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 The Magnus Archives is an award-winning horror fiction anthology podcast
examining what lurks in the archives of the Magnus Institute, an organization
dedicated to researching the esoteric and the weird. It follows the actions of head
archivist Jonathan Sims as he attempts to bring a seemingly neglected collection of
supernatural statements up to date, converting them to audio and supplementing
them with follow-up work from his small but dedicated team.

Individually, these stories—these “statements”—are unsettling. Together they begin

to form a picture that is truly horrifying because as they look into the depths of the
archives, something starts to look back . . .
For additional information, and to back The Magnus Archives Roleplaying Game
crowdfunding campaign for your copy of the game, visit the crowdfunding site.
For additional information on The Magnus Archives podcast,
visit their official home page.
 STATEMENT BEGINS
I itch all the time. Deep beneath
my skin, where the bone sits,
enshrined in flesh, I feel it.
THE MAGNUS ARCHIVES ROLEPLA YING GAME
Something, not moving but that
wants to move. Wants to be free.
It itches, and I don’t think I want
it. I don’t know what to do.
You can’t help me. I don’t think
so, at least. But whatever it is
that calls to me, that wants me for
its own, it hates you. It hates
what you are and what you do. And
if it hates you, then maybe you can
help me. If I wanted to be helped.
I don’t know if I do. You must
understand, it sings so sweetly,
and I need it, but I am afraid. It
isn’t right and I need help. I need
it to be seen. To be seen in the
cold light of knowledge is anathema
to the things that crawl and
slither and swarm in the corners
and the cracks. In the pitted holes
of the hive.
~The Magnus Archives, Episode 32 “Hive”
4
T he Magnus Archives is a horror fiction anthology
podcast examining what lurks in the archives
of the Magnus Institute, an organization dedicated
to researching the esoteric and the weird. It follows
the actions of head archivist Jonathan Sims as he
attempts to bring a seemingly neglected collection of
supernatural statements up to date, converting them to
audio and supplementing them with follow-up work
from his small but dedicated team.
Individually, these stories—these “statements”—are
unsettling. Together they begin to form a picture that is
truly horrifying because as they look into the depths of
the archives, something starts to look back . . .
In The Magnus Archives Roleplaying Game, you
and your friends take on the roles of archival assistants
assigned to investigate the strange occurrences
reported to the institute by those that have
encountered the mysterious and supernatural. What
you hold in your hands is a brief overview of the
game and its workings. The final game will come as an
impressive tome including the complete rules; detailed
character creation; and an extensive overview of the
entities, monsters, books, artefacts, and characters
that make the Magnus Archives so enthralling (and
terrifying). It’s everything you need to play, either
with the investigations presented, or with terrors you
craft yourself.
Like most roleplaying games, in the Magnus
Archives, the game master (GM) sets the scene, the
players state what their characters (referred to as

player characters, or PCs) attempt to do, and the GM
determines what happens next. One scene logically
flows to the next—you might start at a coffee shop,
travel to an abandoned warehouse, and eventually end
up at a haunted construction site—and before you
know it, you’ve got a story as compelling as any you’ve
read or watched. The rules and the dice help make the
game run smoothly, but it’s the people that direct the
action and determine the story—and the fun. If a rule
gets in the way or detracts from the game, the players
and the GM should work together to change it.
HOW THE GAME WORKS
The Magnus Archives Roleplaying Game uses the
Cypher System rules, which use a twenty-sided
die (d20) to determine the results of most actions.
Whenever a roll of any kind is called for and no die is
specified, roll a d20.
This is how you play:
1. The player tells the GM what they want to do.
This is a character action. If time is a consideration,
every character gets an action each round.
(Characters can also move across the room or a
similar distance when they take their action.)
5
2. The GM determines if there’s a chance of failure
or if that action is routine (and therefore works
without needing a roll).
3. If there is a chance of failure, the GM determines
which stat the task uses (Might, Speed, or
Intellect) and the task’s difficulty—how hard it will
be on a scale from 1 (really easy) to 10 (basically
impossible).
4. The player and the GM determine if anything
about the character—such as training, equipment,
special abilities, or various actions—can modify
the difficulty up or down by one or more steps.
If these modifications reduce the difficulty to less
than 1, the action is routine (and therefore works
with no roll needed). A common modification
comes from Effort. Using Effort is when character
spends 3 points from the appropriate stat Pool to
decrease the difficulty by 1.
5. If the action still isn’t routine, the GM uses its
difficulty to determine the target number—how
high the player must roll to succeed at the action.
The target number is always three times the
task’s difficulty, so a difficulty 4 task has a target
number of 12. To succeed at the task, you must
roll the target number or higher.
 6. If the character uses a special ability, there is
often a prescribed cost of points from one of
their stat Pools. Any time a character faces a stat
Pool cost, whether from a special ability or from
using Effort, they can subtract their appropriate
stat Edge from the cost. Different characters have
different stat Pools and Edge.
7. The player rolls a d20. If the roll is equal to or
higher than the target number, the character
succeeds.
That’s it. That’s how to do anything, whether it’s
identifying a strange marking, calming a frantic
friend, crossing a treacherous bridge, or battling an
insane cultist.
The key features here are: character actions,
determining task difficulty, and determining
modifications.
While that’s everything, let’s look at some of these
topics in more detail.
THE MAGNUS ARCHIVES ROLEPLA YING GAME
remember: it’s always three times the difficulty. The
target number is the minimum number a player needs
to roll on a d20 to succeed at the task. Moving down
the table means the task is more difficult; moving up
means it is less difficult.
Modifications affect the difficulty rather than the
player’s roll. This has two consequences:
1. Low target numbers such as 3 or 6, which would
be boring in most games that use a d20, are not boring
in this game. For example, if you need to roll a 6 or
higher, you still have a 25% chance of failure.
2. The upper levels of difficulty (7, 8, 9, and 10) are
all but impossible because the target numbers are 21 or
higher, which you can’t roll on a d20. However, it’s
common for PCs to have abilities or equipment that
reduce the difficulty of a task and thus lower the target
number to something they can roll on a d20.
When setting the difficulty of a task, the GM should
rate the task on its own merits, not on the power of the
characters. Difficulty is not relative. A level 4 locked

door is the same no matter who tries to open it.

DETERMINING TASK DIFFICULTY
The most frequent thing a GM does during the game—
and probably the most important thing—is setting
every task’s difficulty. To make the job easier, use the
Task Difficulty Table, which associates difficulty rating
with a descriptive name, a target number, and general
guidance about the difficulty.
Every difficulty from 1 to 10 has a target number
associated with it. The target number is easy to
MODIFYING DIFFICULTY
Character skills, favorable circumstances, or excellent
equipment can make a task easier. For example, if a
character is trained in climbing, it turns a difficulty 6
climb into a difficulty 5 climb. This is called “easing the
task.” If the character is specialized in climbing, it turns
a difficulty 6 climb into a difficulty 4 climb. This is
called “easing the task by two steps.”

TASK DIFFICULTY TABLE

Task Difficulty Description
0 Routine
1 Simple
2 Standard
3 Demanding
4 Difficult
5 Challenging
6 Intimidating
7 Formidable
8 Heroic
9 Immortal
10 Impossible
6
Target No. Guidance
0 Anyone can do this basically every time.
3 Most people can do this most of the time.
6 Typical task requiring focus, but most people can usually do this.
9 Requires full attention; most people have a 50/50 chance to succeed.
12 Trained people have a 50/50 chance to succeed.
15 Even trained people often fail.
18 Normal people almost never succeed.
21 Impossible without skills or great effort.
24 A task worthy of tales told for years afterward.
27 A task worthy of legends that last lifetimes.
30 A task that normal humans couldn’t consider (but one that doesn’t break
the laws of physics).

A skill is a category of knowledge, ability, or activity
relating to a task, such as climbing, geography, or
persuasiveness. A character who has a skill is better at
completing related tasks than a character who lacks
the skill. A character’s level of skill is either trained
(reasonably skilled) or specialized (very skilled).
If you are trained in a skill relating to a task, you ease
that task by one step. If you are specialized, you ease it
by two steps. A skill can never ease a task by more than
two steps.
Anything else that eases tasks (help from an ally,
a particular piece of equipment, or some other
advantage) is referred to as an asset. Assets can never
ease a task by more than two steps.
You can also ease a given task by applying Effort.
This costs 3 points from the relevant stat Pool, minus
any Edge. Using Effort eases the task by one step. (At
higher tiers, characters can apply additional Effort, each
of which costs 2 points from the relevant stat Pool and
eases the task by an additional step.)
To sum up, three things can ease a task: skills, assets,
and Effort. If you can ease a task’s difficulty to 0 using
one or more of these, you automatically succeed and
don’t need to make a roll.
If something makes a task harder (like fighting on a
slippery floor), it hinders the task by one or more steps.
Hindering is the opposite of easing.
SPECIAL ROLLS 7
When you roll a natural 19 (the d20 shows “19”) and
the roll is a success, you also have a minor effect. A
minor effect means that in addition to success, you get
an even better result determined by the character and
the GM. For example, when jumping down from a
ledge, you land smoothly on your feet, or when trying
to persuade someone, you convince them that you’re
smarter than you really are. In other words, you not
only succeed but also go a bit further. In combat, a
minor effect inflicts 3 additional points of damage with
your attack, or, if you’d prefer a special result, you could
decide instead that you knock the foe back, distract
them, or something similar.
When you roll a natural 20 (the d20 shows “20”)
and the roll is a success, you also have a major effect.
This is similar to a minor effect, but the results are
more remarkable. A major effect means that something
beneficial happens based on the circumstance. For
example, when climbing up a cliff wall, you make the
ascent twice as fast. In combat, a major effect inflicts
4 additional points of damage with your attack, but
again, you can choose instead to introduce a dramatic
event such as knocking down your foe, stunning them,
or taking an extra action.
In combat (and only in combat), if you roll a natural
17 or 18 on your attack roll, you add 1 or 2 points of
damage, respectively. Neither roll has any special effect
options—just the extra damage.
Rolling a natural 1 is always bad. It means that the
GM introduces a new complication into the encounter.
This is called a GM intrusion.
HORROR MODE
In times of escalating tension, the GM can
announce that Horror Mode is in effect. In such
a case, GM intrusions occur on a natural 1 or 2.
Each time the horror mode heightens, that result
range increases by 1. So, GM intrusions might
happen on a roll of 1-3, a roll of 1-4, and so
on. When horror mode ends (usually meaning
that the characters are no longer in a dangerous
situation), the GM intrusion result returns to
only a natural 1.
 GM INTRUSIONS
GM intrusions reflect when something in the story
occurs to complicate the character’s life. The character
hasn’t necessarily fumbled or done anything wrong
(although perhaps they did). It could just be that the
task presents an unexpected difficulty or something
unrelated affects the current situation.
In The Magnus Archives Roleplaying Game, a GM
intrusion usually heightens the tension or reveals
a sudden danger. The lights go out. The characters
hear something creeping up behind them. The
seemingly kind old woman suddenly produces a knife,
accompanied by an unnerving smile. The characters
discover that their trusted friend is actually not them.
It is, in many ways, the primary tool the GM has to
introduce the horror intrinsic to the game.
At any time, the GM can introduce an unexpected
complication for a character or all the characters. A
GM intrusion can put the spotlight on one character,
and when the GM finishes explaining what the sudden,
THE MAGNUS ARCHIVES ROLEPLA YING GAME
surprising turn of events is, they ask that player, “Now
what do you do?” The player must deal with this new
complication.
8
When the GM intrudes in this manner, they give
the affected character 2 experience points (XP). That
player, in turn, must immediately give one of the two
XP to another player and justify the gift (perhaps their
character had a good idea, told a funny joke, performed
an action that saved a life, and so on).
As a general rule, the GM should intrude at least
once each session but probably no more than once or
twice each session per character.
Anytime the GM intrudes, the player can spend 1
XP to refuse the intrusion, though that also means they
don’t get the 2 XP. If the player has no XP to spend,
they can’t refuse the intrusion.
Example Intrusion: Through skill and the aid of
another character, a PC eases a wall-climbing task
from difficulty 2 to difficulty 0. Normally, they would
succeed at the task automatically, but the GM intrudes
and says, “No, a bit of the crumbling wall gives way, so
you still have to make a roll.” As with any difficulty 2
task, the target number is 6. The PC attempts the roll
as normal, and because the GM intruded, the character
gains 2 XP. The PC immediately gives one of those XP
to another player.
 If a character rolls a 1 on a die, the GM can intrude
without giving the character any XP. This kind of
intrusion can happen immediately or very soon
thereafter.
INTERACTION
Obviously, players can talk to each other all they want,
and at least some of that conversation represents what
the characters are saying to each other. Often, a PC
will want to talk to a nonplayer character (also called
an NPC). It might be to convince someone to answer
a few questions, get a librarian to let you see a book
from the restricted collection, or get a peek at a police
report from an officer at the station. This conversation
is normally handled by the GM taking on the NPC
role and talking things through. When a PC tries to
convince an NPC of something, or when they try to
deceive or intimidate the NPC, a roll is involved. This
is handled just like anything else—use the level of the
NPC as the difficulty, modified by the circumstances.
Trying to convince a loyal believer to disobey orders
9
is harder than their level might indicate, but convincing
them that new orders have come in might be normal
difficulty. Skills like persuasion or deception might help,
and of course, Effort can be used (always Intellect).
Although fighting dangerous monsters or other foes
can be interesting and exciting, much of gameplay
probably involves other situations: overcoming
obstacles, interacting with NPCs (eyewitnesses, corrupt
booksellers, cultists, ghostly apparitions, telepathic
vampires, or weirder things), solving mysteries,
finding solutions to problems, blazing trails through
the wilderness, exploring caves, sneaking, climbing,
running, and all other kinds of exciting activities.
Sometimes these actions allow PCs to achieve goals,
such as “find the book that the old man hid in the
house” or “help get an injured friend to the hospital.”
But more often than not, they propel characters
toward making discoveries. And discoveries are the
heart of the game—because to stop the entities (at
least temporarily), we need the knowledge the Magnus
Archives compiles.
 You can always attempt any action—
you do not need to be trained or
specialized in a related skill.
In other words, being trained in
climbing doesn’t let you climb—it
just makes you good at it. Anyone
can still try to climb. It’s just a
bit harder.

COMBAT
Making an attack in combat works the same way as any
other roll: the GM assigns a difficulty to the task, and
you roll a d20 against the associated target number.
The difficulty of your attack roll depends on how
powerful your opponent is. Just as tasks have a
difficulty from 1 to 10, creatures have a level from 1 to
10. Most of the time, the difficulty of your attack roll
is the same as the creature’s level. For example, if you
attack a level 3 black bear, it’s a level 3 task, so your
THE MAGNUS ARCHIVES ROLEPLA YING GAME

target number is 9.
Players make all die rolls. If a character attacks a
creature, the player makes an attack roll. If a creature
attacks a character, the player makes a defense roll.
The damage dealt by an attack is a flat number based
on the weapon or attack used. For example, a pickaxe
always inflicts 4 points of damage. NPCs have a health
score from which the damage you inflict is subtracted
(this score is often three times their level). You’ve
defeated an NPC foe that reaches 0 health.
STRESS
When player characters experience a terrifying event,
they may suffer stress. This might be facing an unnatural
creature, finding a sack of hundreds of human teeth,
or seeing their friend engulfed in a swarm of worms.
A character begins with 0 stress, but a terrible shock, a
ghastly experience, or a gruesome encounter may inflict 1,
2, or even 3 points of stress upon them. Players track their
character’s ongoing stress total. Each time a character has 3
points of stress, this is known as a stress level.
Characters can also get stress from minor wounds or
injuries. Knocking your head on the door, slicing your
hand with a knife, or burning your arm by grabbing
something out of a fire before it is consumed causes
stress. Essentially, any time a character takes an injury
10 that might affect them temporarily, but is not life
threatening, the injury inflicts 1, 2, or 3 stress. We’ll get
to more serious injuries shortly.
Utilizing any supernatural artefact, power, ritual, etc.
also inflicts stress on the character.
Some characters have (or gain) the ability to withstand
more stress before it accumulates into a stress level.
Accumulated stress adversely affects a character by
imposing a penalty on all actions, hindering them. The
more stress a character has, the greater this penalty.
Each stress level hinders all actions by one step until the
stress is reduced.
A desperate character can use their stress as a
temporary advantage. If they have at least 1 stress
level, they turn that into a one-time bonus on a single
action, “burning” the stress and easing the task by one
step. Doing so represents a sort of manic energy. While
this means a reduction in the character’s stress level,
the GM immediately uses an intrusion that increases
the overall tension and danger of the situation. Stress
cannot be used by a character who is not already in a
tense situation, nor can it be used on a defensive action.
Lastly, in certain situations, characters can “trade”
stress for supernatural powers. These powers represent
how a character is changed by their experiences.
Depending on the power, the player might not have
complete control over their new ability, at least at first.
In what can only be described as horrific irony, using
such powers almost always inflicts additional stress on
the character.
Spending time in a relatively safe, relaxing space
reduces stress. So do other factors, like food and drink,
nearby friends, or even a nice dog to pet.
SERIOUS INJURY
To reflect serious injury, PCs have a damage track. The
damage track has four states (from best to worst): hale,
impaired, debilitated, and dead. When a character
suffers a serious injury, like a stab wound, a gunshot
wound, a fall from a rooftop, or the body-morphing
touch of the Boneturner, the character moves one step
down the damage track. Thus, if they are hale, they
become impaired. If they are already impaired, they
become debilitated. If they are already debilitated, they
become dead.
Very tough or hardy characters have an additional
step on their damage track called “hurt.” Hurt is
inserted into the track between hale and impaired.
Some attacks, like venom from a serpent’s bite, a
horrific curse, or the presence of the Distortion, have
effects other than stress or shifting the PC on the
damage track. These attacks can cause unconsciousness,
paralysis, and so on.
RECOVERING FROM INJURY
After losing or spending points in a Pool, you recover
those points by resting. Similarly, a nice rest will reduce
your stress.
Moving up the damage track requires a significant
rest, probably in a hospital or similar setting.
Recovering from debilitated to impaired is harder and
takes longer than moving from impaired to hale (or
hurt).
Basically, during an investigation, characters will
likely have opportunities to rest to regain points in their
Pools and reduce their stress. But a character who’s been
seriously injured likely won’t be able to recover fully
until after the investigation is over.
11
THE DAMAGE TRACK
Hale is the normal state for a character: the PC
has no penalties from harmful conditions.
Hurt is a special step that particularly tough
characters reach before they are impaired in
which all of their actions are hindered.
Impaired is a wounded or injured state. When
an impaired character applies Effort, it costs
1 extra point per level applied. For example,
applying one level of Effort costs 4 points
instead of 3, and applying two levels of Effort
costs 7 points instead of 5.
An impaired character ignores minor and
major effect results on their rolls and doesn’t
deal as much extra damage in combat with a
special roll.
Debilitated is a critically injured state. A
debilitated character may not take any actions
other than to move (probably crawl).
Dead is dead.
EXPERIENCE POINTS
You don’t earn XP for killing foes or overcoming
standard challenges in the course of play. You earn XP
for discovering the supernatural, solving mysteries, and
stopping the entities and their servants. A player can
spend XP they’ve accumulated to reroll any die roll and
take the better of the two rolls. Rerolling costs 1 XP.
They can also use XP to advance their character.
 CORE OF GAMEPLAY
The core of gameplay in The Magnus Archives
Roleplaying Game—the answer to the question
“What do characters do in this game?”—is
“investigate supernatural occurrences and gather
knowledge, ultimately to attempt to hold back
the manifestations of the entities that threaten
all humanity.”
Usually, this involves following up on the
statements given to the Magnus Archives,
presented by people who describe their
supernatural encounters. Starting with
the information in the statement, the PCs
interview witnesses, search locations, look for
supernatural entities, seek artefacts and books
that might be involved, and record and catalog
everything they discover.
As they conduct these investigations, PCs’
skills and abilities improve, and their knowledge
THE MAGNUS ARCHIVES ROLEPLA YING GAME

of the truth behind the supernatural entities

at the very edges of our world increases.
Encounters with the supernatural can lead to
the characters gaining mysterious powers, and
even becoming avatars. But is that a blessing or
a curse? (Hint: short term it might be useful, but
long term it’s probably a curse.)
As this is a horror game, the GM’s main role
won’t be building horrible foes to challenge
the players (although there is some of that)
but rather to portray the ever-escalating terror
of the stories that arise from the ongoing
investigations. Fear is, after all, what the
Magnus Archives is all about, and that fear
arises as a creeping dread and a realization
of the implications of what happens in each
session. In other words, it gets more horrific
over time. It’s not about jump scares—it’s
about the horror of learning the truth.
In this way, the Magnus Archives is a sort of
cosmic horror, which means that just discovering
bits of knowledge can be more valuable than riches,
and even still, some aspects of the supernatural
are unknowable. And yet, with knowledge of
the forbidden, there’s often a price that must be
paid. Knowledge is a dangerous thing.
12
PLAYER CHARACTERS
Each character has a simple statement that describes
them, like: “I am an adjective noun who verbs.”
For example, Martin Blackwood might be a Nervous
Researcher who Helps Their Friends. Jonathan Sims is a
Scholarly Elocutionist who Studies the Supernatural.
In this sentence, the adjective is called your descriptor.
Your descriptor offers a few modifications to your stats
and skills and provides a roleplaying hook to start with
an important aspect of your character’s personality
or nature. Descriptors include Fearless, Skeptical,
Scholarly, Hopeful, Strong, Quick-Witted, and more.
The noun is your character type. If descriptor is what
sort of person you are, type is the core of who you are.
It’s the fundamental way that the character interacts
with the world, and how they approach each challenge.
It’s the noun of the sentence “I am an adjective noun
who verbs.” You can choose from four main character
types: Protector, Investigator (also called a Researcher),
Elocutionist, and Dabbler. Dabblers are the least
common of these, as they actually try to utilize the
occult—always a dangerous thing in the world of the
Magnus Archives.
The verb is called your focus. Focus is what your
character does best. Foci include Explores Dark Places,
Helps Their Friends, Lives Online, Moves Like a Cat,
Solves Mysteries, Studies the Supernatural, Would
Rather Be Reading, and more.
As the game progresses, a character might also
become an avatar of one of the entities. Doing so
results in the adoption of another, specialized focus.
So Jonathan Sims becomes a Scholarly Elocutionist
who Studies the Supernatural as an avatar of the Eye.
SKILLS (AND INABILITIES)
Your character has training in a handful of specific
skills. For example, you might be trained in sneaking,
climbing, jumping, or positive social interactions. A
character’s level of skill is either trained (reasonably
skilled) or specialized (very skilled).
If you are trained in a skill relating to a task, ease that
task by one step. If you are specialized, ease it by two
steps. A skill can never ease a task by more than two
steps, but you can use a skill and Effort together.
You can always attempt any action—you do not need
to be trained or specialized in a related skill. In other
words, being trained in climbing doesn’t let you climb,
it just makes you good at it. Anyone can still try to
13
climb. It’s just a bit harder.
Some characters have inabilities. If a character has an
inability in a task, that task is hindered.
SPECIAL ABILITIES
Character types and foci grant PCs special abilities. These
can just be cool things you can do, like take an extra
action or find really obscure information on the internet,
but they can also be supernatural abilities. Using these
abilities usually costs points from your stat Pools (listed
in parentheses after the ability name). Your Edge in
the appropriate stat can reduce the cost. Supernatural
abilities also inflict stress when you use them.
CYPHERS
Cyphers are single-use abilities. Most of the time,
these are purely states of mind or the whims of fate,
allowing a character to get a quick recovery of a
stat Pool, or get a boost in a specific type of action.
Much more rarely, they’re special items, like a magical
enruned stone that will cause a foe’s extremities to
warp and twist or an amulet that makes a character
far more effective and bloodthirsty in combat. They’re
most often minor occult items, are quite rare, and are
tied to the specific investigation. Each character has
a cypher limit indicating how many cyphers they can
have at the same time.
Characters will find cyphers frequently during the
game, so players shouldn’t hesitate to use their cyphers.
ARTEFACTS
Artefacts are powerful items that can be used many
times. But using them is risky, because artefacts are
always imbued with the powers and essence of the
entities. Using them inflicts stress on a character. From
the podcast, the web table or one of Jurgen Leitner’s
books would be considered an artefact.
 CREDITS
Based on The Magnus Archives created by Jonathan Sims and Alexander J. Newall

Powered by the Cypher System designed by

Monte Cook, Bruce R. Cordell, and Sean K. Reynolds

Designer Monte Cook

Creative Director Monte Cook
Managing Editor Teri Litorco
Editor Dominique Dickey
Proofreader Ray Vallese
Art Director Bear Weiter
Cover Artist Russell Marks
THE MAGNUS ARCHIVES ROLEPLA YING GAME

Artists
Sam Wolfe Connelly, Donald Crank, Russell Marks, Roberto Pitturru, Kyle A. Scarborough

TM

© 2023 RUSTY QUILL LTD.

All Cypher System content © 2023 Monte Cook Games, LLC.
MONTE COOK GAMES and its logo, and CYPHER SYSTEM and its logo, are trademarks belonging to Monte Cook Games, LLC in
the U.S.A. and other countries. RUSTY QUILL and its logo, and THE MAGNUS ARCHIVES and its logo, are trademarks belonging to
Rusty Quill Ltd. in the U.S.A. and other countries. All The Magnus Archives characters and character names, and the distinctive likenesses
thereof, are trademarks of Rusty Quill Ltd. All rights reserved.
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