TEXT: Robber’s Kin
  a game by lari assmuth
  
  CC BY-NC-SA / by Lari Assmuth, Rocket Surgeon Games / Version 0.2
  lari@rocketsurgeongames.com / @LariAssmuth on Twitter / Lari Assmuth on itch.io
  This game is Powered by the Apocalypse
  Typefaces: DK Northumbria, Minion Pro
  Cover image: Lennart Forstén
  Interior images:
  p. 7 Lennart Forstén
  p. 12 Magnus von Wright
  All images from Finland framställdt i teckningar, via Zacharias Topelius skrifter/SLS, 
  CC BY 4.0
  
  
  Robber’s Kin
  The woods are full of wonder. They say there’s a golden treasure in the middle of the 
  swamp, if you can resist the song of the Unearthly ones.
  The woods are full of dangers. If the Duke’s footsoldiers or those dirty robbers from Jörnulf’s 
  Keep don’t get you, there’s a good chance the murktrolls or wild harpies will.
  The woods are full of opportunity. When those fat merchants come on through on their 
  way to the market, you know who’ll be lying in wait for them.
  The woods are full of hardship. When Winter comes, and the stores run out, how will 
  you feed yourself and yours? Will you find it in your heart to be generous to strangers, 
  or will your heart grow callous?
  The woods are full of friendship. When the ice breaks and the rivers run free, who will 
  you have standing by your side to greet the Spring?
  What is Robber’s kin?
  This game is based on Astrid Lindgren’s novel Ronja Rövardotter (Ronia, the Robber’s 
  Daughter). It’s about a band of robbers living out in the woods in a fantastical medieval 
  Scandinavia. Although it’s not really about that. It’s about family, and growing up, and 
  learning the emotional skills that are needed to maintain meaningful relationships to 
  people and nature. It’s also about gender roles and transgressing boundaries.
  The aim of this game is not to re-create the story of Ronja and Birk in Mattis’ woods. 
  That story has already been told. The aim of Robber’s Kin is to enable you to play out sto-
  ries that are about those same things, in your version of the Scandinavian fantasy world.
  The game is based on Vincent and Meguey Baker’s Apocalypse World and a bunch of 
  other games that are Powered by the Apocalypse. Monsterhearts by Avery Alder, Sagas of 
  the Icelanders by Gregor Vuga and The Warren by Marshall Miller have provided great 
  inspiration, as have the games of John Harper, Andrew Gillis, Adam Koebel & Sage 
  LaTorra.
  
  
  Why to play
  We play to find out who our characters grow up to be. We play to find out what relation-
  ships will shape them and how. We play to find out what they learn about the world and 
  their place in it.
  How to play
  In Robber’s Kin, every player except the game master (GM) begins play with two charac-
  ters to play. They each start with a child character, as well as an adult robber who is the 
  parent or other significant person of one of the other players’ child characters. Not all 
  characters need to belong to the same band of robbers, but they need to all live in the 
  same woods and have some kind of relationship to each other, even if they are rivals.
  Through play, these characters will age. Children will grow up and become adults, per-
  haps parents to a new generation. Adults will age and become wizened elders, and even-
  tually die, for such is the way of things.
  flow of play
  The game follows the seasons of a year. After you have gone through character creation 
  together, by following the playbooks, decide as a group which season you want to begin in.
  During each season, the GM and players together frame a number of scenes around 
  key characters.
  1) Who do you want to frame a scene around?
  2) What do you reckon they will be attempting to do in the scene?
  3) Are they alone or is somebody with them?
  Even if many scenes may start out with just one player character in it, other characters 
  will often enter scenes to help or 
  It’s important that every player gets at least one scene that’s centered on one of their 
  characters per season. After every player has had one, the GM will ask if you all feel that 
  you are ready to move on to the next season. If yes, great! You can start framing scenes in 
  that season. Look to the seasons to figure out what kind of activities are common.
  If any players think one of their characters still have unfinished business that would be 
  left hanging if you move on, that’s absolutely fine. Center that character and play out a 
  scene with them as the key character.
  When four seasons have passed, skip ahead in time and age all characters one category 
  before starting a new year.
  You will need: some friends (the game is best when played with three or more players, 
  including the GM), a copy of this pamphlet, playbooks for each character and a Woods 
  and Keep map sheet. Some six-sided dice, two at the least, and pencils.
  
  
  game concepts
  These are the basic concepts and rules needed to play Robber’s Kin. Some will be familiar 
  to players familiar with Apocalypse World, others will be new or different.
  rolling dice
  The basic flow of the game is one of a conversation, where the GM usually will frame a 
  scene, present a situation for the characters in it, and ask what the characters will do about 
  it. The players will say what the characters do. Often, it will be clear how the characters’ 
  actions affect the narrative. The GM says what happens, responds with a GM move and 
  play flows on. However, some actions trigger moves, and when they do, you follow the 
  rules for that move.
  Often, it will involve rolling two six-sided dice (2D6) and adding the relevant stat number 
  to the result. A roll of 6 or less is a miss, and this means something bad may happen. Often 
  your character will need help to get out of these situations. A roll of 7 or more is a hit, and 
  you get what you want, essentially. In some cases, a roll of 7–9 is a limited hit or a success 
  with a cost or complication. For some moves, a roll of 10+ means you have pushed too hard 
  and your actions lead to unintended consequences because you took it too far.
  stats
  Characters in Robber’s Kin are defined by three stats: Brave, Hard and Compassionate.
  Brave characters can keep a cool head, even when they’re scared stiff.
  Hard characters are tough and strong, used to getting their way using shows of force.
  Compassionate characters are good listeners, good at calming down people and tak-
  ing control of situations. Being compassionate in no way implies you are a push-over.
  forward
  Sometimes, a move will specify that a character gets +1 or -1 forward. That means that 
  they add or subtract that number from the next roll they make, or until a certain condi-
  tion is met.
  help
  Often, a failed roll will mean that character needs help to get out of the situation they are 
  in. The player of the character that needs help can ask the player of another character if 
  they will come to their aid. If they do, both characters mark +1 bond to the other charac-
  ter. If they don’t, check if another character will come to their aid.
  The aiding character will usually need to take some action to help. Sometimes, this may 
  trigger a move, other times, it will not. Refer to the section rolling dice, above.
  
  
  relationships
  Relationships are a key part of Robber’s Kin. Whenever your character helps another, get 
  help, or a move tells you, mark a box for your relationship with the relevant character. 
  This means there’s now a bond between you. When you have filled out three boxes, you 
  are bonded for life.
  You start out bonded for life with the members of your family, i.e. the adult or child that 
  is you character’s parent, child or other important relation.
  When you make a move that relates to a character you have a bond with you take +1 
  forward to that roll.
  relationships in crisis
  At any point in play, any player can declare that the relationship between them and an-
  other character they have a bond with is in crisis. This often happens as the result of an 
  action that one of the characters takes or some new information that comes to light about 
  them.
  When there’s a crisis between you and a character you have a bond with but are not yet 
  bonded for life with, you take -1 forward instead of +1 to any moves that relates to that 
  character, except for Insult and Lash out which still get the +1. Any time you mark a new 
  box for this relationship, you may choose to end the crisis.
  If there’s a crisis between you and a character you are bonded for life with, you both take 
  the -1 forward for most moves, as above. Also, both characters must check a condition (see 
  below). That condition can only be cleared by the other character in the relationship sooth-
  ing you. If they succeed in doing it you can choose to end the crisis for both of you.
  learning about the world
  Many moves specify that you learn something new about the world. This means you, 
  the player, get to say a truth about something in the world – a place, a type of creature, a 
  group of people or a single person, for example. Try to make the thing you learned flow 
  from the fiction, so that the thing you learned has to do with something you encountered 
  during the scene.
  When you have decided what the thing you learn is, write it down somewhere on the 
  Woods and Keep map.
  Any time anyone uses some established fact to their advantage, they take +1 forward to 
  any rolls they make that relate to that.
  
  
  conditions
  Conditions are harmful, temporary conditions that characters may incur for example 
  when they roll a miss on a move. The character who has the condition takes -1 forward to 
  any rolls that are affected by the condition, and any character who can use the condition 
  against the character takes +1forward to their rolls against that character.
  wounds
  Wounds are much more serious than conditions. If you get a wound, you are badly hurt, 
  and it will take special care to make you hale and sound. A wounded character is effec-
  tively out of the action until they can make the recovery move.
  
  
  child
  Children experience the world with an 
  open mind, and every new experience is an 
  opportunity for them to learn.
  When children wander the woods, they 
  are wont to encounter some of the fantasti-
  cal denizens of the forest.
  adult
  Adult characters in Robber’s Kin are robbers 
  all. Furthermore, they are the leader figures 
  of their particular band, or hold some oth-
  er key position in the keep. Whether that 
  means they are the matriarchs or chief-
  tains, the chief’s husband or wife.
  Adults have different roles in the keep: 
  some go out in the woods to seek fortunes 
  robbing the merchants travelling to or from 
  town, while others command and manage 
  the keep.
  elder
  The elders are the wizened crones and old 
  men who have survived the robber’s life for 
  long enough to be afforded a life of relative 
  comfort and a place close to the hearth in 
  the dining hall.
  While the other robbers sometimes make 
  fun of the elders of their band, all but the 
  most foolish respect the knowledge of the 
  surrounding world that the elders hold.
  characters
  Act of bravery
  When you try to act despite being scared 
  and in imminent danger, roll+Brave.
  On a hit, you brave the danger and ac-
  complish what you tried to do. In the proc-
  ess, you learn something new about the 
  world. Write it down on the Woods and 
  Keep map. On a 7–9, you have to push 
  yourself to do it. The GM will give you a 
  cost, a complication or ask you to mark a 
  condition.
  On a miss, you land in trouble and need 
  help! The GM can make a move and unless 
  you get help it’s going to go badly for you.
  the basic moves
  Insult
  When you use your words to harm some-
  one, roll+Hard.
  On a 7–9, they can choose to bear it and 
  mark a condition, to challenge you or to 
  walk away. On a 10+, your words cut them 
  to the bone. The player of that character 
  says what it is you say about them that is 
  true though they wish it wasn’t. Write that 
  truth down on the map as a truth.
  On a miss, you are hoisted by your own 
  petard! The GM decides whether you gain 
  a condition or whether you must reveal an 
  unwelcome truth about your character and 
  write it down on the map.
  
  
  Soothe
  When you use words, song or touch to soothe 
  or comfort someone, roll+Compassionate.
  On a hit, you can remove a condition 
  from the character you are soothing and 
  check a bond. On a 10+ that character’s 
  player will also reveal something true about 
  their character. Write it down on the map. 
  If you wish to reciprocate, you may offer up 
  a truth about your character as well.
  On a miss, your words ring hollow and 
  you gain a condition.
  Lash out
  When you strike someone to cause them 
  harm, roll+Hard.
  On a 7–9, you hurt them. Place that con-
  dition on them. On a 10+, you lose control. 
  They choose:
  You are both hurt.
  They are wounded and you must write 
  down that your character is cruel or vio-
  lent as a truth on the map.
  On a miss, somebody’s going to get hurt. 
  The GM chooses who is wounded in the 
  fracas.
  •
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  Go out in the woods
  When you venture out in the woods, the 
  GM will tell you what your character en-
  counters there.
  If you are a child:
  You meet a creature of the woods
  You encounter a wild animal
  Something from the adults’ list
  If you are an adult or elder:
  You meet a merchant
  You meet a robber from a rival band
  You meet the Duke’s soldiers
  Something from the childrens’ list
  Recovery
  When you must recover from a grievous 
  wound, ask the GM what you’ll need to be-
  come hale and sound. They’ll tell you.
  You need to be cared for by someone. 
  Who will do it?
  Your wound requires a special herb to 
  be bound. Where in the woods can it be 
  found?
  You require healing by other than mun-
  dane ways. What kind of magic will it 
  take, and who has this power?
  When you are healed, tell the other players 
  what scar or mark you bear to remind you 
  of the wound.
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  10
  The gm’s rules
  Agenda
  Make the woods and the robbers’ keep magical and real.
  Make the characters’ lives full of wonder, danger and possibilities 
  for adventure.
  Play to find out what happens.
  Principles
  Fill the world with fantastical creatures and mundane people with 
  motivations of their own.
  Be a fan of the characters.
  Ask questions and build on the answers.
  When a truth is revealed, write it on the map and incorporate it 
  in the fiction.
  Address the characters, not the players.
  Make a move that follows, but never speak its name.
  Name everyone. Make them human.
  Moves
  Place a condition on them
  Put someone in a spot
  Announce an off-screen threat
  Announce an approaching threat
  Reveal an unwelcome truth
  Tell them potential consequences & ask
  Offer an opportunity with or without cost
  Turn their move back on them
  After every move: What do you do?
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  11
  The Keep and the woods
  In the autumn
  The robbers will be preparing for winter, trying to grab enough booty to make it through 
  the cold and dark winter months. The children will be exploring the woods, most likely.
  In the winter
  The robbers may be holed up in the keep. If the keep wants for something, it will surely 
  be felt in the long winter.
  In the spring
  The spring is greeted, the robbers can get back to their work, and the children can again 
  run free in the woods.
  In the summer
  It is a time of plenty. There are fat merchants’ wagons and wild horses coursing through 
  the woods.
  creatures of the woods
  These creatures are from Ronja and some from Scandinavian folklore. They get some de-
  scriptions here, but ideally you’ll flesh them out with truths that the players mark on the 
  map through play. Feel free to create your own creatures as well!
  Gray dwarves: they are small and vicious, and drawn to fear but scare easily and are only 
  a threat in groups.
  Unearthly ones: live underground and mostly come out in the mist. Their song can 
  charm and tempt.
  Rumphobs: these creatures are neither malevolent or benevolent. They live in holes in 
  the ground and mostly wish to be left alone. Talking any reason with them is an excercise 
  in futility.
  Murktrolls: Elusive beings that only come out at dark to sing and dance.
  Wild harpies: the cruelest creatures in the woods, these flying beasts possess a terrifying 
  beauty as well as sharp beaks and claws.
  Skogsrå: a skogsrå is like a dryad, a keeper of the woods. Usually feminine, they some-
  times grant good fortune to their favorites.
  Näcken: a male water spirit who plays wonderous music and lures mortals into the deep 
  ponds and brooks.
  
  mundane creatures of the woods
  The Duke’s soldiers: tasked to protect the town and the merchants. They usually keep 
  away from the deep woods, but every now and then they try to make their presence felt.
  Robbers and bandits: the characters’ bands are not necessarily the only robbers living in 
  the woods.
  Merchants: on their way to the market in town with goods, or from market with pouches 
  of gold and silver, merchants try to hurry through the woods or trust their escorts to 
  protect them on their way.
  Wild horses: horses run through the woods, and those with enough patience and com-
  passion might be able to tame a mare or stallion.
  Bears: the bears of the forest usually leave people be, but if you should come between a 
  mother and her cubs, be prepared for the worst.
  
SOURCE: textdata/thevault/Robber's Kin (PbtA)/Robbers_Kin.pdf