Written by: Robert Denton III

Editor: Alan Bahr

Managing Editor: Alan Bahr
Art Direction: Alan Bahr, Robert Denton III
Book Design and Layout: Robert Denton III
Interior Art: Nicolás Giacondino
Spot Art: Andrew Wolf and Robert Denton III
Cover Art: Nicolás Giacondino
Publishing: Alan Bahr
Playtested By: William Bebout, Sean Corley, George Maney, Alan
Russell, Daniel Tickle, Evan Walters, Andrew Wolf
Typefaces: Algerian by Alan Meeks and Philip Kelly, Celtic Knots
by Woodcutter, Kells SD by Steve Deffeyes, Plantin Std by Frank
Hinman Pierpont and Fritz Stelzer
Published by Gallant Knight Games, 2020
Tiny Dungeon 2e,Tiny Taverns, and TinyD6 are trademarks of Gallant
Knight Games.
Copyright ©2020 by Gallant Knight Games. All rights reserved.
Reproduction without the written
permission of the publisher is
expressly forbidden, except for the
purposes of reviews, and for the
blank character sheets, which may be
reproduced for personal use only.
Ogden UT 84404
 TABLE OF CONTENTS:
Dedications ......................... 5
Table-Talk Roleplaying ......... 6
Basic Rules ........................ 10
How to Play........................ 10
Tests ........................................ 11 Character & Tavern Creation 53
Advantage & Disadvantage ..... 11 Tavern Creation ....................... 54
Focus .................................. 13 Character Creation ................... 64
Optional Rule: Complications ... 13
GM Tests ................................. 14
Waiving a Test .......................... 15
Obstacles ................................. 16
Fortune ................................... 18
Initiative & Taking Turns ........... 19
A Player’s Turn ..................... 20
Assisting & Teamwork ............ 21
Conflicts .................................. 22
Contests ............................... 22
Quarrels .............................. 23
Action Scenes ........................ 29
Combat ............................... 30
Health and Injury ..................... 36
Injuries ................................ 36
Emotional Wellness ................. 40
Magic ...................................... 44
Magic Scrolls ........................ 44
Spellbooks ............................ 46
Spellcrafts ............................ 46
Spell-touched & Cantrips ........ 47
Familiars ............................. 49
3
Magic Items ............................. 50
Magic Artifacts ..................... 50
Philosopher’s Stones ................ 51
That Was A Lot ........................ 52
Heritages ............................. 65
Human............................. 66
Dwarf .............................. 68
Firbolg.............................. 70
Mandrake ......................... 72
Panguri ............................ 74
Pixie ................................ 76
Pooka ............................... 78
Selkie ............................... 80
Mixed Heritages .................... 82
Traits .................................. 84
Trait List ............................. 85
Proficiencies & Masteries ........ 95
Tavern Trade........................101
Character Beliefs...................103
Belongings, Items, & Equipment.104
Three Last Questions .............111
Additional Character Resources 112
Relationships........................112
Spellcraft.............................117
Hedge Magic ....................119
Folk Magic .......................121
Performance Magic ............124
Season Magic ...................127
Example Character ................. 133
 TABLE OF CONTENTS:
During the Game .............. 134
Character Advancement ......... 134
Advancement Bar .................134
Gaining Experience ...............136
Epiphanies ..........................137
Reflections ...........................140
Moods ................................... 141
Status Afflictions .................... 143
Chores ................................... 148
Mixologist Guide ................... 152
Tavern Service Minigame ....... 155
Trade, Markets, & Buying Stuff. 162
Weather ................................. 167
4
Game Master Toolkit ......... 168
Connections........................... 168
GMing Slice-of-Life ............... 170
Episode Generator ................. 178
Hunting & Foraging Minigame .. 184
Enemies ................................. 189
Sample Bestiary ..................... 193
Monsters .............................199
Legendary Creatures .............. 204
Sample Magic Scrolls ............. 208
Spellbooks & Wizard Tomes .... 211
Cooking Minigame ................. 214
Sample Magical Food ............. 218
Safety Tools ............................ 222
Character Sheet................ 224
Tavern Sheet .................... 226
Appendix of Terms ............ 228
My friends and I ran a high fantasy rpg campaign (our first real RPG)
from 6th grade through college, using a minimalist roleplaying system we
customized for our purposes. Because we didn’t belong anyplace, we created
our own fantasy setting and added lore as we went along, taking things we
liked from other games and inventing new things whole cloth.We home-brewed
rules and fudged rolls. We wrote fiction and drew pictures (and too many
maps).We improvised legendary endings for heroes and redemption arcs for
villains. Characters came and went as people entered and exited our lives,
each leaving their mark on our collaborative fantasy world. Some retired,
some perished, some lived on in glory.We played their children, grandchildren,
and in one case, a reincarnated ancestor. 12 years of an improvised story, four
versions of our home-brewed rules. It all began in a humble tavern, with the
pregnant then-innocent question: “How do you know each-other?”
This book is dedicated to the adventurers of Candlelight Hollow, and all the
travelers, thieves, and friends who walked with us in a world we changed together.
And to Christen, the love of my life, who patiently listens as I talk about it.
- Spooky

5
 o
“No heat like that of shame, no pain like that of refusal, no sorrow
like the loss of friends.”
- Inscribed above the hearth

TABLE-TALK ROLEPLAYING
Chances are, you’ve played a tabletop roleplaying game before,
and you generally know what you are in for. But if this is your
first roleplaying game, you’re probably wondering what all this is.
You might feel a little intimidated. That’s okay. It’s really not as
complex as it seems.
A roleplaying game is basically a conversation with rules. The
conversation is about a story. Each player adopts a role in the
story, a character, and tells it from that character’s perspective.
The conversation is mediated by a lead storyteller known as the
Game Master, or GM. It is the GM’s job to help the players
tell the story by introducing scenarios, guiding the plot, and
keeping the conversation going. The Game Master plays every
character that isn’t one of the “player characters.” This means
the Game Master must adopt the roles of everyone who isn’t
controlled by one of the other players. These characters are
known as “non-player characters,” or NPCs. Being a Game
Master is a complex job, but also very rewarding. The Game
Master makes the story possible. Just like you do!
Most games test specific skills. This game tests a player’s
storytelling ability, their ability to improvise, and their creativity.
Players “win” the game when they tell an interesting story,
improvise well, meet their personal goals, and have a good
time. The GM “wins” when all the players enjoy themselves.
No matter where the story goes, as long as you’re having fun,
you’re winning.

Table-Talk Roleplaying 6
THE STORY
The story of our game is about a group of friends who run a tavern
or other hospitality establishment together.This tavern happens to
exist in a fantasy setting. Magic and monsters are real and dozens
of different fantasy peoples live and congregate together. The
details of this setting are invented as we tell the story. We elaborate
upon these details as we play, gradually creating our setting’s
“lore.” The story follows its own logic, and as we improvise, we
decide what is or isn’t possible within the context of our story.
Our story only works when we all agree on what happens. If
we are picturing different events, or if we are following different
lore, then we’re not telling the same story anymore. No one
person “owns” the lore of the story we tell. We are all telling it
together. When one player introduces something that interests
another player, that second player can pick up where the first
one left off, elaborating on the detail and making it more
interesting. The Game Master mediates how we tell the story
(like a referee), ensuring we are all on the same page.
One way the Game Master does this is through the game’s
rules. When we disagree on what happens, or when we don’t
know what will happen next, we let the dice decide. We all
agree to go by what the dice determine. Many of the game’s
rules pertain to how we interpret the results of the dice, when
we should roll the dice, and who has better odds.
The dice are also a storytelling tool that the GM can use to
make the story more entertaining. They keep the story exciting
and present challenges for us to overcome. When we want to
spice things up and introduce something unpredictable, the
dice can help us do that.
Sometimes, a situation may arise that we could not predict, and
we’re not sure which rule to deploy. If there are no rules to tell us
how to handle this, or we’re not sure how to proceed, the Game
Master tells us what happens, and we keep going. To make this
call, they consider what makes the most sense given the narrative
so far, what would be the most interesting, and what would keep
the story going. This way, the focus is always on the story.

7 Table-Talk Roleplaying
THE CHARACTERS
Player Characters in Tiny Taverns are employees, proprietors,
and/or owners of the tavern, inn, boarding school, or whatever the
establishment happens to be.They hail from different walks of life,
have different skills and interests, and embrace different beliefs
and aspirations. Some may be content to this life, while others
lofty dreams of better things. But whatever their motivations,
they are, for the time being at least, stuck working in this tavern.
Without other options, they must find some shade of happiness in
the tedium of tavern chores and the struggles of ordinary life. Of
course, life in a fantasy tavern is anything but ordinary.
You will play as one of these tavern workers. So will the other
players. You’ll have the chance to impact their character’s stories,
and vice versa! Allow yourself to become a fan of your friends’
characters. Our game is the most fun when players care about
other characters as much as their own.

COLLABORATING
The world you create does not belong to anyone specifically.
Neither does the lore you create, even if it is about your
character. Anyone can build upon something introduced to the
story, so long as everyone is okay with what is invented. Don’t
get too attached to what you improvise: it belongs to everyone
now. At the same time, be respectful of what someone else
introduced. It doesn’t hurt to ask, “is it okay if I do this?” This
is a sandbox game, and we all need to keep the sandbox clean
and fun together!

SAFETY
Arguably the most important element of our game is player comfort.
The game cannot function if we don’t feel safe enough to have our
conversation. Similar to how not everyone enjoys a horror movie
with jump scares, there are certain things some players would
just rather not include in their character’s story. Not everyone is
comfortable roleplaying the same things. And that’s okay.
Roleplaying means we are pretending. Players are not their
characters; they should feel free to be someone else for a while,

Table-Talk Roleplaying 8
to do things they normally wouldn’t do. But that’s not an excuse
for making other players feel unwelcome, uncomfortable, or unsafe.
They should feel respected and free to tell stories together. One
cannot fully participate and enjoy themselves if one doesn’t feel safe.
Chances are that you are playing this game with your friends, so
you may think you already know what everyone is comfortable
with and where to draw the line. But sometimes we assume
people are okay with things that they aren’t. It can be easy to be
thoughtless. This game is designed to be a lighthearted romp,
but some players may feel unwelcome if things go too far.
Because player comfort is more important than the game’s
content, everyone should agree ahead of time on the desired
tone, what is or isn’t appropriate, and what subjects (if any) are
off-limits. No one should feel ashamed for drawing lines, and no
one should have to explain themselves if they don’t want to. This
may feel like an extra step, but we avoid many wrinkles if everyone
is on the same page.
During the game, crossing the established lines should be
forbidden. No one should feel pressured into roleplaying scenarios
they’re not comfortable with. There should be no tolerance for
bullying, disrespect, or purposefully shutting down other players.
And while characters may experience trauma and emotional
consequences, anything that takes away a player’s autonomy,
without consent, should be forbidden.
Ideally, everyone should be invested in one-another’s comfort
and fun. Everyone should be forgiving if someone crosses a line
by accident, and anyone who accidentally discovers a boundary
should be willing to back off. It’s always okay to take a break, or
to speak up if something threatens your fun. If things get a little
“real” or “dark,” but everyone is okay with it, then that’s fine. But
it’s okay to check in now and again to be sure we’re still good.
Not everyone is comfortable talking about what they are or aren’t
okay with. It can be embarrassing or private. Fortunately, the
Game Master can deploy a number of safety tools to help manage
player comfort. The Game Master section offers a few suggestions
for this, but if you have a favorite safety tool, go ahead and use it.

9 Table-Talk Roleplaying
 Basic Rules
o

I: Basic Rules
B
efore you start playing, it is important to have at least
a passing knowledge of the game’s most basic rules.
These are the foundation for how we tell our story
together. Knowing them ahead of time will help you make a
good character and equip you to tell an entertaining story.

HOW TO PLAY
Our game is a conversation about a story. The way you play the
game is by describing what your character is doing, especially
to the Game Master. When describing your character’s actions,
relay what you are trying to do or what you intend to happen.
The Game Master reacts to your narration by describing the
outcome. Most of the time, what you say simply happens.
When you tell us what your character is doing, that is called
taking an “Action.” “Actions” are shorthand for things that a
character is doing in a scene.
There are different types of
Actions a character can take, and
which type your character is doing
depends on what you described.
We’ll talk about that a little later,
but for now, just know that your
character can do anything that
makes sense in the context of the
story, and often what you describe
will correspond to different types
of Action, which will help us
determine what happens next.

sDf
How to Play 10
TESTS
The core mechanic that runs Tiny Taverns is called a Test. You
roll a Test in any of three situations:

I: Basic Rules
r
Whenever your character attempts something where the
outcome is uncertain.
r
Whenever a rule or the GM instructs you to.
r
Whenever it would make things more interesting or exciting.

A Test is a roll of two six-sided dice, 2d6. The Test is “successful”

if you get a 5 or a 6 on any of the dice you rolled. Likewise, the Test
is a “failure” if none of the dice you rolled have a result of 5 or 6.

Remember: the total of the numbers showing on your dice do

not matter. All that matters is if any of them show a 5 or 6.

When you succeed yourTest, then what you intended happens.The

Game Master describes the results, telling us how you benefitted.
When you fail your Test, then something went wrong. The Game
Master describes something happening other than what you
intended, telling us what consequences arise from failure. If you want,
you can add your own embellishment, telling us how your character
messed up or how they feel about it. Sometimes the character still
gets something for failing, but it’s almost never what they expected.
Sometimes the rules tell us what also happens as a result of a success
or failure. The Game Master can use the described mechanical
effects of success or failure as a guideline for how to present the
story, but no matter what, something should always change as a
result of a Test.

ADVANTAGE AND DISADVANTAGE

Sometimes something in the story would make it more likely that
a character succeeds a Test. The outcome is still uncertain, but
the odds are in their favor. We refer to this as having “Advantage.”
Advantage is normally granted by a character’s Traits, or special
narrative circumstances like magic, using the environment so that
it favors the character, and so on. The GM can let you Test with

Tests 11
Advantage any time they think it makes sense. Narrating your
Actions so that you are playing to your character’s strengths is
a big part of the game.

I: Basic Rules
When you Test with Advantage, you roll three dice (3d6)
instead of two. This increases your chance to succeed! You only
get Advantage on a case-by-case basis; you don’t keep Advantage
from turn to turn, but you do gain it every time it is relevant.
Disadvantage is the opposite. When something in the story
makes it less likely for a character to succeed (but success is still
possible), we refer to it as having “Disadvantage.” Disadvantage
is typically imposed by narrative circumstances, whenever the
GM judges that the odds are against the character. There are
also times that a character’s Trait is a hinderance to what they
are doing; when this is true, that Trait gives Disadvantage
instead of Advantage.
When you Test with Disadvantage, you roll only one dice,
1d6, instead of two. This makes it much harder to succeed.
Like Advantage, Disadvantage only lasts for the specific Test
(thankfully), but it can always happen again if your circumstances
don’t change!
There are a few more things to remember when it comes to
Advantage and Disadvantage:

r
Disadvantage supersedes Advantage. If something makes

you roll with Disadvantage, you always roll 1d6, even if
something else would have given you Advantage instead. There
is one exception:
r
If the thing granting you Advantage is magical in nature, then
the Advantage supersedes Disadvantage. Magical advantages
are very good to have.
r
Advantages do not stack. You can only ever roll as many as 3
dice at one time. If you would be granted multiple Advantages,
the additional Advantages are lost. Similarly, you can never
roll less than 1 die, no matter how Disadvantageous things
may be.

Tests 12
FOCUS
Focus is a special “boost” you might get
for your Tests.You gain Focus as a result

I: Basic Rules
of certain rules or by taking specific
Actions. While Advantage is given
whenever it makes sense in the story,
Focus is only granted when something
specifically says the character gets it.
When you Test with Focus, you
succeed if any die’s result is a 4, 5,
or 6. This makes it much more likely for
you to succeed!
Focus stacks with Advantage and Disadvantage. For instance,
it is possible to have Disadvantage but also Focus (meaning
you would roll 1d6, but you’d succeed on a 4, 5, or 6 result).
However, a character can only gain Focus once per Test.

OPTIONAL RULE: COMPLICATIONS

If your group would like to add an additional layer of complexity and
unpredictability, you may add the following Complication rules:
During a Test, if any die’s result is a 1, then a Complication occurs. A
complication is an unexpected result of a character’s actions, something
they didn’t expect to happen. Any player may invent this unexpected
event, but the GM gets final say.
Complications happen in addition to a success or failure. They can
“upgrade” a success or failure result, making them more potent. Or they
can add a new challenge or setback directly resulting from what you did.
Perhaps you succeeded “too well” and accidentally created a problem
everyone will need to deal with later. Perhaps you failed, but also set your
opponent back, or set up an ally for success. Perhaps you meant to scare
off the Dragon, but instead earned its respect and admiration, and now it
follows you around, whether you want it to or not!
Complications can be positive, they can be negative, they can even
just be for humorous effect and nothing else if you all want. The only
condition is that they are something in addition to what you intended,
and they cannot contradict or negate success or failure.

Tests 13
GM TESTS
Players roll a Test whenever the outcome of what they narrated is
uncertain. But what the GM describes always happens; it is never

I: Basic Rules
uncertain when a GM says “the floor collapses” or “the door is
locked” or “the pixie barfs on your new shoes!” In other words,
the GM never rolls dice in Tiny Taverns unless they really want to.
When the GM says something happens, like “the princess throws
her wine in your face,” that thing happens with no Test required.
However, players may “react” to what the GM says (see below).
The GM may choose to roll dice if they prefer to keep the
outcome uncertain, rolling a Test just like a player would (1d6,
2d6, or 3d6). But this is completely optional.
Sometimes a rule forces the GM to Test for an outcome. When
this happens, it is not optional, and the GM must roll (2d6,
unless otherwise stated).
The GM’s job is not to “defeat” the players. It is to challenge the
players and guide the storytelling. The GM is spared the need to
roll Tests so that they are empowered to facilitate play without also
having to count on the dice. But as noted above, they can roll dice
anyway if they want to keep things unpredictable.

REACTING TO THE GM
As mentioned above, the GM does not Test or roll dice when
describing what happens. However, players always get a chance
to react to whatever the GM describes. They react by describing
what their character does in response to what happens in the
story, often proposing an alternative outcome.The GM may then
accept what the player described as what actually happens. If so,
then what the player described occurs, and the story continues.
If not however, then the player rolls a Test as described.
r
If the Test is successful, what they described happens instead
of what the GM said. The GM may modify the description
so that it better fits the context of the story, but they must
conform to the intentions of the player, and cannot “shut
them down.”

Tests 14
 r
If the Test is a failure, then what the GM originally described
happens. The GM may modify the description to reflect the
character’s attempt to change the outcome.

I: Basic Rules
For example: your character is engaged in a pie-eating contest.The
GM says, “Your opponent devours the pie in three bites, winning the
contest.”You “react,” saying,“No, I eat it whole and in one massive bite,
spitting out the empty tin after.”You Test; your “Always Hungry” Trait
allows you to roll with Advantage, so you roll 3 dice. One of them is a
5; you succeed!Your character wins the contest in the exact manner you
described, and the story continues from there.

To summarize, instead of the GM rolling, the players should be.

LIMITS TO REACTING
Characters can only “react” when it makes sense for them to do so,
and if they realistically have the ability within the story’s context.
For instance, your character may react to a thief escaping through
a window by jumping in their path, but not if they are too far away,
or your character is tied up or indisposed. As another example,
your character may react to a customer tossing fancy plates across
the room by diving to catch them, but after the third or fourth
time, the GM may decide your character is too tired to react again.
Whatever you propose as a counter must be plausible enough that
everyone, including the GM, agrees you could try.
There is one additional catch: The first time each Round that a
player Tests as a part of their “reaction,” they roll as normal. All
other times, they have Disadvantage, unless the GM says otherwise.

WAIVING A TEST
The GM can always waive a player’s need to roll a Test, giving them
an automatic successful outcome.There are many reasons why they
might do this. Usually, it is because a successful outcome is more
interesting to the story than failure, or because the context is such
that success is not in doubt.
Some abilities may also instruct the player to “waive a Test.”
When this happens, the character is automatically successful.

Tests 15
OBSTACLES
An Obstacle is a challenge that requires a Test to overcome. Obstacles
are circumstances in the story that makes the outcome of your

I: Basic Rules
desired action uncertain. They can take many forms: a rowdy patron
that needs to be escorted out, a locked door that needs to be picked
(or smashed open), a field of herbs that needs to be searched for a
very specific flower, or a forlorn prince that needs comforting.The
Game Master decides when something is an Obstacle; generally,
it’s an obstacle when it’s in the way of what you want!
The GM can always determine that your roleplaying was sufficient
to bypass an Obstacle, waiving any Test it would have imposed.
But often, you will need to Test.

TEST AND OBSTACLE TYPES

Different Obstacles and Actions may “flavor” a Test with specific
“types.” Test types help us to interpret what the Obstacle is
doing to hinder the character, or how the character approaches
it. They don’t change the rules, but sometimes characters get
bonuses (or penalties) when they make specific kinds of Tests.
A Test has all relevant types that best fit. It is possible for a Test
to be a “Magic Save Test,” or a “Charm Attack Test,” and so
forth. It is also possible that a Test has no type at all.
SAVE TESTS
An Obstacle may require a character to Test in order to prevent
something from happening. For example, a character may need
to Test while extracting honey to avoid angering the bees, or to
push a friend out of harm’s way. Tests made to prevent harm
are called Save Tests.
Save Tests are also used to stabilize an incapaciated character.
A successful Test allows them to get up and keep going.
CHORE TEST
A Chore Test is specifically any Test made to complete a tavern
chore. Tavern chores are special Obstacles that represent tasks
undertaken to operate the tavern. More on Chores can be found
on page 148.

Obstacles 16
NOTICE TESTS
A Notice Test is a Test made to notice something that might be

I: Basic Rules
overlooked. For instance, recognizing another character’s tell in a
poker game, spotting a thief stealing drinks, or finding a specific
detail while researching an old book are all Notice Tests.
An important note: if characters must find something specific in
order for the story to proceed, they do not roll a Notice Test. Instead,
they just find it. Otherwise this would be a pretty dull story, right?
TRADE TESTS
A Trade Test is a Test made to determine something’s value. More
on trade can be found on page 162, but for now, know that when
you are bartering, selling, or determining how much something is
worth, you’re making a Trade Test.
ATTACK TESTS
An Attack Test is any Test made to determine the outcome of an
“attack” Action. Attack Actions are made with the intention of
inflicting an injury, damaging or breaking something, or hindering
a person or thing from doing what they are trying to do. More on
attacking can be found in Combat on page 30.
MAGIC TESTS
A MagicTest is anyTest made to accomplish a magical task or where
magic is a significant factor. They are used to cast spells, identify
when magic is at work, prevent magic from happening, other such
magical stuff. More on magic can be found on pages 44 and 117.
CHARM TESTS
A Charm Test is any Test made where likability is a factor, or which
uses social leverage, like blackmail, obligation, or calling a favor.
STEALTH TESTS
A Stealth Test is any Test made where hiding or going unnoticed is
a factor, or where subtlety or discretion matters most.
The Game Master may decide that certain simple tasks become
Obstacles if undertaken with stealth and sneakiness.

Obstacles 17
FORTUNE
Some mechanics bestow players with a special resource called
“Fortune.” Points of Fortune accumulate on characters and

I: Basic Rules
carry over from scene to scene, until they are spent, or until they
are lost at the end of a session. The easiest way to get Fortune is
when one of your own Traits gives you Disadvantage; whenever
this happens, you get one Fortune.
A player may spend Fortune to do one of two things:
r
During a Test, you may spend a Fortune to negate another
player’s Disadvantage.
r
When not attempting a Test, you may spend a Fortune to
change the story so that it favors you.

When you spend a Fortune outside of a Test, the Game

Master alters the story so that your character’s luck changes
for the better. Maybe that thing you needed was in your pocket
all along. Maybe someone at that private party you weren’t
invited to lets you in anyway. Maybe the merchant decides they
like you. Maybe you weren’t as seriously injured by that fall
as you thought, or something moved a cart full of fluffy wool
in the way just in time to break your fall. Honestly, the more
ridiculous the better.
The Game Master may allow the players to propose how the
story should change, but ultimately the GM has final say.
The Game Master may, at their discretion, use Fortune as an
incentive for players to suffer drawbacks and downfalls, rewarding
a Fortune each time they volunteer themselves when the GM
needs someone to endure a setback for the sake of the story.
There are some important limits when it comes to Fortune.
r
A character can never have more than three points of
Fortune at any time.
r
A player can only spend one Fortune point per Round.
r
At the end of a session, all Fortune points you accumulated
are lost (so spend them!)Fortune

Fortune 18
INITIATIVE AND TAKING TURNS
Generally, the conversation in Tiny Taverns is pretty loose.
Players can speak whenever they want and in whatever order

I: Basic Rules
they wish (please don’t interrupt, though). A player might
say something, another player might chime in, the GM will
respond, and so on like that, with no turn order being necessary.
An entire game session may even be played like this.
But sometimes the conversation warrants a more structured
approach. If a lot of things are happening at once, or the Game
Master needs structure to keep things orderly, the game enters
a special mode called “Initiative Mode.” This usually happens
during conflicts, but can occur in any scene where the GM
deems it appropriate.
While Initiative Mode is active, all characters (including those
controlled by the GM) act in a specific order. Each player
gets a single Turn to do something in the story. So does the
Game Master. When everyone has had a Turn, that’s the end
of the Round. Then a new Round begins, or the GM turns off
Initiative Mode if they no longer need it.

DETERMINING INITIATIVE
“Initiative” is the turn order of a Round. Whoever’s Turn it
currently is “has Initiative.”
In Tiny Taverns, players act as a single group. When Initiative
Mode begins, Initiative is given to either the Game Master or
the Players, depending on the circumstances of the story.
r
If Initiative Mode activated because of something the players’
characters did or are about to do, they get the Initiative.
r
If the characters are surprised, ambushed, or let others act
first, then the Game Master gets the Initiative.

When the players get the Initiative, they each take a turn in
whatever order they prefer, working it out among themselves.
When they have all acted, Initiative passes to the GM.

Initiative & Taking Turns 19

 When the GM gets the Initiative, they also have a Turn. But
during their Turn, each non-player character, Obstacle, and/or
enemy that they control gets a chance to do something. Players

I: Basic Rules
can still “react” as normal. When the GM is done, Initiative
passes back to the players.
Initiative passes back and forth like this until the GM ends
Initiative Mode.

A PLAYER’S TURN
During your turn in Initiative Mode, you describe what your
character is doing just like you normally would. You are limited
to two Actions during your Turn.
What is an Action? Well, as mentioned before, “Actions”
are shorthand for specific things a character does in a scene.
What constitutes an Action will depend on the type of scene or
conflict taking place. After you describe what your character is
doing, the GM compares your narration to the list of Actions
available for that scene. If
what you described checks
off one of those Actions,
then you still have one
more you can take. If it
checks off two, then you
are using up your entire
turn. If it checks off more
than two, the GM may ask
you to revise what you
are doing to something
less complex.
Generally, moving a
significant distance is
considered an Action. So
is attacking someone, or
using an ability. Other
examples include kicking
over a table to make cover,
or finishing a food order

Initiative & Taking Turns 20

before guests get rowdy. Often, these Actions will require Tests
because their outcomes will be uncertain. Other times you may
act against an Obstacle, which also requires a Test.

I: Basic Rules
Some things are not considered Actions during specific scenes
because they are so trivial, or because the Game Master deems
you have enough time in a turn to do it. Some examples might
be scooping up an dropped item as you run past it, or barking a
signal to a friend just as you set them up for something awesome.
In the context of the story, a character’s turn lasts as long as is
appropriate to the narrative. It might represent just a few seconds,
or it might represent hours of a single activity. The Game Master
will decide how much in-story time passes between turns, but
generally it is advised that they do not assign fixed amounts of
time, so the story can be as flexible as possible.

ASSISTING AND TEAMWORK

Often characters must work together to accomplish their goals.
One person cannot run the entire Tavern, after all!
When a character fails a Test, a different character may try
to help by coming to their aid. The aiding player declares this
immediately, describing how their character lends their aid.
Anything is permissible as long as it makes sense in the narrative.
However, the aiding character must also be in a position to
assist given the context of the story. If they are preoccupied,
don’t have the knowledge required, aren’t close by, or other
such restrictive circumstances, then they cannot come to aid.
If the GM agrees that the character can help, the aiding player picks
one of the rolled dice and re-rolls it.The GM uses the new die result
to determine what happens. This can turn a failure into a success.
The number of times a character can assist like this is limited.
During Initiative Mode, assisting costs one Action; you’ll begin
your turn with one less Action, and if you have no Actions left
then you cannot assist. Different characters can assist, one at a
time, on the same Test, but only once per character.
Outside of Initiative Mode, assisting can only be attempted
once per Test.

Initiative & Taking Turns 21

CONFLICTS
“May our friends and loved ones get whatever they want
And the rest get what they deserve.”

I: Basic Rules
- Traditional Dwarven Toast
One might think life at a tavern is pretty peaceful. That might
be true compared to dungeons or the untamed wild. But
the tavern sees its share of conflicts, from heated arguments
between patrons, intrigues over beers, or the not-so-occasional
bar brawl. And the odd dragon attack. That happens too.
In Tiny Taverns, a “Conflict” is any scene where characters act
directly against antagonistic forces. The Game Master signals
a conflict by declaring Initiative Mode and describing the
circumstances of the scene. Players describe their heroic actions
and how they defend themselves or end the conflict.
What follows are some rules the GM can use to facilitate conflicts.
The conflicts in Tiny Taverns are the Contest (a competition
between player characters), the Quarrel (a debate or argument),
the Combat (a physical fight or all-out brawl), and the Action
Scene (a chase, stealth mission, or other fast-paced scenario).

CONTESTS
Characters may end up in competition with one-another, due
to clashing goals, misunderstandings, or other such dramatic
turn of events. Sometimes, they’re just passing the time!

Conflicts 22
 During a contest, each character
is an Obstacle for the other. The OPTIONAL RULE:
Contest takes place over several
WORKING IN TANDEM

I: Basic Rules
Rounds. Each player rolls a Test
at the same time; characters use At the GM’s discretion, when
a player says their character is
their relevant Traits, abilities,
working together with another
and such mechanics as normal. character as they attempt a Test,
Any ability that would hinder and what they describe makes
their opponent (instead of sense given the story’s context,
boosting their own attempt) the GM may grant Focus to
downgrades their opponent’s the roll. This should cost the
Test; Advantage to regular, or helping character an Action if
regular to Disadvantage. done during Initiative Mode.
If both characters fail their
Test, then the Contest continues another round; narrate the
mounting tension, then have them Test again.
If one character fails, then the other is victorious. Narrate
what happens!
If both characters succeed, the contest is a draw! Neither
overcomes the other and it ends in a stalemate.
Contests can be inserted into other conflict scenes, or they can
stand alone. Some contests are a distraction, so be sure to cover
what else is happening while the contest is going on!

QUARRELS
Sometimes characters must convince someone to do something
they are not inclined to do, often while another group actively
opposes them. This is called a Quarrel.
Quarrels represent a debate or argument between the player
characters and any number of opponents controlled by the
GM. The goal is to influence a third party, convincing them
to do something, stop something, or change their mind. Player
characters are opposed by NPCs who are trying to do the same.
The third party may be an individual with clout, the leader of
the opponents, or even just “anyone nearby who isn’t arguing.”

Conflicts 23
They could be trying to convince an angry mob to disperse
(the opponents being the leaders of that mob), convincing
a prince to release their friend (their opponents being the

I: Basic Rules
prince’s advisors), or even just arguing which beer is better
with a visiting critic.
The Game Master signals a Quarrel by acting Initiative Mode
and describing the scene. The Game Master also decides the
“Conviction” of the third party, which determines how difficult
it will be to sway them (see below). The Quarrel follows the
turn structure described in the Initiative section (page 19) with
each player acting on their turn. The Quarrel lasts until one
side has enough “Sway” to convince the third party, both sides
compromise and appease one-another, or the third party gets
tired and decides they’ve heard enough.
CONVICTION AND SWAY
When a Quarrel begins, the GM decides how much “Conviction”
the third party possesses. They do this by choosing a number
between 1 and 5, with 1 being very easy to convince, and 5 being
steadfast and stoic (or stubborn) in their convictions. This is how
many Rounds the Quarrel will last if not interrupted, and it is
also how difficult it will be to sway this third party.
The goal of each side to is accumulate Sway. Sway is how the
GM keeps track of who is winning the debate. A side gains or loses
points of Sway as a result of actions taken during the Quarrel.
WINNING OR LOSING
When we reach the final
Round of the Quarrel, and
the third party has heard
enough, something
happens based on
which side has the
most Sway.

Conflicts 24
 r
If the players have equal or more Sway than the third party’s
Conviction, they win the debate. The third party gives them
what they want, to the extent that is possible within their power,

I: Basic Rules
even if it would be difficult or go against their principles.
r
If the players have more Sway than their opponents, but less
than the third party’s Conviction: the third party gives them
what they want, but with a major concession on the part of
the player characters, or with significant strings attached.
r
With any other result, the player characters fail to persuade
the third party, and they do not get what they want.

The Quarrel also immediately

ends if the players gain Sway ESCALATIONS
equal to the third party’s If a quarrel escalates and tempers
Conviction. flare, the GM may turn it into
a Combat. So maybe keep the
YOUR QUARREL TURN insults to a minimum…
During your turn, you have
two Actions. Players describe what their character is doing
and what they hope to accomplish. The Game Master then
interprets what they described into one of the following Actions:
r
Sense the true motives of another person in-scene
r
Reason with the Third Party, using logical arguments or
laying out a plan
r
Appeal to the Third Party or an opponent, using emotion
or conviction
r
Shutdown an opponent
r
Calm everyone down by offering a compromise or being
likable
r
Test for an ability or to overcome an Obstacle

If what you described fits one of those Actions, then you still
have one more you can take. If it fits two, then you are using up
your entire turn. If it qualifies for more than two, the GM may
ask you to revise what you are doing to something less complex.

Conflicts 25
SENSE
Characters can try and sense the motivations of others in-
scene. They may help them figure out how to argue their point,

I: Basic Rules
what they should avoid saying, or what someone actually wants.
The player should clearly state whose motives they are trying
to discern and how. Then they Test. If successful, the Game
Master reveals what the player wanted to discover or another
piece of useful information. If that information is useful for a
future Action, that Action Tests with Focus.
If the Test fails, the Game Master gives the player two different
pieces of information as described above. However, one of
them is false, and they don’t reveal which.
REASON
Characters may try to reason with those present to gain sway.
Characters take this action if their argument is logical, uses
evidence or the law, or otherwise relies on what they consider
rational. The player should explain the point they are trying to
make. Then, they Test. If the GM decides the third party finds
the point weak, or if they are in a cranky Mood, the Test has
Disadvantage. If the GM decides the third party is sympathetic,
or if they are in a good Mood, the Test has Advantage.
If the Test is successful, their side gains a point of Sway. If the
Test is a failure, then the point is countered, shouted down, or
poorly-received; they lose a point of Sway.
APPEAL
Characters may try to appeal to the emotions of those present.
Characters take this action if their argument appeals to emotion
or decency, invokes honor or other values, or otherwise relies
on emotional impact. The player should explain how they tug
heartstrings. Then, they Test. If the GM decides the third party
finds the point weak, or if they are in a cranky Mood, the Test has
Disadvantage. If the GM decides the third party is sympathetic,
or if they are in a good Mood, the Test has Advantage.
If the Test is successful, their side gains a point of Sway. If
the Test is a failure, then they irritate the third party, who

Conflicts 26
downgrades their Mood (Good to neutral, or neutral to
Cranky). If their mood is already Cranky, then they’ve heard
enough; their side loses a point of Sway, and the Quarrel ends.

I: Basic Rules
SHUTDOWN
Instead of convincing the third party, characters can “attack”
their opponents by trying to shut them down. They do this by
intimidating them into silence, distracting them, laying them
out with a sick burn, or any other such tactic. Players should
describe what they are doing and to whom. Then, they Test.
If successful, the GM chooses one of the following: the Shutdown’s
target suffers an appropriate Injury (representing injured pride or
feeings, see page 36 or the target’s side loses a Sway. If the Test is a
failure, then you’re the one who looks foolish; your side loses a Sway.
CALM
Characters may attempt to calm the tempers of those present.They
do this by trying to soothe hurt feelings, offering a concession,
being serene, or even by offering a compromise. Players should
explain what they are doing and how. They should also say what
they are offering or proposing, if that is the route they are taking.
Then, they Test. If they are offering something the other side(s)
want, this Test is made with Advantage.
If successful, the moods of all present are set to neutral, and
until their next turn, the character Retorts with Focus (see
below). If the Test is a failure, they are unable to calm anyone.
TEST
This is a catch-all action for any interaction with an Obstacle
that isn’t any of the above. All kinds of things may require a
Test, like physically restraining someone so they cannot say
anything, or breaking a table to thunder strike everyone into
paying attention. If successful, you get the result you wanted. If
you fail, something different happens; the GM will tell you what.
The GM may award or deduct Sway if they think it makes sense.
Abilities may also ask for the player to Test. When players use
those abilities, they are taking this action.

Conflicts 27
THE GM’S QUARREL TURN
On the Game Master’s turn, each entire opposing side acts as
one enemy. This mass enemy may take between 3 to 6 Actions,

I: Basic Rules
depending on how many participating opponents there are.
Generally, enemies will try to do the previously listed Actions
and either gain Sway, or verbally lambast the player characters,
inflicting appropriate Injuries to hinder them later. Remember,
enemies don’t have to Test unless the GM wants them to.
Players may React to these actions as normal. Remember that
you can only react if it makes sense to do so, and that each
reaction past the first Tests with Disadvantage. Player reactions
are interpreted into one of the following:
r
Retort a point with a quip or counter
r
Test to overcome an Obstacle

The primary reaction is to issue a Retort. A character does this

by countering or undermining an opponent’s point. Retorts can
be thought of as “defending” against an enemy’s verbal “attack.”
The player should make clear how they do this, and then Test. If
the GM decides their point is weak, they Test with Disadvantage.
If the third party is sympathetic, they Test with Advantage.
If successful, either the character does not suffer the Injury that
the attack would have dealt, or the opponent does not gain any
Sway. If failed, the enemy’s action occurs as described.

QUARRELING PLAYER CHARACTERS

Quarrels are usually between player-controlled and GM-
controlled characters. When player characters argue with
one-another, they simply act out the debate in-scene. The
GM can use the Quarrel rules if no one will budge and
they need a way to decide, but only with the consent of all
participating players.
A player character who loses this kind of Quarrel may still
disagree and act however they wish. However, they become
Unwell and suffer an appropriate emotional Injury if they do.

Conflicts 28
ACTION SCENES
An Action Scene occurs when the story requires rapid action and
repeated physical feats. A chase throughout the tavern, a rush to

I: Basic Rules
complete a big food order before the customer walks out, infiltrating
a locked room without being noticed, or following a thief across
rooftops are all examples of Action Scenes.The Game Master signals
the start by describing the scene, then requesting the first Test.
In game terms, an Action Scene is a string of Obstacles encountered
in rapid succession.To begin, the Game Master describes the situation
and an Obstacle that must be overcome to proceed. Then each
player, in any order, describes how they are attempting to overcome
or bypass the Obstacle. The player then Tests. If the GM decides
the Obstacle is especially challenging, the Test has Disadvantage. If
the character succeeds, they pass the Obstacle and continue to the
next one. If they fail, then the Obstacle has stopped them; they are
either temporarily removed from the scene, or the Game Master
provides an “alternative route” and a chance to catch up.
The GM may waive a Test if a player describes or uses something
that renders the obstacle useless.
After each player has a turn, the remaining characters encounter the
next Obstacle.The scene continues like this until either all characters
are removed, or one or more characters pass the final Obstacle,
with the Game Master describing what happens in either case.
Action scenes should be brief, related challenges. Players can
invent whatever solutions they want for each Obstacle; creativity
should be rewarded with Advantage or by waiving the Test. The
Game Master should keep the number of Obstacles low; three
is a good number, six is too many.

WHAT HAPPENS TO THE DROPOUTS?

After the Action Scene resolves, the players who did not complete
the challenge and were removed from the scene should have an
opportunity to describe what happened to them in the meantime.
The Game Master may even give them a “meanwhile” scene with
its own set of challenges or Obstacles. Make sure everyone has
equal time in the “spotlight,” as it were.

Conflicts 29
COMBAT
When a physical fight breaks out, a Combat occurs. The Game
Master signals the combat by activating Initiative Mode. The

I: Basic Rules
Combat follows the turn structure described in the Initiative
section (page 19), with each player taking their turns in any
order they choose, and play being divided into Turns and Rounds.
Combat lasts until no one is fighting anymore.
YOUR COMBAT TURN
During your turn, you have two Actions. Players describe what
their character is doing and what they hope to accomplish. The
Game Master then interprets what they described into one of
the following Actions:
r
Move to a specific spot
r
Attack a target and attempt to hinder or damage
r
Evade damage, attention, or hindrances
r
Seek the upper hand by turning the tables
r
Equip an item or something nearby, or Give something to
another character
r
Test for an ability or to overcome an Obstacle

If what you described fits one of those Actions, then you still
have one more you can take. If it fits two, then you are using up
your entire turn. If it qualifies for more than two, the GM may
ask you to revise what you are doing to something less complex.
MOVE
If what a player describes involves moving quickly from one
place to another, that is considered a Move action. The Game
Master determines whether or not you can cover enough
ground to get to where you want. Generally, characters can
move up to 25’ with a single Action.
Sometimes movement requires a Test, like if there is stuff in
your way, or if your movement is hindered somehow. Even if
you fail a movement Test, the character might still get to move
a little, just not to where you intended.

Conflicts 30
ATTACK
Attacking is one of the most
important aspects of combat. An
“attack” is any action with the
intention of inflicting harm to a
person or thing (such as damage
or injury), hindering or subduing
an opponent, or forcing a specific
course of action upon a person
against their will. Hitting someone
with a chair, tackling them to the
ground, or forcing them into a
room with no exit are all “attacks”
in this context.
To attack a target, they must be
within your range. Generally you
can only attack targets within
your reach (or reach of whatever
you are holding), but you can
always throw objects at your
opponents if they are too far.
Some weapons fling projectiles
and can reach much farther.
Melee Attacks are attacks
made within your reach. Punching,
hitting with chairs, smacking them
with your sword… that kind
of thing. Ranged Attacks are
attacks made outside your reach.
Throwing a coffee mug, hurling a
javalin, shooting a crossbow… you
get the idea. Finally, Grapples
are attacks there are intention is
to overpower your enemy, like
wrestling them to the ground or
tying them up in a rope.
Example Of Combat Play:
A bar fight breaks out among
the patrons. Thankfully, the
I: Basic Rules
players have the chance to go
first. They decide that Datura,
the selkie barmaid, should go
first. Her player says, “Datrua
dives behind the bar from
across the room!” The Game
Master decides that fits both
the Move and Test Actions;
Move to cross the room,
Test to dive behind the bar.
Datura passes her Test so
what she describes happens.
Next is Kitani, who says, “I
grab the sword off the mantle
and toss it to Lunata!” The
GM decides that is two Equip
actions, one of which requires
a Test, which Kitani passes.
Finally, Lunata says, “After
catching the sword, I use it
to disarm the guy in front of
me.” The GM decides that is
an Attack Action; Lunata fails
the Test. But since that was
only one Action, she can do
one other thing, so she says,
“I brandish my sword to parry
anything that comes my way,”
which the GM decides is an
Evade Action. Now it is the
enemy turn, and the players
brace themselves to React to
whatever the GM is about to
describe.
Conflicts 31
 Attacks are resolved by Testing. The Obstacle is your enemy.
If you are attacking in a manner with which you are Proficient
(meaning you have a relevant Proficiency that applies to your

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attack, see page 95), then you Test as normal. This is also the
case if the Game Master decides you and your opponent are
both evenly matched. If neither are true, then you Attack with
Disadvantage. Certain mechanics might give you Advantage
for an Attack roll, such as having Mastered your weapon.
If you Test successfully, then what you intended happens. The
Game Master describes the results of your attack. You may also
choose to inflict an Injury on your opponent (see page 36 for
more on Injuries). An unarmed attack inflicts a Minor Injury. If
you are using a weapon, then you always inflict an injury, but you
may decide if it is Major or Minor. Most enemies have a number
of Health Points (Hps) that represent how many injuries they
can sustain before they decide they don’t want to fight anymore.
Attacks only inflict one Injury unless they say otherwise.
If you fail the Test, the enemy evades you, or you are otherwise
unsuccessful.Tell us what happens instead and what went wrong.
More on weapons (including different types) can be found in
Equipment on page 104, and Weapons on page 109.
EVADE
Characters are evading if they are actively avoiding anything
and everything that could hurt or hinder them. Crawling under
the tables during a bar brawl, ducking and dodging flying
plates, parrying attacks, or simply avoiding the line-of-sight of
possible opponents are all good examples of Evading.
While you are evading, you can Save as many times as you
wish during other turns (once per attack aimed at you), and
you do not suffer Disadvantage while attempting a Save Test
(see the Defend reaction below on page 34) except if due to
Injury (see Injuries on page 36).
At the Game Master’s discretion, you may protect up to two
others when Evading. If so, they also gain the benefit of evading
as long as they follow you (and as long as you are still evading).

Conflicts 32
SEEK
If something a player describes doesn’t fit the other actions,
chances are the character is trying to find some kind of advantage

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or a way to turn the tables on the enemies. Seek is the default
action for anyone who describes a course of action that is meant
to empower a future action, prevent an opponent from doing
something, or set-up another character for victory. Some examples
include: Waiting for an opening to do something, distracting or
baiting an enemy into a specific behavior, using the environment
against the enemy, getting a running start to use your momentum,
or other such set-ups for future actions.
When you choose to Seek the upper hand, you describe what
you are doing and the intended result. The Game Master may
choose for you to Test, or they might just give it to you. Then,
the Game Master rewards one of the following effects:
r
The narrative changes to what you described (and possibly
making things more advantageous for you and your allies).
r
The next time this conflict you or an ally attempt a specific
Test, they Test with Focus.
EQUIP
Equipping is any action where you obtain or brandish a new
item. Picking up a dropped scroll, drawing a sword or dagger, or
rifling through your backpack for the right spell book are all Equip
actions. Equipping also pertains to giving an item to someone else,
even if you are throwing it to them from across the room.
To equip, you must have a hand free. You can stash or stow
a small item as a part of equipping, or you can drop whatever
you are carrying at any time. Stashing a large or cumbersome
item is an action.
Sometimes equipping may require a Test. Generally this is if
you want to equip with something other than your hands, or if
you only have one hand free and you need both, or if the thing
you are trying to equip is slippery, stuck, or otherwise being
uncooperative. The Game Master will determine if a Test is
required; failure means you’ll probably have to try again.

Conflicts 33
TEST
This is a catch-all action for any interaction with an Obstacle
that isn’t attacking or seeking the upper hand. All kinds of

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things may require a Test, like squeezing past someone trying
to block your path, or scrambling up the wall so you can get a
high vantage on your opponents. If successful, you bypass the
Obstacle and get the result you wanted. If you fail, something
different happens; the GM will tell you.
Note that something still happens if you fail this Test. Just not
what you wanted or expected.
Abilities may also ask for the player to Test. When players use
those abilities, they are taking this action.
THE GM’S COMBAT TURN
On the Game Master’s turn, each enemy may take up to 2
Actions. Generally, enemies attempt any of the Actions described
previously. Players may React to these actions as normal.
Remember that you can only react if it makes sense to do so, and
that each reaction past the first Tests with Disadvantage. Player
reactions are interpreted into one of the following:
r
Defend against an attack or something harmful
r
Give something to another character
r
Test to overcome an Obstacle

Remember that you can only react if it makes sense for you to
do so. Your first reaction per Round Tests like normal, but all
others Test with Disadvantage.
DEFEND
A character Defends when they react by avoiding or preventing
the harm of an enemy’s attack. Thwarting an attack, parrying,
dodging, or pushing an ally out of the way of an errant beer
mug are all examples of defending. You can only defend if it
makes sense within the narrative.
Characters defend by attempting a Save Test. The Obstacle
is your enemy’s attack. If you are defending in a manner with

Conflicts 34
which you are Proficient (meaning you have a relevant Proficiency),
then you Test as normal. This is also the case if the Game Master
decides you and your opponent are both evenly matched. If neither

I: Basic Rules
are true, then you Defend with Disadvantage. Certain things might
give you Advantage while Defending, such as having the high
ground, or having Mastered the weapon you are defending with.
If you Test successfully, the attack is thwarted; what you described
happens, and the attack does not affect you or its target. If you fail,
the attack lands, and you (or the target) suffers the consequences.
Only one defense can be attempted per attack.
Characters may also defend to avoid environmental damage,
like falling rocks, a collapsing
floor, or other such stuff. S
ELFLESS EFENSE D
GIVE If you would like to reward selfless
defenses, implement this rule:
This reaction is how you play
Whenever you defend someone
keep-away with your opponents. other than yourself, if you are
It works like the Equip action, willing to take the damage or effect
except you are always giving instead of the target, you defend
an item to an ally, and you can with Advantage. If successful, any
only do this with something light injury or other effects of the attack
enough to toss. are inflicted on you instead of the
intended target.
TEST
This is a catch-all for any other reaction. The Game Master
should allow players to invent their own reactions to what
opponents are doing, then let them Test to see if they are
successful. If they succeed, what they intended happens. If not,
something different happens that they didn’t expect.

COMBAT BETWEEN PLAYER CHARACTERS

Player characters should only fight when it is dramatically
appropriate.You are friends, after all! When this happens, players
rank up in Initiative in the order the GM determines to be most
appropriate and take actions as normal. Players may react to one-
another’s actions; this means they can Defend against a successful
Attack, or Test to hinder an opponent’s movement, and so forth.
Combat ends when everyone is done fighting.

Conflicts 35
HEALTH AND INJURY
“A toast, my friends!
May those who love us be permitted to love us,

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May those who hate us have their hearts turned by the gods,
And if their hearts cannot be turned, may the gods turn their ankles
So we can know them by their limping.”
- Fritzi, well-meaning magician
As a slice-of-life game, physical combat in Tiny Taverns should
be generally infrequent. Even so, tavern curation has its own set
of occupational hazards, especially in an unruly fantasy world.
We represent the well-being of a character in an abstract way,
referring to their current condition as the character’s “Health,”
and specific lasting damage they have suffered as “Injuries.”

INJURIES
Injuries are an abstract representation of lasting trauma,
either physical, emotional, or even spiritual. They are inflicted
by events in the story that would cause lasting damage to a
character’s person. Generally Injuries are inflicted by combat,
obstacles, certain Contests where risk of injury is high, or as a
result of doing something regrettable.
Mechanically speaking, a character suffers an injury when:
r
A rule or mechanic says they do.
r
The Game Master decides it is appropriate to inflict one due
to the events in the story.

When a character suffers an injury, the player decides what

type of injury they have suffered, summarizing it with a short
description of the injury and how they got it. The injury can be
anything appropriate to the story, but it must make sense with
the context of how the injury was received. The Game Master
has final say on what sort of injury is appropriate and can alter
the description if they wish. Alternatively, they can outright tell
the player what injury they have suffered. This description is
then noted on the character sheet under the Injuries section.

Health & Injury 36

 There is no limit to what an injury description can be. Some
examples include:
r
Pulled arm muscle from lifting too much

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r
Terrible scratches from battle cat ambush
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Bump on head from bar brawl
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Broken leg from falling down stairs
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Shattered confidence from unexpected failure
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Fear of falling due to terrible tumble
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Hurt feelings from a bully’s mean jibe
However, Injuries should always be significant in the context
of the story. A minor bruise, a splinter, or a scraped knee are
probably not significant enough to hinder a character for long,
so they probably do not warrant the infliction of an Injury
without serious narrative justifications.
After an Injury is inflicted, the Game Master decides if it is a
Major or Minor injury. Minor Injuries are easy to recover from
and don’t impede the character too much. A Major Injury is
far more serious and impedes most of what a character can
do. Sometimes a mechanic will tell us if the injury is Major or
Minor. If not, the GM makes a decision based on the story.
In addition to narrative effects, when a character attempts
something that their Injury would hinder, they Test with
Disadvantage. For instance, an injured arm might cause
Disadvantage when the character tries to cook with that arm.
An injured leg might inflict Disadvantage to any Test where the
character is trying to move quickly, while injured pride might
cause Disadvantage when the character needs confidence to
succeed in what they are doing.

This means Major Injuries are automatically worse, since they

are more likely to be relevant for many different Tests.
For experienced Roleplayers, it may be helpful to think of
Injuries not as “health points” depleted by game effects, but as
hindering “conditions” applied to the character.

Health & Injury 37

INCAPACITATION
When a character has more than three Minor Injuries, or more
than one Major Injury, they become “Incapacitated.”

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Incapacitated characters are temporarily out for the count.
What this means exactly depends on the context of the story.
It might mean they pass out from their wounds. It might mean
they are too injured to move, or the pain is too great for them to
contribute anything meaningful. It might mean they are dazed
or confused, or trapped and tied up, or crying in another room,
or any other narratively-appropriate thing. Players can invent
the specifics, or they can let the GM come up with something.
The only thing you can spend an Action doing on your turn
while Incapacitated is trying to recover. You do this by making
a Save Test. If successful, you can keep going in spite of your
injuries and take Actions as normal. An ally that is close by and
helping can attempt this test on your behalf, stabilizing your
injuries or helping you up.
Otherwise, Incapacitation only lasts until the end of the scene,
or until the character heals an injury, whichever happens first.
Note that injuries don’t get removed at the end of the scene,
just that Incapacitation goes away; the very next time the
character is injured, they’ll be incapacitated again!
RECOVERING FROM INJURY
Injuries are recovered when something in the narrative cures them.
A healing salve to soothe pulled muscles, a bandage for a deep
scratch, a pep-talk to recover injured courage or pride, an apology to
smooth over hurt feelings, and so forth. When something happens
that would recover an injury, ask the GM if you may remove it.
Another way to recover injuries is by resting. Characters
need at least 6 in-game hours of uninterrupted sleep or rest to
function properly and regain their strength (less sleep might
put you in a cranky mood). If you manage to obtain 6 in-game
hours of uninterrupted rest, you restore all your Minor Injuries.
Otherwise, you restore one Minor Injury for every two hours of
rest you manage to get.

Health & Injury 38

 What that means in
the narrative depends CHARACTER DEATH
on what makes sense. This being a less-serious game, the

I: Basic Rules
The injury may not GM is generally advised against
literally “go away” or having player characters die during the
heal overnight, but it course of the story. However, if higher
might be well enough stakes are desired and appropriate,
that it no longer these rules can be deployed.
bothers the character, Characters who suffer a Major Injury
or it healed to the point after they’ve become incapacitated
where the character can have suffered a mortal wound and
will die if they don’t get help. If a
continue unhindered.
character fails three Save Tests against
What matters is that the incapacitation, and they’ve suffered a
injury no longer affects mortal wound, they die.
the character and is This means Save Tests to recover can
removed. be risky. If a character has already
Major Injuries take failed two Save Tests, the player might
longer to recover from want to pass Actions instead of trying
because they are more to get back up.
serious. The character Having said that, the Game Master
must receive some might want to waive Save Tests for
characters if a character death would
manner of in-story care
be too much of a bummer. Slice-
to address the injury: a
of-life games are pretty casual, and
sling for a broken bone, there’s no reason to kill a character
bandages for severe unless it serves the narrative in some
lacerations, a fun night way. Ask the player, “Are you okay
on the town with good with your character dying?” If the
friends for severely hurt answer is no, it’s okay to let them stay
feelings… whatever the unconscious until help finally arrives.
injury calls for. The
Game Master will determine
when you’ve rested enough to
recover from a Major Injury.
When they deem that you have,
they replace it with a Minor
Injury, which is then cured as
described above.

Health & Injury 39

 EXAMPLE INJURY: LUNATA’S BROKEN ARM
After losing that arm-wresting contest with the drunk Firbolg,
Lunata had her broken arm put in a sling so that it would stay

I: Basic Rules
immobile and heal. The apothecary said it would take six weeks,
but Kitani knows how to heal with special herbs, and treats
Lunata’s arm with a special salve every night to accelerate her
healing. For four weeks Lunata struggles with her chores, making
do with just one arm. In mechanical terms, she sustains her Major
Injury for two in-game sessions, Testing with Disadvantage every
time she does something where a broken arm would hinder her.
Finally, the Game Master announces that her Major Injury is
downgraded to a Minor Injury. Lunata happily removes the cast,
and after a full night’s rest, heals her Minor Injury, becoming
fully-well again.
Unfortunately she falls down the stairs two days later and breaks
her collarbone, but that’s a story for another time.

EMOTIONAL WELLNESS
HEALING EFFECTS As important as physical health
Some rules refer to “healing.” is a character’s emotional well-
They’ll say something like: being. “Emotional Wellness”
“Heal this character.” When
refers to a character’s inner-peace
something says “Heal this
character,” you remove all that
and their ability to process what
character’s injuries. If something they are feeling. It is the “health”
says “Heal an injury,” you only of your character’s emotions.
remove one injury. A character’s emotional health
has two states:Well and Unwell.
While the character’s state is Well, they character experiences
their typical emotional states and functions normally. When
something happens to disrupt a character’s emotional balance
and cause them to experience inner turmoil or internal conflict,
they switch to the Unwell state. Put simply, a character becomes
Unwell when something causes lasting inner turmoil. It implies
lasting distress or a persisting deviation from the character’s
“typical” emotional state. They are preoccupied, distracted, or
acting abnormally.

Health & Injury 40

 In terms of our game, a character is Unwell automatically
when one of the following occurs:
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Something the character cares about is threatened, broken,

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taken away, or harmed.
r
One of the character’s Beliefs is soured, proven false, or
otherwise shattered.
r
An ability or rule inflicts the Unwell state as one of its effects.
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The player decides their character is Emotionally Unwell.

When a character becomes Unwell, the players should be

able to determine why through the context of the narrative.
The character’s player gets a chance to describe why they are
unsettled and what their character is feeling. However, this
doesn’t mean the other characters necessarily know that their
friend is Unwell; it might be that the character is hiding their
feelings for various reasons. The player should decide how
openly they are expressing their inner turmoil.
While a character is Unwell, in addition to any narratively-
relevant effects, they Test with Disadvantage on any Tests the
GM deems appropriate. In other words, if the circumstances
of the Test mean your emotional turmoil is a major factor, you
Test with Disadvantage.
Emotional wellness is EMOTIONS MATTER
separate from Injuries, Wellness and Unwellness are abstract
although the two may be terms meant to simulate the emotional
linked. It is possible to be state of slice-of-life characters, who
Emotionally Unbalanced, are generally very emotional to start
but with no injuries. It with. It does not represent chronic
is also possible to be mental illness, a weakness or emotional
immaturity, or “damage” to some kind
Emotionally Well, but
of emotional “body.” There’s nothing
with injury to the physical “weak” about having strong emotions.
body, or even “emotional” Instead, treat Unwellness as a signal
injuries. that the character is temporarily “at war

sDf
with themselves,” or have otherwise
temporarily lost their inner-peace.

Health & Injury 41

RECOVERING WELLNESS
Any number of things can restore a character’s Wellness,

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depending on the events of the story. The chief doctor for
Wellness is time: time to process one’s emotions, or even to
forget about it.
Wellness is restored when:

r
A scene ends, and you decide your character is emotionally

well again.
r
After you confront what caused the emotional distress in-
scene, and you decide that your character is well again.

Players are the final arbiters of their characters’ emotional

state. When a scene ends, all characters have the opportunity
to restore their Wellness. Of course, they may become Unwell
again in the next scene, but for now, they have everything under
control.
The other way to recover Wellness is to confront what caused
the emotional change. A character does this in any manner
appropriate to the story. If another character caused the
emotional turmoil, maybe wellness can be restored by talking it
out (or arguing… less healthy, but go with what is dramatically
appropriate). If a fear or personal obstacle caused the unwellness,
directly overcoming it (or something that represents it) might
restore confidence. Ask, “how would my character get their
groove back?” Then, do that thing in-game. Be sure to tell your
Game Master your intentions so they can frame the scene for
you.
When Wellness is restored this way, the character(s) involved
get bonus Experience at the end of the session. Because
Experience is how you grow stronger, players are incentivized
to build up emotional plots and then resolve them. (See “Roll
Credits” on page 134 for more on rewarding Experience and
growing stronger.)

Health & Injury 42

 For example: Lunata learns that her best friend Kitani has

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been offered a chance to apprentice for a famous magician, and
if she accepts, she’ll have to move away and leave the tavern for
the summer.While she is happy for her friend, Lunata worries that
Kitani will leave for good, and she’ll be left behind and forgotten.
Lunata’s player decides this causes Emotional Unwellness and
ticks this off on her character sheet.
Throughout the rest of the session, Lunata tries to hide her
emotional state from her friends, and because it is unresolved, her
player decides to keep the Emotionally Unwell state from scene
to scene. Eventually Kitani notices Lunata is acting strange. The
Game Master stages a scene where the two can talk alone, and
after some coaxing, Lunata finally blurts out her fears to Kitani.
Touched and sorry that she caused this distress, Kitani reassures
Lunata that they will always be best friends, and that she’s not
going to leave the tavern forever, no matter how exciting life in
the big city is. She gives Lunata a promise ring to remind her
of this while she’s away. Lunata’s player decides this restores her
character’s Emotional Wellness, and she unchecks the condition
on her sheet. Because they worked through it in-scene, Lunata
is rewarded with bonus Experience at the end of the session, and
the benevolent GM also gives a bonus to Kitani for her role in the
scene.
Of course, Lunata could have gone directly to Kitani upon first
hearing the news (“You’re LEAVING?!” *tears*), and they could
have worked through it right then and there. That would have
been perfectly fine, and they still would have gained the bonus
Experience at the session’s end. It is just that Lunata’s player
thought the story might be more entertaining if she built it up a
little by carrying it between scenes, and really that is completely
up to her!

Health & Injury 43

MAGIC
Access to magic spells and abilities is granted by taking specific
Traits at Character Creation, as well as through special magical

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items obtained or crafted during play. The magic Traits are
primarily: Spell Reader, which allows the use of magical scrolls
and books, Spell-Touched, which allows someone to cast
“cantrips,” which are minor magical effects, and Spellcraft,
which represents actual literal magic training.
Having said that, any Trait can be considered “magical” if
magic is the reason a character has the Trait. For example,
Beastspeaker, Familiar, and Healer might all be “magical” if
magic is why the character can do those things.

MANA
The magic in Tiny Taverns is powered by life energy, which they
call “mana.” Mana is a by-product of life, and it exists in living
things. It pulses out of animals and people, gathers into wells
around plants and simple creatures, flows through the land in
“ley lines,” and can be contained within specially-prepared items,
like wands, scrolls, potions, and the like.
How you power your spells is determined by the type of magic
you use. For instance, Spell-Touched people use their own
magic, while those who practice Spellcraft temporarily drain the
mana around them to power their spells. The consequences of
these sources are discussed in detail under each magic section.

MAGIC SCROLLS
Magic scrolls are a magic item that can be used to cast powerful
spells. They might be sold by shops, made by scribes in exchange
for a favor, or left behind by forgetful wizards. A magic scroll is
basically a spell written down on special paper with special ink
in a special code. To cast the spell, one need only read the scroll
aloud and make the proper arcane gestures. In game terms, this
means you must be able to read the scroll (meaning you have the
Spell Reader Trait), speak the words, and pass a Magic Test.

Magic 44
 If successful, the spell is cast, and
its effects happen. Casting the
spell burns up the scroll, causing

I: Basic Rules
it to crumble into dust (the spell
is powered by the stuff used to
make the scroll). This means
magic scrolls are one use.
Failing the Magic Test does not
consume the scroll, but you may
have to wait until your next Action
to try again.
There’s a sample of spell scrolls in
Chapter 4, but there is no complete
“list” of spell scrolls. Instead, the
Game Master should invent spells,
or work together with the players
to create spells on-the-
fly. Scroll spells should
be powerful effects that R M
EADING AGIC CROLLS S
significantly affect a O - -C
UT OF ONFLICT
scene. Some examples If you’re not in Initiative Mode, then
of possible magic characters can just try over and over
scrolls include: until they pass the Magic Test to cast
the spell scroll. But why make them do
r
A spell that heals
that? It is suggested that Game Masters
a broken bone just waive the Magic Test for reading a
completely spell scroll when not in Initiative Mode.
r
A spell that allows It’s no big deal.
one to jump over
rooftops and then fall very gently and slowly
r
A spell that burns off all the alcohol in a barrel of booze
(oh no!)
r
A spell that turns a door into a wall, making it impossible
to open
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A spell that mutes all sound leaving a specific area, keeping
others from overhearing

Magic 45
SPELLBOOKS
Spellbooks are basically collections of magic scrolls that are
bound together. A Spell-Reader can tear out a page from the

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spellbook and read it like a magic scroll. One can also copy pages
of a Spellbook to make additional scrolls, although you’d need the
right materials and plenty of time. There are also specially-made
spellbooks called “wizard tomes” that don’t burn the page when
they are read (due to special manastone inks and such); spell-
readers who can find a Wizard Tome have a powerful item indeed!
More on spell books can be found in The GM Toolkit (chapter
4) on page 211.
SPELLCRAFTS
A spellcraft is an art of casting spells using the latent “mana” in
one’s surroundings. Someone with a spellcraft can cast specific
magic spells without needing scrolls or other such tools. When
a character takes the Spellcraft trait, they choose one of the four
spellcrafts and gain all the spells pertaining to that spellcraft.
They cast these spells by passing a Magic Test. Failing the Test
means something unexpected happens.
There are limits to how often these spells can be cast. Magic
uses the latent life energy (or “mana”) of one’s surroundings to
power the spell. After a spell is cast, this mana is “burned,” and it
can take some time for it to recover again in enough quantity to
accommodate another spell.What this means in game terms is that
only one Spellcraft spell may be cast per scene. If one character
casts a Spellcraft spell, then no one else may cast any more until
the next scene. This is because they sapped the immediate area of
its mana. This only happens when a spell is successfully cast; failed
Magic Tests don’t sap any mana from the area.
The exception is if, during a scene, you enter a new area or
location and the GM rules that there’s mana present for you to
use in casting a spell, in which case you may cast again.
Note that this is only for Spellcraft spells. Scrolls, magic items,
and other magic effects aren’t powered by latent magical energy
and can be cast no matter how much latent mana is around.

Magic 46
 A complete description of these rules and what spells are
available to players can be found on page 117.
There are four kinds of spellcrafts that player characters can

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learn:

Hedge Magic is magic with practical applications meant

to make life easier. Powerful wizards may look down on such
simple spells, but a spell that helps clean the tavern or fixes the
broken pot is way more useful than a spell that casts lightning
bolts! Hedge magic helps with chores and can give subtle aid
when trouble starts.
Performance Magic is magic that comes from music, dance,
and song. Utilizing special perception or emotion-altering spells
known as “glamours,” it is the domain of bards, fey, magicians,
and other tricksters.
Folk Magic is the magic of folk traditions, carefully passed
down through generations. An esoteric and personal art, it is
a combination of superstition, herbalism, and folk crafts. Folk
magic often pertains to spirits, making items, warding against
bad luck, or healing wounds.
Season Magic is the impermanent magic of the seasons and
the passage of time. It is the art of the ancient druids, allowing
the practitioner to invoke the weather, befriend animals, and
call upon raw elemental powers. However, these spells change
with the seasons, and trifling with nature’s balance can have
unseen consequences…

SPELL-TOUCHED AND CANTRIPS

The Spell-Touched trait represents innate magic abilities. Spell-
touched characters don’t have access to the same raw power that
a spellcraft grants, or those spells contained in magic scrolls. But
they make up for this in flexibility and improvisation.
Spell-touched spells are known as “cantrips.” These are minor
spells that subtly affect surroundings; they can move objects,
open and close doors, produce small illusionary objects, cast
glowing lights or extinguish flames, send messages without

Magic 47
 speaking, or make something palm-sized “disappear,” just to
name a few examples. Spell-touched characters can also sense

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when magic is at work (some describe it as a sugary taste to the
air or a “glittery” sensation) and feel the magic in enchanted
items. They might also just have an magical air about them,
something unusual or wondrous that others notice, but can’t
quite put into words.
To use a cantrip, the player describes what their spell-touched
character is trying to accomplish. Use the above examples as
a guide; the effect cannot be especially powerful, but minor
effects are fine. The GM can always declare what you’re trying
to cast beyond the scope of a cantrip; no lightning bolts or
superpowers, please. Also remember that “Useful” is not the
same as “powerful,” so if a player invents a clever use for a
minor effect (slamming the door in the face of a pursuer,
literally pulling the rug out from under an enemy, etc), the
Game Master should allow it.
The character then attempts a Magic Test. If successful, the
effect occurs and lasts as long as appropriate or until dismissed.
If the Test fails, they’ll have to try again. The Game Master can
waive this test if circumstances warrant it.
Cantrips use one’s own
CANTRIPS IN INITIATIVE MODE mana, so you can cast
Using a Cantrip during Initiative Mode
Cantrips whenever you’d
might require an Action; it is considered like, even if a Spellcraft
“Testing for an ability.” Even if the GM spell has already been
waives the Test, it still uses up an Action cast nearby. You might
to cast. get a headache if you cast
Casting two Cantrips in succession may too many though, so try
cause a headache, at GM discretion.This not to overdo it!
causes the character to become Cranky

s
(see Moods) until the headache passes

Magic 48
FAMILIARS
A familiar is a usually-benevolent
spirit that attaches itself
to another living spirit,

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such as a sorcerer,
witch, or just a
friendly soul. They
usually take the form of
small animals and appear normal, except for a minor detail
that betrays their magical nature (like a cat with an unusual
fur pattern, or a raven that casts no shadow, or a fox with three
tails, just to name a few). Most familiars have struck some kind
of bargain with their masters, lending their power in exchange
for something else. But some are just friendly and like helping
the kind person who feeds and takes care of them. For the rest,
who can say? Maybe it just amuses them to be involved in the
antics of mortals.
Familiars are clever and sentient, but they cannot speak and are
limited by their animal form. They communicate telepathically
with their master and can project whatever they see into their
master’s mind. They must remain within 50 feet of their master
at all times, teleporting and blinking in and out of existence in
order to do so. They can go invisible whenever they want, but their
master can always see them, and familiars can also see each-other.
Familiars can only interact with the world through magic.
They use telekinetic cantrips to move things and appear
physical. They cannot be harmed by physical things, but they
can be injured with magic. If a Familiar suffers an injury of any
type, they blink out of existence and come back at the start of
the next scene.
What does a character get for having a Familiar? That depends
on the familiar. Most can cast Cantrips without Testing, but
characters must ask a Familiar to do this. Familiars make good
spies since they can go invisible share what they see. Additional
powers may be invented by the Game Master, but mostly they
make nifty companions.

Magic 49
MAGIC ITEMS
Virtually anything can be enchanted and magical. Tools,
weapons, clothing, jewelry, bags, booze, you name it! Wizards

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are always making magic stuff and leaving it everywhere,
because Wizards are irresponsible jerks!
It is up to the Game Master to determine what exactly these
items do and what benefit, if any, they provide. Not all magic
is good, so users would be weary of cursed objects that make
life miserable.
MAGIC ARTIFACTS
Mages tend to use a lot of magical tools to help focus their
magic. Wands, canes, rings and other jewelry, or even mundane
things like brooms and frying pans. To surpass the limitations
of using latent mana, they also tend to make magic items that
are powered by their own innate materials, like cloaks that turn
the wearer invisible, boots that allow one to walk on clouds,
gloves that can shape fire as though it were clay, spectacles that
translate text, and so forth. Most magic items are rudimentary,
created to solve specific daily
problems, leaving the heavy-
lifting for actual magic work.
However, as time passes, and a
magic item is exposed to more
magic and lovingly cared for,
that item grows more powerful.
Over generations, as it is passed
down and used more and more,
its power grows exponentially,
and its owners imprint a piece of
themselves onto the item. These
are known as Magic Artifacts.
Exceptionally rare and powerful,
magic artifacts are prized
possessions, growing stronger
with each generation.

Magic 50
 Magic artifacts are difficult to use. One must become
“attuned” to them, to gain its trust, before it bestows its power.
If a character possesses a magic artifact, it acts as a mundane

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item until the character unlocks its power (see Epiphanies
on page 137). Once unlocked, the artifact can be used for its
abilities at-will. What sorts of abilities? That is up to the GM.
However, it is suggested that all artifacts have the following
in-common:
r
Possessing the artifact gives the character at least one
character Trait or Proficiency. This is always a Trait or
Proficiency that was possessed by a prior owner of the item.
r
The artifact should have at least one spell it can cast at-will,
without draining the area of magic.
Anything beyond the two points above are a bonus! Remember,
artifacts are powerful, but also dangerous; there should always
be dire consequences to abusing the power of a Magic Artifact.
PHILOSOPHER’S STONES
As noted above, spellcraft is powered by latent magical energy,
known as “Mana.” Casting a spell drains the immediate area of
its magical energy, preventing additional spells from being cast.
But mana is not evenly distributed throughout the world.
There are places where magic is especially strong or unusually
weak. Sometimes magic gathers into invisible channels and
rivers, spreading like strands of a web across the lands. These
are called “Ley Lines.” Often miraculous phenomena, which
would otherwise be impossible, occur along the path of these
concentrated mana rivers.
Using these ley lines, alchemists can create a special stone
of crystalized mana known as a “Philosopher’s Stone.” These
concentrated stones, which appear as gently glowing jewels, are
like batteries for magic. They can be tapped for their magical
energy and used to power spells and magical devices. However,
the energy of a philosopher’s stone is finite, and eventually they
are depleted of their magic energy, becoming nothing more
then an ordinary stone.

Magic 51
 When a character possesses access to a Philosopher’s Stone,
they can use it to power their spellcraft spells instead of draining
the mana from the immediate area. They can also cast spells

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even if the area has already been drained of its magic. However,
after a scene in which a philosopher’s stone has been used, the
character must attempt a Magic Test. If the test fails, the stone
is used up and cannot power spells any longer.
Characters can make philosopher’s stones, or find them along
ley lines. There are also such things as massive philosopher’s
stones at magical establishments, maintained by on-staff
alchemists, that are provided for all visiting mages (like free
wifi, but for magic). Maybe your Tavern has one?

THAT WAS A LOT

If you feel intimidated, that’s okay. Just remember:

r
Tests are made with 2d6, and you succeed if any dice show
a 5 or 6.
r
Advantage lets you roll with 3d6, Disadvantage makes you
roll with just 1.
r
Focus lets you succeed on 4s, 5s, and 6s.
r
Points of Fortune let you negate a friend’s Disadvantage or
change the story.
r
You can do whatever you want as long as it makes sense,
and the GM will tell you if you need to roll for it.

If you remember those five things, you’re going to do just fine.

Okay, those are the basic rules. Everything beyond this point
builds on what we’ve already learned. The next chapter is about
character and tavern creation, which is where the fun begins!.

Summary 52
 Character and
Tavern Creation
o
B
efore we can play, we need to establish a few things.
Specifically, where our game is primarily taking place,
what sort of world we’re playing in, who our characters
are, and so on. Like any good story, we need to lay down some

Tavern Creation
foundations before we build.

II: Character +
The first “session” of your Tiny Taverns campaign should be
what some call a “Session 0.” This is the session where everyone
creates characters, invents the tavern, and brainstorms some
aspects of the game’s setting. It’s also an excellent opportunity
to talk about what kind of story everyone wants to tell,
including what themes they want to see brought up (and
what they absolutely don’t want to see), what plots they’d be
interested in roleplaying, what sorts of background and side
characters should fill out the supporting cast, how everyone
knows each-other, and what sorts of life lessons they envision
for their characters.
Players should create characters together. That way, everyone
knows what their cast looks like, and they have the opportunity
to connect them together.
If they wish, experienced players can make characters
separately and bring them to the first session to be approved,
or the GM can make most of these decisions for the players so
they can jump right in. This might be suitable if the GM has a
specific story to tell or setting to portray, and if the players are
okay indulging the GM’s vision. But we highly suggest holding
a Session 0, even in this case, so that everyone is on the same
page and knows what to expect. If the GM’s job is to ensure
everyone has a good time, and if the game is most effective
when players care about one-another’s characters, then Session
0 is one of the best tools to ensure that happens.

Creating Characters & the Tavern 53

TAVERN CREATION
“The body wanders from sea to sea, and the mind wanders even
farther. But the heart, my friends, remains in one place.”
- Song of the Hearth (translated)
Before creating characters, it is a good idea to create the Tavern.
This way players have a better idea of where their characters
will live and work, as well as the sorts of situations they might
have to confront in their day-to-day lives.
While Tavern creation starts before characters are created, it
finishes after everyone has made their character. This is because

Tavern Creation
II: Character +
each character will get their own room or other section of the
Tavern that is just for them! Keep this in mind while making
the Tavern.
As you proceed, you may be taken by inspiration and wish to
change some of your prior answers. That’s totally fine! You can
go back and adjust any answers you wish, right up until the
tavern is finalized. You’ll also get a chance to add new things to
your tavern during play!
Tavern creation follows these steps, which you all do together:
r
Tells us what kind of establishment it is
r
Choose a location for the establishment
r
Invent at least one unique feature or a “Claim to Fame”
r
Decide who your typical customer/guest is
r
Create at least two “regulars” who are always there
r
Name your establishment

After you have created your characters, you will each do one
more thing separately:
r
Create your living quarters, or a unique room for the Tavern
It is suggested that players make a map or blueprint of the Tavern
as they create it. If they do, they may leave some space blank to fill
in later. (“Oh, you require an indoor pool? As it so happens, we
have one…”)

Tavern Creation 54
TAVERN TYPE
Together, decide what
type of establishment
your “Tavern” is. Where
would you like your
stories to take place?
We use the term“Tavern”to
refer to your establishment.
Although the word invokes
a certain idea, a “pub with
RANDOM GENERATION
Included in this section are some
random generation tables for the
tavern’s rooms and features. You can
just choose options from these tables
directly without rolling, or use them
as inspiration for your own original
answers. Or go ahead and roll up some
random features! It’s YOUR tavern, it
should be how you all want it to be.

Tavern Creation
housing,” your “Tavern” can

II: Character +
be any place where where lodging and/or hospitality is a significant
component. It can be a snowy mountain lodge, a haunted hotel
in the middle of the city, an island resort populated by dragons, a
boarding school for aspiring mages, a live-in physical rehabilitation
center for injured adventurers, a battle arena for magical chefs, an
airship hotel with full lodging and meal services, or even a secluded
campground for aspiring rangers! The more fantastic, the better.
Brainstorm this together. Consider what sort of people you’d want
your characters to run into. Draw upon real world inspirations,
like a cool place you once visited. What would it take to live there?
Narrow down your choices to a few, then agree on one, or combine
the ones you really like!

Tavern Creation 55
 It is important that everyone agrees what the “Tavern” is
because everything will revolve around it. So work together
and compromise, but don’t settle until you are happy with the
“pitch.” It may take a little time, but it will be worth it to have
the perfect setting for your campaign!
Write down your decision on a separate piece of paper, or use
a copy of the “Tavern Sheet” provided in the back of this book.

TAVERN “TYPE”TABLE
Roll a d6 once on each table, then combine the results. Feel

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II: Character +
free to interpret them however you wish, or use these prompts
as inspiration for something you invent together.
TAVERN TYPE 1 TAVERN TYPE 2
1. Rustic 1. Spa / Resort / Ranch
2. Haunted 2. Lodge / Hotel / Hostel
3. Magical 3. Inn / Pub / Traditional Tavern
4. Boutique 4. Boarding School / Camp
5. Famous 5. Bed & Breakfast / Villa / Bodega
6. Failing 6. Saloon / Gambling House

LOCATION
Location is very important to a tavern. It dictates how busy you
will be on any given day, the types of clientele you might encounter,
the types of services you can or cannot offer, and what resources
you have nearby.
Together, decide where you are located. What kind of terrain
surrounds your establishment? How accessible is your Tavern?
Consider the function you’d like your tavern to serve. If you cater
to adventurers, is your tavern at the entrance of a dangerous
dungeon or ruin commonly explored by adventurers? If you cater
to travelers, is your establishment at an important crossroads, or
in a secluded mountainside? Is your tavern a lighthouse on a

Tavern Creation 56
rocky outcropping to keep ships from crashing onto shore? Is the
tavern a massive treehouse in an enchanted wood, designed for
sylvan clientele? Are you in the middle of a city, an oasis in the
desert, or in a pocket dimension only wizards can reach?
Or maybe your establishment is mobile. Is it a massive ocean
ship? A small luxury river barge? A magical yurt that moves on
enchanted legs? An airship catering only to high-class travelers?
If you need to change your answer to the tavern “type” due to
something that inspires you here, go right ahead.
Again, be certain everyone agrees. Take your time on this

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II: Character +
step, because it will tell the GM what you are likely to find and
encounter as your campaign progresses!

TAVERN LOCATION TABLE

Roll a d6 once on each table below. Feel free to interpret the
results however you wish, or use these prompts as inspiration
for something you invent together.
GENERAL LOCATION
1. Secluded / Rural / Out-of-the-way
2. Seaside / Port / Island
3. Crossroads
4. City / Metropolitan
5. Mobile (air, sea, or other)
6. Extra-Dimensional

WHAT’S NEARBY?
1. A powerful, yet unclaimed source of magic
2. One of the busiest marketplaces for miles around
3. A keep or ruin where adventurers sometimes vanish
4. The territory of many wild, exotic animals
5. Training grounds, a school, or other such place
6. Something blessed by an ancient deity or spirit

Tavern Creation 57
ONE UNIQUE FEATURE
Together, decide at least one thing that your tavern is well known
for. What makes your tavern unusual? What makes it special? Why
would someone go to your place instead of a different tavern nearby?
Most taverns have some kind of claim-to-fame, so what is yours?
Your feature can be geographical or architectural. Are you built
around a natural hot spring? Are there tunnels beneath your
tavern that can take you to any place in the city? Is your tavern
partially submerged, or on the border between the mortal realm
and a place more fey and magical? Maybe you are famous for your

Tavern Creation
massive sprawling garden maze, or your haunted wishing well.

II: Character +
Maybe it’s a service you do especially well. Do you bake the best
biscuits for miles around? Do you make really good whiskey? Are
your beds especially comfortable (or magic)? Is there a band of
musicians that performs regularly for patrons? Maybe you have
really good security, and you are the only safe place in the area.
Maybe you are a front for the Thieves’ Guild, and you offer all
manner of related “special services” for members.
Maybe it’s your story. Was your Tavern established by a famous
folk hero? Was it the site of a momentous battle, or the signing
of a treaty? Is it haunted by the spirits that once dwelled here?
Is it built on ruins of a lost civilization, and even you do not
know all of its secrets? Is it the only thing keeping a great evil
from entering the world? Is it blessed? Cursed?
Agree on at least one unique feature together.You can have more
than one, but it is better to have on or two really unique features
than a lot of smaller ones. If you have a lot of ideas, try to narrow
them down into something manageable, like two or three.

UNIQUE FEATURE TABLE

Roll two d6 as many times as you’d like on the below table. The
first d6 is the tens place, the second is the ones place. Feel free
to interpret the results however you wish, or use these prompts
as inspiration for something you invent together.

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UNIQUE FEATURES
11: The grave of a legendary hero, a destination for pilgrimages and
of great historical significance, which must be cared for daily.
12-13: A famous beverage, culinary dish, or ingredient, which grows or
is made only here, and must be lovingly cultivated and closely guarded.
14-15: An ancient (but secretly cursed) dwarven forge, located deep
beneath the establishment, where many legendary weapons were created.
16: A ferry, toll bridge, train, or other such travel service that is the
only safe passage through inhospitable terrain.
21: A gigantic library that is bigger on the inside than on the outside, and
in which copies of random books (including journals and travelogues)

Tavern Creation
seem to randomly appear.

II: Character +
22-23: An enormous, naturally-forming philosopher’s stone that
replenishes itself over time.
24-25: Many, many extra-dimensional doors that lead to far away places.
26: A “sorcery showroom” where guests watch artisan magicians
make magic goodies while safely behind a massive pane of glass.
31-33: A massive shopping center, filled with boutiques and eateries,
surrounding a festival grounds or convention center that is always
featuring some celebration or another.
34-36: A magical casino, fully staffed and always busy, where imps and
sentient enchantments are the dealers and magic defenses are tight security.
41-43: A sprawling network of dungeons and caverns which shift and
change, filled with traps, treasure, and artificial creatures.
44-46: All the maids, bartenders, and performers are actually spies,
ninja, or other covert operatives.
51: The establishment is alive and sentient, to some degree, and
communicates through magical means to the owners.
52: The only postal service for miles and miles and miles…
53-54: A gigantic theatre with a massive stage, a live-in acting troupe,
and a trained band.
55-56: An enchanted garden, filled with glowing plants and hidden copses.
61-62: A famous wedding venue, featuring a romantic feature like a beautiful
waterfall, a sprawling beach, a vast mountain view, or an exotic castle.
63-64: A natural hot spring and moor, where the warm mineral waters
provide a number of health benefits, even in the coldest weather.
65-66: A lighthouse, beacon, magic siren, or other such structure
whose purpose is to warn of a specific disaster.

Tavern Creation 59
TYPICAL GUEST
Who would be the typical guest or customer for your establishment?
Write down a few appropriate descriptors. Are they people of a
specific occupation? Are they looking for a specific thing? Do they
come for business or pleasure?
Maybe the answer to this question is obvious. If you are a boarding
school, the typical guest is a student. If you are a camp for aspiring
adventurers, the typical guest is a camper. If you are a luxury resort
for horses belonging to nobles, the typical guest is… a horse. Don’t
be afraid to blurt out the obvious answer.

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II: Character +
This is a good thing to know because it tells us about the types
of services you should regularly offer. It also means that when an
unusual guest comes to stay, you are more likely to notice. Speaking
of which…

INVENT REGULARS
Who are some regular guests that always seem to be at the tavern?
Guests who don’t work there, but are fixtures of the place regardless?
At any given time you can find them in the commons, or the grounds,
or hanging out in one of the rooms, or what have you. They never
seem to leave, and that doesn’t seem to bother you. Usually.
Working together, invent at least two of these regulars who are
always hanging out at the tavern. Think about who you’d like to
regularly interact with. What do they do for a living? How can
they afford to perpetually stay at this establishment? What are
they like? What do they want? What are they good at? What are
their shortcomings?
If you’d like, instead of a regular guest, you can invent some staff.
The owner of the place, the headmaster of the boarding school (or
just a flustered teacher), the stablehand who takes care of all the
mounts, a particularly diligent maid who is like family, or your on-
retainer bard friend are all excellent choices.
From your choices, the Game Master should create NPCs to
populate the tavern. They do this by interpreting what the players
invent, writing down descriptors or details as NPC traits or
proficiencies. Make at least two, and then name them.

Tavern Creation 60
TAVERN REGULAR TABLE
Roll a d6 once on each table below, then combine the three
results to get your Tavern Regular. Feel free to interpret the
results however you wish, or use these prompts as inspiration
for something you invent together.

TAVERN REGULAR 1
1: Furbolg or mandrake
2: Pixie or dwarf

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3-4: Human

II: Character +
5: Panguri or pooka
6: Selkie or other (invent new)

TAVERN REGULAR 2
1: Prankster / Fool / Thief
2: Merchant / Trader / Trades-Person
3: Soldier / City Guard / Knight
4: Herald / Parcel Delivery Person
5: Ranger / Cartographer / Sellsword
6: Bard / Storyteller / Performer

TAVERN REGULAR 3
1: Who is family to [choose a PC after character creation]
2: Who has a crush on [choose a PC after character creation]
3: Who knows spellcraft and performs magic favors for drinks
4: Who is spying on [choose a PC after character creation] for some reason
5: Who is very rich and eccentric
6: Who is actually a dragon (or other mythic being) in disguise

Tavern Creation 61
ESTABLISHMENT NAME
Finally, name your tavern. Agree on it together. If your tavern’s
name is a clever pun, everyone begins the first session with a
point of Fortune. Yes, you read that right.
If you’d like, draw your tavern’s sign. What sort of emblem do
you use? Do you have a specific motif that you use throughout
the tavern? Maybe a special “look”?

AFTER CHARACTER CREATION

This is a good time to make your characters. Temporarily

Tavern Creation
set aside the Tavern to make player characters. Once your

II: Character +
characters are finished, take the following last steps to finish
your tavern:
TAVERN LAYOUT/MAP/BLUEPRINTS:
Working together, draw a rough map of the tavern. It doesn’t
need to be too detailed, but it should communicate what is
there. You can leave portions of the map “blank” to be filled in
later, if you’d like. In fact, I’d suggest it.
Your tavern layout MUST include:
r
A commons, where guests gather and congregate
r
Guest quarters, where guests can stay
r
Any unique or special features decided upon prior to this step
This is where you may add some special rooms or features to
the Tavern, built specifically to cater to your clientele. Maybe
you have an indoor swimming pool, or a massive library, or a
portal to the fairy lands, or a gigantic philosopher’s stone, or
anything else like that. Create something wondrous, or roll on
the table below. Remember to leave space to expand!
LIVING QUARTERS
Finally, each player adds their living quarters to the map. Make
your living quarters as unique as you’d like. Use this as an
opportunity to tell us more about your character and clue us in
to what they are like. Where you dwell in the tavern should tell
us a little bit about you.

Tavern Creation 62
 Tavern Creation
II: Character +
Whenever we enter your room, the GM should briefly give you
the spotlight to tells us what everyone sees. You decide what
exists within your living space, so make sure it is a reflection of
who your character is right now.

EXPANDING THE TAVERN

As the game progresses, players should feel free to add new details
to the tavern, or even to take things away. Events of the story
might cause the well to dry up, or a portion of the building to
collapse! Maybe mid-game you all decided there was an armory
or treasure room in the tavern. Alter the map accordingly as you
play, so you always have something to refer to.
One option for spending experience is adding to the tavern.
When you do this, be sure to add what you invent to the map
as well. The map should ideally be changing with every session,
if only to keep things interesting. If the tavern needs something
to move the story forward, just add it.

o
Tavern Creation 63
CHARACTER CREATION
“The name’s Trixie Sprindle, friend, and yes it’s made up.That’s my
heckin’-big sword and this is my heckin’-big stein. I’m about short
hellos, long goodbyes, and drinking new friends under the table. And
lucky for you, the first one’s on me!”
The characters are the most important part of the game. This
is because the story is about them! Your character is how you
interact with the game’s elements. Your character’s mechanics
are your toolkit for play, largely determining what you can do
and what you will be good at. In this section, we’ll build your

Tavern Creation
character and figure out what’s special about them.

II: Character +
Hopefully by now you have an idea of the kind of character you’d
like to play. If not, that’s okay! You don’t need to know everything
about your character yet.You can make up details as you play.
At the very least though, you should have a general idea of
how you help run the tavern. Bartender, resident chef, ale
master, meat supply, tavern security, bard that won’t leave…
anything is fine, go nuts! Knowing your general role is helpful
when making choices; it tells us what you expect to do and
gives us insight into your possible motivations. If you change
your mind during character creation, that’s fine too!
Character creation follows these steps:
r
Choose a Heritage from the Heritage List
r
Choose two unique Traits from the Trait List
r
Choose two Proficiencies, then one more or upgrade one to
a Mastery.
r
Only one Proficiency may be “Martial”
r
Invent your Tavern Trade
r
Invent your Belief
r
Write down some Belongings (by answering some questions)
r
After everyone has made a character, answer Three Last
Questions

Character Creation 64
CHARACTER
BACKGROUNDS IN PLAY
You are the final authority
on who your character is,
where they come from,
and what culture they
identify with. So whenever
we need to know about
your people, you answer
those questions instead of
the GM, and your answers
FANTASY FIRST
Don’t worry too much about “realism”
when it comes to making your
character. Don’t ask: “Is this possible
or realistic?” Instead, ask: “Could this
happen in the context of our fantasy
world?” The answer is probably “yes.”
This is a fantasy setting rich with
magic, so we can make it work. Be who
you want to be!

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II: Character +
form our “canon.” You don’t have to know everything ahead of
time; you can improvise, and all you have to do is be consistent.
Keep in mind that “your people” are not just those who share
your heritage. They’re the village you hailed from, the counter-
culture you ran with, the family who adopted you, the guild that
taught you, and so forth. Two characters may share the same
heritage but hail from completely different backgrounds. People
of one heritage still come from many nations, traditions, and
different ways of thinking.
The GM should allow players to briefly lead the narrative
when it is relevant to their character. They’ll be more invested to
protect what they invent when you put them in peril!

HERITAGES
Your characters’ heritage represents an aspect of your cultural,
environmental, and genetic origins. Tiny Taverns takes place in
a fantasy world with many non-human peoples, with different
traditions and ways of looking at the world. But your character’s
heritage is just one part of their worldview. Choosing a Heritage
gives you a starting point for where your character’s traditions,
their origins, and their unique identity.
When you choose a Heritage, you gain their listed Heritage
Trait(s).You also get to choose an additional listed Trait to further
reflect your past and traditions; choose the one that most closely
represents your upbringing or latent abilities.

Character Creation 65
 In addition to whatever your Heritage Trait gives you:
r
Whenever you are doing something where your Heritage would
grant a distinct advantage, then you may Test with Advantage.
r
When you are doing something your Heritage typically finds
challenging, you may Test with Disadvantage and gain one
point of Fortune.

For instance, Selkie are shapeshifting seal people and grow up

near the sea. The GM may grant Advantage for Tests involving
the sea to reflect this. As another example, Furbolg are giants who
came from underground. The GM may give a Furbolg character

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II: Character +
Advantage when using their size to muscle open a locked door,
but Disadvantage when trying to squeeze into a tight space. The
GM has final say whenever your Heritage alone would grant you
Advantage or Disadvantage.

What if you hail from multiple heritages? Then you’ll choose two!
Follow the “Mixed Heritage” rules on page 82.

HERITAGE LIST
HUMAN
Among the most prolific peoples, human beings have spread
across the lands, found in virtually every sort of environment
and all manners of different cultures. Averaging between 5 and
6 feet tall, they come in many shapes, sizes, and temperaments.
Other heritages sometimes joke that humans follow no pattern,
because no two humans are alike. At the same time, humans have
a certain reputation among non-humans for “extreme sociality,”
attempting to befriend everyone they meet, except (bafflingly)
other humans. Some might describe humans as “invasive,”
“superficial,” and “overly-friendly” (or, bluntly put, “a people of
non-stop partying.”)
Relatively short-lived, humans can become preoccupied with
their own mortality, dedicating their lives to specific purposes and
pursuing their goals with intense, borderline-desperate energy.
They are known for their passion, ingenuity, and determination.

Character Creation v Heritages 66

 r
Humans are among the most adaptable and most numerous
peoples. They are good at diplomacy, trade, and improvisation.
r
While all heritages are emotional, humans can be slaves
to their “passions.” They fixate and have difficulty letting
things go. They struggle to see the bigger picture.
r
Others may find humans short-sighted and frivolous, but
this is usually because humans don’t live as long as other
heritages. Their passions can make them seem obsessed to
other heritages.

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HERITAGE TRAIT:

II: Character +
Passion - During character creation, write down one to three
things that this character deeply cares about. They can be
whatever you’d like: specific people or groups, philosophic
ideals or concepts, personal goals or interesting topics. Ask
yourself, “for what would this character risk their wellbeing?”
r
When one of your
Passions is threatened,
once per session, you
may gain a point of
Fortune and become
Unwell.
r
When one of your
Passions is used
against you, you Test
with Disadvantage.
Choose one
additional:
r
Adaptive: Select an
gain an additional Trait
from the Trait list.
r
Fortunate: At the
start of each session,
immediately gain a
Point of Fortune.

Character Creation v Heritages 67

DWARF
Dwarves are stocky beings hailing from magnificent cities hewn
into mountains. Long-lived and ancient, dwarves believe in the
virtues of stone and flame, seeking to emulate the strength and
unyielding stoicity of their mountain homes. Dwarf civilizations
once sprawled across the entire world, but catastrophe has
since changed that.
Dwarves average between three and four feet tall and have
broad, stout, and muscular bodies. Their pupils are reflective
to light, similar to cats, owing to their natural darkvision. A
common dwarven trait is their impressive facial hair; most

Tavern Creation
II: Character +
dwarven men grow massive beards that touch the ground,
braiding and caring for them well, while dwarven women grow
sideburns or manes and style them with plaits. A dwarf ’s beard is
culturally significant and
a point of pride; modern
dwarves may shear or
shave their beards, but
a traditionalist would
never let a razor near
their facial hair.
Dwarven societies are
known for a ridged sense
of honor, generational
blood-oaths, and a
dedication to worthy
arts, such as beer-
brewing, storytelling,
blacksmithing, and
masonry. A common
dwarf belief is that there
is little point in doing
something if you’re
not willing to dedicate
decades to the craft.They
are also known for their

Character Creation v Heritages 68

relative bluntness, which can make
them seem rude to humans. Most
dwarves see little sense in candy-
coating their observations, and it’s
always better to be completely
understood. If someone else
cannot handle a little honesty,
that’s their problem!
r
Dwarves tend to excel at

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feats that require endurance

II: Character +
or stamina. Their stocky
frame makes them hard to
move or knock over.
r
Vertically-challenged,
dwarves sometimes struggle with feats requiring height,
speed, or reflexes.
r
Humans see dwarves as stubborn and gruff, yet wise
with a heart of gold. Many dwarves like to perpetuate
this interpretation of their natures. They are sometimes
considered hesitant by shorter-lived beings; dwarves don’t
understand why everyone is in such a rush!

HERITAGE TRAIT:
Darkvision - You are able to see in total darkness. If you
are exposed to sudden bursts of bright light, you suffer
Disadvantage on sight-dependent Tests during your next turn.
Choose one additional:
r
Insightful: When trying to discern if someone is being
truthful or hiding something, you Test with Advantage.
r
Eidetic Memory: You can recall information flawlessly,
even if you only got a glance. When attempting something
where a vivid, flawless recollection would be useful, you
Test with Advantage.

Character Creation v Heritages 69

FIRBOLG
People once believed the giants known as Fir Bolg, or “Bulging
People,” were just a myth, but recently they have reappeared.
They tend to be taller than humans, between six and eight feet
in height. They have thick mossy hair (which they braid, or
let grow out) and pale glowing eyes with white pupils, which
help them to see in the dark. Their ears are leaf-shaped and
large, able to tilt in different directions. They have long ox-like
tails and spiral horns of varying shape and size. Some firbolg
have ram’s horns, others steer horns, and still others the antlers
of deer, all with spiral grooves in the horn. Firbolg culture

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II: Character +
encourages adorning oneself with a special body paint made
from phosphorescent spores, so many traditionalist firbolg
have glowing spirals or other patterns painted on their bodies.
Most firbolg are peaceful,
owing to their cultural
philosophy that teaches
one should care equally for
all other beings, regardless
of one’s connections to
them (or lack thereof).
According to the firbolg,
the reason they have come
above ground now is that
their mystics divined they
have a role to play on the
surface, that some great
deed will soon be required
of them. But none among
them can say what that
deed will be, or when the
time will come. For now,
they simply wish to live
and wait for that fabled
day, learning what they
can about this strange
world of day and night.

Character Creation v Heritages 70

r
Firbolg are known for their size and patience. Firbolg can
see well in the dark and “filter” specific sounds out of
echoes, crowd-noise, and other such ambient sound.
r
Large stature is not always a benefit, and Firbolg have
difficulties in tight spaces.
r
Firbolg require more sleep due to their unique physiology;
least 7 hours of uninterrupted sleep to recover injuries,
instead of 6.

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II: Character +
HERITAGE TRAIT:
Giant Strength - You can carry Large items by yourself (one
at a time). When attempting feats of raw strength, or when
your giant strength would give you significant advantage, you
Test with Focus.
Choose one additional:
r
Tough: You can sustain up to four Minor Injuries or two
Major Injuries without becoming incapacitated.
r
Darkvision: You are able
to see in total darkness.
If you are exposed
to sudden bursts of
bright light, you
suffer Disadvantage
on sight-dependent
Tests during your
next turn.

Character Creation v Heritages 71

MANDRAKE
The remnants of a people created by magic and drawing
their lineage to the ancient dragons, the mandrakes are a rare
people; it is not unheard of for a mandrake to go their entire
lives without seeing another mandrake that is not kin. They
have long accepted that they are a doomed people and now
wander the lands, hoping to live on in great works and legends.
Mandrakes stand between seven and nine feet tall. They are a
strange combination of dragon and human, with reptilian facial
features and bodies covered in both feathers and scales. Their
torsos and limbs have scales while their wings are vibrant and

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feathered, as are their long reptilian tails. Some mandrakes dye
their feathers in colorful patterns.
The magic that created
Mandrakes has been
lost to time, impossible
to recreate. This drives
them to seek other ways
of establishing a lasting
legacy. Most attempt
great deeds or heroic
quests so their people
will be recalled after
they are gone. Others
create lasting works
of art, monuments,
or public works like
bridges and roads, so
as to be remembered
fondly. Some even
become village or city
guardians, earning them
the affection of the
populace. Good or not-
so-good, all they want is
to be remembered.

Character Creation v Heritages 72

r
Mandrakes excel at activities that benefit from strength and
tallness. They tend to stand out, and their scales provide
some physical protection.
r
Massive size can be a weakness, especially when one must
maneuver where there isn’t much room. They can be
intimidating without meaning to be.
r
Humans are in awe of mandrakes. Superstitious people fear
them, but a mandrake is more than just their appearance,
and most are quite friendly (if a bit lonely).

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HERITAGE TRAIT:
Flight -You are able to fly.You can glide using thermals and gain
altitude by flapping your wings. Flying for extended periods is
exhausting, and you must Test with Disadvantage to remain in
the air for longer than brief trips without resting.
Choose one additional:
r
Draconic Strength: You can carry Large items by yourself
(one at a time). When attempting feats of raw strength, or
when your draconic strength would give you significant
advantage, you Test with Focus.
r
Dragon Breath: You can breathe fire, ice, or a cloud of
electricity; choose one of these at Character Creation. You
can use this narratively to affect your environment. You can
also attack with your dragon breath (inflicting a suitable
injury if it lands), but you always
cause collateral damage to the
immediate area when
you do, unless you
Attack Test with
Disadvantage.

Character Creation v Heritages 73

PANGURI
An old tale describes how a cat,
trying to reach the moon, received
the aid of the amused Morrígan,
growing taller and more intelligent
with her strange magic. The feline
panguri claim this tale as their
origin, and every wandering tribe of
panguri hold some reverence for the
mystical Morrígan, even to this day.
Panguri are a cross between human

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and cat, averaging between four and
five feet tall. Their hair grows thick
and silky, not unlike a lion’s mane,
and spotted or striped fur grows
along their backs, shoulders, and their long, bushy tails. Panguri
ears are large and feline, located on the top of their heads and able
to move independently. Panguri have eyes similar to a house cat’s,
a leathery nose, short spines in place of whiskers, and fangs that
protrude from a split cat-like mouth. Panguri legs are digitigrade
and feline, while their hands are shaped like a human’s, but with
protractable claws and no pinky.
In traditional panguri culture, children (or “cubs”) are raised
together en masse in a creche by the entire community and taught
to see eachother as siblings, regardless of who their actual parents
are. Anyone older is regarded as “mother” or “father,” and anyone
younger is “little sibling.” Due to their unique biology, it is possible
for panguri to have two or more biological fathers. Most panguri
cannot identify their biological parents, but that doesn’t matter in
panguri culture since everyone raises the village’s cubs together.
“Marriage” as it exists in other cultures is completely unheard
of (although “life mates” are a thing some panguri choose to
become). “Family” exists as a concept, but as one chosen by the
individual, biological bonds completely unimportant.
Panguri are an expressive people who wear their hearts on their
sleeves. Deception has no place with them, since panguri smell

Character Creation v Heritages 74

the pheromones that accompany emotion. Many humans find
panguri to be wild, capricious, and irrational, while panguri find
humans to be rigid, deceptive, and too concerned with how they
appear. Even so, human and panguri civilizations are ancient allies.
r
Panguri are excellent pouncers, sneakers, and eaters. They
have good balance and are perceived fearless by the way
they boldly defy heights.
r
Panguri are poor at concealing emotions. Most instinctively
purr when they are flustered, alarmed, or stressed (as
purring is naturally calming to them). Involuntary purring

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may cause embarrassment.

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r
Panguri have higher metabolisms than humans and a much
faster heart rate; they must eat twice as much and twice as
often as humans, leading to the colloquialism “endless as a
panguri’s appetite.”

HERITAGE TRAITS:
Feline Senses -Your senses of smell and hearing are heightened.
You can always identify the ingredients of drink, food, potions,
or other such things via smell (assuming you have smelled those
ingredients before). You can hear something whispered in an
adjacent room clearly and can listen in multiple directions at
once. You Test with Advantage on Notice Tests.
Claws and Paws - You have retractable claws. They’re not
useful as weapons, but you can cut paper, cloth, ropes, and other
such things easily. You Test with Advantage to avoid falling.
Choose one additional:
r
Scrappy: You are tougher than you look! You can fall (or
be thrown) twice as far as a human being without suffering
injury. You attempt Save Tests with Advantage.
r
Empathic: You can literally smell another’s emotional
state. When attempting to tell if someone is lying or
deceiving, or attempting to identify someone’s mood, you
Test with Focus. When you attempt to lie or mislead others,
you Test with Disadvantage.

Character Creation v Heritages 75

PIXIE
Hailing from enchanted glades, moorlands, ponds, and burrows,
pixies have in fact lived alongside humans for centuries. Many still
know them as the daoine sídhe, or “People of the Mounds,” owing
to the “fairy mounds” and cromlechs that mark their homes. In
ancient times, pixies were worshipped as deities, offerings left for
them in “fairy circles” to divert their ire. Pixies are not gods, but
neither did they correct the superstitious folk who left them goodies!
Pixies are the smallest heritage, averaging about one foot in height.
They appear as miniature humans with pointy ears, butterfly or
moth wings, and fuzzy insect antenna protruding from their

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foreheads. Pixies also have bark-like scutes covering their elbows,
knees, shoulder blades, and the backs of their hands and feet. Pixie
sweat is bioluminescent, allowing them to glow at-will in any color.
Most pixies living among other heritages are descended from
those who were ejected from the Seelie Court, a sort of loose
“kingdom” comprised of fey and fairy folk. The Seelie Court has
strict rules on behavior and tend to be isolationist; members who
seek the outside world are stripped of their membership and
can never return. Some time ago, one such pixie tribe willingly
left, curious as they were about
the world beyond their burrows.
Centuries since have resulted in
pixie communities outside the
invisible dimension of the fey and
integrated with other settlements.
Each generation has a touch less
magic than the last, perhaps owing
to their distance from the Seelie
Court, but even those farthest
removed can still play the fairy tricks
that won them their reputations!
r
Pixies are excellent hiders,
sneakers, and fliers. They can
sense magic and are good at
figuring out spellcrafts.

Character Creation v Heritages 76

 r
Due to their size, they are generally poor at feats of strength,
and they are notoriously sensitive to toxins and alcohol.
r
Pixies have a reputation as jokesters, but also for bravery
and determination.

HERITAGE TRAITS:
Flutterflight - You are able to fly. You can flutter along with
your butterfly wings at your normal movement rate.You cannot
fly higher than five stories, and if it is too windy you can only fly
a few feet from the ground.

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Fairy Folk - You are one of the magical fairy folk. You are
spell-touched, allowing you to affect the world in subtle
ways. (See Magic; pg 44). You are also able to glow faintly at
will, casting light equivalent to a torch and in any color. Due
to your small size, you are Incapacitated if you suffer more
then two Minor Injuries instead of three.
Choose one additional:
r
Poof Trick: With a “poof” of smoke, you can temporarily
change your form. You can either become a human being
of average height and any appearance (although you retain
your pointy ears), or a small inanimate object (you retain
your senses), which your allies can use like a normal item
of its type. You cannot become a “consumable” item, like a
potion or a mug of beer, and you cannot become a magical
item, like a spell scroll or an enchanted blade. When you
change shape, you lose your Flight Ability. You can change
back at any time and always change back after an hour or
so, or after you suffer an injury.
r
Stormy: Your temper tantrums literally summon storms,
even indoors! When you are in a Cranky Mood, you can
use an Action to make it rainy and windy. When you are
in a Good Mood, you can use an Action to improve the
weather and make it sunny. These effects last only for a
brief time or until you end them, and they only effect the
immediate area.

Character Creation v Heritages 77

POOKA
Little was once known about the subterranean people known
as “pooka.” For a long time, they were regarded as spirits,
until recently a warren was discovered and diplomatic ties
established. Now pooka live among the other heritages in vast
families or wandering the countryside.
Pooka are humanoids with rabbit and rat features: they have
short soft fur covering their bodies, rabbit-like ears, long
prehensile tails, and protruding incisors, similar to rodents.
They normally stand between three and four feet tall and
are lithe and willowy. They often wear spectacles and carry

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reading-stones to help with their eyesight. Pooka tend to be
inquisitive researchers and clever tinkerers, often cobbling
together elaborate machines with simple purposes or studying
obscure things for the fun of it.
For a long time, humans believed pooka to be magical tricksters
who could change shape and
befuddle minds. But they
had mistaken pooka gadgets
for “magic” and mischief for
scavenging attempts gone awry.
Now that pooka live above
ground with everyone else,
most of those superstitions are
gone, and most know pooka
aren’t inherently magical,
they’re just nerds.
Long ago, pooka were
united by a king who ruled
from a subterranean palace
deep in a forgotten sewer.
But something went wrong,
and now the throne remains
empty, guarded by enchanted
golems and other defenses
that everyone forgot how to

Character Creation v Heritages 78

turn off! Pooka whisper that one day, a brave, clever, and spry
pooka will bypass those defenses to sit on the throne again,
and that person will be their new ruler! Those who tried met
terrible fates, and it has been decades since anyone made an
attempt. Most pooka consider the throne lost forever… Who
needs a ruler anyways?
r
Pooka are spry and observant. They are good at squeezing
into tight spaces, climbing, and moving quickly. They have
excellent senses of hearing and smell.
r
Pooka tend to struggle with strength-related tasks. They

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usually have poor eyesight and wear spectacles of some sort.

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r
Many societies value pooka as inventors and scholars.
Pooka are more likely to take great risks in the interest of
learning something new, a trait that many find attractive
and others find… well… insane.

HERITAGE TRAIT:
Spry - Whenever you defend or Test to avoid being struck,
you always Test with Focus. When something would startle or
ambush you, you may Test with Disadvantage; on a success,
you get one Action first.
Choose one additional:
r
Sniffy: You can “see” with your sense of smell and find
your way around even in total darkness. If exposed to
extremely potent or overwhelming scents, you suffer the
Sick affliction until you are no longer near the source.
r
Scrunchy: You can squeeze into very small spaces that
few consider possible. When you Test to squeeze through
or into small spaces, you Test with Focus.
r
Doozery: You make do with less sleep, and use the extra time
to “doozer” on something. You recover Injuries after 4 hours
of uninterrupted sleep instead of 6. Whenever you rest for
the night, you may Test to fit in one last productive activity
without affecting your rest, like studying a book, whipping
together a minor invention, completing a chore, or similar.

Character Creation v Heritages 79

SELKIE
Hailing from nomadic tribes and coral cities, the selkie are
magical shape-shifting seal-people from beneath the sea,
venturing inland to trade or out of curiosity. Land cultures are
strange to them, filled with wonders they do not encounter in the
seas. Some choose to remain on land for long periods of time.
As shapeshifters, selkie possess two different forms. Their
typical form above the sea is a charming and graceful human,
with angular features and elongated ears that taper to a point.
The second form is that of a larger-than-typical seal or sea-
lion. Usually, the seal form has some unusual feature, such as

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an uncommon fur color or odd spiral markings.
Since they come from the sea and rarely interact with land
beings, humans made them the subject of lore and legend.
Selkie who venture onto land are usually scholars, explorers,
or scavengers looking for goods to bring back to their seabound
tribes. Or they are simply curious. They describe vast wondrous
kingdoms beneath the sea and
advanced peoples who are
unable to leave the water. Some
legends attest that stealing a
selkie’s sealskin forever binds
that selkie and makes them
fall in love, but those foolish
enough to try have learned
this only results in the selkie’s
annoyance.
r
As shapeshifting sentient
seals, selkie are good at
swimming, bluffing, and magic.
r
Because of their general
unfamiliarity with land
cultures, selkie tend to be
trusting and naive.

Character Creation v Heritages 80

r
Humans find selkie to be mysterious, strange, and enchanting,
but often this is due to shyness and the special care they take
to move on land.

HERITAGE TRAIT:
Sealshape - A selkie can transform into a magical seal and
back at-will; they gain the Traits of a seal while transformed
(see “Magical Seal” below), but keep their current injuries. As
a seal, they can only communicate as a seal normally would,
they cannot use tools or weapons (no hands), and suffer
Disadvantage on any Test the GM deems difficult for a seal (go

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figure). They must spend at least one hour per day in seawater

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or else they become Sick until they have done so (see Status
Afflictions on page 143).
Choose one additional:
r
Spell-Touched: Magic is in your blood, allowing you to
affect the world in subtle ways. (See Magic; pg 44).
r
Sealskin: You have a magical seal-skin in your belongings.
If you wish, it can take the form of another piece of clothing.
Whoever possesses your seal-skin also has your Sealshape
ability. While you do not have it, you cannot transform, but
you still need to spend one hour per day in seawater to
avoid becoming Sick.
r
Born to the Sea: You have Focus whenever your action
involves the water. Your max distance for move actions in
the water is 40 feet instead of 25.

MAGICAL SEAL
Traits (Add these to your character while shapeshifted):
r
Fleet of Fin: You gain Advantage while swimming in the
water, and your water movement increases to 50 feet.
r
Tracker: You gain Advantage when Testing to track a person,
animal, or creature in the wild.
r
Land Wobble: You are at Disadvantage when moving on
land, and your land movement decreases to 10 feet.

Character Creation v Heritages 81

MIXED HERITAGES
If you wish, you may play a character that hails from multiple
heritages. What this means in the context of the narrative is up to
you. Maybe your mother was human, but your father was a selkie,
and so you have both selkie and human bloodlines. Maybe you were
born a pooka to pooka parents, but raised among human beings, so
you relate more to humans and even consider yourself a human
more than a pooka. Maybe your two mothers, one pixie and one
firbolg, used magic to bring you into the world, and you claim each
of their heritages in your ancestry. You can use any story reasons
you’d like to hail from different heritages, and whatever you invent,

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you can use the following rules to create your character.
When you hail from two heritages, first you choose the two
heritages of your parents. Write them both down on your
character sheet in the “heritage” section, divided by a slash (ex:
“Selkie/Human”). You can invent how you came to be later, or
you can come up with the story now. The story of how your
parents met might be a fun thing to tell your friends later in the
after-hours of the commons.
Then, determine your heritage attributes like so:
r
Your Heritage Trait is “Scion.” Select one of your two
heritages, then gain all the Heritage Abilities of that heritage.
The “additional ability” may be chosen from either of the
two heritage lists.
So if your heritage is Firbolg/Selkie, you would choose one of
those and gain all their Heritage Traits. Using this example,
if you chose Selkie, you would gain the Sealshape Heritage
Trait. When you “choose one additional,” you could choose
from the Selkie OR Furbolg lists, so you could take Tough
instead of Spell-Touched, Sealskin, or Born to the Sea.
If you are awarded a choice of another Heritage Trait, you
may choose from either Heritage’s list of additional Traits.
r
Choose an equal number of strengths and weaknesses from
your parents’ combined heritages and note them on your
sheet.

Character Creation v Heritages 82

 For instance, if your parents are Firbolg and Selkie, maybe
you choose for your character to have the hearing of a Firbolg,
but not their size, and the swimming adeptness of the Selkie,
but not their talent with magic. For weaknesses, maybe you
choose the lack of perception of a Selkie and the lack of social
graces noted for Firbolg. Your strength/weaknesses would
look like this: “Good at - Strength, Swimming ; Struggles with -
Perception, Social Graces”
After you have done this, you have completed this step of
character creation and may move on to the next!

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NOT LIKE THE REST
Some players may wish to play atypical versions of their
characters’s heritage, like a short mandrake, or an immortal
human, or a pixie who has lost their magic. Such concepts
are totally acceptable. Just make sure the Game Master
knows that your character is atypical of their Heritage and
make a note of it on your sheet. If your character’s concept
would contradict a granted Heritage Trait, just replace it with
another Trait from the Trait List, one that better suits what
you’re going for. Have the GM approve any such changes
before finalizing the character.
Be sure to consider how others of your Heritage might
treat you. A pixie without magic might be teased, as would a
short mandrake. A human who has lived hundreds of years
might be seen with superstition and may lose their feeling of
belonging. People of all types have difficulty accepting what
they cannot understand; has your character encountered this,
and if so, how has it affected who they are?

o
Character Creation v Heritages 83
TRAITS
New characters begin with two Traits (in addition to their
Heritage Traits). Traits are unique aspects of your character.
They are shorthand for strengths, weaknesses, and other stuff
that is true about you. Traits might represent some innate ability
the character possesses, or something they learned, or something
they unlocked with time. When you give your character a new
Trait, think about how they got it, what it implies about how
others see them, and how it shapes their behavior or beliefs.
Traits often say when they are relevant during Tests and what

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they give you when you attempt actions. In addition to what is

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described for each trait:

When you think one of your Traits would be disadvantageous to

you, you may choose to point this out and tell the Game Master
why. If they agree, then you Test with Disadvantage. When that
Test is over, you gain a point of Fortune. You can only gain a
Fortune once per type of Test attempted in a session; trying the
same thing over and over with Disadvantage does not grant you
additional Fortune.

The above rule applies to all Traits listed in this book, in addition
to anything else the Trait does.

TRAITS & INVENTING ACTIONS

Players might us their Traits to propose an action. For instance, a player
whose character is a Natural Performer might say, “I want to busk in
the tavern for coins so I can get some money. Can I Test?” This should be
encouraged by the GM, and generally these proposals should be allowed.
The Game Master should only turn the player down if something isn’t
possible due to the narrative circumstances (like, using the above example,
if the tavern is empty). If what they’re trying is hard, but not impossible,
have them Test with Disadvantage. If the Trait makes it trivial, waive the
Test entirely! Inventing new uses for one’s Traits is a big part of the game,
and the Game Master should reward inventive players.

Character Creation v Traits 84

TRAIT LIST
Acrobat: *Crash* Ta-da! You are adept at acrobatic feats. When
you attempt acrobatic tricks such as tumbling, long-distance
jumps, climbing, or maintaining balance, you Test with Advantage.
Always Hungry: I’m so hungry, I could eat YOUR horse. You are
never Unwell from eating too much or too fast. When you eat
something you like, you may recover an injury.
Anamchara: True friends are accidental. You have an “Anamchara,”
a soul friend, with whom you are karmically tied. This is not
necessarily romantic, rather that you both understand one-

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another beyond words. Choose another character to be your Soul
Friend (at character creation, it must be a player character). Gain
a Relationship with them, mentioning they are your Anamchara.
Whenever they are in danger or distress, you always know. You
may also communicate via looks and other signals that others
do not notice, and they always understand. If you are also their
Anamchara, you may Assist their rolls twice per attempt.
Animal Companion: And a beer for my pet fox. You have an
animal companion who follows you everywhere you go. When
you take this Trait, you may choose a small or medium animal,
subject to the approval of the GM. They get either the Fleet,
Tracker, or Flight Traits (whichever is more appropriate), and two
more Traits chosen from the Trait List. They obey the character
and understand commands. The animal can sustain two minor
Injuries or one Major injury before they are incapacitated. They
otherwise behave like a typical animal of their kind, if perhaps a
little smarter.
Barfighter: A fair argument, but have you considered… this?
*SMASH* You are adept at fighting in crowded spaces, where
weapons are not normally available. Any object within reach is
considered an Improvised Weapon for you. You do not suffer
Disadvantage for fighting in tight, noisy, or crowded areas, and
you can Defend even if your hands are bound or full. When you
take this Trait, you gain the Improvised Weapons Proficiency,
which is relevant whenever you are fighting or defending by
using an improvised weapon.

Character Creation v Traits 85


NEW TRAITS
Players familiar with Tiny Dungeon 2e
should take note: many of these Traits
are similar to the Traits listed in that
book, but function slightly differently
to account for differences in mechanics
and tone. In cases where Traits are
similar, the Traits in this book supersede
the Traits in Tiny Dungeon 2e.
Barterwise: No matter how
good the deal sounds, never buy
anything from someone who is
out of breath. When trading
or bartering, you may Test;
if successful, the other party
will give you more for what
you’re trading, or will accept
an IOU (but you better pay
up later, or they’ll come
looking).

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Beast-Whisperer: What is it, boy? Did Timmy fall down a well?
You are able to communicate with animals via a rudimentary
and primitive way. You can always tell the emotional state of
nearby animals, even if you’ve never seen them before. When
you need a favor from an animal, you may Test; if successful,
the animal does what you want them to do, if only barely. If
your instructions are complex, you Test with Disadvantage. If
you offer them something they want (food, water, scritches,
etc), then you Test with Advantage.
Berserker: They’ve got the ríastrad! Run! You sometimes fall into
an unstoppable primal rage. You can change to a special mood:
Berserk.You go Berserk whenever you are injured, or whenever you
want to. While you are in Berserk Mood, you ignore Disadvantage
caused by injuries, and when you inflict at least one injury, you
also inflict an additional injury for every injury you have currently
suffered. However, while Berserk, you suffer Disadvantage for any
Test that isn’t an Attack or Defense. When you leave your Berserk
Mood, you become Exhausted (see Status Afflictions, page 143).
Charismatic: Barkeep, a drink for my new friend, this stranger.
You are likable and naturally influence others. You attempt
Charm Tests with Focus.
Collector: If the guest wanted it, they wouldn’t have left it! You are
always collecting bits and pieces and odds and ends. Once per
scene, you can pull something small and easily carried out of your

Character Creation v Traits 86

pocket; it was always there and you’ve had it all this time. You
cannot produce magical items this way, unique one-of-a-kind
items like keys, or anything especially rare.
Curious: Curiosity may have killed the cat, but not knowing is
what killed the mouse. You just cannot help but learn more.
When researching something that interested you, or when
trying to figure out how something works, you Test with Focus.
You attempt Notice Tests with Advantage.
Customer Service: For you, my friend? Yes, I am the manager.
After spending some time with someone who is Cranky, you

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may Test: if successful, you may change their Mood to neutral.

II: Character +
When you give someone a pep talk or try to make them feel
better, you Test with Focus.
Daredevil: Hold my beer. You don’t pause when others would, not
even in the face of danger. But don’t worry, the gods like fools!You
are immune to Dread (it is never added to your sheet). The first
time each scene you become Incapacitated, no matter the reason,
your next Save Test is waived (automatically successful). When
you do something really stupid, you Test with Focus.
Deep Sleeper: Next time use the water bucket. You sleep VERY
well. You can get restful sleep in any surrounding and on any
surface. Loud noises do not wake you until they are VERY loud.
You only need 4 hours of rest to recover injuries.
Deft Hands: He won’t mind if I borrow this. You are naturally
skilled at feats of prestidigitation. Whenever you attempt to
pick pockets without others noticing, bump locks, or other
slight-of-hand feats, you Test with Focus.
Drunken Master: I’m better when I’m trashed, you know that!
While you are Drunk, you Test with Focus on all acrobatic feats,
Defense actions, and Save Tests.
Dungeoneer: What did I do before this? Well, grave-robbing basically,
but with more owlbears. You frequented many dungeons and know
your way around them. When in unfamiliar ruins, cave systems, or
subterranean places, you are never lost.When attempting to identify
creatures or traps in any of the above locations, you Test with Focus.

Character Creation v Traits 87

Educated: D’s get degrees! Haha but seriously I went to school for this.
You attended a institution of higher learning. Whenever you wish,
you may attempt a Test to see if you know more about a specific
subject, thing, or historical event; if successful, you do! The Game
Master gives you (and everyone else) a little more information.
When being educated would be helpful in your current situation,
you Test with Advantage.
Eidetic Memory: I’ve got a mind like a steel trap! You possess
a photographic memory and flawless recall. You can recall
information flawlessly, even if you only got a glance. When
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would be useful, you Test with Advantage.
Entourage: I’ve got people for that. Your character is accompanied
by up to three “Flunkies,” who form their entourage. A “Flunkie”
is a low-powered individual who hangs around the character and
does whatever they want without asking for anything in return:
a knight’s squire, a handmaiden, a cloud of pixies, or a bard’s
groupie are all examples of flunkies. Flunkies can perform menial
tasks and help with minor activities (and provide one free Assist
for GM-approved Actions), but they are unskilled and not much
help in fights or significant endeavors. When having a personal
entourage would be useful to you, you Test with Advantage.
Expertise: Look, I know my probainognathian cynodonts, and THIS
is a cyno-DO! When you take this Trait, you gain a new Proficiency.
Then, choose one of your Proficiencies to become your Expertise.
On all Tests pertaining to your expertise, you Test with Focus.
Familiar: Uh, your cat is… um… glowing. You have bonded with
an otherworldly spirit that had taken the form of an animal. You
gain a Familiar. Create a Relationship that describes the deal you
both made. For more on Familiars, see page 49.
Fast Friend: Mother always said, ‘True friendship is never serene.’
You make friendships quickly, and they all matter to you. When
you spend some time with someone and bond over something
together, you may spend a Fortune to immediately gain a
Relationship with them. Give that Relationship the Like tag.

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Fleet: Speed or good timing, it’s all the same thing! You do most
everything a little bit faster than others. Your movement speed
increases from 25 feet to 30, and you can run for a long time
without getting tired or bogged down. It takes you less time to
do chores and other such activities. When you attempt something
where speed is a significant factor, you Test with Advantage.
Flurry: The whole point of a bow is to hit them before they can reach you.
You are swift with bows, slings, throwing knives, and other manual
ranged weaponry.You can load and fire a bow or sling with just one
Action. You can also Equip and throw daggers, mugs, and other
such objects in the same Action (one Action to grab and throw).

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Foodie: It’s glutton free! Yes, glutton. …I know what I said. You are
an expert with food and possess a near-perfect palate. When
attempting to make food out of something exotic or difficult, you
never suffer disadvantage. When attempting to make food out
of a common ingredient or with less equipment, you Test with
Advantage. You always make one additional serving when you
make food (see page 214 for more about making food!).
Gadgeteer: It’s just a matter of having the right tool! You always
keep a cache of gadgets on your person, ready to solve any
problem! When you are facing an obstacle or need a tool for a
task, you may spend a point of Fortune to immediately produce
one. Tell us what it is and what it does. It can be fantastical,
whimsical, manually-powered, and over-the-top. It may also be
a weapon or a consumable. However it must still work within
the narrative, it must be specialized, it cannot be too magical,
and it can only be used for the duration of the scene. When you
use a gadget for the specific task for which it was designed, you
Test with Focus.
Galvanizing: Will no one help me make this bread, or help cut off
the dragon’s head? When you are in a populated place and need
bodyguards, an escort, or skilled hands, you may attempt a Charm
Test; on a success, you temporarily gain the assistance of at least
one able-bodied NPC to help you.

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Geas: Promises, promises. You made a promise to a supernatural
being in exchange for power. Choose two different traits,
representing what they gave you. This Trait gives you the effects
of the two Traits chosen. Then, tell us something important that
you gave up and the promise that you made. It cannot be trivial
and must affect your day-to-day life in some way; the GM must
approve. Tell us what terrible thing will befall you if you break
your promise; in addition to that, you will lose this Trait.
Gossiper: Who gossips with you will gossip about you. You always
know “what’s the craic?” You can attempt to learn rumors and
gossip about any subject or person. When you attempt this, Test

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with Advantage; if successful, the Game Master tells you any
information that is being passed around in secret, which may or
may not be true. Whenever you Test to gather information from
eavesdropping, you Test with Focus.
Great Strength: There are many kinds of strength. My kind is literal.
You possess greater-than-average strength and endurance. You
count as two characters for the purpose of carrying Large items.
Whenever you attempt something with brute force, or where your
strength and endurance would be of use, you Test with Advantage.
Healer: Look, I’ll bandage your boo-boo, but you’re the one who will
have to kiss it. Once per scene per character, you may attempt to
treat a character’s injury with first aid by Testing. If successful,
that character heals a minor injury. If it fails, they merely heal.
Alternatively, you may attempt to treat a major injury or sickness
by Testing with Disadvantage. If successful, the Game Master
reduces the amount of time required to recover by a narratively-
appropriate amount.
Insightful: Something smells rotten here, and for once, it’s not week-old
cheese. When attempting to discern if someone is lying, misleading,
or pulling your leg, you Test with Advantage.
Intimidating: I’m sorry, did you want to say that to my face? Others
find you hard to approach.When your intimidating manner would
be advantageous, you Test with Advantage.

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TREATING INJURIES WITHOUT THE HEALER TRAIT
Characters may attempt to treat injuries no matter what Traits or
Proficiencies they possess. However, a successful check merely
negates the effects of the injury until the end of the scene; it does not
remove it completely. The GM may decide the would-be doctor needs
bandages, herbs, splints, or other such things to attempt this. At GM
discretion, a success may decrease the time required to recover the
injury or provide Focus to a relevant Save Check to overcome it.

Iron Stomach: …Were we not supposed to eat the tin? It takes a lot to
upset your tummy.You can eat or drink poisonous, “challenging,”

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or toxic food without becoming Sick or injured, unless you eat a
LOT of it. When Testing to avoid becoming drunk, you Test with
Focus. Note that what you eat must still be considered food…
Jumpy: Bwaaah! I mean, I knew you were there! You aren’t paranoid,
you’re just preparanoid. When you would be surprised or Shocked,
you may Test; if you succeed, you were expecting whatever just
happened, negating whatever downsides being surprised would
have inflicted on you, and making you immune to the Shock.
When you enter Initiative Mode, you (and anyone else who is
Jumpy) may take one single Action before anyone else (in addition
to your normal allotment during your turn).
Language-Savvy: When your words have power, you have a
responsibility to consider what you are using them for. You catch on to
languages and wordplay quickly and can communicate fluently
after the equivalent of a day spent immersed in a new language.
Whenever you encounter a code or cypher you don’t know
(written, spoken, or otherwise), you may Test with Advantage to
see a pattern that allows you to roughly translate it.
Mixology: I call this drink “Skeleton’s Barf!”You have a natural talent
for mixing drinks, brewing beers, and making potions. Given the
right ingredients, you can mix cocktails, potions, elixirs, and tonics.
You can also make poisons, but come on, don’t do that! When
identifying unknown liquids or brews, you Test with Advantage. For
guidelines on making potions and such, see page 152.

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Natural Performer: All eyes on me! When you are trying to
impress them with a performance, you Test with Focus. When you
purposefully attract attention to yourself, Test; on a success, they
cannot look away or engage targets other than yourself until it is
once again your turn. If you’re trying to distract or occupy someone
or something that is difficult to distract, you Test with Disadvantage.
Mischievous: Someone needs to be taken down a peg. You are a
trickster. When something would set you or your allies back or
hinder you, you may spend a point of Fortune. If so, then you
already foresaw that it would happen and took measures to counter
it.Tell us what you did to foil the bad thing. Be as elaborate as you’d

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like! The bad thing is negated completely; your plan countered it
flawlessly. When you are playing tricks or misdirecting someone
unfamiliar with your true nature, you Test with Focus.
Seanchaí: That’s not how I remember the tale… You are a master of
folklore, a collector of epic poems, and a student of history.You keep
oral traditions alive, collecting threads of the great and preserving
them in poetic form for future generations. As an Action, you can
recall a relevant story to inspire those present by attempting a Test;
if successful, either all your allies may change their Mood to any
they wish, one chosen ally gains Advantage on their next Test this
scene, or you may change the Mood of one opponent.
Smithy: You looking for the blacksmith, the brightsmith, or the
feysmith? Just kidding, I do them all. You have a natural talent for
metalworking. When you have all the necessary tools, materials,
and time, you may Test with Advantage to repair or craft a
mundane metal item. If you succeed, add it to your inventory.
If you fail, you need more time, and may try again tomorrow.
Sneaky: They never heard me coming! On all Stealth Tests, you
Test with Advantage. You also gain Advantage when hiding or
doing something that you don’t want others to notice.
Social Butterfly: Hey, I know you! When someone new comes
to the Tavern, you may Test: if successful, you already know them;
tell us how you met them and how you know them. When you are
trying to convince others to help you, you Test with Advantage.
Your Relationship Uses cap at 4 instead of 3.

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Special Weapon Art: We shall duel with pizza peels, at the brick
oven, at dawn. Loser makes lunch. You have mastered the use of a
specific object to be used as a weapon. Choose one such object;
it can be any mundane, everyday item. Whenever you wield
that item, it is considered a weapon for you. Gain a Mastery
with this item (see page 97), which is relevant whenever you
use it, and add one of the chosen item to your Belongings.
Spellcraft: Actually, yeah, I did learn that in “wizard school.” You
are a practitioner of a specific spell craft. Choose one of the
following Spellcrafts: Folk Magic, Hedge Magic, Performance Magic,
Season Magic. You gain all the spells of that craft and can cast

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them according to their rules. When your knowledge of a specific
magic would be advantageous, you Test with Advantage. More on
Spellcraft can be found on page 117, and magic rules are found
on page 44.
Spell-Reader: P as in phylactery. You have spent years learning
the arcane languages, allowing you to read spell scrolls and
other such magic items. More on reading magic scrolls can be
found on page 44.
Spell Touched: It comes supernaturally! You have magic powers!
You can cast cantrips and produce minor magical effects (See
pg 47). Furthermore, choose one of the below options to tell us
where your magic comes from:
r
Your magical bloodline, passed down through generations.
Gain one Ritual from any Spellcraft: you know this spell.
r
A special item you carry with you. Tell us what it is and how
you got it. Add it to your Belongings. You only have the Spell
Touched Trait while you possess it. Anyone else who possesses
it gains the Spell Touched Trait, but you can call the item back
to you at any time.
r
A pact you made with otherworldly beings.You may communicate
with ghosts, spirits, the dead, and the supernatural. Once per
session, you may ask a spirit to cast a spell for you (invented
or chosen from any Spellcraft list), but the spirit will want
something in return.

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Tinkerer: Eureka! You can use the things you find to create
gadgets and improve items. Whenever you are attempting to make
a new item or augment something you already have, tell us what
you are trying to create and what it would do, then Test. If you fail,
you are missing an important component and can try again when
you get it. If you succeed, you make the new item or improve your
old item. The things you invent either allow you to Test with Focus
when they are relevant, or make certain previously-impossible
actions possible to attempt (depending on the item).
Tracker: They’re hiding their tracks… but not well enough. You are
an expert signcutter, able to track animals or people in the wilds

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or in civilization. You always know True North. Whenever you
attempt to shadow someone, follow a hidden trail, blaze a new
trail, or hunt for a person or creature, you Test with Advantage.
Trap-Master: Early bird gets the worm? Well the second mouse gets
the cheese. Whenever you attempt to create, identify, spot, and
disarm traps, you Test with Focus. When you Save Test against
Traps, you Test with Advantage.
Trash talk: The three sharpest things: a hound’s tooth, a thorn in the
hand, and a fool’s retort. You are very good at provoking others.
During a Quarrel, you may Test: if successful you may force a
GM-controlled opponent to do something you describe. During
any scene, you may Test: if successful, you can make any one
character Cranky.
Unflappable: Never show your teeth before you can bite. You cannot
be flapped. Attempts to manipulate your emotions or change
your Mood never work, unless you decide they do. You may still
change your Mood as normal, but effects that alter your Mood
automatically fail against you.
Virtuous: A person may live after losing their life, but never after losing
their honor. You follow a code of ethics that emphasizes personal
virtue. It is a source of strength for you, but only so long as you
follow it with great conviction. Tell us a few of those virtues and
how you define them. When your virtue or reputation for honor
would give you a leg-up, you Test with Focus.

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Wanderlust: The world is my home, friend.You long to see the world
and wander throughout the lands. Whenever you get to journey
beyond the Tavern for an extended trip, or whenever you are given
something from a far off land, it puts you in a Good Mood.
Wealthy: Money comes, money goes, so blow yours like a runny nose!
You possess vast quantities of wealth, or otherwise don’t need to
worry about money. Once per session, you can use this Trait; to
produce as much gold, money, jewels, or other wealth you need
for whatever you’re trying to pay for right now.
Wheeler-Dealer: Oh wow, you are overpaying for scrolls of window-

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add +1 to all Trade Tests.You always know where to find a market
or buyer for something. Whenever having merchant, fencing, or
buyer contacts would be especially useful, youTest with Advantage.
Woodsy: Nothing like waking up with spiders in your sleeping bag to
remind you that you’re alive! You can survive in the wilds far from
civilization. You always know True North. “Roughing it” puts you
in a Good Mood, unless something goes terribly wrong. When
you attempt to forage for safe food, water, or a place to sleep, you
Test with Focus.

PROFICIENCIES & MASTERIES

The next step in character creation is selecting Proficiencies.You will
choose at least two Proficiencies to represent the areas of expertise
for your character. Then, you may choose one more Proficiency,
or you may upgrade one of your Proficiencies to a Mastery,
representing a high level of skill. To do this, follow the steps below.
CHOOSING PROFICIENCIES AND MASTERIES
A “proficiency” is a skill, subject, or area of expertise your character
is good at. They represent training, experience, and knowledge
about a specific subject. Think of these as things your character is
good at, subjects in which they are an expert.
A proficiency is represented by a word or short phrase describing
it. For instance, “Bartending” might be a character’s proficiency,
representing training and experience on anything having to do

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with bartending. Mixing drinks, identifying beers, recognizing
when a person should be cut off, keeping track of tabs, and
an encyclopedic knowledge of alcoholic drinks are all things
a bartender might be expected to be good at. The Bartending
proficiency would represent at least some skill in all of the above,
and possibly more.
Another example might be “Thievery,” representing anything
that a thief might reasonably be expected to be good at. Sneaking
in the dark, blending into shadows, climbing walls, picking locks,
bypassing traps, locating a fence for stolen merchandise… the
Thievery proficiency would represent at least some skill in all of

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the above, and possibly more.
At Character Creation, each character gets two Proficiencies
(in addition to any granted by Traits). Think about what your
character would be good at. What are their life experiences? What
did they do for a living before they worked at the Tavern? What are
their passions? What did they do for fun? What were they forced
to learn, due to circumstance or expectation? After thinking about
this, write down three things your character is best at. These
general areas of expertise are the characters’ Proficiencies.
You will not write down everything the character is good at.
Just choose two things that they are best at.
If you cannot think of anything, you may also choose from
the list at the end of this section. Those entires are merely
examples; your Proficiency can be whatever you like (although
if it is too general, the Game Master can make you narrow it
down or choose again).
After you have chosen two Proficiencies, you may do one of
the following:

r
Choose an additional Proficiency, giving the character a total

of three.
r
Upgrade one of the character’s Proficiencies to a Mastery, giving
the character a total of two Proficiencies and one Mastery.

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MASTERY
A Mastery is like a powered-up Proficiency. It means the character
has mastered that skill and is really good at it. Mastery takes a lot of
time and practice, so you should only choose one if you mean for
your character to be well-known for whatever they have mastered.

LANGUAGES?
The fantasy world of Tiny Taverns is home to hundreds of dialects
and languages, each with their own tradition. The pixie language,
Niflixil, is just a dialect of magic incantations, very flowery and rich
with poetic power, while the language of the pooka, Incrementis,

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is logical, rife with compound-words, and conjugated based on
how reliable the information is (on a scale of one to six, and with
seven being reserved for exaggeration). There is Flutterspeak, a
wordless sign language and its many dialects, and High Talk, the
ancient language spoken by nobility. There are entire languages
that are native to specific communities, some new and some as
old as time. Even just a few villages over, the spoken language can
vary drastically. Words are important in this land. Words shape
worldview. Words have power.
But it would be hard to play if our characters didn’t understand
one-another, so for the sake of the game, we handle languages
like this:
r
Player characters are automatically fluent in whatever
languages make sense for them given the story’s context.
r
All player characters speak a “common tongue.” You may
decide together what that means, exactly. Or you can do
that later if you want. Characters are considered to be
speaking this language unless otherwise specified.
r
Characters do not need a specific Proficiency or Trait to
understand a language. They just need justification given
their background and story.
r
Characters with Language-Savvy or a suitable proficiency
should have more narrative leeway in deciphering codes
and unfamiliar languages.

Character Creation v Proficiencies & Masteries 97

BENEFITS OF PROFICIENCIES
Whenever a character’s Proficiency would be advantageous to
them in the current situation, tell the Game Master. If they
agree, then you Test with Advantage.

As an example: Tigg is attempting to calm a stampeding horse,

a feat the Game Master deems not only difficult, but also very
dangerous.Tigg’s player interjects thatTigg possesses a Proficiency
“Horsemanship,” and suggests that it would be relevant here.The
GM agrees, and the Test is made with Advantage.

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Furthermore, if a character attempts something where their

II: Character +
Proficiency would make the task trivial, the Game Master may
waive the Test. This is purely at the discretion of the GM.

As an example: Equipped with a fencing foil, Lunata attempts

to disarm Katya of their sword. Katya has little or no training
in swordsmanship, but Lunata has the “Fencing” Proficiency.
The Game Master decides that gives her a significant advantage
over Katya and waives the Test. Lunata automatically succeeds;
Katya’s foil clatters to the floor.
However for her second Action, Lunata attempts to do the same
thing to her other opponent Glen. Glen also has the “Fencing”
Proficiency, so the GM does not waive the Test, because they
deem that Lunata and Glen are on equal footing.

BENEFITS OF MASTERIES
Masteries are upgraded Proficiencies. They behave the same,
but with an additional effect: whenever a character attempts
something at Disadvantage, if their Mastery is relevant, they
may use it to negate the Disadvantage and Test normally. A
Mastery used this way does not give Advantage for that Test.

For example: Connie possesses a Bartending Mastery. She

attempts to mix a particularly difficult drink under pressure;
her Bartending Mastery is relevant so she Tests with Advantage.
However, she then must make the same drink multiple
times at once while taking orders, a difficult and hectic task!

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 The GM decides she Tests with Disadvantage. Connie uses
her Bartending Mastery again to negate the Disadvantage and
instead Test as normal; she does not get Advantage from this
Mastery because she instead negated the Disadvantage.

MARTIAL PROFICIENCIES, MASTERIES, AND COMBAT

A Martial Proficiency is any Proficiency pertaining to weaponry,
combat, or self-defense. “Fencing” is an example of such.
“Archery” is another. It may represent a fighting style, like
“bataireacht stick fighting,” or a stylized ritual combat, like
“jousting.” It can be general, like “hand-to-hand martial arts,”

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or it can be specialized, like “greatsword fencing.” Anything is
permitted so long as the GM approves.
Martial Proficiencies are rarely relevant outside of martial
situations. They might have other uses; holding a conversation
about swords with an experienced fencer would consider Fencing
to be a relevant proficiency, for instance. But most of the time,
you’ll be using them to fight.
You won’t fight a lot in this game. It might happen sometimes,
but generally you’ll have other concerns. Being good with a
sword won’t make the pot boil, after all. It is advised that players
only choose one Martial Proficiency.
A “normal” Proficiency might also have relevance in a fight.
“Horsemanship” might be relevant when fighting from horseback,
for instance. In these cases, the Proficiency does not become
“Martial,” but it still grants its benefits.
Tiny Taverns does not use lists of weapons with different statistics.
It classifies weapons as Light Melee, Heavy Melee, Light Ranged,
Heavy Ranged, and Improvised. But it doesn’t differentiate
between different kinds of swords, for instance, or split hairs when
it comes to bows vs crossbows, or knives vs daggers, or any of
that stuff. Players should keep this in mind as they choose Martial
Proficiencies. Will you always have that sword in-hand? If you
don’t have a sword, are you still competent at fighting?
Martial Masteries work the same way as normal Masteries: they
grant Advantage when they are relevant.

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EXAMPLE PROFICIENCIES:
The following entries are examples of valid character proficiencies.
Don’t be limited to this list; you can invent your own Proficiencies
using the guidelines above!:
r
Acrobatics
r
Bartending
r
Brewing (pertaining to beer)
r
Buttle (Managing the dining room, pantry, and wine cellar)
r
Burglary (Anything pertaining to thievery or burgling)
r
Cartography

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r
Concierge (Customer service, finding fun things to do)
r
Culinary Arts
r
Deceit (Misdirection, bluffing, lying)
r
Gaming (Riddles, puzzles, gambling, etc)
r
Handy (Home and appliance repairs)
r
Herbalism (Gardening and medicine)
r
Hospitality (Goodwill and comfort of the guests)
r
Law
r
Linguistics
r
Parkour (Moving quickly across difficult terrain)
r
Performance
r
Smithing (metalwork)
r
Winery (pertaining to wine)
r
Woodcraft (Wilderness survival)
MARTIAL:
r
Archery
r
Bataireacht (stick fighting)
r
Coraíocht (grappling, throwing, takedowns)
r
Fencing (sword fighting)
r
Jousting (ritual lance fighting)
r
Polearms
r
Security (bouncing, alertness, organization of defense)

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TAVERN TRADE
This is where you decide what your character does to contribute
to running the tavern. Think about what the Tavern requires to
function, make money, and attract patrons. How do you help?
If your character is an employee or part-owner, then you probably
have a lot of responsibilities. Try to nail down specifically what
you contribute. Are you the bartender? A server? A maid? Are you
the resident chef? The brewer? The entertainment? The hostler or
stablehand? The resident blacksmith? The bouncer?
This is a fantasy setting, so maybe your role is specific to the

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fantasy element. If the tavern is in a cursed place where the dead
rise from their graves, maybe you are the resident exorcist, keeping
the undead at bay If the tavern is a massive lodge that functions
as its own independent city-state, maybe you are a “governor,” or
the resident knight. If the tavern is a boarding house for wizard
students, maybe you are a headmaster or groundskeeper.Whatever
it is, be specific about how you keep things running smoothly.
You might also be free labor. If your parents own the tavern, you
might be their teenage help-on-hand, taking care of the tavern
out of obligation. After all, it might be your inheritance one day.
Or maybe your out-of-control gambling has you indebted to the
owners. Or maybe they saved your life and you and willingly help
for nothing more than room and board.
If your character is a frequent patron and not an employee,
you’re still probably invested in keeping the tavern running. It’s
basically your home now, and you are well-known by everyone
there. So what do you do to keep the tavern successful as someone
who technically isn’t employed there? Bards, musicians, and
other performers might bring in more customers, forming a
sort of symbiotic relationship with the establishment. Or maybe
you’re the local trapper who sells them meats and herbs, hunting
during the day and accepting pay for your game each night.
Maybe you’re a wine or beer aficionado, and your reviews are
what keep the guests pouring in.

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 If you are having trouble picking, consider this: The biggest
needs for a tavern are food, drink, rooms, cleaning, and safety.
Which of those five things do you want to focus on? Then, look
at your character so far. Consider their proficiencies and traits.
Consider who they are. Which job would they excel at? More
importantly, what would they want to do?
After you’ve given this some thought, write down your choice.
Don’t go into a lot of detail, just one to three words that summarize
your trade. “Bartender.” “Bouncer.” “Lantern-Lighter.” “Resident
Witch.” Anything is fine as long as we know what it means, and as
long as your service contributes to the tavern.

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Players should collaborate on this step together. Knowing what
other characters are doing may help you with your own ideas.
You can all choose the same role if you wish, but it may be better
to diversify. Maybe one of you is an apprentice beneath someone
else. Maybe you are all tavern security, and one of you is the
leader. Whatever your work relationships, you can work them
out now, or leave that for later.
TAVERN TRADE
VACANT DUTIES MECHANICS
If it turns out there are necessary duties
For the most part, Tavern
no one chose, the Game Master may
Trades are cues for the
invent an NPC employee to be in charge
of that, and the players get a chance toGM and other players to
define who that NPC is and how they determine their role in the
came to be working here. Alternatively, story. As part of the game,
the GM may decide a player character characters must complete
has been doing this job all along, “chores,” which are tasks
choosing one or asking for volunteers. for the Tavern’s upkeep. You
will receive tasks that are
closest to your Tavern Role, and you may receive some outside
of it as well. Your Tavern Trade is a signal to the Game Master
that says, “I want my part of the story to involve this!”
You do sometimes benefit, however. When you attempt a chore
where your Tavern Trade is relevant, you Test with Advantage.
The Game Master may also give Advantage during other Tests
when your Tavern Trade is relevant, if they deem it appropriate.

Character Creation v Tavern Trade 102

CHARACTER BELIEFS
Each character has a driving principle called a Belief. Beliefs are
short statements that represent a guiding force for the character,
a summary of their worldview. When you’re not sure what your
character should do next, your Belief should provide guidance.
Strong Beliefs should tell you exactly what your character wants,
what they’d do, or why they might feel conflicted.
For example, your character’s Belief might be: “I can always
find a diplomatic solution.” Or it might be: “Being right is the
most important thing.” It could even be: “I am destined to be a

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famous chef!” All of these examples imply something about the

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character’s mindset and pertains to how they relate to the world.
Sometimes Beliefs cause characters to clash.That’s fine! Conflict
between Beliefs helps make the game interesting. Just remember
that you are all working together. Beliefs are not irreconcilable
differences, they’re just strong motivators. And they can change.
BELIEF MECHANICS
A player may choose to become Unwell if their Belief is challenged
during play. Beliefs also play a part in character advancement,
since characters get experience when they exemplify or defend
their beliefs. (See “Roll Credits” on page 134.)
Characters can acquire more Beliefs during play. If the GM
allows, players can add a new Belief at the end of a session, but
only if something life-changing or worldview-altering happened.
Additionally, players may change any of their existing Beliefs at
the end of a session, but only if it makes sense to abandon the
old one in favor of the new.
Be mindful that more Beliefs mean more opportunities to become
Unwell, and ultimately, more chances to gain experience and grow
as a character. Game Masters should try to limit how many Beliefs
a character can have to keep this from getting too out-of-hand. We
suggest limiting beliefs-per-character to 2. At the same time, it may
be appropriate to accelerate character growth somewhat. Some
fast-advancement might be an acceptable trade if characters
are evolving every session!

Character Creation v Character Beliefs 103

BELONGINGS, ITEMS, & EQUIPMENT
It is important to figure out what stuff a character tends to carry
around. Tiny Taverns treats items and inventory a little loosely,
as you will see below. Generally, players give their characters
whatever makes sense for them to have, keeping track separately
of “general inventory,” and “belongings.”
ITEMS
An “item” is any object that a character can use and carry.
Clothing, weaponry, a tray of beer mugs, or even extra blankets for
the guy sleeping in the drafty room are all examples. Tiny Taverns

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does not provide a complete list of all the items characters may
encounter during the game. Instead, the Game Master invents
them spontaneously by describing a scene, or confirming player
proposals/inquires (“Why yes, there is a coat in that closet!”). A
scene is considered to have whatever items would reasonably
be expected to exist there. The Game Master can add additional
items as well, especially unusual objects with plot relevance.
Characters are considered carry whatever would be
appropriate given the scene’s context. For example, if Kitani
is sweeping the floors as a part of this scene, it can be assumed she is
carrying a broom or duster or something. If Valoren is reading
books in the study, it can be assumed he has a book, and maybe a
lantern, some brandy, reading glasses if he needs them, and so forth.
If Morfessa is leading a hunting party to bring down that owlbear
that’s been eating horses, he’s probably carrying weaponry, nets,
cloaks for camouflage, and an “owlbear call” (I dunno, why not?).
The important thing is that characters have whatever would make
sense. We don’t “track” items most of the time.
The exception is when an item is considered unique and
important. Some items are character-defining; Morfessa always
carries his crystal hammer, Valoren always has his spellbook,
and so on. Personal items should always be tracked. Another
exception is when an item is significantly powerful. There are
only so many “Potions of Healing” or “Scrolls of Window-
Cleaning.” Finally, items that the GM deems especially relevant
to the plot are always tracked.

Character Creation v Belongings, Items, & Equipment 104

BELONGINGS
A character’s “belongings” are more than just inventory. They
tells us about who they are and what they value. Sometimes a
person is carrying something because its a part of their job, or
it symbolizes their identity, or it has emotional significance to
them, or it matters for their survival. Or maybe they just fancy it!
Your belongings are stuff you always have, or that is always nearby.
It counts towards your carrying capacity (see page 106), and if it
is ever lost, it is restored to you at the end of the session (usually).
Your belongings aren’t always on your person. Sometimes they’re

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in your room, stashed under the bed or sitting on your shelf, or
locked up because they’re valuable or private.You’ll always decide if
you have them or if they’re stashed away.
To determine your starting belongings, follow these steps:
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What specific thing does your character always carry? Answer
this question, then add that Item to your belongings.
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What memento did your character bring from home, childhood,
or someone they care about? Answer this question, then add
that Item to your belongings.
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What specific thing does your character associate with a
past mistake or a painful lesson? Answer this question, then
add that Item to your belongings.
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What sorts of clothes does your character prefer to wear?
What clothes do they have to wear? Answer these questions,
then add at least one outfit of each to your belongings.
Remember you can stash these in your room, you don’t
have to be carrying them all the time.
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Choose one from the following list and add them to your
belongings: a sack of coins (value 1), an “adventuring kit,”
an “artisan’s kit,” or a weapon. If you choose a weapon, tell
us what specific weapon it is.
There you have it! Decide which items you are carrying and
which ones you have tucked away. Then, proceed to the next step.

Character Creation v Belongings, Items, & Equipment 105

GENERAL INVENTORY ARE NOT BELONGINGS
Items you acquire as the game proceeds are not added to your
belongings, but instead to your general inventory. Items are only
added to belongings when a rule or the GM specifically says to.

ITEM SIZE AND CARRYING LIMITS

To use an item a character must “equip” it, which means taking
it from its stashed place and holding it in a hand or tail or
whatever. There are certain limits to what a character can carry
and hold. This limit is decided by the item’s “size.”

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Item Sizes are an abstraction of an item’s literal size and
unwieldiness due to shape or sharp edges. Items come in four
sizes: Tiny, Small, Medium, and Large.

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Tiny items are objects that are easily stashed and fit in the palm
of your hand.You can have as many of these on your character
as considered reasonable. If that means infinity, then you can
have infinity. If that means just a few, you can have just a few.
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Small items are objects you can easily carry in one hand
without effort.You can have up to five of these on your person.
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Medium items are objects that are unwieldy, sizable, or heavy.
You need both hands to carry these.You can have up to two of
these stashed on your person, and you can only carry one at
a time. The GM may allow more if you have Traits that make
sense to allow it.
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Large items are massive objects that are not easily carried,
due to size, weight, multiple parts, or any other such reason.
You need at least three people to carry a single Large object,
and they cannot be stashed. The GM may decide you need
more than three if the object is really big.
Medium and Large Items can be dragged if there isn’t enough
room to stash them, but this is usually not good for the item,
and the Game Master can decide you are vulnerable, slowed
down, cranky, or any other such narrative conditions.

Character Creation v Belongings, Items, & Equipment 106

WORN ITEMS
Items that are “worn” (like clothing or armor) do not count
towards your carrying limits, regardless of their size, as long as
you are wearing them. For example, a suit of plate armor might
be considered Large, so carrying it requires help. But when you
don the armor, you are wearing it, and so it doesn’t count towards
your capacity (and you don’t need help anymore, thank you).
Items carried in containers, like swords in sheathes or potions
in bandoleers, are NOT considered “worn” unless the item
specifically says so (sorry, you cannot carry twelve swords if
they’re all sheathed, but points for inventiveness!).

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USING ITEMS
What items mechanically do depends on the narrative context.
Many items make certain actions possible, when without
that specific item it could not be attempted. Spell scrolls are
an example of this; casting the spell on the scroll is impossible
without possession of the scroll. Herbs that cure poison may be
another. In these cases, the item provides no mechanical benefit,
but allows the character to attempt a Test for an effect.
Other items trivialize an action that would be difficult if attempted
without them. In these cases,
using the item waives the Test. C I
ONTEXTUAL NVENTORY
Finally, some items make a In summary, in place of a constant
difficult Test easier, but not inventory players need to track
trivial. In these cases, the Game on their sheets, characters have
Master may choose to grant a “contextual inventory” that
changes from scene to scene.
Advantage for possessing the
They have whatever makes sense
item. Of course, one must also for them to have at this part of
know how to correctly use the the story!
item in order to get Advantage The exception is the character’s
this way. Belongings, which remain the
It is the GM’s responsibility to same despite whatever scene they
decide which of these apply to appear in. Players should consider
the item in question, although what sorts of items inform us
about their characters when they
players can make suggestions.
choose a character’s Belongings.

Character Creation v Belongings, Items, & Equipment 107

CONSUMABLES
Consumables are items that have a number of “uses” before
they are depleted. Things like potions (emptied after they’re
quaffed), scrolls (crumble after the spell is cast), food, bandages,
and so forth are all consumables.
Most consumables should be one-use, but the Game Master
can elect to give a consumable multiple uses. When a character
takes possession of a consumable item, the Game Master
should say so and mention how many “uses” the item has. The
Player should keep track of how many uses an item has left,
then remove the item from their inventory after the final use.

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KITS
A “kit” is a collection of materials and tools designed to aid
in a specific activity. They are treated as one item and are
“consumable” with multiple uses. A kit contains anything that
might be useful for that activity (within reason). For instance,
a sewing kit might contain needles, thread, patches, and such.
A blacksmith’s kit might contain smithing tools, solder, clay
for molds, and so on. The Adventurer’s Kit, an option for
characters to begin the game, contains rope, metal hooks, a
candle, a flint and steel, climbing boots, and that kind of stuff.
Kits make certain narrative things possible that otherwise would
not be. Sewing up a tear in your pants might not be possible
without a sewing kit, for instance! Furthermore, when you attempt
to overcome an obstacle that the kit pertains to, you Test with
Advantage. If you are already Testing with Advantage (due to a
Trait or Mastery, or something other than the kit), the Kit instead
grants Focus for the Test. Kits do not stack; only one may apply
at a time.

Kits in Belongings: Kits belonging to a character’s Belongings

are never removed from the sheet when their uses run out. A kit
that is in a character’s Belongings is restored to its full uses at the
end of a story arc, even if it is all used up. This does not apply to
kits in regular inventory, or “lost” kits.

Character Creation v Belongings, Items, & Equipment 108

WEAPONRY
A “weapon” is any item whose primary use is self-defense and
inflicting harm or damage. This includes swords, spears, batons,
throwing knives, bows, and so forth. It may also include tools like
hammers, hatchets, canes, frying pans, and the like. Weapons are
most relevant during skirmishes and combat.
A weapon’s primary use is to inflict damage. In addition to other
narrative effects, successful Attack Tests made with weapons always
inflict one injury; either Major or Minor, your choice. This is
regardless of what the weapon actually is, unless a mechanic says
otherwise. Most enemies have a number of Health Points (Hps)

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that represent how many injuries they can sustain before they
decide they don’t want to fight anymore; weapons help you deplete
those Hps faster by guaranteeing damage for successful attacks.
Weapons require training to use well. Fighting with a weapon
where you have no training causes you to Test with Disadvantage
(note that a relevant Proficiency implies training). Furthermore,
if you use a weapon in a manner other than the way it was
designed (like throwing your fencing sword, for instance), you
Test with Disadvantage, even if you are Proficient (although a
Mastery can negate this).
All weapons belong to one of five categories: Light Melee,
Heavy Melee, Light Range, Heavy Range, and Improvised.
These categories represent how the weapon is meant to be
used. Note that a weapon can be used differently than the
category it belongs to (a sword can be thrown, a bow can be
smacked against someone in melee, etc), but this is often to the
disadvantage of the wielder.
Light weapons are designed to be wielded in one hand and
(relatively) easily drawn. Weapons that are Tiny or Small are
considered Light. Heavy weapons are designed to be wielded
in two hands; they are Medium or Large (keeping in mind
Large items need help to wield). In addition to their normal
effect as weapons, Heavy weapons may also grant Advantage
on checks where their greater force and size might be useful
(like bashing down a door, or cutting a rope, for instance).

Character Creation v Belongings, Items, & Equipment 109

 Melee Weapons are designed to be used on enemies within
reach, or “melee range.” They can be thrown, but generally
don’t do well used that way. Ranged Weapons are designed to
be thrown or to fire projectiles, like arrows, bolts, pellets, and so
forth. They can be used in melee, but generally aren’t designed for
it (although some do just fine, like a bow fired point-blank).
Many times, context may turn an ordinary object into a
weapon. A frying pan becomes a makeshift cudgel, a beer mug
becomes a handy projectile, a table gets flipped, a belt becomes
a whip, and so forth. These items are considered “Improvised

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Weapons.” Improvised weapons are neither ranged nor melee;

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using them always causes Disadvantage, unless you have a
relevant Proficiency or Trait. They inflict one injury just like
other weapons.
ARMOR
Armor is an item that, when worn, prevents or mitigates damage
to the wearer. Armor can be anything that provides adequate
protection: a leather brigandine, a hauberk, or even a suit of
plate mail! Or a bunch of plates hastily wrapped to one’s body,
that works too!
While worn, armor negates injuries from attacks. Most armor
can prevent/“absorb” one minor injury; after it is “used” in
this way, the armor is weakened and must be repaired before
it can do this again. Some stronger armor, like a suit of plate,
can prevent one major injury or two minor injuries before it is
“weakened” and needs repair.
The Game Master may decide that armor negates an injury
completely without damaging the armor, depending on the context
of the narrative. But that is completely at the GM’s discretion.

Armor in Belongings: Armor that is in a character’s

Belongings is restored to its full uses at the end of a story
arc, even if it is all used up. This does not apply to armor in
regular inventory, or “lost/destroyed” armor.

Character Creation v Belongings, Items, & Equipment 110

THREE LAST QUESTIONS (OPTIONAL)
This last step is optional, but we highly suggest it!
After all players have created characters, each player should
answer the following questions and mark down their answers.
You should collaborate and answer these together, so everyone
knows each-other’s answers. If you want, you can accept
suggestions from other players and incorporate eachother’s
ideas, but the final say is always yours:

1. Which one of the other player characters is your closest friend?

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Why do you consider them to be your bestie?

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2. How did you end up working or living at the Tavern? What
is your biggest responsibility there?
3. What always puts you in a Good Mood? What always ruins
your day?

How you answer will provide you with a few little bonuses that
affect the game.

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Gain a Relationship with the character you named in question

1. Write a sentence that describes your relationship, give it
one or more appropriate Types, and mark it as “Strength
2.” (See page 112 for more on Relationships, and some
examples of how to write them up.)
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When we perform chores for the Tavern, your character
is responsible for whatever you answered in question 2,
in addition to their Tavern Trade. (See page 148 for more
about Chores and maintaining your Tavern.)
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During gameplay, your answers to Question 3 are triggers
for gaining a Good Mood or becoming Cranky, respectively.
(See page 141 for more about Moods.)

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Character Creation v Belongings, Items, & Equipment 111
ADDITIONAL CHARACTER RESOURCES
“You own every word you say. Forget, and the world will remind you.”
In this section, you will find additional resources for characters.
Relationships represent allies, friends, and “friendemies” and
are used to gain small favors and other effects during play. The
Spellcraft section provides the spellcrafts and what spells they
provide.

RELATIONSHIPS
No character is an island, and especially not in Tiny Taverns.

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The connections characters share can be a source of strength,

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inspiration, and support. It’s tough running a tavern all by
oneself, but fortunately, you’re not alone!
Relationships represent the ongoing connections between the
player characters and other people in their lives. In game terms,
a “Relationship” is a short phrase that briefly summaries the
nature of the connection. It identifies who the connection is
with and how the player character feels about them. You can
have Relationships with other player characters, NPCs, or
minor characters you encounter from time-to-time.
Mostly, relationships provide guidelines for how characters
interact. A relationship that reads “I like Kaolin because she gives
me free drinks” provides some context for interaction with that
character. In addition, relationships have some mechanical
components that allow players to use them for special narrative
effects, like calling in a favor or drawing strength from the bond
they share. The Game Master can use relationships to create
plot hooks, introduce complications, or add motivations.
As the game progresses, relationships grow and change. At the
end of a session, relationships might grow stronger or weaker,
new relationships might be added to the character sheet, and old
relationships might change in interesting ways. Ideally, players
are constantly adding or revising relationships, and no session
goes by without some bonds growing stronger or weaker.

Additional Character Resources v Relationships 112

PARTS OF A RELATIONSHIP
A Relationship has three parts: a summary, a “type,” and a
“strength.”
The summary is a brief statement describing the relationship.
It should contain the name of the person it pertains to and be an
accurate statement that describes how the character views that
person. Examples include: “I can always count on that goofball
Lunata to make me smile,” or “I can’t stand how Khaitlyn
thinks she’s better than everyone” or “I always compete with
Javier because I want to prove I’m better.” The statement can
be anything so long as it contains the name of the person and

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how the character regards them.
The type is a one word “tag” that categorizes the relationship
and provides a mechanical benefit. When you gain or change
a relationship, you give it at least one type that best fits it. A
relationship has as many types as are appropriate to give it, and
the Game Master may decide the proper types to apply.
The different types are: Like, Love, Rival, Nemesis, and Secret.

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Like: You regard the other person well and consider them
a good friend.
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Love:You care deeply about the other person. This tag may
represent romantic love, but it can also apply to family love,
best friends forever, or other deep emotional connections.
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Rival:You always seem to be butting heads with this person.
Rivals can be “friendemies,” competitors that push you to
be better, something you grudgingly respect, or even a bully!
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Nemesis: This person directly opposes you and seemingly
exists just to thwart you. A nemesis can be someone who
actively works against you, or they can be well-meaning and
oblivious to the fact that they’re always messing things up.
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Secret: For whatever reason, you keep your relationship with
this person hidden. Others may know you two know one-
another, but only you and the other person know what is
really going on.

Additional Character Resources v Relationships 113

 As an example: the Relationship “I butt
heads all the time with Blowball because
we are so alike!” might have both the Like
and Rival types, representing that they are
friends, but that they also tend to clash.
A relationship’s “strength” is an abstract
representation of the strength of the bond.
Relationships start at 1, representing a
relatively new bond. During the game, they
might go up or down, depending on what
happens.The highest strength a relationship

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can have is 3. If a relationship’s strength is
ever at 0, remove it from your sheet.
It is important to note that Relationships do
not represent the full extent of everyone you know
or how you relate to them.They just represent those
bonds that have the most narrative relevance, or are likely to have
narrative relevance in the near future.
USING RELATIONSHIPS WITH NPCS
Players may “use” a relationship to gain a small boon and bring
the other character into the narrative. Players use a relationship
by announcing this to the Game Master and choosing one of
the following options:

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Help: Ask the NPC for a specific favor, which they will try
to do at the best of their ability.
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Lend: Gain an appropriate item from the NPC, to be added
to the character’s inventory.
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Join: Temporarily gain the NPC as a companion, to be
present in an upcoming scene and actively help out.

If the NPC is not predisposed towards doing what the character

asks (either because it is inconvenient, risky, or any other reason),
then obtaining this boon decreases the Relationship’s Strength
by 1 after it is granted. Asking too much of your friends is a fast
way to lose that connection!

Additional Character Resources v Relationships 114

Relationships have other effects based on their Type:

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Like: Once per session, it does not lower the Relationship’s

strength to get their Help.
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Love: Once per session, it does not lower the Relationship’s
strength to have them Join you.
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Rival: When you Use this Relationship, they also introduce a
complication or hardship, and then you gain a point of Fortune.
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Nemesis: When you Use this Relationship, instead of any
other effect, they try to thwart you, unless you do something

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for them first.

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Secret: Once per session, if someone else discovers this
relationship, you are Embarrassed (see Status Afflictions
on page 143).

USING RELATIONSHIPS WITH PLAYER CHARACTERS

Relationships with other Player Characters work a little
differently. When you act in a way that fits the Relationship
summary and type (to the GM’s satisfaction), you Test with
Advantage. This happens a number of times per session equal
to the relationship’s Strength (so a Strength 1 Relationship
only grants Advantage once per session, for instance).
For instance, if you are engaged in a pie-eating contest with
another player character, and they are your Rival, the GM may
grant you Advantage for the Test. For another example, if your
relationship says that you “want to protect them,” and you
are acting to save them from embarrassment or cover up one
of their mistakes, the GM may deem it appropriate to grant
Advantage for any Test undertaken to do that.
STRENGTHENING AND WEAKENING RELATIONSHIPS
The easiest way to strengthen Relationships is by spending
experience earned during gameplay (see “Roll Credits” on
page 134). However, the Game Master may elect to strengthen
a Relationship as a result of something a character does during
gameplay, such as a favor performed at great cost, a gift offered,

Additional Character Resources v Relationships 115

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a kind word said, or a genuine connection made. Players may
propose Relationships strengthening as a result of what they
do, but the GM has final say.
Other than weakening as a result of being “used,” Relationships
can also weaken as a consequence of betraying or hurting the
other person. The Game Master may decide that a character’s
actions weakens the Relationship, decreasing its strength
without effect. Remember: if a relationship’s strength is ever at
0, you remove it from your sheet.
GAINING AND CHANGING RELATIONSHIPS
The easiest way to gain Relationships is by spending experience
earned during gameplay (see “Roll Credits” on page 134).
However, the GM may award Relationships as a result of
making a genuine connection with another character during
play. Players may propose Relationships strengthening as a
result of what they do, but the GM has final say.
Relationships change over time. Players may alter or redo the
summary of their Relationship at any time during play, so long
as the current summary no longer makes sense and the nature
of the Relationship has changed. When this happens, the GM
may add, subtract, or replace any of the Relationship’s Types to
reflect the new summary. Only the GM may do this, although
players may request changes when the narrative warrants it.

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SPELLCRAFT
Characters with the Spellcraft Trait choose one spellcraft to learn.
They gain all of the spells and rituals listed under that specific
spellcraft and may cast them using the following guidelines.
CASTING SPELLCRAFT SPELLS
The basics for casting Spellcraft spells were explained on page
44. In this section, we go into detail.
Characters may cast any spell listed under the specific spellcraft
they know. The player tells us how they want it to affect the story.
Then, they attempt a Magic Test. If the Test is successful, the

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spell is cast; the effects listed under the spell occur, and the story
changes as appropriate.
If theTest is a failure, then something went wrong and something
unexpected happens. Often, the spell description outlines the
consequences of a failed cast. If not, the Game Master invents a
complication, altering the spell effect however they wish. Perhaps a
different spell was cast by mistake, or it is cast on the wrong target,
or the intended spell is cast very weakly. Player characters can still
benefit from a miscast spell, but the effect should be something
other than intended. It may make things worse!
SPELLCASTING LIMITS
Spells are powered by latent energy, or “mana,” that is a
byproduct of life. Spellcraft magic “burns” the mana of one’s
surroundings. It can take some time for this mana to recover in
enough quantity to accommodate another spell.
What this means in game terms is that only one Spellcraft spell
may be cast per scene. If a character casts a Spellcraft spell, then
no one else may cast any more until the next scene begins, or until
they’ve moved to a new location or area. This only happens when
a spell is successfully cast; failed Magic Tests don’t sap enough
mana. Be courteous when casting spells; ask other players if it’s
okay for you to attempt one.
If you enter a new “area” during the scene, like a different part
of the woods or a different room in the Tavern, then the GM

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may decide that you may cast another spell, sapping that area
of its mana temporarily as described above.
Note that this is only for Spellcraft spells. Scrolls, magic items,
cantrips, and other such magic is powered by other sources and
can be cast freely.
CASTING RITUALS
Rituals are a special type of spell that takes longer to cast than
normal. The caster needs significant time and resources to cast
a ritual; it cannot be done in just two Actions. Unless others
can stall, rituals should not be attempted during Initiative Mode.

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The Game Master decides how long a ritual takes to cast.
The caster must spend significant time casting the ritual. When
enough time has passed, the caster attempts a Magic Test. If
successful, the ritual occurs as described above.
If the ritual fails, the spell is not cast. Instead, the player tells
us what went wrong and what they need to complete the ritual,
choosing one of the following options:

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Either the timing or location is wrong. The player decides

which. If the timing is wrong, you must wait until the time
is right. If the location is wrong, you need to find a ley line
or well of power; tell us where you are supposed to be! You
may accept suggestions from other players if you want.
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You are missing a vital component, ingredient, or tool. Tell
us something relatively rare that they need to get in order
to try again, and where they can find some. The GM may
use this as an adventure hook.
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You need help. Others must join the ritual.Tell us specifically
what the other characters must do to help. Do they need
magic training, or do they just need to follow your very
explicit instructions?

Once the chosen condition is met, the character may attempt

the Ritual again, and the Magic Test is waived.

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HEDGE MAGIC
“Magic with practical applications.”
Originally a derisive term invented by wizards, “Hedge Magic”
is a non-formalized art of spellcraft pertaining to low-powered
but practically useful spells. Hedge magic spells make life easier
by solving day-to-day problems. Wizards tend to look down
at hedge magic practitioners because they don’t consider it
“real” spellcraft. But high sorcery isn’t especially practical, and
throwing lightning bolts and fireballs won’t make the grain
grow faster or keep the roof from leaking.

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HEDGE SPELLS
AMPLIFY/SILENCE: This spell alters sound. When you cast this
spell, choose either to amplify the voice/sound a specific person
or object, or lower it to the volume of a whisper. This alteration
lasts for a few moments.
If the Magic Test to cast this spell is unsuccessful, the opposite
effect occurs: what you intended to be quieted is amplified, or
what you intended to be amplified is quieted.
HANDYFIX: This spell affects an objects’s state. When you cast this
spell, choose an item nearby, then one of the following effects:
“rewind” it to how it was up to a minute ago, speed up its time and
“age” it by days, cause it to separate into its different components,
or put it back together into what it was before it broke.
Examples include “rewinding” a dropped egg so it is whole
again, “undoing” the over-salting of a stew, speeding up a slow
roast without burning the meat, curing or fermenting something
instantly, putting a broken vase back together, and so on.
This spell does not work on living things, be they plant, animal,
or fungus (while alive). It also does not work on things that have
been fundamentally transformed; it will not separate the metals
in a sword, but will separate the blade, handle, wrapping, and
so on. Finally, it does nothing to magical items and artifacts.
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If the target is large, has a lot of parts, or is resistant to the
effect, the Magic Test is attempted with Disadvantage.

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HEDGE-HOP: You turn an object into a floating mode of
transportation. When you cast this spell, you target a mundane
object you are holding, like a broom or carpet. If the object is
Large (like a carriage), you Test with Disadvantage.
If successful, the object floats and becomes capable of carrying
yourself and anything/anyone else who can reasonably fit. It
can fly no higher than two stories above ground/water/whatever
and no faster than a galloping horse, although it can jump gaps
and pits of reasonable width (GM call). Hasty maneuvers
require Save Tests to prevent falling off, although the object
can be made to try and catch anyone who slips just before they

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hit ground (requiring a successful Magic Save Test). This lasts
until you reach your destination or tell the object to “stop.”
If unsuccessful, the GM chooses one of the following effects: the
item takes whatever route it wishes as fast as it can and ignores
commands, or the item goes extremely slowly and ignores commands
to go faster. At GM discretion, the caster can occasionally try to
regain control by passing a Magic Test at Disadvantage.

TASK OBJECT: You cause an object to operate and perform a

specific task on its own.When you cast this spell, choose a mundane
object or simple machine to cast it on. If successful, your magic
temporarily animates the object, compelling it to do a specific task
it was designed to do. (A broom sweeps the floors, a cloth may
wipe tables and windows, a butter-churn makes butter, etc.) The
task must be simple and manual; a sword can be instructed to cut
ropes, but not to parry attacks, for instance. This lasts until you
tell the spell to stop.
If unsuccessful, the GM chooses one of the following effects:
the item rebels and does something other than what you told
it to do, or the spell does not end until the object is destroyed.

FINDERKEEPER: This spell helps find something lost. When cast,

name a specific object you need to find: it must be something
the caster has seen and held before. If successful, the caster feels
compelled in the direction of the object, and makes any further
Tests to notice/locate it with Advantage.

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HEDGE RITUALS
PRESERVE GOODS: This ritual prevents up to a barrel’s worth
of food or drink against going stale, spoiling, turning, or
fermenting for the span of several days. It also repels pests like
bugs and vermin, prevents moisture from ruining dry goods
and medicinal herbs, keeps meat fresh, and so forth. This does
not protect food against being cooked or consumed.

TASK-SONG: This is a Ritual you cast while doing something

else, and the magic aids you in your task. This Ritual does not
require a Magic Test to cast (but still counts towards the limit

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per scene). When you Test to complete a Chore or another

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lengthy activity, and you are unsuccessful, you may cast this
ritual to gain a free Assist (and re-roll one die).

FOLK MAGIC
“The magic of wisdom... and paying attention.”
Regarded as “witchcraft” by some, “Folk Magic” refers to the
sometimes-shamanistic magic of common people, derived from
folk tradition, local religion, superstition, and occasionally local
spirits. It developed from ancient lore on how to keep livestock
healthy, treat common ailments, and prevent misfortune. This
is magic carefull preserved and handed down generations.
FOLK SPELLS
HEX/BLESS: This spell affects a target’s personal fortunes, either
making them luckier, or ladening them with curses! The caster
cannot cast this on themselves.This spell affects the chosen target
for the duration of this scene. The duration can be extended to
24 hours by attempting the Magic Test with Disadvantage. This
spell’s effect on the target is based on your current Mood:
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If you are in a Good Mood, the target gains a point of Fortune.
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If you are Cranky, the target is hexed. Their Tests can never be
waived, and if controlled by the GM, they must Test to perform
Actions. If the target is a player character, they cannot gain Focus.
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If your Mood is neutral, you may choose either effect, or “cure”
a target of this spell’s effects.

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CURE: This spell helps the body to recover from illness or injury.
Choose a target and one of their Injuries, including Afflictions.
The chosen injury has no effect for the remainder of the scene. If
the injury is Minor, or if this spell is treating a sickness or poison,
then when the scene ends, the target attempts a Save Test; if
successful, the injury is healed or the sickness is cured.

TRUTHTELL: This spell helps determine if someone is telling a

falsehood. Choose a target when you cast this spell. If successful,
whenever they are hiding something or being untruthful, they
sneeze uncontrollably. If cast on a player character, they can resist

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giving themselves away by attempting a Save Test at Disadvantage.

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HEARTH ALARM: This spell must be cast over a campfire, hearth,
fire pit, or other fireplace/kitchen fire. For as long the magic works,
this spell alerts the “owner” of the hearth whenever someone or
something enters or exits the home/camp/dwelling. This spell only
works on living corporeal beings; it can be made to work on spirits,
undead, supernatural, and otherworldly beings by attempting the
Magic Test with Disadvantage. This spell lasts for eight hours.
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The caster may exclude specific individuals or creatures from
the spell effect (like insects, for instance).
FOLK RITUALS
MAGIC CRAFT: This is a Ritual you cast while you are making
an item, with the intention of the created item being enchanted
or otherwise magical. You do not need to Test to cast this spell,
but you still do to make the item. If successful, the resulting
item is magical. As such, Advantage it grants is not negated
by Disadvantage. Furthermore, it bestows a specific minor
magical effect: use the Spell-Touched trait as a guide to decide
a minor cantrip effect that the item can cast at will.
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You may give it a more powerful magical effect, such as one
bestowed by another Spellcraft spell or a magic scroll, by
attempting the Magic Test to cast this with Disadvantage.
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If the Test to make the item fails, the effects of failing a Ritual
occur in addition to the normal consequences of failure.

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FORTUNETELLING: This Ritual divines a person’s possible future,
if nothing were to change. Before attempting the Magic Test to
cast, the caster tells us how they are divining the future: casting
bones or dice, reading palms, asking a spirit, or any other such
means. Then, the player whose character’s fortune is being read
asks one of the following:
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“Where will I find ?”
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“Where will happen to me?”
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“What will happen if I ?”
If the Magic Test is successful, the Game Master answers the

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question truthfully, inventing possible encounters as appropriate.
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Answers are not “destiny,” but likely futures. If something
happens to change the circumstances, then the answers may
no longer be true. However, if characters actively seek them
out, and nothing drastically changes, they occur as predicted.

WARDING: This Ritual wards against a specific thing or magic.

Before attempting the Magic Test to cast, the caster tells us
what they are warding against. You can ward against a specific
supernatural or otherworldly being, a specific spell, or a specific
environmental condition (such as extreme heat, rain, snow,
etc). If the Magic Test is successful, you create a Ward against
that thing: tell us what form it takes. This ward lasts for 24
hours, or until dismissed by the caster.
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When applied to a door or passage, the ward prevents the
chosen thing from passing through.
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When applied to a person, they either become immune to what
it wards against, or Tests against it with Focus (GM decides).
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When applied to an object, the ward prevents the thing it is
warding against from interacting with the object directly.
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The ward created by this Ritual can be used to counter a
specific magic spell, causing its effects to end immediately.

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PERFORMANCE MAGIC
“The magic of the beating heart.”
Perhaps the oldest of all magic arts, Performance Magic is the
all-inclusive spellcraft of music, dance, poetry, and song. The
ancients long knew music’s hidden power, and all magic has an
element of performance, whether acknowledged or not.
Performance magic spells are called “glamours.” Unlike spells
of other disciplines, glamours are activated not by words, but
by sound and movement, and are powered by the mana of their
audience’s belief. Most glamours are concerned with befuddling

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glamours are the realm of the bard, the magician, and the trickster.
When a character learns Performance Magic, they choose the
method of performance that powers their glamours. It can be any
performance art they wish. Music and song are common choices
(tell us which instrument you prefer), but dance is also acceptable,
as is poetry, acting, shadow-puppetry, even stand-up comedy
(magic jokes!). Be advised that whatever you choose is how your
magic works, so the more complex, the harder it may be. The
character then gains the entire Glamour Repertoire listed below.
CASTING GLAMOURS
Casting glamours is a little different than casting other spellcraft
spells. The biggest difference is that glamours do not sap the
area of magic, so they do not affect the limit of spells per scene.
To cast a glamour, the performer must be able to put on the
kind of performance that powers their magic. If dancing is how
their magic works, they must be able to dance. If song is their
method, they must be able to sing. And so forth.
The caster then attempts a Magic Test. If it is a tough audience
(GM discretion), they Test with Disadvantage (note that a
relevant Mastery negates this). If the Test is successful, the
glamour is cast. If not, you must attempt a different glamour
with this audience; the one you chose will never work with them.
You Test only once for the audience as a group, not once per
audience member. Successfully-cast glamours affect everyone

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who witnesses the performance,
minus any targets you don’t
want to affect (so you can avoid
affecting your allies, for instance).
Be mindful: those who cannot
experience your performance are
immune to the effects.
Glamours last only for the
performance’s duration. To keep
the magic going, one must keep up
the performance. Furthermore,
Multiple Performers:
A group of bards can reinforce
a glamour by joining in.
This increases the potency/
strength of the glamour in
a way the Game Master
describes, and makes the
glamour harder to disbelieve
(imposing Disadvantage on
Save Checks, for instance).
It also means that if one

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the spell may be broken if the effect performer drops the song, it
is “disbelieved,” so make sure keeps going as long as there
your performance is impeccable! is another performer who is
In Initiative Mode, keeping a continuing it.
glamour going takes up one Action on your turn. This means
that while performing a glamour, you can only take one other
Action per round. This includes Reactions that would interrupt
your performance; if you react in a way that stalls or drops the
performance, the glamour ends immediately.
GLAMOUR REPERTOIRE
CANON OF WONDER: This glamour enchants the audience beneath
the will of the performer. If successful, the audience is afflicted with
Wonderment and transfixes on the caster. While transfixed, the
audience obeys the performer’s commands: they can be only made
to do simple one-word tasks (like “dance,” or “run,” or “follow”
and such), and will do that thing over and over until commanded
otherwise. In initiative mode, issuing this command costs an Action.
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Especially willful individuals will not obey commands they
personally find odious or that violate their Beliefs. When
issued such a command, they instead hold still.
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One ordered beneath this spell can try to Disbelieve that they
must follow the issued command byTesting with Disadvantage
(even if controlled by the GM). If successful, they don’t have
to do as commanded, and the spell is broken.

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EMOTIONAL SERENADE: This glamour imposes an emotional
state on the audience. Before Testing to cast, the player describes
what emotional state they wish to impose: they can make the
audience sleepy, angry, fearful, happy, sad, brave, or any other
such emotion. If successful, the audience experiences the
intended emotion and acts accordingly. At GM discretion, this
may impose an appropriate Affliction, or make the audience
immune to specific Afflictions.
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Alternatively, the caster may choose a Mood for the audience
to experience instead. If successful, they change to that
Mood for the duration of the performance.

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PHANTASMAGORIA: By bending light, sculpting shadow, and
affecting waves, this glamour creates illusions of sight and sound.
The caster can create illusionary objects or beings, cloak things
in shadow or cast them in light (assuming there is enough light
to “sculpt”), create or mimic sounds and make them appear
to project from specific places, or even make objects or people
appear invisible and silent.
Before casting, the player describes what they are trying to create.
If the illusion is especially detailed, large, or hard to believe, the
Test is made with Disadvantage. If successful, the desired effect
is achieved and maintained for as long as the performance lasts.
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The illusions created are incorporeal; if interacted with, this
becomes obvious.When any part of the illusion is disbelieved,
the spell is broken.

THE POLTERGEIST DANCE: This glamour allows the caster to

affect objects telekinetically for the performance’s duration.
The caster may open and close doors, move chairs and tables,
toss tiny or small objects, light and extinguish candles, suspend
liquids into the air and then release them, and other such psychic
feats. In initiative mode, each such telekinetic feat requires the
caster to spend an Action. The GM may decide such Actions
require a Test to accomplish their intended effects.

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SEASON MAGIC
“The magic of the turning wheel.”
Known by many names, Women druids are called “ban-dorai,”
Season Magic is the spellcraft but are otherwise identical.
of nature. It is the domain of
the ancient druids, priests of “the green man” and keepers of
harmony. Those who master it can command the weather, call
upon nature’s allies, read the stars, and even affect the very
forces of the four seasons.
Season magic is as ephemeral as the celestial turn. Practitioners

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can only cast certain spells during specific seasons; the magic
of winter is unlike that of spring, and skillful druids must plan
their spells and rituals well in advance, planting seeds and
guiding their growth.
When a character learns Season Magic, they gain access to three
rituals: “Invoke Season,” “Invoke Weather,” and “Wild Call.”
They also learn all season magic spells listed below. However,
their ability to cast these spells is restricted by these guidelines:
SEASON MAGIC SPELL LISTS
The character knows all season magic spells, but
can only cast the three spells matching the
current season. In other words, you have
a different spell list for Spring, Summer,
Autumn, and Winter. That’s the trade-
off for such potent magic effects! At
GM discretion, you may have access
to spells outside the current season
if you are in an area that effectively
replicates the season you are trying
to access. For instance, you may
have access to Winter spells when
on a snowy mountaintop, even
if it is currently Summer. The
GM has final say on which
season spells you may cast.

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SPRING SPELLS
When it is spring, you have access to these spells.
AWAKENING SÍDHE: This spell calls upon the Aos Sí, or “people
of the mounds,” also known as the “fairy folk.” When this spell is
cast, the caster targets a specific person nearby (they may choose
themselves). Elemental spirits flock to that target; they gain the
Spell-Touched Trait for the duration of this spell. This spell lasts
until sundown or sunup, whichever comes first.

REFRESHING DEW: The caster distills the essence of spring into a

spray of refreshing mist. If cast on a character, they are refreshed;

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cure any appropriate Afflictions and put them in a Good Mood. If
cast on a vessel or the environment, it fills with pure, refreshing water.

WILD GROWTH: Creating a well of spring’s power, the caster

causes a rapid growth of vegetation. When this spell is cast, the
caster chooses one of the following effects:
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Summon a number of giant leaves and/or flowers (no fewer
than one, no more than six; GM decides or roll a die). The
summoned vegetation are Medium items and can be used as
improvised weapons, protection from the elements, materials
for crafting, or other such things. Alternatively, summon a
specific herb or spice, which grows into a plant nearby.
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Cause a number of nearby planted seeds to immediately
sprout and grow to flowering maturity.
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Cause a nearby wooden object or building to immediately
sprout new growth, like vines, branches, leaves, and such.
SUMMER SPELLS
When it is summer, you have access to these spells.
FIREFLIES GLOW: This spell distills the essence of summer into a
number of celestial glowing orbs (no fewer than one, no more than
six; GM decides or roll a die). Each orb is a Small item that casts
light equivalent to a lantern and in any color chosen by the caster.
They may be carried and stowed like normal objects, or they can be
made to float alongside whomever possesses them.They last as long
as they are cast in natural shade; if one touches sunlight, it vanishes.

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LAZY HAZE: The heavy haze of summer puts a target into a
lethargic state. The caster chooses a specific living being, or they
can affect everyone within the entire area/room by attempting
the Magic Test to cast this spell with Disadvantage.
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Those affected suffer the Exhausted affliction. GM-controlled
targets must Test to take relevant Actions; if unsuccessful,
they yawn instead. At GM discretion, minor foes may just fall
asleep immediately.

LIGHTNING BOLT/FIREBALL: The caster unleashes a bolt of

lightning or a blazing fireball; dealer’s choice!TheTest to cast this

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spell is an Attack Magic Test; choose the target before Testing.

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Against quick targets or in conditions negatively affecting the
projectile, you Test with Disadvantage. If successful, the target
is struck and suffers an effect based on the choice:
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Fireball: The target suffers the Burning Affliction and an
appropriate injury. The fireball may ignite flammable objects.
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Lightning Bolt: The target suffers the Shocked Affliction
and either the Burning Affliction or an appropriate injury.
AUTUMN SPELLS
When it is autumn, you have access to these spells.
CRICKETSONG: This spell temporarily gives any number of nearby
targets the Jumpy, Chirpy, and Cricket-Leap Traits for this
spell’s duration. This spell lasts for one scene, or until dismissed.
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Cricket-Leap:You may leap up to 100 feet in any direction,
falling gently if your leap is vertical. The GM may grant
Advantage for relevant Tests.
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Chirpy: You may communicate with anyone else who has
the Chirpy Trait by using cricket chirps. When you do, only
those with the Chirpy Trait understand you.

MANASTONE: The caster distills the power of the harvest, creating

a number of Philosopher’s Stones (no fewer than one, no more
than six; GM decides or roll a die). Each is a tiny item that follows
the Philosopher’s Stone profile in the magic section (see page 51).

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STORM OF LEAVES: The caster unleashes a preternatural cyclone
of leaves and sticks, blinding and tripping anyone in its path. If
cast successfully, the foilage blast sprouts from the caster’s feet
and assails anyone immediately before them with stinging wind,
brittle sticks, and leaves that inexplicably stick. In initiative mode,
those suffering the effects lose one of their Actions for the Turn;
otherwise they hesitate, allowing the caster to get away.
WINTER SPELLS
When it is winter, you have access to these spells.
DREAMWATCH:This spell allows the caster to watch another person’s

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dreams as they unfold. If successful, you experience the sleeping

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target’s dreams in live time, watching disembodied from afar, or
experiencing them in first-person. You cannot affect the dream,
and the dreamer does not see or sense you. This spell ends when
you dismiss it, or when the target awakens.

ICESHAPE: The caster distills the power of winter. When you cast
this spell, choose one of the following effects, which lasts for the
duration of one scene:
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Create a number of tiny or small ice sculptures, (no fewer
than one, no more than six; GM decides or roll a die). These
sculptures are items that can shatter or melt under the right
circumstances.
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Alternatively, you may create one Medium item instead.
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You may create one Large item instead by attempting the
Magic Test to cast this spell with Disadvantage.
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Freeze a container of water or other freezable liquid. If cast
on a pond or other large body of water, only the surface
freezes, and only as far as the GM allows.

SNOW GLARE: This spell replicates the glare of sunlight

reflecting off snow and ice. Choose up to three nearby targets
to temporarily blind with overwhelming light. If your Test is
successful, they are “Blinded” and suffer Disadvantage on all
Tests where sight is a significant factor (GM controlled targets
must Test with Disadvantage to perform these actions). If

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affected during Initiative Mode, they lose one action and are
“Blinded” until the end of their next turn.
SEASON MAGIC RITUALS
Season Magic Rituals are one with nature, guiding the flow of mana
instead of depleting it. You may cast these rituals no matter
the season, and when cast, they do not deplete the mana in
the area and does not affect the limit on spellcast spells per scene.

INVOKE SEASON: You temporarily change the season in the

immediate area. When cast, name Spring, Summer, Autumn,
or Winter; the area around you changes to that season for at

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least the remainder of the scene.
This affects what spells you can access while you are in the
area. This also affects temperature, precipitation, and behavior
of plants and animals (hybernation, mating season, etc) within
the affected area. Use this with care.

INVOKE WEATHER: You temporarily change the weather. Tell the

GM what weather conditions you are trying to cause. You may
alter the precipitation (causing a gentle rain, a torrential shower,
hail, sleet, or snow), change the wind, and increase or decrease
the temperature by up to 30 degrees (Fahrenheit).You may not
invoke natural disasters like earthquakes, floods, or tornadoes
(although your choices may cause one). If successful, this
spell alters the weather to match your description. The change
lasts until you dismiss it (the weather returns to what it was
previously), or until natural weather conditions change it again
(which may take hours or even days).
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If you fail the Test to cast, the GM changes the weather to
something you didn’t intend, as severely as they wish!

WILD CALL:You summon an animal ally! The animal summoned

is one native to the area and chosen by the GM. It understands
you, obeys you, and can sustain two minor Injuries or one Major
injury before they are incapacitated. They otherwise behave like
a typical animal of their kind, if perhaps a little smarter. At the
end of the scene, they go back to the wild.

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OPTIONAL RULE: EXPLICIT CANTRIPS
Characters who take the Spell-Touched Trait have the ability
to spontaneously cast Cantrips, or minor magical effects. The
rules allow players to invent what they want, within bounds
set by the Trait description and reigned in by the GM.
However, players may prefer to have an explicit list of Cantrips they
can cast. If so, you may use the following optional list. Alternatively,
this list may be suitable as a guide for what types of magical effects
are within the bounds of the Spell-Touched Trait.

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When a Spell-Touched character uses their magical abilities,

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they choose one of the following effects to occur:
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Send a brief message to someone they know through magical
means.The player describes the method in which this message
is delivered. This message is understood perfectly, despite
method or distance.
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Conjure a small light, or a collection of lights, with brightness
equivalent to a lantern.These heatless, volume-less lights float
around the caster until dismissed or the scene ends.
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Open or close any door or container you can see, despite
distance.
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Seal or lock any entrance, repelling incorporeal beings or
keeping a door magically shut and/or hidden. Lasts until
dismissed or the scene ends.
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Move object via telekinesis or operate machinery for the
span of a Round.
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Defend yourself by hurling objects or with a magical
concussive force. Resolve this as a Magic Attack Test; if
the target is far away or unusually small, you Test with
Disadvantage. If successful, inflict an appropriate Injury.
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Sense magic at work, immediately learning where the
magic is coming from, if an item is enchanted, or if someone
is under the effect of a spell. Alternatively, sense if there are
living beings nearby, and how many there are.

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EXAMPLE CHARACTER
LUNATA THISTLEFANG - RESIDENT GOOFBALL
Description: Panguri Female - 29 - Lithe - Straw hair in a braid -
Copper Eyes - Gold fang replaces a chipped one. Often seen wearing
her tavern uniform or a canvas brigandine and cloak.
Manner: Goofy, confident, a little clumsy, seat-of-pants planning.
Likes to flash her gold fang with a wide grin.
Heritage: Panguri
Heritage Traits: Feline Senses, Claws and Paws, Empathic
Traits: Barfighter, Trash Talk

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Proficiencies: Fencing, Parkour
Tavern Role: Bar Security, Taste-Tester, “Quality Assurance”
Belief: “If it fits, I sits.”
Belongings: Locket, Journal, Longsword
Lunata was born beneath the auspicious sign of the Winter Stag,
which heralds a great hero. This was no surprise to those who knew
her father, a legendary warrior who, among other great deeds, gave
his life to save the kingdom. Throughout her childhood, Lunata heard
tales of her father’s exploits. Although she never knew him, those
that did said she was his spitting image, in attitude, aptitude, and
some even speculated in destiny. And for a long time, Lunata believed
them. Surely she too was destined for great things.
During her training at the Guild of Swords, Lunata suffered an injury
that forever weakened her ability to grasp a sword. Dropped and
compensated with a dwindling bag of gold, she eventually found her
way to a remote inn and pub, Candlelight Hollow, and rented a room.
Over time, she endeared herself to proprietor’s daughter, the sorceress
Kitani, who felt sorry for her and offered her a job. It was only meant
to be temporary, just until the poor girl could get back on her paws.
That was nearly ten years ago. Lunata has become co-owner of
Candlelight Hollow and Kitani’s best friend and confidant. While she
never forgot her big dreams, for now she’s content in her routine.
Now and again, a customer recognizes her as the child of the great
legendary hero, much to her discomfort. She hasn’t returned home
in years; deep down, she fears that she’ll be judged for squandering
her “destiny.” Liberated of the pressure to fill her father’s shoes or to
compare to his legend, she hopes to find her own path through life.

Example Character 133

During The Game
o
T
his chapter contains additional rules and guidelines
for playing the game. You already learned how to play
back in Chapter 1, but the sections that follow provide
a few more tools for play and elaborate on what you already
know. You’ll also find some optional plug-in rules in case you’d
like to add a little more complexity to your campaign.

ROLL CREDITS: CHARACTER ADVANCEMENT

As players encounter more scenarios and complete challenges
together, they grow stronger, wiser, and defter. They may
uncover new abilities they didn’t know they had, find new
friendships in others, enjoy an increase in reputation, and
perhaps achieve some contentment in the life they’ve chosen.

III: During the Game

The benefit of these experiences are tracked on the character
sheet between sessions using the Advancement Bar. Using the
same character over and over allows the character to advance
further down the bar and gain new abilities and insights.

ADVANCEMENT BAR
The Advancement Bar is represented on the character sheet by a
row of fifteen small boxes. At the end of each session (or the start
of the next, if you forgot), a number of these boxes are filled in,
depending on what your character did during the game.
Every three filled-in boxes gives access to a reward. You gain
rewards by “emptying” all the boxes, making the bar empty again.
Therefore, you can “spend” the boxes to gain small, frequent
boons, or you can save them up to get Character Upgrades, or even
an Epiphany! You can get any one reward you qualify for, but only
one, and you must empty ALL of the bar’s boxes when you choose.
After the third box is filled in, you can choose one Boon from
the Boon List (see next page) by erasing all your filled-in boxes.
Boons are temporary bonuses for the next session.

Roll Credits: Character Advancement 134

 THE ADVANCEMENT BAR
A Row of Fifteen Boxes; Every Third Box Bolded

Experience Boxes: One Box = One Experience Point

Bolded Box Corresponds to Minimum Reward Gained by Emptying All Boxes

k
BOONS
Gain a Boon when you erase at least 3 Experience Boxes:
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Gain a point of Fortune at the start of the next session.
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Gain a new Relationship with someone you met this session,
or increase the strength of an existing Relationship.
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Expand the Tavern (invent a new location and add it)

UPGRADES

III: During the Game

You may instead gain a Tier 1 Upgrade when you erase at least 6
Experience Boxes. Permanently add it to your character:
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Gain two choices from the Boons list.
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Gain a new Proficiency (That you learned or practiced)
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Gain a new Trait! (That makes sense for you to have)
You may instead gain a Tier 2 Upgrade when you erase at least 9
Experience Boxes. Permanently add it to your character:
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Gain two choices from the Tier 1 Upgrade list.
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Upgrade one of your Proficiencies to a Mastery.
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Gain one of your unchosen Heritage Traits (which does not
count against your 6 Trait limit).

EPIPHANIES
You may instead gain an Epiphany when you erase at least 12
Experience Boxes. See the Epiphany List on page 137.
If the bar is full and you do not choose an award, you must
choose a Reflection. See the Reflections List on page 140.

Roll Credits: Character Advancement 135

 After the sixth box is filled in, you
can choose one Tier 1 Character
Upgrade, erasing all of your filled-
in boxes. Upgrades are permanent
bonuses for your character.
After the ninth box is filled in, you
can choose one Tier 2 Character
Upgrade, erasing all of your filled-
in boxes.
After the twelfth box is filled in, you
can gain an Epiphany, a powerful
one-time effect that can drastically
change the story. If so, you erase all
of your filled-in boxes.
If you let your bar fill up all
the way, you are faced with a
Reflection. Reflections are drastic

III: During the Game

crossroads for the character that may set them on a new path.

GAINING EXPERIENCE
At the end of the session or “episode,” each player answers
these questions on their own:

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Did you help keep the Tavern safe and running, or solve a
problem that endangered it, as best you could?
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Did we learn something new about your character?
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Did you question or champion your personal Belief, or help
a friend achieve their personal goals?
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Did you restore your Wellness, or help restore someone
else’s Wellness, by acting it out in-scene?
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Did you suffer a setback or personal loss for someone else’s
benefit?

For each “yes” answer, fill in one of your character’s

Experience Boxes. Then, you may empty all of your boxes and
gain a corresponding Reward, or you may save them for later.

Roll Credits: Character Advancement 136

EPIPHANIES
You may gain an Epiphany when you empty at least 12 Experience
Boxes. Epiphanies are powerful one-use abilities that drastically
change the story when they are used. After using an Epiphany, it
is removed from your sheet (you may earn it again later).
A character may only have one Epiphany at a time. If you would
gain a second one, choose between the new one or keeping the
prior.You may choose an Epiphany you already had previously if
you wish. Remember: Epiphanies are one-shot abilities, so use
them when you can, and make them count!

AWAKENING: The power was inside you the entire time! Best
reserved for last-minute make-or-break moments.
When everything depends on what you do next, and your futures
hang in the balance, you may use this Epiphany (it does not take
up an action). When you do, you immediately gain up to three
points of Fortune (max 3), and then may immediately spend as

III: During the Game

much Fortune as you can afford to gain as many Fortune effects
as you wish. In addition to the normal effects, you may also spend
Fortune to accomplish the following:
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Automatically succeed any Test you are currently attempting.
After you use this Epiphany, remove it from your character
sheet, but keep any unspent Fortune you gained.

BONDED TOGETHER: When the chips are down, you can always
count on the bonds you share together.
When you are in dire need of aid, at the most dramatic moment
you may use this Epiphany (it does not take up an action). When
you do, choose up to three characters with whom you have a
Relationship (ask permission for player characters): they appear
immediately in the scene. Explain how they got there. In any order,
they each get one Action to help you, and if the Action requires a
Test, that Test is attempted with Focus. The scene then plays out
normally, with all the newcomers now participating in the scene.
When the scene ends, you may strengthen those Relationships.
After you use this Epiphany, remove it from your character sheet.

Roll Credits: Character Advancement 137

CHANGE THEIR MIND: Your actions have turned the hearts of
those around you!
When you are arguing or demonstrating something you believe
with all your heart, at the most dramatic moment you may use
this Epiphany (it does not take up an action). When you do, at
least one non-player character who opposes you changes their
mind; be it a minion of the big bad, a high-ranking character,
or the big bad themselves (GM chooses). They immediately do
something to help you in any way they can, overtly or secretly.
At the Game Master’s discretion, they may become an NPC
that joins your Tavern or otherwise reoccurs as an ally for the
rest of the game.
After you use this Epiphany, remove it from your character sheet.

FORESIGHT: You knew this would happen all along!

When a great misfortune is about to befall you or one of your
allies, you may use this Epiphany (it does not take up an action

III: During the Game

and you can do this at any time). You foresaw that the misfortune
was going to happen and already did something to prevent it. Tell
us what you did to counter or foil the misfortune, and how far back
you thought to do it. Your answer is canon; the story changes to
reflect what you already did and were prepared for all along! The
misfortune either does not befall you or is significantly weakened.
After you use this Epiphany, remove it from your character sheet.

MAGIC ARTIFACT: A magic artifact has found its way into your
hands! What a big responsibility!
When you take this Epiphany, an item in your possession
becomes a Magic Artifact. Choose one now, or wait until you
“discover” one during gameplay. Your new magic artifact follows
the guidelines and rules listed in the Magic Section of Chapter 1.
Magic Artifacts must be “attuned” before they can be used.
To “attune” this item to your character, you must “discover”
its power, either by unlocking it accidentally, comprehending it
after much study, wielding it in a desperate situation, or other
narratively-appropriate event.

Roll Credits: Character Advancement 138

 In game terms, this means you must use the item in a scene
with high stakes, then spend 3 Fortune while using the item.
The player should describe the moment of realization and what
others see when the power of the artifact is unlocked. From that
point onward, the character can use the magic of the artifact
at-will, so long as they possess it; they never need to re-attune
themselves or try again. Others cannot unlock the power unless
they are also Attuned to the item.
Once you are attuned to the Magic Artifact this Epiphany gave
you, remove this Epiphany from your character sheet.

REVEALED HEART:You reveal the truth inside your heart, and both
of you come to a much deeper understanding with one-another.
When someone with whom you have a Relationship is in dire
need, and they are in the same scene with you, you may use this
Epiphany (it does not take an action). When you do, they either
Heal an Injury, attempt their
TRAIT & PROFICIENCY LIMITS

III: During the Game

current Test with Focus, or
change their Mood.You each
immediately gain a point of
Fortune.
When the scene ends, you
may increase the Relationship’s
Strength by 1. If it’s already a 3,
gain another point of Fortune.
You may revise/change your
Relationship to represent the
new understanding between
you both.
After you have used this
Epiphany, remove it from
your character sheet.
A player character cannot have more
than six Traits at a time, excluding
those granted by their Heritage and
temporary ones granted by magic. If a
character would gain a seventh Trait,
they must remove an existing non-
Heritage Trait from their sheet first.
A player character cannot have more
than six Proficiencies at a time,
excluding those temporarily granted
by magic. If a character would gain
a seventh Proficiency, they must
remove an existing Proficiency from
their sheet first.
This rule is meant to keep characters
from getting too powerful or complex.

z
A GM may choose to waive this rule
if they wish to run a more powerful
campaign, but be advised that
characters without these limits can
become extremely powerful!

Roll Credits: Character Advancement 139

REFLECTION
When the Advancement Bar fills completely, and the player
does not empty boxes for reward, they must choose one of the
following options, which will directly affect the next session
and their character:

CONTENT: They are content in the course of their current

life, having accepted their place, at least for now. The player
immediately chooses and gains two Boons and one T1 Upgrade.
The next session will focus on a personal challenge their
character must face, one that also affects the Tavern. (The GM
may wish to refer to the Personal Story options of the Event
Table on page 182 for ideas). They erase all of their boxes.

NEW BEGINNING: They are ready for something new in their life
and have taken the first step towards a new path. The player
chooses up to three of their non-Heritage Traits and swaps

III: During the Game

them for three new Traits from the Trait list. They may then
upgrade one of their Proficiencies to a Mastery or choose and
gain a Boon. Finally, they replace one of their Beliefs with a
brand new one. The next session will focus on the character’s
drastic change in lifestyle, what sparked it, and how everyone
adapts. They erase all of their boxes.

RESTLESS: They are not content with their life so far, and they
long for something better. The character begins the next session
with Ennui and an extra point of Fortune. The plot of the next
session will give them (and everyone else) an opportunity to
take a brief journey beyond the Tavern to somewhere in the
outside world, where they will encounter a new challenge that
could change their lives for better or worse. They erase all but
three of their boxes.

k
Roll Credits: Character Advancement 140
MOODS
Throughout the game, characters might change their Moods.
“Mood” is a representation of the character’s “head-space” and
general emotional condition. A character’s mood might affect
their behavior, perception, and level of energy for specific tasks.
Moods should be cues on how to roleplay a character. However,
the GM may also allow the mechanical effects listed below.
There are three Moods that can apply to a character.

r
Neutral: Most of the time, characters are in a neutral

mood, or “no mood.” They act normally, with no change in
mechanics or narration.
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Good Mood: Characters shift into a good mood when
something happens that they really like, and they feel like
they can express their happiness. They are happier than
usual and it shows!

III: During the Game

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While a character is in a Good Mood, they Test with
Focus in social situations and Chore Tests.
r
They also Test with Focus when they attempt any Save
Test where being hopeful or in a good mood would make
success more likely.
r
Cranky: Characters are cranky (a “bad mood”) whenever
something happens that especially upsets or angers them.
r
While a character is Cranky, they Test with Focus
whenever they Attack, attempt to break or destroy
something, or on Save Tests against Dread.
r
Characters that are Cranky suffer Disadvantage when
helping others (including Defending), while in social
situations, and while attempting Chore Tests. They also
cannot Assist, as they are too cranky to work in tandem.

The Game Master may decide to grant Advantage or Disadvantage

in situations other than those listed if they decide a character’s
Mood would affect the outcome of a Test.

Moods 141
 Being in a certain Mood doesn’t mean characters are limited
in how they must act in scene. However, players should try
to role-play how their character’s behavior changes while they
are in a Good or Cranky mood. Do they let it show, or do
they bottle it up? Does a Good Mood make them boisterous
and joyful, or quiet and content? Do they get belligerent or
argumentative while Cranky, or do they act sarcastic and
passive-aggressive? Besides mechanics, it is up to the player
how a character’s Mood changes who they are.
NPC MOODS
Sometimes NPCs and enemies will be afflicted with a Mood
change due to a rule or mechanic.When this happens, the Game
Master should change their behavior to reflect the change in
Mood. Grumpy enemies may become less concerned with
defense, while enemies in a Good Mood might be willing to let
player characters get away or be more receptive to diplomacy.
Specific mechanical effects are up to the GM.

III: During the Game

The Game Master may decide to grant Advantage or Disadvantage
if they decide an enemy’s Mood would affect the outcome of a
player character’s Test.
CHANGING MOODS
WAKING ON THE WRONG A character’s Mood changes
SIDE OF THE BED when something in the narrative
Characters who don’t get enough would significantly affect it. Each
sleep or are restless due to stress
character has a Good and Cranky
may wake up in a Cranky Mood.
When such characters awaken, Mood trigger on their character
the GM may have them Test; if sheet, but character moods can
unsuccessful, they start the day in change in situations other than
a Cranky Mood. this. The Game Master can
afflict characters with a mood
change whenever they deem it appropriate. Players may ask the
Game Master to allow them to change their character’s Mood
whenever something happens that would affect it; the Game
Master should allow this so long as it makes sense and the player
explains why their character is feeling this way.

Moods 142
 Here are some examples of things that could change a
character’s Mood:

r
Good Mood: Eating your favorite food, winning a contest,

being pleasantly surprised, being complemented for a job
well done, having one’s affections returned.
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Cranky Mood: Having something you care about
endangered, losing something you were looking forward
to, being frequently embarrassed, consistently failing at a
specific task, being over-stressed or worried, not getting
enough sleep, not getting enough to eat.
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Neutral: Characters shift from Cranky to Neutral when
something improves their Cranky Mood, or from Good to
Neutral when something dampens their spirits. They also
shift back to Neutral as time passes.

STATUS AFFLICTIONS

III: During the Game

Status afflictions are a special type of injury that represents a condition
inflicted upon the character that impedes their effectiveness. Unlike
normal injuries, status afflictions are very temporary and can be
overcome without the need of healing abilities.
Characters suffer a status affliction whenever the following occurs:
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A rule or mechanic says they do
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Based on the story, the Game Master decides it is appropriate
to afflict them with one
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The player willingly decides they are suffering the affliction
When an affliction is suffered, it is added to the character as
a Minor Injury. However, it is marked in brackets to designate
it is an affliction (so something like: [Hungry]). It remains
there until the character does something to cure the affliction.
Different afflictions are cured in different ways, and the
affliction will tell us when it is removed. However, if something
happens in the story that makes sense to remove the affliction,
then that also cures it.

Status Afflictions 143

 While the affliction is applied, it follows all the normal rules
of an injury. It causes the character to Test with Disadvantage
whenever it is relevant, and it can cause the character to become
incapacitated just like any other injury.
The afflictions in Tiny Taverns are:

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Dread (You are fearful and worried)

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Drunk (You are intoxicated and your perception is altered)
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Embarrassed (You are awkward and self-aware)
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Ennui (You are bored and listless, lacking energy)
r
Exhausted (You are tired and struggling to stay awake)
r
Hungry/Thirsty/Exposed (You are suffering from lack of
food/water/protection)
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The Jitters (You are nervous and over-focused on yourself)
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Shocked (You involuntarily freeze up)

III: During the Game

r
Sick (You suffer from a toxin, poison, or other illness)
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Wonderment (You are transfixed on a specific thing)

In addition, certain other things (like enemies, spells, items,

etc) might afflict you with status afflictions not listed here. In
those cases, what that specific condition does will be listed with
the profile for that enemy/spell/item/whatever.
DREAD
Dread represents a prevailing sense of fear or intense worry. It is
greater than “ordinary” fear; it impedes your rational thoughts
and hinders your actions. Dread can be caused by terrible
circumstances, unfriendly surroundings, or as a consequence
of spells, creatures, bad memories, and near-death experiences.
Dread causes Disadvantage when trying anything where
bravery is a major component, or when directly confronted
by the thing causing the dread. Dread is cured when the
character directly confronts and prevails over the source of the
dread, or when they muster their courage and pass a Save Test.

Status Afflictions 144

DRUNK
Drunk characters are intoxicated and not in their right minds.
They lose their inhibitions, have poor reflexes, and experience
difficulty understanding what is happening around them. Some
people become drunk for fun, if you can believe that! The Drunk
affliction is caused by consuming intoxicants, like alcohol, fairy
grass, or “vacation juice,” if your game has been edited for TV-
Y7. Drunk causes Disadvantage when attempting anything
where memory, reflexes, or perception is a significant factor.
Drunk is cured when the character sleeps off the intoxication.
EMBARRASSED
Embarrassed characters are uncomfortable, awkward, or overly
self-aware. They suffer unwanted attention for something they
did or perceived, or they are feeling embarrassed for someone
else vicariously. Embarrassment is caused by anything the
character finds socially unacceptable, failing an important task,
or doing/witnessing something that makes them self-aware and

III: During the Game

uncomfortable. Embarrassment causes Disadvantage when
confidence or courage is a factor in what you are attempting.
Embarrassment is cured when the focus is no longer on you,
or you push past your feelings and pass a Save Test.
ENNUI
Ennui is a sense of boredom and listlessness, as though anything you
try is tedious or pointless. Characters who are bored seek stimuli
and excitement. Unlike normal boredom, Ennui is a prevailing,
persistent sense that everything is dull. Ennui is
caused by anything that imparts a feeling
of non-fulfillment. Ennui causes
Disadvantage when attempting
any Test requiring physical activity
or emotional engagement. Ennui
is cured when the character
fails a task they care about and is
motivated to try again, or something
exciting happens.

Status Afflictions 145

EXHAUSTED
Exhausted characters are extremely tired and craving restful sleep.
Such characters lack energy and struggle to maintain activity and
rational thought. Exhausted is caused by maintaining constant
activity for long periods without rest or a break, or excessively
going without sleep. Exhausted causes Disadvantage when
attempting any Test requiring rigorous physical activity, fast
reflexes, attentiveness, or perception. Exhausted is cured
when the character gets adequate rest or sleep.
HUNGRY/THIRSTY/EXPOSED
This condition represents a lack of something the character needs
to function. Hunger represents the need to eat,Thirsty represents
the need for drink, and Exposed represents a lack of protection
from the elements, be it overheating or getting too cold. These
are caused by going without food, water, or shelter/protection.
These conditions cause Disadvantage when attempting
anything where the hunger/thirst would be distracting, or the

III: During the Game

exposure would hinder you. These conditions are cured
when the character gets what they need.
JITTERS
The Jitters are a prevailing sense of nervousness and anxiety.
This represents a sense of inner-turmoil so great it hinders the
character, due to being unsure of an important outcome or
because everything depends on them. Jitters are caused when a
character becomes extremely nervous, must attempt something
of which they lack confidence, or everything depends on what
they are about to do. Jitters cause Disadvantage when
attempting anything in which confidence is a factor. Jitters are
cured when confidence is restored, or the character pushes
past their feelings and passes a Save Test.
SHOCKED
This affliction represents hesitation, being startled, or over-
stimulation. Shocked characters are “frozen,” sluggish, or lack
cognition for a short while. It is a generally temporary condition,
but always strikes when it is least convenient. Shocked is caused

Status Afflictions 146

when something startles a character or causes them to hesitate.
Shocked causes Disadvantage when attempting anything that
requires movement, reflexes, or quick thinking. It can impose a
Test on actions are are normally trivial. Shocked is cured when
the character’s next turn is over.
SICK
Sick characters suffer from an illness, poison, toxin, or other
such impediment. They don’t feel right and their functions
are hindered. Sick is caused when the character is inflicted by
a toxin, poison, or illness. Sick causes Disadvantage when
attempting any test where feeling unwell or weak would be a
hindrance. Sick is cured when the character rests and recovers
from the sickness, or a medicine or treatment cures them. The
GM may allow them to temporarily overcome their condition by
passing a Save Test with Disadvantage.
WONDERMENT

III: During the Game

Characters afflicted with Wonderment are enthralled by whatever
is causing the condition. They become fixated on that thing at
the cost of everything else around them. Wonderment is generally
caused by magic stuff that transfixes others. Wonderment causes
disadvantage when attempting anything that doesn’t directly
interact with whatever is causing the Wonderment. Wonderment
is cured when the thing causing it is taken away, or the character
wills themselves to snap out of it by passing a Save Test.

Enemies Suffering Afflictions: When enemies suffer

Afflictions, it decreases their Health like any other injury,
and it impedes them in a way appropriate to the narrative.
The specific impediment is up to the GM, but it should fit
the nature of the affliction. If a bandit suffers Wonderment
from a bard, for instance, then it makes sense for that bandit
to only try and attack the bard (the bandit is fixated). As
another example, if a bandit is sick, it makes sense for
reactions to defend against the bandit’s attacks to be made
with Advantage (since the bandit’s attacks are impeded). The
GM should invent such effects on-the-fly.

Status Afflictions 147

CHORES
Chores are a part of daily life when running a Tavern. There
is always something to do at any given time. In addition to
providing obstacles during play, chores can also be a way for
the Game Master to generate plot hooks or invent tasks on-the-
fly; getting what is needed to finish a failed Core could be the
basis of an entire session!

INVENTING AND ASSIGNING CHORES

Player characters should attempt chores regularly, whenever
appropriate to the events of the game. Chores can be a daily
occurrence, or they can be sporadic, coming up whenever a
story hook is needed. Ultimately the Game Master decides
when a chore urgently needs to be done.
When it is time to do chores, the Game Master invents a
number of tasks that player characters must undertake, no
more than there are players. The Game Master may invent any

III: During the Game

appropriate task, or they can randomly generate tasks using
the provided tables below, rolling a d6 twice for each required
chore. (The Game Master may also just choose chores from
the table directly, or use the table as a reference.) The players
may divvy up the tasks however they wish. A character can only
attempt one task at a time; no doubling up, although multiple
characters may elect to work together on the same task.

Chores 148
 Alternatively, the Game Master may allow the players to
invent chores for themselves. Tell the players how many chores
need to be done, and then have them to improvise that many
and assign them among themselves however they wish.

Ideally, chores should be unique for the type of establishment.

Is it time to fetch the wyvern eggs for the tavern’s famous giant
omelettes? Do the dimensional doorways allowing patrons to
teleport from around the world need to be re-attuned? Does
the treasure-pile need sorting? Anti-ghoul enchantments
need renewing? Is it beer taste-testing time? (Yay!) The
players created a unique, fantastical establishment, so ask
yourself what chores such a place might require.

The Game Master should keep a running list of invented

chores. That way, those unique chores can be referred to again
in the future. Don’t be afraid to throw some mundane chores
in there as well, liking making beds or sweeping hallways. Even

III: During the Game

mundane tasks could have an adventure hook in them.

ATTEMPTING CHORES
To attempt a chore, first the Game Master sets the stage,
describing the task in as much detail as is warranted. Then, the
player(s) describes how they are undertaking the chore. They
should note any tools or equipment they are using, the method/
approach they are adopting, and any relevant details. If they
wish, the player(s) may act out a little short scene and role-play
attempting the chore.
Each chore is an Obstacle. Completing the chore requires a Chore
Test; success indicates that the character succeeded in completing
the chore, while failure indicates something went wrong.
The Game Master may impose Disadvantage on Tests where
the task is especially difficult, time-consuming, or unpredictable.
Characters can use their relevant Traits and other mechanics to
grant them Advantage or Focus for the Test, based on their
description, as normal.

Chores 149
 When a character succeeds the Chore Test, they describe how
they completed the chore and the task is considered “resolved.”
Whatever the chore was about, it is no longer pressing or
threatening the upkeep of the establishment.
When a character fails a Chore Test, they tell us why by
choosing one of the below questions and answering it:

r
What important thing was missing that you need to finish

the chore?
r
What obstacle or problem is in the way that must solved first?

The Game Master should use the answers to these questions

to create side quests, B plots, or full on adventure hooks. Were
the dragons too upset to harvest their eggs? Have the characters
investigate! Do you need a special botanical herb to make the
seasonal stew? Have the characters go hunt it down! Failed
chores are your opportunity to introduce plot complications
and create some unexpected adventure for the players!

III: During the Game

Once the issue is addressed, the chore is then completed.

For Example: Lunata’s chore is to wash the exterior windows

of the upper floors. She decides this puts her in a Good Mood,
since it will allow her to enjoy the sunshine. However the
chore will be difficult, so the Game Master has her roll with
Disadvantage. She fails the Test; her player decides she couldn’t
finish her task because a giant spider has taken residence in the
upper balcony, and it needs to be shoo’ed away first. The others
agree to help her deal with the spider, and after a brief skirmish
scene (and only a few characters wrapped in webs), the spider is
vacated, the web cleaned up, and Lunata completes the chore.

CHORES LEFT UNDONE

Leaving chores incomplete makes the Tavern suffer. How is ultimately
up to the GM, but ignoring chores undone means decreased income
and reputation. Minor tasks left undone may escalate into full-blown
problems, like a leaky roof leading to a ceiling collapse, or a small rat
infestation leading to giant rats taking over the basement! The GM
should track incomplete chores and invent consequences as appropriate.

Chores 150
RANDOM CHORE GENERATION
Use of this table is optional. To generate a chore, roll a d6
under the Task chart, then choose one of the other charts, roll
a d6 (again), then combine your results.
The result should be adapted to fit the establishment and
narrative; a result of “clean windows” could mean literally washing
the glass windows, or it could mean ritually “cleansing” the magical
mirror in the antechamber. A result of “fix music” could mean the
tavern’s piano needs tuning, or that the performers canceled and
new arrangements must be made last-minute. Be creative! If you
can’t think of anything, ask the players to help interpret the result.
TASK CHALLENGES:
1: Replace/Change 1-2: Supplies
2-3: Fix/Repair 3: Weather Damage
4-5: Clean/Prepare 4: Animal Denizens / Critters

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6: Decorate/Embellish 5: Troublesome Patron(s)
6: Festival/Holiday!!
SERVICES:
1: Laundry/Clothing MAINTENANCE:
2: Room Service 1: Outhouse/Privy/Gross Place
3: Food/Meal 2: Garden/Pool/Outdoor Area
4: Bar/Drinks 3: Windows/Halls/Guest Rooms
5: Music/Entertainment 4: Defenses/Foundation/Rooftop
6: Special Service 5: Common Room/Stables/Shared Place
6: Special Feature/Magical Place
There’s Plenty To Do! As the session proceeds, and players invent
things they need to accomplish their goals or invent new features for
the Tavern, the GM should write down a few possible chores inspired
by these observations. Keep a running tally of things the characters
need to do, as well as tasks that are currently left undone. If players
are unsure of what to do next, refer to this list and assign them as
chores. You don’t need to invent everything; players will provide
plenty of inspiration for tasks if left to their own devices!

Chores 151
MIXOLOGIST GUIDE
(POTIONS, TONICS, AND SUCH)
“Never trust the man who never drinks, for that is a man concerned
with what he’ll reveal while drunk.” - Dwarven Proverb
Some Traits grant characters the ability to make potions, tonics,
elixirs, salves, and of course, responsibly-consumed adult beverages.
Tiny Taverns relies on the Game Master to handle such feats, asking
players what they’d like to make, then resolving the attempt with a
Test. It is suggested that the GM treats this Test like a Chore (see
page 148), with a success yielding 1-6 (roll a d6 if desired) of the
desired consumables, and failure requiring the player to answer
one of the prompted questions.
Here are some guidelines to help the Game Master keep
things consistent when moderating the consumables creation:

POTIONS: Potions are one-use Tiny consumables that bestow

III: During the Game

a magical benefit when quaffed, smashed, or poured. When a
character wishes to make a potion, they must:
r
Explain, in detail, what they want the resulting potion to
do. They can do any of the following:
r
Choose one spellcraft spell (see page 117) to be cast
when the potion is consumed, poured, or smashed.
r
Choose to replicate the effect of a spell-scroll they possess
and understand.
r
Describe a narrative condition to be magically bestowed,
like sprouting fairy wings, casting the user into a deep
sleep, or being an exceptionally effective surface cleaner!
The GM can decide the effect is beyond your abilities
and ask you to tame it a little, if it’s too strong.
r
Have access to the tools and materials necessary to make
the potion, as reasonable. An equipped magic laboratory, a
witch coven, or a kitchen with a well-stocked pantry are all
acceptable examples.
r
Spend enough time. This is up to the Game Master, but the
more complex and powerful the effect, the longer it should take.

Mixologist Guide: Potions, Tonics, & Such 152

 The character then attempts a Magic Test with Disadvantage
(note that relevant Proficiencies negate the Disadvantage). If
successful, they make at least 1 and as many as 6 (roll a d6 if
you’d like) consumable one-use potions that do as intended.
If unsuccessful, the player chooses one of the following:
r
Tell us what rare, exotic, or artificial thing you need to finish
the potion.You don’t have it right now; you’ll need to go get it.

III: During the Game

r
The potions are gross. In addition to the intended effect,
they look gross, smell terrible, taste bad, and bestow either
the Drunk or Sick affliction (GM chooses).
r
The GM secretly chooses an additional unexpected effect
to add, or changes something significant. The GM does not
tell the player what changed; they’ll find out when trying it...

ELIXIRS: Elixirs (or tinctures, if you’re fancy) are generally-

medicinal liquids with at least one special ingredient dissolved in
alcohol. They can be required ingredients for Potions and Tonics,
or consumed on their own for healing effects. When a character
wishes to make an Elixir, they follow the same rules as making a
Potion.The player must clarify what specific elixir they are making:
r
Potion Ingredient: This elixir is the rare, exotic, or artificial
thing required to make a Potion.
r
Cure Elixir: This elixir, when consumed, cures a specific
Affliction, chosen upon creation.
If unsuccessful, the character makes grain alcohol. It bestows
the Drunk affliction and cleans grease off tables and other
surfaces, but otherwise isn’t useful for much else.

Mixologist Guide: Potions, Tonics, & Such 153

TONICS: A tonic is a carbonated liquid intended to prevent
specific ailments or effects. In the context of magic tonics,
they fend off specific magical effects or bestow temporary
immunities. When a character wishes to make a Tonic, they
must follow the same rules as making a Potion (see above), but
with the following alterations:
r
They must be able to carbonate water, or have access to
naturally-carbonated mineral waters. They must have a
container capable of capturing this carbonation.
r
They must name the specific spell, affliction, injury, or other
condition that this Tonic prevents when quaffed. The GM
may ask the player to be more specific, if the described
condition is too general.
Successfully-made tonics are one-use consumables that last
for a scene (or as long as appropriate) and causes burping. They
make the user completely immune to the condition described.
Unsuccessful Tests are treated the same as failing the Test to

III: During the Game

make a potion.

SALVES: A salve is similar to a potion, except instead of being

imbibed, it is slathered like a lotion or creme. Salves can be
applied to the skin, an item, and so on. Unlike potions, salves
can be used multiple times. When a character wishes to make a
Salve, they follow the same rules as making a Potion, but with
the following alterations:
r
They must have or be able to make a paste, gel, lotion, or
other such coating.
r
The Test to make a Salve is always made with Disadvantage.
r
Salves require much more time to make than potions. The
GM should at least double the time normally required.
Successful Tests yield one to three salves (GM chooses, or roll
a d6: 1-2 = one, 3-4 = two, 5-6 = three). Successfully-made
salves are Small (instead of Tiny) and have uses between 3 and
6 before they are empty (GM chooses, or roll a die: 1 or 2 = 3
uses, 3 or 4 = 4 uses, 5 = 5 uses, 6 = 6 uses).

Mixologist Guide: Potions, Tonics, & Such 154

OPTIONAL RULES:
TAVERN SERVICE MINIGAME
These rules should only be used if players want a slightly
“crunchier” resource-management aspect to the game. They
require some additional book-keeping and may add urgency
or desperation to the game, especially if misfortune befalls the
Tavern. They could even make it possible for the campaign to
end if the Tavern closes. However, they also add a new layer of
challenge and higher stakes to the campaign. They also provide a
structured way to give the player characters a bit of extra income.

THE TAVERN TRAITS

The Tavern has four different Tavern Traits, which are similar to
character Traits, but which have assigned numerics. These traits
represent important measures of how successful your tavern can
be. They are meant to be a little nebulous and abstract to keep
them from bogging down play.

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Income is the amount of wealth the tavern generates. It represents
resources the player characters have at their disposal to solve problems,
buy things the tavern needs, and of course, pay themselves!
Reputation is the tavern’s relative fame and standing. The higher
the number, the busier it will be on any given night, the more
customers will pay, and the higher the expectations of the clientele.
Size represents how many customers/guests the tavern can
comfortably accommodate. You can always overbook, but it’s not
advised. To get an idea of roughly how many people you can serve
at once without overcrowding, multiply this number by twenty.
Safety represents the ability of the tavern to keep its customers
safe, not only from the elements, but also from monsters,
mishaps, thieves, and anything else that might harm them. This
includes the prowess of guards as well as fortifications.
Finally, Demand represents how much it takes to keep the tavern
going, in terms of supplies, employees, and resources. Offering more
services increases this number. Completing chores temporarily
brings this number down.

Optional Rules: Tavern Service Minigame 155

 Each Tavern Trait is assigned a number, which represents how
influential that aspect of the Tavern is. The higher, the more
it affects the outcome. As the game proceeds, these numbers
change, going up or down as suitable.
To start, the Tavern’s Traits are assigned like so (with possible
bonuses marked as such):

r
Reputation: 2 (The GM may make this a 3 if the Tavern has

an impressive “Claim to Fame” or caters to a special clientele)
r
Size: 2 (The GM may upgrade or downgrade this by 1 depending
on the Tavern type, description, or other such factors)
r
Safety: 0 (If the Tavern has built-in defenses or is especially
sturdy, the GM may upgrade this to 1 or 2)

The two Traits Income and Demand are derived values:

r
Demand = Size + Safety + Special Factors

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r
Income = Reputation + Size + Special Factors

“Special Factors” are temporary adjustments made by the

GM due to events in the session. Generally, any specific thing
players do that addresses a problem with the Tavern or that
would make the Tavern more profitable increases the Income by
1. Conversely, any specific thing that hinders the Tavern’s daily
business or increases expenses increases the Demand by 1.

CHANGING TAVERN TRAITS

Tavern Traits change as the game proceeds, usually due to
things the characters do in scenes.
REPUTATION
The GM should increase Reputation each time a character does
something extraordinary for the Tavern that attracts positive
attention. They should also increase Reputation if the Tavern has
multiple successful services in a row (see The Tavern Phase below).
The GM should decrease Reputation each time characters
allow the Tavern to fall into disrepair, or if something tarnishes

Optional Rules: Tavern Service Minigame 156

the Tavern’s image. Reputation should NOT decrease over one
bad night of service or one upset customer, but definitely if this
happens consistently.
If Reputation is ever at 0, you are forced to close. The players are
allowed one final last-ditch effort, over an appropriate number
of sessions, to save the tavern. If they are successful (in the GM’s
eyes), the tavern’s Reputation gets restored to at least 1.
SIZE
Size represents of how many customers the tavern can comfortably
accommodate.When the Tavern gets a new room or location where
customers can stay or lounge, increase the Size by 1.
The GM should decrease the Size by at least 1 when something
happens that hinders the Tavern’s ability to accommodate
customers, such as a roof collapsing, guest rooms flooding,
wasps infesting the commons, or other such stuff. When these
are addressed, Size should be restored.

III: During the Game

SAFETY
The GM should increase Safety each time something is added to
the tavern that aids the protection and comfort of the guests, as
well as the building’s structural integrity. They should decrease
the Safety each time something ruins this feature, although
characters can to restore it if they have what they need.

SPECIAL FACTORS FOR DEMAND

The GM should increase the Demand Special Factor each time:
r
A chore goes undone (ignored, not failed)
r
The Tavern is damaged or hindered in some way.
r
Something calamitous happens that drives customers away.
SPECIAL FACTORS FOR INCOME
The GM should increase the Income Special Factor each time:
r
Characters work together to complete a Chore that failed initially
r
The Tavern temporarily attracts more customers than usual
r
Something extraordinary happens to the tavern’s benefit.

Optional Rules: Tavern Service Minigame 157

THE TAVERN PHASE
The Tavern Phase is a special challenge that represents a “service”
for tavern patrons. It can represent a busy evening in the commons,
a banquet in the dining hall, an evening in the hotel wing, and
so forth. The Tavern Phase occurs whenever the GM deems it
appropriate for the narrative, but at least once per game session.
r
If you forgot to do this last session, go ahead and hold a
Tavern Phase at the very start of the next session.
SERVICE
First, the GM sets the stage, describing the patrons, what they
are doing, and how busy it is. Each participating character gets
a chance to describe what they are doing for the Tavern service
that evening in as much detail as appropriate. Optionally,
each player may invent a scene where they are dealing with
a challenging service, acting it out with the GM, and inviting
other players to jump in and describe how they are helping.

III: During the Game

Especially pleased customers may give Tips! If so, the GM
should give the character “Coin: Value 1” (see page 166).

Optional Rules: Tavern Service Minigame 158

TAVERN TEST
Then, the players choose one among them to attempt a
Chore Test. The Obstacle is the service for that evening at
the Tavern. All other characters participating in serving the
Tavern customers may Assist. The Game Master may decide
you are Testing with Advantage or Disadvantage based on
the circumstances (being overcrowded/overbooked, being
understaffed, etc), descriptions, and impromptu scenes above.

r
If successful, you had a good evening (from an income

perspective, anyway)! You make points of Value equal to
your Income.
r
If unsuccessful, you are lucky to break even.You may tell us
what went wrong. You make no Value at all.
r
The Game Master may decide to throw you a bone and
give you half of your Income, rounded down.

III: During the Game

r
If not enough characters participated (by the GM’s judgment)
each participating character is afflicted with Exhaustion.

UPKEEP
Now you pay the upkeep and see what you can take home!
Decrease points of Value by your Demand.

r
If this would take your points below 0, decrease your

Reputation by 1.

Each leftover point from Income is coin you can pay yourselves.
Divvy out these however you like: each point is converted into
“Coin: Value 1” (see page 166).
Or you can stash them, storing them in a safe place in the
Tavern for a rainy day. If so, create a Value Trait for your Tavern
and affix it the number equal to your leftover points. If you lose
Value points from the upkeep, you may take some from this
Trait instead.

Optional Rules: Tavern Service Minigame 159

OTHER TAVERN TRAIT BENEFITS
Players can benefit from Tavern Traits that are especially high.
At the start of a session, the GM hands out a special boon
based on the Tavern Trait numerics as follows:

REPUTATION 5 OR HIGHER: Each character starts the game with

an extra point of Fortune.

SIZE 5 OR HIGHER: You may charge luxury prices to rich folk

who don’t know any better. If you do, double your Income
during the next Test, then decrease your Reputation by 1.

SAFETY 1 OR HIGHER: Damage to the tavern and Mishaps do

not harm guests unless they are especially threatening or clever.
Demand Special Factor increases by Mishaps are decreased by
X, where X = Safety.

SAFETY 3 OR HIGHER: Characters may use the tavern’s special

III: During the Game

defenses to Test their Attack or Defense Actions with Advantage
(when it makes sense).

SAFETY 5 OR HIGHER: Once per game, characters may be

accompanied by a number of guards/mercenary NPCs that
assist them during a scene.

VALUE 5 OR HIGHER: You may choose one below, then reduce

the Value stat to 0:
r
Permanently expand the tavern, adding a new room, service,
or location. Increase the Size by 1.
r
Add a new Safety feature,
increasing the Safety by 1.
r
Launch an advertising
campaign, increasing
the tavern’s
Reputation by 1.

Optional Rules: Tavern Service Minigame 160

MISHAPS
For additional challenge or story hooks, the GM can throw a
curveball into tavern service by introducing Mishaps. Mishaps are
introduced during the Service phase and modify the scene and
mechanics of the minigame. The GM may choose one from the
below list, roll 2d6 to randomly determine a mishap, or invent
one on-the-fly. The scenario is encountered by one or more of the
characters during the service phase, in place of inventing a scene.
MISHAPS LIST
(choose from below, or roll 2d6):
2-4: SPOILED! - The dish or drink intended for service this night
is tainted, and someone accidentally got served something
that could harm them. If a character can handle the situation
without the customer getting sick (and preserve the tavern’s
reputation), the Tavern Test is made with Advantage. If not, the
tavern’s Reputation decreases by 2.

III: During the Game

5-6: WE RAN OUT! - An essential food, drink, or other good is
out. We must replace it or serve something else. If they adapt and
come up with a solution, the Tavern Test is normal. If not, the
Tavern Test is made with Disadvantage.
7-8: BARFIGHT - A fight breaks out among rowdy patrons. Stage
as an Action Scene or Combat. If characters restore order swiftly,
the Tavern Test is made with Advantage. If not, customers leave
to avoid injury; decrease the Value by 1.
9-10: WEATHER - Poor weather damages the Tavern, interfering
with the service. The GM invents something weather-related
that damages the Tavern. If characters can address the damage
properly, the Tavern Test is normal. If not, customers leave, and
the Tavern Test automatically fails this time.
11-12: TRICKSTER - A trickster spirit, pickpocket, rival from
another bar, or some other ne’er-do-well plays a trick on the
patrons to drive away business. The GM invents something off-
the-wall. If characters can roll with the punches or foil the trick,
the Tavern Test is made with Advantage. If not, customers leave
in droves, and the Tavern Test automatically fails this time.

Optional Rules: Tavern Service Minigame 161

 TRADE, MARKETS, & BUYING STUFF
Taverns are often centers for trade, and characters may wish to
buy stuff from guests during the game. In Tiny Taverns, we don’t
keep track of each copper disk a character collects, but instead
use an abstract wealth system to keep character bookkeeping
(and GM stress) to a minimum. Use the below guidelines when
players want to shop for things, or when creating interesting
items for them to discover.

DUNGEON DIVING READYING WARES

The value of coin is not fixed.
Adventurers in Tiny Dungeon 2e
often find all manner of artifacts
Even with minted coins, most
and treasure in the dungeons they adventurers barter for trade.
explore. These modular rules for Something that is valuable in
finding markets, determining an one village may be worthless in
item’s value, and bartering can another. Adventurers may have
add a rewarding layer to your Tiny to travel a long distance before

III: During the Game

Dungeon 2e campaign. they can trade their wares, and
since they need to travel light,
sometimes its better to just discard an artifact rather then seek
out a market for it. It is not uncommon to find ancient relics of
lost civilizations simply scattered by the roadside.
VALUES CHANGE
It is important to note that an item’s Value only lasts while you
are in a specific marketplace. Once you leave, the item’s Value
goes back to being unknown. On a new day, new visitors and
sellers come to the market; functionally, it is a new marketplace.
This means that what you can get for something will change
location-to-location, day-to-day. It is up to you whether or not
you want to sell your goods here and now, or if you want to wait
for another day or place.
The Game Master may elect to keep track of how much an
item is worth in a specific marketplace. Or the Game Master
may choose to keep this random every time. Use the method
everyone prefers.

Trade, Markets, & Buying Stuff 162

DETERMINING VALUE
Assuming you are somewhere that trade is taking place (like a
market, the tavern, or just a crossroads where you’ve dumped your
wares), roll a Trade Test. If trade is healthy today, or you have a
relevant Trait (such as Wheeler-Dealer), you Test with Advantage.
If the village is poor, or something hinders you, you Test with
Disadvantage. Test for each item you are attempting to value.
If successful, roll the same Test again. Do this until you get an
unsuccessful result. Keep track of how many successful rolls
you get.
The Value of the item is equal to the total number of successes
you get. If you get no successes, the item is junk; it’s Worthless
in this market. If you get six or more successes, the item is
Priceless, which honestly isn’t much better (see below).
The Game Master may give out bonuses or penalties to an

III: During the Game

item’s value depending on the nature of the item and the market.
A city rich with scholars will be more interested in ancient texts,
for instance, while a tavern stuffed with warriors may be less
interested. The Game Master should give +1 Value to an item
that is in demand and a -1 Value to an item unlikely to sell.

Note: If you know a specific interested buyer, then no Test is

needed. The Game Master will simply determine how much
Value the item has to that buyer. Only roll Trade Tests in markets
where the value of the item is in doubt, or if it’s uncertain if the
seller can find a buyer.

When you leave the Marketplace, you no longer

need to keep track of the item’s Value.
Don’t track values from place-to-
place; remember, the market is
always changing.

Trade, Markets, & Buying Stuff 163

BARTERING
Once you’ve determined an item’s value in this market, you must
find a buyer. If you already know one, then congratulations, you
don’t have to do anything else! Just trade what you have for what
you want.
To barter, tell the GM which items you are trying to trade or
sell. Add up their Values to get a total.
Then, tell the GM what you’re looking for in this Market.
You can name multiple things if you want. The GM keeps a
running total of “Trade value” for each thing you’re looking to
buy, using the below Trade Table charts as a guide. If you want
multiple things, the GM adds their values together. The GM
can adjust values up and down as they please; the table entires
are just guides.
You can only trade for items whose combined value are equal
or less than your “value total.” If you agree to the trade, you

III: During the Game

get the item(s) you requested and lose the ones you put up for
trade. If you trade for something with less value, you receive
the difference in Coins (see below).
If the player asks for something that doesn’t fit with the table,
the GM assigns a Value using the table as a reference, to the
best of their ability, as best suits the narrative. If what you’re
asking for isn’t available here for story reasons, the GM may
tell you so; you’ll have to choose something else.
HAGGLING
If you’d like, you can try to haggle and get a little more out of
what you’re trading. If so, then roll a Trade Test. If the market is
busy, if what you are selling is something this settlement needs
or wants (and can afford), or if you have a relevant Trait (such
as Barterwise), you roll with Advantage. If the market is poor, or
you have something that hinders you, you roll with Disadvantage.
Unlike the test to determine value, you only roll once.
If successful, add 1 to your “value total.” If unsuccessful, subtract
1 from your “value Total.” Certain Traits may alter your bonus.

Trade, Markets, & Buying Stuff 164

TRADE TABLE
VALUE EXAMPLES
1 Basic supplies, a day’s rations, clean water, night in a barn
2 A day’s room in a tavern, a decent meal
3 Better supplies, a day’s room in a Hotel
4 Light Melee weaponry
5 Light Ranged / Heavy MeleeWeaponry, Light Armor
6 Heavy Ranged weaponry, Heavy Armor
7 Spell scroll or other enchantments
8 Books and tomes, training manuals

SPECIAL ITEM QUALITY TABLE

VALUE SPECIAL QUALITY
-1 Gross,Worn, Broken, Poorly Made, Cheap, Super-Used

III: During the Game

+1 Cute,Well-Made, Luxurious, Popular
+2 Enchanted/Magic, Exceptional, Rare, Famous

SERVICES TABLE
VALUE EXAMPLES
2 Daycare for mounts, lead on a dungeon or other location
3 Delivery of a letter or small parcel, repair a broken or worn item
4 Favor from a free agent or adventurer, delivery of a package
5 Decent transportation, or cheap transport to somewhere far
6 Small guild services, rent a house or small place for a week
7 Large guild services, access to private library or museum

SPECIAL SERVICE QUALITY TABLE

VALUE SPECIAL QUALITY
-1 Service is poor, filthy, or degrading for customer
+1 Service is especially nice, or has a luxury element
+2 Service is reserved for ruling class and merchants, exceptional

Trade, Markets, & Buying Stuff 165

PRICELESS
To most adventurers, “priceless” isn’t a good result. “Priceless”
is just a candy-coated word for “no one can afford this.” When
you get this result, it means you’ll have to sell it for cheap, or
put in more work to find a buyer.
Treat a “priceless” item as a Value of 1. However, if you offer it to
a museum, a Guild with a vast treasury, a rich noble, or someone
else that the GM decides is both interested and wealthy, treat it
as having a Value of 10.
COINS
Coins are weird. Everyone says they’re worth something, but
honestly? You can’t eat them, they can’t keep you warm, and
they can’t really protect you. Coins have no intrinsic value.
They can only buy things so long as everyone agrees they’re
worth something.
Each realm has their own coins. Some have multiple kinds.

III: During the Game

Some guilds mint their own coins too. Smart organizations
back their coins with something, meaning you can trade them
for a value of something else. Others just stamp them wantonly,
believing that the material of the coin is value enough. It’s best
not to think about it too hard. That way lies madness.
Unlike other items, you will actually track the value of your
coins.
Treat all your coins as a single item (no matter where they
came from). For characters that begin the game with “coins”
in their inventory, or that gain some coins when they previously
had none, their coins start at a Value of 1 (unless you have a
trait or something that says otherwise). Whenever you get more
coins, increase the value of your “coins” item by 1, or whatever
amount the GM tells you to. You can trade your “coins” as you
would any other item, using the method described above.
Keep in mind that this means your coins may be worthless in
some markets. Or priceless in others. Oh well. That’s money
for you.

Trade, Markets, & Buying Stuff 166

OPTIONAL RULES: WEATHER
Weather conditions can affect pretty much every aspect of your
activities. It can be a boon to you; clear skies aiding travel,
windy days turning the windmill, a sudden snowstorm keeping
paying customers indoors (and paying you more to stay), and
so on. Or they can be catastrophic, like a thunderstorm or thick
fog keeping business slow.
The Game Master should consider what the weather is like on
any given day. Alternatively, the Game Master can roll a dice at
the start of each day:

1-3: Fine conditions. The sky is clear and the temperature is

typical for the season.
4-5: Troubling weather. It’s raining, snowing, or its too
windy, or too foggy, or it’s unseasonably hot, or its unseasonably
cold, whatever is appropriate.

III: During the Game

6: Extreme weather. It’s storming, hailing, spewing lightning,
blasting wind, a blizzard, or other such extreme conditions.

The effects of Weather are primarily narrative.The Game Master

should keep the weather conditions in mind when deciding what
Tests are possible or not possible, affects on the Tavern (“Did we
remember to patch that hole in the ceiling?”), and what chores
need to be done (“The basement’s flooded again!”).
When the weather makes whatever you are attempting
easier, you Test with Advantage. When the weather hinders
whatever you are attempting, you Test with Disadvantage.
If the weather makes what you are attempting possible in the
first place, it doesn’t grant Advantage. You are already getting
the boon by being able to Test in the first place!

o
Weather 167
 Game Master
Toolkit
o
T
his chapter contains special content, optional rules, and
add-ons for the Game Master to deploy as they deem
fit. Here you will find an Adventure Hook Generator, a
Random Event table, a Bestiary, a Connections Generator, and
some hints and tips for keeping things lively at the table. Feel
free to adopt any, all, or none of the content in this section!

CONNECTIONS
In a slice-of-life game, the connections between characters
is the major force that drives the story. These connections can be
identified naturally during play, by Relationships, or just simply how
characters interact with one-another. However, you may wish to
make these Connections explicit at the start of the game, or provide
players with some tools to identify them. If so, deploy these rules to
generate existing relationships between characters.You can use this to
replace the Three Questions section that generates a Relationship, or
you can use it in tandem to further develop character backgrounds.
After everyone has created characters, have each player roll a
d6 twice. The first d6 tells them which table to consult for the
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result, the second gives them the result, which is a prompt for
them to answer. Finally, they choose one of the other player
characters to share that connection with and then fill out the
remainder of the prompt however they wish. The resulting
connection accurately describes how the character feels about
the other, establishing a background and history with them.
You must get the approval and permission of the other player,
however. After all, this prompt will also affect them.
You may then give that connection to the player as a free
Relationship, adding it to the sheet following the guidelines
under Relationships on page 112.

Connections 168
CONNECTIONS TABLES
FIRST DIE ROLL RESULT:
1-2: We sometimes butt heads
3-4: We always get along
5-6: It’s complicated…
WE SOMETIMES BUTT HEADS
1-2: Frenemy: “No one pushes my buttons like [character name], yet I
still consider them a friend because: .”
3-4: Rival: “[Character name] is my biggest rival, and even though we
argue and compete, we also push one-another to be better. I will always try
to outdo them in: .”
5: Grudge: “I will never forget how [character name] hurt me by: .”
6: Our Goals Conflict: “Even though we are friends, [Character
name] wants the same thing I want, and we cannot both have it. That
thing is: .”

WE ALWAYS GET ALONG

1: Family Bonds: “I am kin to [character name]. Our family connection
is that they are my: .”
2:They Know Me Well: “No one in the world knows me as well as [character
name].This is because they were once my: .”
3-4: Childhood Friends: “I’ve known [character name] since we were
children, and growing up we bonded over: .”
5: Mentor: “I look up to [character name] and try to emulate and impress
them.The thing I most admire about them is: .”
6: Loyal Forever: “In my darkest hour, [character name] came to my
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rescue.When I needed help, they: .”

IT’S COMPLICATED
1-2: Something Went Wrong: “I was once very close with [character
name], but then something happened, and things haven’t been the same ever
since.This thing tore us apart: .”
3: Secret Crush: “I’ve had a secret crush on [character name] for years now,
but I can never tell them because: .”
4-5: You Betrayed Me: “I betrayed [character name] when I: .”
6: Secret Guardian: “I am bound to protect and watch over [character
name], to make sure they are safe. But I can never tell them this, or else: .”

Connections 169
GENERATING PLOT:
GMING SLICE-OF-LIFE
Slice-of-life storytelling is a little different than the epic style of most
fantasy games. The default perspective of fantasy games is epic in
scope, with prophecies and wide-ranging consequences. It’s a top-
down perspective, grand scale stakes and conflicts. Our slice-of-life
game is more intimate then that. It looks at the fantasy world from
the bottom up, from the hub of travel and trade, the point where
most tabletop fantasy adventures begin: the humble public house.
The characters of Tiny Taverns aren’t here to save the outside world.
They’re here to save their own.
It can be an adjustment for GMs used to playing the epic way.
Small scale stories can be more difficult than epic scale ones. But
many GMs find the challenge rewarding, and players are often
more invested in stories that are about them, instead of some
“big bad.” If you’re a first time GM, or you just need a place to
start, here are some tips to help you get off and running!
LET PLAYERS TELL THE STORY
A prevailing GM instinct is to handle all storytelling responsibilities,
improvising all the lore and answering all the questions. When
players encounter something unfamiliar, they tend to look to
the GM for context, asking, “What does my character know
about this?” They ask this even when the thing pertains to their
own character, because in a sense, the RPG’s world is the GM’s
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sandbox, and the players are just playing in it.

But that’s not how things are supposed to be, right? The game’s
world shouldn’t belong solely to the GM. It should belong to all
the players, equally. Everyone should be telling the story together.
That way, everyone is adding things they enjoy, and everyone has
a stake in what is happening.
To encourage this, the GM should resist the temptation to
shoulder all storytelling responsibility. Instead, the GM should
share this responsibility with the players, letting them improvise
what they know about each encounter, and be willing to accept
their answers the canon for the game.

GMing Slice of Life 170

 The players should be the authority on lore pertaining to their
own characters. Treat them as your co-GMs in these instances.
Need to know something about the Firbolg? If you have a Firbolg
character in the group, instead of making up the lore yourself,
ask that player. Need to know the only way to defeat the forest
wyvern? If you have a hunter in the group, ask that player and
incorporate their answer. If they throw you a curveball that you
foresee might trivialize things, instead of saying “no,” say “yes,
but…” and add a complication.
Extend this even to inventing challenges. If the tavern has run out
of boar meat, ask the cook character where they can get more. Use
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their answer to improvise the next challenge. Going to the next town
over? Ask them who has been there before, and then let them tell
you what they can expect there. Do they know anyone in that town?
Create some NPCs and challenges from their answers. And so on.
Giving players limited storytelling responsibilities benefits the
game in several ways. For one, it takes some pressure off the GM
to improvise lore and plot hooks. It helps make your setting’s
lore more unique, since many voices are contributing instead of
just one. But it also creates natural stakes for the players. They’re
more likely to care about the fate of something they’ve invented
themselves. For instance, if the selkie player helped create the

GMing Slice of Life 171

lore of the selkies, then they’ll be even more motivated to help
when the selkies are in danger. This is why players create the
Tavern at the start of the game. Because the Tavern is their
creation, they are more likely to care about what happens to it.
This also goes for a character’s story. Players will tell you what
kinds of hooks they want through what they introduce. Is the
Firbolg player inventing eldritch horror-style lore for their people?
They probably want horror themes in their story. Is the Mandrake
player always introducing bar brawls and skirmishes? They
probably want more action! Don’t be afraid to outright ask: what
kind of story arc do you want for your character?
The simplest character arc is also one of the most common,
so common in fact, entire books have been written about it: It
begins with the character in a comfortable, routine position.
But then something happens and they want something. To get
it, they enter unfamiliar territory and must adapt to challenges.
They get what they want, or alternatively what they didn’t realize
they needed, but only at a great cost. Then after a final challenge,
they return home to their comfortable position, having changed.
This story arc is known as “The Hero’s Journey,” as coined by
Joseph Campbell, and has been adapted countless times.
A story arc should never be forced on players, but it can be useful to
keep in mind so you can present the next logical progression. Does
the character want something? Present them a chance to get it. Are
they in unfamiliar territory? Present them with a way to adapt. Did
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they get what they wanted? Present them with consequences, or
signs of their changed world. Always let them have narrative control
when it comes to what the characters think, feel, and want.
Never prioritize your pre-planned story over player agency. If
they take things in a different direction, be willing to drop what
you had planned in favor of what they’re doing. The game will
be so much richer for it.
LET HOOKS PRESENT THEMSELVES
As GM, you may have a specific scenario in mind to present
to characters. That’s great! Just be sure that you’re planning

GMing Slice of Life 172

a scenario and not a story. The distinction is important; a
scenario is the hook, the circumstance that starts the plot,
while the story is what happens. The players are going to tell
you what happens, you’re just there to help them along.
If you don’t have a scenario in mind, don’t be afraid to
improvise. There are all sorts of ways you can generate hooks
on-the-fly. One way to start a session is by having everyone
take a Chore test. Let players invent their chores, then Test.
Anyone who fails must say what went wrong and what they
need to fix it. There’s your plot hook to start… characters must
work together to finish the unfinished chores. From there,
elaborate. Do they go to town to get the thing they need? Did
they accidentally attract some kind of monster or creature? Did
they accidentally uncover something the Tavern had hidden?
When you follow the thread, the story should tell itself.
The GM can also use the provided tools to help generate plot.
The Episode Generator (page 178) can be useful for this. The
Complications optional rule (page 13) can be used to introduce
plot twists and unexpected challenges.
The GM should also pay attention to character goals.This is one
of the most effective ways of generating a plot hook. Does one of
the characters want to get better at fighting? Why not introduce
a grizzled adventurer who is willing to teach them? They can be
sent on training missions in the woods, forced to defend their
teacher when an old enemy comes calling, encouraged to prove
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themselves by entering a tournament before they’re ready… all
sorts of hooks can arise once you know a character’s motivations.
Don’t be afraid to shape entire sessions on a character’s hopes
and dreams. Just be sure to include everyone.
Many mechanics have a “tell us what happens” result. Failing
a chore, failing a spell cast check, failing a hunting check…
something still happens as a consequence of failure, and the
players tell us what went wrong. Don’t be afraid to use their
answers to push the story forward. Correcting a failed chore
can be the hook for an entire session, especially if it means they
need to go get something or find someone to help them!

GMing Slice of Life 173

 Another source of plot hooks are character Relationships. The
GM can introduce a plot that challenges a relationship, having
the character choose between their friend and a personal goal. Or,
they can introduce something that would make the relationship
stronger: maybe the character wants to give their hardworking
friend the first day off from work they’ve had in ages, taking on
the Tavern responsibilities themselves as a gesture of friendship.
Of course, they don’t know how to do all the stuff their friend
does, and they need the other characters to help, and something
goes wrong, and it all spirals out of control…
Always be thinking in terms of challenges and conflicts. Characters
don’t need to be fighting all the time, nor do their bonds always need
to be threatened. But there should always be something they want
and something they can overcome. Ask players often: “What does
your character think or feel about this?” Then, use their answers to
come up with something fun.
KEEP TRACK OF PROBLEMS
As the game proceeds, there should always be something to do.
Sometimes it’s a tough chore. Sometimes it’s a personal problem.
Sometimes it’s an attack on the tavern, or a love interest to be
swooned, or repairing a friendship, or a trip to town, and so on.
The GM should always be looking for cues, hooks, and challenges
to introduce. Often, these arise naturally during play. Did someone
fail a chore? That’s a problem the party needs to solve. Did someone
roll a complication? That’s another problem. Did the artisan fail
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their crafting check? What do the characters need to get? Did

the party accidentally steal a wyvern’s meal? Maybe it attacks the
tavern! Did the wizard fail their spellcast check? What unforeseen
problem did that create?
The GM should keep a running tally of possible hooks and
challenges as the game proceeds. When something a player says
inspires you, write that down too!
You don’t need to use everything you write down in a session.
Maybe the players have a full plate right now. Maybe the timing
is off. Maybe they need a chance to catch their breath after some
challenging content. But even if you only ever use a few, keeping

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a running list is useful so you can callback to things the characters
did earlier. It helps reinforce the idea that character actions have
consequences; everything characters do should be meaningful.
USE RELATIONSHIPS AS PLOT HOOKS
When inventing plot hooks for a session, the GM should
consider the player characters’ relationships. In addition to
providing some guidelines for players and some mechanical
bonuses, character relationships also provide the GM with plot
devices, which can generate stories and adventure hooks.
The GM uses a relationship by inventing a hook that “tests” or
“challenges” it, confronting characters with a circumstance that asks
if the relationship descriptor is “true.”The nature of the relationship
becomes the story’s heart; players are motivated to preseve the
relationship and keep it as-is, or to evolve it into something that
suits them better, possibly making the bond stronger.
To do this, the GM chooses a character’s Relationship (possibly at
random, using the dice). They read the Relationship’s description,
then come up with a challenge or story event that would suggest
the relationship’s description is inaccurate. They then introduce
this circumstance during play at the right time, confronting players
with the obstacle or event. Then, everyone role-plays as normal,
reacting to the new circumstance however they wish.
As an example, if the player character Lunata’s Relationship
is that she is “Best Friends” with another character named
Khitani, the GM might challenge this by introducing an NPC
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who was Khitani’s best friend during their childhood, citing their
vast history and compatible personalities. This “challenges”
Lunata’s Relationship by suggesting it is incorrect; how does
she react, and how does it affect their lives working together?
Ideally, relationship challenges should color the circumstances
of the main story hook. Maybe a fight with a Wyvern attacking
the Tavern is not the time for Lunata to have doubts about her
bond with Khitani, but it is affecting her ability to work as a team
regardless. She’ll need to get over this and realize Khitani doesn’t
“belong” to anyone before she can focus on the task at hand!

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KEEP THE STORY GROUNDED
This game is about daily life in the tavern. It might also tangentially
be about the power struggles of bordering provinces, or a sudden
swell of monsters terrorizing the countryside making life difficult
for everyone, or even how magic is fading and wizards are hoarding
mana to retain power. But whatever is happening in the world
outside, it’s background. The focus should always be on life at the
tavern. Or more accurately, it should focus on the player characters.
Keep the story intimate and small. Keep the perspective on
ground-level. Player characters are larger-than-life, but they’re
also people. When you look at the world from the ground-up,
everyday problems have more weight than the distant rumblings
of diplomats, wizards, and knights. We can briefly visit how
an ancient lich’s curse is threatening the lands, but the focus
should be on how it affects life for the player characters, and
how they deal with its manifestations.
In the same way, the world should react to what the player
characters do. If they make the local village safer, then the
dangers outside become distant rumors. If they take over
the local vineyards, visitors come from miles around to taste
their fine wines. If they take in an injured adventurer, then the
dullahan he was fleeing from invades the tavern! If they release
a clutch of wyvern eggs into the nearby forest, then wyverns
start showing up far more often than before. If you show them
that their choices shape the world around them, then they’ll
take a more active part, and the story won’t just be about a
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fantasy setting with a tavern in it, it’ll be about them!

In fact, you may find that players are more invested in character
stories than they are in epic-scale ones.Whichever spoiled noble takes
the empty throne may not affect them too much, but whether or not
their friend passes her wizard school entrance exam keeps them up
at night! Stakes are relative; it only matters if it matters to them.
Then again, little pebbles make big ripples. If something the
characters do changes which spoiled noble takes that throne,
then maybe it is important to them after all…

GMing Slice of Life 176

REWARD THEM OFTEN
It’s easy to forget that a roleplaying game is more than just
mechanics on paper.The true game isn’t who can roll more 5s and
6s. It’s who can improvise a story well. In light of this, mechanical
advantages and improved dice odds are a way to reward players
for thinking creatively and telling the story in a collaborative way.
Don’t be afraid to give Advantage for a Test where the player
improvised especially well, or proposed something impressive and
cool. Don’t hesitate to remove the Disadvantage a Test would
normally suffer if the player described something that would make
the Test easier. If players invent something that would trivialize a
Test, just waive it and let them have their victory.
This doesn’t mean the GM shouldn’t challenge players with
difficult obstacles and enemies. After all, your job as GM is to
make sure they have fun, and if there are no challenges, then
there’s no fun at all. But it’s also not fun to have your clever idea
shot down because it’s not what the GM expected. Your job is
to present the problems, their job is to provide the solutions.
Many GMs hesitate to give player characters strong advantages.
They worry it will undermine the challenge. But the truth is, the real
challenge is improvising and telling the story. Even with significant
mechanical advantages, they are still being challenged to portray
their characters, tell a story that is consistent with what is already
established, and to find creative solutions to their problems. So if
they stumble across something powerful, resist the temptation to
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shut them down. Instead, let them have their big advantage… and
then introduce a complication that keeps the story going.
If a player finds a creative solution that bypasses the mechanical
challenge, good! That’s the name of the game, after all! You want
players being creative. You want them to role-play in a way that
makes all their cool stuff relevant. Don’t discourage them by
calling it “cheap,” or shutting them down, or escalating the threat
in a way that doesn’t make sense. It’s more important that players
be creative and play to their character’s strengths than it is for
them to roll 5s and 6s on dice.When they do something you didn’t
expect, they’re not being cheap, they are rising to the challenge!

GMing Slice of Life 177

EPISODE GENERATOR
Need to come up with a session hook at the last minute? No
sweat! Just roll some dice and consult the charts below!
To use the Episode Generator, follow these steps:

r
Decide if you want the basis of your session’s story to be a

Tavern Event, or to focus on a character’s Personal Story.
r
The first 12 Tavern Events are Slice-of-Life. They
represent relatively everyday or common occurrences.
r
The rest are Extraordinary. They represent fantastical
and rare occurrences.
r
Roll on the corresponding chart, following the instructions.
Or, don’t roll dice at all; just choose the result you like, or
give players a choice between multiple options.
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r
Roll 2d6 on the Complication chart to generate a plot

twist. Keep the result a secret and spring it on the players
at an appropriately dramatic point in the game. The results
on the Complication chart are left up to interpretation, so
implement them in whatever way you deem best.

The chart’s prompts are meant to be interpretable and adaptive.

Feel free to alter or change them to fit your campaign and the
desires of your group. Treat these as “starting points” for a plot
you design, or roll them during the game to create a hook on-
the-fly!

Episode Generator 178

TAVERN EVENTS (ROLL D66)
Roll a d6 twice. The first result is the tens space, the second is the ones
space. Use the corresponding prompt below as your starting point.
SLICE OF LIFE
These events are relatively mundane in the life of fantasy tavern employees…
11) Dry Spell: Business has been poor for days, and a big expense is coming up.
Characters must find a way to drum up some business or we’re in for hard times!
12) Locked Room: Choose two characters and any number of guests: They
are locked in a room together with no obvious way out! Can they keep from
driving each-other crazy while everyone else tries to get them out?
13) We Ran Out: The tavern suddenly ran out of beer (or something else
equally in-demand). Can they replace their supplies in time, or find a substitute?
14) Rival Bar: A rival establishment is trying to take the Tavern’s customers,
and they are offering something the Tavern doesn’t have!
15) Tournament: We’re hosting an annual competition: flip cup, darts, or
another suitable tavern game. Characters can run the games, compete, or get
caught up in the rivalries and dramas of the guests/competitors.
16) Impress: Someone important is staying at the Tavern, like a celebrity,
critic, or noble.They have the power to raise our fortunes, or to sink us! Can
we impress them and save the tavern? No pressure...
21) Festival Season: The locals are putting on a big festival. What are we
celebrating? The Tavern historically takes part by offering discounted services. Can
characters get ready for the festival in time without sacrificing their other chores?
22) Terrible Storm: A massive storm strikes and lasts for days, trapping guests
in the Tavern. Cut off from the rest of the world, supplies and morale starts to run
low. Can characters keep everyone in good spirits while they wait out the storm?
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23) Strange Creature: A strange creature, like a monster or supernatural

being, takes residence at the Tavern and causes problems. Do characters try to
run the stubborn creature off, or can they co-exist somehow?
24) Feature Problem: Something is wrong with the Special Feature. How or
why is it malfunctioning? Can characters restore it without risking their livelihood?
25) Fantasy Illness: A guest suddenly catches a sickness with supernatural
symptoms. Invent something farfetched and over-the-top. It spreads to other guests,
and perhaps even a player character! Can we find a cure before everyone is sick?
26) Celebrity Guest: A celebrity comes to stay at the Tavern. They are
famous and their deeds are well-known. But their stay starts to cause problems,
and they won’t leave…

Episode Generator 179

EXTRAORDINARY
These events are fantastical, rare, or important!
31) Supernatural Disaster: The tavern is assailed by a supernatural
disaster, like a lightning tornado, skyquake, ghost flood, or other such impossible
thing. Can characters rise to the occasion and ensure the guests’ safety?
32) Dream World: Something unexpected inflicts a magic coma on someone
in the tavern.To save your friend, you must magically enter their dreams. If it’s a
PC, that player is the GM while you’re in their dreamscape.
33) Diplomacy is Tricky: The tavern is to be the site of the signing of a
monumental treaty between two warring factions. Both sides are guests, but
someone wants to sabotage the agreement. Can characters keep the peace
and prevent old grudges from tearing the tavern apart?
34) Attack At Nightfall: Under the cover of night, a group of thieves, ninjas,
or covert mercenaries descends upon the tavern.What are they after? Can our
plucky heroes defend the tavern and drive them away?
35) Food Competition: A food or drink competition is being held nearby. It’s
for either something the tavern is known for, or a passion of one of the characters.
First prize is enough money to coast for the rest of the season!
36) Secret Rooms: Characters discover a secret room, chamber, or ruin that
they didn’t know was a part of the tavern.They can explore this new place, but
is it as safe as it appears?
41) The One With The Witch: A disgruntled customer turns out to be a witch,
and lays a curse on the tavern.The magical effects cause all sorts of problems. Can
characters get the witch to lift the curse? Can they deal with it themselves?
42) Oh No Beer Elemental: Due to magical mishap, the beer supplies comes
alive. The elemental wreaks havoc, and the player characters have to deal with
the fallout. Can they defeat this intoxicating, thirst-quenching enemy?
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43) Prisoner: One of the guests has secretly brought a prisoner to the Tavern,
which a player character discovers or inadvertently sets free! Were they justly
arrested, or have they been kidnapped?
44) Spiked With Love: A love potion (or other behavior-changing potion) was
dumped into the beer supply, and no one realized until all the guests started to act
strangely. Can characters survive what may be the strangest night of their lives?
45) Star-Crossed: Two guests are secretly infatuated, but for some reason
cannot be together. A player character discovers their true feelings. Can players
make this a happy ending for the guests (and win a glowing review)?
46) Murder Mystery: A guest turns up dead (or otherwise indisposed) in
one of the rooms. Then the constable shows up! Can player characters solve this
murder mystery and keep the Tavern’s reputation intact?

Episode Generator 180

51) Runaway: A lost soul is discovered to be staying at the tavern without pay,
stealing food and drink.They plead with the characters to look the other way...
52) Hostile Takeover: A rival from another establishment shows up
at the tavern with the deed to the property. They demand the characters
vacate or otherwise blackmail them. How did this villain get the deed? Can
characters win back all they worked so hard for?
53) Terrible Theft: The special feature or famous thing of the tavern has been
stolen! Can characters discover the culprit and get it back?
54) Overrun: The tavern becomes overrun with critters; mice, rats, snakes, wild
foxes, or perhaps supernatural creatures. They are mostly harmless, but they are
rapidly spreading and driving off guests. Can characters be rid of these things?
55) Wizards Are Irresponsible: A great wizard leaves powerful magical
artifacts behind in their room after they check out.Technically, these are Tavern
property now, right? The magic of these artifacts is powerful, but something
always goes wrong when they are used. Hijinks ensue.
56) Spy Vs Spy: Two covert agents from rival factions are staying at the
tavern. They are constantly playing tricks on one-another, trying to steal
from one-another, and spying on each-other.They are causing problems and
driving everyone crazy! Can this be resolved without insulting one of the
factions and making things worse?
61) IWannaWork ForYou!: An employee of a rival establishment comes asking
for a job.They are mad at their former employer.They are kinda bad at the work,
but they are charming and genuinely helpful. Can this arrangement work out?
62) Wedding Banquet Trouble: The tavern is the site of a big wedding. The
engaged couple are deeply in love, but the families hate each-other. Each family head
approaches a different character and tries to pay them to break up the impending
marriage.Will players sabotage the lovers for reward? Does true love triumph?
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63) Arbitrary Hot Springs Episode: Everyone goes to the beach or hot
springs! Why? Who cares? Roll again, but the setting is a beach, hot springs, or
other locale where bathing suits and bath robes are considered “formal wear.”
64) Haunting: The Tavern is haunted by a spooky ghost, or other such
Halloween-y being. Can the player characters befriend or put this spirit to rest
so it doesn’t disturb the guests?
65) Monstrous Mayhem: Oops, someone summoned a kaiju! As they
rampage across the countryside, the PCs must set things right again.
66) Royalty: A guest staying at the tavern is actually a princess or other noble,
and some other guests are actually their bodyguards. They are on a secret mission
or fleeing from something and are in hiding. They will be grateful if the player
characters keep their secret, but whatever the noble is hiding from will appear soon…

Episode Generator 181

PERSONAL STORY (ROLL 2D6)
Choose a player that deserves the spotlight, or a character that hasn’t been
the focus of a session in a while. If a character had a Reflection in the
previous session, they should be chosen. Alternatively, ask for volunteers.
Then, roll on the below chart, or choose an option that makes sense.
The result should be interpreted so that it fits the character that it
is about. Let the player adjust the hook until it makes sense for the
character or conforms to their lore/background. The player should
have final say on what works, so roll again if you need to.
2) Lifelong Dream: The character has a chance to accomplish something
they’ve always dreamed of doing, or to turn a hobby or pastime into
something more! What is this secret dream or aspiration? How can the other
player characters help them accomplish this goal?
3-4) My People’s Ways: An important ceremony, rite, or other event,
connected to the character’s people, must be undertaken. How does this rite
of passage or ceremony change how the others see them? Does the character
agree with their people’s ways, or is this a bother to them?
5) Visiting Family: The character’s parents or a more successful sibling
show up for the weekend! They interact with the other player characters in
a way that creates tension.
6) Rival: A school rival, a childhood bully, an enemy of their family, or
other antagonist to the character arrives and causes trouble. Alternatively,
they want to make amends!
7) Personal Challenge: Have the player choose one:
r
Something important to the character goes missing.
r
The character screws up something and needs help to set things right.
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r
The character promises someone something they need help to accomplish.
r
The character needs help to obtain the thing they need to finish a
project or goal.
8-9) Je’Accuse!: The character is accused of something they didn’t do.
And there’s evidence against them! Can they, and the other characters,
prove their innocence?
10) Admirer: Someone admires the character and is trying to improve
their standing with them (maybe a little too hard).They can be romantically
interested, or their feelings can be platonic, like a sidekick or fan. They
can be a secret admirer, or forward and open about their intentions. How
does the character feel about this? How does this admirer complicate the
character’s life?

Episode Generator 182

11) Past Echoes: Something from the character’s past comes back to
haunt them. They either need something to make it go away, or they must
do something risky. Can the others help them accomplish this task? What
does the character stand to lose?
12) Chosen One: The Spinner, an ancient guardian of this world (or invent
one) arrives and reveals the character is a Chosen One.They are destined for a
great journey.The character must come to grips with their new destiny; can they
leave all their friends and the tavern behind? Or can they somehow balance
their mundane life and being destined to save the world? How do the others
react to this news, and can they help, or will they be left behind?

COMPLICATION (ROLL 2D6)

Spring this on the players at a dramatic moment.
2-3) Admiration: Someone either secretly respects or is actually infatuated
with someone else.
4-5) Mistaken Identity: Someone is mistaken for someone else.
6) Falsehood: Something about the hook is actually a lie.
7) Temptation: Something happens to tempt one or more characters to
change their motives.
8) Twist of Fate: Something is connected to a character’s past, or something
works too well.
9-10) Misunderstood: The antagonist has compelling reasons, or the
misfortune was accidentally caused by another.
11-12) B-Plot: Roll on the SLICE-OF-LIFE or EXTRAORDINARY chart:That
happens when it is least convenient.
Example of use and play: Rolling on the Slice-of-Life chart, the GM
rolls a 2, then a 6: a result of 26.That corresponds to “Celebrity Guest.” Using
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that prompt, they decide that a famous adventurer and monster hunter is
staying at the Tavern, and that the handsome adventurer is distracting the
staff and abusing the “free drinks with extended stay” policy.
Then, they roll on the complication chart, getting the “Falsehood” result.The
GM interprets the result to mean that the adventurer is actually a coward,
and that the stories about their exploits are a big lie.
During the game, a player character discovers the truth and feels sorry for
the “adventurer,” promising to keep their secret and also to help them if they
agree to leave the Tavern.The Game Master decides that a monster attacks the
Tavern that night; the player characters fight the monster, and the adventurer
faces their fears.The players defeat the monster, but allow the adventurer to take
the credit, furthering their reputation and making them a grateful ally.

Episode Generator 183

HUNTING & FORAGING MINIGAME
At some point or another, characters need to get supplies for the
tavern. Or they may find themselves out in the wilds, away from
civilization, and in need of food or medicine. Or they may need
to get something valuable to trade, like furs or rare fungus. In
these cases, hunting and foraging come in handy.
Normally the GM would have these characters Test against an
appropriate obstacle and reward them with supplies if they pass.
Alternatively, the GM may deploy these rules to give players more
options, potential plot hooks, and the possibility of greater rewards.

READYING
First, characters prepare for the task at hand. Players declare their
intentions: what they’re looking for, and how they’re going about
it. Players should be brief, but specific. Don’t leave out any important
details: are they fishing with a line and lure, and just lounging until
they get a nibble, or are they setting up a net in a stream? The method
implies difficulty and necessary supplies, but also yield if successful.
They’re going to need supplies. Hunters need weapons, traps,
lures, bait, camouflage, and so on. Foragers need something to
carry their things in, identifying materials, protection against the
elements, and so on. If they don’t have everything they need, the
GM should take note.
When a player is finished, the GM should know:
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If the character is “Hunting” (seeking game), or “Foraging”
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(seeking plant food, medicine, or other supplies).

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What the character is hunting or foraging for. If hunting,
they should say what the ultimate intention is: are they
seeking meat to eat, furs for trade, or trophies for ego? Are
they hunting big game or small game? Are they hunting
a specific animal, like deer or rabbits, or will they take
whatever they can get? Do they want to catch them alive?
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How they’re doing it. They should mention traps, if they’re
lying in wait, if they’re following tracks, any bait or lures,
special tools, if they’re looking in a specific place, and so on.

Hunting & Foraging Minigame 184

FORAGING
After the GM sets the stage, each foraging character atempts three
Tests, modified as noted below.

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The character has aTrait or Proficiency

that makes the task easier, or is
adopting a method that is particularly
clever given the circumstance, or what
they’re seeking is especially plentiful
this season a Test with Advantage
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The weather is poor, the character
does not have all the supplies they
need, or what they’re seeking is well-
hidden and hard to find a Test with
Disadvantage

The GM keeps track of how many successes the

player achieves. Then, they modify the number of total successes
based on the chart below:
CIRCUMSTANCE SUCCESSES
The herb, resource, or thing the character Subtract one success
seeks is especially rare
There is a narrative circumstance working Subtract one success
against the character
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The character has a tool, trap, or knowledge Add one success
that makes this easier
The character has competent aid Add one success
The character is not restricted in time Add one success

The resulting number of successes

determines what happens during
the hunt, based on the chart of
prompts on the next page.

Hunting & Foraging Minigame 185

TOTAL SUCCESSES PROMPT/RESULT
6-5 Plentiful: The character finds a plentiful cache
and can carry back lots. The narrative reflects
their victory. The GM rewards the player with as
much of the desired resource as they can carry,
and the knowledge of where to get it later.
4-3 Successful: The character manages to find a
few. The GM rewards the player with a limited
amount of the resource.
2-1 Complication: The foraging does not go
exactly as planned. Either the player or the GM
invents an obstacle that hinders the character
(the GM may roll on the random foraging
complication chart if they wish). The GM sets
the stage and the resolve a brief scene, Testing
as appropriate. If the character overcomes
the complication, follow the Successful result.
Otherwise, follow the Empty-Handed result.
0 Empty-Handed: The character returns empty-
handed. The narrative reflects their failure. The
character learns from the experience regardless
and gains 1 Fortune.

RANDOM FORAGING COMPLICATION

CHART (ROLL A D6)
1-2: Weather turns bad
3-4: Lost in the woods
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5: Unsafe location (character must

risk welfare to get what they seek)
6: Encounter a beast (GM chooses)

Hunting & Foraging Minigame 186

HUNTING
After the GM sets the stage, each hunting character atempts three
Tests, modified as noted below.
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The character has a Trait or Proficiency that makes the hunt
easier, or is adopting a method that is particularly clever
given the circumstance, or the quarry is especially plentiful
this season a Test with Advantage
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The weather is poor, the character does not have all the
supplies they need, or the quarry is scarce, smart, or hard
to track a Test with Disadvantage

The GM keeps track of how many successes the player achieves.

Then, they modify the number of total successes based on the
chart below:
CIRCUMSTANCE SUCCESSES
The character is seeking a specific, unique Subtract one success
animal
The character is competing with others for Subtract one success
the quarry
They are trying to catch the quarry alive Subtract one success
There is a narrative circumstance working Subtract one success
against the character
The character will take whatever game they Add one success
can get, is not picky
The character has a tool, trap, or knowledge Add one success
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that makes this easier
The character has competent aid Add one success
The character is not restricted in time or Add one success
supplies

The resulting number of successes

determines what happens during
the hunt, based on the chart
of prompts on the next
page.

Hunting & Foraging Minigame 187

 TOTAL SUCCESSES PROMPT/RESULT
7-5 Flawless Hunt: The character catches exactly
what they want. The player describes their catch.
The GM rewards the player as appropriate, giving
them rations, an animal companion, etc.
4-3 Encounter: The character either encounters the
creature they are hunting, or a random appropriate
one (the GM may roll on the random game chart
if they wish). Stage a Conflict scene in which the
character encounters the quarry: use a Contest for
simple quarry, or a Combat for something more
challenging. The outcome of this scene determines
whether or not the character is successful
2-1 Complication: The hunt does not go exactly as
planned. Either the player or the GM invents an
obstacle that hinders the character during the
hunt (the GM may roll on the random hunting
complication chart if they wish).The complication
must either inflict a “cost” on the character (like a
loss of supplies, or an injury), or it must require a Test
to proceed (failing the Test should reduce the total
successes to 0). Assuming the character overcomes
the complication, follow the Encounter result,
modified by whatever the complication inflicts.
0 Failed: The character comes back empty-handed.
The player describes what went wrong. The
narrative reflects this failure. The character learns
from the experience regardless and gains 1 Fortune.
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RANDOM GAME CHART (ROLL A D6)

1-2: Small game - Rabbits, pheasants, ducks, geese, small fish, etc.
3-4: Large game - Deer, boar, elk, emu, large fish, etc.
5: Predator game - Bears, coyote, gators, great cats, falcons, etc.
6: Monster - Owlbears, griffons, wyverns, etc.
RANDOM HUNTING COMPLICATION CHART (ROLL A D6)
1-2: Weather turns bad
3-4: Lost in the woods
5: Freak accident, become injured
6: The hunter becomes the hunted…

Hunting & Foraging Minigame 188

ENEMIES
Enemies are a special type of obstacle
that directly opposes the player
characters. They get their own chance
to take actions, generally hostile ones
that make life difficult for the player
characters. Unlike a normal obstacle,
enemies are not overcome until they
are Defeated, or until the player
characters thwart their current goals.
Enemies are handled a little
differently than player characters.
They have a more simplified profile
and follow special rules so they’re
easy for the GM to keep track of. On
the GM’s turn in a scene, or anytime
the GM wishes outside of structured scenes, enemies can
take Actions. Each enemy takes two Actions, just like player
characters. They can do whatever makes sense for them to
do, but they are always controlled by the GM. Their actions
automatically succeed unless the players react to them (see
“GM Tests” on page 14).

ENEMY PROFILE:
Enemies each have the following profile:
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Name: The name / type of enemy

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Hps: Default maximum Hit Points, and severity of threat.
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Motivation: Any circumstances that robs their motivation,
automatically Defeating them.
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Behavior: Guidelines for the GM to follow when using the
enemy.
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Traits: Any Traits the enemy possesses, with any special rules.
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Description: Additional details for the GM to use.

Enemies 189
HIT POINTS, DAMAGE, & DEFEAT
Unlike player characters, Enemies have a measure of health called
Hit Points. These represent how much “damage” they can sustain
until they don’t want to fight anymore.
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When an enemy would take damage or suffer an injury, they
lose one hit point.
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When an enemy would suffer a major injury, or something
especially harmful (by the GM’s reckoning), they lose an
additional hit point.
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When an enemy’s hit points are reduced to 0, they are Defeated.
What “Defeated” means depends on the narrative. They might
lose all will to oppose the characters and decide to give up.
They might fall unconscious, or be incapacitated and unable to
keep fighting. They might even change their minds and decide
to join the player characters’ side. In some cases, they might
even be killed! The players and GM should decide together
what makes the most sense, given both the circumstances of the
story, and the intentions of the character that defeated them.
No matter the narrative circumstance, a Defeated enemy can no
longer take actions or oppose the player characters in any way.
They are effectively overcome obstacles in this state. They can
still impact the scene in minor ways (like talking to characters,
for instance), but cannot act as an obstacle any longer.

MOTIVATION, WELLNESS, & BEHAVIOR

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Enemies each have a “Motivation,” which describes what they

want by default and explains how they generally oppose player
characters. If robbed of their Motivation, either by events in
the narrative or something characters did, they lose the will to
oppose the characters and are immediately Defeated.
In addition, some enemies may have a specific condition
that, if triggered, causes the enemy to surrender, give up, or
otherwise lose motivation. When that happens, the enemy is
immediately Defeated.

Enemies 190
CHANGING MOTIVATIONS
The GM can (and should) change an enemy’s Motivations as
a scene progresses, and as makes sense for the narrative. This
shouldn’t be to provide a “moving target” for players to defeat
the enemy, but instead, to provide a naturally-evolving motivation.

Example: Maybe an enemy starts out with the motivation “take

over the Tavern commons,” but after losing allies and some hit
points, that motivation changes to “escape the Tavern alive.”

BEHAVIOR
Each enemy profile contains a “Behavior” section, which provides
a guideline for the GM to portray them. Often, the Behavior
only contains some vague descriptions, while others may give
specifics, like “This enemy attacks whoever is the immediate
threat” or “This enemy runs away at the first opportunity.” The
GM should interpret the Behavior in any appropriate way.
Behaviors are guidelines for the GM and can be altered, re-
written, or completely disregarded at the GM’s judgement. In
fact, altering the behavior of an enemy so it acts unusually is a
good way to create a memorable enemy!
ENEMY EMOTIONAL WELLNESS
Unless noted in an enemy’s Behavior, all enemies are Well. If an
enemy becomes Unwell, they react in a way that makes sense
for the enemy, based on their Behavior and Motivations. The
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GM may decide that becoming Unwell causes the enemy to

lose Motivation; if so, that enemy is immediately Defeated.

ENEMY TRAITS
Like characters, enemies have Traits that represent true things
about them. Enemy Traits can be taken from the same list as
player characters, or they can be unique to the enemy. Enemy
Traits are interpretable, representing whatever the GM decides
is appropriate for the enemy. Traits allow the enemy to do
things in the narrative that aren’t immediately obvious; an enemy
with the “Flying” Trait is explicitly able to fly, for instance.

Enemies 191
 Whenever an enemy’s Trait would make something the enemy is
doing easier, then reacting to the enemy Tests with Disadvantage.
Additionally, when an enemy’s Trait would make whatever a
player character is attempting more difficult, that Test is also
made with Disadvantage.
Some Traits may also provide an enemy with special rules and
additional options. These are noted in the profile. Keep in mind
that if an Enemy Trait tells you to Test, then you MUST Test to
use it, even as a GM (it is not optional, unlike everything else
the Gm can do).
GMs should feel free to add or subtract Traits to enemies in
order to create unique encounters.
THE GROUP TRAIT
The “Group” Enemy Trait is a special Trait that represents the
presence of multiple enemies of the same type, at least 3 but
possibly more. When an enemy has this Trait, it means there are
many of them, and they are working together in tandem. They
tend to have a lot of health and can take many actions during a
scene. When an enemy with the Group Trait is Defeated, they
spawn two versions of themselves without the Group trait.

AFFLICTIONS & ENEMIES

Enemies can suffer Afflictions just like player characters. However,
unlike player characters, they are not handled like injuries. Instead,
an Affliction is applied to an enemy as a special temporary Trait.
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Affliction Traits do two things:

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The enemy’s Behavior changes temporarily based on the
Affliction. For instance, an Exhausted enemy may fall asleep,
a Wonderment-Inflicted enemy might fixate on a specific
person or thing, and a Drunk enemy may behave in a goofy
manner.
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When an Affliction Trait would benefit whatever a character is
doing, that character’s Action either automatically succeeds,
or they Test with Advantage (GM chooses).
Affliction Traits last until it makes sense for them to go away.

Enemies 192
EXAMPLE ENEMY
BAR BRAWLER
Hps: 2
Motivation: To keep the fight going. Loses motivation when there
are no opponents left, or when no longer Drunk.
Behavior: Attacks anyone nearby, except allies. Tackles enemies, or
uses improv weaponry. Usually starts the fight Drunk and rowdy.
Description: Someone who has had too much to drink and is
ready to fight all comers!
Traits:
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Barfighter
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Too Drunk: This enemy starts out Drunk.

SAMPLE BESTIARY
Here is a sample of the kinds of beasts characters may encounter
in their adventures. This is in no way a complete list; the GM
should invent new creatures for characters to encounter.

SIMPLE BEASTS
BADGER
Hps: 4
Motivation: To escape whatever threatens it or protect its lair/
young.
Behavior: Relentlessly attacks the closest target until it gets a
chance to escape. Tries to flee at the first opportunity.
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Description: A squat, gray mammal with black and white

markings. Badgers are about the size of a small dog and live in
burrows underground. Nocturnal and social creatures, they feed
on insects and carrion. They are strong and stubborn, defending
themselves and their young with claws and dagger-like teeth.
Traits:
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Berserker
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Burrowing
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Great Strength
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Heightened Senses

Sample Bestiary 193

BEAR
Hps: 6
Motivation:To eat well, scare off threats, & protect its young. Loses
motivation when it decides its opponent is bigger or more powerful.
Behavior: Relentlessly attacks & chases whatever threatens it or
its young. Abandons the chase if it decides its target is dead or
non-threatening.
Description: Bears are large, bulky, quadruped mammals of
significant strength and stubbornness. While they generally avoid
people, if hungry they will enter settlements and root for food. Bears
are known for their resilience, strength, and ferocity, although they
only attack if provoked, desperate, or if their young are threatened.
Traits:
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Bear Strength
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Heightened Senses
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Iron Stomach
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Devastating Attacks: This enemy’s direct attacks inflict
Major Injuries.
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Resilient: When this enemy would suffer its first injury or
damage, remove this Trait instead.
BOAR
Hps: 4
Motivation: To fend off anyone who enters its territory.
Behavior: Stubborn, aggressive. Will charge full-speed in a
straight line until it hits something.
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Description: Boars are sturdy, bulky mammals resembling

wild pigs. Generally hunted for meat, they are known for their
large tusks, devastating charge, aggressive manner.
Traits:
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Charge: As an Action, charge a target with its tusks. If the
attack lands, the target suffers a Major Injury and is knocked
down, unless the narrative warrants otherwise.
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Devastating Attacks: This enemy’s direct attacks inflict
Major Injuries.
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Resilient: When this enemy would suffer its first injury or
damage, remove this Trait instead.

Sample Bestiary 194

CAVE SLIME
Hps: 2-5
Motivation: To eat anything organic.
Behavior: Slides over to organic matter and “feeds” by taking
them into their body. If their victim is alive, will attempt to drown
them inside their bodies. Alternatively, hides in pools of water or in
hallways and ambushes prey. If set on fire, they immediately flee.
Description: Cave slimes are sentient blobs of transparent
living jelly. They can be found in any subterranean place,
including basements if you’re really unlucky. They feed by
consuming organic material, sucking their prey into their bodies
and slowly digesting them, converting them into transparent
jelly. They tend to be scavengers, but larger slimes actively hunt
prey, or hide in dim passages so that victims walk right into them.
Traits:
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Iron Stomach
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Gooey: Cave slimes can ooze through cracks and directly
through opponents. Their movement is not hindered by
terrain or things in their way.
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Consume: To attack, Cave Slimes envelop their opponent.
As an Action, they can try to “suck in” anything touching
them; if unsuccessfully reacted (or not reacted at all), the
target is sucked inside and suffers 1 minor injury each hour
until they escape or are freed.
DEER
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Hps: 2
Motivation: To opportunistically eat and get away from threats.
Behavior: Fights only if startled or cornered, otherwise flees.
Flees immediately if others are fleeing.
Description: Deer are medium-sized herbivorous herd animals.
The males tend to have antlers and sometimes manes. Deer are
known for their agility and are hunted for their meat and antlers.
Traits:
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Fleet & Agile
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Generally encountered in herds; use the Group Trait if so.

Sample Bestiary 195

GIANT SNAIL
Hps: 3
Motivation: To sleep, eat, and preserve its own life.
Behavior: Ignores all attackers until struck, then either retreats
into its shell or fights back. If there is an injured combatant
with an open wound (even a scratch), it relentlessly attacks that
target until they are unconscious (determine target randomly if
multiple are suitable). If subjected to a decent amount of salt,
this enemy immediately suffers 2 damage.
Description: Roughly the size of a medium dog, the giant snail
is not especially threatening, except to those who are already
injured. Attracted to blood, it attacks by projecting a many-
toothed radula that tears flesh. Despite this, giant snails are
primarily docile herbivores. A catastrophe to gardens, as a mere
handful can decimate a vegetable or flower garden in a day. Some
cultures consider the creature a delicacy, and heliculture (or snail-
farming) is a profitable venture in many regions.
Traits:
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Reach: The snail may make Melee attacks to any targets
within 10 feet.
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Shell: Attacks against the Garden Snail are only successful
on a 6, or if attacker has Focus, a 5 or a 6.
GUACO
Hps: 1
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Motivation: To sleep, eat, and engage in daredevil behaviors.

Behavior: Screeches if woken, startled, or stepped on. Hurls
itself at enemies without regard to its own safety. Often follows
targets into obviously self-destructive places, as though it
desires swift and messy death.
Description: Guacos are fist-sized, orb-shaped gummies
with toothy mouths and bulging eyes. They are sometimes
described as living green tomatoes with teeth. Loathed by most,
guacos are known for living in communal swarms, constantly

Sample Bestiary 196

multiplying (via spores), their intolerable screeching, and being
extremely fragile. Guacos explode into a burst of slime when
struck and seem very eager to do this.
Traits:
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Bouncy
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Sonic Screech: When startled or reduced to 0 hps, a guaco
will screech, inflicting the Shocked affliction to all nearby
(and waking all the others).
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More often than not, guacos are encountered in swarms; use
the Group Trait if so.
ICHNEUMON
Hps: 4
Motivation: Instinctively attacks anything reptilian (including
Mandrake characters).
Behavior: Relies on its thick coats of dried mud for protection,
simply “tanking” hits and waiting for a moment to bite the
opponent’s weak spot. If its armor is removed, it flees at the
first opportunity.
Description: A natural enemy of giant serpents, wyverns,
and even dragons, the ichneumon is an abnormally large and
intelligent mammal, resembling a mix between a mongoose,
pine marten, and river otter, showing characteristics of all
three. It is known for coating itself in layers of mud, which
ultimately act as armored protection against teeth, spines, and
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flames. It is also fearless and immune to petrification, making

it a natural predator of the cockatrice and basilisk.
Traits:
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Fleet & Agile
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Fearless
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Immunities: Ignores Dread and other fear effects, immune
to poison and venoms, cannot be petrified or Shocked.
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Armored: This enemy has additional protection. When this
enemy would suffer its first injury or damage, remove this
Trait instead.

Sample Bestiary 197

MOA
Hps: 3
Motivation: To opportunistically eat and snatch shiny things.
Behavior: Aggressive and dumb. Chases and attacks one
target until they are out of reach, then switches to another.
Description: Moa are large flightless birds that walk upright
and have long flexible necks, sharp talons, and thick feathers.
They generally travel in small groups and communicate
through haunting calls.
Traits:
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Fleet
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Haunting Call
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Sneaky
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Claw (Melee Attack): As an Action, Test 2d6 against a
nearby target. If successful (and the target does not successful
react), inflict a Major injury.
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Leaping: As an Action, may leap up to 50 feet, horizontally
or vertically.
WILD SHEEP
Hps: 3
Motivation: To opportunistically eat and get away from threats.
Behavior: Fights only if startled, provoked, or cornered. Otherwise
flees, generally uphill. Flees immediately if others are fleeing.
Description: Wild sheep are medium or large herbivorous
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herd animals with large curved horns. They are covered in

thick wooly fur and have thick skulls.
Traits:
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Sure-Footed
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Ram Horn Charge: As an Action, may charge a target with
horns-down. If the attack lands, the target suffers a Major
Injury and is knocked down, unless they are exceptionally
large or the narrative warrants otherwise.
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Generally encountered in herds; use the Group Trait if so.

Sample Bestiary 198

MONSTERS
These creatures are considered “monsters” and are suitable as
challenges. For even greater challenge, deploy them with minions!
COCKATRICE
Hps: 5
Motivation: To turn anything that enters its territory into stone.
Behavior: Pretends it doesn’t notice opponents until the
absolute last second, when it suddenly spins around and uses
its glare, hoping to catch victims off-guard. If this doesn’t work,
it chooses one opponent and relentlessly chases and attacks
it, trying to peck and claw. When reduced to just one HP
remaining, it kicks dust into its enemy’s eyes and tries to flee.
Description: The cockatrice is a hybrid “chimeric” creature,
with the tail and body of a serpent, a drake’s wings, and the two
legs and head of a rooster. Extremely aggressive, the cockatrice
is known for its petrifying glare, which legends say can turn
the unweary into stone. It is possibly the result of a wizard
experiment gone wrong, although folk tales insist a cockatrice
is born from a “witch egg,” a chicken’s first-attempt eggs that
have no yolk.
Traits:
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Fleet of Foot
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Jumpy
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Wicked Claws: Cockatrice’s
successful claw attacks always inflict
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Major Injuries.
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Petrifying Glare: As an Action,
meet the eyes of a target and
“glare.” The target must pass a
Save Test or suffer Petrification.
Treat “Petrification” as being
perpetually Shocked; it is
cured by touching the
target with the cockatrice’s
beak.

Sample Bestiary 199

GRYPHON
Hps: 6
Motivation: To protect their clutch of eggs, even to the death.
Behavior: Attacks whoever is closest to their eggs, backing off
only when the offender leaves the area.
Description: Gryphons are chimeric creatures with the body and
hind-quarters of a lion, but the wings, forearms, and head of a massive
eagle. Their body parts are believed to have medical qualities, and
so they are often hunted. Gryphons are noble creatures who only
fight to protect their nests, relentlessly attacking anyone who comes
close. Adventurers still try to invade gryphon nests, since gryphons
produce gold in addition to eggs, and gryphon younglings can be
raised into mounts for well-paying knights! However, it is believed
that the gryphon can sense the pure-hearted, and will allow those
with pure intention to pass by unharmed.
Traits:
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Flight: Gryphons can fly like eagles.
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Intimidating
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Tracker
HIPPOGRIFF
Hps: 4
Motivation: To opportunistically eat and escape threats.
Behavior: Fights only if startled or cornered, otherwise flees.
Flees immediately if others are fleeing.
Description: Supposedly the offspring of a horse or elk and a
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gryphon, the hippogriff is a magical hybrid creature with the front

half and massive wings of an eagle, but the back half of a horse or elk.
Because gryphons prey on horses and elk, the hippogriff is symbolic
of true love, and their eggs are an ingredient in love potions.
Traits:
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Fleet & Agile
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Flight: Hippogriffs fly effortlessly and expertly, even as
high as the mesosphere.
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Magic: This enemy is magical. It has the Spell-Touched
Trait. Non-magical Actions made against this enemy Test
with Disadvantage.

Sample Bestiary 200

MODIFYING ENEMIES
It is tempting to increase an enemy’s Hps to make them more challenging.
However, higher Hps don’t usually make an enemy more difficult, just
more tedious to defeat. Instead, the GM should add new Traits, increase
the number of enemies, or give them a more dangerous Motivation. To
extend an encounter, the GM can increase or decrease the enemy’s Hps
by 1 or 2, but generally should do no more than that.

OWLBEAR
Hps: 8
Motivation: To rest during the day, and at night, to leap off trees
and catch prey. If threatened, to get to the highest point it can and
fight off attackers.
Behavior: Owlbears will climb trees and wait for prey to pass
underneath, then leap down and try to crush them with their
bulk. They will then pick up their stunned prey and carry them
back to their lair to eat them. If startled or it feels threatened, it
tries to get as high up as it can by climbing, then makes a stand
and fights until its enemies tire or it is defeated.
Description: Almost certainly a cruel wizard joke, the owlbear
is a chimeric combination of owl and bear. It has the body and
bulk of a bear, yet four massive avian legs and the head of a
massive owl. It is often treated like an absurd joke by adventurers,
especially as the poor creature seems to behave more like owl
than bear, but falling prey to an owlbear’s midnight ambush is
no laughing matter.
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Traits:
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Berserker
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Fast-Climbing
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Bear Strength
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Iron Stomach
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Night-Vision: This enemy can see well in the dark and
across long distances.
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Devastating Attacks: This enemy’s direct attacks inflict
Major Injuries.
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Resilient: When this enemy would suffer its first injury or
damage, remove this Trait instead.

Sample Bestiary 201

WYVERN
Hps: 12
Motivation: To eat and then escape, scare lower predators away
from defeated prey to scavenge the remains, or drive off invaders
of its home.
Behavior: Will ignore anything it doesn’t consider threatening,
unless it is hungry. In combat, it keeps targets away with its Tail
Swipe ability and then tries to Bite the largest target within reach.
Wyverns prioritize ranged attackers, trying to reach them first. If
it feels outmatched, it attempts to flee by slithering underground.
Description: A terrifying foe and apex predator of the forest,
a wyvern is a gigantic winged serpent with a barbed tail and
two crocodile legs. Thankfully wyverns are not especially hostile
or aggressive, unless provoked, woken suddenly, or hungry.
Wyverns behave similarly to snakes, hunting for prey at night and
then spending the rest of their time dormant. A wyvern usually
travels by sliding on its belly like a snake, with its legs are tucked
against its sides. But the legs are not vestigial; they can be used
to provide small hops or to aid in climbing. Despite its massive
wings, wyverns are too big to fly properly, and can only glide.
Traits:
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Gliding: Wyverns can glide short distances, but cannot fly.
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Great Strength
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Hyperkeen Senses
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Reach: The wyvern may make Melee attacks to any targets
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within 10 feet.
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Poison Bite: Wyvern bites are poisonous. Anyone injured
by a Wyvern bite must pass a Save Test or become Sick.
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Giant: Wyverns are very big. Ranged Attacks against this
enemy have Advantage. Direct hits from this enemy are
Major Injuries.
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Tail Swipe: As an Action, Test 2d6. If successful, all adjacent
opponents are knocked back 10 feet and knocked down.

Sample Bestiary 202

SPECIAL TRAITS
Add any of these Traits to enemies to customize and provide
additional challenge to encounters:
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Ambush: This enemy attacks suddenly. The first reaction
to this enemy’s actions per Round Tests at Disadvantage.
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Armored: This enemy has additional protection. When
this enemy would suffer its first injury or damage, remove
this Trait instead.
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Cleave: If this enemy’s attack defeats a target, it may
immediately make another attack at a different nearby enemy.
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Flaming: This enemy radiates heat and flame. Its attacks
cause burns and can set things on fire. It is immune to heat
and fire-based attacks (GM Discretion).
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Frosty: This enemy radiates cold and ice. Its attacks cause
frost burns and can encase things in ice. It is immune to
cold and ice-based attacks (GM Discretion).
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Giant: This enemy is larger than typical. Ranged Attacks
against this enemy have Advantage. Direct hits from this
enemy are Major Injuries.
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Group: This profile represents many of the specific enemy
acting in tandem. This enemy can take up to five Actions
on its turn. When defeated, replace this enemy with two of
its type without the Group Trait.
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Magic: This enemy is magical. It has the Spell-Touched

Trait. Non-magical Actions made against this enemy Test
with Disadvantage.
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Spitting: This enemy can spit attack targets at range. Those
struck must Save Test or become Sick.

o
Sample Bestiary 203
LEGENDARY CREATURES
(AND SUMMONING THEM)
Folklore is filled with tales of powerful, unique creatures. Even
in ancient times, people encountered animals they’d never seen
before, beings that defied what they knew about the world.
They would tell stories of these creatures. The white stag. The
leviathan. The king otter. The phoenix. Tales became legends as
they were passed down between generations. There is a power in
stories. And in legends, that power is even greater.
Legendary creatures are rare. People may go their entire lives
without ever seeing one. Each one is evasive, magical, and unique.
They are greater than their animal brethren, representing innate
universal virtues and displaying otherworldly intelligence.
Other animals flock to them, bow to them, and become docile
in their presence. Some scholars believe these are the animal
kings. Others, that they are heralds from the land of the fey, the
seelie court. None can say for sure.
What is known is that a legendary creature is more than just a
magical animal. They are omens of things to come. The white
stag heralds that a line is being crossed, for good or ill. The
phoenix heralds a terrible calamity, from which new life will one
day arise. Those who encounter a legendary creature inevitably
become bound to them in some way, as if merely seeing the
being is enough to change the course of their lives. They may
find themselves haunted by visions of the being, and the things
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it represents may become a reoccurring theme throughout the

story of their lives, no matter what they do.
The GM may decide to include legendary creatures in the story.
If they do, it should be a signifiant story event. Encountering
a legendary creature is a rare, once-in-a-lifetime event, and it
always foreshadows something yet to come. The GM should
either invent such a creature to feature in the story, or allow
players to invent one. If players create a legendary creature, it
should somehow embody the direction they’d like to see their
characters’ story go.

Legendary Creatures 204

 Legendary Creatures all share certain aspects and mechanics:
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Legendary Creatures are considered magical, no matter
what they are. Any boons or other such effects they cause
are automatically magic.
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They do not have hit points or wellness and cannot be
mechanically damaged (at least not by normal means). If
something does manage to inflict harm on a Legendary
Creature (for narrative reasons or because the GM says it
does), it instantly vanishes.
r
Legendary Creatures have whatever Traits the GM deems
appropriate for the Creature. Furthermore, it also has three
“True Things,” which are objective truths about the creature
(see more on that below).
SUMMONING LEGENDARY CREATURES
Summoning a Legendary Creature is powerful magic. The ability
to summon a Legendary Creature should only be granted by a rare
spell scroll, or a powerful artifact, or a once-per-year ceremony, or
other such stuff. If the GM wishes, they can grant the ability to
summon Legendary Creatures by bestowing a character with a
special Trait; see the appropriate sidebar for this optional rule.
A summoned legendary creature appears in-scene when the spell
that summons it is cast. The player briefly describes the summoned
creature, giving it as much detail as appropriate. Be as fantastical
as you’d like; this is a Legendary Creature, imbued with magic,
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possibly even from another dimension, so it can be fantastic or

impossible-looking. Be sure to consider size, mode of travel, signs of
intelligence, and whether or not it is obviously magical. The Game
Master may elaborate on this description (or dial it back a little if it’s
too much), but should not directly contradict the player.
When summoned, the player invents three “True Things” about
the summoned creature. Each True Thing should be a simple
statement, like “It gallops over land, air, and water,” or “it is made
of pure light,” or even, “It brightens everyone’s mood with a
mysterious song.”The True Things can be anything, even fantastical
and seemingly impossible.

Legendary Creatures 205

 The three invented True Things are irrefutably true about the
summoned creature. The Game Master derives the creature’s
narrative abilities, behaviors, and effect on the story from the
three invented True Things.
The Legendary Creature comes to the aid of the character who
summoned it. How it aids the character depends on the context
of the story, the True Things about it, and the intentions of the
player. The Game Master should factor all three of these equally
when deciding how the Legendary Creature helps the player.

r
The GM may decide that the Creature’s presence, powers,

or actions waives specific Tests required of the characters,
giving them automatic successes for those Tests.
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The GM may grant a magical Advantage to the character for
specific actions, due to the Creature’s supernatural aid.
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The GM may decide that the Creature aids the character,
giving them Focus for all Tests as long as this remains true.
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The GM may decide the Creature empowers the character,
granting them a number of Traits for a short time.
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The GM may decide that the Creature provides its magical
essence, allowing them to cast Spellcraft spells without limit
for as long as the Creature remains.
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The GM may decide that the Creature heals the character’s
injuries, grants Fortune, Afflicts the enemy, or any other
number of other such effects.
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Whatever it does, the Legendary Creature vanishes at the end of

the scene or during a narratively appropriate moment, whichever
comes first.
RECORDING LEGENDARY CREATURES
It’s not a bad idea to write down the improvised Legendary
Creature and its three True Things so that it can be summoned
again. Record its appearance, how it behaved, and any other
relevant information. When you summon it again, you can just
pull out those notes and run with it! And be sure to record any
new improvised information to expand on the creature’s lore.

Legendary Creatures 206

 The Game Master should encourage players to invent lore
about the creature each time it is summoned. Better, they
should use that lore to invent plot hooks and storylines for future
sessions. Does its appearance herald some great event that is yet
to come to pass? What if the characters must find this Legendary
Creature in its natural habitat in order to obtain something?

OPTIONAL PRESTIGE TRAIT: LEGENDARY SUMMONER

This is an optional reward the GM may choose to bestow on
a character. This is a “Prestige Trait,” which means it is more
powerful than a typical Trait and follows some special rules.
A character may only have a Prestige Trait if they meet the
qualifications. Some are simply that they have a prerequisite
Trait, while others are simply narrative.
A character cannot choose a Prestige Trait as an Upgrade
with Experience. They can only be bestowed by the GM
when the qualification is met. They are a special reward for
good roleplaying and meeting a character’s goals.
Prestige Traits do not count towards a character’s six-Trait
limit. However, you can only ever have one Prestige Trait.
Legendary Summoner (Prestige Trait): I beseech universal
forces! Come to aid me! Once per session, this character may
spend one Fortune to summon a Legendary Creature,
following the rules on page 204. The Legendary Creature
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aids the character in a manner that follows the player’s

intention, then vanishes at the end of the scene or at a
narratively-appropriate time, whichever comes first.

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Legendary Creatures 207
SAMPLE MAGIC SCROLLS
Here are some examples of spell scrolls characters might
encounter during a campaign. Use them in your game directly,
or as inspiration for magic scrolls of your own design!

SCROLL OF CARBONATION: Cast over a container of liquid to

carbonate it, causing fizzy bubbles when it is exposed to air. This
spell only works on relatively-thin liquids the caster can see.
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The carbonation only lasts a short while, although if kept
cold or re-capped, it can last longer.
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If cast on beings made of liquid (like water elementals),
this spell inflicts D6x2 damage to that creature. (Roll a D6,
double the result.)
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Carbonated water is more acidic than regular water, and can
be an effective stain remover (Pro-tip!).
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If cast on a living being, they either get the bends (their blood
carbonates and bubbles), or they start to uncontrollably
burp (their stomach liquids carbonate). The condition is
temporary. If they get the bends, treat this as being Sick.
This is a really mean use of this spell, by the way.

SCROLL OF CLEANING: Cast over a dirty surface to instantly

clean it. This spell repels dirt, dust, mud, and caked-on grime,
causing it to slough off in a sheet or pile (for easy sweeping!).
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Anyone standing under or near the repelled gunk may be
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coated in the muck. Gross.

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This spell does not remove stains. I’d suggest some club soda.

SCROLL OF FEATHERLIGHT: Cast on a person or thing, it makes

the target virtually weightless. The target is buoyant and floats
effortlessly on water, falls as slowly as a feather, can be picked
up by strong winds, and offers virtually no resistance to blunt
weapons (rendering them harmless). In essence, the target is
treated like a sheet of tissue paper. The spell only lasts for a
short while (the duration of a scene). Various situations create
Advantage or Disadvantage, depending.

Sample Spell Scrolls 208

 SCROLL OF FISHFORM: Cast on a number of willing humanoid
people, this spell temporarily transforms them into fish. The type
of fish is determined by the player; if this character was a fish,
what type of fish would they be? As fish, they breathe in water,
swim expertly, and can communicate with sea life via electronic
pulses. They retain all their Traits, Proficiencies, and other aspects,
although some may be rendered useless due to the fish form. The
spell can be ended at will (a target can transform back whenever
they wish), but always wears off within an hour or so.

SCROLL OF FOOL’S GOLD: Cast on a pile of rocks or other

objects, makes them appear to be golden. This spell makes
ordinary stones and pebbles appear to be golden by magically
gilding them, or makes another object appear to be coated in
gold. This can make coins look more valuable as well. Lasts until
the sun rises, when the targets return to normal appearance.

SCROLL OF MENDING: Cast over a broken thing, this spell mends

it to whole again. It can be cast on objects or beings.
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When cast on a broken object, it puts the object back together
with a temporary bond. All the pieces must be present and
“assembled” for the spell to work. It is suitable for at least
one use. If struck before the bond can be made permanent,
the object breaks.
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When cast on a broken limb or other such injury, it heals the
injury. Broken limbs are mended, but still weak and sore.
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Major injuries are downgraded to Minor.

SCROLL OF POWER: Cast on a powered device, this spell acts

like a battery, providing a power source for up to one continuous
hour. This works on any device that requires a power source, be
it wind, water, electric, or otherwise. The “energy” is invisible
to the naked eye and for all appearances the device appears to
power itself. Especially complex devices, like flying machines,
printing presses, and such other stuff, may drain the energy of
this spell more quickly (at GM discretion).

Sample Spell Scrolls 209

 SCROLL OF SHADOWSTEP: Cast on a person, this spell allows
the target to walk on any shadow as though it were floor, even if
that shadow is on the wall or the ceiling. Shadows are treated as
“ground” to this character, in defiance of gravity or other forces.
The target does not “stick” to shadow and can still be pushed or
blown off. This spell lasts for the duration of a scene.

SCROLL OF SKYPAINT:This spell paints a specific message or image

in the sky, using different colored clouds and to the specifications
of the caster. The resulting image or message spreads across the
sky from the caster’s perspective. Lasts until the wind disperses it.

SCROLL OF SPARK: Cast on a stove, matchstick, lantern, torch,

campfire, or other such flammable surface; it bursts into flame.
The fire created is controllable and behaves in accordance with
the design of the flammable surface.
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If cast on something a person is carrying, that person may
drop the object reflexively.
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This spell will not ignite surfaces that aren’t designed to be
lit, even if they are flammable (the spark is too brief). The
created flame is ill-suited for offense, but can cause fires
under the right circumstances.

SCROLL OF STEMLEAF: Cast while near wild plant-life (grass or

wild grains are good enough) to cause many gigantic mayapple
leaves to rapidly sprout from the ground, each about as tall as
a person. (GM may optionally roll 2d6 to determine how many
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sprout.) These leaves are large and sturdy, suitable as umbrellas,

parasols, or in a pinch, as a one-use shield against projectiles.
They are medium objects and can be carried.

SCROLL OF SPROUTSWORD: Cast while near wild plant-life (grass

or wild grains are good enough) to cause many “swordsprout”
plants to rapidly sprout from the ground, each about as tall as a
great sword handle. (GM may optionally roll 2d6 to determine
how many sprout.) The root of each swordsprout is shaped like a
greatsword blade; characters can pull the plant out of the ground
to have a functional ironwood greatsword (heavy melee weapon).

Sample Spell Scrolls 210

 r
Consider alternate “growable” weapons as separate scrolls,
such as axes, maces, ivy flails, or even arrows.

SCROLL OF TRANSPARENCY: Cast on an opaque surface or target

to make it turn clear:
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When cast on a wall, door, table, floor, or other such surface,
that surface become clear as a sheet of glass. This happens so
long as the surface is not extremely thick (GM Discretion);
a typical wall or floor is thin enough for the spell to work.
The surface does not change its properties except to become
clear (it doesn’t turn into glass, it just looks transparent).
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When cast on an object, the object becomes completely
transparent and virtually invisible, except for the edges,
which catch light. This can make some objects dangerous to
handle (like knives and hot pans, for instance). Attempts to
locate and use such objects require Tests at Disadvantage.
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When cast on a living being, the target becomes semi-
transparent and ghostly. Their skin, hair, and clothing
becomes transparent and gossamer, their organs become
semi-transparent, and their bones are visible only around
the edges. For all appearances, the person is some kind of
ghost or phantom. Only the eyes remain opaque (if they
were clear, they couldn’t catch light, and the target would be
therefore blind). No other properties change, just how light
passes through them. This can make them harder to see in
the dark and frightening in the light.
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This spell lasts until dismissed, or until the end of the scene.

SPELLBOOKS AND WIZARD TOMES

As the many spellcrafts developed into schools of magic, aspiring
wizards found it necessary to bind their scrolls together for ease of
transport and study. In those days, spell scrolls were purely a form
of “disposable magic,” a means of storing magic power and casting
spells without draining the immediate area of mana.Wizards spent
much of their time copying spell scrolls, carefully preserving them
as exactly as they could (or they wouldn’t work), so that when they

Spellbooks and Wizard Tomes 211

used a scroll, they still had at least one copy they could replicate
later. These “master scrolls” were collected into tomes and never
used for their magic, since to do so would possibly cause the spell
to be lost forever (or at least until re-developed over years).
When the magic schools formed into the University of Magic
(and the related Arcane Guild), they collectively developed an
innovation called the “Wizard’s Tome.” This book used a special
cover with engraved philosopher’s stones and ink made from
crushed mana crystals. The result was a collection of magic
spells that could be cast over and over, without burning the page.
However, due to the volatile magic energies the tome contains,
currently it can only have at most twenty pages. Despite this
limitation, Wizard Tomes have become the status symbol of high
magic users, and each new student of the magic schools receives
one blank Wizard Tome upon enrollment.
Spellbooks of any sort are a powerful magic item. It is not unusual
for traveling wizards to carry satchels of five or six spellbooks,
or or two of which would inevitably be a wizard’s tome. Some
wizards are walking libraries of such books. Copying their spells
from these books into scrolls for sale can be a lucrative business
for these wizards, if a little unethical (buyer beware!).
GMs may elect to include spellbooks in their campaign, especially
if one of the characters is a Spell-Reader. If so, we suggest the
following guidelines:

USING A SPELLBOOK
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Normal spellbooks are just a bound collection of spell scrolls.

As such, each page contains one spell. The Game Master should
determine which spells a spell book contains ahead of time, or
spontaneously invent them. A character must be a Spell-Reader
in order to use a spellbook.
To cast a spell from a spellbook, it must be equipped and open
to the correct page. It takes an Action to find the right page
(even if bookmarked) and another Action to cast the spell. The
character only needs to find the right page if they’re casting a

Sample Spell Scrolls 212

different spell from the last one they cast (because otherwise, the
book is already at the correct page). Because normal spellbooks
are essentially bound scrolls, casting the spell burns up the page.

WIZARD TOMES
Wizard Tomes use the same rules as a normal spellbook, but
with the following additional changes:
First, Wizard Tomes are limited to only twenty pages, at most.
Each page contains one spell. Secondly, spells read from Wizard
Tomes are not “consumed” upon casting; they can be cast over
and over, as much as the reader desires. They use the power of the
book to cast and do not drain the area of mana (just like a scroll).
Other than this change, Wizard Tomes are the same as regular
spellbooks. It takes an Action to find the right page and an
Action to cast the spell on that page.

OPTIONAL RULE: MEMORIZING SPELLS

The GM may allow Spell-Reader characters to memorize spells
from scrolls or books to be cast without either. This makes spell-
readers more independent and powerful, so be advised of that, but
it also means they won’t be useless if caught without their stuff.
If GMs choose to allow this, we suggest the following guidelines:
Spell-Readers may memorize one spell at a time, from a spell
scroll or spellbook. Memorizing does not consume the scroll/
page. The player should note on their character sheet what
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spell they have memorized. If the memorize a new spell, they

must replace the previous one with the new one.
The character may recall and cast that spell by Testing with
Disadvantage; this counts as a Spellcraft Spell being cast (so it
counts as the one-per-scene/area spell). Casting a spell does not
remove it from the character’s memory; they can theoretically
cast it over and over if they can find the magic to power it.
Characters who are Educated (Trait) can Test normally, without
Disadvantage, to cast their memorized spell.

Spellbooks and Wizard Tomes 213

COOKING MINIGAME
It may happen that player characters find themselves needing
to make good food quickly and well. The culinary arts are an
important aspect to the hospitality trade. Maybe the Tavern has
a special dish that only one of the player characters can prepare!
Or maybe some slick duel-cook shows up and challenges the
Tavern chef to an old-fashioned cook-off throwdown in the
kitchen colosseum!
Generally, player characters can resolve cooking under pressure
as a Test against the obstacle of preparing and cooking the dish.
However, if players desire more involved cooking mechanics,
GMs can deploy the following cooking mini game to provide
greater risk, but also greater possible rewards.
PREPARATION
Before cooking, characters must have access to three things:
ingredients, cooking tools, and a cooking source.
Ingredients are the foodstuffs to be cooked: veggies, fruits, grains,
meats, fungi, stocks, herbs, fats, spices… anything edible to make
the dish. Complex dishes require at least a handful of ingredients,
although sometimes less is more, such
as with a simple, rustic dish.
Cooking tools refers to all cookware
required to make the dish: cutlery,
cooking pots, pans, cooking utensils,
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one-pots, chopping boards, and so

on. Often cooking implements are
interchangeable, but sometimes
one needs specific cooking tools for
specific dishes. GMs should allow
players to be inventive with this…
maybe an axe and an iron bowl
helmet will do in a pinch!
A cooking source refers to a source
of cooking heat, be it a fuel (like a
campfire or furnace) or naturally-

Cooking Minigame 214

occurring phenomena (like the water of a hot spring). Players can
be creative here, and the GM should give some leniency as long as
it makes sense. In the case of cold foods, the cooking source can
be omitted, or in some cases, replaced with a source of frosty cold!
After the establishing access to the three above requirements,
the player either describes a specific dish they intend to make, or
if they are “winging it,” and making it up as they go along. Either
method works, but the choice impacts the result:

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If they are making a specific dish, they need the necessary

ingredients and cookware. If successful, they will make a
version of the intended dish.
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If they are improvising, they can use any ingredients and
cookware. However, if successful, the GM determines what
dish they create.

GET COOKING
The cooking mini game is broken into three stages: Prep, Cook,
Serve. Each stage consists of one Test; the Cook stage consists of
1 to 3 Tests, depending on the dish and circumstance. Characters
Test at least once per stage, keeping track of their successes and
describing the consequences of success or failure on the dish.
The goal is to accumulate as many successes as possible. The
more successes, the better the resulting dish.
THE MOMENTUM RULE
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As they cook, they gain momentum in the form of Focus. If a

character succeeds in any Test during the cooking mini game, they
count as having Focused for all the mini game’s remaining Tests
(meaning they succeed on a 4, 5, or 6). They lose this bonus when
they ever fail a Test (but can regain it if they pass the next Test).
THE MISE EN PLACE RULE
Having everything ready and in its place is one of the most
important things to cooking. If a character must stop and get a
missing ingredient or do prep work in the middle of Stage 2 or
farther, they lose any Focus they earned by succeeding prior Tests.

Cooking Minigame 215

COOKING TEST MODIFIERS
All relevant Proficiencies and Masteries apply to the cooking
mini game Tests. Additionally, If the cooking must be done
under a short time or in circumstances that make it difficult,
then related Tests are made with Disadvantage.
CURVEBALLS
Once per cooking minigame, the GM may decide to throw a
character a curveball, describing an unexpected complication that
makes the particular stage of cooking difficult. If the character
does not (or cannot) react in a way to counter this, then the next
Test they attempt has Disadvantage.

STAGE 1: PREP
This stage represents all prep work for the dish. Water must be
boiled. Coals stoked. Cookware arranged. Ingredients peeled,
chopped, marinaded, brined, spatchcocked, and otherwise
prepared. Hop to it!
The player describes how they are prepping for the dish. The
character Tests; the obstacle is the Prep work for the dish. If
there’s a lot of prep for one person, they Test with Disadvantage.
If the prep work is simple and there’s no urgency, they Test with
Advantage. If the Prep is trivial or has been done for them, the
GM waives the Test (count this as a free success).
Success means they prepped everything flawlessly, and their
IV: GM’s Toolkit

next test in the mini game is attempted with Focus. Failure

means something went wrong: the player improvises what it is
and tells us what they had to do to correct it.
STAGE 2: COOK
This stage represents the actual cooking of the dish. Any special
cooking techniques and combination of ingredients happens here.
For this stage, the character Tests at least once, but as many as
three times. The number of times depends on the complexity of
the dish and cooking methods deployed:

Cooking Minigame 216

 r
1 Test = A simple or rustic dish, one cooking method, single
pan or pot
r
2 Tests = A moderately complex dish, timing is essential, or
many cooking methods.
r
3 Tests = A tricky dish, requiring experience, technique, or
many cooking methods.
Each time required, the player describes how they are cooking
the dish.The character Tests each time; the obstacle is the cooking
of the ingredients. If there’s a lot of stuff to juggle, not enough
time, or it’s particularly difficult, they Test with Disadvantage.
Success means they cooked everything correctly and awakened
the flavors of the dish; the next Test they take during the mini-
game is attempted with Focus. Failure means something went
wrong: the player improvises what it is and tells us what they had
to do to correct it.
STAGE 3: SERVE
This stage representing finishing the dish for service. Plating,
garnishing, and last-minute finishes take place during this stage.
You eat with your eyes first, so make sure it looks good!
The player describes how they are finishing the dish. The
character Tests; the obstacle is plating the dish. If the character
is missing what they require to finish the dish, they Test with
Disadvantage.
Success means the dish is finished correctly and looks and
IV: GM’s Toolkit

smells amazing. Failure means the dish is plated sloppy or

finished poorly; the player tells us what went wrong.
DISH JUDGEMENT!
After finishing the three stages, the player describes the dish they
made. Include visual look, scent, and flavor. If they improvised
the dish, then the GM describes it instead.
Then the player adds up all the successes they acquired. If they
passed ALL of the tests, they get an additional bonus success (so
if there were three tests, and they passed them all, they have a
total of four successes).

Cooking Minigame 217

 The more successes, the better the dish turned out! The GM
consults the chart below and applies an additional effect to the
created food based on the number of successes:

5+: The dish is amazing, possibly the best it could be. Eating
the food puts the diner in a Good Mood, and their next Test this
session is attempted with Focus.
4: You outdid yourself, the dish is fantastic! Eating the food puts
the diner in a Good Mood.
2-3: It turned out alright. The food isn’t amazing, but it’s pretty
good.
1-0: Yeah… this wasn’t very good. Those who eat the food may
decide they are Cranky afterwards. At least you’re not hungry
anymore.

The resulting dish is produced as a consumable item, with enough

“servings” for everyone (unless the player decides otherwise).

SAMPLE MAGICAL FOOD

Some dishes are simply magic, due to their ingredients, cooking
methods, enchanted cookware, or maybe an extra dose of every
cook’s secret ingredient
FOOD POISONING (it’s love). What follows
It is generally assumed that characters are a few examples of such
are taking all necessary precautions magical foods and what
against food borne illness. However, sorts of effects eating them
IV: GM’s Toolkit

if the Complications optional rule is might bestow.

active (page 13), then the GM may
decide that something contaminated
the food. Additionally other narrative
circumstances might taint otherwise
fine food, such as purposeful poisoning
or being left out too long.
Eating spoiled or tainted food should
inflict the Sick affliction, and any
other suitable narrative effects.
GMs and players should
feel free to invent “magical
foods” for their own game.
It is suggested that magical
foods require rare or hard-to-
get ingredients, enchanted
cooking implements, or a
healthy dose of magic cast
on the food during prep.

Sample Magical Food 218

SPICY HIPPOGRIFF WING
Typical Ingredients:
Hippogriff wings (plucked and
marinated), aged chili pepper
sauce or paste, melted butter.
Whole plucked hippogriff wings
are marinated in buttermilk, tossed in
seasonings, and then either roasted or fried
until crispy.Then they are dunked in a rich, spicy combination of melted
butter and aged pepper sauce. Commonly served with crème fraîche, celery
ribs, and a dipping sauce mixture of dill, chives, and mascarpone cheese.
One hippogriff wing typically serves two. Goes great with beer.
The spicy hippogriff wing is a messy, casual dish meant to
be shared. It symbolizes a shared challenge and the lowering
of one’s guard. Those who eat this dish become temporarily
immune to Embarrassment and the Jitters. Additionally, Tests
to reason with or convince anyone who has eaten this dish are
made with Focus. This lasts until the consumer is hungry again.
CAVE SLIME COMPOTE
Typical Ingredients: Chopped cave slime, honey, wine syrup,
various chopped fruits, various dessert spices.
Sweet and sour cave slime is dissolved in boiling
water, honey, and syrupy reduced wine. Then,
chopped fruits, such as pears or gooseberries,
IV: GM’s Toolkit

are stewed in the mixture with spices, such as

vanilla, cinnamon, or clove. Gourmet versions
may include mint or rosewater. It is either
served warm with a thin slice of cheese, or
chilled with a dollop of whipped heavy cream.
Cave slime compote is a charming and
elegant dish, bestowing a beguiling air to
any soirée. Eating this dish grants a charming
enchantment on the diner.Those who eat this
dish attempt their next Charm Test with Focus.
This lasts until the consumer is hungry again.

Sample Magical Food 219

OWLBEAR CLAW PASTRY
Typical Ingredients: Laminated yeast dough, sugar syrup,
almond paste, thornpeel pulp
Although it doesn’t actually contain any owlbear (thank goodness!),
owlbear claw pastries do traditionally contain the pulp of the citrusy
and tart thornpeel fruit, a favorite food of the owlbear. As the dough
rises, it tears, forming a “claw” shape. It is then baked and drizzled
with syrup and toppings. Often served with a warm, bitter drink.
Starting your day with an Owlbear Claw is part of a complete
breakfast, granting an energized enchantment on the diner.
Those who eat this dish attempt their next Save Test with Focus.
WYVERN PUFF WITH GRAVY
Typical Ingredients: Wyvern meat (generally tenderloin or
tail), wyvern liver, mushrooms, garlic, onions, butter, puff pastry,
roux, wyvern stock
An involved dish by many standards. Briefly-seared wyvern meat
is coated in pureed wyvern liver, and then duxelles, a rendered butter
paste of minced mushrooms, garlic, and onion. Finally it is wrapped
in a puff pastry and baked until the meat is medium-rare and the
pastry is puffy and crisp. Commonly served with a gravy made of
roux, mushrooms, and reduced wyvern stock.
The Wyvern Puff is a mighty gourmet dish, treasured by
knights and brigands alike. Eating this dish temporarily bestows
the Great Strength and Woodsy Traits to the diners. This effect
IV: GM’s Toolkit

lasts until the enchanted diner is hungry again.

SMOKED MOA EGG
Typical Ingredients: Moa eggs, moa broth (or water), seasonings
A dish from a far-away land that has gained popularity for its smooth
texture, warmth, and amazing flavor. Moa eggs are whisked and diluted
with savory broth, then placed in a steam-smoker and simultaneously
steamed and smoked until silky and firm. Often solid ingredients are
added before steaming, like seafood, mushrooms, or scallions. Commonly
associated with winter, it is the most commonly made “Magical Food.”

Sample Magical Food 220

 The savory, warm custard is a smoky treat that wicks away the
cold and restores the body’s essence. Eating this dish makes
the diner temporarily resistant to ice and cold; they ignore
any Disadvantage from cold temperature or windy conditions,
and any Test to resist cold effects (as judged by the GM) is
attempted with Focus. This lasts until the enchanted diner is
hungry again.
GRILLED COCKATRICE SOSATIES WITH REMOULADE
Typical Ingredients: Cockatrice meat (tail and breast), dried
apricots, curry leaves, spices, onions, tamarind juice, aioli, capers
This dish takes advantage of the cockatrice’s nature as a chimera by
using both the tail (which is reptilian) and the breast meat (which is
similar to chicken). Chunks of tail and breast meat are marinated in
a sauce of pulverized onions, curry leaves, tamarind juice, and other
spices, then skewered, alternating between tail, breast, and chunks of
dried apricot. The skewers are grilled until done and served with a
remoulade made from fresh aioli and capers.
As the cockatrice is a magical creature, consuming prepared
cockatrice meat bestows an enchantment upon the diner. Eating
this dish makes the diner temporarily immune to petrification
and Shock. Additionally, they attempt their next Magic Test
with Focus. This lasts until they are hungry again.
GUACO-SAUCE
Typical Ingredients: Whole guacos, various spices and seasonings
IV: GM’s Toolkit

Entire guacos are parboiled and mashed or pureed with spices, until
they form a zesty “sauce.” Some prefer chunky, others smooth. It
may seem cruel, but gaucos will inevitably become guaco-sauce on
their own, if left to their own devices.
Guaco-sauce can be added to ordinary foods (if you’re brave)
to make them “magical.” Any mundane consumable food item
coated in guaco-sauce temporarily bestows the Spell-Touched
Trait on the consumer, with the source of the magic being “I
ate some guaco sauce.” Chugging the bottle instead gives one
charge of a cantrip effect. This lasts for about an hour.

Sample Magical Food 221

SAFETY TOOLS
As touched upon in the introduction, our game only works if
everyone feels safe at the table. Players should be invested in
everyone’s comfort and respectful of everyone’s boundaries.
Player comfort is more important than the game’s content.
To facilitate this, we’ve listed a few different safety tools we like
to deploy. Many of these tools developed alongside live action
roleplaying communities (or LARPs) and have since been adopted
for tabletop games. The GM should work with the players to
select whichever tools they’d like to use to help keep everyone
comfortable and the game going. Choose those tools before
running the first session, just so everyone is on the same page. Or,
if some players have a different safety tool in mind, and everyone
agrees that tool works better for your group, use it instead.
You may believe you are telling a story that will never need safety
tools. Sometimes, just having the tools explicitly available is enough,
and while they remind players that there’s a safety net, they’ll never
actually be used. Still, it’s a good idea to provide players with a
means to break immersion and express that they are uncomfortable.
Remember, the GM wins when everyone is having fun, so making
sure everyone feels safe should be a top priority.
FADE TO BLACK:
If a player is ever uncomfortable with the direction of the scene,
or things are going too far, they simply say, “fade to black.” Any
IV: GM’s Toolkit
player may say this, regardless of if they are in the scene or not.You
may also say this if you suspect another player is uncomfortable.
When a player says “Fade to Black,” the scene ends where it
is. It “fades out” and into the next scene. The next scene takes
place elsewhere, or long after the previous. If it is important for
later scenes, the GM may ask for a general idea of what happened
between then and now, careful to be mindful of everyone’s wishes.
Players never need to explain why they called for a Fade to
Black; everyone accepts that the scene has ended and moves on.

Safety Tools 222

OKAY CHECK-IN:
During the game, if you suspect a player feels unsafe, make eye
contact and offer them the “okay” signal (where you touch your
thumb and pointer finger and unfurl the other fingers). Any
player may do this at any time.
A return of the gesture, a thumb’s up, or a nod is a signal that
they are okay. The game proceeds. A player may preemptively
signal thumb’s up to indicate they are okay, especially if they feel
their demeanor may suggest otherwise.
A level hand gesture (where the hand is parallel to the ground)
is a signal that they are not certain if they are okay, or that a line
is being crossed but they trust the other player with the direction
being taken for now. Proceed with caution, but be aware.
A thumb’s down, or no return gesture at all, means they are not okay.
Call for a temporary pause in the game and check in with them. A
player may also spontaneously give the thumb’s down at any time to
signal they are uncomfortable and pause or end the scene.
The Okay Check-In was developed by Maury Brown with Sarah
Lynn Bowman and Harrison Greene.

SUPPORT SIGNALS:
Use this in conjunction with another Safety Tool.
Place three cards on the table where everyone can reach them.
One is green, one is yellow, and one is red. During the game you
IV: GM’s Toolkit

may tap one of the cards to quietly signal to the other players
your level of comfort with what is going on in the scene.
r
Tap the green petal to signal that you want them to push
harder. You may only do this if you are in the scene.
r
Tap the yellow petal to signal that a line is being approached
or crossed, and for them to back off a little or soften what
they are doing.
r
Tap the red petal to signal that you are not okay with the scene’s
content, and for them to immediately pause or de-escalate.
Support Signals were developed by Jay Sylvano.

Safety Tools 223

 Player Name:
Points of Fortune:
Campaign:
Character SHeet
PROFILE
o
Name:
Nicknames:

Age: Gender:
Appearance:

Mannerisms:

Tavern Trade: Portrait

BELIEFS

HERITAGE TRAITS (ListTraits here,mechanics on page 2)

Character Heritage: HERITAGE TRAITS:
Heritage Strengths: D
D
Heritage Downsides: D
Heritage Lore: (Notes & invented lore)
D
C HARACTER TRAITS:

D
D
D
D
HEALTH
D
WELLNESS:
MOOD:
D
Well Unwell PROFICIENCIES
INJURIES/AFFLICTIONS:
h
h
h
h
h
Minor Major
h Mastery

Tiny Taverns: Character Sheet Page 1

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 ADVANCEMENT BAR
Experience Boxes: One Box = One Experience Point
Bolded Box Corresponds to Minimum Reward Gained by Emptying All Boxes

TRAITS (MECHANICS)

RELATIONSHIPS
f
Type: Like Love Rival Nemesis Secret Strength
f
Type: Like Love Rival Nemesis Secret Strength
f
Type: Like Love Rival Nemesis Secret Strength
f
Type: Like Love Rival Nemesis Secret Strength
f
Type: Like Love Rival Nemesis Secret Strength

BELONGINGS TASKS / NOTES

Tiny Taverns: Character Sheet Page 2

©2020 by Gallant Knight Games. All rights reserved. Character sheets may be reproduced for personal use only.
 GM Name:
Campaign:
Tavern SHeet
ABOUT o EMBLEM / SIGN:
Name:
Tavern Type:

Location:

What Is Nearby:

SERVICES & FEATURES

UNIQUE FEATURES: LOCATIONS: (Inside)

SERVICES:

LOCATIONS: (Outside)

Tiny Taverns: Tavern Sheet Page 1

©2020 by Gallant Knight Games. All rights reserved. Character sheets may be reproduced for personal use only.
CLIENTELE & STAFF
Typical Guests: REGULARS:
r Name
EMPLOYEES: (PCs & NPCs) Shtick

Relationship with PCs

r Name
Shtick

Relationship with PCs

r Name
Shtick

Relationship with PCs

r Name
Shtick

Relationship with PCs

TAVERN STATS (Optional Rules on Page 155)

TAVERN TRAITS

REPUTATION SIZE SAFETY DEMAND INCOME

Size + Safety Size + Reputation
BENEFITS (On Page 160)
UNRESOLVED CHORES

SPECIAL FACTORS / GM NOTES

Tiny Taverns: Tavern Sheet Page 2

©2020 by Gallant Knight Games. All rights reserved. Character sheets may be reproduced for personal use only.
APPENDIX OF TERMS
Most of the important terms in this game are listed below.
Action: Shorthand for what a character is doing in a scene. The type
of action a character takes depends on what the player described.
Advantage: The circumstances ultimately favor you, making it more
likely that you’ll overcome the Obstacle. Having Advantage during a Test
means you roll 3d6 instead of 2d6.
Afflictions: A special type of Injury. They are generally temporary and
impair the character while they last.When applied to an enemy, an Affliction
is a temporary Trait that alters Behavior and limits what they can do.
Attack: Any action whose intention is to hinder, harm, break, or destroy.
Attacks often cause “damage.” When characters are attacked, they get a
chance to do something in response, generally to avoid or block. When
enemies are attacked by characters, they need to Test in order to hit them.
Armor: A special type of item designed to protect the user from harm.
While worn, armor negates injuries from attacks. Most armor can
prevent/“absorb” one minor injury. Some stronger armor can prevent
one major injury or two minor injuries. Damaged armor must be repaired
before it can do this again.
Artifact: An item whose age, properties, and owners have made it magic.
Belongings: The iconic equipment of a character. Belongings are never
lost and is restored at the end of each session.
Cantrip: A minor magic spell cast by someone who is Spell-Touched.
Unlike other spells, Cantrips are improvised and powered by the
character’s own “mana.”
Chore: A special obstacle representing necessary tavern upkeep. Chores
accumulate and must be completed to keep the tavern running smoothly.
Cranky: One of three “Moods” a character can exist in, being Cranky is
the state of being in a persistently bad mood. A Cranky Mood grants a
bonus to certain actions and Disadvantage to certain others.
Consumable: An item with limited uses, usually only one. After used, it is
“consumed” or “spent” and no longer useful.
Damage: An abstract representation of harm. Usually damage results from
“attacks,” but can also be caused by environmental dangers and other
narrative stuff. Player characters suffer Injuries when they take damage,
while enemies, and obstacles that use enemy rules, lose hit points (Hps).
Defeated (of an Enemy): The state of having been bested by the player
characters and being “neutralized,” at least for the time being. Enemies
are Defeated when they have no health left or they give up.

Appendix 228
Disadvantage: The odds are against you, making it less likely that you’ll
overcome the Obstacle. Having Disadvantage during a Test means you roll
1d6 instead of 2d6 or 3d6. Disadvantage supersedes Advantage, unless
the Advantage is Magical.
Enemy: A special type of Obstacle that directly opposes the player
characters. They get their own chance to take actions. Enemies are not
overcome until they are Defeated, or until the player characters thwart
them. Enemies have Hit Points that represent how much “damage” they
sustain until they don’t want to fight anymore. They also have Traits and
Behaviors, which provide guidelines for the Game Master.
Epiphany: A powerful, one-use reward characters can earn.
Experience: A way for characters to grow more powerful. Experience
Boxes are filled in on the character sheet based on events in the session.
Certain boxes, when filled in, allow the player to erase all filled in boxes
in exchange for a reward, or to keep their current filled in boxes to save
up for a better reward later.
Focus: A special condition for Tests representing additional favorable
circumstances, such as concentrating, putting more effort into the task
than normal, using the environment to one’s favor, and so forth. Testing
with Focus means you succeed on a 4, 5, or 6. Players familiar with Tiny
Dungeon 2e and other TinyD6 games: please note that in Tiny Taverns, a
character can have Focus for tasks other than Attacking.
Fortune: A resource that players can spend to negate another player’s
Disadvantage or change the narrative circumstances to favor the character.
Players gain Fortune when the GM grants it, or when one of their Traits
causes them to Test with Disadvantage. A player can only have 3 points of
Fortune at once. All Fortune is lost at the end of a session.
Game Master:The player who facilitates the game, controls the enemies,
populates it with obstacles, and improvises the greater lore. This is the
“prime storyteller” and “referee” of the game. The Game Master has final
say over a lot of stuff. The Game Master only rolls dice when they want to;
what they say always happens, although they must conform to the results
of Tests and other such guidelines. “GM” is short for Game Master.
Group (enemy Trait): The “Group” enemy Trait represents the presence
of multiple enemies of the same type, at least 3 but possibly more. When
an enemy has this Trait, it means there are many of them, and they are
working together in tandem. When an enemy with the Group Trait is
Defeated, they spawn two versions of themselves without the Group trait.

229 Appendix
Heritage: One of the unique peoples of the fantasy setting. A heritage
represents both cultural and genetic history, but is only one part of who
your character is. A character’s Heritage provides a few special Traits.
Heritage Trait: A unique Trait granted by your Heritage, representing an
innate power, cultural tradition, special upbringing, or biological feature.
Initiative: Whoever’s turn it is during Initiative Mode “has initiative.”
Initiative Mode: A special mode of gameplay, activated by the Game
Master, where characters take structured turns. Player characters
perform up to two “actions” during their turn, while the Game Master
takes as many “actions” as granted by Enemies and Obstacles.
Injury: An abstract representation of lasting trauma. Generally Injuries are
inflicted by combat, obstacles, certain Contests where risk of injury is high,
or as a result of doing something regrettable. Major Injuries are serious
and impede the character more, while Minor Injuries are less serious and
easier to heal. When a character suffers an injury, the player decides what
type of injury they have suffered. When they attempt something that their
Injury would hinder, they Test with Disadvantage. A character with more
than three Minor Injuries or more than one Major Injury is incapacitated.
Incapacitated: Unable to act due to personal impediment or injury.
Item: Useful objects characters can use and (theoretically) carry around.
Characters are considered to have any items that make sense for them to
have, in addition to their personal inventories.
Legendary Creature: A powerful, rare, magical being. Certain spells and
artifacts can summon them, or they can be encountered in the wild.
Magical: An effect, thing, or circumstance that exists in its current state
due to magic. The Game Master decides when something is magical.
Mastery: A special type of Proficiency, representing greater achievement
in that field of expertise. Masteries so that Proficiencies do, but also negate
Disadvantage when they are relevant (instead of granting Advantage).
Mood: An abstract representation of a character’s prevailing emotional
state. Characters can be in a Good Mood, Neutral, or a Cranky Mood.
In the absence of a Good or Cranky Mood, the character is “neutral.”
Players decide what mood their character is in.
Non-Player Character: A character that is controlled by the Game
Master, but works like a Player Character. They exist to help tell the
story of the player characters. “NPC” is short for Non-Player Character.
Obstacle: A thing or circumstance that is in a character’s way. Characters
Test against Obstacles by rolling 2d6. If the character succeeds, the
players narrate how the obstacle was overcome.

Appendix 230
Player Character: A character that is controlled by a player that is not
the Game Master. These are the heroes of our story.
Prestige Trait: A special kind of powerful Trait that can only be granted
by the Game Master.
Proficiency: A representation of a character’s field of expertise. They
represent experience, knowledge, training, and practice in a specific
subject. Proficiencies grant Advantage when they are relevant.
Relationship: An abstract representation of an existing bond between
characters. They consist of a description, a Type, and a Strength.
Spell: A magical effect that changes the narrative and/or grants special
mechanics. Spells are cast by magic users (such as Spell-Touched or
Spellcraft characters), or by items (such as magic Scrolls or items).
Spellcrafts: A magical tradition or special “school” of magic. Spellcrafts
grant access to specific spells. Only one spellcraft spell can be cast per
scene, unless the Game Master allows more.
Success (of dice results): A “success” results when any die face shows a
5 or 6 as a result of a Test. Take note: it does not matter how many 5s or 6s
show, just that there is at least one.
Tavern: A public place of hospitality. In the context of this game, it is
whatever establishment the characters maintain together.
Test: A mechanical representation of a character’s attempt to overcome
an Obstacle. You usually Test by rolling 2d6. If the Test is a failure, then
something unexpected happens, and the Obstacle thwarts the character.
Tests can sometimes have special types (such as “Save Test” or “Stealth
Test,”) which are only relevant if the rules say so.
Trait: A representation of some important aspect of the character. Traits
grant Advantage or Disadvantage when they are relevant, or they can
make certain actions possible. Players familiar with Tiny Dungeon 2e and
other TinyD6 games please note: many Traits that also exist in those games
behave differently in Tiny Taverns.
Weapon: A special type of item designed for self-defense and combat.
Successful AttackTests with weapons always inflict one injury; either Major
or Minor. Fighting with a weapon where you have no training causes you
to Test with Disadvantage. Weapons belong to one of five categories: Light
Melee, Heavy Melee, Light Range, Heavy Range, and Improvised.
Wellness: A character’s inner-peace and ability to process what they are
feeling. A character’s emotional health has two states: Well and Unwell.

o
231 Appendix
Introducing a new way to play the Tiny D6 engine, Tiny Taverns is
a roleplaying game about the slice-of-life daily adventures of tavern
proprietors in a high fantasy setting. Instead of warriors, wizards,
and thieves, player characters are bartenders, performers, servers,
chefs, or even bouncers… who also happen to be warriors, wizards,
and thieves! Whether defending the tavern from monsters, breaking
up bar brawls, or just trying to get through a tough night, characters
solve their problems using wits, fists, or a kind word. With a focus on
character relationships to provide story hooks, unique heritages and
traits specifically tailored for tavern adventures, a chore system and a
hectic tavern service mode, social combat rules, hunting and cooking
mini-games, an “episode generator” for on-the-fly storytelling, and
evolving lore that players invent as they play, there’s no end to the
adventures you’ll find in your very own tiny tavern!