TEXT: What Is Minimus?
  Minimus is a storytelling game with a game master, and play-
  ers who take on fictional personalities called characters. The game 
  master, with player input, sets the game’s theme, using the goals and 
  relationships of characters to structure plots. During play, players 
  make choices as their characters would.  Every time you play the 
  game is a session; plots can take multiple sessions.
  Minimus uses playing cards for event sequencing, and 20-sided 
  dice (called d20s) to determine success. There are terms you’ll learn 
  as you read the rules.
  Character Creation
  Once the game master has revealed the theme, players should 
  choose roles, preferably ones that work together.  “Mercenary”, “De-
  tective”, “Thief” and “Wizard” are all examples of roles.
  Now, write five life changing events from your character’s past. 
  Pick an event from childhood, adolescence, full adulthood, and two 
  tied to the game’s theme. Most events end up as “After event X, I did 
  action Y”. Talk to other players if you’re stuck; you can share events.
  Pass the sheet to the person on your left. They’ll take your events 
  and list seven jobs or skills based on them. The player to your right 
  passes their sheet to you, and you’ll be doing the same for them. Try 
  to pick skills that the other person will have fun playing.
  You can use the skills in the table below, or make up your own. 
  Skills in parentheses, like (Knowledge) are categories to be filled in.
  Knife
  1H Melee
  2H Melee
  Martial Arts
  Defense
  Running
  Throwing
  Pistol
  Rifle
  Bow
  Riding
  Jumping
  Climbing
  Swimming
  Demolitions
  Survival
  Notice
  Search
  Merchant
  Persuasion
  Intimidate
  Pickpocket
  Lockpicking
  Sneaking
  Mechanic
  Computers
  Medic
  (Drive/Pilot)
  (Profession) (Knowledge)
  1H Melee is one-handed weapons, 2H Melee is two-handed weapons
  Pass the character sheet one more place to the left. That player 
  looks at the five background details and the seven skills, and defines 
  two positive special abilities. Special abilities are adjectives with 
  exclamation points, like Tough!, Smart!, Fast!, Keen Eyed!, or Detec-
  tive! For magic or psionic abilities, things like Prophecy!, Fire Magic!, 
  or Telekinesis! are appropriate. You’ll be doing this for another player 
  as well, as the sheets get passed around the table. After giving special 
  abilities, give the sheet back to the person playing the character.
  You may give up one special ability, or let the game master assign 
  a flaw. Next, allocate twelve skill ranks between seven skills, with at 
  least one, and no more than four in each skill. 
  Relationships, Goals & Secrets
  Your character will know other people, and those people will have 
  attitudes towards your character. Name three people tied to your 
  character - ties are blood, romance and association. Two of them 
  like your character, one dislikes your character. Each person can do 
  something useful that your character can’t; they’ll ask for something 
  in return. If you’re stuck, work from your “five events” list, asking 
  “Who did I do these things with? How do they feel about me?”
  Pick two goals to develop over several sessions. Goals change over 
  time, and should force you to action. Completed goals result in life-
  changing events, like the five you started with. Sample goals can be 
  “Avenge the insult done to me by person X” or “Liberate my home-
  land” or “Marry person Y”. 
  Write a secret your character would go to great lengths to keep, or 
  one that involves them that they’re unaware of. The game master will 
  assign a second secret that will show up during play.  
  Write your character’s name and goals in the middle of a sheet of 
  paper; then place your relationships around them, with what they 
  can do for you, and room to draw lines. Thick lines are ties of blood, 
  medium lines are romance, thin lines are ties of affiliation. 
  Like and dislike are colored arrows. Blue arrows mean liking the 
  target, red arrows mean dislike. Draw colored arrows between all 
  the names on the sheet. Once everyone’s done that, put the character 
  sheets in the middle of the table, and draw arrows between your re-
  lationships and theirs. This builds a social network. The game master 
  assigns starting equipment based on skills and backstory.
  Your character’s goals and relationships are important. If you 
  don’t care about them, nobody else will!
  At the start of a plot, players write introductions giving their char-
  acter a problem. Raiders of the Lost Ark introduces Indy with a’s got a 
  hat, a whip and a gun—trying to get an idol out of a tomb.
  A sample character (for a Viking game) is shown below.
  Bennies & Characters
  A bennie (short for “benefit”) is good luck for your character.  
  General bennies can be used at any time, goal bennies can only be 
  used for a specific goal.  You start with three general bennies at the 
  start of the plot, there may be leftovers from prior plots. 
  Bennies (of either type) let you re-roll any die roll once per bennie  
  used, taking the better result; if multiple bennies apply, you can roll 
  multiple times. General bennies are gone once used. Goal bennies re-
  main until the goal is met, and can be used on every roll for that goal! 
  You can rewrite a goal at any time; this converts its goal bennies to 
  general bennies. Completing it turns them into two general bennies. 
  Bennies (of either sort) can be spent to activate special abilities.
  A general bennie can be spent for a +2 bonus to a single skill that 
  lasts for an entire scene. This can be done twice per skill per scene; 
  two bennies spent give a +4 bonus.
  Between sessions, bennies can be spent to improve skills. Getting 
  rank one in a new skill costs three bennies. Improving an existing 
  skill costs bennies equal to the new skill rank—going from rank four 
  to rank five costs five bennies. No skill can go past rank twelve.
  You may add a new special ability for twelve bennies, but it has to 
  be approved by two other players and the game master. 
  If your character dies, all goal bennies convert to general bennies 
  and transfer to your new character. If your character died nobly, you 
  get three extra bennies, plus the three for starting a new adventure.
  To get more bennies, see Failure & Bennies on the next page.
  Minimus: Roleplaying Distilled   by Ken Burnside
  Bandar Tickbeard
  Avenge Death of  Torfn Haakonen, father.
  Convince Greta to leave her husband.
  Torsten Gunderson
  Former Shipmate of Bandar’s
  Will stand up for Bandar in the Council.  
  Married to Greta for political reasons.
  Trygvygg Haakonen
  Captain of the Black Bitch.  Estranged brother
  of Bandar.  Will give transport on the ship out
  of memory of their father.
  Five Life Changing Events From Bandar Tickbeard’s Past
  1) As young boy, his father paid weregeld; this made the family poor.  Bandar resents being broke.
  2) As an adolescent, he and Greta Aesasdottir fell in love.  Tere were rivals.
  3) As a grown man, he killed another of Greta’s suitors.  He was exiled for seven years, and spent them traveling.
  4) Father died under suspicious circumstances while he was away. He blames the Kettilson family.
  5) While exiled and going a-viking, his beard stopped a swordblade.  He’s never shaved since.
  Sailor 
  2
  Trowing 
  4
  1H Melee 
  2
  Speeches  
  1
  Games 
  1
  Carousing 
  1
  For. Customs 
  1
  Tough!
  Hidden Wealth!
  Doomed Love!
  Problem:  Old blood
  feud threatens to rear
  its ugly head again.
  Greta Aesasdottir
  Former lover of Bandar. Will give
  shelter & hospitality.
  married to Torsten Gunderson
  Secret (Unaware)
  His brother knows Bjarne 
  killed their father, and has 
  not acted upon this.  
  
  v3.5.1 This is donation-ware. If you like this RPG, send $3.00 to design@adastragames.com via PayPal, (or contact us for alternate payment methods). If you feel it’s worth more, we won’t object. 
  Copyright © 2008-2011, Ad Astra Games. Permission granted to redistribute, provided this notice is not removed. Latest version: http://www.adastragames.com/downloads/RPGs/Minimus.pdf
  Scene Setting & Details
  After the game master sets a scene, each player gets to ask a 
  “clarifying question”, using only the senses and knowledge of their 
  character. The game master can say “yes” or “no”. If the game master 
  says “no”, the next player gets to ask, and the process repeats until 
  every player has gotten a “yes”, or been told “no” twice. The game 
  master may cut this short to keep the game moving.
  Sample clarifying questions: “Was this battlestation built without 
  handrails?”  Or “Would that chandelier hold my weight?”. Even “The 
  dusty weather is making Doc Holliday’s tuberculosis act up, isn’t it?” 
  is a clarifying question.
  Clarifying questions cannot negate someone else’s actions, or 
  change the psychology or behavior of another character.
  Anything the game master says “yes” to is a detail. During the 
  scene, any character can incorporate that detail into the description 
  of their action, which adds one to the die roll per detail used. 
  Equipment can have details defined. Equipment details can be 
  used once per scene; no equipment can have more three details set.
  Words used by another character to describe a failure can be used 
  as details, but only if used immediately, and only one player may 
  “snatch details from the jaws of defeat”.
  Task Sequencing
  Sometimes it’s important to know “what happens when”. Each 
  player declares what they’re doing, using any details desired, but may 
  not add conditional or sequencing elements like “After Bob shoots, 
  I’ll charge them.” After the players declare, the game master does the 
  same, drawing a card face down for each NPC.
  Each player draws one card from a deck of cards, looking at it and 
  placing it face down in front of them. Once all players have done so, 
  they may trade cards for the next 30 seconds. When trading, players 
  may not speak or communicate the value of a card, even to indicate 
  “high” or “low”. A player that flips their card face up is done trading.
  When trading is done, everyone flips their card, and actions go 
  from deuce to Ace. Matched cards mean those actions are simul-
  taneous, and a Joker allows that character to act at any point in the 
  sequence. Reshuffle the deck when a Joker is drawn.
  Card trading rewards players for listening to each other. Team-
  work means flipping your card as early as possible. It makes for excit-
  ing, chaotic scenes, not tactical chess matches.
  Special Abilities
  Special abilities act like clarifying questions, but are player initi-
  ated and narrated. Use special abilities to gain information, declare 
  something is true in the current scene, or negate a game penalty. 
  Special ability use must pass common sense: Detective! won’t ne-
  gate a wound. Tough! can’t define a trail from clue to perp. Using Fire 
  Magic! to weld something shut is perfectly legal, though!
  Special abilities that are used all the time cease to be special; as a 
  result, the third and subsequent uses of a special ability in a play ses-
  sion cost one bennie each. Special abilities used in opposition to each 
  other require each player to narrate their action and secretly bid ben-
  nies. The higher bid works, and costs that many bennies to use, the 
  loser spends no bennies. Every two details used in narration counts 
  as one bennie for the bid. 
  For three bennies spent at the start of a session, a special abil-
  ity can be an “at will” power, costing no further bennies during that 
  game session. At will powers get one bennie for opposed use bids.
  The game master may always say a special ability fails. 
  Skill Resolution
  To use a skill, roll a d20, adding any skill ranks, and +1 per detail 
  incorporated into the description. You need to equal or exceed a 
  target number set by the game master (usually 10-14). The higher or 
  lower the roll, the more one-sided the success or failure is. 
  If you’re acting against another character, both of you roll; the 
  higher roll wins. The difference between the rolls determines how 
  one sided the success was, called the Margin of Success (MoS).
  Failure & Bennies
  If you fail, you describe the failure. A good description lets an-
  other player nominate you for a general bennie. If it’s seconded, you 
  get it. The game master can second nominations from other players.
  Scenes involving a flaw give a general bennie; other players can 
  nominate you for more, depending on how much you complicated 
  your life by roleplaying the flaw...
  Acting on your goals will give goal bennies tied to them; you can 
  never have more than four goal bennies in a single goal.
  You may always narrate a failure, no matter what the die roll says.
  Combat 
  Combat uses opposed skills. Attackers roll their weapon skill, de-
  fenders roll their defense skill. Two handed weapons and rifle users 
  roll defenses twice, taking the lower roll. 
  Subtract the armor level from weapon level, and multiply the MoS 
  by that amount. For zero or less, see the table below and divide the 
  MoS by the divisor. Round fractions normally. 
  Weapon
  Level Armor
  Level
  Wpn-Armor
  Divisor
  Bare fist
  0
  Thrown rock
  1
  None
  0
  0
  2
  Knife
  2
  Flexible armor
  1
  -1
  3
  1 hand melee, pistol, bow 3
  Metal armor
  2
  -2
  4
  2 hand melee, rifle
  4
  Rigid metal armor 3
  -3
  5
  Crew served
  5
  High tech armor
  4
  -4
  6
  The adjusted MoS sets wound levels, per the table below. 
  Adjusted MoS Wound Severity
  2-3
  1 (Cut to extremity)
  4-5
  2 (Heavy bleeding, broken bone)
  6-8
  3 (Severed hand, bullet in the gut)
  9-13
  Out of the fight! Major body trauma!
  14+
  May be dead.
  The target describes where they got hit; for every two full levels of 
  MoS, they take a wound. Wounded characters take a penalty equal to 
  the highest wound level sustained on all skills. A character can take 
  any number of wounds, until hit by an MoS of 8 or higher.
  The words used to define a wound can be used as details on the 
  any other player’s next action, but may only be used by one player.
  Death can happen if a combat MoS exceeds 14+; whether or not 
  your character dies is up to you, as a player.  Other players narrating 
  actions driven by a character death can be nominated for bennies.
  Healing occurs when the story allows it; a successful Medic roll 
  heals one level 1 wound. The Healing! special ability removes one 
  wound of the healer’s choice, or for two bennies, removes all wounds.
  Combat Example
  Bandar throws a rock (level 1) at a foe in mail (level 2). He rolls 
  an 11, adding 4 for Throwing and gets a 15. His target rolls a Defense 
  of 10, giving a MoS of 5. Level 1 weapon minus level 2 armor is -1, 
  dividing the MoS by 3, giving 1, which is a hit, but no wound. 
  Later, he uses a spear against this foe with identical rolls. Level 3 
  weapon minus level 2 armor is 1; the MoS of 5 is a severity 2 wound. 
  
  Design Intent
  Minimus is a storytelling game, a cousin to roleplaying games 
  like Dungeons & Dragons or World of Warcraft. A storytelling game 
  rewards players for describing things, especially descriptions that en-
  tertain everyone else. They build plots from character relationships, 
  rather than pre-packaged quests disconnected from a character’s 
  backstory. Minimus puts a lot of ‘authorial’ power in player’s hands.
  The cardinal rule for running a storytelling game is this:
  Story logic trumps realism. If it sounds cool, say “yes”.
  Getting Players
  If your group is hesitant about trying Minimus, try these:
  If you already play D&D, you already know the basic mechanic.
  The entire “player’s handbook” is two pages! How hard can it be?
  Character creation is a group activity, and math-free!
  We recommend Minimus as an introductory game for people 
  intimidated by 250+ page rulebooks, or as a change of pace game.
  Setting A Theme
  “What’s the game about?” This is the game’s theme. Get the players 
  involved in setting the theme and get their input; it’s their game too.
  One way is a survey; each player lists two movies they liked (and 
  why). Look for commonalities and mix and match.
  Or, try an auction. Everyone (game master included) gets ten 
  tokens. Defining something (location, person, event or relationship) 
  costs a token. Bidding more tokens makes that element more impor-
  tance. Bidding can decrease importance as well. 
  Once the theme is set, let players discuss roles, and define their 
  “five events”. Actively work to tie those events into the game’s theme. 
  Character Creation Q&A
  For players who can’t think of five life changing events, try these:
  What social strata and location were they born in?
  Are their parents still alive? Have they ever lost a loved one, and if 
  so, how did it affect them? Do they have any children? Any siblings?
  How were they educated?  Formally, on the job, or by travel?  
  How do they earn a living?  Were they ever in the military?  
  Is there anything they won’t do, ever? Why?
  Who dislikes them? Why? Who likes them? Why? Give names!
  Advise players to keep skills broad; skills are jobs on a resume, not 
  tasks performed on the job. Characters get a lot of competence “on 
  the fly” from clarifying questions and details. 
  Game Mastering Basics
  Minimus is driven by character interactions. Who your NPCs like 
  and dislike is more important than their combat abilities.  
  Some character types, like the lone-wolf-with-cool-weapon, but 
  no past, family or friends, don’t work in Minimus. 
  Minimus assumes players will listen to each other, and be respect-
  ful audiences when someone else has the spotlight.  You need to 
  manage the spotlight...and make sure everyone gets time to shine.
  You’re responsible for making the game fun for everyone. This 
  means talking to bored players and finding ways to engage them. It 
  may mean asking a disruptive player to leave.
  Task Difficulties  
  Target #
  8
  12
  16
  20
  24
  28
  Rating
  Average
  Hard
  Difficult
  Heroic
  Incredible Impossible
  Assigning Flaws & Secrets
  Flaws should compel action and give choices. Foes should be 
  blackmailers or creditors rather than targets the character can kill. 
  Compulsions, reputations and social flaws are also good.
  Focused bad karma is an excellent flaw; Doomed Love (where a 
  character is fated to love disastrously) is one example.  
  If a flaw is ever resolved, ask the player if they’d like a new one. 
  Resolving a flaw can end a character’s reason to adventure. Use the 
  resolution of flaws and secrets to bring closure to a character’s story, 
  and for the second secret, assign it some time after the game has 
  begun, and you see the character in play. 
  Character Goals
  Your players will assign two goals for each character; with a play 
  group of typical size, that’s anywhere from six to ten goals you have 
  to keep track of. Those goals are there to make your life easier.
  Think of a TV series; in each season, the characters have goals 
  they want to achieve. Each episode (or session), about a third to 
  half of the characters get to advance one of their goals; as the season 
  progresses, those goals help the characters in the finale.
  Player defined goals are statements of “This is what I want.” Build 
  your plots on them. Like a TV series, you should try to touch on a 
  third of the goals each session, by building scenes to emphasis them. 
  Goal bennies show drive, grit and will. Building your finale 
  around player goals will make it epic and memorable. 
  Clarifying Questions 
  “Clarifying Questions” shape conflict scenes; this is what Minimus 
  uses instead of a map and miniatures. It reflects movies and comics, 
  where heroes win by shooting missiles at cliffs to trigger rock slides.
  Details incentivize cool description, but “cool” varies by genre. 
  In a game of swashbuckling swordsmen, details will be swinging 
  from chandeliers or sliding down a sail by knife point. 
  In a gritty technothriller, details will be good intelligence, siting 
  your sniper’s nest at just the right place, and adjusting for windage. 
  Clarifying questions get rid of “total failures” in encounters, where 
  it’s a easy if the players do exactly the right thing...and no player 
  figures it out. Equipment merely stores details, and its limits are for 
  dramatic reasons. It’s more fun to gain an edge from the environment 
  than pull it off the third page of an inventory list...
  Story Structure & Rewards
  Stories are about wants in conflict; the traditional story structure 
  follows a “W” structure, most good movies and novels follow it. 
  In the first act, characters are presented with introductory scenes, 
  and the initial problem (the source of conflict) is made clear.
  They make progress, but setbacks occur. A cut scene (identifying 
  the antagonist) shows the source of their troubles. Further actions by 
  the antagonist cause the characters to slide down the first stroke of 
  the “W”. With things at their darkest, they take inspiration, and make 
  renewed progress, climbing the second stroke.
  With victory in the heroes grasp, the antagonist makes a desperate 
  move, and they slide down the second trough of the “W”, and start 
  climbing their way to the climax and the end of the plot.
  Most people recognize this structure subconsciously. Without a 
  reward structure, players will try to avoid the down strokes. Bennies 
  are rewards for bad things happening to characters. Look for ways 
  for players to get bennie nominations in scenes with flaws. 
  Game Mastering Minimus
  
  v3.5.1 This is donation-ware. If you like this RPG, send $3.00 to design@adastragames.com via PayPal, (or contact us for alternate payment methods). If you feel it’s worth more, we won’t object. 
  Copyright © 2008-2011, Ad Astra Games. Permission granted to redistribute, provided this notice is not removed. Latest version: http://www.adastragames.com/downloads/RPGs/Minimus.pdf
  The Relationship Map
  Once your players have defined their character relationships, put 
  all the character sheets in the center of the table, and suggest links 
  between characters. You want at least half the characters connected 
  by like and dislike arrows and ties of affiliation or romance, either 
  between each other, or between people they have relationships with.
  Copy this social network around the outer edge of a sheet of 
  paper, leaving the center clear, and writing the campaign theme in 
  one corner. In the center of your sheet, write your antagonist’s name, 
  goals and relationships; you can also give characters in the antag-
  onist’s social network goals of their own.  Try to have these goals 
  conflict with some of the player’s goals.
  Now connect the antagonist’s relationships into the player’s social 
  network; fill in the ‘why’ of likes and dislikes when they come up in 
  play. This is a relationship map. Those links (and like and dislike ar-
  rows) are conduits that information and interactions will follow.
  This relationship map drives your story. Any scene that doesn’t 
  change something on the map can be skipped. Like a classic “dun-
  geon map”, you should refer to it (and mark on it) during play, while 
  players make their own version of it. 
  A sample relationship map is shown below.
  Sessions & Scenes
  Decide how many sessions the story will run; three to ten sessions 
  is typical. Each session is broken down into scenes of 20 to 45 min-
  utes each. You’ll want three to four scenes ready per hour of playing 
  time. For each scene, write the following on an index card.
  An establishing shot. The locale, and the dramatic set up.
  A protagonist. Who is the scene for, and what do they want?  
  Roughly one scene in three should be devoted to the antagonist.
  A problem. If there’s no problem, there’s no scene. For antagonist 
  scenes; this is where minions report on the impact of player actions.
  An immediate obstacle to overcome. This is what keeps the char-
  acter from solving the problem effortlessly. 
  A map dynamic. How does the scene alter the relationship map?
  A tensioner. A scene ends when its problem is resolved. Unless it’s 
  the end of the story, the answer to “did the character succeed in solv-
  ing the problem” should be “No”, “No, and furthermore...”, or “Yes, 
  but...”. You’ll want two “No, and furthermore...” and “Yes, but...” out-
  comes written ahead of time, so you can pick one on the fly.  These 
  connect the scene you ran to the next scene you pull, by involving 
  the same characters or making a cut point to jump to the next scene.
  Sort cards by player, with each player getting one per session. Try 
  to end scenes on cliffhangers, and always end sessions on one. 
  Bandar Thickbeard
  Avenge Death of  Thorfin Haakonen, father.
  Convince Greta to leave her husband.
  Trygvygg Haakonen
  Kiril Gunderson
  Get onto Trygvigg Haakonen’s crew
  Pay father’s loan from Eyvind Kettilson.
  Torfi Ottarsson
  Trygvygg Haakonen
  Harald inn Lagi
  Win Back Respect of Family 
  Get released from bond to Eyvin Kettilon
  Torfi Ottarsson
  Svana Eyvindsdottir
  Eyvind Kettilson
  Teme:  Aaron Spelling Writes Eddas (Soap Opera. With Blood Feuds, Curses & Marauding Trolls)
  Flaws To Use:
  Bandar: Doomed Love
  Kiril: Considered Weak. By Vikings.
  Sigvhat:  Unreasonable Optimism
  Harald:  Unlucky
  Immediate Problems:
  Bandar: Every reason to raise old blood feuds again.
  Kiril: Knows Bjarne and Svana are lovers, resents it
  Sigvhat:  Wants a legal way to humiliate or kill Bjarne
  Harald:  Trying to avoid being found.
  Story So Far
  Eyvind Kettilson is the local ruler, with two daugh-
  ters, no sons. Right hand man is Bjarne, who is 
  capable, but undiplomatic. Any choice he makes will 
  make at least half of the player characters unhappy; 
  most of the character’ goals, if met, threaten to rip 
  the town apart.  He’s grooming Torsten Gunderson 
  as his replacement, knowing Bjarne can’t do the job.  
  Regrets the bloodfeud that killed Bandar’s father, but 
  the past is the past and cannot be unmade. 
  Act I: Introductions All Around
  Harald secretly meets Svana, lets her know 
  he’s in the area.
  Bandar gets chilly welcome from brother, 
  informed of father’s death. Overly warm 
  welcome from Greta
  Vigdis (age 5) fnds two goats - bitten in 
  half!  Tells her father (Sigvhat) about it.  
  Kiril is being bullied by Torf, when Bjarne 
  intervenes.  Something’s happened at 
  Halfdan’s farm. Torf and Bjarne go to 
  investigate.
  Harald is hiding in the Gunderson’s barn 
  when Greta and Bandar have a talk.  
  Misfortune happens.
  Cut Scene:  Eyvind gets news Bandar is 
  back in town. Is trying to arrange a 
  marriage between Egil and his younger 
  daughter Svana, which she doesn’t want.  
  Filters through Svana to Auda and Sigvhat.
  Trygvygg is negotiating to buy bales of 
  wool from Sigvhat’s farm when they hear 
  screaming from Halfdan’s farm.  Suggests 
  getting Bandar to help with investigation; 
  sees Harald while looking for Bandar at the 
  Gunderson’s place. Picks up Kiril en route.
  End Of Session Clifanger: 
  Te Carnage of Halfdan’s Farm:  Dead 
  farmer, hysterical (and injured) 10 year old 
  son.  Trail of blood leading to the hills.  
  Bjarne and Torf nowhere to be seen.  
  Opportunity for Harald to redeem himself 
  for breaking his oath-bond to Eyvind by 
  rescuing Bjarne.
  Thorsten Gunderson
  Eyvind Kettilson
  Keep Sprunlaga from erupting into blood feuds.
  Find out what killed Halfdan’s thralls & livestock
  Sigvhat Bellower
  Humiliate or Kill Bjarne Rijkstal
  Impregnate Wife with Son To Inherit Farm
  Bjarne Rijkstal
  Egil Kvalbergson
  Svana Eyvindsdottir
  Auda Eyvindsdottir
  Vigdis Sigvhatdottir
  Thorsten Gunderson
  Bjarne Rijkstal
  Greta Aesasdottir
  =Dislikes
  =Likes
  
SOURCE: textdata/thevault/Kid Friendly/3. Rules Lite Collection/Minimus - Roleplaying Distilled.pdf