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 WE ARE ALL
MAD HERE

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 CREDITS
Designer Shanna Germain
Creative Director Monte Cook
Editor/Proofreader Ray Vallese
Art Director Bear Weiter
Cover Artist Roberto Pitturru
Sensitivity Readers Ash Cheshire, Jess Meier

Cartographer
Hugo Solis

Artists
Bethany Berg, Felipe Escobar, Michele Giorgi, Inkognit, Chris Knight, Baldi Konijn, Kezrek Laczin,
Katerina Ladon, Patrick McEvoy, Alyssa Menold, Mirco Paganessi, Angelo Peluso, Roberto Pitturru,
Nick Russell, Audre ‘Charamath’ Schutte, Lie Setiawan, Joe Slucher, Lee Smith, Cory Trego-Erdner,
Rengin Tumer, Tiffany Turrill, Nino Vecia

Playtesters
Monte Cook, Bruce R. Cordell, Dominique Dickey, Erin M. Evans, Rhiannon Held,
Corry L. Lee (PhD), Susan J. Morris, Sean Reynolds, Charles Ryan, Tammie Webb Ryan, Bear Weiter

© 2020 Monte Cook Games, LLC. CYPHER SYSTEM and its logo are trademarks of Monte Cook Games, LLC in the U.S.A.
and other countries. All Monte Cook Games characters and character names, and the distinctive likenesses thereof, are trademarks of
Monte Cook Games, LLC.

This book is not intended to be a substitute for professional advice, diagnosis, or treatment. For questions or concerns, seek the advice of your
mental health professional or other qualified health provider. If you’re having suicidal thoughts, call 1-800-273-TALK (8255) to talk to a skilled,
trained counselor at a crisis center in your area at any time (National Suicide Prevention Lifeline). If you are located outside the United States,
call your local emergency line immediately.

Printed in Canada

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 TABLE OF CONTENTS
The Woods Are Real and Dark and Full of Wolves 4

PART 1: Once Upon a Time 7

Chapter 1: Upon Fairy Tales 8
Chapter 2: Building Fairy Tale Settings 13
Chapter 3: Building Fairy Tale Campaigns 29
Chapter 4: Running Fairy Tale Games 46
Chapter 5: Playing in Fairy Tale Games 56
Chapter 6: Creating Your Character 60
Chapter 7: Equipment 69
Chapter 8: Cyphers and Artifacts 73
Chapter 9: Beasts and Beings 100

PART 2: Adventures Three 141

Chapter 10: Cypher Short: The Apple-Pip Witch 142
Chapter 11: Cypher Short: I’ll Gnaw Your Bones 144
Chapter 12: Full Adventure: Between Worlds 146

PART 3: Lost in the Heartwood 157

Chapter 13: Welcome to the Heartwood 158
Chapter 14: Mental Health in Games 159
Chapter 15: Running Games in the Heartwood 163
Chapter 16: Creating Heartwood Characters 166
Chapter 17: Heartwood Atlas 179
Chapter 18: What the Moon Dreamt 203
Chapter 19: The Prince Who Would Seek Death 210

BACK MATTER: Happily Ever After 217

Inspirations and Resources 218
Story Index 220
Index 223
Fairy Tale Game Consent Checklist 224

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 WE ARE ALL MAD HERE

THE WOODS ARE REAL AND

DARK AND FULL OF WOLVES

W
hen I was little, fairy tales scared When I think about many of the
me. Little girls like me were choices I’ve made in my life, I realize
Acknowledgments always in danger. There were that at nearly every fork in the path, I
During the making hungry wolves and evil stepmothers took the one that I thought would lead
of this book, I
received invaluable and evil regular mothers and curses and me not to the wolf, but to becoming the
assistance—directly dead sisters, and horses that seemed wolf. I wanted to know that I was in
or indirectly—from
the following people, nice but really just wanted to drown you control, that I had the autonomy to save
places, and things: in the river. Your brothers depended myself. This is the great value of fairy
on your silence and knitting skills (I tales (and truly, all kinds of stories):
Ampersand, the sucked at both) to save their lives. Your they can help us make sense of the
Best Black Dog
grandmother was sometimes your dangerous parts of the world, work
Brown-butter chocolate
chip cookies grandmother and sometimes a wolf and through deep internal conflicts, and give
Bullet journals sometimes just missing forever. You us the power to change our own lives
Carrie Fisher, the never knew what hungry maw you’d find for the better.
Original Princess at the end of the path. The first section of this book, Once
Danny Elfman And yet, scared as I was, I could not Upon a Time, is all about fairy tale
Days Gone stop reading them. I sensed that there games in general. You’ll find notes
Dermot Kennedy was something deep beneath the skins for running and playing in fairy tale
High King Margo of the little girl, of the wolf, even of the games, tips for creating your own fairy
Looking Glass Coffee grandmother, that I deeply needed to tale settings, and myriad creatures and
Lost in the Trees understand. Also, I wanted to befriend characters to put into your game.
Mumford and Sons animals, find the magic ring, talk to the The second section, Adventures
Sera Gamble west wind. Three, offers three starter adventures,
Thrive Fitness including two Cypher Shorts, which are
Woods Coffee
The entire Monte Cook Using We Are All Mad Here
Games team. And a We Are All Mad Here is designed to work For ease of use, this book uses the
special shout-out to our
Kickstarter backers, as a companion to the Cypher System term “fairy tales” to encompass a much
playtesters, and Rulebook. While We Are All Mad Here larger set of story types, including fables,
sensitivity readers. focuses specifically on using fairy tale parables, folklore, legends, myths, urban
Thank you for helping
elements and settings in a Cypher System legends, and so on. There’s a short
me believe at least six
impossible things before game, it doesn’t go into details on description of these types in the section
breakfast. character creation, rules, or other related called Fairy Tales and More, as well as
concepts. For that, you’ll need a copy of notes on how to use them in a game.
Fairy Tales and the Cypher System Rulebook.
More, page 11

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 THE WOODS ARE REAL AND DARK AND FULL OF WOLVES
easy ways to dip your toes into fairy
tale games while doing almost no prep
work.
And the third section (because you
can’t have a fairy tale book without
invoking the rule of threes), called
Lost in the Heartwood, is something
completely different. Lost in the
Heartwood is a setting that gives
players the opportunity to explore fairy
tales from the perspective of mental
health and illness.
Lost in the Heartwood invites
characters whose lives have been
touched by mental health issues
and mental illness to explore those
experiences with magic, pain, empathy,
and power. You can read more about
how this works in Chapter 13: Welcome
to the Heartwood and Chapter 14:
Mental Health in Games.
Mental health issues manifest in
different ways for each of us. For me,
depression and anxiety still make me
feel like I am the scared little girl again,
wandering in the dark, dangerous
woods alone. I hear wolves around
every corner, see the poison in every
apple half, worry about the well-dressed
stranger coming to the door. But
living with depression and anxiety for
so long has also given me survival
skills, strengths that are mine alone. I
have learned how to heft an axe, look
Throughout this book, you’ll see page
references to various items accompanied
by this symbol. These are page references
to the Cypher System Rulebook, where you
can find additional details about that rule,
ability, creature, or concept.
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a stranger in the eye, howl a song of
strength or need to my pack. I can’t give
fairy tales all the credit for that, but they
certainly started me on this path toward
power.
As fairy tale author Kate Forsyth
writes, “Fairy tales . . . give us hope that
we can somehow be saved, rescued,
healed. Transformed in some way for “Life itself is the most
wonderful fairy tale.”
the better. As we travel with the fairy ~Hans Christian
tale protagonist through the dark and Andersen
dangerous forest, as we suffer with
them and triumph with them, we
follow them back into the brightness
of a world renewed. Fairy tales are an
instruction manual for psychological
healing.”
This is the idea behind the Heartwood
setting—that each of us has both Chapter 13: Welcome to
the Heartwood, page 158
weaknesses and strengths due to our
experiences with mental health issues Chapter 14: Mental
Health in Games,
and illnesses. And it is this combination
page 159
that makes us who we are.
However you use We Are All Mad
Here, I hope you find yourself immersed This book refers to
in a wondrous world of magic and many fairy tales that
appear in different forms
whimsy, where your unique story helps (including books, films,
you survive and thrive on the dark and musicals, and cartoons).
For example, there are
dangerous paths of the world. many versions of the
Alice in Wonderland
story. Titles used in this
book are often general
references to the source
material, not necessarily
any one specific version.
Whenever you see this symbol, it means
that the accompanying text offers a bit
of fairy tale lore or background. These
notes are designed to provide you
with additional interesting thoughts,
comments, and details about fairy tales
to enhance and deepen your games.
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 PART 1

C E U P O N A T I ME
O N

“And what is the use of a book,” thought Alice, “without pictures or

conversations?”
~ Lewis Carroll, Alice’s Adventures in Wonderland

Chapter 1: Upon Fairy Tales 8

Chapter 2: Building Fairy Tale Settings 13
Chapter 3: Building Fairy Tale Campaigns 29
Chapter 4: Running Fairy Tale Games 46
Chapter 5: Playing in Fairy Tale Games 56
Chapter 6: Creating Your Character 60
Chapter 7: Equipment 69
Chapter 8: Cyphers and Artifacts 73
Chapter 9: Beasts and Beings 100

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 WE ARE ALL MAD HERE
Chapter 1

UPON FAIRY TALES

In the old times, when wishing was still stories and lists the creatures, characters,
effective . . .  cyphers, equipment and more that come
from each of these stories. That way, if you

W
Fairy tales are also
sometimes called hat do you think of when you think
wonder tales, from of fairy tales? Maybe it’s one of the
the German word
Wundermärchen. oldies but goodies—Cinderella or
The Little Mermaid or Peter Pan. Maybe
it’s one of the more obscure ones that you
love for deeply personal reasons: The Little
Match Girl, Tatterhood, or The Magic Lotus
Fairy Tales and More, Lantern. Or maybe it’s something newer
page 11 like the comic book Fables, which combines
fairy tales, myths, and legends into a single
setting. Or movies like Frozen or Brave, TV
shows like Grimm or The Magicians, or video
games like American McGee’s Alice or The
Wolf Among Us. Or perhaps it’s a mishmash
of your own making, a setting that takes fairy
Chapter 2: Building Fairy tales in an entirely new direction.
Tale Settings, page 13 Whatever your fairy tale jam, this book
Chapter 3: Building Fairy is designed to help you turn it into a
Tale Campaigns, page 29 full-fledged roleplaying game. You’ll find
rules and guidelines for making all kinds of
characters, from Pinocchio and Thumbelina
to a fairy princess and a magic-wielding
mermaid. Creatures and characters from
a wide variety of fairy tales make an
appearance, along with common archetypes
(like witch) that you can alter to fit any
number of settings and stories.
The Story Index in the back of the book
includes common (and not-so-common)
want to run something in a specific story
or setting, you have a handy list of options
at your fingertips. In addition, if you’re
wondering where a particular character or
cypher comes from, you can find it there and
then read the story from which it is drawn.
Preparing For a
Fairy Tale Game
Preparing for a fairy tale game is similar to
preparing for any other game, with a few
exceptions. Because “fairy tales” is such a
broad category, you’ll likely want to spend
some time homing in on exactly what kind
of setting, mood, and experience you want.
The chapters Building Fairy Tale Settings
and Building Fairy Tale Campaigns go into
more details on these ideas, but here is a
basic step-by-step plan for getting ready to
run a fairy tale game.
Step One: Decide Your
Setting and Mood
One of the hallmarks of fairy tales is that
they change and morph over time. With
every retelling, something new is added and
something is taken away. The early versions
of Grimms’ tales are almost nothing like the
Disney versions of those same-named tales.

“The wisest thing—so the fairy tale taught mankind in olden times, and teaches
children to this day—is to meet the forces of the mythical world with cunning
and with high spirits.”
~Walter Benjamin, “The Storyteller”

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 UPON FAIRY TALES

“Faërie contains many things besides elves and fays, and besides
dwarfs, witches, trolls, giants, or dragons; it holds the seas, the sun,
the moon, the sky; and the earth, and all things that are in it: tree and
bird, water and stone, wine and bread, and ourselves, mortal men,
when we are enchanted.”
~J.R.R. Tolkien, “On Fairy-Stories”

And myriad modern writers have taken
stories a step further, putting their own spin
on the ancient tales. So you would be one of
many to jump on board with creating your
own setting.
Stay traditional or mash everything
together that seems like it fits, and run
with it. Want to make Snow White a
down-on-her-luck detective in New Orleans
for your dark and dangerous noir fairy tale
game? Go for it. Have a vision for putting
the Three Little Pigs on a space station for a
comedic romp? Perfect.
Throughout this chapter and the ones
that follow, you’ll find lots of suggestions,
tips, and tables that will help you create a
setting and mood to suit your desired game
perfectly. There are additional suggestions
for creating original settings and for using
existing settings in your game in Chapter 2:
Building Fairy Tale Settings.
The battle of good versus evil is a
common element of fairy tales and one that
often helps answer the question of what
characters do in a setting. Are they hunters
of some kind, authorized to track down and
kill creatures or witches (Grimm, Hansel Creating original settings,
& Gretel: Witch Hunters, The Witcher)? Or page 15
perhaps they’re tasked with protecting the Using existing settings,
creatures, the kingdom, or even magic page 13
itself from a curse or other threat (Frozen, On Fairy Tale Magic,
Moana). Maybe there’s a magic object that page 27
will save the world and only the characters
can find it and use it.

Step Two: Make Magic Awesome

The section On Fairy Tale Magic goes into
this concept in more detail, but in general,
remember that in fairy tales, magic is big.
It’s bold. It’s unexpected and wondrous
and weird and has no rules. Don’t constrict
magic—use it to its fullest. Get wild with
it. Let players get in there and mess things
up with magic that is too powerful for their
own good.

Step Three: Decide

What Characters Do
When creating a new setting or game (or
even playing in an existing one), one of the
most important things to ask yourself is:
what do the characters do? You can make a
beautiful world, full of magic and wonder,
but if the characters don’t have anything to
do, it will likely be a boring game.

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 WE ARE ALL MAD HERE
Not all fairy tale stories have to be large,
though. Saving one person, finding magic
treasure, removing a curse: these can all
make great small stories that have big
emotional impacts.
Chapter 3: Building Fairy The sections called Building Fairy Tale
Tale Campaigns, page 29 Campaigns and Fairy Tale Story Seeds are
Fairy Tale Story Seeds, full of inspiration and ideas to get you
page 36 started on this.
Step Four: Tell Your
Players About the Setting
Start by giving your players a general sense
of the setting. This doesn’t have to be long
and involved, and it doesn’t have to include
spoilers of what’s ahead. Ideally, give them
some information about the genre and
Fairy tale elements setting, the important fairy tale elements
and motifs, page 18 and motifs in the game, and, possibly, what
types of magic they can expect to encounter.
Some example descriptions are:
• A traditional European-based fairy tale
setting
• A sci-fi setting on the moon where the
archetypal characters are androids
• A present-day noir setting populated
with modernized fairy tale characters
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• A forest setting in which all the players
are talking animals
• A take on Peter Pan, where the
characters start as children in the
mundane world
• A dark horror game set in an enchanted
forest filled with fey creatures
You can go into more or less detail,
depending how much of the setting is
designed to be known to the players ahead
of time. The important part is that you’re
telling them enough so they have a good
grasp of the kind of game they’ll play, the
setting they’ll be running around in, and
what types of characters they may want to
build.
Step Five: Help Your Players Build
Great Characters
Characters that fit into the setting are an
important part of the verisimilitude of a
roleplaying game. Thankfully, one of the
great things about fairy tales is that the very
essence of “What is real?” is at question,
and that means that almost any character
can fit into the setting you build. If everyone

else is human and someone wants to play
a puppet character—great, you’ve got
Pinocchio. If you’ve created a traditional
fairy tale setting but someone wants to
play a PC who has the focus Is Licensed to
Carry, change the gun language to a bow
and you’ve got Merida from Brave. And that
doesn’t even begin to look at some of the
weirdest mishmash settings, like Alice in
Wonderland, Fables, and The Wizard of Oz.
The Creating Your Character chapter
offers a range of options for players to
choose from, including suggested types,
descriptors, and foci. Have a look through
them ahead of time and see which ones
will work in the game and setting you have
planned. In fairy tale settings, because
almost anything goes, sometimes it’s easier
to just choose the ones that don’t work and
point those out to players. Alternatively,
be prepared to get creative so that players
can choose whatever options they desire.
Making last-second tweaks to a setting
to accommodate players’ desires almost
always ends up adding something that you
wouldn’t have thought of originally.
Additionally, let your players know what
equipment is available to them, and make
sure they have starting cyphers.
Step Six: Get the PCs
(and the Players) Invested
The section Getting the Players and PCs
Invested covers this idea in more detail,
but in short you want to make sure that you
give your players a meaty hook—emotional
or otherwise—for caring about the world
and the story. Don’t wait for the story and
“reason” to come to the characters. Push
them out into the dark woods and abandon
them. Curse their children. Call the wolves.
Let them hear Baba Yaga’s laugh as she
comes for them.
Fairy tales are all about getting lost in the
woods—emotionally and physically—and
getting the characters deeply invested right
out of the gate is one of the best ways to
make sure that happens.
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UPON FAIRY TALES
Fairy Tales and More
Throughout this book, we use “fairy tales”
as an inclusive term to encompass a much
broader range of story types. Partly, that’s
for ease of use—it’s a mouthful to say
“fairy tales, fables, folk tales, myths, and
so on” every time. It’s also because there’s
so much crossover between different types
of stories, and the lines blur even more as
stories are told and retold. Is Little Miss
Muffet a nursery rhyme or a fairy tale? Chapter 6: Creating Your
What about Beauty and the Beast? It likely Character, page 60
depends on which version you hear or read,
as well as your own definitions of each
story type.
For the purpose of fairy tale games,
the distinctions don’t matter as much as
you might think. Fairy tales are already a
hodgepodge of different styles of stories,
magic, creatures, and traditions, and fairy
tale games can (and probably should)
mimic that mélange of ideas. Pulling
liberally from a wide range of story types
can infuse your fairy tales with a mix of
“known” and new that players will recognize
and appreciate.
Here are some general guidelines on
which kind of story is which—not to create Chapter 7: Equipment,
borders around different types of tales, but page 69
to give you additional inspirations and ideas
for your games.
Fairy tales are fictional stories from almost Getting the Players and
every culture and location around the world PCs Invested, page 39
that have their roots in an oral tradition.
They typically feature a number of common
fairy tale motifs, including magic, folkloric
characters and creatures, impossible tasks,
and so on. Little Red Riding Hood, The
Little Mermaid, and Sleeping Beauty are just
a few well-known examples.
Fables are succinct prose pieces or verses
that often illustrate a moral through the
use of anthropomorphized animals, plants,
forces of nature, or inanimate objects.
Examples are The Tortoise and the Hare,
The Bundle of Sticks, and The Fox and the
Grapes.
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 WE ARE ALL MAD HERE
Alice laughed. “There’s no use trying,” she said: “one can’t believe
impossible things.”
“I daresay you haven’t had much practice,” said the Queen. “When I was
your age, I always did it for half-an-hour a day. Why, sometimes I’ve
believed as many as six impossible things before breakfast.”
~Through the Looking-Glass

Folk tales cover a wide range of traditional
stories and have many variations, but they
share the characteristics of being passed
down orally, featuring common people, and
often containing a moral. They’re often, but
not always, considered fairy tales. The Pied
Piper, Clever Hans, and Babe the Blue Ox
are all folk tales.
Myths attempt to explain something,
such as the origins of the world, animals,
people, or civilization, and try to answer big
questions about life, death, and so on. They
often feature larger-than-life characters with
godlike qualities, such as Thor, Poseidon,
Ra, and even Cupid.
Nursery rhymes are simple songs or
poems for children. They typically rhyme,
have a bouncy rhythm, and feature lots of
repetition. Mary Had a Little Lamb, Jack
and Jill, and Baa Baa Black Sheep are all
examples of nursery rhymes.

Parables are simple stories designed

to illustrate moral or spiritual lessons.
Unlike fables, they typically exclude
anthropomorphized animals, plants, forces
of nature, or inanimate objects. The Boy
Who Cried Wolf and The Emperor’s New
Clothes are examples of parables.

Urban legends might be considered the

fairy tales of our time. These funny or scary
stories are typically framed as cautionary or
morality tales and may feature dangerous
magical beings, inexplicable phenomena,
curses, and a sense of wonder or magic, all
set in the dark forest of the internet and the
labyrinth of the modern landscape. Slender
Man, the Black-Eyed Kids, and the Goatman
are all popular urban legends with fairy tale
elements.

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Chapter 2
BUILDING FAIRY TALE SETTINGS
T
he first step in running a fairy tale
game is deciding what the setting
of your game is going to be. This
involves determining a number of things,
including:
Mood. Will it be whimsical and weird?
Dark and dangerous? Madcap and silly? Sad
and forlorn? A little of all of these?
Magic. Is magic everywhere? Do just a
few people have it? What kind of magic do
the characters have? How does magic work?
Time and place. Is this a traditional fairy
tale, set in long-ago worlds of woods and
water? Is it a modern-day setting in a city?
Far future? On the moon?
Creatures and characters. What and
who lives in your world? Are they magical
or regular? What kinds of characters can
the players create? Are they all human?
Something else? A mix?
This chapter walks you step by step
through fairy tale settings, including using
existing settings, creating your own settings,
mixing genres, incorporating clichés and
tropes, and more.
Using an Existing Setting
When you look at the span of stories,
novels, movies, plays, musicals, games, and
so on, there are so many existing fairy tale
settings that it might seem hard to choose
just one. Granted, many of them are built
on other settings (the way that the musical
Wicked is based on the book Wicked: The Life
and Times of the Wicked Witch of the West,
which is based off of the original Wizard
of Oz book and film), so there’s a lot of
overlap. Still, you can run almost any type of
fairy tale game that you desire just by using
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BUILDING FAIRY TALE SETTINGS
a setting that’s already out in the world in
some form.
When using an existing setting, you’ll
want to keep the following things in mind:
How Familiar Are You and Your
Players With the Setting?
If you love a particular setting, but your
players have never heard of it, you’ll have
a different experience as game master For additional
than if you play in a setting that everyone’s information, see
heard of or watched. For the former, you’re Creating a Fairy Tale
introducing players to something that’s Setting, page 302
brand new, and they will have no idea that
it’s an existing setting (while this is more
likely to happen in other genres because
fairy tales are so widespread, it’s still
possible—someone may not have seen
Frozen or may not have read many fairy
tales when they were young). For the latter,
you’ll want to make sure to touch on the
familiar tropes and clichés that players will Bring Out the Tropes!,
expect to see, and that you’ve captured page 15
the mood and feel of the setting as much
as anything. Details matter less than the
overall sensibility.
Of course, players who are very familiar
with a setting might end up accidentally
being “setting lawyers” (much like
players who are rules lawyers, but in this
case, they’re arguing setting nuance and
specifics). You can handle this in any
number of ways, including bringing them in
to help you keep the details straight; letting
them know that you’re going a little
off-book, so discrepancies are okay; or
throwing their character a GM intrusion that GM intrusion,
will keep them busy. page 408
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 WE ARE ALL MAD HERE
How Will You Manage Expectations?
Let’s say you’re going to play in the setting
of Alice in Wonderland, and everyone in
your group says they’re familiar with it and
love it. But when you get to the table, you
realize that one player loves the original
book, one loves the Disney film, one loves
the Tim Burton film, and one loves the
game American McGee’s Alice. Now you have
completely different expectations at the
table, and you’ve set at least one player up
for disappointment. You’ll want to be clear
Oz, the Great and on exactly which setting you’re thinking of,
Terrible, page 120 and make sure everyone’s on board.
Wicked Witch of the
West, page 135 Do You Tell the
Setting’s Original Story?
If you pick a popular setting, such as The
Wizard of Oz, do you have your player
characters set off down the yellow brick
road, encounter the same creatures and
characters as in the original story, and have
the same ending? Or do you have them do
something entirely different, but set within
the same world? (Of course, The Wizard
of Oz is a particularly interesting choice,
because there are so many books in the
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series that you could pick any number of
stories.)
Because most players will likely have
read (or watched or heard of) the story, if
you stick with the original, they will know
everything that’s about to happen. Does
this make for a good or bad adventure?
That depends.
The benefits of following the same story
are a sense of nostalgia and the opportunity
to relive moments that players may have
loved when they first experienced the story.
While they may deal with the Wizard of Oz
or the Wicked Witch of the West in different
ways than the characters in the original
story did, they get to interact with people
and places that they already know and love
(or love to hate). This type of game likely
works best when the players are young
or when they all agree that they adore a
specific story set in a specific place.
The drawbacks of sticking to the
original story are that players (if not their
characters) will know everything that’s
about to happen and may find the game
boring or trite. They don’t get to experience
the wider world of the setting on their own

or make their own discoveries. It really
comes down to the type of story you want to
tell within the setting.
Bring Out the Tropes!
One of the best ways to make sure you
capture a sense of the setting you’re playing
in is to liberally use the clichés, themes,
and motifs of that setting. There’s a whole
section in this book that goes into more
detail, but in short: if you use Peter Pan as
your setting, you probably should include at
least three common elements of the setting,
such as Peter Pan, fairy dust, and a captain
with a hook for a hand. Giving players
touchstones for a setting makes them feel
comfortable and settles them into the game
world that you’re trying to represent.
Creating an Original Setting
Maybe you don’t want to use a setting that’s
already out in the world, or perhaps you
want to mash a bunch of settings together
to create something that’s wholly yours.
This section offers a number of things to
consider when making your own setting,
including mashing genres together, using
fairy tale magic, and the all-important
clichés and tropes. Additionally, it can be
useful to take another look at the Fairy Tales
and More section in chapter 1, especially if
you’d like to pull in myths, fables, and other
fairy tale-adjacent stories into your setting.
Here are some general questions to ask
as you begin to build an original fairy tale
setting.
What Is the Genre?
Read through the section Fairy Tale Genres
for additional details on how to choose the
genre of your setting. In short, fairy tales work
within almost every genre, from traditional
and mythic to modern noir and horror to
post-apocalyptic and science fiction.
What Are the Clichés,
Themes, and Motifs?
Fairy tales are full of clichés, and unlike
in almost every other genre, you will want
to stack your setting full of them. This is
because they make great touchstones and
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BUILDING FAIRY TALE SETTINGS
Public Domain and Copyright
Many published fairy tale settings—
particularly modern ones—legally belong
to the author, company, or organization
that created them or holds their rights.
Others (especially the original stories Fairy Tale Clichés,
from various sources) are considered to Themes, and
be in the public domain. What does this Motifs, page 22
mean for gaming? Peter Pan, page 63
In short, if a setting is in the public
domain, it means you can do almost
anything you want with it. You can
publish stories about it, make and sell
games about it, and so on. (Note: this
isn’t legal advice; always check with a
lawyer before you do anything.)
However, if a setting isn’t in the public
domain, then to be safe, you’re best
using it for home and private games
only. But what about making a show
on YouTube or Twitch? How about a
podcast? What about creating and
selling character sheets online that use
characters from Frozen? Again, checking
with a lawyer is your best bet for doing
things properly because there are a lot
of grey areas right now, thanks to new
technologies.
And things can get even more Fairy Tales and More,
complicated, even with a setting that is page 11
in the public domain. For example, the
children’s book The Wonderful Wizard
of Oz was written by L. Frank Baum in
1900, and it’s in the public domain, as
are some of the others in the series.
However, neither the 1939 film The
Wizard of Oz nor the novel Wicked are.
Fairy Tale Genres,
page 26
give your setting that special something that
makes it feel like a fairy tale. Read through
the section Fairy Tale Clichés, Themes, and
Motifs for tips and suggestions.
What Is the Magic?
Magic is important in nearly every fairy
tale—so important that it has its own
section in this book, On Fairy Tale Magic. On Fairy Tale Magic,
If magic is commonplace in fairy tales page 27
(and it usually is) and if more than a
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 WE ARE ALL MAD HERE
handful of people know about it, then
contingencies and countermeasures
would also be commonplace. It doesn’t
make sense to have a world where magic
is everywhere but the culture hasn’t taken
steps to protect against it in some way.
Imagine if magic could create digital viruses
in today’s world. You can probably guess
how many emails and offers you would
For more information get to secure your computer and your life
on how to use death, against such viruses.
see page 48
If your setting has common magic that
lets people become invisible, take the shape
of beasts, or curse their enemies, make
sure the setting also has countermeasures
for these things. Not only does this do
wonders for the verisimilitude, it also makes
things trickier and more interesting for the
Although fairy tales PCs. Every time they attempt to use their
were originally
magic to accomplish something, they have
intended for listeners
and readers of all to be prepared for or find a way to deal
ages, in the nineteenth with the magical countermeasures and
and twentieth contingencies that others have set up.
centuries they began
to be categorized
and sold mainly as What’s Rare? What’s Valued?
children’s stories (in Maybe magic is the thing that’s rare.
no small part thanks Although this is unusual for a fairy tale, it’s
to modern, often
sanitized, retellings in certainly possible. But more likely, other
books and movies). things are scarce. Often in traditional fairy
tale settings, what’s scarce are the basics:
As early as the 1700s,
food, love, shelter, safety, and so on. In
French women were
penning fairy tales that more modern settings, what’s rare might be
promoted the idea of something more esoteric and less necessary
love at first sight in an for living.
attempt to encourage
women to marry for
“What’s valued?” is a question about both
love and attraction. moral values and money, and it ties into the
At the time, they question of what’s rare. If magic is rare, then
were heavily criticized it’s highly valued. In some fairy tale settings,
for going against
the status quo. Now marriage and power are valued. In others,
they’re often criticized it’s goodness in a dark world. Knowing what
for creating what some is rare and what is valued in your setting
call the “love at first
can help you set the stage for interesting
sight” falsehood.
adventures that have high stakes and worthy
rewards. It also allows you to create a
Problematic Elements, monetary system that suits the setting.
page 42
How Do People Get Around?
Seven-league boots, If seven-league boots are common in your
page 97 setting, going on a quest across the country
(or even the world) is no big deal. One
stride, everyone’s there, and the adventure
is over. Knowing how people get around
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might seem like a small issue, but it can
have big repercussions on a story. “Horses”
might seem like the most obvious answer,
and that’s fine—but why not take advantage
of the really cool transportation options in
fairy tales like magic carpets, flying mortars
and pestles, and chicken-legged huts?
What Is Death?
In fairy tales, death isn’t always permanent,
Death is a living (?) figure, and magic
allows even the long-dead to interact with
the living. In the earliest versions of Snow
White, the titular character is not sleeping,
but actually dead. And in Fitcher’s Bird,
Fairy Tale Settings
for Young Players
You may have noticed that much of
this book is designed for adult players,
with adult themes. That’s because there
are many existing fairy tale games and
settings for young people, including
Amazing Tales, Faery’s Tale, No Thank
You, Evil!, and The Princes’ Kingdom.
These games are designed with easier
rules, less-adult themes, and more
guidance on playing with children and
young adults.
However, you can easily build your
own fairy tale setting for children using
the Cypher System. That’s because the
rules don’t change—only the setting and
themes need to be adjusted.
It’s likely that when playing with
children, you’ll want to go less dark and
scary, and include much more whimsy
and wonder. Choose creatures and NPCs
that are helpful, funny, and interesting to
interact with rather than scary or deadly.
Use clichés and tropes liberally, pay
special attention to potential problematic
elements, and include lots of characters,
creatures, and places that young people
will know and expect.
The Heartwood setting in part 3 of this
book, with its themes of mental health
and mental illness, is not recommended
for children.
 BUILDING FAIRY TALE SETTINGS

“Fractured fairy tale” is a term for taking a well-known fairy tale

and changing one or more of the characters, the plot, the setting, or
another significant element. This is so common now that almost all
modern fairy tales do it to some extent. The comic book Fables is perhaps
the best-known example, but there are a number of fractured fairy tale
anthologies that are worth checking out.

the heroine brings the hacked-up bodies of
her siblings back to life. Sometimes death
returns characters to life in new forms.
The murdered stepson in The Juniper
Tree comes back as a bird, and in various
versions of Cinderella, her dead mother
comes back as a tree, a fish, and a cow.
Decide what “death” means in your
setting, particularly as it pertains to the
player characters. Will they be able to
return? How? Does it take a long time? Are
they changed in some way?
Mixing Genres
One of the first steps in building a fairy tale
setting is figuring out what genre you want
to use for your game. That might seem
like an obvious question, as many fairy
tales seem to come with the setting built
right in. However, there are many options
when it comes to running and playing fairy
tale games, and mixing a variety of genres
together is a great way to create games
with a unique fairy tale feel. A game set in a
traditional fairy tale world is much different
from one set in the modern day, and that
too is different from one set in the far future
or a post-apocalyptic world.
This section takes a detailed look at some
of the most common genres and offers
suggestions for how to combine them with
fairy tales for best effect.
genre. Including at least one or two of these
can help solidify the genre in the players’
minds.
Risks: Ways that running a game in this
genre could go wrong, such as turning too
dark, becoming predictable, or losing the
sense of wonder.
Magic and Wonder: The weird magic and
wondrous elements that are woven through
this genre, and suggestions for how you
might use them. Playing soundtracks
Inspiration: A list of other media (books, from fairy tale movies
can quickly help set
television shows, films, music, and so the mood for players.
on) that are useful for evoking the mood,
theme, or sense of the genre.
Traditional Traditional Inspiration
Overview: Traditional fairy tales are what Traditional fairy
many of us probably think of when we think tales, folk tales,
myths, and fables
of fairy tales—stories set in the Middle
Ages or the Renaissance, filled with royalty Disney and Pixar movies
in castles, witches in dark forests, and
magic in the form of curses. However, it’s
good to remember that traditional tales
don’t just take place in Europe. There are
fantastic stories from cultures all over the
world that often don’t get as much attention
as European-based tales, and they can
provide great inspiration and settings for a
traditional fairy tale game.
Traditional fairy tales can also include
ancient myths, fables, folk tales, and nursery
rhymes.

Understanding the Listings Elements and Motifs: These contain all of

Every genre is presented by name, followed the elements and motifs that you typically
by a standard template that includes the imagine with fairy tales, such as princes and
following categories. princesses, the rule of threes, and magical For lots of additional
Overview: A quick summary of the genre. objects. information on motifs
in fairy tales, see Fairy
Elements and Motifs: A list of elements Tale Clichés, Themes,
and motifs that define or encapsulate the and Motifs, page 22

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 WE ARE ALL MAD HERE
Alice started to her feet, for it flashed across her mind that she had
never before seen a rabbit with either a waistcoat-pocket, or a watch to
take out of it, and burning with curiosity, she ran across the field after it,
and fortunately was just in time to see it pop down a large rabbit-hole
under the hedge.
~Lewis Carroll, Alice’s Adventures in Wonderland

Risks: Adventures set in traditional fairy
tales can seem predictable or boring to
some players, particularly those who are
knowledgeable in the genre. Choosing
lesser-known stories or mixing and
matching elements keep players guessing
and interested.
Additionally, many traditional fairy tales
feel like one-shots: you go on a quest to
accomplish something, you accomplish
it, and you’re done. Adding an overarching
story to the smaller quests gives a sense
of continuity and allows you to run a
longer campaign that still feels like a
fairy tale (think of it like a TV series, with
“episodic” adventures framed by one big,
long story arc).
It’s good to remember that many players
may not be well versed in fairy tales, or they
may just want to play the fairy tales that they
know and are familiar with. Traditional fairy
tales work well for both of these situations.
Magic and Wonder: In traditional fairy
tales, magic and wonder are inexplicable,
accessible, and come in more forms than
would be possible to write down. They are
both dark and light, a blessing and a curse.
Overall, it’s best not to try to explain magic
in traditional tales—no one needs to know
its origin story or why a particular bit of
magic works one way when another bit
Modern Inspiration works another. Just make it happen and
Fables (2002 comic let the players and their characters react to
book series) the wonder.
Grimm (2011 TV series)
Hanna (2011 movie) Modern
Once Upon a Time Overview: A modern fairy tale game is
(2011 TV series) one where traditional fairy tales are mixed
The Magicians (2009 with the modern world. This might be
Lev Grossman book
by sending modern characters off to
series; 2015 TV series)
traditional fairy tale worlds or by bringing
fairy tale characters to the modern world.
Alternatively, you can bring fairy tale objects,
creatures, and themes into a modern
setting full of modern characters. Fairy tales
can be intermixed with the modern world
in many interesting ways to create unique
games, from fairy tale noir and horror to
post-apocalyptic and sci-fi.
Elements and Motifs: Modern fairy tale
games can work with any fairy tale elements
and motifs, but it’s important to include a
number of them or include the strongest
ones so the fairy tale feel stands up to the
modern feel. You’ll likely want to choose at
least one or two motifs that aren’t found
in the modern world. For example, the
modern world has glass, keys, passwords,
and mirrors, so if you include only those
elements, it wouldn’t feel very much like
a fairy tale. But if you also include talking
animals and wicked queens, everyone would
likely make the connection.
Risks: It’s easy to lose the fairy tale thread
when building a modern setting, so be
sure to include enough elements and
motifs to make it feel strongly like a fairy
tale, even with all the modern-day stuff
that’s going on.
It can be tricky to bring fairy tale
characters away from their fantastical and
magical setting and put them in the modern
world. Because the players are from the
modern world and already know everything
about it, the fairy tale world their characters
inhabit probably seems much more
interesting. You’ll have your work cut out for
you creating a setting and scenario that is
more interesting than the one they just left
behind.

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 BUILDING FAIRY TALE SETTINGS

Magic and Wonder: When using magic in
a modern fairy tale setting, you’ll need to
decide whether or not to update magic
accordingly. For example, it’s possible to
keep magic as it’s always been in fairy tales
and transpose it directly into the modern
world. This gives you a setting with a lot of
ancient weapons, armor, and magical
items. Packages are delivered on flying
carpets, that bow in your closet once
belonged to a fairy queen, and magical
potions are brewed from 300-year-old
recipes passed down from generation
to generation.
Alternatively, you could update the magic
trappings for a modern age. Technomagic
(also called magitek) combines magic and
technology, and works well in this genre,
particularly when you use specific fairy
tale magic. So cell phones are powered by
fairies, radios have sirens inside them, and
planes can fly thanks to the kindness of
witches.
Dark/Horror
Overview: Dark and horrific might not seem
very fairy tale, but in truth that’s how most
fairy tales started, before they were cleaned
up for family and young readers. It doesn’t
take much digging beneath the surface of
fairy tales to discover their true dark nature.
Elements and Motifs: Death (as an entity
and as part of the character’s experience),
breaking the rules, curses, debasement of
the heroes, bargains and rash promises,
good versus evil, light versus dark.
Risks: It can be easy for the wonder and
whimsy of fairy tales to get lost or turn silly
(and thus make the overall feel of the game
less dark than you’re aiming for). Keep
the wonder dark as much as possible. The
movie Pan’s Labyrinth is a great example of
this, as is the game American McGee’s Alice.
Magic and Wonder: Typically, the magic
comes from a dark place (either a literal
one or a dark place of the soul). Every time
the characters use magic, it should affect
them, the world, or those they love in some
dark way.
Romance Romance Inspiration
Overview: Romance has long been an Enchanted (2007 movie)
element of fairy tales, although thankfully The Princess Bride
it’s changed a lot from the problematic (1987 movie)
portrayals of bride-stealing and Shrek (2001 movie)
nonconsensual kissing. Today’s romantic Stardust (2007 movie)
plots are more about finding true love, Tangled (2010 movie)
usually by working alongside each other on
a quest or task. Alternatively, the PCs might
be trying to find true love for someone Dark/Horror Inspiration
else—a prince who’s been bewitched to American McGee’s Alice
forget his true love, a wolf who’s lost her (video game)
mate and would give anything to find them Pan’s Labyrinth
again, a princess who must discover true (2006 movie)
love in order to reverse her curse. “The Little Match
Girl” (Hans Christian
Andersen short story)
Elements and Motifs: Breaking the rules,
“Bluebeard” (folktale)
curses and wishes, good and evil, weddings,
Bluebeard’s Bride (RPG)
marriage, and children.
Risks: Much like the boy in The Princess
Bride, players might be tempted to ask if
they have to sit through the parts about

A “fairy-story” is one which touches on or uses Faerie, whatever its

own main purpose may be: satire, adventure, morality, fantasy. Faerie
itself may perhaps most nearly be translated by Magic—but it is magic of
a peculiar mood and power, at the furthest pole from the vulgar devices
of the laborious, scientific, magician. There is one proviso: if there is any
satire present in the tale, one thing must not be made fun of, the magic
itself. That must in that story be taken seriously, neither laughed at
nor explained away.
~J.R.R. Tolkien, “On Fairy-Stories”

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 WE ARE ALL MAD HERE
kissing. Make sure the group talks ahead of
time about what amounts of romance and
sex are right for them. Romances often (but
not always) involve only two characters, so
if romance is the theme, be sure to have
ways for all of the characters to be involved,
not just stand by.
Magic and Wonder: True love is already
magical enough. Add real magic to real
love, and now you’ve got something special
(especially when that magic is also used to
keep the lovers apart in an interesting way).
Science Fiction
Inspiration Science Fiction
A.I. Artificial Intelligence Overview: Science fiction might seem
(2001 movie)
like a modern addition to fairy tales, but
Wires and Nerve many tales boast early sci-fi elements.
(2017 graphic novel)
For example, several of the stories in One
Thousand and One Nights include things like
Comedy Inspiration mansions on the moon, travel across the
The Brothers Grimm cosmos, and robots and automata. Maybe
(2005 movie) fairies are actually aliens (or vice versa).
Enchanted (2007 movie) Bringing fairy tale elements to far-future
Hoodwinked! technology and space creates an interesting
(2006 movie) mix of the familiar and the brand new.
Shrek (2001 movie)
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Elements and Motifs: Any of them,
depending on the stories you’re bringing
into the future.
Risks: Similar to modern. It’s easy to lose the
fairy tale elements when you move stories
far into the future, so be sure to include a
number of obvious tropes and motifs.
Magic and Wonder: Technology, aliens,
and space are all great containers to
carry magic and wonder. Many times,
the difference between a common piece
of technology and a magical piece of
technology is the description of how it
looks, how it works, and how others think
about it.
Comedy
Overview: Comedy is an element of many
fairy tales, from the weird and wonderful
offbeat humor of Alice in Wonderland to
the straight-out laughter of movies like
Shrek. Often, the comedy comes in the form
of funny NPCs or objects (as sidekicks,
helpers, tricksters, or foes), in impossible
situations that require bizarre solutions to

overcome, and in magic that causes funny
things to happen.
Elements and Motifs: Breaking the rules,
bargains and rash promises, impossible
tasks, blessings and curses, sentient
animals and objects that talk.
Risks: Using inappropriate or problematic
humor can cause a game to come
crashing down. Sometimes forcing humor
can also create a weird feeling that is
anything but funny.
Magic and Wonder: Everything that talks
or has a magical ability can be funny. GM
intrusions, curses and blessings gone
wrong, and anything that magically backfires
is a great opportunity for comedy.
Whimsy
Overview: Whimsy might be less of a genre
and more of a feeling or sensibility, but it
still feels important to include. Whimsy is
the sense that everything’s upside down,
but you can’t remember if that’s how it’s
supposed to be or not.
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BUILDING FAIRY TALE SETTINGS
Elements and Motifs: Taking common
elements and clichés and turning them on
their head is a great way to play up whimsy.
Turning the idea of good versus evil into
a single character with two heads—one
named Good and one named Less Good (or
named Evil and Lesser Evil)—is a great way
to include that trope in a whimsical style.
Risks: Some players might have a hard time
finding their footing in a very whimsical
setting. They will want to know the rules of
the setting and could have a hard time when
they learn that the rules are ever-changing
or maybe don’t exist at all. Consider giving
them one or two things to ground them in Whimsy Inspiration
the setting so they don’t feel so lost. Alice in Wonderland
(various movies)
Alice’s Adventures
Magic and Wonder: Whimsy is all about
in Wonderland (1865
wonder. Why is that? What is this? What’s novel by Lewis Carroll)
happening here? Wordplay, the unexpected Through the
and unexplained, and general weirdness Looking-Glass (1871
add to the sense of wonder, especially if novel by Lewis Carroll)
they’re magical in nature. The Wizard of Oz
(1939 movie)
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 WE ARE ALL MAD HERE
Urban Legends Urban Legends
Inspiration Overview: Urban legends and fairy tales
Candyman (1992 movie) have a lot in common. In fact, many people
Freeway (1996 movie) feel that urban legends are the modern-day
Slender Man fairy tales due to how they’re transmitted
The Black-Eyed Kids and shared, the fact that they often have a
Goatman warning attached (don’t go in the woods,
don’t talk to strangers, don’t go off the
“Fear isn’t so difficult to path), and the types of creatures that lurk
understand. After all, inside them.
weren’t we all frightened
as children? Nothing
has changed since Little Elements and Motifs: Origin stories, getting
Red Riding Hood faced lost and found, deep dark forests, breaking
the big bad wolf. What the rules.
frightens us today is
exactly the same sort
of thing that frightened Risks: Urban legends can easily shift into
us yesterday. It’s just the realm of creepy and scary, losing their
a different wolf. This
fairy tale sense. Using well-known fairy tale
fright complex is rooted
in every individual.” characters in a modern urban legend game
~Alfred Hitchcock or putting an urban legend in a particular
setting (such as Oz or Wonderland) are
good ways to combine the two without
losing one or the other.
Magic and Wonder: Much of the magic and
wonder of urban legends comes from the
breathless retelling of the tales—the “This
actually happened to someone I know”
mythos. And, of course, the creatures that
seem both possible and impossible at
the same time. Magic might come from
technology in an urban legend/fairy tale
crossover, or it might be old magic from
long ago that can be used against modern
monsters.
Fairy Tale Clichés,
Themes, and Motifs
Using clichés, themes, and motifs is an
important part of fairy tale games. While
you probably don’t want to present the exact
setting and story that everyone already knows,
you can use the expected elements to settle
players into the world that you’re creating.
This is particularly true if you’re planning
to break away from traditional fairy tales—
keeping just one or two common tropes is
usually enough to make any game feel “fairy
tale-ish” even if everything else is set in
space or takes place in the modern world.
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Common Tropes
• Recurring patterns and numbers,
particularly three and seven
• Colors, particularly red, white, and black
• Haven or civilization vs. wilderness
• Poverty vs. royalty
• Rituals
• Breaking the rules
• Bargains and rash promises
• Wishes
• Good and evil, or light and dark
• Getting lost and found
• Deep, dark forests
• Going off the path, or straying
• Magic and enchantments
• Talking, sentient animals and objects
• Keys and passwords
• Glass and mirrors
• Magic words and phrases
• Origin stories
• Shapeshifting or transformation
• Tricksters, guardians, monsters, or
helpers
• Youngest vs. oldest
• Loathly women
• Knights who battle monsters
• Impossible tasks or quests
• Blessings and curses
• Animals stealing children
• Calumniated or cast-adrift characters
(especially wives, queens, and youngest
children)
• Debasement of the hero(es)
• Death by burning
• Weddings, marriage, and children
• Journeys to discover identity
Example: the Rule of Threes
Almost every fairy tale has at least one use
of the rule of threes (and sometimes many).
In The Three Little Pigs, there are three pigs,
three houses, and three huffs-and-puffs.
Three wishes, three siblings, three tasks.
Part of the reason for this is that having
three of something made the original oral
stories more memorable. It also has to do
with how we anticipate and understand
stories, which typically have three parts: a
beginning, a middle, and an end.
In fairy tales, the rule of threes typically
includes an escalation of some kind. The
first of three fights or encounters is tough,

the second is tougher, and the third is
nearly impossible. This is also true of tasks,
riddles, and even siblings—the third sibling
is always the most beautiful, the strongest,
the wickedest, and so on.
Alternatively, the last one is almost the
complete opposite of the first two—perhaps
two evil fairies dole out curses to a young
child, but the third fairy gives her a blessing
instead. Someone is given three wishes and
asks for such dumb things with the first two
that the final wish must undo that damage.
When creating fairy tale settings, here are
some ways you can use the rule of threes to
your advantage.
• Three tasks to complete
• Three attempts to accomplish
something
• Three days to complete a task or until a
big event happens
• Three encounters with the same being,
or encounters with three different beings
in a row
• Three wishes
• Three tries at a thing, only the third of
which is just right
• Three objects
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BUILDING FAIRY TALE SETTINGS
• Three riddles
• Three gifts
• Three curses Just the place for a Snark!
• Three siblings, daughters, or sons I have said it twice:
• Songs with three rounds That alone should
• Creatures with three heads encourage the crew.
• Ask your players to give their characters Just the place for a Snark!
something in their backstory having to I have said it thrice:
do with three What I tell you three
times is true.
Individual Story Touchstones ~Lewis Carroll,
Each fairy tale also has key elements, parts The Hunting of the Snark
of the story that are essential to that story. If
you’re planning to run a game that’s based
around one or more existing stories, be
sure to include the important elements that
symbolize that story to your players.
Start by listing the key elements. Let’s
look at one of the most commonly retold
stories: Little Red Riding Hood. When you
think of that story, what are the three or four
main elements that come to mind? For me,
it’s a girl in red, a wolf, a path through the
woods, and a grandmother. If you tell me a
story that doesn’t have any of those things
and try to convince me that it’s Little Red
Riding Hood, I’ll be very confused. What if
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 WE ARE ALL MAD HERE
In [fairy tales], power is rarely the right tool for survival anyway.
Rather the powerless thrive on alliances, often in the form
of reciprocated acts of kindness—from beehives that were not
raided, birds that were not killed but set free or fed, old women who
were saluted with respect. Kindness sown among the meek is
harvested in crisis.
~Rebecca Solnit, The Faraway Nearby
you run a game that features a girl in red but
none of the other story elements? Well, there
are a lot of great stories about girls in red,
but does that make them Little Red Riding
Hood? Probably not. A girl in red plus a wolf?
Now you’re starting to get somewhere.
Elements in stories have hierarchies.
Some are more vital to the essence of the
story than others. For example, if you run
a game about a wolf and a grandmother, I
might think of Little Red Riding Hood, but
I might not. Even a story about a wolf, a
grandmother, and a path through the woods
doesn’t quite get us there.
The trick is knowing how many (and
which) elements you can keep or eliminate
and still tell the story you want to tell. It’s a
bit of a math problem, because two major
elements (a girl in red and a wolf) can give
you the same effect as one major element
and two minor elements (a girl in red, a
hatchet, and a basket), whereas you could
have a ton of minor elements but they
wouldn’t add up to one major element. For
example, if you run a game with a girl (not
in red), a basket, and a path, but no wolf,
Some stories, especially those that have
become popular movies or TV shows,
have become so entrenched in our
culture that you can choose almost any
single element of that story and players
will still recognize it. All you have to say is
“the Cheshire Cat” and everyone knows
you’re talking about Alice in Wonderland.
Even words and phrases, like “We are all
mad here” and “Off with their heads!” are
enough to invoke the entire story.
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grandmother, woods, or red cloak, it’s likely
that your players wouldn’t recognize your
inspiration as Little Red Riding Hood. In fact,
they might think it’s something completely
different, such as The Wizard of Oz. (Of
course, if you’re creating a mystery or are
purposely trying to surprise your players, you
could use this to your advantage.)
Reading and watching modern retellings
of old fairy tales can give you lots of tips for
how to do this well (and in some cases, how
not to do it). Be wary, though, as movies
often mash up elements of the original
stories in ways that could be confusing to
players. The Queen of Hearts (from the
book Alice in Wonderland) isn’t the same as
the Red Queen (from the book Through the
Looking-Glass, also known as Alice Through
the Looking-Glass). But the two characters
have been conflated in the movies often
enough that most people believe they are
one and the same. As a GM, you can run
with this—giving a single character the
attributes and phrases of both—or you can
point out ahead of time that they are not the
same person, to avoid any misconceptions.
The idea of touchstones is also true
for any characters and creatures that you
introduce in your game. The comic series
Fables is a great example of this—it’s a
modern-day mishmash of fairy tales, fables,
and nursery rhymes in which many of
the old tropes are destroyed, but you can
easily pick out each character based on a
few traits. Boy Blue is a young man who
dresses in blues and plays the blues on his
ever-present trumpet. Prince Charming is
a princely rogue who seduces women with
ease. Goldilocks has golden hair and a
number of bears at her side, including one
who is her lover.
 BUILDING FAIRY TALE SETTINGS

Keeping the main essence of these Touchstones of Common Fairy Tales

characters allows them to be easily
recognizable, even while removing many of Title Touchstones
the other important elements of the setting Cinderella Wicked stepmother
and the story. Or adding non-traditional Fairy godmother
elements: in Fables, Goldilocks also Prince/marriage
happens to be a power-hungry, gun-toting Glass slipper/shoes
political agitator. While this is certainly a
big leap from her slightly bratty original Little Red
character, we still recognize her because Riding Hood Girl in red
her key elements—in this case, hair and Wolf
bears—remain. Path through the woods
It’s also useful to note that key elements Grandmother
of stories are variable and can change Woodsman
over time. Many fairy tales have “getting
married” or “rescuing the princess” as Rapunzel Locked in a tower
touchstones. Once, it would have been Long hair
difficult to tell a story about Cinderella Witch/captor
without including the prince and the Prince
marriage proposal, as those were
considered vital parts of the story. That’s Snow White Evil mother/stepmother
no longer true. If you reimagine the Magic mirror
prince and the marriage as a stand-in for Seven dwarves
Cinderella’s desire to escape her difficult Poison apple
family circumstances, you can replace Glass coffin
those elements with something else that
has similar connotations. Maybe the fairy Hansel and Gretel Brother and sister
godmother helps Cinderella get a great Candy house
job that lets her earn money, respect, and Blind witch
In an earlier version of
freedom. Maybe Cinderella takes matters Oven
Rumpelstiltskin, the
into her own hands, kills her wicked miller’s daughter has
stepmother and stepsisters, and disappears Rumpelstiltskin Small man an entirely different
to start a new life. Or maybe she falls in Miller’s daughter problem: she can only
spin straw into gold,
love with her fairy godmother and the two Spinning straw to gold making her unable
of them run off together. Even without the Naming riddle to finish her regular
prince or the marriage, players will be able domestic duties. Which
to recognize Cinderella, because you’ve left makes for a different
story altogether, even
in enough important elements. Random Inspiration though it features all
Where do the player characters fit in a When you can’t choose or need inspiration of the same elements.
story like this? Anywhere. Perhaps they need for your setting, let the dice decide. The
to turn to Cinderella for her job expertise. Fairy Tale Inspiration tables can help
Or possibly they’re trying to hunt down you randomly build aspects of your
the murderer who took out Cinderella’s setting. Combine them with the Fairy Tale Fairy Tale Inspiration
family. Maybe they meet her and her fairy Inspiration tables on the next page for a tables, page 26
godmother while they’re on the run, being quick and easy adventure.
pursued by Cinderella’s wicked stepfamily. Or
before the ball, while Cinderella is still trying
to find ways to show her fairy godmother
how she feels about her, and could use some
help in the romance department.

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 WE ARE ALL MAD HERE
Fairy Tale Inspiration Tables
Fairy Tale Genres
17 Sky
Fairy tale genres, If you want to mash up two or more genres
page 17 in your game, roll twice on the table and use 18 Town/city
both. 19 Underworld
d20 Genre 20 Woods
01 Traditional
02 Ancient myths
Fairy Tale Adventure Types
03 Modern d6 Adventure Type
04 Historical 1–2 Quest
05 Science fiction 3–4 Impossible task
06 Young adult 5 Initiation
07 Space 6 Battle between two forces
08 Dark
Fairy Tale Archetypes
09 Horror
d6 Archetype
10 Comedy
1 Trickster
11 Romance
2 Helper
12 Fractured
13 Whimsy 3 Innocent
14 Child protagonists 4 Fool
15 Urban legend 5 Hero
16 Superheroes 6 Villain
17 Crime
Fairy Tale Tropes/Motifs/Clichés
18 Mystery
d20 Trope
19 Noir
01 Rule of threes
20 Apocalypse/post-apocalypse
02 Rituals
Fairy Tale Locations 03 Blessings
d20 Location 04 Curses
01 Bog/swamp 05 Talking animals
02 Bridge 06 Talking objects
03 Castle 07 Keys and locks
04 Cave 08 Magic words and phrases
09 Mirrors
05 Dungeon
10 Origin stories
06 Enchanted forest
11 Shapeshifting/transformation
07 Fairy glen
12 Good and evil, or light and dark
08 Farm
13 Breaking the rules
09 Graveyard
14 Recurring patterns and numbers
10 Haunted house
15 Red, black, and white
11 Hovel
16 Bargains and rash promises
12 Kingdom
17 Wishes
13 Maze/labyrinth
18 Impossible tasks
14 Meadow
19 Magic and enchantments
15 Mountains
20 Haven vs. wilderness
16 River

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Faërie cannot be caught in a net of words; for it is one of its
qualities to be indescribable, though not imperceptible. It has
many ingredients, but analysis will not necessarily discover
the secret of the whole.
~J.R.R. Tolkien, “On Fairy-Stories”
On Fairy Tale Magic
When we think of magic, many of us think
of fantasy. And that makes sense, because
fantasy stories and games are likely how
we are most familiar with magical items,
beings, and places. But fairy tale magic is
not the same as fantasy magic. In fantasy,
there are often complex rules and guidelines
about who has magic, who can use it and
how often, and where it came from or how
it came to be.
In fairy tales, there are few such rules.
Someone can become magical by eating a
cake, talking to a fish, or just wishing they
were. Shoes can bring you home with a
click of your heels, turn you invisible, take
you across continents in a single step, or
become homes for old women.
Why does it matter? Because the two
different ways of viewing and using magic
are a major dividing point between fantasy
and fairy tales. If you’re hoping to create a
fairy tale experience at the table that doesn’t
bleed too far over into fantasy, magic is one
of the best ways to do it. Here are some tips
on using magic in fairy tale games.
Magic Just Is
In fairy tales, magic doesn’t need an
explanation. It doesn’t need a wellspring, a
backstory, or a long expository lead-in about
where it came from and how it got there. It
just is. In fact, giving magic an origin story
can quickly strip the wonder from it. Make
it happen, and while it can be wonderful
and surprising, it isn’t unexpected. Because
in fairy tales, something magical is always
expected. A talking fish shows up in
someone’s tea cup? Totally normal—in the
“magic is normal” sense of the word, at
least.
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BUILDING FAIRY TALE SETTINGS
Magic Obeys No Rules
Magic in fantasy is typically filled with
rules and limitations. But fairy tale magic
throws off its constraints as easily as one
throws off a cloak. Magic might work this
way in one part of the world, and that way
in another. Someone might be able to use
ice magic only to create physical objects,
while others can use it only to stop the
hearts of creatures. Sometimes it works
perfectly and does everything you ask of it,
and sometimes it seems to have a mind of
its own. Sometimes magic truly does have
a mind of its own, for spells, curses, magic
items, and even mundane items like cups
have been known to become sentient and
even sapient.
Magic Isn’t Singular
There are many types of magic in fairy tales,
and they’re all okay. Some magic comes
from higher powers (Death personified,
the gods, the sea, the moon and the stars)
while other magic comes from the tiniest
beings of nature or even from grains of
sand or the dust in a sleeper’s eye. Magic in
fairy tales is imbued with the cultures where
the stories are told, which gives it lots of
forms, each with a unique flavor and slant.
Magic Is Common and
the Common Is Magic
Magic is everywhere in fairy tales, and that
means anything could be magical and
extraordinary. A donkey? Sure! A table? Why
not! Something as small as a bean or as
large as the moon can have magic. This
also means that in most settings, people
will be aware of magic and act accordingly.
In a world where people can turn invisible
on the spot, shopkeepers are going to have
magical ways to protect against thieves. In a
setting where creatures sometimes talk and
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 WE ARE ALL MAD HERE
grant wishes, no one will think it weird that
a person walking through the woods might
ask a squirrel in a nearby tree how she’s
doing.
Common Doesn’t Mean Boring
In fairy tales, anything magical can happen.
Anything. A Moon Princess raised on earth
eventually makes her way back to her home
on the moon (from the story called The Tale
of the Bamboo Cutter). The Sun, the Moon,
and the West Wind all go out to dinner with
their aunt and uncle, Thunder and Lightning
(“How Sun, Moon, and Wind Went Out to
Dinner”). Severed hands (and heads) grow
back, tables fill themselves with feasts at a
command, turtles sing and play the piano,
and doors in the middle of nowhere lead to
adventures in the middle of everywhere. If
you can imagine it, you can magic it.
Fairy Tale Magic
Is Not Fantasy Magic
In many roleplaying game settings,
particularly fantasy settings, magic is
something you must study and learn in
order to use, it’s quantifiable, and it often
defines your role (such as a cleric or a
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wizard). In fairy tales, magic is interwoven
through the world and is usable by anyone
who comes across it. Of course, some
creatures (such as faeries) are inherently
more magical than others, and some (such
as witches and sorcerers) may further
their skills through study, but that is the
exception rather than the norm.
Magic Means Whimsy
Magic that is whimsical is magic that is
irrational, delightful, amusing, witty, and
playful. It’s an elusive element, but one
that suffuses fairy tales in cheerful talking
cats, moon-eyed dogs, and kissing frogs.
Labyrinth and The Princess Bride are great
examples of movies that double down on
whimsy.
Even in fairy tale games with a strong
horror slant, whimsy is an important
element. In fact, the power of whimsy is even
more obvious in a horror game. Think of the
movie Pan’s Labyrinth and how the whimsy of
magic—the tiny fairies, the baby mandrake—
underscores and deepens the scary and
horrific realistic elements of the film.

Chapter 3
BUILDING FAIRY TALE CAMPAIGNS
O
ne of the difficulties of building
campaigns from fairy tales is that
so many of the original fairy tales
neatly sidestep plot in favor of story. Plots,
both in stories and games, are organized
and connected. If a talking, flaming sword
shows up in the first chapter (or session), a
good writer (or a good GM) will make sure it
comes back in some significant way later on.
Fairy tales, on the other hand, especially
the early ones that come from oral traditions,
are often disjointed and disconnected. The
stories are built on random happenings,
deus ex machina reveals, and illogical leaps.
They’re full of talking, flaming swords that
show up, have no purpose, and never return.
Some segment of this randomness is
an important essence of fairy tales, so
the goal is not to cut it out completely.
If a flaming sword shows up, sings a
song, and then disappears, that could
just be a fun and interesting part of the
setting. But roleplayers have been trained
to look for clues in everything, so they’re
going to assume that the song is filled
with important tidbits. Or that the sword
will point the way toward treasure or
information. Or that they can capture the
sword and use it as a weapon. (All of which
are awesome opportunities for stories if
you’re ready for them.)
Adventures
Here are sample ways to turn fairy tale
stories into adventures: the quest, the
impossible task, the initiation, and the
battle between two forces.
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BUILDING FAIRY TALE CAMPAIGNS
The Quest Adventure
“Come, Little Red Cap. Here is a
piece of cake and a bottle of wine.
Take them to your grandmother. She
is sick and weak, and they will do her
well. Mind your manners and give her
my greetings. Behave yourself on the
way, and do not leave the path, or you
might fall down and break the glass,
and then there will be nothing for
your grandmother.”
~Little Red Cap
Just like in traditional fantasy games, many
fairy tales are built around a quest of some
type. In a quest, the characters head off
on a perilous journey to find a precious
object, complete a seemingly impossible
task, battle an ancient evil, or rescue an
important person. Along the way, they
encounter, and must overcome, dangerous The Cypher Shorts
foes and difficult obstacles. included in this book—
“The Apple-Pip Witch”
While we might traditionally think of and “I’ll Gnaw Your
quests as long campaigns—such as in Lord Bones”—are examples of
of the Rings or Homer’s The Odyssey—they quick quest-type plots.
also work great as quick adventures when The Apple-Pip
the characters are traveling through a Witch, page 142
smaller space, such as dark woods, a candy I’ll Gnaw Your
house, or a sprawling castle. Bones, page 144
Little Red Riding Hood is an example
of a simple quest story: a granddaughter
must travel along a path through
dangerous woods to deliver a basket to her
grandmother. Along the way, she encounters
a number of dangers, the biggest being the
big bad wolf. Whether or not she succeeds
in overcoming these obstacles and
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completing her quest depends on which
version of the story you read.
In a quest plot, characters typically need
to know the general scope of the journey
they’re about to undertake (across the
world, over the glass mountains, through
the labyrinth, and so on) and their end goal
(steal the treasure from the ogres, destroy
the cursed ring, kill the sea serpent, rescue
the prince, and so on).
Steps in a Quest Adventure
1. Discover and Define the Quest. The
characters could be dispatched on this quest
by someone (the king, an employer, a family
member, a powerful enchantress), they could
discover it on their own (in a book, from an
overheard conversation, on a wanted poster
or map, from a talking creature), or it could
be a common tale in their family or culture
that they’ve long wanted to pursue.
2. Prepare for the Quest (optional).
Depending on how important speed is,
the characters may have a lot of time
to prepare, or no time at all. Typically,
preparation involves purchasing or
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gathering necessary items, learning
anything they need to know, and possibly
making a plan for a route. Sometimes this
step is skipped altogether, and characters
are forced to set off with whatever they’ve
already got on them.
3. Move Toward the Goal While Facing
Dangers. This is the heart of a quest
plot, and will likely take up most of the
adventure. The dangers the characters
encounter might be random and unrelated
to the quest (they have to cross a field to
get to the city they seek, but the field is full
of flowers that make them fall asleep) or
they might tie directly to the quest (flying
monkeys sent to capture them and stop
them from reaching their goal). Ideally,
include a mix of random encounters and
encounters that are all about the quest
at hand. One way to do this is to give the
quest a powerful antagonist—someone who
doesn’t want the characters to succeed—so
that they or those in their service can appear
in multiple ways to threaten the characters.
The foes and obstacles the PCs encounter
should endanger them physically, of

course, but ideally will also put their
mental fortitude to the test and make them
question their beliefs in their purpose, their
own selves, and each other.
4. Achieve the Goal and Get the Reward
(or Fail). Sometimes a quest ends just as
the characters might expect, with success
and an awesome reward. Other times,
the characters fail and must face the
repercussions.
Awarding XP: In a quest adventure, XP can
be awarded for completing the quest, as
well as for exploring and discovering new
places, overcoming foes and obstacles,
garnering new allies, and working together
to defeat challenges along the way.
The Impossible Task Adventure
And now the King’s son and his six
servants came to the town where the
aged Queen dwelt. He did not tell
her who he was, but said, “If you will
give me your beautiful daughter, I
will perform any task you set me.”
The sorceress was delighted to get
such a handsome youth as this into
her net, and said, “I will set thee
three tasks, and if thou art able to
perform them all, thou shalt be
husband of my daughter.”
~The Six Servants
In a task plot, sometimes also called a
test or trial plot, the characters are given
a seemingly impossible task, often to
show their mettle, smarts, or drive. If they
succeed, they’re rewarded with marriage,
money, power, or perhaps just the chance
to keep their lives. Traditionally, these plots
rely more heavily on the characters’ wit
and magical abilities than on their physical
prowess, but your role as the GM is simply
to present the problem, puzzle, or dilemma.
Characters can try to complete the task any
way they want to.
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BUILDING FAIRY TALE CAMPAIGNS
There’s a bit of an overlap between quest
and task plots, but the main difference is
that quests typically focus on the journey
itself, while tasks typically focus on what
the characters must accomplish. The
cat in Puss in Boots is given the difficult
task of making his master rich, while in
Rumpelstiltskin, the miller’s daughter is
given the unachievable task of spinning
gold into straw. The focus is less on how the
characters got to that point than on what
they do now that they’re there.
Tasks in these adventures truly should When designing an
feel impossible. Baking an apple pie, for adventure, have a plan
for awarding XP. Even
example, is probably not a task worthy of if the characters fail
an impossible task adventure. But baking at the main quest or
a magic pie could (and should) be. Send task, surely they did
the characters to gather apples from an something worthwhile
along the way.
invisible orchard, steal a witch’s mortar and
pestle, and construct a talking oven to bake
the pie in, and you’ve got a task worthy of a
fairy tale adventure.
The idea is that seemingly impossible
tasks are actually possible in fairy tales.
How? Magic. Or muscles. Or minds. Or,
ideally, a little of all three. Tasks might require
the characters to be strong beyond the
ordinary (climb a glass mountain range, slay
a hundred giants), smart enough to figure
out how to complete a feat that breaks the
laws of physics (carry water in a sieve, lasso
the moon), or kind enough to earn a favor
from others who then offer assistance (free a
benevolent genie, heal an injured giant).
In a task adventure, characters typically
need to know the details of the task they’ve
been given (gather three magical items,
figure out how to break the curse that
turned their family into werewolves, find the
remedy for a fast-spreading magical illness,
and so on) and what’s at stake if they do or
don’t complete it (they get a reward, their
family is killed by werewolf hunters, the
magical illness takes over the world, and
so on). It’s up to them to figure out how to
accomplish the task.
Steps in a Task Adventure
1. Be Given the Task. Typically, a task is given
directly to the characters by someone they
know (although it could be someone they
just met). It might also be something they
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Many fairy tale campaigns are quest plots followed by task plots: first, travel
through dangerous territory to get someplace and then accomplish an
impossible task while you’re there.
read about in a flyer, overhear at the market,
GM intrusion, page 53 or discover locked away in a hidden room.
Task adventures are almost always about
proving the characters’ mettle, physical
GM intrusion,
or mental prowess, or resolve. The given
page 408
tasks might be to gather ingredients, steal
a bunch of treasures, make the world safer
or better by removing a series of curses or
blights, kill impossible-to-kill creatures, or
break the laws of physics in some way.
Sometimes the tasks are given all at
once—in Into the Woods, the witch gives
the characters a list of four things they
must gather in order to undo a curse, and
a timeframe in which the tasks must be
completed. Other times, the tasks are spread
out. The faun in Pan’s Labyrinth doles out
The Heartwood tasks to the princess Ofelia one by one,
adventure, “The Prince waiting until she’s accomplished (or failed)
Who Would Seek
Death,” is an example
each before giving her the details of the next.
of a quest plot followed Ideally, the task-giver has a reason why
by a task plot. they can’t complete the task themselves.
The Prince Who Would Perhaps they can’t touch the objects
Seek Death, page 210 because of a curse. Maybe they’re too sick to
do it, or they find it beneath them. Maybe the
whole point is that the task-giver believes
no one could possibly accomplish the tasks,
and that’s why the characters are chosen—as
a test that can only be failed. (This is often
used by kings who don’t want someone to
marry their daughters or who aren’t ready
for their sons to take over their thrones.)
2. Make a Plan to Accomplish the Task.
Depending on how important speed is,
the characters may have a lot of time to
prepare, or just a little. This might involve
doing research, gathering people or tools
that can help them, or completing other
tasks in order to gain money, skills, or
equipment to ensure their success.
3. Attempt to Complete the Task, Solve the
Puzzle, or Succeed at the Trial. This is the
heart of a task plot, and will likely take up
most of the adventure. As the GM, it will
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be helpful for you to have a list of possible
solutions, GM intrusions (both beneficial
and detrimental), and additional encounters.
Sometimes characters in a task plot get
stuck on solving the problem, so don’t be
afraid to help them along with hints (possibly
in the form of GM intrusions or allies). You
might also be sure that they have a couple of
cyphers that inspire them to get creative—
dealing with impossible tasks is pretty much
what cyphers are made for.
Other times, the PCs may have just the
right artifact or cypher to blow through
your “impossible task.” In that case, you
want to reward them for their ingenuity, of
course, but you also want to be ready with
additional encounters and opportunities
for them to experience. This is also a great
time to use a GM intrusion, something that
introduces an interesting complication or
raises the stakes.
Never penalize characters for being
quick-thinking and solving a task in
an unusual or unexpected way. If you
throw additional encounters at them, be
sure they’re a positive net gain for the
characters—they end up with something
awesome at the end, for example, or they
meet someone who helps them out on a
future task.
For example, let’s say the characters
have to climb over a glass mountain range
without making a sound as part of their
task. It’s entirely possible that they could
have the perfect combination of artifacts
and cyphers to make this task fairly easy—
maybe a pair of iron shoes for climbing
and a sound dampener so that even if they
make a sound, no one can hear it. That’s
a quick success for a task you probably
imagined would take a lot longer. So they
get to the other side of the mountain. Now
what? Now, have them encounter a witch
who wants to steal their iron shoes. If they
give her the shoes, maybe she gives them a
blessing that helps them on the next task.

Sample Impossible Tasks
Fairy tales involve a number of “impossible”
tasks that can actually be solved by paying
careful attention to language and by being
tricky.
Perhaps more than any other time,
it’s important to pay attention to your
wording when assigning impossible tasks
to characters. One slip of the tongue and
that task might not even be hard, much
less impossible. Play around with (and be
wary of) words that have more than one
meaning. Riddles and impossible tasks are
full of Janus words (words that are their own
opposites, like cleave, trip, fast, and dust),
as well as homographs (words spelled
alike but with different pronunciations or
meanings) and homonyms (words with
the same spelling and pronunciation but
different meanings).
Here are examples of impossible tasks
that don’t involve killing the strongest
dragon in the world or scaling the highest
glass mountain, along with ways to tackle
the problem in case your players get stuck.
Carry water in a sieve. This common fairy
tale task is probably one of the easiest
to accomplish. In various stories, the
characters stuff the sieve with something
that will plug the holes—mud, moss, clay,
and so on. In other stories, characters put
the water inside another container and then
set that container inside the sieve. This
last solution works for trapping or carrying
anything that seems like it should be
impossible (such as smoke, air, fire, and so
on). Characters who have magical abilities
might find additional interesting ways to
handle this task.
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BUILDING FAIRY TALE CAMPAIGNS
Spend one coin to buy an item that will
fill an entire room. This is where language
comes in. Does your world have a single
coin that is worth a lot of money? Then your
players could buy a lot of things with just
one coin. Make sure you use the proper
language to signify that they mustn’t spend
a lot of money.
Possible answers to this puzzle are things
like air, breath (they could pay people to
stand in the room and breathe), magic, or
something that’s mostly free (they still have
to spend the coin, after all). Alternatively,
they could purchase a light source of some
kind and fill the room with light. Perhaps
they pay the coin to the West Wind to have West Wind, page 131
her come and blow wind into the room.
Sort something small from something
equally small. In fairy tales, this is often
ash from lentils, wheat from barley, or chaff
from straw. It might also involve counting
rice in a bowl or on the floor. This is typically
just an annoying task, especially in a game,
unless you give it a time limit, in which case
it becomes impossible.
Characters who talk to animals could
convince birds or mice to eat one or the
other and do the work for them. Or they
could use the wind (magical, sentient, or
otherwise) to separate the items. Magic
might help them here as well, provided
there’s nothing in the riddle that says magic
isn’t an option.
There are many more impossible tasks
along these lines, including getting a crown
from the middle of a large rug without using
tools or touching the rug with your feet,
fighting a dragon without spilling a cup of
water, and cutting water into pieces. Steal
liberally from riddles, logic problems, and
five-minute mysteries (particularly obscure
ones that your players are less likely to know
the answer to).
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If they fight her, be sure they end up with
something great out of the ordeal—perhaps
they rescue a couple of children from her
cottage, and the children tell them about
a wolf that stalks the forest at night and
eats people whole while they’re sleeping,
thus giving them valuable information and
possibly saving their lives.
4. Complete the Task and Earn the Reward.
When the characters successfully complete
their task, they can return to the task-giver
for their promised reward. Sometimes,
task-givers fail to keep their word, and
defeating them (or someone else who stands
in the characters’ way) might become the
final task. A successfully completed task
might also open the way to be given more
tasks, with even greater rewards.
Awarding XP: In an impossible task
adventure, XP can be awarded for
completing the impossible task, as well
as for gaining interesting allies, defeating
difficult foes or obstacles, and working
together in creative ways.
The Initiation Adventure
When Dorothy stood in the doorway
and looked around, she could see
nothing but the great gray prairie on
every side. Not a tree nor a house
broke the broad sweep of flat country
that reached to the edge of the sky
in all directions. The sun had baked
the plowed land into a gray mass,
with little cracks running through it.
Even the grass was not green, for the
sun had burned the tops of the long
blades until they were the same gray
color to be seen everywhere. Once
the house had been painted, but the
sun blistered the paint and the rains
washed it away, and now the house was
as dull and gray as everything else.
~The Wizard of Oz
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This type of adventure typically includes
a rite of passage and centers on a loss
of innocence or on the acquisition of
knowledge that allows the characters to
mature or transform in some way. This is
a plot that typically works well for young
characters, naive/innocent characters, or
those who are not of the world in which
they’re traveling.
Hansel and Gretel is an initiation
story, as are The Wizard of Oz and Alice in
Wonderland. A character or characters enter
a wholly unknown space or experience, and
by journeying through it, they learn and
grow. By the time they’re done and on their
way back home, they (and likely their lives)
have changed in significant ways.
In an initiation plot, the characters
typically need to know very little ahead of
time, as much of the point is to experience
the wonder and strangeness of the new.
Steps In an Initiation Adventure
1. Establish the Regular World. In order to
make the experience seem weird and new,
the characters (and the players) should
have a solid understanding of the world
they’re currently in, whether it’s merely the
poor, shabby cabin where they live with their
father or stepmother, or the boring life on a
farm in Kansas.
2. Make the Transition Unprepared. Typically
in an initiation adventure, the characters
have no time to prepare for what’s about to
happen (and even if they did, they wouldn’t
know how to do so, because their future
is mysterious). The transition is usually
sudden, unexpected, and often irreversible
(at least for a while): children being led
to and left lost in the woods, falling down
a rabbit hole, or being picked up and
transported by a cyclone.
3. Grow and Change. Much of what
happens in an initiation adventure involves
encountering new and interesting (and
often challenging) things. The characters
must find the strength inside them to keep
going, overcome hurdles and foes, meet
allies, find and use interesting weapons
and objects, and so on. In short, the PCs

discover that they had the skills they needed
inside them all along.
4. Stay or Return Home. At the end of an
initiation adventure, the characters may
decide to stay in their new land, or they may
decide that they have learned all they can
and are ready to return home.
Awarding XP: In an initiation adventure,
XP can be awarded for discovering new
abilities and objects, for overcoming foes or
gathering allies, and for reaching the end of
their journey, wherever it takes them.
Battle Between Two
Forces Adventure
This type of story has countless iterations.
Often the battle is between good and evil,
but sometimes it’s between two kingdoms,
two religions, two philosophies, or even
two brothers. The live-action film Maleficent
explores this theme, as Maleficent tries to
protect a realm of supernatural beings from
a neighboring human kingdom. Robin Hood
and Jack the Giant Slayer are films that also
illustrate a battle between two forces, as
do novels like The Lion, The Witch, and the
Wardrobe.
In this type of adventure, the characters
are typically called to join one side or the
other. Alternatively, they may be tasked with
protecting their realm from being caught in
the middle, or they may try to bring the two
forces into alignment or at least a cease-fire.
The characters need to know at least a
little about the two forces that are in combat
with each other, such as how long the battle
has been going on, who the two sides are,
what they’re fighting over (money, power,
religion, philosophy, and so on), and at least
a bit about what’s at stake.
Steps in a Battle Between
Two Forces Adventure
1. Hear the Call to Battle. This might come
in any number of forms—loved ones or
powerful allies who are fighting might call
for aid, the characters’ homes have been or
are about to be destroyed by the powerful
war raging all around them, one or more of
the PCs believes strongly in the underlying
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BUILDING FAIRY TALE CAMPAIGNS
beliefs that are driving the battle, and so
on. It’s also possible that the characters’
backgrounds have already involved them in
the battle one way or another.
Sometimes characters in this type of
adventure do small things as part of the
battle, such as saving their homes from an
invading army, stealing money from a very rich
patron and giving it to the poor, or providing
healing and succor at the battlefront. Other
times they might be major players in the
ongoing struggle. Perhaps they’re sent out to
assassinate the evil wizard who started the
battle, or they’re an elite force working for
that same evil wizard, sent to kill the king.
2. Make a Plan. With the understanding of
all of the above, the characters must decide
how they’re going to accomplish their
mission. They may need to gather supplies
or special weapons, learn information
about the battle plan and foe, or draw allies
around them.
3. Step Into the Battle. While characters may
literally step onto the battlefield to fight,
they may also join the battle in more subtle
ways. This is typically the heart of this type
of adventure, and will likely make up the
majority of the PCs’ actions. Here is where
they use their skills and planning to try to
achieve their goals.
4. Accomplish Their Goal or Fail. In this type
of adventure, it is possible for the characters
to accomplish their goal, but for the battle
to continue regardless. Alternatively, they
may fail at their goal, but the battle ends
for different reasons. If they do succeed,
they may or may not get a tangible reward.
A king or other ruler might reward them
with money, objects, or power, but they may
instead just win the safety of their land,
friends, and family.
Awarding XP: In a battle between two forces
adventure, XP can be awarded for making
progress in their goal (achieving peace,
helping one side win, protecting someone,
and so on). Of course, if the battle ends,
one way or another, the characters should
get additional XP for their role in that.
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Dealing With Happily Ever After
In many fairy tales, the characters venture
out after a single goal, achieve that goal,
and then live happily ever after. In short,
they go out into the world, overcome an
obstacle, get what they want, and they’re
done. While the idea of “happily ever after”
makes for a great one-shot or very short
adventure, it seems like the antithesis
of a longer RPG campaign. What do the
characters do after they’ve achieved their
perfect ending? How can you take a simple
story and turn it into a longer campaign?
Here are some tips for doing just that.
Apples for Sale. Don’t make the happily ever
after quite so quick and easy to achieve.
Throw in interesting and worthwhile side
stories and characters to stretch out the
middle. Don’t fill this space with nonsense
and filler, of course, because your players
will feel it and grow bored. Consider
throwing in characters and opportunities
that will make the PCs reconsider their end
goal—maybe that marriage proposal they’re
seeking or that crown they’re hoping to wear
isn’t quite so appealing after all, especially
after they discover that they could become a
witch and poison all their enemies.
Fairy Tale Story Seeds
This section provides a number of fairy tale
story seeds that you can use as a starting
point for your game. Most of them are
designed to work across a variety of settings
and genres. For example, a glass coffin
could be discovered by a group of children
in the woods (traditional fairy tale), ghost
hunters in the basement of a haunted house
(horror/mystery), a group of coworkers
in the overgrown lot behind their office
(modern/noir), or the crew of a spaceship
floating in space (sci-fi). A queen can be a
traditional fairy tale queen, but it can also
mean a famous rock star, a fashion icon,
the bad-ass leader of a post-apocalyptic
gang, or an artificially intelligent ruler on the
moon in the far future.
Sprinkle Breadcrumbs. Throughout
the adventure, present little tidbits and
glimpses of other things going on the world
that could have long-term repercussions.
They don’t necessarily have to be things that
the characters follow up on right away, but if
you plant these seeds early, the players will
remember them later and want to find out
more.
No Happy Endings. Make the happily ever
after not quite all that it’s cut out to be.
Sure, the characters got all the gold they
ever wanted and a cool castle, but all that
bling has attracted a family of dragons who
want to settle in their living room.
Use Character Arcs. Character arcs provide
a great opportunity for PCs to grow and
extend beyond the first happily ever after.
Getting married to the prince, for example,
might be their first happily ever after (via a
Romance arc), but maybe now they want to
rule another kingdom, kill their spouse, or
have children. Any of these can be new arcs
that the character undertakes after they hit
the “end.”
Don’t be afraid to mash together settings,
themes, and plot ideas—that’s one of the
hallmarks of fairy tales. Alternatively, take
a noun and change it to something else:
maybe instead of the queen, it’s a dragon.
Instead of your father, it’s a troll or a talking
animal. If that makes a weird combination,
great. Embrace it as part of fairy tale
weirdness.
As long as you include at least a handful
of the important archetypes, elements, and
motifs of fairy tales in your adventure, you
can push the boundaries on the where,
when, why, and how of the story.
• The characters discover a glass coffin
with a sleeping boy inside. One or more
PCs hears the boy in their head, asking

Adventure Building Checklist
Use this list to build a fairy tale adventure
on the fly, or to double-check an
adventure you’ve already built. Does it
have most or all of the following?
Invitation and investment for the
characters
Roleplaying opportunities
Fairy tale clichés, themes, and motifs
Magic, wonder, and whimsy
GM intrusions
Cyphers
A difficult-to-achieve but quantifiable
goal
A grand finale that ties into the above
goal
XP rewards for doing specific things
A revelation or plot twist as a sequel
hook
them to help him track down whoever
or whatever trapped him here and find a
way to free him.
• A close friend or relative disappears after
hiking through a nearby forest. Clues
lead to a fairy ring, a stand-alone door in
the woods, or an underground maze.
• A queen seeks a group of brave
adventurers to find the child they gave
up for adoption long ago. Is the queen
finally ready to give up the throne to an
heir? Or is it just a ploy to make sure
that no one else can ever take their
crown?
• The PCs come upon a hart that’s been
shot with a magic arrow. The creature
promises to tell them the location of a
secret treasure if they help track down
the hunter who injured it.
• A young woman’s seven brothers have
been turned into swans by an evil curse.
She seeks the characters’ help to gather
the three items she needs to save her
brothers.
• A long-lost friend or relative, who
everyone secretly believed to be long
dead, shows up suddenly. The person
looks the same age and is wearing the
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BUILDING FAIRY TALE CAMPAIGNS
same clothes as when they disappeared,
and tells strange tales of fantastical
experiences.
• People in the PCs’ hometown are
preparing to go kill the dragon that
resides nearby, claiming that it’s been
killing humans and animals in the area.
But clues suggest that something or
someone else is to blame. Getting the Players and
PCs invested, page 39
• Close friends or relatives are convinced
that their child is not really their own. Fairy Tale Clichés,
Themes, and
They believe fairies took their real child
Motifs, page 22
and replaced it with a changeling. The
difficult part is they’ve come to care On Fairy Tale
Magic, page 27
for the changeling child too. They want
help finding their true child, while also GM intrusions, page 53
keeping the changeling child as their Cyphers, page 74
own.
• One of the PCs discovers a hidden,
magically sealed door in their basement.
They call their friends (the other PCs) to
help them open the door and see what’s
on the other side.
• A depressed king seeks a group of
brave adventurers to bring him three
things to help him feel better. He will
pay handsomely for the delivery of
the happiest laugh in all the land, the
best-smelling rose ever grown, and the
brightest star in the sky.
• A wizard long ago tucked his soul into
a safe and secret place so he could live
forever. Now he’s decided that he’s ready
to move on, but he can’t remember
where he put his soul for safekeeping.
He promises to teach the secret of
hiding a soul to anyone who finds his
soul and returns it to him.
• A detective or guard working a
gruesome crime scene—the death of
a beloved local fairy—discovers clues
that lead to the PCs. The detective
brings them all in for questioning, but
when they get there, they find that the
detective has also been killed. His ghost
begs the characters to solve the murders
in his stead.
• A friend or loved one of the PCs has
been cursed and asserts that it was their
partner who committed the crime. But
part of the curse’s effects are paranoid
delusions. It’s up to the PCs to figure
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out who committed the crime and break
the curse before it takes full effect.
• A king’s apple tree bears golden apples
that he uses to help keep the kingdom
afloat. However, the guards report
that every night, one of the apples is
stolen by a powerful creature. The king
promises hefty treasure to anyone who
catches the creature red-handed and
brings back its head.
• The characters come upon a ship that
has crashed on the shore. Most of the
crew is dead, but one is still alive. The
sailor says they have fallen in love with
a mermaid—and she with them—and
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they will do anything to get back to their
beloved beneath the ocean.
• Long ago, a sorceress who was afraid
of her three sons turned one into an
eagle, one into a whale, and one into
a butterfly. Now that she is rich and
powerful, she wants to find them again
so she can turn them back into her sons.
• The devil wishes to marry, but worries
that the one he loves will not have him
because of his reputation, which he
professes is highly overblown. He seeks
help making himself presentable and
gathering the finest and rarest gifts in all
the land to offer his true love.
• The characters walk through a doorway
into a different world, accidentally or
on purpose, and are instantly met by
someone who seeks their aid (or wishes
to harm them).
• The flute of the Pied Piper went missing
from its case at the museum. The PCs
have been hired to track it down and
return it safely before it falls into the
wrong hands.
• The PCs are hired to guard Prince
Charming while he attends an awards
ceremony. There’s just something
about him that causes everyone to want
to touch, kiss, and throw themselves
at him.
• Large puzzles are showing up
suddenly in farmer’s fields across the
countryside. No one can figure out how
to solve them or what their purpose
is, but they’re causing blights,
diseases, and bad luck.
• The PCs were aboard a ship
that wrecked on an island. The
land is full of creatures they have
never seen before, and the sea is
swimming with beasts.
• The PCs hear a beautiful bird
singing nearby: It was my mother
who murdered me / it was my father
who ate of me / it was my sister Marjory /
who all my bones in pieces found; / then in
a handkerchief she bound / and laid them
under the juniper tree.
• The characters come upon a trio of
young children in the woods. They say
they’ve just escaped from a witch and

her gingerbread guards are coming
through the woods after them.
• While on a group trip to a local zoo, the
PCs discover a woman weeping in front
of the seal exhibit. She says she’s a selkie
who has lost her skin, and would give
anything to be able to go back home to
her sea family.
• A friend or loved one has been trying
desperately to have a child. They’ve heard
of someone who can help them conceive,
but it’s a long and dangerous journey to
get there and they’re afraid to go alone.
• A farmer’s cows have all become sick,
and he believes they were shot by some
type of fairy. He seeks someone to help
him cure his herd and track down the
beings who did the damage.
• A restaurant is offering a chef’s special
with unusual side effects. Are they
casting curses on patrons, or serving a
side dish made from magical creatures?
• A magical being has lost their powers
and wishes to get them back. They seek
help with a complicated ritual that is
supposed to return them to their former
powerful self.
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Getting the Players
and PCs Invested
Because almost every player is likely to
have some experience with fairy tales, it
might seem easy to get them invested in a
fairy tale game. However, it can be a little
tricky, because each player will bring their
own experiences with fairy tales to the table
and build their expectations for the game
on those experiences. So if the GM goes a
different way, it might be hard for them to
adjust. If they show up expecting stories
of dark woods, big bad wolves, and sweet
grandmothers, and you throw them into
a world of Mad Hatters, bandersnatches,
and songs about carpenters and walruses,
there’s going to be a period of adjustment.
This isn’t impossible to overcome—and
obviously, if you set those expectations
ahead of time, you’re likely to sidestep the
problem completely.
Additionally, it can sometimes be hard for
players to wrap their heads around a fairy
tale world. They might be used to reading
stories or watching movies about fairy tales
but haven’t thought about what that means
in terms of a roleplaying game. Let’s face
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it: fairy tales are weird. The magic makes no
sense. There are no rules. Almost everything
can talk and act and move. It’s a lot to take
in, particularly for players who may be more
used to the stricter rules and guidelines
for magic and world-building that are
common in fantasy games. Helping them
settle into the weird right out of the gate
means that they won’t be afraid to jump in
and go with the flow. A great way to do that
is to have the PCs meet up with someone
knowledgeable about the fairy tale world
and help the players adjust to it. Think
about Lucy meeting Mr. Tumnus on her first
trip into Narnia or the main character in The
10th Kingdom finding a prince transformed
into a dog (who only he can understand).
Of course, getting the characters invested
quickly is probably one of the best ways to
get the players invested. Here are some ways
to involve the characters (and hopefully
their players) in the setting, scenario, or
adventure.
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Give Them a Reason to Care
So many adventures start with the
characters sitting in a tavern, waiting for
something to happen to them. Don’t do
that to your PCs (unless they own the
tavern and it’s being threatened by ogres
or something). Instead, give them strong
reasons to care about the situation and the
people involved. While characters will often
do something for the promise of money or
because they know it’s the right thing to do,
there are so many great ways to get them
emotionally invested in what’s about to
happen.
Beloved people. When danger shows up,
put people (or creatures) that the PCs care
deeply about right in the middle of it. Maybe
the characters’ friends were stolen by fairies,
their siblings cursed by a water hag, their
children transformed into swans.
Alternatively, you could work with the
players ahead of time to put one of the
other PCs in danger (with their permission,
of course). Perhaps that character starts out
suffering from a horrible curse, or they’re
about to turn into a werewolf if they don’t

get the potion they need. One important
element of this is to be sure you don’t
remove the endangered PC from the action.
Don’t throw them into a tower where they
have to wait to be rescued. That’s boring for
them, and it doesn’t give the group a good
opportunity to gel at the start of the game.
Beloved places. If a pack of ravenous wolves
is about to attack a town, don’t just make
it any town. Make it the town where the
PCs grew up, or where their parents live, or
where they live. Or maybe a terrible curse
is threatening the beautiful, peaceful village
where the characters go once a year to get
away from it all.
Old enemies. Enemies that have wronged
the PCs in the past are likely to evoke
emotions quickly, especially if it involves
the chance to right a wrong, get vengeance,
or prove their mettle. If a random witch
is stealing kids, that’s scary. But if the
witch is the same one who kidnapped
and tried to eat the PCs as children, and
is now threatening their own kids? That’s
horrifying.
Threatened reputations. By placing the
action among people that know the
PCs, you can easily put the characters’
reputations and relationships at stake. If
the townspeople have always thought the
PCs were unworthy louts, here is a chance
for them to prove
otherwise. If the
townspeople look up
to the PCs as heroes, “Curiouser and curiouser!”
are they willing to let ~Alice in Wonderland his beloved home and
everyone down and
turn their backs?
Pressure points. All characters have a
hidden (or possibly not-so-hidden)
weak point. Maybe it’s greed. Or a
gambling addiction. Maybe they’re not who
they say they are. Maybe they’re hiding an
illness or struggling with grief. Possibly,
an old debt or promise is coming back to
haunt them. Whatever weak points the
characters have, don’t be afraid to press on
them early and often.
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Deep need. Everyone has a deep-seated
need, a thing that they desperately want
to achieve in their lives, even if they don’t
speak it aloud. Perhaps it’s to be lauded for
bravery, to be remembered for something
they created, or to gain access to a specific
type of weapon, magic, or item. This is a
great opportunity to use character arcs and Character arcs, page 67
put the PCs in positions where they can
start going after these desires (or reject
them and face the consequences).
Trap Them
This might be less emotionally driven than
other ways of getting the PCs invested,
but it works well for quick adventures or
campaigns where you want to get right
into the action. Start the game with the
characters stepping into a cursed castle,
where the doors are all magically locked.
Drop them into a complicated maze or a
dark forest, and let them hear the snorts of
the minotaur or the howls of the wolves.
Put them on an island after their ship has
crashed and have them watch a bunch of
mermen steal away their food stores. Of
course, mixing this with a reason to care
gives them not just one, but two reasons
to be invested in the story. It’s even better
if the food that’s being stolen was meant
for the characters’ starving families back at
home.
Having the PCs encroached on in their
regular lives is another way to trap them.
In Shrek, the titular
character is living his
perfect solitary life
when suddenly both
his peace and quiet
are disrupted by the
arrival of fairy tale creatures. He’s trapped
in the place that he loves but he hates every
minute of it, so he becomes invested in
getting his old life back, no matter the cost.
Another option is to trap the characters
away from the thing that they want. Perhaps
they’ve been ousted from their community,
and the only way to get back in is to prove
their worth. Or perhaps they fell down a well
and woke up in a strange land, and now
have to make their way back to where they
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“Through dangers untold and hardships unnumbered, I have fought my way
here to the castle beyond the Goblin City to take back the child that you
have stolen, for my will is as strong as yours, and my kingdom is as great.
You have no power over me.”
started. This works particularly well if there’s
a time element—they must make it back
home before the moon disappears from the
sky or they’ll be trapped here forever.
Threaten Their Lives
This is a fairly easy and common way to
get characters invested in the story. Start
out right in the middle of the action, with
The Cheshire Cat, their very lives at stake. It might be one
while best known for player character who’s in danger, or all of
its role in Alice in them. This choice is slightly risky because
Wonderland, actually
predates the 1865 it doesn’t give the PCs much time to get
novel, having been to know each other before they have to
defined as “any one start taking action. On the other hand,
who shows his teeth
working together under pressure creates
and gums in laughing”
in A Classical an opportunity to cement relationships and
Dictionary of the roles within the group.
Vulgar Tongue in the
eighteenth century.
The book also included Make It Their Job
entries like bone box Having the PCs start an adventure as
(mouth), cackling people with jobs is a great way to get them
farts (eggs), and whipt
invested. Obviously, this works best if their
syllabub (a frothy,
flimsy discourse). jobs are somehow related to the adventure.
Maybe they’re miners, hunters, guards, or
investigators. To make this work really well,
don’t simply tell the characters that they’re
guards for the royal kingdom. Give them
details: “For the past few years, you’ve all
been employed as guards for The Queen of
Hearts. You call yourselves the Soldier Club
and you meet every week to sit around and
bitch about how awful the queen is. During
one of your gripe sessions, the White Rabbit
arrives with a new job for you all . . . ”
“Job” in this case doesn’t have to mean
“career.” It could just mean that the PCs
are the most qualified people to try to deal
with the situation. Thus it becomes their
job because most likely no one else could
succeed at it.
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~ Labyrinth
Pique the Players’ Curiosity
This tip involves metagaming, but an
interested player usually means an
interested character. Because fairy tales are
built of magic, mystery, and wonder, fairy
tale games present a unique opportunity
to engage your players’ (and thus hopefully
their characters’) curiosity. It can be
difficult, for example, to surprise veteran
fantasy players. They’ve seen it all, heard
it all, and fought it all. “And here’s another
wizard, except this one shoots dragon snot
out of his staff!”
But with fairy tales, anything truly is
possible, and the weirder the better. What
is the White Rabbit late for? Why does
the Cheshire Cat leave nothing behind
but its grin? Why is a raven like a writing
desk? Once players know that the answer
to “What’s behind that tiny door?” is
never what they think or expect, their own
curiosity will keep them pushing their
characters ever forward into the mystery.
Problematic Elements
Fairy tales are mirrors of the time in which
they were created, reflecting back to the
hegemonic norms and beliefs of individual
eras. For all that fairy tales can teach us
about good things like empathy, kindness,
kick-assery, and more, they are also rife
with elements, tropes, and clichés that
likely made sense at the time, but which
are problematic today, including lack of
consent, child marriage, and traditional
gender roles.
Many modern fairy tales have worked to
subvert these tropes and turn them on their
heads, expanding the roles of all genders,
ensuring that everyone consents and is of
age, and generally giving characters more
autonomy and choice over their own lives.
 BUILDING FAIRY TALE CAMPAIGNS

We can do the same for our games— Here are a few common fairy tale tropes
keeping the elements that make things feel and clichés that haven’t stood up well to the
“fairy tale-ish” while removing or upending test of time, along with some suggestions
things that are no longer relevant or for handling them in a game. There are
acceptable today. certainly more than we’ve listed here, and
While subverting tropes and clichés, it modern retellings are good resources for
might be tempting to issue a sweeping tackling additional issues.
statement such as “All X are bad,”
when in reality, things are often much Lack of Consent
more complicated and nuanced. This is In many stories, including Snow White
particularly true because fairy tales originate and Sleeping Beauty, the main character
in a wide variety of cultures, and elements is woken from her deep slumber with a
that some might find problematic are not nonconsensual kiss (and in the case of
considered so elsewhere. For example, Snow White, the titular character is actually
a number of fairy tales include arranged kidnapped by the prince while she’s
marriages, a practice that some cultures unconscious). While it may be possible to
find archaic and problematic, but which construe this action in a modern, scientific
is an important and positive practice for light—imagine the character is dying and
other cultures around the world. Being the prince is giving them mouth-to-mouth
respectful of other cultures and their stories to save their life—it seems pretty clear that
and beliefs likely requires much more than
a simple “This is bad” or “This is good.”
Complicated situations require complex
and nuanced solutions, which often make
for better games anyway, as characters are
faced with difficult choices that make them
think and question their beliefs and actions.
If you don’t think you’re able to include
a theme or motif from a culture other
than your own in a respectful and
thoughtful way, it’s often best to
forgo it and choose something
else. Note that making fun of
something is not the same as
adding humor or whimsy to
the game. If you’re thinking
of adding a cultural
element just to make fun
of it, it’s best to forgo it.
A good general rule is
to be aware of potential
issues, talk with the
table about consent and
boundaries, and, if the
group decides to include
problematic situations, do your
best to handle them with care
and respect. You can also use the
Fairy Tale Game Consent Checklist
at the back of this book as a resource
and guide.

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 WE ARE ALL MAD HERE
this isn’t the original intent. And it gets
much worse with some versions, such as
in the fairy tale Sun, Moon and Talia, where
the king has sex with Talia while she is
unconscious. In fact, she doesn’t wake up
until she gives birth to the king’s twins.
Tips: While the lack of consent is deeply
problematic on its own, fairy tales often
exacerbate the issue by misconstruing the
character who committed the nonconsensual
act as the hero of the story (for example,
Prince Charming). If you’re going to include a
nonconsensual act in your game (something
which you should do only if you’ve gotten
informed consent from your players ahead
of time), consider making that an act of the
villain and not the hero.
Also, be especially careful when the
nonconsensual act involves a player character
(either as the acting person or the target)
rather than an NPC. Make sure that the group
discusses it carefully ahead of time, and
that you have permission to put the PCs
(and the players) in that emotional space.
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Traditional Families, Gender
Roles, and Other Conformities
In fairy tales, problems of all kinds arise
from nontraditional families, breaking
gender roles, and generally going against
the norm. Children without parents are
prone to all kinds of bad influences. Adults
without children are almost always either
sad and barren or wicked and misguided.
And everyone knows the inherent evil that is
stepmothers and stepsisters. Young, chaste
women are good, while older, experienced
women are evil. Women should be seen but
not heard, and their only futures are to be
married off, rescued, or killed. Men must be
strong, emotionless, and powerful. The list
goes on and on.
While there’s nothing inherently wrong
with having one wicked stepparent or one
beautiful, chaste young woman, there’s no
reason to have everyone fit those tropes.
First, it doesn’t make sense in the modern
world, and second, it’s boring and expected.
Tips: Thankfully, most of these issues are
easy to subvert by introducing real, complex
NPCs who have complicated goals, desires,
and interests. Turn that wicked stepmother
into a loving but tired and overworked new
wife who doesn’t understand her young
stepdaughter, who just seems to want to
read in her room. Now you have a character
who might lose her shit and snap at her
stepdaughter, but you also understand why
she does it, and she’s no longer wicked, just
struggling and doing her best like the rest
of us.
Populate your world with characters
of all genders and gender roles, sexual
orientations, family situations, and
personalities. This might seem obvious, but
when creating settings based on fairy tales,
it can be easy to fall into existing norms
without thinking about it. It’s no more
difficult to give a character two dads (as in
The Dark Crystal: Age of Resistance) than it is
to give them a traditional family unit.

“What about you, Huntsman? What’s in this for you? Is it just about the
gold, or is there something more than that?”
~ Snow White and the Huntsman
Depictions of Mental Illness
This trope is covered in chapter 14 as well
as throughout the Heartwood chapters.
There, you’ll find examples of problematic
depictions of mental illness in fairy tales, as
well as tips for using mental illness in your
games in better ways.
Classism, Racism, and Other Isms
European-based fairy tales, in particular,
include a number of “isms,” such as
classism, racism, ageism, sexism, sizeism,
and ableism. Some of it is overt—think
of some of the depictions of both women
and people of color in One Thousand and
One Nights or of the Native American
stereotypes in Peter Pan (in both the book
and the Disney movie). Other times it is
more subtle, hidden beneath the layers
of culture and history that shape stories.
You can see it in the way most princesses,
heroes, and “good” people are shown to be
slim, white, and traditionally beautiful, while
villains, antagonists, and the wicked are
portrayed as being larger, having dark skin,
or speaking in accents.
Even in stories where isms aren’t obviously
present, the lack of diversity in size, race,
shape, and so on creates an unconscious
message that fairy tales are only for and
about certain people. And of course that’s
not true. (Non-European fairy tales typically
feature lots of characters who break these
tropes; they’re a great resource for creating
diverse characters and settings.)
Tips: As with conformities, you can do a
lot to upend isms by creating full, complex
characters. Think of Ursula from The Little
Mermaid—she’s a powerful sea witch who is
fat and fabulous, and she knows it. On the
other hand, she’s depicted as being wicked
and when she goes undercover, she morphs
into someone who is slender and “good.”
She is a complicated character who loves
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BUILDING FAIRY TALE CAMPAIGNS
herself as she is, but also understands that
playing by the world’s perception of good Chapter 14: Mental
and evil increases her power. Health in Games,
page 159
Do your research. If you want to include
something in your game that you’re not
familiar with, read about it. Ask someone
who knows. Watch a documentary. Don’t
be afraid to involve other members of the
group in planning and prepping; everyone’s
experience is different and they may have
insight that you don’t.
Children in Danger
Children in danger is a broad category, and
During the Third Reich,
in some ways is one of the tropes at the very the Nazis tried to use
heart of fairy tales. In fact, most fairy tales fairy tales as tools of
include a child who is being threatened by propaganda. They
claimed, for example,
something or someone. Little Red Riding that Cinderella’s purity
Hood is a child at risk. So are Hansel and distinguished her
Gretel. The Little Match Girl’s story is sad from her non-Aryan
enough to break the hearts of mothers stepsisters and that
Little Red Riding Hood
everywhere. Babies are cursed and stolen, symbolized Germans
and children are married off, maimed, suffering at the hands
tortured, turned into beasts and objects, or of the Jewish wolf.
sent off into the woods to be killed.
For some groups, the idea of a child in
peril is a no-go zone. For others, children in
danger of death is acceptable, but touchier
topics like child brides, incest, torture, and
dismemberment are definitely not.
Tips: It’s good practice to use most tropes
about children in danger sparingly or not
at all (and if you do use them, consider
keeping them off-screen). They’re likely best
used to illustrate the depravity of the NPCs
perpetuating the act, and to give player
characters someone to rail against.
Alternatively, if you want to base your
game on an existing fairy tale that includes
these themes, consider increasing the age
of the characters. In the original story, Snow
White is only seven years old when she’s
taken into the woods to be killed. Retellings
cast her as a young adult, or even older.
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Chapter 4
RUNNING FAIRY TALE GAMES
I
n many ways, running a fairy tale game
is similar to running games in other
genres. There are a few unique things
to consider, though, in order to really
encapsulate the mood of fairy tales at the
table.
For one thing, fairy tales are magical—not
For additional in the way that fantasy is magical, which
information, see is to say regulated and controlled. No, in
Running a Fairy Tale
Game, page 303 fairy tales magic is big, unexpected, bold,
and story-changing. It can be a bit scary to
GM in that kind of setting with that kind of
Poison for your powerful magic available at any moment.
daughter, page 86 “What if my adventure is to cross the world
and a character gets a pair of seven-league
boots and they take one step and they’re
there?” “What if one of the characters wants
to poison the sun with a cypher?”
Say “Yes, and . . . ”
Saying “Yes, and . . . ” starts as early as
character creation. For example, if you’re
planning a setting where the characters
Drives Like a Maniac, are rats trying to escape from a castle
page 67 and a player wants to take the Drives
Like a Maniac focus, you could say no. Or
you could get creative and say yes. Just
plan ahead to add some tiny cars, trucks,
and trains to your setting. Maybe it’s
Christmastime in the castle, or maybe the
mean king’s daughter just happens to love
toy vehicles. The great joy of saying “Yes,
and . . . ” is that it often opens interesting
doors. Now you have a holiday event or
a little girl in your setting, either of which
could become a great boon—or bane—to
the player characters.
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No, Really—Say Yes
There will be times when your instinct is to
say, “No way. You can’t do that.” (I don’t
mean breaking the rules or anything like
that. I mean in a roleplaying sense.) But say
yes anyway.
Why? Because fairy tales are all about yes,
and because it leads to beautiful character
and game moments. As an example, in one
of the playtests that we ran of the adventure
“The Prince Who Would Seek Death,” one
of the PCs wanted to stall the arrival of day
by using their poison for your daughter
cypher (compulsion) to poison the sun
and get it to obsessively shine on a certain
place away from the characters. The way the
adventure was written, the sun was not a
living entity, so in many games, the answer
would have been “No, you cannot poison
the sun.” Also, in many games, you need
the sun for all the characters to continue
surviving. Not so in fairy tales. The sun or
moon can disappear for months or years,
and everyone goes on living.
In fairy tales, you truly can say yes to
almost anything.
In the playtest example, I said yes, but
told the player that poisoning the sun would
be very difficult. She rolled a natural 20.
The sun went off to compulsively shine on
a faraway place until a certain number of
flowers grew, and the characters were able
to continue following the moonlit path
without any trouble.
It was a perfect game moment, the kind
that people talk about for a long time after.
And it came about because fairy tales allow
you to say yes to things that most settings
don’t—like poisoning the sun.

Describe, Don’t Define
If you’ve ever read Lewis Carroll’s poem
The Hunting of the Snark, you know it is the
definition of this concept. Don’t tell the
PCs what something is by explaining its
philosophy, background, motivation, and
mindset. Instead, describe it. Don’t say it’s
the Cheshire Cat. Say that right in front of
them, sitting in a tree is a giant striped cat
with a grin that’s far too wide for its face.
They will be able to figure out that it’s the
Cheshire Cat quickly—and that’s okay. It’s
not supposed to be a challenging puzzle.
It’s supposed to be a sensory way of giving
the PCs the information they need to figure
out what’s going on.
This is particularly true when you’re
attempting to play up the whimsy and
magical elements. Describing what the
characters hear, see, smell, feel, and taste
is far more intriguing than just saying what
something is. Imagine a foe “wearing a
long black robe and with a crocodile upon
his head. In his hand he carried a whip
made of twenty long snakes, all alive and
writhing . . . ” That description from Andrew
Lang’s fairy tale The Golden Branch is much
more interesting, and probably far scarier,
than just saying, “There’s an enchanter
standing in front of you.”
This is also true of magic. Remember that
magic just is. It does cool things. That’s
really all anyone needs to know about it.
Overcome Magic Fatigue
Just as with horror movies, where at some
point everything stops being so horrific
because you’ve seen too much of it, magic
fatigue can happen. At some point, magic
stops being special or unique because
there’s so much of it everywhere, everyone’s
using it, and it no longer holds the appeal it
once did.
In cases like this, consider turning magic
down or off for a bit—if not for the whole
world, then at least for the PCs and those
they interact with. When you become
accustomed to using magic for everything
and it suddenly goes away, it seems special
because of its absence. Or change up how
the magic works—something’s making all
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of the magic go awry and backfire, or every
time the characters do something magical,
it has an unintended effect.
Tumble Down the Rabbit Hole
Don’t be afraid of weirdness. Fairy tales
are full of it, and fairy tale games should
be too. It’s okay if the PCs feel unsettled
or confused by what’s going on around For an interesting
them at first. Think of Alice finding her “describe, don’t define”
challenge, check out
way through Wonderland—the weirdness the snark, page 110.
was part of the wonder. It’s what made her
adventures so interesting and unique.
Ground the Players
While using weirdness, don’t forget to
give the players something to hold onto:
a cliché, a favorite character, a place, a
familiar saying, and so on. All players really
need is one small thing to ground them in
the setting, and they’ll be able to make their
way through the rest of it over time.
Use Props
Using props is a way to ground players
(and characters) quickly and easily, while
also setting the mood. A quick internet
search for almost any fairy tale—but
particularly the popular ones—will reveal
dozens of different props that you can use
to enhance your game. Princess crowns,
strange seeds or beans, rocks with holes,
and interesting-looking rings all make great
artifacts and cyphers. But you can also
make your own, if you’re feeling creative.
Label little bottles with a DRINK ME tag
and write EAT ME on a couple of cakes,
and you’ve got an easy Alice in
Wonderland setup.
Audio can be an important part of setting
the mood for a fairy tale game as well. Use
soundtracks from your favorite fairy tale
movies or musicals (Peter and the Wolf is a
great option, as is Into the Woods). If your
game has dragons, giant birds, or scary
shrieking creatures of almost any kind, play
audio clips of barn owls screaming and
everyone will instinctively duck.
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Scents are a great addition as well. There
are some incredible pine- and wood-scented
candles out there for evoking a feeling of
wandering through a deep, dark forest.
“To die will be an
awfully big adventure.”
~Peter Pan
Make Bad Guys Bad
How do you make bad guys bad? Show
them eating something. Okay, that’s kind of
silly, but it’s also kind of true. Have you ever
noticed how villains in fairy tales are always
eating? In Snow White and the Huntsman,
we see Ravenna dig a bird’s heart out of its
body with her claw ring and eat it raw, all
Once upon a time there while talking about how merciful she is. In
was … “a king!” cry my The Return of the King, Denethor, Steward of
little readers. But no,
children, you’re wrong.
Gondor, feasts in a focused, almost bestial
Once upon a time there way while the others ask him for help. Bad
was a piece of wood. guys crunch apples while other people are
~Carlo Collodi, trying to talk to them or intimidate them.
Pinocchio
They stuff their faces with decadent sweets
while others starve.
While it might seem like a silly example,
it’s just one way to use details to create
nuance in villains. Instead of eating, they
might preen every time they walk by a
mirror, pluck the feathers out of their
captive pet bird as they speak, and perform
various other actions that let the characters
know just how villainous they are, without
them ever having to say it outright or even
pull out a weapon.
If a character dies, and
it seems like it might
be a while before they
Special Rules
can be brought back to
Fairy tale games have unique opportunities
life, consider inviting for magic that aren’t found elsewhere—
the player to take on death, curses, blessings, and wishes are all
the role of a walk-on prevalent in fairy tales and make interesting
character or an NPC or
two while they’re waiting. elements in games. Here are some
suggested ways to handle them.
Death
You’ve probably noticed that in fairy tales,
characters die all the time. Or almost die.
Or sleep forever instead of die. Or die and
come back to life. You get the idea.
Potentially, this will also be true in a fairy
tale game. Thankfully, death doesn’t have
to be the end of a character’s life. There
are any number of ways to stop or reverse
death, including artifacts, cyphers, and
abilities. Additionally, a few NPCs, such as
witches or Death themself, may have the
power to bring someone back from the
dead.
Typically, though, if a character dies and
chooses to stay dead (or is unable to find a
way to return to life), they are dead—they
no longer have bodies, abilities, Pools,
and so on. They can communicate to the
living only through magic. Someone may
stay dead for up to about a year (in game
time) and still return to life. After that time
elapses, death is permanent.
Of course, you can make death work
however you want to in your game. Just be
sure the PCs (and the players) know how it
works in the world they’re running around
in.
Interesting Ways to Use
Death in Fairy Tale Games
• The character “dies” but is actually
sleeping, in a coma, or otherwise unable
to interact with the world. Characters
in this state can be revived in the same
way that a dead character would be
brought back to life. Note that it’s best
to use this option sparingly, because it
can be boring for a player to have their
character lying around doing nothing.
However, it’s a great option for players

The idea that characters can come back after death creates
a unique opportunity for historic and memorable moments—a
character may sacrifice themselves for their friends in a blaze of glory,
and in return, their friends may spend time and resources to bring
them back to life. Don’t hesitate to give characters these kinds of
opportunities, where they can shine in big, bold, life-altering
(or life-ending) ways.

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who need to miss a session or two—
being stuck in a sleeping or near-death
curse easily explains why they’re not
participating in the action.
• The character is able to put some or
all of their death, soul, or life into an
object, such as a deathless cypher, for
safekeeping. When they die, they are
instantly brought back to life (or perhaps
they resist death altogether, such as with
a death’s candle cypher).
• The character uses a magic item, spell,
or ability (such as the song of the dead
cypher) and infuses part of themselves
into an object, living creature, weapon,
and so on. When the character dies, they
can communicate through that object to
those around them (but typically only in
limited ways).
• The character set up a contingency plan
with their friends or loved ones ahead
of time (or perhaps has made a bargain
with a powerful foe) that outlines how
to bring them back to life in the case of
their eventual death.
• The character made a deal with a
powerful entity that upon their death
they become a ghost, wraith, or other
spirit creature until they can be returned
to life. As a spirit creature, the character
can be seen and heard but not felt, and
cannot interact with the world in any
way (beyond talking and moving about).
This allows a dead character to continue
to be part of the game until they are
returned to life.
• The other characters set out to bargain,
plead, or otherwise make a deal with
Death (or some other powerful entity) to
bring their friend back to life.
• The character chooses to remain dead.
Obviously, this works best if the player
wishes to start a new character or is
leaving the game permanently. Of
course, if the player ever returns, it’s a
great opportunity to bring that PC back
from the dead as well.
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Curses
In fairy tale games, curses are likely to be
common. Most witches can cast curses Witches, page 132
of one form or another, as can many fey
beings, queens, and sea creatures. Even
objects and places can cause a character
to become cursed. Characters might have Deathless, page 80
multiple curses on them at the same time.
All curses have a level, from 1 to 10. The
level affects how hard it is to resist the
curse, as well as how severe the effects are Death’s candle, page 80
and how difficult it is to remove the curse.
Curses work slightly differently than Song of the dead,
regular damage. Curses can have an impact page 89
on the game and the game mechanics (a
character is turned into a fish or becomes
invisible, all of their interactions are
hindered, they take ongoing damage, and so
on), or they can have more of a roleplaying
impact (a character looks much older, they
forget the word “apple,” their skin turns
golden). See the Curse table for a list of Curse table, page 51
example curses.
Preventing Curses
When a character attempts to resist being
cursed, they must make an Intellect defense
roll against the level of the curse being cast.
Being trained in Intellect defense eases
this task, as does having a skill in curses or
resisting curses.
Often, part of a curse’s effects is
hindering curse resistance; thus, a character
who already has one curse on them will find
defending against a second curse is more
difficult (their task is hindered).
Removing Curses Death (NPC), page 114
Similar to poison and disease, curses aren’t Made a Deal with
automatically removed when a character Death, page 175
makes a regular recovery roll. Instead, they
stick around, continuing to affect the PC
long after the curse is cast. In order to rid Poison and disease,
themselves of a curse, the character must page 219
take actions to remove it. The actions
required depend on the nature and level of
the curse.
The easiest way to remove a curse is to
find, buy, steal, borrow, or otherwise acquire
an object that removes curses (such as the
blood pearl blossom cypher). Alternatively, Blood pearl blossom,
the character might be able to pay someone page 79
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who is skilled in curse removal to do the
deed.
Curse Removal table, See the Curse Removal table for some
page 52 ways that curses can be removed.
Curse Intrusions and Curse Mode
In addition to dealing with the original effect
of the curse, a cursed character is more
likely to have bad things happen to them.
There are two ways for the GM to work this
into the game: curse intrusions and Curse
Mode. Ideally, you’ll want to use both of
Horror Mode, page 283 these, as they each add something unique
to the experience of being cursed.
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Curse intrusions. Curse intrusions work
like regular GM intrusions, and the cursed
character gets XP. However, they only get
1 XP instead of the usual 2, and they must
decide whether to keep it or give it to
another player. Introduce additional curse
intrusions from the Curse Intrusions table
when it feels appropriate. This might be
anytime the character has a big success,
when they’re in a particularly risky position,
or when they start to feel like they’ve
forgotten about the curse.
Curse Intrusions
d6 Curse
1 An insect stings or bites the
character at just the wrong
moment.
2 Something in the area makes
the character sneeze loudly and
repeatedly.
3 The character shimmers in and
out of view.
4 A deep sense of despair comes
over the character.
5 The character feels an
overwhelming urge to start
dancing.
6 The character’s clothes are
suddenly much too large.
Curse Mode. When using this rule, the GM
increases the range of numbers that trigger
a GM intrusion. As soon as a character
is cursed, every time they roll a 1 or a 2
(instead of just a 1), they trigger a GM
intrusion. As time passes, GM intrusions
happen on a roll of 1 to 3, then a roll of 1 to
4, and so on. This potentially means that a
die roll in Curse Mode can indicate success
in a task and still trigger a GM intrusion.
Curse Mode is similar to the Horror
Mode optional rule in the Cypher System
Rulebook, with one exception: the escalation
works at a much slower pace. This is
because Curse Mode is not designed to
heighten immediate tension, but rather to
create a long-term sense of being saddled
with an unwanted and unpredictable
negative effect.
 RUNNING FAIRY TALE GAMES

Typically, the intrusion range is increased d20 Effect

by 1 when:
1 Turned into an animal (bear,
• The character is cursed.
toad, hedgehog, swan, dog, etc.)
• The character starts a new day (or makes
their ten-hour recovery roll). 2 Becomes invisible
• The character actively takes an action to 3 Turned into a living object
remove the curse (curses like wreaking 4 Turned into a great beast
havoc, which is part of the reason they’re 5 Turned into someone much older
so hard to get rid of). 6 Forced to dance all night
• The character attempts to resist an
7 When speaking, bugs and toads
additional curse being cast upon them. While not all regular
fall from mouth GM intrusions are
8 Enchanted sleep necessarily bad for the
Once all curses are removed, Curse Mode character, curse intrusions
is no longer in effect. 9 Forced to wear iron shoes always make the cursed
(hinders all Speed actions) PC’s situation worse.
Curse Table 10 Turned into a flower
Roll 1d20 on the Curse table to determine 11 Voice taken away
the effect of the curse, or choose one that
12 Unable to remember their true
feels appropriate to the situation and the
love
characters. Feel free to combine one or
13 Nose grows every time they tell
more options from the table to create
a lie
unique curses, particularly when they seem
to go together. For example, someone 14 Positive social interactions are
could be cursed to have bugs and toads fall hindered
from their mouth when they speak, which 15 Number of points regained by a
would likely hinder their positive social recovery roll is decreased by 1
interactions. 16 Grows weak (Effort on Might
Typically, curses that have simple tasks costs +1 Might)
roleplaying effects (such as the character’s 17 Brain is in a fog (Effort on
inability to speak their own name) are Intellect tasks costs +1 Intellect)
lower-level curses, while those that affect
18 Moves slowly (Effort on Speed
gameplay (such as decreasing recovery roll
tasks costs +1 Speed)
points) are higher level. Curses that have
multiple effects are likely the highest level 19 Can no longer say, write, or spell
of all. However, sometimes an incredibly their own name
simple curse is still very high level because 20 No one else remembers or
the caster wants to make it very hard to get recognizes the character
rid of. The GM should feel free to use their
discretion and creativity when deciding the
level and effect(s) of a curse.

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 WE ARE ALL MAD HERE
Curse Removal Table
Some curses have a specific way that they
must be removed. Others can be removed
in a variety of ways. You can use the table
as a reference for ways to remove or undo a
curse, or you can roll 1d10 to give a curse a
specific method of removal.
There are also many artifacts, cyphers,
and other objects in the world that will
remove (or prevent) curses.
A person can be cursed d10 Removal process
and blessed at the same
time. If this occurs, use 1 Complete an important task for
Curse Mode as normal, the one who cursed you.
but about one out of
2 Complete an important task
every three or four GM
intrusions should be for (or make a large payment
blessing intrusions instead to) someone who promises to
of curse intrusions.
remove your curse.
3 Make things right (return the
stolen item, apologize, or undo
whatever was done to cause
the curse to happen in the first
place).
4 Write the name of the curse
on a scrap of paper, bind it in
a cloth with an egg, bury it at a
crossroads, and never look back.
5 Pass the curse to someone else
(this typically requires learning
how the curse was done and then
passing it to another person in
the same way, but there are also
more creative ways to make this
happen).
6 Collect five birds, five beetles,
five cats, five fish, and five young
winds.
7 Die and return to life, which
usually (but not always) takes
advantage of a loophole that says
death will end a curse.
8 Take three golden leaves from
a golden tree to make tea with;
drink the tea and read the leaves;
then complete the task they
suggest.
9 Kill the one who cast the curse
(or otherwise find a way for them
to die).
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10 Find a poem of which there is
only one written copy, read it
backward each morning for seven
mornings in a row, and then burn
the item upon which the poem is
written.
Blessings
Blessing can be cast upon a character in
a number of ways. Maybe the PC does
something good for another person or
creature, maybe they inadvertently find
an item that blesses them, or perhaps
someone bestows a blessing upon them as
a kindness before they set out on a difficult
task.
When someone is blessed, it typically
means that they are more likely to receive
a beneficial GM intrusion when they roll a
1 (or when the GM deems it appropriate
to give them an intrusion). The Blessing
Intrusions table provides examples of
positive GM intrusions that a blessed
character might receive.
Blessing Intrusions
d6 Blessing
1 Someone randomly gives the
character a small gift.
2 When the character speaks, gold
coins fall from their mouth.
3 A necessary item, map, or clue
falls into the character’s lap.
4 The weather is suddenly in the
character’s favor.
5 Someone nearby just happens
to have the thing the character
needs.
6 A cypher or artifact works even
better than expected.

Wishes
Wishes can be granted via objects, creatures
such as genies, or as part of a bargain.
When the character asks for a wish, the
GM assigns it a level. The larger and more
difficult the wish, the higher the level.
Generally, a wish such as gaining an asset
or inexpensive item is level 1, and a wish for
an expensive item or for a foe to vanish is
level 7.
In order for a wish to be granted, the
character must succeed on an
Intellect-related task (usually persuasion or
possibly intimidation) equal to the wish’s
level. On a failed roll, the wish is either
not granted at all or is partially granted,
depending on the wish and the creature or
object that is granting it.
Even if a wish is granted, the character
may not get exactly what they want,
especially if the wish is poorly worded,
has multiple interpretations, or asks for
something that is utterly impossible (such
as destroying the entire world).
GM Intrusions
GM intrusions present fantastic
opportunities to imbue fairy tale games with
a bit more weirdness, wonder, and whimsy,
all while making the game more interesting
and surprising for characters.
There’s a list of example GM intrusions
in the Cypher System Rulebook, and any of
those would work in a fairy tale game. The
GM intrusions included in this section are
more specifically designed with fairy tale
magic in mind—they’re what could happen
when magic goes wrong (or extraordinarily
right).
Remember that GM intrusions don’t
always mean that something has gone
wrong or is bad for the players (unless they
are curse intrusions). A GM intrusion could
be the arrival of a good omen, the sudden
reversal of a curse, or something that seems
bad at first (like falling down a rabbit hole)
but leads to something wonderful in the
end (a whole new world to explore!).
The Fairy Tale Intrusions tables are ways
to quickly generate intrusions appropriate to
a fairy tale aesthetic. Roll on the appropriate
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RUNNING FAIRY TALE GAMES
table to determine the intrusion that occurs,
or choose one that feels right for the
situation.
Interaction Intrusions
d10 GM Intrusion
1 A mischievous brownie attempts
to steal an object from the
characters in the middle of an
important conversation or fight.
2 The NPC that the characters are
talking to suddenly looks at their
watch or the sky, says, “I’m late,
I’m late,” and disappears.
3 A character speaks and all of their
words come out backward.
4 The creature that the PCs are
fighting or interacting with splits
into two versions of itself.
5 The character that the PCs have
been interacting with loses their
glamour, and the PCs discover
it’s not the person they thought
it was.
6 Death arrives, convinced that Death, page 114
one of the characters is someone
else.
7 An opponent uses magic to gain
Fairy Tale Wonders
hidden knowledge about a PC table, page 304
and uses it to their advantage in
Example GM
a fight or debate.
Intrusions, page 411
8 The North Wind has taken a
liking to one of the characters
and does something to help
them succeed in their actions.
9 One of the PCs inadvertently (or
purposefully) offends someone,
and they are instantly turned into
a frog.
10 An opponent holds up a mirror
or other reflective surface at just
the right moment, reflecting Curse intrusions, page 50
a spell or ability back on the
character.
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 WE ARE ALL MAD HERE
World Intrusions
d10 GM Intrusion
1 One or more characters
accidentally damage or offend a
plant of some type, causing it to
retaliate.
2 A wren starts singing at a
nearby crossroads, warning that
something’s coming.
3 One of the characters trips and
falls into a rabbit hole.
4 Someone steals the moon just
as the PCs are about to do an
important task that requires
moonlight.
5 The tree that the characters are
sitting under wakes up. Perhaps
it is hungry, or maybe it just
wants company.
6 The path that the characters
have been following turns into a
rushing river beneath their feet.
7 Someone casting a curse nearby
accidentally catches one of the
characters in the magic, causing
them to be affected (roll on the
Curse table, page 51 Curse table to determine the
effect).
8 A mountain rises up suddenly
between the place where the
characters stand and the place
they need to get to.
9 Somewhere far off, a magical
effect backfires, causing a
stampede of wild animals to run
right toward the characters.
10 One of the characters smells
gingerbread. The scent is so
tempting, they have a hard time
turning away from it.
With fairy tale magic, anything is possible. GM intrusions create
an opportunity to show characters just how true that is!
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Item Intrusions
d10 GM Intrusion
1 A magical ability, cypher, or
artifact does exactly what it’s
supposed to, but also creates a
weird side effect that affects a
nearby friend (or foe).
2 A piece of equipment whispers
lies into the character’s ear,
making a convincing argument
that their friends are not loyal.
3 A magical weapon breaks in
the middle of combat and starts
to cry.
4 A character’s belt turns into
a snake and starts tightening
around their middle.
5 A random object begins to wiggle
and crack, as though it’s about
to hatch.
6 The character’s weapon or armor
begins to yell loudly for help
while the PC is trying to sneak
or hide.
7 A previously opened box, bottle,
jar, or other container has locked
itself back up, with an important
item inside.
8 A cypher, artifact, or bit of magic
is far more powerful than the
characters realized, and affects a
much larger area (or has a bigger
effect) than they expected it to.
9 The glint of a recently acquired
object or weapon is so shiny, it
attracts the attention of a giant
bird, beast, or dragon.
10 An item in the character’s hand
or bag starts to replicate itself
over and over.

Consent and Boundaries
While many fairy tale games won’t cover
topics that run the risk of making people
uncomfortable, fairy tales definitely have
a dark side to them. If you’re thinking of
running a game that leans more horrific or
darker than players might expect, consider
having a conversation about boundaries
and consent ahead of time. While some
players might be okay with graphic
descriptions of these elements, others
might prefer to have them happen offstage,
while still others might not want to include
them at all.
When planning a fairy tale game that may
have difficult topics or problematic elements,
consider using the Fairy Tale Game Consent
Checklist included in this book. The checklist
has additional entries for many common
fairy tale topics discussed in this book. As
with the general checklist in the Consent in
Gaming PDF, the GM prints or photocopies
one for each player and for themselves,
and each player fills out their own form and
returns it to the GM.
Fairy tale elements to consider in terms of
consent include the following.
Horror and Violence. While fairy tales have
become more and more sanitized over
time, many of the originals have a violent
or horrific element to them. Toes are cut
off, women are burned at the stake, eyes
are pecked out, and more than one queen
dies by dancing eternally in red-hot iron
shoes. In the original story of The Frog King,
the princess doesn’t kiss the frog to turn it
into a human; she hurls it against a wall in
exasperation.
Problematic Elements. Fairy tales also have
a fair number of problematic elements,
from nonconsensual acts and child
marriage to racism and sexism. These
elements are discussed in more detail in
chapter 2.
Sex and Romance. We might not
traditionally think of sex when we think
of fairy tales, but that’s mostly due to the
cultural constraints at the time when many
of them were published. Today there’s
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RUNNING FAIRY TALE GAMES
a large body of work in the world that
incorporates sex and romance into fairy Romance, page 19
tales. Probably one of the best known is
Anne Rice’s The Sleeping Beauty Quartet, a
collection of erotic stories loosely based on
Sleeping Beauty.
Important Things About Consent
• You decide what’s safe and right for
you.
• The default answer is “no.”
• Nobody has to explain why they’re not
consenting.
• There may not be a reason why they’re Fairy Tale Game Consent
Checklist, page 224
not consenting.
• There’s a spectrum of consent for Problematic
elements, page 42
each topic.
• Anyone can always change their Chapter 2: Building Fairy
Tale Settings, page 13
mind about what they are or aren’t
consenting to. For more information
about consent in gaming,
• Anyone is allowed to leave an download the free
uncomfortable situation at any time. Consent in Gaming PDF
at myMCG.info/consent
Fairy Tale Game Consent Checklist
GM Name:
Player Name (or leave blank):
Planned Game Theme:
If this game were a movie, its movie rating would be: G PG PG-13 R NC-17 Other:
Mark the color that best illustrates your comfort level with the following plot or story elements.
Green = Enthusiastic consent; bring it on!
Yellow = Okay if veiled or offstage; might be okay onstage but requires discussion ahead of time; uncertain.
Red = Hard line; do not include.
G Y R
HORROR ..............................................................
G Y R
SOCIAL AND CULTURAL ISSUES .................
©2020 Monte Cook Games, LLC. Cypher System and its logo are trademarks of Monte Cook Games, LLC in the United States and other countries. Permission granted to duplicate for personal use.
Blood .............................................................. Ageism ...........................................................
Body horror ....................................................
Bugs ...............................................................
Classism.........................................................
Genocide ........................................................
Demons/Devils.............................................. Homophobia .................................................
Dismemberment ...........................................
Eyeballs ..........................................................
Racism ...........................................................
Sexism ............................................................
Gore ...............................................................
Harm to animals ...........................................
MENTAL AND PHYSICAL HEALTH ..............
Harm to children ...........................................
Rats ................................................................
Shapeshifting ................................................. Authority, authority aggression .....................
Spiders ........................................................... Cancer ............................................................
Witches .......................................................... Claustrophobia ..............................................
Freezing to death ...........................................
Gaslighting.....................................................
RELATIONSHIPS ...............................................
Heatstroke ....................................................
Mental illness ................................................
Romance ........................................................ Natural disasters (earthquakes, forest fires)
Fade to black ............................................
Explicit ......................................................
Between PCs and NPCs ..........................
Paralysis/physical restraint ...........................
Pregnancy, miscarriage, or abortion .............
Self-harm........................................................
Between PCs.............................................
Nonconsensual ........................................
Severe weather (blizzards, tornados) ..........
Sexual assault ................................................
Family members....................................... Starvation .......................................................
Bestiality ...................................................
Sex ..................................................................
Thirst .............................................................
Fade to black ............................................
Explicit ......................................................
ADDITIONAL TOPICS ......................................
Between PCs and NPCs ..........................
Between PCs.............................................
Nonconsensual ........................................
Family members.......................................
Bestiality ...................................................
CHILDREN .......................................................... Do you want the GM to follow up with you to clarify
Child marriage ............................................... any of these responses? If so, which ones?
Children in danger .........................................
Stolen children ...............................................
Underage relationships .................................
Many of the items on this checklist are general, but some are specific to fairy tales. Because fairy tales contain a number
of potentially problematic elements, we’ve included the most common ones here as an easy way for players to opt out.
Having them on the list is in no way an endorsement of using such tropes or topics in your game.
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 WE ARE ALL MAD HERE
Chapter 5
PLAYING IN FAIRY TALE GAMES
P
laying in a fairy tale game isn’t quite
like playing in other types of games,
where everything is constrained by
logic and rules. Instead, fairy tale games are
full of big events, wild magic, unexpected
results, and a whole lot of whimsy and
weirdness. Asking the GM to be the one to
make all of that happen is a lot, so players
can go a long way in helping to create
the kind of setting and atmosphere that
embodies fairy tales.
Check Your Expectations
As a player, you probably bring a certain
set of expectations to a fairy tale game.
Because so many of us come to fairy tales
as children, they imprint deeply on us. What
makes a good fairy tale or a bad one; how
a character looks, acts, and experiences the
world; who is good and who is evil.
Maybe you strongly love or hate a
particular story, a fairy tale trope, or even
a character. Maybe you know exactly what
character you want to play, what weapon
you want them to have, and how you want
them to sound, act, and react. While a little
bit of planning and preparation is good and
useful, it’s possible to set your expectations
too narrow for the game ahead. If the GM
says you’re playing in Wonderland, and
you’re expecting a play-by-play from Lewis
Carroll’s book and instead you get Tim
Burton’s movie (or even American McGee’s
version from his videogame), you’re likely to
be deeply disappointed.
Keep an open mind and make sure
that you’re not holding too tightly to your
expectations for what a fairy tale game
should be. All too often, expectations like
that can only set you up for failure. But also
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don’t be afraid to talk with the group and
particularly your GM ahead of time about
your hopes for the game. If they know
what you’re dreaming of when it comes to
your perfect fairy tale game, they can likely
find a way to include some of your favorite
elements.
Don’t Be a Setting Lawyer
It might be true that you’ve read The Wizard
of Oz twenty-five times (enough, in fact,
to know that L. Frank Baum’s book isn’t
actually called The Wizard of Oz—it’s called
The Wonderful Wizard of Oz), and you may
have memorized every single line and know
more about the setting than your GM, but
that doesn’t mean you need to let everyone
know (or worse, correct the GM during
the game). No one likes a rules lawyer,
and no one likes a setting or story lawyer
either. Especially in a fairy tale game, where
creativity, surprise, and character autonomy
are paramount.
On the other hand, do offer your
knowledge to the GM in case they find
it useful. They may be planning to go off
script and purposefully set aside or change
some details, but if not, they may find it
useful to know you are there as a resource.
They might even be interested in co-GMing,
where you each use your unique expertise
and share the game mastering duties.
Push Your Creativity
Sometimes roleplaying games have so
many rules and constrains that it almost
starts to feel like learned helplessness. “Can
I do this?” “No.” “How about this?” “No.”
Eventually we stop trying to think creatively

“Would you like an adventure now, or would you like to have
your tea first?”
because we’ve learned that our weird ideas
usually can’t come to fruition.
In fairy tales, that’s not true. Magic can
make almost anything happen, if you can
find a way. So think big, think creatively,
think outside the rules box. Ask yourself,
“What Would Magic Do?” and then find a
way to do that.
This isn’t to suggest that you argue with
your GM about what’s allowed, or that
you try to break the rules in ways that are
egregious or otherwise awful. Instead, use
the constraints of the rules to inspire your
creative ideas and actions.
Believe Impossible Things
All too often, it’s easy to get complacent
and comfortable, particularly in settings
where you think you know every character
you meet and you’ve heard every story
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PLAYING IN FAIRY TALE GAMES
~J. M. Barrie, Peter Pan
your characters are involved with. Instead,
sink into your character, who doesn’t know
these stories or these people, and try to see Player knowledge is
everything around you with fresh eyes. different than character
knowledge. You, as the
Additionally, do the same for your fellow player, often know more
players and characters. If you are feeling than your character
bored because you already know this story does. For example, you
(or think you do), have your character do may know how Sleeping
Beauty ends, but your
something to entertain or delight the other character lives in the
characters, to bring some whimsy and world and does not. In
wonder to their experience, or to make the this case, you’ll want
to keep your player
unexpected happen.
knowledge separate
from your character
knowledge. Let your
Remember the Magic character be surprised,
delighted, or horrified
Remember that feeling you had when you by things that might
were a child and everything was still magical feel like old hat to you.
and new and wondrous? When anything
could happen? When you could wish upon
a star, travel over the rainbow, or become
a princess (or prince) just by believing it to
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 WE ARE ALL MAD HERE
This is not simply a story about a frog and a prince. A story about
a frog would be biological. A story about a prince would be
historical. But a story about a frog-prince is magical, and therein
lies all the difference.
~Jane Yolen, Touch Magic: Fantasy, Faerie and Folklore
in the Literature of Childhood
be so? When animals could talk to you, and Once Upon a Time: Someone you played
beans were magic, and wishes were horses? with as a child reappears and helps you in
Bring that child self to the table. Put aside whatever you are doing. They may be alive
everything you’ve learned as an adult (except or dead, but your heart is warmed upon
perhaps good table manners) and pretend seeing them, for it’s been a long time.
you’re five again. Or fifteen. Or whatever age
you were at when you still believed, deeply As You Wish: You do something that
and truly, in the power of magic. reminds another person or creature in the
And if you’re one of those rare and lucky area of someone they once cared for deeply.
people who still believe, share it with the They are eager to assist you in whatever
rest of the table. Help them remember the you’ve got going on, at least for a few
wonder of magic, of belief, of impossible minutes.
dreams coming true. Because this, more
than anything, is what fairy tales are made of. Once Upon a Dream: Not long ago, you
dreamt of a scenario similar to the one
that you find yourself in now. You can’t
Player Intrusions remember all of the details, but you
Player Intrusion, A player intrusion occurs when a player remember enough to know some of what’s
page 21 chooses to alter something in the story, about to take place, and it gives you an
making things easier for a player character. additional action to prepare something
It’s kind of a reverse GM intrusion: instead useful.
of the GM giving the player XP and
introducing an unexpected complication Bibbidi-bobbidi-boo: A little sprinkle of
for a character, the player spends 1 XP magic from your fairy godmother is all you
and presents a solution to a problem or need to achieve a goal, retry a task, or be
complication. better at something you’re attempting to do.
There are example player intrusions for
each character type listed under the types in Wish Upon a Star: Long ago, you helped
the Cypher System Rulebook. Below are some part of a dying star return to its rightful
additional player intrusion suggestions that place in the sky. It keeps an eye on you and,
would work for a variety of PCs in fairy tale in a moment when it feels like all hope is
settings. As always, work with your GM to lost, it sends a little magic or light to aid you.
decide whether the intrusion is suitable
for your character, the setting, and the Dreams Do Come True: Something you
situation. wished for long ago comes true just at this
moment. It might be for a broken weapon

“Take care, lest an adventure is now offered you, which, if accepted,

will plunge you in deepest woe.”
~J. M. Barrie, Peter Pan

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Those who don’t believe in magic will never find it.
to be fixed, an ally to appear, or a bit of
knowledge or understanding to arrive in
your mind.
What’s Come to Pass: Not long ago,
someone forewarned you of the exact
scenario that you find yourself in now. You
know just what to do to put yourself at an
advantage in the situation.
Think Happy Thoughts: You think of
something or someone that brings you
great joy, and it imbues your next few
actions with magic, allowing you to fly or
do some other thing that you are normally
unable to do.
I Can Show You the World: Something or
someone in the area shows itself to you,
highlighting a route you were looking for,
an object you had lost, or an answer to a
problem.
Happily Ever After: Through the power of
your love for another, you use magic to
protect someone you care for. They are able
to sidestep an attack that would normally
do them grave damage.
Minor and Major
Special Effect Options
Any time a PC attempts an action and rolls
a natural 19 or 20, they have the option
of triggering a minor special effect or
major special effect, respectively. In fairy
tales, almost anything goes, which can be
overwhelming to a player trying to decide
what their character’s special effect might
be. Here are a few special effect options for
players to use or be inspired by.
Don’t ask questions of fairy tales.
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PLAYING IN FAIRY TALE GAMES
~Roald Dahl
Minor Effect Suggestions
• A weapon comes alive at the perfect
moment and does a bit more damage to
a foe.
• A fluctuation in magic hinders all of the
foe’s tasks for one minute.
• A curse, spell, or ability has additional
force behind it, and lasts a round longer
than expected.
• The foe’s magical armor begins to If a player has no XP to
dissipate, decreasing the amount of spend, they can’t use
a player intrusion.
protection it offers on the next attack.
• A shapeshifting or disguise spell or
ability dazzles the target, easing all tasks
related to it.
• A magical attack hits the target and
something they were holding, causing
damage to both.
Major Effect Suggestions
• A weapon comes alive at the perfect
moment and does a lot more damage to
a foe.
• A fluctuation in magic prevents a foe
from taking their next action.
• A curse that was cast upon you by the
foe you’re attacking is removed.
• A foe surrenders, agreeing to lay down
their weapons.
• A foe accidentally steps on a living plant
or dangerous creature while trying to
dodge your blow, and it attacks them or
holds them fast.
• A shapeshifting or disguise spell or
ability works so well that the foe’s Special effects,
familiar or companion runs off, afraid to pages 211–212
continue the fight.
~folk saying
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 WE ARE ALL MAD HERE
Chapter 6
CREATING YOUR CHARACTER
“Who are you?” said the Caterpillar.
Chapter 4: Creating This was not an encouraging
Your Character,
page 14 opening for a conversation. Alice
replied, rather shyly, “I—I hardly
know, sir, just at present—at least I
know who I was when I got up this
morning, but I think I must have been
changed several times since then.”
Descriptor, page 65
~Lewis Carroll,
Focus, page 66 Alice’s Adventures in Wonderland
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C
reating your character in We Are
All Mad Here is similar to creating
a character in any Cypher System
game. You start with the simple sentence
of “I am an adjective noun who verbs.” For
example, you might say, “I am a Clever
Woodcutter who Keeps a Magic Ally.” Or “I
am an Appealing Princess who Descends
From Nobility.”
You’ll want to choose from the types
suggested on page 63. For your descriptor
and focus, you can choose from the
suggested options in the following sections,
 CREATING YOUR CHARACTER

“Fairy tales thrive on black and white. In life, there’s only grey—no bad
guys, no good guys. You could be the Cheshire cat, Snow White, a troll or
a pastry-making witch whose diet consists only of little kids, but you’ll
always be you.”
~Arnold Arre, After Eden

or use the new ones created specifically for
the Heartwood setting (or a combination of
the two). The descriptor and focus sections
of this book include lists of recommended
options from the Cypher System Rulebook,
as well as additional information on how to
tweak the name or details to better suit the
setting, where applicable.
to emphasize the bit of your character that
you want to play. For example, if you play Creating Heartwood
Tom Thumb, you might try to argue that you Characters, page 166
should get an asset on stealth tasks because
you’re so small, but that will be true only if
you’ve taken that as part of your character’s
abilities. Consider choosing a focus such
as Explores Dark Places or Infiltrates, or
build your character with the stealth flavor, Stealth Flavor, page 34

Form Vs. Function

In many settings, the form that a character
takes affects the function of that character.
If you wanted to play something other
than a human—a wolf, for example—you’d
probably have to use a separate set of
stats. If you wanted to play a child or a
mouse, you’d probably have less strength
than someone who wanted to play an adult
human or an ogre. But in fairy tales, we
can hand-wave some of that away, because
everyone can be anything, form does not
always equal function, and shapeshifting is
as common as poisoned apples.
In a fairy tale game, the PCs might consist
of a talking fox, an ogre, a fairy, and a
human the size of your thumb. And that’s
perfectly fine. Build your character sentence
in a way that plays to your character’s
strengths and weaknesses, and the rest can
be handled through story and narrative.
Playing a talking bear, a gingerbread
man, or a changeling will likely affect your
character’s appearance, their outlook on
life, and their backstory, but it doesn’t
necessarily affect their abilities, skills, and
Pools beyond what you choose during
character creation.
Because the form that you choose doesn’t
typically offer you something in addition to
your Cypher System stats—being small, for
example, does not inherently mean you’re
stealthy—you’ll want to choose your stats

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Not all player characters in a fairy tale setting need to be human, so check
with the GM before building your character. You may have even more
options than you think!
in order to gain the aspects you want to
play up. Alternatively, the GM can say yes to
giving you that stealth asset, but will also
give you an inability in something else—
perhaps people can’t hear you holler for
help because your voice is so quiet.
You and your GM should work out a plan
together for how to handle various character
elements and be sure they’re right for the
setting.
Building Active Characters
You might have noticed that many
characters in fairy tales are passive. They let
the adventure happen to them without ever
taking much action or making decisions.
Alice in Wonderland is a great character,
but in the original stories, she’s often
much more of a watcher than an active
participant. She spends much of the story
responding to the environment, the other
characters, and the activities going on
around her, but she doesn’t initiate much
Some of these examples in the way of action or adventure. While it
of iconic characters could be argued that Alice is a Speaker type,
use types (like Wolf
and Adventurer) that
as she spends much of her time interacting
are described later with the other characters, she’s fairly
in this chapter. passive in that role as well.
In a game, you’ll want to build an active
character, one who does something, who
takes action, who shapes the experience
along with the rest of the group. There are a
number of ways to do this.
If you’re interested in creating a PC based on
a passive character in a fairy tale, one option
is to build them as they are after the story. It’s
easy to imagine that Little Red Riding Hood
grows up to become someone who Metes Out
Justice after her experience with the wolf.
Use more recent adaptations of fairy
tales as your guide. Most current stories,
movies, shows, and comics present fairy
tale characters in active roles because
modern audiences expect characters to
do something. In more recent movies
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about Alice, she becomes a warrior who
wields the Vorpal Blade against the Big Bad
(thus becoming a character who Masters
Weaponry, perhaps, or who Never Says Die).
Alternatively, you can embrace the passive
character by choosing an appropriate focus
like Doesn’t Do Much or Runs Away. These
foci still give the PC a way to participate in
the adventure while remaining true to their
more passive nature, and allow them to
experience interesting growth along the way.
Examples of
Iconic Characters
Unsure what kind of character to play in a
fairy tale game? Here are sample character
builds of iconic characters to get you
started.
Cinderella/Snow White/Little Bo Peep: An
Appealing Speaker who Masters the Swarm
makes for a great “princess or prince with
small friends” character. Want to ask your
bird and mice friends to help make you a
dress? Or maybe you need them to run up
the skirts of the mean witch at your door?
(If Masters the Swarm doesn’t have the
ring you want for your character, feel free to
change the name of the focus to something
more appropriate. Loves the Little Things,
perhaps. Or Befriends the Flock.)
Little Red Riding Hood/Hansel/Gretel:
An Inquisitive Seeker who Learns Quickly
or Metes Out Justice would give you a
character who isn’t afraid to head off into
the dark woods and give that wolf or witch a
little what-for.
The Big Bad Wolf: A Charming or Vicious
Wolf who Fights Dirty or Howls at the Moon
creates a dangerous, slinky hunter.
Jack (from Jack and the Beanstalk): A
Foolish Adventurer who Infiltrates gives you
 CREATING YOUR CHARACTER

Skills
As described in the Cypher System Rulebook, there is no definitive list of skills. Characters Skills, page 19
can choose to become skilled in anything they like (with the GM’s permission). In addition
to the suggested skills in the rulebook, useful skills for fairy tale games might include:
• Baking • Playing an instrument • Talking animals*
• Cobbling • Puzzles • Talking nature*
• Curses • Riddles • Trickery
• Dancing • Sailing • Using magic
• Death • Sensing magic • Weather
• Magic • Singing

Remember that only skills gained through character type abilities or in other rare instances
allow you to become skilled with attack or defense tasks. Thus, all magic skills are
noncombat skills only.

* These skills could be used in a number of different ways, depending on the setting. If the setting
has talking animals that the players can’t understand, the talking animals skill could help a
PC communicate with them in other ways. If there are talking animals that the characters can
understand, the skill could provide an asset in social interactions.

a Jack who ventures forth into new places,
grabs the gold, and gets out, ideally with all
their limbs intact.
Peter Pan: A Chaotic or Impulsive
Dreamer who Never Says Die captures the
mischievous, eternally youthful outlook of
the brash and bold character. In fact, you
could even change the name of your focus
to Never Grows Up.
Pippi Longstocking: A Jovial Trickster
who Controls Beasts or Looks for Trouble
captures the mischievous chaos that a Pippi
Longstocking-type character would bring to
a game.
Sinbad the Sailor: A Risk-Taking Seafarer
who Sailed Beneath the Jolly Roger
creates a mythical explorer of legend.
Consider changing the name of the focus
to something more appropriate to the
character’s exploits, such as Sailed the
Chimera or Sailed the Seven Seas.
Robin Hood: A Beneficent Archer, Warrior, or
Outlaw who Helps Their Friends, Defends
the Weak, or Is Wanted by the Law creates a
variety of different Robin Hoods, depending
on which version of the roguish hero you
want to play.
Type
Your character’s type is the core of who Type, page 20
they are and how they interact with their
environment, their companions, and other
living creatures they encounter. It’s the noun
in the sentence “I am an adjective noun who
verbs.”

“Only demons or spirits pass through the Dark Forest.

Which are you?”
~ Snow White and the Huntsman

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When choosing your type, start with the
idea of who you want to be and worry about
Suggested Types for a Fairy Tale Game the name of the type later. If you want to be
someone who’s great at swinging a sword
Type Name Flavor Suggestions and taking down enemies, choose the
Warrior type, and rename it to whatever you
WARRIOR want. Within the Warrior type, you could
Huntsman Skills and knowledge, stealth be a princess who swings a giant sword, a
Knight butcher who really knows how to wield his
Woodcutter knives, or a trickster who delights in hitting
Guard his enemies with a giant hammer. The
Archer Stealth examples in the box are designed to get you
started, but are by no means exhaustive.
ADEPT Choose the type name that suits your
King/queen character best and run with it.
Wizard/witch Magic, skills and knowledge
Chosen one
Apprentice
Magical being (genie, spirit,
faerie, and so on)

EXPLORER
Adventurer
Dreamer
Seeker
Sailor/seafarer Combat
Wanderer
Outlaw Combat, stealth
Thief Stealth
Wolf Combat, stealth

SPEAKER
Aristocrat
Princess/prince
Entertainer
Helper Magic
Trickster Skills and knowledge

Almost any character in a fairy tale game could take the magic
flavor as part of their type. It’s a great way to give characters a
set of unique magic abilities and to mimic iconic characters in
new and interesting ways.

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Descriptor
Your descriptor is what defines your
character—it changes the way you tackle
every action that you take. Your descriptor
places your character in their current
situation or adventure, and helps provide a
Descriptor, page 38
sense of their motivations. It is the adjective
of the sentence “I am an adjective noun who
verbs.”

Suggested Descriptors for a Fairy Tale Game

The following descriptors are appropriate for fairy tale settings. Other descriptors from the
Cypher System Rulebook may be appropriate but would require consulting with your GM to
determine how such a character might get involved in the campaign.
You can also choose one of the new descriptors in Chapter 16: Creating Heartwood Heartwood descriptors,
Characters, which have been specifically created for a fairy tale setting. page 168

• Appealing • Exiled • Naive

• Beneficent • Foolish • Perceptive
• Brash • Guarded • Resilient
• Calm • Honorable • Risk-Taking
• Chaotic • Impulsive • Skeptical
• Charming • Inquisitive • Strong
• Clever • Intelligent • Strong-Willed
• Craven • Intuitive • Tongue-Tied
• Creative • Jovial • Vicious
• Dishonorable • Kind • Virtuous
• Doomed • Mad • Weird
• Empathic • Mysterious

Heartwood Descriptors
• Bewitched • Fragmented • Haunted
• Changeling • Frumious • Lost

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Focus
Focus, page 60 Your focus makes your character unique.
It gives you benefits when you create your
character and each time you ascend to the
next tier. When you choose a focus, it gives
you a first-tier ability, a special connection
to one or more of your fellow PCs, and
possibly some starting equipment. The
focus is the verb of the sentence “I am an
adjective noun who verbs.”
The Cypher System Rulebook details more
than ninety foci, most of which would
work for a fairy tale game without any
adjustments. Others can be customized,
with your GM’s help, to suit your character
and the setting. For example, Battles Robots
and Builds Robots might not seem like
great foci for a fairy tale game at first glance,
but if you’re playing in a sci-fi or
post-apocalyptic mashup, or even in a
setting along the lines of The Iron Giant,
either of those might be a great choice.
Additionally, the word “robots” could be
a stand-in for “puppets” in settings like
Pinocchio and Edward Scissorhands. With a
little tweaking, you and your GM can likely
adapt almost any focus to the setting and
genre of your game.

Suggested Foci for a Fairy Tale Game

• Abides in Stone
• Absorbs Energy
• Awakens Dreams
• Bears a Halo of Fire
• Blazes With Radiance
• Brandishes an Exotic
Shield
• Channels Divine
Blessings
• Commands Mental
Powers
• Conducts Weird Science
• Consorts With the Dead
• Controls Beasts
• Controls Gravity
• Crafts Illusions
• Crafts Unique Objects
• Dances With Dark Matter
• Defends the Gate
• Defends the Weak
• Descends From Nobility
• Doesn’t Do Much
• Emerged From the
Obelisk
• Employs Magnetism
• Entertains
• Exists in Two Places at
Once
• Exists Partially Out of
Phase
• Explores Dark Places
• Fights Dirty
• Fights With Panache
• Focuses Mind Over
Matter
• Grows to Towering
Heights
• Helps Their Friends
• Howls at the Moon
• Hunts
• Infiltrates
• Is Wanted by the Law
• Keeps a Magic Ally
• Leads
• Learns Quickly
• Lives in the Wilderness
• Looks for Trouble
• Masters Defense
• Masters Spells
• Masters the Swarm
• Masters Weaponry
• Metes Out Justice
• Moves Like a Cat
• Moves Like the Wind
• Murders
• Needs No Weapon
• Never Says Die
• Performs Feats of
Strength
• Rages
• Rides the Lightning
• Runs Away
• Scavenges
• Sees Beyond
• Separates Mind From
Body
• Shepherds the
Community
• Shepherds Spirits
• Shreds the Walls of the
World
• Slays Monsters
• Solves Mysteries
• Speaks for the Land
• Stands Like a Bastion
• Throws With Deadly
Accuracy
• Travels Through Time
• Was Foretold
• Wields Two Weapons at
Once
• Works for a Living
• Works Miracles
• Would Rather Be Reading

Heartwood Foci
• Befriends the Black Dog • Feigns No Fear • Made a Deal With Death
• Curses the World • Lived Among the Fey • Sheds Their Skin

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Don’t hesitate to change the name of your focus to

something that feels more appropriate to the setting. Absorbs
Energy can easily become Absorbs Magic. Dances With Dark Matter
becomes Dances With Dark Magic. Moves Like a Cat becomes
Moves Like a Jabberwock.
You can also choose one of the new Witch from The Lion, The Witch and the Heartwood foci, page 173
foci in Chapter 16: Creating Heartwood Wardrobe would likely have this focus.
Characters, which have been specifically
created for a fairy tale setting. Sailed Beneath the Jolly Roger
With small tweaks to the language and
Adjusted Foci abilities, this could work for someone who
used to be a sailor or pirate. Characters
Battles Robots, Builds Robots, in Peter Pan, The Little Mermaid, and One
Talks to Machines Thousand and One Nights all sailed the high
Best for settings that include elements seas at some point in their lives. Sinbad the
of science fiction. Alternatively, “robots” Sailor and the Dread Pirate Roberts (from
can be a stand-in for puppets, steampunk The Princess Bride) would likely be characters
entities, golems, or other creations such with this focus.
as Pinocchio, Edward Scissorhands, the
Gingerbread Man, and the Tin Man.
Mister Geppetto would likely be someone Fairy Tale Character Arcs
who Builds Robots, while Muska (from Character arcs are fantastic opportunities Character arcs,
Miyazaki’s film Laputa: Castle in the Sky) for players to deepen their roleplaying page 238
might be someone who Battles Robots. options, add to the narrative, and set goals
that can intertwine with and strengthen a
Drives Like a Maniac campaign or adventure. While character Vehicles, page 72
Best for modern settings or those where
traditional fairy tale vehicles such as
horse-drawn carriages, magic carpets,
witch’s brooms, and chicken-legged huts
are common.

Fuses Flesh and Steel,

Fuses Mind and Machine
Best for steampunk or weird science
mashups. Edward Scissorhands and the
Tin Man are probably characters who Fuse
Flesh and Steel. Alternatively, renaming the
foci to Fuses Flesh and Magic or Wants to
Become a Real Boy can provide characters
with the same benefits from a more
magical-sounding source.

Is Licensed to Carry
With small tweaks to the language and
abilities, this could work for someone who
wants to wield a wand, bow, or other ranged
weapon. Merida from Brave and the White

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She couldn’t be the prince, and she’d never be a princess, and she didn’t
want to be a woodcutter, so she’d be the witch and know things.
~Terry Pratchett, the Discworld series

arcs aren’t a requirement, they work
particularly well in fairy tale games, where
individual goals and tasks are often at the
forefront of what drives adventures.
Players can pick from any of the sample
character arcs in the Cypher System Rulebook,
make up their own (with the assistance and
approval of the GM), or choose one of the
Heartwood character new character arcs created specifically for the
arcs, page 176 Heartwood setting.
Here are a handful of sample character
arcs with suggestions for how you could use
them, based on common fairy tales.
Cleanse: A once-beautiful and thriving forest
was cursed and became a barren landscape.
You want to find a way to lift the curse and
bring the forest and its creatures back to
their former glory. This would also work as
an Undo a Wrong arc. (Princess Mononoke)
Fall From Grace: You spent your whole life
trying to hide and control your powers to
keep them from destroying everything you
love. But your powers are growing stronger,
and you don’t know how much longer you’ll
be able to keep them in check. (Frozen)
Growth: You have heard people talk about
being afraid, but you don’t think you
have ever felt truly fearful. You set out to
challenge yourself with ever-scarier tasks
until you learn what it is to feel afraid. (The
Story of a Boy Who Went Forth to Learn Fear)
Repay a Debt: When you were much
younger, you promised your firstborn to
someone who helped you out of a difficult
spot. They have now come to make good on
your debt. (Rumpelstiltskin)
Rescue: One or more of your siblings have
been enchanted by a witch and you must
find a way to break the enchantment and
rescue them. (The Six Swans)
Romance: A character wishes to find their
one true love and get married. Their love
might be someone who’s cursed to look like
a beast (Beauty and the Beast), a prince who
has been enchanted to forget everything
about the character (The True Bride), or
someone who just wishes to marry a king
for her own power (Queen Ravenna in Snow
White and the Huntsman).
Train a Creature: Surely that fire-breathing
dragon wants to be your best friend and
lifelong companion? There’s only one way to
find out. (How to Train Your Dragon)
Heartwood Character Arcs
• Become an Advocate, page 177
• Put Down Roots, page 178
• Develop Coping Strategies, page 178
• Take the Wrong Path, page 178
If you’re having trouble coming up with
an appropriate name for your fairy tale
character, read through any collection
of fairy tales and borrow names from
the stories or even from the titles (there
are some good collections online if you
don’t have books nearby). A quick trip
through a list of fairy tale titles garners
interesting names like Almondella,
Andras, Balor, Bas Chelik, Bran, Ciad, and
Fin MacCumhail.

“Who in the world am I? Ah, that’s the great puzzle!”

~Alice

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Chapter 7
EQUIPMENT
E
quipment and weapons in fairy tales
are typically a fascinating combination
of magic and mundane. While simple,
handcrafted items are most common,
magic moves through a surprising number
of items. Usually it’s not enough to call
notice to itself, but it’s good to know that
it’s always there.
Most weapons that are powered by magic,
such as wands, operate exactly like a regular
weapon; they just do their damage using
magic. That magic can take any form, from
fire to sparkles to dark energy. Typically, this
is a visual effect only. In fact, this is true for
any weapon—any weapon can be powered
by magic, provided the magic only adds to
the look and feel of the weapon and does
not change the mechanics. In a modern-
day fairy tale, for example, a gun could
be powered by faeries and it might shoot
bullets made of compacted fairy dust, but it
would still work like a gun and do the same
damage as a gun.
Equipment and weapons with unique
magic abilities are typically considered to
be cyphers or artifacts and can be found in
those chapters of this book.
This chapter presents common
equipment that characters can find
in fairy tale settings. It’s by no means
comprehensive; if a character had a weapon,
outfit, or object somewhere in a fairy tale
(or even if it feels like they should have had
one), you can make it available to your PCs.
If you’re running a fairy tale game that
combines another setting, such as modern
or post-apocalyptic, with traditional fairy tale
elements, characters should have access
to additional items that make sense in that
setting. What kind of magically powered
car would Maleficent drive, if she lived in a
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EQUIPMENT
modern setting? What magical items would
survive in a post-apocalyptic world?
As always, don’t be afraid to mix and
match equipment and genres. Mashing
things together is one of the things that
fairy tales are best at.
Currency
In most fairy tales, money isn’t precise.
Someone might be poor or rich. They might
find a bag of gold or a chest full of jewels.
They might be the richest man in the town
or have nothing but a tired old cow to their
name. But typically what they don’t have
is “one gold piece” or “thirty farthings”
to their name. This means that whatever
your fairy tale setting, you can think in
general terms of money instead of keeping
meticulous track of every penny, farthing,
gold coin, or dollar.
Fairy tale currency can change from game
to game and setting to setting. In a modern
fairy tale story, you’d likely use modern
currency—money, credit cards, magical
tattoos that keep track of bank accounts, Fairy tale cyphers,
or maybe even special apps on characters’ page 74
phones or devices that they can use only to Fairy tale artifacts,
purchase magical items. page 91
Most traditional fairy tales use gold,
silver, or some other precious metal as
the basis for their currency. Additionally,
individual cultures, countries, or towns
might have their own type of currency—
tumbled stones, perhaps, or magic beans.
Many fairy tales also feature a trade Modern equipment,
economy, exchanging tasks, handcrafted page 263
items, fresh-baked goods, and even stories Post-apocalyptic
or magic for supplies. Don’t be afraid to equipment, page 299
have your characters barter for the items
they want, as this can create unique and
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Feel free to use whatever currency makes sense in your game.
Goods and services are categorized into inexpensive, moderately
priced, expensive, very expensive, and exorbitant. You can figure out
what those terms mean in your setting.
interesting opportunities to interact with
NPCs and the world.
To keep things easy, no matter what
currency your characters use, think of
money as being in simple amounts that
scale up, such as a copper coin, a silver
coin, and a gold coin. These could easily
Price categories, equate to the inexpensive, moderate, and
page 202 expensive items on the equipment list.
Items that are very expensive might be
worth a bag of silver, while exorbitant items
might be worth a bag of gold.
Additionally, if the PCs are completing a
character arc, accomplishing a task, or doing
some other type of action to receive a piece
of equipment, you can use the price category
to decide how complicated or difficult that
task is. A moderately priced item likely
requires completing a moderately difficult
task, while an exorbitant item may require
something that taxes the PCs and really
puts their skills and dedication to the test.
Using the I Have Signature Items
That! rule doesn’t In fairy tales, clothing, weapons, and other
preclude PCs from also
purchasing these items
items that a character carries for a long time
directly. For example, if tend to be very personal and very important.
a character who sews They’re often unique and handcrafted,
wants to buy a thimble they may have names or stories that go
and an inexpensive
Pocket Item, they can. with them, and because characters tend to
However, they cannot keep them for a long time, they may have
later turn the thimble undergone repairs or have markings that tell
into a Pocket Item; it
something about the character’s background.
remains a thimble.
Some characters, such as Tatterhood, Little
Red Riding Hood, and Puss in Boots, are so
strongly associated with their signature item
that they take their names from it.
Encourage players to go into detail
when describing the look and feel of their
character’s favorite belongings. Anything
goes, as long as it fits the setting and doesn’t
have an effect on the mechanics (such as
providing additional Armor or skills).
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Apparel and Armor
In most cases, characters start out by
wearing any type of clothing they choose.
Typically (unless the GM decides otherwise
or unless it is designated as armor),
this clothing is purely for decorative
and roleplaying purposes and offers no
additional benefits.
However, clothing with additional benefits
can be purchased, stolen, found, or earned
by completing favors and accomplishing
tasks. Characters who crave unique or rare
outfits or armor should be able to find
places and people in the world who can
accommodate their desires (for a price, of
course). There is also apparel and armor
items with magical properties that are
considered artifacts.
Optional Rule: I Have That!
In fairy tales, characters often have exactly
the right mundane piece of equipment
that they need to bypass a story-related
obstacle hidden away in a pocket or a bag.
Rather than having the PCs stock up on
mundane items like marbles, rope, and
breadcrumbs in town, use the I Have That!
rule. This means players don’t have to keep
exact track of their characters’ mundane
equipment; instead, they spend an amount
to get an unspecified “Pocket Item” in
that category. Then, when they’re out in
the world and realize they could solve a
problem with an item, they can just say, “I
have that!” and pull it from their pocket. All
Pocket Items are one-use only; after using
them, the PC marks off one of their Pocket
Items for the appropriate price category.
Most Pocket Items are inexpensive, but
moderate and expensive Pocket Items exist,
and are likely more useful than their less
expensive counterparts.
The GM has veto power over items that
they don’t think you could have found
 EQUIPMENT

or carried. If a PC decides they have a Exorbitant

honeycomb to bribe a hungry bear, the GM
may decide that they couldn’t have picked
up a honeycomb or couldn’t have carried it
this whole time, and the character needs to
come up with another idea.
Elegant, bespoke clothing suitable for
moving in elite circles (provides an asset
to interaction tasks)
Weapons and Protective Gear

Example Pocket Items Inexpensive

Ammunition (12 arrows, 12 crossbow
Inexpensive bolts, and so on)
• Apple • Magnets
• Ashes (handful) • Marbles Moderately Priced
• Breadcrumbs • Nails Light weapon (knives, handaxe, hairpin,
• Butter • Needle and darts, wand, slingshot, and so on)
• Candy thread Light armor (hides and furs, thieves’ armor,
• Chalk • Paper leather jerkin, padded coat, and so on)
• Cricket in a cage • Plait of hair
• Cup • Pot of fat Expensive
• Egg • Pot of grease Medium weapon (club, sword, battleaxe,
• Fabric • Ribbon mace, crossbow, spear, staff, and so on) Remember, armor
• Flyswatter • Rice (handful) (with a lowercase a)
Medium armor (breastplate, brigade, is something that the
• Glass jar • Straw character wears, while
chainmail, and so on)
• Glue • Tacks Armor (with a capital
• Honey • Wax A) is the total amount
Very Expensive of Armor that you have,
• Leather • Wool
Heavy weapon (huge sword, great including any magical
hammer, massive axe, halberd, heavy effects. You can wear
Moderate only one type of armor at
crossbow, and so on) any given time, but you
• Bird in a cage • Thimble
Heavy armor (full plate armor) could have many things
• Sewing shears
that give you Armor.
Exorbitant
Jeweled, ornate, royal, or bespoke weapon
Jeweled, ornate, royal, or bespoke armor
Clothing
Basic Equipment
Inexpensive
Gloves or mittens Inexpensive
Hat or hood Candle
Chalk (3)
Moderately Priced Day’s rations
Cloak or coat Meal, decent
Specialized outfit (craftsman, baker, Sack
guard, and so on) Sewing kit
Wizard or enchanter’s outfit Sharpening stone
String or yarn
Very Expensive Thimble
Elegant cloak or coat Tinder and flint
Royal ensemble Torch (3)
Suit or ballgown Vial

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Moderately Priced Travel
Travel accommodations span a wide
Backpack
While items such as range, depending on the characters’ needs
books, games, and decks Bedroll and expectations. Overnight lodging
of cards might seem Book
like an unnecessary
in someone’s extra room, coal shed, or
expense, the woods are Box, small haunted manor is likely to have a moderate
deep and dark, and the Deck of cards cost, staying in an inn is more expensive,
nights are long. Mental and renting a whole house or castle is
health and recreation Game
are important, as are more expensive still. Of course, hiding
Lantern
the friends who can be out in someone’s barn is usually free, but
found in stories or on Meal, fine dining sometimes comes with a cost all its own.
the other side of a game Metal file
table. Not surprisingly,
the most common form Mining pick Moderately Priced
of recreation in fairy Mirror, hand Common transportation, rental
tale settings is telling
stories, singing songs, Quill, ink and paper (2 pieces) (horse-drawn carriage, boat, mount,
and sharing poetry. Rope (50 feet) and so on)
Delightfully, these are
available even to the Tent Lodging, shared room or shed, meager
poorest of adventurers. Waterskin or flask
Expensive
Expensive Magic transportation, rental
(chicken-legged hut, levitating mortar,
Bag of heavy tools
magic carpet, talking mount, flying ship,
Bag of light tools and so on). In most cases, renting magic
Box, medium transportation includes a guide, driver, or
other person who can power and operate
Very Expensive the vehicle. For example, a levitating
Charon’s obol. Imbued coin. Placed in the mortar can only be driven by a witch of a
mouth of a dead person prior to burial certain age.
as payment to Charon, the ferryman, for Common transportation, purchase
conveying the soul to its proper resting (horse-drawn carriage, boat, mount,
place. and so on)
Disguise kit/potion. Asset for disguise Lodging, solo room, decent
tasks.
Healing kit/potion. Asset for healing Very Expensive
tasks. Lodging, whole building or large room
Protective charm. Church bell, four-leaf
clover, rabbit’s foot, and so on. Asset on Exorbitant
defense rolls against fairies and other Magic transportation, rental
fey-like creatures. (chicken-legged hut, levitating mortar,
Handheld scrying mirror. Asset for magic carpet, talking mount, flying
initiative tasks when held in hand or worn. ship, and so on). In most cases, it’s also
necessary to hire a guide, driver, or other
person who can control and power the
vehicle. Alternatively, characters must
take a class, learn a spell, or meet other
magic requirements in order to operate
the vehicle.

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 CYPHERS AND ARTIFACTS

Chapter 8

CYPHERS AND ARTIFACTS

M
agic objects are an important part of
fairy tales, from food (Jack’s magic
beans, Alice’s “Eat Me” cake) and Places to Find Cyphers
nature (sealskins, fallen stars, and golden • Falling from the mouth of magical
feathers) to fashion (seven-league boots, creatures or humans
the poisoned comb and magic corset • Among the rocks of a riverbed
that the witch makes for Snow White) • Stashed under a bridge
and household objects (spinning wheels, • Stuffed in a hollow tree trunk
spindles, tinderboxes, and mirrors). All of • As part of a bird’s nest Taking cyphers from
these items can easily become cyphers and • From a wandering vendor someone else’s home,
• In someone’s house, yard, or garden nest, den, and so
artifacts in fairy tale games. on without asking
Because magic—and thus magic items— • As a thank you for helping someone
is likely not without
are so prevalent in most fairy tales, cyphers • Tucked inside a book repercussions. While
in particular should be easy for characters • Buried for safekeeping cyphers are fairly
• Left behind by someone in a hurry common, it’s still
to replenish. If you’re using subtle cyphers, considered stealing to
you can choose how they arrive—on magic • As part of someone’s elegant outfit take one that someone
storms, perhaps, or in pockets of magic that • In a keepsake box or chest else has already claimed.
exist throughout the world. Or maybe the • Falling from the sky during a storm
magic is such that it just works, ensuring • Hoarded inside a cave or den
that cyphers show up whenever the • Inside a fairy ring Subtle cyphers,
page 378
characters need them.
Manifest cyphers should be readily Manifest cyphers,
available too—likely they can be found for page 379
cheap at a local market, stashed in hollow
tree trunks or bird nests, or scattered about Cypher Limits
the forest floor. Manifest cyphers may also All characters have a maximum number Fey beings, page 121
be integrated into people’s clothing or of cyphers they can have at any one time, Curses, page 49
furnishings as unique adornments. determined by their type. If a character ever Obviously, having a fey
Artifacts are typically more valuable and attempts to carry more cyphers than their being steal a character
away to their realm
less common. Therefore, player characters limit, the magic within the cyphers quickly is a story-changer. If
are less likely to encounter them at random begins to attract fey beings. Fey beings you’re using this as an
and more likely to find them in the hands may react by stealing one or more cyphers, option, figure out ahead
of NPCs, locked or hidden in chests, or for cursing the character, or even stealing the of time what type of
fey is attracted, what
sale by high-end and specialized vendors. character away to a fey realm. their realm is like, and
Acquiring an artifact should almost always how to play out the
require a sacrifice, trial, or difficult task. character’s disappearance
and possible retrieval.

“I was raised to be charming, not sincere.”

~Prince Charming, Into the Woods

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Fey Being Table Cyphers
Roll a d6 (or choose from the options) to Cyphers are one-use abilities that characters
determine the type of fey being attracted. gain over the course of play. They have
d6 Effect powers that can heal, do damage, ease or
1 Faerie hinder tasks, or produce interesting and
unusual effects. In a fairy tale setting, they
2 Changeling
often appear as a simple object, such as a
Goblin, page 335 3 Goblin poisoned apple or a matchbook. They can
Ogre, page 346
4 Nymph also be something intangible, such as three
5 Pixie wishes or a magic word. The shifting state
Cyphers, page 377 of magic in fairy tales makes it easy to use
6 Ogre
both manifest and subtle cyphers in the
same setting and campaign if you desire.
Fey Cypher Attraction Most of the cyphers in the Cypher System
Roll a d6 (or choose from the options) to Rulebook will work in a fairy tale setting
determine the reaction. as is. A few might need small tweaks in
d6 Effect order to better fit the genre, but these are
1 Steals one cypher likely cosmetic and won’t change the game
mechanics. Just like magic, cyphers in
2 Steals two cyphers
fairy tales work in either manifest or subtle
3 Curses the character forms. A selection of example cyphers
4 Curses one cypher, causing it to specific to fairy tales begins on page 77.
reduce all stat Pool maximums If you’d like to give cyphers manifest
by 5 until the cypher is used, forms, roll on one of the Cypher Form tables
removed, or destroyed or choose the forms that best suit your
5 Causes two or more cyphers to needs. Feel free to add descriptions and
react with each other, destroying alter items as you see fit. For example, an
them and inflicting damage equal apple could be a poisoned apple that inflicts
Poison cypher, to the level of the more powerful damage (poison cypher), a golden apple
page 394 cypher that imparts wisdom (Intellect booster), or
6 Steals the character away to their a rotten apple that explodes when thrown
Intellect booster,
page 391 fey realm (detonation).
Once the PCs find a manifest cypher,
Detonation, page 386 identifying it is a separate task, based on
Intellect and modified by knowledge of
the topic at hand. In fairy tale games, that
knowledge skill is magic.

Possibly more so than in any other genre, fairy tales are

overflowing with one-time magic. Something wondrous and magical
shows up, changes everything for the characters, and is never
mentioned again. That’s what makes cyphers so great for fairy
tale games. Hand them out liberally, and give the PCs interesting
opportunities to use them to their fullest advantage. Ideally, characters
should always have as many cyphers as they can carry, and ample
opportunities to acquire more.

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 CYPHERS AND ARTIFACTS

Cypher Forms
While characters can find or purchase many of these items in the world, only magic
versions of the items are cyphers. Characters should easily be able to tell when an item is
magic (and thus a cypher) and when it’s an ordinary item. Think of Jack, who knew magic In settings full of magic,
beans when he saw them, even if no one else did. However, like Jack, the PCs may not cyphers should be both
readily available and
understand right away what the cypher does or how it works. regularly used. If the PCs
are hoarding or saving
d20 Form d20 Form their cyphers, feel free to
give them a reason to
01 Apple 01 Ball of yarn
use them. And have a list
02 Pebble 02 Mushroom of replacement cyphers
03 Scroll 03 Four-leaf clover ready so the players never
have to go without.
04 Lock of hair 04 Hand mirror
05 Matchstick 05 Comb
06 Feather 06 Acorn
07 Egg 07 Apple seeds Typically, something
08 Tea 08 Fish scales like a handful of magic
beans or apple seeds
09 Fingernail clippings 09 Chalk is considered a single
10 Magic beans 10 Key cypher even though there
11 Rose 11 Bell are multiple items.

12 Small cake 12 Talisman

13 Wolf’s tooth 13 Hand mirror
14 Vial of liquid 14 Secret
15 Magic coin 15 Broken arrow
16 Wish 16 Fairy dust
17 Magic word 17 Spindle
18 Curse 18 Handkerchief
19 Spell 19 Hand fan
20 Fallen star 20 Playing card

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Fairy Tale Cypher Table
When giving cyphers to characters, choose from this table or roll d100 for random results.

d100 Cypher 40 Forget-me-knot 81 Silver slippers

01 Adderstone 41 Genie’s handkerchief 82 Singing bone
02 Agate eye 42 Gilded shell 83 Snake leaves
03 Animated wood 43 Gingerbread man 84 Snickersnee
04 Anywhere door 44 Godfather’s picture book 85 Song of the dead
05 Apple of discord 45 Golden beetle 86 Sorcerer’s skeleton key
06 Azure dust 46 Golden vanity 87 Spirit ring
07 Baba Yaga’s spiced cookie 47 Green spectacles 88 Teleport hat
08 Bellman’s map of the 48 Hart’s heart 89 Three needles
ocean 49 Heart of a star 90 Tin Man’s tears
09 Beloved’s kiss 50 Heart’s tart 91 To Peter with love
10 Bird’s nest coronet 51 Hot cross buns 92 Valorous whetstone
11 Blackbird pie 52 Iron bands of three 93 Vase of tears
12 Blood pearl blossom 53 Itsy bitsy spider 94 White snake
13 Bone key 54 Jack’s candlestick 95 Wish-granting pearl
14 Bones of the beloved 55 Jiminy cricket 96 Witch bottle
15 Bowl of porridge 56 The Key of Knowing 97 Witch’s ladder
16 Cat sidhe medallion 57 Knave of Hearts 98 Wooden spoon
17 Cheshire smile 58 Lion’s courage 99 Yonder yarn
18 Coalheart’s beard balm 59 Living water 00 Roll on the cypher tables
19 Croc’s clock 60 Magic beans in the Cypher System
20 Crown jewel 61 Memory’s match Rulebook
21 Dame Trot’s cat 62 Mermaid tear
22 Darning needle 63 Neverlost
23 Dead water 64 Nonsensical poem
24 Deathless 65 Omniscient bean
25 Death’s candle 66 Pictureless book
26 Death’s messengers 67 Poison for your daughter
27 Diadem of death 68 Poisoned apple
28 Dragon’s blood 69 Poppet (damage)
29 Dragon’s teeth 70 Poppet (love)
30 Dressmaking nut 71 Poppet (prosperity)
31 Drink me 72 Poppet (silence)
32 Dust of the dreamer 73 Powder of life
33 Eat me 74 Princess’s pea
34 Emperor’s new clothes 75 Rabbit hole
35 Fairy cup 76 Rapunzel leaf
36 False grandmother 77 Rose of red
37 Father’s betrayal 78 Shadow soap
38 Flaming arrow 79 Shard of the moon
Cypher tables, page 382
39 Flowers for grandmother 80 Shining knife

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A Selection of
Fairy Tale Cyphers
A few examples of fairy tale cyphers are
presented here.
Adderstone
Level: 1d6 + 3
Form: Stone with a hole in the middle
Effect: For the next day, provides the
character with one of the following
benefits. Roll a d20 or choose from the
table.
d20 Effect
1–3 When looking through the hole,
the user gains an asset to seeing
things that are normally invisible
to the eye, including doorways,
beings, spirits, magical effects,
and so on.
4–6 When worn on the finger as a
ring, wards off spirits of the dead
(grants +1 Armor against attacks
from ghosts, haunts, and other
spirits of the dead).
7–9 When attached to physical armor,
adds 1 to the Armor it provides
(adds 2 to the Armor if the cypher
is level 6 or higher).
10–12 When held in the mouth, protects
against poisons (up to the level
of the cypher).
13–15 When placed on the finger of
another with good intent, it adds
1 to the recovery rolls of both the
user and the wearer.
16–18 When worn on a string around
the neck, provides training in two
noncombat skills of the user’s
choice that they are not already
trained in.
19–20 When tied in the hair, eases all
defense tasks against curses by
two steps.
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CYPHERS AND ARTIFACTS
Agate Eye
Level: 1d6 + 2
Form: Striped stone that looks like a
dragon’s eye
Effect: When ground up and added to food
or drink, or applied to the skin, renders
the user immune to poisons of the
cypher level or lower for one hour per
cypher level (and ends any such ongoing
effects, if any, already in the user’s
system). Adderstones are
sometimes also called
hagstones, seer stones,
Animated Wood and holey stones.
Level: 1d6
Form: Chunk of pine, alder, or other wood
imbued with magical properties
Effect: Writing a word, such as “child,”
“horse,” or “sword,” on the wood causes Beware false adderstones,
it to become a living version of that which are made by
enterprising swindlers
word. The living version is no bigger who drill or carve a hole
than 10 feet by 10 feet by 20 feet (3 m out of a regular stone
by 3 m by 6 m) and its level is equal to and attempt to pass it
off as something more.
the cypher level. It can make attacks
or perform actions as commanded to
the best of its abilities and lasts for one
hour per cypher level. Commanding it is If a character has no
not an action. hair in which to tie an
adderstone, perhaps they
Once activated, animated wood is not an can “borrow” some from
unthinking, docile being. It may, in a friend, a domesticated
fact, resist the user’s commands and animal, or a foe.
attempt to take its own actions. Any
actions it takes cannot be harmful to the
user or the user’s allies. The user may Preventing curses,
attempt to stop an unwanted action via page 49
persuasion, intimidation, and so on (any
such tasks against the animated wood
are eased by two steps).
77
 WE ARE ALL MAD HERE
Anywhere Door
Level: 1d6 + 3
Form: Chalk, pen, pencil, lipstick, or marker
Effect: Creates a door to anywhere. The
door remains for one day, and then
disappears. While the door exists,
anyone or anything that can discern the
door can use it. Erasing the drawn line
erases the door.
Apple of Discord
Level: 1d6 + 1
Form: Beautiful golden apple that catches
the eye of all who see it
Effect: When tossed up to a long distance
away, it affects all foes in short range
of the apple, causing them to attempt
to take it for themselves. Foes spend
their next two actions doing nothing
but fighting among themselves for
possession of the apple.
Azure Dust
Level: 1d6 + 1
Form: Handful of dust from the Fairy with
Sing a song of sixpence, the Turquoise Hair
A pocket full of rye; Effect: Sprinkling the dust on someone’s
Four-and-twenty hair, skin, outfit, or other object
blackbirds permanently dyes it bright blue.
Baked in a pie.
When the pie was opened Baba Yaga’s Spiced Cookie
The birds began to sing; Level: 1d6
Wasn’t that a dainty dish Form: Rye cookie flavored with spices and
To set before the king? honey
Effect: Eating the cookie increases the user’s
Intellect Edge by 1 for one hour.
Bellman’s Map of the Ocean
Level: 1d6 + 2
“Other maps are such Form: Blank sheet of paper rolled and tied
shapes, with their with a hair tie
islands and capes!
Effect: When unrolled, convinces everyone
But we’ve got our brave within short range that the character
Captain to thank holding the map knows far more than
(So the crew would they do. For the next ten minutes,
protest) “that he’s affected beings look upon the map-
bought us the best—
holder as their leader or guide, will not
A perfect and attack them, and generally will do as
absolute blank!” they ask (all social interactions with
~Lewis Carroll, those affected are eased by two steps).
The Hunting of the Snark
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Beloved’s Kiss
Level: 1d6 + 3
Form: Ruby red ring
Effect: When pressed to the lips of a
character, beloved’s kiss prevents the
occurrence of one specific condition of
the cypher level or lower. Additionally,
it ends any such ongoing effect, if
any, in the user’s system. Roll a d6 to
determine the result.
d6 Condition
1–2 Renders the character immune to
poisons for one hour per cypher
level (and ends any ongoing
effects)
3–4 Renders the character immune
to curses for one hour per cypher
level (and ends any ongoing
effects)
5–6 Renders the character immune
to mental effects for one hour
per cypher level (and ends any
ongoing effects)
Bird’s Nest Coronet
Level: 1d6 + 3
Form: Beautifully woven bird’s nest
Effect: When worn like a crown, the bird’s
nest creates an illusion over the wearer,
making them appear like royalty.
Others are more likely to follow their
suggestions, defer to their wishes, and
treat them well. All social interactions
are eased by two steps for one day.
Seeing through the disguise is an
Intellect task equal to the cypher’s level.
Blackbird Pie
Level: 1d6
Form: Four-and-twenty blackbirds baked in
a pie
Effect: When the pie is cut open, the
blackbirds begin to sing a haunting
dirge of pain and sorrow. All foes within
long range who hear the song are
hindered on all tasks for ten minutes.

Blood Pearl Blossom
Level: 1d6 + 4
Form: Rare blood-red flower with a beautiful
pearl in its center
Effect: When ingested, removes one curse (of
the cypher level or lower) from the user.
The curse-removal process can take from
one round to one day, depending on the
level, severity, and type of curse.
Bone Key
Level: 1d6 + 2
Form: Human finger bone carved into a
skeleton key
Effect: Unlocks one lock of the cypher level
or lower, or provides an asset to open a
lock of higher level.
Bones of the Beloved
Level: 1d6 + 3
Form: Handful of ground bones
Effect: When eaten, the bones begin a
process of lowering the eater’s apparent
age. Over the next three days, the user
begins to look younger and younger, until
they reach the appearance of someone
no younger than their mid-twenties.
Their hair shines, their teeth glow, their
wrinkles disappear, their back unstoops.
The effect lasts for three days (five days
if the cypher is level 6 or higher). This
does not change the actual health or age
of the character.
Bowl of Porridge
Level: 1d6 + 3
Form: Just-right bowl of porridge
Effect: Restores a number of points equal to
the cypher level to the user’s Might Pool.
Also protects the user from the effects
of cold for ten minutes.
Cat Sidhe Medallion
Level: 1d6 + 2
Form: Medallion in the shape of the white
symbol on a cat sidhe’s chest
Effect: When activated, the medallion
protects the wearer from the next curse
(of the cypher level or lower) that is
cast upon them. The curse goes into
the medallion, which shatters into
thousands of tiny pieces.
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CYPHERS AND ARTIFACTS
Cheshire Smile
Level: 1d6
Form: Mischievous grin
Effect: When hung in the air, the grin slowly
transforms into a grey Cheshire Cat that
seems to be made mostly of smoke
and shadow. It has huge blue eyes and
an enormous grin. The cat acts as a
creature (level equal to the cypher’s RIDDLE: What kind
level) with a mind of its own, although it of a cat can grin?
likely helps the person who activated the ANSWER: A catenary.
cypher. It sticks around for ten minutes,
and then fades away slowly, until even
the original smile has disappeared.
Coalheart’s Beard Balm
Level: 1d6
Form: Jar of balm
Effect: When rubbed on the face, the balm
grows into a long, golden beard in
about ten minutes. When the user Many dwarfs have
tugs on their beard, it points them beards with magical
powers. It’s possible to
in the direction of valuable treasure, find other beard balm
the location of which was previously cyphers out in the world.
unknown to the user. If someone else
cuts the beard before the treasure
is found, it loses its power. After the
treasure is found, the beard remains.
But once it is shaved or cut, it does not
grow back.
Cat sidhe, page 108
79

“I suppose it’s like the
ticking crocodile, isn’t it?
Time is chasing after all
of us.”
~J.M. Barrie, Peter Pan
If someone gets a hold
of another person’s soul,
they have a great deal of
power over that person
(such as easing all actions
against them by three
steps). Those who use a
deathless should ensure
that it’s well hidden
and well protected.
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Croc’s Clock
Level: 1d6
Form: Tiny ticking clock, no bigger than a
thumbnail
Effect: When attached to (or swallowed by)
a living creature or an object, the clock
ticks loudly, alerting everyone within
long range to its presence for one day.
Crown Jewel
Level: 1d6 + 2
Form: Shining jewel from a royal crown
Effect: When attached to an item such as
a weapon, shield, armor, cypher, or
artifact, creates an exact duplicate of
the item. The duplicate works just like
the original and lasts for ten minutes
or until it naturally depletes (whichever
comes first).
Dame Trot’s Cat
Level: 1d6 + 3
Form: Statue of a cat
Effect: When activated by feeding it a bit
of milk or fish, the statue protects the
user, yowling and hissing the next time it
senses danger. The cat’s level is equal to
the cypher level.
Darning Needle
Level: 1d6
Form: Needle with a large eye
Effect: When activated, grows into a larger
version of itself that acts as a medium
weapon. It inflicts 4 points of damage
and causes anything it successfully hits
to shrink to half its size. The needle
lasts for a number of hours equal to the
cypher’s level.
Dead Water
Level: 1d6 + 3
Form: Vial, pot, or jar of black liquid
Effect: Brings a character back to life.
However, they come back with a
permanent 3-point reduction in their
maximum Might Pool.
Deathless
Level: 1d6 + 3
Form: Needle inside an egg
Effect: When a character places their soul
inside the needle and places the needle
inside the egg, they are protected from
their next death. When the character
dies, they return to life on the next
round, with all of their Pools full.
Using the deathless does not protect
the character from taking damage or
moving down the damage track. Placing
the soul and returning to life are actions.
Once the cypher holds the user’s soul,
it no longer counts against their cypher
limit.
Death’s Candle
Level: 1d6 + 4
Form: Small, half-burnt black candle
Effect: Once the candle is lit, it burns for a
number of rounds equal to the cypher’s
level. During that time, the user who
lit it is protected from death or being
moved down the damage track. While
the candle burns, if the character
would normally die, they do not and
instead reject all damage. For example,
if a character has 5 points left in their
last Pool, and a foe inflicts 5 points
of damage on them, putting all their
Pools at 0, the user takes no damage.
However, if a foe inflicts 4 points of
damage, which is not enough to kill
the user, the user takes the 4 points of
damage.
Death’s Messengers
Level: 1d6 + 2
Form: Bottle, vial, or box filled with three
wisps of dark smoke
Effect: The three smoke wisps wrap around
a creature within close range, causing
them to feel dizzy, experience ringing in
their ears, and have blurred vision. For
the next three rounds, the cypher inflicts
damage equal to the cypher’s level (each
round).

Diadem of Death
Level: 1d6 + 4
Form: Crown made of feathers, bits of bone,
burnt hair, and old teeth
Effect: When worn on someone’s head,
looped over a limb, or otherwise placed
upon their person, the crown inflicts
damage equal to its level.
Dragon’s Blood
Level: 1d6
Form: Powdered dragon’s blood
Effect: When mixed with liquid and painted
on a living being, grants one of the
following effects for a day.
d6 Effect
1–2 +2 to Armor
3–4 Asset to all tasks involving magic
5–6 Asset to all tasks involving
romance, sex, and fertility
Dragon’s Teeth
Level: 1d6
Form: Handful of dragon’s teeth
Effect: When planted, the dragon’s teeth
grow into three fully armed warriors.
The warriors can understand the
verbal commands of the person who
planted them. Once they are grown,
commanding them is not an action.
They can make attacks and perform
actions to the best of their abilities. The
warriors can never go farther than long
range from the character who planted
them.
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CYPHERS AND ARTIFACTS
Planting the teeth is an action. It takes
two rounds for the teeth to grow into
warriors. The warriors last for one hour
per cypher level.
Dressmaking Nut
Level: 1d6 + 2
Form: Walnut or other shelled nut, with
hinges and a clasp
Effect: The nut opens to reveal a stunning Beings of all genders can
and spectacular ballgown, evening wear any form of outfit
from the dressmaking nut
dress, or tuxedo. The outfit is the perfect and receive the benefits.
size, shape, style, and color for the
person who wishes to wear it. While
worn, the outfit eases all tasks involving
charm, persuasion, and etiquette for one
hour. After that, the outfit may still be However, this bottle
worn, but no longer offers any benefits. was not marked “poison,”
so Alice ventured to taste
it, and finding it very nice
Drink Me (it had, in fact, a sort of
Level: 1d6 mixed flavour of
Form: Liquid inside a glass bottle with a cherry-tart, custard,
pineapple, roast turkey,
paper label that says “DRINK ME” toffee, and hot buttered
Effect: Causes the imbiber to shrink down toast), she very soon
to half their size. The effect lasts for one finished it off.
hour or until the user can find another ~Lewis Carroll,
way to change their size (such as with Alice in Wonderland
an eat me). Warriors: level 3;
Armor 1; swords inflict
3 points of damage
Dust of the Dreamer
Level: 1d6
Form: Pouch of very fine, rainbow-hued dust
Effect: When sprinkled in the eyes, grants
the recipient all the benefits of a
ten-hour recovery roll as a single action.
This does not use up any of their
recovery rolls.
Eat Me
Level: 1d6
Form: Very small cake with the words “EAT
ME” written on it in currants
Effect: Causes the eater to grow to twice
their size. The effect lasts for one hour
or until the user can find another way to
change their size (such as with a drink
me).
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Emperor’s New Clothes
Level: 1d6
Form: Magical thread sewn onto armor
Effect: For the next day, the armor the
thread is attached to is invisible, making
the wearer appear to be unarmored.
Fairy Cup
Level: 1d6 + 1
Form: Decorated vessel made of precious
It’s believed that burying materials
a fairy cup returns it to Effect: When the cup is buried in the
its rightful owners below
ground, and it is they
ground, it grants the person who buried
who offer protection it protection. They gain +2 Armor
by way of thanks. against all physical and mental attacks
for one day.
False Grandmother
Level: 1d6 + 2
Form: Pair of wire-rimmed glasses
Effect: While wearing the glasses, the user
designates one living creature that
they can see. For the next ten minutes
per cypher level, the user is disguised
as someone the designated creature
knows well. The user has no say in who
that person is, but while the disguise
is active, all interactions with the
designated creature are eased by two
steps. The user can remove the glasses
to look like themselves again before the
end of the duration.
Father’s Betrayal
Level: 1d6 + 2
Form: Small stone shaped like a heart
Effect: For the next ten minutes, a creature
that the user can see is banished from
an area 30 feet by 30 feet (9 m by 9 m)
around the user. If the creature is within
Genie’s handkerchiefs that area when the cypher is activated,
come in many colors they are knocked outside the area and
and materials. Some
people find that after
are dazed for one round, hindering their
their magic is used up, next action.
they make fine blankets,
curtains, or cloaks. Flaming Arrow
Of course, extended
exposure to mercury Level: 1d6 + 2
has its drawbacks. Form: Arrow with a silver-white shaft, golden
head, and fletching of peacock feathers
Effect: The arrow explodes into flame when
it strikes something, inflicting its level in
damage to all within immediate range.
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Flowers for Grandmother
Level: 1d6 + 2
Form: Fresh-picked bouquet of flowers tied
with a red ribbon
Effect: Giving the flowers to someone else
provides both the recipient and the giver
an asset in defense against damage of a
specified kind for one hour. Roll a d6 to
determine the effect.
d6 Effect
1 Curses
2 Fire/Heat
3 Ice/Cold
4 Poison
5 Intellect
6 Slashing and piercing
Forget-Me-Knot
Level: 1d6 + 3
Form: Length of magical rope
Effect: Knotting the rope together to form
a loop allows the user to capture a
memory from their past. They don’t lose
the memory when capturing it with the
forget-me-knot.
When the user unties the loop, everyone
in close range spends one round doing
nothing but experiencing the memory
as if it were their own. If the memory
is particularly sad, loving, scary, and
so on, all affected beings likely spend
an additional round dealing with the
emotional impacts of that memory.
Capturing the memory is an action, as is
untying the loop.
Genie’s Handkerchief
Level: 1d6
Form: Extremely large handkerchief with one
corner coated in mercury
Effect: Rubbing the cloth over a wound
heals the wound (restores all points to
the character’s Pools), but also uses up
one recovery roll for the day.

Gilded Shell
Level: 1d6
Form: Golden snail shell
Effect: When blown into softly, the shell
expands into a simple structure with a
front door and walls that let in a soft
light. From inside the structure, it’s
about 10 feet by 10 feet by 20 feet (3
m by 3 m by 6 m). From the outside,
the shell continues to look exactly the
way it did before, in both size and
shape, making it difficult for others to
notice. Once expanded, the structure is
permanent and immobile.
Gingerbread Man
Level: 1d6
Form: Gingerbread cookie in the shape of a
human, lavishly decorated
Effect: After eating the cookie, the user has
training in Speed defense for the next
day.
Godfather’s Picture Book
Level: 1d6 + 2
Form: Large book full of tales
Effect: When someone flips through the
pages quickly, time is altered. If the user
flips through the book forward, time
jumps forward. Flip backward and time
jumps backward. Moving time forward
gives the user an additional action on
their turn. Moving it backward allows
them to retry their previous action.
After the book is used this way once, it
becomes a regular book and does not
count against the character’s cypher
limit.
Golden Beetle
Level: 1d6
Form: Golden scarab beetle
Effect: When dropped into liquid and
cooked, it creates enough food to fill the
stomachs of all friends and allies within
long range.
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CYPHERS AND ARTIFACTS
Golden Vanity
Level: 1d6
Form: Golden vanity set in a small, sturdy
box that includes a brush, comb, and
mirror
Effect: Each item may be used once and has
a different effect:
Golden brush: Creates bristly terrain in
an immediate area, which counts as
difficult terrain. Difficult terrain,
Golden comb: Creates jagged, toothy page 224
rocks in an immediate area, making it
extremely painful to cross. Characters
within the area take 1 point of damage
each round from the rocks.
Golden mirror: Turns into a tall glass
mountain 30 feet tall by 300 feet wide Run, run, fast as you can,
(9 m by 90 m). All climbing tasks are You can’t catch me,
I’m the gingerbread man!
hindered, and a fall from any height ~The Gingerbread Man
does 3 points of ambient damage
(ignores Armor).
The landscape effects are permanent. The
golden vanity counts as a single cypher
against the character’s cypher limit.
When all three items have been used, it “You may show the
remains a functional vanity set but no book to anybody you
like; that is, to people
longer holds any magic. with kindly eyes and
friendly minds; but if a
Green Spectacles hell horse should come,
Level: 1d6 then close Godfather’s
picture book.”
Form: Pair of glasses with bright green ~Hans Christian
lenses Andersen, Godfather’s
Effect: Once activated, protects the wearer Picture Book
from being blinded or having their
vision affected in other ways for one day.
The wearer can see through illusions of
the cypher level or lower and can see in
the dark as if it were daylight.
Hart’s Heart
Level: 1d6 + 3
Form: Still-beating heart from a forest stag,
kept in an ornate lined box
Effect: When the user offers the heart to
another living being, all attempts by
the user to bribe, deceive, coerce, or
convince the recipient are eased by two
steps.
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Heart of a Star Iron Bands of Three
Helping, page 226 Level: 1d6 Level: 1d6 + 3
Form: Still-warm piece of a fallen star Form: Three flexible iron bands
Effect: For the next ten minutes, when the Effect: Wrapping the iron bands around the
The queen of hearts,
She made some tarts,
user helps another character while user’s heart keeps it from breaking with
All on a summer’s day, holding the star, that character’s task is trouble and anxiety. While wearing the
The knave of hearts eased by an additional step. (If the user bands, the user automatically succeeds
He stole those tarts, has an inability in the relevant skill, the on their next three Intellect defense rolls
And with them run away:
The king of hearts other character’s task is still eased.) against anything that would make them
Call’d for those tarts, feel sad, fearful, intimidated, and so on.
And beat the Heart’s Tart Each time the cypher activates to protect
knave full sore;
Level: 1d6 + 2 the user, one of the bands breaks. When
The knave of hearts
brought back those tarts, Form: Red tart in the shape of a heart all three bands are broken, the cypher is
And said he’ll ne’er Effect: When eaten, eases all tasks involving used up.
steal more. stealing, picking pockets, sneaking,
running, surprise, and initiative for ten Itsy Bitsy Spider
The name Jiminy Cricket minutes. Level: 1d6
is a play on the minced Form: Tiny spider inside a jar, box, or
oath for “Jesus Christ.”
For example, in The
Hot Cross Buns thimble
Wizard of Oz, Dorothy Level: 1d6 Effect: When released, the spider sets up
exclaims, “Oh! Oh! Form: Small spiced cake a web in a nearby corner. For the next
Jiminy Crickets!” when Effect: When eaten, restores a number of ten minutes, the web catches thoughts,
she’s surprised by the
Wizard’s fireworks display. points equal to the cypher’s level to the secrets, and information about the
user’s Might Pool. general area (up to about a square
mile), including any creatures, people,
weather, or goings on. At the end of that
time, the user can read the web, gaining
answers to a number of questions equal
to the cypher’s level. The questions must
pertain to the area and must be simple
enough that the spider can answer them
in three words or less.

Jack’s Candlestick
Level: 1d6 + 3
Form: Burning candlestick
Effect: Jumping over the candlestick
restores a number of points equal to the
cypher’s level to the user’s Speed Pool.

Jiminy Cricket
Level: 1d6
Form: Small wooden or metal cricket
Effect: Allows the user to retry a task that
they failed within the past minute, using
the same difficulty and modifiers.

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The Key of Knowing
Level: 1d6 + 3
Form: Golden key that is permanently
stained with blood
Effect: When used to open a lock (of the
cypher level or lower), grants the user
the opportunity to ask three yes-or-no
questions about a person, place, or
thing. The key answers to the best of its
ability and knowledge, and it does not
attempt to lie or trick the user with its
answer.
After the key is used in this way, the blood
disappears from its surface and the key
refuses to open anything (or speak) ever
again.
Knave of Hearts
Level: 1d6 + 2
Form: Playing card depicting an elegant
knight
Effect: Turns the user into the knight
depicted on the card. They take on the
appearance, voice, and mannerisms
of the knight. They also gain +1 Armor,
+1 damage, and an asset in sneaking,
hiding, and stealth. The effect lasts for
ten minutes per cypher level.
Lion’s Courage
Level: 1d6 + 1
Form: Small medallion with the word
“COURAGE” inscribed upon it.
Effect: When activated, grants the user
additional courage in the face of fear. For
ten minutes per cypher level, any time
the user is attacked and they attempt to
make an attack on their next action, that
attack is eased and they inflict +1 point
of damage.
Living Water
Level: 1d6 + 3
Form: Vial, pot, or jar of liquid
Effect: Removes any ongoing damage,
lasting damage, or permanent damage
the character has. However, the
character has a permanent 3-point
reduction in their maximum Might Pool.
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CYPHERS AND ARTIFACTS
Magic Beans
Level: 1d6 + 4
Form: Handful of magic beans
Effect: When planted and watered, the
beans grow into a giant beanstalk.
It’s almost impossible to know where
the beanstalk leads until you climb it.
Climbing the beanstalk is a level 5 task.
Memory’s Match
Level: 1d6
Form: Matchbox with one match inside
Effect: Lighting the match causes everyone
nearby to see a vision that comforts She rubbed another
them. Those who watch the vision in match against the
wall. It became bright
the flame for one round feel rejuvenated again, and in the glow
and comforted. Anyone who makes a the old grandmother
recovery roll in the next ten minutes stood clear and shining,
gains +3 to the roll. After that, anyone kind and lovely.
~The Little Match Girl
who watched the vision but didn’t make
a recovery roll takes 3 points of Intellect
damage (ignores Armor).
Mermaid Tear
Level: 1d6 + 2
Form: Tear-shaped drop of sea glass
Effect: When swallowed, fills the user with
an overwhelming sense of sadness.
The user takes 1 point of Intellect
damage, but gains an asset on any
tasks involving water for the next ten
minutes. The task must involve water in
a significant way (for example, swinging
a sword while it’s raining likely doesn’t
count, but crying as part of an attempt
to persuade someone, casting a magic When dead water and
spell involving water, or using a pool to living water cyphers are
used together, a dead
scry would all be appropriate). character can be brought
back to life without any
Neverlost permanent reductions
Level: 1d6 of their Might Pool.
Form: Bag of bread crumbs, pebbles, or Dead water, page 80
candy
Effect: When dropped along a path or trail,
the items become invisible to everyone Ongoing, lasting,
except the user and any allies the user and permanent
damage, page 436
designates. The items last for one day
per cypher level and can be seen by the
user and their allies, even in complete
darkness.
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Nonsensical Poem
Level: 1d6 + 4
“And what is the use Form: Nonsense poem written in mirror
of a book,” thought writing
Alice, “without pictures
or conversations?”
Effect: Reading the poem aloud lets the
~Lewis Carroll, user reverse one thing about their
Alice’s Adventures present situation for up to ten minutes.
in Wonderland Up becomes down. Gravity works the
other way. A river flows backward. The
Pictureless book affects sun shines at night. (The player should
NPCs’ health instead work with the GM to come up with an
of their Pools, either
appropriate and acceptable change.)
restoring them to
full health or doing 5
points of damage. Omniscient Bean
Level: 1d6 + 2
Form: Magical bean made into a cake
Effect: When eaten, the bean allows the
user to tap into magic. They can ask
“I know everything,” the GM one question related to their
said the boy, “and
current task, location, or action and
what I don’t know,
I can find out.”
get a general answer. The GM assigns
a level to the question, so the more
~The Devil with the
Three Golden Hairs obscure the answer, the more difficult
the task. Generally, knowledge that a PC
could find by looking somewhere other
than their current location is level 1, and
obscure knowledge of the past is level 7.
The cypher cannot provide an answer to
a question above its level (which means
it can’t provide knowledge about the
future, since that is level 10).
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Pictureless Book
Level: 1d6
Form: Book without pictures
Effect: Reading the book aloud for one
round causes all who hear it within
short range (except the user) to fall
into a deep sleep for one round. While
they sleep, they have intense dreams
and cannot take any other actions.
The dreams affect them in one of the
following ways.
d6 Effect
1–2 Sweet dreams. All dreaming
characters have all of their Pools
restored to full.
3–4 Nightmares. All dreaming
characters take 5 points of
Intellect damage.
5–6 Dream world. All dreaming
characters enter a dream world,
where they have an experience
that causes them to temporarily
learn a noncombat skill of their
choice for the rest of the day.
Poison for Your Daughter
Level: 1d6 + 2
Form: Clear liquid that can be spread on any
object, such as an apple, hair comb, or
weapon
Effect: The poison creates a specific reaction
for one hour in a creature who uses
the object. Roll d100 to determine the
reaction.
d100 Reaction
01–20 Sleep. The creature falls into a
deep, dreamless sleep. While
sleeping, the creature cannot take
any actions, but is protected by a
glass coffin that grants +2 Armor.
The creature wakes if they are
touched by someone they love or
if they take damage.
21–40 Disappear. The creature becomes
invisible to everyone and
everything for a number of
rounds equal to the cypher level.
During that time, they cannot be
heard, felt, or sensed.

41–60 Alter. The creature becomes
physically altered until they
are unrecognizable, even
by their loved ones. The
alteration also affects their
clothing, possessions, and any
distinguishing characteristics or
mannerisms.
61–75 Lost. The creature becomes
deeply and frighteningly lost,
even if they are in familiar
surroundings (such as their own
bedroom). They do not recognize
any landmarks, cannot find their
way, and feel a deep sense of
panic.
76–85 Breathless. The creature feels
like they are unable to breathe,
gulping air and short of breath.
Although they are not dying, they
feel as though they are. All tasks
are hindered.
86–95 Compulsion. The creature
becomes obsessed with a single
task, unable to do anything
else until they achieve it. The
task might be simple (picking
the most beautiful rose from
a garden) or complex (knitting
seven sweaters from nettles). All
actions that don’t contribute to
completing the task are hindered.
96–00 Dutiful. The creature becomes
much easier to interact with. All
tasks to influence the poisoned
creature are eased by two steps.
Poisoned Apple
Level: 1d6 + 2
Form: Apple that is half white and half red
Effect: Eating from the white half heals
the user, restoring a number of points
equal to the cypher’s level to their Might
Pool. Eating from the red half poisons
the user, inflicting damage equal to the
cypher’s level. Each half of the apple has
the power to affect only one creature.
Both halves of the apple can be used by the
same or different people as long as it’s
done within a few rounds of each other.
However, in order for the cypher to take
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CYPHERS AND ARTIFACTS
effect, the user must willingly take a bite.
It’s impossible, for instance, to “Are you afraid of
force-feed someone part of the apple poison?” asked the old
woman. “Look, I’ll cut
and have the cypher activate. the apple in two. You eat
the red half, and I shall
Poppet (Damage) eat the white half.”
Level: 1d6 + 4 Now the apple had
been so artfully made
Form: Small figure made of cloth, stuffed that only the red half was
with hair and bone poisoned. Snow-White
Effect: Writing the name of an object or longed for the beautiful
apple, and when she
living being on the figure connects
saw that the peasant
the figure with that object or being. woman was eating part
Destroying the poppet inflicts damage of it she could no longer
resist, and she stuck
on the connected object or being equal
her hand out and took
to the cypher’s level, no matter how
the poisoned half. She
far away it is. Writing the name and barely had a bite in her
destroying the poppet are separate mouth when she fell
actions. to the ground dead.
~Brothers Grimm,
Little Snow-White
Poppet (Love)
Level: 1d6 + 2
Form: Small figure made of wax, adorned
with flowers and herbs
Effect: Giving the poppet to another living
being in a short ceremony (usually
simply saying the being’s name and
making an offer of deep positive
emotion) protects them from all harmful
effects the next time they are attacked. If
the positive emotion is returned (such
as between friends or lovers), the giver
is also protected. For example, the next
time someone swings a sword, speaks
a curse, or tries to poison the creature,
the attempt automatically fails, and if
the creature were to slip near a deep pit,
they would not fall into it. Giving the
poppet to another is an action.
Poppet (Prosperity)
Level: 1d6 + 2
Form: Small figure made of cloth, stuffed
with herbs and bits of wood
Effect: Writing the name of an object or
living being on the figure connects the
figure with that object or being. Dirtying,
tearing, and damaging the poppet
causes the connected being or object to
appear destitute and poor to all who see
them. This effect lasts for a day. Writing
the name and damaging the poppet are
separate actions.
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Poppet (Silence)
Level: 1d6 + 2
Form: Small figure carved from wood or
stone, with an open mouth
Effect: Stuffing the open mouth with
something that belongs to a living being
(such as hair, teeth, or fabric) connects
the figure to that being. For the following
day, the being is unable to talk about,
point to, see, or otherwise engage with
the person who activated the poppet.
Powder of Life
Level: 1d6 + 3
Objects animated by Form: Bit of powder carried in a pepper box
the powder of life should Effect: When sprinkled on an inanimate
have stats that represent
their form and nature.
object, the powder brings it to life. The
For example, a tin object doesn’t change in any way—a
soldier brought to life small cat made of glass remains a small
likely has 1 Armor and cat made of glass—except that now it is
perhaps a light weapon,
while a stuffed rabbit alive. The living object acts as a level 2
might be level 3 for the creature with a mind of its own. While it
purpose of Speed defense, has an affinity or obligation for the one
hiding, and sneaking.
who brought it to life, it doesn’t obey
commands.
Princess’s Pea
Level: 1d6 + 3
Form: Dried pea that was previously slept on
Effect: For one hour per cypher level, allows
the user to recognize disguises, optical
illusions, sound mimicry, false claims,
and other such tricks (for all senses) for
what they are.
Rabbit Hole
Level: 1d6
Form: Pocket watch with an empty face
Effect: Laying the pocket watch facedown
on the ground creates a rabbit hole that
goes directly to a place that the user
states. The user must have previously
Shadows are known to been to the stated place, and must
develop a mind of their enter the rabbit hole before anyone
own. Sometimes after
tasting a bit of freedom,
else, ideally by jumping in feet first.
they refuse to return. The hole grows to the appropriate size
to accommodate the user and anyone
traveling with them. Travel inside the
hole is not instantaneous, but it is very
fast, taking no more than a minute and
feeling very much like riding a long,
winding slide.
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The hole stays open for ten minutes, and it
is possible to travel back to the starting
place (but nowhere else) by again
jumping in feet-first.
Rapunzel Leaf
Level: 1d6 + 3
Form: Small green leaf from a rapunzel
plant
Effect: After being buried beneath a rock,
the rapunzel leaf begins to grow into a
stone tower that stands 100 feet (30 m)
tall. The tower, which takes ten minutes
to fully form, has a large number of
windows but only one exterior door,
which can be unlocked only by the user.
The tower’s level is equal to the cypher level,
and the structure is permanent and
immobile.
Rose of Red
Level: 1d6 + 1
Form: Big, beautiful crimson rose in full
bloom
Effect: Pricking a finger on the rose’s thorns
causes the user to bleed a single drop
of blood. When flung into the air, the
blood becomes a large red bird that
flies toward a chosen target up to a
long distance away. When it arrives, it
bursts in an immediate radius, inflicting
Intellect damage equal to the cypher
level. The burst spawns 1d6 additional
birds; in the next round, each one flies
to a random spot within short range
and explodes in an immediate radius,
inflicting damage equal to the cypher
level.
Shadow Soap
Level: 4
Form: Small piece of soap
Effect: When rubbed on your visible shadow,
causes it to separate from yourself.
The shadow acts as a level 4 creature
under the user’s control for one hour (or
until there is no light). The shadow is
two-dimensional and insubstantial, and
when sneaking, hiding, and avoiding
detection, it acts as a level 7 creature.
When the effect ends, the shadow
(usually) returns to the user.
 CYPHERS AND ARTIFACTS

Shard of the Moon Snake Leaves

Level: 1d6 + 2 Level: 1d6 + 2
Form: Tiny sliver of the moon Form: Three green leaves
Effect: Glows softly for ten minutes, drawing Effect: When placed upon a person, the
all moon-loving creatures (such as leaves restore all Pools to full, move
moths, moon hares, and werewolves) a character one step up the damage
within long range. For as long as the track, or bring a dead character back to
effect lasts, any attracted creatures will life. However, the character also gains
not attack the user or their allies. The a permanent 3-point reduction in their
user can converse with the creatures maximum Intellect Pool.
and ask them questions, which the
creatures will answer to the best of their Snickersnee
ability, but always within their nature (so Level: 1d6 + 4
a trickster will still answer as a trickster Form: Small jewel, talisman, or bead
would, for example). Effect: When attached to a weapon, causes “My mother she
it to grow two to five times its normal killed me,
Shining Knife size. The weapon inflicts an additional My father he ate me,
Level: 1d6 + 3 +2 points of damage, but otherwise can My sister, little
Form: Shining knife be used as if it were a weapon of its Marlinchen,
Effect: When stuck into an object, such as original size. Gathered together
a tree or the side of a house, the knife all my bones,
connects the wielder and someone they Song of the Dead Tied them in a silken
choose. If one of them wants to know Level: 1d6 handkerchief,
how the other is faring, all they have to Form: Small stuffed bird with yellow and Laid them beneath
do is return to the spot where the knife blue plumage the juniper-tree,
is stuck. If both are faring well, the knife Effect: When the user spends ten minutes Kywitt, kywitt, what a
shines bright gold. If harm has come to breathing into the mouth of the bird, it beautiful bird am I!”
one, the knife is dull and rusted. comes to life. It flies off, but now carries ~The Brothers Grimm,
a piece of the user’s life inside it. When The Juniper Tree
Silver Slippers the user dies, the bird flies back to their
Level: 1d6 + 2 body and is able to communicate to
Form: Silver shoes, ruby slippers, or red those around it, but only for one day.
boots After that, the bird returns to its lifeless Once the silver slippers
Effect: When the wearer speaks aloud the form. are used to transport
their wearer, they
name of the place they wish to go, disappear. However,
the silver slippers take them there in Sorcerer’s Skeleton Key it is rumored that
three steps. Note that in most cases Level: 1d6 + 2 they magically return
the slippers only transport the wearer Form: Wooden stick, iron wand, or piece of to the world in some
form for someone else
(although companion animals and the straw who needs them.
like may sometimes travel with them). Effect: When tapped three times against
any locked door or other object (of
Singing Bone the cypher level or lower), the key For most magical objects
Level: 1d6 + 3 automatically unlocks it. involving sound, it’s not
necessary to physically
Form: Human bone carved into the hear the item in order
mouthpiece for a musical instrument to gain the benefits.
Effect: When blown into, the bone sings a “Hearing” may involve
song that details the weaknesses and sensing vibrations,
magical mental
faults of one target (up to the level of telepathy, a sign language
the cypher) that the user chooses. For interpreter, and so on.
ten minutes, all tasks involving the
target are eased for everyone in long
range who heard the bone’s song.

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Spirit Ring
Fey are fickle beings. Level: 1d6
While spirit rings and Form: Ring, necklace, hairpin, or bracelet
the like allow someone
to hold power over
Effect: Summons a group of helpful fey
them, it’s very much who provide assistance for ten minutes.
dependent on the fey’s During this time, they do as the wearer
blessing. Angering the commands as long as they’re within
fey may cause them to
leave at any moment long range. They can hinder any or all
(even in the middle of opponents’ tasks, provide information,
something important), assist in small tasks, and so on. The fey
and they may take
will not do anything that goes against
the time to curse or
prank the characters their basic nature and safety (such as
before they disappear. self-harm, attacking their friends, or
obvious suicide missions).
Fey beings, page 121
Curse, page 49 Teleport Hat
Level: 1d6 + 3
Form: Silly hat that is always too large on
the wearer no matter what size their
head is
Effect: Allows the wearer to wish for a
creature that they know to appear at
their side. The creature must agree to
be teleported (or convinced via some
type of interaction, such as persuasion
or intimidation). The teleported creature
stays for as long as both parties agree,
but not more than a day. At that time,
the creature is returned to their place of
origination.
Three Needles
Level: 1d6
Form: Three enchanted needles
Effect: For the next ten minutes per cypher
level, the user can climb any solid
surfaces (even vertical ones) as if doing
so was a routine task.
Tin Man’s Tears
Level: 1d6 + 2
Form: Tiny vial filled with tears
Wishes, page 53 Effect: When poured out, spreads out to
cover an area about 2 feet by 2 feet (60
cm square), transforming any metal
it touches into brittle rust, down to a
depth of about 6 inches (15 cm). When
used on a metal creature (such as a tin
soldier), the rust inflicts damage equal
to the cypher’s level and hinders all
movement actions for ten minutes.
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To Peter With Love
Level: 1d6 + 3
Form: Wrapped box with a bomb inside and
a gift tag on the outside
Effect: Write a person’s name on the tag,
and the box will deliver itself to that
person at a time and place you specify.
When opened, the box does damage to
the recipient equal to the cypher level.
Traveling to the recipient takes at least a
round and sometimes longer, depending
on the distance and difficulty.
Valorous Whetstone
Level: 1d6
Form: Sharpening stone
Effect: After sharpening at least one of their
weapons with the whetstone, the user
instantly feels more brave. For the next
ten minutes, all of their intimidation
actions are eased, and their sharpened
weapon inflicts +2 points of damage.
Vase of Tears
Level: 1d6
Form: Vase, vial, or jar filled with tears
Effect: Breaking the vase creates a protective
spell around the character, preventing
them from taking any Might damage the
next time they are physically attacked.
White Snake
Level: 1d6 + 2
Form: Piece of a magical snake
Effect: Upon swallowing the piece of the
snake, the user gains the ability to
understand and speak with all living
things for ten minutes.
Wish-Granting Pearl
Level: 1d6 + 1
Form: Flaming pearl
Effect: The user can make a single wish and
have all or part of it come true. The GM
assigns a level to the wish, so the larger
and more difficult the wish, the more
difficult it is to have the wish granted.
Generally, a wish such as gaining an
asset or inexpensive item is level 1, and
a wish for an expensive item or for a foe
to vanish is level 7. The cypher cannot
grant a wish above its level.

Witch Bottle
Level: 1d6 + 1
Form: Ornate stoppered bottle filled with
wine, seawater, or pins and needles
Effect: Captures a witch (of a level up to
the cypher’s level). Upon entering the
bottle, the witch takes damage equal to
the cypher’s level and is trapped until
someone whispers their name into the
bottle’s mouth and releases them.
Witch’s Ladder
Level: 1d6 + 2
Form: Garland of knotted string, feathers,
teeth, and bells
Effect: Safely stores one curse for use at
a later time. The stored curse may be
released and cast only by the person
who stored it, or by someone who has
received their permission to do so.
Wooden Spoon
Level: 1d6 + 4
Form: Plain wooden spoon
Effect: When stirred through the air, restores
the user’s energy and vitality. The user
gains two additional actions on their
next turn. For example, they can move a
long distance, use a one-action recovery
roll, and activate a cypher as their turn,
or attack a foe three times.
Yonder Yarn
Level: 1d6 + 4
Form: Skein or spool of yarn
Effect: Unravels to lead the user to their
desired destination. The yarn unspools
at the speed that the user would
normally walk or ride. The yonder yarn
will not enter territory it deems too
dangerous, and it cannot go through
solid obstacles. If the yarn is cut, it no
longer works.
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CYPHERS AND ARTIFACTS
Artifacts
Most artifacts in a Cypher System fairy tale
setting are magical objects that have been “They do say there be
either crafted via magic or later altered by a witch in that there
bottle, and if you let
or imbued with magic. There are a number un out there’ll be a
of people and beings in fairy tale settings pock o’ trouble.”
who are capable of creating artifacts by
one or both of these methods. Additionally,
some artifacts are products of magic or
the setting itself. Thus, new artifacts are
constantly entering the world, just waiting
to be found and used by the characters.
When creating artifacts, don’t be afraid
to go beyond the obvious. Most people are
familiar with Aladdin’s magic lamp with a
genie trapped inside, but there are other
stories in a similar vein with more unusual
objects. In “The Fisherman and the Genie”
(a tale told in One Thousand and One
Nights), the main character fishes an old
barnacled copper flask holding a genie from
the bottom of the sea. In various stories,
genies have been trapped in rings, bottles,
pockets, and pocket universes.
If you’re running a modern fairy tale
game, artifacts are likely ancient objects,
which have survived due to being imbued
with magic. They may have been passed
down through time, hidden or lost
for generations, or kept in a museum
somewhere. Alternatively, you can update
the object form for the times. Most people
in a modern setting wouldn’t carry a
tinderbox (and might not even know what it It is difficult, but not
is), but they might carry a matchbox, jewelry impossible, to protect
oneself from being
box, lunch box, glasses case, or pencil box. found by yonder yarn.
Of course, it can be more difficult to lend a Witches, in particular,
plastic pencil box with cartoon characters know ways to hide
dancing on the lid the same magical themselves (and others)
from the yarn’s power.
intrigue as an ancient metal tinderbox, but it
can be used to great effect to bring a sense
of whimsy and weirdness to the setting.
Artifact Quirks
Magic runs through most items in a fairy
tale world, but especially through artifacts.
Magic is unknowable and mystifying, and thus
something can—and often does—go wrong.
While that may sometimes manifest as GM GM intrusions, page 53
intrusions, it also shows up in artifacts as
quirks. Every artifact has a quirk that sets it
apart from mundane or lightly magical objects.
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If you want to remember Quirks typically do not make an artifact 13 Causes the wielder’s hair to grow
to use quirks to their more powerful, but they can make it more
best effect, consider faster than normal.
interesting, difficult, useful, or just unique.
having players make a 14 Creates a cloud over itself
note of their artifact’s Some quirks manifest during an item’s
constantly. Sometimes the cloud
quirk on a folded index creation, while others might appear (or
card on the table. rains.
disappear) after a particular experience,
usually one involving magic. Quirks may 15 Draws fey creatures to it, whether
come and go without notice, but typically it’s being used or not.
an artifact can have only one quirk at a time 16 Whines incessantly if it hasn’t
and is rarely without a quirk for long. been used (or at least given some
Quirks table, page 306 Choose from the Quirks table in the attention, such as being cleaned)
Cypher System Rulebook or from the table in at least a day.
below, or make up your own. 17 Emits various colored swirls and
sparkles that form shapes in the
Quirks air.
Roll a d20 or choose one that feels 18 Changes appearance in some
In fairy tales, the terms appropriate. small way to match the wielder’s
“living thing,” “living
d20 Quirk mood.
being,” and “living
creature” don’t just mean 01 Randomly changes the color of 19 Sometimes points the way to
humans and creatures. weapons, clothing, and other something interesting or useful.
Many things that speak,
move, act, or interact
objects it touches. 20 Occasionally changes into a
could be considered a 02 Causes some animals to shy completely different artifact
living thing. This includes away from it, and others to draw overnight (including form and
trees, rocks, buildings,
shadows, clouds, the near to it. function); this effect lasts until
wind, and even the moon 03 Musical instruments and the artifact is used in its new
(per the GM’s discretion). birdsongs go flat in its presence. form, after which point it reverts
04 Gives the wielder an increased back (or depletes).
sense of smell.
05 Draws bees and occasionally Artifact Table
drips honey. When giving artifacts to characters, either
06 Sometimes catches on fire choose from this table or roll d100 for
when used; the blaze doesn’t do random results.
damage but it gives off heat and
light. d100 Artifact
07 Produces a rash, tattoo, or other 01–03 A tisket a tasket
mark on the wielder’s skin. 04–06 Bounding boots
08 Causes the wielder to walk an 07–09 Boundless bag
inch or so above the ground. 10–12 Boy Blue’s horn
09 Whistles music appropriate 13–15 Carving knife of sharpness
to what’s going on around it,
16–17 Devils and tailors
including a nasal drone when it’s
bored. 18–20 Fiddle of the fossegrim

10 Sometimes moves of its own 21–23 Fortunate’s purse

accord, but never when anyone’s 24–25 Galoshes of fortune
looking at it. 26–27 Genie’s lamp
11 Talks constantly about its former 28–30 Golden bridle
owner, who it either loves or 31–33 Hatchet of the Woodsman
hates, depending on the day. 34–36 Hook’s hook
12 Gives everyone nearby weird and 37–39 Horn of destruction
unnatural dreams.

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40–42 Iron stove Boundless Bag

Level: 1d6 + 2 Putting all or part of
43–45 Knapsack of sevens a living thing into a
Form: Small bag with two handles and a
46–50 Mirror mirror clasp
boundless bag is always
risky, as more than one
51–53 Pandora’s box Effect: Any nonliving item held in the bag person has had their
54–56 Pixie dust becomes a slightly more valuable item. hand or head turned to
For example, an inexpensive item gold (which might sound
57–59 Red cap lovely, but typically isn’t).
60–62 Red riding hood becomes a moderately priced item, Also, doing so often
while a moderate item becomes an causes the boundless bag
63–65 Self-swinging sword to revert to a normal bag.
expensive item. The bag has no effect
66–68 Seven-league boots on items that are very expensive or Items that create
wealth in any fashion
69–71 Shapeshifter wand exorbitant. The change takes a full day to are particularly sought
72–74 She-bear take effect, during which time the item after. So much so that
cannot leave the bag and the bag should some items are believed
75–77 Shirt of nettles to be cursed, due to the
not be opened. If the bag is opened, the
78–79 Soldier’s cloak of invisibility number of people who
process is canceled and must be started have met their untimely
80–82 Soulful fiddle
over. fate while in possession of
83–84 Steadfast tin soldier Depletion: 1 in 1d6. When the effect a wealth-making artifact.
85–87 Stone canoe depletes, it can still be used as a normal
88–90 Story knife bag.
91–93 Table-be-set
Boy Blue’s Horn
94–96 Tinderbox
Level: 1d6
97–98 Tweedledee’s umbrella Form: Gleaming horn that never needs to be
99–00 Vicious tankard tuned or polished
Effect: When playing a lullaby, the horn puts
A Selection of every hearing living being in short range
Fairy Tale Artifacts (including the user) to sleep for two
A few examples of fairy tale artifacts are rounds. When the horn plays something
presented here. upbeat, the user and all allies within A-tisket a-tasket
short range add +1 to their recovery rolls She took my
A Tisket a Tasket for ten minutes. yellow basket
Level: 1d6 Depletion: 1 in 1d20. After depletion, it And if she doesn’t
Form: Woven yellow basket with wooden continues to function as a regular horn. bring it back
handles I think that I shall die
Effect: This basket can contain up to one Carving Knife of Sharpness ~A Tisket, a Tasket
cypher per artifact level, as long as each Level: 1d6 + 1
is no larger than a typical cat. Cyphers Form: Knife (light weapon) The GM determines
in the basket do not count against a Effect: This weapon functions as a normal the effect of a lost limb;
however, many magical
character’s limit. knife of its kind. When the wielder gets a beings can withstand
Depletion: 1 in 1d20 (check each time a special major effect when attacking, they lost limbs with far more
cypher is added to the basket) can choose to lop off one of the target’s aplomb than a mortal
limbs. creature will display in
a similar situation.
Bounding Boots Depletion: 1 in 1d10 (roll on each major
Level: 1d6 + 1 effect)
Form: Beautifully made leather and gold Major effect, page 212
boots that adjust to fit the wearer
Lasting and permanent
perfectly damage, page 436
Effect: The boots are an asset for jumping and
running (easing one of these skills by two
steps if the artifact is level 6 or higher).
Depletion: —

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You can determine the
outcome of a game by
having both players roll
2d6. The player with the
highest number of pieces
left on the board (highest
roll) is the winner.
Magic bags come in
many forms, such as coin
purses, sacks, packs, and
pockets. Some can be
used to hide someone
safely out of sight, provide
an endless supply of gold
or riches, or grant wishes.
They are most often given
as rewards for doing great
kindnesses or completing
a difficult task.
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Devils and Tailors
Level: 1d6 + 2
Form: Blood-stained draughtboard with
figures of white gold, bronze, and pearl
Effect: Playing someone in a game of
checkers or draughts eases all of the
user’s positive social interactions with
their opponent. While playing, the user
can make a move and interact with their
opponent as a single action. The game
lasts a number of rounds equal to the
artifact level.
Depletion: 1 in 1d20 (check each game
played). After depletion, the board
continues to function as a regular
draughtboard.
Fiddle of the Fossegrim
Level: 1d6 + 2
Form: Water-worn fiddle
Effect: Playing the fiddle causes everyone
within long distance to become
enticed by the music and draw closer
to the player. After one round, all
creatures in short range begin to dance
uncontrollably for a number of rounds
equal to the artifact level. The only
action they can take while dancing is
to attempt to break free from the effect
(an Intellect action equal to the artifact
level).
Depletion: 1 in 1d20
Fortunate’s Purse
Level: 1d6
Form: Elegant knapsack that shifts colors to
hide in plain sight
Effect: Any object put inside the sack cannot
be detected by physical senses or magic.
The sack can hold a single item, of any
size and shape, at a time. Cyphers in
Fortunate’s purse do not count against
the user’s cypher limit.
Depletion: 1 in 1d20 (check each time an
item is added to the knapsack)
Galoshes of Fortune
Level: 1d6 + 4
Form: Pair of rubber boots
Effect: Transports the wearer to a time and
place in the past or present that they
desire for up to ten minutes. The wearer
cannot be seen, heard, or sensed by
others, and they cannot take any actions
other than to watch events unfold.
Traveling to and from the time and place
causes the wearer to disappear from the
present for two rounds.
Depletion: 1 in 1d6
 CYPHERS AND ARTIFACTS

Genie’s Lamp Hook’s Hook

Level: 1d6 + 2 Level: 1d6 + 1 Genies, also called djinn
Form: Bronze oil lamp Form: Simple iron hook designed to be or jinn, come in many
forms, and not all of
Effect: Rubbing the lamp produces a genie worn as a prosthetic them are contained or
who grants the user a wish. The GM Effect: When placed on an amputated limb, controlled by something
assigns a level to the wish, so the larger the hook grafts on permanently. It works so simple as a lamp.
and more difficult the wish, the more as a simple hook and as a light weapon.
difficult it is to have the wish granted. When activated, Hook’s hook affects the
Djinni, page 324
Generally, a wish such as gaining an minds of all thinking foes within long
asset or inexpensive item is level 1, and range. Those affected are instilled with
a wish for an expensive item or for a foe terror, making them drop whatever Wishes, page 53
to vanish is level 7. The genie cannot they’re holding and flee for a number of
grant a wish above its level. rounds equal to the artifact level. “Do not be fooled
The genie can grant only one wish per day. Depletion: 1 in 1d6 (for the fear ability). by its commonplace
appearance. Like so
Depletion: 1 in 1d6 After depletion, it still functions as a many things, it is not
hook and a weapon. what is outside, but
Golden Bridle what is inside
Level: 1d6 + 2 Horn of Destruction that counts.”
~the Peddler, Aladdin
Form: Bridle made of flowing gold Level: 1d6 + 3
Effect: To activate the bridle, the user must Form: Large brass horn
succeed on an Intellect interaction with Effect: Blowing into the horn destroys all There are rumored to be
a beast whose level does not exceed the objects in an immediate area that is up any number of Hook’s
hooks, all of which are
artifact level. The bridle bonds to the to a long distance away, turning it all made from different
creature, which immediately becomes into rubble and debris. Living beings materials and serve
calm. The creature awaits the user’s inside the area take 2 points of ambient different purposes, such
commands and carries out orders damage (ignores Armor). as the scissors hook, oar
hook, magnet hook,
to the best of its ability. The creature Depletion: 1 in 1d6 teacup hook,
remains calmed for a number of hours grappling-hook hook,
equal to the artifact’s level minus the Iron Stove and fishing rod hook.
Enterprising characters
creature’s level. (If the result is 0 or less, Level: 1d6 + 3
might seek out multiple
the creature is enslaved for only one Form: Iron stove that walks and talks hooks, along with a way
minute.) Effect: Once per day, the stove can bake a to exchange them easily.
Depletion: 1 in 1d10 living gingerbread cookie. The baker
chooses the form, but it must be a It is customary for the
Hatchet of the Woodsman simple, one-dimensional shape (such as one who holds the horn
of destruction to call
Level: 1d6 + 4 a human, a dog, or a tree). The cookie themselves the King of
Form: Well-worn hatchet of unremarkable is a level 3 creature that can move, talk, Rubble and Debris and to
appearance and complete simple tasks that the wear a crown fashioned
Effect: When used on a creature, the hatchet baker asks of it. After a day, the cookie from talus and scree.
turns the target into wood and inflicts crumbles away.
damage equal to its level. If the creature Additionally, the iron stove can be used as a A gingerbread being is
is living wood, the hatchet turns them regular stove to heat water, cook meals, not immune to dangers.
Large amounts of liquids
into nonliving wood. If the target is slain and so on. are likely to make it
by the hatchet, the creature becomes Depletion: 1 in 1d100. After depletion, it melt away, while birds
animated wood. Effects last for ten remains a regular working stove, but no and other scavengers
minutes or until the target succeeds on longer walks and talks. have been known to try
to take an eye or leg.
an Intellect roll.
Depletion: 1 in 1d20 (check on each Animated wood, page 77
successful attack)

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 WE ARE ALL MAD HERE
Most mirror mirrors have Knapsack of Sevens d6 Ability
a personality all their Level: 1d6
own. Some sing their 1 Answers a question about the
answers, some show
Form: Simple knapsack present (such as “Who is the
images, and still others Effect: Tapping the knapsack seven times fairest of them all?”) with a simple
sigh with boredom at causes seven swans to fly out. For as one- or two-word answer.
being asked the same long as the user does not speak or make
thing over and over. 2 Allows the viewer to check in on
any sounds, the swans fly around the someone they know (and who
Mirrors never lie. user, providing them with +1 Armor knows them) from anywhere. The
Except when they do. against mental and physical attacks for image lasts just a moment, and
The queen had a the next ten minutes. those being viewed are not aware
wonderful looking-glass, As soon as the user utters a sound, the
and when she stood in that it has happened.
swans return to the knapsack.
front of it and looked at 3 If the viewer stands before the
herself in it, and said Depletion: 1 in 1d20
mirror and shouts their own name
“Looking-glass,
three times, they are granted
Looking-glass, Mirror Mirror a glimpse of their future. This
on the wall,
Level: 1d6 + 4
Who in this land is glimpse lasts just a moment, and
the fairest of all?” Form: Ornate mirror that grows or shrinks
is not guaranteed to come true.
in size according to its user’s needs.
4 If the viewer stands before the
The looking-glass Effect: When the user looks into the
answered:
mirror at midnight while holding a
mirror and interacts with it, it grants
“Thou, O Queen, art light source, they are able to contact
their request, as it is able. Roll a d6 to
the fairest of all!” the ghost or spirit of a person or
determine the mirror’s ability:
creature they know the name of.
Then she was satisfied,
for she knew that
Whether or not the being agrees to
the looking-glass talk with them is another matter.
spoke the truth. 5 Distorts the appearance of
~Brothers Grimm,
everything it reflects, particularly
Snow White
by magnifying the horrible and
ugly aspects of things and people
while ignoring their good and
beautiful aspects. Looking into the
mirror inflicts 2 points of Intellect
damage. Angling the mirror to
reflect an object inflicts 2 points of
damage to it.
6 Coats the user’s skin with its
reflective surface, offering
protection. The first time the user
would take damage, the mirror
shatters instead, reflecting the
damage back to the user’s attacker.
Depletion: 1 in 1d20

Pandora’s Box
Level: 1d6 + 4
Form: Elegant gold box with a hinged lid
and a locked clasp
Effect: When the box is opened, light leaks
out. The light coalesces into a golden
form that represents a deep sense of
peace and hope to the person who
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equal to the artifact level, the golden form
eases all actions taken by the opener.
Alternatively, the opener can share the
effect of the golden form as their action,
easing all actions taken by allies within
short range (but not giving themselves
the benefits).
Depletion: 1 in 1d6
Pixie Dust
Level: 1d6
Form: Glass bottle filled with glittering light
Effect: Shake the glittering light on a living
being and it can fly for ten minutes per
artifact level. If the being can already
fly, shaking the light on them grounds
them, taking away their ability to be
airborne for the same amount of time.
Depletion: 1 in 1d10
Red Cap
Level: 1d6 + 3
Form: Woolen cap soaked in human blood
Effect: The wearer gains an extra recovery
roll each day that is not an action and
does not count toward their daily limit.
Once the wearer uses this recovery roll,
they can’t do so again until after they
make a ten-hour recovery roll and soak
the hat in fresh human blood.
Depletion: 1 in 1d20 (check each day of use)
Red Riding Hood
Level: 1d6 + 3
Form: Bright red cloak that adjusts to fit its
wearer
Effect: Draws the eye while also giving
the wearer the impression of being
easy prey. All tasks involving sneaking
and hiding are hindered, and foes will
typically attack the wearer over any
others in the area. The cloak provides +3
Armor and an asset to all Might-based
tasks, including combat tasks.
Depletion: 1 in 1d10 (check each day of use)
Self-Swinging Sword
Level: 1d6 + 1
Form: Steel sword with an ornate hilt
Effect: When activated by a special word,
the sword attacks whoever the user
indicates, fighting as a creature whose
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CYPHERS AND ARTIFACTS
level is equal to the artifact level.
Commanding the sword is not an
action, but it can only do things that
a sword would be able to do (attack,
block, slice, and so on). If the sword is
reduced to 0 health, the self-swinging
ability ends and must be reactivated.
The sword returns to the user when the
duration ends.
Depletion: 1 in 1d6 (for the self-swinging
ability). After depletion, it functions as a
regular sword.
Seven-League Boots
Level: 1d6 + 3
Form: Lace-up knee-high boots of black
leather
Effect: Allows the wearer to travel up to
21 miles (34 km) with a single step.
Alternatively, two people may each wear
one boot and travel up to 10.5 miles (19
km) with a single step. Seven-league
boots exhaust the user, costing them 2
Might points per step.
Depletion: 1 in 1d20 (check each step). Once
the movement ability depletes, the boots
continue to function as regular boots.
Shapeshifter Wand
Level: 1d6
Form: Wand made of wood, glass, metal, or
stone
Effect: Allows the user to turn one living
being (including themself) into one of
the following: flower, lake, duck, swan,
cottage, rosebush, or fish. While in
their new form, the shapeshifted being
retains all of their health and other
attributes, but cannot perform any
actions beyond what the non-magical
item or creature could normally
perform. So a flower can blow in the
wind, bloom, attract insects, be cut, and
smell nice. Any attempts to detect the
shapeshifted being by physical senses or
magic are hindered by two steps. While
shapeshifted, the being cannot die;
however, they can be injured, cursed,
or moved down the damage track. The
effect lasts for ten minutes or until the
user chooses to end it early.
Depletion: 1 in 1d10
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She-Bear
Level: 1d6
Form: Bit of wood carved in the shape of a
bear
Effect: When placed in the mouth, changes
the wielder into the form of a female
bear. While in this form, the user gains
+4 to their Might Pool, +4 to their Speed
Pool, and +1 to Armor. They also can
communicate with other bears while
in this form. The effect lasts for ten
minutes.
Depletion: 1 in 1d6
Shirt of Nettles
Level: 1d6 + 4
Form: Woven shirt of stinging nettles
Effect: The shirt acts as light armor, but
grants an additional +2 Armor (+3 if the
artifact is level 9 or higher) in addition
It is rumored that there to the 1 Armor that light armor typically
are a number of artifacts provides. Additionally, the wearer can’t
that create prosthetic
body parts or restore
be shapeshifted against their will.
missing limbs, including Depletion: — (At any time, the GM can
Paper Ballerina, rule that the shirt has resisted enough
Handless Maiden, shapeshifting magic to deplete that
and Bianca’s Snake.
ability, after which the shirt still
functions as armor.)
Soldier’s Cloak of Invisibility
Level: 1d6 + 2
Form: Slate-grey cloak sewn of shadows and
silence
Effect: Provides an asset to hiding,
sneaking, and remaining undetected
(even by magic) for as long as the
wearer does not interact with another
creature. Entering into combat or
interacting with another creature in any
way breaks the effect.
Depletion: 1 in 1d100
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Soulful Fiddle
Level: 1d6 + 2
Form: Fiddle made of bone and guts
Effect: This instrument acts like a normal
fiddle of its kind. If the wielder is trained
in its use and plays an appropriate tune,
those within short range who hear it
suffer one of the following effects: fall
asleep, become amenable to suggestion,
follow the fiddle player in a light trance,
or take a similar action.
The desired effect must be the same for all
creatures who hear it. The effect lasts for
ten minutes, but actions by others (such
as attacking the listeners or physically
restraining them) can end the effect
early for a creature.
Depletion: 1 in 1d20
Steadfast Tin Soldier
Level: 1d6 + 2
Form: Small tin soldier with one leg
Effect: Gives a user who is missing a
limb the ability to transform the tin
soldier into a prosthetic limb with the
appearance of their choosing. The
limb permanently increases the user’s
maximum Speed Pool or Might Pool
(user’s choice) by 5 points (or 7 points if
the artifact is level 6 or higher).
Depletion: —
Stone Canoe
Level: 1d6 + 3
Form: Shiny grey pebble, small enough to fit
into a pocket
Effect: When activated, forms into a canoe
that can carry a number of beings (and
their equipment) equal to the artifact
level. The canoe lasts for one day and
then transforms back into a pebble.
Depletion: 1 in 1d6 (check each use)
 CYPHERS AND ARTIFACTS

Story Knife Tweedledee’s Umbrella

Level: 1d6 + 2
Form: Small penknife inscribed with tiny
words in hundreds of languages
Effect: Slices through words that are in the
form of oral stories, songs, speeches,
conversations, and so on. This has
one of two effects, depending on the
wielder’s desire (the wielder must
decide before they activate the artifact
each time):
• Makes the story, song, and so
on sharper, stronger, and more
interesting, increasing the chance
that it will have an impact on listeners
(eases any attempted interaction task)
• Makes the story, song, and so on boring,
unwieldy, and disjointed, decreasing
the chance that it will have the intended
impact on listeners (hinders any
attempted interaction task)
Using the story knife is an action. It has no
power to cut physical objects or living
beings (unless those beings are made of
stories).
Depletion: 1 in 1d20
Table-Be-Set
Level: 1d6
Form: Common-looking wooden table
Effect: Putting the table out and saying
“Table be set” automatically fills the
table with as much food and drink as
will fit upon its surface. The table does
not become empty as long as there is
anyone in long range who still wishes
to eat. Once a character uses the table’s
ability, they can’t do so again until after
they make a ten-hour recovery roll.
Depletion: 1 in 1d100
Level: 1d6 + 2 In addition to artifact
Form: Large umbrella with a sharp point on quirks, common sense
suggests that the
the end effects of some artifacts
Effect: Touch a creature (up to the artifact’s will draw additional
level) of any size and the umbrella will interesting opportunities
fold up around it, capturing it inside. or dangers. Using
table-be-set in the middle
Holding the umbrella with the captive of a forest, for example,
inside is an action. A caught character is is likely to draw bears
held for ten minutes or until they make a and other hungry beasts,
while using it in the
successful Might roll to break free.
middle of town might
Depletion: 1 in 1d10 garner the characters
new friends, or catch the
Vicious Tankard attention of thieves.
Level: 1d6 + 2
Form: Hefty ale tankard carved of stone The good little table
Effect: In addition to serving as a convenient was at once covered
with a clean little cloth,
means to drink a variety of liquids, if and a plate was there,
the tankard is topped off with good ale and a knife and fork
or spirits, it can be used as a medium beside it, and dishes
weapon that inflicts +2 damage (for a with boiled meats and
roasted meats, as many
total of 6 points of damage). Anyone as there was room for,
who picks up the tankard is practiced and a great glass of red
in using it in this fashion. Surprisingly, wine shone, so that it
made the heart glad.
using the tankard as a melee weapon
~Brothers Grimm,
does not cause more than a modicum of Table-Be-Set,
good ale or spirits to slosh out. Gold-Donkey, and
Depletion: 1 in 1d20 (check each fight) Cudgel-out-of-the-Sack

Tinderbox
Level: 1d6 + 2
Form: Small ornate tinderbox made of metal
Effect: Summons three dogs to do the
user’s bidding. The dogs can complete
any tasks dogs would normally be able
to accomplish, including carrying,
fetching, attacking, defending, and so
on. They act as a single level 3 creature.
Depletion: 1 in 1d6

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 WE ARE ALL MAD HERE
Chapter 9
BEASTS AND BEINGS
T
he following creatures and characters
in this chapter are provided to help
populate your fairy tale game.
How to Use These Listings
Generally, the listings in this book work
A creature’s health much the same way as they do for all Cypher
is always equal to its System creature listings—the standard
target number unless
otherwise stated. So a
template includes the level, description,
level 3 creature has a motive, environment, and so on.
target number of 9 and The most important element of each
thus 9 health, unless its creature is its level. You use the level to
Health stat line states
something different. determine the target number a PC must
reach to attack, defend against, or otherwise
interact with a creature or NPC. In each
entry, the difficulty number for the creature
is listed in parentheses after its level.
A creature’s target number is usually
also its health, which is the amount of
Beasts and Beings by damage it can sustain before it is dead or
Archetype table, page 102 incapacitated. For easy reference, most
entries list a creature’s health, and they
always do so if it’s different from the normal
Understanding the amount for a creature of its level.
Listings, page 312 For more detailed information on how
to use level, health, combat, and other
elements, see the Understanding the
If an archetype doesn’t Listings section in the Cypher System
include certain elements, Rulebook.
such as Interaction or
Combat, it typically
Due to the dual and complex nature of
means those are listed many creatures in fairy tales, along with
for individual creatures the large number of archetypes, there are
within the archetype. several additional elements that you’ll want
Feel free to mix and
match to create unique to take particular note of when using the
combinations. creature listings.
Alternatively, if an Archetypes
individual creature Because fairy tales are populated with
doesn’t have an element
(such as Armor),
archetypes—the witch, the queen, the
use the one listed trickster—this chapter is organized both
in the archetype. by individual entities and by the archetype
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to which those individuals belong. For
example, if you look under Witch, you’ll
find general stats for a witch NPC, as
well as individual stats for some of the
more common and interesting witches
in fairy tales, such as Baba Yaga and the
Wicked Witch of the West. This is done to
help the GM capture the essence of fairy
tale creatures, which often exist within
archetypes but also have their own unique
abilities and personalities.
However, it also makes organizing
them a bit more complicated. Does Áine,
Fairy Queen of Light and Love go under
the Queen archetype or the Fey Beings
archetype? The answer, in most cases,
is both. So you’ll find Áine’s main listing
under the archetype she is most like—in
this case, fey beings, because most of her
characteristics, interactions, and combat
abilities have more to do with her being fey
than with her being queen. But you’ll also
find a cross-reference for her under Queen.
Additionally, you can use the Beasts and
Beings by Archetype table to make it easy to
find what you’re looking for at a glance.
Locations
In addition to archetypes, beasts and
beings in fairy tales are often defined by
the locations they inhabit. Many fey beings
dwell in or near water, with their entire goal
in life being to drag unsuspecting victims to
the depths.
In order to make it easy to place creatures
and NPCs in a particular location, there are
symbols along the side of each page that
offer suggestions on where those creatures
and NPCs are often found. So if your
characters have ventured into a place with
water, just look for the water symbol along
 BEASTS AND BEINGS

the side of the pages for creatures to add to
the encounter. You’ll find similar symbols
for those that dwell in the woods, the sky,
the land, and so on.
Water City/Civilization
Additionally, the individual creatures
within an archetype, such as Baba Yaga,
already have a few of the archetype abilities
chosen for them. You’ll find the list of ability
names in the Combat section for each
creature.

Forest Belowground Heartwood Beasts and Beings

You can also find additional creatures
Sky Heartwood and characters created specifically for the
Heartwood setting because they deal with Lost in the Heartwood,
Land (cave, bridge, mountain) mental health and mental illness. These are page 157
designated with a small Heartwood symbol.
Dual Nature While these are designed to fit best into the “You may think I’m
Many creatures and characters in fairy tales Heartwood setting, they can easily be used a monster, but what
I am is necessary.”
are dual-natured, both as archetypes and in any fairy tale campaign. ~Grimm
as individuals. You’ll find good queens,
wicked queens, and queens who walk a fine
line in between (or are both, depending Suggested Additional “If you’ll believe in
on the circumstances). Friendly fairies and Creatures for Use in me, I’ll believe in you.
Is that a bargain?”
mischievous fairies and fairies that want to Fairy Tale Settings ~Unicorn, Through
curse your first-born child out of spite. A The Cypher System Rulebook provides a the Looking-Glass
bone-built bog horse that saves you from short list of creatures and NPCs that work
drowning who morphs into a beautiful sea well in fairy tale games. The following
stallion that drags you beneath the waves. creatures from that book can also be used, Creatures and NPCs
This means that there are often multiple although some may need small tweaks to for a Fairy Tale
Game, page 306
ways to interact with any creature or their appearance or motives to make them
character. Tips for these types of dealings more fairy-tale in nature. Creatures, page 312
can be found in a creature’s Interaction and • Abomination
Combat sections. • Chimera
• Demigod
Spells, Curses, and Abilities • Demon
Many beasts and beings in fairy tales— • Devil
especially those that fall under wide • Djinni If you’re looking for more
archetypes—have a variety of spells, • Dragon creatures for your fairy
tale game, you can find
curses, and abilities at their disposal. • Elemental a wide selection in most
Under the Combat section, you’ll often find • Ghost fantasy roleplaying game
a list of available options, complete with • Ghoul bestiaries. They may need
descriptions on how they work. Witches, for • Giant to be lightly tweaked—
elves in fantasy settings
example, might be able to cast spells that • Goblin often differ quite a bit
heal, protect, cast a glamour, and more. • Golem from elves in fairy tale
However, not every witch is able to do all • Nuppeppo settings, for example,
but they can provide a
of those things. Most witches have two or • Ogre
great jumping-off place.
three of those abilities at their disposal. • Orc
Choose a couple from the list that feel right • Prince(ss) of summer
for the character you want to create (or roll • Statue, animate
randomly for an interesting mix of abilities). • Witch
• Wizard, mighty

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 WE ARE ALL MAD HERE
Name Level Page Beasts and Beings FEY BEINGS
Áine, Fairy Queen by Archetype Áine, Fairy Queen of Light
of Light and Love 9 124
and Love page 124
Angik 3 121
Aristocrat 4 137
ANIMALS Angik page 121
Baba Yaga 9 133 Animals, common page 104 Brownie page 145
Bagheera 7 106 Animals, magical page 104 Cailleach page 129
Beast 6 106
Bagheera page 106 Cat sidhe page 108
Black dog 6 107
Blind Witch 5 134 Beast page 106 Changeling page 121
Cailleach 5 129 Black dog page 107 Enchanted moura page 192
Cat sidhe 4 108 Cat sidhe page 108 Erlking page 116
Changeling 2 121
Centipede, whispering page 155 Fairy godmother page 123
Cheshire Cat 6 106
Child 1 138 Cheshire Cat page 106 Gráinne, the Wayward
Crafter 2 138 Crow, monstrous page 189 Daughter page 125
Dame Gothel 5 134 Devil’s dandy dogs page 107 Headless horse page 188
Death 10 114
Hans the hedgehog page 145 Nightmare page 188
Drowning Fairy 6 128
Dwarf 4 115 Leveret (giant hare) page 150 Nymph page 121
Enchanter 5 118 Puss in Boots page 106 Pixie page 121
Erlking 6 116 Robber birds page 152 1 Prince(ss) of summer page 348
Faerie 3 121
Sand fleas page 152 Satyr page 109
Fairy godmother 6 123
Feral tree 3 115 Satyr page 109 Tink page 185
Fuath 5 128 Toby the turtle page 186 Tunnel bog page 145
Geppetto’s children 4 112 Wolf, Big Bad page 111 Will-o-wisp page 155
Gingerbread
creatures 2 112
Gráinne, the Wayward CRAFTED OF THE GRAVE
Daughter 9 125 Geppetto’s children page 112 Death page 114
Huntsman 2 139
1 Golem page 336 1 Demigod page 321
Kelpie 6 130
Minotaur 7 117 Horse head automatons page 156 1 Demon page 322
Morgan le Fay 9 120 Tin Woodman page 113 1 Devil page 323
Naiad 4 128 Virgilius’s copper dogs page 112 1 Djinni page 324
Nymph 3 121
1 Fallen angel page 329
Oz, the Great
and Terrible 5 120 EARTH BEINGS 1 Ghost page 331
Pixie 2 121 Erlking page 116 1 Ghoul page 332
Puss in Boots 5 106 1 Giant page 333 1 Skeleton page 353
Queen 6 126
1 Goblin page 335
Queen Grimhilde 8 126
Red Queen 6 127 1 Golem page 336 HUMAN NPCs
Robber 4 139 Minotaur page 117 Aristocrat page 137
Satyr 5 109 1 Ogre page 346 Child page 138
Scholar 2 140
Sea Witch 6 135 Satyr page 109 Crafter page 138
Snark 7 110 Troll page 115 Huntsman/Woodcutter page 139
Snow Queen 6 127 Robber/Thief page 139
Thief 4 139
Scholar page 140
Tin Woodman 7 113
Troll 6 115
Virgilius the Sorcerer 7 120 NAMED CHARACTERS
Virgilius’s Throughout this chapter, entries marked Happy page 186
copper dogs 5 112
with this symbol 1 appear in the Cypher Humpty Dumpty page 185
West Wind 9 131
Wicked Witch System Rulebook. Maid Maleen page 186
of the West 5 135 Snow White page 185
Wind children, the 4 131
Toby the turtle page 186
Witch 5 132
Wolf, Big Bad 8 111
Woodcutter 2 139

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 BEASTS AND BEINGS

ROYALTY TRICKSTERS
Áine, Fairy Queen of Light Cheshire Cat page 106 In fairy tales, tricksters
and Love page 124 are often wise fools—
Puss in Boots page 106
those who seem silly,
Aristocrat page 137 Raven of the Seven Ravens but in fact use tricks and
Cardinal King page 189 Army page 193 cunning to get what they
want or to teach others.
Gráinne, the Wayward Satyr page 109
They eschew authority,
Daughter page 125 Wolf, Big Bad page 111 create ingenious plans
Listening King page 185 that often go awry, and
The Listening King’s Seven WATER BEINGS tend to be fast-talkers
with lots of skills in
Starry-Headed Children page 185 Cailleach page 129 scheming, deceiving,
One-Eyed Jacque page 189 Cult of the Serpent page 152 and persuading.
1 Prince(ss) of summer page 348 Ghost of the arbella page 152
Queen page 126 Grundylow page 152
Red Knight page 189 Isonade page 152
White stag royal page 188 Mermaid, misery page 196
The Sea, Herself page 151
SHAPESHIFTERS Siren page 152
Changeling page 121 MAGIC USERS
Enchanter page 118 WITCHES, WIZARDS, AND SORCERERS Nearly every beast
Queen page 126 Witch (archetype) page 132 and being included in
this book is a magic
Witch page 132 Apple-pip Witch page 143
user of some kind,
Baba Yaga page 133 with the exception of
SPIRIT BEINGS Blind Witch page 134 most human NPCs.
Black dog page 107 Dame Gothel page 134
Charon the Ferryman page 155 Enchanter page 118
Death page 114 Kitchen Witch page 186
1 Demigod page 321 Sea Witch page 135
1 Demon page 322 Virgilius the Sorcerer page 120
1 Devil page 323 Wicked Witch of the West page 135
1 Djinni page 324 Witch of the Drowning Slough page 209
1 Fallen angel page 329
1 Ghost page 331 WORLD AND WEATHER BEINGS
1 Ghoul page 332 Moon page 209
Nightmare page 188 The Sea, Herself page 151
1 Skeleton page 353 West Wind page 131
Wind children, the page 131

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 WE ARE ALL MAD HERE
MAGICAL ANIMALS
If you want to include Common animals in fairy tales are often
nonmagical animals magical, which gives them unique abilities
in your game, use the
Normal Animals chart
beyond those of typical animals. Many
in the Cypher System animals can talk, grant wishes, make
Rulebook as your guide. bargains, and shapeshift. Some magical
animals, such as hounds, have so many
Normal Animals forms and options in fairy tales that they’re
chart, page 314 given their own archetype page later in this
section.
Other Creatures and
Not all magical animals are helpful,
NPCs for a Fairy Tale
Game, page 306 although many are. Some will only help
under certain circumstances, while others
Hounds, page 107 are just tricksters by nature and will nearly
always give the wrong information for their
own amusement. It is not uncommon for
animals to ask something small in return
While some magical for their help.
animals are born with There are additional magical animals,
the ability to use magic,
others may gain it later in
such as angry ants and talking cats, listed
life, typically by coming in the fairy tale section of the Cypher System
into contact with a Rulebook as well. Generally speaking, a
magical place or spell, or magical animal is 1 level higher than a
by having something cast
upon them. Alternatively, normal animal and has at least one magical
a magical animal ability. So if a normal hawk is level 2, then a
may lose their magical magical hawk is level 3 and can also grant a
abilities at any point.
wish to someone who catches it.
It’s safe to assume that most magical
animals can speak. Whether or not the
characters can understand them depends
on the setting and the PCs’ particular
abilities, and it may vary from animal
to animal, even in the same setting. In
most settings, however, it makes sense
that the characters can understand and
communicate with most talking animals.
If you’re playing a setting with talking
animals that PCs can understand and
communicate with, you’ll want to let
them know why and how this is possible.
Depending on the setting, it might be
because they’re all speaking the same
language, because everyone is fluent
in multiple languages, or because
they’re using magical translators (or a
combination of all three) likely depends
on the setting.
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Remember that even though these are
magical animals, they have only small
amounts of magic, so in most cases their
nature should give them access to minor
abilities with short durations.
Bear: level 5; health 20; Armor 1; two
magical abilities
Cat: level 2; two magical abilities
Fish: level 2; one magical ability
Fox/Rabbit/Monkey: level 3, cunning and
trickery as level 5; two magical abilities
Horse/Donkey: level 4; two magical abilities
Mouse/Rat: level 2; one magical ability
Raven/Owl: level 3, intelligence and cunning
as level 4; one magical ability
Snake/Serpent: level 3; bite inflicts 4 points
of Intellect damage (ignores Armor);
one magical ability
Songbird: level 1; offer sage advice to those
they choose; one magical ability
Stag/Hart: level 4; Armor 1; horns inflict 3
points of damage; two magical abilities
Suggested Magical
Abilities for Animals
This is by no means a comprehensive list
of all of the magical abilities available to
animals. Feel free to create your own. Just
remember that animals typically have a
limited amount of magic, so the abilities
likely have a small effect and a short
duration.
Bless (use magic to give a character or
object something beneficial, such as giving
a weapon +1 damage for one round, or
giving another character +1 Armor for one
round)
 BEASTS AND BEINGS

Talking Objects
In fairy tales, it’s not just animals that can speak, think, and interact with the characters.
Almost anything could have the ability to talk and interact in some form. Teapots and
silverware, doors and locks, stones and trees and mountains, weapons and armor and
someone’s hair—they might all be able to talk, dance, sing, fight, and cast spells. The
Cypher System defines a “character” as “anything that can act in the game,” which
means that talking objects that can take actions are more like creatures than objects.
If you have a talking object in your game, it has a level (just like creatures and regular
objects), and every interaction with it is based on that level. Its level can be based on
its physical and mental complexity as well as its purpose. So something like a singing
teapot might be level 2 with 2 Armor, and it can hurl its lid at a foe to inflict 2 points of
damage. A complicated talking lock who guards a precious treasure might be level 5 or 6
and can cast a spell (inflicting 3 points of damage) on anyone who tries to pick it.
Some abilities in the game work only on objects, or only on creatures, or only on living
things. A talking object might or might not be living, depending on its nature. A teapot
(whether singing or mundane) is not a living thing, but a tree (talking or not) certainly is.
The GM should consider the nature of a talking object (and its normal counterpart) and
decide whether an ability can affect it. For example, a poison spell that works on living
creatures probably doesn’t have any effect on the singing teapot, but it could hurt the
talking tree. The Command ability (which makes a living creature obey you) might work
on both the singing teapot and the talking tree because it’s reasonable that the magical
minds of the teapot and tree could be affected by the command.
Of course, in a fairy tale world, magic can be unpredictable, and unexpected things
sometimes happen. It’s okay if some singing teapots can die from poison and others
can’t, or if some talking trees can be mind-controlled and others can’t.

Boon (provide the character with a small
beneficial object, such as a goose that lays a
golden egg, a fish that finds a lost ring, and
so on)
Conjure (create a small useful item, such as
a flask of water, a loaf of bread, or a candle)
Curse (curse another creature to inflict
damage, stun, daze, or otherwise affect
them negatively for one or more rounds)
Information (give directions to a town, the
name of the man who lives in the nearby
cottage, or the rumors about the area) They led her to a dark
and silent house. A bird
in a cage called out “Turn
Invisibility (turn themselves, another back, turn back, thou
character, an object, or a place invisible for a bonnie bride, Nor in this
short period of time) house of death abide.”
~The Robber Bridegroom
Sage Advice (see the future, offer
suggestions on a difficult task, or guide a
character’s actions)

Glamour (make themselves or someone Shapeshifting (become a different type of

else look different for a short period of time, animal or object, or cause someone else
or cast an illusion over a small area or for a to become an animal or object for a short
short duration) period of time)

Healing (heal themselves, another Wish Granting (grant a small wish, such as
character, or a natural element of the world the ability to float for a short time in order
for 1–3 Pool points or health) to cross a river)

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 WE ARE ALL MAD HERE
OF BITE AND CLAW

The creatures in this section all appear to

be animal in their nature, from black dogs Additional Beasts
and big bad wolves to horses and snarks. of Bite and Claw
Animals, common, page 104
Everybody knew Bagheera: This cunning, bold, and brilliant Animals, magical, page 104
Bagheera, and nobody black panther can be someone’s worst Centipede, whispering, page 155
dared to cross his path;
for he was as cunning
enemy or their most loyal friend, protector, 1 Chimera, page 316

as Tabaqui, as bold and mentor. Devil’s dandy dogs, page 107

as the wild buffalo, Level 7; stalking, hunting, sneaking, Dog With Eyes the Size of Teacups,
and as reckless as the and chasing prey as level 8; persuasion Dinner Plates, and the Moon, page 143
wounded elephant. But
he had a voice as soft and positive social interactions as level 8; 1 Dragon, page 325
as wild honey dripping inflicts 6 points of damage with teeth and Fox, page 104
from a tree, and a skin claws; can pounce on a victim from a long Hans the hedgehog, page 145
softer than down.
distance away to inflict 7 points of damage Leveret (giant hare), page 150
~ Rudyard Kipling,
The Jungle Book and knock the victim prone. Maryushka bird, page 193
Ravens of the Seven Ravens Army,
Beast (with a capital B): Sometimes a page 193
human cursed, sometimes an animal Robber birds, page 152
blessed, often just a creature from the Sand fleas, page 152
beginning, Beasts are bestial humanoids Toby the turtle, page 186
with large claws and jaws. Most Beasts have 1 Werewolf, page 367
a single thing that they love deeply and will
do anything to protect: a garden, a human,
their home, a book from their childhood.
Level 6, intimidation and protection as
level 7; Armor 2; inflicts 4 points of damage
with an item related to their beloved
(gardening shears, for example).

Cheshire Cat: Interacting with this

riddling, punning, disappearing
striped cat is enough to make anyone
feel discombobulated. Can make a
great ally if you’re seeking answers,
have lost your way, or need advice.
Level 6, punning and wordplay as
level 7, Speed defense as level 8 due to
intangibility; will disappear rather than fight.

Puss in Boots: Smart and smart-alecky,

Puss in Boots always has a plan in
motion, and at least two others that
are about to begin.
Level 5; planning, scheming,
persuasion, and deception as
level 7; Armor 2; inflicts 4 points of
damage with elaborate swordplay.

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 BEASTS AND BEINGS

OF BITE AND CLAW

BLACK DOG 6 (18)
Black dogs go by many names: hellhounds, bearers of death, black hounds of destiny, and
devil dogs, just to name a few. Typically they are spectral or demonic entities that show up
at night. They are often sinister, malevolent, or purposefully harmful (such as the Barghest
and Black Shuck). Occasionally, black dogs are helpful and benevolent, guarding people Black dogs sometimes
serve as familiars for
from danger, helping them find the correct path, or signifying the death of someone nearby. witches and sorcerers.
Black dogs are usually large, shaggy, and as black as night, with long ears and tails.
However, despite their name, they can be any color. The real distinction is that they are
definitely not regular, living dogs. Some have eyes like fire, some howl with a ghostly, There are many, many
types of black dogs,
ethereal song, and still others have telltale witches’ marks upon their chest or back. including the Barghest,
Black dogs can see ghosts, witches, and other magical entities not typically visible to other Black Shuck, Padfoot,
creatures. They are sometimes a portent of death, but not always. Many carry with them an Grim, the Devil’s dandy
dogs, and yeth hounds.
inherent sense of sadness and despair, which they can pass on to those around them.
Motive: Bring harm and pain; help and guard
Environment: Crossroads, places of execution, and ancient paths
Health: 20 Black dogs aren’t
Damage Inflicted: 8 points the only canines that
Armor: 2 appear in fairy tales.
Corgis were originally
Movement: Long; very long when running believed to be gifts
Modifications: Sneaking, hiding, and attacking from surprise or advantage as level 7 from the fairies, in part
Combat: Malevolent black dogs will attack from a position of surprise or advantage, because the markings
inflicting 8 points of damage with their spectral teeth and claws. on their backs look
like magical saddles,
Some black dogs cause such a deep feeling of despair and sadness, just by being nearby, perfect for carrying
that they inflict 2 points of Intellect damage each round on everyone who can see them their fairy riders.
or otherwise sense their presence.
Interaction: Running, at least from the malevolent ones, is typically the best course
of action. Dealing with helpful black dogs is often an interesting and unexpected GM intrusions:

experience, as they don’t talk and don’t explain who they choose to help or why. The black dog howls,
Use: The characters are fighting an extremely tough foe when a black dog steps in to creating such a mournful
sound that everyone in
help them out (or to help their foe). The characters are lost in the woods, and a large, very long distance who
menacing black dog steps out of the forest and leads them back to safety. can hear it takes 4 points
Loot: Black dogs rarely have anything valuable on them. However, killing a black dog causes of Intellect damage.
it to haunt whoever dealt it the fatal blow. That person feels such deep anxiety and A character who sees
despair that all their actions are hindered for at least one day, and often longer. the black dog is deeply
affected by sadness and
moves one step down
the damage track.

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OF BITE AND CLAW
CAT SIDHE 4 (12)
Cat sidhes, sometimes called phantom cats, are dog-sized felines that were once witches
and now have shifted permanently into cat form. They’re all black except for a single white
Sidhe is typically
pronounced similar symbol on their chest, which is their name.
to “see.” When cat sidhes form (because a witch has turned themselves into a cat for the ninth
time), they gain nine tails. Each time a cat sidhe would be killed, they can choose to lose
one of their tails instead. Once a cat sidhe has no more tails remaining, their death is final.
While cat sidhes inflict
damage with their Motive: Steal souls, gain power
soul-stealing attacks, the Environment: Highlands, mountains, and forests
roleplaying element of Health: 15
a character losing part
Damage Inflicted: 6 points
of their soul is possibly
more important than the Movement: Long
game effect. Consider Modifications: Speed defense as level 6 due to quickness and agility
removing something from Combat: Cat sidhes can attack with their claws for 6 points of damage, but they much
the character that will
affect them in interesting
prefer to engage from a long distance, using their unique ability to cast curses that steal
and unusual ways. part or all of a victim’s soul. They may attack a foe using the following types of
soul-stealing curses. Characters who succeed on an Intellect defense roll resist the effect,
but take 1 point of Intellect damage due to the effort. If someone can read the symbol on
Curse, page 49
the cat’s chest and pronounce it, they gain +1 Armor against the cat’s attacks.
Falter. Removes a favored part of the creature’s personality, such as their sense of humor,
courage, or kindness. The creature doesn’t forget that they had that part of their personality;
they just can’t remember how to access it again. All social interactions are hindered.
Cat sidhe medallion,
page 79 Fester. Replaces a piece of the character’s soul with an idea, false memory, or thought that,
once placed, grows into something insidious and dangerous inside them. The character
takes no damage at the time, but each time they make a recovery roll, they take 2 points
of Intellect damage.
GM intrusion: The cat
sidhe yowls, causing Forget. Removes something from the creature’s memory, such as all nouns (including their
a second cat sidhe to own name), a loved one’s face, their current purpose, an ability, or a skill. This inflicts 3
appear from hiding. points of Intellect damage and causes the character to forget the specific thing.
Interaction: Having once been
witches, cat sidhes are smart,
cunning, and dangerous. Most
have no interest in conversations
or bargains, unless they are
injured in some way. They
can, however, sometimes be
distracted from their purpose of
stealing souls by riddles, music,
and children’s games.
Use: A cat sidhe stalks a forest
where the characters are passing
through on their way elsewhere.
Someone sends the characters to
capture a “lost” cat, which turns
out to be a cat sidhe.
Loot: When a cat sidhe dies, it
disappears, leaving behind only
the once-white symbol on its
chest in the form of a medallion.

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SATYR 5 (15)
These muscular humanoids sport long curved horns and furry, hooved legs. They are Satyrs are inveterate
self-centered, greedy, and sybaritic creatures, dedicated to food, drink, and other pleasures. mercenaries. They gladly
work for strong drink
They rob and steal from others as it pleases them, often relying on tricks and lies, or on and other treasures,
alluring music they play on pipes. and ally with almost
Motive: Play tricks, gather treasure, fulfill desires any creature capable of
Environment: In woodlands where other faerie or mythological creatures are found meeting their price.
Health: 18
Damage Inflicted: 6 points
Armor: 1
Movement: Short
Modifications: Tasks related to persuasion and deception as level 7; resists mental attacks
as level 7
Combat: Satyrs usually carry spears that they can use in melee and against foes within
short range.
Satyrs can also create magical effects by playing
their pipes as an action,
which can either bolster
allies or harm enemies. GM intrusion: If the
Dance of the Leaping Stag: Foes character fails an Intellect
defense task, they think
within short range who fail of the satyr as a good
an Intellect defense task friend for up to one
lose their next turn dancing minute or until they can
and leaping. Attacks made escape the mental effect.
against affected targets are
eased by one step.
Feral Overture: An ally within short range
is infused with magic. One attack it makes
on its next turn is eased by one step, and if it
hits, it inflicts +3 damage.
Tune of the Clouded Mind: A foe within short range
who fails an Intellect defense task spends its next
turn attacking one of its allies.
Interaction: A satyr is always willing to start
negotiations, but is prone to lying
and exaggeration. Offering
excessive libation, food, and
other treasures is the only way
to ensure a satyr remains honest,
if only for a short period.
Use: Strange piping music in the forest
lures away young men and women
from a nearby community. The elders
say a charismatic cult leader has set
up in the woods, and clouds
the minds of all who
come near.
Loot: A satyr is likely to carry
one or two cyphers.

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SNARK 7 (21)
They sought it with The snark is unimaginable. It is a Boojum, you see. An agony in eight fits. Part snail and
thimbles, they sought
shark and bark and snake and snarl. It has feathers that bite, claws that catch, and jaws that
it with care;
snatch. It softly and suddenly vanishes away, never to be met with again. It smells of the
They pursued it with will-o-wisp, sleeps late in the day, and breathes fire when it finds something funny (which is
forks and hope;
nearly never).
They threatened its life Motive: Unfathomable
with a railway-share;
Environment: Upon islands filled with chasms and crags, near bathing machines, and
They charmed it with around those whose coats are too tight in the waist
smiles and soap.
Health: 21
~Lewis Carroll, Damage Inflicted: 5 points
The Hunting of the Snark
Armor: 2
Movement: Short when moving perpendicular; long when moving sideways
Very little is known about Modifications: Invisibility, shapeshifting, confusion, and mimsy as level 8
the snark beyond hearsay
Combat: Inflicts 5 points of damage with biting feathers, catching claws, and snatching
and rumor; it is designed
to be a confusing jaws. Also blows out a stream of fire that can light a match or inflict 3 points of damage
enigma, even to those to everyone in close range.
who actively hunt it. Interaction: Not recommended.
Use: The characters are given the impossible task of hunting a snark. Whether or not they
GM intrusion: actually find one, they have grand adventures along the way.
Everything about the
Loot: The frabjous joy of catching the impossible, improbable, unimaginable snark.
snark is a GM intrusion.

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WOLF, BIG BAD 8 (24)
“You’ve heard the stories, surely. The woods. The trail. The girl. Well, I’m here
to tell you that none of them are true. Oh, I don’t mean I’m innocent. Oh no. I
have done all those things and more. Much, much more.”
The grandmother lived
~ the Big Bad Wolf out in the wood, half a
league from the village,
The Big Bad Wolf (just call him the Wolf, for he is truly the only one worthy of that title) is and just as Little Red
a beast of near immortality, kept alive by the legends that swirl around him, the constant Riding Hood entered
stream of terrorizing tales. Once the stalker of the woods, now he stalks the streets and the wood, a wolf met
towns, no longer staying to the shadows, no longer merely hunting girls and grandmothers. her. Little Red Riding
Hood did not know
As his reputation has grown, so has his appetite. what a wicked creature
He hungers. He swallows worlds. He will not be contained. he was, and was not
Motive: Hunger at all afraid of him.
~Little Red Riding Hood
Environment: Woods, cities, behind you
Health: 30
Damage Inflicted: 8 points
Armor: 1
Movement: Long
Modifications: Hunting, seeking, and sneaking as level 9
Combat: The Wolf’s bite does 8 points of damage. Additionally, he has a variety of abilities GM intrusions:
that he may use. The Wolf makes a great
What Big Ears You Have: Can track and hear his prey up to a mile away. Tracking ignores all leap, knocking down foes.
cloaking abilities, including magical ones. The Wolf already has
What Big Eyes You Have: Mesmerizes his victims for two someone swallowed in
rounds, convincing them that he is a friend and that his belly, and that person
calls for help from out
they should do what he suggests. of the Wolf ’s mouth.
What Big Teeth You Have: Swallows his victim whole,
holding them in his belly. It’s a level 8 Speed
or Might defense task to avoid being eaten
whole. Captured characters can attempt to
cut themselves free, which requires three
successful attacks.
Huff and Puff: Exhale creates a wind
so strong it can knock over
foes, trees, and even houses.
Inflicts 6 points of damage
to everything within long
distance, and knocks most
things prone. Once the Wolf uses
this ability, he can’t use it again for three
rounds.
Interaction: Despite his constant hunger and his
gnawing need to swallow the world, the Wolf
makes an interesting ally (provided that he’s well
fed at the time) for he is smart and cunning, and
has myriad tricks for moving through the world.
Use: The Big Bad Wolf is a great character to introduce
into a modern fairy tale game. Imagine his new
iteration as an urban legend, spreading through the
internet.
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CRAFTED
Crafted creatures are those made by human,
fey, or other hands. In fairy tales these
might include characters like Pinocchio,
the Iron Giant, Edward Scissorhands, the
Gingerbread Man, and the Tin Man.
Gingerbread Creatures
Gingerbread creatures can take any shape
and form, but are most often humans,
dogs, or dragons. Typically crafted and
Detonation cypher, brought to life by witches and enchanters,
page 386 gingerbread creatures tend to remain loyal
to their creators, even if they are treated
Virgilius the Sorcerer, poorly.
page 120 Level 2, Speed defense as level 4 due to
quickness; when touched or eaten, some
gingerbread creatures release a sweet, slow
poison that inflicts 1 point of damage each
round for 1d6 rounds.
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Geppetto’s Children
Made of wood and wishes, Geppetto’s
children are everywhere in the world.
They go through a number of life stages,
starting as wooden puppets and eventually
becoming real humans. No matter what
stage they’re in, they’re nonstop sources of
destruction and chaos.
Level 4; Armor 1; have a passion for
creating, collecting, and using cyphers,
particularly detonation cyphers
Virgilius’s Copper Dogs
Once the loyal companions of Virgilius the
Sorcerer, this pack of dogs now runs feral.
Despite being created through the power of
magic, they despise anything that stinks of
magic and attempt to bring it down.
Level 5; Armor 2
Additional Crafted Creatures
1 Golem, page 336
Horse head automatons, page 156
 BEASTS AND BEINGS

CRAFTED
TIN WOODMAN 7 (21)
Once an ordinary woodman of flesh and blood named Nick Chopper, the Tin Woodman’s
story is a sad one. His beloved axe was enchanted by a wicked witch in order to keep him
from his other true love (it’s a long story, but suffice it to say that witches who are wicked
do wicked things). His beloved axe turned on Nick Chopper, taking off one limb after
another. A tinsmith kindly replaced Nick’s missing body parts (except his heart) with tin
prosthetics, but eventually nothing was left of the original human and he became the Tin
Woodman.
Note that the Tin Woodman will never tell you this story himself, for he has no heart and
seeks only revenge: revenge upon the witch who cursed him, upon the tinsmith who did
not replace his heart, upon the rain that rusts him. Someday, he will find all the original
parts of himself, no matter who they belong to currently, so that he
can return to his original form.
Motive: Revenge, find his original body parts
Enchanted axe (artifact):
Environment: Anywhere level 7; inflicts 7 points
Health: 21 of damage; can be
Damage Inflicted: 4 points activated to move a
Armor: 4 long distance away from
the wielder and attack
Movement: Short; immediate if rusted a foe as an action.
Modifications: Speed defense as level 5 due Depletion: 1 in 1d20
to rust (check each activation)
Combat: Inflicts 7 points of damage with
his enchanted axe.
Interaction: The Tin Woodman is singularly
GM intrusion: A
focused, and cares only about clues character’s weapon
that lead to revenge or his original gets caught in the Tin
body parts. He does not eat, Woodman’s metal body,
drink, or sleep, and often comes pulling the weapon
out of their hands.
across as frantic and frenzied.
Use: The PCs are hunting the same
foe that the Tin Woodman is, and
either they join together, or the Tin
Woodman tries to prevent them
from reaching the foe before he
does.
Loot: Enchanted axe

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DEATH 10 (∞)
“I am Death, and I make all equal.”

Death goes by many names, takes many forms, and has only one purpose: to make all
equal in the end. Death is often an unwanted visitor—taking the life of someone who is not
ready to go—but just as often, they come to those who are ready. To them, Death is a most
welcome, the most welcome, guest of all.
While some see Death as evil, they are not inherently so, no more than the cougar
Some say that the only hunting the hare for dinner. In fact, they are the great equalizer, raising paupers to kings
reason Death allows and kings to common people.
themselves to be tricked,
captured, or bargained
Death is ancient, but not old. Wise, but not all-knowing. Brilliant, but not perfect. Death
with is because they is also, very often, bored. They have seen everything, heard everything, and done everything
are bored and want to that it is possible for an immortal being to do, and some days they feel sure they will never
see what happens. experience anything new or interesting again. But still, they try, taking on new guises,
hiding themselves away, even traveling to distant stars and moons before their duties and
obligations once again pull them to return.
If Death appears at the Motive: To do their duty and make everyone equal
foot of a person’s bed, Environment: Everywhere and anywhere
that person can recover
if the proper steps are
Health: ∞
taken. If Death is at the Damage Inflicted: Death
head of the bed, almost Armor: Immune to all harm
nothing can be done to Movement: Variable depending on their form, but Death can move instantaneously almost
save the victim, beyond
an impossible bargain. anywhere that they desire
Modifications: Seeing through trickery, deception, or bargaining as level 8
Combat: Death kills. They kill any number of ways, depending on their mood, what’s at
hand, and how they believe the person should leave their life. Thankfully, death only
Death’s candle, page 80 comes for someone when their time is up.
Still, it’s not considered wise to provoke or challenge Death to physical combat, for
GM intrusion: Death there is only one outcome: a single attack from Death kills the victim (except in the
mistakes a character rare case where the victim has protection against death, such as with one of Death’s
for someone else.
candles).
Interaction: Death cannot be hurt and
cannot be killed, but they can be
bargained with, bet against, and
sometimes tricked. More rarely, they
have even been known to lose a bargain
or be captured for a short period of time.
Use: Bargaining with Death is a potential
way to achieve an impossible task or gain
a very rare item, but of course it always
comes with a price (usually an earlier
death for the bargainer or someone else).
Death is always looking for something
interesting going on, and may appear
just to spend time with the characters if
they’re engaged in an intriguing activity.

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 BEASTS AND BEINGS

OF EARTH AND STONE

Creatures of the earth are those that seem characters as a single action; on a failed
to belong to the land in some unique and Might defense task, the characters are held
significant way. Perhaps they are made of in place until they can escape.
the land and its offerings—tree beings, rock
trolls, and so on—or perhaps they seem Troll: level 6; claws inflict 7 points of
attached to the land in important ways, damage and grab victim until they can
such as the way in which the minotaur is escape; grabbed creature takes 10 points of
part of its maze or the way that dwarves damage per round; troll regains 3 points of
have a unique connection to mountains. health per round.
Because the archetype of earth beings
covers a broad range of creatures, there is
no general entry for an earth being.
Additional Earth Beings
1 Earth elemental, page 327
Dwarf: level 4; Armor 2; mining pick inflicts 1 Fireelemental, page 326
4 points of damage; beards provide magical 1 Giant, page 333
It’s possible for anyone
abilities such as finding treasure, enabling to grow a magical
1 Goblin, page 335 beard using a beard
flight, shapeshifting, and turning invisible. 1 Golem, page 336 balm cypher, such as
Cutting a dwarf’s beard off or learning their 1 Ogre, page 346 Coalheart’s beard balm.
name provides an asset on all interactions 1 Orc, page 347
with that dwarf. 1 Statue, animate, page 355
Coalheart’s beard
balm, page 79
Feral tree: level 3; Armor 3; no movement;
lashing branches attack up to three

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OF EARTH AND STONE
ERLKING 6 (18)
This vaguely humanoid creature is an animated accumulation of woodland debris—bark,
lost teeth, matted weeds, and dirt. It wears a crown of oak leaves and a cloak of mist.
Its eyes are knotholes, and its hands are sharpened twigs. An erlking is a greedy spirit of
hunger deemed Unseelie by the faerie nobility of that wild and wicked realm. Erlkings love
to hunt and eat children, who are particularly susceptible to the promises and glamours
that the creatures spin.
Motive: Hungers for flesh and to reclaim stripped titles
Environment: Almost anywhere wooded at night
An erlking is a former
Health: 27
noble stripped of title,
lands, and even form, Damage Inflicted: 6 points
and exiled into the night Armor: 4
for crimes unimaginable Movement: Short; immediate when burrowing
in their cruelty. An
erlking’s victims are found Modifications: Stealth tasks as level 7
in the cold sunlight, pale Combat: An erlking prefers to attack from hiding, and whisper a child or other creature
and bloodless, with their within short distance from their bed out into the night if the victim fails an Intellect
vital organs nibbled out. defense task. An affected creature remains under the erlking’s spell for up to an hour or
until attacked or otherwise harmed.
When it attacks physically, an erlking can attack three times on its turn with root tendrils.
A target hit by a tendril must also succeed on a Speed defense roll or become grabbed
until they escape. The erlking automatically inflicts 6 points of damage on each grabbed
creature each round until they succeed on a Might-based task to escape.
GM intrusion:
Silvered and cold iron weapons ignore an erlking’s Armor. If an erlking’s remains are not
A character surprised
by an erlking in the burned or otherwise destroyed, it will sprout and grow a new body from its corpse
darkness must succeed within a day.
on an Intellect defense Interaction: An erlking may negotiate if creatures have something it wants, or if targets are
task or lose their next
action as they faint, armed with silvered or cold iron weapons.
run screaming, or stand Use: An erlking is active only by night; by day, it hides beneath a mound of weedy earth
paralyzed in terror. indistinguishable from the surrounding terrain.

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MINOTAUR, THE 7 (21)
Some believe there’s just one Minotaur. They are wrong.

The most famous minotaur is the Minotaur, the singular beast from which all lesser
minotaur myths descend. The product of a god-cursed union between human and bull,
the Minotaur is monstrous, and only the flesh of people can nourish it. It is usually lost
in a labyrinth created to contain it. But it occasionally gets free to hunt the wider world
before the labyrinth pulls it back. Some demigods claim to have slain the Minotaur, but the
Minotaur always returns.
Motive: Hungers for flesh
Environment: Usually in mythological labyrinths, but sometimes metaphorical ones
Health: 33
Damage Inflicted: 10 points
Armor: 3
Movement: Short GM intrusion: The
Modifications: Breaking through barriers as level 9 Minotaur smashes into
the wall, causing a
Combat: The Minotaur attacks by goring foes on its horns, inflicting 10 points of damage
section of the tunnel or
on a successful attack. If the Minotaur charges a short distance, it can attack as part of hallway to collapse on
the same action and inflict an additional 5 points of damage. the character(s), inflicting
The Minotaur is trapped by the labyrinth, but also part of it. Whenever a character attacks 10 points of damage and
trapping them until they
the Minotaur, they must succeed on an Intellect defense task or be claimed by the can escape the rubble.
labyrinth themselves until they can escape with a successful difficulty 7 Intellect
task. Those claimed by the
labyrinth seem to disappear
and find themselves wandering
a dark maze. Once a character
successfully escapes, they are no
longer subject to being claimed by
the labyrinth for several days.
If killed, the Minotaur’s body is
claimed by the labyrinth.
Thirty-three days later, the
Minotaur is resuscitated.
Interaction: The Minotaur can speak,
but usually chooses not to. It is
belligerent and cruel, and always
hungry.
Use: The Minotaur has escaped the
labyrinth and now wanders the
narrow streets of a metropolis,
treating the winding alleys and
twisting roads as its new maze.

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ENCHANTER 5 (15)
Enchanters include magic-users of all genders. They may choose to call themselves
Enchanters can use wizards, sorcerers, mages, or diviners, depending on their strengths, abilities, and desired
long-lasting or even reputations.
permanent versions of
their magical abilities,
Enchanters usually take great pride in their appearance, including their outfits,
but doing so usually accoutrements, and equipment. They often incorporate living or dead elements of
requires minutes or dangerous creatures, such as spiders, snakes, crocodiles, and dragons, into the objects
hours of time. that matter to them. Additionally, they may imbue objects with powerful magic.

Most enchanters have

one or more apprentices
or helpers, typically
animals that have
been made human
temporarily or humans
who are in the service of
the enchanter until some
debt of theirs or their
family’s has been paid.

Sorcerer’s apprentice:
level 3

If an archetype doesn’t
include certain elements,
such as Interaction or
Combat, it typically
means those are listed
for individual creatures
within the archetype.
Feel free to mix and
match to create unique
combinations.

Alternatively, if an
individual creature
doesn’t have an element
(such as Armor),
use the one listed
in the archetype.

A creature’s health
is always equal to its
target number unless
otherwise stated. So a
level 3 creature has a
target number of 9 and
thus 9 health, unless its
Health stat line states
something different.

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 BEASTS AND BEINGS

Motive: Control magic, power

Environment: Everywhere, particularly in places where magic is present and powerful
Health: 20
Damage Inflicted: 5 points
Armor: 2
Movement: Short
Modifications: Using and controlling magic as level 7
Combat: Magical weapons and artifacts (such as a whip made of living snakes, a staff with a
biting wolf’s head on top, or a sword that acts of its own accord) do 5 points of damage.
Additionally, an enchanter may employ a number of magical abilities, including the
following:
Animate: Takes any material (such as wood or stone) and turns it into an animate level
4 creature. The creature has a mind and will of its own, and acts just as that type of
creature would act if it were born instead of created.
Blood to Stone: Turns living creatures into stone, or immobilizes them in their current form.
Breaking free is a level 6 Might task.
Enchant: Imbues a normal object with a magical power. The object works under the
enchanter’s command, and does as the enchanter asks of it. For example, an enchanter
might imbue a foe’s weapon and force it to attack the foe, or they might imbue a door
and have it close tight against incoming dangers. Witch, page 132
Endless Passage: Creates an endless series of thick spiderwebs, invisible barriers, rings of Faerie, page 121
flame, or other hurdles across an entrance, exit, tunnel, or
passage. Every time one of the hurdles is broken, another
forms. Characters’ movement is halved while going
through the endless passage, and they take 2 points of
Intellect damage each round.
Invisible: Turns anything (including themselves, others, and
entire areas up to 30 feet by 30 feet [9 m by 9 m]) invisible
for ten minutes. It’s a level 6 Intellect task to be able to
see something that has been made invisible.
Persuasion: Convinces all victims in long range that what they
believe is not real or that what is false is real. Sometimes
this ability just affects others’ minds, creating a mental
dissonance. Other times, the enchanter creates an
illusion or other visible, auditory, and tactile element
that persuades a character to believe everything they are
experiencing. The effect lasts for ten minutes.
Additionally, an enchanter may have one or more of the same
abilities as a witch or a faerie.
Interaction: For the characters, an enchanter may be a
terrifying foe or a powerful ally. Enchanters are fickle,
perhaps due to their close relationship with magic, and
may change their loyalties on a whim or an imagined
slight.
Use: The characters need to have an object imbued, a person
returned to life, or a curse undone, and they turn to the
enchanter for help. The characters accidentally insulted
the enchanter in some way, and now the enchanter is hunting
them down to get revenge.
Loot: Enchanters often protect their precious items with spells and
magical locks (level 8). Behind those wards are 1d6 cyphers, an
artifact, and an elegant or interesting outfit.

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 WE ARE ALL MAD HERE
For another example
of an enchanter NPC, ENCHANTERS OF THE WORLD
see Mighty Wizard,
page 376 in the Cypher MORGAN LE FAY 9 (27)
System Rulebook.
Morgan le Fay (also known as Morgen, Margain, Morgant, and various other names) is a
Dorothy said nothing. Oz
powerful sorceress from the legends of King Arthur. She has an unpredictable duality to her
had not kept the promise
he made her, but he had nature, with the potential for great good and great evil.
done his best. So she Combat: Attacks with a variety of weapons, including a sword and staff. She also can use
forgave him. As he said, any of the following abilities: charm, enchant, glamour, heal, invisible, persuasion,
he was a good man, even
if he was a bad Wizard. protect, revive, seduce, and shrivel.
~ L. Frank Baum, The Interaction: Morgan le Fay is fickle and enigmatic, and rarely reveals her purposes. If she
Wonderful Wizard of Oz agrees to help the characters in some way, it’s absolutely because she has a higher goal
in mind.
Charm, heal: page 122
Use: The characters are stopped by a beautiful woman in the woods, who asks them to
Glamour, protect,
help her accomplish a great task. A powerful foe has brought Morgan le Fay into his
revive, seduce, shrivel:
pages 132-133 confidence, and she is helping him against the PCs.

The Princess was looking

at the poor creatures OZ, THE GREAT AND TERRIBLE 5 (15)
in dismay, when the
Enchanter suddenly It is perhaps the greatest feat the Wizard of Oz ever pulled off to make everyone believe
entered, wearing a long that he was not a sorcerer at all, but merely a ventriloquist and balloonist from some
black robe and with a
crocodile upon his head. faraway land. He is, in fact, far more powerful than that, but prefers that no one were ever
In his hand he carried to know. For if they did, they would expect things of him, and that makes him anxious.
a whip made of twenty Combat: Oz does not fight, but instead sends his army of green-whiskered soldiers forth.
long snakes, all alive and He may also use an artifact or spell to protect himself, hide himself, or flee. He can use
writhing, and the Princess
was so terrified at the the following abilities: enchant, invisible, persuasion.
sight that she heartily Interaction: Curmudgeonly and a bit of a humbug, but rarely with evil intent, Oz is likely to
wished she had never help those who ask, although he often fumbles things just to make a point.
come. ~Andrew Lang,
The Golden Branch
Use: The characters set off to meet the powerful ruler of a strange land. Or they encounter
someone they believe is just a humble, simple man, but who instead turns out to be
Green-whiskered incredibly powerful.
soldiers: level 4; Armor
Loot: Oz has at least one artifact, as well as 1d6 cyphers.
2; unloaded rifles deal
4 points of damage

VIRGILIUS THE SORCERER 7 (21)

The most renowned of all the poet-sorcerers, Virgilius studies and uses the power of the
written word to enhance his magical abilities. He keeps a black book, which is the source
Virgilius’s copper of his spells, and creates copper creatures to protect and defend him. He has a love of
dogs, page 112 challenges, such as magician’s battles, and seeks them out.
Combat: Can use the following abilities: animate, blood to stone, enchant, endless passage.
Interaction: Virgilius is quick thinking, wily, and full of interesting schemes. Those who
Black book (artifact): entertain him for longer than a moment might find him a very useful ally. However, he
level 6; allows the user is also driven toward revenge, particularly on those who attempt to publicly humiliate or
to cast animate, blood
to stone, enchant, or
shame him.
endless passage. Casting Use: The characters enter into a battle of wits or wills, only to discover they’re competing
a spell from the black with Virgilius.
book costs 2 Intellect Loot: Carries a black book
points and is an action.
Depletion: 1 in 1d6

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FEY
In fairy tales, the word fey covers a huge
category of creatures, from faeries, brownies,
and imps to gremlins, boggarts, and goblins.
Additional Fey Beings
Enchanted moura, page 192
There are so many types of fey beings in
Fairy with the Blue Hair, page 208
the world that it’s nearly impossible to
1 Prince(ss) of summer, page 348
categorize them as just one thing, or to list
1 Shadow elf, page 352
them all. They do have a few characteristics
in common, however. They are typically
sentient, humanoid in form, connected to
nature in some way, and magical.

Angiks: Reanimated spirits of babies who

died, typically due to hard winters, and who
now haunt the living. At night, they turn into
giant owls and prey on solitary travelers.
Level 3; talons inflict 4 points of damage

Changelings: Fairy children left in place

of stolen human babies (and occasionally
adults as well), typically raised among
humans.
Level 2; shapeshifting and knowledge of
the fey world as level 4

Nymphs: Supernatural beings (often

female) associated with protecting a
particular location or landform, such as a
river, tree, or mountain.
Level 3, stealth and positive social
interactions as level 6

Pixies: Benign and mischievous creatures

that live near stone circles, tombs, and
other burial grounds.
Level 2, stealth and finding lost items as
level 6

FAERIE 3 (9) Not all faeries have

wings, but those that do
find many ways to use
In general, faeries (sometimes called fairies or fair folk) are humanoid in appearance, small them to their advantage.
in stature, and magical. They are associated with music, mirth, tricks, and taunts. Seeing
one is an omen—hopefully, an omen of a silly song or the first appearance of an annoying
new road companion (the very faerie sighted) flitting around, asking the questions of a
curious four-year-old hyped up on sugar water and ice cream. Some faeries are tricksters,
delighting in playing pranks and stealing clothing, equipment, or prized objects. And a few
are malicious, luring travelers to their various dooms, making deadly deals, and forcing
others into captivity.

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Motive: Unpredictable
Environment: Encountered alone or in a flutter of three to twelve, usually in forests
Health: 12
Damage Inflicted: 4 points
Faeries have a wide Movement: Immediate; long when flying
variety of weaknesses, Modifications: Tasks related to performance and deception as level 5; Speed defense as
including silver, iron,
technology, sugar and
level 5 due to size and quickness
salt (they must count Combat: A faerie attacks by hurling sparkling magic dust at a target within short range. In
each grain), and cream addition, if a faerie is touched or struck by a melee weapon, more magic dust puffs away
(intoxicates them). But from the faerie and clouds the attacker, who must succeed on a Speed defense task or
not all faeries have the
same weaknesses, and suffer the same amount of damage they just dealt to the faerie. Sometimes faeries wield
some may not have any. tiny weapons, such as bows, spears, or swords; treat these as light weapons.
A faerie can see in the dark, but it can also emit bright light (often colored) and appear as a
glowing humanoid or an illuminated sphere.
Faeries regain 1 point of health per round while their health is above 0 unless they’ve been
damaged with a silvered or cold iron weapon.
In addition to inflicting damage with their fairy dust and their weapons of choice, faeries
He entered without have a number of curses and abilities at their disposal. These include the following:
difficulty, and in the hall Animal Friend: Most faeries can communicate with animals, and a few can even summon
the terrible old Fairy met
him. She was so thin that
animals within long range for help and protection. Some faeries can also grant others
the light shone through the ability to communicate with animals, but only for a day.
her, and her eyes glowed Charm: Some faeries can attempt to use a song or light display to charm others within
like lamps; her skin was short range. The target must succeed on an Intellect defense task or fall into a
like a shark’s, her arms
were thin as laths, and suggestible state for one hour. During this period, the target can be led by the faerie
her fingers like spindles. until attacked, damaged, or shaken from their glamour.
Nevertheless she wore Clairvoyance: The faerie grants someone the ability to see the future, the past, faeries, or
rouge and patches,
one of the hidden faerie worlds. This gift lasts for one day, or until the character makes
a mantle of silver
brocade and a crown of a ten-hour recovery roll.
diamonds, and her dress Heal: The faerie heals themselves, a plant, a creature, or another character for 1d6 + 2
was covered with jewels, points of damage.
and green and pink
ribbons. ~Andrew Lang,
Illusion: Powerful faeries can cast elaborate and convincing illusions that make them and their
The Golden Branch worlds appear more appealing and beautiful. Illusions can cover up to a mile in area. Seeing
through the illusion is a task equal to the faerie’s level and lasts for ten minutes. After that,
the viewer reverts to seeing the illusion and quickly forgets that they saw anything else.
Invisibility: Makes the faerie invisible to most eyes. Seeing, hearing, or sensing a faerie when
it’s invisible is a task equal to the faerie’s level. A failed attempt to see a faerie causes the
Young fairies are viewer to see something that harms their mind, inflicting 1 point of Intellect damage.
sometimes called Vortex: A defensive tactic where one or more threatened faeries use their wings to create a
“skillywidden.”
strong gust of wind, tornado, or vortex. The wind pushes their foes back a long distance
and inflicts 2 points of damage.
Interaction: Faeries are mercurial creatures, but except for the malicious ones, they can be
negotiated with, especially if offered sweets, wine, cream, or other gifts. That said, faerie
attention spans are limited, so even one that means well could end up leaving the PCs
in the lurch at just the wrong moment.
Use: The characters come upon an injured faerie, who promises to grant them their
GM intrusion: A deepest wish if they agree to help it. They must decide if they believe the faerie speaks
character accidentally true, or if it’s a trap.
does something to offend
a helpful faerie, causing
Loot: The tiny pouches that faeries carry are stuffed with forest bric-a-brac, but some of those
it to turn on them. pouches are ten times larger on the inside and could contain expensive items or cyphers.

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FEY
FAIRY GODMOTHER 6 (18) “Even miracles take
a little time.”
Fairy godmothers are nearly always beneficent beings, typically acting as mentors, parents, ~fairy godmother
or protectors, much like human godparents. The difference, of course, is that fairy
godmothers have a great deal more magic at their disposal.
Overall, fairy godmothers are kind, gentle, and loving to almost everyone, not just their Well-known beneficent
fairy godmothers include
godchildren. Of course, not all fairy godmothers are good at their roles—some may act
Flora, Fauna, and
out of their own interests and inadvertently (or purposefully) do harm to those they are Merryweather (Sleeping
supposed to protect. This is particularly true if they feel like they have not been given the Beauty); the Blue Fairy
respect they deserve, or have been offended in some way. (Pinocchio); Mrs.
And if you should harm someone they have pledged to protect? Beware, beware, for there Doasyouwouldbedoneby
(The Water Babies); and
is no wrath like that of a fairy godmother’s. the Sugar Plum Fairy.
Motive: Protect their protégés, be respected
Environment: Cities, towns, and anywhere someone is in need of assistance
Health: 24 Carabosse and
Damage Inflicted: 6 points Maleficent are sometimes
Armor: 2 (magical) considered to be wicked
fairy godmothers.
Movement: Short; long when flying
Combat: Fairy godmothers attack by shooting a stream of sharp-edged glitter up to a long Blessing, page 52
distance from their magic wands (glitter gets into every nook and cranny, and thus Curse, page 49
ignores Armor). Fairy godmothers can bestow blessings upon their friends and allies, Faerie, page 121
and curse their enemies.
Fairy godmothers can cast any of the skills and abilities that
faeries can cast, as well as a few that are specific to
them, including the following:
A Little Luck: The fairy godmother blesses a character
with luck, granting them the opportunity to reroll
once in the next day without spending XP.
A Little Misfortune: Despite the name, this is usually
a beneficial spell. It is designed to give a nearby
character something to overcome so that they might
grow stronger in temperament or stature. When this
spell is cast, the character receives a GM intrusion
on their next action (no matter what their roll is) and
receives 1 XP to give away (but not one to keep).
Alteration: Can turn any creature within short range into a
different creature (such as a mouse into a horse) and any
object into a similarly shaped object (such as a pumpkin into a
carriage, or a smock into a ball gown). The effect lasts for one day.
Prophecy: Creates a prediction for the future of a single person. The
prediction has a high chance of coming true, but is not certain.
(Prophecies work like GM intrusions that will take place in the
future; the player can reject the prophecy by spending an XP.)
Not all prophecies are negative.
Interaction: Interacting with fairy godmothers is usually a little
frantic, frenzied, and full of “Bibbidi-bobbidi-boo!” If they like you, GM intrusions:
they’re likely to prove a loyal, steadfast, and useful ally. If not, well, The fairy godmother’s
hopefully you like being turned into a horse, or worse. magic goes awry and a
Use: Fairy godmothers make great lighthearted additions to encounters, character is accidentally
particularly ones where the characters are preparing for a ball, a fight, or turned into a horse.
a big adventure.
The fairy godmother
loses her wand.

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 WE ARE ALL MAD HERE
FEY
Áine is pronounced
ÁINE, FAIRY QUEEN OF LIGHT AND LOVE 9 (27)
“AWN-yah.” However, Áine is the fairy queen of summer and the sun, and is known by many names: the Fairy
only her lovers and her
children call her by
Queen of Light and Love, Bright One, Sun Goddess, and Sweetheart of the Fairies. She is a
her familiar name. All kind, true, and benevolent ruler, and is loved by nearly everyone. Known for making just and
others deferentially refer fair bargains with humans, she is often sought after for blessings and boons.
to her as “my Queen,” Motive: To be just and true, to protect her realm
“my Light and Love,”
or “Bright One.” Environment: She shares a fairy realm with her sister, Gráinne, where she rules in the
summer months.
The adventure Health: 99
“Between Worlds” on Damage Inflicted: 12 points
page 146 includes an
interaction with Áine.
Armor: 5
Movement: Short; very long when shapeshifted
Geroid, page 149 Combat: Áine rarely engages in combat herself, as she prefers to leave that role to her son
Geroid and his army. However, if she’s attacked or feels the need to defend her realm or
Queen’s bees: level 3; someone in it, she will not hesitate to step in. She attacks using the power of the sun,
sting victims for 3 points focusing light into a narrow beam that inflicts 12 points of damage on the target.
of damage and paralyze
them for one round
In addition, Áine has the power of chlorokineses—she can manipulate plants and flowers
within very long range, causing them to grow to enormous proportions. She can use
GM intrusion: One of them as weapons that grab and hold multiple victims (level 7 Might task to break free)
Áine’s ardent followers or that do damage via strangulation or thorns (7 points of damage). Any bees in the
believes a character
is threatening their
area act to help the queen.
beloved queen. She can also shapeshift into a red mare as she chooses. As a
mare, she inflicts 6 points of damage with her hooves
or bite, can become immaterial as an action (makes
it impossible to successfully attack her, but she
cannot attack in this form), and can move to
a spot within long range instantaneously
(does not require an action).
Interaction: Just, true, and kind, Áine makes
a powerful ally, provided that she does
not feel that she or her realm are
threatened. Those who wish harm on
others or who she sees as malevolent
in action or thought are more likely to
find themselves on the wrong end of the
Bright One’s anger.
Use: Characters who wish for something
important in their lives to change may ask
Áine to grant them a boon. She sometimes
helps those in need without them asking for it
(but, of course, only for a price). If the characters
attend a fairy ball or feast, they may encounter Áine as
an honored guest.
Loot: Áine wears a crown of glass, but it is not visible
unless she chooses it to be (she rarely does)
or she dies. She carries little else,
for she is a person of deeds, not
items.

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FEY
GRÁINNE, THE WAYWARD DAUGHTER 9 (27) Gráinne is pronounced
Gráinne is the Fairy Queen of Hope and Despair, sometimes also called the Wayward “GRAWN-yuh,” but
she is mostly called the
Daughter, the Winter Queen, and Dark One. Gráinne is to the dark what Áine is to the light. Fairy Queen of Hope
This doesn’t mean that Gráinne is evil, just that she represents what is good and bad in the and Despair or the
world that is hidden in shadows, buried beneath the ground, and revealed at night. She has Wayward Daughter.
her own moral code, one that can work in the favor of those who are cunning and willing to
The adventure
look at the darkness of their own hearts. “Between Worlds” on
Motive: To honor the darkness, to protect her realm page 146 includes an
Environment: She shares a fairy realm with her sister, where she rules in winter. In the interaction with Gráinne.
summer, she sleeps in the Sorrows, a belowground realm out of time and space.
Health: 99 Tiara of Pailis (artifact):
Damage Inflicted: 12 points level 7; allows the wearer
to fly a long distance
Armor: 5 each round (as an
Movement: Short; long when flying action). The wearer
Combat: Gráinne is a talented combatant, and seems to revel in having a foe who is a can control their speed,
challenge to her. She carries a dark green crystal staff that emits a dark coil of reddish direction, and height.
Depletion: 1 in 1d20
energy, which inflicts 12 points of damage. Alternatively, she can send out a cloud of
black smoke that deals 9 points of damage to all creatures in a short area. She also GM Intrusion: A
wears the Tiara of Pailis, a griffin-shaped tiara that allows her to fly. Gráinne has a character’s companion
animal or mount is
variety of magical abilities at her disposal, including the following: affected by Gráinne’s
Animal Communication: Gráinne has a special affinity with badgers animal affinity and
and can ask them for help. When she calls them (as an action), falls under her power.
a cete of eight large badgers appears. They act as two level 4
creatures; attacked beings must also succeed on an Intellect
defense roll or be shapeshifted into a badger for one round.
Oneirokinesis: Gráinne can infiltrate people’s dreams to converse with
them. As such, she might implant an idea in their heads (such as
“I’m going to die tonight” or “I should go back home”). When the
character wakes, they must succeed on a level 6 Intellect defense
roll to shake the idea. Otherwise, they feel a strong need to act
on it, and are hindered in any tasks that go against the idea (this
lasts until they make their next recovery roll).
Shadowmelding: Gráinne merges with shadows, making her nearly
intangible. In this form, she cannot be injured by physical
attacks, and her attacks inflict 8 points of Intellect damage on
anyone whose body is darkened by her shadow.
Interaction: For those who don’t mind a little
darkness and moral ambiguity, Gráinne
makes a powerful ally.
Use: The characters stumble into a fairy
realm, only to be met by its just-woken
guardian. Grieving characters may find
the solutions and solace they seek in
Gráinne’s magic and power.
Loot: Tiara of Pailis

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QUEEN 6 (18)
“When she breaks the tender peel to taste the apple in my hand, her breath will
still, her blood congeal, then I’ll be fairest in the land!”
~Queen Grimhilde on her plans to poison Snow White

Ah, the Evil Queen. Ruler of the land, watcher in the mirror. Full of magic, utterly merciless,
ADDITIONAL QUEENS and sharp of tongue. Evil and wicked queens abound in fairy tales, from those who have no
Áine, Fairy Queen of names and are remembered only for their evil deeds, to those whose names will never be
Light and Love, page 124 forgotten: Queen Grimhilde, Maleficent, the Queen of Hearts, and the White Witch. These
Gráinne, the Wayward queens seek power for power’s sake, not caring what destruction lies in their wake.
Daughter, page 125 Of course, not all queens are evil—just the ones you hear about most often. But they are
Rosalys, Queen of the all powerful in their own way, even if they are forced to hide it by their circumstances. While
Field Mice, page 214 they too crave power, they seek it in order to protect their lands, their people, and their
loved ones.
If an archetype doesn’t Motive: Power
include certain elements, Environment: Anywhere, but typically in cities and towns, where there are people to admire
such as Interaction or
Combat, it typically and fear them
means those are listed Health: 18
for individual creatures Damage Inflicted: 4 points
within the archetype.
Movement: Short
Feel free to mix and
match to create unique Combat: Queens almost always carry an artifact of great power, such as a staff, crown,
combinations. mirror, or sword, that grants them unique abilities and skills.
Queens often have familiars, such as ravens, who fight for or beside them. Most familiars
Alternatively, if an can do 4 points of damage with an attack.
individual creature Some queens may also be witches or fey creatures, and thus have the ability to use one or
doesn’t have an element
(such as Armor), two spells and curses that witches and fey also use.
use the one listed
in the archetype.

QUEEN GRIMHILDE 8 (24)

A creature’s health
is always equal to its Perhaps best known for her attempts to kill Snow White through magic and poison,
target number unless
otherwise stated. So a Grimhilde has other passions and talents as well. She seeks ways to make all beings obey
level 3 creature has a her commands, starting with the huntsman who so stupidly and willfully deceived her so
target number of 9 and long ago.
thus 9 health, unless its
Environment: One of her many castles, the woods
Health stat line states
something different. Armor: 2
Combat: Her vulture familiars swirl about all foes in short range, knocking them prone
Vulture familiars: level 4 and inflicting 4 points of damage. She can use the following witch abilities: glamour,
Witch abilities, page 132 imprison, and seduce.
Interaction: Grimhilde is cunning and devious, always hatching plans against those who
harm her, who threaten to overshadow her, or who have caught her eye in some way.
Use: The characters enter an area that is under Grimhilde’s power and must face her wrath.
Mirror mirror, page 96 Loot: She has a mirror mirror artifact, as well as 1d6 cyphers (often poison).

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THE RED QUEEN 6 (18)

“My life would be ever easier if I was not constantly
mistaken for that heartless and yelling horror, the Queen
of Hearts.”
~ The Red Queen in a rare moment of ire

The Red Queen has never once yelled “Off with her
head!” In fact, she has never yelled. It’s horrible
manners, and besides, when you know how to wield
power, you don’t need all that noise and chaos. You
need only whisper and be still, and everyone will
politely fall quiet and listen.
Environment: Polite dinner parties and social
gatherings
Armor: 1
Combat: Prefers verbal sparring over the physical sort,
and inflicts 3 points of damage with a single cutting
remark or sharp-tongued retort.
Interaction: The Red Queen is quite proper and chatty, the
perfect host and the perfect guest. The only time she ever
grows irate is when the subject of her sister, the Queen of
Hearts, comes up.
Use: While attending a party to steal something, the characters are
caught by the Red Queen.

“Hush-a-by lady,
in Alice’s lap!
THE SNOW QUEEN 6 (18)
Till the feast’s ready,
The Snow Queen rules over the “snow bees”—snowflakes that look like bees. She keeps we’ve time for a nap:
an ornate palace surrounded by gardens in the lands of permafrost, but she can be seen When the feast’s over,
elsewhere in the world where snowflakes cluster. Most say she is cold, and they would be we’ll go to the ball—
right. She has been part of the snow for so long that it’s possible she no longer remembers Red Queen, and
warmth or kindness or love. White Queen, and
Alice, and all!”
Environment: Anywhere there is snow, ice, or winter
Armor: 2 (from personal ice walls) ~Red Queen’s Lullaby,
Combat: Creates a snowstorm that blinds all foes in long range for three rounds; ice shards Though the
Looking-Glass
rain down upon all foes in long range, inflicting 2 points of damage; reindeer familiar
inflicts 5 points of damage with her horns.
Interaction: The Snow Queen is not evil—she just has forgotten what it means to be Snow bees, page 213
human, with human needs and human hearts (not that she was ever truly human, but
that’s a story for another time). She is willing to bargain if she understands what she
gets out of it.
Use: The Snow Queen guards the entrance to a place the characters need to enter.

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OF WATER AND WAVES
Creatures of water and waves are those
that inhabit or are deeply tied to the rivers,
ocean, marshes, and other watery areas of
the world.
Drowning Fairies: There are many types
of creatures known as “drowning fairies,”
including Peg Powler, the Water Leaper,
Fossegrim, and Jenny Greenteeth. These
creatures typically dwell below or next to
water and tempt, pull, or trick passersby
into the water.
Level 6, persuasion and creating illusions
as level 7; can grab a creature in short range
and pull them into and under the water and
attempt to drown them (level 6 Might or
Speed defense task to break free)
Fuath: Fuathan are intangible spirits that
dwell deep in the seas and oceans. They
consider themselves protectors of these
realms, particularly against fishermen and
others who would damage the environment
or creatures there. Fuathan have the power
to make themselves visible, most often
taking the form of humanoid creatures with
green skin and the flowing mane and tail of
a golden horse.
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Level 5, defense as level 7 due to
intangibility; if they know a person’s name,
they can gain control over the person, forcing
them to do their bidding for a short time
Naiad: These water nymphs inhabit rivers,
springs, waterfalls, and other bodies of
fresh water. Typically appearing as beautiful
young women with long limbs and flowing
hair, naiads are considered protectors, for
they guard their land fiercely. However, they
are easily provoked and their wrath is fierce.
Level 4; can cause water to boil, inflicting
3 points of heat damage on foes; can
unleash flash floods that sweep all foes back
a very long distance and inflict 2 points of
ambient damage (ignores Armor)
Additional Water Beings
Cult of the Serpent, page 152
Ghost of the Arbella, page 152
Grundylow, page 152
Isonade, page 152
Mermaid, misery, page 196
The Sea, Herself, page 151
Siren, page 152
 BEASTS AND BEINGS

OF WATER AND WAVES

CAILLEACH 5 (15)
Not actually a water spirit, but one who has made her peace with the sea in an eternal
bargain, Cailleach once lived on land. Now she is a recluse deep in the ocean in the realm
known as the Expanse of Halirane. She appears ancient, and in fact is much older than that. Cailleach is pronounced
She shaves her head bald, wears dozens of shell earrings in each ear, and has a glass eye “kālˌyəḵ” (or for an
easier version: Calleck).
that allows her to see three views of the future. As part of her bargain with the sea, she can The name means “old
never return to dry land again, or she will lose all of her powers forever. woman” or “hag”
Motive: To be left alone in modern Irish or
Environment: A home hidden inside a coral reef at the bottom of the ocean. Her home is a Scottish Gaelic.
large dead whale that the sea magically preserves as part of their bargain.
Health: 30
Damage Inflicted: 6 points What does Cailleach
Movement: Short; very long when shapeshifted give to the sea as her
part of the bargain, in
Modifications: Seeing through deceptions and lies as level 6, healing as level 8 exchange for everything
Combat: Cailleach has many abilities at her disposal, some of which come from the sea and she receives? Only the
others that come from her own magic. They include the following: sea and Cailleach know.
Healing Pot: If she has the proper ingredients and takes a day to do so, Cailleach can brew a
healing salve in her special pot. Depending on what she adds to the mixture, this salve
can do one of three things: restore 10 Might points, move someone up one step on the Not surprisingly, most
damage track, or remove a curse (up to level 6). people don’t know that
Cailleach can restore
Reptilian Form: Cailleach takes the form of a reptile of any size. While in this form, she has people to life. She tells
+3 Armor and does 6 points of damage with her bite, claw, or tail lash. In addition, she no one because she is
regains 3 points of health per round. afraid that someone
Restore to Life: Putting her wizened pointer finger into someone’s mouth can bring them will try to cage her and
abuse her abilities.
back to life, but only if they’ve been dead for less than a day and only if she holds her
finger there for exactly as long as they’ve been dead. After that, her finger falls off. It
takes three days for her to regrow a new one.
See the Future: Cailleach can use her glass eye to scry the future of an individual. She does The adventure “Between
so by first removing the eye, and then having the person hold it in their mouth until she Worlds” (page 146)
includes an interaction
asks for it back (sometimes this is for just a second, and sometimes it’s for hours—it’s with Cailleach.
hard to know if the variable length of time is part of the ritual or just her dark sense of
humor). She typically sees three possible futures, and all of them have an equal chance
of coming to pass.
Wanton Destruction: As part of her agreement with the sea, Cailleach was given the power Sea cyphers work just like
to control small parts of it at a time. She can create a whirlpool that catches up all regular cyphers, but they
have water-specific forms,
creatures and objects within short range of its center and inflicts 5 points of ambient such as shells, dried
damage (ignores Armor). seaweed, a jar of sand,
Interaction: Cailleach is a recluse and introvert whose deepest longing is to be left alone shark’s teeth, and pearls.
to increase her knowledge of magic. She also likes puzzles and games, and out of
everything on land, she misses birds most of all (for interacting with, not eating). Those
who bring her any of those items are likely to draw Cailleach out of her shell and have a
positive interaction.
Use: Cailleach can be a beneficial ally, particularly as a healer. She might also be convinced
to help fight against an encroaching danger, especially if it’s threatening her solitude GM intrusion: The
and privacy. sea offers additional
assistance to Cailleach’s
Loot: She typically carries a number of sea cyphers, and her home is filled with books, spells, increasing her
scrolls, and journals of all sorts. damage or movement.

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OF WATER AND WAVES
KELPIE 6 (18)
A sinister aquatic creature that takes the shape of a grey horse or white pony, the kelpie
lures unsuspecting passersby and attempts to drown them in a nearby body of water.
Some kelpies look just like horses. Others look as if they’re created from elements of the
swamp—maybe its tail is algae, its mane cattails, its eyes glowing pebbles or miniature
moons. Maybe eels and snails and other creatures are its teeth or tongue. One thing about
kelpies is always true: their manes are always dripping and their hooves are always inverted.
If someone knows a kelpie’s name and says it aloud, the kelpie loses all its power over
that person and retreats to the depths of the water.
Motive: Unknown
Environment: Near or in rivers, streams, lakes, and other bodies of running or still water.
Modern settings might find them near public or private swimming pools, koi ponds,
and reservoirs.
Health: 21
Damage Inflicted: 4 points
Movement: Very long when running
Combat: When a passerby approaches, the kelpie might appear tame, a little lost, injured,
or otherwise friendly and in need. Or, if the passerby appears weary or sad, the kelpie
will offer a ride upon their back. The kelpie’s sticky skin traps the rider (level 7 Might
task to break free). Once the rider is seated, the kelpie may attempt to drown them in
the lake, run so fast that the rider takes 5 points of Intellect damage from fright, or roll
over on them, inflicting 4 points of damage (ignores Armor).
GM intrusion: While Interaction: Not all kelpies are malevolent. Some were once “tamed” by someone who
dealing with something
else, the characters learned their names and loved them. These kelpies actively seek out human contact,
come upon a kelpie attempting to find someone to replace the one they loved.
in the process of Use: In the gloom, a large black horse appears, wearing beautiful tack and acting as if lost.
drowning someone.
It offers one of the weary characters a ride upon its back.

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THE WEST WIND 9 (27)

The West Wind has no master, no shackles, no chains. She goes where she will, and woe to
those who try to capture or hold her. When she’s not blowing through the sky, she takes the
shape of a human woman dressed in a sparkling blue tuxedo, her short silver hair pushed
back from her face.
Motive: To stave off boredom by playing tricks, traveling, stirring up trouble, and helping
others The North Wind is
Environment: Anywhere she wants to be a grumpy old man,
stomping around the
Health: 40
garden, shaking his fist
Damage Inflicted: 6 points at winter. You’d never
Movement: Very long know they were siblings.
Modifications: Speed defense as level 10; sees through and resists trickery, lies, deceit, and
intimidation as level 10
Combat: Inflicts 6 points of damage to every creature and object she chooses within a very
long distance, and knocks them prone. Not all winds are living
Interaction: Some say the West Wind is cold, but she’s really just an introvert and prefers to creatures. Sometimes
the wind is just the wind.
spend most of her time traveling alone. However, she’s actually very warm hearted and
But you won’t know
is likely to help those in need. She does not respond well to trickery, traps, or attempts which is which until
to force her hand (unless they’re terribly clever or smart, and then she admits grudging you try to talk with it.
respect for the perpetrators).
Use: The characters need the West Wind’s help to travel somewhere, knock something
down, or retrieve something from a hidden place. Someone needs an elegant date to a GM intrusion: The West
royal ball or a fairy festival. Wind lifts a character
high in the air and
Loot: Sometimes the West Wind picks up interesting things on her travels. She may gift
threatens to let them fall.
allies these items, including cyphers, artifacts, and even creatures.

WIND CHILDREN 4 (12)

The children of the wind cannot be measured in known numbers, for they are here and
there and everywhere. They are not born, so much as borne, by weather patterns, wishes,
and wants. Dust devils, gales, and zephyrs are all wind children.
Motive: See everything, know everything
Environment: Everywhere there is weather, real or magic-made
Health: 12
Damage Inflicted: 4 points
Movement: Long
Combat: Inflicts 4 points of damage with an exhale. Alternatively, can knock a character
prone for one round.
Interaction: Interacting with wind children is a bit like interacting with a group of
mischievous, precocious, and spoiled kids. However, they know many things, having
been all over the world, and will often share what they know in exchange for new secrets GM intrusion: The wind
or knowledge. children grab something
precious from one of
Use: One of the PCs seeks information about a person, place, or thing. The characters need the characters and
a surreptitious spy to gather information for them. start to play a game of
Loot: Information, secrets, and possibly a cypher or two picked up during their travels. “keep away” with it.

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WITCH 5 (15)
The old woman had appeared to be most friendly, but she was really an old
witch who had waylaid the children, and had only built the little bread house in
order to lure them in. When anyone came into her power she killed, cooked,
and ate him, and held a regular feast-day for the occasion.
~Hansel and Gretel

Witches are complex beings of myriad personalities, desires, and abilities. Sometimes
Traditionally, the term they’re the stuff of nightmares, with tales of their exploits keeping children safe in their
“witches” refers to beds during the darkest hours. Other times they’re wise helpers—at least for a little
women, but there’s no
reason witches can’t be
while, or possibly for a price. Often, they’re a little of everything, taking on no end of roles
any gender they choose. throughout their lifetime. They may isolate themselves deep in the dark woods, falsify their
In fact, some witches way into a royal family, or reside in the middle of town, hiding their identity.
may have the ability But one thing they are, always, is dangerous, for they carry within their hearts and heads
to become or present
as myriad genders knowledge, power, and magic—and a willingness to use all of them when necessary.
throughout their lifetime. Motive: Domination of others, power, knowledge, eternal life or beauty, hunger, revenge
Environment: Almost anywhere, although most often alone in unique dwellings in the
forest, in civilization as healers, or having infiltrated royal families
Health: 21
Damage Inflicted: 5 points
Movement: Short; long if flying
Combat: In addition to inflicting damage with their weapon of choice (often a staff or long,
Curse, page 49 curved blade), witches can curse their enemies.
Curse table, page 51 They also have a number of spells and abilities at their disposal. These include the
following:
Familiar: When attacked, a witch relies on the aid of their familiar to improve their Speed
If an archetype doesn’t defense. The familiar could be a large black cat, an owl, a big snake, or some other
include certain elements, creature. Killing a witch’s familiar is so shocking to a witch that their attacks and Speed
such as Interaction or
Combat, it typically
defense are hindered for a few days. It’s also a way to ensure that the witch never
means those are listed forgives their foe or grants mercy.
for individual creatures Glamour: Glamour is an illusion that the witch creates. It may let them look like someone
within the archetype. else, appear to be a tree or a bird, or even make them invisible. Seeing through the
Feel free to mix and
match to create unique glamour is a level 8 Intellect task. A failed attempt inflicts 2 points of Intellect damage.
combinations. Once a character sees through the glamour, they cannot unsee it.
Heal: The witch touches another creature and heals them for 6 points of damage. Some
Alternatively, if an witches must pull health from another living being in long range in order to use this
individual creature ability. Pulling health from a living being inflicts 2 points of damage on that being.
doesn’t have an element
(such as Armor),
Imprison: The witch creates a prison within long range and captures a foe inside it as a
use the one listed single action. The prison might be physical (a tower, a cage, a trap, a binding around
in the archetype the body) or mental (they can’t move, their muscles are no longer under their control,
they are afraid to move). Resisting being caught is a level 5 defense task (Might, Speed,
A creature’s health or Intellect, depending on the type of imprisonment). If a character is caught, breaking
is always equal to its free is a level 5 task (of the appropriate stat).
target number unless
otherwise stated. So a
Protect: Places a confinement spell to keep someone from going in or out of a location,
level 3 creature has a building, or room. Those who attempt to pass through the spell but fail take 3 points of
target number of 9 and Intellect damage and are knocked back. Once the spell activates, it disappears.
thus 9 health, unless its Revive: This rare and costly ability allows a witch to bring someone back to life, as long
Health stat line states
something different. as they haven’t been dead for more than a year. In order to accomplish this, the witch

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needs all or part of the body of the dead, a beloved object of the dead’s, and the
willingness of someone else to take on a curse that results from the magical working Additional witch
(roll on the Curse table to determine the resulting curse). Revive takes ten minutes to abilities, page 368
cast, and the character returns to life with 1 point in all of their Pools.
Seduce: Creatures within short range who fail an Intellect defense roll become enamored of Enchanter, page 118
the witch. Resisting the witch’s persuasion attempts is hindered by two steps until the
victim succeeds on an Intellect defense roll; each time they fail to resist the persuasion GM intrusions:
attempt, the witch’s next persuasion attempt is eased by an additional step. The witch’s familiar
Additional abilities: Witches might also have access to the witch abilities in the Cypher joins the fray, tripping
System Rulebook. These are charm, hexbolt, shrivel, and vitality. Some witches might up characters and
hindering their actions.
have other magical abilities similar to those of enchanters.
Something startles the
witch and they cast
a curse or spell as an
WITCHES OF THE WORLD automatic response.
The witch pulls out an
BABA YAGA 9 (27) artifact or cypher and
prepares to use it.
Baba Yaga (sometimes called Frau Trude) lives many lives and has many
personalities. She is both one witch and many. She uses her
magic to create a new version of herself each time her
life takes a new branch, following all of them at once,
becoming every version of herself that she might
have been.
Some versions of Baba Yaga are helpful.
Others harmful. Some Baba Yagas live
in the woods in a wooden hut that walks
around on giant chicken legs, some
fly through the sky in a giant mortar
and pestle, and some guard any
wild spaces that they have deemed
important. Some capture and cook
young children in a special stove. Some
do all of the above.
Combat: Baba Yaga can use the
following abilities: heal, hexbolt,
imprison, protect, revive, shrivel, and
vitality.
Interaction: It is almost impossible to know which
Baba Yaga you have met until you look deep in her eyes (a level 7
Intellect task). There, you might see a tiny flame, and in that flame,
learn a bit about her life. You can find one of
Use: Baba Yaga has her long, bony fingers in nearly everything that the many Baba Yagas
in the adventure “The
happens. She might be behind the counter at the herb and potion Prince Who Would Seek
shop, guarding the entrance to a cave full of treasure, or offering Death,” page 210.
her services in breaking (or casting) curses.
Loot: 1d6 cyphers, an artifact, and various other
odds and ends

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THE BLIND WITCH 5 (15)
The Blind Witch is skinny and always hungry. She lives deep in the forest in a house made
of confectionery, which allows her to catch, fatten, and eventually eat any children unlucky
ADDITIONAL WITCHES
enough to get caught in her trap.
Apple-pip Witch, page 143
Modifications: Cooking as level 6, deception and trickery as level 7, seeing through
The Witch of the
deception and trickery as level 4
Drowning Slough, Combat: She can use the following abilities: charm, protect, and vitality. She is immune to
page 209 visual effects, including hallucinations.
Interaction: The Blind Witch can appear sweet and charming, and might play up her
blindness and apparent frailty for sympathy.
Use: Characters wandering the woods might come upon a candy house, and woe to them
should they take a bite. A rescue mission could lead here.
Loot: She usually has at least one magical animal in a cage, along with various children and
even adults. Two or three cyphers can be found in her kitchen, along with her magic
oven, which bakes children into gingerbread.

DAME GOTHEL 5 (15)

For additional
Sometimes taking the form of a young woman and sometimes an old one, Dame Gothel
suggestions about and cares for one thing above all: her beautiful walled garden, the flowers and vegetables that
information on witches, grow inside it being the envy of all others. Unlike many other witches, she does not harm
see the Witch entry on children and in fact has been known to protect them, at least as long as they are innocent
page 368 of the Cypher
System Rulebook. of wrongdoing.
Modifications: Gardening and potions as level 6
Combat: She can use the following abilities: heal, imprison, protect, and shrivel.
Interaction: Dame Gothel is an introvert who mostly desires to be left alone, and woe be
to those who invade her space in any way, for she has a deep sense of right and wrong
and a penchant for revenge upon those who cross her. However, she has been known to
help those seeking aid, and is particularly skilled in using what she grows in her garden
to aid her magic.
Use: The characters need a concoction to heal someone, remove a curse, or help them get
pregnant. The characters accidentally trespass on Dame Gothel’s space.
Loot: Various plants, potions, and cyphers

“Which road leads to the Wicked Witch of the West?” asked Dorothy.
“There is no road,” answered the Guardian of the Gates. “No one ever
wishes to go that way.”
~L. Frank Baum, The Wonderful Wizard of Oz

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THE SEA WITCH 6 (18)

Living in the darkest depths of the sea, the Sea Witch is dangerous, wily, persuasive, and The Witch was too much
scheming. She is best known for brewing up life options—for a price. If you want what afraid of the dark to dare
go in Dorothy’s room
she’s got (and she’s got everything), you bring her what she wants. It might be your voice, at night to take the
your hair, or your firstborn. Or all three. Surely you won’t miss them . . .  shoes, and her dread of
Modifications: Persuasion, intimidation, coercion, and swimming as level 8 water was greater than
Combat: She can use the following abilities: charm, familiar (water snakes), glamour, her fear of the dark.
~L. Frank Baum, The
imprison, protect, seduce, and shrivel. Wonderful Wizard of Oz
Interaction: The Sea Witch will always make a bargain, take a bet, gamble all she’s got on
the downtrodden and woe-be-gotten. Not because her heart is big, but because she
makes sure that the house—that’s her—always wins.
Use: The characters need a potion, a spell, a curse, or any other bit of magic, large or
small, and the Sea Witch will find a way to put it in their hands and let them walk away
thinking they’ve come out ahead. At least until she comes to collect. “But if you take away
Loot: A chest full of gifts and winnings from lovers, fawners, and those who should have my voice,” said the
little mermaid, “what
known better, including 1d6 cyphers and two artifacts. is left for me?”

“Your beautiful form,

your graceful walk, and
THE WICKED WITCH OF THE WEST 5 (15) your expressive eyes;
surely with these you can
With her three pigtails and diminutive stature, it would be easy to write off the Wicked enchain a man’s heart.
Witch of the West as a nobody—and many have—but her power lies in the creatures that Well, have you lost your
work for her and in her vast and growing collection of magical footwear. courage? Put out your
little tongue that I may
She can see up to 2 miles (3 km) away with her single eye, and wears galoshes that give cut it off as my payment;
her +2 Armor against water and liquid of all kinds. then you shall have the
Modifications: Tasks involving water and the dark as level 3 powerful draught.”
~Hans Christian
Combat: She carries an umbrella that acts as a heavy weapon, and she can use the
Andersen, The
following abilities: familiar (pack of wolves, swarm of bees, flock of crows, and an army Little Mermaid
of flying monkeys), hexbolt, imprison, protect, and shrivel.
Interaction: She is volatile in nature and quick to anger. However, she can also be a bit
cowardly, and will likely back down in a confrontation (only to send her hordes of Magical animals,
magical animals out afterward to do her dirty work). page 104
Use: The characters need to find galoshes of fortune and decide to steal a pair from the Galoshes of fortune,
Wicked Witch of the West. Perhaps they need to make it through the land she presides page 94
over and must find a way to get her approval.
Loot: Whatever shoes she’s wearing (which are very likely an artifact).

“I do not like to have my dirty linen washed in public, and

I eat the overcurious.”
~Baba Yaga

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NPCs
The NPCs in the following section are just called “the Woodcutter.” And if you
general examples of nonmagical, mortal call them all Jack, then no one (including
human characters that are commonly found you) will remember which one is which.
in fairy tales. Consider coming up with a list of names
ahead of time so that you’re always ready
From General to Specific: While the NPCs to give players something to call a new
listed here are general types, such as walk-on character. Or borrow names from
Crafter, page 138 crafter and robber, it’s easy to turn them the example list below.
Robber, page 139 into specific characters from common and
well-known fairy tales. For example, with a
little tweaking, you can turn a generic tailor Example Names For NPCs
into the tailor from The Brave Little Tailor. Here is a short list of names from
For additional human Just give the crafter NPC a banner that says existing fairy tales that you can use for
NPCs, such as guards, “SEVEN WITH ONE BLOW” and embrace a your NPCs. There are a number of online
that you might want
jaunty, overconfident nature, and you have name generators that can be useful as
to add to your fairy
tale game, see the the titular character. well. Just be wary of using well-known
Cypher System character names, such as Snow White or
Rulebook, page 372. Health, Not Pools: Remember that NPCs Cinderella, for secondary NPCs because
don’t have stat Pools. Instead, they have a the players will read into those names as
If you’re stuck on a name characteristic called health. When an NPC having more meaning than they do and
for your NPC, you can takes damage of any kind, the amount place preconceived notions onto your
always have the NPC be
is subtracted from their health. Unless NPCs.
so worried that one or
more of the PCs are fey described otherwise, an NPC’s health Antonio Lochlin
creatures that they refuse is always equal to their target number. Asmund Maroula
to give their name (at Some NPCs might have special reactions Aurore Moura
least until you can think
of one). This probably to or defenses against attacks that would Belebon Myrsina
only works once, though, normally deal Speed damage or Intellect Bella Penta
unless the setting is damage, but unless the NPC’s description Bianca Peter
heavily populated with specifically explains this, assume that all
fey beings and using a
Catherine Phillip
person’s name to gain damage is subtracted from the NPC’s Dalilah Prunella
power over them is a health. Elsie Rhodopis
common concern. Finette Rosanella
Naming Your NPCs: You might have Fiorita Rosette
noticed that in fairy tales, many characters Fragolette Rushen
—especially those of the lower or working Hans Signy
classes—don’t have a name beyond their Jack Tom
title, position, or profession (or sometimes Jacob Villanelle
their marriage status). “The Woodcutter,” Johnny Wendy
“the Tailor,” “the Baker’s wife,” and so on. Kallo Ye Xian
While you could follow suit and just call Kate Yvon
your NPC “the Woodcutter,” most player Kristoff Zaynab
characters are going to ask that person their Llonka
name. It’s likely to break immersion if you
throw in a modern name, or if the NPC tries
to explain that they don’t have one, they’re

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NPCs
ARISTOCRAT 4 (12)
Aristocrats are not quite high royalty—they are not kings or queens, nor even princes and
princesses—but they are those with money and power enough to wield in dangerous or Likely due to the times
glorious ways. Knights and barons are typically aristocrats, as are characters like Bluebeard in which they were
written, fairy tales have
and Mr. Fox. Some aristocrats, such as knights, may only want to do good and protect few female aristocrats
the things that matter to them. Others, of course, prefer to use the darker side of their who are not witches
privileged position. or fairies in disguise,
Motive: Money, power, marriage, take who or what they want, protect what they care about or wicked stepmothers
and stepsisters.
Environment: Typically in cities and towns, occasionally off by themselves in large castles However, aristocrats
and manors can be any gender.
Health: 12
Damage Inflicted: 5 points GM intrusions:
Armor: 2 The aristocrat’s house
Movement: Short has a sentient door or
Modifications: Social engineering, persuasion, lock that suddenly begins
to yell about intruders.
intimidation, and lying as level 6
Combat: Many aristocrats have had training in The aristocrat pulls a
clever trick or sleight of
combat maneuvers, as is appropriate to their hand that gives them
station. Others may wield knives, scalpels, or a sudden advantage.
butcher’s tools with precision.
Interaction: Interaction with an aristocrat often
starts out positive—after all, it is delightful to
be in the glow of someone so charming and
powerful. For some, the interaction remains
positive. A knight is just a knight. For others, a
sense of unease begins to settle in after a time,
as if there’s something not quite right behind
the facade.
Use: An aristocrat is about to marry and someone is worried
about the safety of their future spouse. A knight is
outmatched by a dragon or other strong opponent and
seeks someone to come to their aid.
Loot: Most aristocrats have currency equal to a very
expensive item, in addition to fine clothes or
medium armor, weapons, and miscellaneous
items.

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CHILD (1) 3
Many players will have Children play the roles of urchins, siblings, daughters, sons, waifs, servants, royal family
concerns about including members, child brides, and more.
children in games,
especially in fairy tale
Motive: Seeking safety, comfort, money, or food; play; bringing joy
games where children are Environment: With their families, or lost in the world trying to find their way. Sometimes in
often put indanger in the employ or care of someone who has found them, stolen them, or otherwise become
myriad ways. Consider their guardians, caretakers, or keepers.
talking with the players
and having them fill out Health: 3
the Fairy Tale Game Damage Inflicted: 1 point
Consent Checklist on Movement: Short
page 224 before using
Modifications: Run, hide, sneak, and escape as level 2; knowledge of the nearby area,
children in your game.
people, and activities as level 3
When using child NPCs, Combat: Most children fight only in response to being provoked, threatened, or attacked.
consider making them They typically use makeshift weapons, such as their fists, a stick, or a toy.
useful to the characters.
Most PCs will not want
Interaction: Children are often smarter, more creative, and more wily than they’re given
to harm, fight, or kill credit for. They may have a lot of knowledge about nearby people, places, and activities
a child, so give them that can help the PCs, particularly if there’s an exchange of food, money, or other
other opportunities to goodies involved.
interact beyond combat.
Use: Someone or something is stealing children from the village, and the mayor is offering
GM intrusions: to pay a large sum to anyone who tracks down the creature and rescues the children.
The child shouts, laughs, One of the PCs catches a waif stealing from their pack in the night; the child says
or talks too loudly, they’ve been lost in the woods for days.
accidentally drawing the Loot: Children typically have very little on their person, although they may have a special
attention of a nearby
memento of their family or a close friend.
guard toward a character.
Someone mistakenly
thinks a character
has stolen the child, CRAFTER 2 (6)
and attacks them.
Crafters include bakers, cobblers, candlemakers, butchers, millers, tailors, woodworkers,
and cooks. While most crafters aren’t particularly agile fighters, they are usually clever and
strong, and have a number of familiar tools at their disposal for weapons.
Motive: Defense
Environment: In their workshops or peddling their trade while traveling
Health: 8
Damage Inflicted: 3 points
Movement: Short
Modifications: Appropriate craft as level 3
Combat: Crafters are unlikely to initiate combat, as most just want to be left alone to do
their work (or to convince you to buy their wares). If they’re forced to fight, they will
typically use any item they have at hand (such as a rolling pin, butcher’s knife, crafting
tool, or length of wood).
Interaction: Most crafters are happy to talk about their craft or the objects that they’ve
made and have for sale. They take pride in their work, and flattery and attention can go
GM intrusion: The
a long way.
crafter uses their crafting Use: To the PCs, crafters can be allies, obstacles, or both. Being friends with a crafter often
tool in a way that has obvious long-term benefits, while stealing from them has short-term advantages
the character didn’t (and possible long-term disadvantages).
anticipate, putting
the character in a Loot: A crafter has currency equivalent to an inexpensive item, as well as crafting tools and
disadvantaged position. materials and anything they’ve crafted that they’re carrying or wearing.

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HUNTSMAN/WOODCUTTER 2 (6)
A huntsman may be in the employ of a powerful magic user, protecting a section of the As soon as he could raise
woods they consider their own, or just trying to provide for their family by chopping wood his axe another wolf
and hunting game. came up, and he also
Motive: Follow orders, support their loved ones, protect the innocent fell under the sharp edge
of the Tin Woodman’s
Environment: Woods, forests, and other wild lands weapon. There were
Health: 8 forty wolves, and forty
Damage Inflicted: 2 points times a wolf was killed,
so that at last they
Armor: 1
all lay dead in a heap
Movement: Short before the Woodman.
Modifications: Tracking and pathfinding as level 4
Then he put down his
Combat: Huntsmen and woodcutters both understand the power of the perfectly aimed axe and sat beside the
shot or swing. They take their time, steady their hand and breath, and hit with precision Scarecrow, who said, “It
and force. was a good fight, friend.”
~L. Frank Baum, The
When they take no action on a turn, their next attack inflicts twice the normal damage. Wonderful Wizard of Oz
Interaction: Many huntsmen and woodcutters are motivated by a deep need to be loyal,
but they’re also soft of heart and have a strong moral center. If they’re tasked with
something they deem unpalatable, they may forgo their promises and go rogue.
Use: They are hunting the characters on the orders of a higher authority. They save the PCs GM intrusion: A
from a dangerous foe, then ask for assistance for their own tasks. perfectly timed cut
Loot: In addition to their clothing and mundane weapon, they likely have an expensive sends a tree down in the
token of promise or affection from someone they have helped or who they owe fealty to. direction of the character.

ROBBER/THIEF 4 (12)
Robbers, thieves, highwaymen, robin hoods—whatever name you call them, they want
what you have, and they’re willing to get it any way they can. Some robbers are honorable,
stealing only from the rich or the evil. Others will take anything that isn’t nailed down or
magically protected.
Robbers often travel in pairs or small groups of dedicated friends and fellow robbers.
Motive: What’s yours is mine
Environment: Anywhere there’s something to be stolen
Health: 12
Damage Inflicted: 2 points
Armor: 1
Movement: Short
Modifications: Stealth, including sneaking, stealing, hiding, and deception, as level 5;
attacking from hiding as level 5
Combat: Robbers typically prefer light and medium weapons, particularly bows and small blades.
Interaction: Most robbers have a moral code of some sort—it just may not be the code
that others abide by. Still, they are willing to listen to reason (and particularly the sound
of sliding coins). Robbers are often willing to be hired for jobs that are too difficult for
others.
Use: Robbers happen upon the place where the characters have made camp, and ask to
GM intrusion: The
join them. A group of robbers arrives to steal a thing that the characters are just about robber’s arrow manages
to steal themselves. to hit two foes in a
Loot: Depending on whether they’ve just robbed someone or not, robbers may have single attack, or the
robber shoots two arrows
anywhere from nothing (other than their weapons and clothing) up to the currency at multiple foes.
equivalent of a very expensive item.

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 WE ARE ALL MAD HERE
SCHOLAR 2 (6)
Scholars might be librarians, sages, wise women, crones, experts, or soothsayers. Typically,
scholars seek knowledge above all else, and many also are willing to share it with others
(sometimes for a price, sometimes just for the joy of sharing knowledge). A scholar’s
expertise might be general or specific—they may study the world at large or home in on a
specific type of magic or fey being, for example.
Motive: Find answers, seek knowledge
Environment: Schools, libraries, the royal study, laboratories, and anywhere there are
sources of information
Health: 6
Damage Inflicted: 3 points
Movement: Short
Modifications: Intuition, persuasion, detecting falsehoods, and most knowledge tasks as
GM Intrusion:
Something the level 4
scholar is studying Combat: Scholars prefer to avoid a fight. If they must fight, a scholar tries to deduce a foe’s
comes alive, creating weaknesses (if any) and exploit them in combat. Some scholars might have learned
havoc and disarray
throughout the area. spells or abilities from those they’ve studied. Others might be examining a useful
cypher or artifact, and will use it on their attackers.
Interaction: Most scholars are helpful and
full of information (whether or not it’s
useful or true information varies from
scholar to scholar). What they don’t
know, they may be willing to learn or
study, if given the proper tools and
incentive. However, some scholars are
secretive, hoarding their knowledge for
their own personal uses.
Use: Scholars can be incredible allies,
offering clues, hints, and information
that can help the characters. However,
they may be reclusive and hard to find,
hidden away in ancient libraries or
secret laboratories.
Loot: Most scholars have currency
equivalent to a very expensive item and
one or two cyphers.

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 PART 2

V E N T U R E S T HR E
AD E

“I could tell you my adventures—beginning from this

morning,” said Alice a little timidly: “but it’s no use going back
to yesterday, because I was a different person then.”
~ Lewis Carroll, Alice’s Adventures in Wonderland

Chapter 10: Cypher Short: The Apple-Pip Witch 142

Chapter 11: Cypher Short: I’ll Gnaw Your Bones 144
Chapter 12: Full Adventure: Between Worlds 146

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 WE ARE ALL MAD HERE
Chapter 10

CYPHER SHORT : THE APPLE-PIP WITCH

For directions on how to
run a Cypher Short, as
well as information on
the types, descriptors,

T
and foci, please visit this
link and download the he Premise: The characters are siblings The Setup
free Cypher Shorts PDF: on a quest to rescue their father, King The characters are siblings who have set
mymcg.info/cyphershorts
Edward the Eloquent, who’s being out to rescue their father, Edward, who’s
Each character should held captive by a witch at her castle. been kidnapped by a witch and is being
start with one of the held hostage at her castle. The PCs start in
following cyphers:
the castle’s main hall, off of which there are
Agate eye (level 4) Character Creation multiple doors and a winding staircase to
Baba Yaga’s spiced Players should figure out their character’s the second floor. The castle is a hodgepodge
cookie (level 2) name and gender, where they fall in the of rooms built with no apparent order or
Drink me (level 3) scale of oldest to youngest sibling, and plan.
Heart of a star (level 5) why they want to rescue their father (their It appears opulent, full of ornate objects
Shadow soap (level 4) reasons don’t have to be noble). and elegant woodwork. But sometimes
characters get a vision out of the corner of
Agate eye, page 77 Descriptor and Focus: All Cypher Short their eye of the castle as it really looks:
Baba Yaga’s spiced descriptors and foci work for this adventure. run-down, bedraggled, and crumbling.
cookie, page 78
Drink me, page 81 Type suggestions include:
Heart of a star, page 84 Possible Encounters
Shadow soap, page 88 The Brave One: Someone with the
Performing Physical Actions type. They have The Lying Mirror:
The characters have a medium or heavy weapon and light armor Your vision here is not your own
been traveling for a (+1 Armor). My reflection makes your true self known
while, so they likely have
some supplies, such as You are darkness where I am light
ropes, light sources, and The Cunning One: Someone with the Turn and find yourself to smite
whatever remains of
Sneaking type. They have a light weapon and a
their traveling rations.
useful tool of some kind (such as a lockpick). Anyone who looks upon the lying mirror
The Brave One examples: (level 3), even askance, hears the mirror’s
Merida from Brave, The Enchanting One: Someone with the rhyme in their head. They see versions of
Jack, the youngest sister
Talking type. Everyone loves them. They may themselves everywhere, and begin to attack
The Cunning One have a special outfit, instrument, or other living things in short range. Breaking the
examples: Puss in (nonmagical) object that is important to them. spell on someone is a difficulty 3 Intellect
Boots, Robin Hood
task. If the mirror is covered or damaged in
The Enchanting One The Wise One: The Searching and Discovering any significant way, it recites:
examples: Prince type works well. They notice things that others
Charming, Snow White
don’t and create plans for action. They may My vision goes, it fades to grey . . . 
The Wise One have a map, journal, or book. For the harm you’ve done to me this day
examples: Gretel, I urge the glass and wood to blind
Mulan, Scheherazade
The Magical One: Someone with the Wielding no simple gaze, but peace of mind
The Magical One Supernatural Powers type. They may have a
examples: Peter Pan, magical source of their powers (wand, ring, Characters who hear the mirror’s death
fairy godmother, Glinda
the Good Witch animal) or their powers may be innate. spell take 1 point of Intellect damage.

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The Trapped Fox: An ornate metal birdcage
(level 3) has a large orange fox (level 4)
trapped in it. The fox asks to be let out of the
cage, promising to give anyone who releases
it a sack full of cunning.
Guardians: Two life-size stone lions (level 2)
sit at the sides of the stairs.
The Library: Many of the books in the library
are protected with magic curses.
If a character opens a book and fails a
level 4 Intellect defense roll, one of the
following occurs.
• A large serpent (level 2) rises up from
the pages and attacks the character
• A feather tucked between the pages
turns into a goose, which pinches the
character’s nose (inflicting 1 point of
damage) and then disappears
• The book (level 3) attaches itself to the
character’s hands and refuses to be put
down.
A large dictionary rests on a pedestal in
the middle of the room. The book is held
open by a green toad (level 2) the size of
a cat, which ribbits “Lick me! Feed me!”
loudly whenever someone is in immediate
distance. If someone feeds the toad a bit
of meat or other food, it burps loudly and
a green gem cypher falls from its mouth. If
someone licks the toad, they take 3 points of
Intellect damage but have 3 points restored
to their Might Pool. After either action, the
toad hops away.
GM Intrusions:
• Biting door. Bites those who try to
open it.
• Ghastly visage of their father. All within
short range who see it take 2 points of
Intellect damage and are dazed.
• Glass casket. An action causes this trap
to spring, catching whoever is closest
inside a glass casket.
• Living briars. Thorny briars and
sprawling vines (level 2) snake
throughout the castle. They reach
out and snag characters who pass by,
wrapping them tight and inflicting
damage each round.
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CYPHER SHORT: THE APPLE-PIP WITCH
• Crumbling structures. Holes appear in
floors, bookcases topple, chandeliers fall
from the ceiling. It’s a level 4 Intellect task
to discover the location of
the sack, which contains
The Dog With Eyes the Size of Teacups, a handful of gold and a
Dinner Plates, and the Moon: This creature ring of cunning. The bag
(level 4) is the size of four men, and each of is probably in a different
its three heads has eyes of a different size. room than the fox.
It guards a tiny chest, inside of which is a
golden key. RING OF CUNNING
Each of the dog’s heads acts Level: 4
independently of the others, and each acts Form: Ring that
during a single round. One blows fire (close magically adjusts to
wearer’s finger
range), one bites, and one licks (covering
the victim in thick drool that hinders their Effect: Increases the
next action). Any Intellect action against the wearer’s maximum
Intellect Pool by +1
dog is a single task that requires three rolls,
one per head. If the characters persuade all Depletion: —
three heads, the dog will accompany them
(unless they tell it not to).
The Courtyard: There is one tree in the
courtyard: a twisted, ancient apple tree There are flies, spiders,
(level 4) with scaly grey bark and wizened and other insects
everywhere in the
apples. The leaves shudder and whisper castle. Catching them
even when there is no wind. In the middle is a routine task.
of the trunk is a small door with a keyhole.
The golden key splits the trunk in half,
revealing the sleeping king. Removing him
or harming the tree transforms it into the
witch (level 5). The witch looks like an apple
tree come to life, with angular limbs and Green gem (cypher,
grey wrinkled skin. She has the following level 2): User gains +2
to Armor against the
abilities: next Intellect attack,
• Scratch: Attacks with a branchlike claw. but takes 2 points of
• Wither: Inflicts damage to one foe in Intellect damage
long range.
• Poisoned Pips: Shoots poisoned apple
seeds from the ends of her fingertips
at a foe in close range. Her foe takes 2
points of damage each round (Might
defense roll ends the poison). All GM intrusions
are level 4 unless
otherwise stated.
Conclusion
The PCs likely just want to get their father,
and themselves, out of the castle and back
to relative safety. Once they do so, they
can take a few minutes to wake and heal
their father (a difficulty 2 healing task) and
perhaps have an emotional reunion.
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Chapter 11

CYPHER SHORT : II’LL

LL GNAW YOUR BONES

T
For directions on how to he Premise: The player characters The Setup
run a Cypher Short, as are talking animals who have been The PCs are talking animals who were
well as information on
the types, descriptors,
captured by trolls, who plan to cook captured by a family of trolls as part of
and foci, please visit this them for a big feast. They must escape by the preparations for a feast. The father,
link and download the making their way through the trolls’ home, a who is a chef, knows that talking animals,
free Cypher Shorts PDF: tunnel system deep beneath a mountain. when cooked and eaten, are the best for
mymcg.info/cyphershorts
increasing one’s magical powers.
The PCs are locked in individual metal
Character Creation cages, under a spell that keeps them from
The PCs don’t have Each player should decide their name seeing or hearing anything outside the cage.
their weapons (or any and what they were doing when they were Suddenly, the spell is gone, and the
additional equipment)
on them at the start of
captured. characters can hear and see each other,
the adventure. However, as well as their surroundings. They’re in
they can easily find them Descriptor and Focus: Any of the Cypher a storage room that seems to have been
(or replacements) in the Short descriptors and foci work for this carved out of the earth. There’s a single
room where they begin.
Additionally, a quick adventure. door, heavy and wooden, through which a
search of any general small amount of light shines. All around
area likely provides them Type suggestions include: them are other makings of a feast: dead
with things like rope
animals strung from the ceiling, fruits and
and a light source.
Wolf/Bear: This is probably a character with vegetables in bins and stacks, spices and
the Performing Physical Actions type. They herbs in containers.
Characters can find the may carry a heavy weapon or use their teeth A moment later a young troll girl appears
following cyphers in the and claws. They also have medium armor before them with a finger to her lips.
storage room where they
start the adventure:
(+2 Armor), either worn or innate. “I’ve come to set you free,” she whispers.
“Because my daddy is the meanest meanie
Apple of discord (level 3) Fox/Cat: This could be either a Sneaking or who ever was.”
Blackbird pie (level 2) a Talking type. They probably carry a light With a flip of her fingers, she opens the
Fairy cup (level 4) weapon or use their teeth and claws. cage doors. A moment later, the sound
Hart’s heart (level 5) of many metallic footsteps marching in
Hot cross buns (level 6) Raven/Owl: This is probably a Searching stride are heard outside. “Run!” she says,
and Discovering type. They likely have a just before she turns into a tiny bat and
Apple of discord, page 78 small useful tool, such as a rope, lockpick, disappears.
Blackbird pie, page 78 or light source. Other facts:
Fairy cup, page 82 • The trolls live deep beneath a large forest.
Hart’s heart, page 83 Goat/Donkey: The Wielding Supernatural The main living area features large,
Hot cross buns, page 84 Powers type would work well for this carefully carved tunnels and rooms, while
character. some of the outer tunnels are less well
kept or traveled (and less dry).
Mouse/Rabbit: This is probably a character • The feast is tonight, so there’s a sense
with the Sneaking type or the Wielding of excitement and frenzy in the air as
Supernatural Powers type. preparations are underway.

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 CYPHER SHORT: I’LL GNAW YOUR BONES

Possible Encounters The Outer Tunnels Locked door: level 4

All connections to the Outer Tunnels slope Secret keyring
Leaving the Storage Room upward, bringing the PCs closer to the spell: level 3
Locked Door. The door to the storage room surface. There is less light here, and the Flatware swarms: level 3
is heavy, metal, and locked. The keyring is tunnels are small, damp, and dark. Spoons are not allowed
hanging on the wall, hidden by a spell. in the cutlery corps.
Fiddleheads: These living ferns thrive in Brownie: level 3
Cutlery Corps: The other side of the door is the dark damp of the tunnels. Their fronds
guarded by two swarms of flatware. reach out up to an immediate distance to Fiddleheads: level 3;
brush against living things, causing a deep touching the fronds
Brownie Sous Chef: A tiny, thin creature in sense of dread and unease. causes dread and unease
a tall red hat, the brownie sous chef carries (touched victims take
2 points of Intellect
a bag of supplies toward the storage room. Hans the Hedgehog: This talking animal damage and spend their
The creature is startled at the sight of also escaped death at the hands of the troll next action attempting to
dinner escaping and starts to yell loudly for chef, but he has been down in the tunnels, “brush away” the dread)
help. If the PCs take too long to quiet him, lost and afraid, for so long that he can barely
Hans the hedgehog:
two more brownies appear. remember any other life. He believes the level 3
characters are tunnel bogs, come to get him.
The Main Troll Tunnels
While traveling through the main troll Tunnel Bog: Multiple tunnel bogs— Tunnel bog: level 4; long,
filthy fingernails inflict
tunnels, the characters may encounter one creatures that almost look like they’re part 4 points of damage and
or more of the following. of the tunnel itself—hide in the shadows, inject foes with poison
jumping out at the characters as they pass. that removes all feelings
The Dining Room: This huge room sports a of fear in the victim
number of tables, with chairs of all shapes GM Intrusions
and sizes. It’s clear that a variety of different Cave In: Part of the tunnel ceiling or wall Hidden trap: level 5;
types of guests are expected at the feast. begins to crumble just as the characters those who fail a level 5
Speed defense task are
The tables are set, but there is no food yet. pass through it. pulled up into a net (level
There is one door at the far end, which goes 3) toward the ceiling
to the kitchen. Hidden Trap: A trap hidden in the ground
activates as a character passes over it. Caught bear: level 6
Kitchen: The kitchen is bustling with activity.
Trolls and brownies move about, yelling Caught Bear: As the characters round a Dying fish: level 2
commands and preparing food. Moving corner, they come face to face with an angry,
through without being seen or caught is a injured bear whose leg is caught in a trap. Troll chef: level 6;
level 5 action. There’s no room for the characters to go Armor 1; carries
around, but the bear promises she will not a chef ’s knife
Troll Chef and His Son: The troll chef and eat them if they help her go free. Troll son: level 4
his apprentice son attempt to capture the
When the troll chef
escaped animals. Working together, the two Dying Fish: A large silver fish flops on is angry, he has a
can weave a magical trap. the ground. It’s clearly in need of water. It habit of yelling “I’ll
promises it will grant the PCs one wish, if gnaw your bones!”
The Troll Chef ’s Daughter: This is the young they help it find clean water to live in.
troll who helped the PCs escape. She will try
Magical trap: long
to help them again by giving them a cypher
range, hinders all
or two or by showing them a secret door to Conclusion actions, Intellect
the outer tunnels. At any point, the characters might find a defense roll to escape
door that leads them to the tunnel back
Early Dinner Guest: This young ogre up into the world. They emerge in a large,
arrived too early for dinner and has lost wooded forest at the foot of a mountain. It Troll chef ’s daughter:
level 2
her way. She is confused and scared, but is up to them where they go from here, and
also excited, for she has never eaten talking whether they make their way back home or
animals before and has heard that they venture out into the world. Young ogre: level 4
grant special magic.

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 WE ARE ALL MAD HERE
Chapter 12
FULL ADVENTURE : BETWEEN WORLDS
Gráinne is pronounced
“GRAWN-yuh,” but
she is mostly called the
“B etween Worlds” is an extended
fairy tale adventure that mixes
together the modern world and
Fairy Queen of Hope
the world of fairies. It’s designed to be a
and Despair or the longer campaign, one that will take the
Wayward Daughter. characters through a number of different
Gráinne, page 125 fairy realms to complete two important
tasks for the Fairy Queen. If you wish to
shorten it, you could include only one of
the tasks instead. If you wish to lengthen it,
there are additional suggestions for doing
so throughout the adventure.
The adventure is designed for lower-tier
characters, but could easily be made
appropriate for higher-tier characters by
introducing additional interactions, hurdles,
and GM intrusions. Any beast, being, place,
or object that has fairy-like qualities could
be placed in one of these realms as an ally,
quest giver, threat, or item of interest.
Adventure Summary
Áine is pronounced The player characters are indebted to Áine,
“AWN-yah.” However, Fairy Queen of Light and Love. They each
only her lovers and her
children call her by
made a promise long ago that they would
her familiar name. All give her seven years of service in exchange
others deferentially refer for something they deeply desired. To pay off
to her as “my Queen,” their debt, each summer the characters must
“my Light and Love,”
or “Bright One.” spend time in her realm, doing her bidding.
The Fairy Queen is fair and true, so while the
Áine, page 124 service is difficult and dangerous—the PCs
must do whatever the queen asks of them—it
feels like a fair exchange for their bargains.
Typically, they show up to help the queen or
her son, Geroid, with various tasks, such as
hunting down ogres who are attacking the
realm’s farmers or building a new barn for the
giant hares that the realm uses as mounts.
This time when the characters arrive, they
discover that something has gone terribly
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wrong. The queen is gravely injured and her
dark twin sister, Gráinne, is attacking the
realm, attempting to take it for her own.
The sisters are supposed to share their
time ruling the realm, with Áine leading
in the bright light of summer and Gráinne
ruling during the darkest days. This is how
it’s been done for many aeons, but for
reasons unknown, this year Gráinne seems
determined to take over the realm and
become queen during the height of summer
as well. (In truth, Gráinne has been cursed
to take these actions and isn’t aware of what
she’s doing.)
Queen Áine asks for the characters’ help
to keep her realm safe, promising to release
them from the rest of their debts if they
succeed. Additionally, her healer, Belial, asks
them to help him find someone he believes
can heal the queen.
The characters must interact with a
number of beasts and beings, including
eventually Gráinne, in order to heal the
queen and help set things right.
Background
Years ago, each of the characters had the
rare opportunity to make a deal with Áine,
Fairy Queen of Light and Love. Perhaps she
overheard their pleas for help and took pity
on them. Perhaps she fell in love with one
of them (she has a reputation for doing so).
Or it’s possible that some of them were
just at the right place at the right time, in
a dream or a doorway, where the space
between worlds thins and magical things
can happen.
Whatever the reason, she came to each of
them in their time of need, an elegant and
beneficent being of light and shine, wrapped
 FULL ADVENTURE: BETWEEN WORLDS

in a dress of grass-green silk with silver
bells braided into her long golden hair.
She laid down her bargain: she would give
them what they asked, and in exchange,
they would honor her with their time and
service. They would give her seven years of
their lives in her realm, with the time to be
taken on summer nights while they slept.
She would train them, equip them with her
finest armor and weapons, and even count
time to their advantage instead of hers.
Since a month in her realm is merely a night
in the modern world, they must spend only
84 nights of their lives in her service instead
of 2,555 days.
Whatever boons the PCs asked for as
part of their bargain, none are more than
halfway to fulfilling their duties, so each has
at least three and a half years in her time
(or forty-two days in their time) left in her
service.
Through her long life, Áine has been a
goddess of earth and nature, luck, love, the
sun, protection, fertility, fame, and wealth,
and she is able to grant boons regarding
any of those aspects. She cannot, however,
stop death. That power belongs to a
different being altogether.
Because Áine is just and true, she refuses
to grant boons that affect someone else’s
right to choose, such as forcing someone
to love another, bestowing children on
someone who does not want them, and
so on. She is also unlikely to grant a boon
that directly harms someone. (Her sister
Gráinne, however, has no such moral
constraints.) Possible Boons From the
Fairy Queen, page 148

Getting the PCs

Involved
Have the players create
characters suitable for a fairy
tale setting if they haven’t
already done so.
Tell the PCs the
background information that
they need to know, namely
that they’ve each made a
deal with Áine, Fairy Queen of
Light and Love, for something
they deeply wanted, and that
they’ve been in her service as
part of that bargain. You might
also give them details on Áine,
particularly how she looks and what
kind of person she is (fair, just, loving,
and good-hearted).
Each character should also choose a boon
for what they asked for as their end of the
bargain (or make up their own). The boon
could be for themselves or for another. You
should decide ahead of time whether the
characters have already received their boons
or not; whatever you decide, it should be
true for all characters (so all have received
their boons, or none have).

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 WE ARE ALL MAD HERE
Possible Boons From
the Fairy Queen
• They wished for a child, and asked
the queen to bless their partner or
themselves with fertility.
• They longed for a child, and asked the
queen to take them as their lover.
• A loved one was ill or dying, and the
character asked the queen to protect
them and ease their suffering (or slightly
prolong their life).
• They desired greater success in their
career and asked the queen to enhance
their skills.
• They desired to be free of poverty and
asked the queen for wealth.
• They ached to feel true love, just once,
and asked the queen to be in love with
them for a day.
• They wished to learn the secrets of being
a good lover, and asked the queen to
teach them what she knew.
• Someone was threatening the character
or their family, and they asked the queen
for her protection.
• They were getting married and asked the
queen to bless their union.
Hyaf: level 3
Let the players know that each PC also
has a silver bell on a braided lock of the
queen’s hair. She cautioned them to always
have this on their person while in her realm,
so that others would know they’re in her
service.
Lastly, because the characters have all
worked together doing the queen’s bidding
for a while now, they have gotten to know
each other pretty well. Have the players
spend a few minutes getting to know the
other characters, including anything the
PCs might have told each other about their
modern-day lives. You might even ask them
to come up with a few of the deeds they’ve
worked on together for the queen in the
past. If you do the latter, consider telling
them a bit about the queen’s healer, Belial,
as well as her son, Geroid, so they can
Belial: level 4, incorporate these two into their stories.
healing as level 6
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The Arrival
The adventure begins when the characters
receive a summons from the queen on
Midsommer’s Eve. The PCs are always
asleep when she summons them, for it is
through dreams that she can reach them
easiest and pull them into her realm. They
waken as they arrive in front of her castle,
already clothed, with their usual weapons
and equipment. It is day, and the sun is at
its highest and brightest, casting warmth
and light across the green hills.
The Castle. The queen’s castle, which
is located on the largest hill in the vast,
verdant area known as the Flowering Vales,
looks as it always does. It’s built of growing
things and glass and crystal, giving it the
appearance of an elegant greenhouse.
However, as the PCs draw closer, they sense
that something is wrong. The queen’s many
rabbits, who always hop over and greet the
characters, are nowhere in sight, and all of
the foxglove flowers around the castle are
drooping, their petals nearly touching the
ground. When the PCs approach, a guard
they know—a soft-spoken young fairy
named Hyaf—hurries over to them. He
thanks them for coming and urges them to
follow him quickly to the queen’s chambers.
The Ailing Queen. While the characters
have been in many parts of the castle
before, including the elegant throne room,
the banquet hall, and many of the sun
rooms, they have never been to the queen’s
chambers. (Not even the ones who have
loved her or whom she has loved; the
chambers are her one private place in the
castle.)
What they see inside is shocking: Queen
Áine, who they have mostly seen in her
best light, with her green-silk dress and
long hair, is in her bed. At first blink, she
is herself, although wan and clearly ill. On
the next, she is a large red mare, thrashing
upon the bed. A few other fairies are there
attempting to help her, including a fairy
healer named Belial that the characters
have met previously. Belial is smart and well
liked, if a bit excitable at times, and deeply
loyal to the queen.

The next time the queen returns to her
familiar form, she sees the characters
and says, “Now, Belial.” The healer does
something that the PCs can’t really make
out, and for a few moments, the queen
seems to be back to her old self. She
beckons the characters closer, and it’s clear
that every word is a struggle. Upon talking
with her, this is what the characters learn:
• Just a bit ago, the queen was attacked
by an unknown creature, and she is
gravely ill.
• She believes the attack is part of a larger
assault led by her twin sister, Gráinne,
Fairy Queen of Hope and Despair. The
two have shared the realm for aeons,
with Gráinne ruling it in the dark months
and Áine ruling it in the light.
• She has no idea why her sister would
harm her or try to take over her realm
in the summer, but they must convince
Gráinne to stop her attack. For if she
succeeds, the balance of the worlds
and the seasons will be undone. Killing
Gráinne will also upset the balance, for
unlike Áine, Gráinne has no heir to take
her place as ruler.
• If the PCs succeed at protecting the
realm and stopping Gráinne’s attack
without killing her, the queen will
release them from their duties, and their
remaining debts will be paid in full.
When Belial’s magic wears off, the queen
sags to the bed, already beginning to
shapeshift yet again.
Belial will seek out the characters before
they leave. He will tell them that:
• The queen’s son, Geroid, has been
handling the defenses of the realm. He
is located by the lake behind the castle.
• Belial knows someone who can help
cure the queen, but he is unwilling to
leave her side to seek the person out. He
asks the characters to help, saying that
he has nothing to offer but the very life
of the queen herself.
Saving the Queen
If the characters agree to help save the
queen, Belial tells them of a sea hag named
Cailleach, who is rumored to have once
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cured the queen’s father of something
similar. He says she can be found in the
Expanse of Halirane, a vast ocean realm It’s possible that the
ruled by Queen Atargatis. He gives them a queen will shapeshift
into her mare form
conch shell that will always point them in the once or twice during
right direction to get to Cailleach and which her conversation
they should blow into when they arrive there. with the PCs.
He cautions them not to forget about the
conch, for Cailleach is rumored to have a
temper. She will also likely ask them for an
impossible task in exchange for her help.
Belial thinks that he can keep the queen
alive for a week or two, but probably not
much longer without the assistance of
Cailleach (or someone equally powerful).
Talking With Geroid
Geroid, who many people just call The Geroid (The Magician):
Magician for his many magical abilities level 6, Speed defense
as level 7; Armor 3;
despite being only half fairy, is a tall, carries a glass bow; has
broad-shouldered man who looks so much a wide range of magical
like his mother that it’s hard to imagine abilities, including object
there was ever a father in the mix. He leads duplication, glamours,
animal communication,
the queen’s army and is good at his job. and illusion casting
He is kind, but tough. If you spend a bit of
time with him, it’s easy to get the sense
that he would much rather be off reading a
book somewhere. Most likely, the characters Let’s be honest: Áine
have never seen him shaken up before, knows that the characters
very likely won’t be able
but he clearly is now, and asks after his to badly hurt the Queen
mother’s health. of Hope and Despair,
Talking to him reveals any or all of the much less kill her. But
following: she is not exactly herself
at the moment. She
• The queen’s army is spread thin along the is to be forgiven for
borders of the realm already, attempting not thinking clearly.
to hold back myriad different attacks. He
doesn’t know how much longer they will
be able to stand their ground.
• When Gráinne is not ruling this realm,
she makes her home in the Sorrows,
a belowground realm out of time and
space. He has a key, which he magically
makes a copy of, and gives it to the
players. It opens the only door to the
Sorrows, which is along the realm’s
eastern border.
• Geroid has never met his aunt and Cailleach is pronounced
only knows of her through his mother’s kālˌyəḵ (or for an
easier version: Calleck).
stories. Most of those stories are of a The name means “old
woman who deeply loves her realm and woman” or “hag”
her sister; thus, he seems stunned by his in modern Irish or
aunt’s actions. Scottish Gaelic.
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Geroid lends the characters giant hare
Leveret: level 4; Armor mounts called leverets that can take them
1; kick inflicts 4 points of to the borders of the queen’s realm, but no
damage; can travel to
the edge of the queen’s
farther. Beyond that, the characters will have
realm from anywhere to make it on their own.
inside the realm in
about a day’s time
Setting Out
It doesn’t matter which of the tasks the
characters attempt first. Both will take
them through the queen’s realm in different
directions, and both will present unique
challenges. No matter which they choose,
you’ll want to remind them of the pressing
urgency of both situations by using an item
from the Urgency tables every so often.
Urgency Tables
Roll a d6 or choose from the following signs to remind the PCs of the urgency of their
task. For example, if they plan to talk with Gráinne first, have them notice signs of the
queen’s fading health on their way there and back. Or, alternatively, if they’re getting overly
distracted (as characters often do in fairy realms) and you want to get them back on track,
present signs from both tables at once.
Signs of Gráinne’s
Attack Advancing
d6 Sign
1 They come across the body of a
dead fairy guard, who was clearly
killed by a curse.
2 From far off, they hear the sound
of fighting and anguish.
3 A winter storm rolls in, spitting
hail and sleet upon the area.
4 A flood of mice comes running
toward the characters, clearly
afraid for their lives.
5 Fire and smoke roils up into the
sky from one or more directions.
6 The moon appears, stepping in
front of the sun and eclipsing
it (this effect could grow more
frequent and last longer as time
goes on).
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GM Tip: If the characters are considering
splitting up, it’s probably wise to remind
them how difficult both of these tasks are
likely to be, even with a full group. There is
almost no way that they can split up and
accomplish the tasks without at least a few
deaths—theirs, to be clear.
GM Tip: Traveling is often the dullest part
of any adventure, especially in a fairly safe
realm, so either spice it up with interesting
details about the realm, or handwave the
time away. The rabbits will get the PCs to
any point along the realm’s border in about
a day’s time, so it’s easy enough to move
them right along to their first night if you
want to.
Signs of the Queen’s
Fading Health
d6 Sign
1 The trees begin to turn colors
and start to shed their leaves as
the PCs watch.
2 The flowers are wilted and have
lost their colors.
3 Rabbits approach whenever they
see the characters, asking after
the queen’s health.
4 The characters see a shadowy
image of a red mare, stumbling
slowly along the top of a far-off
hill.
5 A flock of birds caws overhead
and then all of them fall to the
ground, dead.
6 The sun flickers out for a few
seconds (this effect could grow
more frequent and last longer as
time goes on).

The Queen’s Realm
Áine rules this realm in the summer, and
during that time, it is verdant and lush, a mix
of flowers, forests, and rolling hills. Animals
and beings of all kinds feel safe and welcome
here, although most migrate to other places
when Gráinne becomes ruler in the winter. It is
a safe place, and there aren’t likely to be many
disturbances (other than the signs from the
Urgency tables) until the PCs reach the border.
The Expanse of Halirane
If the PCs use the conch to guide them, they
should have no trouble reaching the border
between the queen’s realm and the Expanse
of Halirane. When they arrive, they are met
by the eternal sea. The sea lines the border
of the realm as far as the eye can see (and
in fact, much farther), and often gives those
who look upon it feelings of being incredibly
small. The shoreline is rocky and the sea
crashes upon it with fervor, sending plumes
of water into the sky.
This realm is ruled by Queen Atargatis,
but she is mostly an absent ruler, and rarely
meddles in the affairs of those who live
here. It is rumored that she has taken a pair
of human lovers, given them both extra-long
lives, and spends her days in their arms
somewhere in the modern world. For a long
time, her absence had minimal effect on
her realm, but recently there have been an
increasing number of skirmishes, infighting,
and other turmoil that she normally never
would have allowed.
The Sea, Herself
As the characters approach the water, they
all hear a voice in their heads. Although they
may not know it yet, this voice is the voice
of the Sea, Herself. She seems delighted by
their arrival and greets them heartily, with a
deep and timbered voice.
The sea asks why they have come and,
once she knows the answer, she says she
can grant them safe passage if they’re
willing to make a bargain. Otherwise, there’s
a place down the shore from which the PCs
may ask for help on their journey. (They
don’t see any place down the way, but the
sea is telling the truth.)
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The sea will take many things as her
bargain, but they must be important enough
to have an impact on the character’s life. The sea has no level,
Some examples include: because you cannot
fight or kill the sea. It is
• A year of their life. Unlike in their bargain eternal and all-powerful.
with the queen, when the sea asks for She says shhhh, do not
a year of their life, it means they will question her, child.
die for one year (starting whenever she
chooses) and then be returned to life.
• The memory of a beloved. The sea takes
all memories of a beloved person or being
from the character. They will not even
remember that they have forgotten them.
• A beloved’s memory. The sea removes
the memory of the character from
someone that the PC knows and cares
about (the person must be living). This
person no longer remembers the PC,
although the PC remembers everything
about them and their relationship.
• A year of honesty. The character is
unable to tell a lie, or attempt to deceive
another, for one year’s time.
• An ability or skill. The sea permanently
removes an ability or skill from the
character (their choice).
• An item of value. The character must
throw a very expensive or exorbitant
item into the sea, where it will disappear
forever.
The Place Down the Way
If a character tells the sea that they choose
not to take her bargain, they see something
that wasn’t visible before: a large nest
farther down the shore. In the nest sits a
black and grey seabird, as large as a human Merle: level 4, swimming
being. Only characters who rejected the and Speed defense
as level 5; bite does 6
sea’s offer can see the nest and bird; those points of damage
who made the bargain cannot perceive
these things.
The bird’s name is Merle and he says he Characters who touch
can help the characters. They each only have the water without getting
safe passage ahead of
to sit on one of his eggs (there are exactly time are smashed against
as many eggs as there are characters who the rocks, taking 4 points
need his help) and keep his young safe and of ambient damage
warm while he goes into the sea to hunt for (ignores Armor).
food. When he returns, he will provide the
characters with safe passage. Safe passage from the
While Merle is gone, the eggs begin sea means that they
are safe from her, but
to hatch. Inside each egg is what looks not from anything that
like a younger version of Merle, with one might live within her.
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Younglings: level 2, exception. When the younglings yawn, While in the sea, the characters might have
eating and screeching their mouths open far wider than seems the following encounters (as well as any
as level 4; bite deals
possible and their jaws are inlaid with rows others that you wish to add):
3 points of damage
of sharp, golden teeth. They’re hungry and
Robber birds: level 3;
claws and beaks deal start taking bites out of whatever is nearby. Grundylow
4 points of damage If they’re not fed, they begin to screech, These green aquatic creatures have
Sand fleas: level 2; bite attracting other carnivorous creatures to the piranha-like mouths with sharp teeth and
deals 2 points of damage nest. long sinewy arms that grab and hold their
Aurous the Golden Girl: Some of the creatures the younglings victims. They hunt in swarms, similar to
level 4; golden fists deal attract include: piranha, and release a stinging ink-like
4 points of damage
• Robber birds. Large, carnivorous birds liquid when threatened.
GM intrusion: One of
that attack in pairs, swooping down to
the younglings hops out
of the nest and begins grab hold of their next meal with their Isonade
to run away down the long, sharp claws and beaks. Huge and terrifying sharklike beings with
beach toward the sea. • Sand fleas. Fist-size crustaceans that scales similar to a dragon’s, isonade are
Grundylow: swarm crawl up from beneath the sand, biting also known as dragon sharks. They are
attacks as a single level 5
exposed flesh. about the same size as megalodon and
creature; Speed defense
as level 6; bite inflicts 5 • Aurous the Golden Girl. This woman move through the water with surprising
points of damage; grabs seems to appear from nowhere. She speed and stealth. An isonade uses its
and holds a victim, is half coated in gold, and offers the hooked tail to snare and catch creatures and
rending it immobile (level
5 Might task to break characters their heart’s desire if they then devours them.
free); black ink-like liquid merely hand over the younglings. She
stings every creature it is lying, and will attack the PCs whether The Cult of the Serpent
touches, inflicting 3 points
or not they give her the younglings. If These water-dwelling humanoids have
of damage for two rounds
they do give her the younglings, she will made a bargain not with the sea, but with
Isonade: level 6;
Armor 2; hooked tail spend one round eating them, which the serpent that sleeps, huge and coiled, in
catches victims and causes even more of her body to be her depths. Making a bargain with the sea
inflicts 3 points of covered in gold. serpent isn’t dangerous in and of itself, but
damage; bite inflicts
the serpent’s power is so overwhelming that
6 points of damage
If the characters protect the younglings those who partake of it begin to change.
Serpent cultist: level
4, Speed defense and until Merle returns, he thanks them and They crave the taste of human flesh. As
perception as level 3 due gives them each a feather from his wings. such, their heads begin to shrink so they
to lack of vision and As long as they have their feather, he says can no longer hear the cries of their victims
hearing; stomach
they can move through the sea as if through or see the fear in their faces, and they grow
mouths inflict 5
points of damage air. (The results are the same as if they’d large mouths full of many rows of teeth in
Siren: level 3, Speed made the bargain with the sea, so they are the center of their stomachs.
defense as level 4, not safe from anything that swims in the
persuasion as level 5; sea but is not of her.) Ghost of the Arbella
song causes the desire to
Helmed by a crew of sirens who died on
draw nearer (character
must succeed on a level To the Deeps land, this ghost ship sails deep below the
3 Intellect defense roll As long as the characters have the sea’s sea, calling to those who swim its depths.
each round they hear the blessing in some form, they can move Despite being a ghost ship, the Arbella is
song in order to resist)
through the water as though they were on alive, and glamours herself to look like a
Arbella: level 8
land (although they can also swim if they beautiful, well-kept vessel, with glorious
GM intrusion: The
choose). They don’t have to be concerned decor and an inviting presence.
serpent cultist deals
lasting damage to a with breathing, depth, temperature, or any All who hear the sirens’ song are drawn to
character by causing other dangers from the water itself. it, and all who are entranced by the Arbella’s
severe muscle or tissue They do, however, still have to be glamour wish to climb aboard and sail away
damage with its bite.
concerned about other dangers. For while with it.
the sea can offer safety from her body of
Lasting damage, water, she cannot (or will not) control the
page 436 will of the creatures that live inside her.

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Cailleach’s Cottage
The conch will guide the characters to what
is normally a very difficult place to find,
for Cailleach has chosen her home for its
privacy and hidden nature. Her home is
deep inside a large, dead, well-preserved
whale.
If the characters remember to blow
the conch ahead of time, they can reach
Cailleach’s cottage without incident. If they
forget, however, the coral guardians around
the cottage attack them. Additionally, the
invisible wards around her home prevent
them from reaching the door.
Cailleach is approachable, but cold. It’s
a level 5 interaction task to convince her
to help them. Having used the conch (or
showing it to her) eases interactions with
her by two steps, for the conch reminds
her of the queen’s father, who she had deep
affection for.
If the characters convince Cailleach to
help, she says she needs a few hours to
craft a healing balm for the queen. However,
the PCs must hunt down an intangible
creature of the sea called a fuath and bottle
its essence, which she needs for the balm.
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She gives them a special bottle made
of shells and says that once the fuath is Cailleach, page 129
severely hurt, someone needs to say their
own true name to it, and it will be forced to Coral guardian: level 4;
enter the bottle. Of course, giving the fuath Armor 2; stinging nettles
inflict 3 points of damage
their name is dangerous, for if any other
fuath are nearby to hear it, they will gain
control over the character. Wards: Anyone who
The PCs should be able to find a fuath in touches the door is
thrown back 30 feet
the area without too much trouble. Bottling (9 m) in the water
it might be another thing altogether. and takes 2 points of
Once Cailleach has made the balm, she ambient damage (ignores
offers either to have one of her children Armor). If they touch it
a second time, they are
deliver it to the queen or to give it to the again thrown back and
characters. She will not go herself, for to moved one step down
leave the water would destroy her bargain the damage track.
with the Sea, Herself. Whatever the
characters decide, the balm heals the queen Cailleach’s children
back to full health. look like the ghosts of
blackbirds. When one
shows up, it snuggles
against its mother’s
The Sorrows shoulder momentarily
The place where Gráinne sleeps in the before taking the balm
in its claws and flying
summer is the Sorrows, a belowground up through the sea.
realm out of time and space. It is deep
and dark, and can be accessed only via the Fuath, page 128
doorway at the border of the queen’s realm.
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By heading east of the sun on their
leverets, the PCs should have no trouble Keyhole Effect Table
Red River: level 6; reaching the border by nightfall. They can Roll a d20 or choose from the following
characters who touch the see the border long before they reach it,
water forget themselves. list to determine the keyhole effect. You
They take 5 points of
for it is a huge rising wall of mountains can also create your own.
Intellect damage and and cliffs.
lose training in one skill
until they make their next d20 Effect
The Blue Door
ten-hour recovery roll. 1–3 Shocks the key wielder,
The doorway to the Sorrows is an actual
GM intrusion: A patch door, painted blue, lying flat on the ground, inflicting 1 point of damage
of cursed grass spreads half on the border of the queen’s realm, 4–6 Door groans in apparent pain
along the banks of the
river, causing perpetual
and half inside a small cave cut into the 7–9 Door starts to laugh and taunt
and insatiable hunger rising cliffs. The door is covered in twelve the characters, and does not
in anyone who touches keyholes, each one different, laid out in a stop until another keyhole is
it. Victims must eat pattern like a clock. The PCs have the key attempted
something every ten
minutes until their next from Geroid, but discerning which keyhole 10–12 Door begins to yell for help
recovery roll, or their is the proper one is a level 5 Intellect task. 13–15 Door tries to eat the key (level
hunger inflicts 2 points Any attempts at an incorrect keyhole cause
of Intellect damage. 3 Might task to prevent this;
an effect from the Keyhole Effect table. if failed, level 3 persuasion or
intimidation task to get the
door to spit it out)
16–19 Swarm of biting ants stream
out of the keyhole, biting the
key wielder for 2 points of
damage
20 Door shrinks to half its size
(this effect is reversed once
the proper keyhole is used)

When the correct keyhole is used, the

door disappears, revealing a set of stone
stairs going down into the earth. Soft light,
as if from moonlight, makes it possible to
see, but the stairs are far from brightly lit.

Going Down
Once the characters go through the door,
they have left the queen’s realm and entered
the Sorrows. Stairs go down and down,
growing darker as they descend. Below
and in front of them, the PCs can hear the
sound of a rushing river and something
else—a quiet, exhaustive exhale, as if from
the mouth of a giant.

Red River. At the bottom of the stairs is the

Red River, which is inside a large rocky cavern.
This river runs fast and deep and blazes
with red light. It is more than 100 feet (30 m)
across and deeper than anyone knows.

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Charon the Ferryman. Charon the ferryman
is tall and thin, and she stands regally in
a boat made of boats. She will caution the
characters not to enter the river, for the
water is full of lost souls that will steal their
memories. Charon says it is her job to ferry
people across the river, with two conditions:
• She can take them only one way. But she
says that perhaps the giant’s shadow
can bring them back if they desire to
return later.
• She requires payment of an expensive
item. However, the previous day, three
will-o-wisps paid her to cross and then
disappeared before they were able to do
so. “I cannot rest when there is payment
for rides not taken,” she says. “If you
find them for me, and they cross safely, I
will consider that your payment.”
If the characters pay her with an
expensive item, Charon offers it to the river,
which rises up in the shape of a large asp to
take it from her hands.
If the PCs choose to find the will-o-wisps
and bring them to Charon instead, they can
go either right or left along the river to look
for them.
Along the River
At any point, before or after crossing the
river, the characters might encounter any of
the following.
Whispering Centipedes. The legs of these
fist-sized creatures whisper constantly,
saying, “Hello, are you lost-lost-lost-lost?” It’s
hard to pinpoint exactly where they are in the
dark, for they flatten against the cavern walls
and ceilings so perfectly that they look like
outcroppings in the rock.
Gone Goblins. Unlike the centipedes,
gone goblins are easy to find, for they have
bathed long in the Red River, and glow red
just as it does. They have created a living
space in one of the hollowed-out areas of
the cavern. Bathing in the river has ruined
their memories and their minds, causing
them to sing nonsense songs, attack
without provocation, and generally act
unpredictably.
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The Giant’s Shadow. The giant’s shadow
sits by the river’s edge and weeps, for he Charon the Ferryman:
has lost his giant. Again. Depending on level 8, boating and
other waterborne
the time, the giant’s shadow might be activities as level 9
human-sized or much, much larger. If the
characters talk to him, he will say, “Every Giant’s shadow: level 7
day at high noon, I stretch myself across the
Red River, hoping that my giant will come While the giant
home to me and find me there. But he never magically knows when
it’s high noon, the PCs
does. I am worried he’s doing something need to find a way to
terrible. He always did need me around to tell time if they wish
protect him, to help him do the right thing.” to cross the bridge of
The shadow would be happy to bring the giant’s shadow.
the characters back across the river when
they’re finished, but they have to come at
high noon, or he won’t be big enough to
reach all the way across. “And if you find my
giant there, please, please, won’t you tell
him to come home to me?”
Will-o-Wisps. Three will-o-wisps shine Will-o-wisp: level 2
brightly from a small hollow along the
cavern’s wall. They are captured in glass
jars with cork stoppers. If the characters
release them, they are delighted and full of
bouncy, celebratory joy. They also warn the
characters about the goblins who caught
them and put them in the jars.
Confronting Gráinne
It is easy to find Gráinne’s throne room, for
light and sound blaze forth from within it
as soon as the characters get close enough.
Inside the large room, an elaborate ball Whispering centipede:
full of creatures and fairies and humans is level 2; poison drips from
every part of their bodies,
taking place. Everyone is elegantly dressed eating away organic
and seems to dance with inhuman grace matter and inflicting 2
and timing, the music is ethereal and points of damage each
haunting, and the food glistens beautifully round for 1d6 rounds
and fills the air with the scent of satiety.
Characters who step into the room must Gone goblin: level 3,
succeed on a level 5 Intellect defense roll Intellect defense as level
2; inflicts 4 points of
to resist the temptation to dance. Any damage with whatever
character who’s drawn into the dance can weapon they can find
do nothing but dance for one round. After nearby, including another
that, they can attempt to break free (a goblin or a whispering
centipede (being hit
level 4 Intellect task). If they fail, they must with a whispering
dance for two rounds before they can make centipede also inflicts
another attempt. Another failure means they poison damage)
must dance three rounds before attempting
to break free, and so on.
Goblins, page 335
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Gráinne on Her Throne
Gráinne, page 125 In the far end of the room, Gráinne sits on
Curse Removal her throne, alone. Her eyes are open, but
table, page 52 she does not seem to notice anything that’s
going on around her. She cries, silently, and
her tears turn into honey bees as they fall.
Horse head Guarding her are two automatons that look
automatons: level 6; like giant copper horse heads. Each head is
Armor 2; long movement;
can crush a foe for 6
around 10 feet (3 m) tall and nearly that big
points of damage (ignores around. When the horses open their mouths,
Armor) by landing on they make a horrible whirring sound.
them; can swallow a foe If the characters attempt to talk with
whole, trapping them
inside their hollow necks Gráinne, her voice is dreamy and slow, as if
(level 6 Might task to cut she’s a young child talking in her sleep. She
through their metal skins clearly believes she and her sister Áine are
or level 6 Speed task to
playing a war game, like they did when they
climb out their throats)
were little. “She always beats me,” Gráinne
says, pouting a little. “I want to win this time.”
It doesn’t take much for the characters
to realize that Gráinne has been cursed in
some way, and whatever she’s doing inside
her head—the war games she’s playing—
are real, but she doesn’t know it.
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The curse that Gráinne’s under is level
6. The characters can remove it via one of
the options in the Curse Removal table or
by using an appropriate cypher, artifact,
or ability. Releasing her from the curse
awakens her, which makes her stop playing
the war game and instantly removes all of
the attackers from her sister’s realm.
Once Gráinne is released from the curse,
everything about the party disappears, leaving
behind only the lingering sound of music.
Gráinne is shaken, but is quick to understand
what’s been happening. She clearly feels
horrible about everything that has befallen her
sister and the realm, and says she must go
see Áine at once to make amends and find out
who cursed her and why.
Ending the Adventure
If the characters successfully heal Áine and
stop the curse that’s been cast on Gráinne,
they are rewarded with exactly what the
queen promised: their freedom. Their debt
to her is paid in full, and they need never
return to her realm again. Unless, of course,
they choose to—she says that each of them
may return again at a time of their choosing
by using her braided lock.
XP Awards: The PCs each earn 1 XP for
healing Áine, and another XP for releasing
Gráinne from the curse. Additionally,
consider rewarding them 1 XP for each of
the following: convincing Cailleach to help
them, safely crossing the Red River, and
completing their service to the queen.
What’s Next
As a follow-up adventure, the characters
could assist Gráinne in tracking down the
cause of the curse and attempting to deal
with it. This would involve traveling back
to the realm during the winter solstice,
when they would find Gráinne ruling at her
rightful time. (In this case, Gráinne would
summon them in their sleep, just as her
sister did; this doesn’t use up the ability of
the queen’s braided lock.) Characters who
succeed in the task would be owed a favor
by the Wayward Daughter herself, which is
no small treasure indeed.
 PART 3

I N T H E H E A RT W O
LO ST O D

“But I don’t want to go among mad people,” Alice remarked.

“Oh, you can’t help that,” said the Cat: “we’re all mad here. I’m mad. You’re mad.”
“How do you know I’m mad?” said Alice.
“You must be,” said the Cat, “or you wouldn’t have come here.”
~ Lewis Carroll, Alice’s Adventures in Wonderland

Chapter 13: Welcome to the Heartwood 158

Chapter 14: Mental Health in Games 159
Chapter 15: Running Games in the Heartwood 163
Chapter 16: Creating Heartwood Characters 166
Chapter 17: Heartwood Atlas 179
Chapter 18: What the Moon Dreamt 203
Chapter 19: The Prince Who Would Seek Death 210

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 WE ARE ALL MAD HERE
Chapter 13

WELCOME TO THE HEARTWOOD

Although the Heartwood
setting is designed with a
focus on mental illness,
it isn’t necessary to keep
that focus to use the
setting. The world is full
of interesting places,
characters, and creatures
that work in a traditional
fairy tale game as well.
P
art 3 of this book is all about the
Heartwood, a fairy tale setting where
the player characters are drawn out
of the modern world into one that’s very
different from their own. The Heartwood is
a mystical fairy tale world filled with magic
and wonder, and when characters enter it,
they too are filled with magic and wonder.
But there’s one caveat to entering
the Heartwood. In order to do so, the
character’s life must be touched (or have
been touched) in some way by a mental
health issue, disorder, or illness. This
covers a broad range, and the way in which
people’s lives are touched can be large
or small. Perhaps they live with a mental
illness or disorder themselves, or perhaps
a loved one does. Possibly they are grieving
the loss of a loved one, overcoming a past
trauma, or dealing with overwhelming social
anxiety.
This experience—however it may
manifest or touch a character’s life—is what
creates their connection to the Heartwood
and to the magic within it (and within
themselves). It doesn’t mean that the
characters are superheroes with powers,
because that isn’t how mental illness works.
Instead, they bring their own strengths and
weaknesses, their complexities, their very
humanity, and it is this combination that
guides their magic.
Chapter 14: Mental Health in Games
includes suggestions for managing mental
health topics at the gaming table. This
chapter is for both GMs and players, and is
recommended reading for everyone who’s
going to set off into the Heartwood.
Chapter 15: Running Games in the
Heartwood is specifically for the GM,
and talks about ways in which to use the
setting and adventures to create unique and
complex roleplaying opportunities for the
group.
Chapter 16: Creating Heartwood
Characters walks players through the
process of creating characters with
Heartwood foci, descriptors, and character
arcs.
Chapter 17: Heartwood Atlas is mostly for
GMs, as it details the Heartwood setting—
including places, people, and situations—
and offers suggestions for how to best use
elements of it in games.
Chapter 18: What the Moon Dreamt is an
adventure about finding and rescuing the
moon to keep the darkness at bay. It covers
topics of insomnia, depression, grief, and
discovering our true selves.
Chapter 19: The Prince Who Would Seek
Death is an adventure in which an undying
prince asks the characters to help him find
his death. It deals with issues of death and
dying, autonomy, love, and friendship.

If you’re thinking of ways to make fun of mental illness or those

who deal with mental illness in their lives, this setting is
definitely not for you.

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 MENTAL HEALTH IN GAMES

Chapter 14

MENTAL HEALTH IN GAMES

T
alking about mental health problems
and illnesses can be hard—there
is a lot of misinformation and no
shortage of stigmas about the topic. Those
who live with a mental illness may feel
shame or anxiety when talking about it,
and those who don’t may not have a good
understanding of mental illness concerns
and experiences. In fact, reading this
section may make you feel overwhelmed or
anxious, and that’s okay. It’s fine to close
this book, go take a walk, and return to it
when you’re able.
We’ve known for a long time that
storytelling is a form of healing—whether
we’re talking through our problems or
making up stories about the things that
scare us. They provide us with ways to deal
with illness, disasters, trauma, and loss.
We all have our own dark woods, where we
find ourselves easily lost—grief, depression,
anxiety. Being able to talk about and explore
these dark woods through the remove
of player characters is one of the great
advantages of roleplaying games. When
sensitive, marginalized, or stigmatized
topics are approached in-game with respect,
sensitivity, and compassion, they can
benefit everyone (and create a unique game
experience as well).
It’s important to remember that mental
illness is complex, as are those who live
with it. Characters who live with mental
illness are not superheroes with powers,
because that isn’t how mental illness
works. Instead, these characters bring Forests are sublime
their own strengths and weaknesses, their and dangerous, full
of mystery, magic,
complexities, their very humanity, and it is terror, and monstrosity;
this combination that guides their magic. an enchanted place
where anything can
happen. On one hand,
[the forest] is a site of
Why Fairy Tales? threats, the precinct
Fairy tales have a long precedent for of monsters—the wolf
including characters with what we recognize waiting for Red Riding
Hood, the witch for
today as mental health issues and
Hansel and Gretel, the
neurodivergences, such as Attention Deficit briars covering Sleeping
(Hyperactivity) Disorder, dyspraxia, autism Beauty’s castle—but
spectrum disorder, and so on. In fairy tales, it’s also a place where
abandoned children can
postpartum depression can cause parents take refuge: Snow White
to endanger their children. Those labeled flees to safety in the
“witches” often exhibited syndromes of forest because it’s home
mental or physical ailments. To someone that is full of monsters.
~Maria Tatar, German
with obsessive-compulsive behavior, a key folklore and children’s
may appear bloodstained or dirty no matter literature scholar at
how many times they scrub it. And many Harvard University
a stepmother might have been suffering
from a narcissistic personality disorder. It’s
possible that the idea of changelings could
have come about because children were
changing (either mentally or physically) in

If reading this book makes you uneasy or brings up feelings that you feel
unable to handle, please seek the advice of your mental health professional
or other qualified health provider. If you’re having suicidal thoughts,
call 1-800-273-TALK (8255) to talk to a skilled, trained counselor
at a crisis center in your area at any time (National Suicide Prevention
Lifeline). If you are located outside the United States, call your local
emergency line immediately.

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 WE ARE ALL MAD HERE

“Is [the Nothing] very a way that no one could explain, and thus issues. Today we talk about Little Red Riding
painful?” Atreyu asked. they were clearly a malicious spirit and not Hood syndrome (in which the person
“No,” said the second the “real child.” The young man in “The experiences cognitive dissonance and feels
bark troll, the one with Story of the Youth Who Went Forth to Learn as though nothing bad could happen to
the hole in his chest.
“You don’t feel a thing.
What Fear Was” goes out into the world to them). Dorian Gray syndrome (named
There’s just something try to feel something—anything—because after Oscar Wilde’s novel The Picture of
missing. And once it gets he’s numb, which is exactly how many of us Dorian Gray) describes being obsessed
hold of you, something feel when dealing with depression. There with appearance and unwilling to age, while
more is missing every
day. Soon there won’t are coping mechanisms, too, that many Peter Pan syndrome is typically ascribed to
be anything left of us.” of us might find familiar. In stories like people (mainly men) who seem to be stuck
~Michael Ende, The Tattercoats and the She-Bear, for example, in adolescence and are unable to make
Neverending Story the characters disguise themselves, often decisions.
You might remember after traumatic experiences, in an attempt to Not surprisingly, in the time that fairy
that one of the characters make themselves feel safe and inaccessible tales arose, those with mental illness were
Alice meets in Alice
in Wonderland is the
to those who might harm them. often labeled as wicked, evil, and so on.
Mad Hatter. It is likely Fairy tale characters can provide Fairy tales are fraught with ableist language,
that he was so named invaluable metaphors to explore and in no small part because people didn’t have
because of the symptoms express the experiences of mental health the understanding of mental illness that we
that hatters (also called
milliners) suffered due
to the use of mercury
in hat-making. Chronic
mercurial poisoning It’s important to remember that while roleplaying games have been
led to hallucinations,
anxiety, memory successfully used as therapy for mental health issues, this book is not
loss, and tremors.
designed for that purpose. There are programs and resources available
See Problematic
if that’s something you’d like to pursue, ideally with someone who is
Elements (page 42) for specialized or trained in that type of therapy.
additional information.

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 MENTAL HEALTH IN GAMES

The Heartwood is a setting based on fairy tales, so while it is

whimsical at times, at other times it’s mature, adult, nuanced,
and sometimes quite dark.

do now. Thankfully, as our understanding or don’t think you can handle, perhaps it’s Fairy tales since the
of mental illness has changed, so have our best to go a different route. Some people beginning of recorded
time, and perhaps
labels and our way of talking about and have difficulty knowing where they end and earlier, have been “a
thinking about people living with it. where their character begins (this is called means to conquer the
“bleed”); if that happens to you, this might terrors of mankind
not be a good choice for you. through metaphor.”
~Jack Zipes, The
Issues to Consider Alternatively, you could play a character Brothers Grimm: From
Before joining a game with a mental health who is the exact opposite of you. If you find Enchanted Forests to
focus, consider the following questions. yourself clamming up with social anxiety in the Modern World
real life, consider playing a talky character.
Do I trust my GM and group to tackle this On the other hand, if you feel comfortable
in a way that works for me? creating a character whose mental health It is not too much of a
stretch to imagine that
Trust is paramount to all games, but even is similar to yours, it could be a great many characters in
more so when you expect to cover topics opportunity to explore some of what you’re fairy tales had physical
dealing with mental health. Do you feel that going through, to share that experience with ailments that caused
your GM or group will be able to handle this others, and even to use the skills you’ve their personalities
as well. Perhaps the
well? Sometimes, such as at a convention learned to your advantage. main character in
or a one-shot, it’s impossible to know the The Princess and the
answer ahead of time. In that case, do you Should I play a character whose mental Pea had fibromyalgia,
making it hard for her
have an exit strategy for getting out if you health is different than my own?
to get comfortable.
need to? The answer to this, as it is to similar An older woman
Alternatively, if you are the GM, ask questions about race, gender, sexual with chronic arthritis
yourself if you truly feel ready to run a game orientation, and so on, is: it depends. If you or other ailment
might go off and live
like this. Do you feel comfortable that you do so, be sure to follow basic guidelines alone, because she’s
and your group can do your best to handle about how to do it in a respectful and so often in pain.
any issues that come up? Is there more you informed matter. Do some research (but
could learn or do to help your group create don’t expect another player to be your
a great experience? source, as it may not be comfortable for If you know a person in
them to do so). your group is dealing
with mental illness,
Should I play a character whose mental A good practice is not to think about how you shouldn’t attempt
health mirrors my own? to accurately portray a diagnosis, but to to use the game as a
This is a tricky question that only you can figure out what elements you are drawn to therapy session without
answer, and ideally after spending some time when creating your character, and then delve their knowledge,
permission, and consent.
considering the repercussions. If it’s likely to into what those behaviors mean, as both a
bring up issues for you that you don’t want boon and hindrance for the character.
The mental health issue
or neurodivergence
that you choose to play
should never be the only
No matter what kind of character you choose to play, there’s defining feature of your
nothing wrong with starting small. Creating a character who is dealing character. Go deeper.

with very mild anxiety or occasional bouts of depression rather than

someone with symptoms of greater intensity and severity
is an absolutely valid choice, particularly if you’re just getting
your feet wet.

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 WE ARE ALL MAD HERE
“No need for a bunch of trees.
You can lose your way anywhere.”
~Christine Heppermann,
Poisoned Apples: Poems for You, My Pretty

As a general rule of thumb, do everything
with respect and knowledge. This won’t
make you perfect, but it will likely keep you
out of the worst pitfalls.
Tips for Talking About Mental
Health Issues In-Game
• Living with a mental health issue or
mental illness does not mean that
someone is broken or “less than.” It
also does not mean they are perfect
or “more than.” It makes them, as we
all are, human. Characters living with
mental health issues and illnesses have
both benefits and drawbacks due to their
symptoms.
• Remember that while many people
deal with difficult emotional spaces
and mental health concerns in their
lives—such as bouts of depression or
social anxiety—a diagnosis of mental
illness typically requires extensive
testing and conversation with a qualified
professional.
• The topic of mental health and illness
can be difficult for many people.
Consent and Before you start a game with these
Boundaries, page 55 themes, be sure to have everyone’s
Fairy Tale Game Consent consent regarding topics, language,
Checklist, page 224 and boundaries. You can download the
For additional Consent in Gaming PDF for free, and the
information about back of this book has a consent checklist
consent in gaming,
download the free
specifically designed for this topic.
Consent in Gaming PDF Alternatively, offer players the chance to
at myMCG.info/consent have a private conversation before the
game begins about their boundaries and
safety needs, as some players may find
checklists difficult.
• Do research on the topic. If you
have people in your life who are
knowledgeable about mental health and
you sense that they would be interested
in helping, you might ask if you can
talk with them about it. However, be
aware that they have the right to say
no (it’s possible that they get asked
often to be someone else’s source of
information, which can be exhausting
and frustrating).
• There is no perfect set of terms or
phrases to use when talking about
people living with a mental illness, as
everyone has different ideas of what
works best for them. Many people prefer
to use person-first language to make
it clear that they are not defined by a
diagnosis (such as “Lisa has bipolar
disorder” rather than “Lisa is bipolar”).
Others disagree, feeling that person-first
language has a reductive impact. It’s
always good to have the table discuss
what feels most comfortable to them.
• Most of all, respect each person’s
preference for how they wish to refer
to their own mental health status, and
understand that those preferences
may change over time. Respect and a
willingness to hear other people are vital
parts of a good gaming experience, and
that’s even more important when talking
about mental health and illness.

Remember that the player and the player character are not the same. Be
sure not to conflate the two, particularly when it comes to assumptions
about the player or character’s mental health status.

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Chapter 15
RUNNING GAMES IN THE HEARTWOOD
“But I don’t want to go among mad
people,” Alice remarked.
“Oh, you can’t help that,” said the
Cat: “we’re all mad here. I’m mad.
You’re mad.”
“How do you know I’m mad?” said
Alice.
“You must be,” said the Cat, “or you
wouldn’t have come here.”
~Lewis Carroll,
Alice’s Adventures in Wonderland
T
he sample campaign setting is called
the Heartwood because it is designed
to emulate the heartwood of a tree.
In a tree, the heartwood is the central wood.
It is often darker, denser, and more resistant
to attacks by insects and decay. And its main
function is to support the tree. This is one
of many metaphors for the way that mental
health issues can affect us: the things we
learn by dealing with our mental health
challenges are similar to the heartwood. We
might become more resilient, stronger, and
better able to support ourselves (or ask for
support from others).
Tips for Game Masters
Running a game in a setting where the
characters (and the setting itself) deal with
mental health issues can be tricky and
challenging, but very rewarding as well.
The following suggestions can help GMs
prepare to run games in the Heartwood.
Be Upfront About the Setting
Right out of the gate, it’s important to tell
players what they can expect. They need
to know that this setting involves mental
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RUNNING GAMES IN THE HEARTWOOD
health, and that every character is likely
going to be touched by some type of mental
health concern or illness. Explain how the
Heartwood works—that in order to enter
it, their characters will need to be touched
by mental illness in some way, and that the
Heartwood is also a place where mental
illness and magic work hand in hand.
Do not try to surprise your players with
this information. It’s not clever, and it’s
not likely to be appreciated. Respect your
players, tell them everything they need
to know, and give them time to consider
whether this setting and experience is right
for them.
Use the Heart of the Heartwood
If you haven’t already, read the Heart of Heart of the Heartwood,
the Heartwood section in chapter 16. The page 180
Heart is a location that is designed to
be a grounding point for the characters.
Additionally, at any time, one or more
characters can retreat to the Heart to allow
them (or the player) to take a break, gather
their thoughts, or just step away from the
experience. This is similar to an X-card or The X-card is a game
other gameplay device that allows a player safety tool. The Consent
in Gaming PDF
to call a timeout.
summarizes how to
Be sure to explain this to the players at use it and provides a
the start of a game, and don’t be afraid link to more detailed
to remind them of it throughout. Putting information.
it out there often helps normalize it and myMCG.info/consent
encourages players to use it whenever they
may need it.
Know Your Limits
Do you as the GM have a way to give
yourself a few minutes of respite if you
need it? Do you have a support system in
place? A way to handle difficult or emotional
situations should they arise? Note that
this is not all on you; the group should
be able and willing to help you out with
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 WE ARE ALL MAD HERE
these things. Ask someone else to be your
lookout—if they see you struggling, they can
call a timeout for you.
Also, consider the difference between
running a Heartwood game for your friends
and running one for a group of strangers.
While every type of game is valuable and
has the opportunity to be amazing, let’s
be honest: playing a game with issues
of mental illness front and center can be
tricky. It can be even trickier with a group
of strangers, such as in a one-shot at a
convention. And if this is your first time
GMing in the Heartwood? Even more so.
Running a game in the Heartwood for
a bunch of people who don’t know each
other has the potential to go south, so be
aware of possible pitfalls. All it takes is one
person to start making fun of the concept,
the characters, or (worst of all) the other
players, and things can quickly take a turn
for the worse. Of course, this doesn’t mean
it can’t be done well. Just that it’s difficult,
and might be best reserved for experienced
GMs and those who feel comfortable
managing people and their expectations.
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Don’t Try to Teach or Heal
As the GM, don’t try to teach lessons about
mental illness or play the role of a therapist.
Instead, allow and encourage any revelations
to come from emergent play. Provide the
characters with challenges and interesting
things and places, and allow the group to
create the story. Because it is within the story
where any inspirations, lessons, or healing
will occur for the characters. For example, if a
character in the group is dealing with anxiety,
provide them with ample opportunities to use
their anxiety to accomplish something. They
may choose not to do it, they may try and
fail, or they may try and succeed. Either way,
the character has learned something about
their abilities and can use that information
in the future, in any way they choose.
Provide Campfire Moments
Campfire moments are times when the
characters sit around the proverbial
campfire to reflect, catch up, rest, and share
their experiences. In most games, they’re a
nice touch, but they’re not necessary.
In games set in the Heartwood, campfire
moments are an important component
of the experience. It’s the kind of setting

and game where you really want to leave
time for self-reflection and conversation
about issues that are deeper than stats
and damage. Provide a bit of time between
important encounters—sharing a meal,
traveling through the countryside, sitting
around a campfire, having a drink at the
tavern, or pretty much anything else that
gives the characters an opportunity to
breathe and feel some catharsis and respite
after the challenges they’ve faced.
Not all characters in the Heartwood might
be chatty about their experiences—a PC
with social anxiety, for example, might take a
long time before they trust even their friends
with important things—so encourage the
players to have their characters find other
alternatives. Perhaps they sing a song, write
in a journal, draw a sketch, or pen a letter to
another PC or NPC. The characters or the
players can choose whether or not to share
these items with others.
You can also encourage the players to
have their characters take these types of
actions between games. This might be done
via email, Slack, Discord, or some other
messenger service with the GM or the group.
Make Time for
Character Summaries
Plan on taking a few minutes after every
session to chat with the group. Let the
players know that this is coming ahead of
time so they can look forward to it. During
the chat time, the group makes a safe space
for everyone to talk about how the session
went, any issues that came up, and hopes
or concerns for what’s next. Sometimes a
player will feel the need to say they’re sorry
for something their character did, and check
in with the other players. Sometimes the
session might be as simple as saying, “Wow,
that was intense. Is everyone doing okay?”
This is also a great opportunity to do
character summaries and check in on
character arcs to see if anyone has made
progress. Asking questions like “Does
anyone want to talk about their character
arcs?” and “Do you want to share any
struggles that your character had during this
session?” invites participation but doesn’t
make it required.
Having a chance to connect as players
(away from the PCs) at the end of a session
helps open communication and creates
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RUNNING GAMES IN THE HEARTWOOD
a sense of safety for the actions that take
place during the game.
What the Characters Know
About the Heartwood
It doesn’t matter if the players have played
in the Heartwood before. The question
is whether their characters have been
here previously. It’s really a matter of
preference—how much time do you want
to spend at the start of the game with the
characters exploring this new world and
asking questions? If you have the time and
want to make that part of the adventure,
great. If you don’t, you can handwave all of
that by giving the players a brief overview of
the setting and sharing the information that
their characters would know from previous
visits to the Heartwood.
Alternatively, you can have the characters
simply know about the Heartwood already.
Most characters dream of it long before
they get there, so when they arrive, it seems
familiar. Here are two ways to handle that:
• If the characters haven’t been to the
Heartwood before, or if the characters
have been there but the players haven’t
(meaning that this is everyone’s first
game using the Heartwood), give
them an overview of the setting. They
should have a general sense of its fairy
tale nature, the shifting landscape,
the connection to mental health, and
anything else that might be useful for
that particular adventure. Also be sure
to tell them about the Heart of the Heart of the Heartwood,
Heartwood and how it works, both page 180
in-game and out of game.
For more on aftercare,
download the free
• If the characters have been to the Consent in Gaming PDF
Heartwood during a previous game at myMCG.info/consent
session, just remind the players of
anything their characters did and saw
that was of import (or, even better, have
the players remind you of what they did
and saw, which makes the story more
alive for them).
Either way, if you start the story with the
characters being drawn into the Heartwood,
have them arrive at the Heart. Read over the
description of the Heart for suggestions on
how to describe it to the players.
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Chapter 16

CREATING HEARTWOOD CHARACTERS

T
he Heartwood is a magical, mystical
place filled with fairy tales, and
when you enter it, you too become
a magical, mystical fairy tale being. You
become a character in a fairy tale.
In the setting, characters from the “real
world” are pulled into the Heartwood, much
as Alice falls into the rabbit hole or Dorothy
is whisked away to Oz. So your character
is, in fact, a character from the now. Maybe
they have a day job they love or hate,
maybe they have a family, maybe they’re in
school or the army or they volunteer for a
nonprofit. Whoever your character is in the
“now,” they can become anyone they want
to be when they enter the Heartwood.
Neurodiversity looks at The one thing that all characters who
variations in the brain enter the Heartwood have in common is
that deal with learning,
attention, mood,
that their lives have been touched by mental
sociability, and other health issues or neurodiversity in some way.
mental functions through They may be grieving the loss of a loved
a non-pathological lens. one, trying to deal with traumatic events
It advocates celebrating
and supporting human of their past, dealing with social anxiety
diversity and or depression, and so on. Alternatively,
self-expression, rather someone they love and care about may
than assuming that this
be living with mental health issues or
diversity needs to be
cured, fixed, or made to neurodiversity. This is the character’s
conform to an accepted connection to the Heartwood, to magic, to
idea of normality. their fairy tale self.
Steps for Creating Your
Heartwood Character
1. Imagine Your Character
Maybe you know who your character is in
the “real world” and maybe you don’t. You
can decide that now, or you can wait and
let the real-world character grow out of the
experiences that the Heartwood character
has.
So imagine you have a real-world
character, one who lives in the now. That
character is perfect and beautiful and flawed
and broken, just like all of us. They also live
with or have been touched by mental health
issues or illness of some kind, just like
many of us.
When that real-world character looks into
the mirror, who do they imagine themselves
to be in a fairy tale world? This is your
Heartwood character.
Perhaps they’re in a perfect pink princess
dress with a giant sword. Or maybe they’re
wrapped in tatters and carry little more
than a stick and a wish. They might be
an elegantly dressed queen who’s fallen
from their throne (or is running away from
sitting on one), a wizened witch with a
raven familiar, or a young boy in a rabbit
mask and a bespoke vest. They might be a
shapeshifting selkie, a talking fox in glorious
boots, or a human the size of a thumb.
You’ll want to build your character as the

You’ve probably seen those images of a little kid (or an adult)

standing in front of a mirror. They’re a regular person in the
real world, but their mirror image is a superhero or a unicorn or
a dragon. That’s what it’s like to enter the Heartwood, except with a
fairy tale slant.

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“I’m not strange, weird, off, nor crazy, my reality is just
different from yours.”
one that you imagine in the mirror; this is
the character who will enter the Heartwood.
Stepping from the real world into the
Heartwood is a complete transition—your
Heartwood character will arrive with the
skills, abilities, and equipment they need to
survive, and hopefully thrive, in the setting.
2. Pick Your Type, Descriptor, Focus,
and Character Arc
As with building any other Cypher System
characters, you’ll choose your type,
descriptor, focus, and character arc. You can
choose any of the available options from
the Cypher System Rulebook or the options
specifically created for the Heartwood.
These latter options will give you the
opportunity to be immersed more deeply in
the setting, but are not required.
Remember that Heartwood characters
are those who are living with or have
been touched by mental health issues
or neurodivergence. But it’s not about a
labeled mental illness and portraying the
effects of such a diagnosis. Rather, it’s an
opportunity to think about specific traits
and how they manifest in the Heartwood,
both good and bad. Maybe your character
has a stutter that left them with scars from
In most Heartwood games, you’ll never
play as your real-world character, so don’t
worry too much about creating them
at first. They’re a jumping-off point for
making the character that you will play
in the Heartwood. Often, the real-world
version of the character takes shape
during play, and is a secret that may
or may not be revealed to the others.
For example, a fearful, humble child in
the Heartwood may actually be a big
corporate CEO, while a noble knight may
be a teenager living with autism in the
real world.
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~the Cheshire Cat
bullying, but here in the Heartwood, that
same quality helps make them memorable
and influential to NPCs. Don’t stop at The Heartwood
“My character has depression and acts needs you as much
as you need it.
downtrodden.” You as a player have
narrative agency to explore the beauty and
the challenges, so breathe life into the
concept beyond the label.
Choose a Heartwood descriptor or focus (or
both). These give your character skills and
abilities centered around living with mental
health issues or illness. This is a good
choice for someone who isn’t sure how to
play a character living with mental illness,
because they provide guidance and game
mechanics for taking actions appropriate to
the PC’s experience.
Choose a Heartwood character arc. These
arcs also focus on living with a mental
illness, and offer characters the opportunity
to explore their experiences and thoughts by
setting long-term goals.
Go your own way. Perhaps none of the
Heartwood options seem appropriate for
the character you want to build. It’s fine to
choose non-Heartwood options, provided
that you work with the GM to ensure that
the character fits the setting. A character
built this way is likely to be more focused
on the roleplaying aspect of mental illness
rather than on the abilities and skills.
Because there’s less guidance, this choice is
probably best for players who already have
some experience playing characters who
are living with or who have been touched by
mental illness.
Consider reading or rereading the chapter
on mental health in games before creating Chapter 14: Mental
your character. This will give you some Health in Games,
page 159
guidelines on choosing descriptors, foci,
and arcs that feel appropriate for you and
the experience you want to have.
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3. Choose Your Equipment
Chapter 7: Equipment, and Other Items
page 69 Heartwood Character Examples Choose weapons, armor, and equipment
from the lists in chapter 7, unless your
An Appealing or Charming Princess GM specifies otherwise. Consider whether
Appealing, page 38
who Befriends the Black Dog could be you want the equipment to represent an
Charming, page 41 a character who lives with depression, internal aspect of your character, or if you
grief, anxiety, or sadness, but puts on just want to swing a big sword. Some
Creative, page 42
a happy face in order to perform the characters might feel particularly attached
Chaotic, page 40 expected duties of their role and station to various pieces of equipment—perhaps
(or as a way to cope with or hide their their loved one gave them that cloak, or
Virtuous, page 58 they’ve named their bow Eliza and carry it
feelings).
Doesn’t Do everywhere because it gives them comfort.
Much, page 67 A Creative, Chaotic, or Bewitched It’s an opportunity to roleplay your character
Entertainer who Lived Among the by using the things they carry in deeply
Grows to Towering
Fey might be someone who uses art, emotional ways.
Heights, page 69
storytelling, music or some other Your GM will give you cyphers and
creative outlet to help them manage anything else you need to get started.
Befriends the Black post-traumatic stress, manic depression,
Dog, page 174 hyperactivity, or hallucinations and 4. Have a Conversation
Lived Among the delusions. With Your Group
Fey, page 175 Because you’ll all be playing characters
Bewitched, page 169 A Virtuous or Fragmented Knight who touched by mental health issues or
Fragmented, page 171 Made a Deal With Death might be a illnesses, it’s good to start the game with
Made a Death With character with obsessive thoughts and a short conversation where you discuss
Death, page 175 compulsions, difficulty focusing, or any concerns you have about the character
Lost, page 172 dissociative identities. They might also be you’ve created, the experience you’re
Haunted, page 172 a parent dealing with the death of a child, about to have, and any topics or issues
Feigns No Fear, page 175 a child dealing with the loss of a parent, that you don’t want to cover or deal with.
Sheds Their Skin, or an adult grieving the loss of a lover. Ideally, you’ll have already filled out and
page 176 talked about the Fairy Tale Game Consent
A Lost or Haunted Dreamer who Doesn’t Checklist at this point, so this conversation
As part of building your Do Much or who Feigns No Fear could will be a reiteration of things you’ve already
character, consider doing be a character who lives with depression, discussed. If you haven’t done so, now is a
some reading on the
various types of mental chronic illness, or anxiety. They could good time for the group to fill those out and
illnesses and what it’s also be someone who is dealing with talk about their choices.
like to live with a mental overwhelming grief, loss, or addiction.
illness. Also check out the
section of this book on
playing a character living A Bewitched Woodcutter who Grows to Heartwood Descriptors
with a mental illness. Towering Heights or who Sheds Their In the Heartwood, as elsewhere, descriptors
Skin might be a character with symptoms are designed to provide additional
Chapter 14: Mental of body dysmorphia, obsessive- information about how and why characters
Health in Games, compulsive thoughts about their take actions. Descriptors provide motivation
page 159
appearance, or concerns about showing and incentive, and place characters in the
Fairy Tale Game Consent others their true self. starting adventure. As with other elements
Checklist, page 224 of Heartwood characters, descriptors
combine the idea of magic and mental
health. So a Bewitched character might have
been cursed or enchanted by someone in
the world, or they might be experiencing
auditory and visual hallucinations, or
a combination of the two. How you

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 CREATING HEARTWOOD CHARACTERS

choose to portray the character, and their

understanding of their situation, is up to
you. Heartwood Descriptors
• Bewitched • Frumious
Inabilities • Changeling • Haunted
Typically, Heartwood descriptors include • Fragmented • Lost
at least one inability. This is because living Inability, page 207
with magic and mental illness often comes
with both benefits and costs. For example,
a character who takes the Frumious Heartwood Descriptors
descriptor isn’t good at holding back their
anger, and that can make it hard for them to Bewitched
interact with others in a positive way. You’re not sure that your thoughts are
Characters can typically cancel out or always your own. You often hear a voice or
overcome inabilities by becoming trained in voices, guiding you and attempting to force
that skill. In the real world, someone might your hand. Sometimes these voices are
see a therapist, meditate, take medication, helpful and kind. Other times, not so much.
or use another tool to help them manage Where do they come from, and are you
their mental health. In the Heartwood, cursed or blessed by them?
characters are more likely to use magic in
some way—perhaps they have a magical
potion or object, perhaps they teach
themselves a magic spell, perhaps they
have a fairy godmother who is a great ally
and support.

Descriptors From Elsewhere

When playing in the Heartwood, you don’t
have to choose a Heartwood descriptor—
you can choose any of the descriptors
in the Cypher System Rulebook. Some of
the descriptors, such as Chaotic, Craven,
Doomed, and Mad, might seem like a
perfect fit based on their names, but they’re
a little more exaggerated and less nuanced
in their take on mental health than the
Heartwood descriptors. However, you can
roleplay those descriptors into something
that better fits the Heartwood setting. Mad
is a good example—it was originally created
to fit the “mad scientist” type of character,
but by toning the language down just a bit,
you could use Mad to create a character
living with post-traumatic stress disorder or
obsessive-compulsive characteristics.
Feel free to work with your GM to adjust
descriptors to better suit the setting and
the character you want to create.

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You gain the following characteristics:
Enchanted: +4 to your Intellect Pool.
Skill: You are trained in all tasks involving
listening and hearing.
Insight: The voices have many things to
tell you and some of them are beneficial.
Once after each ten-hour recovery roll, you
Player intrusion, can use a player intrusion without spending
page 21 an XP.
Inability: The voices in your head are
sometimes so loud it’s hard to make sense
Bewitched characters of the real world. You have an inability in
sometimes think of navigation, tracking, and identifying plants
themselves as Cursed
or Enchanted.
and animals.
Initial Link to the Starting Adventure:
From the following list of options, choose
how you became involved in the first
adventure.
1. You listened to one of your voices,
which suggested that this would be a good
thing to embark upon.
2. One of the other PCs sounds an awful
lot like one of your voices, and you’d like to
spend time with them to find out if there’s a
connection.
3. You have reason to believe that being
with the other PCs could help you gain a
better understanding of the thoughts and
voices you hear.
4. You find that you can hear the voices
more clearly when you’re doing something
active, and this seemed like a good fit.
Changeling
Early on you discovered—or perhaps you
knew all along—that you weren’t really who
everyone thought you were. Perhaps when
you were still very young, the child whose
name you have now was stolen, and you
were put in their place. Or perhaps you
are the same person you’ve always been,
but you’ve never felt like yourself, and you
know that the real you is nothing like the
one that everyone else knows. More than
once in your life, you’ve been abandoned,
distrusted, and rejected by those you loved
most, which means that sometimes you fall
into deep funks. However, you are just as
adept at pulling yourself out of them when
the situation demands it. If nothing else,
you’re supremely adaptable.
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You gain the following characteristics:
Innovator: +4 to your Intellect Pool.
Face-taker: When you spend 1 XP, you can
change your appearance over the course
of one minute to look like someone else
of about your size who you’ve had direct
contact with or from whom you have a piece
of hair or flesh, or an object they handled
often. You cannot return to your previous
appearance unless you have the same
components at hand for that appearance to
initiate the change. Action to initiate, one
minute to complete.
Changeable (2 Intellect points): When you
fail at a task and try again using a different
method, you roll twice on the second
attempt and use the higher result. For
example, if guards catch you in the queen’s
chamber after dark and you fail to convince
them that you’re there on legitimate
business, you can instead decide to flee,
rolling twice on your roll to get away and
taking the higher result. Enabler.
Skill: People never know what to think
about you. You are trained in deception.
Inability: Your fluid nature leaves you less
resistant to physical threats. Your Might
defense tasks are hindered.
Fragile: When you fail a Might defense roll
to avoid damage, you take 1 extra point of
damage.
Additional Equipment: You have an
amulet with a strange symbol on it, a link to
your truest, deepest self.
Initial Link to the Starting Adventure:
From the following list of options, choose
how you became involved in the first
adventure.
1. The PCs discovered you weren’t who
they thought you were, but it doesn’t
matter—they’re still your friends.
2. You want to discover your true self, and
the PCs offered to help you find it.
3. Everything was fine until you were
attacked by a group of “faerie hunters.” The
PCs helped you fight back or flee.
4. You helped the PCs deal with a
situation, and that led you to discovering
more about yourself and your background.
You hope to do more of that.

Fragmented
Sometimes you feel like you are a single
being, and other times you think you might
be more. You feel torn into pieces, unsure
which elements are you and which belong
to someone else. Or perhaps they’re all you,
and you want to find a way to embrace all of
your selves.
You gain the following characteristics:
Two Minds: +2 to your Intellect Pool.
Skill: You’re trained in defense rolls to
resist mental effects.
Skill: You’re trained in all interactions
involving lies or trickery.
Adaptable: At the beginning of a
conversation, choose a specific type of
interaction skill, such as persuasion, lying,
or intimidation. While the conversation
lasts, you have an asset in that skill. You
cannot choose the same type of interaction
skill again until after you make a ten-hour
recovery roll. Enabler.
Inability: Your memory of events and
experiences is spotty. You have an inability
in memory-related tasks, such as recalling
information, memorizing names, and so on.
Inability: Staying centered on a single task
is difficult for you. You have an inability in
tasks requiring focus or concentration.
Additional Equipment: You have a
journal that you use to keep notes of your
experiences and selves.
Initial Link to the Starting Adventure:
From the following list of options, choose
how you became involved in the first
adventure.
1. While avoiding an entirely different
concern, you walked into your current
situation.
2. You have reason to believe that being
with the other PCs will help you better
understand your fractured mind.
3. You have no idea how you joined the
PCs. You’re just going along with it for now
until answers present themselves.
4. You felt drawn to join the other PCs,
but you don’t know why.
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Frumious
A furious, fuming anger waits, always, just
beneath your surface, swirling under your
skin like a caged beast. You might do your
best to hide it or control it, or perhaps you
have given up trying to tame it and you let
it run wild. Either way, it seems to cause
you—and those around you—grief more
often than not.
You gain the following characteristics:
Manxome: +2 to your Might Pool and +2
to your Speed Pool.
Skill: You are quick to respond to being
provoked (or even to the perception that
you are being provoked). You are trained in “After all, one can’t leave
initiative actions (to determine who goes his shadow lying about
and not miss it sooner or
first in combat). later, don’t you agree?”
Bandersnatch: You extend the reach of ~Wendy, Peter Pan
your attack, allowing immediate-range
character abilities to reach foes a short
distance away, and short-range character
abilities to reach foes a long distance away.
Inability: You find it hard to hold your
anger back—it seeps through your skin
even when you don’t mean it to, causing
others to shy away from it. All tasks relating
to positive social interactions are hindered.
Inability: Sometimes your anger overrides
your good senses, causing you to act before
you’ve properly assessed the situation. All
tasks relating to perception are hindered.
Initial Link to the Starting Adventure:
From the following list of options, choose
how you became involved in the first
adventure.
1. You are trying to get a handle on your
anger, and you’re hoping that being with the
other PCs will help you do so.
2. You let your anger get the best of you
recently, and now you’re running from the
fallout of that experience.
3. You believe that this adventure will
provide you with a way to channel your ire,
allowing you to use it for good.
4. One of the other PCs invited you to
join, after they watched you fight.
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Haunted
The world seems more dangerous than
it should. You are troubled by fearful and
anxious thoughts, and can’t always discern
what is a true threat and what isn’t. You might
see shadows following you, be plagued by
nightmares, or be filled with a general sense
of unease. This constant feeling of being
haunted drives you to try to make things
feel safer for yourself and those around you.
You gain the following characteristics:
Fleeting: +4 to your Speed Pool.
Skill: You are trained in initiative actions.
Skill: You are trained in sensing danger.
Prescient: You always see danger coming,
whether it’s there or not. Once after each
ten-hour recovery roll, you can refuse a GM
intrusion without spending XP. Alternatively,
you can spend 1 XP and work with the
GM to turn the intrusion into something
positive for your character.
Inability: Anxious thoughts are heavy, and
carrying them leaves you feeling emotionally
weaker than you’d like. Intellect defense
tasks are hindered.
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Initial Link to the Starting Adventure:
From the following list of options, choose
how you became involved in the first
adventure.
1. Being around one or more of the other
PCs helps you better handle your thoughts
and emotions.
2. You feel that one of the other PCs is in
danger in some way, and you’d like to help
out or keep an eye on them.
3. One or more of the PCs helped you out
when you were having a difficult time.
4. You are trying to learn more about your
thoughts and emotions, and you think that
trying out your skills on an adventure is a
great way to do so.
Lost
You can’t remember exactly when it
happened or why, but you have lost your
way. The path through life, or even through
your own mind, no longer seems to exist.
Once you had a reason and a goal, but
now you find yourself wandering aimlessly,
without clear purpose or drive.

You gain the following characteristics:
Skill: You’re trained in three areas of
knowledge of your choice.
Skill: Being lost has taught you to pay
attention to your surroundings. You are
trained in perception tasks.
Curiouser: You’re rarely surprised by
strange circumstances and are able to go
with the flow more than most. You can
choose to automatically succeed on an
initiative task without rolling. You can do
this one time, although the ability renews
each time you make a ten-hour recovery roll.
And Curiouser: For being so lost yourself,
you are able to help others find things in
the world. Anytime you help someone who
is searching for a lost object or person, you
are able to point them in the right general
direction.
Inability: Figuring out how to move
through the world is not one of your strong
points. All tasks involving navigation, map
reading, geography, and so on are hindered.
Inability: Sometimes being directionless
makes it hard to get moving. You have an
inability in noncombat Speed-related tasks,
such as climbing, jumping, and running.
Additional Equipment: You carry a broken
compass with you. It was a gift from
someone you cared about deeply.
Initial Link to the Starting Adventure:
From the following list of options, choose
how you became involved in the first
adventure.
1. The PCs came upon you while you were
wandering and lost, and invited you to join
them.
2. You happened to be in the right place at
the right time.
3. You wish to find your path again, and
you hope that the PCs will help you do that.
4. The PCs are heading somewhere
specific, and it feels good to be surrounded
by people who know where they’re going.
Heartwood Foci
The foci in this chapter are specifically
designed to be used in the Heartwood
setting. As with other elements of
Heartwood characters, these new foci
combine the idea of magic and mental
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CREATING HEARTWOOD CHARACTERS
health. So a character who Befriends the
Black Dog might live with or deal with
depression, sadness, grief, seasonal
affective disorder, or other difficult
emotions. These emotions take the form of
a black dog, a companion who’s at your side
through thick and thin.
Altering Foci
You don’t have to choose a Heartwood
focus to play in the setting, of course. If
you’d like, you can choose a focus from Foci, page 64
the Cypher System Rulebook and adjust it
Abides in Stone,
to give it a mental health slant. A character page 64
who Abides in Stone might actually turn
to stone—but that change could also Doesn’t Do
be a metaphor for their emotional state, Much, page 67
someone who’s been deeply hurt in the past Would Rather Be
and has a hard time letting people get close Reading, page 79
to them. A character who Doesn’t Do Much
might live with depression or seasonal
affective disorder, while a character who
Would Rather Be Reading might truly love to
read, but they might also have social anxiety
or agoraphobia, and reading gives them
comfort and armor when they need it most.
Additionally, you can alter any of
the Heartwood foci, particularly in the
roleplaying sense, to more truly suit your
character. Perhaps your character lives with
depression but sees it more as a big black
bird or as a shadow version of themselves.
Either of these options are easy enough
to work into the description, particularly
because they don’t change the mechanics
at all.
Work with your GM to tweak your focus
as necessary to fit the setting and your
character.
Heartwood Foci
• Befriends the Black Dog
• Curses the World
• Feigns No Fear
• Lived Among the Fey
• Made a Deal With Death
• Sheds Their Skin
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Befriends the Black Heartwood Foci 1 Tier 1: Beast Companion
Dog GM intrusions: Below the description of each focus, you’ll 1 Tier 2: Ribbons of Dark Matter
The darkness inside find its abilities. The details of these abilities 1 Tier 3: Dark Matter Shroud or Stronger
the character grows
heavy, causing them can be found in the Cypher System Rulebook Together
to fumble or stumble on the pages listed. 1 Tier 4: Improved Companion
under the weight of it.
1 Tier 5: Dark Matter Structure
The black dog is Befriends the Black Dog 1 Tier 6: As If One Creature or Embraced
overcome and lies down.
Everywhere you go, your black dog goes too. by Darkness
Others are afraid of
the black dog, and They are your best friend and your greatest
thus of the character to weakness. Their shadowed presence fills Curses the World
whom it is attached.
you with a darkness, but it is inside that Fuck the world and its horrors. You have a
Complex, dark characters darkness that you find the strength to shine. mean streak living inside you that you can’t
like Maleficent and
Queen Ravenna might control—and honestly have no desire to.
Curse the World. So Focus Note: Your companion is a black dog You’d never hurt your friends and family, of
might characters who
have chosen to embrace of any size or shape. It can be any form— course. But everyone and everything else?
their power after a living, dead, crafted (such as a puppet), Curse them.
traumatic incident or
life-altering event. pure shadow, and so on. Your black dog is a
physical manifestation of depression, grief, Focus Note: Characters who Curse the
Curses the World
GM intrusions: sadness, or other heavy and dark emotions. World aren’t necessarily evil or wicked;
But it is also a dog, and thus brings with it they are angry, hurt, and possibly seeking
Curses have a mind of
their own. They may the unique companionship, comfort, and to get even with those who have wronged
backfire or refuse to do bond that only dogs can offer. them or the ones they love (or at least keep
as the character bids.
themselves and their loved ones from being
A curse spreads
inadvertently. hurt again).
Another character
alters the curse just 1 Tier 1: Terrifying Presence
as it’s being cast. 1 Tier 2: Erase Memories
1 Tier 3: Psychosis or Discerning Mind

Beast Companion, 1 Tier 4: Mind Games

page 112 1 Tier 5: Foul Aura
Ribbons of Dark 1 Tier 6: Word of Command or Break
Matter, page 178
Their Mind
Dark Matter
Shroud, page 124
Stronger Together,
page 187
Improved Companion,
page 151
Dark Matter
Structure, page 124
As If One Creature,
page 110
Embraced by
Darkness, page 133
Terrifying Presence,
page 190
Erase Memories,
page 136
Psychosis, page 172
Discerning Mind,
page 129
Mind Games, page 162
Foul Aura, page 143
Word of Command,
page 199
Break Their Mind,
page 116

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Feigns No Fear 1 Tier 1: Surging Confidence The titular character

in The Brave Little
Everyone thinks you’re brave, intrepid— 1 Tier 2: Impressive Display Tailor is an example
fearless, even. They tell stories about you, 1 Tier 3: Flamboyant Boast or Outlaw of a character who
the person who’s never felt fear, how you Reputation Feigns No Fear.
went out to seek what you see as an elusive 1 Tier 4: Combat Challenge Feigns No Fear
emotion and never found it. But you know 1 Tier 5: Band of Desperados GM intrusions:
the truth. You may present yourself as 1 Tier 6: Finishing Blow or Heroic Others might see through
the character’s fearless
someone who is fearless and courageous, Monster Bane veneer and attempt
but deep down, you are terrified of to take advantage of
the fear beneath.
everything. Fear drives you, and in its Lived Among the Fey
face, you stand tall and shout the loudest. You spent a lot of time in another world, Bravado wavers.
Because you are also afraid of being seen one that others don’t believe actually A reputation is too
big to uphold.
for who you truly are. exists. What you learned there gives you
insight and vision that most people don’t Lived Among the Fey
GM intrusions:
Focus Note: A character who Feigns No have. You’ve seen things. Beautiful things.
The memories of the
Fear can be played in a number of ways, Unspeakable things. Some of them came character’s experiences
from someone who boasts constantly in back with you and stay with you to this day. reappear suddenly,
distracting them
their attempts to bolster themselves in front from their action.
of others to someone who faces their fears Focus Note: A character who Lived Among A loud noise or
through action, showing up first on the the Fey might have spent time among the particular sight
battle line to holler “Seven in one blow!” fairies (or other creatures in a different reminds the character
of a bad experience,
far-off land) or they may have dreamed, panicking them.
hallucinated, or imagined the whole thing.
Do they know the difference? Does it matter? Surging Confidence,
The name of the focus can be changed to page 188
something that more appropriately reflects Impressive Display,
the character’s experience, such as Fell Into page 151
Wonderland or Crossed Into Narnia. Flamboyant
Boast, page 140
Outlaw Reputation,
1 Tier 1: See the Unseen page 168
1 Tier 2: Bestiary Knowledge
Combat Challenge,
1 Tier 3: Dream Becomes Reality or Find page 120
the Hidden Band of Desperados,
1 Tier 4: Pay It Forward page 112
1 Tier 5: Nightmare Finishing Blow,
page 140
1 Tier 6: Explains the Ineffable or Drawing
Heroic Monster
on Life’s Experiences Bane, page 149
See the Unseen,
Made a Deal With Death page 180
Death eternally walks the labyrinth of the Bestiary Knowledge,
Heartwood, touching those who pass by, page 113
but few notice this ever-changing figure. Dream Becomes
You, however, are intimate with Death Reality, page 132
in all their many forms. Perhaps you are Find the Hidden,
page 140
both drawn to and frightened of them.
Perhaps you’ve spent too much time in their Pay It Forward,
page 168
company, and have become infatuated with
Nightmare, page 165
them. Perhaps you’ve lost friends and loved
Explains the
ones to their dark embrace. Whatever your
Ineffable, page 137
feelings about Death, you’ve made a deal
Drawing on Life’s
with them, one you hope will bring you the Experiences, page 131
closure that you seek.

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Made a Deal With Focus Note: Characters who Made a Focus Note: Your beast form can be
Death GM intrusion:
Deal With Death may have done so in anything you choose, such as a selkie, wolf,
Death is fickle and so order to stave off death eternally, gaining horse, swan, and so on. Work with your GM
are their promises.
healing abilities for themselves or others. to determine the details of your form.
Abilities fail unexpectedly. Alternatively, they may be obsessed with A character who Sheds Their Skin may
A foe has made a similar the idea of death, and wish to learn how to also want to work with the GM to come
deal with Death. wield it with precision and focus. up with even more suitable abilities for
Sheds Their Skin their particular form. For example, a selkie
GM intrusion: 1 Tier 1: Blessing of the Gods (Death) character might choose Aquatic Combatant
Someone discovers the 1 Tier 2: Destined for Greatness as their tier 3 ability instead of one of the
character’s true form. 1 Tier 3: Miraculous Health or Quick Death abilities listed here, particularly if the GM
An element of their true 1 Tier 4: Regeneration expects the character to be moving through
form (such as a seal skin) 1 Tier 5: Hard to Kill water regularly.
is left behind or stolen.
1 Tier 6: Duel to the Death or Final
Changing form can be Defiance 1 Tier 1: Beast Form
traumatic or disorienting.
1 Tier 2: Controlled Change
Sheds Their Skin 1 Tier 3: Greater Beast Form or Hard

Blessing of the You have a secret self. In the quiet and Choices
Gods, page 114 stillness, you become not someone else, but 1 Tier 4: Greater Controlled Change
Destined for something else. A being of tooth and nail, of 1 Tier 5: Total Awareness
Greatness, page 127
flipper and fin, of mane and moon. But you 1 Tier 6: Escape Plan or Perfect Control
Miraculous Health,
page 163
believe that in order to survive and thrive,
Quick Death, page 173
you must keep your other form secret, safe
Regeneration, page 175
from prying eyes and listening ears. Heartwood Character Arcs
Characters in the Heartwood should choose
Hard to Kill, page 148
a starting character arc, something that
Duel to the Death,
page 132 they hope to accomplish for their character
Final Defiance, through time and experience. This can be
page 139 a Heartwood-specific arc or one from the
Aquatic Combatant, list of character arcs in the Cypher System
page 110 Rulebook.
Beast Form, page 112 Ideally, a Heartwood character’s arc
Controlled Change, represents an internal journey that they
page 122
hope to take while traveling through and
Greater Beast adventuring in the Heartwood. Below
Form, page 146
you’ll find suggested character arc ideas
Hard Choices,
page 148 for Heartwood PCs, as well as some arcs
Greater Controlled
designed specifically for the setting.
Change, page 146 It’s important to remember that character
Total Awareness, arcs are not designed to “cure” a character’s
page 192 mental health concerns, “fix” their mental
Escape Plan, page 136 illness, or eliminate their symptoms or
Perfect Control, struggles. Instead, completing an arc
page 169 might provide coping strategies, create
better support systems, or mitigate some
symptoms of a mental illness. In short,
they’re designed to help characters deal
with some aspect of their mental health
that is negatively affecting their lives. For
example, if a character wants to be able
to interact with people in a different way,
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anxiety, they complete a number of tasks
as part of their character arc to gain tools,
skills, and experience in handling their
anxiety. In the course of the adventure, they
may go to new places and talk to strangers,
deal with a malicious queen, and help their
friends through difficult situations. By the
end of their arc, they will have learned skills
and coping strategies that they can take
with them out of the Heartwood.
Character Arc Examples
If you want to choose a general character
arc from the Cypher System Rulebook
but tweak it to better fit the theme of
the Heartwood, feel free to do so (at the
discretion of your GM). Here are examples
of general arcs and how they might work for
Heartwood characters.
Aid a Friend: Any character can aid a friend
in another arc. Perhaps a fellow PC has
taken the Train a Creature arc, and you’d like
to help them with that process.
Growth: This could be any internal,
emotional growth that the character wishes
to undertake. Perhaps if they’re often fearful,
they want to start acting braver in the hopes
of eventually feeling braver. If they struggle
with how they see themselves, perhaps they
make a commitment to stop looking at their
reflection so they can eventually worry less
about their physical appearance.
Recover From a Wound (or Trauma): This
arc would work for characters who are
attempting to heal from a previous bad
experience, such as the death of a loved
one, or who are struggling to cope with a
recent diagnosis. It’s important to think
of this arc as helping with a very specific
element of emotional health, and not as an
overall “cure.”
Train a Creature: A character who lives
with anxiety or post-traumatic stress could
benefit from a well-trained support animal.
Taking the Train a Creature arc provides an
opportunity for them to integrate an animal
into their lives, and train it to meet their
needs.
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CREATING HEARTWOOD CHARACTERS
Transformation: A character knows that
taking on a different appearance (often,
to become more like themselves or more
like the person they feel they are on the
inside) will help them have a better life. A
transformation arc could involve a character
changing their gender or gender identity,
taking on a permanent animal form, or
even having a fluid, ever-evolving form that
changes with their mood.
Uncover a Secret: This arc could be used
by a character who wishes to discover an Character arcs,
ability or secret that is rumored to be able page 238
to help them manage a specific element of
their mental illness.
Suggested Heartwood Arcs
The following arcs are designed specifically
for Heartwood characters, but could be
used by any characters in any setting who
wished to pursue them.
Become an Advocate
You desire to help and support others,
especially those who are dealing with
difficult situations. This might be related to
something you’ve personally experienced,
something you’re knowledgeable about, or
both. You can advocate in any number of “Nothing is
ways, including being an emotional support lost . . . Everything
is transformed.”
system, helping other voices be heard, ~Michael Ende,
defending and safeguarding others’ rights, The Neverending Story
and generally being an ally.
Opening: Sizing up Your Skills. You
decide what best enables you to be a good
advocate, and create a plan.
Step(s): Training and Research. You learn
about being a good advocate, possibly by
finding a mentor or organization that can
help you.
Step(s): Building Your Skills. You practice
the skills you’ve learned, and review the
successes and failures to continue to
improve.
Climax: Lean on Me. You assist one or
more people through a difficult time using
your training, skills, and experience.
Resolution: You reflect on everything
you’ve learned and decide what to do next.
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Put Down Roots
If you choose this arc, you are hoping to
create a strong support system among your
If your character is friends and fellow travelers. You seek the
more of a one-on-one assistance of those around you to help you
person when it comes
to giving and receiving
through difficult times and you wish to offer
support, or if the idea assistance back. This connection might be
of a support system to your fellow PCs, to a group of NPCs that
feels overwhelming, you meet along the way, or as part of an
consider starting with
a Develop a Bond or already-established group or organization.
Romance arc instead. Opening: Let’s Be Friends. You propose
the idea of a support system to those you’d
like to include.
Develop a Bond, Step: Reach Out. You do the hard work
page 244 of making yourself vulnerable to others by
being honest and open about who you are.
Romance, page 249
You create a safe space for others to do the
same.
Step(s): Accept and Give Help. You ask
Characters who for and accept help and support from the
complete the Take the group. You give help and support to others
Wrong Path arc might
consider following
when it’s needed.
that up with the Put Climax: Strong Bond. During a time of
Down Roots, Develop crisis, the group works together to support
Coping Strategies, or and uplift you, and you are there for them in
Restoration arc.
return.
Resolution: You enjoy the benefits of
Fall From Grace, having a supportive group of people in your
page 245 life.
Restoration, page 249
Develop Coping Strategies
You want to develop better ways of moving
through the world while living with a mental
illness. This isn’t a “cure” or a “fix.” It is
a step toward mitigating symptoms or
struggles by developing healthy emotional
coping strategies.
Opening: Explore Your Inner Self. You
spend time with your emotions and
thoughts in order to pinpoint which struggle
or symptom you’d like to develop a coping
strategy for.
Step: Make a Plan. Almost every struggle
or symptom has a particular set of steps
that you can go through to better cope
“You’ve always had the power, my dear, you just had to learn it
for yourself.”
~Glinda, The Wizard of Oz
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with it. This will likely involve research and
consultation.
Step(s): Practice. At every opportunity,
practice the coping strategies that you’re
learning and pay attention to where they
work and fail. You might try different
strategies and see which ones seem better
suited to your particular needs.
Climax: Deal With It. You’re put into a
situation that tests your coping strategies.
They don’t have to work perfectly in order
for you to succeed.
Resolution: You reflect on what you’ve
learned and decide where you want to go
from here.
Take the Wrong Path
Much like Fall From Grace, Take the Wrong
Path isn’t typically an arc that a character
intentionally desires. It’s something
the player chooses on a meta level for
the character because it makes for an
interesting story and sets up possible future
arcs, such as Put Down Roots. In this case,
perhaps the character manages their anxiety
by drinking too much, becoming isolated,
or starting too many fights. Perhaps they
attempt to deal with grief by overeating
(or undereating), by pushing away loved
ones, or by becoming intimate with others
without regard for their safety.
Opening: The Fork. You take the first
steps down the wrong path, even if you
don’t know it yet.
Step(s): Farther Down the Path. Things
continue to get worse because of your
actions. This may play out over any number
of steps.
Step: Briars and Thorns. Your actions hurt
yourself and those around you.
Climax: Dead End. There is no chance for
success here. Only failure.
Resolution: You wallow in your own
misery.

Chapter 17
HEARTWOOD ATLAS
“You’ve always believed. Even
through the worst of times,
those dark and cloudy times that
threatened to swallow you whole,
to eat you up, to burn you alive,
you believed that there was a place
for you out there. Not a better
place, but a realer one. One that
was more beautiful, even in its
darkness. More magical, even in its
mundanity. More you, even in your
brokenness. This is that place.”
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Mapping the Heartwood
The land of Heartwood is wiggly, defined as
much by dreams and stories and memory
as it is by rivers, mountains, and walls.
Borders and landmarks shift and move
constantly within the land, depending on Anyone who claims to
who walks its winding labyrinth, what beasts have an official map of
the Heartwood is likely
wing overhead, and what monsters rise looking to make a quick
from their semi-eternal slumber.
There are useful and true maps, to be
buck by taking advantage
of someone’s naiveté.
certain. Magic maps that change with the These constermongrels
are often found
land (although never perfectly, as they often where paths diverge,
have a mind—and a goal—of their own, offering guidance.
and the land sometimes changes far too
swiftly for even magic to keep up). Some
maps detail the world as it was, is, or will
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In the Heartwood, it wouldn’t do to get too comfortable with the idea
that locations, buildings, and features of the landscape are inanimate
objects, always staying in the same place and always doing the same
thing (namely: nothing). Buildings, locations, and landscape features
in the Heartwood sometimes take on a life of their own, allowing
them to move, breathe, grow, desire, fear, and even curse and kill.

be, but only under certain circumstances.
The Map of the Day Red Was Herself No
More is one of the most common ones,
for on that day, the entire land curled in on
itself, meeting together in a single spot to
Red’s Dead, page 200 mourn Red’s passing. Many a cartographer
has tried their hand at depicting that
moment, but somehow none of the maps
match the others, like a game of finding the
differences.
A particularly useful version of the map
is East of the Sun, West of the Moon, which
changes before the viewer’s eyes to mirror
the changes of the land. However, it’s
always at least a few days too early, showing
alterations to the landscape that have not
yet occurred.
The Heartwood Tree
Only one thing always stays the same.
The beating heart at the center of the
Heartwood. A tree that is older than stories,
older than words, older, even, than magic.
It is so big around that it is truly impossible
to circle. Some say as big around as the
earth itself. Bigger maybe. It rises beyond
the sky, into worlds that no longer exist, that
have been forgotten and remembered and
forgotten again.
Always, the tree whispers. Stories. Tales.
Songs. A promise of light and laughter and
love. A promise of dread and darkness and
death. The heart is everything, and within its
eternal beat, beginnings and ends. Joy and
despair. Home and away. Comfort and fear.
Every dichotomy that makes up the essence
of what it means to be alive.
The Heart of the Heartwood
Typically when the characters are drawn into
the Heartwood, they arrive at the Heart of
the Heartwood. The Heart is a small cottage
inside the Heartwood tree. Things in the
Heartwood are always shifting, and the
Heart is no different, so it likely looks slightly
different each time the characters arrive.
You can use this read-aloud text for a
quick introduction to the space.
Read Aloud
You appear inside a small, warm cottage
that feels like every woodland cottage in
every fairy tale you’ve ever read. The interior
is lit by the soft glow of candles and the
crackling heat of the fire. Dried herbs
and flowers hang along the ceiling. Thick,
hand-woven rugs are soft beneath your feet.
Something bakes in the large oven, filling
the space with the scent of cinnamon and
sugar and comfort. Beneath that is the hint
of the final crisp apples from last year’s
harvest. Through a door, you can see a
softly lit room with a large, cozy bed, piled
high with blankets and quilts.
Feel free to change the objects and details
of the cottage to suit the mood of the
adventure and the characters. The space
might smell of bubbling stew and hot cocoa,
or of honey and flowers blooming in the
spring. Perhaps there is a weapon rack along
one wall where the characters can change
out their weapons if they like, or a basket of
cyphers they can use to refill their stash.
Additionally, there is almost always at
least one living being there to welcome the
characters. Perhaps it’s an older couple
who offers them food and supplies. Or a
girl in a red cape who seeks safe passage
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to her grandmother’s house. Maybe it’s
a talking wolf who seeks safe passage
through the dark woods, trying to get to her
grandmother’s house. Sometimes it’s just a
cat that curls about their ankles and purrs,
giving the characters very little idea of what
they’re about to embark upon.
The GM can choose who greets the
characters to match the theme or mission
of the adventure. For example, a royal knight
might greet the PCs if the king needs their
help. A mother might seek their assistance
to find her missing son. Or perhaps it’s an
old friend (if the characters have been to
the Heartwood before) who has interesting
news for them.
Leaving the Heart
of the Heartwood
Even though the Heartwood tree—and thus
its Heart—always stays in the same place,
the rest of the Heartwood is ever-moving.
This means that characters never know
what’s outside the door of the Heart until
they step through it. It might be the town of
Nightingale, which is a good starter location
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HEARTWOOD ATLAS
For additional examples
of the type of beings
A Safe Space that might welcome
the characters, see
The metagame goal of the Heart of the the adventures “What
Heartwood is to create a safe space for the Moon Dreamt”
the characters to begin their journey, on page 203 and “The
Prince Who Would Seek
and possibly to return to as necessary.
Death” on page 210.
Nothing bad ever happens inside
the Heart. No one attacks the PCs.
Nothing there is designed to be scary The Heart is a fantastic
or dangerous. There are no tricks—no place for the characters
one’s going to get stuck there if they eat to return to if they need
to refill their cyphers.
a grape off the table. The GM can tell the
characters this ahead of time or let them
figure it out.
At any time in the future, if the
characters (or players) find themselves
emotionally overwhelmed by something
in the game, adventure, or setting, they
can return to the Heart for sanctuary,
privacy, or respite.
where the PCs can get their bearings. Or
a dark wood filled with monsters. Or it
might bring them right into the path of the Town of Nightingale,
monster they seek to fight. page 183
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While the characters can’t control or
Some cyphers and choose the location that the Heart door
abilities, such as the opens to, the GM should carefully consider
rabbit hole, allow the
characters to travel
where to have the characters start out. Using
quickly to the Heart, the Heart door wisely is a great way to put
or even to bring the the PCs right into the thick of an adventure,
Heart to them. drop them into a place where they can get
Rabbit hole (cypher), support, advice, and equipment, or start
page 88 them on a journey to a faraway location,
depending on the game’s needs.
Traveling in the Heartwood
For the most part, traveling through the
Heartwood is easy. Moving from one place
to another is often just a matter of finding
the right path. The landscape, despite its
constant shifting, does not typically attempt
to keep the characters from where they need
to go, and in fact might actually help them
get there. The Heartwood, after all, wants
the characters there. It needs them, just as
much as they need it.
The PCs may find, for example, that
stepping out of the Heart puts them
exactly where they need to be to begin their
An Ever-Shifting Land
A land that’s constantly changing can be
tricky for the PCs to get a handle on—a
place that once existed might not exist when
they need it to, or the expected boundaries
might have shifted since their last visit. This
is a great opportunity to surprise (but not
penalize) players with new and interesting
experiences. Perhaps a kingdom’s boundary
was once a high wall with loyal guards at
the gate; now it’s a river bridge guarded by
a hungry troll. Maybe the giant beanstalk
has fallen, forcing the PCs to find a new way
into the sky giant’s realm. It’s a great way to
challenge characters and reward them for
coming up with creative solutions to
ever-changing problems.
All structures, locations, and landscapes
in this chapter are designed to be placed
around the Heartwood as the GM sees
fit. Some of these features may move of
their own accord in-game (for example, a
tower the characters visited in one session
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adventure. Or a path may appear before
them, guiding them through difficult terrain
with ease. Sometimes the land shifts, even
as the characters are watching, not to bring
them to a place, but to bring a place to
them. Characters may find a cypher, artifact,
or other magical opportunity at just the
right time (as if by magic!) to bring them to
the location they seek.
Of course, not all travel through the
Heartwood is easy. Sometimes the land has
other matters to attend to and isn’t able
to assist the characters or clear a path for
them. For this reason, PCs should never
assume that the land will ease their way.
Those kinds of expectations will only get
them into trouble down the road.
Additionally, there are powerful forces at
work within the Heartwood that may actively
attempt to keep the characters from their
goal. Occasionally, one or more sections of
the land fall under the control of a higher
power that has the ability to manipulate
space and time, making the characters’
path more difficult than it would normally
be. Other entities may send out minions
may have gotten up and walked to a new
location by the time they visit it again).
Encountering a walking tower or a slithering
sea heightens the characters’ sense of
whimsy and wonder. But sometimes, you
may just decide you need a tower here or
a mountain there. Plunk them down in the
landscape wherever you like, and let the
characters interact with them.
The land’s ever-changing status means
that PCs can play a role in the shifts as
well. Perhaps they tell a story around the
campfire that alters the landscape or brings
a new character or artifact into the world.
Maybe they discover a map that magically
changes the shape of the land the first time
it’s used. Or maybe throwing that dying fish
back into the river means that new bodies of
water appear throughout the area (and with
them, a variety of creatures that help and
hinder at the water’s edge). Don’t be afraid
to put some of the Heartwood’s power in
the hands of the players and characters.
 HEARTWOOD ATLAS

“Hansel took his little sister by the hand, and followed the
pebbles which shone like newly-coined silver pieces, and
showed them the way.”
~Jacob Grimm, Grimm’s Fairy Tales:
Complete Edition & Over 200 Fairy Tales
to block routes, falsify signs, build barriers, quickly to their destination so they can get on
and do other things that will impede the with their task.
characters along the way. In short, have the characters move
Use the malleability of the landscape to through the landscape only if you’re going
your best advantage. If you want to run to throw interesting and meaningful
a quest adventure, make sure that getting experiences at them along the way (and, Quest adventure, page 30
from Place A to Place B is interesting and yes, something as simple as deep, dark
complicated so the characters feel that woods can be very interesting and very
they’ve accomplished something meaningful meaningful). Otherwise, there’s no reason
as part of their journey. Place unique and to make them trek through the boring stuff.
intriguing obstacles along their way, in Just have the Heartwood help them out.
the form of landscape features, creatures,
magical effects, and so on. If you’re running
a task-based adventure, you might decide The Town of Nightingale Task adventure, page 31
to include some of those things, particularly If you listen carefully, you can hear the
if the PCs’ task involves moving through town of Nightingale sing. The bejeweled
difficult terrain or climbing a glass mountain, mechanical birdtower at the center of
or you might just have the land guide them town never stops whistling its layered and

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Even Death himself haunting melody. On still days, the sound

listened, and said, can be heard throughout the Heartwood
“Go on, little
nightingale, go on.”
and sometimes even beyond. For some, it is
a song of healing and beauty. For others, it
is a song of respite and rapport. For many, it
is both, depending on the hour, the mood,
and the miles one has walked.
The sound draws travelers to its source,
and the town does its best to offer
everything the song seems to promise, and
then some. Nightingale is widely considered
a safe haven, a place where those in the
Heartwood may find respite and solace,
along with companionship, supplies, and
safety. It withstands the dangers of the
outside world through a combination of
magic, morals, and might.
Once a year, the entire town hosts a
celebration called Heigh-ho, Heigh-ho!
The main event is a parade where everyone
dresses up as miners and sings a catchy
ditty about going to work. As the grand
finale of the celebration, everyone works
together to smash a giant glass casket full
of candy and small gifts.

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The Nightingale makes a good early stop for new characters, as they
can get their bearings, talk to the townsfolk, learn about the world,
work on their character arcs, and purchase any desired supplies.
The Singing Birdtower
Near the town’s center, giving it its name, a
glass and crystal tower stretches taller than
the tallest of trees, and boasts neither doors
nor ladders. What it does offer is glinting
jewels and windows of elegant painted glass.
And at the very top, a mechanical nightingale
that warbles until the end of time. The
nightingale also serves as an early warning
system, giving notice should any dangers
appear along the outskirts of the city.
The Court of the Listening King
Acting more as mayor of the small town
than actual royalty (although it is said that
he descends from such), the Listening King
holds open court for a few hours almost
every day. Here, he listens to requests from
those who live in town, as well as from
those who are visiting. He does his best to
give everyone what they ask for, but knows
he has an impossible task set before him.
Thus, he often makes trades and bargains
among those who seek his help, in order
to get the most people what they want. He
keeps a record of this elaborate settling
of debts, bargains, trades, and requests
written on a tiny scrap of paper inside a
walnut that he holds in his pocket.
His young children, of which there are
seven but somehow seem to be many more,
all bear gold stars upon their foreheads.
They mostly act as guides for visitors,
pointing out interesting sights, putting
lost tourists back on the right path, and
occasionally causing minor mischief (the
tongue marks on the sugarglass windows
are almost always theirs). They also hawk
the free local paper, The Daily Mirror.
The Listening King also employs an army
of woodcutters to roam the woods around
Nightingale and protect its borders. They’re
led by a small fairy named Tink, who uses her
magic to help protect the town from dangers
and keep it hidden from preying eyes.
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The Laced Bodice and
the Poisoned Apple
“White as snow, red as blood, black as
ebony wood. That’s me.”
~Snow White
Everyone’s heard the stories of Snow White.
Not every story they’ve heard is true, of
course. But the stories of how she started
pure and drifted? Those stories are the
truest. Snow will tell you as much, if she’s
in the mood to talk. If she’s not, well, you
can always ask Puss, the resident cat, and
he will tell you stories so indulgent and Listening King: level 7,
evocative you won’t even care that they’re positive social
interactions as level 8
mostly lies.
These days, Snow is one of Nightingale’s Snow: level 5, positive
most successful business owners, social interactions
as level 7
running the Laced Bodice, a high-end
comfort house, along with an adjacent
bar and eatery called The Poisoned Apple.
Her reputation for being the perfect
combination of sweet and pure and bawdry
and tawdry brings visitors from all across
the lands, and business is never slow for
long.
Snow is beloved not just by those whom
she employs, but by nearly everyone in Listening King’s Seven
Nightingale. Much of her earnings go Starry-Headed Children:
level 3, knowledge and
back into the community, particularly to guidance of Nightingale
the Cursed Spindle, a rehab program and as level 5, tricks and
shelter for addicts, the cursed, and those pranks as level 4
who are just down on their luck.
In the main room of The Poisoned Apple, Woodcutters: level 3
three glass cases resembling caskets hold
treasures from Snow’s past: a colorful silk Humpty Dumpty: level 5;
bodice, a poisoned comb, and an apple at any point can break
himself into four pieces,
that is half white and half red. From atop with each piece acting
the bar, tender Humpty Dumpty mixes and of its own accord
serves drinks that taste of emotions. Trust
Yourself, Peace of Mind, and All Shook Up Tink: level 4; knows a
are popular drink choices. number of fairy spells
Fairy spells, page 122
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 WE ARE ALL MAD HERE
Sweetmeats
Children can’t help but be drawn to
Sweetmeats, a small confectionery shop
modeled after the infamous witch’s candy
cottage of yore. Its facade is filled with sugar
plums, rock candy, and candy canes—the
kind of sweets that always look and smell
better than they taste. The scent from the
chimney is one of gingerbread lattes and
cinnamon scones. White chocolate drips
from the eaves like snow. A path of toasted
marshmallows leads to the frosted and
filigreed front door.
And behind that door is the woman that
Kitchen Witch: level most just call, with deference, the Kitchen
5, baking and business Witch. A tall, thin woman with haunted
skills as level 6
eyes and a too-wide smile, she greets the
children who come to her shop with soft
voice and soft hand. Most adults feel like
there’s something off about her, but the kids
like her, her prices are cheap, and there’s
always a little something extra for the
skinniest babies. She also happens to sell
the best cannabis in the Heartwood.
Maid Maleen: level 5, The Kitchen Witch closes shop a few
knowledge and times a year when her brother—also tall
memory-related
tasks as level 7
and thin, the resemblance is impossible to
miss—comes to town. The two disappear
Kitchen Witch’s together, sometimes for as long as a few
brother: level 4 months. While she’s gone, half a dozen
Gingerbread horses: gingerbread horses stand guard along the
level 3, perception path to Sweetmeats. It’s impossible to tell
as level 4
Astute players will The Queen Means
recognize that the
to eat you, blood and bone,
Kitchen Witch is none
other than Gretel, marrow and moan, each
all grown up. erogenous zone. She deals and
she wheels, she seals and she
steals, she’ll stick you so quick
you won’t know you’ve been
licked. Her table is set, her
salt is your sweat, lay yourself
down, bow to the crown.
Oh. You heart, you tart, you
Happy: level 4, silly upstart. You can’t truly
positive social
mean to take on the queen.
interactions as level 5
Love is her beast, and all
Toby: level 3, Speed queens shall feast.
defense as level 2 due
~ Anonymous,
to slowness; Armor 2
Tales of the Heartwood
186
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if the horses are protecting the shop from
visitors or the other way around. But when
the Kitchen Witch returns and opens shop
again, it hardly matters, for almost no one
can seem to remember much about the
time she was away.
Knaves All Three
A large open-air market along Nightingale’s
golden river, Knaves All Three features
nearly every type of product and service
imaginable. Butchers and bakers peddle
their wares alongside candlestick makers,
armorers, and weaponsmiths. A variety
of transportation options are available,
both for getting around the town and for
traveling elsewhere. Most types of payment
are taken, including gold, barter, and
exceptional stories well-told.
The Wishing Well. Those who seek
information, cyphers, or other magical
items can find them at the Wishing Well,
a circular bookstore run by a brilliant
and knowledgeable woman named Maid
Maleen.
Tattercoats. Perhaps the most popular shop
along the river is Tattercoats, a sprawling,
fabric-filled space that seems easy to
navigate until you enter it. Co-owned by a
collective of talking animals, Tattercoats is
known for providing the perfect outfit for
any occasion. Most are bespoke, handmade
over a period of days or weeks, but there’s
also a section for those who wish to buy off
the rack.
Prices run the gamut from moderate to
exorbitant, but most people agree that the
end product is well worth the cost.
Cat and Fiddle
This small, cozy, and welcoming inn is
renowned for its healing and rejuvenation
properties. Owned by a cheerful dwarf
named Happy and his best friend, a large
turtle named Toby, the inn is rumored to
have once been the resting place of a giant.
Or at least one of the giant’s heads.
A series of small round off-white
buildings sit in a circle behind the main
building. It is here that visitors may stay and

Nightingale Tests, Tasks, and Trials
The Saddest Son. Although no one else
seems to have noticed—there are always
so many of them!—one of the Listening
King’s sons has gone missing. This son is
the smallest and the smartest, but also the
saddest. The Listening King doesn’t dare
leave his post, and seeks someone who will
go and search for his son before it’s too late.
Yours and Mine! A group of dwarves
who’ve come into town to visit their friend
Happy are about to embark upon a mining
expedition deep below the Direwood.
share in an elaborate breakfast, for just a
moderate sum.
The Cursed Spindle
The town boasts a second tower, although
not nearly as tall as the mechanical bird
tower. This one is home to the Cursed
Spindle, an organization that helps those
who are addicted, cursed, living with mental
illness, or otherwise struggling. Run by a
large white mouse named Miss Bianca, the
Cursed Spindle takes in everyone who needs
help, and it is almost always full. Even with
a full staff of mice helping her out, Miss
Bianca is always a little overworked and
overwhelmed.
The Broken Crowndom
“If that there King was to wake,”
added Tweedledum, “you’d go
out—bang!—just like a candle!”
~ Through the Looking-Glass
Once known as the most beautiful and
thriving crowndom in all of the Heartwood,
the Broken Crowndom is now shattered
and dark, a place where the flames of hope
are quenched as soon as they’re lit, where
the population strives to stay kind and
true despite being ruled by the tyrannical
nightmares of a long-sleeping king.
guilherme cosenza (Order #26776915)
HEARTWOOD ATLAS
They’ve heard of a treasure so big and
beautiful that it would take a hundred men
to haul it home. They don’t need that many,
but they could use a few more hardy souls
to split the work—and the rewards.
Rash Boon. A young man named Hans is
crying over a drink at The Poisoned Apple.
He tells how he made a stupid promise
to wed the person who could rescue his
beloved from a fatal illness. A magical
talking fish healed his beloved, and expects
to be wedded tomorrow at noon.
Direwood (Enchanted
Forest), page 191
In the tales told of the land before the
nightmares, this was an expanse of many
small crowndoms, each with its own rulers,
laws, and people. None were perfect, and
the various crowndoms didn’t always get
along, but for the most part, the people of
each were taken care of by their rulers and,
if not entirely happy, at least safe and sated.
Then the Cardinal King, one of the rulers Cardinal King, page 189
of a small crowndom, fell deep asleep. And
that is when the nightmares began. Miss Bianca: level 4,
The nightmares ran rampant, destroying succor and persuasion
as level 5
the peace of the land, toppling the other
crowndoms until only the Cardinal King
was left. That was aeons ago, and still the
Cardinal King sleeps on, trapping everyone
in his dark dreams of death and delusions.
Horses without heads trample through
the streets, whinnying from the ragged
Beware, beware, the
edges of their necks. White stags robed in horseless heads
the rags of former kings and queens hide for all who see them
in corners, whispering and fingering their fall down dead
decaying antlered crowns. Changeling the heads may promise
children walk weary-eyed and barefoot
many things
like wishes and fishes
over stones, abandoned creations of the and silver rings
dark dreamer. Giant visions of the Cardinal like dishes and kisses
and woken kings
King’s face—bloated and pale—appear but all they want’s
in the eternally stygian sky. When the face to steal your bones
laughs, a thousand mountains crumble to and have a body
dust. When it cries, the rain overflows the of their own
rivers and drowns hope drop by drop. When
it rages, thundering fists pummel the earth, Horseless head: level 4;
smashing and smashing. speaks prophecies that
never come true
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 WE ARE ALL MAD HERE

White stag royal: level Worse are the nightmare beasts White stag royal. These humanoid white
3; antler crown inflicts themselves—black shadows that have stags wear the tattered robes of the
3 points of damage;
whispers sometimes
taken human form, hunting for something royals who once ruled over the smaller
contain valuable unknown, terrorizing and stalking any who crowndoms in the area. Their antlers are
information but also catch their gaze. woven into elegant and grotesque crowns,
inflict 2 points of Intellect Many hope the Cardinal King wakes soon and their whispers contain hints of the
damage to anyone
who hears them to release them from this eternal living leaders they once were. They are lost and
nightmare. Others worry that waking him will bewildered, having forgotten so much of
destroy them all—for what if they, and this who they once were that they seem more
land, and their loved ones are nothing more animal than human.
than figments of his dark imagination?
Changeling child: level 3; If that is true, and he wakes, will they all Changeling child. Many say that the
bite or overly tight disappear in the first blink of an eye? changeling children of the Cardinal King
grip inflicts 3 points of
damage; if a changeling
are all the children he wishes he’d had
child is killed, it takes Nightmares of the Cardinal King instead of the ones he did have. During
two rounds to die, asking While this section includes beasts and the day, these children seem unaffected by
“Why?” over and over beings that inhabit the Broken Crowndom, much of anything. But at night, they begin
until it no longer can
many more entities reside in its dark to grab on to whoever is nearby, seeking
corners than are listed here. The crowndom some semblance of love and affection. They
is a perfect place to introduce any dark and squeeze too tight and bite too hard, and
Headless horse: level 4; dangerous creatures that you see fit. once they’ve latched on, it is difficult to
Armor 1; scream inflicts make them let go.
3 points of Intellect
damage (ignores Armor)
Headless horse. Headless horses are nearly
to everyone in long range; always the color of shadows. They whinny Nightmare. Called maras or horrors, these
the blackness of their coat and scream from the opening at the top are dark shadows of nightmares in human
inflicts 2 points of damage of their severed necks. The drum of their form. Most often appearing as gaunt young
to anyone or anything
that touches them hooves sounds like coming doom. people with pale skin and long black hair

188
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and nails, maras can slide through cracks
as thin as a slip of paper, and can drain the
energy from anyone they touch. Those who
are visited by a mara while they sleep suffer
nightmares and often believe that someone
they love will soon die or already has.
Here Lies the Cardinal King
The large, overgrown estate of the Cardinal
King gives the impression of a long-dead
corpse in which overwhelming decay is
barely being held at bay. A round wall of
living playing cards holding hands once
circled the entirety of the estate but has
since fallen into disrepair. Here the cards
are half gnawed, here they’ve fallen on their
faces and failed to find the will to return
to their upright position, here they’ve
disappeared entirely. “Up and run away,” the
rumors whisper, “abandoned their posts.”
And if they did, who can blame them? For
their posts are horrible places to be.
In the very center of the estate is the
Castle of Cards, a sprawling, ever-growing,
ever-tumbling building of white, black, and
red. Here, surrounded by spades and clubs
and diamonds, but not a single heart, the
Cardinal King snores and snarks in his
lavish chambers. Enslaved insects—mostly
bees, crickets, and ants—work ceaselessly
to keep the towers from crumbling down
around the slumbering king. Those who
remain loyal to him, such as the monstrous
crow and the Red Knight, watch his back
and complete his royal duties while he
slumbers. Others plot against him, having
decided long ago that disappearing due
to being a figment of a dream is far
better than fading away from loss of
hope.
Monstrous crow. The Cardinal
King’s bishop and protector.
Black as a tar-barrel and big
enough to blot out the entirety
of the sky, the monstrous
crow keeps the curious
and the devious (and
truly, everyone else) from
looking at, touching, or
attempting to wake the
Cardinal King. It is fiercely
guilherme cosenza (Order #26776915)
HEARTWOOD ATLAS
loyal, viciously dangerous, and dangerously Mara: level 4, physical
smart. defense as level 6 (due
to form); touch inflicts 4
points of damage (ignores
The Red Knight. The knight is the Cardinal Armor); nightmares
King’s son. He rides a black horse that hinder all of a foe’s tasks
looks like a chess piece and carries the until they make their next
ten-hour recovery roll
manxome blade, which is twice as tall as the
Red Knight. He is torn between wanting to Red Knight: level 5;
protect his father and wanting to go off and Armor 1; carries the
manxome blade
become his own person. He’s heard tales of
places where people will accept him for who Manxome blade,
he is, not just for who his father is, and he page 190
dreams of packing his bags and leaving the
Broken Crowndom. He has already decided Playing card: level 3;
that his first stop will be the Laced Bodice, paper cut inflicts 2 points
of damage for two rounds
where he will take the name Sanguinity and
dance in a dress of roses and thorns. It
is only his sense of duty—and his fear—
that keeps him trapped inside his father’s
nightmare.
One-Eyed Jacque. The Cardinal King’s One-Eyed Jacque: level
stepdaughter. Loyal to the crowndom but 5, inspires others as
level 6; Armor 2; carries
not the king himself, she works ceaselessly the Sword of Light
to bring good things to her father’s dark
dreams, and thus to the inhabitants of the Sword of Light, page 190
crowndom. Partly due to her hard-won
but eternal optimism and partly due to Cardinal King: level 8,
her Sword of Light, sleeping and nightmares
as level 10; Armor 4
which blazes with the
Monstrous crow: level 4,
intimidation and fear
as level 6; Armor 2;
flying dive attack inflicts
6 points of damage;
caw inflicts 3 points of
Intellect damage to all
those within long range
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 WE ARE ALL MAD HERE
strength of a hundred stars when drawn,
How do you know she is known throughout the realm as the
if mara is out? Starlit Queen.
Look to the cattle
milling about Ring Around the Roses
Tails hanging down, Stretching out beyond the Cardinal King’s
fur all afright
estate, the land is dark and broken, but not
Mara’s gone hunting, yet dead. Hamlets and villages struggle on,
hunting tonight
near-barren land is still plowed and planted,
How do you know
if mara’s nearby?
castles and estates continue their slow fall
to ruin. Life, as they say, goes on. Even if it
Look to the trees
black in the sky is a frightening and monstrous life.
Limbs hanging down, Most of these small villages are suffering
bark all abare deeply inside the king’s nightmares, and
Mara’s a-coming, will take whatever help they can get, even
better take care. if it’s from strangers. However, this leaves
~ children’s rhyme them vulnerable to attacks of both might
and mind, which often leave them even
poorer in money and mental state than they
were before. A few of the still-existing places
include the following.
Greenhome. Once a thriving and verdant
expanse of farmers, flowers, and dragon
flocks, Greenhome has sunk into itself and
Manxome Blade
Level: 6
Form: Sword that lengthens to twice the
height of the human who wields it
Effect: When its secret name is spoken,
the sword roars with ferocity and acts
of its own accord, slashing whoever
or whatever is in reach, inflicting 3
points of damage three times (as a
single action).
Depletion: 1 in 1d100
Sword of Light
Level: 8
Form: Sword that blazes with the strength
of a hundred stars when drawn
Effect: If drawn for a worthy purpose,
the light does 8 points of damage
to a foe. If drawn for an unworthy
purpose, the light does 8 points of
damage to the wielder. The sword
decides.
Depletion: 1 in 1d100
190
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become a wallow of mud and filth. There is
one bright spot of hope, however, for a young
dragon named Siltha was recently born there,
and it bears scales of gold and green, which
are believed to be a good omen.
Redissa. The former home of Queen Nichye,
a beloved ruler, Redissa has become a
repository for all things that must be saved
from the king’s nightmares. Those who
continue to care about treasures, history,
knowledge, and magic bring their precious
cargo to be stored in the queen’s renowned
Eventual Tomb, which is magically warded
against destruction of all kinds.
Maxwell. This small town has, with the
help of a powerful witch, erected a magical
barrier around its borders to keep out
the king’s nightmares. Now so many
newcomers arrive at its gate every day
seeking refuge, it cannot keep up with the
need. Makeshift shelters, hospitals, and
cook stations have sprung up everywhere,
but they are running out of supplies.
Broken Crowndom Tests,
Tasks, and Trials
Comeback King. A group of villagers in a
small hamlet called Hallstat is attempting
to put together a plan to wake the
Cardinal King. They seek an artifact called
the crown of wakening.
Jack Fell Down. Large wells have begun
to appear suddenly all around the land,
filled with black water and writhing
creatures. Some say that the secret to
saving the land is to jump into the wells
and see what lies beneath, but no one
who has tried it has returned.
Queen for a Day. A young woman named
Maly came forth recently, saying she
knew how to wake the king. Within a day,
she disappeared, and no one has heard
from her since, except for a soothsayer
in the town of Briche, who claims to be
speaking with her dead spirit.

Enchanted Forest
This large, verdant forest typically shows
up on maps under a variety of names,
including Direwood, Emerald Greens, and
the Big Woods. But few seem to be able to
remember its name and just refer to it as
the lost wood or the forgotten forest. If you
ask people if they have been there, most
will take a long moment to try to remember,
and then forget the very question. While a
few do remember being there, most aren’t
able to recall much of anything about their
experiences inside it. This is probably for
the better, as most things that happen
inside the Enchanted Forest are not, in fact,
good things to recall.
However, some enter the forest for just
that purpose—to forget. Not to forget what
happened to them while there, but to forget
what happened long before that. Some
part of their lives or existence brings them
pain and suffering, and they wish not to
carry those burdens of their former selves.
This type of purposeful forgetting requires
a bargain with the forest. Of course, the
forest has its own mind and its own reasons
for doing what it does, and it may take
completely different memories, leaving only
the painful ones. Or it may, as is often the
case, take them all, creating a shell of the
person, one who wanders aimlessly through
the woods, unable to recall who or where
they are, or what they were once doing here.
It is also possible to bargain with the
forest so that you enter and leave with all
your memories intact. Otherwise, you can
take your chances and hope that the forest
will not notice you wandering about inside
her space or will choose to leave you be.
Of course, there’s that old saying, “If the
Forest doesn’t get you, then the cat sidhes
will,” and truer words have rarely been
spoken about your chances. For whatever
memories the forest does not steal might
be taken by the trio of large, ancient cat
sidhes that prowl the woods, hungry and
hunting for souls. Those who enter their
territory without protection from the cats’
soul-stealing curses are likely to fall prey to
their appetites—and what they love to feast
upon most are memories.
guilherme cosenza (Order #26776915)
HEARTWOOD ATLAS
Using the Enchanted Forest
Any characters dealing with memory
loss, grief, or trauma from the past
are likely to find something of intrigue
in the Enchanted Forest. Additionally,
it’s designed to be the proverbial and
ultimate deep, dark woods of every fairy
tale that ever was and ever will be. Here,
characters can encounter their deepest
fears and strongest foes, as well as
magical allies, incredible treasures, big
bad wolves, and anything and everything
else they might expect along the path
through the woods. If a beast or being
lives in a deep, dark forest in a fairy tale
of any kind, this is where a character is
most likely to find them.
Bargaining With the Forest
Bargaining with the Enchanted Forest
is no small undertaking, and the more
specific a memory one would like to
lose (or potentially keep), the larger and
more difficult the bargain is likely to be. Characters who seek to
Typically, the forest requests assistance with bargain with the forest
might consider taking
something far larger than itself, often for a character arc for
one of its brethren—other forests around the deal they make.
the world, or a nearby sea. A bargain might
be something that must take place in the
future—such as the character agrees to help
protect one of the forest’s beloved rivers in
the future, should something attack it. Or it
might be something the forest requires first
(particularly if the character is seeking to
forget, lest they forget the bargain as well).
What Lies Within
As with so many places within the Heartwood,
the Enchanted Forest grows beyond its
possible borders, becoming so large and so
vast that it is impossible to traverse from one
end to the other without the aid of powerful
magic. All beasts and beings who seek the Cat sidhe, page 108
darkness and the light of the woods find their
way here eventually. Witches and wizards,
the cursed and those who seek curses, the
wandering spirits and haunts, the pixies and
nixies and bogies and sprites. There is room
for everyone and everything, because the
forest grows to make room for all who enter it.
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Welkin Barrier, page 201 The Enchanted Moura Ofius from the Welkin Barrier, so long ago
Enchanted moura: level The enchanted moura is a supernatural that she no longer knows if he is even
4; bribery, seduction, being who guards the entryway to still alive. He placed her here to guard his
and bargaining as level
5; can sing a variety of
Direwood. When she wishes, her song can treasure, and she has done so for aeons.
songs that deeply affect be heard from as far away as the moon. Her
characters’ emotions, long hair glows as golden as the sun during The Treasure She Guards. There is much
such as a dirge that the night and sulks as black as night during treasure to be found in Direwood, but the
makes it impossible
for a character to take the day, and she combs it constantly with a one the moura guards is very specific. It is
an action on their next blood-red comb. three hollow stones piled atop each other.
turn or a love song that No matter where one attempts to cross One of the stones holds a pot of silver, one
makes them fight for her
into Direwood, they likely encounter the a pot of gold, and one a pot of plague. It is
for one turn. Creates a
level 4 magical barrier of enchanted moura waiting. She attempts to only possible to open two of the stones, no
hair across the entrance bribe and bargain with them, offering gifts in more and no less. It is a level 6 Intellect task
to Direwood that traps exchange for breaking the enchantment that to figure out which of the pots holds the
characters on one side
or the other on a failed
binds her to this place, guarding the treasure treasure that the characters seek.
Might defense task. of the forest. The moura may ask the PCs to
Pot of plague: level 3; procure a special object, learn a magic word The Path of Pins and Needles
when opened, inflicts from another moura, or kill the one who Winding through the woods is a long
3 points of damage to enchanted her here. If they do so, she will tell path made of left-behind objects, tokens
all living creatures in them where to find the treasure she guards. of those who have come before, marking
short range each round
for three rounds If the characters have already encountered their passage in the hopes that they will be
the moura once and refused to help her, she able to use it to return home. Some trail
A pot of silver is equal
to an expensive item, will not ask for their help again. Instead, she markers are literally pins and needles, left
while a pot of gold is will make it more difficult for them to enter by those who had nothing else to leave
the equivalent of a or leave Direwood. behind. Others are gold and silver coins,
very expensive item.
breadcrumbs half eaten, tiny plants grown
The One Who Trapped Her Here. The from dropped seeds and beans, and finger
Giant, page 333 moura was trapped here by a giant named bones laid crosswise over stones.

192
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 HEARTWOOD ATLAS

Enchanted Forest Tests,
Tasks, and Trials
Feather in Your Cap. More than one
adventurer has been sent off to steal a
tailfeather from the maryushka bird that
lives deep in Direwood. The bird is large
and dangerous, and boasts majestic,
glowing plumage of rainbow colors. The
feathers retain their magic and colors after
they are plucked, but only those who seek
truth can see them. It is rumored that the
maryushka bird is actually an ensorcelled
woman long ago stolen from her village
who now makes the forest her home.
Magic Mushrooms. Humpty, the bartender Humpty, page 185
in Nightingale, wants to try offering a new Nightingale, page 183
drink called the fairy godmother. But to
do so, he needs a type of pink, sparkly Maryushka bird: level
mushroom that grows in fairy rings only in 7, Speed defense tasks
Direwood. and deception tasks
as level 8; feathers
grant the wielder an
The Thorny Hedge. A young woman stands asset in seeing through
at the forest’s edge, her hands bandaged deception but hinder
and bleeding. She does not speak, but will tasks involving lying and
deceiving someone
write or gesture to the characters, telling
them that she’s been picking nettles in the
woods for days to knit sweaters for her
brothers and still needs more. Will they help
her gather the rest of the nettles she needs
from the forest to save her brothers?

The sound of walking across all of these The members of the army are birds, bats, Raven of the Seven
passage markers is almost like a scent, and other flying creatures that were once Ravens Army: level 5
one of hope and fear, of promise and human children but were long ago cursed
forgiveness and failure. by a witch, enchantress, or other
It is considered bad luck to even consider magic-wielder to take a winged form, and Bad luck in this case is in
taking someone else’s passage marker. no one has been able to break their curse. the form of Curse Mode,
using curse intrusions.
Those who choose to do the unthinkable For some, their siblings could not hold their Once the character
action of pocketing a bone or plant or coin tongue long enough. For others, the curse returns the object
find that bad luck quickly begins to befall was impossible to undo. Still others wait, to its original place,
them until they return the object to the eternally hoping that someone out there the curse is removed.
Taking two objects
exact place where they found it. still loves them enough to try to free them. causes Curse Mode to
It is believed that leaving a token at a Some choose to remain in this form, even speed up, so instead of
significant point along the path blesses the though their curse was broken long ago, for GM intrusions being
triggered on a roll of 1
traveler—not necessarily ensuring their safety, they have found purpose and meaning in
or 2 the first time, they
but at least making it a little more likely that this life. are triggered on a roll
they will have good luck on their travels. of 1, 2, or 3. And so on.

The Seven Ravens Army The Sea of Curse Mode, page 50

The Seven Ravens Army’s main Innumerable Echoes
headquarters is in the Enchanted Forest. A sea so blue and clear and perfect that it Curse intrusions, page 50
High up in an ancient tower with no doors makes all your troubles fall away . . . that
and no stairs, the members of the Seven might be a sea somewhere, but it is not Blessings, page 52
Ravens Army have built an armory and this sea. This sea is deep and dark and
safehouse. From here, they run a complex, full of writhing memories and When leaving a token,
smuggling operation, designed to snatch glittering promises. This sea has no known characters are more
likely to receive a
young children from the jaws of danger and boundaries—trying to swim or boat or fly blessing GM intrusion
deliver them somewhere safe. Additionally, to the edge merely brings you back to the anytime they roll a 1 (or
they deliver packages, letters, missives, beginning again. anytime the GM feels
and other items, but only to those they In addition to the Never Never Isles, the like giving them one).
deem worthy of their time (namely, anyone sea holds everything imaginable from the
who has not deliberately put a child in very idea of childhood. From pirate ships Blessing intrusions,
harm’s way). and sunken treasure to mermaid coves, page 52

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 WE ARE ALL MAD HERE
An Invitation to the Eaternitea Party
“How long does this party go on?” Alice asked.
She was beginning to feel very anxious indeed.
“For tea,” said the Hatter.
“Whose tea?” asked the Dormouse, who until
that moment had been asleep inside a
strawberry tart.
“Eaternit’s tea, of course,” said the Walrus, who
didn’t often say things. He had gotten one of his
tusks caught in the handle of a teacup, and was
delicately trying to get it out with the bushy end
of the January Hare.
“Who’s Eaternit?” asked Alice cautiously,
feeling like she’d just entered that stage of
a dream where everyone started acting as if
things were normal when they very clearly were
anything but.
Mad hatters and March hares sit before empty
cups, contemplating proper nouns and the best
butter. A hundred perfect princesses dance with a
hundred dashing princes. A crystal slipper clatters
on a step. Red-hot shoes sizzle upon the dance
floor. Somewhere, a trusting human takes a bite
of the world’s most beautiful pomegranate and is
stuck forever. Beneath the sounds of the magical,
mystical music, bargains are struck, deals are sealed,
marriages are proposed, and kingdoms are wedded.
There are many ways to arrive at the Eaternitea
Party without being late, but almost none of them
can be attempted on purpose. The Eaternitea Party is
something you fall into, trip over, fall asleep upon, or
are caught inside. If you’re invited to the Eaternitea,
you say yes, for to say no is to anger a force far
greater than yourself and doom yourself to curses,
or worse.

“Not who. When,” said the Hatter. “Eaternit’s

a when.”

“Have we had this conversation before?” Alice

asked, suddenly very sure that they had.

“Before’s not here,” the Dormouse piped up

sleepily and a little sadly. “Before’s never here.”

The Eaternitea Party never ends, not even when you

want it to. It goes on and on, like that song that never
ends. It wheedles its way inside your head, stitching
threads of eternity, pulling out stitches of time and
places and faces.
The Eaternitea Party exists everyplace and no
place, sometime and every time and no time. It is
filled with fey beings, spirits, and ghosts dressed in
lavish opulence, waltzing away through the night.

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 HEARTWOOD ATLAS

tiny fairies, and giant reptiles. It is rumored
that Mother Goose has a nest here, and
that one can find velveteen rabbits, foxes
and hounds, and islands of broken toys.
There are other seas, in other parts of the
Heartwood, but none quite like this.
The Never Never Isles
The Never Never Isles are mind islands,
places that at first exist only in the minds of
those who dream them up. Eventually, most
Never Never Isles become real, leaving their
creator’s mind and finding their rightful
place in the Heartwood, but this process
can take years (and sometimes never
happens at all). Nearly all of the Never
Never Isles that have left the minds of their
creators and become real live in the Sea of
Innumerable Echoes.
Typically, a character creates their Never
Never Isle when they are still young, so
the landscape is populated by childhood
dreams and fears. Anyone can visit a Never
Never Isle, even one that isn’t their own,
as long as they know the proper directions
(and the island is willing to be visited).
Most Never Never Isles are alive, and
they often keep a lookout for their creators.
Sometimes they arrive in a character’s life
when the character needs them most. Other Attempting to bring a
times, they disappear for long stretches, lost island back into a
character’s life can make
usually when the character is happy or a fantastic character arc.
content. Rarely, an isle grows distant from
its creator, and may even become a danger Character arcs, page 67
to them. The reasons for this aren’t always
known, and bringing a lost isle back into
a creator’s fold is often a complicated and
long-term endeavor.
As in most fairy realms, following the
passage of time on a Never Never Isle is
tricky. There are more (or fewer) moons and
suns than characters are used to, and time

Characters don’t revert to their childhood selves upon visiting

their Never Never Isle—they just have the opportunity to see their
childhood wishes and worries from an adult vantage point.

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 WE ARE ALL MAD HERE
Using the Sea of
Innumerable Echoes
Childhood memories, fears, and joys are
powerful magic. Characters who return
to the spaces of their childhood may
find much to gain—or much to lose—
depending on their state of mind and ability
to handle what they find there.
The Sea of Innumerable Echoes provides
interesting opportunities, including the
following.
Character arcs. If a PC has a character arc
that involves any type of emotional growth,
Cave of the Lost, overcoming fears, dealing with issues of
page 198
their past, forgiving a loved one, and so on,
visiting their Never Never Isle can be a step
in that arc. Perhaps they need to find a way
to deliver a message to their childhood self,
deal with a dreaded childhood monster, or
find a special toy or object that they hid in a
treasure chest long ago.
Death, page 114
might slow, or stop altogether. It might go
backward. Sometimes it’s possible to tell
the time by listening to the Croc Clock strike
the hour, but sound carries strangely across
the waters, and sometimes you don’t hear it
until an hour or more after (or a day before)
it chimes.
Misery mermaids’ songs
inflict 3 points of Intellect Grief Reef
damage on all who hear
them and hinder all tasks
Here, the misery mermaids gather beneath
involving happy emotions the waterfalls to sing their ancient,
(such as helping a sorrowful tales. They croon only for
friend, playing music, themselves, telling of loved ones lost to the
or having a positive
social interaction) ravages of time and seas. It is not possible
for ten minutes. to touch, attack, or otherwise physically
interact with a misery mermaid, for they
Dirges from the misery are fleeting and fast, and have the ability to
mermaids are great appear elsewhere just as you get close. In
opportunities to present
characters with new
fact, it is rumored that misery mermaids
adventures or clues are not tangible at all, but mere apparitions,
to existing ones. ghostly visages of mourners from other
times and other places.
Those who can withstand the misery
mermaids’ songs may find their lyrics full
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Helping others. Every NPC likely has a
Never Never Isle of their own as well (Never
Never Isles are not limited to humans, so
any living being could have one). Perhaps
they want to venture back, but can’t seem to
find their isle on their own or are too afraid
to go by themselves.
Lost ones. Perhaps one or more of the
characters lost a friend, a loved one, or a
family member a long time ago. While trying
to deal with that loss, they discover that the
person they’re grieving isn’t dead or lost
forever—there’s a chance they’ve become
stranded in the Cave of the Lost.
Treasures, mystery, and magic. There are
childhood (and adult) treasures galore to
be had here, particularly if the characters
are not adverse to visiting someone else’s
Never Never Isle. After all, even thieves and
royalty get Never Never Isles—it’s possible
that even Death and the moon have Never
Never Isles—and who knows what treasure
might be buried along those shores?
of useful information about finding buried
treasure, fighting dangerous beasts, and
using magic.
It wasn’t right, t’was never right
to steal upon her in the night
to bring her down without a fight
and bury her in the Heartwood
She bore the light, she t’was the light
starshine in the darkest night
never a child did burn so bright
till they buried her in the Heartwood
We ache with loss, we itch to fight,
to pay them back for such a slight.
Someone here must do what’s right,
and unbury her from the Heartwood.
~ misery mermaid dirge

Creating Characters’ Isles
Each character’s Never Never Isle should
be unique and theirs alone. Invite the
players to help you create their characters’
islands. They should include some things
and creatures that the PC held dear as a
child, as well as a safe space in the form of
a house, building, den, or nest. They should
also include at least a few of the character’s
deepest childhood fears and nightmares.
Some characters have a name for their isle,
but others may not.
While the examples given here are
designed to represent a child’s idea of what
things like safe, scary, and directions mean,
adult characters will likely have a much
different view of these items and possibly
will have found adult ways to frame them.
For example, an adult who is dealing with
childhood trauma might get to their Never
Never Isle by self-medicating until they can
“fly with a Fairy along the High Way.” The
Never Never Isles provide an opportunity
for characters to get in touch with their
child selves, including any difficult or joyful
memories and experiences that arise.
Croc Clock
The Croc Clock is an island of its own—a
huge clock tower that looks like a crocodile
standing upon the very end of its tail.
The tower is so tall that the crocodile’s
upper body is lost among the clouds,
but in its very middle, visible and audible
to those who pass by, is a giant ticking
clock. The clock face changes constantly,
showing something that has happened, is
happening, or will happen.
No two Never Never Isles are the same, yet somehow they all seem
vaguely connected. Like distant cousins, sharing the same nose and a
similar manner of brushing their hair back from their ears.
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HEARTWOOD ATLAS
Examples of Safe Spaces
• Upside-down boat on the beach
• Tent shaped like a castle
• Castle shaped like a tent
• Pillow and blanket fort
• Spaceship built of a cardboard box
• House of well-sewn leaves
• Floating bed with a monster barrier
beneath it
Examples of What We Hold Dear
• Adopted wolf, horse, or bunny pet
• Friends who show up when we’re scared
• Favorite stuffed toy or blanket
• Nightlight that sings a lullaby
• Friendly fairies and other creatures
Examples of What We Fear
• Adults fighting loudly nearby
• Friends being hurt
• Monsters under the bed
• Wild dogs running in packs
• Pirate ships full of bloodthirsty pirates
• Giant crocodiles
How to Get to a Never Never Isle
• Second star on the right, and straight on
till morning
• Sail a paper boat past the thrush’s nest
• Fly with a fairy along the High Way
• Let the island look out for you
• Follow the sound of the tick-tock clock
The clock chimes the hour—the one place in
the Sea that actually keeps Heartwood time—
but when you hear that chime is affected by
distance and fog and memory and magic.
Some believe the Croc Clock is hollow
and stuffed with treasures. Others say
that the clock was once a living creature
that grew too big and too strong, and was
cursed by the Sea to stand upon its tail and
tell the time to the sky. Or maybe it’s just
a monument, built by someone who loved
crocs and clocks, or rhymes and time.
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Lost ones: level 3; Armor
1; carry bows and spears Jack’s Back
Oh, Jack. You giant killer.
Beanstalk climber. Well-faller.
House builder. You’re nimble
and stingy, you’re lean and
green, frosty and naughty.
You’re half of Jill. Master of
none. You win as much by luck
and give-a-fuck as by ruck and
pluck. You’re a fool and a tool,
and ever so cool.
Jack, oh Jack. May you
always come back.
~ Anonymous,
Tales of the Heartwood
Angry Roger
The Angry Roger is the largest pirate
brig sailing the sea. Once helmed by the
The Piper: level 7; notorious Captain Hook, the ship is now
plays a magic flute that run (some might say overrun) by a crew of
causes those who hear
it (within long range)
foxes, wolves, and other misaligned beasts.
to act as if they’re A tiny fairy called Bluebell does her best to
hypnotized (resisting a captain the crew—she has enough sense of
persuasion attempt is mischief from her grandmother, Tinker Bell,
hindered by three steps)
to keep them all in line, mostly.
Bluebell: level 2, The Angry Roger has a fierce reputation for
command and taking defending the nonexistent borders of the Sea
charge as level 3
of Innumerable Echoes from those who wish
to steal things that do not belong to them, as
well as for hosting the annual But a Dream
party, where everyone dresses as the person
The Coachman: level 6 their child self thought they would become.
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The Cave of the Lost
This cave is home to those who’ve lost,
destroyed, or otherwise become parted from
their islands. These lost ones have become
unmoored in time, some days appearing
older than they are, other times seeming to
be a child again. They barely remember the
Heartwood—it is as if a dream of a dream
of their child selves. Most have nicknames,
such as Tootles, Nibs, and Thrice, but they
can’t remember where they got them, or
what their real names are, if they have any.
Catchfools
Deep inside the belly of the Terrible
Dogfish—a great and monstrous sea
creature—is the city of Catchfools. Despite
being in the belly of a beast, the city always
seems warm and sunny, with just a hint of a
fishy breeze.
Run by an emperor known only by his
nickname, the Piper, Catchfools is a city
where every vice is for sale, every sin is kept
secret, and every living thing is one criminal
act away from being turned into a donkey.
Gambling, prostitution, drugs, horse and
dog and chicken racing—if it’s a sin or a
vice, you can find it here. The hardest part
about Catchfools is knowing what’s a sin
(and thus not just acceptable, but condoned
and encouraged) and what’s a crime (and
punishable by being turned into a donkey).
Crimes include (but are not limited to):
• Being idle and lying about all day
• Not having any obvious vices or sins
(particularly ones that cost money)
• Attempting to proselytize to others
about why they should deny or give up
their sins
Crimes are subject to change from day
to day. Sometimes the Piper changes them
just to suit his outfit.
The Coachman
As the Piper’s hired henchman, the Coachman
takes great pride in tracking down and
prosecuting (read: turning them into donkeys)
those who’ve just committed their third crime
within the city limits. He drives a coach
pulled by two dozen donkeys, all of which

wear white shoes, and makes extra money
on the side by selling donkeys to farmers,
circus owners, and dog-food factories.
Undertaker Rabbits
In addition to the Coachman, undertaker
rabbits work to keep the peace and safety
(relatively speaking) of the city. They walk
the streets in pairs, wearing dark hoods,
humming minor-chord mantras, and
carrying small ornate coffins with people’s
names on them. Anyone who sees their
name on one of the coffins must commit a
sin or indulge in a vice as soon as possible
to keep the undertaker rabbits and their
death coffins at bay.
Billy Goats Gruff
The best-known gambling parlor in all
of Catchfools, and perhaps all of the
Heartwood, Billy Goats Gruff features every
type of game imaginable, and some that
aren’t. The building is set up so that the
majority of the gambling takes place on the
ground floor. Only those with special access
are invited to the Bridge, where high-end
games take place.
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HEARTWOOD ATLAS
Getting to Catchfools is easier than one
might think. Load a seafaring vessel
with preserved meat in tins, biscuits,
bottles of wine, dried raisins, cheese, Undertaker rabbits: level
coffee, sugar, candles, and boxes of wax 8; if a character’s name
is on their coffin and
matches and set sail in any direction, and that character doesn’t
after one day and one wish, you will find indulge in a vice or sin in
yourself at the gate to Catchfools. Or you the next few rounds, the
character is teleported
can allow yourself to be swallowed by the
into the coffin, where
Terrible Dogfish, in which case you will they move one step
flow through the beast’s digestive system down the damage track
into its belly, and there you will land in for each round they’re
trapped inside, until
the city. they’re dead. It’s a level 8
Might task to break free.
Wild Hunt
Allowing only six participants per hunt,
and even then only by invitation, the Wild “Feeling that Peter was
Hunt takes place along the tail-end of the on his way back, the
Neverland had again
city once each year. Led by the hunters woke into life. We ought
extraordinaire—Bright Day, Radiant Sun, to use the pluperfect
and Dark Knight—the chosen participants and say wakened, but
must hunt down, capture, and kill the ones woke is better and was
always used by Peter.”
who are being hunted. ~J.M. Barrie, Peter Pan
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 WE ARE ALL MAD HERE
Picture for yourselves Catchfools Tests, Tasks, and Trials in on Catchfools, crushing it beneath the
a little man, broader weight of flesh and bones. She has an idea
than he is tall, tender
What Came of Picking Flowers. A young to save the city, but no one will listen.
and greasy like a ball
of butter, with a rosy man went to the Field of Miracles outside
face, a small, constantly the city gates to pick a bouquet of flowers How the Six Made Their Way Into the World.
laughing mouth and for his mother. The bouquet came back with Six siblings wish to set out into the wider
a thin, adorable voice
of a cat wishing all
only the boy’s hand attached. Where is the world, away from Catchfools, but they are
the best to its master. rest of him? bound here by a promise to a powerful
~ Carlo Collodi, The enchanter named Rosalys. In order to leave,
Adventures of Pinocchio Skyfall. If the sky is falling and no one listens, they must find the hidden path known as
does the sky still fall? Henny Penny says the the Wish Way and steal some Wishing Sand
Terrible Dogfish is dying and will soon cave to buy their freedom.

Every hunt is different, but the prey always

“Of course the includes at least a few humans, a fey being
Neverlands vary a Red’s Dead or two, and a god of some sort or, at the
good deal. John’s, for Rose-Red. Little Red. Red Riding
instance, had a lagoon
very least, a very powerful witch. Only one
Hood. The Red Queen. Rose. of the hunted has ever escaped alive: a Baba
with flamingoes flying
over it at which John was Briar Red. Le Petit Chaperon Yaga, who killed every single participant and
shooting, while Michael, Rouge. However you knew her, nearly destroyed the Terrible Dogfish with
who was very small, whatever name you called her
had a flamingo with her magic.
lagoons flying over it.”
by or dreamed you would call Those who participate in the Wild Hunt
~J.M. Barrie, Peter Pan her by someday, she’s dead. (and do not die) become lifelong members
Pricked by a rose. Stung by a of the Furious Army, which entitles them to
spindle. Gnawed by the wolf. various benefits from the organization.
Hit by the axeman. The ways
I cut my locks and I and means don’t matter. All Fantasia
changed my name that matters is that she’s dead. Part dance club, part drugstore, and part
From Fair Eleanor Dead. But not gone. magic parlor, Fantasia takes up a couple of
to Sweet William That splash of red among the city blocks, has seven stories, and is never
Went to court to trees, too bright for blood, too closed. It’s rumored that people have gotten
serve my king thick for leaves, too quick for lost inside, lived their whole lives there, and
As the famous flower the tail of the fox? That’s her. been dead for ages on a dance floor before
of serving men The red of a cloak in the wind. anyone noticed. A giant aquarium takes
~The Famous The bloodied side of a blade. up most of the second floor, where myriad
Flower of Serving Men That crimson crown, the ruby captive sea creatures swim and dance for
jewel, the scarlet nails that the audience.
claw. That’s her too.
And it’s you. Sweet William’s
Red is the essence of Sweet William’s is a salon for those who
everything you know, in your wish to change their appearance through
deepest heart, to be true. Every means other than magic. It offers haircuts,
hidden desire, every moment wigs, hair extensions, clothing and fashion
of rage or lust. She runs inside advice, personal shoppers, surgery, and
you, hot and hidden as your various other means of altering one’s
own blood. physical being. It is considered a safe space
~ Anonymous, and respite inside the city.
Tales of the Heartwood

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The Welkin Barrier Giant, page 333

The Welkin Barrier rests high above the
Heartwood—it’s a cloudscape, as the land Underwolcen: level 6
rests, seemingly impossibly, on the top of Underwolcen creates
the clouds. Much of the Welkin is a vast a sense of sadness,
depression, or apathy in
expanse of farmland and forest, and most those affected, hindering
of the inhabitants are two-headed giants all tasks. All of those
and various fey creatures, but a few who enter the Welkin
humans have made the Welkin their must succeed on a level
6 Intellect defense roll to
permanent home. avoid being affected (the
Those who have never been there might roll must be repeated
call it the Cloud City or the Gateway to after every ten-hour
recovery roll). Spending
Heaven. They would be both right and
ten minutes in the
wrong. For while the Welkin Barrier is on the presence of a gold object
way to Heaven, it feels much more like hell dispels underwolcen.
for many of its inhabitants. This is due to
the Cinereous Blight, an ashy grey residue Example giant names
that sifts down from the heavens and covers Thunderel
everything and everyone in the Welkin. It is Cormoan
this blight that causes nearly everyone who Rebecks
lives there to experience the deep sadness Blunderbore
commonly called “underwolcen.” Galligantua
Everything here grows large, due to its Gogmagog
proximity to the heavens, and everything Habom
is hued grey due to the Cinereous Blight. Fikaros
Giant black and grey bees lazily sip Lagog
asphalt-colored nectar from dingy flowers
and produce dusky, gritty honey. Grey Climbing a beanstalk to
cows in grey fields chew grey cuds, and the Welkin Barrier is a
level 7 Might or Speed
give grey milk. task that takes five
Those who live here have found that actions. The successful
only one thing keeps them from the tasks don’t have to be
underwolcen: gold objects that glitter and consecutive, but on each
failure, the character
shine like the sun. The inhabitants hoard falls back to the previous
these precious objects, basking in their glow place and takes 3 points
to decrease the effects of the underwolcen. of ambient damage.
Almost everyone has at least one golden
item in their home, and some have Hanging on to a
collected many over the years. It doesn’t growing beanstalk
is a level 4 Might
matter, particularly, if the objects are magic, task. The beanstalk
precious, or important to someone else. takes ten minutes to
All that matters is the amount of golden grow to full size.
surface area—the bigger the better.
Climbing a giant’s limb
Getting There is a level 6 Might or
Speed task that takes five
This sprawling landscape upon the clouds actions. The successful
is not easy to access from the ground. A few tasks don’t have to be
times a year, giant beanstalks sprout from consecutive, but on each
the soil and grow upward, creating ladders failure, the giant shifts
and gets closer to waking.
to the Welkin Barrier (or, if someone is lucky After three failed actions
enough to grab hold of the plant just as it on any climbing attempt,
the giant wakes up.

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CLOUD CITY (Child’s Action Rhyme)
Look up, look up, to see the sky—
the clouds ride there, sliding by
no sun is seen, no green, no light,
covered instead with ashy blight.
The giants sleep, they still their heads,
slumber away in shadowed beds,
for what else is there to do or say
in that city of sadness, that city of grey?
(With Actions)
Look up, look up, to see the sky—
(look upward, hand to brow)
the clouds ride there, sliding by
(form cloud with hands, move sideways)
no sun is seen, no green, no light,
covered instead with ashy blight.
Thunder snake: level 3;
lightning strikes inflict
(flutter fingers down)
damage on up to three The giants sleep, they still their heads,
foes in long range
slumber away in shadowed beds,
Debris field: level 4; (hands together under tilted head,
moving through it eyes closed)
safely is a level 4 Speed
task; floating objects for what else is there to do or say
crush victims between in that city of sadness, that city of grey?
them for 3 points of
ambient damage (sad face, wipe eyes)
Giant bats: level 5
Mechanical flock: sprouts, a sort of elevator). Occasionally, a
level 5; detects hiding, giant will fall asleep in the Welkin and one
sneaking, thieving, and
human blood as level 6;
of their great limbs will fall over the cloud
can surround up to five down to touch the earth; characters may
victims, capturing them attempt to climb the limb, provided they
inside a spinning flock don’t wake the giant and get caught.
circle (level 6 Speed or
Might task to break free) It’s sometimes possible to fly to the
Welkin on the back of a creature, a flying
carpet, or some other airborne object.
Bo Peep: level 6; Armor However, it’s a dangerous task to fly
2; inflicts damage with through the clouds below the Welkin, and
her shepherd’s crook; can
also use her crook to add
many will refuse to try the journey. That’s
a victim to her flock because the clouds are dark and thick, and
filled with dangers. These include large
Shepherd’s crook thunder snakes that throw their whiplike
(artifact): level 6; can bodies across time and space like lightning,
turn a creature into a
mechanical sheep or goat
debris fields filled with objects the Welkin’s
(level 4 Intellect defense inhabitants have thrown away, and flocks of
task to resist; level 5 territorial giant bats that hang upside down
Intellect task to break from the bottom of the clouds.
free of the shapeshift)
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The Devil’s Dandy Dogs
What are the devil’s dogs made of?
Fine and dandy, bread and brandy,
panting tongue and vows undone,
tails of wag and mouths of crag,
That’s what dogs are made of.
And what of the devil, given his due,
what of his dogs with eyes of blue,
what of his hounds who bay
without sound
what of his creatures who stride at
his side?
Their death is a thing he cannot
abide.
The devil’s heart is in his dogs,
his fine and dandy devil’s dogs,
his lithe and lanky devil’s dogs.
The devil’s heart is in his dogs,
give them treats for being sweet,
those dandy devil’s dogs.
~ Anonymous,
Tales of the Heartwood
Beamish City
There is one major city in the Welkin, called
the Beamish City. Here is where the majority
of the inhabitants make their homes, mostly
due to the fact that there is a sort of lending
library of golden items here, called The
House That Jack Built.
The House That Jack Built. This
high-security building houses thousands
of golden items, from magical harps and
geese that lay golden eggs to an ornate
mirror coated in gold. Visitors with special
magical passes may “borrow” an object (or
two) to sit with in a private room for as long
as they wish. No items are allowed to leave
the building. It’s protected by a flock of
mechanical goats and sheep, run by
Bo Peep, which is far more dangerous
than it sounds, and unless you have the
right credentials, everything is locked
against you.

Chapter 18
WHAT THE MOON DREAMT
“W hat the Moon Dreamt” is
a fairy tale adventure set in
the Heartwood. It deals with
issues of insomnia, depression, grief, and
discovering our true selves.
This adventure uses existing places
in the Heartwood to give characters an
opportunity to explore the land, while
meeting various people and creatures that
live there. It’s designed to give the GM a fair
bit of creativity and leeway when choosing
the encounters that the characters have.
Overview
The moon has disappeared from the sky,
and without her light to shine in the night,
many places in the Heartwood have become
overrun with dark and dangerous monsters.
The characters have been experiencing
insomnia and are drawn into the Heartwood
to figure out why the moon has disappeared
and to help return it to its rightful place in
the sky. They also learn that if they do this,
their insomnia will disappear.
Background
In the Heartwood, the moon does more
than give light to the darkness—the
power of her shine keeps the worst of the
monsters trembling and crouched, unable
to face her cold, unblinking stare. For the
monsters know that if the moon so much
as sees them harm another being under the
care of her light, she has the power to turn
them to stone, banish them from the land,
or worse. The fens and forests are filled
with statues of their brethren and stories of
those who disappeared without so much as
a word.
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WHAT THE MOON DREAMT
But, you ask, what of the moon when
she sleeps? For even the moon, in her
glory, must need respite, must close her
great eye some time and let the weight of
her responsibilities sink away. And while
this is true, it is also true that the moon
suffers from insomnia, that try as she
might to close her bright eye and rest, the
sky is always a bit too dark, or the night
a bit too cold, or her thoughts a bit too
haunted. So she remains, unblinking, wide
awake, against the black blanket of the sky,
watching and keeping the world safe from
those who would do harm.
Not long ago those who hate and fear
the moon came together to form a plan to “What the Moon
remove her from the sky once and for all. Dreamt” is designed to
be a long adventure or
And so they pooled every power they had even a short campaign.
and convinced three sailors to sail their However, it could be
wooden shoe up to the moon and sing her scaled back by having the
a lullaby. It took a long, long time and many characters choose one
of the options (the city,
verses, because the moon knew it was a the star fishermen, or
trap, but she was also exhausted and sad the slough), rather than
about being exhausted, and eventually she embark on all three.
did not have it in her to shine any longer.
Once she was fast asleep, the sailors
threw their nets of gold and silver over her
and pulled her down to earth. There, the
monsters buried her beneath the mud and
muck, so deep they hoped she might never
rise again. Then they threw themselves a
glorious party, reveling and dancing in the
darkness. They kidnapped passersby for
feasts, destroyed towns and families and
lives, and did what monsters do when they
know that no one is watching.
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Synopsis
The characters have had insomnia for
weeks, unable to sleep. But the night before
the adventure begins, they all finally fell into
a deep sleep, and each of them had intense
dreams. Soon after, they get called to the
Heartwood, where they learn that the moon
has disappeared from the sky.
If the PCs are able to unbury the moon
and return her to the sky, not only will
they save the land from being overrun by
monsters, but they will be rewarded by
the Listening King (and possibly others)
and ultimately gain a cure for their own
insomnia.

Beginning the Scenario

Before beginning the adventure, decide
whether the characters have been to the
Heartwood previously. Decide how you want
What the Characters to handle what they do and don’t know
Know About the about the Heartwood, and give them the
Heartwood, page 165
information that they need.
Once you’ve decided that, explain to the
PCs that they’ve been having insomnia and
have been unable to sleep for weeks. It’s
been starting to take a toll on their health
and well-being. However, last night, each
of them finally fell into a deep, deep sleep,
so deep it almost felt like the sleep of the
dead. And while they slept, they dreamed.
These dreams felt more intense than
normal dreams, and some of the details
have stayed with them, as clear as if they’d
been real.
Each of the characters dreamed of one of
the following:
• The moon dreaming in the dark
• A woman with deep blue hair
• A crone with her face turned backward,
laughing
• A fisherman casting a sparkling net in a
black sea
• Their own reflection shimmering in dark
water
While the characters were dreaming these
dreams, the Heartwood drew them to it. At
the start of the adventure, they have arrived
The Heart of the in the Heart, as it’s described in the Heart
Heartwood, page 180 of the Heartwood section.
Additionally, there is an older couple in
the Heart. One of them is baking half-moon
cookies. The other is petting a cat that curls
around their ankles. The couple knows the
characters’ names and welcomes them to the
Heart with offers of food, drink, and supplies.
If the PCs talk to the couple, they can find
out some or all of the following.
• The moon went missing a few nights
ago—just disappeared out of the sky. No
one saw her go.
• No one knows how the moon went
missing, but there is a lot of speculation.
Almost everyone has their own story of
what happened, and none of them are
likely true (at least not all the way true).
• Since she’s been gone, it seems that
many people and creatures are falling
asleep at odd times. Some have been
sleeping for days, unable to be roused.
• The couple says they’ve found they don’t
have much need for sleep themselves as
their years have worn on, so the sleeping
sickness isn’t affecting them as much as
it’s affecting others.
• The Listening King in the Town of
Nightingale has asked for help from
those who can still stay awake to find
the moon and return her to her rightful
place in the sky.

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 WHAT THE MOON DREAMT

Additionally, if the characters take the shaped like the full moon on the end of long
couple up on their offer of supplies, they sticks. A few have tied them to the ends of
get the following items: a small bag of their swords or staffs. Some wear multiple
half-moon cookies; a couple of knapsacks lanterns stacked high on their heads like tall
filled with basic supplies like rope, torches, hats made of moons.
matches, and water; one egg-shaped stone Weirdly, there are also people sprawled
each (the stones glow softly, as if lit from on benches, lying in the streets, or leaning Fairy Tale Cypher
within, and provide about as much light against buildings, apparently fast asleep. table, page 76
as a candle); and as many cyphers as the The party-goers just step around them or
characters have room for (roll on the Fairy ignore them, or occasionally softly tease Lantern seller: level 3
Tale Cypher table). them with remarks like, “Couldn’t stay
If the characters are already in the awake, eh, Frederick? Shoulda had the Moon lanterns are
Heartwood when the adventure begins, witch’s brew.” inexpensive items.
Despite what the lantern
they can hear the story of the missing seller claims, they don’t
moon from nearly anyone they talk with, Lantern Seller actually keep away
for it is on everyone’s mind. Alternatively, A tall, lanky young man carries dozens of bogies, sprites, or other
they could come into contact with some moon lanterns on sticks. The lantern seller beasts. In fact, they
likely draw more things,
of the monsters in this adventure while walks through the crowd yelling, “Keep such as giant moths and
accomplishing other things, and then try to away the bogies and the sprites! Mostly will-o-wisp hunters, than
learn more about why it went missing. Or guaranteed!” Business is booming— they repel, but there’s
still a lot to be said
perhaps they just notice that the nights are everyone seems to buy a lantern or two—
for having a talisman
especially dark and dangerous these past but even as he sells off his wares, he never against the dark.
few days. seems to run out. He doesn’t stop to talk
for long, even if the characters purchase The Town of Nightingale,
lanterns from him. page 183
The Town That
Could Not Sleep
When the characters step out the door,
they arrive in the middle of the town of
Nightingale. It’s a good idea to read through
the Nightingale section ahead of time so
you have a good sense of how the town
normally appears.
If the characters have been here before,
they will notice that it is deeply different
from their previous visits. If they haven’t,
they will still notice that it’s filled with a
frenzied energy that seems far too intense
for such a small town. Currently, there is
a festival or a parade, or possibly both,
happening—a wild, raucous event. The
streets are filled with people dancing and
hugging and stumbling, shouting, singing,
and playing music. Still, it doesn’t feel as
joyous or as fun-loving as you might expect
from a festival. Instead, there’s a frenzy to it
that lends it an air of barely controlled fear
and panic.
The sky above is very dark, and there is
no moon. If there are stars, it’s hard to see
them because the streets are so brightly
lit. It seems as if everyone is carrying lights

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 WE ARE ALL MAD HERE
The Townspeople
All around the characters, everyone is
talking about what’s happened with the
The Poisoned Apple, moon, and with their own inability to sleep.
page 185 A closer look reveals that many of them are
carrying small glass vials filled with yellow
liquid. Every few minutes, they rub the liquid
across their lips, which makes them glow
bright yellow for a moment and then fade.
Humpty Dumpty, The characters might hear some or all of
page 185 the following rumors thrown around:
• “Ran away with that cow, she did. The
spoon’s gotta be devastated.”
Snow, page 185 • “I heard somebody tell that they got the
The Listening King, moon drunk and she fell down to earth,
page 185 laughing and laughing.”
• “Somebody stole her. I bet it was that
witch in the wood, who’s always using
will-o-wisps to mislead travelers.”
• “She pulled her cloak over her head and
went into the woods to be alone.
I understand that.”
• “Talk to them star fishermen. They’re
always fishing stuff out of the sky. Bet
they saw something.”
Flyers
There are flyers posted on nearly every
vertical service, including on a gingerbread
man, who has the flyer piped on his front in
icing. The flyer reads:
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The Poisoned Apple
Despite all the activity, most of the shops
and restaurants are closed. Only a bar called
The Poisoned Apple seems to be open.
Bright lights shine out from its windows
and open doors.
Inside, the place is nearly empty, except
for a few people, most of whom slump
exhaustedly in the large comfy chairs in
the bar. Humpty Dumpty is behind the bar,
covered in a yellow liquid that looks like the
stuff others were putting on their lips.
Snow, the owner, is sitting at a table
with the Listening King. Both of them look
exhausted. Snow has her head in her hands,
and the king has that faraway look that
comes from a combination of failing at an
important task and not having had enough
sleep to try again.
If the characters talk to Snow, the
Listening King, or Humpty, they can learn
some or all of the following:
• Since the moon disappeared, people
have started falling asleep instantly and
without warning.
• Snow, the Listening King, and Humpty
all have insomnia, which seems to keep
them from being affected.
• Humpty has been mixing up a special
concoction that keeps people from
falling asleep. They rub it on their lips
and it will keep them awake, but only if
they keep moving. As soon as they stop
moving, they fall asleep.
• Humpty made enough for the town, but
he’s run out of ingredients and can’t
make any more. People are starting to
get exhausted. Soon, they worry that
everyone in town will stop moving and
fall asleep.
• They’ve heard rumors of other places
where, after everyone fell asleep,
monsters came out of the woods and
attacked everyone, killing them before
they woke. They’ve given extra doses to
the town guards to keep them awake.
Talking to the Listening King. The Listening
King is at his wits’ end. Many people have
offered to help find the moon, but so far, no
one has succeeded. He says he will give the
characters their heart’s desires (if it’s in his

power) if they find the moon and return her
to the sky.
Talking to Snow. Because of Snow’s
background with falling asleep for long
stretches when she did not want to, she’s
particularly angry and determined to
help people. But it’s also easy to see that
she’s exhausted and overwhelmed, and is
running on fumes. She says that a few days
back, a couple of star fishermen from the
Enchanted Forest came in, talking about
going fishing for the moon, and they might
have useful information.
Talking to Humpty. Before Humpty was a
bartender, he was someone who, as he says,
“put people back together,” so he’s using
a little drink knowledge, a little medical
knowledge, and a little magic to create
his potion. He says he might know of one
person who knows where the moon is—the
Fairy With the Blue Hair. But she has hidden
herself away in the city of Catchfools for
reasons unknown.
At this point, the characters can visit the
star fishermen in the Enchanted Forest or
visit the Fairy With the Blue Hair in the city
of Catchfools. They will likely need to visit
both places to gain enough information to
find and unbury the moon.
Getting There. Because the Heartwood
wants the characters to succeed in their
mission—it needs the moon as much as
anyone else—it will take them directly to
the first place they wish to go. So if the PCs
decide they want to go to the Enchanted
Forest first, as soon as they step outside
of Nightingale, they will be at the edge of
the forest. (And when they turn around,
Nightingale will no longer be in view.)
The Star Fishermen
The star fishermen live deep in the
Enchanted Forest. Use the section on the
forest in chapter 17 as a guide for the types
of creatures and encounters the PCs might
find as they make their way through the
woods toward the star fishermen.
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WHAT THE MOON DREAMT
The PCs don’t have to be in the forest for
very long before they hear loud, boisterous,
and also beautiful (but a little drunk)
singing. If they follow the song, they come
upon a cabin in the woods. Outside it, small
shimmering stars hang from lines, as if fish
from hooks. A tiny grey cat bats at one, then
licks it paw.
Inside the cabin are three small men who
smell of stardust, night rains, and berry-fish
ale. These are Winken, Blynken, and Nod, Winken: level 3
the star fishermen. They are clearly drunk Blynken: level 3
and will readily admit to such, even if the Nod: level 3
characters don’t ask.
If the PCs persuade them to talk, they talk
all at once, finishing each other’s sentences
and even words. By talking with them, the
PCs can learn:
• The three often fish among the stars, as GM intrusion
they make their living selling hearts of suggestions:
stars and other bits of the sky to magic A bird overhead
users and shops. begins to talk to one
of the PCs, warning
• The three fishermen were recently hired of unseen danger.
to take their net made of gold and silver
up to the sky and capture the moon. One of the PC’s cyphers
• They did so by singing her a lullaby until malfunctions while
interacting with the
she fell asleep: star fishermen.
“It took ever so long, it did. I was
about hoarse by the time she finally The PC touches a tree or
closed that great eye, wasn’t I, other item that’s been
cursed, and the curse
Blynken?” spreads to the character.
“You’re always a little bit hoarse,
Nod. Lestwhys you’d stay in tune,
you would.”
• They turned the moon over to their
employers, got paid, and then bought
all of this amazing berry-fish ale with Enchanted Forest,
the money. page 191
As the PCs move through
At some point, they wise up (or maybe the forest, remember
to supply them with
sober up) and seem to realize that it’s not a cyphers if they need any.
good idea to talk about their employers. But The woods are a great
if they’re pressured or promised a reward opportunity to provide
(a level 5 task), they will ’fess up: their cyphers, especially
items like adderstones,
employers were monsters of the dark from a animated wood, bird’s
place called the Drowning Slough. nest coronets, and flowers
If the interaction is pleasant, the star for grandmother.
fishermen may offer the characters some Adderstone, page 77
berry-fish ale as well as a piece of a star “to Animated wood, page 77
light their way in the darkness.” Bird’s nest coronet,
page 78
Flowers for
grandmother, page 82
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 WE ARE ALL MAD HERE
The Fairy With the Blue Hair that the moon cried all the way through
Catchfools, page 198 The Fairy With the Blue Hair is in the city of the labyrinth. The Fairy With the Blue Hair
Catchfools. Use the section on Catchfools offers to blow fairy dust in their eyes, which
Catchfools is a great in chapter 17 as a guide for the types of will allow them to see the moon’s tears and
place for the PCs to creatures and encounters the PCs might follow her path through the maze, even in
obtain more cyphers.
A cypher seller with a
find as they make their way through the city. complete darkness.
cart might be in the The Fairy With the Blue Hair can be
street, offering cyphers found at Billy Goats Gruff. When the PCs
like animated wood,
blackbird pies, fairy cups,
arrive, she has just won a lot of money The Drowning Slough
and hot cross buns. and is being accused of using her magic to Spread before the PCs is a large, dark
cheat. If the characters help her out of her swamp, nearly impossible to see without
Animated wood, page 77 jam, she is more than eager to talk with the moon to light it. Not even light sources
Blackbird pie, page 78 them. Otherwise, she likely will need to be go very far. If the PCs have a piece of a star
Fairy cup, page 82
Hot cross buns, page 84
persuaded in some way. from the star fishermen, it provides some
She tells the PCs that she knows where guidance, shining brighter as they move in
Fairy With the Blue the moon is buried—for she is the one who the direction of the labyrinth. Otherwise, it’s
Hair: level 3; blowing accidentally buried her. She was fulfilling a a level 4 Intellect task to figure out the path.
fairy dust inflicts 3
points of damage; has
promise made long ago, and did not know As they move through the swamp
the following abilities: what she was burying until it was too late. toward the labyrinth, the characters might
clairvoyance, vortex, It’s impossible for her to unbury the moon, encounter any of the following.
heal, and illusion for it would break the fulfillment of the
Clairvoyance, page 122 promise and do damage to the moon, but Blackbird Snag. In a tall snag directly above
Vortex, page 122 she can help the PCs without having that the characters, a flock of huge black birds
Heal, page 122
Illusion, page 122
happen. suddenly alights. They all begin to say
She tells them that the moon is buried “Watch out, watch out, watch out,” at once,
GM intrusion deep in a labyrinth, but she doesn’t know chattering over each other, filling the air
suggestions: how to get there. What she does know is with the sound. The noises rise in urgency
A character bumps into
an NPC by accident,
and the NPC challenges
them to a fight.
Someone steals from
a nearby shop and
runs by the characters,
shouting, “They did it!”
A magical ward goes
off, affecting one or
more of the PCs.

Blackbird snag: level

3; victims who fail a
level 3 Intellect defense
task become so afraid
that they do nothing
for two rounds but run
off into the swamp

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and pitch. Blackbird snags are traps set up
by creatures of the swamp, attempting to
catch anyone who runs into the swamp out
of fear. All around the area, the creatures
have created sinkholes designed to catch
such runners.
The Witch of the Drowning Slough. This
witch will attempt to keep the PCs from
passing her by putting on her best manners
and offering to help them on their quest.
She says she knows where the moon is
buried; she holds up a small light and says
all they have to do is look down into the
water for what they seek. If any character
looks into the water (or anything else that
is reflective), the witch can steal anything in
the reflection and use it for her own.
Monsters of the Dark. All throughout the
swamp, the monsters of the dark—the
ones who captured the moon and buried
her—are rejoicing and doing every horrible
thing they’ve been dreaming of doing now
that the moon is no longer watching them
with her hateful eye. The PCs are likely to
encounter at least a few of these creatures
along the way: black dogs, satyrs, the Big
Bad Wolf, feral trees, and erlkings.
The Labyrinth
By following the shine of the star, the PCs
can make their way to the labyrinth. The
only visible doorway in is not locked. In
fact, it stands wide open. From within, the
characters can hear a sound like a great
steam engine roaring. There is no light
inside, and the stone walls and ceiling
are close and damp. Walking through the
labyrinth feels a bit like choosing to be
buried alive.
While moving through the maze, the PCs
hear any number of noises from below that
sound dangerous and scary, but nothing
stops them. With the dust in their eyes from
the Fairy With the Blue Hair, they find the
buried moon easily enough.
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WHAT THE MOON DREAMT
Unburying the Moon Rolling the stone off
Unburying the moon is not a difficult task. the moon is a level
4 Might task.
It’s so easy, in fact, that it might seem
unsettling. All the characters have to do is Sinkhole: level 4;
roll a medium-sized stone off of the moon, creatures who fail a level
4 Speed defense task
and there she is, bright and shining in her fall into the sinkhole,
makeshift bed. which sucks them down
It turns out that the difficult part is over a period of three
convincing the moon to get up. For she’s rounds. Trapped creatures
may attempt to free
been so tired for so long, and now that she’s themselves each round.
here, she has decided that she will sleep After three rounds, the
forever. It’s too much effort to rise again, creature is sucked beneath
the surface and cannot
to open her eye and watch over everything
free themselves; it’s a
she’s responsible for. “Let someone else do level 4 task for someone
it,” she says. “It’s someone else’s turn.” else to try to free them.
At this point, the PCs could try to find The Witch of the
someone or something to take the moon’s Drowning Slough: level 5;
can steal anything that is
place, or they could try to convince her to reflected, including faces,
rise again. and make a copy of it
for herself. The item she
steals works just like the
original. Additionally, she
Ending the Adventure has the following abilities:
If the characters unbury the moon and glamour, imprison,
return her to the sky (or return something shrivel, and protect.
to the sky that emits light and watches Witch abilities, page 132
over the dark places of the world), all of the
Heartwood express their gratitude. It would Shrivel, page 368
not be unheard of for people to stop the
PCs and say thank you, or even give them Moon: level 6; health 100
small gifts of food, cyphers, and so on. The Convincing the moon
Listening King keeps his promise to the to rise again is a level
8 Intellect task.
characters and gives them each their heart’s
desire (within the constraints of the flyer). Black dog, page 107
Additionally, the characters’ insomnia Satyr, page 109
Wolf, Big Bad, page 111
disappears (unless, for some reason, they Feral tree, page 115
wish to keep it). Erlking, page 116
XP Awards: The PCs each earn 4 XP for GM intrusion
suggestions:
returning the moon (or a replacement) to
the sky. In addition, reward the characters A will-o-wisp appears
in the darkness,
with 2 XP for each of the following beckoning the PCs.
encounters: Enchanted Forest, Catchfools,
One of the PCs stumbles
and the Drowning Slough. into the path of two
young bogies, who quickly
holler for their mother.
A frog hops into the path
of the PCs, promising
that if someone kisses it,
it will turn into a prince.
Will-o-wisp, page 155
Young bogie: level 1
Bogie: level 3
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Chapter 19

THE PRINCE WHO WOULD SEEK DEATH

“T he Prince Who Would Seek

Death” is a fairy tale adventure
set in the Heartwood. It deals
with issues of death and dying, autonomy,
love, and friendship.
Overview
An immortal prince named Kozel
What the Characters has summoned the characters to the
Know About the Heartwood, hoping they will be able to help
Heartwood, page 165
him in his final epic quest: he wishes, after
It’s possible that all these long years of life, to finally die. He
the characters have stored his death away aeons ago and was
interacted with Kozel
before, in one of his
planning to retrieve it so that he may be
many guises or forms. done with this life. Unfortunately, there are
They may or may not some who want to make sure Kozel stays
have known it was him. alive. They’ve taken control of his death,
The Heart of the rendering his powers useless. He is unable
Heartwood, page 180 to retrieve his death for himself and seeks
the characters’ help to do so.
Background
Years ago, Kozel hid his soul in a place so
secret that he believed no one could find
it—inside a needle, which was in an egg,
The White Rabbit will which was in a duck, which was in a hare,
offer the scroll to the which was in an iron chest, which was
PCs if they ask for it.
The writing remains
buried under a green oak tree, which was on
invisible, but somehow an island of crystal in a forgotten cave.
the PCs are able to read As long as his soul was secret, he could
it. You might consider not die. But hours follow hours; years chase
printing it out or copying
it ahead of time so you years; centuries go by. And Kozel went to get
can have a physical his soul back, ready to be done with this life
copy at the table. and see what came next.
Unfortunately, three others have a
vested interest in keeping Kozel alive: his
former love, the Snow King Istolaine; the
River Brighwick; and his mother, Rosalys,
Queen of the Field Mice. When the three
discovered what Kozel meant to do, they
used all their powers to learn where he had
hidden his soul and took control of it.
Beginning the Scenario
Before beginning the adventure, decide
whether the characters have been to the
Heartwood previously. Decide how you want
to handle what they do and don’t know
about the Heartwood, and give them the
information that they need.
To start the adventure, the characters are
drawn into the Heart, as it’s described in the
Heart of the Heartwood. You can read the
description from that section. There is also
a white rabbit, holding a clock and a scroll.
You can read the following aloud or
improv the scene, as you choose:
“You’re late,” the White Rabbit says. “Late,
late, late, late . . . ”
His inability to stop saying “late” seems like
a compulsion, as if he’s unable to stop. He
clicks his thumb down on the stopwatch, and
the device starts to quietly click “late late late
late” in the rabbit’s voice.
“Apologies,” he says. “I get stuck sometimes.”
He looks the characters over. “Is this all of
you? So few. No matter. I have full faith that
you will succeed in the matter at hand.
“Ahem . . . a letter from Prince Kozel to
the”—he counts—“five of you.” He clears his
throat, unrolls the scroll—which is blank on
both sides—and begins to read.

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 THE PRINCE WHO WOULD SEEK DEATH

My dearest strangers,

I hope you do not mind the intrusion, but I seek your aid. I
have had one of the Baba Yagas turn her chicken feet, and
the Welter Wind read her tea leaves, and the Great Grey
Wolf divine the blood spatters, and they all say one thing:
you are the best ones to help me succeed in my endeavors.

I am Prince Kozel the Immortal, and I seek my death.

In truth, this should be no great endeavor. I have not

grown aged and forgetful, as so many immortals do. I
remember plainly where I hid my death. I remember how
to find it and use it. And while I have many enemies, not a
one of them would stop me—in fact, they would rejoice to
see me go.

It should be simple to give myself death. But it is not.

For those who loved me once—my Life, my Love, and my
Laughter—have joined together to keep me from what I
seek. They hold my death in their hands, using it to gain
power over me, to weaken me of my will. They have their
reasons. I do not begrudge them their desires, but I cannot
honor them either.

Surely there is something you desire as deeply as I

desire this. Surely you have ached for a thing that others
told you not to seek. Surely you have dreamed of following
a path that others barred you from. And if that does not
move you, then know that I have grown rich in my eternity
and there is much that I can offer you by way of gratitude
before I go.

Please hurry. Minutes follow minutes, hours chase

hours, days go on, and my will weakens.

~The Prince Who Would Seek Death

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Follow the White Rabbit
You can read the following aloud or
paraphrase it:
“If you’re ready, we should go. The pebbled
path is lit and safe only as long as the moon
shines, and it is nearly morning. We don’t want
to be late . . . late . . . la—” The White Rabbit
clicks his pocket watch.
Outside the door, the pebbles glow brightly
If the PCs achieve in the moonlight. The path is wide, almost
their goal at the end wide enough for all of you to walk abreast.
of the adventure, they
will have the chance
It crunches oddly beneath your feet, as if the
to ask the prince for a pebbles aren’t stones, but instead something
reward. Consider having more fragile—shells or candy, perhaps. The
the White Rabbit ask pebbles are all shapes and sizes, but walking
them now what they
would request of the over them doesn’t seem difficult, as you might
prince so they can be expect from uneven ground. In fact, it’s quite
thinking about it. smooth, and you almost seem to glide over the
surface. On either side of you is a beautiful,
calm, quiet forest. But there’s something oddly
flat about it, as though you’re looking at an
enormous illusion of a forest on either side of
the path.
Here is what the characters might learn
Pebbled path from the White Rabbit about the pebbled
(in moonlight): level 2; path as they walk along it.
taking a pebble off the
path decreases all of
• The path disappears during the daylight
the character’s recovery hours and moonless nights. It is
rolls by 1 point until impossible to see or sense, and no one
they take their next has ever reported walking along it when
ten-hour recovery roll
the moon is not out.
Pebbled path (in
• It is never the same and never goes to
daylight): level 3; song the same place, almost as if it is built
inflicts 1 point of Intellect anew each night when the moon comes
damage per round up. Often, it goes exactly where you
to those who fail an
Intellect defense roll need it to, providing a safe and direct
route through even dangerous territory.
• It is almost impossible to step off the
path once you’re on it. If you do step off
the stones, the path moves with you,
growing beneath your feet. The “forest”
on either side is always the same
distance from you, just outside of
your reach.
The White Rabbit knows the following
about the prince’s request:
• He doesn’t know who the prince is
referring to by his Life, his Love, and
his Laughter.
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• One divination might be correct, two
divinations usually contain a semblance
of a lie, but three divinations always
mean the truth.
• He supposes they will have to find out
for themselves why they are the ones
that the divinations pointed to.
• Almost everyone knows the story of
how the prince hid his death aeons ago
inside a needle, which was in an egg,
which was in a duck, which was in a
hare, which was in an iron chest, which
was buried under a green oak tree,
which was on an island of crystal, deep
in a forgotten cave. If the characters
don’t know it, the White Rabbit will sing
them the child’s counting rhyme below.
Child’s Counting Rhyme
The White Rabbit might hum a song under
his breath as they walk. If the characters
didn’t already hear the song and ask the
White Rabbit about it, he will sing it for
them, saying that it’s an old child’s counting
rhyme that tells the story of the prince’s
hidden death.
One for the needle, bound for the thread
Two for the egg, stole from a hen
Three for the duck, all feathers and flight
Four for the hare, hidden in fright
Five for the chest, iron and bound
Six for the oak tree, verdant and round
Seven for an isle, floating at sea
Eight for a cavern of talus and scree.
We know someday our prince will come
and ask us for his death
and we will give it, we will give it,
and ever be bereft.
The Three Paths
After a short while, the characters come to
a place where the pebbled path splits into
three. Here, the White Rabbit stops and
says, “This is where I leave you. You must
travel the rest of the way by yourselves. And
you must hurry. The day is just two sips of
tea away from arriving, and then you will
lose the path.”
If the characters attempt to discern the
differences between the paths, it’s a level
4 perception task to figure out that each

one smells different. The right-hand path
smells like love, the middle path smells
like laughter, and the left-hand path smells
like life.
Although the PCs don’t know it, all three
paths lead to the same place. However, the
choice still matters, because it determines
which of the three NPCs the characters
meet first.
Daylight Comes
At any point during the characters’ travels
along the path—depending on how quickly
they move along—daylight will begin to
peek over the horizon. If the PCs don’t
find a way to keep the sun from rising, the
pebbled path beneath them will disappear.
All around the characters float bones of
all sizes and shapes. And every bone begins
to sing. Each bone sings the story of how
it was murdered, who did it, and where to
find the rest of its body. Because each bone
is from a different victim and they’re all
singing at the same time, it is hard to make
out any particular song.
Fairly quickly the bones then begin to
come together, coalescing into a disjointed,
swirling skeleton that is vaguely humanoid,
although one leg grows from it as two
others disappear. It looks as though all
the bones are attempting to recreate their
bodies, and none are able to achieve it.
If the characters manage to defeat the
bone body, it disappears. There is no
more path to show them the way.
Following the path that isn’t there is a
level 4 Intellect task.
The End of the Path
Depending on which path the PCs chose,
one of the following waits for them: Love,
Life, or Laughter. In order to get to the
prince’s death, they must make it through
all three.
Between each of the three encounters,
consider giving the PCs a small space of
respite—a tunnel, a safe path, or the like—
where they can recover briefly and find
some additional cyphers to help them on
their way.
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THE PRINCE WHO WOULD SEEK DEATH
Love
The path leads them to the foot of a giant Consider getting some
scents that symbolize
snow-capped mountain that seems to be each path, and allow the
made of dark, smoky glass. The PCs are in players to smell them
the mountain’s shadow, and it is bitter so their characters have
cold. The wind blows stark and strong, and an idea of what each
one smells like. You
the area is dotted with ponds that are frozen could use unlit candles,
over. It’s impossible to tell how deep they go. perfume, scratch and
The PCs have reached the place where the sniff stickers, or anything
else that you like.
prince’s ex-love, the Snow King Istolaine,
guards a level of the prince’s death. The Wind of the North:
Snow King will not appear at first, but will level 4; knocks foes prone
instead send some or all of the following and inflicts damage
out to deal with the PCs: with his frozen breath
Snow bees: level 4;
Wind of the North. The Wind of the North is constant buzzing hinders
a young wind, but he is still a wind. all Intellect tasks
Snow Bees. These buzzing snowflakes seek Kragen: level 3, trickery
and cunning as level 4;
warmth and attempt to enter any openings inflicts damage with beak
they find, including the characters’ mouths and claws; can work with
and noses. Once inside, their buzzing Erkin to become talking,
conniving, lying crows
begins to fill a victim’s mind with intense
that make everyone lose
and constant noise that makes it hard to their faith in each other
think, speak, or focus. (helping tasks diminished,
lack of trust, etc.)
Kragen and Erkin. These large ice crows
Erkin: level 3, hiding
work together as the Snow King’s familiars. and sneaking as level 4;
carries seeds that inflict 2
The Snow King Istolaine points of damage when
dropped from above
When Istolaine appears, he is dressed in an
(dropped seeds spread in
elegant silver and white brocade suit, with a circular pattern that
a scarf that seems made of snow, which covers a short distance,
forms and reforms as it shifts around his affecting all living
things in that area);
neck. He wears armor made of ice that cooperates with Kragen
gives his appearance a reflective sheen. He
is everything you imagine a Snow King to Istolaine: level 5,
be—distant, icy, cold, and elegant. blandishments and
persuasion as level
If the characters talk to him, however, they
6; Armor 2 (from ice
discover some interesting things. Kozel is armor); inflicts 5 points of
the only one who has ever melted Istolaine’s damage with an ice shard
heart. He doesn’t want to stop Kozel from he can incorporate out
of the air and send up to
reaching his death; he just wants to see his a long distance; can call
beloved one more time. If the characters on his ice crows, Kragen
find a way to make that happen, he will and Erkin, to aid him.
allow them to pass. Otherwise, they will
Locked ice door: level 4
have to find another way through.
On the other side of the Snow King is Bone body: level 5;
a small locked doorway made of ice. This Armor 1; whirling
leads either to the next of the three paths body inflicts 2 points
or (if Love is the last path the characters of damage on
any characters in
chose) to the cave where Kozel’s heart is. immediate range
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Remember that in fairy tales, words have Life
GM intrusion meaning. Istolaine’s use of the word see is This path leads to a doorframe that’s
suggestions: important here. He doesn’t need to spend hanging suspended in a field of poppies.
A reindeer comes time with Kozel—he just wants to see him. There doesn’t appear to be anything else as
running across the
plain and falls into one
If the characters can find a way to make the far as the eye can see, beyond the crimson
of the frozen ponds, prince’s form or face appear to Istolaine wave of flowers spreading out on all sides.
thrashing to get out. (such as a scrying mirror, disguise, illusion, The PCs have reached the place where
A large, lumbering bear and so on), he will be satisfied. Kozel’s mother, Rosalys, Queen of the Field
hears the commotion Mice, guards the prince’s death. She stands
and comes around the
corner, looking for dinner. upon the back of a large bobcat, tiny and
regal, with her small crown and her purple
One of the characters
falls through the ice. cloak. All around her, woven through the
Reindeer: level 3 poppies, is a giant city that belongs to her
Frozen pond: level 5 and her subjects, the field mice.
Rosalys does not want to hurt or fight the
characters, as she believes in the power of
Rosalys, Queen of
the Field Mice: level kindness and life. But she cannot bear to
5, pleasant social let her remaining child go, for then she
interactions as level 6; worries that she will have nothing to
Armor 1; convincing her
that she has something
live for. If the PCs can convince her
to live for is a level that she has something else left to
6 Intellect action live for, she will allow them to pass.
If they attempt to fight her instead,
Bobcat: level 5 she has a number of creatures and
abilities at her disposal.
Convincing Rosalys should
not be an easy task. The PCs
will likely need to use magic,
Briar-covered door:
information they learned while
level 2; briars inflict 2 talking with her (or her subjects),
points of damage to or something equally powerful.
anyone going through it On the far side of the meadow is a door
Kalidahs: level 5 covered with flowers and briars. This leads
Poppy pollen: level 4; either to the next of the three paths or
causes a victim to feel
(if Life is the last path the characters
sleepy and eventually
fall asleep. On the first chose) to the cave where Kozel’s
round, all tasks are heart is.
hindered. On the second,
all tasks are hindered by
two steps. On the third, Kalidahs. These dangerous
the character falls asleep beasts have bodies like bears
and can be awakened and heads like tigers. They
only by removing them
are fiercely protective of their
from the poppy field or
using a restorative cypher. queen and will do anything she asks
In the unlikely instance of them.
that all of the PCs end
up falling asleep in the Poppies. The queen will cause the poppies
poppy fields, the queen
to suddenly bloom even larger than before,
has the kalidahs drag
them back to where spreading their pollen everywhere. The
they started in this pollen makes everyone who inhales it feel
part of the adventure, incredibly sleepy.
out of the influence of
the fields, but away
from her son’s death.

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 THE PRINCE WHO WOULD SEEK DEATH

Mouse Army. The queen’s mouse army is ago, something that made it sad and dry Mouse army: a group
well trained and well equipped. Although and turned its beauty to dust. Now, it just of five or six acts as a
single level 6 creature;
the field mice are small, they are powerful in remembers that the prince took a horrible sneaking, planning, and
their numbers. They can slide up a pantleg, thing from it, and that if the prince dies, it hiding as level 8; Armor 1;
do damage, and retreat all in a single round, will have to take that horrible thing back. inflicts multiple wounds
almost before their victims know what has And it will once again become a trickle of with tiny, pointy swords
happened. tears, barely wetting the surface, no longer GM intrusion
bubbling and joyous. suggestions:
Laughter River Brighwick will agree to let the PCs One of the PCs has
At the end of the path, the characters are pass if they can find another way to keep it an allergic reaction
to the poppies and
greeted with the sound of laughter and from remembering its haunted past. Or if starts breaking out in
the sight of a river. River Brighwick winds they can find a way to help it reckon with hives that are in the
through a verdant forest, its stream bright what it did. For example, the characters shape of flowers.
blue and burbling, singing a song of delight might offer to find a spell, curse, or item The queen’s mount
to all who hear it. It’s rumored that fairies that helps with forgetting (it’s possible that moves forward to
attack one of the PCs.
themselves are born from the river’s bright Humpty Dumpty could make such a thing).
laugh, rising up like winged bubbles from its Otherwise, they have to find another way A great eagle swoops
splashing surface. across. River Brighwick is wide, maybe 50 down and attempts to
steal some members
But the river wasn’t always so joyous. feet (15 m) across, and swift. It’s impossible of the mouse army.
Long ago, before the world was born, Prince to see the bottom. Brighwick can employ
Kozel made a deal with River Brighwick: the various creatures and abilities to prevent Humpty Dumpty,
river bore him a daughter made of water the PCs from crossing. page 185
and light, and in return, Kozel gave the river On the other side of the river is a tall cliff Climbing the cliff
the ability to forget. This was important to with a waterfall rushing over it. Behind the is a level 5 Might
or Speed task.
the River Brighwick, because it had done waterfall, about halfway up, is a ledge with a
something, something terrible, so long small tunnel opening.

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 WE ARE ALL MAD HERE
Red Cap. This short, thick-set old goblin Ending the Adventure
Red cap: level 4, Speed has long teeth, fingers that end in sharp If the characters give the prince his death,
defense as level 6 due talons, and long, wet grisly hair. He holds a he thanks them profusely and says that he
to fey nature; flings
large stones that inflict
pikestaff in one hand and wears a red cap will reward them handsomely. Whatever the
4 points of damage soaked in blood. PCs ask for, he gives them something that
will help them achieve it. His gift might be a
Scrying pool: level 5; Scrying Pool. Brighwick stills, turning its powerful cypher, an artifact, a weapon, or a
characters who look surface into a scrying pool that all the piece of equipment.
into the pool can do
nothing but stare into
characters feel compelled to look into. Any If they don’t give him his death, he will
it on their next action. PC who can’t resist the pull sees horrible not fight them for it. He is instead deeply
The horrible visions they visions and believes for a moment that sad at being betrayed and unable to end
see there inflict 2 points those visions will come to pass. his life as he chooses. He likely attempts to
of Intellect damage.
convince the PCs that if they give him his
Feral willow: level 3; Feral Willows. Two feral willows line the death, he will wait at least a little while to
Armor 3; rooted in place; banks, their weeping branches leaning out end his life.
lashing branches attack
up to three characters as
over the water. Don’t be afraid to take a little time to
a single action and, on a have Kozel decide what to give the PCs.
failed Might defense task, River Brighwick. The river will fight the PCs Look through the cyphers, artifacts, and
hold the victim in place if they touch or enter its waters without equipment to find something that seems
until they can escape
permission. useful. Alternatively, if this makes you
River Brighwick: level 7; uncomfortable, you can ask the characters
rushing water knocks a ahead of time (perhaps the White Rabbit
character prone (getting
back up is a level 7 Might
Kozel’s Death asks them) what they would ask of the
or Speed task); sends Once the PCs pass all three of the prince if they achieve their goal.
a school of piranhas guardians, they find themselves in front of
after the characters the entrance to a cave. Inside the cave is XP Awards: The PCs each earn 2 XP for
Piranhas: level 2 an island made of crystal—a crystal that obtaining Kozel’s death, whether they give it
hangs about 10 feet (3 m) above a sea of to him or not. Also give each character 1 XP
GM intrusion molten glass. Small crystal webs create a for dealing with Life, 1 XP for Love, and 1 XP
suggestions: delicate ladder from the glass to the island. for Laughter.
A large fish leaps up out Climbing up is a level 5 task.
of the water, careening A green oak tree is on top of the crystal
toward a character’s face.
island, and the iron chest is buried beside
A boat filled with it. The chest has an ornate magical lock.
malevolent fairies Getting it open is a level 5 task. A hare
comes down the river
toward the PCs.
hops out as soon as the characters open
the box. Catching the hare before it hops
away is a level 4 task. If the hare is caught,
Kozel the Immortal a duck flies out (this doesn’t seem to affect
Prince: level 10; Armor the hare in any way, surprisingly). Catching
8; carries a long staff;
cannot be killed as
the duck before it flies away (or getting it to
long as his death come back) is a level 3 task. When the duck
is safely hidden is caught, it lays an elegant glass egg.
When the characters have the egg in
Kozel likely does not hand, Prince Kozel appears. He is an old
make his death happen man, fit and in good health, with a long
in front of the PCs. He
has a plan to return
silver beard. He wears a simple black robe
to his home and die and carries a walking stick. With him is a
peacefully there. seven-legged horse.

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 BACK MATTER

P P I L Y E V ER AFT E
HA R

“Begin at the beginning,” the King said, very gravely, “and go

on till you come to the end: then stop.”
~ Lewis Carroll, Alice’s Adventures in Wonderland

Inspirations and Resources 218

Story Index 220
Index 223
Fairy Tale Game Consent Checklist 224

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INSPIRATIONS AND RESOURCES
T
here are far too many fairy tale (and
fairy tale-inspired) books, movies, TV
shows, and comics to list them all.
A quick search on the internet will return far
more than most of us could ever consume
in our lifetimes. Here you’ll find a cultivated
list of references, many of which I chose
because they seemed particularly well suited
to providing gaming inspiration and ideas.
General Fairy Tale Resources
The Aarne-Thompson-Uther
Classification of Folk Tales (ATU) is
a massive system that categorizes
folktales and fables by type, giving each
a corresponding name and number. It’s
not just a great way to explore stories;
the names of the categories alone are
inspirational in and of themselves. While
many are the kinds of things you’d expect
to find—such as “Seven sisters for seven
brothers” (type 303A)—others, such as
“Thank god they weren’t peaches” (type
1689), are a delight to discover.
The Stith Thompson Motif-Index of
Folk-Literature organizes stories by
motifs, such as Moon as Person, Moon
as Wooer, and so on. Like the ATU, this
index has some delightful jewels, such
as “Runs” and “Tale-teller frightens
listener: yells ‘Boo’ at exciting point.” It’s
especially useful if you are looking for a
particular theme or feel for your game.
Once Upon a Time, Marina Warner
The Witch Must Die: The Hidden Meaning
of Fairy Tales, Sheldon Cashdan
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Others because they inspired me while
writing this book. And still others because
they are just personal favorites of mine and
I thought you might enjoy them as well.
The first set of lists is divided by medium
(books, movies, and so on) and the second
is divided by genre (traditional, modern,
horror, and so on).
Individual Authors to Explore
These authors have written myriad books
with fairy tale elements, inspirations, or
information. Check out their large bodies
of work to see what appeals to your
gaming sensibilities.
Holly Black
Hans Christian Andersen
Marie-Catherine d’Aulnoy
Kate Forsyth
Neil Gaiman
The Brothers Grimm
Charles Perrault
Marina Warner
By Medium
Books and Comics
There are many compilations of fairy
tales, both in print and online. One of my
favorites is Grimm’s Complete Fairy Tales,
by Jacob Grimm, as it includes a number of
stories that are hard to find elsewhere (and
most of the stories are in their earlier,
darker forms).
Alice in Wonderland, Lewis Carroll
Alice, Christina Henry
Blue Fox, Sjón
 INSPIRATIONS AND RESOURCES

Boy, Snow, Bird, Helen Oyeyemi Grimm (RPG)

Fables, Bill Willingham
The Girl Who Circumnavigated Fairyland in a Ship
of Her Own Making, Catherynne M. Valente
How to Fracture a Fairy Tale, Jane Yolen
Italian Folktales, Italo Calvino
The Merry Spinster, Mallory Ortberg
The Neverending Story, Michael Ende
No Rest for the Wicked, Andrea L. Peterson
Wonderland, edited by Marie O’Regan and
Paul Kane
No Thank You, Evil! (RPG)
Once Upon a Time (storytelling card game)
The Wolf Among Us (video game)
By Genre
Apocalypse/Post-Apocalypse
Into the Badlands (TV show)
The Girl in Red (book)

Movies Comedy
Alice in Wonderland (various versions) The Brothers Grimm (movie)
Coraline Ella Enchanted (movie)
Edward Scissorhands Enchanted (movie)
Fantasia Hoodwinked! (movie)
Freeway Into the Woods (movie, musical)
Frozen Shrek (movie)
Jack the Giant Slayer Tangled (movie)
Gretel & Hansel
Hanna Dark & Horror
Hansel & Gretel: Witch Hunters American McGee’s Alice (video game)
Hard Candy The Company of Wolves (movie)
Hoodwinked! Freeway (movie)
Into the Woods Gretel & Hansel (movie)
Labyrinth Hard Candy (movie)
Legend Pan’s Labyrinth (movie)
Lilo and Stitch Snow White: A Tale of Terror (movie)
Maleficent
Moana Modern Day and Real World
The Neverending Story The Darkest Part of the Forest (book)
Pan’s Labyrinth Fables (comic book)
Snow White and the Huntsman Grimm (TV show)
Stardust Hanna (movie)
Time Bandits The Magicians (book and TV show)
Willow Once Upon a Time (TV show)
The Wizard of Oz Up (movie)

TV Shows Mystery/Crime/Noir
Beauty & the Beast Fables (comic book)
The Dark Crystal: Age of Resistance Hoodwinked! (movie)
Grimm Vertigo (movie)
Jim Henson’s The Storyteller The Wolf Among Us (video game)
Lost Girl
The Magicians Romance
Once Upon a Time Edward Scissorhands (movie)
Over the Garden Wall Ladyhawke (movie)
The Princess Bride (movie)
Games Stardust (book and movie)
Bluebeard’s Bride (RPG) Tangled (movie)
The Gameable Disney Podcast (podcast)
Golden Sky Stories (RPG) Science Fiction
Goody White’s Book of Folk Magic (RPG) Wires and Nerve (graphic novel)

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STORY INDEX
T
his index is designed to gather all of the
disparate elements of a fairy tale story or
setting in a single place to make it easier to
create and run a game using that story or setting.
This index includes characters, equipment, places,
abilities, magic, cyphers, artifacts, and more.
Alternatively, it can be used to learn more about the
story that a particular item, place, character, and so
on originally comes from.
Note that not all of the included elements are the
same as they were in their original stories or setting.
Many have been altered in significant ways, so you
may need to adjust some items if you’re hoping to
run a game that is true to the original.
Traditional Fairy Tales
Aladdin
Genie’s lamp (artifact) 95
Baba Yaga
Baba Yaga’s spiced cookie (cypher) 78
Beauty and the Beast
Beast (NPC) 106
Rose of red (cypher) 88
Bluebeard
Aristocrat (NPC) 137
The Buried Moon
“What the Moon Dreamt” (adventure) 203
Cinderella
Dressmaking nut (cypher) 81
Fairy godmother (NPC) 123
Silver slippers (cypher) 89
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The Death of Koschei the Deathless
Deathless (cypher) 80
Kozel the Immortal Prince (NPC) 216
“The Prince Who Would Seek Death” (adventure) 210
Famous Flower of Serving Men
Sweet William’s (location) 200
The Frog Prince
Iron bands of three (cypher) 84
Goldilocks and the Three Bears
Bowl of porridge (cypher) 79
Hansel and Gretel
Blind Witch (NPC) 134
Father’s betrayal (cypher) 82
Gretel (as the Kitchen Witch, NPC) 186
Iron stove (artifact) 95
Neverlost (cypher) 85
Pebbled path (place) 212
Jack and the Beanstalk
Magic beans (cypher) 85
Welkin Barrier (location) 201
The Juniper Tree
Song of the dead (cypher) 89
Little Match Girl
Memory’s match (cypher) 85
The Little Mermaid
Sea Witch (NPC) 135
Little Red Riding Hood
False grandmother (cypher) 82
Flowers for grandmother (cypher) 82
Huntsman/woodcutter (NPC) 139
Path of Pins and Needles (location) 192
Red riding hood (artifact) 97

Pinocchio
Animated wood (cypher) 77
Azure dust (cypher) 78
Catchfools (location) 198
Coachman, the (NPC) 198
Fairy With the Blue Hair (NPC) 208
Geppetto’s children (NPC) 112
Jiminy cricket (cypher) 84
Tink (NPC) 185
Undertaker rabbits (NPC) 199
Rapunzel
Dame Gothel (NPC) 134
Rapunzel leaf (cypher) 88
Robin Hood
Flaming arrow (cypher) 82
Maid Maleen (NPC) 186
Robber/thief (NPC) 139
The Seven Ravens
Bone key (cypher) 79
The Singing Bone
Seven Ravens Army (organization) 193
Singing bone (cypher) 89
Sleeping Beauty
Beloved’s kiss (cypher) 78
Queen (NPC) 126
Witch (NPC) 132
The Snow Queen
Kragen (NPC) 213
Snow bees (creature) 213
Snow King (NPC) 213
Snow White
Bones of the beloved (cypher) 79
Cursed Spindle (location) 187
Dwarf (NPC) 115
Happy (NPC) 186
Hart’s heart (cypher) 83
Huntsman/woodcutter (NPC) 139
Laced Bodice (location) 185
Mirror mirror (artifact) 96
Poison for your daughter (cypher) 86
Poisoned apple (cypher) 87
Poisoned Apple, the (location) 185
Queen (NPC) 126
Snow (NPC) 185
Witch (NPC) 132
Wolf, Big Bad (NPC) 111
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STORY INDEX
The Steadfast Tin Soldier
Paper Ballerina (artifact) 98
Steadfast Tin Soldier (artifact) 98
Three Billy Goats Gruff
Billy Goats Gruff (location) 199
Troll (NPC) 115
The Tinderbox
Dog With Eyes the Size of Teacups, Dinner Plates,
and the Moon (NPC) 143
Tinderbox (artifact) 99
The Wild Swans/The Six Swans
Shirt of nettles (artifact) 98
Other: Titular Characters and Items
Emperor’s new clothes (cypher) 82
Godfather’s picture book (cypher) 83
Listening King (NPC) 185
Nightingale (location) 183
Pied Piper’s flute 38
Princess’s pea (cypher) 88
Puss in Boots (NPC) 106
She-bear (artifact) 98
Tattercoats (location) 186
Modern Fairy Tales
Alice in Wonderland
Cheshire Cat (NPC) 106
Cheshire smile (cypher) 79
Crow, monstrous (NPC) 189
Drink me (cypher) 81
Eat me (cypher) 81
Eaternitea Party (location) 194
Frumious (descriptor) 171
Humpty Dumpty (NPC) 185
Knave of Hearts (cypher) 85
Pictureless book (cypher) 86
Playing cards (NPC) 189
Rabbit hole (cypher) 88
Red King (as the Cardinal King, NPC) 189
Red Queen (NPC) 127
Tweedledee’s umbrella (artifact) 99
White Rabbit (NPC) 212
The Hunting of the Snark
Bellman’s map of the ocean (cypher) 78
Snark (NPC) 110
The Jungle Book
Bagheera (NPC) 106
221
 WE ARE ALL MAD HERE
Peter Pan
Cave of the Lost (location) 198
Croc’s clock (cypher) 80
Hook’s hook (artifact) 95
Never Never Isles (location) 195
Pixie dust (artifact) 97
Sea of Innumerable Echoes (location) 193
Shadow soap (cypher) 88
Tink (NPC) 185
To Peter with love (cypher) 90
Wizard of Oz
Green spectacles (cypher) 83
Hatchet of the Woodsman (artifact) 95
Kalidahs (NPC) 214
Lion’s courage (cypher) 85
Oz, the Great and Terrible (NPC) 120
Poppy fields (place) 214
Rosalys, Queen of the Field Mice (NPC) 214
Tin Man’s tears (cypher) 90
Tin Woodman (NPC) 113
Wicked Witch of the West (NPC) 135
222
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Mother Goose and Nursery Rhymes
Billy Goats Gruff (location) 199
Blackbird pie (cypher) 78
Bo Peep (NPC) 202
Cat and Fiddle (location) 186
Dust of the dreamer (cypher) 81
Gingerbread man (cypher) 83
Hot cross buns (cypher) 84
Itsy bitsy spider (cypher) 84
Jack’s candlestick (cypher) 84
Knaves All Three (location) 186
The House That Jack Built (location) 202
Winken, Blynken, and Nod (NPC) 202
Mythologies
Golden bridle (artifact) 95
Minotaur, the (NPC) 117
Pandora’s box (artifact) 96

Áine, Fairy Queen of Light
and Love 124
angiks 121
apple-pip witch 143
archetypes 100
aristocrat (NPC) 137
artifact quirks 91
artifacts 91
Baba Yaga 133
Bagheera 106
battle between two forces plot 35
Beast 106
Befriends the Black Dog (focus) 174
Bewitched (descriptor) 169
black dog 107
blessings 52
Blind Witch 134
Broken Crowndom 187
Cailleach 129
Cardinal King 189
cat sidhe 108
Catchfools 198
Changeling (descriptor) 170
changling 121
character arcs, general 67
character arcs, Heartwood 176
Cheshire Cat 106
child (NPC) 138
cliches, themes, and motifs 15
consent and boundaries 55
crafted beings 112
crafter (NPC) 138
currency 69
curses 49
Curses the World (focus) 174
cyphers 74
Dame Gothel 134
death 48
Death (NPC) 114
descriptors, general 65
descriptors, Heartwood 168
drowning fairies 128
dwarf 115
earth beings 115
Eaternitea Party 194
Enchanted Forest 191
enchanter 118
equipment 69
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INDEX
erlking 116
faerie 121
fairy godmother 123
Feigns No Fear (focus) 175
feral tree 115
fey beings 121
foci, general 66
foci, Heartwood 173
Fragmented (descriptor) 171
Frumious (descriptor) 171
fuath 128
genres 17
Geppetto’s children 112
gingerbread creatures 112
GM intrusions 53
Gráinne, the Wayward Daughter 125
grundylow 152
Hans the hedgehog (NPC) 145
Haunted (descriptor) 172
Heart of the Heartwood 180
Heartwood 179
hounds 107
huntsman (NPC) 139
iconic characters 62
impossible tasks 33
initiation/ritual plot 34
investing the PCs 39
isonade 152
kelpie 130
Listening King 185
Lived Among the Fey (focus) 175
Lost (descriptor) 172
Made a Deal With Death (focus) 175
magic 27
magical animals 104
major special effects 59
mental illness 159
mermaid, misery 196
minor special effects 59
Minotaur, the 117
Morgan le Fay 120
naiad 128
Never Never Isles 195
Nightingale 183
nightmare 188
nymph 121
Oz, the Great and Terrible 120
pixie 121
INDEX
player intrusions 58
Pocket Item 70
problematic elements 42
public domain 15
Puss in Boots 106
queen (NPC) 126
Queen Grimhilde 126
quest plot 29
Red Queen 127
robber (NPC) 139
rule of threes 22
satyr 109
scholar (NPC) 140
Sea of Innumerable Echoes 193
Sea, Herself 151
Sea Witch 135
Sheds Their Skin (focus) 176
signature item 70
siren 152
skills 63
snark 110
Snow (NPC) 185
Snow King 213
Snow Queen 127
story seeds 36
talking objects 105
task plot 31
thief (NPC) 139
Tin Woodman 113
touchstones 25
troll 115
tropes 15
type 63
Virgilius the Sorcerer 120
Virgilius’s copper dogs 112
water beings 128
Welkin Barrier 201
West Wind 131
White Rabbit 212
Wicked Witch of the West 135
will-o-wisp 155
wind children 131
wishes 53
witch 132
Wolf, Big Bad 111
woodcutter (NPC) 139
223
 Fairy Tale Game Consent Checklist
GM Name:

Player Name (or leave blank):

Planned Game Theme:

If this game were a movie, its movie rating would be: G PG PG-13 R NC-17 Other:

Mark the color that best illustrates your comfort level with the following plot or story elements.
Green = Enthusiastic consent; bring it on!
Yellow = Okay if veiled or offstage; might be okay onstage but requires discussion ahead of time; uncertain.
Red = Hard line; do not include.
G Y R G Y R
HORROR .............................................................. SOCIAL AND CULTURAL ISSUES .................

Blood ..............................................................
Body horror ....................................................
Bugs ...............................................................
Demons/Devils..............................................
Dismemberment ...........................................
Eyeballs ..........................................................
Gore ...............................................................
Harm to animals ...........................................
©2020 Monte Cook Games, LLC. Cypher System and its logo are trademarks of Monte Cook Games, LLC in the United States and other countries. Permission granted to duplicate for personal use.
Ageism ...........................................................
Classism.........................................................
Genocide ........................................................
Homophobia .................................................
Racism ...........................................................
Sexism ............................................................

MENTAL AND PHYSICAL HEALTH ..............

Harm to children ...........................................
Rats ................................................................
Shapeshifting .................................................
Spiders ...........................................................
Witches ..........................................................
Authority, authority aggression .....................
Cancer ............................................................
Claustrophobia ..............................................
Freezing to death ...........................................
Gaslighting.....................................................

RELATIONSHIPS ...............................................
Romance ........................................................
Fade to black ............................................
Explicit ......................................................
Between PCs and NPCs ..........................
Between PCs.............................................
Nonconsensual ........................................
Family members.......................................
Bestiality ...................................................
Sex ..................................................................
Fade to black ............................................
Explicit ......................................................
Heatstroke ....................................................
Mental illness ................................................
Natural disasters (earthquakes, forest fires)
Paralysis/physical restraint ...........................
Pregnancy, miscarriage, or abortion .............
Self-harm........................................................
Severe weather (blizzards, tornados) ..........
Sexual assault ................................................
Starvation .......................................................
Thirst .............................................................

ADDITIONAL TOPICS ......................................

Between PCs and NPCs ..........................
Between PCs.............................................
Nonconsensual ........................................
Family members.......................................
Bestiality ...................................................

CHILDREN .......................................................... Do you want the GM to follow up with you to clarify

Child marriage ............................................... any of these responses? If so, which ones?
Children in danger .........................................
Stolen children ...............................................
Underage relationships .................................

Many of the items on this checklist are general, but some are specific to fairy tales. Because fairy tales contain a number
of potentially problematic elements, we’ve included the most common ones here as an easy way for players to opt out.
Having them on the list is in no way an endorsement of using such tropes or topics in your game.

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