clean-shaven. He speaks with a 
  pronounced Cuban accent, though his grammar and vocabulary are impeccable. 
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
  144
  
   
   
   
   
   
   
   
   
   
   
   
   
   
  Chapter VII Storyline Revelations: 
  A City Visible but Unseen 
   
  All the myriad selves that I could have been grab at me while I sleep, pulling me down 
  deeper as I struggle to get to the surface. Cold, clammy hands tighten around my throat 
  while I beg for mercy from them all That's when I wake up with my hands wrapped 
  around my own neck. Lately I've been leaving bruises; it won't be much longer now.  
   
  The following is an explanation of some of the potential conspiracies, alliances, and 
  situations that may be in place in St. Augustine. Sample stats have been provided for the 
  handful of Liminals presented here. Narrators are encouraged to use as many or as few of 
  these as they wish. 
   
  John and Edward Blackfield 
   
  Edward is content to make his dolls and take care of his children. He has the ability to see 
  through the eyes of the dolls and regularly keeps track of how the clients are faring that 
  way. He feeds off of the Yearning children feel for his dolls and imbues them with a 
  special want when particularly hungry (he considers himself doing it when he feels 
  "down" and needs to see the owner appreciate what he has made). This is rarely done due 
  to a past incident of a Liminal setting his doll alight after almost discovering the link. 
  Since then, he has been especially careful about how he feeds.  
   
  John is far more ambitious. While he still has some care remaining for his younger 
  brother, he mostly protects Edward because of the mutual benefit gained from Edward's 
  uncanny ability to know much of what is going on in the city. John is wanting to claim St. 
  Augustine as his own domain and feels this is possible with Edward's help (among 
  others). He will go out of his way to make contacts who may be interested in purchasing 
  the dolls in the hopes of getting a wider range to see out of.  
   
  There are obviously suspicions about what the dolls do, but no one has ever openly 
  accused them of spying. Edward doesn't have any public connections, but he has a full 
  view of the halfway house because of one of his dolls being in there. His dolls have also 
  145
  
   
  gone on display in tourist shops, giving him openings to other old haunted buildings.  
   
  While John is a very prominent Liminal in St. Augustine, Edward isn't well known at all, 
  and is generally referred to as "John's brother."  
   
  Edward isn't stupid and knows that his brother is planning on taking charge of the city 
  (something his brother has been attempting to build on for decades). The only time a city 
  take-over is mentioned, John speaks as if the pair will be running it. Edward also knows 
  better than that. However, he's well aware of the fact that John needs him in order to pull 
  this off. That in and of itself means that the pair are still fully capable of relying on one 
  another.  
   
  Should John succeed, Edward will be a of power behind the throne (much to Manolito's 
  and Luis' dismay, who wouldn't mind holding that position).  
   
  Edward is content never to leave the house (sometimes not even the basement) and 
  simply sees/feeds through his dolls. His lack of ever leaving has led a great deal of others 
  to believe that Edward doesn't actually exist, and is used by John as a means to look more 
  powerful than he actually is.  
   
  Edward Blackfield 
   
  Mental Die: d6 
  Physical Die: d6 
  Initiative Base: 2 
  Natural Defense: 4 
  Mental: Imagination 5, Perception 4, Retention 3 
  Physical: Agility 2, Strength 2, Resilience 2 
  Socioeconomic Status 4 
  Factors: Ventriloquism, Focus, Real Estate, Artist, Offputting, Mimicry 
   
  Intensity: 10 
  Passions: Anguish 8, Yearning 10 
  Pathos: Fad, Craftsman, Bump, Descry (Dolls), Deal 
   
  Skills 
  Art: 5 
  3d: 4 
  Textiles: 5 
  Woodworking: 5 
  Arcane: 4 
  Conspiracies: 3 
  Cruptozoology: 2 
  Parapsychology: 4 
  Collegiate: 3 
  Research: 2 
  History: 3 
  Social: 4 
  Kinesics: 4 
  Observation: 3 
   
  John Blackfield 
   
  Mental Die: d6 
  Physical Die: d6 
  Initiative Base: 2 
  Natural Defense: 4 
  Mental: Imagination 4, Perception 3, Retention 3 
  Physical: Agility 2, Strength 2, Resilience 2 
   
   
  ...the reality of human life is 
  made up of a complex structure 
  of absolute opposites – day and 
  night, birth and death, 
  happiness and misery; good 
  and evil. We cannot even be 
  sure that any of the sires will 
  ever triumph." 
  -C.G. Jung 
   
   
  146
  
   
  Socioeconomic Status 6 
  Factors: Kinesic x3, Analyst x2, Golden Tongue x3, Palsied Limb x2 
  Intensity: 10 
  Passions: Anguish 10 
  Pathos: Shame, Pedant, Glimpse, Framed, Secret Shame 
   
  Skills 
  Art: 5 
  Textiles: 1 
  Collegiate: 4 
  Business: 4 
  History: 2 
  Research: 2 
  Science: 2 
  Law: 3 
  Sociology: 3 
  Social: 4 
  Intimidation: 2 
  Kinesics: 4 
  Lying: 3 
  Networking: 2 
  Observation: 2 
  Tenacity: 4 
  Technical: 1 
  Mechanics: 1 
   
  Manolito Campero 
   
  If Manolito can somehow be placed in a watertight container (that is also strong enough 
  for him to not break through; unless already weakened, a plastic bag won't work) he's 
  powerless and will eventually starve.  
   
  Manolito is mostly interested in protecting his investments—particularly the family he 
  has worked for decades to groom into an eternal fount of suffering from which to feed. 
   
  He is no longer just a spirit of the sea – he feeds off  of the loss someone feels when they 
  lose everything in life. He is convinced that true beauty cannot be found until everything 
  has been stripped away from the individual. There, in that moment when they realize 
  what it is they have lost, and what they are left with, are they beautiful. He embraces that 
  beauty as an actual art.  
   
  He is still related to Maria, and he still feels some anger over what his blood relations did 
  to him. However, this isn't so much vengeance as "keeping it in the family." He finds that 
  the Emotion tastes better when taken from the family.  
   
  He is currently in the process of feeding on Maria and actually protects Jessica, though no 
  one knows this. By protecting Jessica he can ensure that she carries on the next 
  generation for him to sustain himself on. Maria is fair game for another few years though. 
  This means that in a storyline involving Jessica and Manolito, there is a good chance that 
  he will pull some strings to keep her or Maria from being physically harmed. Stripping 
  them of their worldly possessions is still fair play.  
   
  There are two ways he may handle someone who is attempting to mess with his personal 
  feeding grounds. He may come out and deal with the problem himself (through force, 
  destruction or not-so-veiled threats) or approach the matter as a personal favor done 
  should they back off. Should the latter be used, it is likely that he will either accept it as a 
  favor (the character is powerful or could be useful), or will mark the character as 
  someone he will be doing research on to feed on in the future. As with most Liminals, 
   
   
  ”Everywhere I look they watch 
  me. Please don’t think I’m 
  crazy. Please don’t think I 
  made these cuts myself.”
  -Susan Carpenter 
   
   
  147
  
   
  Manolito's word is only as good as who he is working with. Although he, and others, 
  obviously won't be going out of their way to look like liars – it's safer to come off looking 
  chivalrous and good to the word.  
   
  Manolito is currently suspicious of Luis Estaban's advances. While he's glad to have the 
  other Liminal's good favor, he's not about to believe that Luis is doing it out of the 
  goodness of his heart. He is slowly becoming convinced that Luis is planning on taking 
  over the city, himself, and is weighing the odds of whether it would be better to side with 
  him or with John Blackfield. He is currently leaning more toward John and would 
  probably side with him (even if privately) should it come down to a match between the 
  two.  
   
  Should he ever decide to discuss this with John, it would cement John's beliefs that Luis 
  is a threat, who will then work to have him crushed if possible.  
   
  Manolito Campero 
   
  Mental Die: d6 
  Physical Die: d6 
  Initiative Base: 6 
  Natural Defense: 6 
  Mental: Imagination 5, Perception 3, Retention 3 
  Physical: Agility 3, Strength 3, Resilience 3 
  Socioeconomic Status 2 
  Factors- Language x3 (English) Artist 
   
  Intensity:10 
  Passions: Anguish 10, Fury 8 
  Pathos: Liquid Form (sea water), Shapeshift (seagull), Descry (seagull), Evil Eye, 
  Crucible 
   
  Skills 
  Arcane: 2 
  Eldritch: 2 
  Sensitivity: 2 
  Collegiate: 2 
  History: 2 
  Research: 2 
  Social: 3 
  Lying: 3 
  Intimidation: 2 
  Observation: 2 
  Tenacity: 3 
  Kinesics: 2 
  Outdoors: 4 
  Boating: 4 
  Exertion: 3 
  Navigation: 4 
  Outdoor Stealth: 3 
  Foraging: 3 
  Criminal: 3 
  Security: 2 
  Sleight of Hand: 2 
  Urban Stealth: 3 
  Basic Combat: 3 
  Unarmed Strike: 3 
  Block/Parry: 2 
  Armed Strike: 3 
  Evasive: 3 
   
   
  ”I hate them. I hate them for 
  what they did to me, for what 
  they got away with, for 
  everything they stand for. And I 
  hate you for forgetting me – for 
  letting me rot in this unnatural 
  hell. I’m going to bring you 
  here if it’s the last thing I do.”
  -Candice 
   
   
  148
  
   
  Initiative: 3 
   
  Bloody Mary  
   
  Mary is in league with Luis Estaban. How close the pair are is up to the Narrator – some 
  urban stories say that Bloody Mary is the devil's concubine, others imply no relationship 
  at all. Bloody Mary is, despite her Noumenal powers, still physically just a human being. 
  She can be harmed like any other human being. The only thing that has kept her safe thus 
  far is the fact that she feeds almost entirely on helpless kids under the age of 13. 
   
  Bloody Mary is content to spread stories among the children about what she may actually 
  be. Children are easier to hunt, and while her choice in prey was originally born from her 
  desire for vengeance, she is now entertained and amused by their reactions to her. It won't 
  be much longer before they become nothing more than food. Bloody Mary is aggressive 
  toward other child-feeders, hoarding her food source with dangerous possessiveness.  
   
  She is currently interested in finding out more about the halfway house, which she knows 
  is somehow associated with the Blue Lady. Thus far, she hasn't been able to pinpoint 
  anything beyond the fact that the children know about her, are familiar with at least one 
  of her weaknesses, and seem obsessed with the color blue.  
   
  She is humoring them by trying to refrain from doing anything to anyone wearing 
  substantial amounts of blue. Setting up this false Consequence is a way to deter them 
  from finding out what her real Consequences are. Her greatest Consequence is her level 
  five Barrier Consequence. She cannot cross a barrier of wax—looks like all those crayons 
  did some good after all.  
   
  In order to find out more about the house and its denizens, Bloody Mary has begun trying 
  to “recruit” Gabriel Harris. For the moment, she’s just periodically using her Ride 
  Sympathy Pathos for him without his knowledge. If all goes according to plan, she will 
  reveal herself to him and offer to “teach” him Mirrorwalking before too long. While the 
  knowledge that he has not been traveling under his own power will potentially crush him, 
  there is likely little he won’t do to Mirrorwalk again.  
   
  Bloody Mary 
   
  Mental Die: d6 
  Physical Die: d6 
  Initiative Base: 4 
  Natural Defense: 6 
  Mental: Imagination 5, Perception 3, Retention 3 
  Physical: Agility 3, Strength 3, Resilience 3 
  Socioeconomic Status 1 
  Factors: Long Ears x3, Photographic Memory, Sharp Nosed, Secret Hideout x3 
  Intensity: 9 
  Passions: Dread 9, Fury 3, Yearning 8 
  Pathos: Speak of the Devil, Ride Sympathy (Mirrors), Descry (Mirrors), Huckster's 
  Sense, Togging 
   
  Skills 
   
  Arcane: 2 
  Conspiracies: 1 
  Eldritch: 1 
  Sensitivity: 2 
  Collegiate: 3 
  Research: 2 
  Sociology: 3 
  Logic: 2 
   
   
  “Why are you worried about 
  the ones that appear insane? 
  The ones you should  be 
  concerned about are the 
  normal ones you sit beside. 
  They hide teeth and talons you 
  have to look for to see.”  
  -Keith Sullivan 
   
   
  149
  
   
  Social: 3 
  Intimidation: 3 
  Lying: 1 
  Networking: 1 
  Observation: 3 
  Tenacity: 3 
  Basic Combat: 2 
  Unarmed Strike: 1 
  Block/Parry: 1 
  Evasive: 2 
  Initiative: 1 
   
  Luis Estaban Solana II 
   
  He used Deal on James. James has quite literally sold himself to the devil for money. 
  What happens if he tries to break this pact? Luis' actual history is a mystery, and quite 
  intentionally left that way. The Narrator should feel free to give Luis whatever 
  characteristics he feels are needed to complete or drive the game.  The only things that 
  are not negotiable are Luis' ambition and the way he has his finger in every pie he can 
  reach. 
   
  The only thing Luis needs at this point is information; John Blackfield's specialty. Luis 
  does what he can to not compete with John. He knows the other Liminal is vying to 
  control the city and he does not want to be seen as a threat. He has set into motion a 
  counterattack should John take charge of the city and attempt to have him removed as a 
  threat.  
   
  He is currently working closely with Bloody Mary, with whom he has formed a long-
  term arrangement. The pair have carefully, albeit silently formed a cautious symbiosis. 
  The two make a formidable pair – and few people have put together enough of the pieces 
  to even associate one with the other.  
  Luis sees Bloody Mary as a strong ally and is willing to go to great lengths for her. He us 
  more than mildly that one of his consequences has been discovered – and is being spread 
  – by Florida's orphans. They know to look for his golden scales and of his allergy to 
  water.  
   
  He is also familiar with Manolito, though only in passing. He is currently building up 
  relations with Manolito in order to make the old Liminal more comfortable around him. 
   
  Luis Esteban Solana II 
   
  Mental Die: d6 
  Physical Die: d6 
  Initiative Base: 5 
  Natural Defense: 4 
  Mental: Imagination 4, Perception 4, Retention 3 
  Physical: Agility 2, Strength 2, Resilience 2 
  Socioeconomic Status 5 
  Factors: Artist x2, Golden Tongue x3, Influential Friends x2 
   
  Intensity:10 
  Passions: Anguish 8, Yearning 10 
  Pathos: Made of Stars, Deal, Gas Form (Smoke), Lie, Only Knocks Once 
   
  Skills- 
  Arcane: 3 
  Eldritch: 3 
  Conspiracies: 1 
  Sensitivity: 2 
   
   
  ”Voices in the darkness scream 
  away my mental health. Can I 
  ask a question to help me save 
  me from myself?” 
  -A Perfect Circle 
  Diary of a Madman/Lovesong 
   
   
  150
  
   
  Collegiate: 3 
  Law: 3 
  Business: 1 
  Logic: 2 
  Research: 3 
  Criminal: 2 
  Forgery: 2 
  Urban Stealth: 2 
  Social: 4 
  Networking: 4 
  Lying: 4 
  Kinesics: 4 
  Obsevation: 2 
  Tenacity: 3 
  Basic Combat: 3 
  Unarmed Strike: 2 
  Block/Parry: 2 
  Evasive: 3 
  Initiative: 3 
   
  Jack Daniels  
   
  Jack Daniels is going to the very edge. He isn't irredeemable yet, though. If someone 
  begins to take him back from his drinking/despairing binges, he can begin rebuilding his 
  life. One by one, his connections will reappear as he begins to become more human and 
  less "other." He can be convinced of the danger in his situation by pointing out the 
  examples of other Liminals. Without player intervention, however, he will become yet 
  another hungry creature of the night. 
   
  Jordan is becoming a well known thorn in the side of St Augustine's Liminals and Jack 
  may begin working by himself or with others to remove him. If he does, Luis Estaban is a 
  likely candidate to ally with.  
   
  Jack may be able to be coaxed into hunting other Liminals of someone is able to persuade 
  him to take a different path.  
   
  Jack Daniels 
   
  Mental Die: d6 
  Physical Die: d6 
  Initiative Base: 5 
  Natural Defense: 7 
  Mental: Imagination 3, Perception 5, Retention 3 
  Physical: Agility 3, Strength 3, Resilience 4 
  Socioeconomic Status 2 
  Factors: Artist, Offputting, Resistant x3, Designer x3 
   
  Intensity: 8 
  Passions: Anguish 8, Yearning 3 
  Pathos: Descry (Inebriates), Framed, Impression, Next Topic 
   
  Skills 
  Art: 3 
  Photograph: 3 
  Computer Art: 2 
  Collegiate: 3 
  Business: 3 
  Law: 2 
   
   
  “I hear a sound, the ticking of 
  clocks. I remember your face, 
  remember to see when you are 
  lost. I hear the sound, the 
  ticking of clocks. Come back 
  and look for me, look for me, 
  when I am lost. Just a whisper, 
  a whisper, a whisper, a 
  whisper.”
  -Coldplay
  A Whisper 
   
  151
  
   
  Research: 3 
  Sociology: 3 
  Social: 3 
  Kinesics: 3 
  Lying: 3 
  Observation: 2 
  Tenacity: 1 
  Basic Combat: 3 
  Armed Strike: 1 
  Evasive: 2 
  Unarmed Strike: 3 
  Projectile Strike: 2 
  Initiative: 2 
   
  Robert Atwater  
   
  Who is bringing the food? Robert Atwater could himself be doing it to keep the children's 
  hopes up. The Blue Lady may be a real creature (or Thought Form), responding to the 
  prayers of the Blue Circle. Edward Blackfield may have people delivering the supplies 
  when he sees through the eyes of the doll that the children need something. A neighbor 
  who is Intense enough to see some of what is going on may be leaving the supplies – 
  until he decides to call the euphemistically named Division of Family Services. 
   
  What happens if the food stops showing up?  
   
  What happens to the group if Robert vanishes, is killed, or becomes a creature? Who will 
  the children go to for help?  
   
   
  What happens if Bloody Mary finds a way to get inside (someone brings a mirror in, an 
  area is cleaned and she is able to walk through the broken barrier, a severe storm 
  damages part of the house and allows her access)? 
   
  Robert Atwater 
   
  Mental Die: d6 
  Physical Die: d6 
  Initiative Base: 3 
  Natural Defense: 7 
  Mental: Imagination 4, Perception 3, Retention 3 
  Physical: Agility 3, Strength 3, Resilience 4 
  Socioeconomic Status 2 
  Factors: Sixth Sense x3, Innovator, Focus 
   
  Intensity: 6 
  Passions: Dread 6 
  Pathos: Hypervigilance, Somnia, Last Ditch 
   
  Skills 
  Art: 2 
  Instrument: 2 
  Textiles: 1 
  Vocal: 2 
  Woodworking: 1 
  Criminal: 3 
  Forgery: 1 
  Security: 3 
  Sleight of Hand: 2 
  Urban Stealth: 2 
   
   
  “There were ages dead to time, 
  and lands lost out of space; 
  there were adders in the slime, 
  and a dim unholy face. Oh, the 
  heart in my breast turned stone, 
  and the brain froze in my 
  skull—But I won through, I 
  alone, and poured my chalice 
  full of horrors and dooms and 
  spells, black buds and bitter 
  roots – From the hells beneath 
  the hells, I bring you my 
  deathly fruits.”
  -Robert Howard
  The Song of the Mad Minstrel
   
   
  152
  
   
  Urban Survival: 3 
  Social: 3 
  Lying: 1 
  Observation: 3 
  Tenacity: 3 
  Outdoor: 2 
  Foraging: 2 
   
  The Outliers 
   
  The Outliers would be an excellent group for beginning characters to have contact with. 
  Alternately, they may be great sympathetic antagonists. Following are some ideas for the 
  use of the Outliers. 
   
  They may be using classmates for experimentation, forming new Liminals with 
  disturbing ease. 
   
  The group may accidentally summon something, or awaken a slumbering 
  Liminal/Noumenal creature. 
   
  Another student hears about the students' activities and begins sabotaging their work, or 
  worse, trying similar experiments—without the ethical boundaries or intellectual power 
  of the Outliers. Disaster. 
   
  The Outliers reach important conclusions about the Liminal state that the characters are 
  able to use to help either themselves or another character. This is a great way to bring in 
  Jack Daniels, Robert Atwater and the kids. 
   
   
  Sam Dezendorf 
   
  Mental Die: d6 
  Physical Die: d6 
  Initiative Base: 2 
  Natural Defense: 5 
  Mental: Imagination 4, Perception 3, Retention 4 
  Physical: Agility 2, Strength 4, Resilience 3 
  Socioeconomic Status 2 
  Factors: Designer x3, Dyslexic, Innovator 
   
  Intensity: 1 
  Passions: Yearning 1 
  Pathos: Cry for Attention 
   
  Skills 
  Art: 3 
  Metalcrafting: 3 
  Woodworking: 3 
  Social: 2 
  Observation: 2 
  Outdoor: 3 
  Exertion: 3 
  Technical: 4 
  Construction: 3 
  Mechanics: 4 
   
  Lucy Kroger 
   
  Mental Die: d6 
   
   
  “It is by no means an irrational 
  fancy that, in a future existence, 
  we shall look upon what we 
  think our present existence, as 
  a dream.” 
  Edgar Allan Poe- 
   
   
  153
  
   
  Physical Die: d6 
  Initiative Base: 3 
  Natural Defense: 5 
  Mental: Imagination 5, Perception 4, Retention 5 
  Physical: Agility 3, Strength 2, Resilience 2 
  Socioeconomic Status 2 
  Factors- Innovator x2, Mad Eyes, Language (French) 
   
  Intensity: 1 
  Passions: Dread 1 
  Pathos: Tail 
   
  Skills 
  Arcane: 3 
  Eldritch: 2 
  Parapsychology: 3 
  Collegiate: 3 
  Logic: 3 
  History: 2 
  Research: 3 
  Science: 3 
  Sociology: 3 
  Health: 2 
  Psychology: 2 
  Social: 3 
  Kinesics: 3 
   
   
   
  Sarah Neely 
   
  Mental Die: d6 
  Physical Die: d6 
  Initiative Base: 2 
  Natural Defense: 4 
  Mental: Imagination 5, Perception 3, Retention 5 
  Physical: Agility 2, Strength 2, Resilience 2 
  Socioeconomic Status 2 
  Factors: Innovator, Math Savant x3, Analyst x3 
   
  Intensity: 1 
  Passions: Anguish 1 
  Pathos: Impression 
   
  Skills 
  Arcane: 1 
  Parapsychology: 1 
  Art: 2 
  Textile: 2 
  Writing: 2 
  Collegiate: 3 
  Science: 3 
  Law: 2 
  Logic: 3 
  Computer: 2 
  Networking: 2 
  Criminal: 2 
  Forgery: 2 
  Urban Survival: 1 
   
   
  “An artist is a creature driven 
  by demons. He doesn’t know 
  why they chose him and he’s 
  usually too busy to wonder 
  why.”
  -William Faulkne- 
   
   
  154
  
   
  Sleight of Hand: 1 
  Health: 1 
  Alternative Medicine: 1 
  Outdoors: 2 
  Foraging: 2 
  Navigation: 1 
  Social: 2 
  Observation: 2 
  Kinesics: 1 
  Tenacity: 1 
   
  Jordan Montaigne 
   
  Park Avenue is mostly dangerous because Jordan is hunting there. Jordan will readily 
  work with other hunters and a group may be forming there.  
   
  Jordan is still new at this hunting business, but is perceptive enough to know when 
  Liminals have broken past Intensity five. Anyone who has done so is immediately 
  considered to be spiraling down the path of destruction by becoming one of these 
  creatures.  
   
  If a hunting group is formed at Park Avenue it would have a massive impact on St. 
  Augustine. Jordan has managed to make Park Avenue a sound means of hunting Liminals 
  that come inside – which means he is now able to catch people who haven't reached the 
  next stage in the transformation, that being ten. He has several barriers set up around the 
  club, cleverly disguised as decorations. Piles of beer nuts, running water under the dance 
  floor, and similar surreptitious traps explain the stranger décor choices  
  of the club. 
  Jordan Montaigne 
   
  Mental Die: d6 
  Physical Die: d6 
  Initiative Base: 7 
  Natural Defense: 7 
  Mental: Imagination 3, Perception 4, Retention 3 
  Physical: Agility 4, Strength 4, Resilience 3 
  Socioeconomic Status 2 
  Factors: Sharp Nosed, Accuracy, Ambidextrous, Hip Shot, Athletic, Offputting 
   
  Intensity: 6 
  Passions: Anguish 6, Fury 1 
  Pathos: Oracle, Shameless, Lock & Pound 
   
  Skills 
  Art: 2 
  Instrument: 2 
  Textiles: 1 
  Vocals: 2 
  Arcane: 1 
  Cryptozoology: 1 
  Sensitivity: 1 
  Collegiate: 2 
  Law: 2 
  Business: 2 
  Science: 1 
  Criminal: 2 
  Security: 2 
  Urban Stealth: 2 
   
   
  “It means the world’s about as 
  solid and as reliable as a layer 
  of scum on the top of a well of 
  black water which goes down 
  forever, and there are things in 
  the depths that I don’t even 
  want to think about.” 
  Rose Walker- 
  Lost Hearts 
   
   
  155
  
   
  Social: 2 
  Observation: 2 
  Tenacity: 2 
  Basic Combat: 2 
  Unarmed Strike: 2 
  Evasive: 2 
  Projectile Strike: 2 
  Initiative: 1 
   
   
  Anastasia Park 
   
  Liminals have found the park grounds to be even more extensive than the public, or the 
  Phenomenal itself, knows. Locations and distance have collapsed upon themselves in 
  points, only accessible to Liminal and Noumenal creatures who can scout the way or 
  recognize these disturbances. The tortured history of in habitants and thronging masses of 
  visitors to the park has given rise to an elite crop of Noumenal predators in the area. 
  Many of those who pass through the park leave drained as the unwitting meals of 
  emotion hungry Noumenal (not Liminal) creatures, or simply disappear. The park itself is 
  quite Noumenally barren due to the previous abundance of predators which has thinned 
  with the inevitable power struggles and brutal territorial contests, leaving only the most 
  crafty, violent, and powerful inhabitants.  
   
  As the Liminal population has grown, the influx of emotionally substantial prey has not 
  managed to keep in step with their numbers. Often manifesting as to prey upon their 
  victims they have assumed the guise of deadly creatures, convicts, hoodlums, diseased 
  animals, and even faeries and spirits.  
   
  One of the more powerful Liminals in the park appears as a thick, massive fog. Lacking 
  any physical form, this creature passes from location to location or just vanishes 
  completely in a dense, low-hanging bank. Slowly ebbing along well-traveled pathways 
  and campgrounds, the fog lures anyone who can see it off the path. What happens after 
  that is anyone's guess. Here are a few possibilities of what the fog may be. 
   
  The fog may be some sort of Thought Form that may or may not have a purpose.  
   
  It could be the eyes and ears of a powerful Liminal (Ethos or Pathos magic). 
   
  It is the now-natural form to an ancient (or possibly not so ancient) Liminal. 
   
  A failed (or successful) experiment – what it is intended to do is up to the Narrator. 
   
  The fog may be the collected spirits of the powerful tribe that disappeared not all that 
  long ago. 
   
  The fog may be the remains of a dead, hugely powerful Noumenal predator that drips like 
  the slowly seeping blood of a corpse. 
   
  Sample Beginning Scenario 
   
  This story begins with the characters at Park Avenue. James is talking in a corner with a 
  man dressed in a zoot suit, smoking thin menthol cigarettes. The man is named Luis, and 
  James made a deal with him two years ago; a future favor in exchange for money. Lots of 
  it. He got the money, and Luis has come for his payment. He doesn't have a chance to tell 
  him what the payment is, as a man dressed all in black steps behind him and pulls a piano 
  wire across his throat.  
   
  At this point, the other characters should notice the scuffle. Before anyone has a chance 
  to do anything, Luis erupts into a cloud of smoke, and the man turns and runs out the 
   
   
  “Demons do not exist any more 
  than gods do, being only the 
  products of the psychic activity 
  of man.”
  -Sigmund Freud 
   
   
  156
  
   
  back door.  
   
  No one in the bar other than the characters seems to see what's going on. If the characters 
  ask anyone in the bar, they will simply shrug it off and say it was probably a drunken 
  scuffle. If they mention the man in the suit turning into a cloud of smoke, the other bar 
  patrons will simply nod and back away. The police, if called, will find no evidence of a 
  fight, and will offer to fill out a report. Their dismissive attitude should immediately tell 
  the players that it's unlikely the police will be any help.  
   
  If anyone talks to James, he will be reluctant to tell them any details of what he saw, as 
  he, quite rightfully, thinks that anyone he tells will think he's insane. The characters, 
  already pushing the bounds of possibility, should be able to easily convince him to tell 
  what he saw. Of course, if James is a PC, he should follow whatever course of action the 
  player dictates.  
   
  If the characters attempt to contact Luis through James, he will refuse to talk to any of 
  them. He will only meet with James alone. If James attempts to meet him, Luis will agree 
  to coffee. After a brief discussion, Luis will reveal that he's going underground for a 
  while. If asked if it has anything to do with the man who tried to attack him, Luis will 
  admit that he's a customer "whose deal didn't turn out quite the way he'd have preferred." 
  Luis will not, under any circumstances, reveal any further details. He will, however, say 
  that if James "takes care of the problem," he will consider the slate wiped clean. Luis will 
  not give any more information on what exactly he means by that. If James offers the help 
  of the other characters, Luis will agree to give them "a favor" as well, and will agree to a 
  meeting with them.  
   
  If the other characters meet with Luis, he will tell them everything he knows (relatively 
  little) about Jordan, Park Avenue, and, if pressed, the process of power. Luis knows that 
  he used to be human, and that he has certain powers. He doesn't remember much of his 
  life as a mortal man, and he's reluctant to share what he does remember. He will not 
  reveal his Consequences, or the fact that he feeds on Yearning. After he's told the 
  characters everything the Narrator thinks they should know, the characters should see the 
  man who attacked Luis walking toward the location of their meeting. When the 
  characters turn around, Luis should be gone. He will not answer any phone calls or 
  appear again until the situation with the man who attacked him is addressed.  
   
  Within a day or two, the other characters should see the man who attacked Luis out of the 
  corner of their eye—hiding in alleys, grocery stores, and parks. He won't attack unless the 
  characters use some form of Pathos in his presence. If they do, the man will regard them 
  as the enemy and immediately press the offensive. If a character attempts to engage him 
  in conversation, even during a combat, he will begin a long, rambling diatribe about the 
  "creatures of the night" and how they must be stopped. If allowed to finish his speech, he 
  runs at the end. At first, Jordan will only engage the characters briefly, testing their limits 
  and defenses.  
   
  After the third sighting, it should be obvious to the characters that they must stop this 
  clearly homicidal maniac. Inaction is a recipe for disaster. At this point, there are two 
  options: attempt to talk the man down or stop him. Attempting to contact the police will 
  result in them offering to file a report. They will tell the characters to call if there are any 
  more incidents. They may be taken down to the station to give a description of the man, 
  but there's little they can do, and even less they're inclined to.  
   
  At encounter number four, the man becomes more talkative. If the characters refrain from 
  hostile action, he will begin a discussion with them. Other than his insane worldview,  the  
  man,  who  introduces  himself  as  Jordan Montaigne, is a nice guy. He 
   may offer to buy the characters a drink at his bar, Park Avenue, or a cup of coffee. He 
  will gladly tell the characters about the limitations and feeding of the creatures of 
  Passion. He has a vague idea that not all Passionate creatures are evil, but with the 
  exception of his former business partner, Jeff (AKA Jack Daniels) he takes the "kill 'em 
   
   
  ”All Bette’s stories have happy 
  endings. That’s because she 
  knows where to stop. She’s 
  realized the real problem with 
  stories – if you keep them going 
  long enough, they always end 
  in death.” 
  -John Dee 
  Passengers 
   
   
  157
  
   
  all, God will sort out his" approach. He's also beginning to realize that becoming a 
  creature of the night causes people to "fade out" of reality, though his understanding of 
  the process is tenuous, at best. Given half an opportunity, he will warn the characters that 
  they are themselves approaching a danger point. He seems totally unaware of the fact that 
  he's traveling down the same path. If it's pointed out to him, he will deny any such thing. 
  Possibly violently.  
   
  There are multiple solutions to the problem of Luis and Jordan. The characters may ally 
  with either Jordan or Luis, attacking, killing or driving off the other. Killing Jordan, 
  unfortunately, should have profound implications for the futures of the characters. As 
  Jordan is a man, unfaded and with a real life, characters killing him will almost certainly 
  be caught and charged with murder. Though the characters can probably get away with 
  saying that they acted in self defense, given Jordan's recent history of stalking (he's been 
  taken into the police three times in the past month) and stockpiling weapons, any or all 
  characters involved will almost certainly spend some time in jail.  
   
  Killing Luis has fewer legal consequences, but is a much more difficult proposition. 
  Actually killing Luis leaves no witnesses, no corpse, and no paper trail; the police, even if 
  notified of his murder, will "file a report" and simply let sleeping dogs lie. Luis is, 
  however, a very old and very powerful Supernatural, with a number of tricks up his 
  sleeve; killing him should be no easy task. With that being said, his Consequences are all 
  fairly straightforward and common in folklore. They should be assigned by the Narrator 
  as appropriate—and particularly clever attempts by players to discover or exploit them 
  can and should be rewarded by a discovery or reaction. With a concerted effort, the 
  characters can probably kill him. If attacked, he will fight only long enough to escape. If 
  he escapes, the characters won't hear from him for a very long time. Of course, when they 
  do hear from him, there will be Hell to pay.  
   
  It is possible, though difficult, for the characters to arrange a kind of "cease fire" between 
  the two characters. Provided Luis agrees to leave St. Augustine, Jordan will simply let 
  him walk. Luis, for his part, is wary of anyone who can hunt him with something 
  approaching his own tools. While not eager to leave his infrastructure in the city, he will, 
  if pressed, agree to skip town. Whether he does so without taking out a contract on Jordan 
  and/or the characters is entirely up to the Narrator.  
   
  Once the characters have addressed the problems of Luis and Jordan, there are a number 
  of story seeds they could follow. The Narrator could introduce the Children from the 
  Bloody Mary storyline, having the children ask the characters for help. If Jessica, Brad, 
  or Heather is played, the characters could confront Ana, possibly against Heather's 
  protests. Finally, if Maria or Jessica is played (or even involved as an NPC), the 
  characters could find themselves facing down Manolito Campero.  
   
  Of course, the Narrator could have the characters chase Luis, or he could ignore all of 
  these plot seeds and  place the characters in a whole new situation. Bloody Mary could be 
  a good woman, trying to stop a horde of demon children from slaughtering people who 
  they claim are their parents; Manolito could be hunting down Jack Daniels, whose 
  feeding has ratcheted up from despair to death. Any number of options present 
  themselves to the creative Narrator. Feel free to play with any or all of them. Never 
  forget, the point of a role-playing game is enjoyment. Have fun.  
   
   
   
   
   
   
  158
  
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
  Chapter VIII Pre-Made Characters: 
  Unbroken 
   
  Some days it was all I could do to keep from smashing that smug sneer off Angler's 
  face with his own damn "Supervisor of the Year" paperweight. Days like that, days 
  when the need to scream and howl and tear the office apart until someone, anyone 
  understood, they were the worst.  On days like that, instead of standing on my desk 
  with the pistol I snuck in fifteen years ago, I dreamed.  I dreamed how I'd finally get 
  up the balls to give some bum a bottle of booze and a hundred bucks to strangle the 
  cocksucker as he walked out to his Bimmer three damn hours early on a Friday.  I 
  knew I'd never get up the balls to do it, but it helped.  Turns out I didn't need the 
  balls.  This wild-eyed guy showed up on my doorstep last night wanting his hundred 
  bucks. 
   
  Ten ready-to-go characters have been included within this chapter for immediate 
  play. With the character sheet is a brief description and a first-person encounter that 
  can be used to promptly get everyone on the same page.  
  As with everything else, take what you want with the contents of this chapter and 
  modify the rest.  
   
   
   
   
   
   
   
  159
  
   
   
   
  Gabriel 
   
  The burning hemlock and wormwood blend smelled like battery acid; my already small 
  bedroom shrank with the stench. Swallowing hard to clear my mouth and sinuses, I 
  traced a seal of Solomon above the SATOR square I'd drawn on a full-length mirror. 
  "Arepbo. Imor dial hectega; oro ipaah." I croaked out the first few words, feeling them 
  whisper dryly against my throat. "Tzaobath." The last word rocketed through my head, 
  reverberating in the smoke until I could almost see it traced in the air. 
  Or was that my imagination? 
  "Atah, malkut, v'gevurah, v'gedulah, li-ohlam." The incantation came faster now as the 
  urgency built inside my skull: a pressure finding its way out through my eyes, my nose 
  and my ears almost more than it through my mouth. "Yehaushuah adonai, ehehieh 
  aglah." 
  The mirror seemed to ripple and shift on the floor as the air abruptly cleared. Something 
  moved beneath the surface, raising it like the swell of ocean above something enormous 
  before it crested. I steadied myself against the beating of my heart.  Every other time I'd 
  no sooner felt my spirits rise in elation than the illusion cleared and I found myself 
  straddling a mirror in a ridiculous black robe among the stubs of half-burned candles. I 
  would close my eyes and strain to recapture the feeling of immanent wonder, so close it 
  made it hard to breathe, but it was useless; I was stood up by a date who never really 
  planned on coming and who, in fact, may not exist. Magic was a fickle bitch, if she was 
  anything at all.  
  Don't hope Gabriel, just be. 
  I groped until I found the candle I'd been looking for: blended with my own blood; and 
  cast on the hour and day of Saturn. Holding it over the mirror, I dripped wax onto the 
  center of the square, barely managing to contain myself when the drops disappeared 
  beneath the surface. I clutched the candle tighter in my fist. 
  "And when all the phantoms are banished, thou shalt see the holy and formless fire, that 
  fire which darts and flashes at the edge of the universe." As if on cue, all the light in the 
  room seemed to shift a millimeter closer to the ground, giving the glass a flickering 
  illumination that seemed to come from somewhere inches below the surface. "Touch now 
  the face of Fire." In for a penny, in for a pound; I closed my eyes, stretched my arms 
  wide, and fell onto the mirror. 
  Gabriel Harris has spent his life looking for something in which to believe. Something 
  always seemed wrong with the idea of a universe built of inert matter hurtling past and 
  through itself at speeds determined by the time of the big bang. After dabbling in seances, 
  table-tapping, psychometry, remote viewing, and a brief stint at a Buddhist monastery, 
  Gabriel has settled into the comfortable routine of buying the reprint of a grimoire, 
  plowing through the rituals spells with implacable, hopeless determination, and walking 
  away as empty as he came.  
  Harris is a psychology major, near graduation, so he's familiar with what major 
  depressive episodes look like, but he can't bring himself to do anything about it. Alone in 
  an apartment full of alchemical equipment, an endless proliferation of ritual implements 
  and bookshelves near-bursting, he manages to stagger through the routine only by 
  making himself believe that there may be something True around the next corner; his 
  capacity for self-deception is reaching its limits.  
   
   
  “As they took his soul they 
  stole his pride, and as he faced 
  the sun he cast no shadow.” 
  Oasis- 
  No Shadow 
   
   
  160
  
   
   
  161
  
   
  Mary 
  There was no one left to die, but someone was going to. I squinted out the window, 
  hoping that there was one more seagull flying with them just beyond the stark halogen 
  circle of the station light.  One more would make it four.  Please I thought please make it 
  four. Three gulls meant death. My breath caught when one perched just outside of the 
  window on the other side of the desk. It turned and cocked its head at me, seeming for all 
  the world like it was grinning.  
  I saw three seagulls the day Howard died. I dismissed it then, thinking, with the smug 
  certainty of youth that I knew I knew better than the generations that came before.  I 
  knew then that the legend I heard at Mama's knee, her thick Cuban accent carefully 
  treading around the edges of unfamiliar English was just that.  I legend.  Sometimes I 
  wish I knew now what I knew then. An angry spirit of the sea didn't haunt us. Manolito 
  Campero was a myth; seagulls weren't omens, they were rats with wings. Later, when I 
  received the notice--soulless bureaucratic euphemisms expressing its regret that my 
  husband was killed in the line of duty, I remembered the day, I remembered the gulls. 
  Three gulls were picking along the beach together outside of the country club where I 
  was working six months later. One of them waddled curiously to the table, picking at 
  scraps on the table before I shooed it away. I saw a flash of gray on one of their faces 
  and suppressed a shiver of superstition. Twenty minutes later, I got a call from 
  Cassandra that Joey was in the hospital. She had taken a call in the other room while he 
  was in the bathtub. When she came back in, he wasn't breathing. 
  A month later, I saw three seagulls flying together while I got another call at work. 
  Cassandra had killed herself. At the funeral, Jessica blamed me for her becoming an only 
  child; it was the last time she talked to me. I started to believe then, and I still  believed,  
  sitting  in  the  police  station  beside  the   window,   watching  three  seagulls 
  circling the building. I was going to find Manolito Campero; whoever or whatever he 
  was, and kill him. But the officer trying to process me didn't care about that, and 
  wouldn't believe me if I told him. 
  "Miss Hines?" The man at the desk snapped his fingers in front of my face. "Ma'am, 
  where did you get this license?"  
  "The DMV." I sat quietly, trying not to draw attention to the packets of herbs, charms, 
  and animal bits in my pocket; they take that away from you if they see them. 
  "Well, Mary, I've gotta be honest with you: I just checked the system, and there's no 
  record of anyone with this license number." I wanted to wipe that smug expression off of 
  his face with my fist and keep wiping until there was nothing left. Instead I kept my 
  silence. 
  He fidgeted idly with his pen while he waited for me to incriminate myself. I'm homeless, 
  not stupid, and I could play the waiting game better than he could; I'd had more years of 
  practice. I stared at a point just over the top of his head, schooling my expression into a 
  perfect poker face. 
  Outside the window, the gulls settled onto the ground. Seconds later, a man in a suit coat 
  the color of old sea foam strolled into the perimeter of the light. As he came closer, one of 
  the gulls took to the air briefly and settled on his shoulder. He stroked its neck and 
  whispered something to it, coming closer to the window. Weren't the cops supposed to 
  patrol the building or something? 
  He stopped less than six inches away from the glass. He leered at me, then laughed. 
  There was no doubt in my mind who this was, and there was no way for me to reach him. 
  His eyes never left mine as he reached into his pocket and pulled out a crumpled 
  photograph before pressing it to the window. 
  Oh, my God. Jessica. 
   
   
  “All of us get lost in the 
  darkness, dreamers learn to 
  steer by the stars.”
  -Rush
  The Pass 
   
  162
  
   
  Maria Hines is trouble's child. She lost her husband, her youngest child, her middle child, 
  her sanity, her job, and her home. She has become convinced that a spirit of vengeance 
  calling himself Manolito Campero from her family's days in Cuba is causing all of her 
  tragedies. She might just be right. Freed of her obligations, and with even her oldest (and 
  now only) daughter refusing to have anything to do with her, nothing is stopping Maria 
  from finding Manolito and killing him. She doesn't know what variety of spirit he is, but 
  she has time and generations of family stories. Something is bound to work. 
  Maria is in her mid-forties, though under all of the grime, she looks much younger than 
  that. She habitually mumbles charms, incantations and prayers to herself, both as practice 
  for when she really needs them and to banish any little nasties that may have shown up. 
  She dresses in filthy, cast-off clothing and usually pushes around her cart of "ghost  
  hunting" gear. 
   
   
   
   
   
   
   
   
   
   
  “I’m on the outside, I’m 
  looking in. I can see through 
  you, see your true colors. 
  ‘Cause inside you’re ugly; 
  you’re ugly like me. I can see 
  through you, see to the real 
  you.” 
  Staind- 
  Outside 
   
   
  163
  
   
   
  164
  
   
  Jacob 
  The alarm rocked through the dream like a spike through my skull. I rolled over and 
  flopped at my clock until the beeping stopped. I braced myself for one more day as my 
  stomach growled, reminding me that there were reasons to go through the motions. 
  I groped around in the gray half-morning until I found the "clean" pile; scooping up the 
  wrinkled mess, I staggered into the bathroom, carefully avoiding hitting the couch. My 
  illegal roommate rolled over in his sleep and mumbled something at me as I passed, one 
  arm thrown carelessly across the upright back of the futon. It looked like he passed out 
  still wearing his shoes and hat; a good sign that he had probably already blown his 
  paycheck. No help for rent this month. 
  The water went cold halfway through washing my hair. Cold water is supposed to wake 
  you up, but instead it gave my exhaustion a shivering edge that refused to leave as I 
  crawled, clammy, into my work clothes. I tiptoed into the kitchen to see if there was 
  anything left of the spaghetti I made last night, but apparently my roommate hit that, too.  
  I grabbed a couple of slices of bread and smeared them with peanut butter before I 
  slumped down the stairs and through the rain to my car. When it finally started, it made a 
  quiet whine that scared me all the way to work. 
  In the store, no one was in a better mood than I was, so we opened in silence. Our 
  customers took their coffee and bagels with barely a nod to me and scurried away. No 
  one decided to stay in the cafe, which, I supposed, was a blessing. Then James came. 
  Everyone knew that he was trying to recruit for some con, but he wasn't doing anything 
  obviously illegal and he spent a lot of money. No one could accuse Townsend Books, Inc. 
  of not looking at the bottom line. 
  He oozed his way to my register, all smiles and fresh-pressed dress clothes. This was the 
  kind of man that Lee Iacocca had wet dreams about; a walking advertisement for clean-
  cut Asian American industriousness. 
  "How are you doing this morning?" He lit up a grin at me. 
  "Can't complain. What can I get you?" I flashed him a grimace. 
  "Hey, if you can't complain, it's a good day, right?" I could almost hear the ching in his 
  smile this time. 
  "Actually, if I can't complain, it's a day where I'm bound by company policy to keep my 
  mouth shut." I pasted a deliberately vapid smile to my face and shot it at him. "Half-caff 
  cappuccino?" 
  "Umm, yeah." He actually forgot to grin at me that time. Good. 
  "Three dollars and fifteen cents. It'll be waiting at the end of the counter." I dropped all 
  the fake brightness out of my voice and pointed. "You know the drill." 
  "Yeah." 
  When his eight-o-clock showed up, I wasn't any nicer to him. 
  "I don't know, sir. The deciding part is your job." He fidgeted and ummed for a while 
  before deciding on a caramel mud mocha, large. He was a tall, awkward kid, obviously 
  wearing the only set of dress clothes he owned; I could still see the lines from where the 
  shirt was folded in the package. Poor chump didn't stand a chance. When he picked up 
  his drink, I scowled at him, wishing him a good morning in that tone of voice I know tells 
  people precisely the opposite. 
  "Yeah, thanks," he said. "I will." He gave me a spooked look from over his shoulder as he 
  skittered away. At least this one didn't laugh. I hate it when they do that nervous, bullshit 
  giggle. Like there's anything to laugh about here. Made me sick every time I heard it. 
   
   
  “Those who dream by day are 
  cognizant of many things that 
  escape those who dream only 
  at night.” 
  -Edgar Allan Poe 
   
   
  165
  
   
  When he got to James' table, I couldn't hear exactly what he said, but his body language 
  was all about apology. He never sat down, either. James nodded, thin-lipped, and fished 
  for a business card. 
  Then the kid booked it out of there like someone stapled a rare steak to his neck in a 
  home for starving dogs.  
  Good. The poor sucker got away. 
  Jacob Azzai is, or rather was, an art student, working at the LiveWire Café in Townsend 
  Books to (barely) cover the bills. He's intensely idealistic, creative, a fairly talented poet, 
  and convinced that everyone has a purpose in life; he just doesn't know what his is, and 
  he's despaired of ever finding it. He has little patience for pettiness or stupidity, a poor 
  choice in vices for someone working at a coffee shop. Despite his gruff, sarcastic 
  exterior, Jacob is genuinely kind and deeply wounded by the callousness of the world.  
  He has dark brown hair, trimmed short but growing out, and brown, limpid eyes. He’s 
  just under six feet tall on those rare occasions when he stands without slouching, which 
  isn't often.  
  He wants to fulfill his purpose, whatever that is. He knows in his heart of hearts that 
  there’s just no way for him to accomplish anything the way things stand now, and he 
  can’t think of any way to fix it.  
  Jacob is beginning to suspect that there's more to his life than meets the eye; strange 
  things have been happening lately, kids appearing and disappearing—kids only he sees—
  odd customers giving him odder looks over their coffee, and unearthly whispers coming 
  from just around the corner. Though he knows that he's probably just going crazy, he has 
  to wonder whether what he's hearing is perhaps the call of his future. 
   
   
   
   
   
  “They tell us that we’re 
  savages who haven’t got a 
  hope. We’re burning in the 
  furnaces, we’re choking at the 
  smoke. They say we haven’t got 
  a choice, refuse to recognize 
  our voice. Yet they enjoy 
  comissions from the proceeds 
  of the joke.”
  -Keith Reid 
   
   
  166
  
   
   
  167
  
   
  James 
   
  My eight-o-clock was five minutes late. Sloppy. I wanted to tell him that he'd never make 
  any money with those habits, but I didn't. Instead I smiled while he fidgeted at me, then 
  let the smile drop while he made some lame excuse about why he had to leave. I gave him 
  my card and reminded him that the only way he was going to find success was by seeking 
  it aggressively.  
  I admit it, I overreacted when I went to chew out the poor schmuck who served the coffee, 
  but he needed a dose of reality. When he looked like he finally got the point, I went back 
  to my reading, but I hadn't gotten more than two pages into it when the slam of a heavy 
  stack of books landing on my table jerked me back into reality. Pointedly ignoring the 
  introduction, I tried to continue reading. 
  "Business motivation, James? Do you really need that?" I didn't bother looking up; I'd 
  recognize that aggressive, smoke-roughened voice in a hurricane. 
  "No, Samantha, I don't need it, but some of my clients could use some of the advice. You, 
  for example, would do well to try to muster some enthusiasm for your own future." I 
  stretched my feet under the table and gently closed the book. 
  "There are more important things out there than investment portfolios, Jimmy-boy." She 
  grabbed the chair across from mine, tilted it back, spun it on one leg, and flopped down 
  straddling the back, all in one practiced motion. "Like, what good are retirement plans 
  going to do anyone if we don't have any breathable air when it comes time to use them?" 
  She Cheshire-catted a grin at me like she hadn't made that point dozens of times before. 
  "I doubt it's that bad, Samantha." I avoided sighing out loud. I was proud of that. 
  "Besides, I didn't think you cared about breathable air, the way you poison yourself.” 
  "Sammie. My name is Sammie. My smoking is my business. And if you'd listen to me one 
  of these days and actually look into the statistics instead of just blowing me off, you'd see 
  what I'm talking about." She blew a stray chunk of wheat-blonde bangs out of her eyes. 
  She was pretty, if a bit butch for my tastes. 
  "Sammie, I've listened and I've looked. I've heard all about ecosystems," I began ticking   
  things   off   on   my   fingers.   "Women's  rights,  animal  rights, economic 
   exploitation, the plight of the Native American, the spotted owl, and the blue whale. I've 
  listened until my ears nearly bled, but you've never answered the question I asked when 
  we first met: how does caring about any of that put food on my table or clothes on my 
  back?" 
  "I can't believe this." Her voice popped an octave higher. " Jesus, James, your great 
  grandfather probably came over here, practically a slave, to build a railroad. People 
  died building for rich people just like the one you're trying to become." 
  I felt my voice drop and pull her attention to me, away from the details of the lie I was 
  about to tell. "Actually, I'm not Chinese. I'm Vietnamese. The only reason I'm here and 
  not in some rice field, wading through mud and human feces is because a family of 
  yuppies—your word, not mine--decided they wanted to work hard enough to buy nice 
  things, and then decided to shell out to adopt me. Don't talk about how evil wealth is to 
  me.” 
  That made her miss a beat. Good. She needed to rethink her world a little. She didn't 
  have to know that everything I just said was a line, and if there's anything I've learned 
  how to do, it's lie convincingly.  She licked her lips and whispered. "There are more 
  important things, James, than your next Rolex." 
  "Not to me there aren't. But that's not the point. Think of it this way: how much good are 
  you doing for all of your causes right now?" 
  "What?" She twisted her upper lip in skepticism, but unconsciously leaned forward to 
   
   
  “After all, it’s what we’ve done 
  that makes us what we are.”
  -Jim Croce
  One Less Set of Footsteps 
   
   
  168
  
   
  hear what I had to say next. Excellent. 
  "Right now, what good are you doing? Skipping from protest to rally to boycott, you're 
  not doing anything but losing your voice." She drew in a breath to interrupt me, but I 
  held up a finger and started talking just a little louder, a little faster. She shut her mouth 
  and settled her chin into her arms on the back of the chair.  
  "Think about it; what if instead of waiting in the rain for someone in a corporate office 
  hundreds of miles away to notice you, you were able to talk with your wallet? You've said 
  it yourself. Money is all we corrupt types care about, eh?" Her skeptical expression was 
  already starting to fade. If I could get this chick, I could recruit anyone. 
  James Yiu is a mid-twenties young urban professional with a golden tongue, sticky 
  fingers, and Teflon skin. His love of money is second only to his love of his own status. 
  A few years ago, he discovered a small pyramid scheme operating as an insurance 
  company. Since then, he's been happily fleecing everyone who'll give him the time of 
  day. Needless to say, he doesn't have very many real friends, but that's okay with him. 
  Just fewer people that will try to manipulate him out of his money. He grew up in an 
  upper-middle class family; his father was a doctor and his mother was a housewife. All 
  the parenting books say he should have grown up to be an upstanding citizen; a credit to 
  his family and his community. The parenting books lied, and now, so does James. 
  Professionally.  
  Two years ago, James met a man named Luis Esteban Solana the II. Luis offered him the 
  opportunity and talent to make money, and lots of it. James thought he was crazy, but the 
  guy was obviously fairly well off himself, and he didn't think there was any danger in 
  taking him up on the offer. Now, Luis has called him again, and wants to meet for drinks 
  at Park Avenue to discuss his favor. He didn't give James any details, and something 
  makes him wonder if he's perhaps made a literal deal with the Devil.  
  James is 5'10, with close-cropped hair and a lean, active physique. He always wears 
  tasteful, perfectly chosen outfits; crisp slacks, perfectly straight ties, and the kind of cat-
  in-the-cream grin that makes investors clutch their wallets even while they're pulling out 
  their checkbooks.  
   
   
   
   
  “All I want is everything. Am I 
  asking too much?” 
  Def Leppard- 
  All I Want is Everything 
   
   
  169
  
   
   
  170
  
   
  Sammie 
  If I could make James see, then I could show anyone. I wanted to beat him to death with 
  his own self-satisfied smirk sometimes, but my God, the good he could do with that 
  charisma... "I'm not saying it's all you care about, James. Just that you care more than 
  you should."  After that little gem of family history he dropped in my lap, I couldn't stay 
  mad at him.  
  "Well, I'm saying it now. He who dies with the most toys still dies. But he still had the 
  most toys, too." He steepled his fingers on the table. He smiled that perfect, calculated 
  smile I can almost see with my eyes closed by now. "Samantha, I'm worried about you," 
  Cue the sincerity, Maestro. "You're a bright, beautiful girl with a big heart. There's more 
  out there for you than secondhand t-shirts and torn jeans. Just give me a chance to show 
  you the rest of the world. Please." 
  "Tell you what," I stood up, straddling the chair. Resting my elbows on the table, I leaned 
  forward almost far enough for him to see down my "This is what a feminist looks like" 
  shirt. Almost. The great thing about men was the way you can watch their brains shut off 
  the moment they think they can see the two lumps of fat you carry on your chest. Girls, 
  take note. You have better siege engines growing in your training bra than Alexander the 
  Great ever dreamed of.  
  "Spend a day, just one day, without spending any money. None. Stay away from your nice 
  car and your nice apartment. Don't wear your nice clothes, either. I'll give you an outfit." 
  He drew in a breath to interrupt me, but I raised one finger and started talking a little 
  faster. He shut his mouth and sat back against his chair, listening. "At the end of that 
  day, if you can watch how people react to you, and still..." 
  Pain. First there was pain like someone was playing every nerve in my body with a white-
  hot hammer. It rocked my whole body at once, sending me rigid. 
  "And still...Oh, God." The hurt didn't have edges. It didn't sting or throb. There was no 
  differentiation, no flavor as my synapses shriveled and curled against the heat of it. "You 
  need..." 
  I may have fallen out of the chair, but it didn't matter; I couldn't feel anything but agony. 
  There wasn't room in my body for the pain and me both, and I could feel myself being 
  slowly squeezed out. My muscles clenched against each other, spasming frantically as I 
  tried to bite off and swallow mouthfuls of air. 
  "Samantha, are you okay?" I opened my eyes, and the colors had run together, falling in 
  great globs of light and shadow and perspective, dripping off of the window and onto 
  James' face, melting it into a surrealist nightmare. The light started to fade, falling 
  across the swirling walls and tables like a curtain. As the darkness rose, the pain fell 
  away, gradually subsiding into an ache centered behind my teeth. 
  The smell hit me next; filthy beaches, unwashed bodies, mud. It was like the stink of a 
  hundred backwoods retreats and concerts rolled together, then shoved into my sinuses. I 
  shook my head, closing my eyes against the impression of the store wobbling like gelatin 
  around me. 
  "Are you okay? I'm sorry about that." I had already opened my mouth to shoot back an 
  angry response when I realized that it wasn't James' voice that asked. Not at all. 
  Hesitantly cracking my eyes, I saw a little girl, seven or eight years old, sitting between 
  James and I at the table. She was soaking wet, and by all indications, the smell was 
  coming from her as much as it was coming from my pickled brain. 
  James just stared at her, mouth opening and closing dumbly. He looked at me 
  questioningly, then at the girl. When I shook my head, at least as confused as he was, the 
  girl hopped off of her chair and tugged at my shirt. 
  "Can you help me?" She looked pleadingly into my eyes. "I'm real scared. Please don't 
  get mad at me for bugging you." 
   
   
  “No excellent soul is exempt 
  from a mixture of madness.” 
  Aristotle- 
   
   
  171
  
   
  James finally got over his silent spell. "Where did you come from?" 
  She looked at him pityingly. "From the bookstore." She pointed behind her. "Where else 
  would I have come from?" James pressed his fingers against his sinuses and shook his 
  head. 
  "What can I do for you, sweetie?" I swung my chair around so I was sitting with my back 
  actually against the backrest. I sank my elbows to my knees to make eye contact. "Did 
  you lose your mom?" 
  The girl was trying hard not to cry, I could tell. Poor thing's probably been lost for a 
  while. I reached out to give her a reassuring pat on the shoulder, but as soon as my hand 
  made contact with her, the flashback hit me again. 
  I jerked my hand away as it spasmed into a fist. Glass. There was glass everywhere. The 
  previously liquid world around me warped and shattered into a hundred thousand razor 
  edged pieces.  
  I was covered in blood and angry. 
  I was young and scared; I was going to get rid of a monster. I was hungry and lonely and 
  my parents didn't remember who I was. 
  I was me again. And the girl was gone. James shook his head and looked at me 
  quizzically.  
  Damn acid flashbacks. 
  Sammie Pecenka logged more protest hours in 2004 than her parents did in the entirety of 
  the 1960s. She is deeply ashamed of the affluence into which she was born, and has spent 
  her entire adult life attempting to make up for it. She researches continuously, attempting 
  to discover the newest, greatest wrongs to be righted. Though she hopes to someday cross 
  the invisible line separating the oppressors and heroes, every word she reads and hears 
  drives home just how good she has it, even at her worst. 
   
   
  Sammie is 24 years old, 5'11", and athletic. She keeps her dishwater-blonde hair in a 
  short pageboy that she seldom bothers to comb or trim. She's athletic and deeply tanned 
  from all of her time in summer marches. She usually wears t-shirts from activist 
  organizations and cutoff shorts. She's careful not to drink anything but fair-trade coffee, 
  and doesn't wear anything from any companies that utilize sweatshop labor; her choices 
  are limited, which suits her fine. She chain smokes menthol cigarettes, even though she 
  knows the kind of evil empire they support: a two pack a day indulgence that leaves her 
  racked with guilt even as she reaches for her lighter. 
   
   
   
   
   
   
   
  “Schizophrenia is a brain 
  disorder that affects one 
  percent of the population. That 
  means over two million people 
  in the US – only the US – have 
  it. Makes you wonder how a 
  million people can be wrong.”
  -Chad Otteni 
   
   
  172
  
   
   
  173
  
   
  Barron 
  "No." 
  She was breaking my heart, and she knew it. 
  Maybe I didn't ask right. Did I maybe break some stupid sorority rule? Miss some idiotic 
  little step in their vacuous mating dance? 
  "Okay, how about later?" I leaned my elbow against the bookshelf, straining to look cool, 
  in control. "It's playing at least until this weekend." 
  "Um, no." She crossed her arms and leaned away from me, laughing uncomfortably. 
  Settling back into the corner she stood up taller, forcing her breasts higher in her arms. 
  Then she looked over my shoulder like she was waiting for a date. Probably some wide-
  shouldered grunting ape with a grudge and the genitals of a hamster. She was decked out 
  like a high-class college prostitute: short black skirt, shiny blouse, heels and some light, 
  fruity perfume that almost choked me, but left me wanting more. Oh yeah. She was 
  waiting for someone alright. Me. I shifted to the side, blocking her view. 
  "Hey, well, here's my number, give me a call when you want to go out." I pulled out a 
  business card; high rag content bonded stock with raised lettering.  
  Barron Johnson 
  21337xr@gmail.com 
  904-555-5793 
  Si hoc signum legere potes, operis boni in rebus latinus alacribus et fructuosis potiri 
  potes. 
   
  When she took the card out of my hands, her fingers brushed mine briefly, and I felt a 
  little shiver go up my spine. I moved out of her way and bowed. A little bit of Old World 
  charm never hurts when trying to woo the borderline retarded. "Well, I've monopolized 
  your time enough. Have a good night." 
  She didn't say a word, just mallwalked a straight line away. 
  I stared after her, boring holes into her empty little skull with my eyes. If there was any 
  justice in the world, the rude little slut would burst into flame, or have an anvil land on 
  her head, or something. Die. She needed to die. I continued to look at her, and couldn't 
  help laughing when a pile of books someone had stacked carelessly on a high shelf nearly 
  landed on her head. At the last second she skittered out of the way and ran into some big 
  dumb ox rounding a corner.  
  Her face, oh her face. It was classic. 
  A girl, maybe seven or eight, sitting in a chair next to them smiled and looked at me. She 
  laughed, but it was an angry thing: pure schadenfreude. I understood, and I grinned at 
  her understandingly and cocked a finger at them, pulling an imaginary trigger.  
  Barron Johnson, a Computer Science major at Flagler University, is an angry young man. 
  He's not angry about the racism he's routinely subjected to in the South, the fact that he 
  was born into an economically disadvantaged family, or his lack of opportunity. He sees 
  all of these things, but has come to the conclusion that those are minor issues for 
  someone of his brilliance. Barron is primarily angry at the ignorance and stupidity of the 
  world at large, and women in general. He's furious that no one will acknowledge his 
  genius, and that the girls he wants to date don't want to date him just because he's skinny, 
  awkward, and doesn't care about their inane interests. Unfortunately for the rest of the 
  world, Barron really is a genius. At 19 years old he's already nearly graduated college, 
  and brilliant investments have  
  actually made him more monetarily successful than many established professionals. For 
  all of his curmudgeonly exterior, Barron is really trying to make a connection with 
   
   
  “I find that the sensation of 
  myself as an ego inside a bag of 
  skin is really a hallucination.”
  -Alan Watts 
   
   
  174
  
   
  another human being. While he may not have the best way of going after his goals, he 
  only wants to be liked. 
  Barron trusts luck and his own instincts; right now his instincts are telling him to look in 
  the dark corners of the world. By keeping his eyes open and paying attention to the 
  coincidences that surround him, he's come to the conclusion that there's a whole new 
  world to discover, waiting just below the one he knows. Still, he knows better than to 
  throw himself into his hypothesis wholeheartedly; there's not enough data. He could, after 
  all, just be going insane. All the same, he doubts that he's losing his mind, and he 
  patiently waits for the next revelation to yield its secrets to him. 
  He is a 5'8", excruciatingly skinny African-American man who looks at least three years 
  younger than he should. He has short-cropped hair and dresses in corporate chic; 
  expensive clothes, khakis, polos, suit jackets and accessories. He never really looks at 
  home in them; they're more billboards of his success than something he wears for their 
  look or comfort. 
   
   
   
  “I cry a lot. My emotions are 
  very close to my surface. I don’t 
  want to hold anything in so it 
  festers and turns to pus – a 
  pustule of emotion that 
  explodes into a festering 
  cesspool of depression.”
  -Nicholas Cage 
   
   
  175
  
   
   
  176
  
   
  Braddock 
  Heather plowed into me full-tilt, almost knocking us both over in a flurry of books. I saw 
  the instinctive apology on her lips wither and die, then rise as a sneer. Oh God, what did 
  I mess up this time?  
  "Can we leave?" She pushed herself away and straightened her skirt. 
  "The reading hasn't even started yet." I tried to keep it from sounding plaintive, whiny. I 
  think I failed. I'm supposed to take control here. That's what guys do. Control. 
  "God, Brad. That is so gay." She's more than a foot shorter than me, but it's easy to 
  forget that when she stretches as tall as she can and looks down her nose like that. She's 
  beautiful, my girlfriend. But cold. "And I don't mean stupid. I mean full-on, leather chaps, 
  flag-waving G -A-Y. A poetry reading?" 
  I tried to look into her eyes, but I couldn't make it. So instead I talked to the top of my 
  shoes. "Where do you want to go, then?" 
  "I don't know. How about we go get some tapas and catch a musical?" She dangled one 
  hand in the air and described a circle with little, mincing steps. "I think that's be just 
  fabulous." She threw her head back and roared with laughter. The people around us 
  stopped their conversations and stared. "What did you say Brad?" 
  "Nothing." 
  "It didn't sound like nothing. What did you say?" 
  "I..." 
  "What? I can't understand you when you mumble." 
  "People are staring at us." 
  "Maybe they should." She pulled her blouse down and straightened her skirt again. 
  Heatherese for a change of topic. "Where's Jarrod? Maybe he's found something 
  entertaining to do here." 
  "He's over in the sex books. I think Jessica and Blaine are with him." 
  "If we're not still there when you're done," she bit of the words individually, spitefully, 
  and tucked an artfully stray hair behind her ear, "we've probably gone and done 
  something more interesting. Seeya." She stood on her tiptoes and pecked me on the lips, 
  but it was a mechanical bit of stage work: what a good girlfriend does. It was getting to 
  be all that I really expected. 
  After she left I wandered to the cafe and found a table in the corner no one was using. A 
  guy about my age was setting up a music stand so old that the black finish had fallen 
  away in chunks and even the silver underneath had tarnished to a dull grey. He looked 
  like a poet: slouching posture and sad eyes, brown corduroy all over and a newsie hat he 
  kept on while he read. 
  "I'm Jacob Azzai." He didn't look up from his paperwork, and his voice sounded hollow 
  and joyless, like it was coming from a corpse that was only still here because no one had 
  bothered burying it yet. "William Ernest Henley wrote a poem called 'Invictus' while he 
  was in the hospital for tuberculosis, getting his legs amputated. It's about what he calls 
  his 'unconquerable soul.' Well, we don't all have one of those. Here's a poem for the rest 
  of us. I call it 'Victus.'" 
  As he started to recite, he looked up at the few of us sitting in the cafe, and I felt my 
  whole world fall away in bits and pieces.  He never once looked at the paper he'd set up 
  on the stand, but dropped the poem onto us like it was a nightly prayer or a mantra he'd 
  been repeating for years. 
  They came in twos 
  Star-crossed and storied 
   
   
  “Whatever the scientists may 
  say, if we take the supernatural 
  out of life, we leave only the 
  unnatural.”
  -Amelia Barr 
   
   
  177
  
   
  With glory poured out on them like 
  Haloes on the burning burdens of saints and heroes. 
  It wasn't the words, but something about the way he said them that made me want to find 
  a hole to crawl into. Every syllable was an accusation against the world, spat with the 
  last, dying curse of a man starving in the midst of plenty. There was nothing worth 
  breathing for as long as what he said was true. I wanted to disappear, just to get away... 
  What words my lips will fail to form 
  And leave my echoes cracked and torn 
  What envy called by traitor fear 
  Stalled and halted, left me here 
  To watch them go in twos, 
  Then threes? 
  The whole thing had lasted maybe ten seconds, but it was the longest ten seconds of my 
  life. Then, like a light turning on, I surfaced from the sadness. Instantly, without any in-
  between, it was over. I still had the memory of the feeling, and that was enough by itself 
  to drape my mood in greys, but nothing remained of the hurt itself. 
  I wiped my eyes surreptitiously against my sleeve, barely aware that I had been crying 
  before making sure that no one saw me. Heather would have a blast with that one, crying 
  because of a poem. Not that Jarrod or Jessica or Blaine would be any nicer about it. But 
  no one was looking at my little corner. Safe, for now. God, what kind of weak, stupid kid 
  cries in public? 
  Jacob sat down, and some hippie chick with short hair and a bandanna read something 
  about the dying world, and responsibility--the usual crap you hear at protests. It bored 
  me, honestly. I was thinking about getting up and getting a cup of coffee when some 
  woman sat down on me. 
  "Ohmigod, I am so sorry." Her voice had a nasal twang that set my nerves on edge, but 
  she looked horrified. "I totally didn't see you sitting there. I am so sorry." 
  "Don't worry about it." My voice was still husky, and rather than say anything else I 
  smiled in what I hoped was a reassuring way and dismissed it with a shake of my head. 
  She nodded and settled into a table a few down from mine, mouthing I'm sorry one more 
  time before I looked back at the stage. 
  I nearly jumped out of my skin when I saw a little girl sitting across from me. 
  When she saw me jump in my chair, she let out a little peep of fear. She looked like she 
  was wet, even though it hadn't been raining for hours.  
   
  "I'm scared." She squinted as she said it and pulled herself into a ball. "Please help me?" 
  Braddock "Brad" McLeod is scared. Of not doing what he's supposed to do, of failing, of 
  dying alone. Most of all, Brad is scared of being different. Unfortunately for Brad, he's 
  got a poetic soul and quite a bit of sensitivity, which is a bad match with a football 
  scholarship and a model girlfriend. The people that he spends time with enjoy making 
  him the butt of their jokes, and he's bound by his own "normal" code of behavior to 
  antagonize the people with whom he'd get along best. He's diffident, quiet, shy, and tries 
  his best to disappear whenever he's in public. He has a core of rage, though, that is slowly 
  building to a head. One of these days it may release. 
  Brad was at his friend Jessica's apartment a couple of weeks ago when he saw it. Her. He 
  doesn't really know, but whatever it was, it terrified him. It introduced itself as Ana Mills, 
  and it was his girlfriend's agent. Ana was beautiful, ethereal, and somehow, subtly wrong. 
  When Jessica ran out of the room, Brad followed. Holding Jessica's hair back as she 
  vomited, Brad caught a glimpse of Ana in the mirror, and it was nothing at all like what 
  he saw with his eyes. A shriveled, emaciated husk, hair falling out in clumps, sipped 
  bottled water with his girlfriend in the living room. Brad and Jessica hid in the bathroom 
  until the other two went out for coffee. Neither Brad nor Jessica has mentioned the 
   
   
  “If you understand 
  hallucination and illusion, you 
  don’t blindly follow any leader. 
  You must know if the person is 
  sane or insane, over the abyss.”
  Marguerite Young- 
   
   
  178
  
   
  experience since. 
  He is a large man: 6'3 and approaching 300 pounds of muscle; his physical presence and 
  athletic talent alone would be enough to gain him entry into the "in crowd" he admires. 
  Unfortunately for him, his sheepish nature invites the very ridicule he so fears. Blond-
  haired with electric blue eyes, considerate, handsome and secretly artistic, it's no wonder 
  he's dating the hottest chick in the school. With all the right friends, the perfect girlfriend, 
  a full-ride scholarship and a bright future ahead of him, he doesn't understand why he's so 
  scared of the things to come. 
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
  “Students of perception have 
  for a long time accepted the 
  idea of an ordinary 
  hallucination, by whch they 
  meant some extraneous image 
  superimposed on what was 
  being perceived in the normal 
  way, but hallucinations of even 
  this kind were regrettably 
  seldom studied.”
  -Celia Green 
   
   
  179
  
   
   
   
  180
  
   
  Heather 
  Why am I so mean to him? I wanted to tell him I was sorry, that I shouldn't have said that 
  to him, but he should know. So instead, I kissed him, tried to say everything with my lips 
  that the rest of my mouth wouldn't let me say, and ran away. 
  I saw all the other girls, the skinny, pretty ones, looking at him. I saw the way they 
  pretended to read their magazines or the backs of paperback romance books, looking 
  over the tops at my man. Mine.  
  I couldn't blame them. Brad was on a football scholarship, and you could tell. He was 
  tall and broad and blond and wide in all the right places. I kept telling him that he should 
  be a model. He'd be a better model than I am. 
  No, that's not what I told him. 
  I told him that he spends too much time looking at himself. I called him a pretty boy. 
  Why am I so horrible? 
  By the sex books, Blaine and Jarrod leaned heavily on the bookshelves, talking, and 
  Jessica sat cross-legged on the floor, flipping through copies of the Kama Sutra, 
  laughing at the illustrations. Jessica smiled at me and pointed at something in the book. 
  She tried to hide it, but I could tell she pitied me. She could be a model, too. She had that 
  perfect olive skin and long, thick midnight black hair. She looked like Catherine Zeta-
  Jones. She was beautiful, and she always had better clothes than me. She was wearing a 
  shimmery, pastel button-down blouse that hugged her just right. Classy, but sexy. I need 
  a blouse like that. 
  "Hey Jessica." I paused and squinted at her. "Have you been wearing that shirt all 
  night?" 
  "Yeah, why? Is there something wrong with it?" She craned her neck and tried to 
  examine her own back. 
  "No, not really. But," God, I hate myself. "Don't you think it's a little...revealing?" 
  "You think?" She's so sweet, too.  But gullible.  
  "Yeah, a little. You wanna borrow my car and go change before we hit Park Avenue? 
  You're seriously gonna get something put in your drink wearing that." 
  She looked down again, eyes tightened in thought.  A moment later she had decided.  "If 
  you don't mind." 
  "Go for it. Be back here in half an hour?" I hate this, but at least she won't be wearing 
  the blouse. 
  "Yeah.  I'm gonna go to the bathroom real quick and come back for the keys." 
  "Cool. Hey, why don't you wear that brown spaghetti strap we bought at the mall last 
  week?" 
  "You don't think that's too tacky for Park Avenue?" 
  "Nah." 
  "Okay. Seeya in half." She bounced away, and Blaine and Jarrod were too busy talking 
  about something with football for me to really care. I flopped into one of the big stuffed 
  chair with a copy of some fashion magazine and just zoned for a little while. My head 
  was pounding. Aspirin would help, but I didn't deserve aspirin. I earned my headache.  
  I'd be prettier. I had to keep that in mind. You never knew when a scout or somebody who 
  knew somebody would be hanging out. I couldn't afford to be eclipsed by a girl who 
  didn't even care. I already lost one opportunity this week. 
  I turned pages, not even really paying attention to the pictures, trying not to hear the 
   
   
  “A darkness grows inside me in 
  fading shades of grey.”
  -Stabbing Westward
  Torn Apart 
   
   
  181
  
   
  photographer in the back of my head. Yeah, we were supposed to shoot today for Flaunt, 
  but my schedule is a little weird, he said. The message on my answering machine seemed 
  so loud, like everyone down the hall could hear it. I'll call you when we can shoot. Don't 
  call me.  
  I'd fought so hard for that, got so close. The layout people didn't seem impressed by my 
  head shots or my portfolio. I called them personally and talked until they listened. I had 
  to go through so many secretaries, so many little games of phone tag. By the end, I felt 
  stretched thin, achy, like there was nothing left of me. 
  Kind of like I was feeling now. 
  I put down the magazine and rubbed my temples. 
  "Hey pretty lady." Some little girl was looking at me, sitting in the other chair. "Can you 
  help me? I need your help." 
  "You really think I'm pretty?" I smiled at her. "You're very pretty...too." She wasn't, 
  really. She was dirty and smelled bad, and she was wearing a little kid dress that clung to 
  her like an old banana peel to the inside of a trash can. She was even wet. How? It wasn't 
  raining. But I gritted my teeth and pretended. She was such a sweet girl, after all. 
  "Yes, and I don't think you're fat or stupid or ugly or mean at all. Will you help me?" 
  I just stared at her, openmouthed. "What?" 
  "You're not mean or ugly, I said. I want you to help me." 
  "That's... I just don't... What do you want?" 
  "Help." She bounced off of the side of the chair and ducked down behind it like she'd 
  dropped something and needed to pick it up. When she didn't come back up, I leaned 
  over, wondering what she was doing.  
  She was gone. 
  Heather Stubblefield is a Sears catalog model who isn't pretty enough to make it to the 
  big leagues. She knows this, because her agent told her six months ago. Since then, she's 
  been doing nothing but dieting, exercising, clothes and cosmetics shopping, and pricing 
  plastic surgery. In all likelihood, Heather has borderline personality disorder, but does a 
  good enough job of hiding it that no one has any real way of knowing. Other than her 
  obsession with being the prettiest person in the room (a title she competes with her 
  boyfriend, Brad, and her best friend, Jessica for, without them knowing it), she's 
  intelligent, driven, and extremely well connected. 
  Heather's relationship with her agent, Ana, is strange, to say the least. Constantly egging 
  her to try new diets and fashions, to become prettier, thinner, quieter. Though Heather 
  cringes at her new diet, exercise and clothing regimen, her career has never been better. 
  She's feared for over a year that Ana would meet either her boyfriend, Brad, or her friend 
  Jessica, and drop her contract for one or both of theirs. Now that it's happened, Heather's 
  seen that Ana isn't interested in either of them. She wonders what scared Jessica so much 
  that night, though she's not about to look a gift horse in the mouth and ask. 
  She is stunningly beautiful, slender, with bright-red hair and ferociously piercing green 
  eyes. When she walks into a room, there is no doubt in anyone's mind that she is the most 
  important person there, and when she leaves it, everyone feels her absence like a sudden 
  hole in the air. She's 5'6 and weighs 115 pounds on her "fat" days. She always wears the 
  newest, most "in" couture, and never fails to ingratiate herself to those she feels can do 
  her a favor. Those she's already reeled in, however, see her sharper, shriller side. 
   
   
   
   
   
  “Gradually stitched into his 
  world. Wanting not to know 
  better, she gleefully memorized 
  his lies, and recites them to the 
  letter.” 
  Hannah Rokel- 
  No Vengeance Taken 
   
   
  182
  
   
   
   
  183
  
   
  Mark 
  Some woman on the other side of the station was screaming, sounded like something 
  about seagulls and her kids. I crouched lower next to the cabinets, trying to concentrate 
  on filing. The screaming didn't stop, so I prairie-dogged out of the cubicle the filing 
  cabinets were in, trying to see what was going on.  
  This homeless lady had half the station gathered around her. She was swinging a pair of 
  handcuffs at them like numchucks even though she looked like she had to be fifty years 
  old at least, and I could tell no one wanted to hit her with the pepper spray or anything. 
  She had a crazy look that scared the bejeezus out of me, but I forced myself closer to the 
  action anyway. 
  I pushed my way through the crowd, apologizing all the way; when I finally got to the 
  front, I saw blood on the pointed end of the cuffs. Hicks had a smaller knot of people 
  around him, and he was clutching the side of his face with a red-stained hand. Couldn't 
  have happened to a better guy. Trying to calm the butterflies in my stomach again, I tried 
  to remember everything my shrink told me about conflict management. I pushed through 
  the last layer of people and moved aside just in time to avoid having my nose taken off by 
  a swinging piece of metal.  
  Calm. I stuck my head up again. "Ma'am? Are you going to be all right?" My voice 
  carried above all of the shouting and pushing going on around me. I don't know how, but 
  I know it carried, because it felt like oil spreading out over water. First the people next to 
  me, then those on the other side, and then finally, almost a full breath after everyone else 
  had shut up, the crazy lady with the handcuffs. "Can you give me the cuffs? We can talk 
  about whatever you need to talk about after that." 
  I stretched out my hand, and she reluctantly placed her weapon in my palm. "Now, 
  ma'am, I'm going to take you to Chief Novachek. He can help you get all this straightened 
  out." I had no idea. Hell, I didn't even have the authority to talk to this woman; I was an 
  intern. I filed. 
  Still, she didn't need to know that. I didn't breathe easily until she was off of the desk, 
  down the hall, and in the chief's office. When the door shut behind her, I took a huge, 
  shuddering breath of fresh air. I nearly hit my head on the ceiling when I heard a startled 
  yelp behind me. 
  A little girl, looked like she was maybe eight years old, was standing in the doorway to 
  the office across from Novachek's. She was soaked to the bone and barefoot. Poor thing. 
   
  When Mark Farrakh got into a childhood fight with his brother, neither of them really 
  expected one of them to die. Tangled in a preadolescent pile of limbs, swinging fists and 
  shouting, when Brian pulled out a gun and accidentally painted his brain across Mark's 
  surprised face, it marked him for life.  
  He's never really been sure why he chose to go into the Criminal Sciences department at 
  Flagler, and he's even less sure why he accepted the internship at the police department. 
  Since the moment with his brother that he relives nightly, he's had a nearly debilitating 
  fear of violence, so on the surface, it seems that plunging into it with police work is 
  ridiculous to say the least. Something though, keeps telling him that maybe, if he saves 
  someone else's brother from being shot, he can finally lay his ghosts to rest.  
  Recently, in the shopping mall bathroom, he smelled new cordite and watched the 
  spreading cracks from a bullet hole inches from his head. Whipping his head around, he 
  didn't see anyone who could have shot the gun. Reports at the department confirm that 
  the shot happened recently, and from a gun of the same make as the one that killed Brian. 
  It's crazy, but Mark can't shake the feeling that Brian's trying to tell him something. 
  Mark is a stocky, six-foot-tall man in peak health. He keeps his hair short, and when he's 
  not in a shirt and tie, he's usually in jeans and a t-shirt. Despite his size and professional 
   
   
  “I must stay calm you know I 
  must be clear. It’s gonna take a 
  hundred thoughts to make this 
  one disappear. A train like that 
  could travel a soul for years. A 
  terrible thought could have a 
  terribly long career. What a 
  terrible thought.”
  -Poe
  Terrible Thought 
   
   
  184
  
   
  training in handling himself in a fight, he seems jittery and refuses to sit with his back to 
  a door. 
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
  “A vision softly creeping, left 
  its seeds while I was sleeping. 
  And the vision that was planted 
  in my brain, still remains within 
  the sound of silence.” 
  -Simon and Garfunkel 
  The Sound of Silence 
   
   
  185
  
   
   
   
  186
  
   
  Jessica 
  What the hell is going on? I'm crazy. I'm hallucinating. Clearly insane. 
  Manolito was asking me if I was all right on the other end of the phone, his rich, purring 
  voice-dripping concern. Not that I can blame him. Five seconds ago I was asking him if I 
  dressed like a slut, and suddenly I'm hysterical. I didn't deserve him. I stopped screaming 
  long enough to tell him I'd seen a rat, then clapped the phone shut. 
  "Okay, tell me what I just saw." The guy that just, so help me—stepped out of the 
  mirror—kept touching it like it was his long lost lover or something. "Hello?" I waved a 
  hand between him and the object of his affection. "Anybody home?" 
  The guy looked tweaked out on something pretty heavy duty. He stared closely at me for a 
  second before he said anything. "You saw me?" 
  "Jeez, I hope not. If so, I need to be committed." 
  He giggled. "Maybe. But I'm here. Not at home. Which is where I left. Who was that 
  woman? Who are you?" 
  Whatever he was on, I wanted some. If I hadn't already had it. I'm as crazy as Mom. 
  What did I do to deserve this? Wait. I know. 
  The guy seemed to calm down a little bit; he'd lost that frenzied look. "Did I really just do 
  that?" 
  "Yes." The voice came from somewhere behind us. 
  We both turned around at the same time. A girl stepped out of the middle stall, dripping 
  wet, barefoot and filthy. "You did just what she does. Are you going to try to hurt me, 
  too?" 
  The guy in the black robe just gaped at her. "No, sweetie. Did somebody hurt you?" The 
  girl just pointed at the mirror behind us. 
  "Yes." She said, and disappeared. 
  What the hell was going on here? 
  She never should have walked out on her mother during her sister's funeral, but Jessica 
  Hines doesn't know how to say that she's sorry. She's managed to carve a life for herself; 
  a job waiting tables, friends, a boyfriend and a sterling, if young, academic reputation. 
  Still, there's a family-shaped hole in her heart. The campus counselor and her boyfriend, 
  Manolito, both agree that she should find her mother and patch things up. 
  Now that she's started seeing things, small things, out of the corner of her eye, Jessica 
  worries that she may be going as crazy as her mother. 
  Jessica was having coffee two weeks ago with her friend, Heather, when Heather's agent 
  stopped by. Her name was Ana, and she was a nightmare. Jessica was barely able to 
  introduce herself before she ran to the bathroom and vomited. Ana was elegant, refined, 
  dressed in the latest Prada fashions, and the most hideous thing Jessica had ever seen. 
  The contour of every bone jutted through the weeping sores of Ana's skin; her voice was 
  the dry, harsh whine of sandpaper on chalkboard. She hid in the bathroom with her 
  friend, Brad, until Ana and Heather left.  
  Jessica is 5'10 with chestnut-brown hair, and a flawless olive complexion. She moves 
  with the easy grace of a born actress, and speaks with clarity and emotion. While not 
  cutting-edge as Heather's couture, Jessica's outfits perfectly accent her form. She knows 
  that she's destined for greatness, but isn't as ruthless as Heather is in pursuing it; she 
  believes she's already hurt enough people. 
   
   
   
   
  “Apart from my fairly small 
  population of lucid dreams, I 
  have never had metachoric 
  experiences and I tend to think 
  of myself as a sort of person 
  who would not be easily 
  induced to have any kind of 
  hallucination.” 
  Celia Green- 
   
   
  187
  
   
   
   
  © 2006 Insomnium Games   http://insomniumgames.com 
  188
  
SOURCE: textdata/thevault/Abeo/Abeo Corebook.pdf