TEXT: Introduction
  This supplement for All for One introduces new evil for the characters to fight: fell 
  demons, monsters, and mortals who delight in seeing France and its citizens suffer. This is 
  a companion volume to Creatures of Sin, and does not repeat any of the entries or sidebars 
  from that work.
  Horror Stories
  All for One is both a game of and swashbuckling derring-do, and supernatural horror. 
  In some campaigns the horror may take a back seat to action stories, while in others it is 
  at the forefront. This section is designed to help the Gamemaster use horror in All for One 
  game effectively, whether he does so regularly or only occasionally.
  Around the Table
  In order to create a good atmosphere in your scenario, you need to get the players into 
  the right frame of mind before the game begins. Trying to tell a creepy story while the sun 
  is shining or when the players are discussing last night’s ball game is very difficult, making 
  it virtually impossible to set the dark tone needed. 
  There’s a fair chance that your gaming group only meets once a week, and in between 
  times members might not hang out socially. Naturally, when everyone gets together there’s 
  a certain amount of catching up on the past week’s events. Give everyone a decent amount 
  of time to have a chat, and then politely request they keep out of game chatter to after the 
  session ends.
  If you game in your house, or that of a good friend, you can add to the mood with a 
  few simple tricks. Try dimming the lights, or at least drawing the curtains so the real world 
  is shut out, or running the game by candlelight. Don’t leave the players groping blindly 
  for their dice, or squinting to read their character sheets because you’ve created an abyss 
  of inky darkness, though. If you do decide to light candles, make sure they’re placed 
  somewhere safe—nothing ruins a gaming session quite like having to abandon a burning 
  house. 
  If you’ve got suitable mood music, such as film soundtracks or a CD of creepy sound 
  effects, you can play them in the background. Keep music low so as not to disturb the 
  201113
  PAUL “WIGGY” WADE-WILLIAMS
  r i c h e l i e u ’ s g u i d e  t o
  •         •
  •           •
  Editing: Tom Cadorette
  Template Design: Robin Elliott
  Ubiquity System Design: Jeff Combos
  Creatures of Sin 2
  www.tripleacegames.com
  Permission is granted to print this ebook. No site licence is given.
  This game uses the Ubiquity Roleplaying System, developed by Exile Game Studio (www.exilegames.com). Ubiquity Roleplaying 
  System, Exile Games Studio, and all associated logos and trademarks are copyright, Exile Games Studio, LLC. Used with permission.
  ©2010 Triple Ace Games. All For One: Règime Diabolique and all related marks and logos are  
  trademarks of Triple Ace Games. All Rights Reserved.
  
  game and avoid tracks with lyrics, lest your players begin 
  singing along.
  Unless a player needs his mobile phone for an emer-
  gency call he’s waiting on, or on call with his job, ask eve-
  ryone to switch their phones off. Having an interruption 
  because Joe’s wife has gone into labor is fine, but having 
  someone call to discuss what time you’re meeting up for 
  a drink can be irritating and mood-breaking.
  There’s lot of other things you can do without going 
  over the top. A vampire nobleman serves drinks to the 
  characters, so why not pour the players red grape juice 
  (fermented or unfermented) or tomato juice? Grab some 
  cheap plastic goblets from the local toy store for added 
  ambience. If you live in the country, chances are you’ll be 
  able to find animal skulls to decorate your table. Rabbits 
  and mice should work, but a huge ox skull will dominate 
  the room more than your adventure probably will.
  Always remember your fellow players’ sensibilities. 
  If you start hanging crosses upside or leaving copies 
  of books on Satanism lying around to help create the 
  mood, you will risk offending someone.
  Devil’s in the Details
  In some roleplaying games, the so-called flavor text 
  or “fluff” often takes a back seat to the action. However, 
  the very nature of the Ubiquity rules system lends itself 
  to telling stories. 
  If the players are going to immerse themselves in 
  your adventure, they need all the details their characters 
  would know. Use all five senses in your descriptions to 
  make them as real as possible, and don’t ignore the little 
  details. Of course, you shouldn’t go overboard—taking 
  twenty minutes to describe one room in a haunted house 
  will definitely bore your players.
  Don’t forget to use colorful adjectives, as well. A forest 
  isn’t just dark—it’s brooding and menacing, clad in Sty-
  gian shadows. Corpses aren’t just dead bodies—they’re 
  shattered, ripped, mauled, sundered, and mangled. Cas-
  tles squat ominously against roiling storm clouds, while 
  the wind howls and thunder crashes, rolling and echoing 
  throughout the cyclopean mountains.
  Combining little details with adjectives and descrip-
  tion will help you conjure all manner of mental images 
  for the players. For example, while the storm rages out-
  side, the wind whistles through the draughty windows 
  like the maniacal piping of a deranged flutist.
  The Unfamiliar Familiar
  The scariest horror tales are rooted in the reader’s 
  world. It is a world he finds familiar and welcoming, yet 
  simultaneously unsettling, somehow “wrong.”
  By creating vivid yet relatively mundane descriptions 
  the players are drawn into your world. They are likely all 
  familiar to some degree or another with castles and inns, 
  forests, and graveyards. These mundane locales help 
  them see your world as a realistic place, one not entirely 
  unlike their own. Thus, it is welcoming and familiar.
  And yet at the same time, the world needs to be just 
  unsettled enough to stand out as being wrong, slightly 
  alien and unwelcoming. Shadows are too deep for com-
  fort, walls appear to slope inward in a claustrophobic 
  manner, trees seem to be reaching downward to pluck 
  unwary travelers from their feet, while birdsong is ab-
  sently missing, causing one to wonder what has silenced 
  them.
  Fear & Suspense
  One recurring theme in horror is fear; more specifi-
  cally, fear of the unknown. Such fear is primeval, expe-
  rienced by all of us, and it’s the Gamemaster’s job to 
  stir up those feelings. While having a slavering werewolf 
  leaping out from a dark wood can be downright scary, it 
  doesn’t generate an atmosphere of fear. Once the beast 
  is named, it becomes something to kill, its weaknesses 
  likely known or at least guessed at.
  But if something can be heard stalking the party at 
  night while they search the wood, always out of sight but 
  close enough to be heard, then the players’ imaginations 
  start to work. They’ll imagine all manner of horrors wait-
  ing to attack them. If you really have to show the beast, 
  do so first as a fleeting shadow or briefest glimpse of 
  movement out of the corner of the eye. Build the tension 
  slowly and the players will appreciate the final revelation 
  all the more.
  Shock vs. Subtlety
  Many modern horror film revel in gallons of gore and 
  explosive action, with deranged serial killers leaping 
  through windows, sending fountains of arterial blood 
  spraying across the room. Entertaining perhaps, possibly 
  terrifying, but it isn’t the kind of horror that will work in 
  a good All for One game.
  In order to be a truly effective tool, fear should be 
  built up slowly and subtly, and used sparingly. 
  In a modern horror movie, when the lights go out 
  they do so all at once, plunging the room into instant 
  and utter darkness. But in order to create a growing 
  atmosphere if dread things work differently. Lanterns 
  or candles go out one by one, slowly increasing the 
  shadows. This is especially creepy if the party is in a long 
  corridor, for it implies that something is moving toward 
  them under cover of darkness.
  Similarly, a few spots of blood dripping from the 
  ceiling is more fearful than a cascade of gore breaking 
  through the floorboards. The gore obviously points to a 
  bloody and gruesome demise, but do the blood spots au-
  tomatically mean this? Maybe whoever shed the blood is 
  only wounded and needs help. Maybe whatever caused 
  the injury wanted its prey alive for some diabolical pur-
  pose. And of course, the blood may not even be human.
  All For One 
  2
  
  Slow, methodical footsteps approaching up creaking 
  stairs, a tapping or scratching at the window, a distant 
  scream that might be an owl or a terrified victim running 
  from some unearthly beast, these are the basic tools that 
  allow the greatest tool you have at the table to work its 
  magic—the players’ imaginations!
  Whenever and however you use fear, do so sparingly. 
  Layer it on lightly, as an artist would add deft strokes to a 
  painting, not by the trowel load. Used sparingly, fear and 
  suspense becomes an invaluable game tool, but used too 
  often and it risk becoming dull, or worse, a parody.
  Ignorance
  In most All for One games, especially early in a cam-
  paign, the characters are likely ignorant about the super-
  natural. Their knowledge of a monster’s weaknesses is 
  sparse, and derives from folktales rather than first-hand 
  experience. However, your players have almost certainly 
  experienced roleplaying games before or seen the mov-
  ies, so they’re pretty “clued in” to all the stock mon-
  sters.
  Information should be slowly drip fed to the players 
  to help build up a believable air of tension, preventing 
  the players from instantly leaping to correct conclusions. 
  For instance, if the players discover a mangled sheep 
  carcass, don’t reveal the killer is a werewolf. Describe 
  the horrendous wounds and let the players come to their 
  own conclusions. After all, the sheep may have been 
  mauled by a wild dog or a regular wolf.
  Conversely, don’t frustrate your players by making 
  information impossible to discover.
  Isolation
  Together the characters have a wide pool of Skills, 
  Talents, and equipment to draw upon, in addition to be-
  ing able to discuss and debate strange occurrences, and 
  make cooperative plans. But individually they have only 
  their individual wits, abilities, and gear to help them, 
  leaving them disadvantaged. When that werewolf turns 
  up, the lone character without the silver musket balls is 
  going to be in a world of terror… and likely not long for 
  this world. 
  In order to avoid tipping off the other players to their 
  comrades’ predicament, consider either passing notes or 
  taking the lone character to a different room. Just don’t 
  forget that everyone is at the game to have fun—if you 
  concentrate too long on one section of the divided party, 
  the others may become bored.
  Isolation needn’t involve dividing the group either. 
  A group alone in a castle, unable to escape because a 
  storm has washed away the only bridge, has been physi-
  cally isolated from the wider world. Having the adven-
  ture set somewhere the characters don’t speak the local 
  language leaves them unable to communicate with the 
  locals to seek help. In this instance they have been so-
  cially isolated. In both cases, whatever terrors await the 
  characters must be faced alone.
  Strange Events
  Seemingly normal events can be used to help add to 
  the tension you’re instilling in your Gothic horror ad-
  venture.
  A group of characters has met to discuss a spate of 
  killings involving their close friends. One of them makes 
  an innocent comment, asking who will be next. As he 
  mentions a name, the church bells begin to toll or an owl 
  screeches nearby. A perfectly natural event, but one that 
  has now taken on a sinister connotation.
  The group is travelling across the moors looking for 
  shelter from a terrible storm. A brilliant flash of lighting 
  streaks across the sky, briefly illuminating a rundown 
  house not far away. Coincidence, or the hand of fate 
  leading them into danger?
  Us Against the World
  In the horror-strewn setting of All for One, the world 
  is usually not the characters’ friend. When walking across 
  a moor, miles from anywhere, the heavens open and the 
  characters are soon drenched to the skin. A blizzard or 
  terrific thunderstorm forces them to seek shelter some-
  place they’d much rather avoid, or leaves them unable 
  to escape their current predicament. The lone candle 
  the group is using to light their way is extinguished by 
  a gust of wind, plunging them into absolute darkness. 
  The carriage they expected to catch is delayed or can-
  celled, leaving them stranded in the middle of nowhere. 
  Briars and branches snag and snare on clothing, slowing 
  the characters down, preventing them from reaching 
  someone in dire need of assistance or escape a dreaded 
  pursuer.
  Such techniques can also be used to deprive the ad-
  venturers of their beloved possessions. A gun jams or 
  misfires, a character’s trusty rapier break in combat, or 
  the book containing details of the suspected vampire’s 
  history is ruined by water. Without these tools, the 
  characters are greatly disadvantaged, forcing them to 
  improvise.
  Explain Nothing
  How does a werewolf come into being? What turns a 
  man into a vampire? What force keeps ghosts tethered 
  to the mortal world after the body has perished? These 
  are questions your players may likely ask, but they are 
  questions you should avoid answering. That the super-
  natural cannot be explained by scientific methodology is 
  precisely what makes it supernatural—it is beyond our 
  comprehension. Knowing that something cannot exist, 
  yet obviously does exist, also generates fear.
  Richelieu’s Guide to Creatures of Sin
  
  
  Horror Mechanic
  The rules in this section are designed for All for One 
  games in which horror is a significant theme. Because 
  they present the possibility of characters experiencing 
  mental breakdowns due to fear and stress, these rules 
  are unlikely to fit well with a typical high adventure All 
  for One campaign, or may need to be tweaked to reduce 
  the effect of the horrors experienced upon the charac-
  ters. Gamemasters and players should discuss the kind 
  of game they want before beginning play. If your group 
  has decided to use the optional horror rules, each char-
  acter will receive a new Secondary Attribute: Sanity.
  Sanity
  Sanity represents your character’s mental resilience 
  and resistance to stress and emotional trauma. Your 
  character can take up to his Sanity rating in Horror dam-
  age without suffering any ill effects. Each point of dam-
  age temporarily lowers your character’s Sanity rating: if 
  the rating drops below zero, he will become increasingly 
  impaired by his madness and may fall unconscious. If 
  Sanity is reduced to -5, your character’s mind is utterly 
  shattered, leaving him in a permanent and irreversible 
  vegetative state.
  Your character’s Sanity rating is calculated as follows:
  Sanity = Charisma + Willpower
  Shock
  When a creature, object, or event is so shocking or 
  ghastly that it will potentially haunt the minds of any wit-
  nesses, the Gamemaster should assign it a Horror rating. 
  A character that observes or interacts with a horrifying 
  thing may make a Horror check by making a Willpower 
  roll and comparing the number of successes to the Hor-
  ror rating.  If the player rolls successes equal to or greater 
  than the horror rating, there is no effect. If the player 
  rolls less than the Horror rating then his character loses 
  Sanity points equal to the difference. If the number of 
  points deducted exceeds the character’s Willpower, that 
  character is paralyzed with fear for a number of combat 
  turns equal to the difference. A character may pay two 
  Style points to prevent one point of Sanity loss.
  A character needs to make a Horror check for a partic-
  ular phenomenon only once per scene, but will need to 
  make different Horror checks for different phenomena 
  within that scene.
  The effects of Sanity loss are as follows:
  Sanity above zero: Your character is keeping it to-
  gether and suffers no penalties or ill effects.
  Sanity reduced to zero: If your character takes 
  enough insanity to reduce his Sanity to 0, he is so badly 
  shaken as to be disabled. While disabled, instead of at-
  tacking, defending, and moving all in the same combat 
  turn, he may perform only one of these actions each 
  turn. If he wishes, he may panic, which allows him to 
  perform all three actions normally for one turn, but loses 
  a point of Sanity immediately afterward.
  Sanity reduced to -1 through -4: When your charac-
  ter Sanity falls below zero, he falls unconscious for one 
  minute per point below zero. Your character may attempt 
  to remain conscious by making a reflexive Willpower roll 
  at a penalty equal to his negative Sanity rating. If you roll 
  at least two successes, your character remains conscious 
  but deranged enough to be disabled (as when Sanity is 
  reduced to zero) and suffers a penalty to all actions equal 
  to his negative Sanity rating.
  Sanity reduced to -5 or less: your character’s mind 
  is irreversibly shattered and is effectively brain dead. 
  Examples
  Below are some examples of horrifying phenomena 
  to serve as a benchmark for Horror ratings. As always, 
  the Gamemaster has ultimate discretion as to what is 
  horrifying and what rating it might receive.
  Sample Horrifying Phenomena
  Horror 
  Rating
  See a bloody sacrificial dagger or a macabre 
  idol; suffer a surprise attack
  1
  Stumble across a human corpse or mutilated 
  animal; see a poltergeist throwing plates
  2
  Discover mutilated human remains; observe 
  the gruesome dismembering of an animal; 
  witness a zombie claw out of the ground
  3
  Observe a gruesome murder; encounter a 
  werewolf
  4
  Observe the gruesome murder of a friend 
  or associate; witness a hellish horror sum-
  moned by dark magic
  5
  Magickal Terror
  Malevolent magicians may wish to torture their op-
  ponents with horrific images and hallucinations. Only 
  practitioners of Necromancy, that blackest of arts, may 
  use magick for such diabolical means. For the Effect, the 
  caster simply chooses the Opposed entry. The victim, or 
  victims, must pit their Willpower against this number of 
  dice. The result is otherwise as for the entry on Shock 
  above. This ritual can be given a longer Duration. How-
  ever, extending the duration only prohibits the victim 
  from recovering Sanity while the spell remains in effect. 
  It does not allow an opposed roll every round. By having 
  the effects last longer, the spell mimics things like recur-
  ring nightmares or continued visions. During this time, 
  the brain is immune to further shock from the same 
  source, but it cannot be healed.
  Note that magick in All for One is very powerful, and 
  used for this purpose it can relatively easily send a sane 
  •            •
  All For One 
  
  
  man into a state of permanent madness. For this reason, 
  we suggest Gamemasters use it sparingly against player 
  characters, or provide the search for a rumored cure as 
  an adventure hook. 
  Regaining Sanity
  This is an age before psychology and psychotherapy, 
  so a character’s options for recovering his Sanity are 
  extremely limited. Depending on the style of game, 
  the Gamemaster may choose to restrict which healing 
  options are available. For instance, in a truly gritty cam-
  paign with few supernatural elements, maybe only Rest 
  is permitted, whereas in an exciting action game of con-
  stant supernatural threats, all of them may be applied. 
  The Gamemaster may also choose to invent her own 
  methods of regaining Sanity, or even wipe the slate clean 
  after the characters successfully complete an adventure.
  Magick
  With no knowledge of how the human mind works 
  available to the characters, only the healing powers of 
  Benignus magick can be used to heal mental trauma. 
  The spell designed should work as one would for heal-
  ing lethal physical injuries, but applying the results to 
  Sanity instead.
  Motivation
  Fulfilling one’s Motivation, rekindling the fire that 
  drives you to battle evil, serving your patron, protecting 
  others, or whatever primarily drives your character, can 
  be a powerful healing tool as it serves as an anchor for a 
  character to focus on the mundane rather than the hor-
  rific. Instead of gaining a Style point for roleplaying one’s 
  Motivation, a character may instead chose to recover one 
  point of Sanity. A maximum of one Sanity point per scene 
  may be regained in this manner. The Gamemaster, as al-
  ways, must take care to not allow a player to abuse this 
  by ensuring that the recovery makes sense to the story 
  being played out. 
  Rest
  The mind is both a powerful and fragile thing. It is eas-
  ily broken, but is also remarkably adept at blocking out 
  traumatic events over time. Assuming the Gamemaster 
  allows time to pass between adventures (a week is the 
  absolute minimum), a character automatically regains 
  one Sanity point at the start of each new adventure.
  Success
  A victory, no matter how small it may seem in the grand 
  scale of things, can be a powerful healing force. Any time 
  a character gains or improves a Talent or Resource he 
  regains one Sanity point. Simply learning a new Talent 
  may improve the character’s self-confidence and distract 
  him from the dark terrors that stalk his sleep. Gaining a 
  Resource might represent a new friend to talk over one’s 
  problems with (Ally), a promotion means more respon-
  sibilities, thus reducing the time one has to dwell on the 
  cause of the horror (Rank), or simply having to devote 
  your time to look after other people (Follower).
  Supernatural 
   Creatures
  Unearthly beings and mortals who serve the dark 
  powers are a danger not just to the flesh of mortals, but 
  •          •
  New Talents
  The following Talents and Flaws are additions avail-
  able only if the optional Sanity rules are used.
    Stable
  Prerequisites: None
  Your character possesses unusual strength of mind 
  and can endure great amounts of psychological 
  trauma.
  Benefit: Your character gains +2 to her Sanity rat-
  ing.
  Normal: Your character’s Sanity rating is unmodi-
  fied.
  Advanced: Your character may take this Talent 
  twice, gaining your character an additional +2 San-
  ity rating for each level.
   Unflappable
  Prerequisites: Willpower 3
  Your character is not as deeply affected by horrific 
  encounters.
  Benefit: Your character gains +2 on all Horror 
  checks.
  Normal: Your character gains no bonus to Horror 
  checks.
  New Flaw
  Faint-Hearted: Your character is very sensitive to 
  traumatic stress and is more easily shaken than 
  most. You suffer a –2 penalty whenever you must 
  make a Horror check. You earn a Style point each 
  time you must make a Horror check. A character 
  with the Faint-Hearted Flaw cannot take the Un-
  flappable Talent.
  Richelieu’s Guide to Creatures of Sin
  
  
  to their immortal soul as well. These vile entities have 
  plagued mankind for millennia, and will likely continue 
  to do so well into the future, until the end of time itself. 
  Brain in a Jar
  The diabolical entity that is a brain in a jar is the com-
  bined creation of noble intention and modern science, 
  coupled with unwise plans and the ancient (and forbid-
  den) art of alchemy. 
  The brain must be carefully removed from the cra-
  nium while the body is still living (a process the host 
  might not comply with), and placed in a glass container 
  filled with an alchemical fluid that keeps the brain alive. 
  The fluid must be regularly changed for a new concoc-
  tion, or the brain will die. The idea of preserving the 
  minds of the world’s great thinkers so they might con-
  tinue their work indefinitely is certainly a noble one, but 
  as the old saw goes, the road to Hell is paved with good 
  intentions. Freed from their physical shells, the parts of 
  the brain concerned with controlling the body quickly at-
  rophy, while those concerned with mental prowess grow 
  stronger and stronger. Within mere weeks, the brain in a 
  jar possesses high intellect and immense willpower. The 
  physical separation of body and mind, coupled with the 
  unhallowed knowledge of one’s new existence, rapidly 
  tips the brain toward unbridled insanity.
  The disembodied brain is able to affect the physical 
  world merely through the power of thought. It retains 
  the ability to communicate through a form of limited te-
  lepathy. This enables the monstrous creation to interact 
  socially much as it did in life. The only difference is that 
  because the “sound” is projected straight into the minds 
  of others, it is unaffected by the Deaf or Hard of Hearing 
  Flaws, or by blocking one’s ears with wax. The same is 
  true of its more sinister powers. 
  Because the brain is completely immobile, its needs 
  must be served by able-bodied minions. Typically these 
  are weak-willed individuals chosen for their brawn and 
  ability to follow orders. They are also its foot soldiers 
  and protection, ready and willing to sacrifice their lives 
  to protect their disembodied master.
  The existence of the brain in a jar is not widely known. 
  Such an abomination, a product of science and magick, 
  would surely raise the ire of the Church to fanatical 
  new levels, bringing down its wrath on those who claim 
  science is beneficial while reinforcing the view that all 
  magick is inherently evil.
  Patron 1
  Archetype Construct
  Motivation Power
  Style: 1
  Health: 4
  Primary Attributes
  Body: 1
  Charisma: 4
  Dexterity: 0
  Intelligence: 5
  Strength: 0
  Willpower: 5
  Secondary Attributes
  Size: –2
  Initiative: 5
  Move: 0*
  Defense: 3
  Perception: 10
  Stun: 1
  Skills
  Base
  Levels
  Rating
  (Average)
  Con
  4
  2
  6
  (3)
  Diplomacy
  4
  2
  6
  (3)
  Empathy
  4
  2
  6
  (3)
  Intimidation
  4
  2
  6
  (3)
  Investigation
  5
  1
  6
  (3)
  Linguistics
  5
  1
  6
  (3)
  Magick:
  Mentalism
  5
  5
  10
  (5)
  Talents
  Magical Aptitude: Mentalism
  Resources
  Ally 1 (Mentally dominated alchemist)
  Flaw
  Crippled (+2 Style points whenever it is limited by its 
  immobility)
  Weapons
  Rating
  Size
  Attack
  (Average)
  None
  0L
  0
  0L
  (0)L
  Immobile: A brain in a jar obviously cannot use any 
  physical Skills, such as Athletics or Larceny. Its lack of 
  hands prevents it from using tools.
  Mentalism: In addition to its mundane abilities, the 
  brain possesses a form of magick called Mentalism. This 
  allows the brain to enforce its will on other life forms 
  by the power of thought alone. This functions as a com-
  bination of Faunamancy, Floramancy, and Homomancy. 
  The brain cannot create, transform, or destroy—it can 
  only control life. For instance, it could cause an existing 
  rose bush to animate and entangle a foe, but it could not 
  cause a rose bush to grow where none existed, nor use 
  its mental powers to shred its opponent’s linen or woo-
  len clothing. Similarly, it could not rend an opponent’s 
  flesh (lethal damage), but it could create an illusion of 
  such action (nonlethal damage).
  Danse Macabre
  To most citizens of France the danse macabre is an al-
  legorical reminder of one of life’s universal truths—from 
  pope to peasant, everyone dies. But the woodcuts, paint-
  ings, sculptures, engravings, and murals found across 
  Christendom are not just allegories—the Dance of Death 
  is a very real entity. 
  The danse macabre appears as a skeletal figure, 
  sometimes clad in a funeral shroud, sometimes naked. 
  Most carry a set of pipes on which they play the haunting 
  All For One 
  
  
  yet frenetic dance of death, though other incarnations 
  wield drums. Those who fail to resist the melody become 
  entranced by the tune and begin dancing ever faster and 
  faster. For many, this is the last dance they will perform, 
  for the rhythm is a deadly one. Those who dance too 
  long will die, their souls departing, leaving their fleshy 
  remains behind to serve the danse macabre. Most are 
  accompanied by a small number of animated corpses in 
  varying states of decomposition. These mindless, soul-
  less corpses are the danse macabre’s protectors, for 
  most mortals fear Death and some even dare to strike 
  out at him.
  Those who know of the danse macabre’s existence 
  are unsure as to its origin. Most argue that it is a servant 
  of God, an Angel of Death sent to harvest souls according 
  to God’s decree. Others argue it is a tool of Satan, for it 
  is indiscriminate in its harvesting. Were this so, though, 
  good souls slain by the danse macabre would no more 
  belong to Satan than if they died of illness or old age, 
  for Satan has no authority over souls devoted to God. 
  Regardless, the existence of the danse macabre is a re-
  minder to all mortals to ensure their souls remain free of 
  sin always, for Death can strike at any time.
  Archetype Unearthly entity
  Motivation Duty
  Style: 0
  Health: 0*
  Primary Attributes
  Body: 2
  Charisma: 4
  Dexterity: 0
  Intelligence: 2
  Strength: 2
  Willpower: 2
  Secondary Attributes
  Size: 0
  Initiative: 0
  Move: 4
  Defense: 2
  Perception: 2
  Stun: N/A*
  Skills
  Base
  Levels
  Rating
  (Average)
  Intimidation
  4
  5
  9
  (4+)
  Performance
  4
  5
  11
  (5+)
  Talents
  Captivate 2 (May make a single Performance roll against 
  all opponents within 10 feet to entrance them)**
  Resources
  None
  Flaw
  Dead (Cannot communicate or use tools other than its 
  musical instrument)
  Weapons
  Rating
  Size
  Attack
  (Average)
  Punch
  0N
  0
  0N
  (0)N
  * The danse macabre is immune to nonlethal dam-
  age, and cannot be stunned.
  ** Captivated victims automatically suffer one point 
  of lethal damage for each round they are held by the 
  entity’s power. Those who die by this effect become ani-
  mated corpses bound to the danse macabre’s will at the 
  start of the following round.
  Doppelgänger
  Good and evil exists within everyone, for humans are 
  unique among God’s creations in that they alone have 
  free choice to follow either path. More often than not, 
  one’s darker side is kept in check, surfacing perhaps as a 
  rare outburst of rage or an immoral thought quickly shut 
  away in the deepest, darkest recess of the mind.
  Those who reign in their darker side too tightly are 
  not necessarily weakening their inner demon. Behind 
  that mental door one is afraid to open, the dark thoughts 
  still fester and grow. On rare occasions, the dark thoughts 
  spontaneously give rise to a doppelganger: a physical, 
  intellectual, and emotional replica of their creator in ev-
  ery way except one—they lack all trace of goodness and 
  morality, for they are born of darkness.
  The only ways to avoid creating a doppelgänger are to 
  live a life totally free of sin and, more importantly, guilt (a 
  difficult task for any human), to not give into one’s dark 
  urges, an action most mortals take sooner or later, or to 
  seek absolution, for once a sin is absolved, the darkness it 
  created is wiped away. Of course, all humans fail at main-
  taining that kind of perfection, so the world is not rife 
  with doppelgangers only because they can only spring 
  from those truly strong-willed or charismatic individuals 
  who urges plumb the ultimate depths of darkness. 
  A doppelgänger has the exact same appearance, man-
  nerisms, and knowledge as his maker. Were the creator 
  and his inner demon to stand side by side, they would 
  be indistinguishable save for one tiny detail—something 
  about the doppelgänger always appears slightly unset-
  tling to those who know the original well. Often close 
  friends and family put this down to the person being un-
  well or under stress. What a doppelgänger totally lacks 
  is any benevolence or sense of morality. A doppelgänger 
  can be slain, for it is a mortal creature. Doing so destroys 
  only its physical form, as the darkness that created it still 
  festers in the soul of its creator. Unless he confronts the 
  rot within, it will resurface at some point. Destroying 
  the creator instantly kills the doppelgänger, for it cannot 
  survive without his negative thoughts.
  Doppelgängers come in two forms. The most com-
  mon live only for themselves, indulging in wanton sin-
  fulness, caring nothing for the harm they cause others, 
  especially their “weaker” twin. The second variety is, in 
  many ways, more insidious. It desires companionship 
  with other doppelgängers, but in order to do that it must 
  not lead others down the dark paths of life, but convince 
  them to remain pure of heart and suppress all negative 
  emotions, for only through abstinence from evil can a 
  doppelgänger be born.
  A doppelgänger has no unique stat block, for anyone 
  can create one simply by refusing to acknowledge their 
  sinful side. Thus, any sample character can be used as a 
  doppelgänger.
  Richelieu’s Guide to Creatures of Sin
  
  
  Ghoul
  Like the vampire and the werewolf, ghouls are humans 
  possessed by demonic spirits. The fell spirit is attracted 
  to humans whose gluttony has caused others to suffer, or 
  who have eaten of human flesh (willingly or otherwise).
  A ghoul appears exactly as he did in life—only his lust 
  for human flesh gives away his unholy nature. Even his 
  abnormally long and thick nails may go largely unnoticed. 
  While ghouls prefer living flesh, prudence forces most to 
  haunt graveyards and dine of decaying flesh and bone 
  marrow, for here their unholy appetites go less noticed.
  With continued possession and ingestion of greater 
  quantities of human flesh, the ghoul’s host becomes 
  more and more bestial in both appearance and mentality. 
  His flesh shrinks, clinging to his tight bones like a burial 
  shroud, becoming waxy, though his muscles grow stron-
  ger and his endurance increases. His features become 
  sunken and his hair falls out, leaving a eerily bald scalp. 
  Most ghouls adopt a nocturnal lifestyle to conceal their 
  activities, developing pale skin and large, dark eyes.
  Unlike werewolves and vampires, ghouls possess no 
  special immunities, nor any power to transfer their es-
  sence to others. Their one unusual power is that so long 
  as they devour at least one pound of flesh per day, they 
  do not age, although they do deteriorate.
  The statistics below represent a fairly typical ghoul in 
  its second decade of perverted life. Its Skills represent 
  its degeneration to a more bestial existence. It exists by 
  scavenging corpses where it can, and waylaying travel-
  ers whenever possible for their fresh, succulent flesh. It 
  retains some vestiges of humanity, but is a pitiful looking 
  creature.
  Archetype Demon
  Motivation Survival
  Style: 0
  Health: 6
  Primary Attributes
  Body: 4
  Charisma: 1
  Dexterity: 2
  Intelligence: 2
  Strength: 4
  Willpower: 2
  Secondary Attributes
  Size: 0
  Initiative: 4
  Move: 6
  Defense: 6
  Perception: 4 (8)
  Stun: 4
  Skills
  Base
  Levels
  Rating
  (Average)
  Athletics
  4
  2
  6
  (3)
  Brawl
  4
  3
  7
  (3+)
  Intimidation
  1
  3
  4
  (2)
  Stealth
  2
  4
  6
  (3)
  Survival
  2
  5
  7
  (3+)
  Talents
  Keen Sense (+4 to smell-based Perception rolls)
  Resources
  None
  Flaw
  Glutton (+1 Style point whenever his appetite causes 
  problems for him or his comrades)
  Weapons
  Rating
  Size
  Attack
  (Average)
  Claws
  7L
  0
  7L
  (3+)L
  Becoming a Ghoul
  A ghoul is not a player character option—it is a de-
  monic entity given corporeal form, with a singular desire 
  to feast on human flesh. 
  If a player character somehow becomes a ghoul, he 
  must resist his urge to feast each night when the sun sets 
  by making a Willpower roll (Difficulty 4). If he fails, he 
  is compelled to locate a source of human flesh, living or 
  dead, and engorge himself.
  To make a ghoul, take the base human archetype used 
  by the victim and apply the following changes.
  * Body and Strength each increase by two points.
  * Charisma drops by one point per decade, to a mini-
  mum of zero as the victim slowly becomes more bestial 
  in appearance.
  * Gains the Glutton Flaw with regard to human flesh.
  * Gains Claws (0L) as an attack form.
  Goblin
  Goblins made their way to France from England, 
  though it is said their ancestors originated in Gaul. There 
  are several stories as to their origin. The most popular 
  tells that goblins were once Celtic pagan priests driven 
  from Gaul to Britain by the Romans; although perse-
  cuted and killed by the Romans in their new homeland, 
  they somehow survived. When Christianity reached the 
  island, the pagan priests refused to convert to the new 
  faith, and were subsequently cursed by a saint to take a 
  form more befitting their vile beliefs. 
  Another story claims that they chose to spite God, 
  transforming themselves into goblins to be forever out 
  of His reach. Yet another tale claims that goblins are 
  demons incarnate, the souls of evil children made flesh, 
  while one old wives’ tale says they are simply the physi-
  cal manifestations of evil thoughts.
  However they came into being, goblins are renowned 
  for being mischievous at best, and utterly evil at worst. 
  Grotesque and diminutive, they haunt isolated byways 
  and forests, feeding on animals and practicing dark rites, 
  but preferring to take human flesh when the opportunity 
  arises. They are typically solitary creatures.
  All goblins possess magickal powers. Whether these 
  are the remnants of their old faith in the pagan gods or 
  deviltry depends on which origin story one believes. The 
  magickal power a goblin harnesses appears to be a per-
  All For One 
  
  
  sonal choice. Thus, some goblins are masters of creating 
  foul weather (Aeromancy), while others prefer to spe-
  cialize in tricking and cursing humans (Homomancy), 
  and some even cavort with the dead (Necromancy).
  Archetype Demon
  Motivation Survival
  Style: 0
  Health: 4
  Primary Attributes
  Body: 3
  Charisma: 2
  Dexterity: 2
  Intelligence: 2
  Strength: 3
  Willpower: 3
  Secondary Attributes
  Size: –2
  Initiative: 4
  Move: 5
  Defense: 7
  Perception: 5
  Stun: 3
  Skills
  Base
  Levels
  Rating
  (Average)
  Athletics
  3
  2
  5
  (2+)
  Brawl
  3
  4
  7
  (3+)
  Intimidation
  2
  2
  4
  (2)
  Magick: Pick 
  one Art
  3
  3
  6
  (3)
  Stealth
  2
  2
  6*
  (2+)
  Survival
  2
  2
  4
  (2)
  Talents
  Magick Aptitude (Natural Magick)
  Resources
  None
  Flaw
  Sadism (+1 Style point when he is needlessly cruel to 
  his friends or enemies)
  Weapons
  Rating
  Size
  Attack
  (Average)
  Claw
  0L
  +2
  9L
  (4+)L
  * Goblins receive a +2 Size bonus to Stealth rolls.
  Hag
  While many witches (and some old women) are of-
  ten described as hags, the term only truly applies to a 
  malevolent spirit. They can harm only sleepers, having 
  no power over the conscious. Indeed, they exist only as 
  phantom spirits in the dream world, having absolutely 
  no physical presence.
  The hag manifests in the sleeper’s mind as an ugly 
  crone sitting on his chest. Paralyzed, the victim is slowly 
  suffocated as the hag sucks out his life. This state is com-
  monly known as being “hag-ridden,” which is also the 
  origin of the word “nightmare.” Most victims usually 
  survive hag attacks, leaving them weak and gasping for 
  breath, and utterly terrified.
  Some theologians claim that hags are demonic mani-
  festations sent by Satan to claim the victim’s soul. Their 
  argument continues that hags only have power over 
  those who have committed sins, for by sinning the victim 
  has opened a link between the mortal realm and Hell. 
  Thus, anyone who experiences a hag’s attack should im-
  mediately go to church and seek absolution for his many 
  sins.
  Archetype Demon
  Motivation Survival
  Style: 0
  Health: 4
  Primary Attributes
  Body: 0
  Charisma: 0
  Dexterity: 0
  Intelligence: 1
  Strength: 0
  Willpower: 4*
  Secondary Attributes
  Size: 0
  Initiative: 1
  Move: 0
  Defense: 0
  Perception: 5
  Stun: 0
  Skills
  Base
  Levels
  Rating
  (Average)
  None
  Satan’s Wolves
  Satan has used many guiles and threats against man-
  kind, but his most persistent pets are wolves—the 
  mundane kind, and of course, werewolves. History 
  is populated with stories of strange wolf attacks, 
  made famous in stories we all know, like “The Three 
  Little Pigs” and “Little Red Riding Hood.”
  Several of the more notable historical attacks that 
  occurred in France are briefly described below. 
  While most are date after the era of All for One, they 
  are still useful as adventure seeds.
  * Wolves of Paris (1450). A pack of man-eating 
  wolves broke into Paris (which at that time was 
  largely inside its medieval walls) and killed around 
  40 people. They were eventually slain on the steps 
  of Notre Dame Cathedral.
  * Wolves of Périgord (1766). According to the tale, 
  a pack of wolves killed at least 18 people, and sav-
  aged many more during the month of February. 
  Four wolves were killed during hunts, one of which 
  possessed a double row of teeth.
  * Wolf of Sarlat (1766). During the month of June, a 
  lone wolf injured 17 people. Unusually, it attacked 
  only adult men and did so by rearing up on its hind 
  legs to bite at their neck and face.
  * Wolf of Soissons (1765). Over the course of two 
  days, a single wolf attacked 18 people, four of 
  whom died as a result of their injuries. The wolf 
  was eventually slain, earning its killer a 300 livres 
  reward from King Louis XV.
  Richelieu’s Guide to Creatures of Sin
  
  
  Talents
  None
  Resources
  None
  Flaw
  Ephemeral (Cannot communicate or use tools)
  Weapons
  Rating
  Size
  Attack
  (Average)
  See below
  0N
  0
  0N
  (0)N
  * This is a typical value capable of troubling typi-
  cal player characters. Weaker hags may have Willpower 
  ratings as low as 2, while stronger ones may ratings as 
  high as 10.
  Hag-ridden: Each round the hag rides her victim, both 
  participants must make opposed Willpower rolls. If the 
  hag wins, she causes one point of nonlethal damage for 
  each extra success she scores over the victim’s roll. If she 
  scores more than double the victim’s score, this is lethal 
  damage instead. If the sleeper wins, the hag suffers a 
  point of lethal damage. The hag continues to ride her 
  victim until defeated or she kills her opponent.
  A victim engaged in a battle with a hag cannot be 
  awoken until the combat has ended.
  Homonculus
  From the Latin for “little man,” a homunculus is an 
  artificial creation, a mockery of life given consciousness 
  by a demonic spirit. The ritual for creating a homunculus 
  is known to only a few dark magicians.
  The basic ingredient of the enchantment requires a 
  mandrake root. This strange plant, named for its root’s 
  anthropomorphic appearance, allegedly grows only 
  where the semen of hanged men falls to the ground.
  The root must be picked before the sun rises on a 
  Friday morning (likely related to the crucifixion of Jesus) 
  by a dog of midnight black fur. It must then be washed 
  of any soil and “fed” a mixture of milk, honey, and the 
  magician’s blood as fell enchantments are uttered over 
  the growth. This ritual is repeated until the next full 
  moon, whereupon the root will develop into a miniature 
  human-like creature. While the blood sacrifice is typical 
  of black magic, with regard to homunculi it bonds the 
  creature to the one who nurtured it.
  A homunculus is loyal unto death to its master, pos-
  sessed of a most vile temperament. Although small, they 
  are incredibly strong, with a maniacal penchant for in-
  flicting pain. As a being created by magick, it has no soul 
  and no knowledge of good. Hence, killing one is not an 
  act of murder, despite its human appearance.
  The use of the creator’s blood not only ensures the 
  creature’s loyalty, it also allows the magician to use the 
  homunculus’ senses as if they were his own. Thus, the 
  creature is often employed to spy on others.
  Archetype Demon
  Motivation Duty
  Style: 0
  Health: 4
  Primary Attributes
  Body: 3
  Charisma: 1
  Dexterity: 3
  Intelligence: 2
  Strength: 3
  Willpower: 3
  Secondary Attributes
  Size: –2
  Initiative: 5
  Move: 6
  Defense: 8
  Perception: 7
  Stun: 3
  Skills
  Base
  Levels
  Rating
  (Average)
  Athletics
  3
  3
  6
  (3)
  Brawl
  3
  4
  7
  (3+)
  Stealth
  2
  3
  7*
  (3+)
  Talents
  Alertness (+2 Perception rating)
  Resources
  None
  Flaw
  Bestial (Cannot communicate or use tools)
  Weapons
  Rating
  Size
  Attack
  (Average)
  Bite
  1L
  +2
  10L
  (5)L
  * Homonculi have a +2 Size bonus on Stealth rolls.
  Iannic-ann-ôd
  Translated from Breton, the name of these creatures 
  means “Little John of the shore.” They are the souls of 
  those who drowned at sea, whose corpses were never 
  recovered and given proper burial rites. Despite appear-
  ing predominantly in Breton legend, they haunt all of 
  France’s coastlines.
  At night their strange calls of “Iou! Iou!” (some leg-
  ends claim it cries thrice) echo across the French shores. 
  Those who know the origin of the cry keep their mouths 
  firmly closed, for they know better than to utter a mock-
  ing reply. 
  Left to its own devices, an iannic-ann-ôd does noth-
  ing more than call out, for it harbors no inherent ill will 
  toward the living. But mortals who dare to repeat the 
  spirits’ strange call place their lives in peril. In a single 
  bound, the creature can leap half the distance separating 
  it from its abuser upon the mortal’s first repetition of 
  the spirit’s cry. A second reply causes it to leap half the 
  remaining distance. Anyone foolish enough to repeat the 
  call a third time is attacked.
  An iannic-ann-ôd has the same statistics as an evil spir-
  it (see All for One core rules), seeking to possess those 
  who taunt it and its damned state. A possessed host is 
  forced to throw himself into the sea to drown, preferably 
  by means of leaping from a tall cliff. 
  All For One 
  10
  
  Kraken
  Cartographers of old marked their maps with images 
  of sea serpents and dragons. As the first rays of the dawn 
  of enlightenment filter across Europe, scholars openly 
  scoff at such claims, putting their existence down to folk 
  of a more superstitious age.
  But those who sail the trackless oceans still maintain 
  there is a devil beneath the sea, a devil of enormous size 
  which can smash ships to kindling, wrapping their mon-
  strously long tentacles around the shattered hulls to pull 
  them down into the briny deep. 
  Archetype Animal
  Motivation Survival
  Style: 0
  Health: 22
  Primary Attributes
  Body: 10
  Charisma: 0
  Dexterity: 4
  Intelligence: 0
  Strength: 12
  Willpower: 4
  Secondary Attributes
  Size: 8
  Initiative: 4
  Move: 32 (0)*
  Defense: 6 (8)***
  Perception: 4 (8)**
  Stun: 10
  Skills
  Base
  Levels
  Rating
  (Average)
  Brawl
  12
  2
  16
  (8)
  Stealth
  4
  4
  0****
  (0)
  Survival
  0
  4
  6
  (3)
  Talents
  Dual Wield (ignores off-hand penalty)
  ** Keen Sense (+4 bonus on sight-based Perception 
  rolls)
  Skill Aptitude (+2 Brawl rating)
  Skill Aptitude (+2 Survival rating)
  Resources
  None
  Flaw
  Bestial (Cannot communicate or use tools)
  Weapons
  Rating
  Size
  Attack
  (Average)
  Bite
  8L
  –8
  16L
  (8)L
  Tentacle
  8N
  –8
  16N
  (8)N
  Grapple
  8
  –8
  16
  (8)
  * Krakens double their Move rating when swimming 
  but cannot move outside of the water
  *** Krakens have a thick hide that provides a +2 
  Defense bonus
  **** Krakens suffer a –8 Size penalty on Stealth rolls 
  and automatically fail unless underwater or camou-
  flaged
  ***** See Grapple in All for One.
  Pied Piper
  The tale of the Pied Piper, and the fate that befell 
  Hamelin’s children of Hamelin when its citizens refused 
  to pay the piper for his services, has spread as far as 
  France. To most it is a parable, a dire warning to honor 
  one’s oaths and pay one’s debts. Yet behind every tale, 
  no matter how fantastical, is some grain of truth.
  The Pied Piper is a demon, though whether he is 
  unique or just one of many is unknown. To date, so far as 
  it is known, only Hamelin has suffered his malignant at-
  tention. But his plots are as insidious as they are simple.
  First, the Piper rids his targeted town of its native cat 
  population. Normally this is achieved by sending giant 
  rats to kill or drive away the felines, for his pipes have 
  no powers over cats. Next, he sends swarms of rats to 
  plague the unguarded town, for he has mastery of the 
  vermin, being able to lead them as a general does his 
  soldiers. After a few weeks of their suffering, he offers his 
  services to the townsfolk at an exorbitant price. If they 
  accept, but refuse to pay once the rats are removed, the 
  Piper returns and takes their children as compensation.
  The Piper’s origins are open to much debate. One sto-
  ry claims he was a mortal musician who challenged the 
  Devil to a contest and lost. As punishment, he is sent to 
  the mortal realm periodically to kidnap mortal children. 
  A related story claims the Piper begged for clemency as 
  Satan dragged him down to Hell. The Devil promised the 
  Piper his freedom only after he delivering a number of 
  children’s souls to him. 
  A less diabolical version has the Piper as a heavenly 
  agent, sent to punish the wicked. In these tales he is not 
  the cause of the rat infestation.
  Regardless of his origins, the Piper has no power over 
  the children unless the townsfolk renege on their offer. 
  For this reason, in the diabolical origin stories he always 
  sets a ridiculously high price, thus tempting the citizens 
  to refuse payment. He is a shrewd negotiator.
  The Pied Piper is not a combatant. Should he be at-
  tacked, he attempts to captivate his foes, leaving them at 
  the mercy of his rat swarms and giant rats (see page 14).
  Archetype Demon
  Motivation Duty
  Style: 0
  Health: 7
  Primary Attributes
  Body: 3
  Charisma: 4
  Dexterity: 3
  Intelligence: 2
  Strength: 2
  Willpower: 4
  Secondary Attributes
  Size: 0
  Initiative: 5
  Move: 5
  Defense: 6
  Perception: 6
  Stun: 3
  Skills
  Base
  Levels
  Rating
  (Average)
  Richelieu’s Guide to Creatures of Sin
  11
  
  Animal Han-
  dling
  4
  4
  8
  (4)
     Rodents
  9
  (4+)
  Diplomacy
  4
  3
  7
  (3+)
  Empathy
  2
  4
  6
  (3)
  Performance
  4
  5
  11*
  (5+)
     Music
  12
  (6)
  Streetwise
  4
  3
  7
  (3+)
  Talents
  * Captivate 2 (May make a single Performance roll 
  against all opponents within 10 feet to entrance 
  them)
  Resources
  None
  Flaw
  Phobia: Cats (+1 Style point whenever his fear gets the 
  better of him)
  Weapons
  Rating
  Size
  Attack
  (Average)
  Punch
  0N
  0
  0N
  (0)N
  * Adults, deemed to be any person over the age of 14 
  for game purposes, receive a +2 bonus to resist. Those 
  aged 13 or under have -2 to resist. If the parents have 
  refused to pay, the Piper’s hold over the children lasts 
  for one hour per total number of extra successes.
  Mundane Threats
  Demons, devils, and witches are not the only dangers 
  Musketeers must face. Many of their foes are of a mortal 
  nature, yet no less insidious in the danger they pose to 
  France.
  Body Snatcher
  In troubled France, even death is a business oppor-
  tunity. Body snatchers exhume fresh corpses, sometimes 
  selling them to anatomists for research purposes, some-
  times to necromancers for use in their dark rituals, and 
  sometime for their meat. When corpses are in scant sup-
  ply, the body snatcher is not beyond murder to ensure 
  his quota is met.
  Ally 1
  Archetype Lackey
  Motivation Duty
  Style: 0
  Health: 4
  Primary Attributes
  Body: 2
  Charisma: 1
  Dexterity: 2
  Intelligence: 2
  Strength: 3
  Willpower: 2
  Secondary Attributes
  Size: 0
  Initiative: 4
  Move: 5
  Defense: 3
  Perception: 4
  Stun: 1
  Skills
  Base
  Levels
  Rating
  (Average)
  Athletics
  3
  2
  5
  (2+)
     Digging
  6
  (3)
  Larceny
  2
  2
  4
  (2)
  Melee
  3
  2
  5
  (2+)
  Stealth
  2
  3
  5
  (2+)
     Sneaking
  6
  (3)
  Talents
  Pack Mule (Treat encumbrance level as one level less)
  Resources
  None
  Flaw
  Illiterate (+1 Style point whenever his illiteracy causes 
  him severe difficulty or embarrassment)
  Weapons
  Rating
  Size
  Attack
  (Average)
  Punch
  0N
  0
  0N
  (0)N
  Shovel
  2N
  0
  7N
  (3+)N
  Pickaxe
  3L
  0
  8L
  (4)L
  Corrupt Priest
  When the shepherd is corrupt, what hope is there for 
  the flock? Some corrupt clergy are merely weak-willed 
  men who have succumbed to earthly lures, such as sex, 
  alcohol, or gambling. Others have fallen further from 
  grace, and subtly corrupt the holy message, seeking to 
  steer their followers onto the path of damnation. The 
  worst kind have sold their souls to the Devil and actively 
  work against Mother Church from within its walls.
  Ally 1
  Archetype Clergyman
  Motivation Power
  Style: 0
  Health: 4
  Primary Attributes
  Body: 2
  Charisma: 2
  Dexterity: 2
  Intelligence: 2
  Strength: 2
  Willpower: 2
  Secondary Attributes
  Size: 0
  Initiative: 4
  Move: 4
  Defense: 4
  Perception: 4
  Stun: 2
  Skills
  Base
  Levels
  Rating
  (Average)
  •             •
  All For One 
  12
  
  Academics: 
  Religion
  2
  2
  4
  (2)
  Con
  2
  2
  4
  (2)
  Empathy
  2
  2
  4
  (2)
  Gambling
  2
  2
  4
  (2)
  Larceny
  2
  2
  4
  (2)
  Talents
  None
  Resources
  Rank 1 (Priest; +2 Social bonus)
  Flaw
  Addiction (+1 Style point whenever his addiction 
  hurts him or someone he cares about)
  Weapons
  Rating
  Size
  Attack
  (Average)
  Punch
  0N
  0
  0N
  (0)N
  Lunatic
  Lunatics are men and women who have, quite simply, 
  lost their minds. They may have been subjected to attack 
  by supernatural entities or witnessed an attack on others, 
  or perhaps delved too deeply into the occult. However 
  they came to be in their sorry state, their minds are well 
  and truly shattered. If one can decipher their insane rant-
  ing, though, one might find a valuable clue to combating 
  some supernatural threat.
  Lunatics are normally harmless, content to curl up 
  and murmur to themselves, sit in a corner and drool, 
  while staring vacantly, or scribble or draw vague images 
  of the terrible things they have witnessed—per the origin 
  of their name, their ravings are often exacerbated by the 
  full moon. Attempts to make them reveal the horrors 
  they have witnessed usually drive them into an insane 
  rage.
  The statistics below represent a lunatic in his berserk 
  state. Exactly what makes a lunatic go berserk in terms of 
  game mechanics is left to the Gamemaster to decide, but 
  a critical failure on any Social roll is a sure way to trigger 
  their madness.
  Ally 1
  Archetype Everyman
  Motivation Mystery
  Style: 0
  Health: 5
  Primary Attributes
  Body: 3
  Charisma: 1
  Dexterity: 2
  Intelligence: 1
  Strength: 3
  Willpower: 2
  Secondary Attributes
  Size: 0
  Initiative: 3
  Move: 5
  Defense: 5
  Perception: 3
  Stun: 4*
  Skills
  Base
  Levels
  Rating
  (Average)
  Athletics
  3
  2
  5
  (2+)
  Brawl
  3
  3
  6
  (3)
  Intimidation
  1
  5
  6
  (3)
  Talents
  * Iron Jaw (+1 Stun rating)
  Resources
  None
  Flaw
  Secret (+1 Style point when he is confronted with the 
  truth or goes out of his way to protect the secret)
  Weapons
  Rating
  Size
  Attack
  (Average)
  Punch
  0N
  0
  6N
  (3)N
  Serial Killer
  The serial killer is not a modern ailment of society. 
  Giles de Rais, one of Joan of Arc’s lieutenants, was a 
  self-confessed serial killer (and a black magician) who 
  preyed on children and women.
  The motives behind a serial killer’s dark deeds are 
  not easy to define, and psychopaths can come from any 
  social strata. What is important to the story is that they 
  have a plausible, consistent motive—very few serial kill-
  ers simply kill random passersby for the fun of it.
  One may be possessed by a demon and kill purely 
  for sport or to cause terror in a community, for example. 
  Another might be a deranged peasant who kills women 
  because he believes them to be evil. Perhaps a righteous, 
  God-fearing merchant witnessed a supernatural attack 
  and commits bloody crimes in the insane belief that 
  everyone is a werewolf, vampire, or host to a demon. 
  In his eyes, his act is God’s work, not the butchery of a 
  lunatic.
  A serial killer might be a deranged maniac, high on 
  physical traits but low on social ones. He stalks the fog-
  shrouded streets at night looking for victims, a maniacal 
  gleam in his eye. A nobleman might be very sociable and 
  witty, able to blend seamless into high society. Rather 
  than stalking the streets by night, his method might be to 
  lure peasant women back to his chateau with promises 
  of a fine meal and quality clothing.
  The statistics below represent a generic, street-stalk-
  ing serial killer. He (or she) is not a mindless thug, but 
  a cunning and powerful predator who must be hunted 
  down by investigation and deduction. His Motivation is 
  left to the Gamemaster to determine.
  Patron 2
  Archetype Serial Killer
  Motivation Varies
  Style: 2
  Health: 7
  Richelieu’s Guide to Creatures of Sin
  1
  
  Primary Attributes
  Body: 3
  Charisma: 2
  Dexterity: 3
  Intelligence: 3
  Strength: 3
  Willpower: 4
  Secondary Attributes
  Size: 0
  Initiative: 6
  Move: 6
  Defense: 6
  Perception: 7
  Stun: 3
  Skills
  Base
  Levels
  Rating
  (Average)
  Athletics
  3
  2
  5
  (2+)
  Con
  2
  3
  5
  (2+)
  Empathy
  3
  2
  5
  (2+)
  Intimidation
  2
  4
  6
  (3)
  Melee
  3
  4
  7
  (3+)
  Stealth
  3
  5
  8
  (4)
  Talents
  Flurry (Reduced penalty for multiple strikes)
  Subtle Strike (Can use Stealth for attack roll)
  Resources
  None
  Flaw
  Delusion (+1 Style point whenever his delusion causes 
  trouble)
  Weapons
  Rating
  Size
  Attack
  (Average)
  Short sword
  2L
  0
  9L
  (4+)N
  Mundane Animals
  All entries in this section possess the following traits: 
  Archetype: Animal; Motivation: Survival; Style: 0; Flaw: 
  Bestial (Cannot communicate or use tools)
  Rat, Giant
  While normal rats only present a danger, giant rats are 
  vicious even singularly. These obscene specimens are the 
  same size as large dogs. Lesser specimens are equivalent 
  in size to a cat (Size –2).
  Primary Attributes: Body 1, Dexterity 3, Strength 1, 
  Charisma 0, Intelligence 0, Willpower 4
  Secondary Attributes: Size –1, Move 4 (Run 8), Per-
  ception 4, Initiative 3, Defense 5, Stun 1, Health 4
  Skills: Brawl 2, Stealth 10, Survival 2
  Talents: None
  Weapons: Bite 5L, Claws 5L
  Relics
  Relics are significant religious objects imbued with 
  divine essence. The Catholic Church recognizes three 
  categories of relics.
  First class relics are items directly associated with the 
  life of Christ, such as splinters of the True Cross or his 
  manger, a thorn from the crown of thorns he was forced 
  to wear at the Crucifixion, a drop of his blood, or his 
  burial shroud, or the physical remains of saints (e.g., 
  finger and feet bones, hair, nail clippings).
  Second class relics are items a saint wore or which 
  were frequently used by or closely linked with the saint. 
  For instance, sandals, a cloak, a book, or a crucifix.
  Third class relics are any items touched to a first or 
  second class relic. Such objects are divine by association, 
  rather than direct embodiment.
  For the purposes of All for One, only first and second 
  class relics hold any real power. Third class relics are the 
  equivalent of lucky charms, important to the owner, but 
  without any real ability to affect the world.
  Swarms
  Small creatures, such as bats and rats, can swarm 
  larger opponents, inflicting more damage as a 
  group than they can individually. Instead of treating 
  each creature as an individual attacker, swarms are 
  treated as a single Size 0 creature, gaining an attack 
  rating based on the individual creature’s original 
  Size.
  Additionally, swarms suffer a Defense penalty, but 
  gain a bonus to their collective Health rating. Only 
  attacks with an Area of Effect inflict full damage on a 
  swarm. All other weapons inflict a maximum of one 
  point of damage per hit.
  Original
  Size
  Attack
  Defense
  Health
  Example
  –2
  +2
  –2
  +4
  Monkey
  –4
  +4
  –4
  +8
  Rat
  –8
  +8
  –8
  +16
  Insect
    Rat, Swarm
  While normal rats are a menace in small numbers, a 
  swarm of biting, clawing vermin can present a seri-
  ous hazard to Musketeers.
  Primary Attributes: Body 0, Dexterity 5, Strength 
  0, Charisma 0, Intelligence 0, Willpower 4
  Secondary Attributes: Size 0, Move 5 (Run 10), 
  Perception 4, Initiative 5, Defense 5, Stun 0, Health 
  8
  Skills: Brawl 2, Stealth 10, Survival 2
  Talents: None
  Weapons: Bite 6L, Claws 6L
  •     •
  •             •
  All For One 
  1
  
  Not Magic Items
  Relics are not typical fantasy magic items. They can-
  not be created by mortals, nor are they found as part of 
  a monster’s treasure haul. Similarly, they do not radiate 
  any discernible magical aura, even when their benefits 
  are being felt—God not only works in mysterious ways, 
  He works in subtle ones. Because of this, one can never 
  tell whether one is holding a true relic or a fake. Down 
  the ages, this has led to a trade in supposed relics.
  Trade in Relics
  The sale of relics is strictly prohibited by the Church, 
  as detailed in the Code of Canon Law (“It is absolutely 
  forbidden to sell sacred relics”).
  Furthermore, even transference of ownership is sub-
  ject to Church approval at the highest level (“Relics of 
  great significance and other relics honored with great 
  reverence by the people cannot be alienated validly in 
  any manner or transferred permanently without the 
  permission of the Apostolic See”).
  Despite these laws, during the Middle Ages there was 
  a thriving trade in relics. With the true origin impossible 
  to determine, many were fakes. Often, supposedly hu-
  man bones were actually those of animals, for instance. 
  The trade dwindled to a trickle and finally all but died 
  out during the chaos of the Reformation and Counter-
  Reformation. But the tide has turned yet again. With talk 
  of demons on the rise and innocent citizens in fear of 
  their immortal souls (not to mention physical bodies), 
  the sale of relics has once again become a thriving busi-
  ness. Cardinal Richelieu has little interest in stopping 
  the growing trade in fake relics, for they pose no threat 
  to him, his infernal master, or the minions of Hell. But 
  when knowledge of a true relic reaches his ears, he is 
  quick in his attempts to acquire the holy object. Often he 
  does so openly, claiming it in the name of the Church. 
  The true relic is then concealed in a secret vault deep 
  beneath the Royal Palace, while a fake is donated to a 
  church or shrine for public veneration. When an owner 
  is reluctant to part with his prized possession, Richelieu 
  covertly dispatches agents to “persuade” its possessor 
  otherwise.
  Physical Nature
  Relics take the form of body parts or mundane items 
  once associated with a saint. More rarely, they are directly 
  associated with Jesus. While occasionally objects such as 
  the feather of an angel might be encountered, these are 
  by their very nature fake. A sample list of body parts and 
  objects suitable for use as relics is given below. 
  Note that in many instances these holy objects are en-
  cased in a reliquary. This might be anything from a silver 
  locket to a glass vial, or an ornate gold-plated bejeweled 
  box to a weapon pommel or hilt.
  * Ashes (from a cremation)
  New Rule: Relics
  Relics are rewards handed out by the Gamemaster 
  as he sees fit. A character might be given one for 
  exceptional service to the Church or the King, be-
  queathed one in a will, suffer an arduous quest to 
  find one, or perhaps even win one in a high-stakes 
  gambling game; the character cannot obtain by 
  spending money or Experience Points, however.
  The power of a relic is not always active. In order to 
  gain the appropriate bonus, the owner must pray 
  to the relevant saint, or offer up a general prayer 
  to God. For this reason, those who traffic with Sa-
  tan and his minions are unable to use holy relics. 
  Such prayers are usually short, and so count as free 
  actions. Only one person may benefit from a relic 
  during any given round.
  Each relic grants one (and only one) of the follow-
  ing benefits, as determined by the Gamemaster at 
  the time of the object’s creation.
  * Attribute Bonus: A relic may grant a +1 bonus to 
  rolls with a specific Attribute. This does not increase 
  the Attribute—it is merely a roll modifier when the 
  Attribute alone is used. In most cases the bonus 
  should relate to a specific circumstance, rather than 
  a blanket modification. For example, a relic of St. 
  Lazarus, the patron saint of lepers, might grant +1 
  to Body rolls to resist disease, but St. Urban of Lan-
  gres, patron saint of protection against alcoholism, 
  is a better candidate for Body rolls to resist the af-
  fects of alcohol.
  * Lucky Charm: Regardless of its history and ori-
  gin, a relic is nothing more than a lucky charm. Its 
  benefit comes solely from the belief of its possessor. 
  The relic has the Lucky 1 Talent.
  * Skill Bonus: The relic grants a +1 bonus to all 
  rolls with a specific Skill. In the case of Specialized 
  Skills, the bonus applies to one specific Discipline, 
  even if the owner has the Well-Educated Talent.
  * Talent: A particularly rare relic might grant a Tal-
  ent. Gamemasters should refrain from handing out 
  offensive combat-related Talents, even for saints pa-
  tronizing soldiers. Defensive Talents, such as Die-
  hard or Iron Jaw, are better suited to the nature of 
  holy relics than ones increasing one’s ability to deal 
  death. Depending on the object’s origin, a range of 
  Talents might be used. For example, a relic of St. 
  Francis of Assisi might grant Animal Affinity, while 
  St. Matthew, patron of accountants, could grant 
  Moneywise, its power leading the character to wiser 
  investments and more frugal spending.
  * Versatile Lucky Charm: As with the Lucky Charm 
  above, the relic has no special powers beyond those 
  the owner attributes it. Rather than granting a sin-
  gle +2 Skill bonus once per session, the relic grants 
  the owner one Style point per session.
  Richelieu’s Guide to Creatures of Sin
  1
  
  * Bodily fluid (blood or tears)
  * Bones (knuckles, fingers, toes, femurs, humeri, and 
  skulls are the most common)
  * Fingernails or toenails
  * Garment (shred of or complete robe or funeral 
  shroud, sandal or shoe, shirt, glove, handkerchief, scarf)
  * Jesus-related (blood, splinter of the True Cross or 
  the manger, nail from the Crucifixion, thorn from the 
  Crown of Thorns, fragment of the Holy Sponger)
  * Limbs (entire hands, arms, legs, or feet; often mum-
  mified but can be a collection of bones)
  * Object (crucifix, book, staff, crown, chains, cup)
  * Strand or lock of hair
  * Wood (most often from a crucifix used to execute 
  the individual, but a sliver of Noah’s Ark might exist)
  Patron Saints
  Below is a list of the Skills, along with a sample of 
  the closest patron saints of those who practice the Skill. 
  Gamemasters may find this helpful when determining a 
  Skill bonus for a particular relic. At the end of the day, 
  any saint can serve as the basis for a relic, more so if 
  the relic does not grant a Skill bonus. For example, St. 
  Ansovinus is the patron saint of gardeners. Unless one 
  of the characters happens to have Craft: Gardening, the 
  saint is better suited to a Lucky Charm or Versatile Lucky 
  Charm benefit than an Attribute or Skill Bonus.
  Skill
  Patron Saint/s
  Academics: History
  Thomas Aquinas
  Academics: Law
  Genesius, Thomas Aquinas, 
  Thomas Moore, Yves
  Academics: Literature
  Catherine of Alexandria, Tho-
  mas Aquinas
  Academics: Philosophy
  Catherine, Thomas Aquinas
  Academics: Religion
  Aloysius Gonzaga, Augustine 
  of Hippo, Thomas Aquinas
  Acrobatics
  Genesius, Maturinus
  Animal Handling
  Anne, Benedict of Nursia, 
  Francis of Assisi
  Archery
  George, Nicholas of Myra
  Art: Music
  Hervé
  Art: Painting
  Luke the Evangelist
  Art: Sculpture
  Barbara
  Art: Writing
  Francis de Sales (cannonized 
  1665)
  Athletics
  Bernard of Menthon, Chris-
  topher, Sebastian
  Brawl
  Sebastian
  Bureaucracy
  Homobonus, Matthew
  Con
  —
  Craft: Blacksmithing
  Dunstan
  Craft: Carpentry
  Joseph, Peter the Apostle, 
  Wolfgang of Regensburg
  Craft: Masonry
  Barbara, Reinhold
  Craft: Medicines
  Albertus Magnus, Damian, 
  James (son of Alphaeus)
  Craft: Weaponsmithing
  Maurice
  Diplomacy
  Thomas More
  Empathy
  Christina the Astonishing
  Fencing
  George, Maurice, Paul
  Firearms
  Adrian of Nicomedia
  Gambling
  Cajetan
  Gunnery
  Barbara, Quentin
  Intimidation
  —
  Investigation
  Jude
  Larceny
  Dismas, Quentin
  Linguistics
  Gottschalk, Jerome
  Magick
  —
  Medicine
  Agatha, Alexius, Blaise (vet-
  erinarians), Brigid of Ireland, 
  Cosmas, Damian, Luke the 
  Evangelist
  Melee
  Adrian of Nicomedia, George, 
  Martin of Tours, Maurice, Se-
  bastian
  Natural Philosophy: 
  Biology
  Albertus Magnus, Dominic
  Natural Philosophy: 
  Chymistry
  Albertus Magnus, Dominic
  Natural Philosophy: 
  Engineering
  Albertus Magnus, Barbara, 
  Bénézet, Patrick
  Natural Philosophy: 
  Geology
  Albertus Magnus, Barbara, 
  Dominic
  Natural Philosophy: 
  Physics
  Albertus Magnus, Dominic, 
  Rebekah
  Performance
  Cecilia (musicians and sing-
  ers), Genesius (actors), Hervé 
  (musicians), Vitus (dancers)
  Ride
  Anne, George, James (son of 
  Zebedee)
  Seamanship
  Brendan the Navigator
  Spying
  Joshua
  Stealth
  —
  Streetwise
  Giles
  Survival
  Bona of Pisa, Eustachius, 
  Hubertus
  Warfare
  As Melee
  All For One 
  1
  
SOURCE: textdata/thevault/Triple Ace Games/All For One/Compendium 2 [split]/Richelieu's Guide To Creatures Of Sin 2.pdf