The Witcher

A Game of Imagination
Authors: Michał Marszalik, Maciej Nowak-Kreyer, Michał Studniarek and Tomek Kreczmer
Additonal material: Łukasz A. Czyżewski, Andrzej Miszkurka, Witold Siekierzyński, Jacek
Suliga
Text: Łukasz A. Czyżewski, Tomek Kreczmar, Michał Marszalik, Maciej Nowak-Kreyez,
Michał Studniarek, Jacek Suliga
Editor: Andrzej Miszkurka, Tomek Kreczmar
Correction: Urszula Okrzej
Line editor: Tomek Kreczmar
Illustrations: Piotr Cieśliński, Tomasz Łaz, Jarosław Musiał, Paweł Moszczyński
Map: Krzysztof Białek and Adrian Siemieniak
Logo project: Piotr Cieśliński
Photos: Bartłomiej Zaranek
Cover project: Jarosław Musiał
Graphic and typography: Jarosław Musiał, Tomasz Fruń and Tomek Kreczmar
Typesetting and formating: Tomek Laisar Fruń

Authors used materials published on page www.sapkowski.pl, written by:

Adam Kromer, Jacek Suliga, Marek Szyjewski, Marcin Zemczak

Special thanks: We own our thanks to vast crowd. There is not enough place for all of you.
We also can't ommit anyone. Thus we are grateful to all who helped with creation of this
game.
Nonethless it would be a shame not to honour few people, who helped shape "Witcher: A
Game of Imagination" to its final form and who made it something more. In alphabetical
order: Łukasz A. Czyżewski, Tomasz F. Misiorek, Remigiusz "Remoy" Wilk, Grześ
"Czytacz" Zieliński. We should also distinguish Andrzej Misiurka and his valuable notes as
well as leaving everywhere traces of his activity. Big, if not enormous thanks to Jacek Suliga
(or John MacKnacKy) and people gathered around internet Sapkowski Zone
(www.sapkowski.pl). We are also grateful to creators of "Hexer" film and VISION company
for their help.

Test players: Kacper Bromirski, Karol Czachorowski, Łukasz A. Czyżewski, Krzysztof

"Ozzy" Dobosz, Krzysztof Gąsiorowski, Jarosław "Jary" Goworek, Ewa Hejniak, Tomasz
"Funky" Kowalski, Maciej Krause, Jerzy Kurdwanowski, Marcin "Kwasek" Kwaśniewski,
Marek Metes, Michał "Regis" Michalski, Tomasz F. Misiorek, Jan Oko, Tadeusz Oko, Piotr
Okrój, Michał "Elmo" Pliszka, Dominik Smyk, Tadeusz "TomBlue" Stańczak, Bartosz
"Stopersson" Stopczyk, Michał Szaleniec, Darek "Beowolf" Światecki, Piotr "Kenny"
Trescher, Bartosz Waszkiewicz, Krzysztof Wędzik, Bogdan Widła, Artur Wieczorek, Michał
"Mike" Wróblewski oraz TopGun (as a guest). And also people connected with www.gildia.pl
(most importantly Michał Kuc and Andrzej Urbański) and www.walkiria.pl (most importanly
Artur Machlowski).

Dedicated to my father
TK

Authors, or who and what: Fight for publication of an RPG game based on witcher stories by
Andrzej Sapkowski was started years ago by Maciej Nowak-Kreyer. Finally he managed to
pull it through, after which he created the bare basics of mechanics and sketched the design
for the rule book. He also wrote chapters about the world, the "Book of Continent" (with little
exeptions) and "Book of Nordlings". Michał Marszalik coined with MNK the term "game of
imagination", after which he wrote down all his reflections about directing the game, creating
"Book of Storyteller". It was he who created the example adventure. Michał Studniarek is
responsible for magic spells, witchers' signs and prayers - in other words, he created "Book of
Magic". Writting those words Tomek Kreczmar created mechanics, wrote "Book of Player",
"Book of Rules" and "Book of Combat" (putting on paper ideas of his and Maciek Nowak-
Kreyer) and also "Introduction" (with MNK) and "Suplement"; he controlled also the whole
work, organised check gameplays and tried to correct all the mistakes of co-authors (in which
most likely he didn't succeed). Maciek Nowak-Kreyer, Andrzej Miszkurka and Tomek
Kreczmar are responsible for the design of "Beast of the Continent" section. Fabularised
example session was created by Jacek Suliga. The fluff from character archetypes comes from
Łukasz A. Czyżewski, who also created merchant archetype.

Based on works of Andrzej Sapkowski

ISBN 83-87968-39-0
Copyright 2001 by Wydawnictwo MAG
All rights reserved
Copying by any means (electronical, chemical, photographical etc.) of whole or parts -
without agreement from publisher is forbidden.

Translation:
Żorż, Majron, Wertamiś, Zahi
We are rule-lawyering that we are not copying the game, but translating it. Further in
the text our notes will be always in brackets, in bold and blue. We also left most of the
formatting alone for now, as it's about proof-reading the translation. It will be the editor
who will properly align the text, according to original print. Hope it's still readable in its
current state.
Oh, and we strive to use British English, so please don't correct things such as "armour"
or similar. Instead, correct any Americanisation you might come along into British
form.
Our contact mail is witcher.rp.translation.project@gmail.com, where we would like to
recieve all correspondence – both asking any questions and getting your proof-reads.

And this is an example how we want the mistakes to be marked after they are corrected.
 Introduction
Your campfire is slowly fading. It's getting quiet. You have the feeling that even the
grasshoppers find something more interesting to do than intruding the calm night. Only
Kramus' horse is not sleepy - instead it's fidgetting in his place.

Kramus: Lousy starveling, didn't I gave him oats? [I drag myself out of the bedding, silently
get up and get closer to the horse]

You cautiously slip between your sleeping comrades, circling around the fireplace. It's getting
cold, your teeth are clanging. When you get to the horse, suddenly the grasshoppers start
their play again - this time deafening and mad! The horse snorts, backtracks and rears up,
neighing loudly.

Kramus: [I jump away from the horse. I shout] Get up! Something is wrong!
Mirabel: [I jump up, simultaniously grabbing my sword].
Pansy: [I sit up and look around cautiously]

The grasshoppers are still doing their crazy rythm. The fire almost dies, all your horses are
fumbling, neigh loudly and kick nervously. When you look around, the border of the forest
seems to ripple, while the moon shadows are running over the branches. Suddenly... all the
rumble dies down. There is complete silence, the horses seem to be even more puzzled than
you... You hear a twig snapping, somewhere between the trees.

Mirabel: [I get up and wait, facing the forest].

Pansy: [I cast the spell, reigniting the campfire].
Kramus [I stand next to Mirabel, grabbing my sword].

You feel cold. The fire - ignited by Pansy's magic - gives you light, but no warmth at all. You
look at the trees, from where you can hear clearly footsteps.

Kramus: [I shout] Who are the hells bringing?!

From the darkness emerges a slim figure. You see elderly man, caked with dirty beyond any
measure. He is wearing torn livery, in his hands he is holding long stick. He is smiling
friendly.

Stranger: Don't be afraid, I'm a wanderer looking for good people and warm fireplace. And
no hell is sending me, mister knight, but longing for companion.

His voice is clear and dignified. The old man stopped and is looking once at you, once at the
fireplace and your skewer with remnants of supper.

Mirabel: [I whisper]. Let him go his way, why would we need him...
Kramus: Not hell, but hellish path I meant. We invite you for meal [Said that, I sheath my
sword]. [This is a wordplay in Polish, where you have szlag - a mild curse - and szlak, a
pathway. Seems untranslatable].
Pansy: Ech, Kramus, you would invite even a ghoul to your home...

The stranger smile gets even wider when he sits next to the fire. Now you can see his livery
have been once quite glamourous and costly. Even wrinkles of your guest are filled with dirt.
Mirabel: I don't like this...
Kramus: Calm down, girl, the old man will eat his full, fall asleep and we will pack before
sunrise. It won't harm us to enjoy any company.
Mirabel: Ok, ok... [To the stranger]. Here you have, grandpa, remains of the hare, caught
today by Pansy. Enjoy.

The old man is hungrily gnawn the bones, looking at you happily.

Kramus: [I go to our horses, what's with them?]

Your horses are calm now, asleep. Everything around is calm and quite. There is a light, cold
breeze from the east.

Pansy: [I sit next to the old man] From where are you, mister... How should we adress you?
Stranger: I'm Vieanne. I come from the Valley.
Pansy: Valley? Which valley?
Stranger: The Valley of the Flowers
Mirabel: Are you an elf? You don't look like one
Stranger: There is more elven blood in my veins than human one.

Vieanne stops eating, looking at you cautiously

Stranger: You must travel for a while. Where are you heading?
Kramus: South. Lyria.
Stranger: So... [He gets up] You are those I've been looking for.

In the same moment the stranger jumps forth, pulling a dagger and attacks Pansy with it.

Kramus: [I undercut him!].

Mirabel: [I jump aside and pull my sword].
Pansy: [I jump back]

Pansy falls on his back, slightly grazed. Kramus undercuts the elf and pins him down to the
ground.

Mirabel: [I jump to him and put a blade of my sword to his throat]

The stranger is jerking and gasping, then stammer some sentences and burst in flames. He's
burning!

Mirabel: [I jump aside].

Kramus: [I get a plaid and put it on the elf]
Pansy: [I get up and help Kramus]

You cover him with the plaid, extinguishing the flames. You can smell an awful whiff; the elf
is trying to blurt out. After a while he stops - you can feel as his body is getting limp.

Pansy: [I undercover the plaid]

Mirabel: [I assist him with sword at hand]
You undercover charred body. Everything is burned down, including robes. Remains of the
face are twisted in monstrous grimace. Under an armpit you can see small flask, cracked.

Kramus: What the hell is this?

Mirabel [I pick up the dagger of the elf].

You pick up the dagger from the ground and look at it closely. Typical elven craftwork, it
resembles more of an elaborate paperknife than a weapon. The entire blade is shining, as if
covered with grease. The tip is also covered in blood.

Pansy: Dear Melitele! Poison!

Pansy falls on the ground.

Something ends, something starts

More than few words of introduction

They were riding right in to the sunset. Behind them stayed a darkening valley. Behind them
was a lake, enchanted lake, blue lake smooth like a polished sapphire. Behind them stayed
boulders on the lake's shore. Pines on the slopes.
That was behind them.
And before them was everything.
"Lady of the Lake"

In "Lady of the Lake", last book of witcher's saga, we permanently parted away with Geralt of
Rivia (at least if to believe words of author, Andrzej Sapkowski [he lied]). Wounded White
Wolf sailed away, disappeared somewhere in the mist. The legend finally ended and all what's
left for us is to keep it in our hearts and momory.
Something ends, something starts... Uroburos snake bites his own tail, and every end is
simultaneously the beginning. Time of books about adventures of witcher has ended, now it's
time of heroes, adventurers and rogues, breathing the same air as White Wolf, walking on the
same land and just like him put by Fate against dreadful dangers and hard choices.
It's the start of times of games of imagination, roleplaying games.
Roleplaying game "Witcher" will allow you return to the world from witcher stories - the
most realistic of all fable lands. You won't be mere spectators, like readers of the books and
stories or viewers of the film: you will become one of travellers and adventurers, pacing the
trails of witcher's Continent!
You will be witchers, just as Geralt. Mages similar to Yennefer or Istredd. Bards with talent
and lust almost matching Dandelion's. Or maybe you will create a group of slayers, just like
Yarpen Zigrin's "boys", Renfri's thugs or Crinfrid Reavers? Unfortunately, you won't
personate to any character of witcher's saga, but who knows - it's very likely your road will
cross with one of them. After all, the world often turns out to be very small...
Realities, in which adventures of You, characters of "Witcher", takes place are the times
presented in stories about Geralt, era before Nilfgaardian invasion, known by the historicians
as first half of thirteenth century.

What exactly is a roleplaying game?

In the land of games there are many cathegories: board, card, sport or video. And each of
them can be split further. But none of them is similar to ROLEPLAYING GAMES - unique
and one of their kind. That's why they are hard to describe. Thus there is no good comparison.
What can be told for sure is that they require imagination...
Roleplaying games (short RPG) is an English term on games about impersonating roles. They
emerged in the 70's in the United States (more detailed history of those games can be found in
suplement "Last wish", page 231). Maybe you have a chance, Readers, meet the term RPG in
context of computer games such as "Baldur's Gate" or "Torment". You might be surprised,
when we told you that those computer games were created on basis of our roleplaying games -
those on paper.
What are exactly roleplaying games? Most importantly they are entertainment for groups,
companies. It means that participate not a single player, but at least two (ideal is a group of 4-
6). One of them must take the trendemous burden and become the Game Master, or how we
call him, STORYTELLER. It is the Storyteller who creates the adventure, it's plot and
challanges for characters. It is the Storyteller who will impersonate all the people and
creatures of game's world, with whome characacters created by players will interact. It is the
Storyteller who leads the gameplay, descibe the scheme and pull player's characters into it.
Storyteller is someone close to director, screenwritter and actor in one person. When he
describes the world, he's a narrator. From time to time he's an actor, bringing background
characters into life (village leaders, innkeeper's daughters, Nilfgaardian knights etc. etc.). You
can learn more about the role of Storyteller from book "The Voice of Reason" (page 127).
Storyteller then creates the plot and push the action forward. But it is the players who decides
what their characters do - how they react upon seeing Squirrels' commando, if they help a
poor gnome or if they attack a big dragon. Players are like an actor, each impersonating one
chosen character from the imagined world. They are also co-authors of the story, as players
with Storyteller create their story. Players decide what are their characters (how they look,
what they do, how they react and what they do), Storyteller - how does the surrounding world
looks like, how players' actions affect it and finally, what is the plot.
Roleplaying games - unlike games, films or even computer games - are fully interactive.
Reading books and stories or viewing film, you most likely wanted to land in other world and
live equally interesting adventures like their heroes. You often thinked what would you do in
place of book or film characters. Playing a video games you could be tempted to get of the
path prepared by authors and, instead of slaying the dragon and marry the princess, kill the
princess and marry the dragon.
Imagine now that your wish was just fulfilled. You will impersonate other people than
yourself, living in other reality. People that have their own history, having unique names,
looking differently and maybe even representing other race. From your Storyteller you will
learn what is happening around your new incarnations, what fate is yours; you will learn what
you see through their eyes and feel with their senses and based on those words you will try to
imagine it. You can influence the events, declaring what your characters are doing or are
going to do - of course, being reasonable! Someone playing as mere human can't, for
example, declare that the character is breathing fire. Or rather: he can declare it, but the
Storyteller has to explain him what, how and why...
Storyteller reveals the plot and players - impersonating their characters - react to the events in
any way they please, restricted only by concept and abilities of said characters. Storytellers
must take into consideration actions of characters and accordingly adjust the situation, adding
new elements and changing older. During the gameplay, players talk for their characters, react
on the story, talk with characters created by Storyteller. Roleplaying games offer then much
broader interaction than computer games, as there wasn't yet created a machine able to react
on every ideas of players. And in the world of RPG it's often said that one never knows what
the players will do...
Everything - the whole game - is usually held next to the table or in the room sitting on the
ground, on a balcony or other, isolated area. Each meeting last around 5-6 hours, and it called
a SESSION. Storytellers prepare for such session a STORY, the scenario, plot in which they
want to put players' characters. How the story will turn - no one knows. But some things can
be predicted and other even should be enforced! But what is the most important is that
everyone have good fun.
Because you can't forget about one important element characterising only roleplaying games.
There are no victors and loosers. There is no time or sum of points deciding who was better
and who worse. In RPG it's not important if the heroes succeed in their mission. The victory
or failure are only measured by taken pleasure. If everyone was having fun, everyone is a
victor. And only this matters!

What is a game of imagination?

We named GAME OF IMAGINATION narrative ropleplaying game, focused on the story,
allowing to fully immerse the fable world. It's a play, where players become actors: where
sharp tongue, ingenuity, ability to be someone else are more than rolls of dice and getting
more points.
In typical roleplaying game participants are restricted by rules, which are an attempt to
recreate mechanisms in the nature; system of strict rules, which must be followed, paying
attention to even the slightest detail. In narrative games rules are not as that important and in
need they can be adjusted or partly ignored. But it takes the game of imagination, where rules,
while present, are nothing more than being help, lifebelt in situations, where imagination and
common sense simply won't do. They should be taken only as last resort and adjustments can
be done at any time and when situation calls for that.
The rules of game of imagination may look for some as detailed and complicated. Please don't
be afraid - you won't have to memorise thousands of rules, take countless rolls and keeping
track of hundreds of modifiers. Here we take the rules only when there is no other solution.
That's why they must be clear and precisely [they not always are, a thing inherited from
being written in Polish... don't ask] answering the questions that may emerge during
gameplay. It's not always necessary to look into them! Always remember that the core rule of
game of imagination is for the session to look more like psychodrama, if not outright
improvised stage play.
Participants of game of imagination never use numerical values of their characters' attributes
and avoid jargon. No-one will say "I have three in Suave and now I'm testing my speech"!
Why? Because in game of imagination you are constantly talking through lips of your
characters, gesticulate, move. In this game Storyteller walks around, plays pantomime,
sometimes even changes his costume. Here the adventure is juiced up by background music.
Here players don't just sit behind the table, but play - as actors.
"Witcher: A Game of Imagination" is, of course, also a game aiming to emulate unique
climate of Andrzej Sapkowski's books and stories. Game, where elements from fairy tales
show up and situational humour intermingle with dramatic events and hard choices.
In our game of imagination the leading person is called STORYTELLER, his sessions are
STORIES, group of players is a TEAM, which is on heroic adventure and HANSA when
addressing their assembled characters.
This is what a game of imagination is.
Learn about it yourselves.

What do you need to start a game of imagination?

Most importantly - imagination... and of course, group of friends, willing to travel together in
the world created by Andrzej Sapkowski and described by humble authors of this game. Few
standard, cubic dices would be useful, just as character sheets, pencils and, naturally, this
rulebook. Sometimes it's good to supply with candle holder, music device, cassettes or records
with music helping create adequate mood, maybe even a costume - anything that will help to
enhance the atmosphere.
How many people can take part in the game? Aside from Storyteller, at least one. There can
be always more. In fact, nothing limits the number of players, aside from having fun. And
managing a roleplaying game for more than five or six people can be very tough. So by this -
and the fact that in smaller groups it's easier to fully engage every player (which is important
for game of imagination) - we suggest that size of hansa stay below five characters.

How to learn playing the game?

And how to learn playing "Witcher" (and any other roleplaying game)? First of all, it
behooves to read this book. No, not whole and not at once! But the rules, the so-called game
mechanics, should be familiarised. During the gameplay there will be always time to check in
the rulebook, so you don't have to memorise the whole book. But it's easier to check things
when you already know where they are and being familiar with overall concept of mechanics.
For sure the biggest challenge lies before Storytellers, who must know almost everything
about rules and presented world. They must not only familiarise themselves with mechanics,
but also know well the book with them. They can find example scenarios in it, which should
help them - and the players - with their first steps. Fabularised example was presented on the
beginning of this rulebook. It's second version - illustrating rules of game mechanics in action
- can be found on page 125. Third time it can be read in section for Storytellers, to learn about
arcanes of leading the game (page 149).
Secondly, you must try, so play. Don't be dishearten with your early attempts. Only practice
makes perfection and only people who don't act are those not making mistakes. Maybe your
first games won't be good. Something bad will happen, some detail will be forgotten, one of
characters will die pointlessly... But you can't give up. The more meetings behind you, the
more fun before you!
Third, you don't have to create any Great Spectacle from the get-go. You should always look
before you leap. It's better to slowly introduce new elements, so you can step by step reach the
ideal. And no-one have to reach any ideal at all! The most important part of the game is to
have fun. And that's the ideal you should strafe - fun from good play. All we can do is
pointing out the best - in our opinion - way to reach it.

Stories
Game runners often have certain sketch of events, in which they want see players' characters.
Such sketch is called a scenario, adventure or story and it's secret for players. Storyteller
weavens his story based on such construction, adjusting the events by players actions and his
own ideas. During scenario creation and later gameplay, Storytellers merely constrict the
realities of game world, in which the adventure is set. Everything else (and most importantly
rules) can be freely adjusted for his needs and ideas.
If Storyteller is not feeling confident about them or simply don't want to create his own
scenarios, he can use pre-prepared adventures. One of such, made for beginners, can be found
in this rulebook. Other will show on the pages of "Magia i Miecz" magazine [sadly defunct,
solid read for RPG players; Zahi notes that it's crypto-advertisement, as the MiM was
owned by the same publisher as Witcher] and expansions for "Witcher" game. In those
expansions there will be also additional and expanded rules, descriptions of new creatures and
also new spells and other powers.

What is the content of this book?

This very rulebook - aside from introduction you are now reading - consists of few books.
First of them, " A Little Dedication"*, is a collection of informations for players (how to
create characters, how they are defined by game mechanics, what they can, what they can't
etc.). After it you will reach "The Bounds of Reason"*, or description of so-called game
mechanics, collection of rules, upon which players are obligated to follow. "The Sword of
Destiny"**, third book, is about rules of fighting. Next after it is "Something more"** - part
describing magic and religion. " The Voice of Reason" is addressed to Storytellers and those,
who want to become Storytellers. In " The Edge of the World" there is comprehensive
description of the world created by Andrzej Sapkowski, with few additional rules. Book " A
Grain of Truth" is all about everyday life of average inhabitants of the Continent. For the
closure, supplement "The Last Wish", containing simple scenario, history of roleplaying
games and basic tables needed during the gameplay. Aside of those, the rulebook is fitted with
map and insert with photos from "Hexer" film.
Attention! Using star ("*") we marked chapters, which we advise to read every player before
starting the game. Two stars ("**") means that those books should be checked by players who
want to play specific type of character (mages, priests, fighters or witchers). For Storytellers,
of course, we advise reading the whole rulebook.
Frames
There are numerous frames, covering additional informations or specific ways of using
mechanics. During first contact with game their content might look somewhat complicated.
That's why they can be easily omitted. However they will come in handy when the game gain
momentum. Some of the frames contain rules, that will easen the game, making it simplier
and more pleasurable for beginners. Those are worth using! Of course they will be marked
accordingly.
There are finally frames that will help you with immersion. They contain additional
informations about the Continent, it's inhabitants or creatures. Beginner's tips are also part of
those.
[Next two paragraphs are written in specifically drawn frames, one is regular box and
other is pimped-out scroll-like box. For obvious reasons we won't even try to put them
here]
In such frames are informations about game mechanics.
And in such those providing additional depth to the world.

What after this rulebook? [Again, Zahi notes this section as full-fledged advertising,
almost painful to read for anyone knowing about the dire situation of MAG Publishing
House of that time. The periodic managed to reach three issues, after which MAG cease
to continue any business related with tabletop RPG - the 4th issue was published
unofficially, by its author. Aside of mentioned expansion about Nilfgaard there is also
another one. All of this is also planned for translation. The articles from MiM will be
tricky, as for now we don't have copies of those specific issues.]
This rulebook is just a first step in world of "Witcher: A Game of Imagination". Right in this
moment we are preparing an expansion for you (so a rulebook containing supplements for the
game), in which you will find expanded and more. Thanks to it you will be able to play in
times of war with Nilfgaard and experience even greater adventures. We are also planning
publishing (once per two months) small periodic with adventures, scenarios, advices and
explainations. Of course you will aslo find many materials for "W:AGoF" in the biggest
Polish magazine about roleplaying games, "Magia and Miecz". [We couldn't decide if we
want to translate the name or leave it. The magazine was basically called "Sorcery and
Sword". It's still mourned by players after all those years] Get ready for more today!

This is not the end

Roleplaying games don't end on "Witcher" alone. If you want to learn more about them, read
the supplement "The Last Wish" (page 231) in the end of this book. [Basically a chapter-
long advertising, talking mostly about games translated and published by MAG - Zahi]
You will be able to learn about history of such games, which are worth playing [those from
MAG - Zahi] and finally, where to get additional information [The game was released on
advent of wide-access to internet in Poland, thus is the last moment when such
informations weren't widely available - Wertamiś]

Start right away!

If you want to start playing the game already, without getting into details, grab archetypes of
character (page 46) and pick one of them. Next read descriptions of all abilities (including
spells and combat manoeuvres!) owned by your chosen character and then check "The
Bounds of Reason" book (page 59), from which you will learn everything about game
mechanics. After such preparations, you can start game as a player. Everything else will be
simply taught from experience during the story.
But if you strive to be a Storyteller, you will have to first work a bit. First read book "The
Voice of Reason" (page 127), and then meticulously familiarise yourself with rules. Then
check what is within reach of players' characters (picked from archetypes or created from a
scratch) and prepare a story, using adventure presented in this book, picking scenario from
"Magia i Miecz" [and pay our debts - Zahi] or create your own. Arrange the time of meeting
with your friends and... have fun!

Dictionary of useful terms

In the text of rulebook you will find numerous new, foreign to you terms and names. [This
game LOVES insisted terminology and neologisms, often purposefully trying to tinker
new names for decades-old bog standard elements of mechanics. Some of them are
freaky enough to provide a headscratch for even seasoned RPG players - Żorż]
Following list should easen use of this tome. More precise explanation can be found in later
sections of the book. Of course those are not all new terms which are present in this book.

[We are going to arrange them as for now in their Polish alphabetical order, with Polish
word in brackets. Some of the terms are now under working name, as we couldn't
decide how to exactly put them in English - they are already strange in Polish. Who
knows, maybe even by using dictionary you will have a better idea than us]
Action [Akcja] - activity taken by a character during a round.
Archetype [Archetyp] - example character facilitating game start for beginners.
Storyteller [Bajarz] - game runner, in roleplaying games often called Game Master.
Character [Bohater, but not translated as "hero" - this is also a term from Polish literature
theory, covering simply characters from any work] - led character, thus impersonated by
player.
Attributes [Cechy, literally characteristics] - they divide on attributes of body and mind and
define physical and mental capabilities of a character.
Spells [Czary] - enchantments used by mages and sorceress.
Team [Drużyna] - group of players taking part in the game together.
Story [Gawęda, this is simplified translation, as both Bajarz and Gawęda are somewhat
archaic terms describing person who tells tall stories for living, and gawęda is such story] -
session of a game, which means a single meeting, during which Storyteller is creating an
adventure; it doesn't have to have exciting opening and ending as in TV series.
Hansa [Hanza] - a group of players' characters working or at least travelling together.
Initiative [Inicjatywa] - a roll taken to define succession of activities in round.
Fate Dice [Kość Przeznaczenia, no, not bone, kość is also a dice in Polish] - distinguished
dice, deciding about exeptionally good or bad lack [A dice used for criticals - Majron]
Game Mechanics [Mechanika Gry] - collection of rules, deciding how and when roll dices; in
what manner are described characters from the game world; what a character is capable of and
what not.
Combat manoeuvre - [Manewr] - special activity, which can be taken during fights, surprising
enemy or in other way tipping the scales.
Power [Moc, capital letter, DO NOT confuse with Force] - energy used by priests and
magicians for spellcasting [This definition is very contradicting and not covering the fact
that witchers also have limited access to Power - Majron]
Prayer [Modlitwa] - incantations made by priests, allowing them to make "wonders".
Damage [Obrażenia, literally injuries] - amount of damage [and water is wet - Żorż] dealt
during fights, lowering vitality of enemy.
Personality [Osobowość] - criterias, which governs character's decisions; they include honour,
adventure and reputation.
Adventure [Przygoda] - prepared by Storyteller sketch of a scenario [opowieść] they want to
use during their story [gawęda]. [Our translation is somewhat sloppy here. Marked
wordse are not exactly the same in Polish, but the translation would have to use two
times word "story" in different context if we want to translate it as it is]
Failure [Porażka] - outcome of "1", "2" or "3" on cubical dice, which is used for roll.
Background Character (BC) [Postać Tła] - independent character, thus being played by
Storyteller. [funky name for NPC]
Level [Poziom] - division of values of attributes and skills; the higher their level, the better.
[This game is based on stat-grinding, not classes and levels, so it might be confusing to
put levels in]
Destiny [Przeznaczenie] - fate, which Lady Fortune picked for a character.
Combat Points (CP) [Punkty Walki] - points allowing to execute a combat manoeuvre
Arcane Points (AP) [Punkty Mocy] - look: Power.
Races [Rasy] - different species of sapient creatures, from which players' character might be
created.
Round [Runda] - period of about 10 seconds; in this time character can conduct a single
action.
Roll (of dices) [Rzut kostkami] - various combinations of rolls of single or more dices; short
d6 means roll of single, standard cubical dice; 2d6 - two dices etc.
Sage (Saga) - series of adventures, run by the same Storyteller, in which the same character
are present.
Scenario (Scenariusz) - look: Adventure.
Confrontation [Starcie] - single round of fight, during which all participants take their moves.
Difficulty of Roll (DR) [Stopień trudności, literally step (as in stairs) of difficulty] - number
describing how complicated is the activity taken by a character; it is required to get at least as
many successes as the difficulty during rolls.
Success [Sukces] - outcome of "4", "5" or "6" on dice used for roll.
Checks [Testy] - roll of dice, testing if character was able to conduct given activity. [At first
we literally turned it into "Tests", but then Zahi pointed out that rolls are usually called
"checks". If you will find any inconsequences in the text with nomenclature - please fix
them. Also we are open to suggestions which word suits you better]
Difficulty [Trudność] - look: Difficulty of Roll.
Turn [Tura] - period of about a minute (6 rounds).
Skills [Umiejętności] - abilities, knowledge and powers of a character.
Evasion [Unik] - ability to sidestep from enemies attacks. [Dodge is name of the skill for
that - Wertamiś]
Proficiency (PRO) [Wprawa] - experience gathered by characters during their adventures. [I
proposed the English name for the sake of short, wprawa translates into "greater
understanding and skilfulness of one's ability"... it's another funky name for Experience
Points - Majron]
Secondary parameters [Współczynniki drugorzędne] - characteristics additionally describing a
character, extracted from primary attributes.
Signs [Znaki] - witchers' magic.
Vitality [Żywotność] - measure of a characters, describing how much damage they can take
before being transported to the happy hunting ground.
A Little Dedication

Book of Player
- Foul times (...) All sorts of filth has sprung up. Mahakam, in the mountains, is teeming with
bogeymen. In the past it was just wolves howling in the woods, but now it's wraiths and
spriggans, wherever you spit, werewolves or some other vermin. Fairies and rusalkas snatch
children from villages by the hundreds. We have diseases never heard of before; it makes my
hair stand on end. (...) It's not surprising, Geralt, that you witchers' services are in demand.
"The Witcher"

We don't need to introduce book characters created by Andrzej Sapkowski to anyone. We all
know Geralt, Yennefer or Dandelion. But it is not them who are suppose to be characters from
the story created during the play of "Witcher: A Game of Imagination". Why? Because in fact
you are going to be the heroes! Or not exactly you, but created by you characters. Based on
rules you will create your characters, described by different attributes. During game sessions
you will put live in those numbers, you will decide about actions of your characters and, as it
follows, their fate. Storyteller, resembling an author, will explain you the situation. But it is
only you who can decide about reactions of your characters toward events around them.

Characteristics of a character
Characters in game world are described by parameters, attributes and skills, de facto
expressed in numbers. And your basic task is to put live into those numbers; spinning them in
a way to create a real ihabitant of the game's world; making their behaviour probable and
actions fitting to contept.
Characters of this imagined world are described by four types of characteristics. The most
important are parameters describing capacities of a character; we can divide them on
attributes of body and mind. Personality and skills are also of great importance. You can't
forget about destiny, which will always affect fate of characters.

[Next section is in a standard box, thus - mechanical information]

Values of attributes and skills
Values of attributes are divided into five levels
Poor - with corresponding value of 1.
Average - with corresponding value of 2.
Good - with corresponding value of 3.
Excellent - with corresponding value of 4.
Legendary - with corresponding value of 5.
It's not hard to deduct that most of creatures living in the game's world will have their
attributes on average level. A small group can brag about excellent parameters, while
legendary can be only given to real heroes, like Geralt or Yennefer.
Characters can meet creatures with parameters higher, or even much higher than legendary.
[The so-called total party kill - Majron] Maybe they themselves - most likely with divine
help [This is a stealth joke. Later on there is a description how costly is grinding your
Stats, so it really takes a divine intervention to afford that - Żorż] - have the opportunity
to rise their attributes.
[Here the box ends]

Attributes
Golden head is prerequisite (...) under his clothes (...) a messenger carries only less important
informations, which can be without fear put on deceptive, insidious paper or parchment. The
really important ones, secret informations (...) the messanger must memorise and repeat to the
addressee. Word by word, and sometimes those are not the easiest words. Hard to spell, not to
mention remember. To memorise, to not make a mistake repeating, it takes to have a golden
head.
" Time of Contempt"

Value of ATTRIBUTES allows us to measure natural abilities of characters - their capabilities

and potential, when we don't take training and education into account. We divide them on two
types - attributes of body and attributes of mind. First of them measure health, strength and
agility of our character. The latter are about intelligence, willpower, slyness and
sophistication.

Attributes of body
We can distinguish six ATTRIBUTES OF BODY: Construction (short: Co), Movement (Mo),
Strength (St), Perception (Pe) [Zmysły, literally Senses, but we decided to skip this one for
sake of convenience. Plus it was easier to translate all the later descriptions this way],
Dexterity (De) and Agility (Ag).

Construction (Co)
It determinates endurance and resistance of body toward fatigue, hardships, diseases and pain.
It indicates health, vitality and vigour. Long runs, exhausting climbs or prolonged duels are
based on this attribute. Construction also decides if one is a steadfast warrior, tough knight or
persistent thief. Usually characters with high Construction are massive and burly in their
appearance.
Poor Construction guarantees regular illness, low durability on injuries and weak endurance.
Such Construction is typical for children and old people. It doesn't fit to a hero!
Legendary level can be hardly found. Such specimens almost don't have to bother with
diseases or poisons.

Movement (Mo) [Welcome to the official dump stat of the game]

This attribute defines speed of movement of characters - how fast they walk and run. Lucky
escape and successful chase are entirely based on it. Movement also affects the pace of march.
It also somewhat correspond to the ability to bypass natural obstacles - like mountains or
rocky plains - during journey. It's always useful to have high level of Movement. [Probably
the only thing EVERY player can agree is that Movement could never exist as Stat and
it wouldn't affect the game by tiniest bit]
Poor Movement is what tortoises and snails in human skin have. Sloppy, slow and
phlegmatic.
Legendary level describes witchers and track runners. They are as fast as leopard!

Strength (St)
It's nothing more than measurement of muscle power of characters and their musculature. It
corresponds to dealt damage. It's based on it how much characters can lift, how much carry
and how powerful is their grip. Usually characters with high Strenght are well-build and
toned, which is visible on the first look. High Strength is important for warriors and knights.
Poor Strength represents female courtiers and weaklings. Unfortunates with such level of this
attribute are not fit to fight, travelling or adventures. They should better devote themselves to
broidering.
Legendary Strength is a feature of true strongmen, who can break horse shoes and rip chains.
Better address them with respect they deserve, as they can kill with a single strike. [True]

Perception (Pe)
Responsivity of senses - clarity of sight, sharpness of hearing and sensitivity of touch. It also
describes if characters are emphatic and have premonitions. Also how easy it is to surprise
them and how fast do they react on dangers. It is then vigilance and awareness of the
surrounding events. Perception are important for magic users and thieves. It also decides
about accuracy of fired or thrown projectiles.
Poor level of Perception represents blind and deaf on everything. They couldn't differ sounds
made by walking Geralt from hoofbeat.
Legendary Perception happens very rarely. People gifted with it are as sharp as a hawk, see
in darkness like cats and their noses can match dogs'. Some believe they also have a sixth
sense.

Dexterity (De)
How dexterous are limbs, hands and fingers. Dexterity decides if character will be able to
push hand through grid, take hold of small crack between stones or catch a knife with toes.
Very important attribute for different kinds of rogues, but also wizards and sorceresses. Also
jugglers and performers have equally dexterous hands and feet! Nimble fingers will have less
trouble with arranging magical gestures or snitching money from someone's pocket unnoticed.
High Dexterity allows also for better aimed hits and attacks, both with hands and weapons.
It's also useful for bards playing on different instruments.
Poor level means that your character has fingers like sausages and hands like loaves. They
barely qualify to use a bludgeon, even worse with anything requiring precision.
Legendary Dexterity represents the greatest mages and most famous thieves. Some of them
were even able to use lockpicks with their feet!

Agility (Ag)
This attribute defines mobility of characters, how elastic their bodies are and how fast they are
able to react. It also covers movement coordination and ability to keep balance. And for
example if a falling character will manage to grab something in time or if he will remain on a
narrow catwalk during strong wind while fighting. Agile characters are usually lean, flexible
and slim. This attribute is important in fights, as it decides if the enemy hit us or not.
Poor Agility is almost a certain death. Better already become a bull in a china shop.
Legendary Agility allows to run on thin ropes and dodging arrows.

Attributes of mind
And now three ATTRIBUTES OF MIND: Intellect (In), Suave (Su) [HELP! We need a
better name for this stat. Original "Ogłada" is untranslatable in single word, as it means
ability to behave between people and charm them with your behaviour. Suave was the
closest thing, but it's colloquial. And "Charism" won't do, as this stat is not that simple
both in meaning and use] and Will (Wi).

Intellect (In)
Measure of ability to learn and memorise. And the overall pace of thinking. Intellect also
defines comprehension of complex matters. The higher it is, the faster characters can evaluate
situation and react. Vital for mages, who must remember hundreds of words and signs. Also
important for spies and bards - for obvious reasons.
Poor Intellect represents true morons. They can have even troubles with remembering names.
Legendary Intellect means that characters can recall every single word told in their presence;
that they can easily follow even the most complicated theories; and that they are hard to
stump.
Suave (Su)
Natural eloquence. Ability to make people sympathetic. Magnetism. Power to create "good
first appearance". Art of behaving when in company. It doesn't cover physical attractiveness
of characters (that is only players choice) - after all there are eloquent people with face of a rat
- even if good looks might be important for Suave. Attribute important for all kinds of
dandies, seducers and bards, but also diplomats and courtiers.
Poor Suave represents rabble, simpletons and people that rebuff us at first glance.
Legendary Suave can open you every door and will guarantee countless favours.

Will (Wi)
This attribute defines mettle, charisma [See? That's why Suave can't be named Charisma]
and psychical resistance of characters; also influence they have on others. It helps to resist
illusions and all types of spells. Important for mages and bards, but also diplomats and
merchants.
Poor level of Will means that characters can be easily tricked. They have poor psyche and
troubles with concentration.
Legendary Will represents people who can't be broken - neither with tortures nor magic.
They will resist all influences. None will be able to haggle the price down if a merchant has
such Will.

Secondary parameters
What comes from iron rump, oh, that's what every messenger learns fast by himself. When it
requires to sit in the saddle for three days and three nights, bang around the roadways even for
two hundred miles, and sometimes, when it comes, in complete wilderness. Ha, of course he
doesn't sit in the saddle constantly, sometimes he dismounts, rest, because human can take a
lot, but a horse will not. But then, after rest, when it's time to sit again, rump starts to scream:
"Help, murderers!"
" Time of Contempt"

Aside from described previously attributes there are also secondary parameters, helping with
anchoring a character in game's world. They allow to judge how big distance characters can
cover, marching for a whole day. How heavy weight can they lift. How vital they are etc. But
remember that they are only clues, helping to judge controversial situations. You can resign
from all those numbers and checks when they aren't necessary.
Attention: After the name of parameters we put the attribute they are derived from.
[Important enough to get own table]
Table of secondary parameters
Modifier of Carry
Value of Marching Fighting Maximum
physical/mag weight Vitality
attribute pace (km) pace (m) lift (kg)
ical defence (kg)
Poor (1) 1 24 10 15 40 23
Average (1) 1 32 15 30 90 26
Good (3) 2 40 20 45 140 29
Excellent (4) 2 48 25 60 190 32
Legendary (5) 3 56 30 75 240 35

Modifier of physical defence (Ag)

The higher the Agility, the easier it is for characters to evade enemies' attacks. More
informations about this modifier on page 66.
Modifier of magical defence (Wi)
The higher the Will, the harder it is for the opponent to cast a spell over a character. More
informations about this modifier on page 92.

Marching pace (Mo)

Character will have to travel countless times to reach some remote site. MARCHING PACE
is an amount of kilometres covered in one day, marching for 8 hours and taking only short
brakes. This distance can be increased by one and a half, or even twice - for amount of days
equal to Construction, after which it's up to Storyteller, determination of characters and
vigour check (check page 37) with difficult increasing by 1 every 8 hours.

[Standard box - mechanics]

Of course the marching pace is also affected by covered terrain. Journey over low hills and
woods will slow us down only by 1/3. Desert pavement, thick forests and marshes will slow
the pace by 1/2. Mountains and jungles will slow the pace by 3/4. The final word about pace
of your journey is, as always, from Storyteller.
[End of box]

Fighting pace (Mo)

The faster are characters, the more they can do during fights. FIGHTING PACE decides if a
character will be able to run toward shooting archer or escape from overwhelming enemy
force. Fighting pace is a number of meters which characters can cover by walking in single
round and then attack, cast a spell or take any other action. They can also cover twice as
much, but they can't do anything else in that round. While running, the fighting pace is
multiplied by three, and in sprint - by four; but after those characters won't be able to do
anything else in this round.
Running (normally and sprinting) can be maintained for amount of rounds equal to doubled
Construction of a character. Each next round will require a check of vigour (check page 37),
with difficulty increasing with each round.
Attention: Chainmail and plate armour prevent sprinting. More information about armour can
be found on page 75.

Carry weight (St)

Expressed in kilograms weight which a character can lift without any trouble. With such
encumbrance characters can move in normal way, fight, run, jump etc. If CARRY WEIGHT
is exceeded, but not more than two times, characters' Movement is lowered by 1, which
affects both marching and fighting pace. Storyteller may even decide to apply effects similar
to wearing heavy armour (check "Armour: protection and limitations", page 75).
It's only a goodwill of Storyteller if a character can carry more and with what effects.

Maximum lift (St)

Maximal weight that a character can lift above head level for amount of rounds equal to
Construction (each round above that will require check of vigour with increasing difficulty).
Holding something weighting as much as MAXIMUM LIFT, character shouldn't move, but
has a right to brace with legs, pull a rope etc. Maximum carry can't be exceeded without a risk
of suffering hernia, muscle strains and other injuries.

Vitality (Co)
During their adventures, characters will be hurt numerous times. Thus it's good to know how
much damage they can sustain and still live. VITALITY of a character is equal to 20 plus Co
x 3. [A chief reason why it's so fucking easy to die in this game - Majron] So a character
with good (3) Construction will die only after sustaining 29 damage.
More informations in the book " The Sword of Destiny", page 68.

Roleplaying attributes
Attributes are not only levels. They are also clues how player's character should act, thus how
it should be played. Of course, Strength or Dexterity - physical capabilities representing a
character - are not hard to roleplay. After all no player is going to lift a table; they don't have
to come with horse shoes and prove they can break them (even if that could be really
interesting view). Roleplaying of attributes of body should be then reduced into remembering
what your character can and what can't do. And put that knowledge into use! Player can, or
even should during suitable occasions remind that his character is agile like cat when forcing
his way through crowd. Or that the metal mug was squished so hard it bent and burstd, which
should gather attention from other patrons of the inn.
Problem arise with attributes of mind. While roleplaying Will can be solved like above cases,
Intellect and Suave require from players much more effort. Of course it will be easier to just
create dumber or less eloquent characters than players, but it can be tiresome on the long run.
The real fun starts when players have to play characters with legendary attributes. Now that is
a challenge! There is no simple solution for doing this right. But always remember - if you
fail once, you should try second time and never give up. Only practice makes perfection.

Personality
- Because I love you too, dummy. And what kind of love was that, if lovers couldn't afford a
little dedication.
"A Little Dedication"

Personality is a set of criteria that governs actions of characters. It gives them nature and
substitute for individuality. It's also an overall set of psychological qualities of given person.
It easens decision making for players when they have to act in given situation.
Here are the criteria of personality:
Honour - appropriable and moral aspects of behaviour. Character marked by honour will
weight cons and pros of their actions and think about their implications. Honourable
characters won't left their friends to their fate, won't back down from a challenge and, of
course, won't allow their names to be tarnished. They won't do anything amoral.
Adventure - penchant for entertainment, whims and originality. Characters looking for
adventure prefer to act rather than plan ahead, and those actions will be the easiest and most
effective. The most important for them is "good fun", which they can take from
swashbuckling lifestyle. Such characters will first take a dragon down a peg before fighting
with it. Success is secondary objective, while entertainment and pleasures are main goals.
Whims are more important than loyalty.
Reputation - mindset preferring quality over efficiency. Beating your enemy is not
everything, you must do it in proper way. Characters that hold their reputation dear won't
allow to lose it, even at the expense of other characters. They often decide to trample over
people and rarely take others into account.
Values of those criteria are measured by four levels, just like in case of attributes (so ranging
from poor to excellent; no one can have legendary values), which will allow players to
express what's the most important for their character.

Example
During purchase of sword, a character guided by honour will bough a well balanced and
solidly made and only before examining every weapon on display. Someone being driven by
reputation will pick weapon beauty and elegant, not necessarily efficient in fight.
Adventurous characters will hastily buy a blade of fantastic shape, because such weapon will
instantly enchain their attention.

[Standard box - mechanics]

It might happen that characters will have a desire to do something against themselves - for
example, someone honourable will decide to do something more suitable for adventure. In
such cases a check of less important criteria and which is related with the action (in this case
it would be adventure). Decision if the roll is needed is of course made by Storyteller.
Informations about checks on page 61.
[End of box]

Skills
- That shall be... hmm... Minus costs and my provision... Minus tax... Yesss. Fifteen thousand
six hundred and twenty two crowns and twenty five koppers. Not bad.
"The Eternal Fire"
[Pimped out box - roleplaying stuff]
Remarks about skills
1) Skills are part of characterisation
2) Descriptions simply can't cover all aspects of using each skill. In case of any doubt, last
word goes to Storyteller
3) Skills should be roleplayed instead of declaring their use. Of course this doesn't apply to
things like riding or unarmed combat.
[End of box]

Skills are very important element description characters in the game's world. They measure
their knowledge, both theoretical and practical and sometimes even inborn abilities. There are
typical skills (shooting) and those of limited access (witchers' signs) and also natural, inborn
abilities (seeing in darkness).
Degree of familiarity with each skill is described just as attributes, in levels - from poor (1) to
legendary (5). The level increases a chance of success of checks for given skill (the higher it
is, the bigger probability of success). It also defines if a character is able to know or do
something. Character with poor etiquette has no chance to behave properly on royal court and
no tests will change that.
Each skill is linked with certain attribute. It means that during tests we are not testing the
ability itself, but its corresponding attribute. And if the check will turn successful, we will use
the ability at its fullest. Level of skill only increases our chances during the test. After all you
can ride a horse even for the first time in your life, using only strength of your calves and
agility. But if you know the arcanes of riding, it allows to put your agility and strength in
better use, so falling out of saddle is less likely and you can force the mount to do more
complex things than just going ahead.
[Standard box - mechanics]
Skill checks
When players decide their characters should use any of their skills, they must test it (read
"Tests of attributes and tests of skills", page 61). Storyteller decides about difficulty, using
examples and modifiers from frames. If there are no examples, it should be assume that the
difficulty of is simply 4.
If the situation allows for that, a character can attempt to use skill numerous times, counting
on finally succeeding.
Attention: Modifier with plus ("+") means that Difficulty of Roll (DR) should be increased, so
the task will be harder. Modifier with minus ("-") denotes task is easier to fulfil. Of course
modifiers affect difficulty set by Storyteller.
[End of box]

Description of skills
After the name of each skill there is a short of attribute which we linked with that skill - e.g.
criminal connections and In or Intellect. It can happen that a Storyteller decree checks of
other attribute, better suited for given situation. For example gambling represents both
knowledge about different games (In) and ability to "help" your chances (De) - adequate
informations are given in descriptions and sometimes changes are made ad-hoc by Storyteller.
Don't forget to guide such changes with logic!
The description itself consist of few explanative sentences how to use given skill. Next are
examples what a character can do at each level. Remember that a character can do everything
from lower levels than current one. So a legendary actor can do everything that poor,
average, good and excellent can. Of course someone with excellent skill will be better at it
than person on good level. For example an excellent tracker will cover own tracks better than
a good one.
Description of skills related with fighting and magic looks slightly different. You can find
more about them in books "The Sword of Destiny" and "Something More", on pages 66 and
91.
Described below skills are only examples. Players and game runners can invent new skills or
add new elements to existing ones. After all the game should entertain, not torment.
[Standard box - mechanics]
Descriptions only suggest what a character can do. All interpretations, developments and
ideas - that's players role. It's worth to remember that skills also represent knowledge of
characters, and thus - players. Skills such as etiquette, inquisitiveness or tactics don't exempt
players from thinking. If a character knew them, a player can use own knowledge or abilities.
But if a player have no idea how - for example - their gifted with etiquette characters should
behave on court, Storyteller should prompt this or that. It's important that not dice rolls
negotiate with background characters, but characters impersonated by players. So instead of
roll for diplomacy, better roleplay negotiations, instead of roll for speech, listen players words
etc.
Storytellers can even decide that proper speech of player can increase (and inadequate
decrease) chances of success for given test by providing corresponding modifiers.
[End of box]

Acrobatics (Ag)
Rolls, somersaults, jumps, cartwheels - that's what acrobatics are. Acrobats can not only do
all of them, but also know how to use some objects (like poles) to help themselves. It
shouldn't be specially noted they also have incredible sense of balance.
Poor: You can do somersaults and cartwheels.
Average: You know how to land to lessen your injuries.
Good: You can evade killing blow, jumping away from harm's way.
Excellent: Walking on line is a cinche for you.
Legendary: Somersault with kick, cartwheel and slash of sword, swinging on chandeliers
while fencing - what's that for you?
[Standard box - mechanics]
Example difficulties of acrobatics checks
Action: DR
Jumping on a table 2
Somersault 3
Uptake 4
Jumping from rope to rope a la Tarzan 5
Jumping outside of enemy's reach* 6
Walking on line 7
* Failed tests means fall
[End of box]
[Standard box - mechanics]
Falls
Falling from different heights can be lethal. It can also end with broken bones, sprains and
bruises. By game mechanics falling damage is deducted using following table. If vitality state
(check page 69) will change, Storyteller should decide what a character
broken/sprained/bruised. He can even use table "Place of hit", from page 70.
Damage dealt by fall
Height (m): Injury test
1-2 1
3 2
4 3
5 4
and so on
"Injury test" means number of dices used for roll, evaluating damage sustained by falling
character. It also describes the difficulty of acrobatics check if player is trying to lessen the
damage. If the skill check is successful, a single dice is removed from the injury test and
additional dice for each success above required. Informations about tests and successes can be
found on page 61.
[End of box]

Alchemy (In)
Overall knowledge about chemistry, biology and physics. Understanding of states of matter
and also ability to identify potions and other substances. Alchemists also know connections
between certain substances and powers (e.g. feathers with flight), that some provide luck
(rabbit's leg) and other misfortune (viper's tongue).
Alchemy is most importantly an ability to brew elixirs, poisons and even beverages.
It's worth to remember that alchemists require at least modest laboratory and different utensils
(retorts, dishes, reagents etc.) to fully use their skill.
By the way - sometimes alchemy is related with Dexterity, when a character is brewing a
potion. It's not only knowledge of what to add, but also manual coordination and precision
while doing so.
Poor: You know that ice and steam are water. You can also identify certain substances.
Average: You can distil beverages.
Good: Brewing poisons and infusions is no problem for you.
Excellent: You identify numerous substances and recognise admixtures.
Legendary: Philosopher's stone? Turning lead into gold? You are one step before that.
[Standard box - mechanics]
Example difficulties of alechemy checks
Action: DR Time
Creating fireworks 4 30-60 min
Brewing of easy poison or infusion 4 10-30 min
Brewing of complex poison or infusion 5 15-45 min
Creating an antidote (identified poison) 5 3 min
Creating an antidote (blind guess) 6 5 min
Identifying substance 6 15-60 min
Attention: Each success above required allows to shorten the time of work by 10 minutes (but
not below 10 minutes).
[End of box]

Astrology (In)
Ability to read from stars, creating horoscopes and to predict future. Telescopes, star charts
and things like that are helpful, but not all astrologists use them.
Attention: Remember that it's hard to change destiny. Sometimes stars will show us future
only to, while trying to prevent it, do everything leading to it.
Poor: You can identify starts, but your predictions rarely are correct.
Average: You have 50% effectiveness. Well, maybe slightly lower.
Good: With proper equipment you can read from stars this or that.
Excellent: You are personal astrologer of a king and he always listens to your advices
Legendary: Stars opened to you all their secrets
[Standard box - mechanics]
Example difficulties of astrology checks
Action: DR Time
Identification of stars 3 1 min
Determining own position by stars 4 10-15 min
Predicting future 5 30 min
Divination 6 5-6 hours
Attention: Each success above required allows to shorten the time by 10 minutes (but not
below 10 minutes). Identification of stars is an exception, as it always takes 1 minute.
[End of box]

Characterisation (De)
Swap of identity. Disguising. Change of appearance. That's what characterisation is about.
Remember that characters only change their appearance - facial features, skin tone, colour of
hair etc. If you want to liken yourself to somebody, you will also have to study habits of the
mark. To replicate them use acting. Characterisation also covers ability to professionally
apply make-up and dressing into costumes.
Attention: Characterisation requires different paints, wigs, cosmetics and often - costumes.
[Standard box - mechanics]
Example modifiers for identification of characterisation
Disguised as Modifier
Acquaintance -1
Close acquaintance -2
Friend -3
Close friend -4
Those modifiers are used for identification of disguise. Test of identification is an opposed
check (look page 64) of characterisation of disguised character and shrewdness (or
characterisation - higher of those two is taken) of identifying character. For example if
character is disguised as friend of identifier, the latter receives a -3 modifier to the difficulty
of roll for his shrewdness test, making it much easier to look through.
[End of box]
[Standard box - mechanics]
Example difficulties of characterisation checks
Characterisation: DR
Minor changes 2
As older person 3
As younger person 4
As different gender 5
As different race 6
When a character combines two of listed elements, difficulty of roll is increased like this: to
higher difficulty you add half of lower one, rounded down. For example, when disguising as
different gender (difficulty 6) and older person (3), the difficulty of roll is 6+1,5=7,5, so 7.
Attention: Test of characterisation should be made by Storyteller and in secret, as players not
always know if their characters changed appearance in proper way.
[End of box]
Poor: Basics of make-up have no mysteries for you.
Average: You can change your own appearance.
Good: You can disguise as different person.
Excellent: Without much problem you can become someone else. Or recognise a fraud.
Legendary: You can pass as different race, as long as it won't be blown off with your height
and size.

Criminal connections (In) [Cwaniactwo, from word "cwaniak", a small-time crook or

rogue, non-offensive (if not outright cheerful) in its meaning]
Knowledge about criminals, secret demimonde and mechanism and rules defining it. Maybe a
smart guy comes from bad neighbourhood. Or maybe destiny put him there?
Criminal connections allow to contact with demimonde, buy and sell illegal goods and gather
informations. This skill is especially important when you have to act not quite legal. Members
of the demimonde will treat a character like one of their own, someone they can trust (of
course to certain degree), which can often be very useful. Thanks to criminal connections a
character can sense cons and swindling.
Remember that a smart guys are only smart on their own turf. The further away they travel,
the less their connections and knowledge will pay off. And whenever a smart guy is trying to
learn something, Suave is more useful than Intellect - you have to talk with people, you know.
Poor: You can recognise few goodfellas working for lesser hood.
Average: You know all the gossips; you know who to listen and who to ask.
Good: You have an experience as fence, being able to sell and evaluate different goods.
Excellent: You know who is pulling the strings and who is behind who.
Legendary: You often eat breakfast with powerful kingpins.
[Standard box - mechanics]
Example difficulties of criminal connections checks
Action DR
Gathering the gossips from the demimonde 2
Making contact with familiar person from the demimonde 3
Making contact with unfamiliar person from the demimonde 4
Sell of "hot" goods 5
Gathering of valuable and well protected intel 6
[End of box]

Reading and writing (In)

Countless illiterates are inhabiting the world, which doesn't shock anyone. To be honest,
barely anyone can read and write on the Continent. Usually it first takes to be fluent in given
language - only then you should read and write in it.
List of languages is on page 26
Note 1: Reading and writing cover single language. If you want to learn doing so in another,
you should first gain knowledge about that language and only then buy again reading and
writing for that language. Storyteller might of course allow to learn reading and writing of a
dead language.
Note 2: Writing (as action) is related with Dexterity, not Intellect
[Standard box - mechanics]
Example difficulties of reading and writings checks
Reading DR
Big letters 1
Normal text 2
Scribbled text 4
Smudged text 5
Writing
Notes 2
With atypical gear 3
Shorthands 4
[End of box]
Poor: You can sign yourself with crooked letters and you read syllable by syllable. It also
tires you considerably.
Average: Reading and writing aren't hard for you.
Good: Your handwriting is elegant.
Excellent: You can decipher even the worst scribbles.
Legendary: Master of fast reading!

Lip reading (Pe)

A perfect method of eavesdropping. All a character has to do is see lips of speakers and know
the language they use. By doing so a character can learn overall sense, but some details might
slip out.
[Standard box - mechanics]
Example modifiers for lip reading checks
Conditions Modifier
Each 5 meters away from speakers +1
Reader is moving by at least half of fighting pace +1
Reader can see only part of speaker lips +1 or +2
Reader was focusing on single speaker for a minute -1
[End of box]
Poor: You must be close to speakers and hear at least part of the conversation.
Average: You must have a very good view on lips of speakers.
Good: It's enough if you were a witness for at least a part of conversation to understand what
it was about
Excellent: Even partially covered lips don't bother you.
Legendary: They say you can read from lips by their slightest movement.
[Standard box - mechanics]
Example difficulties of lip reading checks
Speaker DR
Is talking clearly 4
Is talking fast 5
Is talking in slang 6
[End of box]

Inquisitiveness (Wi)
Gathering informations is just a step to the goal. You must also be able to interpret it, to
separate the wheat from the chaff. Finding truth in gossips, analyse of causes and results,
logical arrangement of facts, art of asking the right questions to the suspects and interpretation
of their reactions - that's what inquisitiveness is about.
Remember that characters can only be inquisitive in fields they have any idea about. Such
skill is useless when a character doesn't know - for example - alchemy, but attempts to
conclude what substance was used for murder.
Poor: You ain't blind, but you don't see much either.
Average: You can only draw the most obvious conclusions.
Good: Conclusions occur to you naturally - even those more complicated.
Excellent: You can logically prove truth, interpret everything freely and your questions are
smart.
Legendary: Dijkstra could learn from you.
[Standard box - mechanics]
Example difficulties of inquisitiveness checks
Action DR
Finding obvious clue 3
Finding truth from numerous gossips 4
Interrogation of usual suspect 4
Interrogation of suspect who is hiding something 5
In-deep analyse of causes or results
of someone's actions 5
Connecting logically of complex facts 6
[End of box]

Commanding (Su)
Commanders should be able to enforce their orders over subordinates. Sometimes they must
shout, sometimes intimidate and sometimes praise. Commanding is thus an ability to issue
orders and approach people. It depends on its level how many subordinates can be under
character's command - of course that might include officers and NCOs.
[Standard box - mechanics]
Example difficulties of commanding checks
Subordinates are: DR
Obedient 1
Nervous 2
Reluctant to orders 3
Unruly 4
Frightened 5
Panicked 6
[End of box]
Poor: You can command few people
Average: You can lead a small unit of ten soldiers.
Good: You previously commanded over few officers and by them - over few units (up to 200
people)
Excellent: You can manage over a whole army.
Legendary: You could be a marshal, leading all soldiers from any given country.

Diplomacy (Og)
Ability to strike deals and leading negotiations. It's easier to convince a chamberlain to let
your character in to throne room with it. Diplomacy also helps when a character wants to
mitigate two fighting sites. It can be even used to talking your way out during kidnapping.
Attention: Aside from diplomacy, in many cases characters will also need etiquette, proper
knowledge, speech etc. In case of negotiations via letters, it also takes reading and writing.
Poor: You can negotiate peace between two street gangs... of kids.
Average: You can reconcile neighbours.
Good: You are really good with big negotiations.
Excellent: Wealthy and powerful ask for your help with their treaties.
Legendary: Real Shilard Fitz-Oesterlen!
[Standard box - mechanics]
Example difficulties of diplomacy checks
Negotiations DR
Banal (between friends) 2
Easy (between neighbours) 3
Simple (between neutral sides) 4
Hard (between enemy sides) 5
Complicated (between fighting sides) 6
[End of box]

Economy (In)
Counting and book-keeping, knowledge of financial law, orientation in all payments etc.
Economy is useful for merchants conducting their business, but also tax collectors.
Poor: 2+2=3? 5? 4!
Average: 2+2=4
Good: 2+2=2x2=4
Excellent: 4 - that's obvious!
Legendary: You have no time for such nonsense
[Standard box - mechanics]
Example difficulties of economy checks
Action DR
Simple mathematical operations (multiplying, summing etc.) 2
Working out local tariffs and payments 3
Defining legal aspects of given situation 4
Complex mathematical operations (demand, percents, profitability) 5
Book-keeping for sizable corporation 6
[End of box]

Empathy (Pe)
Empathy is an ability to understand situation of others, reception of their feelings and
emotions. All of this based on non-verbal cues. Align of body, reflexes, gestures etc. allows a
character to deduct real emotional state of other being. It's not a telepathy, so it won't allow to
read thoughts, but only simple, surface feelings. But empathy still allows to detect lies and
deceptions.
[Standard box - mechanics]
Example difficulties of empathy checks
Empathising into situation of a: DR
Friend 2
Colleague 3
Unknown person 4
Representant of other culture 5
Representant of other race 6
[End of box]
Poor: You can only empathise toward people you know well.
Average: You can interpret behaviour of people like you or coming from your hood.
Good: You often detected that someone was lying to you.
Excellent: You can receipt feelings from members of other races, but they still remain a little
mystery for you.
Legendary: Nothing human or inhuman is alien to you.

Etiquette (Su)
Almost all groups, all societies have their own code of conduct. If characters aren't familiar
with it, they may cause blunder of unimaginable consequences - starting with alienating the
powerful, ending with a punishment for that insult. Etiquette is an ability of proper wording in
given circle (but you also need to know their language), but also knowledge of what behoves
and what doesn't, how to offer a hand and who should be greeted first. It's very useful in
diplomacy and during different negotiations. It's priceless for good first impression.
Attention: Etiquette works initially for society or group from which a character comes from. It
will take some time before learning proper ways on a court or different society. Level of
etiquette covers also overall knowledge about rules from other places. It only depends on
Storyteller if given level will be sufficient for a character to behave properly on foreign court.
If Storyteller wants to, checks of etiquette based on Intellect can be made to check if a
character learned something new from such experience.
Poor: You know that in your home caps were taken off before meals.
Average: You are aware of basic rules of conduct from your country.
Good: You can make good first impression, but only between familiars.
Excellent: Secrets of behaviour on all important courts are at your fingertip.
Legendary: You not only know how to behave between your own race, but also on courts of
other races.
[Standard box - mechanics]
Example difficulties of etiquette checks
A character: DR
Did something inappropriate 2
Wants to impress on "his" court 3
Tries to act by local customs 4
Attempts to figure out unknown customs 5
Committed a terrible faux pas 6
Attention: If characters are in foreign lands, difficulty of rolls should be increased by +1,
unless Storyteller decides that their level of etiquette is sufficient.
[End of box]

Falsification (De)
Falsification allows to forge correspondence, documents, official letters and also signatures or
seals. Also pieces of art can be counterfeited, but that will require specific field in arts (so
sculpturing for false statue). Forging a fake takes some time and requires analyse of original.
Finding out fake depends as much on skills of the forger as much on shrewdness or spotting
of inspecting person.
Poor: You can only deceive visually impaired.
Average: Falsification will pass as long as inspector has no time and it's dark.
Good: You can forge almost anything and deceive normal people.
Excellent: There wasn't anyone yet to charge you for forgery.
Legendary: You are not forging. You are creating.
[Standard box - mechanics]
Example modifiers for identification of falsification
Document DR
Unknown to reader +1
Somewhat known to reader 0
Well-known to reader -1
Handwriting DR
Unknown to reader +1
Somewhat known to reader 0
Well-known to reader -1
Attention: Modifiers sum up, so well-known document and handwriting will give -2, making
it easier to identify forgery with shrewdness check.
Identification of forgery requires an opposed check for falsification and shrewdness or
spotting (taking the higher of the two). Opposed checks on page 64.
[End of box]

Geography (In)
Geography is not only knowledge about close and further surroundings. It also covers ability
to read and create maps, determining directions, finding the azimuth etc. It's thus useful not
only for cartographers, but also voyagers and common travellers.
Attention: Of course drawing a map is more about Dexterity than Intellect
Poor: You know your hood.
Average: You can read maps, determine where is north and keep direction in march.
Good: You can draw a map. You also know a sizable chunk of the world.
Excellent: The whole world is your home.
Legendary: You know all important landmarks from around the world. And not only that!
[Standard box - mechanics]
Example difficulties of geography checks
Action: DR
Reading a map 2
Determining the azimuth 3
Determining directions by stars 4
Determining direction by other means 5
Drawing a detailed map of a big area 6
[End of box]

Flexibility (Ag) [Gibkość]

Flexibility allows to slip out of bonds, shackles and chains and forcing your way through
narrow gaps. It's also useful when some creature catches your character - it has then a better
chance of freeing itself.
Poor: You can free yourself from poorly tied bonds.
Average: You can manage with typical bond or not to heavy chain.
Good: Narrow paths and shackles won't stop you.
Excellent: You can free yourself from grasp of most of your enemies.
Legendary: Nothing can stop you.
[Standard box - mechanics]
Example difficulties of flexibility checks
Action: DR
Freeing from bonds 4
Freeing from net 5
Pushing through bars 6
Freeing from shackles 7
Freeing from grasp opposed check*
* Check "Grasp" in book "The Sword of Destiny", page 78.
[End of box]

Mining (St)
Ability to excavate and dredge, but also finding new deposits, construction of boarding etc. It
also allows to determine directions underground and avoid different dangers. Mining in
overall is knowledge about mines, caves and underground passages.
Attention: If you are using knowledge about deposits, mines etc., mining is related with
Intellect, not Strength.
Poor: You can manage in small pit.
Average: Bootleg pits and small mines are your home.
Good: You are familiar with building boarding, searching for deposits and determining
directions underground.
Excellent: You feel underground dangers in advance. You know where to excavate for
mother lode.
Legendary: You feel better under the surface than on it.
[Standard box - mechanics]
Example difficulties of miningy checks
Action: DR
Digging a shaft 3
Examining state of a mine 4
Sensing rock burst 5
Finding a deposit 6
[End of box]

Gambling (In)
Characters proficient in this skill knows rules of most popular chance games and maybe even
how to cheat in them. They also know where and what bids are taken or is it worth to bluff.
Attention: Even if gambling is related with Intellect, sometimes during cheating Dexterity
might be more useful - like when your character tries to hide a card in sleeve.
[Standard box - mechanics]
Example difficulties of gambling checks
Action: DR
Cheating opposed check*
Identifying the game 3
Winning play of round 4** [This one is sloppy, the original is about winning
a round of a game - Zahi]
Figuring out rules of a new game 5
Subtle enhance of probability 6***
* First character checks gambling, after which the cheated is opposing with own gambling,
shrewdness or spotting (picking the highest of them). Opposed checks on page 64.
** In case of opponent being also a gambler, opposite checks should be made - at least three
of them. The winner is a character who wins at least two of them.
*** If the check fails, everyone knows about the attempt. In case of success, the character just
hit the jackpot by "helping" probability.
[End of box]
Poor: You know only the most popular games.
Average: You know how to cheat in the most famous games, while you are familiar with all
of them. [Yup, the original text uses word "słynny", which is famous, not "popularne" -
Zahi]
Good: You can cheat in almost every game, while knowing all of them. You can also look
through cheats of lesser gamblers.
Excellent: You not only know how to play and cheat, but also very quickly learn rules of new
games, which you never saw before.
Legendary: There is no game that has secrets before you and you can enhance your chances
in all of them.

Riding (Ag)
As the name suggests, it's the ability to successfully and safely ride a mount. Horses are
obviously the most popular, but inhabitants of the Continent also use other studs.
Attention: There are situations, where Strength is more important than Agility - like when you
have to stay in the saddle after taking a heavy blow or being hit by a branch.
[Standard box - mechanics]
Example difficulties of riding checks
The mounts is: DR
Chevy to gallop/trot etc 3
Jumping 4
Steered in fight 5
Hastily mounted 5
Without a saddle 5
Steered with thighs 6
Without bridle 6
Difficulty of rolls sums up like this: higher difficulty plus half of the lower, rounded down.
For example, steering only with thighs (difficulty 6) and forcing to jump (4) - final difficulty
of roll 6+2 = 8.
[End of box]
Poor: You won't fall out of the saddle, but forcing mount into trotting or jumping is almost
beyond you.
Average: You can try to force a horse to almost anything - and that's all.
Good: Without any problem you can encourage mount to jump. You can also fight without
any restrictions while mounted.
Excellent: Vaulting, hiding behind the horse while riding, shooting while in gallop - that's
what you do.
Legendary: You were born in the saddle.

Languages (In)
They represent capability to talk in chosen language. However the ability of elegant, logical
and precise wording depends on level and situation. It's worth to remember that each language
is a separate skill. And that every character can use native language on either average or good
level - depending on background.
[Fancy box - fluff]
List of languages
Common
Elder Speech
Most common dialects of Elder Speech:
Language of dryads
Nilfgaardian
Language from Skellige
More informations in book "The Edge of the World", page 200.
[End of box]
Attention: Studying a language is hard and time consuming work. If characters want to learn
new language, they should either spent a considerable amount of time under a tutor or
between people using it. Of course gaining a poor level will take less time than average or
good.
Poor: You can communicate, but more in tune of "Me want food". [Funny, as this is
untranslatable. Polish version is seriously butchered in grammar, while English by itself
lacks the grammar to butcher in this case. All I could think of was replacing I with me -
Majron]
Average: You have no problems, but details can slip away.
Good: Chosen language has no mysteries before you.
Excellent: You quickly pick jargons and learn to use them.
Legendary: You know chosen language, it's older and less popular versions.
[Standard box - mechanics]
Example difficulties of languages checks
Action: DR
Chit-chat 3
Discussion with use of atypical words 4
Using neologisms and foreign words 5
Understanding of a dialect or older version 6
[End of box]

Concentration (Wi)
Ability to focus and meditate is useful for every character. They could be really important for
fighters and mages - check pages 67 and 88. It's also useful before starting some tasks. For
example a focused thief will have easier time opening a lock. Concentration allows to break
certain spells.
Poor: You require peace, silence and time to concentrate. And of course a bed or an armchair.
Average: Conditions are secondary for you, but place is still important.
Good: You can concentrate almost anywhere
Excellent: No one and nothing (aside from injuries) can break your concentration.
Legendary: You are a master of meditation
[Standard box - mechanics]
Mechanics for concentration
Before starting some tough and time-consuming action, characters can concentrate, using for
it three full rounds, remaining motionless for that time and meditating. Successful meditation
will increase chances for next action. In such case, players must take a check of concentration
with difficulty of 4. If it's successful, they can add 1 to any dice they want from any next roll.
If check of concentration ended with more successes than needed, each of such "overflowing"
successes allows to add 1 to other dices.
Attention: Storyteller may put a daily limit for amount of concentrations.
[End of box]
Trading (Wi)
Trading not only allows to get better prices for buying and selling, so bargaining and
merchandising. It's also an ability to predict supply and demand trends and so-called nose for
business. And of course it also allows to discover if a proposed price is reasonable.
[Standard box - mechanics]
Example difficulties of trading checks
Action: DR
Haggle *
Evaluation of a price 4
Sensing if given enterprise will turn profitable 5
* Opposed check (check page 64) with base difficulty of 3. First the buyer, then the seller
check their trading. If the latter fails, the price will be lowered by 5%. Haggling can continue
further, but each continuous check will have difficulty increased by 1. Buyer can't lower the
price by more than 30%. If buyers fail their check, the negotiations are instantly over.
[End of box]
Attention: In case of haggle, the final price shouldn't differ by more than 30% from starting
one.
Poor: A small shop, maybe.
Average: Tiny business of yours.
Good: What to say - you can manage.
Excellent: Your company is known in the whole world
Legendary: Your own trade empire.

Magic (In or De)

Ability to use magic. Check book "Something more", page 95.

Prayers (In or De)

Ability to use priestly magic. Check book "Something more", page 109.

Listening (Pe)
Big ears and great hearing are useful not only for eavesdropping. Often a character will first
hear something and only later spot danger.
[Standard box - mechanics]
Example difficulties of listening checks
Sound: DR
Talking people 1
Walking people in metal armour, trying to sneak by 2
Walking people without or in soft/leather armour, trying to sneak by 3
Sneaking thief 4+ opposed check
Sneaking cat 5+opposed check
Attention: "+opposed check" means that the difficulty can be increased by the sneaking check
- check page 32.
[End of box]
[Standard box - mechanics]
Example modifiers for listening checks
Source of sound DR
Behind doors +1
Behind stone wall +4
For each 5 meters from listener +1
Those modifiers are added to those from "Example difficulties of listening checks". So
hearing people talking (difficulty 1) behind doors (+1) and 10 meters away (+2) will require a
successful check of difficulty 1+1+2=4
[End of box]
Poor: As long as nothing blocks the sound, you will hear what and how.
Average: You can hear through doors etc.
Good: Not only you hear voices, but also you know what the discussion is about.
Excellent: You can identify sounds from really big distance.
Legendary: They say you can hear people from next street.

Swimming (Co)
We don't think there is any need to explain meaning and application of this skill.
[Standard box - mechanics]
Example difficulties of swimming checks
Water: DR
Calm 2
Disturbed 3
Strong current 4
Very strong current 5
During the storm etc. 6
[End of box]
Poor: You can barely paddle and mostly below than on the surface.
Average: You can manage without trouble.
Good: Your swimming is quite good, you can also dive and rest on the surface, which allows
you to cover greater distances.
Excellent: If not need for sleep, food and drink, you could cross the sea. Your diving is
excellent. [That's how it's worded, with the same term used in the sentence as for
"excellent" for skill level]
Legendary: You are beating all possible records.
[Standard box - mechanics]
Swimming in armour
As you can deduct, swimming in armour is very hard and sometimes outright impossible.
Soft/leather armours restrict movement, increasing difficulty by +1. In well-fitted chainmail
swimming is possible only for amount of rounds equal to Co, doing checks with modifier +2.
After that every next turn will require check of swimming (or vigour) with difficulty
increasing each round by +1.
Swimming in loosely-fitted chainmail and plate armours is impossible. Really stubborn
players may try, but the modifier will be increased by +5.
[End of box]
[Standard box - mechanics]
Drowning
Prolonged lack of oxygen is lethal. Thus most of creatures breathing air tries to swim above
surface. If characters will end under the water surface for too long, they will die. But for
amount of rounds equal to Construction nothing bad will happen. Each turn after those will
require a check of either swimming or vigour with difficulty equal to amount of rounds over
the limit. Failed check will deal 3d3 damage from anoxemia. This will continue until
characters resurface, take a breath of air or die.
[End of box]

Hunting (Pe)
Useful for more than thrill of it. In case of running out of rations it helps to survive. Hunting
is a knowledge where to find prey, how to approach it and shoot or ensnare it.
Attention: Hunting allows to distinguish tracks, but not to follow them (that's what tracking is
for). To approach the animal, you will also need sneaking.
Poor: You can hunt mice.
Average: You can put simple snares.
Good: You can organise a hunt and approach truly big game.
Excellent: Hunting has no mysteries for you.
Legendary: You could even approach an unicorn. Without a virgin.
[Standard box - mechanics]
Example difficulties of hunting checks
Action: DR
Putting simple snare 2
Identification of tracks 3
Finding game 4
Finding out proper spot for snare 5
[End of box]

Driving (Ag)
Ability to drive all kinds of carts and carriages. It's both the draft type and skill level that
influence speed of the vehicle. The level also decides if a character can perform some
manoeuvres, calm the draft when it panics etc.
Poor: You will manage on straight road.
Average: You can drive without stress.
Good: In your youth you were taking part in races.
Excellent: You can solve all problems and situations about driving
Legendary: Master between masters.
[Standard box - mechanics]
Example difficulties of driving checks
Action: DR
Harnessing the draft 3
Sharp turn, acceleration, slowing down 4
Calming panicked drafts 5
[End of box]

Bribery (Wi)
Many civilised societies condemn "smearing", which has no influence on numbers of people
who will for a "small fee" do this or that. Bribery is an ability to gather informations
discretely or arranging common and uncommon services. Bids are linked with status of
corrupted person. It not always have to be money - many prefer other gifts.
Attention: This ability can sometimes help to realise someone have been bribed. In such cases
it will be linked with Intellect.
[Standard box - mechanics]
Example difficulties of driving checks
Corrupted-to-be is: DR
Willing 3
Neutral 4
Unwilling 5
Very unwilling 6
Never takes 7
[End of box]
Poor: You can buy informations that can be gathered by other means.
Average: Usually you overpay, but get most of the informations.
Good: Barely anyone can resist your "charm", but not always know their proper price.
Excellent: You can buy even an audience for king, without a kopper over its value.
Legendary: Who dares accuse you of bribery!

Speech (Su) [This one is rather sloppy, for very simple reason. In Polish this skill is
named "Przemawianie". It means to address, to talk to, like a preacher or a politician.
But I couldn't find a one-word equivalent in English and later we have skill called
"Rozmawianie", which is "Talking", hence here is Speech - Wertamiś]
Speech is an ability to draw your listeners' attention, to declaim exciting stories and to engage
emotionally with them. It's as good for priests as for nobles and commanders. Good speech
can raise morale, save innocently convicted or gain trust of a crowd. It can be used to
encourage others into providing help or buying merchandise sold by a character.
[Standard box - mechanics]
Example difficulties of speech checks
Action: DR
Drawing attention of willing listeners 3
Drawing attention of neutral listeners 4
Raising morale, drawing attention of unwilling listeners 5
Seizing the crowd 6
[End of box]
Poor: You can manage with kids and not too bright women.
Average: Probably you are a village leader in some scrub. You can also persuade quite well.
Good: You can control not too numerous crowd. You can also convince almost everyone to
do what you asked for.
Excellent: You are leading your listeners like puppets.
Legendary: Many think you are a prophet.

Shrewdness (Wi)
Shrewdness allows to see through lies and detect false. It's also useful for unveiling a disguise.
Thanks to this skill a character can also resist different persuasions, cons etc.
[Standard box - mechanics]
Example modifiers for shrewdness checks
Character is: Modifier
Not aware +1
Absentminded +1
Tries to be aware 0
Suspects masquerade -1
Attention: Modifiers sums up, just like in case of falsification (check page 24).
[End of box]
Poor: You can only see through lies of children.
Average: Sometimes you see through lies, sometimes you don't.
Good: It's a challenge to lie to you.
Excellent: Whoever wants to sting you is bound to fail.
Legendary: It takes you a single look and you know who is a liar and who not.
[Standard box - mechanics]
Detecting lies, masquerades and cons
Shrewdly characters can figure out if someone is lying, disguised or is cheating in cards. If
players suspects such thing, they can ask Storyteller for shrewdness check. This will lead to
opposed check (details on page 64) - game runner in secrecy will roll for appropriate skill (eg.
characterisation) of a background character, while players roll for shrewdness of their own
characters.
Storyteller may decide that if a character doesn't sense the deception, difficulty of mentioned
opposed check is increased by +1 (look in "Example modifiers for shrewdness checks"). Of
course player shouldn't know about any test at all.
Attention: Base difficulty for shrewdness checks is 4. It's adjusted by the result of opposed
check ("Opposed checks", page 64) and other, situational modifiers.
[End of box]

Searching (Pe)
Ability to perform a methodical search of the area for hidden objects, stashes, traps or secret
passages and locks opening them. It makes personal pat-down easier and effective. Of course
knowing how to find things allows to hide them better.
[Standard box - mechanics]
Example difficulties of searcing checks
Action: DR Time
Looking through full drawer for a specific object 2 d6 minutes
Noticing simple trap or typical passage 4 d3 rounds
Noticing very well hidden passage 5 d6 rounds
Noticing well-hidden trap 6 2d3 rounds
[End of box]
Poor: You will turn over stone, open a drawer and search under bed - but that's all. You will
also hide something poorly.
Average: In no time you will notice all the spots where something could be hidden.
Good: You know few atypical ways of hiding objects. You also know which walls/floors are
worth searching for passages.
Excellent: Few minutes after entering a room you know where and what was hidden.
Legendary: You will find everything - and in short time.

Survival (In)
Knowledge how to build a shack, start fire, find water, noticing natural dangers (marshes,
quicksands etc) and distinguishing edible plants from poisonous ones. It also allows to predict
how and if the weather will change. Survival won't cover hunting, fishing or tracking - there
are other abilities for those.
Attention: Not everyone will survive in given terrain. For example, human raised in arctic will
manage over similar terrain, but will have troubles while on sand desert.
[Standard box - mechanics]
Example difficulties of survival checks
Action: DR
Starting a fire 2
Distinguishing edible plants 3
Travelling over wilderness and survival in it* 4
Weather forecasting 5
Avoidance of natural dangers 6
[End of box]
Poor: In hostile environment you can hold out for only few days.
Average: You can survive in area you are familiar with.
Good: You can survive in well known area and similar to it.
Excellent: You can survive anywhere.
Legendary: Even few months on a desert is not a problem for you
[Standard box - mechanics]
Fire damage
Starting a campfire is often a reason for conflagrations. On the other hand, torch can be easily
weaponised. So it's important how much damage does a fire. Of course the fire burns in every
round spent too close to it.
Damage deal by fire
Type of fire: Damage roll
Torch (only after touching) k3
Average campfire (only after touching) k6
Big bonfire (only after touching) 2d6
Burning building* 4d6
Burning forest* 5d6
* Standing closer than 3 meters from fire source will start to deal damage.
[End of box]

Talking (Su) [Rozmawianie]

Art of conversing, allowing to put a desired impression on listeners. Witty comments, proper
wording, right tone of voice can change attitude of people we are talking with or even affect
their judgement. Cunning character can use this to flirt with ladies (or gentlemen), woo them
or even provoke.
Attention: In many cases sole talking is not enough - it will require also etiquette and proper
knowledge.
Poor: Don't even try to talk with someone more important than you. And you are barely able
to talk with anyone else.
Average: You've mastered few classic phases and ways of leading the conversation.
Good: Flirting, wooing, influencing someone's judgement and provocations are easy for you.
Excellent: Just a few worlds are enough to convince others into your point of view.
Legendary: You are the master of eloquence.
[Standard box - mechanics]
Example difficulties of talking checks
Action: DR
Normal conversation 2
Witty and funny remark 3
Wooing of willing 4
Provoking someone 4
Change of one's point of view 5
[End of box]

Fishing (Ag)
Characters can refill their rations with fishing or do it for money. Or course fishing requires
proper equipment. On smaller scale: hooks, fishing lines. On bigger: nets. Sometimes
characters must improvise and use atypical equipment - spears, nets made of clothes etc. It
will make catching fishes harder, but not impossible.
Attention: Fishing is based on numerous attributes. Searching for shoal will take In. Throwing
a net will be De instead. Noticing strikes would be Pe. But we discourage such meticulous
distinction.
[Standard box - mechanics]
Checks of fishing got base difficulty of 4, when a character is using proper equipment (nets,
fishing rods etc) or 5, when the equipment is improvised. It will be 6 in case of using bare
hands. Successful check will take also d3 x 10 minutes and will provide a single fish (or 3d6
of them in case of nets). Obvious requirement for successful fishing is presence of fishes.
[End of box]
Poor: Single roach per day.
Average: You won't provide for a family, but you can live on it.
Good: You know proper baits, breeding grounds, typical fishes etc., and you can also use
efficiently all the fishing equipment.
Excellent: They say all you need is a piece of binder and an earthworm to catch a shark.
Legendary: There are quasi-mythical stories about your exploits and catches.

Craft (depends)
Characters have knowledge about given craft. They can create and mend objects and also
evaluate and grade works of others. Crafts differ greatly, so each of them must be levelled
separately.
Here is the list of "specialisations" - players of course can expand it. We put related attribute
in brackets. Carpentry [cieśla] (De), pottery (De), stonemasonry (St), blacksmithing (Si),
tailoring (De), cooking (Pe), armour crafting (Ag), saddle-making (De), carpentry [stolarz]
(De), locksmithing (De), weavering (De), arms crafting (In), goldsmithing (De). [As you may
notice, there is carpentry used twice. In Polish there is a clear difference between cieśla
and stolarz. The first one is a craftsmen than can make boards, mend broken beams,
repair your ship (cieśla okrętowy) and stuff like that. Stolarz is a guy with more
"luxurious" knack: he will make a cabinet for you or a frame for mirror. I have no idea
how to put those in English so they won't mix - Żorż]
[Standard box - mechanics]
Example difficulties of craft checks
Making of: DR
Simple object 3
Typical object 4
Remarkable object 5
Perfect object 6
Legendary object 7
[End of box]
Poor: Bungler
Average: Journeyman
Good: Craft's master
Excellent: Elder craftsmen, who's famous in the whole country
Legendary: One who creates legends

Pickpocket (De) [We gave up on this one, even if we tried our best to put English names
as close to Polish meaning as possible. Original name is "rzezanie mieszków" - "rzezać"
is an archaic word for "cutting off", while "mieszek/mieszki" stands for
"pouch/pouches", so it's literally "cutting off pouches", something that is very
confusing. Heck, the skill in Polish is confusing enough for players to read what it does
as their first action after seeing character sheet. Not to mention that "rzezać" is one
letter apart from "obrzezać" - a circumcision.]
Essential for attempts of thievery, but also useful in card games or while performing with
some tricks (e.g. snatching a coin from behind someone's ear). Pickpocket combines agile
hands with ability to use different tools (like sharp knives) [Recall Polish name of it]. It also
allows to sense being robbed or alternatively, put something in other's pocket.
Poor: You can rob only the sleeping.
Average: Old or distracted people won't figure out you rob them.
Good: Barely anyone can catch you red-handed.
Excellent: Even watchful eyes of a guard won't bother you.
Legendary: There are stories about your achievements. Supposedly you rob the prince
himself and his bodyguards didn't notice!
[Standard box - mechanics]
Example difficulties of pickpocket checks
Action: DR
Putting something coin-sized in pocket of other person 3
Making a coin in your hand "disappear" 4
"Borrowing" small object 5
"Borrowing" well guarded/hidden object 6
[End of box]

Throwing (Pe)
Ability to pitch with different objects - knives, stones, sticks etc. Check book " The Sword of
Destiny", page 74.

Sneaking (Ag)
Thieves, scouts, trackers etc. can't do without sneaking, allowing to silently and unnoticed get
close to enemy/animal/whatever else. Of course this skill is affected by environment - it is
easier to sneak pass in the dark than in broad daylight. Sneaking is also ability to hide - in
shadow, tall grass, dark alley or even on plain desert.
Poor: You can approach half deaf and blind. It takes you numerous shadows, rocks or things
like that to hide.
Average: You can manage if someone is not paying attention. You can hide in any easy spot
for that.
Good: In favourable conditions you can even sneak pass under eye of watchful guards. You
can hide in any typical spot.
Excellent: No one can notice you when you sneak. You need a single tree, small cavity etc
and you are hidden.
Legendary: Someone was walking? You can hide on an empty square, at noon.
[Standard box - mechanics]
Example difficulties of sneaking checks
Sneaking in: DR
Darkness 2
Starlight 3
Moonlight/shadows 4
Cloudy day, between buildings 5
Sunny day 6
[End of box]
[Standard box - mechanics]
Example modifiers for sneaking checks
Sneaker DR
Is running at least at speed of fighting pace +2*
Moves slowly (1/2 of fighting pace) -1
Is wearing a masking suit -1
Attention: Modifiers sums up, just like in case of falsification (check page 24)
* Of course we are discouraging running in darkness, as it's very risky.
[End of box]
[Standard box - mechanics]
How to detect someone is sneaking?
Of course by doing an opposed check (page 64). First the sneaker check own sneaking with
difficulty depending on situation. Then the approached character rolls for spotting with base
difficulty of 4 and modified by previous check of opponent.
Storyteller may decide that if characters aren't looking for sneaking or hiding enemies, their
spotting is reduced by one (or even two). In such case players shouldn't know about any tests
or checks.
[End of box]

Spotting (Pe) [Spostrzegawczość]

In-born ability to observe the surroundings. It's useful to see approaching spy or noticing
something laying in the mud. Spotting also allows to discover without a close inspection a
sword hidden under cape and that a stick is in fact a sheath for dagger.
Poor: While you are not blind and deaf, you are not far from that.
Average: Many things slip away from your attention.
Good: Barely anything slips away from your attention.
Excellent: Nothing slips away from your attention.
Legendary: Some believe you see things before they happen.
[Standard box - mechanics]
Example difficulties of tactics checks
Noticing: DR
Object laying in grass 2
Sword hidden under cape 3
Sneaking spy 4+ opposed check
Attention: "+opposed check" means that the difficulty can be increased by the outcome of
sneaking check (look page 32). [Sneaking is described page before spotting]
[End of box]
[Standard box - mechanics]
Example modifiers for spotting checks
Situation Modifier
Each 5 meters of distance +1
Dark place +2
Spotter isn't focused +3
[End of box]

Shooting (Pe)
Ability to use ranged weapons - bows, crossbows etc. Check book "The Sword of Destiny",
page 74.

Evaluation (In)
Finding a treasure is only half of the success. It still takes to estimate its value and then sell. If
characters can't assert the price of trinkets, armours, precious stones etc, they can be
scammed.
Attention: During evaluation, skills like different branches of knowledge, art or crafs might
be helpful.
Poor: You estimate you can be 50% wrong.
Average: You can evaluate with 30-40% mistake.
Good: Error no bigger than 25%.
Excellent: 10%
Legendary: To the last kopper.
[Standard box - mechanics]
Atypical treasures
Even if very rarely, it may happen that characters will get their hands on exotic valuables,
sculptures from distant past, armours of extinct race etc. In such cases difficulty of evaluation
check should be 5, if not 6. In any other case it's standard 4.
[End of box]

Street smarts (Wi) [Szelmostwo, another hard one. Szelma is literally rogue, rascal, in
somewhat playful and non-offensive sense, so szelmostwo is an ability to act like one.
Think about fandom image of Loki - that's where word "szelma" suits. Street smarts
were the closest thing I was able to figure out - Zahi]
Being nifty, able to talk someone through, encourage into certain action, lying through your
teeth - here were street smarts come handy. It takes not only a strong will, but also a massive
nerve to match. And never forget that most of people won't buy whatever story you will try to
sell.
[Standard box - mechanics]
Example difficulties of street smarts checks
Action: DR
Encouraging toward action suiting personality 2
Talking through someone resisting 3
Laying through your teeth 4
Encouraging toward action against personality 5
[End of box]
[Standard box - mechanics]
Example modifiers for street smarts checks
Situation: DR
Mark is trusting a character -1
Lie or encouragement sounds credible -1
Lie is suspicious +1
Encouraged action is risky +2
Lie is very blatant +3
Attention: Modifiers sums up, just like in case of falsification (check page 24).
[End of box]
Poor: "Yeah, I know I shouldn't be here"
Average: "You kidding! It can't cost so much"
Good: "You really shouldn't do that!"
Excellent: "My name won't tell you anything"
Legendary: "In this dress you steaming hot, regardless of your 70 years"

Art (depends)
Being good at single branch of art - sculpturing, painting or writing. Character can for
example create a play, but organising it and playing a role are a different matter (check
performance, page 38)
Just like in case of crafts, there are different branches of arts, which must be studied
separately. Here is the list of example branches (with corresponding attributes) - players can
always expand it. Calligraphy (De), composing (Pe), painting (De), writing prose (In),
sculpturing (De), writing poems (In).
Arts are always related with fame. The better are the creators, the more people know them. Of
course it doesn't mean everyone will instantly recognise such character. And remember, fame
is double-edged sword...
[Standard box - mechanics]
Example difficulties of art checks
Creation: DR
Routine 2
Average 3
Worth attention 4
Splendid 5
Remembered for years 6
Legendary 7
[End of box]
Poor: You are known only in your home.
Average: Everyone in your village and it's neighbourhood heard about you.
Good: Your name is known in your home town and few other important cities.
Excellent: It's hard to find someone who never heard about you.
Legendary: Your name and creations will be part of history.

Tactics (In)
It allows to plan fight and control it in such way to reach all goals. The better the tactician, the
more troops/units can be controlled. Never forget that execution of plans is on soldiers, who
should be able to follow orders and remain loyal.
While planning a fight, knowledge about military may be useful, allowing to include siege
engines etc.
Attention: Sole tactics is not enough to effectively control underlings. Even the best tactician
can be an awful commander. That's why true leaders have also commanding skill.
Poor: Planning assignment for few men.
Average: You can manage with small, 10 men strong, unit.
Good: You can plan for numerous units (up to 200 people) while using different tricks and
surprises.
Excellent: You are a great general-tactician, leading the whole army. You know probably all
strategies and create new tricks yourself
Legendary: Your tactics and campaigns are legends, studied by future commanders.
[Standard box - mechanics]
Example difficulties of tactics checks
Action: DR
Planning normal engagement 3
Figuring out enemy's strategy 4
Inventing a simple trick 5
Planning engagement with maximal use of troops and terrain 5
Inventing a new strategy 6
[End of box]

Tortures (Pe)
A heinous activity which is daily bread for numerous people. Sometimes tortures are the only
way to get confessions or needed informations. They all are about physical and psychical
torment of interrogated person. Often interrogators are working also as executioners.
Poor: Your captives die more often than talk.
Average: Sometimes they talk, sometimes they die.
Good: Barely anyone can resist your "persuasion".
Excellent: Powerful and wealthy are asking for your "help"
Legendary: Young interrogators are told your techniques.
[Standard box - mechanics]
Tortures run as series of opposed checks. First the torturer checks his skill, with difficulty
based on "toughness" of interrogated person (3 - afraid, 4 - neutral, 5 - tough guy). Then the
victim checks own cold blood, with base difficulty of 4 and modified by outcome of tortures
check. Depending on used technique, Storyteller should also roll for damage sustained by
interrogated person after each application of tortures.
[End of box]

Tracking (Pe)
Good for hunters, but also some thieves and spies. Tracking allows to find tracks of wild
animals, identify what left them, how big was the group (if there was one) and estimate when
it was left. It also allows to follow humans and other intelligent creatures and also covering
own tracks.
Attention: Tracking is affected by environment. Rain can wash away almost all tracks, while
they can remain for a long time in snow. It's worth to always remember that.
Poor: You need a fresh and straight track, left on soft ground.
Average: Many tracks slip away from your attention.
Good: You can cover your own tracks, while being able to identify most of them
Excellent: No track slips from you. You will notice and identify everything.
Legendary: You are tracking not only with your eyes, but also smell, touch, even taste. You
can sense how long ago an animal was in given spot, even if there are no visible clues.
[Standard box - mechanics]
Example difficulties of tracking checks
Basis: DR
Very soft (snow, sand, mud) 3
Soft (needle-cover, moss) 4
Hard (grass, forest cover, field) 5
Very hard (rock) 6
[End of box]
[Standard box - mechanics]
Example modifiers for tracking checks
Situation Modifier
For each five people in tracked group -1
For each 24 hours after the tracks were made +1
For each hour of rain after the tracks were made +1
Tracked creature is
much smaller than human +1
bigger than human -1
much bigger than human -2
It was snowing after the tracks were made +3
Poor visibility (moon, torch etc) +2
Tracked attempt to cover their tracks *
* When tracked attempts to cover their tracks, it ends with opposed check. First they must roll
for their tracking with difficulty of 4 (plus 1 for each 5 people in group). Then the tracker is
checking own tracking, with all the situational modifiers and outcome of check made by
person hiding tracks. For details - "Opposed checks", page 64.
Attention: Modifiers sums up, just like in case of falsification (check page 24).
[End of box]

Disarming traps (De)

This skill allows to identify purpose of given device (it doesn't have to be a trap) and then
stopping it's work. The most common application for such ability is to dismantle traps, hence
the name. But it's equally useful for sabotage (eg. breaking the winch or hinges). In any case,
a character must have proper tools.
Attention: Of course a trap must be first found, then disarmed. It will take either spotting or
searching.
Poor: You can take care of simple devices.
Average: You can manage - but not always - with complex and complicated traps.
Good: Not only you can disarm almost everything, but also build something yourself.
Excellent: You can construct and disarm all traps and devices. You can even sense if given
trap has magic aura.
Legendary: You can even disarm magical traps.
[Standard box - mechanics]
Example difficulties of disarming traps checks
Action: DR Time
Blocking simple lock 3* 1 round**
Sabotage of cartwheels, disarming simple trap 4* 2d3 rounds**
Fixing or creating a simple trap 5* 2d6 rounds**
Disarming or sabotage of complex trap/device 6* 2d6+5 rounds**
Creation of complex trap or device 7 d3 hours
* If a character doesn't want to leave any signs or wants to act quietly, the difficulty is
increased by +1.
** If a character doesn't want to leave any signs or wants to act quietly, time of work might be
doubled.
Attention: Each success above required allows to shorten the time of work by 1 round/hour
(of course with the minimum of single round or hour).
[End of box]

Dodge (Pe)
Ability to evade hits, projectiles etc. Check book "The Sword of Destiny", page 78.

Healing (In)
Medics not only diagnose and heal diseases, but also dress wounds. They mostly address
natural ailments, although some can manage with magical diseases. Diagnostics usually take
between 15 and 30 minutes. Healing takes much longer and requires of course different herbs,
medications and decoctions.
More about healing injuries in book "The Sword of Destiny", page 70.
Poor: You can cure cold and 1 hit point per 8 hours.
Average: You can manage with flu and simple bone fractures. 2 hit points per 8 hours.
Good: You can heal fractures, serious ailments and neutralise certain poisons. You can
amputate a limb without bleeding your patient to death. You can also find if the disease isn't
natural. 3 hit points per 8 hours.
Excellent: You use rare herbs and can heal some magical diseases. 4 hit points per 8 hours.
Legendary: They say you can stop aging. 5 hit points per 8 hours.
[Standard box - mechanics]
Example difficulties of healing checks
Action: DR
First aid (stops the bleeding) 3
Prolonged care 4
Mending fractured bones 5
Taking care for wounded 5
Taking care for dying 6
Amputation of a limb 6
Neutralising poison* poison power +1
Healing a disease** depends
* Check "Venoms and poisons", page 163.
** Check "Diseases", page 165
Attention: More about healing and types of wounds in "Healing", page 70 and book "The
Sword of Destiny", page 68.
[End of box]

Armed combat (De)

Ability to use weapons and improvising ones. Check book "The Sword of Destiny", page 68
and 84.

Unarmed combat (De)

Ability to fight using your arms, legs, head etc. Check book "The Sword of Destiny", page 66
and 80.

Seeing in darkness (Pe)

As the name implies, it's an ability allowing to see in dark. It's level decides how far a
character can see and with what source of light. Seeing in darkness allows to ignore negative
modifiers while fighting in dark.
Attention: Maximal level of this skill is race-dependent. Humans can have it at best at
average, gnomes - good, and elves and dwarves - excellent.
Poor: 10 meters. Weak source of light (torch)
Average: 15 meters. Weak source of light, dusk, moonlight.
Good: 20 meters. Weak source of light, dusk, starlight.
Excellent: 30 meters in weak light and 10 in complete darkness.
Legendary: 50 meters in weak light and 20 in complete darkness.

Knowledge (In)
Knowledge is a group of certain skills, evaluating informations and abilities of a character in
given subject. Just like in case of craft or art, each branch is a separate skill, which must be
gained independent. Character with a degree of knowledge have different facts, theories and
stories related with it on their disposal; and often some additional abilities. Our list of fields
for knowledge contains just few examples, upon which players can expand. In brackets are
additional feats gained at good level of knowledge and related attributes.
[Standard box - mechanics]
Alchemy and knowledge: plants and herbs
Both skills allow to brew infusions and poisons, but they differ in their extend and
possibilities. In alchemy, aside from herbal, there are also other types of ingredients. Thus
elixirs made this way are more diverse. In case of knowledge: plants and herbs brewing is
barely a secondary activity.
 [End of box]
Knowledge: weapons and armours (identification of legendary arms - In), heraldry, history,
legends, magic, mythology, politics, monsters (spotting weakness - Pe), region (contacts -
Su), plants and herbs (brewing infusions and poisons - De), theology, military, chosen race,
animals (care and training - Wi)
Poor: You know they are ringing, but don't know where
Average: You heard this or that - there and here.
Good: You have basic knowledge over given subject and its applications.
Excellent: You have all the answers.
Legendary: You are a wise sage, to whom many come with their questions.
[Standard box - mechanics]
Example modifiers for knowledge checks
Question Modifier
General nature 0
Specific nature +1
Very specific +2
Simple 0
Complex +1
Hard +2
Very hard +3
Attention: Modifiers sums up, just like in case of falsification (check page 24).
[End of box]

Vigour (Co)
This skill allows to do thing for longer and with better results. Everyone can run and jump,
but not all can do so fast and often. All can held their breath - some for just a moment, others
for long minutes. Vigour is what makes the difference. It also corresponds to resistance
toward pain and diseases, not only fatigue or exhaustion.
Poor: Very-short-distance runner
Average: Short-distance runner
Good: Medium-distance runner
Excellent: Long-distance runner
Legendary: Marathon runner
[Standard box - mechanics]
Vigour checks are usually made during opposed checks, breaking spells or resisting other
powers. They also indicate if a character will resist poisons or diseases. But not only that.
Every time any exhausting action is maintained for number of rounds, turns or days higher
than Construction, they require vigour checks. After unit of time above listed (look "Marching
pace" page 17 or "Drowning", page 28) the difficulty of roll will be increased by 1. You start
with DR of 1, then 2, then 3 and so on. Failed check will mean - depending on situation and
Storyteller - loss of conscious, need to spend few days in bed, coma or dead.
[End of box]

Cracking (De)
Prying hasps open, picking locks, breaking windows without making noise. Fast, silent and
subtle way of getting inside locked spaces requires skill and tools - not necessarily only
lockpicks.
Poor: Prybar is your tool of choice
Average: Simple locks, hasps and sliding bolts are no problem for you.
Good: You can manage with all typical means of locking.
Excellent: You still didn't find a lock that could stop you. But time is still a factor, as you
can't open everything instantly.
Legendary: At no time, with minimal tools and of course quietly you can open any lock.
[Standard box - mechanics]
Example difficulties of cracking checks
Lock: DR* Time**
Very easy 3 1 round
Average 4 1-2 rounds
Good 5 d3 rounds
Very good 6 d6 rounds
* If no traces should be left or everything have to be done in silence, difficulty of roll is
increased by +1.
** If no traces should be left or everything have to be done in silence, required time is
doubled (in case of rolls - after the roll is made)
[End of box]

Climbing (Ag)
Madmen like to climb for pleasure. Others save their lives by doing so. We don't thing we
have to explain this skill. Just remember that climbing covers not only the action itself, but
also preparation of equipment and security on climb.
Attention: Climbing pace is usually at 1/2 of fighting pace; perpendiculars slow down it to
1/4.
Poor: You can barely climb to balcony over wines.
Average: You can manage with easy to traverse hills.
Good: You can climb over anything, but not too fast or without troubles.
Excellent: You are climbing like a mountain goat.
Legendary: Only the highest and toughest peaks of the world are any challenge for you.
[Standard box - mechanics]
Example difficulties of climbing checks
Type of surface and equipment: DR
Too steep to walk; rope with knots attached to wall 2
Wall with protrusions to stand on; line rigging of a ship 3
Wall with natural or artificial holds for hands and feet (typical wall or ruin) 4/5
Uneven natural wall, brick wall 6
Overhand, shimmy, monkey swinging - all using only hands 7
Perfectly smooth, even and vertical walls 8
[End of box]
[Standard box - mechanics]
Example modifiers for climbing checks
Conditions Modifier
Use of line, figure eight and other equipment -2
Climbing in chimney, where arms and legs can be used on opposite walls -1
Climber is attacked +1
Bad weather conditions +2
Surface is slippery (rain, ice)/very bad weather conditions +3
Attention: Modifiers sums up, just like in case of falsification (check page 24).
[End of box]

Performance (depends)
Group of skills related with public performances. Performances differ greatly, so each of them
must be levelled separately. Performances are - like arts - related with fame. But this time
around a famous character will be recognised by everyone in given area.
Here is the list of performances, which of course can be expanded. Acting (Su), playing on
chosen instrument (De), singing (Su), dancing (Ag), weaving stories (Su).
Poor: You are known only in your home. Maybe because you are not a virtuoso?
Average: Everyone in your village and it's neighbourhood heard about you. Your
performances aren't among the best.
Good: Your name is known in your home town and few other important cities. There are
crowds on your performances.
Excellent: It's hard to find someone who never heard about you. And there are even less of
those who don't want to admire you.
Legendary: Your name and creations will be part of history.

Browbeating (Su) [or why Tortures are useless]

Threatening, sharp glance, malicious smile, putting hand on sword's grip or pressing the blade
to someone's neck. We don't think it requires to explain how useful this skill can be. Everyone
know it's always better to avoid bloodshed.
Poor: Sometimes you can scare yourself.
Average: Intimidation of cowards is easy for you.
Good: Single look of yours can shatter even bold hearts.
Excellent: Faint smile of yours and most have heavy pants.
Legendary: You can be scary just by thinking about it.
[Standard box - mechanics]
Example difficulties of browbeating checks
Intimidated is: DR
panicked 1
anxious 2
wounded, in foreign environment 3
normal person 4
cocky 5
part of group of confident people, who are more numerous that the browbeater 6
[End of box]

Gathering informations (In)

An ability allowing to search for interesting informations - in libraries, asking people,
listening to gossip, legends and stories. The harder the information is to get, the longer it will
take, not to mention mounting costs. And some things simply can't be found out with given
level of skill.
Attention: Just like in case of inquisitiveness, gathering informations works better with proper
knowledge about the subject. It doesn't cover common gossip or stories, but to find in
venerable book informations about atypical coat of arms it will take knwledge: heraldry.
Poor: You can gather what already is widely spoken
Average: You can get the informations by most typical means and obvious places.
Good: You can pull a tongue or few. You also know where to search and for how long.
Excellent: There are no informations that can slip you.
Legendary: It won't take you long to learn what you want.
[Standard box - mechanics]
Example difficulties of gathering informations checks
Information: DR Time Cost
Widely known 3 2d6 minutes 3d6 koppers
Normal 4 5d6 minutes 1-2 denar
Hidden 5 1-2 hours 2d3 denars
Secret 6 d3 hours 4d3 denars
Top secret 7 3d6 hours 5d6 denars
[End of box]

Cold blood (Wi)

Ability to remain calm and collected in all kinds and sorts of stressful situations, like being
intimidated, facing overwhelming forces or when a fast decision has to be made while world
around is burning.
Poor: Only a child won't scare you - and only a gnomish one!
Average: Sometimes you chicken, sometimes you don't
Good: Probably you can resist any dread - as long as it's natural.
Excellent: You can count on fingers how many times you lost your head.
Legendary: Enemy army? Dragon? Warlock? You just shrug.
[Standard box - mechanics]
Example difficulties of cold blood checks
Situation: DR
Resisting influence opposed check*
Facing overwhelming forces 4
Making a decision under heavy pressure 5
Facing a dragon 6
* read on page 64
[End of box]

Witchers' signs (In or De)

Ability to use signs of witchers. Check book "Something more", page 121.

Sailing (In)
Skill useful for characters travelling (alone or with company) by any water vessel: galley,
sailing ship or even a row boat. It allows to steer and navigate - determine course and reading
maps (but it requires to see the sky and stars or specific tools for proper positioning).
Attention: Sailing can be dangerous activity. Storms, squalls and gales require great skills to
resist them. But aside from skill level, the vessel itself and its crew are also very important.
Poor: You can go in a row boat and raft.
Average: You can steer small sailing boats and navigate close to shore.
Good: Navigation and steering are no big deal for you.
Excellent: If she and the crew manage, you will resist any storm.
Legendary: You are already a legendary captain. What next?
[Standard box - mechanics]
Example difficulties of sailing checks
Action: DR
Tying a knot 3
Sailing and navigation in perfect conditions 4
Sailing and navigation in normal conditions 5
Sailing and navigation during a storm 6
Sailing and navigation during a hurricane 7
[End of box]
 List of all skills

Acrobatics (Ag) Knowledge (In)

Alchemy (In) animals (care and training - Wi)
Armed combat (De) chosen race
Art heraldry
calligraphy (De) history
composing (Pe) legends
painting (De) magic
sculpturing (De) military
writing poems (In) mythology
writing prose (In) politics
Astrology (In) monsters (spotting weakness - Pe)
Bribery (Wi) region (contacts - Su)
Browbeating (Su) plants and herbs (brewing infusions
Characterisation (De) and poisons - De)
Climbing (Ag) theology
Cold blood (Wi) weapons and armours
Commanding (Su) (identifying legendary arms - In)
Concentration (Wi) Languages (In)
Cracking (De) Lip reading (Pe)
Craft Listening (Pe)
armour crafting (Ag) Magic (In or De)
arms crafting (In) Mining (St)
blacksmithing (Si) Performance (depends)
carpentry [cieśla] (De) acting (Su)
carpentry [stolarz] (De) dancing (Ag)
cooking (Pe) playing on chosen instrument (De)
goldsmithing (De) singing (Su)
locksmithing (De) weaving stories (Su)
pottery (De) Pickpocket (De)
stonemasonry (St) Prayers (In or De)
saddle-making (De) Reading and writing (In)
tailoring (De) Riding (Ag)
weavering (De) Sailing (In)
Criminal connections (In) Searching (Pe)
Diplomacy (Og) Seeing in darkness (Pe)
Disarming traps (De) Shooting (Pe)
Dodge (Pe) Shrewdness (Wi)
Driving (Ag) Sneaking (Ag)
Economy (In) Speech (Su)
Empathy (Pe) Spotting (Pe)
Etiquette (Su) Street smarts (Wi)
Evaluation (In) Survival (In)
Falsification (De) Swimming (Co)
Fishing (Ag) Tactics (In)
Flexibility (Ag) Talking (Su)
Gambling (In) Throwing (Pe)
Inquisitiveness
Gathering (Wi) (In)
informations Tortures (Pe)
Geography (In) Tracking (Pe)
Healing (In) Trading (Wi)
Hunting (Pe) Unarmed combat (De)
Vigour (Co)
Witchers' signs (In or De)
Skills not requiring training
Some skills (check the frame below) can be used even at level 0. All of us are slightly flexible
and can manage with gathering informations. In case of Storyteller deciding to check a skill,
players just make a normal check (look "Tests of attributes and tests of skills", page 62),
leaving it's difficulty unmodified by skill level (since there isn't any).
[Standard box - mechanics]
Skills not requiring training
Armed combat (De) Riding (Ag)
Browbeating (Su) Searching (Pe)
Characterisation (De) Shooting (Pe)
Climbing (Ag) Shrewdness (Wi)
Dodge (Pe) Sneaking (Ag)
Etiquette (Su) Spotting (Pe)
Evaluation (In) Street smarts (Wi)
Flexibility (Ag) Survival (In)
Gathering informations (In) Swimming (Co)
Geography (In) Talking (Su)
Healing (In) Throwing (Pe)
Inquisitiveness (Wi) Unarmed combat (De)
Listening (Pe) Vigour (Co)
[End of box]

Destiny
Destiny has many faces. Mine is beautiful on the outside and hideous on the inside. It
outstretches it's bloody talons towards me...
"The Lesser Evil"
Fate of each character is partially defined by DESTINY - usually unknown to anyone. It will
dominate for whole life, but Storyteller can define destiny for time of a single sage or
adventure. Game runners, if they wish, can change destiny of a character without informing
about it. They are also the ones that picks it for characters.
Storytellers should invent own destinies, but if they completely lack creativity, they can use
below list. Interpretation and application is a whim of a game runner.
Destiny can even be picked at random, which we don't approve, but can understand. The
number on the list represent outcome of 2d6 roll.
[Standard box - mechanics]
Destiny
2-3 Person
Fate of a character is inseparable with fate of other person. The best example could be link
between Geralt and Ciri. Even if their roads constantly part - under different circumstances
and decisions - they will sooner or later meet again, often in improbable ways.

4 Hero
It's character's ultimate fate to become a legendary hero. Often against their will they will be
put into situations requiring heroic actions that will be later praised by bards - and that will be
regardless if they were rightfully earned. It may also happen that character will end up as a
tragic or outright dead hero.

5-6 Journey
Destiny will always force such character to keep walking, never having rest or chance to
sprout roots. Bad luck, desire to travel, call of adventure or maybe something completely
different will make characters into wanderers for the rest of their lives, without a family or
place to call home.

7 Wealth
Character is destined for fortune. Good luck will make valuables to com more often than to
others.

8 Defined length of life

No matter what, a character will only die in specific moment, probably violently. Maybe it's
written in stars to die here and then. Or maybe to live peacefully till 90.

9 Power
Destiny may give characters political power, maybe even against their will. What kind of
rulers they will tour out - that's a different story.

10 Infamy
It will be a life full of disgrace. Against their will such characters will take part in infamous
events. Or even try to prevent them. Most likely such characters will be wanted for some
crime they didn't commit. Or maybe someone will frame them?

11-12 Fight
It's destined for character to live on wars and through bloodshed, no matter how much they
will try to be peaceful. Before their eyes close relatives and sworn enemies will die. Grim
Ripper will follow them, watching from behind. But they will never turn back.
[End of box]

Races
The elf standing over Dandelion had black eyes and raven hair, which fell in lush waves over
her shoulders, aside from two thin brides at her temples. She was wearing a short leather
camisole over loose shirt made of green satin and tight-fitting woollen leggings, tucked into
riding boots. Her hips were wrapped around with colourful sash, reaching middle of her
thighs.
"The Edge of the World"

The game's world is inhabited by other races than only humans. They are characterised not
only by different culture or appearance, but also certain limitations on attributes. Here are the
descriptions of physical appearance and mentioned limitations; culture of different races is
described in book "The Edge of the World", page 202.
Witchers go through multiple changes and mutations, de facto no longer being humans. For
the convenience of game mechanics they are treated like separate race (on the Continent they
are perceived not as humans, but mutants). Creating character of any non-human races,
players are under certain limitations, barring appearance, temper and even attributes (check
frame "Limitations of attributes by race", page 44)

Human
Humans inhibiting the Continent barely differ from those from Earth. And we know ourselves
pretty well...
[Important note. By "maturity" it means "mental maturity", which is obvious from the
context in Polish, but is lost in translation in English. Help needed with this one do drive
point home without notices like this one]
Elf
By their appearance elves are very similar to humans, to the point where some more good
looking humans are taken as elves and numerous pointy-eared taken as humans. The most
notable difference is shape of an ear, which are pointy for Aen Sidhe. Elven faces are
elongated and delicate, with well-defined cheek bones and slightly diagonal eyes. What
makes their appearance uncanny is set of improbably straight and small teeth, lacking
incisors. There are two main (but not the only) sets of elvish eyes and hair: light blond with
blue eyes and raven hairs with intense green of irises.
Aen Sidhe have fair skin, body type more daintily and slimmer than humans and incredible
agility. Unfortunately, by now most of them also look like being consumed by diseases. Elven
senses are much sharper than humans', they can see in the dark (but not complete darkness).
What is an impenetrable night for human, in elven eyes is a world flooded with feint light of
the moon.
Elves live for very long, sometimes even half of a millenium, while reaching full maturity
after about a century. Elf older than 250 years is an old one. Aen Seidhe age very slowly and
their true age can be judged not by changed appearance, but fading light in their eyes. They
are also immune toward most of diseases of other races.

Dwarf
Dwarves are short - the tallest of them will reach to the chest of grown-up man. It doesn't
bother them too much, since most of them look like a mountain of muscles. Their faces are
somewhat crude, like being barely sculptured out of stone, but often also honest and open. But
it's hard to look close at face of a dwarven male, as it will inevitable be covered with beard,
long and lush (for grown-up dwarf it will reach his chest). Young dwarven women, even if
short and stocky, are quite a look, with broad hips, big breasts and quite nice faces.
Unfortunately, they rather quick turn into fat hags and matrons.
Unlike how it looks, dwarves are relatively fast and most importantly, extremely durable, both
for hardships of travel, injuries, fatigue or liquor. They also see in dark better than humans,
but not complete darkness. What man see as pitch-black darkness, is just a dusk for a dwarf.
Dwarves usually live for about two hundred years, reaching maturity around fifty-fifty five.

Gnome
Gnomes can look from afar - but only from afar - like dwarves. They are similar height, but
much slimmer and their movement is more graceful. Gnomes aren't as strong as dwarves, but
are as durable and agile. They rarely grow beards - while they can grow facial hair, it's soft
and thin. But what really stands out as truly gnomish trait is their long, sharp nose. They can
see in dark better than humans - just like dwarves.
Gnomes can live for about the same amount of time as dwarves.

Halfling
Halflings can be taken as children from afar - they are short, shorter than dwarves, but
proportional for their height and much more slender. That slender part is often hard to spot,
since many Halflings have tendency to put on weight, making a typical representative of this
race a cheerful fatso. Halfling faces are honest and jolly, used to laughing, eating and
drinking. They are surrounded by frizzy hairs, usually ginger. Facial hair either doesn't grow
on halflings at all or is prominent on cheeks, somehow omitting chin and areas under the
nose. It shouldn't be forgotten about their hairy feet, substituting shoes. Extremely thick and
hard skin is covered with tiny hair.
Average halfling lives for a hundred years, often exceeding that that and reaching one
hundred and twenty. They are treated as grown-ups around thirty, but they truly reach
maturity and are ready for life around fifty.

Witcher
Witchers look repelling. People step from their way, dogs are hiding their tails and cats start
to hiss. There is nothing strange in that, since changes made by mutations and elixirs are hard
not to spot. Monster slayers are usually slim and pale, with sharp features, eyes shining
unnaturally and with dark rings under them. Their pupils accommodate to light like those of a
cat, often phosphorescing in darkness (and that shouldn't be surprise that witchers can see
really good in the dark).
Witchers' bodies often shows side effects of the wicked changes they were put through. Hence
there are monster slayers with prematurely gray hair or outright bizarre colour of hair or skin,
red irises, sharp teeth or uniformly black eyes without any white. Those changes, while
turning witchers sterile, provide them with numerous powers. They allow to control heart rate
and blood pressure (so a witcher rarely is cold and is virtually a poikilotherm), see in dark (in
a way cats see) and provide much faster reflexes. Witchers are also often very talented
empaths and some even develop periodically telepathic abilities. The mutations guarantee
almost complete immunity to hypnosis, diseases and considerably decelerate aging process.
Witchers remain with their physical peak and appearance of thirty-forty years old even after
they reach one hundred years. It's hard to tell what is their maximal age, as none of them ever
died by natural causes.
[Standard box - mechanics]
In-born skills
Here is the list of in-born (or learned in childhood) skills depending on race, from which
players' characters came. It's worth to notice that in certain cases the level is higher than poor
and that number of skills may differ. As always Storyteller (or players in agreement with
Storyteller) may change this list. It's somewhat obvious that slightly different skills can be
learned by human son of wealthy merchant, and different by bastard-servant. Proposed by us
list covers typical representatives of given race
Human Gnome Halfling
Armed combat Armed combat Acrobatics
Climbing Dodge* Armed combat
Dodge Flexibility Dodge
Knowledge (region) Language (common or Flexibility
Language (common)* own race)*** Language (common)*
Listening Listening Listening
Sneaking Seeing in darkness** Sneaking*
Spotting Sneaking Spotting
Throwing Spotting Throwing*
Unarmed combat Throwing
Vigour Vigour
Elf Dwarf Witcher
Art (one chosen) Armed combat Acrobatics
Dodge Disarming traps Armed combat
Language (Elder Evaluation Climbing
Speech)* Language (common or Dodge
Listening own race)*** Knowledge (monsters)*
Performance (one chosen) Craft (one from: Language (common)*
Seeing in darkness** stonemasonry, Listening
Shooting blacksmithing, Seeing in darkness
Sneaking* goldsmithing, armour or Sneaking
Spotting arms crafting) Spotting
Mining Swimming
Seeing in darkness** Tracking
Trading Unarmed combat
Unarmed combat Vigour
Vigour Witchers' signs

* Level average
** Level good
*** Players may decide that both languages are on level poor. In any other case their
characters know one (chosen) on level average.
[End of box]

Character creation
Now, when you know what features define a character from game of imagination, it's time to
create one. But before you will start to assign points or roll dices, wonder for a moment about
what character would you like to play as. Decide their race. Think about their past and desires.
Define if they have family, home, friends. Explain to Storyteller what made your character
into the adventuring. What are their interests, goals and desires. And of course - what are their
advantages and flaws.
[Standard box - mechanics]
Character concept
Before you will start to create your characters, answer question from below. This will allow
you to better understand your own characters, which will make their creation and later
roleplaying easier.
Are you a human or you come from other race?
How your childhood and early years turned out?
How old are you now?
How do you look?
From what social stratum you come?
What are you doing for a living?
Who do you want to be?
What you value the most?
What do you love?
What do you hate?
Do you have enemy, beloved, family?
Where do you live?
What motivates you?
Short answers for these questions will provide background for characters, which will make
them something more than just numbers. Storytellers can also use informations from them to
enhance future stories and provide them with another dimension.
[End of box]

Methods of character creation

Below we described two ways of character creation. Each of them has its own advantages and
flaws. It's very important for players and Storyteller to decide in advance which method suits
them better.
[Standard box - mechanics]
Race limitations of attributes
Elves: min. 3 Ag, min. 3 Su
Dwarves: max. 2 Su, max. 3 Mo, min. 3 Co
Gnomes: max. 2 St, max. 2 Mo
Halflings: max. 2 St, max. 2 Mo, min. 3 Ag
Witchers: min. 3 Co, min. 3 Pe, min. 2 De, min. 2 Ag, min. 2 In
[End of box]
Attention: It is possible for characters from the same hansa to be created using different
methods, but this might cause considerable lack of balance.

Point-build method
This method gives players more control and possibilities. Thanks to it, all characters in hansa
will have the same starting potential. But if players are creating their first character,
arrangement of points tend to be very hard.
Players creating their character receive a poll of 32-37 points, which they can distribute
between their attributes. They must follow certain rules while doing so. First of all, race of
character determines minimal and maximal level of certain attributes (check frame "Race
limitations of attributes"). Secondly, in any cases, while using point-build method, none of
attributes or skills CAN'T BE HIGHER [original Caps - Żorż] than excellent (4). Thirdly,
each level costs certain amount of points (check frame "Cost for levels of attributes and
skills", below) and spent points can't exceed the poll. Attention: Points not spent are lost.
The stake in the poll is decided by Storyteller and it applies to all players' characters in given
sage. The stake should be linked with type of the sage: an epic (then characters should be
"stronger", thus with more points to spent), or maybe something grim, in style of dark fantasy
(then characters should be "weaker", with less points at disposal). An average adventurer
should be created with poll of 35 points. [It doesn't kick in yet, as the part about grinding
stats is much later, but the truth is - anything below 40 will provide a character for dark
fantasy and gritty stories, while it takes 45 and more to go epic/heroic]
[Standard box - mechanics]
Cost for levels of attributes and skills
Amount of points Level
1 Poor
2 Average
3 Good
4 Excellent
5 Legendary
To buy higher level of attribute or skill, it requires also the lower level. To get average you
also need poor. So first you must buy poor for 1 point, then average for 2. As you can
deduct, buying good will cost 6 points in total and excellent - 10. If for whatever reason
Storyteller would allow to buy legendary level, it would cost accordingly 15 points. [Which
is a main reason you can't do that - it simply gives a cripplingly over-specialised
character]
[End of box]

Randomised method
This method may be much more exciting, but players might feel disappointed if their rolls
won't come out too well. You should also remember that it's hard to balance hansa created this
way. Still, we advice it for beginners.
Players are rolling for each attribute a d6-2 (so they substract 2 from the outcome). Since none
of the attributes can be below 1, all "1" and "2" on dice will transfer to "1" in attribute. As you
can see, in this method attributes also can't reach 5.
Storyteller can give players a choice to first roll nine times d6-2 and only later attach
outcomes to attributes.
Attention: Race limitations of attributes still applies. [The randomised method is bad for
two reasons. First of all, most of the time your stats will end as "poor", since outcome of
1, 2 and 3 will give you 1 in stat. Hardly making your character "average". Secondly,
the "roll first, attach later" goes with massive loophole for races other than human as
players can give their lowest rolls to stats they must have on minimal value and save
higher rolls for whatever they want. For a while we were even considering a complete
removal of it in our translation]

[Standard box - mechanics]

Optional rule: Flaws and Advantages
Depending on players and Storyteller desire, you can apply this rule during character creation.
Players can get additional points to "strengthen" their characters, traded for adding some
flaws to them. We suggest that lesser flaws provide 1 point and 2 for greater, but here final
word is of Storyteller. We heavily discourage buying attributes above excellent (4) level with
points gathered this way.
Example lesser flaws: missing two fingers, ugliness, stutter, being overweight or short-
sighted.
Example greater flaws: infertility, castration, being maimed, repelling appearance, powerful
enemy, chronic disease (syphilis, consumption etc), being an outlaw.
[The concept of flaws and advantages was later systematised and formalised in first of
expansions, so this frame is pretty much irrelevant for the game as a whole. And it
doesn't discuss advantages as you might notice]
[End of box]
Picking personality
Players must define personality of their characters, picking what from triangle of honour,
adventure and reputation is the most important one, the less important and least important.
First one will be on excellent level, second on good and third on average.

Choosing skills
As we already know, characters are described not only with their attributes, but also skills.
Hence players must also pick and then set level of them (of course if they want to).
Each character has certain number of skills on level poor (and not only) - just like in real life
everyone can try to sneak or fight unarmed. There are also skills learned during early life. Not
everyone is born as a carpenter [cieśla] and not everyone can cast spells.
Amount of skills depends on mental capabilities of given character. Players can pick as many
new skills as number equal to Intellect multiplied by three. They will be all on poor level.
After picking all the skills it's time to define their final level. Each player receives a poll of
points equal to (Intellect + Will) x 3 +15. [We put it as proper and simplified equation,
because it's written in original in such way that low-Math people have hard time to
follow - courtesy of Polish Math definitions and sentence structure] Those points can be
used on any of skills that is at least poor, and of course that level itself is already bought.
Costs of buying each level are listed in frame "Cost for levels of attributes and skills", page
44. As previously, points not spent are lost.
Humans receive additional 5 points to spent, but only for their in-born skills.
Of course Storytellers can provide players with higher number of points for skills, awarding
them for interesting story or ingenuity of player. The poll can be also affected by planned
sage, so characters can be adjusted with their power toward its requirements.
Attention: Those points are also used to buy combat manoeuvres - check book "The Sword of
Destiny", page 80.
[Standard box - mechanics]
Picking skills - summary
First player should list all the in-born skills, coming from chosen race - they are all at poor
level, unless specified differently. Then the player picks as many new skills as three times In
of a character - they are also poor. Now all skills that are already picked can be increased,
using poll of points equal to (In + Wi) x 3 +15.
Attention: Humans receive additional 5 points for in-born skills.
[End of box]
[Standard box - mechanics]
Optional rule
Players may resign from assigning points to chosen skills and instead roll a d3 for each of
skill they want to pick. In this case they can't increase their in-born skill.
[Which is broken, as such characters can't increase their fighting skills - they are all
part of in-born list for every race - Majron]
[End of box]

Archetypes

Creating a character may early on be a serious problem for many people. Picking up right
skills and making decisions how to distribute your attributes aren't the easiest things.
Especially novice players might have problems with that. To make it easier with their first
steps in the world of game of imagination, we created archetypes, so "prototypes" of
characters. Their role is to make it easier for players to create their own characters - show
which attributes are important and which don't deserve more attention; which skills behoves
to pick and which can be left for later. Even if the archetypes are "manly", without any
problem they can be "changed" for female, with just slight differences in the equipment.
Archetypes can be also used for different purpouse. If you don't have time or desire to create a
character, just use one of the described. You can do the same if your character - which we
obviously don't wish to anyone - suddenly will end up in the nether world.
Attention: All characters were created with point-build method with 35 points, but not always
the entire pool was used. After the word "skills" the amount of additional skills and amount of
points that can be spent of the poor skills. Next to any given skill is written the numeral value
of it.

Bard
Singer, troubadour, skald. Hums beautifully, arranged ballades, pick up girls (or guys) and
lives the life of a flibbertigibbet
Race
Human

Attributes
Co: 2 Mo: 2 St: 1 Pe: 2 De: 3 Ag: 2 In: 3 Su: 3 Wi: 2

Skills (9/35)
Characterisation 2
Reading and writing: common 2
Etiquette 3
Languages: common* 2
Listening* 1
Talking 3
Throwing* 1
Sneaking* 1
Spotting* 1
Art: writing poems 3
Dodge* 1
Armed combat* 2
Unarmed combat* 1
Knowledge: legends 2
Knowledge: poetry 2
Knowledge: region* 1
Vigour* 1
Climbing* 1
Performance: playing on lyre 3
Performance: singing 3
* In-born race skills

Personality
Adventure (4) Reputation (3) Honour (2)

Destiny
Wealth

Vitality and its stages

26 (7/14/20/26)

Equipment
Boots, bottle of ink, few koppers, books with songs (few pages are clear for notes), lyre, quill,
trousers, dagger, cloth doublet, bag, traveller's kit.

Combat
Defence (ranged/armed/unarmed): 1/3/2
Armour: none
Weapon: dagger kd+3

Magic
Defence (spells/prayers/signs): 1/1/1
Who is?
- So you are telling me, fair lady, that you've never heard about Jezkier? Yes yes. But mark
my words - you will hear about me again and loud. So maybe you've ever heard master
Dandelion? Not even him? And do you know the story about the love of unhappy countess
Carmen? That's his song. It's a really sad story, but even more beautiful, just listen...
- Could I be lying? But I am only a simple singer, who can all his heart and voice admire
you...

***
- What's that? You didn't close the gates? What?! Your uncle?! And you are saying me this
NOW? With such calmness?! So long, love...
- Jezkier!!! Not through the window!
***
- I tell you, Nivellen. Life sucks...
- Bullshit, Jezkier. Sing something before you crock completely over this small skinfull.
- I'm not in the mood today... Ah, screw this, I will play you an old elven ballad. I recall,
when two years ago, master Dandelion himself in Cintra...
- Jezkier, no! Just sing!
- Ok, ok. So I recall...
The bard's voice pealed clearly and vibrantly over the glade. Fire died down a bit when
Jezkier was still spinning with lyre a story about former glory of the woodland people...

Druid

Lover of nature, plants and animals. Woods are his home, which he protects always,
everywhere and with all means possible. He gets the support of dryads and other inhabitants
of the wilderness.

Race
Elf

Attributes
Co: 2 Mo: 3 St: 1 Pe: 3 De: 2 Ag: 3 In: 2 Su: 3 Wi: 2

Skills (6/27)
Languages: Elder speech* 2
Prayers 3
Listening* 2
Survival: own forest 3
Sneaking* 2
Spotting* 2
Art: sculpturing in wood* 2
Tracking 2
Dodge* 1
Healing 2
Seeing in darkness * 3
Knowledge: plants and herbs 3
Knowledge: animals 2
Performance: singing* 1
* In-born race skills

Personality
Honour (4) Reputation (3) Adventure (2)

Destiny
Defined length of life

Vitality and its stages

26 (7/14/20/26)

Equipment
Boots, long cane, small bag with herbs and roots, simple clothes, green cape of elven
handicraft

Combat
Defence (ranged/armed/unarmed): 2/2/2
Armour: cape 0
Weapon: long cane k3+3

Magic
Defence (spells/prayers/signs): 1/4/1
Prayers: common prayer, healing prayer, protective prayer, plague
AP: 14

Who is?
- Move it, man! And what are you gaping at? What am I, some kind of monster? That my hair
are still black and I'm not wearing a mistletoe coronet and I'm too young for being a druid?
Well, there are also like me. Someone has to protect this forest from your kind. No, not with a
sickle. You see this chain? That's how my sicle is looking right now!
- What are you eye-balling at? Mistletoe can be even cut with a pocket knife and beside - I'm
here so you won't cut it at all!
- And the cane? I have to protect mysefl with something, since you've became quite pushy
lately. Since dryads... yeah, yeah, the demons and hags, as you call them, are sitting in
Brokilon. And you don't even know what else to destroy next in the forest! And you aren't
afraid of any sacred of nature. Some of you even tried already to cut down oaks from sacred
glades...
***
- Enough of those whines, lead me to the ill. I am a druid after all. Oh, Mother Nature, if it's
going to be like this every time, I will have to grow a beard, preferably long and gray, or
otherwise you won't listen to me, but when you see some dry old wanderer, you instantly call
him the cognisant...
***
- Welcome. I'm, of course, part of the circle. Caed Dhu, to be precise, beyond Jaruga. And
why you are welcoming me in such cold way? Did I just ruin your barbarian joys? This is
truly a Nilfgaardian pestilence and torment of animals, this whole "corrida". Say what, your
highness? You will have me hung by my ears? Oh, on your place I wouldn't do that, I truly
wouldn't. Do you remember what happend lately on Drogogar's count? All the supplies in the
city eaten by mice... Who could imagine my prayers would be this effective. And all of that
only because all the waste was put into the river, the one crossing our forest. And who gained
anything out of it?
- Where would I even dare to threaten your highness? How could I? I just came here with a
request from the circle, so your majesty would stop sending lumberjacks into our forest, or a
great misfortune might fall upon you...

Priest

Devout man, an advisor and spiritual guide. He propagate faith in every place where he sees
heathens. And the deities are giving him different powers.

Race
Human

Attributes
Co: 2 Mo: 1 St: 2 Pe: 2 De: 3 Ag: 1 In: 3 Su: 3 Wi: 3

Skills (9/38)
Reading and writing: common 3
Empathy 1
Languages: common* 2
Concentration 3
Prayers 4
Listening * 1
Speech 2
Throwing* 1
Sneaking* 1
Spotting* 1
Dodge* 1
Healing 3
Armed combat* 2
Unarmed combat* 1
Knowledge: history 2
Knowledge: magic 2
Knowledge: region* 1
Knowledge: theology 3
Vigour* 1
Climbing* 1
* In-born race skills

Personality
Honour (4) Reputation (3) Adventure (2)

Destiny
Power

Vitality and its stages

26 (7/14/20/26)

Equipment
Boots, cloth doubled, bottle of ink, mace, prayer book, small amount of cash, quill, first aid
kit, deity symbol, traveller's kit.

Combat
Defence (ranged/armed/unarmed): 1/3/2
Armour: none
Weapon: mace d6+4

Magic
Obrona (spells/prayers/signs): 2/6/2
Prayers: common prayer, healing prayer, offering prayer, dedication, acceptance into
community
AP: 20

Who is?
- So you are saying, Adso, that you know now what is the servitude to our Lord? Then repeat
now history of the Monastery of Paintings... No, no and once again no! They honestly didn't
taught you anything in that nursery? In the times of victorious march of the law the non-
humans weren't exterminated! They were given a choice: either they will accept the true faith
or the they will die... This being unfair, being against the law? You blaspheme, my boy! I
think few nights of flagellation in the chapel will serve you good. During that time you will
obviously understand how to interpretate our sacred text the right way; and may Kreve inspire
you with his light.
***
- You've come to the age and your learning is almost finished. Soon you will go out, to carry
the name of Kreve and help our lord in great war. Right after finishing your servitude in this
temple, you will go to the capital and find brother Wihem. He will give you papers for safe
conduct and you will be able to go forth, helping brave fighters and common people. Praise
the name of Kreve in every place you will reach. And when the war will end (even if for us,
servants of the Thunder-throwing Kreve, it never ends), go to the Monastery of Paintings.
There you will tell the history of battles to the brothers apt in art of painting, so it will be all
preserved on the walls of the tabernacle. Thanks to this our devouts will be able to praise the
name and power of the Thunder-throwing. Lord's power, who rightfully sent the victory to
heroes of this war.
***
- Stop blaspheme, my son, stop your blaspheme. I say you, if you won't stop, your entire
tongue will be covered with boils... and the cruel laughter of the mage, which I, thanks to the
clemency of the Thunder-throwing, beated many, many years ago...
- What did I've just said?

Merchant

Man of business, dwarven banker, trader of the Novigrad's stock market. He knows the best
what to do to not lose, how to earn and how much it will take to invest.

Race
Dwarf

Attributes
Co: 3 Mo: 2 St: 1 Pe: 2 De: 2 Ag: 1 In: 3 Su: 2 Wi: 4
Skills (9/36)
Reading and writing 3
Diplomacy 2
Etiquette 2
Geography 2
Mining* 1
Languages: common 2
Languages: dwarven * 2
Trading* 4
Bribing 2
Talking 2
Craft: goldsmithing* 1
Spotting 2
Evaluation* 1
Disarming traps* 1
Dodge 1
Armed combat* 2
Unarmed combat* 1
Seeing in darknesss* 3
Vigour* 1
Gathering informations 3
* In-born race skills

Personality
Reputation (4) Honour (3) Adventure (2)

Destiny
Wealth

Vitality and its stages

29 (8/15/22/29)

Equipment
Rich caftan, pouch, 3 promisory notes of dwarven bank for k6x100 denari each, servant,
supply cart, rather ugly daughter.

Combat
Defence (ranged/armed/unarmed): 1/3/2
Armour: leather caftan, quilted and ornated 1
Weapon: short sword d3+2

Magic
Defence (spells/prayers/signs): 2/2/2

Who is? [The first part is picked from old and very famous Polish sketch about two
Jewish merchants, it's intentionally incorrect with few bits of grammar - we marked
those bits with underline]
- I didn't ask what are the initial costs. I'm asking how much it takes to lose before you start to
profit on it.
- You don't ask me how much you can lose on this, you better ask me how much can be
earned.
- And here is where the vampire pinches. You know the best I don't need no sawmill, and
even less any mine. And you not only want me the forest, which to Brokilon belonged, sell,
but also push an old mine with it. And do I know what hatched in it, so you want to get rid of
it so eagerly? Can I afford to some witcher hire? Here you should hit yourself, I say... And
what it was two hundreds years ago? Have you forgotten what the forest hags do with those
who even broke a single branch? And I'm suppose to imperil my own men? Fifty thousands
for that woodlet, without the mine, but with the rights for floating of the logs to the Novigrad,
that's my last word!
- Seventy and you take the mine!
- Fifty and you hire a witcher to clean it!
- Sixty, without the conditions!
- Fifty: my last word!
- Let it be my loss: fifty five thousands, mine, rights for floating, but without any witcher!
- Deal! You've just sold that woodlet. And now tell me, where I a witcher will find?
***
- Merchant Hanrdenberg calls you snotnose baboon and want me to convey that his last word
is twenty two and not a kopper more.
- The illustrious mister Zigielfortz gives twenty four and waits for an answer
- What should we do, Samsen? You ordered to keep it seven to one...
- Sell! Sell immediately!
- Wait, wait... So let's see... it was twenty koppers per barrel... price: twenty denari per
barrel... times... good... two further... from this the tax... commission... then the storing fee...
that will give us about twenty four thousands in an hour. Not bad! You have the head,
Samsen. Just tell me, from where did you know what to buy today from the stock?
***
- Good, mister Istredd. I thing we can come to an agreement. I will provide you with all the
ingredients, and you pay in cash. Not that I doubt dwarven promisory notes, but, please don't
mind, I have a limited trust in Brotherhood's warranty. You must understand, the times are
uncertain, life even more... And metal is metal...

Mage

Thinker and sage - in the future. For now - a common magician, able to cast few weak and
average spells. But don't you ever unappreciated him!

Race
Human

Attributes
Co: 2 Mo: 1 St: 1 Pe: 2 De: 2 Ag: 2 In: 4 Su: 2 Wi: 3

Skills (12/41)
Alchemy 3
Astrology 2
Reading and writing: common 3
Inquisitiveness 2
Economy 2
Geography 1
Languages: common* 3
Concentration 3
Magic 4
Listening * 1
Shrewdness 2
Searching 1
Throwing* 1
Sneaking* 1
Spotting* 2
Art: caligraphy 2
Dodge* 1
Armed combat* 1
Unarmed combat* 1
Knowledge: region* 1
Vigour* 1
Climbing* 1
Gathering informations 2
* In-born race skills

Personality
Reputation (4) Adventure (3) Honour (2)

Destiny
Fight

Vitality and its stages

26 (7/14/20/26)

Equipment
Amulet, boots, bottle of ink, parchments, quill, different components, wand (non-magical),
tube for parchments, trousers, doublet.

Combat
Defence (ranged/armed/unarmed): 1/2/2
Armour: none
Weapon: none

Magic
Defence (spells/prayers/signs): 6/2/2
Spells: Grot, Hipnoza, Tworzenie posiłku, Uśpienie [Those will be changed later, when we
are done with the chapter about magic]
AP: 18

Who is?
- Now! Close the book and repeat from memory. Not like this! How many timed do I have to
repeat myself: focus on what you are doing. If you gather the Power the wrong way, you will
hurt yourself and, which is even worse, damage the lab! What a nitwit! Yes, not it's better...
***
- Pour now the period blood of the virgin into the retort. What were you thinking? Everything
is a matter of price. Of course blood of a hog or viper's venom are sufficient. But then every
clod, if only know that, would dabble in magic and brew potions. And we don't like
competition! And especially not that of bunglers. Yes, even from witchers. But those dog-
catchers can have their uses...
***
- Have your dignity, Perignon! You think why did we made that hump of yours straight, not
to mention the face? If people are suppose to respect us, we must look and BEHAVE
dignified, do you understand? No chasing after barmaids or getting drunk with boors. No, not
even with the blue-blooded. If you want something, you use Power or order it for yourself.
And they better listen to you! Remember, a ruler controls a country, but he himself is rulled
by his wife, mage and spies of his opponents. You can become oneself, but that doesn't
require studies about magic. But don't expect mercy. And, for all heavens, have your dignity!
***
- Perignon!!! Don't you ever dare again to throw Grots in the Academy! One more stunt like
this and rector Gerhart will talk with you, and you know what that means! Don't try to talk me
round about it! One more attempt and you will end up in detention with anti-magic field! I
don't care about your ancestry! This is Ban Ard! Here rules magic, not your father!
***
- Well, apparently for past twelve years you get at least a bit smarter. And you even lasted to
the end. Not everyone manages to do this. Besides, it was a long time anyone manage to
impress the rector like this during the exam. You have a chance for a comfy tower and a job
as resident, maybe even somewhere close to the capitule. They like to have around them, and
what's more important, under their eyes, such promising people like you. After all, not
everyone manages to reanimate entire cementary while at fifth year and send it to battle! And
if you will be left without someone to watch over, you could "accidently" make some waves.
And the Council don't like problems nor competition, AT ALL... Remember that, Perignon.

Warrior

Strong, brave and armed. Dangerous in combat, sometimes even starting them on his own.
Beating his oponent is the most important thing for him. It's the success that matters, not style.

Race
Dwarf

Attributes
Co: 3 Mo: 2 St: 4 Pe: 1 De: 2 Ag: 3 In: 1 Su: 1 Wi: 1

Skills (3/21)
Mining* 1
Languages: common* 1
Languages: dwarven* 1
Trading* 1
Craft: armour crafting* 1
Shooting 3
Evaluation* 1
Tactics 1
Disarming traps* 1
Dodge 1
Armed combat* 4
Disarmed combat* 2
Seeing in darkness* 3
Vigour* 1
* In-born race skills

Personality
Adventure (4) Reputation (3) Honour (2)

Destiny
Hero

Vitality and its stages

29 (8/15/22/29)

Equipment
Boots, blanket, jug of moonshine, helmet, chainmail, crossbow, line, backpack, weather-proof
cape, torches, provisions for a week, gambeson, trousers, shield, axe, traveller's kit.

Combat
Defence (ranged/armed/unarmed): 3/6/5
Armour: gambeson 1, chainmail 2, helmet 3, shield 2
Weapon: light crossbow 3d6, one-handed battle axe k6+8

Magic
Defence (spells/prayers/signs): 1/1/1

Combat manoeuvres:
Feint, balestra, riposte
CP: 18

Who is?
- Welcome... Zoltan? Guys?
- And who the devil is carrying?
- Brrrrendan! Brrrrendan!
- Shut your beak, or I will scoop out all the feathers from your tail! Brendan? Calm down,
boys, it's an old friend of mine... I was sure they hacked you under Hattenburg!
- I see you still have the birdie, Zoltan. How it's going
- And how would you like? The truth or the song? If the latter, you will have to wake up
Jezkier. Damn freeloader, but he knows quite few songs. What are you doing without your
unit?
- Under the Hattenburg they've killed my outfit... It's the work of that idiot, Nargash. Who
throws pikemen to capture the walls? And without any siege engines?! Damn fool lost
soldiers in a blink of an eye! From that siege I've got the biggest souvenir I've ever get in my
life: entire back burned with boiling oil. Fuckers. It went so smoothly under the plates I can
still wear only light tunics and I'm still changing the bandages. And I will probably never
again show on the field. Maybe I will settle somewhere, learn some trade or join the town
guards?
- A lousy job for a merc.
- Maybe lousy, but that's the job where the stomach only grows and a dwarf won't even get
tired. Ah, darn times, Zoltan, darn... For a dwarf to be unable to get a living out of own hand
work!? And you didn't answer me what are you doing in such shithole.
- So you haven't heard? We are going on dragon. Right when the prince anounced the, what
was it called? Exepra... extra... expedition, everyone went out of the Ravine in a huddle, cause
even if they take the reptile, always something of the hoard remains in the cave. And wouldn't
it be better for you to sit on your ass and polish the cobblestones in Novigrad, nursing
yourself back to health? You aree travelling alone on a roadways?
- Then it's been a while since you Zoltan were in the Frei Stadt. Now they are writing down
all the non-humans, safe conducts, licenses, taxes from income... Who would need protection?
And from non-human?! If you hire a non-human, you have to pay an extra tax to the city
coffers. And the business is bad. Even Vimme Vivaldi barely breaths. If it will keep going this
way, the Free and True Burghers will suck him dry.
***
- Look out!!! - An arrow passed by, only by inch away from Brendan's head. One of the
dwarves kicked the logs. They've gathered all in a circe, flashing with blades of their axes,
heading toward the invisible enemy. Brendan threw a glaive to his other hand, standing in
standby. Another arrow missed him only by half of an inch this time.
- I assume you didn't tell us everything and not all of it - Zoltan hissed toward Brendan.
They've all run toward the bushes surrounding the glade. Field Marshal Duda was squawking
loudly from the top of an oak.

Thief

Creeps, sneaks, steals purses, breaks into houses, disarm traps... He's like a cat - nobody sees
nor hears him, but he saw everything and knows it all.

Race
Halfling

Attributes
Co: 2 Mo: 2 St: 1 Pe: 3 De: 3 Ag: 3 In: 3 Su: 1 Wi: 2

Skills (9/30)
Acrobatics* 2
Characterisation 1
Criminal connections 2
Lip reading 2
Flexibility* 1
Languages: common* 2
Listening* 2
Searching 3
Pickpocket 3
Throwing* 2
Sneaking* 3
Spotting* 2
Evaluation 1
Disarming traps 3
Dodge* 1
Armed combat* 1
Cracking 2
Gathering informations 1
* In-born race skills
Personality
Adventure (4) Reputation (3) Honour (2)

Destiny
Infamy

Vitality and it's stages

26 (7/14/20/26)

Equipment
Silent boots, black clothes for actions, line with hook, sling, provisions for a week, gambeson,
daily clothes (trousers, boots, shirt, cape), dagger, lockpicks.

Combat
Defence (ranged/armed/unarmed): 2/3/2
Armour: leather armour 1
Weapon: dagger d2+3, sling d3+1

Magic
Defence (spells/prayers/signs): 1/1/1

Who is?
- So you would like to learn our trade? Fine, fine, we will see that. I can take you for
apprenticeship, but be advised: one false move and you will end up like that little shrimp, Red
Hugo from the Fish Market. I'm not going to put myself at risk for you. You will start your
training tomorrow at the Plaza of Wonders.
***
They've entered a ruined tenement and passed the stairs. They've entered the backyard.
Instead of a narrow, high-walled well they were at a large square, covering the entire block of
ramshackled buildings. In one of the corners were all the crippled, rubbing their limbs after
entire day of work. Straightening lame legs and arms those people were suprisingly able
without their crutches - the real Plaza of Wonders. Nearby, whores were arguing about their
daily pay. There were also few stalls, crowded with customers. Master pointed at the small
gathering.
- Time for your first test. Now, of you go! You come close, join the crowd, take out your shiv
and the pouch is yours. You can't make a slightest sound while on it. That's why everyone is
carrying those small bells. Once again! No, my dear - you are going to try until success.
***
- Take that to your heart! Being a good liner is also an art! No, not in the style of those circus
tricks. Good thief is like an artist: everything he does, he does with class! You are not a
hoodlum, who hits on head some poor soul. You must learn finess in your moves, cat agility
and seduction. You must instil trust in people, while being like shadow - invisible, but
essential for everyone, who can pay for your services.
- What? Yes, just like with witchers. Well, maybe not exactly like that...
***
- A... Nice to see you, mister Bereghost, of course that I've got something special for you
today. Magnificent furcoat straight from north. But of course... I'm litterd at your feet...
Obviously... naturally... My respect to you, noble lord.
- Uff, he finally went out. What a buffoon! And what do you think, master, about my "trader
from north"?
***
- Didn't I said such hired kid is a marvel when it comes to sidetracking?
- Maybe you are right, Hamfast. And maybe you've just passed the guild's exam. You are now
a master thief. But before that you will have to pull just one more "order" for me...

Example of character creation

Andrew, for long fascinated with Geralt, wanted really hard to play as a witcher.
Unfortunately for him, the Storyteller decided that he would prefer not to have a character
based on White Wolf in hansa. Andrew make up his mind on bard then, since Dandelion
[Jaskier in Polish, this will be important soon] was his second most favourite character
from witcher's sage. He even named his character Jezkier, to pay tribute to famous
troubadour. Not wanting to make things more complicated than needed, he decided to play as
a young (20 years old) human, who just left a cosy and friendly middle-class home to become
famous and see some world. Andrew decided that Jezkier should be a handsome lad, a bit too
slim for his height. He also gave him blond hair (tied in pony tail or braid), blue eyes and
charming smile. He dressed him in simple, once colourful, now slightly faded garments.
Thinking about desires of his character, Andrew concluded that Jezkier for sure would like to
meet Dandelion and, of course, be as artful. Andrew's character thus values good fun,
beautiful ladies, fornication and good wine, while he loves music. On the other hand, he hates
all kinds of crass behaviour, especially toward women. For this very reason he has enemies in
form of local jocks, who are only good in their unwanted come-ons. Clashes with those boors
forced Jezkier into hastily escape from town and travel for search of better wine, women and
music.
The Storyteller went for stronger characters and provided players with poll of 37 points,
which Andrew put into use. After creating background for his character he knew it should be
rather a thinker than brute. Thus he decided to spent most of the points on attributes of mind.
For most important he picked Suave - he spent 10 points to get it at excellent level. Will and
Intellect were treated equally, both on good level, which cost in total 12 points. This way
form the poll remained 15 (37 - 22) points for the rest of attributes. Andrew decided that
Jezkier should be rather Dexterious (after all it influence his performance on instruments) and
have developed Perception (for a better musical ear) - thus both of those attributes on average
level, which cost 6 points. This left 9 (15 - 6) points and four attributes. Andrew ascertain that
both Movement and Strength are the least important, thus Jezkier should have both on poor
level - which cost 2 points - and remaining 7 points were spent on Construction (so Jezkier
won't get winded up too soon) and Agility (to help escaping through windows in case of
husband returning earlier), making them both average. Remaining 1 point was lost.
Not it was time for personality. Of course entertainment and originality are most important for
Jezkier, so adventure is more important (level excellent) tan reputation (good), which leaves
honour as least important (average).
After personality are skills. Jezkier got 3 In, so he can learn 9 new and other than the 11 he
got from race, so: language: common (level 2), listening, throwing, sneaking, spotting, dodge,
armed combat, unarmed combat, knowledge: home area, vigour, climbing. Andrew decided to
pick: reading and writing: common (somehow he has to write down ballads), etiquette (it's
good to know how to behave), languages: Elder Speech (there are those elven ballads he can
sing), speed (to raise the crowd with something more than singing), talking (to get into beds
of less-willing), art: writing poems (first steps, but you need to start from somewhere),
knowledge: ballads and songs (little theory didn't hurt anyone), performance: singing and
performance: playing on lyre (for obvious reasons). With sorrow he was forced to resign from
vigour, which would allow him for longer performance of certain very important, man-and-
woman tricks.
For those 20 skills (19 on poor and language: common on average level) Andrew got poll of
33 points - he sums up Intellect and Will (both are good, so 3+3=6) and the result is
multiplied by 3 (which gives us 18), to which 15 is added. As we remember, amount of points
is calculated with following equation [(In + Wi)x3] +15. Hence Jezkier got 33 points plus 5
additional, for in-born skills, as Andrew's character is human.
Player first decided to spend points on in-born skills. Andrew concluded that Jezkier should
know common at least good (3 points - cost of rising it from average to good) and to be
average spotter (2 - from poor to average). Remaining points he uses accordingly:
performance: singing are increased to excellent, which costs 9 points (better to be really good
at something); performance: playing on lyre - good, 5 points; talking - good, 5 points;
etiquette - average, 2 points; reading and writing: common - average, 2 points; languages:
Elder Speech - average, 2 points; art: writing poems - average, 2 points. In total he spent
then 9 + 5 + 5 + 2 + 2 + 2 + 2 + 2 = 29 points. Remaining 4 were divided on two important
fighting skills, which can always be useful: armed combat and dodge, which reach average
level.
All what's left for Andrew is to calculate secondary parameters, purchase of equipment
(gambeson, cloth doublet, trousers, coat, hat, traveller's kit, dagger, lyre, few pieces of
parchment, quill, bottle of ink) and filling out rest of the character sheet (i.a. modifiers of
physical and magical defences).
About Jezkier's destiny the Storyteller remained silent...

Proficiency points
Oh yes, I practice often. In every spare moment. I'm not allowed to be out of form. Here (...)
also came to limber up, to burn from muscles that horrid, mean stiffening, which is falling on
me, that cold circulating inside me.
"Voice of reason 4"
Characters from "Witcher" will go through many tough challenges, will live through
numerous sorrows and even more joys. They will also earn many prises - money, fame and
material possessions. But the most valuable will be knowledge, which can't be revoked.
Gathering and utilising of that knowledge is represented by proficiency points. The more of
them characters will earn, the more powerful and versatile they will become. About awarding
proficiency points (in short: PRO) Storytellers can learn in book "The voice of reason" (page
148) but it's players' choice how to use them. And they have two basic ways to do so - by
rising attributes and skills level.

Rising skill level

To rise skill level, it first take to gather sufficient amount of PRO, put in frame "Costs of
skills and attributes in proficiency points". Characters must pay for each level they raised. So
if they are rising skill from average to excellent, they must also pay for rising it to good.
Aside from that character must be healthy, rested and with enough time to train given skill.
The hardest and most time-consuming is getting poor level, since character needs for this a
teacher or a book providing required knowledge. It is Storyteller's will how long will the
whole process take. And of course if character can find a proper tutor.
Also remember that characters can't increase skills they didn't use. If for the whole story
inquisitiveness wasn't used even once, Storyteller should disallow rising it.
Attention: Paying in instalments is not allowed. First it takes to gather required PRO and then
spend it.
Rising attribute level
In this case too you must first gather sufficient amount of proficiency points and buy all
prerequisite levels. But first you should think why your characters have right to increase any
of their attributes. If they, for example, trained their Strength for past few months, trying to
break horse-shoes? Or maybe mastering their Will, resisting different urges and temptations?
Of course those are only silly excuses and players must think about more reasonable causes to
rise any of their attributes.
Unlike skills, you can't "jump" levels, namely by buying two or more at once. In other words -
to rise poor attribute to excellent level it will take first to convince Storyteller to rise it first to
average. Only some time after that player can attempt to convince again, this time to good
level. That is just a step from excellent.
Attention: Paying in instalments is not allowed. First it takes to gather required PRO and then
spend it.
[Standard box - mechanics]
Costs of skills and attributes in proficiency points
PRO* Level
10/- Poor
20/100 Average
30/150 Good
40/200 Excellent
50/250 Legendary
*skill/attribute
Just like during character creation, to buy higher level, you must first own all lower. So to get
average you will also need poor. Rising to poor will take 10 points, and then 20 to average.
Going straight for good will be 60 points, excellent - 100 and legendary - 150. In case of
attributes the rules are similar, but the expense is 5 times bigger.
[End of box]
Example
Mercenary Svarte Funkerheall is poor at armed combat, but decides to quickly change that.
During his last expedition he earned whole 30 proficiency points, so he has enough to change
level of mentioned skill. Because he had a chance to flail with his "skewer", Storyteller
allowed for level increase. Player spent 20 points and his level of armed combat is now
average. To use remaining 10 points, Svarte had to wait for a while. Luckily another
adventure was rich in experiences, which increased poll of unassigned PRO of Svarte by 20 -
to total of 30. Thanks to this player can increase armed combat of his character to good level.

Other means of using PRO

Buying levels of attributes and skills are not the only application for proficiency points.
Players may decide to use them for new combat manoeuvres (check book "The Sword of
Destiny", page 80), spells and prayers (check book "Something more", page 96 and 110).
Such use of PRO also takes time. More information about combat manoeuvres, spells and
prayers are given in respective books.
The bound of reason

Book of Rules
- It's a game! Game with random chance, a play with fate. And a deucedly game...
"Something more"
Here is compilation of rules that will in many cases easen lives of all game participants. They
can be a source of joy and good fun. But remember they are ONLY rules, not THE rules.
They are for situations where common sense won't do or when no one has any solution for
given problem. Those rules are to serve players, not to make their game harder or to subjugate
them. In no circumstance they can become the only bound of reason.
"Witcher" is a game of imagination - there are no strict rules like in chess, mah-jong or
football. In this game the less things are constricting players, the greater their fun. Of course
be reasonable. Even in game's world logic still applies. And characters are bound to laws of
nature.
In Witcher there are also certain rules, allowing to solve conflict situations. Those rules
should be used and expanded, but never allow them to take full control. So don't treat too
serious all numbers and checks. You don't have to use them all the time, more - you shouldn't!
And remember - it's just a game.
[Standard box - mechanics]
Rules which can't be changed
1. Rules exist to easen and liven up the game. So they can be adjusted freely.
2. In any case of interpretation, word of Storyteller is final.
3. Common sense is the prime rule.
[End of box]

Time in game
In game world we not only divide time into minutes, hours, days, weeks or years. Here most
important are rounds and turns
ROUND is a period of about 10 seconds, during which character can take a single action
(strike with a sword, cast a spell, use a skill, say something).
TURN is a period of about a minute, or six rounds. In such period a character can draw Power
for spellcasting.

Actions
During round each character, creature and background character can perform a single action.
Such action may include things like attack, getting up, casting a spell, using artefact's power,
drinking of elixir, folding a sing or using certain skills. Mentioned action is performed by
characters instantly, when it's their turn decided by initiative (look "Initiative", page 68). And
in that moment effects of action are applied. Saying a short sentence, moving by amount of
meters defined by fighting pace (look "Secondary parameters", page 17), drawing or dropping
weapon are called simple actions and don't require an action to perform. Also two signs (Aard
and Heliotrop, pages 121 and 122) and one of the spells (Mirror effect, page 101) don't
require an action. A character can use them and after (or before) that perform any other
activity.
Attention: Use of certain skills is also a simple action. List of them can be found in frame
"Skills not requiring an action"
[Standard box - mechanics]
Skills not requiring an action
Browbeating (Su)*
Climbing (Ag)*
Cold blood (Wi)*
Dodge (Pe)**
Empathy (Pe)
Inquisitiveness (Wi)*
Knowledge (In)*
Listening (Pe)*
Riding (Ag)***
Shrewdness (Wi)*
Spotting (Pe)*
Vigour (Co)*
* When those skills are used without an action, difficulty of roll is increased by 1.
** Dodge won't consume an action only when it's at least good (3) or higher.
*** In some cases - like harder manoeuvres - it will take a whole action to use riding.
[End of box]

Tests, checks and dice rolls

- This is not a fable, this is life. Scabby, bad, hard, not saving from mistakes, harm, grief,
disappointments and misfortune; not saving anyone, nor witchers, nor kings. And that's why,
Geralt of Rivia, you will guess only one.
"Something more"
For sure there will be situations during gameplay, where it will be impossible to judge by just
common sense if given activity was successful or not. Logic won't help, just like roleplaying
or using descriptions. There might be also situations where players' actions will be affected by
blind chance, Lady Fortune or luck - one of the classic example is combat, where lucky strike
may be as much important as tedious training.
In exactly such cases you should invoke to dice rolls, the so-called tests or checks. Always
remember not to overdo with rolls or even avoid them completely. It's always better to
roleplay the whole situation than counting on a roll or two. But there might be situations,
where dices will provide everyone with lots of joy, and our game is all about providing
pleasure!
Mechanics of "Witcher" are based upon normal, cubical dice (known also as "six"), for
convenience referred ad d6. Sometimes, when smaller number are needed, we use fictional
three-sided dice (d3) - we roll a normal dice and the outcome is divided by two, rounded up.
Analogically d2 means a draw from interval 1-2 (where "1", "2" and "3" are 1 and "4", "5"
and "6" are 2). Notation 3d6 means we roll three sixs and we are interested in outcomes 1-6.
2d3 means we roll two fictional three-sided dices. And notation d6-2 means we subtract two
from the outcome.
Simple, isn't it?
Attention: In "Witcher" game there are two types of rolls. First of them are checks of skills
and attributes. In case of them, we make the roll with amount of dices equal to the attribute
and the outcome of each dice is INDEPENDENT - read "Tests" and "Successes" right aside.
When in roll 2d6 we get "2" and "6", we read the outcome as "2" and "6". Second type of tests
are made from remaining dice rolls (they are, for example, rolls for damage - look "Dealing
damage", book "The Sword of Destiny", page 72 - or rolls for drawing magic Power - look
"Drawing Power", book "Something more", page 88). In their case, the outcome is SUMED
UP; when in roll 2d6 the outcome is "2" and "6", we read it as 8.

Fate dice
Once of the dices, used for checks of skills and attributes, should be distinguished. We call
such distinguished dice a Fate Dice and it decides about extraordinary successes (when the
outcome is "6") or extraordinary bad luck (when the outcome is "1") - look page 63
Thus when we are making checks, one of the dices must be distinguished as Fate Dice.
Tests and checks
We make the checks with as many dices as NUMERICAL VALUE OF TESTED
ATTRIBUTE. When we have good Intellect, we roll 3d6. Remember to mark one of those
three dices as Fate Dice. When we roll only one dice (we are poor at something), it must be a
Fate Dice.

Successes
Fortune may cause that sometimes we are successful and sometimes we fail. The same applies
to "Witcher" game. We experience SUCCESS when the outcome on dice is either "4", "5" or
"6". When it's "1", "2" or "3", our roll ended with FAILURE.

Difficulty of roll
Success is only single step to successful check. This one depends on BASE DIFFICULTY -
minimal number of successes that are required to pass the check. So if we are testing good
Intellect with difficulty of 2, we take 3d6 roll and at two out of three dices the score must be
either "4", "5" or "6".
Base difficulty depends on action we want to perform. Usually it's decided by Storyteller and
players can only modify it. Average difficulty of roll is 4.
Attention: Usually the base difficulty is called simply difficulty of roll or even just difficulty.
[Standard box - mechanics]
Difficulty of rolls
Action DR
For kids 1
Trivial 2
Easy 3
Average 4
Serious 5
Extremely hard 6
For heroes 7
[End of box]

Tests of attributes and tests of skills

- I have abilities or I don't?
- Only tests can answer that question
- Tests, tests (...) I don't have any abilities, I'm telling you, if I had some, I would know that,
right? So yeah... And if I, by blind chance, had abilities, what then?
"Blood of elves"

Sometimes players must test only one of the attributes of their characters - Intellect for
example. It will happen whenever Storyteller wants to check "raw" capabilities of a character.
In such cases it's wise to lower the difficulty to 2 and not modifying it in any way. Such
checks should be rarely employed. Rolls shouldn't decide if a character can do or comprehend
something.
When we are testing a skill, the difficulty should be lowered by numerical value of tested
skill, getting out of the process MODIFIED DIFFICULTY OF ROLL. So when a character
wants to inquire where the clues are leading, base difficulty will be 4 (Storyteller decided that
the case isn't too complicated). Because the character has inquisitiveness on average (2) level,
modified difficulty of roll will be 4-2=2. The character got good (3) Will, so for the check
player will roll 3d6 and will have to score at least 2 successes, so on at least two dices the
outcome will have to be "4", "5" or "6".
It may happen that modified difficulty of roll will be lower or equal to 0. In such case, for
opposed checks (read page 64) modified difficulty of roll will be always 0, and secondly, the
action will end with automatic success for any other check (but there might be situations - like
in combat - where Storyteller will still request a roll). To succeed in such tests, all what is
needed is any other outcome than "1" on Fate Dice.
Attention: There are situations, where players aren't aware of all of the modifiers affecting the
situation. Thus they shouldn't have any pretensions when - against their calculations - the
check still failed.
During combat the situation is slightly changed - look at page 66.

Example:
Minstrel Jezkier decided to enrich his - by now rather boring - performance in inn with
difficult elven song. Well, the poor player obviously didn't know Elder Speech Aen Seidhe,
but also can't even pretend to play on a drum. Storyteller decided then for rolls. Player
controlling Jezkier is checking the skill singing, related with attribute Suave. Character-bard
has in his sheet that he sings excellent (4) and his Suave is good (3). Storyteller set the
difficulty at 5 - it's not the easiest of songs, but also not that complicated. Modified difficulty
of roll is thus 5-4=1. Player is rolling 3d6 and needs at least a single success, so on one of the
dices the outcome must be "4", "5" or "6". He's lucky, since the outcomes are "1", "1" and "4"
- Jezkier managed with the song, but barely.
[Standard box - mechanics]
Combining skills
For sure there will be situations when a character will have to combine two or even more
abilities. For example, while being a captain of a sailing vessel, it will take both sailing and
commanding. Or trying to inform a doleful noble that he has no idea about painting, which
would take: talking, etiquette and art: painting. When tests are needed, you should use an
average level of used abilities, rounded up. In first case, having poor (1) sailing and good (3)
commanding, combined skills will be at level (3+1)/2 = 2. In the second one a character with
average (2) etiquette, excellent (4) talking and being a legendary (5) painter, will get an
average value of (2+4+5)/3=3,66... - after rounding: 4. [There is clearly a mistake in this
box, as in original it calls for rounding up, but the example rounds down. For this
reason we decided to roll with the text and correct the example.]
[End of box]

High difficulty of roll

It may also happen that modified difficulty of roll will be higher than level of attribute
required for the check. In such case theoretically characters have no chances to execute the
action. But they still should be given a try! If the outcome on Fate Dice will be "6" and any
other dice will also end with a success, the action will be successful. It will be a blind luck,
but still a success.
[Standard box - mechanics]
Optional rule: Lucky strike
If a modified difficulty of roll is higher than 0 and lower than attribute used for roll and the
check ended up with failure, but player scored "6" on Fate Dice, Storyteller can decide that
thanks to lucky strike a character managed to pull the desired action.
[End of box]

Extraordinary successes and extraordinary bad luck

Lady Fortune can play with our lives. It may happen that the task is difficult, but we still
fulfill it perfectly. We are talking in such case about extraordinary successes, which takes
place if the check is SUCCESSFUL and there is "6" on Fate Dice. And we are talking about
extraordinary bad luck when the check ended with FAILURE and Fate Dice reads "1".
Effects of extraordinary successes and extraordinary bad luck are decided by Storyteller. This
could mean higher amount of inflicted damage or more powerful effect of a spell, but also
tripping over during fight or losing the weapon.

Example
Minstrel Jezkier wants to make a good impression on just spotted lovely chit named Monique,
with lips like corals, eyes blue like lakes, waist slim like of hornet and quite graceful butt. The
seducer put on his most charming smile and goes for the girl. Storyteller decided for the final
solution, a talking check, since player, roleplaying Jezkier, acts like a rheumy and low person
with manners of a drunk cobbler. The bard got that skill on good (3) level, so is his Suave and
the base difficulty of roll is decided as serious (5) - after all, the girl is already slightly put off.
Unskillfully roleplaying player is making a roll of 3d6. He needs 5-3=2 successes. The dices
read "2", "5" and "6" - and the last one on the Fate Dice! Bard not only gathered the required
successes, but his personal charm seems to shine brighter than usually. The girl not only starts
to see him as attractive, but even thinks about engaging closer with him.
Following the strike, Jezkier tries to openly seduce the girl, which player can in no way
roleplay. It takes then another roll for talking, related with the seduction. As we know,
minstrel can is a good (3) talker. Base difficulty of roll is set on 4 (the girl is almost
convinced). After modifying 4-3=1 player rolls for Suave. It only takes a single success on
any of the dices. But this time Jezkier has no luck - the dices read "2", "3" and on the Fate
Dice "1". Since the following events of this adventure are not interesting for us, we leave the
bard defending himself from attacks of angry girl.
[Standard box - mechanics]
Optional rules
Significant success
If during a check player will get more successes than needed, Storyteller may decide the
action ended with outstanding performance.

Unlucky coincidence
In case when modified difficulty is lower or equal to 0 - which would mean an automatic
success - Storyteller can still demand a check. If there will be no success and the Fate Dice
reads "1", the action ended with regular failure.
[End of box]

Modifiers
Back when we were discussing skills, we already mentioned modifiers, affecting the base
difficulty of rolls. Negative modifiers (with "-" sign) make the test easier, and positive (with
"+" sign) harder. Which modifiers should be applied in given situation is Storyteller's
decision.
After applying all the modifiers we get the difficulty of roll, which is affected with level of
checked skill.
[Standard box - mechanics]
Rounding
During the play there will be many things to calculate - divide, multiply, rooting... Well, there
will be no rooting. Anyway, when we are rounding and there is no information to do
otherwise, it should be always a rounding down to closest whole number.
[End of box]
Opposed checks
There will be countless situations, where two characters will compete each other. For
example, one of characters may use shrewdness to see if the letter from brother wasn't
falsified by someone. In such case the base difficulty of roll (decided by Storyteller) must be
increased with number of successes beyond required during the skill check we want to
oppose. [Clear and transparent, right? Luckily, there is an example which explains how
this thing work in practice]
Attention: When we are writing about opposed check, we first put the put the skill that must
be opposed, so the first one to check. When only one skill is listed, we roll a check of the
same skill for both characters.
Example
Minstrel Jezkier, who seems to have s streak of bad luck, was unlucky enough to meet
Monique's admirer. That guy - named Osim - didn't want to inflict any harm to our bard, but
simply scare him off. Player decided it would be the best to make an opposed check for
proper skills. Osim got average (2) Suave, but good (3) browbeating. On the other hand,
Jezkier got excellent (4) Will, but poor (1) cold blood. Base difficulty of roll for browbeating
is average (4), so modified by Osim's skill it will be 4-3=1. Osim rolls 2d6 and gets "4" and
"5" - two successes, which is one more than required. Now Jezkier, if he doesn't want to run
away screaming like a sissy, must check his cold blood with difficulty of 5 (average [4] plus
one more from additional success of his opponent). Since the bard is poor at given skill, the
modified difficulty of roll is 4! As you can see, he has very low chances to resist Osim. Player
controlling Jezkier rolls regardless. The dices read "5", "5", "4" and "3" - one success short!
Our poor troubadour is forced to hit tails and run to... but that's another story!
The Sword of Destiny

Book of Combat
Geralt side-jumper, spinning in instant pirouette, the striga bounced off him, also spinning and
slashing air with claws. She didn't lost her balance, attacked again, instantly, from half-turn,
snapping teeth right before Geralt's chest. The Riv jumped in opposed side, changing the
direction of his turnover three times in whirr pirouette, confusing the striga. Jumping away,
he strongly, but without a swing, hit her on the site of the head with silver spikes attached to
his glove.
"The Witcher"

World of "The Witcher" is standing on sword's edge. In deep forests, caves and burial
ground live bloodthirsty monsters. In dark streets and alleys are lurking even worse monsters,
lavishly calling themselves humans. Willingly or not, characters will have to fight. Fighting
for lives - theirs and their dearest. Fighting for honour, cause, motherland.... or money.
Rules listed below are to help them with that.

Movement
During each round of combat each of fighters may cover distance defined by their fighting
pace and take any action after that. Characters may also cover twice or even bigger distances,
but will be unable to conduct any action after that.
Combatants who wants to move and take action can't split moves. It means that first they must
cover decided distance and take an action. Or take the action first and then move. Even if they
didn't move over the whole distance defined by their fighting pace, they can't move anymore.
In other words: A character can't move, taka action and move again.

Physical defence
Each character taking part in combat has PHYSICAL DEFENCE. It is a sum of modifiers
taken from Agility (check frame "Modifier of physical defence" below) and value of
corresponding skill - armed or unarmed combat. Use of so called improvised weapons also
falls under armed combat.
[Standard box - mechanics]
Modifier of physical defence
Agility level Defence modifier
1-2 1
3-4 2
5 3
[End of box]
During shooting only modifier from Agility is taken for account, sometimes influenced with
other modifiers like carrying a shield (check "Shooting and throwing", page 74).
Example
Mercenary Svarte Funkerheall has average (2) Agility and is good (3) with armed combat.
His defence in armed fights is thus 1+3=4

Scoring a hit
To hit an enemy, player must roll SUCCESSFUL CHECK of appropriate skill. In such cases
modified difficulty of roll will be equal to defence of enemy minus value of skill used by
character. In case of armed and unarmed combat it will be a check of Dexterity, and in case of
shooting and throwing - Perception.
Example
Svarte is fighting with his sword against other mercenary, Caspar from Mountains. His
opponent have defence equal to 5 (good Agility gives 2, good armed combat - 3). Thus to hit
Caspar, player controlling Svarte with good (3) armed combat must roll a successful check of
Dexterity with difficulty equal to 5-3=2.
Svarte got average (2) Dexterity, so player is rolling 2d6 - each dice must score "4", "5" or
"6". Fortune is on mercenary side - two "4". The Fate Dice didn't score "6", so it had no
influence on the outcome of this strike.

[Standard box - mechanics]

Optional rules
It may happen that opponent's defence - after calculating all modifiers - will be equal to
attacker's skill. In such cases Storyteller may decide that a roll is still needed (read frame "
Unlucky coincidence", page 63), but only using the Fate Dice. If it scores "1", attacker
missed.
There will be also countless situations where opponent's defence will end up so high that
difficulty will be higher than Dexterity or Perception of attacker. Theoretically scoring a hit is
impossible in such cases. Storyteller may still decide to give player a chance. Fate Dice can be
also very useful here (look "High difficulty of roll", page 63).
After all so well trained fighter like Geralt shouldn't have any troubles with average inhabitant
of Rivia. And yet thanks to certain fatal circumstances he was greviously wounded...
[End of box]

Scoring a hit on laying enemies

It's much easier to hit laying person. If a knocked over is still defending (e.g. rolling on the
ground), the defence is lowered by 3 (look "Situational modifiers", page 79), but it will still
require a hit roll. If the laying is not moving (unconcious, asleep etc.), hit is automatical.
Attackers may also decide which part of the body they want to attack (look "Place of hit",
page 70). Of course Storyteller must first allow that.

Combat Points (CP)

Combat Points represents practical part of trained fighting skills and natural capabilities of
fighters. They are a sum of endurance, agility, fluency of movements and training. Each
character has defined poll of Combat Points, equal to doubled sum of Agility, Construction
and shooting, throwing, armed or unarmed combat (we take the higher of them all [We are
jumping a bit ahead here. It wasn't till expansion about dryads that shooting and
throwing were counted for Combat Points, but since our goal is to translate the whole
game with its expansions, we treat this one as correcting a mistake]). CP are used for
combat manoeuvres more complicated than standard slash/thrust or hitting someone with fist
or kicking. When all CP are used, a character can still fight, but won't be able to do anything
special.
CP can be used for more than just combat manoeuvres. Attackers may declare before each roll
that they use more points than needed (e.g. when performing a manoeuvre) or just spend
points for given attack. This means a character put more effort in that manoeuvre or was more
precise with the strike. Each CP can be used to add ONE to the outcome of any SINGLE dice
used for roll. You must remember that you can add only 1 to the dice, never more. Decision to
which dices the 1 should be added is made by players after the roll, but amount of points
spend must be defined before the roll. In other words: After the roll is made, the amount of
"3" treated as successes will be equal to amount of spent CP.
Combat Points can be regained in two ways. First of them is 8 hours of continuous rest (like
sleep), after which the poll will be refilled to maximum. Second requires to use concentration.
After a hour of continuous meditation will regain a Combat Point for each level of that skill.
Both methods can be combined. But never forget that only a single rest a day will allow to
restore the whole poll of CP and Storyteller may limit amount of meditations or simply make
them impossible in given circumstances.
Example
Known to us already mercenary Svarte Funkerheall got average (2) Agility, excellent (4)
Construction and he is good (3) with armed combat, while average (2) with unarmed combat.
From skills we take the highest, so armed combat. Poll of his CP is then (2+4+3)x2=18.
During his journey through mountains Svarte met Caspar. Since he had no place to run away,
he decided to face his opponent. Instantly he spent 2 CP in his first strike. In roll of 2d6 the
dices read "2" and "3". Unfortunately, only one of spent points was used, since 2+1=3, which
is still not a success.

Using Power
Witchers are unique fighters. They can use Arcane Points (check book "Something more",
page 87) just like CP, so "paying" with them their manoeuvres etc. AP should be treated as if
they were expanding the poll of CP.

Time
We divide combat on short periods of time, which we will call CLASHES (rounds). Each
clash is an attack and defence for each of adversaries - so an action of all fighters. While hits
can be made really fast, each clash takes about 10 seconds. Of course in reality it works much
different, but remember that we are talking about game world.
Attention: Combat manoeuvres should be declared before they are performed.

[Standard box - mechanics]

Optional rules
Increasing defence
Each character using skills armed and unarmed combat can increase own defence, but
simultaneously decreasing chances of hitting opponents. But maybe this will turn out as the
only way to survive.
Players must declare that their characters are GOING TO DEFENSIVE. In such case from the
moment characters started to defend themselves tillthe change of decisions, their physical
defence is increased. How much? Exactly by the same value as their armed and unarmed
combat (so good skill will allow to increase defence by 3) - we take the skill that is currently
used. Unfortunately, going for defensive is made on price of attacks. Each point of increased
defence will make hitting your enemy harder by 1 point.

Increasing attack
Attacking characters using armed or unarmed combat may increase chances of hitting
opponents, but on price of own defence. By doing so they may have better chances of
breaking resistance of their enemies.
Players must declare that their characters are GOING TO OFFENSIVE. From the moment
characters started to push till the change of decisions, chance of scoring a hit is increased by
level of armed or unarmed combat (so excellent skill will decrease difficulty of scoring a hit
by 4). Of course we take the skill that is currently used. Each point used for attack decreases
by 1 physical defence of attacker.

Notes
Note 1: Each round of defensive/offensive costs a character 1 Combat Point.
Note 2: You can go into defensive/offensive only during combat. It's not possible to do so
when a character is casting a spell, praying or using a sign. In other words - it's only possible
during unarmed or armed combat.
Note 3: Character in defensive/offensive can't perform any combat manoeuvres or charge.
They can still dodge.
Note 4: Modifiers for hitting and defence should be taken from round to round of a character
who went into defensive/offensive.
[End of box]

Initiative
At the beginning of combat each participants roll d6 and increase the outcome by their
Perception. Character with highest score acts as the first and after that - in decreasing fashion
- all the remaining characters. In case of equal outcomes, character with higher Agility is
faster. If in such case Agility is also equal, characters are doing their actions simultaneously.
When it's turn of given character, player (or Storyteller, when it's a monster or background
character) decides what action is taken. Then appropriate checks are made.
Attention: Initiative is decided for the whole combat.

Delaying actions
Players may decide to delay actions of their characters. In such case when it's their turn, they
declare they awaits the outcome of events. They may for example declare their character is
standing with drawn bow and awaits for first movement of enemies - they will act at first
provocation. Or they may decide to wait for enemies attacks to dodge them or - when the
strike missed - attack themselves.
Attention: Storytellers can't allow delaying actions when players declare "I'm waiting till he
does something". Players must be very descriptive when their characters will take their action.

Increasing initiative
There will be countless situations where players will want to act as a first in the round. In such
cases they may use the whole action of their characters, after which in next round they will
behave as if their initiative was equal to 6 plus Pe. Thus characters will perform their actions
according to their new place in queue, using new value of initiative. [This one is vague - does
it mean the initiative was changed for the whole combat? Does it mean new initiative for
single round? We will never know - authors never clarified this one in any of interviews
or discussions]

Vitality and its stages

As we know, VITALITY (vit) of characters is linked with their Construction. They may
survive amount of damage (dam) equal to 20 plus Co x3. But with each new injury their
overall state will deteriorate. Thus vitality should be divided on four STAGES (or states):
healthy, beaten-up, wounded and dying (referred also as first, second etc.).
This division is put in "Table of vitality and it's stages" on next page.
[Standard box - mechanics]
Table of vitality and its stages
Construction Vitality Healthy (1.) Beaten-up (2.) Wounded (3.)Dying (4.)
Poor (1) 23 6 6 (12) 6 (18) 5 (23)
Average (2) 26 7 7 (14) 6 (20) 6 (26)
Good (3) 29 8 7 (15) 7 (22) 7 (29)
Excellent (4) 32 8 8 (16) 8 (24) 8 (32)
Legendary (5) 35 9 9 (18) 9 (27) 8 (35)
Attention: In brackets we put sum of damage, which characters must suffer for their condition
to change. For example, when character with average Construction will suffer more than 7
damage, he will be beaten-up. When he will receive another 8 (15 in total), he will become
wounded. Until the sum of damage won't exceed 20, the character will be still (already?)
wounded.
It's easy to see how stages are counted. When total of vitality is divided by four, each stage
takes 25% of that. If it's not possible to divide it by 4, we increase by 1 healthy stage, beaten-
up and so on - until the rest from quotient is used.
[The kicker? Average character with basic weapon deals between 3 and 14 damage.
Surviving third attack requires a sturdy armour for most of humanoids. Surviving
projectiles... well, good luck]
[End of box]

Effects of injuries [aka Why this system is lethal]

He woke up and with surprise noticed the pain teasing his thigh was gone, and the thudding,
skin-stretching swelling was gone too. He wanted to reach with his arm, to touch, but he
couldn't move (...) He was tightening and expanding fingers, rhythmically repeating in
thoughts no, no, no, no I'm not... Paralysed.
"Something more"

Of course the most obvious effect of high amount of sustained damage is death of a character.
But the more injuries are accumulated, the harder it gets to perform different tasks.
Healthy and beaten-up characters don't have any problems and may do whatever they want.
Wounded characters got difficulty higher by 1 for their rolls linked with physical activities.
Dying characters got all their check harder to perform by 1. Not only that, but in the latter two
stages, skills are accordingly lowered by 1 for physical and then all abilities. In case of casting
spells things work slightly different - read on page 92.
Injuries may also affect each body part - check "Place of hit" on next page.
Attention: Dying characters must get a proper medical attention in less than a hour - or die. In
other words, someone with skill healing or capable of using healing magic must take care of
such characters.

Example
Svarte has excellent (4) Construction, so his vitality is 20 + 4x3 = 32. Stages of his health
look this way: if he sustains 1-8 damage, he will be still healthy; 9-16 - beaten-up; 17-24 -
wounded; 25-32 - dying. Inflicting him even a single point of damage more than 32 will kill
him.
During his encounter with Caspar from Mountains, Svarte received 7 damage, so he remained
healthy. Bad luck was following him, as before he got any chance to heal, Caspar's
companions show up. Svarte decided he has no chances and retreated on previously spotted
position, but he still managed to receive an arrow, which dealt another 4 damage. In total that
gives 11 damage, so he's beaten-up, but it's still nothing to be afraid off. But our mercenary is
really unlucky, as soon enough he encountered highway thug, who beat his every bone,
dealing another 8 damage. Poor Svarte suffered in total 19 damage, so he's now wounded and
must be very careful. If he receives more than 5 damage, he will start being dying.

[Standard box - mechanics]

Place of hit
2d6 Body part
2 Head*
3 Left leg
4-5 Left arm
6-8 Torso
9-10 Right arm
11 Right leg
12 Torso**
* Attacks for head are treated like critical (page 74)
** Critical hit
[End of box]

Place of hit
During fight hits and attacks are usually aimed at random. Fighters are trying to bypass
blocks, look for open etc. Thus place of hit may be decided at random, by rolling 2d6 and
checking the result in above frame. It simply means our character managed to attack this part
of enemy's body that wasn't guarded.
Of course none of body parts is "immortal". Thus damage must be counted in two ways. First,
all sustained injuries sum up, which affects state of health of characters. Second, damage
inflicted to any body part also sums up. Thus when opponent hit our character in right arm,
the damage will be both for the arm and overall health of that character.
If damage sustained by given body part (aside from torso and head) will go beyond beaten-up
- so they will become wounded - a character can't use that limb till it's healed. And if the
damage is big enough to go dying stage, it should be assumed the limb was lost.
It works slightly different with attacks aimed for head. If head trauma goes to wounded,
character falls unconscious. If it goes to dying, well - bye bye, head...
Damage dealt to torso only affect overall state of health. Thus torso sums up all injuries
sustained to any part of the body. (check "Character sheet", page 57).
Attention: All damage coming from diseases, bleeding, magic, poisons etc. are usually treated
as "on torso".

Example
As we know, Svarte has 32 vitality. Fighting with Grey Giant, he received 5 damage on right
arm (it's still healthy), 17 on left (which now hangs limp aside Svarte's torso) and 9 on torso.
In total - 31 damage "on torso"! So he's dying and just single step from death...

Overall note
It should be noted that rules about place of hit and sometimes even those about vitality stages
should only be employed in important duels, in final fights of a story or when facing main
antagonist. In remaining, less important engagements or brawls it's better to treat all attacks as
for torso and everyone is fighting without injuries till falling unconscious.
[So the authors were fully aware what they were doing here]

Stuns
The witcher hit with speed and strength of a lighting, attacking frontally, extending his arm at
full length. Heavy blade meet with a clang with Tailles' sword, deflecting it so hard it hit him
directly in the face. The knight howled, fell on his knees and touch the grass with his
forehead.
"The Voice of Reason 7"

There might be situations when characters don't want to harm their opponents too much - they
want to eliminate them, but not outright kill. In such cases players may declare they just want
to stun/neutralise their enemy. Inflicted damage will be reduced (subtract 3 from the outcome
of damage roll, with minimum of 1 damage) and person attacked in such way will fall
unconscious when reaching dying stage. All damage inflicted with intention of stunning will
be healed in next 24 hours to beaten-up stage. The remaining injuries must be healed in
standard way.
Note 1: Difficulty of hits when character is trying to stun someone is increased by 1 (it can be
assumed defence of opponent is increased by 1) when using blunt weapons and by 2 for any
other type of weapon.
Note 2: Projectile-based weapons can't stun. But it can be achieved with certain throwing
weapons.

Healing wounds
- Just a bandage won't do (...) We need a healer, priest, qualified medic...
"Last wish"

Sustained injuries can be of course healed. Healthy characters after a whole day (24 hours) of
constant rest will heal "themselves" from all their wounds. Beaten-up characters will take four
whole days (three to become healthy and another one to restore to full health). Of course first
their wounds must be tended.
Things look different for wounded and dying characters. They won't heal by themselves - they
need professional care. Healing a whole stage of health will take a week, spend on laying in
bed (so from dying to wounded - a week; and second one - from wounded to beaten-up).
Aside from that, such characters must be tended by medics with at least good healing. People
with this skill on lower level may also try to help wounded. But Storyteller may declare
healing check with difficulty of 6 for dying and 5 for wounded characters. Healing dying
characters will require two checks per week, while wounded - single. Such characters can also
be healed with magic or by using skill healing, but it won't instantly change their current stage
of vitality.
If wounded characters [wounded in sense being below half of their health, not wounded as
stage of vitality] are under care of person with healing, each 8 hours of care will heal amount
of vitality equal to medic's skill. Such healing won't change stage of vitality - characters will
always remain with one wound in their current stage. For example, wounded character with
good Co will always have 23 injuries before his health improves. [note that this game is not
counting how much health remained, but how much you are lacking]
Stage of vitality may be improved more quickly, by a check of healing. First the patient must
be healed so only a single point of vitality is separating from next stage of vitality. Then a
healer must perform a check of healing with base difficulty related with current health stage
(6 dying, 5 wounded and 4 beaten-up). If the check is successful, the stage will improve and
the "border" point of vitality will be also healed. But if the check is unsuccessful, the patient
will receive d3 of new injuries, which can't be restored for next 24 hours, unless magic is
involved. Such fast improvement of vitality's stage can be performed only once during the
whole therapy.
Attention: Aside from magic and fast improvement of health stage there are no other means of
healing. This means that a dying character can only be healed with magic, fast improvement
or by laying in bed for a long time to restore vitality.
Healing restores vitality "on torso" and on each body part (look "Place of hit", page 70). So
when we take a character that lost 7 vitality in total and is wounded in hand for 3 points to
heal him for 2 points, we will restore his "torso" to 5 injuries and to 1 on limb.
[Standard box - mechanics]
Optional rules
To ease
Early on it's better to skip rules about stages of vitality. Fights will be faster and easier to
perform. Also healing will be easier - just ignore stages and assume that: 24 hours of constant
rest will regenerate 5 vitality; 8 hours under care of someone with healing will restore vitality
equal to skill level (look also on page 36).
[To be honest, we rarely use other rules than this simplification - the game is simply
lethal with full rules and it's no fun to produce 2-5 new characters for each session]

To hinder
Storyteller may decide that wounded and dying characters should check their vigour
(modified accordingly) with difficulty of 5 and 6 respectively. If the check is successful,
characters don't need to take effects of their injuries into account. But when the battle is over,
they receive additional three damage (they weren't sparing themselves, right?), which might
outright kill them.
Attention: Such roll can be made only once per fight and it consumes an action of character.

At death's gates
There will be numerous Storytellers that may notice character dying too quickly. For them is
this optional rule. If characters will suffer more damage than their healthy stage (so 6 for
poor, 7 for average, 8 for good Construction etc.), they are at death's gate. Such characters
can't do anything aside slowly bleeding to death. If they won't receive any help for next three
rounds, they won't die, but will fall unconscious for next 24 hours, weakened by the whole
experience (unless someone healed them magically).
[End of box]
Example
As you recall, our wounded Svarte got 19 injuries. Barely alive he managed to reach nearest
village and it's healer. He was good (3) at his job and after a week he restored our mercenary
to beaten-up stage. Svarte decided to stay in the village for next three days for further healing.
He paid the healer for that time too. Storyteller decided there is no point to extend the healing
and decided that in 24 hours Svarte should be healthy. The mercenary thus got 8 injuries, is
healthy and can go back on his journey.

Dealing damage
The witcher slashed him on side, above hip, spinned in half-turn, gutted him, pushing the
blade, then evaded effortlessly wide and confused, desperate and graceless hit. The monster
opened his fish snout without making a sound and disappeared under the water, in which
crimson clouds started to expand. [Only when I'm translating it I've realised how mangled
is Sapkowski's syntax and sentence construction - Majron]
"A little dedication"

We know already the effects of damage. We also know how to heal them. It is the right
moment to learn how many we can inflict!
[Standard box - mechanics]
Combat skills
Fans of realism may decide that using battleaxe is different from slashing with sword. And
they are right. But the game mechanics require certain simplifications, thus our skills allow to
use all kinds of melee weapons, projectile-based ones and those meant for hurling. But we
fully understand such rules may not be suitable for all Storytellers and players, thus they can
divide on five subskills armed combat (accordingly: knives, lighter weapons, heavier
weapons, two-handed weapons with pole-arms and improvised weapons) and three shooting
(bows, crossbows and slings). Those skills should be trained separately - thus a warrior may
be good with heavier weapons and poor with knives while being excellent with bows and
only good with crossbows. Still, combat manoeuvres are learned only once and for calculating
of all factors the highest skill is taken.
[A moment for lengthy disclaimer from our team. This suggested division makes sense
with next table, as melee weapons are divided by listed classes: knives, light weapons,
heavy weapons and two-handed weapons. There were COUNTLESS attempts to revamp
the fighting system, mostly done by people who only read lite version of the game, but
none of them was even remotely close to being as simple and playable as original rules.
What most of them did was simply different level of multiplication for vitality and
damage and completely arbitrary set of rules. But what's most important in this game -
it's not the weapon that matters, but who wields it. Skills and stats are MUCH more
important than raw damage dealt by weapons. Smart-build for melee fighter allows to
kill someone with anything from heavy weapons category in single strike, while the
weapon itself deals measly d6 damage. Smart-build for ranger allows to kill a humanoid
with a pebble (d2+1). So in this particular game adjusting weapons' damage, protection
of armours and changing amount of vitality to "revamp" fighting is like trying to make
your car drive faster by changing radio station you are listening to. We just hope that
following rules are translated transparently enough to drive the point home, as the chief
reason why we are doing this translation is our fondness with those rules in action and
how they are able to show importance of training for fighters and not how flashy are
toys they use.]
[End of box]
To deal damage, you first need to hit your enemy. After that everything depends on what kind
of fight it is. Roll of dices determining number of inflicted damage is called DAMAGE
ROLL.
 Damage dealt in unarmed combat are equal to d3 plus Strength of attacker plus
potential modifiers [like armoured gauntlet used for boxing]
 Damage dealt in armed combat (thrown and melee) are equal to SUM of dices used by
given weapon (look "Damage dealt by weapons" below) plus double the Strength of
attacker plus potential modifiers
 Damage dealt by projectiles are equal to SUM of dices used by given weapon plus
potential modifiers (i.a. Strength for certain bows).
[Standard box - mechanics]
Damage dealt by weapons
Weapons used for melee combat
Name Damage
Knives*, daggers*, stones* d2+1
Lighter weapons (clubs*, short swords, sticks,
canes, hatchets* etc.) d3+1
Heavier weapons (swords, sabres, cutlasses, rapiers,
battleaxes, bludgeons, maces, short spears*, javelins** etc.) d6
Two-handed weapons and pole-arms (two-handed swords***,
two-handed axes***, pikes, glaives***, halberds***,
guisarmes*** etc, but also lances**** 2d6
* This weapon can be thrown
** This weapon can be only thrown
*** To use this weapon it takes at least good Strength
*** This weapon can be used only while riding. It takes only one hand to use.
Ranged weapons
Name Damage
Slings* d3+1
Short bows 3d3+1
Long bows** 2d6+1
Composite bows*** 2d6+5
Light crossbows 3d6
Typical crossbows**** 4d6
Heavy crossbows**** 5d6
* To damage dealt by slings you also add Strength x2, just like for stones.
** To use long bows characters must have good Agility.
*** To use composite bows characters must have good Agility and good Strength. Strength is
also added to damage dealt by them.
**** You can shoot from typical and heavy crossbow only once per two rounds, reloading for
the other.
Note 1: With Storyteller's permission, characters may buy a bow adjusted to their Strength. It
means the draw is bigger and allows to shot arrows with more power. In such case characters'
Strength is added to damage roll. Composite bows are treated by default as adjusted.
Note 2: Halflings using slings may use either shooting or throwing skill, picking higher of
them.
[End of box]
When using any weapon, the most common modifiers will come from magic enchantment or
quality of the weapon.

Example
Mercenary Svarte, with good (3) Strength, is using two-handed sword. Each time he hits his
opponent, his damage roll is 2d6 and to the outcome he adds (so he can inflict between 8 and
18 damage). Attacking with knife he would deal 7 or 8 damage. Fighting unarmed, Svarte will
deal d3 damage and to the outcome he adds 3 (so he will deal from 4 to 7 damage). Shooting
from typical crossbow he will deal 4d6 damage (so from 4 to 24). Using composite bow
instead he can deal 2d6+5 plus 3 (from his Strength), so between 10 and 20 damage.

Critical hits
When during a hit roll there will be more successes than required, each of them will increase
the damage by +3 (those are always added in the end and never multiply, not even in case of
critical hit).
In combat extraordinary success (look page 63) means a critical hit, which will double the
inflicted damage. In other words, we make a damage roll with dices proper for used weapon,
multiply it by two and then add modifier from Strength of character (and all other potential
modifiers, like from additional successes).
Attention: All hits on head are treated as critical. When we attack head, the damage is
automatically multiplied by two, just like written above. But when it's a critical hit on head,
the damage should be multiplied by 3, not just 2.

Example
Svarte critically hit with his two-handed sword on torso. So he rolls 2d6; it's "7", which
multiplied by 2 gives 14 - it's a critical hit. To this outcome player adds 6 (Svarte got good
Strength), with final result of 20. The opponent thus receives 20 damage on torso. If Svarte
score that critical hit on head, he would inflict 27 damage, probably killing his opponent on
the spot.
Shooting and throwing
The arrow hit the eye, deeply stuck in skull, up in the occiput. The fletching was made with
coloured yellow stripped flaps of pheasant's hen. The shaft was jutting above the tall grass.
"The Sword of Destiny"

[Standard box - mechanics]

Range of weapons (in meters)
Name Close Medium Long
Stone 1-9 10-18 19-30
[We adjusted this one, as stone got range of TEN meters in total, which is atrocious. It
makes sense with knives, as it's a difference how they hit you, but not with god-damn
rocks that will hit you equally regardless of their own spinning It's even more justified
given how range decreases damage]
Short spear 2-6 7-9 10-12
Light crossbow 1-20 21-40 41-60
Typical crossbow 1-50 51-75 75-100
Heavy crossbow 1-65 66-120 121-140
Long bow 2-40 41-100 101-220
Composite bow 2-40 41-150 151-260
Short bow 2-25 26-80 81-120
Javelin 1-10 11-30 31-40
Sling 2-15 16-40 41-100
Dagger/knife 1-5 6-8 9-10
[End of box]
In case of shooting and thrown weapons to see if the projectile reach its target, it only takes
standard check of attribute linked with skills shooting and throwing - Perception - with
difficulty lowered by the level of skill. Defence is only affected by Agility of opponents and
shields (smaller ones will increase defence by 1, while bigger, like pavise, by 2; check frame
"Armour" on page 76), of course only when they have chance to cover with them. Arrows,
bolts, knives etc can be dodged.
Range of such weapons is limited - they are only effective on given distance and at different
degree, depending on the distance between attacker and target. Hence we distinguished three
categories of range: close, medium and long (check frame "Range of weapons"), expressed in
meters. Beyond long range no projectiles can be hurled nor shoot. Opponents can't be hit at
shorter range than close.
Depending on the distance are also chances of hitting and damage that is dealt. Scoring a hit
in close range doesn't provide any modifiers. Shooting and throwing on medium range
increase the difficulty of hit by 1 and the damage is decreased by 2. On long range, the
difficulty of hit is increased by 2, while damage is reduced by 4. In normal circumstances
attacker usually also see their target.
Attention: It may happen that after modifying dealt damage, the opponent won't be even
scratched.

Shooting at crowd
Often characters will have to shoot (or throw) at fighting crowd. In such cases following rule
should be applied. Each character or creature between the target and attacker increase the
difficulty by 1. In case of failed check, but with enough successes to shoot anyone in the
crowd, the projectile will hit one of the characters or creatures on the way.
Example
Svarte is fighting with two thugs, while their companion - with bow - is trying to shoot our
mercenary. Both the thugs and Funkerheall got their defences derived only from Agility,
providing them with 1 point. The archer is trying to hit Svarte, but the target is obscured by
his two comrades, so the difficulty was increased to 3. The attacker is poor (1) shot, but has
good (3) Perception. The difficulty of roll is 3-1=2. Storyteller rolls 3d6 and gets "3", "2" and
"5". The archer didn't shot Svarte, but got a single success, which is enough for his arrow to
impale one of the thugs. No one said that it's easy bread to be a marauder...

Armour
Incoming person was clad in armour made of combination of iron plates and waxed leather.
Domed, angular, black and blue breastplate was overlapping segmented faulds and short
cuisses on thighs. Armoured spaulders were bristling with sharp, steel thorns. Also the
densely grated visor and whole hounskull helmet were studded with spikes like conker pod.
"A Matter of Price"

Sole hit and damage rolls are not enough. The opponent may surely wear an armour,
protecting him from blows!
[Standard box - mechanics]
Armour: protection and limitations
Type of armour Protected body parts Limitations1
Brigandine Torso and underbelly Mo, Ag
2
Chainmail coif Neck None
Open helmet3 Head (but not face) Pe4
Closed helmet5 Head (with face) Pe
Chainmail hood Head and neck (without None
6
face)
[As you can see, we've got a problem with terminology here. We hope the sole place
protected by coif and hood will be sufficient enough to help you sort this out]
Chainmail/plate Legs and feet Mo
cover for legs
Hauberk Torso, arms, thighs Mo, De, Ag
Chainmail shirt Torso, arms (but not Mo, De
hands and neck)
Leather camisole Torso (but not neck) None
[Another tricky one. Original calls for "skórznia", which is this:
http://slavia.internetdsl.pl/kram/skorznie.htm
The closest thing we managed to produce was that leather camisole, but it's not even
close. And this thing is by no means the same as gambeson]
Back/chest plate Back/Torso (but not Ag
underbelly)
Plate armour Arms (without hands) De
for arms
Gambeson, studded Torso, underbelly, arms None
leather jacket (but not hands and neck)
Plate/chainmail Hands De
gauntlets
1
Which attribute is restricted by wearing giver armour (which decreases their value by 1 -
check below for more information).
2
Attached to lower parts of helmet.
3
For example a kettle hat or cervelliere
4
Only hearing
5
E.g. great helm or hounskull
6 The hood is on soft quilt and protects just like soft armour (1), but worn under helmet, it
sums up with its protection (which gives us 3 parry).
Attention: Limitations coming from putting on different parts of armour are summing up, but
only for the attribute they affect.
[End of box]

[For sake of not sitting with dictionary and consulting with local reconstruction group,
as for now we skip this table. It contains list of different types of armours, which parts of
body they protect and which attributes they may affect. It has barely any impact on a
game as such, but is tiresome and time-consuming to translate.]
For simplicity we divided ARMOURS on three groups: soft/leather, chainmail and plate mail.
Under those names will be countless types of armours covering different body parts - for
example breastplate (torso), chainmail shirt (torso and arms), long chainmail (torso, arms,
tights), full plate or chain mail (whole body), brigantine (torso) - check also "How to wear
armour?", page 77 and "Armour: protection and limitations" above
If body part hit by attack was protected by armour, number of inflicted damage should be
lowered by PARRYING of given protection (check frame "Armours", page 76). If the armour
is worn in layers (eg. plate armour with chainmail or chainmail over gambeson), the value of
parry is ADDED UP.
Unfortunately, wearing some types of armours affects movement. It applies to chainmail and
plate armour - the first is very heavy, the second is much lighter, but rigid. Wearing them may
DECREASE Movement, Perception, Dexterity and Agility by 1 (look frame "Armour:
protection and limitations" above), which will of course affect also secondary parameters or
even certain skills (check frame "Skills and armour"), but it doesn't affect number of dices
used by armoured character for hit rolls [The underlined section took us few hours to
decide how exactly the rule should be interpreted - it's VERY messy in Polish as it lacks
vital notation who's dices aren't affected. After analysing the sentence, context and
reminder of the book and it's expansions and going as far as consulting it with local
reconstruction group we decided that current state was intended - characters wearing
armour is simply used to its limitations in combat, so they aren't bothered by them, but
outside of combat it's simply hard to perform different tasks in them, thus outside of
combat the armour piles up the limitations]. It's easy to calculate that wearing both plate
and chainmail will decrease attributes by 2.
Attention: Of course moves of fully armoured character, which means armour protecting torso
(breastplate, cuirass with chainmail) and limbs (upper and lower) and helmet, will be limited.
It will make combat manoeuvres harder (check below) and aiming (check page 80) and
dodging (read at page 78), increasing their costs by additional 1 Combat Point.
[Standard box - mechanics]
Armours
Name Parry Putting on* Putting off
Soft armour 1 1 minute/1 minute** 5 rounds
Chainmail 2 2 minutes**/2 minutes** 1 minute
Plate mail 3 5 minutes***/4 minutes*** 4 minutes**
Helmet**** 2 1 round/1 round 1 round
Shield***** 2 (1) 0 0
Pavise***** 3 (2) 0 0
* Before "/" mark we put normal time of putting the armour on. After - putting it on hastily, in
hurry, but that will affect the protection given by the armour. By game mechanics it means
that only torso is protected and that parry is decreased by 1 (the only exception are soft
armours, which always provide 1 parry). In case of plate armour only breastplate or even just
cuirass are worn (parry on torso - 2; rest of body - 0). Chainmail can be put on relatively
quickly, as it fits over the body with own weight and thus protects always in the same manner.
** If there is someone to help a character to put the armour on, required time can be halved.
*** Someone must help a character to put this type of armour.
**** Protects only head.
***** Protects torso, head and the side of body where it's held. Attention: Shields increase
physical defence against projectiles by number from bracket. Of course they provide both
parry and defence in the same time.
Attention: In column "Putting on" and "Putting off" we put rough estimation of needed time
to wear and get out of armour (which may be important when landing in water). "0" means
that shields can be discarded instantly.
[End of box]
When it comes to shields (pavise included), they make use of two-handed weapons and some
pole-arms impossible (look "Weapon and manoeuvres", page 83). But they provide both parry
and defence against ranged attacks and even some spells.

Example
Caspar fighting with Svarte is wearing a gambeson and helmet, while hiding behind a shield.
His parry thus is 3 on torso and parts covered by shield, 4 on head and 1 in the remaining
spots.
[Standard box - mechanics]
Skills and armours
Here is the list of skills that are affected by attributes lowered by armour:
Agility: Acrobatics, Flexibility, Sneaking, Climbing, Performance: dance
Dexterity: Characterisation, Falsification, Prayers, Magic, Craft (all based on De), Art (all
based on De), Cracking, Performance: playing on instruments, Witchers' signs
Perception: Lip reading, Listening, Searching, Spotting, Art: composing, Tracking
[End of box]

[Fancy box - fluff]

How to wear armour
Combining armours is common and obvious, everyone wants to be protected as much as
possible. But there are certain limitations of this process, rooting in the design and materials
used for protection. Just like socks pulled over shoes won't do much good, badly combined
armour won't protect against attacks (if it will be even possible to put it on).
Combining armour is guided by those simply rules:
 CHAINMAIL is worth the hassle only when combined with some soft armour, which
includes gambeson or some thick caftan, made of leather or cloth. Only lunatics wear
chainmail directly over their body and regular clothes.
 PLATE ARMOUR or BRIGANDINE by themselves provide good protection, but can
provide horrible abrasions, they go with some soft armour. This also works as
padding, helping to soak force of impacting hits. Usually people wear also chainmail
underneath (of course also over soft armour).
 CHAINMAIL HOOD put on bare head (if is the only protective gear) not only won't
protect at all, under the force of impact may in fact drive in wearer's head. It should be
worn over at least three hoods made of wool, but often they are outfitted with quilted
 coif for padding, made just like gambeson. If the chainmail coif is part of the helmet
for additional protection, it still goes with some additional padding.
[End of box]

[Fancy box - fluff]

Armours, coats of arms and adornments
It's common between nobility and knighthood of all countries to wear their coats of arms and
house emblems on their weapons or armours. Bu they are NEVER painted on armour's plates.
Painted or weaved pattern is made of thin cloth or other fabric and riveted to armour or let
under mounting slats. In case of soft armour it's common to put over it tunics or tight caftans.
Decorated in such way armours are colourful and embellish and during the heat of battle
allow to recognise friends.
[End of box]

Aiming
Geralt stooped in quick swing. The one-inch iron ball whistled sharply in the air and with a
crack hit the devil right between horns. The creature fall onto its back like struck with a
lighting.
"The Edge of the World"

If players want to strike specific body part and their characters aren't performing specific
manoeuvres (like incartata, which always go for legs - check "Manoeuvres for armed
combat", page 82), they may aim freely. In such case, the difficulty of hit is increased by
ONE (just like the opponent had higher physical defence) when aiming for arm or leg.
Aiming for head, neck or hands provides a modifier of TWO. Going for eyes, fingers or feet
will provide a modifier of THREE. Depending on situation and Storytellers' will those
modifiers may be increased.
Same applies to shooting and throwing - difficulty is increased by ONE, TWO or THREE (de
facto increasing physical defence of opponent).
Note 1: Each aiming (which means attempt to hit specific body part) will cost 1 CP.
Note 2: Character wearing an armour covering torso (plate or chainmail) and limbs (upper or
lower) and helmet must pay additional 1 Combat Point (so 2 CP in total).

Dodging
Characters with skill dodge can after being hit declare to evade it instead of attacking - of
course if they still have an action in that round (read "Actions", page 60). Successful dodge
requires winning an opposed check of attacker's skill and dodge of character. Success in this
check means that character wasn't hit and - what comes with it - didn't sustain any damage.
Characters with good (3) dodge don't require to use their action anymore to perform dodges.
In other words: they can attack, cast a spell etc and perform a successful dodge against
opponent's attack. If the dodge ends with failure, it will cost next action. [So never dodge
and then try to do something more - Żorż]
Note 1: Dodging can be performed only once per round, regardless of skill's level.
Note 2: Each attempt to dodge cost 1 CP.
Note 3: Characters wearing other armour than soft covering torso, limbs and head must pay
additional 1 Combat Point (so 2 CP in total).

Example
Fighting with Caspar from Mountains, Svarte Funkerheall got average (2) Agility and
Perception, good (3) dodge and good (3) armed combat. Thus Svarte's defence is 1+3=4, but
he decides to dodge opponent's attack. Attacking him Caspar must perform a roll with
difficulty 4-3=1. In 3d6 roll the dices read "3", "4" and "5" - two successes, which is one more
than needed. Base difficulty of dodge will be 4 (Storyteller decides that the situation doesn't
require additional difficulty than average - Svarte got enough place to evade) plus 1 for
additional success of Caspar - 5 in total. This difficulty is modified by Svarte's dodge: 5-3=2.
To dodge the attack, player controlling Funkerheall must in 2d6 roll get two successes. He's
lucky, as each of dices reads "5"! Svarte managed to evade Caspar's dreadful axe!

Surprise
It's always easier to attack enemy who is not suspecting the attack. Surprised person can't
defend properly and won't react instantly (in first round of fight the surprised lost their
action). When a character managed to sneak closely without being noticed or simply attacked
out of the blue or used any deception, defence of opponents will be reduced to 1 (regardless of
Agility or skills) and they can't retaliate in the first round.
Attention: Storyteller may decide that defence of surprised creature is higher when taking into
account in-born properties or magic influence.

Falling down
Countless times character may end up on the ground in fights. In such cases they are easier to
hit (check "Situational modifiers", page 79), and it gets harder for them to act (all checks gain
get their difficulty increased by 2). If the situation isn't unusual, toppled over character may
rise again, but it will take the whole action, not allowing to do anything else.

Grabbing
It will as common to end up in clenches of some monster or to catch someone else (read
"Manoeuvres for unarmed combat", page 80), which will allow to grab the opponent
Depending on Storyteller's decision, grabbed person may perform certain actions other than
trying to get free. But usually they remain completely defenceless and may only hope for their
companions' help. Damage inflicted during grabbing is counted "on torso", while armours
protect against it only in halved efficiency (half of parry, rounded down, never below 1).
Victim wishing to get free must perform an opposed check of unarmed combat of grabbing
person or creature and own acrobatics, flexibility or unarmed combat with base difficulty of 4
(or higher, when decided by Storyteller).
Attention: Getting free from a grab - using mentioned above check - will cost an action.
[Standard box - mechanics]
Situational modifiers
During fights, combatant don't just stand motionless one against another and combat is not
held in perfect conditions. Fighters move, stop, one higher, other lower etc. There are also
fights in streams of rain or in darkness. All such elements affect difficulty of hit rolls.
Attention: "+" means increased difficulty, whole "-" means decreased. They can be treated as
bonus or penalty to defence.
Situation Armed/unarmed combat Shooting/Throwing
Defender is
running none +1
invisible* +5 +5
stunned, lost balance -1 -1
encircled by 3 or more -2 none
toppled over -3 +2
escaping, climbing etc. -2 -2
hidden
up to 25% of body +1 +1
25-50% of body +2 +2
50-75% of body +3 +3
75-100% of body +4 +4
surprised 1 defence 1 defence

Attacker is
running +1 +1
mounted +1 +2
invisible -2 -2
blind* +5 +5
higher -1 none

Environment**
Storm +2 +3 (or impossible)
Complete darkness +5 +5
Strong wind +1 +4 (or impossible)
Slippery ground +2 +2
Moonlight +2 +3
Torchlight, dusk +1 +1
* Attacker must guess where the enemy is or use other senses go guide
** Affects everyone taking part in the fight
[End of box]

Charge
Each character - especially those mounted - may perform charges. It will increase damage of
that attack, but also opens for retaliation. To perform a charge a character must gain
momentum - it will cost an action and such character must run for at least 10 meters toward
enemy or gallop for 30. In next turn, in their attack, the charger reaches the opponent, attacks
and simultaneously stops when on feet or slow down when mounted. Momentum of such
attack multiplies the modifier coming from characters' Strength (or their mounts, which for
horses is 4) by FOUR (and not by two, like in normal attack), Unfortunately, defence of
charger, from the moment the charge is initiated and till next action, is decreased by TWO.
When charging on feet, any weapon can be used. When using a mount, it can only be made
with spear or lance (and they are usually broken after attack).
Note 1: Charging will cost 1 CP, when character use pole-arm or two-handed weapon. In
other cases (lighter and heavier weapons) the cost is 2 CP. Of course is hard to imagine
someone charging with dagger or stone...
Note 2: When charging, it's impossible to dodge, go to defensive or offensive.

Fighting with two weapons [Please note that this game is talking about serious version of
dual-wield fencing. Without countless perks and special moves, a character can't attack
with two weapons at once nor twice per round and it's not an easy thing to do even when
possible. By basic rules there isn't even a possibility to do so]
There are numerous warrior on the Continent who can fight, wielding a sword in one and
dagger in second weapon. Players' characters can also do so. But fighting with two weapons is
under certain restrictions:
 First of all, "basic" hand (usually right) can wield weapons from groups: knives,
lighter weapons and heavier weapons. The other hand (most likely left) can only hold
lighter weapon or knife.
  Secondly, all hit rolls are harder to perform. Attacks with weapon hold in "basic" hand
has modifier of 1 (like defence of opponent was increased by 1) and attacks done with
second weapon are modified by 2 (like defence of opponent was increased by 2).
 Third, fighting in such way you obviously can't use shield.

Fighting unarmed against armed opponents

When characters are fighting unarmed against someone wielding any weapon (but not
improvised one - it must be something purposefully created for combat, like sword, mace or
axe), their defence derived from unarmed combat is decreased by ONE. This rule portrays
advantages of weapon's reach and speed of attacks with it.

Combat Manoeuvres
True virtuoso of fight resembles a dancer performing different figures. Attack, lunge, leap
away - those are the most simplistic elements of clash. Each level of armed combat or
unarmed combat allows to employ more complex manoeuvres. They are all those aimed kicks
and blows or vibrant names of fencing figures that we all know from books of Andrzej
Sapkowski.
Of course in given round (using an action) character can perform only one manoeuvre, unless
the description states differently.
Characters don't know automatically all manoeuvres associated with given level of skill. They
must be bought independently. When they are bought during character creation, their cost is
equal to costs of performing them in Combat Points, but they use points for skills as
"currency". When players want to grant any of the manoeuvres to their characters later, they
must use as much PRO as the cost in CP x10 (read "Proficiency points" on page 55). As you
can deduct, manoeuvres costing 0 CP are known to everyone and everyone can perform them.
In tables containing manoeuvres (look pages 81 and 82), they are listed with skill
requirement, name of the manoeuvre, it's cost in Combat Points, how it affects defences and
effects of it. Under defences, two numbers are provided - one for attacker and one for
defender. Plus ("+") means the defence was increased and it's harder to score a hit; minus ("-")
- that it's lowered. Thus note "-1/+2" means that attacker lowers his defence by 1, while
defender increase his by 2 (simply put, performing certain manoeuvres fighters are exposing
themselves, while it's harder to score that specific hit). Those modifiers affect only attacker
and defender and it should be used until in next round the attacker will have his action.
Note 1: When character performing a manoeuvre is attacked by more than one opponent, such
character will have defence adjusted against all of opponents.
Note 2: Players must declare use of manoeuvre when it's their turn for action. Then they
spend required CP and try to hit their opponents. Failed hit roll means the manoeuvre wasn't
successful and spent CP are wasted.
Note 3: In given round only single manoeuvre can be performed.

Example
During character creation player controlling Svarte decided to buy a manoeuvre called
balestra. For this he also needs armed combat on at least average level. For the manoeuvre he
paid 2 points, because that's its cost in CP. If he wanted to buy this manoeuvre late, he would
have to pay 20 proficiency points. Performing balestra will cost the player 2 CP and a bit of
risk (defence of character will be lowered by 1 till next attack), but also inflict more damage
with it, of course if the hit will be successful.

Manoeuvres for unarmed combat

 Geralt, still not slowing his steps, quickly hit him, without swing, using his fist in studded
glove. He hit in the mouth, directly into contorted lips. Cicada's lips bursted like squished
cherries. The witcher hauled back slightly and hit again, in the same spot, this time with short
swing, feeling like with the energy of the hit his own rage was dissipating. Cicada, spinning
on one foot in the mud, the other in the air, spew blood and fell backward into the puddle of
water, landing supine.
"A Shard of Ice"
[Those are big enough that we decided to go with a full-fledged tables]
Level of
Cost Defen
unarmed Manoeuvre Additional effect
in CP ce
combat
Block 0 0/0 None
1 Punch 0 0/0 None
Kick 0 0/0 None
Combination of +1 to result on single, pointed by player dice
2 -1/0
hits (including Fate Dice) after the hit roll is made
Grabbing opponent (read page 78) and making it
impossible for him to act. In first round grappled
2 opponent is not receiving any damage. Any round
Grapple 4 -2/0 after that - 2d3+St of attacker, on torso. To get
free, grabbed must perform an opposed check of
the grapple and their own acrobatics, flexibility or
unarmed combat.
Incapacitating Not a standard block (look above), but as form of
3 3 +1/0
block attack. If the opponent is hit, damage is halved
+1 to dealt damage. Hitting vulnerable part of
body will remove opponents from fight for d6
Painful hit 5 -1/+2
rounds, unless they pass vigour check with
difficulty equal to damage dealt by this manoeuvre
Opponent is grabbed (read page 79) and both
fighters are laying on the ground. To get free,
Incapacitating grabbed must perform an opposed check of the
3 -2/+1
4 throw incapacitating throw and their own acrobatics,
flexibility or unarmed combat. Each round of this
grapple will deal 2d3+St of damage.
Destroying +3 to inflicted damage. Opponent is thrown on the
4 -2/+1
throw ground and laying.
Instant death of opponent who didn't pass vigour
Killing blow 10 -3/+2 check with difficulty equal to damage received
from killing blow.
Performed instead of standard dodge and working
as such, but check of unarmed combat is made
instead. If it's successful, character will not only
Taunting dodge 5 0/0
evade incoming blow, but also do it in such way to
5
lampoon opponent and making him look like
pathetic wimp who can't even hit anyone.
Hitting vital point allows to - depending on need -
Hit of vital point 11 -2/+2
blind, paralyse etc., without killing opponent.
Block: Covering and blocking out opponent's hits. It don't have to be declared - it's performed
automatically every time. In fact it's nothing more than holding proper stance.
 Punch, kick: Standard hits, that are numerous and common in brawls.
Combination of hits: Series of fast hits, treated as single manoeuvre. For example, a series of
pelting blows: left, right hook.
Grapple: Catching opponents and putting them in hold, which allows to inflict additional
damage later.
Incapacitating block: Block allowing not only to hold off the attack, but also inflicting some
additional pain, by twisting captured arm or topping over.
Painful hit: Aimed hit performed in such way to inflict as much pain as possible. For example
hitting base of the nose, solar plexus or crotch.
Incapacitating throw: Throw combined with hold, allowing to partially incapacitate opponent.
Destroying throw: Thrown made in such way to inflict as much damage as possible.
Killing blow: Blow made with intention of instantly killing your opponent - powerful punch
in the larynx, nose, lower jaw etc.
Taunting dodge: Dodge made in such way to make your opponent look like clumsy weakling.
Hit of vital point: Blow aimed at chosen vital point of opponent's body, made with intention
of blinding, paralysing etc. [This one is vague - is it about permanently crippling or just
doing it temporarily?]

Manoeuvres for armed combat

She leapt, the skirt fluttered in the air and, veiled in its tracks, the sword flashed in a short,
sparing cut. Geralt jumped away; the cloth didn't even brush him, and Renfri's blade slid over
his diagonal parry. He attacked instinctively, spinning their blades, trying to knock her
weapon aside. (...) She deflected his blade and slashed, aiming for his face. He (...) pirouetted
away, dodging her dancing blade and jumping aside again. She fell on him (...) and slashed
flatly from short range, spinning. Spinning with her he avoided the blow. She knew the trick
and turned with him, (...) ran the edge across his chest. (...) He turned again, (...) deflected the
blade flying toward his temple, made a swift feint and attacked. Renfri sprang away as if to
strike from above as Geralt lunged and swiftly slashed her exposed thigh and groin from
below with the very tip of his sword.
"The Lesser Evil"
[We know jack about English fencing terminology (Polish got rather unique set,
courtesy of vivid fencing tradition in the past and Sapkowski likes to mix them with
Italian terms to make lives of translators harder), so we will note each such name for
someone to fix it with proper vocabulary whenever we aren't sure or haven't found
anything more suitable. Those names will be put in green. Names without special
marking are those that we managed to find in English translations of Witcher's saga or
decipher from fencing glossary, so those stay as they are.]
Those manoeuvres are mostly meant to represent use of bladed weapons, such as swords,
sabres, cutlasses etc. In case of weapons such as axes, maces or bludgeons, we talk only about
normal hits and something resembling tempo, riposte and pirouette, and of course blocks
working as parry ["parada" is Polish name for standard fencing block, without doing
anything other than deflecting incoming attack]. Shorter pole-arms, like glaives, halberds,
ranseurs, spontoons or partisans can be used for all hits that are analogue to manoeuvres
meant for bladed melee weapons. Longer pole-arms, so three- and five-meter long pikes, can
only be used for thrusts (look below [originally "above", but for our convenience it's
"below", as we didn't divide the text with two tables] at "Weapon and manoeuvres").
Level of
Cost Defen
armed Manoeuvre Additional effect
in CP ce
combat
1 Slash/thrust 0 0/0 None
 Parry 0 0/0 None
Feint 2 0/-1 None
Balestra 2 -1/0 +4 to damage
Patinando 1 0/0 +2 to damage
Successful manoeuvre means that character will
deal damage with modifier equal to 4x St (and not
2
Stopping standard 2x St) to charging enemies. Not only that,
2 -1/0
charge* but charging lose their bonus from performing a
charge (damage modifier will be standard St x2
for them).
Riposte 3 -1/-2 +1 to all dices used for hit roll**.
Imbroccato 3 +3 to damage
Such hit deals twice more damage (result of
Thrust for damage roll is doubled, then all the modifiers are
7 0/0
3 uncovered*** added). Depending on situation Storyteller may or
may not allow free pick of attacked body part.
Pirouette 2 -1/+1 +5 to damage
Tempo 2 +2/0 None
Automatic hit on legs, +1 to damage. Opponent,
who won't pass acrobatics check with difficulty
4 Incartata 4 -1/0
equal to half or received damage will fall to the
ground
Instant death of opponent who didn't pass vigour
King's thrust 10 -3/+2 check with difficulty equal to half of received
damage.
5 Death of opponents in d6 rounds when they don't
Slash/thrust in pass vigour check with difficulty equal to half of
12 -2/+1
neck received damage or won't be healed (magically or
with healing - with mentioned difficulty of check).
* Stopper must use an action in preparation for the manoeuvre. Later, when enemy is close enought
to attack, stopper is performing standard hit roll (it won't cost an action, but can be made only
once). Successful check means that the manoeuvre was successful and charge was stopped.
** This bonus is cumulative with +1 to outcome from using additional CP, so it's worth to use
more CP when performing riposte [This move is a complete game-breaker with most of melee
builds, as it can turn most of the outcomes into successes, thus having much greater chance to
hit and score more successes than required = more damage]
*** Opponent can't expect this attack, be surprised, asleep, unconscious etc.
Slash/thrust: Normal slash or thrust
Parry: Block of incoming attack. Everyone who is not trying to dodge the attack is
automatically parrying, so in simple words - is trying to block other blades with own. It's
performed every time, each round, as it's a stance taken during fencing.
Feint: Known as fake - pretending to go for one body part, but actually aiming for another.
Balestra: Jump forward and lunge.
Patinando: Fast step forward combined with simultaneous attack, usually thrust
Stopping charge: Defence against charges, usually those of cavalry. Weapon should be
plugged into ground, usually leaning one foot on it. The pole-arm can be held with two hands
or with one, while the other is holding weapon like sword, sabre or cutlass. Successful use of
this action usually cause destruction of the pole-arm.
Riposte: Parry, which is instantly followed with counter-attack.
Imbroccato: Thrust under the blade or hilt of opponent's weapon
Thrust for uncovered: Surprise attack on vital point of opponent. While the name doesn't state
that, this manoeuvre can be performed also with bladed and blunt weapons.
Pirouette: Attack performed from spin, thus more powerful than normal, but also exposing the
attacker.
Tempo: Performing own attack during attack of opponent, instead of blocking it.
Incartata: Circular step back and thrust.
King's thrust: Thrust aimed directly into heart
Slash/thrust in neck: Attack aimed directly into throat.

[Standard box - mechanics. This box is relatively big, but there is no point to draw a
table for it]
Weapon and manoeuvres
There are many types of melee weapons, often differ greatly from each other - swords and
sabres are something completely different than five-meters long pikes or powerful bardiches.
Each type of weapon is operated differently, some hits are easier to perform, other harder and
other can't be made at all. There is not enough room for detailed analyze of all intricacies of
fencing and we had to simplify this noble art for the needs of this game. But to remain at least
slightly on side of realism, we present short collation of different types of weapons with
manoeuvres that can't be made with them.
Type of weapon Inaccessible manoeuvres Other limitations
Short weapons (knives, daggers) Balestra, patinando, king's thrust, None
slash/thrust in neck , pirouette,
stopping charge, riposte.
Slashing-thrusting weapons
(e.g. swords, sabres, rapiers) Stopping charge None
Thrusting weapons, one-handed Slash, pirouette, stopping charge, None
(e.g. epee)
Slashing weapons, two-handed Stopping charge Can't be used while
(e.g. two-handed swords). mounted or with shields
Blunt weapons, one- and Imbroccato, incartata, thrust, One-handed blunt weapons
two-handed (maces, bludgeons etc.) thrust in the neck, king's thrust, are useless for parry, so wise
stopping charge, riposte warrior use shield with them.
Two-handed weapons can't be
used with shields. Most of
hits are thus made while
standing behind someone.
Two-handed weapons can't be
used while mounted.
Slashing-thrusting pole-arms Lack They can't be used with
(e.g. halberds, bardiches, glaives) shields or while mounted
Thrusting pole-arms (e.g. pikes Slash, parry, pirouette None (with exception of
long spears, spontoons, lances) long, three or five-meters
long infantry pikes,
which can't be used with
shields or while mounted)
Attention: Certain axes or even maces can be equipped with very tasteful spikes, allowing to
perform manoeuvres based on thrusting. With Storytellers permission, characters armed with
such weapons will be able to perform imbroccato, incartata, thrust, thrust in neck and king's
thrust, but those manoeuvres will cost 2 CP more than usually.
[End of box]
[Standard box - mechanics]
Shooting manoeuvres
Fans of bows and crossbows surely noticed lack of combat manoeuvres for such weapons.
Unfortunately we lacked space to wrote them here. They will show up in first expansion to
"Witcher" game. [Advertising on its finest... - Zahi]
[End of box]

[Standard box - mechanics]

Combat: summary of rules
Before the engagement we determine initiative (d6 + Pe). When the results are identical, the
succession is based on Agility - first characters with higher Ag. If this still doesn't provide a
conclusion, such characters act simultaneously.

Clash, or round of fight

Everyone is performing each of the steps, one after another, based on initiative.
1) Declaration of action. It's worth to notice that each participant of combat decides what they
want to do when their turn comes. This allows to react toward previous actions of allies and
foes.
2) We perform actions: hit rolls, alternatively dodges, use of magic or performing any other
action.
3) We perform damage rolls (if the attack was successful, the spell worked etc.)
4) We determine inflicted damage, taking armour into account.
5) We check the vitality of attacked.
[End of box]

As for now, this will be all. We know what you thing now - "so much crunch for a game
that insist that doesn't use crunch". But in incoming, massive chapter for Storytellers,
the issue is addressed in countless ways, so don't panic. For now we made introduction,
list of skills with their use, chapter about how different actions are performed and
chapter about combat. Which left us with chapter about magic (the next one), chapter
about storytelling, two chapters of fluff, monster's book and all kinds and sorts of tables
about equipment, prices etc. We believe we will be able to pull the magic and storytelling
chapter in incoming week and the rest of the book in another one. After that -
expansions, but not in chronological order. Our aim is to put as much of mechanics as
fast as possible, so we will go as first for the most mechanics-based expansion about
Nilfgaard (new type of magic, numerous new manoeuvres, part about min-maxing,
traits, perks etc.), then do the one about dryads (it's the shortest expansion, as sizable
chunk of it was a feature about marketing of the system (which we won't bother to
translate) and thus informations about dryads don't cover even half of it), then the one
about spies, after which one about city of Novigrad, which will be followed with final
expansion - a scenario pack (almost no mechanics in it). Which is out of publishing
order, but who really cares about order, when you need mechanics and fluff.
We still didn't manage to collect articles from "Magia i Miecz" about Witcher, aside
from description of Zerrikania (which will be useful for players aiming to play as action
girls outside of ramification of Nordlings' sexism), so if anyone by any chance can
provide them - we would be very glad.
Something more

Book of magic and religion

[Here is a quote we were too busy to translate.
and it's from "Blood of elves", when Yen instructs Ciri about magic]

Magic is a force coming from the power overflowing the world, called Power or aura.
Humans learned to use it after the Conjunction of Spheres - massive interfusion of visible and
invisible worlds, matter and spirit. They've learned about it from elves, their older and
unloved brothers. They've soon developed their own way of practice, different from Aen
Seidhe's spells. This book is mostly about this force.
[Fancy box - fluff]
The Conjunction of Spheres
According to human measure, the Conjunction of Spheres happened about 1500 years ago. It
was a great interfusion of invisible with visible, matter with spirit, past with future. This great
interfusion of spheres caused emergence of strange crossbreeds of animals, like graveirs,
ghouls and other creatures without their own ecological niche. The Conjunction also caused
extinction of many species and unusual creatures. It is also when the first humans came -
according to elves - from different world, devastated by them in less than five millions of
years after emergence of homo sapiens.
The evaluation of the phenomenon is not explicit: elves perceive the Conjunction as a
cataclysm, which caused the extinction of many species and brought humans. Humans talk
about creatures, which showed up in that time and which supposedly are creations of Chaos,
endangering the order of the world. The only people who seem to be pleased with the
Conjunction appears to be the wizards, since it allowed them to use magic.
[End of box]
Magic is equally an art and a science requiring talent, in-born abilities and many years of
diligent studies and resignations. To became a MAGE, one mast pass many trials and tests,
but also took long and comprehensive education in one of the magical academies, learning
among others the difficult art of drawing Power from the elements. During their study bodies
of the adepts are put through magical procedures, making them more beautiful, decelerating
the aging process - and, in most cases, making it impossible to have children. It's all done
mostly for the sake of prestige: members of the magical trade should be dignified and present
themselves with class, look young, beautiful and devote themselves to magic, not family.
[Fancy box - fluff]
The community of mages is governed by magic Chapter and Council - institutions toward
which everyone is beholden their unconditional obedience and loyalty. [ATTENTION! In
Polish there is a huge difference between being beholden and actually having to do
something - being beholden only puts an obligation on you which can be freely ignored,
just like almost all the mages in the Witcherverse do] They can be compared to two-houses
parliament, in which Chapter, containing older sorcerers with the highest merits, is playing
the role of the upper house.
[End of box]
Things work differently for PRIESTS. Even if they dabble with magic, they don't go through
arduous training, but that doesn't mean they don't prepare for a long time. To use Power they
need a prayer and meditation, during which they enter a trance, allowing them to draw energy
similar to that of wizards and use it for specific spells. The ability of transforming aura is
treated as miraculous gift and grace of a god.
Then are WITCHERS, who know only few most simplistic spells, called signs by them.
Those spells are so simple it only takes a proper gesture and a bit of concentration to cast
them; there aren't even any words to  say. Witchers don't draw the Power from elements, but
from their medallions, which work as amulets carrying a supply of magical energy - and
serving few other, useful functions. If they want to reach a state of mind useful for drawing
and using aura, monster hunters artificially supplement themselves with special elixirs.
In our game magic can only be used by characters having skills: magic, prayers or witchers'
signs [This was later enhanced with psonic powers in the first expansion]. Those abilities
are also determining the trade or profession of a character. The last one allows only to cast
signs and is only available for witchers. Characters engaging with magic are fully-fledged
sorcerers, obligated to be loyal toward magic Council and Chapter. Knowing prayers means
being a priest of some deity.
[Standard box - mechanics]
Witcher-priest-wizard
The mechanics of game allows to create a bizarre characters, being a wizard, a witcher and a
priest in the same time. Of course it only depends on the Storytellers if such mix can exist in
their game. We discourage such "creations", since the simply don't fit into the setting. Even if
we can imagine a sorcerer or a witcher who at some moment of his life experienced
enlightening and became a priest, any other combination won't fit at all the Continent
described by Andrzej Sapkowski.
[End of box]

Power
- But I can already draw Power! And you told me yourself that Power is everywhere! Why we
are then slouching between bushes? The temple is full of energy!
- Of course, there is a lot of it out there. And that's exactly why it was build on that, and no
other spot. And that's why it seems so easy to draw out there.
"Blood of elves"
Power (sometimes called aura) is mystical energy, required to cast spell. All people using
magic and beings created with it can spot aura surrounding them. More sensitive can even
sense the turbulences acomplying spellcasting. Without proper training and in-born abilities
using of Power is very dangerous or outright impossible.
Power is penetrating the entire world, and it is in elements: water, earth, air and fire. The
easiest to access is the one in water. Sorcerer can draw from it even far away from seas, rivers
and lakes - all it takes is one of many underground water veins. The hardest to tame, the most
dangerous, but also the most powerful is Power from fire - from it can draw only the true
masters of magic. Some simple spells can be cast with aura draw from any given element;
more advanced and higher spells require to reach for specific element.
[Fancy box - fluff]
There are people who are neither mages, priest, witchers nor druids, but can on their own and
in uncontrolled way use aura. Power overflowing in them often leads to madness - it would be
wise to only use such characters as background characters.
[End of box]
Priests, as already mentioned, obtain their Power from meditation and prayers. Success is
solely related with devotion and fervour of a cleric. Power used by witchers is "harnessed" in
their medallions.
Some animals are very sensitive toward aura. Supposedly cats and dragons can even absorb it.

Power and virgins

- Modern youth! (...) They start so early! Only one thing is in their heads.
- What?
- What is it, don't you know, witcher, that a virgin, an untouched, wouldn't be able to use
Power?
"A Matter of Price"
 Supposedly virgins can't use Power - only sexual initiation releases the reserves of magical
energy. It's not a fully confirmed fact and there are different theories about it. [Basically a
shrug of god - you can play it both way, for the sake of your story. It's also VERY
inconsistent in the books, so apparently nobody was willing to open this specific can of
worms.]

Power in the game

In "Witcher: A game of Imagination", every person using magic has some ability to absorb
Power, meaning the maximal amount of magical energy that their body can hold. They are
called ARCANE POINTS (AP), which are equal to the doubled sum of Will, Dexterity and
one of the skills: magic, prayers or signs - if a character has more than one of those skills
(which might happen only under Storyteller's permission), only the highest is taken into
account. As you can guess, AP are counted very similarly to CP (look book " The Sword of
Destiny", page 67)
Before magic users will be able to cast some spell or chant a prayer, they must first
accumulate sufficient for this Power. It can be made "in advance", or right before using a spell
Attention: Accumulated in body Power can't be "contained" for more than a single day (till
sleeping).
A person who will draw too much energy and will exceed own limit, will most likely end up
dead, since accrued Power will simply explode (which is a reason why no person can "keep"
in their body more PM than it comes from the presented equation). In extreme cases, when the
PM pool is exhausted, wizards cast spells with the additional price of damage - one point for
each lacking point of aura. Only owners of amulets have access to more energy than their
body could hold. Power from talismans is after all "outside the body" (check "Amulets", page
105).

[Standard box - mechanics]

Drawing Power
Amount of obtained Power, or AP, is naturally limited. To help decide Storytellers what and
how is the following table.
Size of Proximity Amount
Water Fire Air Earth
substance of element of aura*
Vial of water, Grass, a
Direct
Small underground Small flame A gasp of air handful of d3
contact
water vein** dirt
Bucket, vein
Bushes,
Medium 0,5 m right beneath Campfire Light draft d6
boulder
feet**
Pond, well,
Big 2m underground Bonfire Light breeze Woods, rocks 2d6
river**
Primeval
Free-flowing Uncontrolled
Huge 10 m Gale wind forest, 3d6
water fire
mountains
* Per single drawing - during single turn, so 6 rounds. Mages can't in any way decrease the
amount of drawn Power, so drawing from burning down building will always give 3d6 AP.
They can avoid possible damage after passing a check of concentration with DR depending
on the size of substance (small means difficulty of 2, medium 3, big 4 and huge 5)
** Drawing from water veins requires first to sense them - check of magic with difficulty
depending on range from flow (accordingly 3, 4, 5 or 6).
Attention: Spell is cast in the same turn in which sufficient amount of energy was drawn - in
the last round of that turn.
[End of box]

Power of sorcerers
Wizards are drawing aura directly from elements or/and amulets. Number of obtained aura
depends on the element from which mage is drawing Power. [Not really - it's the size of
source, not the type of it. For now we will leave it as it is, but most likely fix it in final
edition] A single turn of focus and concentration allows mage to get certain amount of
Arcane Points (look frame "Drawing Power"). If the outcome of the test will end up with
more energy than the body can hold, each 2 AP above the limit will cause 1 damage, while
Power will stop on the maximal number. Successful check of concentration with DR
depending on size of the substance (small means 2, medium 3, big 4 and huge 5) allows to
prevent said damage.
During the drawing of Arcane Points it only takes to declare what element is used, while the
Storyteller will roll appropriate number of dices. It's worth to remember from which element a
character was drawing, so when it comes to casting spells, additional modifiers coming from
the element can be taken into account (look "Difficulty modifiers depending on element",
page 96). If in the morning a mage uses air, when he will later cast spells based on earth, they
will come with +2 modifier to difficulty. If he will draw Power right before spellcasting, he
might not manage it on time or won't have sufficient amount of Power. Both methods, as
shown, have their drawbacks and benefits. Players must pick which way of drawing Arcane
Points suits them more.
Attention: Storyteller might decide that during given day, mage can only draw from single
element. In other cases players with mage character should write down which element was
used for drawing AP, since that will affect modifiers during spellcasting.

Power of priests
Priest gets Power from his deity, sometimes helped with holy symbols and relics. Amount of
aura depends on how the orders of the faith are followed, but they never exceed the limit set
by the body of cleric (so the maximal number of AP body can "hold", decided by previously
given equation). To draw Power, priests must say the common prayer and start to meditated.
By this they gain connection with his deity, and if they were righteous followers, gain d6
points per turn of contemplation. They don't risk any damage.

Power of witchers
A witcher is drawing Power from his amulet, supplemented with elixirs (look "Witchers'
medallions", page 123, and "Witchers' elixirs", page 124). Their famous medallions are
nothing more than amulets. They contain set amount of Power and are the only source of it for
witchers. Used AP renew by themselves, six hours after complete exhaustion. Anyhow, the
amount of AP "stored" in medallion depend on witcher's capabilities, set by previously given
equation.

Example 1
Mage Perignon before going out for the rest of his journey decided to draw Power right now,
so in case of trouble he won't have to do it higgledy-piggledy. His Will and Dexterity are both
3, while his magic is excellent (4). Perignon can then draw maximum of 20 Arcane Points
(3+3+4) x2. If during this day he would have to cast spell costing more than 20 AP, he could
draw the lacking points either from an amulet or risk his health and use his vitality. Luckily
this day was exceptionally calm and the mage only used few Arcane Points to get rid of
mosquitoes. Remaining Power left his body during sleep, so in the morning he will have to
draw from his surroundings.

Example 2
Priest Groam (Will and Dexterity excellent (4), prayers good (3) - he can then get up to
[4+4+3] x2 = 22 AP) in critical moment invocates his deity. He chants common prayer and
starts four-turn long meditation. As a righteous servant and follower he gets from his deity
amount of Arcane Points equal to 4d6 roll. Should the outcome exceed value of 22, Groam
would still have 22 AP.

Example 3
Young witcher Cormac, who recently left Kaer Morhen, has excellent (4) Dexterity and his
Will and signs are good (3). Even thou witchers draw their AP from their medallions, he can
still have only (4+3+3) x2 = 20. Thus he must pay attention not to overuse signs. Should he
use strengthening properties of his potions, he will have more points to use.

Sources
- That's pure, primal Power! (...) She has no control over it!
"A Matter of Price"
Certain children, even if having troubles with casting spells, are alive containers of Power,
used by mages as Sources. In early days, where humans just started learning magic, they were
searched as valuable "helpers" of mages. Nowadays they are very rare: drawing Power from
Sources is treated as morally questionable, since it affects vital forces of Sources and leads
(no matter how well-treated they are) into premature death. On the other hand, Sources are
usually unable to control their Power, making them dangerous to their surroundings.
[Standard box - mechanics]
Sources in game mechanics
Source should be treated as alive amulet containing usually the amount of AP equal to tripled
sum of Will and Dexterity. Each drawing taking more than half of maximal amount of energy
will deal d6 damage. Source needs eight hours of sleep to regenerate aura.
We discourage playing as Sources, since they are extremely rare. It's better to keep them as
background characters.
[End of box]

Spells, prayers and signs

Mages use enchantments, called also spells (look "From the spellbook", page 96), priests
chant prayers (look "Priests' prayerbook", page 110) and witchers use signs (look "Witchers'
signs, page 121). All of those powers are learned from the very beginning of their path (so
during character creation), while clerics and mages also during their later life - from
experience and gathered knowledge (so when a characters are played by their players).
Amount of spells or prayers known to character at the beginning of the game is equal to the
value of related skill - respectively magic or prayers. Mages and priests usually don't pick
spells which they've learned. Thus we suggest the starting ones should be decided by
Storyteller (if it's different, the value of initial spells and prayers shouldn't exceed 50 PRO).
Witchers leave their schools, knowing all signs.
Attention: Common prayer is not counted into amount of prayers known from the start. They
are known to all acolytes right from the start.
Later learning of new spells and prayers solely depends on players' thriftiness and generosity
of Storyteller awarding with points of proficiency.
Example 1
Mage Perignon, leaving academy in Ban Ard, had magic on level good (3). He knew back
then spells: OCHRONA, GROT, LECZENIE. Later he worked for a while as assistant for
certain resident sorcerer, which not only improved his magic skill (which he knows now
excellently (4)), but also learned few new spells, like TELEPROJECTION or
SKANOWANIE.

Example 2
When freshly consecrated priest Krepp left the temple school, his prayers were average (2)
and he knew following incantations: common (as a follower he knew it automatically and it's
not counted into his pool of known prayers), O UZDROWIENIE and OFIARNĄ.

Example 3
In the best situation is witcher Cormac, who rode out of Kaer Morhen knowing all six signs!

Storing magic
Spells and prayers of player characters and background characters are learned by heart, to the
point of being able to recite them even if suddenly woken up from deep sleep. Of course the
memory is unreliable and during the adventures it might happen someone will forget given
spell or will have a chance to learn a new one (read further). This makes spellbooks and
scrolls useful, since they contain written down spell formulas. Almost every mage has in their
library book or few pages, which store known spells. They are written in Older Runes - the
oldest alphabet, known mostly to mages, priests and witchers (and it requires proper skill of
reading and writing). Even if there will be some man of science capable to decipher the spell
and figured out specific gestures, as "magically inactive" he would be still unable to cast the
spell.
Magical tomes are made and written as every other books. Sometimes to prevent laymen from
touching them, mages secure them with different traps. Or they write spells with special,
enhanced ink, which doesn't fade as easily. Information that writing down spells requires skin
of children or virgin blood are nothing more than gossips created by envy or ignorance of the
populace. But it should be remembered that magical books (if not properly secured) are as
sensitive toward water, fire and teeth of rodents as every other tome.
Things work slightly different for priests. Most of Nordling's religions don't have their sacred
scripture; there are however written-down canons of prayers and liturgical calendars. They
contain proper incantations, which are memorised during service, in schools or religious
colleges. Some more conspired creeds or sects (like the cult of Coram Agh Ter) pass their
prayers verbally, but acolytes - against direct bans - often write them down on their own.
Obviously witchers don't have any books or scrolls that would hold their signs... or do they?

Learning new spells

During his life mages are constantly in contact with new spells, which they will sooner or
later want to learn themselves. This can be achieved by few different ways:
* Learning from other mage (if he is convinced into that into the first place). Of course the
sorcerer might demand his price on cash, magical items or other spell. Learning spell in this
way will take the amount of days equal to half of the price in proficiency points (rounded up).
* Learning from a book. The problem comes from the simple reality - spellbooks don't lay on
every booth of local fair and are usually closely guarded by other sorcerers. You can be
assured that the owner will charge heavily for such book. Time of training is the same as if
studying from other mage.
* Looking up other mage in action. This is a form common between young sorcerers - but
also very unreliable, since not all details are always visible (Storyteller may ask for few very
hard checks of spotting, combined with skills like magic or knowledge: magic). To harness a
spell this way, it takes amount of days equal to its price in proficiency points. First casting of
such spell comes with +3 difficulty modifier. It's good for everyone's safety is such
experiment is held in some remote area. If the spell won't work, next time the modifier will
decrease from +3 to +2. If this time it will also end with fail, the modifier goes down to +1
and will stay like this until the spell is properly cast. Only after casting the spell in proper way
the modifier will reach 0. Attention: Between trials there should be at least a week of break,
which the mages spent on contemplation their mistakes.
When the spell is mastered, mage must spent amount of proficiency points given with each
spell. Additionally, a check of magic with difficulty equal to 2 plus 1/10 of the cost in PRO
(rounded up) is made to see if the sorcerer got everything right. Extraordinary bad luck means
that mage fumbled everything and must start everything from the scratch. In such case spent
proficiency points are lost. [Painful, right?] It the check ends with just normal failure, mage
must spend additional days on study (equal to half of previous amount, rounded up) and
additional PRO (cost of spell will be in such case equal to 150% of given value, rounded up).
Basic difficulty of second magic check should be decreased by concentration of learning
sorcerer, since this skill also governs of there was enough focus to learn the formula.

Example
As we remember, mage Perignon has excellent (4) magic. Unfortunately, while losing his job
as an assistant, he also lost his access to new spells. Luckily in an old antiquarian he found a
tube with a parchment inside. After an examination it revealed to be a formula of LATANIE
spell. Perignon has 40 PRO, so he can learn the spell, which will take him 20 days.
But that wasn't enough for our mage. He started searching for new spells and managed to spot
other sorcerer casting TELEKINEZA. For few days (10) Perignon was analysing the formula
of the spell and thinking how to cast it (during that time player passed a check of knowledge:
magic with difficulty of 5). For next few days (15) the mage tried different gestures and
intonations to finally decide he knows how to cast the spell (magic check with difficulty of 4).
Another few days (10) he was training all the gestures. Finally after 35 days he tried to cast
TELEKINEZA. For that the player is performing a magic check with difficulty of 4 +
(1/10x35) = 7,5 - rounded up to 8. [The book managed to round up to 7 in this passage... -
Wertamiś] Unfortunately the check ended with a failure. Perignon must now spend more
days on study, while the entire operation will cost him 35 + 18 = 58 PRO.

Learning new prayers

In case of priests there is only one way of learning new prayers. Clerics must pray to their
deity and ask for grace - and a gift: a new prayer. If Storyteller decided priest was doing a
good job with his duties and was living according to the principles of faith, he may grant a
new prayer. In such case player must simply spent required amount of PRO.

New signs
It may happen there are some witchers on the Continent using known only to few, secret
signs. Will they show up in Storyteller's tales? Who knows... but such signs must be first
learned by witcher. When and how? How much PRO it will cost? Everything depends on you.

Using signs, spells and prayers

The sorcerer moved his wand, shouting the spell. The pine growing on the river's bank
exploded with fire, entire, in single moment, from the ground to the top covered with raging
fire.
 "The Bounds of Reason"
Usage of magical power first of all requires three things: concentration, verbalisation of the
spell or prayer and making a proper gesture. In case of signs it only takes concentration and
gesture. Spells don't need to have overly complicated formula - sometimes few words are
enough. Prayers might have predefined form or be fully improvised. But remember they
should be full of praises and respect toward the deity.
Focusing allows to draw Power from elements (or an amulet) or contact the deity. Sometimes
the concentration must be additionally enhanced with something to better channel thoughts
and drawn energy into desired effect. That something might be different components - such
exotic and unappetising like dragon's blood or troll's dung or pleasantly prickling senses - like
witchers' elixirs.
Attention: Casting a spell and folding a sign takes a round (till the next action of
casting/folding, in which the "launch" happens), unless stated differently. In case of prayers,
required time is given in their description.

Checks of magic/prayers/signs
Magic, prayers and witchers' signs are unique abilities. First of all they allow characters to
use mighty powers described in this chapter. Secondly, they are in fact connected with two
attributes (look "Description of skills", page 19). When a character wants to cast a spell,
perform a ritual or fold hands in a sign, player is using Dexterity of said character. But if
character is performing any other action related with those three abilities (retuning an amulet,
trying to learn something about powers of given location, studying a new spell), check should
be based on Intellect.

Casting spells, saying prayers, folding signs

Not even getting up, Yennefer carefree waved her hand and said the spell. Water from the tub,
the one spilled on the floor and that still dripping from Geralt focused with a hum into a
semi-transparent sphere and with a whizz flew through the window. He heard a loud splash.
"A Shard of Ice"
For a character to cast a spell, successfully pray or perform a sign, player/character must:
* Declare such action
* Draw (or use gathered earlier pool) required number of AP. Mages should declare which
element is used (look frame "Drawing Power", page 88). They should be nearby the source of
aura or use an amulet. Number of Arcane Points drawn from nature depends on amount of
substance used (more AP can be drawn from a lake than a drop of water). For priests the
source of Power is their deity, contacted during meditation. Witchers use the Power of their
medallions
* Set hands or fingers in required way and demonstrate it to Storyteller. If the description
lacks direct clues, player have free will over the subject.
* Say the formula of spell or chant proper prayer. The specific content we leave for players to
decide, of course with Storyteller's help. Witchers obviously don't have to say anything for
their signs.
* Pass a successful check of given skill - for mages magic, for witchers signs, for priests
prayers. During the check all additional modifiers should be taken into account, for example
related with difficult conditions (look "Example difficulty modifiers for use of Power", on the
right) in which a character is acting, or using Power of specific element (look "Difficulty
modifiers depending on element", page 96)
[Standard box - mechanics]
Optional rule
Storyteller may allow before casting a spell, chanting a prayer or folding of sign to make a
concentration check (on which an additional round will be spend). If it is successful, player
may use the rule described in "Mechanics for concentration" frame, page 26.
[End of box]
Note 1: Spellcasting/chanting/folding can be interrupted. If during mentioned actions
character is injured, player must perform concentration check with difficulty equal to half of
received damage plus difficulty modifier of spell/prayer/sign. Successful check means the
character performed the action. Failed - the injuries broke character's focus, while AP spent
on spell/player/sign were lost.
Note 2: Amount of spent AP should be declared during spellcasting. This covers both AP
used for activation and for additional effects, like increasing spell duration or its might.
[Standard box - mechanics]
Example difficulty modifiers for use of Power
Depending on Storyteller's will those modifiers may affect all characters using Power - magic,
prayers or signs.
Casting/Praying/Folding is: Modifier
Wounded +2
Beaten-up +1
Distracted +1
Sleepy +1
Charged by angry mob +1
Dying +3
On fire +2 or not at all
In water +2 or not at all
Hanging on a rope +1
Using legs instead of hands +3
Tired +1
Tied-up +3 or not at all
[End of box]

Difficulty of roll for magic/prayers/signs

The difficulty of checks for magic/prayers/signs may be affected by two factors. The first one
is magical resistance of a creature upon which Power is used. It's described by modifier of
MAGICAL DEFENCE, counted in similar fashion to modifier of physical defence in combat.
It is a sum of specific skill (when a character is resisting spells, it's magic, when prayers -
prayers, and when signs - signs) plus modifier from Will (look frame "Modifier of magical
defence", below). Magical defence of objects is equal to 0, so the difficulty of casting spells
on them comes from other factors.
Attention: Characters might lower their magical defence to zero if they want to do so. THis
will make easier to cast, for example, healing spells. It cost an action to perform. It also cover
all spells/prayers/signs casted on such character till next action. It may happen the enemy will
use such opportunity for own gains...
[Standard box - mechanics]
Modifiers of magical defence
level of Will Defence modifier
1-2 1
3-4 2
5 3
[End of box]
The second factor are modifiers coming from complexity of spell/prayer/sign and the situation
in which characters are. The latter are for example the element from which character drawn
(look frame "Difficulty modifiers depending on element", page 96) and many other factors
(look frame "Example difficulty modifiers for use of Power", previous page)
Defining difficulty of prayer, Storyteller should also take into account following factors: does
the character is following ethics of his deity and what is the intention of the prayer. Priest can
(and even should) have problems with moving mountains or getting on foot from Skellige
Isles to the mainland, especially when doing so for own convenience and not to fulfil a noble
task or extend the glory of the deity (look "Prayer modifiers", page 109).

Example
As we know, Perignon has good (3) Will and excellent (4) magic. His magical defence
against spells is thus 2 (from Will) plus 4 (from skill). But with prayers and signs things work
differently, since Perignon's defence is only 2 from Will.

Critical magic
If check of magic, prayers or signs ends with more successes than needed, each such success:
* dealt damage is increased by +3 (this number is added in the end and never multiplied)
* healed injuries are increased by 3
* duration of spell is increased by 150% (so instead of 60 seconds it's 90)
* amount of spent AP is decreased by 5 (but 1 is always minimum)
Attention: Player with cooperation of Storyteller decides which of following effects took
place.
[Standard box - mechanics]
Optional rule
Extraordinary successes
Check of magic, prayers or signs might end with extraordinary success. It means that Power
worked better than character was expecting. The spell could, for example, deal twice as much
damage (as in case of critical hit), incantation covered entire congregation and sign affected
the monster much stronger. Everything depends on Storyteller's ingenuity. But one thing is
sure: in case of extraordinary success, power can't be overcome.
Extraordinary bad luck
If during the check caster was affected by extraordinary bad luck, the effect, even if
spectacular, may end up as completely different than expected. Probably they will be opposite
to desired and almost certainly unpleasant - both for the caster and his companion. Although
for generations sorcerers attempt to write up and class such undesired effects, Power is
constantly surprising them. Thus we will leave this on Storyteller's will.
[End of box]

Place of hit and spells

In case of damage dealing spells, such as GROT, OGNISTA SIEĆ or PIORUN KULISTY
(all on page 99) rules for place of hit are analogous to those from melee combat. Of course
Storyteller may also decide (especially in case of the latter two spells) that damage was dealt
on torso.
Attention: The same applies to signs and prayers.

Overcoming spells/prayers/signs
Certain spells/prayers/signs (indicated in their description [*] next to the name) can be
overcome. It takes opposed check of appropriate skill (given, of course, in the description -
for example concentration) with caster's skill - magic, prayers or signs. First
mage/priest/witcher rolls a specific check, which governs the sole performance of power. If
it's successful, it will affect modifiers for the person overcoming magic (look "Opposed
checks", page 64). Default difficulty of overcoming is always 4.
Attention: Spells can only be overcome once [So NO re-rolls], unless the description states
differently. It is performed in the round right after the spellcasting, when it's victim's action.
Of course it will cost that action.

Example
Perignon decided to cast KNEBEL spell on annoying him for a longer while youngster, trying
to learn something about magic. The victim doesn't know anything about spells, and his Will
is 2. The youngster has thus magical defence of 1. Perignon previously draw AP from earth,
so the modifier is equal to 3, as KNEBEL is a spell based on air. Our mage is at full health
and nothing is hindering his casting. KNEBEL on its own has the modifier of 0. So the final
modifier is 1 (magical defence) + 2 (modifier from used element) + 0 (situational modifier) +
0 (modifier of the spell) = 3. Perignon's magic is excellent (4), so casting of the spell will
surely succeed (3 - 4 = -1). But since KNEBEL can be overcome, he is performing Dexterity
check (as we recall it's good (3)). It reads "2", "4" and "5" - two successes!
The unfortunate youngster may attempt to overcome KNEBEL closing his mouth in next
round. The difficulty of vigour check will be in this case 4 (default) + 2 (successes over the
required minimum) = 6. As we see, Perignon will be enjoying silence for next 10 minutes.

Increasing power of a spell/prayer/sign

If mage, priest or witcher still has some Arcane Points left, they can be used to increase
strength and efficiency of spell, prayer or sign. Spending single point, you can add 1 do
outcome of any given dice. This rule covers all types of magic without exceptions and works
independently to options described with certain spells. It is analogous to the one related with
Combat Points (look page 67).

Example
Mage Perignon decided to cast UŚPIENIE spell on screaming brat, who was interrupting his
meal in the inn. He decided to draw Power from earth and spent entire turn on that: because
he has a big space under his disposal, he can draw 2d6 AP. After the dice roll, he gains 10
points. The sorcerer decides to use almost all gathered Power on spell (which costs 5), so he
can increase by 1 the outcome of four dices. He performs the magic check. Default difficulty
of spell depends on magical defence of child, equal to 1. Because Perignon is excellent (4)
mage, it shouldn't cause any trouble. The boy has the right to resist the spell: all it takes is an
opposed check of vigour. But Perignon is powerful mage, while the boy is just an average kid,
thus the Storyteller decided it's pointless to perform an overcoming check. The brat falls
asleep and Perignon can eat his soup in peace. If he would like to cast the spell on other mage,
things would obviously work differently.

Magic and armours

More fond of armours players might assume that with sufficient amount of metal their
characters won't be affected even by magic. That's not true and many warriors learned it the
hard way. To defend against spells in most cases one must rely on in-born attributes. It also
works slightly different for spells from pyrokinetic group. Against them armour protects
worse than one can assume: the number of stopped damage should be divided by two.
Armours stopping only 1 point of damage won't protect at all against magic. They "work"
normally when their wearer is hit by physical object put in motion by magic - when for
example a shelf full of pots is falling on warrior's head or when he must fight against self-
propelled canes. [a reference to Polish fairy tale] Weight of armour is also added to the total
encumbrance when spell LEWITACJA or LATANIE (both on page 97) are used. So it's not
ruled out that before a sorcerer will carry a wounded warrior into safety, he will have to first
take of his belowed chainmail.
Attention: Unlike what many guards and soldiers of fortune think, helmets DO NOT protect
against spells affecting mind.

[This is probably the only version of magic vs armour we ever find that makes at least
some sense and is not made up on the spot "iron/metal affects magic" excuse]
Armours and sorcerers
If priests and witchers can without any problems use their powers (so either prayers or signs),
while armouring themselves in different ways, mages can't cast spells so easily in armours.
Most importantly because during their training sorcerers don't come even close to any armour,
thus they don't know how to use them. Secondly, armour in obvious way constrict movement,
making it harder to perform complicated gestures required for spellcasting. This doesn't mean
a mage can't armour himself. That will surely happen more than once. But if he wants to cast
a spell while in armour, there is a chance the spell will fail (look frame "Effect of armour on
spellcasting", below).
[Standard box - mechanics]
Effect of armour on spellcasting
When a sorcerer wants to cast a spell requiring gesture or components (look "From the
spellbook", page 96) while wearing an armour, a check of 2d6 should be made beforehand. If
the outcome will be covered in "Chance to burn" it means the casting ended with a failure -
the mage lost his action and half of basic AP stated in spell's cost.
Attention: If mage is wearing few layers of different armours, only the one with the highest
chance of burning the spell is taken into account. So a sorcerer wearing a helmet and wearing
soft armour will burn the spell if the outcome of 2d6 will be "2", "3", "4", "5" or "6".
Name of armour Chance to burn
Helmet 2
Chainmail 2-10
Soft 2-6
Pavaise 2-7
Plate 2-8
Shield 2-4
[End of box]

Group spellcasting and chanting of prayers

The teleprojection spell was complicated, they had to cast it together, bonding their hands
and thoughts. Even with this it prove to be hell of an effort. But the distance wasn't small
either. Clamped eyelids of Philippa Eilhart twitched, Triss Merigold was panting, the high
brew of Keira Metz was covered with sweat. Only the face of Margarita Laux-Antille didn't
show any exhaustion.
"The Baptism of Fire"
It is possible to cast spells or chant prayers in group. In such cases, the average magic or
prayers is tested. To calculated cost of AP used for such ritual, spent aura should be divided
between casters and from each a sufficient number should be taken. [As you might notice,
this passage is VERY confusing. It's not even mentioned how the amount of AP should
be divided, if everyone is giving equal share, if the share is just part of the total sum or
everyone is giving total sum and so on and forth]
Studies of future mage
As a complete cub, when all my peers were running on the fields with bows, were fishing or
were playing, I was poring over manuscripts. From the stone floor of the tower I've got
rheumatic pain in my bones and joints, of course in the summer, because during winter I was
clanging with enemal of my teeth. From the dust on old scolls and books I was coughing until
my eyes were bugged out, and my teacher, old Roedskilde, never missed an opportunity to hit
me on the back with his knout, apparently thinking I won't make sufficient progress without
that. I never tried life of a swashbuckler, nor girls during the best years, when such
entertainments taste the best.
"Shard of Ice"
In old times magically talented children were closely searched and sent for study. Nowadays
checking if child has magical abilities is one of the duties of wizard-resident of given town.
According to orders of Council magical child is sent to one of the Academies of Magic. [We
insist on keeping it in such order, instead of Magical Academies, which slightly changes
the meaning] Sometimes it's combined with detaching from family, but it's also made for the
good of the young person. Uncontrolled Power is a very dangerous things and may cause a lot
of bad things - including driving insane.
There are two schools of magic, called Academies: for girls in ARTERUZA, on Thanedd
Island, on the shores of Redania and for boys in BAN ARD, in kingdom of Kaedwen.
First of them was established centuries ago by famous sorceress Clara Larissa Winter, while
its current rectoress is Margarita Laux-Antille. The tuition is high - 1100 Novigrad's krones -
the studies are hard and discipline strict. But students of the school have everything, including
luxuries, since the Academy is supplied by the best artisans living in nearby port of Gors
Velen.
Adepts can't leave the island or go to the city, while no outsider is allowed on the island. Even
the representatives of local authorities can only enter Loxia. During their studies girls not only
study magic, but also the principles of brewing potions and creating magical items - those
harmless to everyone. Ladies also train in etiquette, self-defence, botanic, medicine, history
and other liberal arts. Obviously, sorceresses are sure that the girls are scoring much higher
marks than their friends from Ban Ard.
The school in Ban Ard was created roughly in the same time as the academy in Aretuza. It's
founder was supposedly Gerhart from Aelle, who learned magic from elven sorceress from
Pontar Valley. He is its rector to this day - he is the oldest living wizard! The type of studies,
as the tuition, is similar to the one from Thanedd. It often happens that future mages don't
want to submit to the strict regulations of the university and leave it without the permission of
masters or play with Power different student tricks, sometimes causing serious havoc. The
biggest offences are punished with expulsion from the school. Would-be wizards don't need to
be afraid about their future - around the school, like vultures, are lurking recruiters from
different intelligences. Such acquired mages are usually trained for royal and princely
assassins.
[Fancy box - fluff]
Thanedd Isle
Thanedd Island reminds of gigantic stone pillar trusted into ocean's bottom, massive ziggurat
surrounded with coiling road, zigzags of stairs and terraces, full of green groves and gardens.
Slender white towers and copulas jut out to the sky, crowning complexes of cloistered
buildings. All the buildings seems to be carved in the slopes of this sea mountain, seemingly
with elven magic. Near to the peak is situated the Garnstag palace, the seat of Chapter. On the
peak stands Tor Lara - Tower of the Seagull with malfunctioning portal, a place avoided by
adepts and perceived as rather dangerous. The only way to get on the island is bridge
connecting the shore of the bay with the island. Right next to it reaches covered with red
tilling Loxia palace, from where one may get to the road leading to higher terraces. Further
there is decorated with cloisters and gardens Aretuza - the school of sorceresses. The inside of
the island is hollow; the huge cave can be entered via ship.
[End of box]
As we already noted, during the studies bodies of adepts and adeptesses [Female form of
adept anyone? How can one use such crude language that lacks many vowels, has no
genders and cases, but contain almost 20 tenses instead] are put through different
modifications, made with magic and medicine. The visage of future mages is enhanced, often
changing heinous into beautiful and alluring. The aging process is also decelerated. It's not a
new discovery that beauty makes dealing much easier. Besides person familiar with arcane
arts should also look good - it's part of trade prestige. [This could make a perfect subject for
gender and cultural studies about roles and elements of social roles imposed on people
by their culture and civilisation - after all what exactly is forcing anyone to follow such
perception aside of "tradition"? And it was proven already in the books that it's not
common or norm - Nilfgaardians hold their mages on short leash instead of pampering
them with luxury lives, while mages are pledging their allegiance to the emperor... Or
Sapkowski is just an old drunk who can't think outside of the box his own society
imposed on him, even if "only" on subconscious level, while perceiving himself as open-
minded and progressive - Żorż] In turn during the Congress of mages in Cidaris, Tissaia de
Vries imposed mandatory sterilisation of sorceress as a way of preventing "magical dynasties"
which could in the future reach for absolute power.
Education in both schools takes almost twelve years, thus the graduates leave them as fully
formed adepts. The culmination of studies is the final exam, after which the solemn admission
into Brotherhood takes place. During this ceremony mages get wands (and sometimes even
amulets) and put their pledge, in which they covenant to adhere to magical Law (which can be
shortened to unconditional loyalty toward Council and Chapter).
[Standard box - mechanics]
Each character, who graduated from magical academy should have Intellect, Dexterity and
magic skill on at least good (3) level. For sure other skills will be: alchemy, reading and
writing (at least common and Elder Speech), healing, knowledge: plants and herbs.
[End of box]

From the spellbook

cytat którego nie chce mi się tłumaczyć
z krwi elfów

Ability to manipulate Power and affecting reality are the basis of wizardy. With specific
words, proper gestures and with help of props, sorcerers can draw magic directly from nature.
Sequence of gestures and word are commonly known as spells or enchantments. Adepts don't
have to say the formula aloud, sometime barely opening mouth is enough.
For a spell to succeed, player must perform magic check with difficulty equal to magical
defence of target plus put in description additional modifier (PLUS possible situational
modifiers, depending on Storyteller - look "Difficulty modifiers depending on element",
below, and "Example difficulty modifiers for use of Power", page 92).
[Standard frame - mechanics]
Difficulty modifiers depending on element
Certain elements are easy to tame, other are not. This is reflected by below table
Element Difficulty modifier
Water +1
Air +2
Earth +2
Fire +3
Attention: There are spells assigned to predefined element; it is the best to use energy from
that specific substance. If done so, the difficulty modifier is not increased (and the line from
above table should be ignored). When spells unrelated with that element are cast, all "penal"
modifiers apply. So when, for example, a spell related with water is cast, using Power of air,
modifier is increased by +2.
[End of box]
Range, on which a sorcerer can cast a spell, usually depends on line of sight. [Yeah, it means
exactly what you've read - certain spells have range of few kilometers - Wertamiś] Spell
can't be cast on unseen person, unless the description states otherwise.
Unless stated differently, spells don't require focusing for an entire round (in description there
might be a passage "requires focusing"). It means that levitating mage can also cast KNEBEL
etc. But TELEKINEZA requires from wizard to focus in each round of the spell, making it
impossible for such mage to perform any other actions. Spells requiring focus can be
interrupted, just like described in "Casting spells, saying prayers, folding signs", page 92.
Attention: Not all spells are used against living creatures, so sometimes their difficulty is
equal only to the one given in the description, plus possible situational modifiers, depending
on Storyteller's decision.
Below we present spells chosen from many others known to mages. [Which is basically
saying "You can be creative, instead of lazily complying there are only few spells given"
- Żorż] We kept the original division on groups, taken in old times from elves.

[For now we will keep the names of spell in Polish. Most of them are very easy to
translate, but we simply don't have time right now for it and some of them are tough
nuts to crack]

[Standard box - mechanics]

Spell description
Name [* if spell can be overcome]
Cost in AP: Amount of aura (so the number of AP) required for cast
Difficulty modifier: Value increasing roll difficulty of magic check. It's added to magical
defence and other modifiers.
Element: Element to which given spell is assigned (drawing Power from it won't increase the
difficulty - look "Difficulty modifiers depending on element", page 96). "None" means the
spell is not assigned to any specific element and no modifiers are used because of elements.
Cost in PRO: Value of proficiency points required to learn given spell.
Lasts for: For how long the spell will work. Given in minutes, weeks, days or described as
one-off (after use the spell cease to work; unused spell holds only for a round in which it was
cast), instant (the spell is working right after casting) and constant (the spell works "forever").
Way of casting: Describes if the spell requires gesture (G) [Pretty much all of them do],
formula (F) or component (C).
Magical defence: Informs if the spell is affected by magical defence of victim. "Yes" means
it is. "No" - it's not.
Effect: How the spell acts and what it does
Overcome: Information which skill to use for overcoming in opposed check (look page 93
"Overcoming spells/prayers/signs") plus additional rules for overcoming.
[End of box]

Psychokinetic spells
Thanks to those spell sorcerer may influence his surroundings with power of his mind. Some
of them are very eye-catching and cause admiration of populace.

KNEBEL*
Cost in AP: 5
Difficulty modifier: 0
Element: Air
Cost in PRO: 30
Lasts for: 10 min (plus 5 min per 2 additional AP)
Way of casting: G, F
Magical defence: Yes
Effect: On distance mage is affecting muscles of tongue and lips of victim. Result is similar
to gagging. Person affected with this spell can't make any articulated sounds.
Attention: If casting was hastily, the spell may cause damage of teeth and tongue of gagged
person (in other words, the victim will feel as if hit by invisible punch).
Overcome: Vigour

LATANIE
Cost in AP: 10 (plus 2 for each additional 5 kg)
Difficulty modifier: 3 (plus 1 for each 10 kg above mage's weight)
Element: Air
Cost in PRO: 45
Lasts for: 15 min (or more - 2 AP for each additional 5 min)
Way of casting: G, F (mage says the words while simultaneously slowly moves arms as if
they were wings)
Magical defence: No
Effect: Advanced version of LEWITACJA, allows to move in any direction. Speed of flight
is equal to speed of marching pace
Attention: This spell can only be casted on oneself.

LEWITACJA
Cost in AP: 10 (plus 2 for each additional 10 kg above mage's weight)
Difficulty modifier: 2 (plus 1 for each 20 kg above mage's weight)
Element: Air
Cost in PRO: 30
Lasts for: 15 min (or more - 3 AP for each additional 5 min)
Way of casting: G, F (mage says the enchantment, while slowly rising hands)
Magical defence: No
Effect: This spell surrounds mage with special field, so called "levitation field". It allows to
lift in the air with all equipment. Theoretically it's possible to also take someone else, but that
would take more Power. Using more energy the duration of flight may be also increased
Attention: This spell can only be casted on oneself.

PARALIŻ*
Cost in AP: 20
Difficulty modifier: 2
Element: Air
Cost in PRO: 50
Lasts for: 1 min (plus 1 min for additional 5 AP)
Way of casting: G, F
Magical defence: Yes
Effect: Advanced version of KNEBEL - it allows to paralyse almost all muscles of victim at
once. But the victim may still talk.
Overcome: Vigour

TELEKINEZA (PSYCHOKINEZA)
Cost in AP: 5 (plus look description)
Difficulty modifier: look below
Element: Air
Cost in PRO: 35
Lasts for: 5 min (plus 1 AP for each minute longer)
Way of casting: G (sorcerer is either moving his finger over the target or outstretch his arm in
its direction)
Magical defence: Yes, if used against living being
Effect: Telekinesis relies on push of energy in chosen direction, which allows to move an
object or pull it closer. Distance from target is not important - mage must only see it.
Difficulty modifiers and AP depends on size of the object:
[Standard box - mechanics]
Object Modifier Additional AP
Very small 1 0
Small and lighter than mage 1 3
Heavier than mage 2 5
Twice as heavy as mage 2 10
Much more heavy than mage
(max. 3 times) 3 20
Attention: The spell requires focusing.
[End of box]

TELEPORTACJA
Cost in AP: 10 + 2 for each additional 5 km
Difficulty modifier: 3 (or higher - read below)
Element: None
Cost in PRO: 70
Lasts for: One-off
Way of casting: G, F, C (components are optional, but they make it easier to land in desired
spot)
Magical defence: No
Effect: Wizard opens a portal, allowing transpiration into any place (basic range is 5
kilometres, while it can be increased to maximum 100, of course if one has enough AP;
difficulty modifier is increased by 1 per each 20 km above first 5). It's rather dangerous mean
of travel, since it happens that not everyone emerges from such portal in single piece... or at
all.
The portal itself has the outline of doors made of light, showing on nearest vertical surface.
Inside the outline there is phosphoresce milky nothingness. The process of teleportation is
assisted with feeling of pervasive coldness and distortion of senses. In the destination point
similar outline appears, lasting till teleporting person emerges. But even then a trace in aura
remains, which an experienced wizard can stabilise and reopen.
In emergency, mage can open so-called random portal, transporting to unknown location over
unknown distance. It's easier to create than a normal one (difficulty modifier is 2).
Unfortunately, in case of extraordinary bad luck, the wizard will certainly die.
To locate desired destination it's helpful to use some objects from that location, as "attracter".
With it the difficulty modifiers will be decreased by 1.
Attention: Using piece of someone's cloth you won't end up next to the person, but in place
where the livery was made. Accordingly, elements of someone's body (hair, nails, eyelashes
etc.) will bring us to the birthplace of such person.

Pyrokinetic spells
Spells from this group are relatively hard to master, as they require contact with the toughest
of elements - fire. They are offensive spells, which main goal is to destroy their target. It
shouldn't be expected that with one of them mage will create fireworks for birthday of any of
the characters. [Smart-build for mages makes those spells so impossibly gamebreaking
it's not even fun anymore to kill everything in the room with a single spell - Zahi]

GROT [Serious problem here. English divides on spearhead and arrowhead, while in
Polish both can be referred as "grot". The description calls for something small, so
apparently arrowhead, but you know, we are always open for suggestions]
Cost in AP: 5 (or more)
Difficulty modifier: 1
Element: Fire
Cost in PRO: 20
Lasts for: Instant
Way of casting: G, F
Magical defence: Yes
Effect: It's a simple offensive spell - one of the first studied by all mages. From fingers of the
sorcerer emerge a small projective in shape of arrowhead. It travels in straight line and
explodes on first obstacle, which makes it easy to block it with a shield or table. Upon impact,
the spell deals 3d6 damage, which can be increased further by d6 for additional 5 AP (up to
maximum 3d6, spending additional 15 AP). [Double the damage, quadruple the price -
Zahi]

OGNISTA SIEĆ*
Cost in AP: 10
Difficulty modifier: 2
Element: Fire
Cost in PRO: 40
Lasts for: 15 min (10 AP for each additional 5 min)
Way of casting: G, F
Magical defence: Yes
Effect: Allows to trammel and immobilise target. It becomes bound with few flaming
"ropes". Such net painfully burns upon stronger movements. Each round of scuffling means
d3 of damage
Overcome: Flexibility. Successful check means receiving 2d6 of damage. [Nobody said it's
always a good decision to overcome spells]

PIORUN KULISTY
Cost in AP: 10 (or more)
Difficulty modifier: 3
Element: Fire
Cost in PRO: 50
Lasts for: Instant
Way of casting: G, F, C (wizard must have a piece of coal; saying the enchantment, sharply
pushing hands before him - in such way that they touch each other with inner side of wrists)
Magical defence: Yes, if used against living being (which doesn't have to be the target)
Effect: This is spell widely used by court mages and those that take active part in warfare. It
allows to create small ball lighting, which flies in straight line and explodes on first obstacle
(wall of house, tree trunk, shield of enemy etc), dealing 4d6 damage plus d6 for each 5
additional AP (radius of 5 meters). Thus spending in total 20 AP (10 default plus 10
additional), mage will deal 6d6 damage to all [This means also allies - Zahi] creatures in
radius of 7,5 meter from the centre of explosion. Said radius also depends on sum of spent AP
(look below).
[Standard frame - mechanics]
PM Radius (m) Difficulty of dodge
10 5 2
15 5 3
20 7,5 4
25 7,5 5
30 10 6
[End of box]
Successful dodge with given above difficulty allows the victim to ignore half of received
damage [So you are probably "just" half-dead and crispy instead of dead and charred.
The spell is a complete overkill when used wisely, since even dodge won't prevent the
massive damage - Zahi] - under the condition that the victim wasn't the target of the spell
and simply was standing in the radius of explosion; in such case the magical defence is not
taken into account. Direct target of the spell has no right to perform dodge. Spell of course
must be successful in the first place, and the target is us using own magical defence.
Flammable objects, like parchment, timber, oil etc. can also be ignited and start burning.
Attention: Maximum of 30 AP can be spent on the spell. [Not that it matters, since 30 is
already way above even a good caster]

PIROKINEZA
Cost in AP: depends
Difficulty modifier: depends
Element: Fire
Cost in PRO: 15
Lasts for: Instant
Way of casting: G, F
Magical defence: Yes, if used against living being
Effect: This spell allows to start a fire - both starting a single flicking flame and setting a pine
tree ablaze. Objects by nature fireproof can't be set alight, like wet rags. Difficulty modifier
and amount of AP depends on the size of target.
[Standard box - mechanics]
Size of the object Difficulty modifier AP
Firebrand, stick 1 2
Campfire, stack of timber, haystack 1 5
Tree, gate 2 5
Hovel 3 10
House 3 15
[End of box]
The spell can be also cast on living creature. Difficulty modifier for such case will be 2, while
the victim suffers d6 damage for each 5 AP spent (to maximum of 4d6 and 20 PM). In such
cases, the magical defence is taken into account.
Attention: Mage must touch the kindling object or victim of PIROKINEZA. Additional 10 AP
can be spent (and the difficulty modifier will be increased by +1) to kindle an object from 10
meters afar.

Healing spells
Spells described below are used for regeneration and restoration of health. With them mages
can serve people, bringing relief in suffering. It's almost impossible to turn those spells into
someone's harm.
Attention: Healed people usually decreases their magical defence, so the difficulty of spell
depends only on own modifiers (look "Difficulty of roll for magic/prayers/signs", page 92).

LECZENIE
Cost in AP: 20 (plus 5 for each additional d3 of vitality; read below)
Difficulty modifier: 2
Element: Earth
Cost in PRO: 30
Lasts for: Constant
Way of casting: G, F
Magical defence: Yes
Effect: Heals wounds and diseases, also those caused by magic. It restores d6 of vitality, or
even; each additional 5 PM spent is equal to d3 of vitality (amount of spent AP mage,
traditionally, declares while casting the spell). Of course the vitality can't be higher than the
initial value.
It should be remembered that using this spell to heal runny nose or hangover is, speaking
lightly, an abuse. It's not sure if asked for this mage won't feel even offended and won't serve
a curse instead.
In case of diseases the costs in AP are equal to default 20 plus difficulty modifier of vigour
check. And said modifier is equal to half of the healing difficulty, rounded up (look
"Diseases", page 165). [Sounds awfully complicated, but is in fact a very simple rule...
only that described 65 pages later - Żorż]
Attention: The spell does not allow to change stage of vitality (look "Healing wounds", page
70 and "Vitality and its stages", page 68). For that PRZYWRÓCENIE ZDROWIA is needed.

OCZYSZCZENIE KRWI
Cost in AP: 10
Difficulty modifier: 2
Element: Earth
Cost in PRO: 40
Lasts for: Constant
Way of casting: G, F, C (the effect of the spell is enhanced with previously administrated
potion, depending on poison)
Magical defence: Yes
Effect: The spell allows to neutralise toxins in the body. Complete removal of venom happens
after an hour. In case of fast, lethal poisons (like cyanide) potion and spell must be
administrated immediately after the poisoning, or even the strongest magic won't help.

PRZEKLEŃSTWO*
Cost in AP: 15
Difficulty modifier: 1
Element: None
Cost in PRO: 30
Lasts for: Day (plus day for additional 5 PM)
Way of casting: G, F, C (mage must held an object owned by victim in hand while cursing
the owner, wishing him or her some ailment)
Magical defence: Yes
Effect: The victim may be affected for a time being with some unpleasant malady, like
itching rush, boil on ass, constant hangover etc. The effect is limited only by imagination of
casting sorcerer.
Overcome: Vigour. It may happen that body of cursed will be strong enough for the spell to
not take any effect.
[Standard box - mechanics]
Example curses
Curse Effect
Sore muscles of -1 St. Lifting and moving of heavy objects or performing any other
arms/legs activity requiring physical strength will take a vigour check with
difficulty of 4.
Constant headache -1 In. Focusing requires a concentration check with difficulty of 4.
Constant hangover -1 Wi. Performing any complex activity will take a concentration check
with difficulty of 4.
Gluttony -1 Su and Wi during eating. Cursed must eat something once per hour.
Resisting this "desire" will take a cold blood check with difficulty of 4,
increasing by 1 with each following hour.
Itching rush -1 Su. Not scratching at least once per 5 minutes will take a cold blood
check with difficulty of 4, increasing by 1 with each 5 minutes.
[End of box]

PRZYWRÓCENIE ZDROWIA
Cost in AP: 20
Difficulty modifier: 4
Element: Earth
Cost in PRO: 60
Lasts for: Constant
Way of casting: G, F
Magical defence: Yes
Effect: It's more complex version of LECZENIE. With it the vitality can be increased by
entire stage - for example from wounded to beaten-up or from dying to wounded etc. Look
"Healing injuries" page 70 and "Vitality and it's stages", page 68.

Protective spells
Magic is a difficult art. It often happens (especially among less experienced sorcerers) that
Power cease to follow orders and cause destruction. Such accidents in most cases end up with
death of unlucky mage. To protect against their effects, a set of very effective spells was
worked out, providing wizards with maximum protection during their work. Not without a
reason study of magic starts with spells from this group.

BLOKADA
Cost in AP: 1,5 of cost of blocked spell
Difficulty modifier: Look below
Element: None
Cost in PRO: 30
Lasts for: Month
Way of casting: F, C (modified object)
Magical defence: No
Effect: Allows to limit and channel the effects of an object. It weakens a spell enchanted in
magical object or change it properties in one, particular way (for example, UROK spell
working only on blondes).
Difficulty modifier and cost of AP depend on how complex the original spell was. Amount of
AP is always equal to 1,5 of the original spell. Difficulty modifier is 3 plus one for each
additional success above required, obtained during the check of the original spell.

EFEKT ZWIERCIADŁA
Cost in AP: 10
Difficulty modifier: 2
Element: None
Cost in PRO: 40
Lasts for: Long enough to reflect the spell
Way of casting: G, F (mage says the spell while outstretching arms in front of him)
Magical defence: Yes, if the reflected spell was targeting living creature
Effect: Exceptionally unstable spell, reflecting hostile enchantments. It can send the spell
back on the caster (while using standard magical defence for it).
After the spell is cast player must perform additional roll with two dices - "1" on both of them
means the spell went out of control and ended with an explosion, dealing mage casting
EFEKT ZWIERCIADŁA 2d6 damage.
Attention: Casting this spell does not cost an action. But it can be casted only once per round.

OCHRONA (PROTEKCJA MAGICZNA)

Cost in AP: 5
Difficulty modifier: 2
Element: None
Cost in PRO: 20
Lasts for: 5 min (1 min for each additional 5 AP)
Way of casting: G, F
Magical defence: No
Effect: This spell is guarding sorcerer against physical attacks, like explosions or hits. It
covers his body with a barrier, immune to all physical attacks like slash of a sword or fire.
The spell can stop damage equal to 3d6; the amount of dices can be increased by spending
additional 5 Arcane Points for each new dice (to maximum of 5d6 for - in total - 15 AP). The
spell does not stop sound waves or other spells.
[Another problematic spell. As more perceptive readers might notice, this spell works
even in basic form for 30 rounds, while stopping damage. The question is - HOW the
damage is stopped. Is it a shield that is depleted with each blow? Is it a shield that stops
fixed amount of damage received, so it will always stop 12 damage that was rolled
during the casting? Or it is a shield that stops set amount of damage, BUT after each hit
the mage must roll proper amount of dices to see how much protection the spell granted
this time? We couldn't agree ourselves for one version, with the team being split on all
three options]
Mental spells
Spells from this group influence mostly the mind of other people. Mages are often accused of
manipulation with them (either on single person or entire crowd). Luckily one can defend
against most of those spells.

HIPNOZA*
Cost in AP: 15
Difficulty modifier: 2
Element: Air
Cost in PRO: 20
Lasts for: 10 min (plus 1 min for additional 2 PM)
Way of casting: G, C (mage is making small, spiral gestures with his fingers on the eye level
of the victim; a pendulum might be also used)
Magical defence: Yes
Effect: Mage can put the victim in the deep trance; for its duration the victim is fully obedient
and follows all orders. If they are not given, the victim simply stands without a move with
lowered arms. Even if attacked, no defence will be undertaken. Trance can be broken before
the spell ends. This might be caused by the sorcerer himself or with outside condition, like
loud bang, hits, dousing with cold water.
The spell can be cast on few people (up to 10). The highest magical defence of the group
members is taken into account. Each person after the first requires additional 5 AP and
increases the difficulty by +1. In this case the order is given to all hypnotised at once.
HIPNOZA does not work on witchers.
Overcome: Cold blood

ILUZJA*
Cost in AP: 6 (simple), 7 (semi-complex), 8 (complex)
Difficulty modifier: 1 (simple), 2 (semi-complex), 3 (complex)
Element: Air
Cost in PRO: 20
Lasts for: Hour (plus an hour for each additional 5 AP, up to 8 hours)
Way of casting: G (mage is "blurring" with his wand original appearance of the
object/person); when dispelling the gesture reminds drawing back curtains.
Magical defence: Yes
Effect: The spell allows to hide oneself or certain objects from unwanted eyes. It allows to
change own (or someone else) appearance or even create a complex illusion inside tower. The
spell has three steps of complexity: the first is responsible for simple, small mirages, allowing
to hoodwink with visuals or sounds, but will disappear under the touch. The second one
allows to trick touch or taste and creates medium-sized constructions (big volumes, boxes,
horses). The third created complex illusions or those of really big size (like an illusion of
dragon in natural size).
Overcome: Illusions are very easy to detect by other sorcerers - all it takes is opposed check
of magic made between the person doubting mirages and mage responsible for their creation,
with according difficulty of 3, 4 or 5. "Common" people may use opposed check of spotting
with difficulty as above, but only if they first figure out something is off.

NIEWIDZIALNOŚĆ
Cost in AP: 5
Difficulty modifier: 3
Element: Air
Cost in PRO: 50
Lasts for: 10 min (1 min for each additional 5 AP)
Way of casting: G, F
Magical defence: Yes, if the target is unwilling
Effect: The spell turns it target invisible - both for "normal", infrared or magical vision. But
invisible person can be seen when for example doused with water or covered with flour. The
invisibility also covers clothes and all of equipment carried by the target. All attacks and
aggressive behaviours instantly break the spell.

PSYCHOWIZJA
Cost in AP: 20
Difficulty modifier: 2
Element: None
Cost in PRO: 60
Lasts for: 5 min
Way of casting: F, K (mage is holding the object belonging to searched person while saying
the formula)
Magical defence: Yes
Effect: The spell allows mage to find anyone, regardless of distance from that person. But it
first requires some crystal, ore-made jewellery (pendant, earring etc.) or precious stone.
Closing eyes, mage is seeing the place, in which the wanted person is. The field of vision of
this "inner eye" is only 5 meters.
To evade discovery with this spell, it only takes to not wear any adornments made of listed
materials. This is exactly why Yennefer was mostly wearing pearls, corals and ambers.
Attention: The spell requires focusing.

SONDOWANIE MYŚLI*
Cost in AP: 15
Difficulty modifier: 3
Element: None
Cost in PRO: 40
Lasts for: 5 min (with Storyteller's watch in hand)
Way of casting: G, F (mage is placing his outstretched fingers over the head of target, while
saying the formula)
Magical defence: Yes
Effect: With this nasty spell pretty much anything can be learned from the probed person, as
long as the target knows it. But thoughts aren't something concrete - they are like a massive
welter, in which finding information can be very hard. The more the mage can focus object of
his search (for example searching for all thoughts related with person or object known both to
the mage and the target), the easier it will be to find the answer. Probed person feels light
pressure on the temples.
Attention: The spell requires focusing.
Overcome: Concentration

TELEPATIA*
Cost in AP: 15
Difficulty modifier: 2
Element: Air
Cost in PRO: 50
Lasts for: Minutes equal to level of caster's concentration
Way of casting: G, F (mage is saying the short formula, while concentrating; younger mages
insist that pressing fingers to temple helps, but that's not true)
Magical defence: Yes
Effect: Rather exhausting spell, especially for younger mages, since it takes almost complete
concentration. But it can be used in few interesting ways. Mage can receive thoughts of other
sapient creatures in the radius of at least twenty meters (no walls nor helmets limit the
reception) and sending formulated in mind sentences or orders to specific person. If the
receiver of the sent thought is another sorcerer, CZUJNY [So far we didn't come up with a
name, most likely it will be literal translation into Vigilant - they are introduced in first
expansion, based on psonics like Joanna Selbourne from Tower of the Swallow] or elf,
it's possible to start a dialogue. Both sides must upkeep it (but it rarely happens to keep it for
more than few minutes, equal to summed up concentration of participants).
Attention: The spell requires focusing
Overcome: Concentration

TELEPROJECTION
Cost in AP: 15/20
Difficulty modifier: 4/5
Element: Air
Cost in PRO: 60
Lasts for: 5 min (1 min for each additional AP)
Way of casting: G, F
Magical defence: No
Effect: Relatively complex and exhausting spell allows sorcerers to directly communicate, so
they don't have to use unreliable memory of messengers. It can both sent previously
"recorded" message and have a normal conversation. It is requested that mages using this
method meet in person before at least once.
The spell is usually cast and kept by mage sending the message, so it's never known when
long unseen friend will suddenly show up and ask "What's up?". [Hence the excuse for
boobs in picture above] In case of longer conversation (or when sender is exhausted or
wounded) the receiver may decide to use part of his Arcane Points to uphold the link. Of
course he can also not do that - in such case the contact will be soon broken because of
exhaustion of the "sender".
For additional help with casting TELEPROJEKCJA, "attracters" (similar to those related with
portals) can be used. This will decrease the difficulty of spell by 1.
There are two versions of this spell
In the simple (cost 15 AP; difficulty modifier of 4) before the face of receiving person appear
an orb with milky shine. Inside of it the face of the other person shows up. Only the receiver
hears the words. But everything said to the sphere can be heard by everyone around.
More complex and energy-intensive version (20 AP; modifier of 5) allows to create entire
illusory silhouette. It takes from the casting wizard complete concentration (skill check with
difficulty of 5), since during the conversation such phantom works as his eyes and ears. Mage
can communicate not only with the addressee, but also everyone around, as if being there.
Attention: The spell requires focusing. If the receiver wants to spent own AP, he also must
concentrate.

UROK (SZARM)* [This is going to be so much fan in English, since Szarm is close to
charm and urok is nothing more than charm - Zahi]
Cost in AP: 10
Difficulty modifier: 2
Element: None
Cost in PRO: 20
Lasts for: 5 min (plus minute for 1 AP)
Way of casting: G, F (while saying the spell, mage is moving his right hand in short,
vigorous gesture)
Magical defence: Yes
Effect: The victim becomes obedient to mage's will and treats him as a friend. Target of the
spell still retains certain self-control and when for example attacked, will counter-attack or
flee; similar thing will happen when talked into suicide. Just like in case of HIPNOZA, victim
can be woken up by sudden sound or movement.
UROK can be used on group of people, but then the difficulty is increased by 1, while the
costs by 5 AP per each additional person. The highest magic defence in the group is taken into
account.
Attention: The spell can't be cast during combat.
Overcome: Cold blood

UŚPIENIE*
Cost in AP: 5
Difficulty modifier: 2
Element: Earth
Cost in PRO: 40
Lasts for: 10 min (plus 2 min for each PM)
Way of casting: G, F
Magical defence: Yes
Effect: The spell cause a deep, dream-less sleep. It's easier to make asleep people with
weakened will, for example drunk or exhausted by prolonged work. On the other hand
stimulated, stressed or under the effect of fisstech are harder to put under the spell - check
difficulty will be increased by 1.
Overcome: Vigour

Identification spells
Group of very useful spells, used by wizards for quick search of wanted person or for better
understanding of nature of encountered phenomenon.
[Standard box - mechanics]
Matrix
Certain more complicated spells required a so-called matrix - a model containing physical and
psychical properties of person, who will be target of the spell. The more precise is the matrix,
the more effective is the spell. To create such model it takes an earlier, long contact with the
target (usually for a month) and get to know as much as possible, almost bonding. Such
matrix - formed from memories and observations of a person - allows for example find their
whereabouts or perform transformations. If a mage decide he knows enough to create a
matrix, he should perform a combined check of magic and inquisitiveness with default
difficulty of 5. The outcome of this check should be known only to the Storyteller - so if the
matrix is proven good will only be known when the spell is cast. Depending on how good the
outcome of the check was, there might be additional modifier, making the spells easier to cast.
[End of box]

IDENTYFIKACJA
Cost in AP: 10
Difficulty modifier: 2 + 1 for each day after the initial spell was cast
Element: None
Cost in PRO: 30
Lasts for: Instant
Way of casting: F
Magical defence: No
Effect: The spell allows to determinate what kind of magic was used in given place, on what
object and which person. If the detected spell was cast recently, Storyteller can with clean
conscious say player which spell was used exactly. But the more time have passed since the
magic was used, the less information Storyteller should give, for example only saying from
which group the spell comes or how strong is the aura of the object.
Attention: Casting this spell takes entire turn. [Daily reminder that's 6 rounds or a minute -
Zahi]

SKANOWANIE (WYKRYCIE)
Cost in AP: 10
Difficulty modifier: 1 (non-magical beings), 3 (magical beings)
Element: Air
Cost in PRO: 50
Lasts for: 5 min
Way of casting: G (mage is performing a sequence of complicated gesture, helping him to
summon model-matrix, required to cast the spell)
Magical defence: Yes
Effect: The spell helps with finding lost people. It allows to magically home on "target" based
on the magical matrix (look frame "Matrix", above). The spell also allows to detect magical
beings, created or remained during the Conjunction of Spheres - but only in the vicinity below
one hundred meters. In case of other creatures the spell is practically limitless.
Attention: The spell requires focusing, while casting takes entire turn.

Transformation spells
Spells from this group are the most difficult and most complicated. They are also the peak of
abilities of human wizards and are their biggest pride. [Not counting food creation, they are
also pretty much useless for players - the risk of doing something wrong and thus killing
the subject is way too big... unless that was your intention from the start, but then
swords, crossbows and low tier spells are much better. They can be however used for
great story chops by Storytellers]

KOMPRESJA ARTEFAKTOWA*
Cost in AP: 20
Difficulty modifier: 3
Element: None
Cost in PRO: 60
Lasts for: Week (plus day for additional 10 AP)
Way of casting: G, F, C (compression requires the person who will be enchanted and an
object, which will be used as "storage device")
Magical defence: Yes
Effect: Supposedly one of the most difficult known spells. It allows to literally pack someone
into any given object - instantly shrink, even into miniature size, and pack into the "storage
device". Compressed person usually is losing consciousness. It is dangerous spell, which can
severely damage body of compressed person. After unpacking, the victim is dehydrated and
exhausted.
To cast the spell, it first takes a matrix of compressed person (which allows to restore the
original shape of victim).
Overcome: Flexibility

TRANSFORMATION
Cost in AP: 25
Difficulty modifier: 5
Element: None
Cost in PRO: 100
Lasts for: Day (plus day for 10 AP)
Way of casting: G, F (sorcerer says the spell while moving his hands as if shaping a piece of
clay)
Magical defence: Yes
Effect: This difficult spell allows to change a person or an animal into another living creature
of similar or smaller mass. Regardless of folklore, it's impossible to change living person into
non-living object, like table or chair. For that is KOMPRESJA ARTEFAKTOWA.

TRÓJKĄT W TRÓJKĄCIE
Cost in AP: 65
Difficulty modifier: 3
Element: None
Cost in PRO: 100
Lasts for: Constant
Way of casting: G, F, C (mage is drawing on the ground geometric figure, in centre of which
he puts a cage with the object of the spell; it also takes a big supply of meat and animal blood,
put on the corners of the triangles. The entire spell takes about a week to cast - for its duration
the mage must constantly control the course of the ritual. Each day the wizard is performing a
concentration check with difficulty 2 + 1 for each additional day. Failure means that the ritual
caused the death of the creature.)
Magical defence: Yes
Effect: The spell cause in the target series of rapid mutations and tremendous increase of
mass. It comes with great exhaustion of vital forces (it takes a vigour check with difficulty of
4 - failure means death). The transformed creature is fully operational only after at least two
weeks after the ritual is finished. The ritual grants one level of Strength and Construction,
while decreasing Agility and Intellect - also by one level (those values can't be lower than 1).

TWORZENIE POSIŁKU
Cost in AP: 30
Difficulty modifier: 3
Element: Air, Fire
Cost in PRO: 60
Lasts for: Constant
Way of casting: G, F, C
Magical defence: No
Effect: This spell is the highest achievement of wizards when it comes to transformation
magic. It allows to create a single, whole meal from a small amount of any given food, like a
slice of bread or chicken's leg. The dish is only limited by casters imagination.

Magical items, amulets and elixires

Triss slowly moved her hand over the hole in the jacket's sleeve, whispering the spell, all
while activating the amulet. There was no trace of the hole.
"Blood of elves"
On the Continent there are numerous magical items - elixirs or amulets, but also shoes, capes,
weapons, or even locks.

Magic for sale

Production of amulets and potions is a lucrative source of income for mages, who gladly
make them for order. They also create very costly items, like magical weapons, and cheaper,
mass-produced - for example magical locks for doors or amulets protecting from gout. The
latter are usually made by young graduates of Academies, trying to earn some money for life.
Some even decide to end their career on this stage. Of course there are also many charlatans,
selling en-mass "excellent" and "legit" amulets, potions and elixirs, stripping as much money
as possible from the gullible.

Amulets
- You had to push Myhrman really hard, since he told you about the amulet and where it is
hidden. And how to activate it to send the message. But that the amulet also informs and
warns in the same time, Myhrman didn't and couldn't say, even if roasted over red coals.
"Blood of elves"
Amulets (or talismans) are different items, used to store Power - outside of body - or/and
performing different magical actions (including casting spells) automatically: after stating
such will, without the need for concentration, gesture, formula and often even without any
loss of Power.
Amulets are storage for already drawn magical energy, allowing to cast spell without reaching
for element, when mage doesn't want to or can't draw aura from nature. They also allow to use
more Power than the one kept in wizard's body. The amount of AP in talisman is decreased by
used value; after reaching zero it - depending on the type of amulet - can be "recharged" or
worn as a tasteful, but otherwise useless adornment. Useless talisman can be always simply
thrown into a bin or pushed to naive yokel.
[Standard box - mechanics]
Amulets and talismans
Usually in amulets (or relics) there is stored from 10 to 25 Arcane Points (supposedly there
are even amulets with 50 AP!) tied with specific element (for example fire or water).
Talismans like that are obviously very costly, and they can be bought virtually only by mages
(cost is usually amount of stored AP x 20 denari).
The AP stored in an amulet can be accessed without spending action. Which means during
spellcaster Power can be used from the talisman.
[End of box]
Talismans can have many different forms: seashells, tufts of feathers, weapon, medallions,
necklaces, earrings or the ever-popular among mages wands and canes. Witchers can only use
Power stored in their amulets - they can't draw it from nature. By contrast, for priests the
counterpart of amulets are sacred symbols and relics.
It should be remembered that storing too many amulets in one place is dangerous, since their
Power might cumulate and find an outlet in form of powerful and eye-catching explosion. In
practice that happens, when sum of stored AP carried by single mage exceeds 50 points. For
this reasons barely any mage is carrying more than three talismans at once.

Relics
Things work slightly different with relics. Their power is a gift of god, making it
inexhaustible; for this reason they don't have to be "recharged". Their Power is not showing
for every wish of a player, but only after proper prayers, long rites or in case of danger (of
person or congregation). Relics should be always made by Storyteller, never by players. Each
relic should be described how powerful it is and what is it power. Always remember to make
it tightly connected with ethics of given deity and not to disrupt the game balance. Few
examples of relics are given in the part about priests (look "Reliquary", page 113)

Enchanting talisman
Enchanting spell into a talisman requires to know magic on at least excellent (4) level. It
requires an amulet already containing aura - on which desired spells are cast. Their summed
up cost in AP can't exceed the value stored in the talisman.
After successful casting the spells will activate automatically upon a wish of attuned to it
owner, without any need of spending aura. Usually once tied spell can't be changed or
removed.
Many of amulets (especially those more powerful) are attuned to their owner. To use them
freely, it requires a "retuning", which isn't an easy task - it takes at least excellent (4)
magic/prayers and put the talisman on intersection. In case of storing amulets the default roll
difficulty is 4. It is further modified by 1/10 of maximum AP that can be stored in the
talisman. In case of amulets activating spell the difficulty of "retuning" is increased by
amount of stored spells.

Example
Mage Perignon wants to "retune" an amulet belonging to other sorcerer, so he can get bigger
pool of Arcane Points. The talisman can store up to 30 AP. He put it on intersection and
begins the ritual. The player performs a check of Perignon's magic (level 4 - otherwise he
wouldn't even start such dangerous task). He must get (4+3) - 4 = 3 successes. The player
rolls four dices (excellent Intellect of Perignon means something!), getting following
outcome: "4", "6", "5" and "2". He made it! The mage exhaust with relief and hides the new
amulet in his pocket. If Perignon would like to tune an amulet with single spell, the difficulty
would be 5. Doing the same with one containing two spells would give a difficulty of 6,
which would surely require a support of another mage.
[Standard box - mechanics]
Charging talismans
"Charging" talisman with Power isn't easy either: it can be only made by someone who knows
magic/prayers on at least good (3) level. "Charging" is a two-step process:
* find nearest intersection and put there the talisman
* perform a check of magic/prayers with difficulty of 5. In case of success Power fills the
talisman at the rate of single point per hour. If the amulet is supposed to activate any spell, the
difficulty of check is increased by 1 per each contained spell.
[End of box]
Elixirs
Geralt whispered the formula, drink the content of both vials, putting his hand after each sip
on the blade of the sword. After that he wrapped himself tightly with his gray cloak, sitting.
"The Witcher"
Production of potions is equally difficult as in case of amulets. All required ingredients must
be closely gathered and prepared in the right way, with support of magic. Digestion of badly
made elixir may not only not give desired effects, but end up with severe poisoning or even
death. Brewing of potions a time consuming task, mostly because of the need to store all
necessary ingredients, often very strange and hard to get by. The task should be rather avoided
by mages without at least good (3) alchemy and magic. It is also adviced to work in a small
group, so the alchemist can combine their skills of alchemy and magic. It should be noted that
certain people (even sorcerers, like the known from the saga [and especially video games -
Żorż] Triss Merigold) are allergic on potions and can't use them at all.
Attention: You can find more information about elixirs in one of the firsts expansions to "The
Witcher" game. [Subtle, isn't it? - Zahi]

Feenglanc (glamarye)
Price: 5000 denari
Description: Mixture created by elves and since that time used as a beautifician product.
When human females started to use it, it was discovered to decelerate the aging process
almost three times, making octagenerians matrons look as if barely around thirty.
Unfortunately, it has to used regularly, since stop in the rejuvenating medication often cause
rapid reversion to the natural state.
Feenglanc is very expensive and hard to make; the boons of it are almost completely reserved
for sorceresses (Brotherhood take care for its members to look worthily, and youthful visage
despite advanced age commands respect). Glamarye has the consistency of an ointment. Its
main ingredient is mandrake; others are unknown. Player characters (unless being wizards)
should have virtually no contact with this elixir - but an expedition for small jar of glamarye
can be a good starting point for a long and backbreaking adventure.

Fisstech [She don't lie, she don't lie, she don't lie. Cocaine.]
Price: 500 denari
Description: Fisstech is most importantly a narcotic, discovered and used mostly by elves. It
can be introduced via mucous membranes, snorting or rubbing into gums. Fisstech is
relatively easy to produce, but the cottage industry version is highly contaminated, which
accelerates poisoning.
Fisstech is divided into small doses. Each one is sufficient to cause a feeling of incredible
strength and endurance. All outside stimuli are receipted stronger, while the esteem of own
capabilities is greatly increased. This state usually lasts for d6 hours; for that duration all
attributes are increased by one level. It shouldn't be thus surprising that fisstech was and is
eagerly taken by combatants. But taking higher doses or mixing them with alcohol will cause
a d3 hours of hallucinations. When the effects start to wear off, the drug leaves the feeling of
weakness, pains and dizziness, often also followed by nausea and vomiting.
Fisstech is a highly addictive drug. After a dose taken by player character, Storyteller should
in secret make a check of cold blood with difficulty of 1, increasing it by one by each
following dose, unless more than half a year passed from the last use (Attention: Once gained
difficulty won't decrease, regardless of time passed since last intake of the drug). Failure of
the check means the character became addicted. First symptoms (outside previously
described) are: increased perspiration, shaking hands, unnatural shining of eyes and different
tics. Further stages of addiction are: lack of emotional control (mood swings - Storyteller
should help and advice player how to role-play it), lack of control over own body (especially
sphincters), weaker coordination (all attributes are decreased by 1) and constantly increasing
demand for fisstech. In final stages of addiction the drug starts to replace food, while the
junky is barely alive wreck, living from one high to another. Because of complete exhaustion
of body, the attributes are decreased by 2. The burn-out is so big that each dose should be
followed by vigour check with difficulty of 4. Failure means coma for 24 hours, while
extraordinary bad luck will cause death.
The addiction can be cured, but the process is very slow, costly and - most importantly - not
fully guaranteed to be through with the addiction. In curing such cases Melitele priestesses are
the most trained and able to administrate brews cheating the hunger for drug, thus allowing to
get "clean". Second stage of the process is gradual withdrawal of those brews and therapy,
aiming to prevent future use of fisstech. Even if the addiction is beaten, such character will for
life remain very vulnerable to all stimulants, especially alcohol (difficulty of all cold blood
checks is increased by 1). [There is a mistake in the original Polish text, since it says that
the difficulty is decreased, which would make all cold blood checks easier, not harder]
Addicts are often hired by monasteries to perform different simple services, keeping their
minds occupied with something else than fisstech. Treatment is very long - it can drag for
over a year. It is conducted under the eye of trained in healing priestess, always staying with
her patients, serving them with aid and advice.

Items
The discovery proved to be a bruised stoneware pot, similar to double-lugged amphora,
tangled in the net, black from rotten algae, colonies of caddis flies and snails, all of it
dripping in reeking slime.
- Do you know what it is?
- Sure. It's an old pot.
- You are wrong (...) This is nothing less, nothing more, than an enchanted pitcher. And
inside there is a genie, which will fulfil my three wishes.
"The last wish"
This was an example of magical item. Their applications are limited only by Storyteller and
players' imagination.
How to discover the power of such item, without any information from previous owner, you
can learn from one of currently prepared expansion to "The Witcher" [Not only subtle, but
also smooth - Zahi]
Protective amulet
Price: 100-3000 denari (depending on the spell's strength)
Description: Second most popular magical item, but unfortunately - also the most often
falsified. Usually it has the form of a small copper disc, with one of the First Runes engraved
on it. If it's supposed to protect against illness, it will be related with the LECZENIE spell
(page 99), tuned to cure specific disease. If the amulet is suppose to secure against UROK or
evil eye, the effects will be similar to the EGZORCYZM prayer (page 111).

Bracelet for mount

Price: 10 000 denari
Description: Small bracelet made from any given metal, worn by the horse since it was a
foal. When it grows up (which is about 3 years), such bracelet can be taken off and put on a
wrist. When rubbed, it will summon the mount from almost unlimited distance. The time of
arrival of the horse depends on its speed, distance and terrain to cross.

Razor
Price: 10 000 denari
Description: Only the richest can afford such sword (or any other weapon). It is usually
passed from generation to generation and taken out from the court's armoury only for special
occasions. When it's forged, the weapon is enriched with magic of earth, fire and water by
specially-trained wizard. In effect, the blade can't get dull and always deal one additional
point of damage than normal. Such weapon is also easier to wield, thus hit difficulty is
decreased by 1 (in other words - defence of attacked is decreased by 1). There might also be
swords, which makes manoeuvres easier to perform (cost of CP is decreased by 1, but the
minimum is always 1 CP).
Brzytewka [HALP! What is the diminutive of razor?]
Price: 5000 denari
Description: Razor in form of a dagger.

Elven rope
Price: 4000 denari per 10 meters
Description: It is exceptionally strong rope, made with use of few special ingredients by
elven artisans. The secret is well-protected and so far nobody was able to plumb it. What is
known is that such rope can hold five times the weight supported by normal one, while being
much lighter and thinner.

Magical lock
Price: 2000-5000 denari
Description: Arguably the most popular magical item in countries of Nordlings. It's an
essential equipment of many trading kantors or workshops. Magical locks are put on doors of
houses, shops, on chests or chastity belts. There are many means to open them - a password
given to the owner upon buying (cheaper and more popular version) or touch (more costly
versions, requiring to tune the lock to buyer's aura). There are also rare talking locks, carved
into ornate visage of a mascaron. They can say different lines, previously recorded by owner.
That can be "Master Irion is not accepting customers. Leave, good people", but also "Get lost,
beggars, before I count your bones!". Such lock can also react on attempt of picking,
screaming or even activating some nasty spell. Luckily for thieves, such protections are rarely
seen outside residences of mages.

Waterproof cape
Price: 1500-3500 denari
Description: It's a common travelling cape with a hood. What is uncommon is the ability to
protect against rain. To tell the truth, it's completely water-proof and when taken off it only
takes to flick it off to get rid of the water. It's a dream of everyone who constantly travels -
merchants, trappers, soldiers or Kreve's priests (but the last one won't admit it). Many people
are still convinced that nothing protects against rain as impregnation with animal grease or
wax.

Rock armour
Price: 10 000 denari
Description: Sufficient answer to previously described razor. Such armour is usually
covering torso and arms; it can be chainmail or cuirass, even a full plate. It will parry 3 more
damage more than normal armour of it type. It even protect against pyrokinetic spells;
unfortunately, it also overheats while doing so, dealing for an entire turn d3 damage. [Our
interpretation is as follow: damage of pyrokinetic spells is nullified, but for 6 rounds,
each round wearer must roll d3 for damage dealt by the pre-heated armour] Supposedly
there are armours protecting against critical hits.

Priests - carriers of faith

Religion is mandrake of the masses.
"Something ends, something begins"

As in every reality (not only fantasy), also on the Continent there are religions and priests,
paying respects to their gods. Those gods are usually very distant and rarely intervene in
matters of mortals (although priests may claim otherwise). It's hard to guess how numerous is
pantheon of Nordlings. In the witcher saga there are only names of few deities, like Melitele,
Kreve or Coram Agh Ter. Sources are completely silent about deities or creeds of elves,
dwarves or halflings.
The first settlers were believing into gods from their homeland. Over the centuries in the
initial religions came many changes. Certain deities were forgotten, when their believers died
out or cease to praise them. Other - covering similar aspects of life - merged into single deity
(that's how Melitele's cult came into existence). Final shape of each creed with clear
principles of faith and hierarchy happened shortly before Novigrad Union - concluded
between mages Bekker, Giambattista and Monck with chieftains, priesthood and druids. The
union is a form of nonaggression pact and separation magic and state.
Soon after that started conversion of nonhumans to human religions. The most active were
Kreve's priests. Propagation of new religion was directly related with open contempt to
everything not made by human. In heavens of Kreve dwarves, elves and other races were
supposed to be second-rate creatures. Obviously the numbers of convertites were close to
zero. This not very thoughtful preaching also effectively scared nonhumans away from any
attempts of coexistence with humanity. But the missionaries ceased their activity only in year
1217. [The game takes place anywhere between 1220 and 1270 of the local calendar] The
direct cause of weakening of those activities were doings of king Foltest of Temeria
grandparent. Concerned with increasing influence of clergy on state affairs, he successfully
acted against it. The direct cause of following repressions was lack of acceptance for king's
divorce with king's fifth wife. [The original leaves it ambiguous if it was one of five wives
or simply the fifth in the row, after previous four - Zahi] The wife was drowned in palace
pond, while in entire country all activities of the cult were strictly limited, including ban on
performing services outside temples and limiting priests influence over economy and internal
affairs. After four years of quarrels with priesthood a silent agreement was taken, granting
only single post in kings council to a priest, while remaining seats were granted to old
advisors and future graduates of freshly created Royal School, who were supposed to create
civic cadre of clerks. All those actions caused an outrage between clergy in other countries,
but also intrigued other crowned heads. Soon all monarchs started to pay attention toward
education of their secular officials, who could replace priests as advisors. Since then things
remained in status quo. The only troubles that happens from time to time is discovery of some
brought from far south cult (whose followers usually end up on stakes) or declaration of
schism (whose supporters either reconcile or also end up on stakes).

Studies of future priest

The girls were coming in and out - as seers to other temples, as midwifes and specialised in
women and children illnesses healers, as travelling druids, teachers or governess. But it was
never lacking new ones, coming from everywhere, even the farthest places.
"Voice of reason 2"

To become a priest, one must first have a calling for this. Thanks to deep faith person can
withstand many resignations and with all might serve chosen god. In Nordlings society, where
most of religions are highly institutionalised with net of temples, strictly set principles of faith
and hierarchy, the road to priesthood is similar, regardless of deity. It can be divided into three
stages.
First one is education. First contact with cult usually starts on fairs held during religious
holidays. Some children start attending Sunday school. [Help! This is our sad attempt to
translate "szkółka przyświątynna" - literally "little school next to the temple". It is not
exactly the same thing as Sunday school, since is neither held on Sunday, nor about
study of holy scripture (and especially not Bible). It's a term for small, clergy-staffed
school in poor/rural areas] They learn there how to read, write, the basic teachings of the
faith and few religious songs. The education takes usually five years, but it can end earlier,
when parents of the students will need them in the household - or they simply run away.
[Standard frame - mechanics]
Prayer modifiers
Setting the difficulty for prayer, Storyteller should take into account following things:
Priest Modifier
Following ethics of the deity 0
Not following ethics of the deity +1
Wants something "because" (to move a mountain
or get on foot from Skellige Isles to the mainland
because "it's faster this way") from +4 to +6
Made an offering (don't have to be instant; may
be promised for the future) from -1 to -2
Praying for something important for followers
or the deity -2
Attention: Mentioned factors affect difficulty and sum up with prayers' difficulty modifiers
and - maybe - magical defence of the target.
[End of box]
Broader education is offered by schools next to bigger temples. It is strictly related with the
deity and is a form of preparation for future priests. Certain courses may be even held on
university level: for sure that will cover biology, botanic and medicine taught to adeptesses
[What is the female form of adept? In this case it's quite important, since Melitele clergy
is female-only] of Melitele temple near Ellander.
To such schools can came all those who endured the basic education, showed hunger for
knowledge, skills and piety. Education may last even ten years, ending with giving holy
orders [I would be really glad if someone would propose terminology outside Christianity
for this one - Wertamiś] of the lowest rank and sending to specific temple or monastery.
Function held there by the cleric depends on abilities shown during education. It should be
noted that not everyone endures the harsh rules of life in monastery and leave school earlier.
Most often they end up in local packs of bandits or city pickpockets. With a bit of luck they
might find a job as a scribe in a bank or trading kantor.
Second way is being raised by clergy. Many temples and monasteries run orphanages and
almshouses, where the alumnus are taught the same things as in common Sunday school
[AGAIN] and different useful skills, like pottery, basket-weaving or carpentry. Some of them
(especially those left in the threshold of smaller temple or monastery) settle in the sanctuary
for life, working as cooks, horse grooms or gardeners.
Third possibility is being offered to a god. Some parents bring their (often severely ill) child
to the temple, making an oath that if the chid survive, it will for certain time (sometimes even
entire life) serve the deity. If such oath is for few years, such "half-priest" is living in the
temple, while treated as a clerk of lowest rank. In case of offering entire life, such person goes
through the same studies as every other candidate for priesthood.
Listed above situations aren't obviously the only ways of becoming a priest. Sometimes there
are people who find faith, want to join a monastery to find help in their misery or would like
to atone for their wrongdoings. There are also cults where being a priest is an inherited
function, passed from father to son or connected with role of a chief or leader of a village.
There are also many sects, being either a splinter of much bigger religions or an attempt to
root a new religion from other lands.
Priests' prayerbook
My strength comes from faith and prayer!
"The last wish"

Here are examples of prayers which can be said by a priest to gain favour of a god - and cast a
priestly counterpart of spell.
[Standard box - mechanics]
Prayer description
Name [* if prayer can be overcome]
Cost in AP: Amount of aura (so the number of AP) required for use.
Difficulty modifier: Value increasing roll difficulty of prayer check. It's added to magical
defence and other modifiers.
Cost in PRO: Value of proficiency points required to learn given spell.
Lasts for: For how long the effect of prayer will last. Given in minutes, weeks, days or
described as one-off (after use the prayer cease to work), instant (the incantation is working
right after saying) and constant (the prayer works "forever").
Way of casting: Describes if the prayer requires gesture (G), formula (F) or component (C).
Magical defence: Informs if the prayer is affected by magical defence of victim. "Yes" means
it is. "No" - it's not.
Effect: How the prayer works and description.
Overcome: Information which skill to use for overcoming in opposed check (look page 93
"Overcoming spells/prayers/signs") plus additional rules for overcoming.
[End of box]
We deliberately don't put here precise systematics - let the player decide himself what is the
purpose of prayer of his character. Both players and Storyteller can model it on spells. In such
cases time of performing such "spell" will be equal to its difficulty modifier times five.
During their prayers priests are meditating, getting this way Power directly from their god.
Most of prayers does not require any specific gestures, all it takes is remaining in oratory pose
(depending on the religion). Sometimes it also takes some offering for the deity.
Requests never should serve convenience of the requesting or to brag about power. The main
objective of priest is to propagate own religion and strengthening it between followers.
Most of prayers can be said anywhere; the only exceptions are curses and certain more
complex rituals. Of course the most fitting place would be a temple. Difficulty of prayers said
there is decreased by 1.
Described below prayers are supposed to help Storyteller in setting difficulty of other prayers
and in translating them into game mechanics. If the desired effect of a prayer is similar to
some spell, Storyteller can use it as a model.

EGZORCYZM
Cost in AP: 10 (plus the amount of AP spend on the curse)
Difficulty modifier: Difficulty modifier of removed curse +2
Cost in PRO: 40
Lasts for: Constant
Time of casting: 15 min
Way of casting: F, G, C (propitiation sacrifice or so-called "vicarious objects", upon which
the curse will be transferred)
Magical defence: No
Effect: Regardless of creed the exorcist the prayers has one purpose: removal of a curse or
hex from a person, an animal or an object. Just like in the old saying, "it's harder to mend than
brake", thus the removal of curse takes from a priest much more effort than putting it on. As a
helping hand the hexed or their families may put forth some offering for the deity (Storyteller
may decide the difficulty of check will be lower by 1 or even 2). It is also good to know was
the creed of cursing priests, which will allow for proper preparation. Acting "blind" will
increase the difficulty by 1.
Certain curses "roam" the world and can't be removed just like that. They must be put on
different person or animal - otherwise the curse may be passed on the priest or any other
random person).
Exorcisms require constant connection with deity, thus it must be held inside a temple, with
presence of one or few priests, combining their forces in shared prayer.

Curse*
Cost in AP: Check the table
Difficulty modifier: Check the table
Cost in PRO: 30
Lasts for: Differs, but no longer than 30 days
Time of casting: 20 min
Way of casting: F, C (the priest solemnly curses specific person, asking for help of the deity;
it requires body part - like hair or nail - or an important object that belonged to the victim for
more than a year)
Magical defence: Yes
Effect: Priest is casting the curse on specific person. The details depend on the religion. Also
the effect of the curse may differ - from itchy rush to excruciating death. Each curse either
lasts for 30 days or has a specific trigger (for example when in a woman willingly and
sincerely will fall in love with a monster, the curse will be lifted). There are also permanent
curses, but casting them takes great might.
Overcome: Prayers

Common prayer
Cost in AP: None
Difficulty modifier: 1
Cost in PRO: This prayer is known to all followers of the religion
Lasts for: Constant
Time of casting: Turn
Way of casting: F (the prayer is praising the deity and it's ways; depending on the religion it
may be said once or few times per day)
Magical defence: No
Effect: Systematic and full of devotion praying for a week may cause the deity to look more
positively on the priest, which might allow to perform some minor, but spectacular act. It
might be for example walking through the middle of an ambush without alerting anyone or
avoiding by an inch incoming arrow.
Common prayer is also indispensable for drawing of Power.

MODLITWA O SPOKÓJ UMARŁYCH

Cost in AP: 5
Difficulty modifier: Usually 2
Cost in PRO: 10
Lasts for: Constant
Time of casting: 10 min
Way of casting: F (priest asks deity to embrace the soul of deceased person and granting it
eternal happiness)
Magical defence: Read description
Effect: The prayer is integral part of every burial ceremony. It has also a practical aspect - it
secures the body from effects of evil forces.
Attention: If the soul of the deceased doesn't want to leave this world, while setting difficulty,
magical defence should be taken into account. Besides souls of unfortunates that are by this or
another mean connected with world of the living are harder to send away (modifier is 3). In
case of souls of evil creatures, the difficulty modifier can be even as high as 4.
Overcome: Exceptionally unwilling to go away souls can attempt to break free, via opposed
check of concentration against priest's prayers.

MODLITWA O ULECZENIE
Cost in AP: 5 (plus 1 for each d3 of vitality)
Difficulty modifier: 2
Cost in PRO: 25
Lasts for: Constant
Time of casting: Round
Way of casting: F (priest in short, quiet prayer asks the deity for grace required to heal the
wounds)
Magical defence: Yes (but the target usually lowers it to 0)
Effect: Prayer is analogous to the spell LECZENIE (page 99)

MODLITWA O UZDROWIENIE
Cost in AP: 5 in case of healthy, 7 - beaten-up, 9 - wounded, 11 - dying; diseases - read the
description
Difficulty modifier: 3 in case of healthy, 4 - beaten-up, 5 - wounded, 6 - dying; diseases -
read the description
Cost in PRO: 40
Lasts for: Constant
Time of casting: 1 min
Way of casting: F (priest in short, quiet prayer asks the deity for grace required to heal the
patient)
Magical defence: Yes (but the target usually lowers it to 0)
Effect: Depending on intention the prayer can both change the stage of vitality of wounded or
heal a disease. Difficulty modifier and cost of AP depends on how severe is the case. When
dealing with diseases the prayer takes 15 AP plus difficulty modifier of vigour check. And
said modifier is equal to one third of the healing difficulty, rounded up (look "Diseases", page
165).
Attention: Successful prayer cause the character to heal completely, without any modifiers
related with changing stages of vitality.

MODLITWA OCHRONNA
Cost in AP: 10 (plus 5 for each additional person)
Difficulty modifier: 3
Cost in PRO: 20
Lasts for: Day (from dawn till dusk)
Time of casting: 20 min
Way of casting: F (priest asks for godly protection for himself and people listed in the
prayer)
Magical defence: No
Effect: For one day the prayer will protect listed by priest people (maximum is one per level
of prayers) from bad fate. People that are to be affected by this protection must for the
duration of the incantation be in a touch contact. The difficulty of cursing, casting spells and
attacking protected people is increased by 1
Attention: Difficulty of MODLITWA OCHRONNA is increased by 1 for each person other
than the priest.

MODLITWA OFIARNA
Cost in AP: 5
Difficulty modifier: 4
Cost in PRO: Day (from dawn till dusk)
Lasts for: Constant
Time of casting: 30 min
Way of casting: G, F (priest - in presence of the new followers of the faith, their families or
other followers - invocate the deity to accept the neophyte into the ranks of followers) [Any
synonymous for "followers"?]
Magical defence: No
Effect: With this prayer a chosen person becomes a full-fledged follower of given deity and is
obligated to follow the principles of the faith. Until the first act against those principles, such
person is treated as if under the effect of MODLITWA OCHRONNA.

Reliquary
- A sorceress will never find a common ground with priestesses. Too sharp are certain
divisions of... world view. And about allowing sorceress to use "sacred" relict [Yes, relict,
not relic] or artefact... No, it should be forgotten about. No chance.
"Tower of the Swallow"

Below are described four example relics. Because such items are created by Storyteller and
not players, their power is not precisely described with numbers, but put as
weak/average/powerful. Thanks to this we grant Storyteller freedom with description of such
items in action.
Attention: There are also relics of immense power, usually the most sacred objects of worship
of giver religion, kept in the main temple and very closely guarded.

Seed of Melitele
Power: Weak
Description: A pouch full of normal grains, giving three times bigger crops. They are also
immune to diseases, droughts or excess moisture. Unfortunately, seeds from such crops no
longer have such power. Pouch of Seed of Melitele can only be get from the temple near
Ellander, in recognition for services for the temple or the religion.

Dead-man finger
Power: Average
Description: Small bone, coming from a finger of a person who died with a sudden death.
Priests of Coram Agh Ter are slipping it into clothes or luggage of person they want to harm.
Sometimes they dip it discretely in the drink served to the victim. From this moment on such
person starts to suffer from terrible bad luck. Even if everything seems to finally turning good,
it's only to make things even worse. It should be remembered that effects of such bad luck
usually also strike people around the cursed person. The effects of finger can be stopped by
EGZORCYM prayer (page 111). To get rid of the bad luck, one must find the bone and get
rid of it (this may even happen by accident or after thoroughly searching clothes and
equipment). In case of a drink in which the bone was dipped, the jinx leaves the victim
roughly after 24 hours.

Sacred nuts
Power: Powerful
Description: A handful of most common hazelnuts, which after being thrown on the ground
instantly starts growing and in single turn are already a fully grown hazelnut bush of 10 x 10 x
15 meters in dimension. Used in proper spot it can almost completely cover a path or slow
down a chase. Sacred nuts come from a bush growing in a druidic circle and are collected
once per four years during first full moon of the spring, which makes them so rare [They are
rare, because there are no hazelnuts in late February - Zahi]

Brisingamen
Power: Powerful
Description: It is a massive boulder, permanently connected with the statue of the goddess,
standing in the temple in Hindarsfjall. It is also called the Jewel of Clairvoyance. Thanks to its
power maids serving Freyja (usually under the guidance of the archpriestess) after a long,
lasting even 8 hours wake with prayers can have a vision. How clear and long it is depends
solely on the goodwill of the goddess. Such wake is held rarely, asking the goddess for help
only in the most important cases. Sometimes the goddess herself warns or informs about
incoming important events, sending sleeping in the temple priestesses clairvoyant dreams.
Storyteller should roll a check of average prayers of present priestesses; the default difficulty
of the check is 8. If among the priestesses will be a seer, the difficulty is decreased to 6. The
amount of information and how complicated the vision is depends solely on what the
Storyteller wants to communicate to players. If the check will end with more successes than
required, characters will gain additional information. [Another moment where an average
roll is to be made, but based on whose attributes and how it should be conducted? Pure
guessing]

Chosen religions of Nordlings [As previously noted, the saga and short stories barely
speak of religions as such. This short subchapter is collection and expansion of pretty
much every single passage that even mentioned anything religious. The sole fact
someone managed to collect it and arrange it in coherent way is a great feat by itself]
- Here is the temple (...) Grove, which surrounds it, is called Hindar and is also a place of
worship. It is here from where we take the sacred mistletoe, and on Skellige, as you know,
mistletoe is used to cover and decorate everything, from cradle of a baby to a grave... Be
careful, the stairs are slippery... Religion, he, he, is more and more covered with moss...
"Tower of the Swallow"
Melitele
It can be said that cult of Melitele came to the Continent with first settlers. Initially every
landing tribe was praising different goddess of nature, fertility and abundance. Elves and
halflings had similar deities. With the passing time it showed to be more similarities than
differences between those powers, causing slow merge of them into a cult of single goddess
named Melitele.
Melitele, as a goddess of ever-passing nature, is presented under three forms: young and
beautiful girl, mature women with broad hips and big breasts and old, pruned and toothless
crone. Under that second form Melitele is also a goddess of fertility, guarding pregnant
women and childbirth. It's hard to come by of her likeness as statuettes, paintings or sacred
symbols - priestesses answer that the image of the goddess is enchanted in surrounding us
nature.
[Fancy box - fluff]
Temple of Melitele near Ellander
From the gates the pilgrims are going along poplar alley to the main complex, leaning on the
rocky hillside. It can be divided on two parts: temple proper and monastery. The latter holds a
dormitory for priestesses and adeptesses [AGAIN], refectory, school classes, kitchen, room
for sick and passage to the glass grotto, in which - thanks to installation of the precisely cut
crystal - it is possible to grow different, often almost extinct species of plants. In the side,
unused wing are further rooms for sick, guest rooms and a library and stairs leading to the
tower, from where the stars can be gazed. Similar tower, or rather an extension reminding a
nest of swallows, is in the main building.
[End of box]
The goddess is praised in all lands of Nordlings, mostly by people directly related with nature
and environment: farmers, foresters, lumberjacks. She is held with great honour among
women, regardless if living in rural or urban areas.
Future servants of the goddess are put into the novitiate at the age of fourteen, fifteen years,
while becoming fully-fledged priestesses at the age of twenty. Usually young adeptesses [and
AGAIN] are already after some Sunday schools. [do you notice a pattern here with terms
that need replacement or better grammar structure?] During the novitiate they are taught
arithmetic, biology, botanic and medicine, all of which is combined with overall knowledge
about the world. Finishing the novitiate and joining the priesthood of Melitele happens during
Birke holiday, 23rd March. Young priestesses are given new robes and a quest from the
superior of the temple. Usually that will be taking care for some rural community or service in
one of the temples. Cult of nature among followers of Melitele allows them to maintain good
relationships with druids.
Priestesses of Melitele (regardless of rank) can be easily spotted thanks to white robes, girdled
with a cord or rawhide and plaited hair.
[Standard box - mechanics]
Priestesses of Melitele usually pray for recovery of their patients from different ailments or
blessing for developing life (in every form). In case of one of them saying such prayer, the
difficulty is lowered by 1. They often pray for return of balance in areas struck by natural
disaster (for example sending a rain during drought or stopping it during flood) or ask for
protection in case of dangers - both for themselves and people they take care for (effects of
such prayers are similar to protective spells or prayers). Curses are almost never cast by
priestesses of Melitele and only on people who idly-minded cause great devastation. They are
very powerful curses: they can even completely destroy the sinner. Prayers can be held almost
in every place; only curses must be made in an altar.
[End of box]
Followers of Melitele have eight holidays during the year, strictly related with the cycle of
nature. They are IMBAELK (end of the winter, 7th February), BIRKE (spring equinox, 23rd
March), BELLETEYN (1st May), MIDAËTE (summer solstice, 19th June), LAMMAS
(holiday of Sickle, 3rd August [Side note - in Polish August is called "sierpień", while
sickle is "sierp". Add those two together and you are home]), VELEN (autumn equinox,
23rd September), SAOVINE (day before November's full moon), MIDINVAERNE or
MIDINVÁERNE (winter solstice, 24th December). All of those holidays are related with
different believes and celebrations. And thus in night before Belleteyn bonfires of firwood are
made, around which everyone is dancing, drinking and revelling all the night long. There is
also an election of May King and May Queen, who - wearing coronets - are in celebration led
to birch scaffold by previous year "royal couple" - and from the high govern over the plays.
During Lammas on fields show up Żywia, [This is virtually untranslatable name ("Alive
one", female form) of old Slavic deity of - you guess it - fertility. We won't transliterate
it into English, because we would end up with Sivia or outright Siva. And Brits messed
up already Hinduism enough with their lacking sounds and grammar gender, we don't
need that with Slavic deities. Especially since there is a clear difference between Żywia,
Żiwa, Źiwia, Shiva, Siva, Sivia and Śivia in Polish, but it's almost completely lost in
English. TL;DR - screw you, English] also called among elves Dana Meadbh ("Odwieczna"
[Yup, this time it's translatable, but the issue is which words is more suitable.
Odwieczna means eternal, forever, someone who is since forever. Eternal would mean
something that never ends. What's the term from something that is since forever? And
please don't tell us English lacks such term or that eternal covers it. What a crude,
unsubtle language]). In the eve of Saovine people avoid going outside, since there is a threat
of being attacked by evil spirits, roaming around the world before descending into the Abyss
for winter. One should sit with family inside, alongside the fireplace, putting outside the
house a bowls with treats for the dead and just in case thrust an iron knife into the threshold.
[Who said Celts had a monopoly here?] During this night all fires should be started with the
same pitchy chip of wood, which should be then kept until Belleteyn, when the May fire
should be started with the same chip. Kids in Temeria and Redania burn on Saovine an effigy
of Falka. [Historical rebel figure that ruined both kingdoms - Żorż] For Velen there is a
solemn evening meal, where on the table should be dishes made from all the crops from this
year harvest. After the meal hosts [originally "gospodarz", which means both hosts and
the head of the house or household] are paying tribute to the goddess for this year
abundance.
Cult of Melitele has an entire net of smaller and bigger sanctuaries spread over the entire
Continent. Even if smaller chapels eagerly accept help of bigger temples, there is no central
temple, considered as the most important one, where the archpriestess would reside. Where
there is need to regulate something on country level, superiors of bigger temples meet in
chosen temple and discuss everything. It almost never happens and each bigger centre
remains pretty much autonomous.
The most famous [because the only one described in the books - Zahi] temple is near
Ellender, governed by energetic Nenneke. Here are sent for studies on the basic level girls
from wealthy and middle-class families, here knocks people whose diseases have beaten
qualified medics.
Melitele is not only praised by humans. Her holidays are also celebrated by halflings, while
elves are adoring Dana Meadbh, as she is a symbol of ever reborning nature.

Freyja
Modron Feyja (also known as Great Mother) is a goddess of love, beauty, fertility and
harvest. She is praised on Skellige Isles, while the main sanctuary of the goddess is the temple
and growing next to it grove Hindar on Hindarsfjall Island. [Yup, Skellige is "norse", even if
being one of the most southern lands... Let's just say that when Sapkowski was writing
his books, he wasn't paying much attention to geography and it's biting everyone ass
ever since]
Huge statue in the temple is showing Freyja as a woman in too long gown, scarf over her head
and in advanced pregnancy, with the holy stone Brisingamen on ther neck. It is believed that
she travels around the world as a hawk, diving from high, or a cat, who knows and sees
hidden things. Those are her sacred animals - nobody from Skellige would dare to rise their
hand against them to not bring misfortune on oneself and entire family. Priestesses are saying
that Freyja, just like Melitele, has three forms: virgin, women and crone.
It is widely believed that all heroes from islanders legends were descendants of Freyja.
[Amaterasu desu desu - Zahi] With her is also related the person of Hemdall, the main hero
of legends and sagas from Skellige. According to one of the myths he was the goddess son, in
another - her lover. The close relation of the goddess with the nature cause that - similar to the
followers of Melitele - priestesses of Freyja are in good relations with druids.
Robes of priestesses is white, fashioned after the image of the goddess. The sometimes wear
white scarfs over their heads, tied similar to the way married women wear them. Their hair
are in plaid or styled in such way to stay behind the scarf
[Fancy box - fluff]
On the rocks and reefs of Hindarsfjall Island there are nests of many birds: oystercatchers,
skrzeczały [Apparently some species of birds, but "skrzeczały" is a plural past tense of
"skrzeczeć" - to squawk. Thus we are completely unable to trace the species, since every
computer is throwing out articles related with squawking and none of us has any
ornithology book that would have such bird in it. There IS such bird in English as
squawk, a type of heron, but in Polish its named ślepowron. Plus it barely fits into the
context] gannets and cormorants. To get to the temple, one must first sail into a small cove,
entrance of which is flanked by two rocks: hanging over water Kaern Hemdall (Hemdall's
Keep) and smaller from it Kambi. From the cove's shore there are carved in the rock,
overgrown with moss steps, leading to the peak of the hill, where lays the temple. Just like the
steps, the building is overgrown with moss, but also with ivy, bushes and young trees, which
are growing even on the roof. The sacred grove of Hindar, surrounding the temple, is also part
of the sanctuary - from here comes the poświęcona [Not exactly sacred, not exactly blessed.
The term is between. If Catholic priest douse something with holy water, it's
"poświęcone". The same problem is with one of the prayers, so I guess figuring out one
will solve both problems - Zahi] mistletoe, treated on Skellige as sacred plant, without
which no ceremony can be made.
Inside the temple is illuminated by pillars of light, coming from high, stained glass windows.
One of such pillars is illuminating simple, marble altar and standing next to it statue of the
goddess. On the altar there are figurines of sacred animals - hawks and cats, next to big stone
basin for votive offerings. The statue itself is very tall - it appears as if reaching its head up to
the covered in darkness ceiling. The goddess is standing with bend down head and arms
crossed on her chest, wearing loose gown, emphasising her advanced pregnancy. The scarf
covering the head is also concealing the face. The only adornment is a gold necklace finished
with a huge, sky blue [English, you suck at colours - Zahi] precious stone - Brisingamen,
the Jewel of Clairvoyance. On both sides of the hall there are doors, leading to priestesses
chambers (left wing) and rooms for guests and utilities (right wing).
[End of box]
Girls of fourteen of fifteen years old are send for priesthood. It's important that they should be
beautiful, tall and without any physical infirmities. During the five years old stuedies they not
only learn prayers and enrich their faith, but also basic issues about medicine, hygiene,
herbalism and farming. All of this to bring help for men in agriculture and husbandry, and for
women in keeping the household, healing and making husbands happy. After consecration,
happening during Birke holiday, for the entire year the priestesses are among people, serving
them with advice and leading rituals during holidays. They return on the island only during
Midaëte, to held mystery in Hindar and to pick and be present during the election of the
archpriestess, called Modron. The office is for life; what's more interesting is that the
archpriestess is answering only before the jarl of Skellige. Current archpriestess is Modron
Sigrdrifa.
The most important holidays are covering with those held by followers of Melitele. It is
elieved that during those days the goddess appears between her followers in a guise of
beautiful, blooming girl or as full of grace cat (in the last one especially during Midinvaerne,
when she sits next to the stove and watches people). Man who spent an joyful night with
Freyja on the eve of Birke or Midaëte or a woman, whom house was visited by a mysterious
cat during Midinvaerne can be sure that a good luck will be on their side for an entire year.
[Standard box - mechanics]
Priestesses of Freyja are following the same rules as priestesses of Melitele.
[End of box]
The goddess is mostly cherishing attachment to land and family and care about own stock -
but also consensual married life and fertility. Favouring those values is treated as the most
precious offering to the goddess. The islanders are also offering to her crops in form of grains,
fruits, milk, wool, sometimes flowers. Sometimes they visit the island to offer the goddess in
a gift a figurine of a cat or a hawk and ask for support (for example a grace of bearing a male
scion). Not counting buildings on Hindarsfjall, Freyja has no temples.

Coram Agh Ter

Cult of this deity, called also “Lionheaded Spider”, is a typical example of expansion of vile
religion from far away southern lands. It started in year 1161, when a merchant named
Abrosio founded first, counting eight members, congregation in Loreda in Geso. This eight
drew further devots, mostly from ranks of city’s patricians and local nobility. For bored and
jaded burghers the new religion was something mysterious and exotic. The congregation soon
reached forty members. Despite taken security steps, informations about the cult reached
Kreve’s clergy and royal officials. The investigation started instantly, while few worshippers
of Coram were arrested and tortured. Results of that investigation caused hair to rise on heads
of investigators: almost entire city council and leaders of almost all guilds turned out to be
worshippers of the vile deity. Ambrosio and all captured members of the congregation burned
on stakes. Less moneyed merchants and craftsmen were watching it with satisfaction, since
this paved their road to taking the city governing posts.
Despite thorough search, many worshippers escaped. It was them who spread the cult in all
Nordling countries. This time they've settled outside the city walls, their shrines build mostly
in forests, swamps or mountain valleys. In the same time they've tried to expand their ranks.
Security reasons caused that worshippers developed multitude of secret signs, allowing to
recognise co-believer; outside religious service, priests don't wear their robes. For similar
reasons contact between different temples is very sparse. There is no homogenous hierarchy
or organisation.
Nowdays priests of Lionheaded Spider are not prosecuted as fiercely as in the past, in some
remote places they can even openly preach their religion. Maybe soon they will even decide
to expand and improve their contacts.
Worshippers of Coram Agh Ter percieve him as Great Weaver, spinning threads of human
fate and building a cobweb out of them. This cobweb is constantly improved and expanded.
Sometimes certain strands are ripped - meaning someone's death, sudden and unexpected.
When someone commits suicide, the thread breaks on it's own, while the soul of such person
is caught in the cobweb of Coram and devoured. Agh Ter is worshipped as a deity of death -
sudden, violent and hard to forseen.
The shrines are void of images of the deity, but the moniker should explain all of it. The usual
decor of a shrine are skulls and bones laying on an altar (usually remains of suddenly
deceased people). For the glory of the Spider, there is often a green fire burning in the temple.
The colour is achieved by adding to the fire specific weeds, adding also strong, unpleasant
odour.
Cultist endured many prosecutions, which turned them into indrawn and gloomy. They've also
learned to use powers of their deity to defend themselves and to help keep the Cobweb in
proper order.
[Standard box - mechanics]
Priests of Lionheaded spider are specialists when it comes to casting curses. It's their favourite
way when getting rid of people pointed by their deity. Curses are usually cast in very formal
way, next to altar. The curse hanging over victim's head gradually turns good fortune away,
leading to nervous breakdown and in the end suicide. Priests are also masters of hiding from
their possible prosecutors. All checks for curse casting, creating illusions or chanting prayers
[WHAT prayers? - Zahi] have their difficulty lowered by 2. Curses are also very hard to
dispell: basic difficulty of taking them off is increased by 2.
[End of box]
Worshippers are usually people who survived some tragedy or lost someone close to them.
The other kind of cultists are people who are related with death on daily basis (like
executioners, soldiers, bandits) and those who simply like to cause pain and suffering. It's all
futher enchanced by new vision of the world propagated by the cult - world where death is a
constant, almost desired element of reality.
Priests (of both genders) are chosen from the most merited members of congregation. During
their initiation they are informed about their main goal - maintaining the Cobweb in proper
order. Thus they should help "ripping the threads" of certain people. It is a very broad concept
- it may include things like putting wounded combatants out of misery, but also assasination
of people pointed in vision sent by their god.
[This religions feels like a very "edgy" thing, but the problem is - it's also described as
such in the original short story, as your Generic Fantasy Religion of Evil. We would like
to tone it down a bit or at least make it less pretentious, but that would mean changing
the content]

Kreve
Kreve is an expansive deity. He is linked with such attributes like decesivity, energy,
ingenuity, expansion (in any given field), but also defense of your property. His symbol is fire
- changing, coming from the sky as a lighting bolt, destructive, but also giving heat. Priests
are wearing symbols of lighting or stylised fires cast from metal.
Cult of Kreve turned into might in times of human conquest of the Continent. Preaching of his
priests gained many followers among settlers moving to new territories. To this day most of
followers are soldiers, knights, merchants and people leading a risky life.
Similar to Melitele, Kreve is percieved as a deity created from combination of idols with
similar attributes. Of couse, according to his priests, Kreve stepped among people personally,
in form of a lighting. He spent seven days among them, sharing secrets about new order and
religion. They are collected in "Sacred Book", which is not only list of rules, but also
describes future Day of Judgement, when Kreve and his worshippers will stand in final fight
against forces of Evil.
The basic principle of Kreve is to fight with evil standing against humanity. As such evil
counts everything that endangers life, health, soul and belongings. If the perpetrator is human,
he should be turned on proper trail at all costs. If he stays doggedly in sin, he should be
punished - with death on stake included. Such punishment comes also with multitude of
meanings, being in the same time cleansening of soul of the felon and propitiate sacrifice to
Kreve. Those cruel rules were for a while a basis of law enforcement in young human
kingdoms.
Priests of Kreve travelling with settlers to new territories also initiated actions propagating the
faith among nonhumans: elves, dwarves, gnomes and halflings. Unfortunately, their fanatism
and way of dealing with other races caused all such missionary actions leading to slaughters,
commited by both sides. Memory of those days for a long time was preventing any attempts
to come to an understanding between feuding races. Priests of Kreve were also important
advisers on royal courts, dabbing into politics. This only changed rather recently, during the
kingship of king Foltest's grandfather, which we mentioned earlier. Priesthood remains still
valued, but not the only source of advisors.
Priests usually wear brown or gray robes. The are mostly male, prepared for missions in
monasteries and temples. Novitiate lasts for five years, after which cleric give priest vows and
are sent into the world to propagate Kreve and defend people against all dangers. One of the
elements of preparation is "intership" for two months in a temple, under an eye of experienced
priest. Grade given by him in special report has immerse influence over future career of a
cleric and if he will be sent to military service (as a chaplain), diplomacy (on some local
court) or end up as missionary (among common people). People with no specific gifts are
usually kept in monasteries as dogsbody. Unlike the gossip says, priests are not trained in
wielding weapons. It is also untrue there is some secret council, rulling all temples and
monsteries. In fact each temple and monastery is self-governing, lead by the oldest and most
experienced priest. Monsteries almost uniformly held at least one inquisitor, waitng to be
summoned against heretics and worshippers of suspicious cults.
In Kreve's world there is no place for mages, since they've learned their magic from elves and
now try to play with powers beyond their understanding. After all, using spells leads to pride
and cause accidents hurting common people. Kreve's clergy, supporting reclaimation of
forests, don't like druids and priestesses of Melitele. The last ones often complain they must
mend and heal all what in their blindness broke priests of Kreve. Both religions also differ on
idea of allowed liberty for women. The only church with whom Kreve's priesthood is
maintaining proper relations are worshippers of Eternal Fire from Novigrad, often treated as
almost identical with cult of Kreve. Priests may also expect help from order of White Rose,
created under the initiative of few knigns, who wished to donate Kreve their military skills.
[Standard box - mechanics]
Prayers of Kreve's priests are usually about protection of devouts and defeat of evil forces
attacking humans. Checks of prayers said in such intentions come with difficulty lowered by
1. Worshippers of Kreve are also good at casting curses, which they often and gladly send on
incorrigible sinners. Repertoire of curses is quite vivid, limited only by imagination of cursing
priest. In the subjects of exorcisms, the most apt are the inquisitors. When they are removing
curses, difficulty of the entire process is lowered by 2.
[End of box]
During entire year worshippers of Kreve celebrate only single holiday, but it lasts for an entire
week and is called Holy Week. It is held as a memento of time spent by deity among people.
It is usually held between 16 and 23 of June. During that time all devouts crowd in temples
and monasteries, to whet sacred fire and narrate about glorious deeds of their deity. Since
many people come from far away, around the sacred sites grow entire tent towns, where
before and after services sprout vivid trading. Only worshippers can take part in services.
Priests of Kreve also take part in celebrations in different kingdoms, held as a reminder of
former victories in battle.

Druidism
Druidism is in fact something between priesthood and magic. Even if it's main principles and
organisation are purely religious, druids are using magic similar to that of other sorcerers.
However they follow strict limitations, set by their rules. Wasteful disputes about
interpretation of it are a parmanent element of meetings held by druids and are as productive
as discussion how many driads can be put on the tip of pine's needle.
According to druids we are all children of Mother Nature or Mother Earth. Her creation
includes a grain of sand, but also sky-reaching mountains, and and golden dragon. There is a
perfect equilibrium in the world. Each species has it's natural enemy, each of them is also a
natural enemy for other species - including humans. Even the smallest imbalance may lead to
annihilation. Such behaviours may be for example mindless overhunting or cutting down
trees. Even if this is shocking for many, druids think destruction of natural enemies of humans
is leading currently into degeneration of the race. The argument that natural and biggest
enemy of humans are they themselves is still not widely accepted, but the moment will
probably come soon.
Worried about future of the world druids often are envoying to different rulers, advicing them
in different aspects of economy, for instance advocating limiting land reclaimation, release of
waste to rivers or overfishing. Not all and not always rulers are eager to listen such demands,
thus druids usually are using threads about some plagues. But it should be also remembered
that spell casting is treated by druids as operating with forces of Nature and thus endangering
the equilibrium. They assume that while weaving a spell one should pay Nature respect and
not draw too much and in mindless way, like sorcerers do.
Ideas of druids often cause a lot of unwillingness, especially among lumberjacks and hunters
but also rulers who can't cash on lumber export. In common opinion druids are strange and
unpredictable gatherer of mistletoe, bowing to sacred oaks and burning in wicker baskets
everyone who enters their sanctuaries or try to steal their secrets.
The symbol of Mother Nature is for druids an oak. According to them the first tree on the
Continent, that grew out from a seed carried by sea waves, was the oak, called Bloebheris. It
is still growing today in Temria. It is believed to be a pillar supporting the sky and from its
acorns came all other oaks. Under the spreading branches of this oak druids are performing
their holiest rites.
Most of druids are recruited among magically gifted children. Rarely there are druids unable
to cast spells. If member od druidic congregation (called a Circle) there is such person, they
usually are servants. Parents decide if their child will became a druid. All the training happens
during childhood and teenage, when adepts are trained in all principles of druids and taught
about respect toward nature, but also it's laws. Pupils also learn complicated relations between
different organisms, medicine, herbalism, art of divination and use of magic. About certain
branches of knowledge (like banned knowledge of necromancy, which will be covered in
expansions) druids learn about only after their training is finished. It is worth to mention the
study takes place in coeducational groups.
Joining a Circle and introduction among druids takes place always in Birke holiday. That's
when all the adepts are making their chasity vows. From this moment starts their service in
the Circle, in most cases the same they were raised in. This doesn't mean druids are closing in
their own company. Quite the contrary, they keep lively contact with other Circles, but also
priestesses of Melitele or Freyja, driads and elves. Thanks to this flow of informations, druids
are among the best informed people on the Continent
[Standard box - mechanics]
Druids are very good mages and healers. Their spells serve predominately to protect against
dangers and bringing help to nature and people. Offensive spells are rarely used, mostly in
self-defense or against people deserving - according to druids - punishment. For this they
most often use described below spell.

SPROWADZENIE PLAGI
Cost in AP: check the table
Difficulty modifier: check the table
Cost in PRO: 20
Way of casting: F, C (druid or druids asks in special ritual Mother Earth to give them Power
needed to send a curse; required element of it is presence of creature or element that will
haunt the victim)
Time of casting: 30 min
Magical defence: Yes, if the victim is a person
Effect: Thanks to this spell druid is able to sent on specific region or person some nagging
plague. It might be drought, torrential rains, plague of rats or snakes, but also an irritating
rash. The expenditure of Power is cumulative, depending on how big is the area of effect and
how severe the plague will be. The difficulty of such spell is sum of the lowest value and half
of the higher.
Cost DR Size of cursed area and severity of plague
5 2 Small area (a room), weak ailment
10 4 Entire house, average ailment
20 8 Entire village, severe ailment
30 16 Entire town, causing death
50 32 Large region
When trying to cause bigger plague, druids must combine their forces. To cast the spell
properly, combined value of magic is taken from all participants of the ritual. Used Power is
evenly spread among them (expenditure of Power if divided by amount of druids participating
in the spell).
Attention: The most severe plagues druids can cast only and solely according to Mother Earth
morality.
[On a side note, this is the only time when it's pointed out that druids use magic, not
prayers skill and how to deal with spell casted by more than single person - the chapter
supposedly about this subject doesn't provide a single answer - Zahi]
Example
Druid wants to cause a plague of spiders on house whose owner just siced dogs on the druid.
Cost of sending such plague will be 15 (weak ailment for entire house), difficulty will be 4 (2
for weak ailment + 4 for entire house, halved giving 2). If he would like to cause drought in
entire region, the expenditure of Power would be 70, while the difficulty would be 24 (severe
ailment over large region) [The example is just plain wrong in original, taking values
from thin air. I’ve put my own solution here - Zahi]
[End of box]
Each congregation is lead by the oldest druid, called hierofant (in case of men) or flaminica
(in case of women). Druids usually wear white robes; men may also wear coronets made from
oak leaves or mistletoe, women - from flowers. All men wear mandatory bears, while women
have their hair (similar to sorceress) long, untied and unbraided, which also serves as
additional marker of their independence. While in journey druids may sometimes wear
normal, good for travelling clothes, but in such cases they will wear a tiny sicle on a chain
over their necks.
In countries of Nordlings there are four most famous circles. They are Caed Dhu (Black
Forest) in Angren upon the middle course of Jaruga river, one in Kovir, one in Temerian
fortress [fortress, not forest] Mayenie and there is Caed Myrkvid (Myrkvid Forest) in
Toussaint. The last one is in the primal forest, in a basin always covered with magical myst,
which provides - with scattered here and there bones - efficient protection from intruders.
Druids celebrate the same holidays as followers of Melitele or Freyja. But only they
participate in the rites. Invitations to take part in celebration are very rare and are quite a
honour. During those rituals druids are paying their reverance to nature in processions with
singings, prayers, incantations and sacrifice of fruits or (rarely) animal blood. During the
Midaëte there are held auguries, to see fortunes for incoming year. Usually smoke from
burned weeds is used for divinations, just like dreams or even sticks thrown on ground.

Gods of nonhumans
GNOMES are living with ethics of science and ingenuity. They've discovered many
wonderful inventions, which last in their memory for a long time. Such inventions are
expanded and modified, while such achievements are later known to all gnomes. It is believed
that inspiration and enlightenment, thanks to which inventors get their ideas, come from Great
Gnome, living in unspecified place. He is often called in moment of technical troubles or
when thanking for inspiration.
DWARVES don't believe in any specific deity, but some of them, living among humans,
embrace Melitele or (very rarely) Kreve. For a certain form of religion one can take deeply
rooted cult of ancestors. Burial is usually a very opulent ceremony. Deceased are given into
their sarcophagus their favourite objects, while graves are carefully tended. Ancestors often
receive sacrifices of fruits or tobacco and are called to grant their scions part of their
knowledge or abilities. It is a dream of every dwarf to be praised as much as his ancestors, if
not even more. Memory about certain particulary merited dwarves becomes known to all
members of the race.
HALFLINGS are currently praying to Melitele. From old elven sources it is known that
before arrival of humans they were praising other deity, which name - Zeldra - remained as
core for few words in Common Speech. There are no remains of it; probably her cult became
one of those religions absorbed by Great Mother.
ELVES - outside believing in Dana Meadbh, the elven name for Melitele - are putting great
significance to cult of nature's soul. It is a good custom among hunters to pray to soul of
hunted animal, so it will forgive the hunter and won't redound. Those rituals are known
nowdays only to few free elves, but they meticulously nurture them as part of their legacy.

Witchers' signs
Geralt reacted instinctively, crossing both hands in Heliotrop sign, catching the spell right
before his face, but the discharge was so powerful it threw him back, right on the wall.
"The last wish"
Folding a sign requires a specific alignment of hands. For it to succeed players must pass a
check of witchers' signs with difficulty equal to magical defence plus difficulty modifier,
given in description (plus possible situational modifiers, depending on Storyteller's will -
check " Example difficulty modifiers for use of Power", page 92).
Unless stated differently, the sign is working only for a single round or for as long as a
witcher is holding it, while the effect only covers only the one who folded it. In case where
the target of the victim should be a living creature, witcher must first see it.
Attention: Not all signs are used against living creatures, thus sometimes their difficulty is
equal only to the difficulty modifiers, plus possible situational modifiers depending on
Storyteller's will.
[Standard box - mechanics]
Sign description
Name [* if sign can be overcome]
Cost in AP: Amount of aura (so the number of AP) required for folding.
Difficulty modifier: Value increasing roll difficulty of witchers' sign check. It's added to
magical defence and other modifiers.
Magical defence: Informs if the sign is affected by magical defence of victim. "Yes" means it
is. "No" - it's not.
Effect: How the sign acts and what it does.
Overcome: Information which skill to use for overcoming in opposed check (look page 93
"Overcoming spells/prayers/signs") plus additional rules for overcoming.
[End of box]
Aard Sign
Cost in AP: 3/5
Difficulty modifier: 1
Magical defence: Yes, if used against living being
Effect: Simple Power from group of psychokinetic spells, consisting of push of energy in
chosen direction. Sometimes it's used to knocker enemy over (AP 5) or push away incoming
projectile (AP 3). The sign is marked with fingers of right hand. Normal push of energy is
enough to knock over a person of normal physique, but with more AP it is possible to cause
wreck more havoc (each additional 10 points of aura will deal d6 damage).
Attention: Folding this sign doesn't cost an action, if it's used to change the trajectory of a
projectile. But it can be used only once per round.

Axii Sign* [For now we will stick with video game version, since it can be also read as
"Sign of Axii", courtesy to Polish grammar]
Cost in AP: 5 (plus 5 for each additional turn)
Difficulty modifier: 1
Magical defence: Yes
Effect: This sign is working similar to spell UROK (page 103). Creature under the influence
of it becomes subdued to witcher's will, but for example animals may follow such orders
reluctantly and lingering. The sign can be stretched over a group of creatures, but the roll
difficulty will be equal to highest magical defence plus 1 per each additional creature. Cost of
AP also increases by 5 per each additional creature after the first one.
Axii Sign works for a single turn. This time can be increased via spending additional 5 AP for
each next turn. Witcher must uphold it, from time to time (round in each next turn) folding
fingers in proper way and spending an action for that.
The witchers can also use Axii Sign to clear mind from needless thoughts and concentrate on
single task. For this they need to fold it "against themselves". Under it influence, they need for
given task (single one picked by player) one success less than would be required normally.
Overcome: Concentration

Heliotrop Sign
Cost in AP: 5
Difficulty modifier: 1
Magical defence: No
Effect: This sign is folded by crossing wrists. It allows to disperse energy aimed at the
witcher, coming from offensive spells (like pyrokinetic ones), but also sound waves send by
certain creatures, like bruxas. They do not protect against physical projectiles like stones or
arrows. Bouncing a spell, it must be reflected further away, because when spell contacts with
energy of the sign, it cause a dangerous explosion.
Note 1: Default difficulty of folding Heliotrop Sign depends on might of the spell and how the
spell was cast. It's counted as follows. To 1/10 of AP spent on spellcasting (rounded up) add 1
for each success of magic check of the enemy above required.
Note 2: Folding this sign doesn't cost an action. But it can be used only once per round.
Example
Witcher Cormac is attempting to withstand casted by Perignon KNEBEL. Mag used for the
spell 5 AP, so the difficulty is so far 1. In magic check Perignon get two more successes than
required. The difficulty is thus 1 + 2 = 3. We modify it by 1, since that's the default difficulty
of folding Heliotrop Sign. Cormac must pass a check of witchers' signs with difficulty of 3 +
1 = 4.

Igni Sign
Cost in AP: 5
Difficulty modifier: 1
Magical defence: Yes, if used against living being.
Effect: Simplified version of PIROKINEZA spell (page 99). From witcher's fingers radiates
heat, which can burn somebody, start a fire or braze a kettle. If witcher wasn't taking any
elixirs, the sign will deal d3 damage; if a white or black gull was used, it will deal d6 damage.
Attention: Witcher must touch person or object that is the target of the sign.

Quen Sign*
Cost in AP: 5
Difficulty modifier: 2
Magical defence: No
Effect: This sign creates before witcher a magical field, repelling thrown at it objects (like
stones, arrows etc.). It can even stop smaller creatures. The gesture requires both hands.
The sign does not stop magical arrows or bolts.
Attention: Witcher may uphold this sign for more than a round, spending in each following 1
AP. For that he must keep folded fingers of only one arm (right or left - player's choice) and
can perform all actions requiring use of second hand and also moving at the rate of fighting
pace.
Overcome: Bigger creatures may overcome the sign under the circumstance they will pass an
opposed check of witcher's signs and vigour of overcoming.

Yrden Sign*
Cost in AP: 5 for three hours
Difficulty modifier: 4
Magical defence: No
Effect: This sign is not folded with fingers, but slowly and in peace engrave or draw on any
given material. It turns nearest surroundings (radius of 0,5 meter) of immobile witcher into a
completely impenetrable for any creature barrier.
Folding this sign takes a turn. Once drawn symbol can't be in any way moved, which means
that after being drawn it will always protect the same area. If witcher is drawing Yrden Sign
for example on a board, it must be laid down and left immobile. If the object on which the
symbol was drawn was moved, the sign cease to work. The same happens if the witcher
leaves the protected area.
Overcome: Yrden Sign can only by overcome by magical creatures or someone using magic;
it's possible only after an opposed check of signs and magic, prayers or signs.
[Standard box - mechanics]
Witchers' medallions
The famous witchers's medallions are special silver amulets, precisely tuned with people
carrying them - and also serving as a tasteful guild sign. Depending on the school in which the
witcher was trained, it may represent a wolf, a cat or a gryphon. Medallions are also related
with ability to fold signs by witchers. They carry a certain amount of Power and are it's only
source for witchers. Power retained in those medallions is replenishing fully on its own, six
hours after complete exhaustion (the time doesn't have to be spend on resting). The initial
amount is derived in the same way as in case of mages (check page 87) and works under the
same limitations.
Witchers' medallions have also strong ability to detect magic, activating automatically always
when tuned with them witcher will be close to magical aura - including the one coming from
most of the monsters. Medallion informs about nearby sources of aura with vibrations -
getting stronger and more frequent with closer and bigger sources. In similar way it can also
warm a witcher about threat of direct danger.
[End of box]
[Fancy box - fluff]
Witchers know many magical potions - healing, increasing reflexes, allowing to perfectly see
in pitch black and making immune to pain. And thus elixirs containing paris and swallowwort
allow to [get nausea - Zahi] fall into trance, cutting witcher off from all outside stimuli. The
mixture works for about an hour - but every movement or sound in radius of two meters will
wake up the witcher, who will be instantly ready for action. Mixture of nightshade, wolf's
bane and eyebright will cause [death - Zahi] paleness and enlargement of pupils, allowing to
see in darkness. The side effect is unnatural paleness. Another mixture, containing hellebore,
devil's snare, hawthorn and spurge, grants [organ failure and heath attack - Zahi] almost
complete control over most organs, including regulation of pulse and breathing. Elixir known
as oriole has strong detoxicative properties: it even stops strong poisons like ptomaines.
[I'm fully aware that witchers are suppose to be mutated to withstand the toxins, but by
trade I'm a pharmacist. I just couldn't help myself - Zahi]
[End of box]
[Standard box - mechanics]
Gulls: white and black
To use signs more effectively, witcher must take a dose of special potion: White or Black
Gull. Those mixtures allow to keep cool head and ability to concentrate quickly, even in
extreme circumstances. It should be also remembered that they are a lethal poison for people
who are not mutated to withstand them [A slight change of mine. There is no way to get
accustomed to highly toxic substances - Zahi]. Their production and recipe are a strict
secret.
Depending on need and desire witcher can consume elixir shortly before expected fight or
early in the day, just in case.
Dose of WHITE GULL allows to remain active for 6 hours and gives for that time 2d3
Arcane Points.
Dose of BLACK GULL allows to remain active for twenty four hours, without sleep or food -
but after that one must sleep this off. It also provides 2d6 AP.
[End of box]
[Standard box - mechanics]
Mechanics of witchers' elixirs
Name Duration Effect
Paris and 1 hour Each sound and movement in radius of 2 m from witcher
swallowwort will wake him up. If nothing will disperse his trance,
after a hour he will be rested as if sleeping for eight.
Nightshade, wolf's 3 hours Witcher has a nightvision on legendary (5) level.
bane and eyebright
hellebore, devil's 1 hour Control over all organs. Witcher can get himself into a
snare, hawthorn and state similar to catatonia and pretend to be death. He also
spurge hold breath for twice as long. Lowered pulse makes
poisons and venoms half as effective (they will start
working after twice of usual time, causing half of their
normal effects).
oriole 3 hours Witcher gains a -3 modifier to all vigour checks, when
resisting poisons, thus making them much less effective.
[End of box]
 Example of gameplay
You've read this example in the beginning of this book. This time we added mechanics (so the
informations about checks which both players and Storytellers should make). Informations in
square brackets are words spoken by players to describe what their character is doing. In
normal brackets are informations about mechanics.

Your campfire is slowly fading. It's getting quiet. You have the feeling that even the
grasshoppers find something more interesting to do than intruding the calm night. Only
Kramus' horse is not sleepy - instead it's fidgetting in its place.

Kramus: Lousy glutton, I’ve just given him oats… [I drag myself out of the bedding, get up
silently and get closer to the horse]

You cautiously slip between your sleeping comrades, circling around the fireplace. It's getting
cold, your teeth are clanging. When you get to the horse, suddenly the grasshoppers start
their play again - this time deafening and mad! The horse snorts, backtracks and rears up,
neighing loudly.

Kramus: [I jump away from the horse. I shout] Get up! Something is wrong!
Mirabel: [I jump up, simultaniously grabbing my sword].
Pansy: [I sit up and look around cautiously]

The grasshoppers are still doing their crazy rythm. The fire is almost gone, your horses are
fumbling, neighing loudly and kicking nervously. When you look around, the border of the
forest seems to ripple, while the moon shadows are running over the branches. Suddenly... all
the rumble dies down. There is complete silence, the horses seem to be even more puzzled
than you... You hear a twig snappin, somewhere between the trees.

Mirabel: [I get up and wait, facing the forest].

Pansy: [I cast a spell, reigniting the campfire].

(Storyteller decides the check is not required. Spell PIROKINEZA works automatically. In
other case player role-playing Pansy would have to pass a check of magic with difficulty of 1.
Regardless, the sorcerer spends 5 AP from previously gathered Power)

Kramus [I stand next to Mirabel, grabbing my sword].

You feel cold. The fire - ignited by Pansy's magic - gives you light, but no warmth at all. You
look at the trees, from where you can clearly hear footsteps.
(Storyteller declares check of spotting with difficulty of 6, since it's quite dark; unfortunately,
nobody passed the check)

Kramus: [I shout] Who are the hells bringing?!

A slim figure emerges from the darkness. You see an elderly man, caked with dirt beyond any
measure. He is wearing torn livery and he is holding a long stick in his hands. He is smiling
friendly.

Stranger: Don't be afraid, I'm a wanderer looking for good people and a warm fireplace. And
no hell is sending me, mister knight, but the longing for company.
His voice is clear and dignified. The old man stops and is quickly glances at you, the fireplace
and your skewer with the remnants of supper.

Mirabel: [I whisper]. Let him go his way, why would we need him...
Kramus: I did not mean hell, just the hellish path. Please, sit down, have a meal [As I’m
saying that, I sheath my sword]. [This is a wordplay in Polish, where you have szlag - a
mild curse - and szlak, a pathway. Seems untranslatable].
Pansy: Oh, Kramus, you would probably invite a ghoul to your house...

The stranger’s smile gets even wider when he sits next to the fire. Now you can see that his
livery must have been once quite glamourous and costly. Even your guest’s wrinkles are filled
with dirt.

Mirabel: I don't like this...

Kramus: Calm down, girl, the old man will fill himself, fall asleep and we will pack up
before sunrise. Company will do us no harm.
Mirabel: Ok, ok... [To the stranger]. Here you go, grandpa, that’s what remains of the hare,
Pansy caught it today. Enjoy.

The old man is hungrily gnawing at the bones, looking at you happily.

Kramus: [I go to our horses, what's up with them?]

Your horses are calm now, asleep. Everything around is calm and quiet. There is a light, cold
breeze from the east.

Pansy: [I sit next to the old man] Where are you from, mister... How should we adress you?
Stranger: I'm Vieanne. I come from the Valley.
Pansy: Valley? Which valley?
Stranger: The Valley of the Flowers
Mirabel: Are you an elf? You don't look like one
Stranger: There is more elven blood in my veins than human blood.

Vieanne stops eating and looks at you cautiously

Stranger: You must’ve been travelling for a while. Where are you heading?
Kramus: South. Lyria.
Stranger: So... [He gets up] You are those who I've been looking for.

In the same moment the stranger jumps forth, pulling a dagger and attacks Pansy.
(Player behind Pansy performs a spotting check with difficulty of 7 - he wasn't expecting
anything like this at all! Since it's easy to figure, the roll ends with failure. The stranger with
ease strikes surprised Pansy, performing standard hit roll. Roll for damager was unnecessary,
since the dagger always deals damage equal to 1 plus double the Strength of attacker. But it's
enough to pierce Pansy's gambeson and deal him damage)

Kramus: [I undercut him!].

Mirabel: [I jump aside and pull my sword].
Pansy: [I jump back]
Pansy falls on his back, slightly grazed. Kramus undercuts the elf and pins him down to the
ground.
(Player behind Kramus performs a hit roll, which succeed without any problems. Storyteller
decided that a kick would be enough to knock down the stranger and went with it, to add the
scene dynamics)

Mirabel: [I jump to him and put the blade of my sword to his throat]

The stranger jerks and gasps, then stammers some sentences and bursts in flames. He's
burning!

Mirabel: [I jump aside].

Kramus: [I get a plaid and put it on the elf]
Pansy: [I get up and help Kramus]

You cover him with the plaid, extinguishing the flames. You can smell an awful whiff; the elf
is trying to blurt out. After a while he stops - you can feel as his body is getting limp.

Pansy: [I uncover the plaid]

Mirabel: [I assist him with my sword at hand]

You undercover the charred body. Everything is burned down, including the robes. The
remains of the face are twisted in a monstrous grimace. Under one of his armpits you can see
a small flask, cracked.

Kramus: What the hell is this?

Mirabel [I pick up the elf’s dagger].

You pick up the dagger from the ground and look at it closely. Typical elven craftwork, it
seems more like an elaborate paper knife than a weapon. The entire blade is shining, as if
covered with grease. The tip is also covered in blood.

Pansy: Dear Melitele! Poison!

(Storyteller knew in advance there will be need for vigour check - the venom has strength of 5
- which he performed in secret. Unfortunately, the venom worked)
Pansy falls on the ground.
The Voice of Reason

Book of Storyteller
Later it was said this man came from the north, from Ropers Gate. He came on foot, leading
his laden horse by the bridle. It was late afternoon and the ropers', saddlers' and tanners' stalls
were already closed and the street empty. It was hot, while the man had a black coat thrown
over his shoulders. He drew attention.
"The Witcher"
[Standard box - mechanics]
For all first timers
Storyteller - called in other games Game Master - is a person leading the gameplay. Screen
writer, director and teller, person being eyes and ears of players. It is he who describes the
world, seen to characters. It is also the person answering all questions about consequences of
players' actions. He is like a book, in which appears images, voices, character met by players.
He must roleplay all people and animals.
On page 149 there is an example of story-telling.
[End of box]

Is is worth to read this chapter? [This entire section comes off as incredible smug in
Polish, even if few good points are made here and there. I hope it's at least a bit toned
down after translated into English - Zahi]
"Ha! I know witcher. I read books and short stories of Andrzej Sapkowski, I know this world!
I can calmly, without anyone advices lead game in this system". But are you sure? I presume,
dear Reader, you've finished reading the saga. If not, put this handbook away and reach for
"The sword of destiny". You will have a lot of fun from reading it, while it will also prepare
you for what you can find in here. But why should I make such assumptions? For sure you've
already flicked through all the novels. Let's get back to the secret of this chapter...
From the start you must aks yourself a question what kind of a Storyteller you want to be. The
one with whom after just a single game session nobody want to play anymore? Or maybe you
prefer that everyone was impatiently waiting for next parts of your story? Being a person who
is able to single-handly provide terrific experience for three or four other people? Yes, that is
indeed fascinating, but also very difficult deed. It won't suffice with wishful thinking and
reading all books from AS. It takes something more. Much more. It simply takes to learn how
to tell your stories. The art of leading player characters in your own story, through lands of
imagination, that's something completely different than usual campfire stories or colorful
retelling of book events. You won't get informations presented here from AS or in your own
experiences - even if you already were leading games in other systems. But such experience
will help you relatively fast prepare for storytelling. Storyteller is a very special somebody.
Becoming one is not an easy task. It can take entire years to reach this master title, you can
also take apprenticeship from other Storyteller. And that's what I'm proposing you right now. I
will make you my journeyman.
Do you agree? Then let's start your study.
You must learn the basic secret of our trade. Game of imagination is an entertainment. It is
suppose to provide good time, mostly for players, but also for you. But here lies a trap. Being
the only ruler of the told story, you might face enormous temptation - the unlimited power.
You can cause hurricanes, moving mountains, stop the time, destroy the sun. It's your story.
You have more power in it than gods, but with it falls on you all the responsibility and all
consequences. If you, playing with your power, will put story over players, making your will
prevail instead of making sure three tiny adventurers stayed alive - you will get what you
want. A moment of satisfaction. Satisfaction that everything went according to your plan -
after all you are a god! But that's a miserable outcome. Those three tiny adventurers will
never again ask you to tell a story. But they will tell everyone else about your hunger for
power. Maybe you will be able to play... but as Storyteller you will be done. For good.
What then? Aren't there any other way to reach fulfillment from storytelling? Of course it is
and that's the secret. You should reach it when your players, with shaky voices, will ask you
for next part of your story. When they will listen your words with attention and trust, knowing
that you are using your power only to enhance the story. So the tiny adventurers could
accomplish great deeds. But here is a warning and a lesson: great deeds don't mean only
saving the world and slaying dragons. Nothing like that. Just look at the novels. I'm talking
about deeds "great" in small scale. Deciding about someone's life or death, helping friend,
dramatic escapes, love or even turning back from once picked road. Those are huge things for
them. This will provide realism from one hand, while from the other comes ability to do
something unusuall. Remember to let your heroes live. If they will choose otherwise, that's
their problem, but they should be always aware of the consequences of their actions. In turn,
put players before difficult choices, in dramatic situations, merry or sad. Let them deal with
the consequences of their decisions. Let them see death they've caused or happieness of saved
people.
[Fancy box - fluff]
- All right - she said - It's around loud enough that we can exchange a few words discreetly.
Lets start with courtesies: I'm pleased to meet you.
- The pleasure is mutual, queen.
- After the courtesies, hard facts. I've got a job for you.
"A Matter of Price"
[End of box]
As you can see, hard task it is: [This is intentional reverse] maintain realism, provide
entertainment and also describe everything beautifully. Step by step you will familiarise and
try everything that you should know and be able to do. When you will finish, you will receive
the title of Storyteller. That's a master title. That's an honour.
After each day of training, and there are about twenty of them before us, I will summarise you
what you've learned so far. I will bring examples and tasks that you should perform in the
evening, so I won't have to use a twig to bash into you a tale about those Storytellers, who
after being flayed by their listeners were cursing days when they didn't pay attention to their
training.
[Standard box - mechanics]
You shouldn't share informations from here with your players. They must live in the believe
their characters can in any givem moment die. You know otherwise - they don't have to.
When a magician explains his tricks, they no longer work. So keep your secrets for yourself.
[End of box]
Summary
1. The oldest secret of Storyteller is that the biggest pleasure comes from having happy
players rather than being a master of Fate.
2. It is players who are suppose to have fun; they don't come so you can kill their characters.
It is their choice - to die. Remember this.
3. Great deeds are not about killing dragons. They are common life decisions. But they are
equally - and often even more - emotion-laden as saving princesses.
4. Title of Storyteller brings respect. Do everything to make that real.

Tasks
(Do it all well and you will get two bowls of kasha in the morning!)
1. Ask your player or people you know as players what they expect from the story. What
impressions, experiences? Think how could you elicit them. Remember that fulfilling such
desires you are score a secret success - players will be happy.
2. I count to three. Speak, fast, without stuttering. What's the greatest secret of Storyteller?
3. Think when - notwithstanding - it is allowed to let character die. Just recall how Geralt died
and how you reacted on that. Was that the opening of the saga?
[Standard box - mechanics]
Examples
1. I knew once a Storyteller who like to brag everywhere that players are only to play given
roles in his stories - and nothing else. He wasn't interested if they like those roles or not. He
was a creator. He still is one - but there is nobody left to play his roles.
2. Other, master Kangerot [This is a jab to one of the test players], in early days of his
storytelling - thinking that realism is the most important thing - was killing characters always
when dice declared so. But he learned fast it's better to find such solutions, where a character
survives, even if greviously wounded. Few of his players asked him for such favour. This was
the reason why they've played. Not to die, but to survive.
[End of box]

What differs "Witcher" from other games?

Wake up, sleepyhead! The sun is already high, and you've still didn't whip fire in the stove!
All right now. I see you are doing well, then sit next to the table. Today I will explain you
what differs storytelling from mastering in other RPG games. It differs - and a lot. [Not really,
but hey, who can blame them - Zahi] In the past it was believed that the most importat
element of game sessions are dice and mechanics. And in "Witcher" we have mechanics, but
the problem is if it's really the most important. Well - as you know since yesterday - the
fundamental thing is players enjoyment. If this goal will demand dice and checking tables,
then do it as often as required. In other games mechanics must be used, while in some others
they can be sometimes ignored. In "Witcher" it sometimes can be used. [This is rather hard
to put into English. The intention in original is to show that in other games one MUST
use mechanics, while in Witcher mechanics are purely optional addition to gameplay -
Zahi] It is dictated by single statement - game of imagination. You are suppose to travel with
your players into the world you've created. In such way that the most important things are
characters, their words and actions; so that everyone could see the surrounding landscape.
For this goal it will take few conditions. You can't storytell for more than five people at once.
It's the best when you are leading four players. One person has limited capabilities.
Regardless of your own ambitions trust the old Storyteller. For everyone to end up in
described by you world, you must pay certain amount of your attention to each player. And
that will become very hard when there are too many of them. Remember that four it's already
a crowd. Three, even two people may seem as even better solution. Unfortunately, they might
be unable to face described by you challenges. Less people means less interesting ideas,
evaluations, it's always a bit less vivid world. It takes the golden mean, which I hope I've pin-
pointed well enough.
[Fancy box - fluff]
- Geralt - said Calanthe, her fingers tapping an emerald necklace, the smallest stone of which
was the size of a bumble-bee - what sort of task do you expect, as a witcher? What? Digging a
well? Repairing a hole in the roof? Weaving a tapestry of all the positions King Vridank and
the beautiful Cerro tried on their wedding night? Surely you know what your profession is
about.
"A Matter of Price"
[End of box]
[I've got mixed feelings about translating the next paragraph, since it's pure marketing
crap around "look how special our game is" - Zahi]
In many systems gaming session lasts from six to even ten hours. For game of imagination
that's definitely too long. After five you and your players will be so tired that your story, co-
created with them, will be not worth continuing. Try to spin your story from two to five hours.
I skip here time required to create characters. But even if, this is something that can be done
few days in advance. During those few hours you must go all out. Take into account you will
soon get exhausted. You will prevent that with breaks - each two hours for about 15 minutes.
[And I discourage it, since that breaks immersion in the worst moment possible - Zahi]
This will allow you to regenerate a bit, check your notes, while your players can rethink the
situation, maybe even someone will brew fresh tea. In other games such breaks are unheard
about. Game masters are looking for rest during their story, while players leave during it, not
paying attention to what's going on. And there is nothing wrong with that - they won't trick
the nature, while you can't fight exhaustion.
But that's not all. To better imagine appearance of characters convince your players to dress
up for game sessions. I don't mean full, beautiful gowns - too costly to buy and too hard to
create. I'm talking rather about all the little details underlining nature of given character. Let
the bard put on for the game a hat with a colourful feather in it. Let the sorceress wear an old
brooch on a string of beads, imitating magical jewel. I could bring dozens of examples. But
never condemn anyone for showing without a costume. It's important that player simply mark
somehow his character in real world. The good intentions are most important. With time your
costumes will get fuller, more interesting. This in turn will help you with the gameplay. It will
just take your players a single look on their companions to recall everything and return to the
world of imagination.
You should pay the most interest toward the way of playing. Characters are not sheets of
paper laying before players. They are not few hours of turning into own character. All
sentences should be said in first person. The same about all dialogues. You can't allow your
players to use indirect speech in tune of: "So I explain to him to surrender". The right way
will be: "Surrender now, you rascal!".
Game of imagination is also different from other systems thanks to another element. During
the gameplay - you, Storyteller, but also rest of players - should adress each player only and
solely with the name of their character. Even if it's about further actions or such trivial tasks
like giving a cup of tea. This will allow to equate in much stronger way with roleplayed
characters. And that's one of the main goals for game of imagination. But to achieve that, you,
Storyteller, must tell about this to players and remind them it during breaks. You can't blame
them for not doing something they didn't know in advance. In fact, you can't blame them for
anything. You can remind, advice, but not punish. After all their satisfaction is a basis for
your own.
Then how should such gaming session look like? Four people in strange costumes in small
room around a small candle in the middle. There will be no table, but only a candleholder.
Storyteller walking between them, sitting here or there. Whispering on ear to someone crucial,
but secret informations. Character sheets laying on a couch, shelf, floor. Players waving their
hands, with red flushes on their faces telling about their actions. Shouting words completely
unfit for our world. Storyteller will stand between them [On the candle I guess - Zahi], turn
around fast, look in the distance and describe a castle emerging from behind the hill. The rest,
looking with him, will contemplate the purpouse of further journey. After a while they will sit
down, exchange few words around a small campfire, which will be hard to start in this rainy
evening. There will be no campfire. There is only that small yellow candle. But in their
imagination there will be real flames. Names will be different than those given. Personalities,
gestures, glances, pieces of clothing will suit better what is going in their heads. To white
haired man with cat eyes, to lovely archer tough like steel, to short but strong dwarf with fists
like rocks. In the background you will hear music, as if captured alive from a lyre of travelling
musician. Storyteller from time to time will get close to one of the walls, fiddle with strange
machine, bringing out music out of it, more suitable for currently roleplayed scene. [The
game showed up in an advent of CDs in Poland, so the advice is about cassette player, as
mentioned in one of the expansions. Now imagine rewinding tape during game session -
Zahi] Their physical attributes will be expressed in numbers, but intelligence,
resourcefullness and personality will be drawn only by roleplaying.

Summary
1. In "Witcher" mechanics sometimes can be used.
2. It is best to storytell for four people.
3. Single session should last from two to five hours
4. Breaks should be made each hour or two (since certain situations may require them more
often).
5. Players should equate with the characters they roleplay. Wrong: "I say to him to give it
back to me". Good: "Give it back to me!". So we adress and talk in first person. You,
Storyteller, should explain that before the session.
6. When adressing a player during gameplay, regardless of what you have to say, always use
character name. This also applies to players (remind them that).
7. Convince players to wear a costume of their character during gaming sessions.
8. While playing, you are not limited by table, but the room you are playing in. Dance, walk,
sit, even lay down - depending on described situation. Convince your players do do the same
(before the game starts).

Tasks
1. Look closely on your room. How to host a session in it? Where will you put players. Will
you find place for candle? Think about it.
2. Try to describe four different pictures from this book as if you were talking about game
world. Make gestures, walk around, try to build the description not only with your voice, but
use your entire body.

Declarations
As you might already figure it out on your own, dear Journeyman, players' declarations are
very important element of world building. After all what we say to them depends solely on
what their characters are currently doing. Yes - player may declare you absolutely anything.
You shouldn't limit them with words like "No, you can't do this... or that too". Declaration is a
desire to perform some action. Its consequences evaluate and put in life you, Storyteller. It is
possible that player said "So now I fly in the air". In reality he is unable to do that, but since it
was declared, so an attempt was made. You should answer: "Yes, you try. Your muscles are
tense from labour. Your cheeks are turning red. You have this feeling that you slightly, maybe
by a milimeter, fly up. No... that's just a feeling. Good training for next twenty years will give
better results. As for now, unfortunately, you are tied with mother earth. Will you try again?".
In this way you allowed a character to try. Player can only feel grief to himself now, since he
proposed something impossible to do. But he won't be able to hold any grief against you for
not allowing some action to be performed. Remember: characters belong to players, they can
do everything with them. Kill important person in Hołopole or silently butcher an innkeeper -
of course, if that was physically possible. But you can't forbid that in line of "You shouldn't
do that". Your players are intelligent people. [Suuure... I wish this was a given for every
possible group of players - Zahi] They might be even aware about that. But it's your duty to
present - through plot - all consequences with full strictness.

Making a declaration
Let's talk now a bit about the sole method of making declarations.