Var iations

on the
Gr eat Game
A lt e r n at i ve R ules 1 C astle F alkenstein
for
Var iations
on the
Gr eat Game
A lt e r nat i ve R u l es for C a s t le F alkenstein
Variations on the Great Game: Alternate Rules for
Castle Falkenstein presents material previously published
in The Tarot Variation, The Second Tarot Variation, The
Ability Variations, The Feat Variations, and The Six-Sided
Variation. This material in this book has been revised and
updated from previous versions for clarity and precision.
Hosts and Players of Castle Falkenstein should remember
the golden rule of gaming is the only one which must be
followed when playing.
“Don’t use a rule if it makes the game less fun.”
The rule variants presented in this document are
optional ways to customize the Great Game to suit the
play style of a group. They are not required and shouldn’t
be used unless the group agrees they will improve the
game for everyone.
2
D ramatis P ersonae
Devised by Captain Thomas Olam
Transcribed by Ambassador J Gray
With Gratitude to Captain Michael Alyn Pondsmith
Editorial Insight by Lord Lucus Palosaari
Layout Beautifully Rendered by Admiral Rick Hershey
with art by Sir James Tissot
The Members of the Gaming Society of the Fat Goblin are Ismael
Alvarez, Jason Owen Black, Jeff Collins, Kristopher Cruz, Ben
Dowell, Kim Frandsen, Scott Gladstein, J Gray, Taylor Hubler,
Jacob W. Michael, Jennifer R. Povey, Matt Roth, Rodney Sloan,
Jessie Staffler, Jeffrey Swank, Landon Winkler, Lucus Palosaari,
Troy Daniels, and Rick Hershey.
Grateful Appreciation is Given to the Allies of the Second Compact,
who include Brother Jonathan Mazur (Falkenstein Archivist),
Lady Roxanne Silver (Mistress of the Babbage Engine), the Most
Honorable Raquel Gutierrez (Marchioness of Santos), Professor
Richard D. Bennett (Keeper of Government Lore), Mistress
Kristy Cutsforth (purveyor of fine paints and powders), Professor
Stephanie Gray (Muse of Falkenstein), Dame Sophie Lagacé
(Defender of the FATE), and Sir Edmund Metheny (Loving
Consort).
The Developer of the Line is Ambassador J Gray
Variations on the Great Game: Alternative Rules for Castle
Falkenstein © 2018 Fat Goblin Games
About Fat Goblin Games
Based in South Carolina, USA, Fat Goblin Games was founded in
2011 to create Pathfinder Roleplaying Game compatible products.
With a focus on high quality production values and providing a
creative environment for our writers, Fat Goblin Games has quickly
become a recognized force in the world of third party publishers.
With hundreds of support books, visual aids, campaign
settings, and quality stock art, Fat Goblin Games continues to
provide exciting content and fantastic worlds in which gamers
can immerse themselves.
Visit us on Facebook, follow us on Twitter and check out our
website at fatgoblingames.com.
This game references the Castle Falkenstein Roleplaying game,
available from R.Talsorian Games, Inc. Castle Falkenstein and all
associated logos and trademarks are copyrights of R. Talsorian
Games, Inc. Used with permission.
Published under license from
R. Talsorian Games, Inc.
 T able of C on ten ts
T h e S pe c i al i z at i o n s V a r i at i o n 4 T he D warfish R equirement V ariation 20
In which Abilities can be further refined during Dramatic In which an entirely new tier of Requirements are introduced to
Character creation and beyond. aid the Host in governing Feats.

T h e D i vo rc e V a r i at i o n 8 T he S ix -S id ed V ari ation 34
In which Abilities loosen the bonds which hold them tight to In which rules are presented so those wicked individuals who so
their governing Suits. desire might use dice in the Great Game.

T h e I m p rove m e n t V a r i at i o n 10 T he F ortun ate T arot V ari ation 38

In which new standards for growing a Dramatic Character are In which the mysterious Tarot can be used to add flavor and
presented. uncertainty to the Great Game.

T h e H ar d L i m it V a r i at i o n 15 T he S orc erous T arot V ari ation 43

In which rules are presented to limit the practice known as In which the whimsy and oddity of Magick is simulated using
“hand dumping”. a Tarot deck.

T h e H al f -O f f V a r i at i o n 17
In which the tyranny of off-Suit cards is limited.

Honestly, Mike, I should have seen it coming. Back in your world there’s a tendency to
associate house rules with roleplaying games but the concept is as old as gaming itself. Just
look at whist! There’s bid whist, Boston whist, hearts whist, knock-out whist, and more!
Travel to fives different cities and chances are you’ll end up playing five different variations
of whist. Heck, duels have been fought over the right to decide which rules to play with!

So, it should come as no surprise that as soon as I published the Great Game over here people
began developing their own house rules. In my travels around the world as part of my job as an
Agent of the Second Compact I’ve run into hundreds of these variations. Some made sense and
some didn’t and at least one required the assistance of a Babbage Engine to implement! I’ve
collected some of my favorites and sent them over to you via Faerie Express. I hope you enjoy.

Tom Olam
3

T he S pecializations
V ariation
This particular house rule was suggested to
me by none other than Dom Pedro II, the
Emperor of Brazil. Being both well educated
and well traveled, His Highness noticed how
generalized the various Abilities in the game
are. This was done on purpose, of course,
to keep the rules simple and to reflect
the broadness of a standard New Europan
education, but Dom Pedro II felt there should
be a way for a Dramatic Character to excel
in one aspect of an Ability if their Dramatic
Character’s background warranted it.
“After all, Thomas,” His Highness said to
me, “A sailor might know several languages
due to his travels around the world and yet
still have never set foot in a classroom.”
What can I say? When an Emperor is right,
he’s right!
In games utilizing the Specializations Variation, Players
can elect to have their Dramatic Characters focus on certain
areas ruled over by an Ability. For example, a hunter might
possess an Average Marksmanship when it comes to most
firearms but due to training and practice have a Good
Marksmanship when shooting a rifle.
During character creation a Player can trade in one of their
Good or Great Abilities in order to purchase Specializations
for their Dramatic Character. The Player receives a number
of Specializations equal to one half the value of the traded
Ability; so a Good Ability is worth three Specializations and
a Great Ability is worth four Specializations.
4
Specializations can be applied to any Ability except
those with a Rank of Extraordinary, including those for
which a Dramatic Character possesses a Poor or Average
Rank. A Specialization increases the value of the Ability
by one step when performing a Feat for which it applies.
Players can purchase multiple Specializations for the
same Ability but cannot select the same Specialization
for an Ability twice.
For example, Lucas has decided he will be playing
Professor Harold Doyle, an expert in matters spiritual
and ghostly. As he determines what Professor Doyle’s
Abilities will be, Lucas elects to trade in one of his four
Like many roleplaying games, Castle Falkenstein
makes use of a special lexicon when defining its
rules. Knowing the definitions of the following terms
will be useful when reading this document.
Ability: The skills and qualities which govern what
a character is capable of. The various levels of an
Ability are known as Ranks. Often known as skills
or talents in other games.
Dramatic Character: The avatar through which a
Player interacts with the world of Castle Falkenstein.
Often known as a player character in other games.
Feat: An action undertaken by a character, usually
involving an Ability and the playing of cards (or
chits and dice, using the Six-Sided Variation). Can
succeed or fail depending upon the Requirement.
Often known as an action or task in other games.
Host: The person who narrates and adjudicates a
session of Castle Falkenstein. Often known as a
referee, gamemaster, or storyteller in other games.
Host Character: A character controlled by the Host.
Often known as a non-player character in other
games.
Requirement: A number which must be beaten by
a combination of Ability and cards (or chits and
dice, in the Six-Sided Variation) played in order for
a Feat to succeed. Often known as a difficulty or
target number in other games.
Good Abilities for three Specializations. His initial Ability
choices are:
Poor: Charisma
Good: Courage, Perception, Physician (Remember, he
only receives three Goods because he traded one for
three Specializations)
Great: Education

Lucas next decides what his three Specializations will be.

He selects the following:

ɶɶ Ghosts for Charisma. Professor Doyle is more

adroit at speaking to the dead than he is the living.
His Charisma is considered Average when dealing
with ghosts.

ɶɶ Spiritualism for Education. While Professor Doyle

is a learned man he is especially knowledgeable
about matters involving the ethereal. His Education
is considered Exceptional in this regard.

ɶɶ Mediumship for Sorcery. Professor Doyle will

never be able to cast spells but he is highly attuned
to the spiritual and can vaguely perceive normally
invisible ghosts. His Sorcery is considered Good
when attempting to sense the spiritual.

New Specializations can be acquired after character

generation using the methods detailed in the Improving
Your Lot rules found in Castle Falkenstein.

The following chart lists possible Specializations for

each Ability as well as the Ability’s Suit, Tarot Suit (if
using The Fortunate Tarot Variation), and point of origin.
Players are free to suggest their own Specializations for
an Ability but the Host should always have final authority
on what is and is not allowed. As a guideline, always pick
a Specialization that helps tell a Dramatic Character’s
story, not one designed to give them the best chance at
succeeding at a given Feat.

5
Ability Suit Tarot Suit Origin Specializations
Animal Handling Clubs Wands CC Befriending, a Specific Type of Creature, Training
Animal Speech Hearts Cups CC a Specific Type of Creature
Athletics Clubs Wands CF Climbing, Riding, Swimming, Thrown Weapons
Charisma Hearts Cups CF Children, Crowds, Middle Class
Comeliness Hearts Cups CF Cosmetics, Cuteness, Seduction, Wardrobe
Connections Spades Swords CF Criminals, Merchants, Nobility, Politicians
Courage Hearts Cups CF Intimidation, Resisting Fear, Resisting Physical Pain
Craftsmanship Diamonds Pentacles CiF Dressmaking, Potting, Jeweling, Woodcarving
Creature Power Spades Swords CC a Specific Type of Target
Education Diamonds Pentacles CF History, Languages, Sciences, a Specific Field of Study
Etherealness Spades Swords CF Disguise, Flight, Passing Through Objects
Etherealness Clubs Wands AoF Flight, Passing Through Objects
Exchequer Spades Swords CF Cash on Hand, Credit, Estate Value, Worth in a Specific Country
Fencing   Clubs Wands CF Dueling, Feints, Rapier, Saber
Fisticuffs Clubs Wands CF Attack, Defense, Found Weapons, Prize Fighting
Gambling Diamonds Pentacles CiF Bluffing, Casinos, Cheating, Horse Racing
Auditory Glamours, Glamours of Objects, Glamours of People, Visual
Glamour Hearts Cups CF/AoF
Glamours
Kindred Powers Clubs Wands CF a Specific Type of Target

6
Kindred Powers Diamonds Pentacles AoF a Specific Type of Target
Invention Diamonds Pentacles CiF Clockwork, Gadgettech, Vehicles, Weaponry
Helmsmanship Diamonds Pentacles CF Aeronautics, Land Vehicles, Lighter than Aircraft, Nautical Vehicles
Gunslinging Clubs Wands SS Fastdraw, Showdowns, Trick Shots
Leadership Hearts Cups CiF Business, Combat, Politics, Speeches
Marksmanship Clubs Wands CF Bows, Pistols, Rifles, Shotguns
Mesmerism Hearts Cups CiF Befuddlement, Implanting Suggestions, Resisting Hypnosis
Motoring Clubs Wands CiF Automotives, Racing, Velocipedes
Natural Sciences Diamonds Pentacles CiF Botany, Electricity, Physics, Zoology
Outdoorsmanship Diamonds Pentacles CC Hunting, Tracking, Survival
Perception Diamonds Pentacles CF Combat Readiness, Empathy, a Specific Sense
Performance Hearts Cups CF Dancing, Drama, Singing, Stage Magic
Physician Diamonds Pentacles CF Diagnosis, Chemistry, Medical Knowledge, Surgery
Physique Clubs Wands CF Bodybuilding Poses, Breaking Objects, Lifting
Poison Clubs Wands CC a Specific Type of Target
Renown Spades Swords SS a Specific Country or Territory, Showdowns
Riding Clubs Wands CiF Camels, Griffons, Horses, Racing
Dancing, Etiquette in a Specific Country, Knowledge of Peerage,  Party
Social Graces Spades Swords CF
Planning
Shapeshifting Clubs Wands AoF Details of Shape, Disguise, Time Spent in Shape
Sorcerous
Diamonds Pentacles LN a Specific Type of Sorcerous Engine
Engineering
Sorcery Diamonds Pentacles CF Magickal Lore, Magickal Perception, a Specific Lore Book
Stealth Clubs Wands CF Picking Locks, Picking Pockets, Sleight of Hand, Sneaking
Tinkering Diamonds Pentacles CF Babbage Engines, Clockwork, Repairs, Vehicles

AoF = The Memoirs of Auberon of Faerie

CC = Curious Creatures
CiF = Comme il Faut
CF = Castle Falkenstein
LN = The Lost Notebooks of Leonardo da Vinci
SS = Sixguns and Sorcery

Note: Etherealness and Kindred Powers are listed twice on the above chart because they are explained in both the
original Castle Falkenstein and in The Memoirs of Auberon of Faerie with notable differences. Glamour is also explained in
both books but with no appreciable difference between the two and so it is only listed once.

The Specialization Variation is compatible both with the original rules as presented in Castle
Falkenstein and the Fearful Harm & Great Danger rules from Comme il Faut.

7

T he D ivorce
V ariation
This Variation comes from a bit closer to
home. I was Hosting a session of the Great
Game with my usual group when Morrolan,
who was playing a world class athlete at
the time, announced his Dramatic Character’s
intention  to bully a guard into abandoning his
post. Deciding this would be a Courage versus
Courage Feat, I naturally asked him if he had
any Hearts, the suit governing the Courage
Ability, to play.
“Honestly, Thomas,” Morrolan began, in exactly
the same tone I’ve heard Sherlock Holmes use
when pointing out some obscure observation he
believes everyone should have noticed, “I am
not using merely my force of personality to
frighten this poor soul but my amazing muscles
as well. I would argue I should be able to
play a Club to represent the physicality of the
attempt.”
Which, of course, meant he didn’t have any
Hearts to play. Still, he had a point.
In the rules as written, each Ability is governed by a
playing card Suit. When attempting a Feat involving an
Ability, cards of the governing Suit add their full value
while cards from the other three Suits only increase the
total by 1.
As a reminder, Clubs (or Wands if you are using The
Fortunate Tarot Variation) govern physical activities,
Diamonds (Pentacles) govern mental and intellectual
activities, Hearts (Cups) govern emotional and romantic
8
activities, and Spades (Swords) govern social and status-
related activities.
When utilizing the Divorce Variation, Abilities are no
longer firmly tied to their governing Suits. Instead, when
attempting a Feat, Players are allowed to make an argument
for using cards of another Suit to enhance an Ability. The
Player must be able to articulate why the Suit they are
proposing better fits the action they are attempting than
the Suit which normally governs the Ability. If the Host
accepts the argument, the Player is allowed to play cards of
the proposed Suit in the place of the Suit which normally
governs the Ability. The Host is the final arbitrator on the
matter and always has the option of not agreeing with the
Player’s argument.
When deciding to use the Divorce Variation, a Host
should choose one of the following options to determine
the value of a card from a proposed Suit.
F irst O ption : H alf V alu e
Cards from the proposed Suit are worth one half their
full value, rounded down. Hosts wishing to allow Players
more options without slowing the game down by turning
every Feat into an argument over Suits should choose this
option. It interjects some flexibility into Castle Falkenstein
while still retaining elements of card playing strategy.
Playing a card from a Suit which governs the Ability being
used will always be preferable.
For example, Professor Doyle is attempting to drive away a
ghost by thrusting at it with a cane coated in sea salt, a known
deterrent of the supernatural. The Host announces this is a
Fencing Feat, which would normally be governed by Clubs. The
Professor’s player, Lucus, argues this is more a contest of wills
than a physical one, despite the cane and proposes Hearts would
be more appropriate. The Host thinks about it and agrees. Lucus
plays the 10 of Hearts which adds 5 to his Fencing of Average
(which has a value of 4) for a total of 9.
 The Divorce Variation is compatible
with the original rules as presented in
Castle Falkenstein and the Fearful Harm &
Great Danger rules from Comme il Faut.

S econ d O ption : F u ll V alu e

Cards from the proposed Suit are worth their full value.
Hosts wishing to allow Players complete freedom to mix
and match Suits with Abilities should choose this option.
It provides excellent opportunities for storytelling on
the part of the Players by encouraging them to describe
how a proposed Suit better fits their attempted action in
dramatic detail.

For example, Professor Doyle is attempting to drive away a

ghost by thrusting at it with a cane coated in sea salt, a known
deterrent of the supernatural. The Host announces this is a
Fencing Feat, which would normally be governed by Clubs. The
Professor’s player, Lucus, argues this is more a contest of wills
than a physical one, despite the cane and proposes Hearts would
be more appropriate. The Host thinks about it and agrees. Lucus
plays the 10 of Hearts which adds 10 to his Fencing of Average
(which has a value of 4) for a total of 14.

No matter which option the Host chooses, cards from

Suits other than the Proposed Suit have a value of 1 when
resolving the Feat. This includes the Suit which normally
governs the Ability. If Morrolan successfully argues Clubs
should be used instead of Hearts for his intimidation
attempt his 3 of Hearts has a value of 1 and not 3 when
resolving the Feat.  

9
T he I mprovemen t
V ariation
I’ve always loved the idea of games as an
educational and therapeutic tool so I was
delighted when I met a school teacher in
Paris who used the Great Game as a regular
part of her curriculum. Of course, she found
she had to tailor the game for her audience
and goals.
“We use journals, of course,” she explained
to me as we walked together along the
Seine, “Doing so promotes improvements in
penmanship and expression. When it comes
to improvement of their Dramatic Characters,
however, I find your journal system to be
too vague and so invented a new one. The
children need firm goals, segmented into
measurable steps, in order to guide them. A
set of resolutions, if you will, which earn
them currency when completed. This currency
can then be spent to purchase improvements to
their Abilities.”
The Variation my school teacher friend devised
blends the “write about it in your journal”
idea I presented in Castle Falkenstein with
a traditional Experience Point system and I
found it quite elegant. I’m reproducing it here
more or less as she described it to me.
In this Variation, a Player raises their Dramatic
Character’s Abilities by spending Improvement Points.
These Improvement Points are earned both by playing
through Adventure Entertainments and by undertaking
specific acts of self-improvement known as Resolutions.
10
I mprovemen t P oin ts an d
A dven tu re E n tertain men ts
To determine how many Improvement Points a Dramatic
Character earns during an Adventure Entertainment
the Host should first break it down into a series of
deeds. Deeds are important waypoints in the Adventure
Entertainment which must be passed in order for the
Dramatic Characters to reach the finale. Put another way,
if an Adventure Entertainment were a trip across New
Europa deeds would be the most important stops made
along the way.
To determine an Adventure Entertainment’s deeds, a
Host should look at their notes and identify the waypoints.
Hosts should always consider which waypoints must be
passed but never the specific methods by which Dramatic
Characters should pass them. They should also be prepared
to change a deed if the party veers off in an unexpected
direction. Deeds should never be about locking Players
into a specific course of action.
Hosts looking to simplify the matter can decide the
Dramatic Characters have accomplished a deed whenever
they complete one of the Adventure Entertainment’s acts.
As an example: Marianne has written a murder mystery for her
first turn as Host. She reads through her notes and determines this
particular Adventure Entertainment has four major waypoints
which can serve as deeds. The Dramatic Characters will have
completed a deed when they examine the crime scene, when they
question some or all of the suspects, when they perform follow-up
investigations, and when they unmask the murderer.
Each deed completed in an Adventure Entertainment is
worth 1 Improvement Point. Depending on the actions of
the Dramatic Characters it might be possible to complete
an Adventure Entertainment without completing all
possible deeds.

I mprovemen t P oin ts an d
R esolu tions
Outside of Adventure Entertainment, Dramatic
Characters can earn Improvement Points by undertaking
specific acts known as Resolutions.
Resolutions begin with a statement involving some
goal the Dramatic Character wishes to accomplish. A
good Resolution can be definitively completed, cannot
be accomplished quickly or simply, and requires effort
and action on the part of the Dramatic Character. The
following are examples of well crafted Resolutions.
ɶɶ “I resolve to gain renown across the continent as a
performer on the stage.”
ɶɶ “I resolve to bring my brother’s killer to justice.”
ɶɶ “I resolve to prove myself worthy and be knighted
by the Queen.”
ɶɶ “I resolve to step foot on each of the other five
continents.”
ɶɶ “I resolve to become one of the wealthiest people
in the world.”
11
“I resolve to visit Paris” and “I resolve to drive an
automotive” are examples of poor Resolutions because they
are too easily accomplished by most Dramatic Characters,
can be accomplished fairly quickly during gameplay, or
require little effort compared to the Resolutions above.
Every Dramatic Character should have at least one
Resolution. Hosts have the final say on how many
Resolutions a Dramatic Character is allowed but a
maximum of three is recommended. Any more than
three per Dramatic Character tends to create too many
competing plotlines in the party’s story and opens the gates
to a flood of Improvement Points instead of a manageable,
steady trickle.
Like Adventure Entertainments, Resolutions are broken
down into a series of deeds which help measure progress
towards the fulfillment of a Dramatic Character’s stated
goal. Players and Hosts should work together to set a
series of firm deeds whose success can be easily gauged.
Each Resolution should have between three and five deeds.
For example, the Resolutions presented above can be
broken down into deeds as follows:
“I resolve to gain renown across the continent as a
performer on the stage.”
ɶɶ First Deed: Obtain a speaking part in a major stage
production in a capital city.
ɶɶ Second Deed: Obtain a lead role in a major stage
production of a Shakespearean play in a capital
city.
ɶɶ Third Deed: Be lauded as a performer on the front
page of a major metropolitan newspaper.
“I resolve to bring my brother’s killer to justice.”
ɶɶ First Deed: Obtain access to the police report on
my brother’s death.
ɶɶ Second Deed: Identify my brother’s killer.
 ɶɶ Third Deed: Track down and capture my brother’s
killer.
ɶɶ Fourth Deed: Be present as my brother’s killer is
convicted for their crime.
“I resolve to prove myself worthy and be knighted by the
Queen.”
ɶɶ First Deed: Perform a deed of bravery so great it is
noted by major newspapers.
ɶɶ Second Deed: Be invited to and join a Social Club
or Salon which counts a royal personage as a
member.
ɶɶ Third Deed: Kneel before the Queen as she bestows
upon me the honor of knighthood.
“I resolve to step foot on each of the five other continents.”
ɶɶ First Deed: Travel to North America.
ɶɶ Second Deed: Travel to South America.
ɶɶ Third Deed: Travel to Asia.
ɶɶ Fourth Deed: Travel to Africa.
ɶɶ Fifth Deed: Travel to Australia, even though some
do not consider it a continent.
“I resolve to become one of the wealthiest people in the
world.”
ɶɶ First Deed: Through toil and sweat, raise my
Exchequer to Average.
ɶɶ Second Deed: Through adventure and exploration,
raise my Exchequer to Good.
ɶɶ Third Deed: Through continued application of my
abilities, raise my Exchequer to Great.
ɶɶ Fourth Deed: Through careful investment, raise my
Exchequer to Exceptional.
ɶɶ Fifth Deed: Through cleverness and skill, raise my
Exchequer to Extraordinary.
12
Deeds can be completed either through actions taken
during game play or, with the permission of the Host,
through actions documented in journal entries which take
place in the downtime between sessions of the campaign.
Dramatic Characters earn 1 Improvement Point for each
deed they complete and deeds need not be completed
in any specific order. Finishing a Resolution is done by
completing each of that Resolution’s deeds and is worth
2 additional Improvement Points. When a Dramatic
Character finishes a Resolution they have the option of
creating a new one. Dramatic Characters should always
have at least one unfinished Resolution to work towards.
A ltering R esolu tions
With a Host’s permission, Players can make alterations
to a Resolution when they complete a deed. After all,
Resolutions represent roadmaps through time and those
can be tricky to plot out in advance. A Player should never
change the core statement of a Resolution (“I resolve…”)
but can work with the Host in changing remaining
deeds to reflect new information learned or new realities
discovered. In the most extreme of cases, Players can
choose to abandon a Resolution entirely but only if there
are good and valid reasons for doing so. A Dramatic
Character cannot bring their brother’s killer to justice, for
example, if it turns out their brother is actually still alive.
Dramatic Characters gain no Improvement Points for any
unfinished deeds in an abandoned Resolution but may
craft a replacement with the help of the Host.
S pen ding I mprovemen t P oin ts
Once earned, Improvement Points can be spent
to improve a Dramatic Character’s Abilities. If the
Specialization Variation is being used, Improvement Points
can also be used to purchase new Specializations. Existing
Specializations cannot be improved. They are always
considered to be one step better than the Ability they are
attached to. Please remember, a Specialization cannot be
applied to an Ability with a Rank of Extraordinary. Should F irst O ption : S low G rowth
they already possess a Specialization in an Ability which Campaigns which meet regularly might do best with
has been raised to Extraordinary through Improvement, slow growth over time. With this option, the cost of
remove the Specialization and allow them to choose a new improvement is as follows.
one for a lower Ranked Ability.
Improvement Improvement Point Cost
The cost of improving Abilities and purchasing A number of Improvement Points
Specializations depends on how quickly the Host wishes a Raising an Ability
equal to the Ability’s new value.
party to grow in skill and aptitude. Purchasing a
6 Improvement Points
Specialization

For example, Professor Doyle has earned a total of 10

Improvement Points. His player, Lucus, is tired of the Professor
being tongue-tied when around the living due to his Poor
Charisma and wishes to raise it to Average. He spends 4
Improvement Points (the value of an Average Ability) to raise it,
leaving him with 6. After some thought, Lucus decides Professor
Doyle is more comfortable speaking to fellow academics than the
average person and spends those 6 Improvement Points on an
“Academics” Specialization for his Charisma.

S econ d O ption : F ast G rowth

Hosts of shorter campaigns or campaigns which meet
infrequently might prefer a faster progression of Abilities.
With this option, the cost of improvement is as follows.

Improvement Improvement Point Cost

A number of Improvement
Raising an Ability Points equal to the Ability’s
current value.
Purchasing a
3 Improvement Points
Specialization

For example, Professor Doyle has earned a total of 10 Improvement

Points. His player, Lucus, is tired of the Professor being tongue-tied
when around the living due to his Poor Charisma and wishes to
raise it to Average. He spends 2 Improvement Points (the value
of his current Charisma Rank of Poor) to raise it, leaving him
with 8. After some thought, Lucus decides Professor Doyle is more

13
comfortable speaking to fellow academics than the average person
and spends 3 Improvement Points on an “Academics” Specialization
for his Charisma. Professor Doyle has 5 Improvement Points
remaining for future use.

J ustifying I mprovemen t
In the original rules, improvement of Abilities occurs
utilizing a “record it in your journal” system. Using that
system, the Player identifies which Ability they wish to
improve, works with the Host to determine parameters for
improvement, and then writes about how the improvement
is taking place. The system is abstract but creative and
gives excellent opportunities for storytelling.

Improvement Points, on the other hand, are a more solid

and mathematically based system which, by themselves,
do not require justification to raise the Rank of an Ability.
Improvement becomes simpler and less time consuming
but also potentially less creative.

Hosts who wish to have the best of both worlds can

use Improvement Points to track growth but require
solid proof, through journal entries and game play, that
an Ability is being properly exercised and improved
before allowing any points to be spent. This fusion of the
two systems allows for both creativity and precision in
improvement.

The Improvement Variation is

compatible both with the original rules
as presented in Castle Falkenstein and the
Fearful Harm & Great Danger rules from
Comme il Faut.

14
 can make the Great Game interesting. Some options for

T he H ard L imit limiting this behavior, mostly involving limiting redraws,

are presented on page 71 of Comme il Faut. The Hard

V ariation Limit Variation offers another alternative by pegging the

number of cards which can be played on a single Feat to
the Dramatic Character’s relative Ability Rank.
I’m always surprised to discover who plays
the Great Game over here in New Europa. For
example, during a visit to a Bayernese military Hosts looking to use the Hard Limit Variation in their
Adventure Entertainments should choose from one of the
academy I learned one of the instructors was
following options.
using the game to simulate various battlefield
scenarios with his students. Unfortunately, he
had a problem.

“They aren’t thinking strategically,” he

admitted to me, “Every time they have to
perform a Feat they simply shove their way
through and dump their entire hand to resolve
the problem. They focus on overpowering the
present obstacle with little thought as to the
future and there is nothing in the rules to
prevent it!”

It was, he explained, a bit like stabbing an

enemy with a sword. Thrusting just a little
ways into the heart allows you to kill the
man and quickly withdraw your sword so
you are ready for the next enemy. Run him
completely through and you’re too busy kicking
the man’s corpse off your sword to defend
against his angry friends!

I took his point and went to work on

designing this Variation.

Under the rules of Castle Falkenstein as written there

are no limits to how many cards a Player can play when
resolving a Feat. If they so desire, a Player can play their
entire hand each time their Dramatic Character performs
a Feat in order to maximize the outcome. While this tactic
is perfectly legal, it can grow tedious over time and does
little to encourage the sort of strategic thinking that

15
F irst O ption The Hard Limit Variation is
compatible with the original rules as
The first option rewards skill over luck by placing harsher
limits on how many cards can be played at lower Ranks.
presented in Castle Falkenstein and with the
Using this option, few beginning Dramatic Characters will
Fearful Harm & Greater Danger rules from
be able to play their entire hand on a Feat.
Comme il Faut.

ɶɶ If your Dramatic Character’s Ability Rank is Poor ɶɶ If your Dramatic Character’s Ability Rank is
or Average, they can only play 1 card on a Feat. Exceptional or Extraordinary, they can play 4 cards
on a Feat.
ɶɶ If your Dramatic Character’s Ability Rank is
Good or Great, they can play 2 cards on a Feat.
For example, famed ghost scholar Professor Doyle is attempting
ɶɶ If your Dramatic Character’s Ability Rank is
Exceptional, they can play 3 cards on a Feat. to spot evidence of fraud during a séance. The Professor’s
Perception (♦) has a Rank of Great (8), allowing him to play up
ɶɶ If your Dramatic Character’s Ability Rank is to 3 cards. His Player, Lucus, plays the 3 of Hearts (worth 1),
Extraordinary, they can play 4 cards on a Feat. the 10 of Diamonds (worth 10), and the 5 of Spades (worth 1).
With the value of these cards added to the value of his Ability, the
Professor’s total for the Feat is 20.
For example, famed ghost scholar Professor Doyle is attempting
to spot evidence of fraud during a séance. The Professor’s
Perception (♦) has a Rank of Great (8), allowing him to play up to
2 cards. His Player, Lucus, plays the 3 of Hearts (worth 1) and the
10 of Diamonds (worth 10). With the value of these cards added
to the value of his Ability, the Professor’s total for the Feat is 19.

S econ d O ption
This second option allows Dramatic Characters more of
a chance of “lucking their way into success” than the first
by increasing the number of cards which can be played at
most Ranks. Using this option, Dramatic Characters who
are particularly skilled in an Ability will occasionally be
able to play their entire hand on a Feat.

ɶɶ If your Dramatic Character’s Ability Rank is Poor,

they can only play 1 card on a Feat.

ɶɶ If your Dramatic Character’s Ability Rank is

Average or Good, they can play 2 cards on a Feat.

ɶɶ If your Dramatic Character’s Ability Rank is Great,

they can play 3 cards on a Feat.

16
T he H alf - O ff
actions of human endeavor.” I know better
than to argue with the headmaster of a
Sorcerous Order in her own house.

V ariation In this Variation, cards of the proper Suit (the card’s Suit
matches the Suit of the Ability being used) are still worth
While visiting a chapter house of the
their full value but cards of an improper Suit (the card’s
Theosophic Masters of the White Lodge
Suit does not match the Suit of the Ability being used)
with Morrolan, I got into a discussion with
might have a value higher than the normal ‘1’ when played,
their grandmaster, Madame Blavatsky. The
depending upon which option a Host chooses to use.
topic eventually turned to the Great Game.
She asked why, when a Dramatic Character
is performing a Feat, they can only play
one Suit at full value while cards of the
other three Suits only have a value of 1.
F irst O ption
All cards of an improper Suit are worth half their face
I attempted to explain the logic of game
value, rounded down. Thus, for a Feat requiring Clubs,
design and how I matched each Ability to
a 5 of Spades would have a value of 2 while a Queen of
a type of activity (emotional, intellectual,
Hearts would have a value of 6. Using this option, Players
physical, and social).
will always have a card with a value higher than 1 to play
on a Feat.
“There lies your problem, Thomas,” Madame
Blavatsky said with the air of assured
authority that tremendous knowledge and As an example, Professor Doyle has found himself in the odd
position of having to fake a séance as part of a plan to escape the
Magickal power tends to give a person,
clutches of an evil mastermind. His Performance (♥) is Average
“You suggest these actions neatly conform
(4) and he plays a 7 of Clubs and an 8 of Diamonds. Since neither
to one aspect of the human experience but
card played is of the proper Suit, they are worth half value: 3 and
this is rarely true. Look at the dancer on 4 respectively. When the value of the cards are added to the value
stage. To properly perform, she must possess of his Performance, the Professor’s total for the séance is 11.
great physical acumen, complete emotional
investment, awareness of the flow of the
music, and a connection to her audience.
A doctor performing surgery must have an
S econ d O ption
Only cards of the Suit which match the color of the
intellectual understanding of anatomy, yes, appropriate Ability’s Suit are worth half value. Clubs match
but also steady hands, keen perception, and Spades, and vice versa. Diamonds match Hearts, and vice
an empathic connection with the patient. You versa. All other cards of the improper Suit have a value of 1.
understand, do you not, Thomas? No action Thus, for a Feat requiring Clubs, a 5 of Spades would have a
is an island.” value of 2 while a Queen of Hearts would have a value of 1.

I nodded my head in agreement and listened If using The Fortunate Variation Wands match to Swords,
as Madame Blavatsky offered her ideas on and vice versa. Cups match to Pentacles, and vice versa.
how to change the rules of the Great Game
to represent a “wholistic approach to the

17
 Using this option, Players will have a card with a value
higher than 1 to play on a Feat more often than they
would under the standard rules of Castle Falkenstein but
there is still a chance of holding a “dud hand.”
As an example, Professor Doyle has found himself in the odd
position of having to fake a séance as part of a plan to escape the
clutches of an evil mastermind. His Performance (♥) is Average (4)
and he plays a 7 of Clubs and an 8 of Diamonds. The governing
Suit for Performance is Hearts, which is red. The 7 of Clubs,
which is black, has a value of 1 while the 8 of Diamonds, which is
red, has a value of 4. When the value of the cards are added to the
value of his Performance, the Professor’s total for the séance is 9.
Players of Castle Falkenstein sometimes get frustrated
about having no good cards to play during a crucial
moment in an Adventure Entertainment and the Half-Off
Variation goes a long way towards solving that problem.
Hosts, on the other hand, may discover this Variation
makes it too easy for Dramatic Characters to succeed at
Feats. There are a few ways to solve this problem.
The Half-Off Variation works best when used in concert
with the Hard Limit Variation. Otherwise, it becomes too
easy to obtain success on every action. In addition, Hosts
looking for another tool to give Players a reason to pause
before playing a card of an improper Suit might consider
adding the following option to the Half-Off Variation.
A bility H armon ics O ption
In Castle Falkenstein, when Sorcerers mix energies while
casting a spell they create Harmonics. Essentially, the Spell
is tainted by the improperly aligned thaumaturgic energy
added to the mix and something unexpected occurs.
Something similar can happen to Abilities when cards of
the improper Suit are played using the Half-Off Variation.
With this option, a Dramatic Character’s attempt at a Feat
might succeed but with unintended consequences.
18
To decide how Harmonics might influence a Feat, the
Host should look at the cards played and determine
which one with an improper Suit has the highest value.
If two or more cards have the same value, the Host can
either pick the Suit which fits the situation or choose at
random.
Once the Host has chosen which Suit will alter the results
of the Feat, they should decide on the results based on what
type of activity the Suit normally governs. As a reminder,
Clubs govern physical activities; Diamonds govern mental
activities; Hearts govern emotional activities; and Spades
govern social activities.
Hosts can use the following examples to help guide them
in creating Harmonic effects for Feats in which improper
cards were played.
If the Feat was a physical activity (Clubs)…
ɶɶ With a Diamonds Harmonic, the Dramatic
Character becomes physically fatigued but is still
mentally sharp. After the Player draws back up to a
full hand any Clubs they hold must be discarded.
They should then once again draw up to a full
hand. Repeat this as needed until the Player holds
no Clubs in their hand.
ɶɶ With a Hearts Harmonic, the Dramatic Character
feels a flush of pride (if they succeeded at the Feat)
or shame (if they failed at the Feat). If pride, for
the rest of the session, the Dramatic Character
must succeed at a Good Education Feat in order
to back away from challenge or avoid a risk. If
shame, the Dramatic Character must succeed at a
Good Courage Feat in order to take a risk or face a
challenge.
ɶɶ With a Spades Harmonic, the Dramatic Character’s
physical prowess has attracted the wrong sort of
attention. If the Feat failed, they become an easy
mark for a criminal seeking to rob them. If the
Feat succeeded, they become a target for a duelist
looking for a new challenge.
If the Feat was a mental activity (Diamonds)…
ɶɶ With a Clubs Harmonic, the Dramatic Character
becomes mentally fatigued but is still physically
strong. After the Player draws back up to a full
hand, any Diamonds they hold must be discarded.
They should then once again draw up to a full
hand. Repeat this as needed until the Player holds
no Diamonds in their hand.
ɶɶ With a Hearts Harmonic, the Dramatic Character’s
judgement becomes clouded by their emotions.
Their Abilities are reduced by one level for the rest
of the scene.
ɶɶ With a Hearts Harmonic, the Dramatic Character’s
activities attract the attention of the supernatural.
A Faerie, spirit, or other strange being or creature
becomes interested in the Dramatic Character and
complicates their life in some way.
The Half-Off Variation is compatible with the
original rules as presented in Castle Falkenstein and
with the Fearful Harm & Greater Danger rules from
Comme il Faut.

ɶɶ With a Spades Harmonic, the Dramatic Character

seems to have caused some level of offense. The
next time they reach out to an acquaintance for a
favor or information they are refused.

If the Feat was an emotional activity (Hearts)…

ɶɶ With a Clubs Harmonic, the Dramatic Character is
overcome by the moment and suffers an amount of
Constitutional Shock equal to one half the value of
the Harmonic card, rounded down.

ɶɶ With a Diamonds Harmonic, the Dramatic

Character is shaken by the intensity of their
emotions. Their Abilities are reduced by one level
for the rest of the scene.

ɶɶ With a Spades Harmonic, rumors begin to

circulate about the Dramatic Character. There is no
mechanical effect but these stories might influence
how others interact with them.

If the Feat was a social activity (Spades)...

ɶɶ With a Clubs Harmonic, the Dramatic Character’s
physical successes or failures make the papers. The
publicity might not be welcome.

ɶɶ With a Diamonds Harmonic, the Dramatic

Character’s actions enrage a rival. The effects might
not be immediate but the rival will strike in some
way in the near future.

19
T he D warfish
R equ iremen t
V ariation
Occasionally, I receive letters about the
Great Game. Sometimes, the letters are fan
mail from Hosts and Players who want to
gush about how much they love my work.
Just as often, though, the letters are
critiques and discussions about how I can
make the game better.
Not long ago I got a letter from a
dwarfish teenager living in the DwarfKesh
dwarfhold. He and his friends loved
playing the Great Game but felt they had
mastered the strategy of the cards and,
thus, the game lacked a certain challenge.
Their Dramatic Characters rarely failed at
a Feat unless the Host happened to be
holding a face card of the right Suit. Of
course, my dwarfish fan also suggested a
fix for the problem and included his notes
on a new system which had thirteen levels
of Requirement for Feats instead of the
normal six, complete with a mathematical
proof and probability simulations to back up
his numbers. He even had the temerity to
sign the letter as, “Saffron Gamemaster,”
as if this house rule had somehow earned
him his second name.
Personally, I don’t think he quite
understands the narrative aspect of the
game but I’ll give him his due. The numbers
are solid enough, his system does work,
20
and I know there are some folks out there
who want to either do away with the
Host’s hand entirely or who just want more
numbers in their Castle Falkenstein game.
This Variation is for them.
Castle Falkenstein normally has six levels of Requirement
to determine how difficult a Feat is: Poor (2), Average (4),
Good (6), Great (8), Exceptional (10), and Extraordinary (12).
Ordinarily, Hosts have two basic options for making a Feat
more difficult. First, they can play cards from their hand
to increase the Requirement. Second, the Host can ask for
a higher level of success on a Requirement. For example,
a Host might decide a Dramatic Character must achieve a
High Success to succeed at a particularly hard Feat.
The Dwarfish Requirement Chart expands the levels
of Requirement from six to thirteen but, in doing so,
eliminates the need a Host might have to play cards to
make a Feat more difficult. The chart below lists those
levels of Requirement. Also on the chart is additional
information to help Hosts choose the proper Requirement
for a Feat, including the following.
ɶɶ A descriptive term for seven of the new levels of
Requirements, which are further expanded on after
the chart.
ɶɶ Where the Partial Successes, Full Successes, and
High Successes of the original Requirement levels
would fall on this chart.
ɶɶ Where the original Requirement plus a 4 of an
appropriate Suit (labeled as R+4), an 8 of the
appropriate Suit (labeled as R+8), and an Ace
(labeled as R+14) would fall on this chart.
ɶɶ Because the new Requirements on this chart are all
multiples of 2, some of the numbers indicated in the
above mentioned categories have been rounded up.
D warfish R equ iremen t C hart
The New
… is Equivalent to…
Requirement
Name Number PR (2) AV (4) GD (6) GR (8) EXC (10) EXT (12)
Partial
Elementary 2 — — — — —
Success
Full Success/ Partial
— 4 — — — —
High Success Success
Partial
Simplistic 6 R+4 Full Success — — —
Success
High Success/ Partial
— 8 — — — —
R+4 Success
Full Success/ Partial
Laborious 10 R+8 — — —
R+4 Success
Full Success/ Partial
— 12 — R+8 High Success —
R+4 Success
Challenging 14 — — R+8 — R+4 —
High Success/
— 16 R+14 — — Full Success R+4
R+8
Astounding 18 — R+14 — — R+8 Full Success
— 20 — — R+14 — High Success R+8
Dubious 22 — — — R+14 — —
— 24 — — — — R+14 High Success
Improbable 26 — — — — — R+14

the time but all other Dramatic Characters will

N ew R equ iremen t D escriptions
The following descriptions will help Hosts better
determine the Requirement of a particular Feat using the
Dwarfish Requirement Variation.
ɶɶ An Elementary Feat (2) is one in which all Dramatic
Characters, no matter their training, can achieve
some measure of success.
ɶɶ A Simplistic Feat (6) is one in which Dramatic
Characters with a Poor Ability have a chance at
failure but all other Dramatic Characters can
achieve some measure of success.
usually succeed.
ɶɶ A Challenging Feat (14) is one in which Dramatic
Characters with a Poor/Average Ability will fail
most of the time, Dramatic Characters with a
Good/Great Ability will fail some of the time, but
all other Dramatic Characters will usually succeed.
ɶɶ An Astounding Feat (18) is one in which Dramatic
Characters with a Poor/Average Ability can only
very rarely succeed, Dramatic Characters with a
Good/Great Ability will fail more often than they
succeed, and all other Dramatic Characters will
usually succeed.

ɶɶ A Laborious Feat (10) is one in which Dramatic ɶɶ A Dubious Feat (22) is impossible for Dramatic
Characters with a Poor/Average Ability will fail half Characters with a Poor/Average Ability, rarely

21
 possible for Dramatic Characters with a Good/
Great Ability, and one in which even Dramatic
Characters with an Exceptional/Extraordinary
Ability will succeed only half the time.
ɶɶ An Improbable Feat (26) is impossible for any
Dramatic Character who does not have an
Exceptional or Extraordinary Ability and even they
will succeed only rarely.
Perceptive Hosts will notice there are a number of
unlabeled Requirements on the Dwarfish Requirement
Chart. For example, 24 lies between Dubious (22) and
Improbable (26) but the Requirement has not been
assigned a label. These numbers exist for when Hosts
determine that a Feat is a bit less or a bit more difficult
than the labeled Requirements would suggest.
For example, Professor Doyle wishes to decipher a scroll
scribed in Ancient Greek. The Host thinks this might normally be
Challenging Feat (14) but remembers Professor Doyle has had luck
reading Ancient Greek in an earlier Adventure Entertainment.
Deciding previous experience makes the Feat a bit easier, the Host
adjusts the Requirement downward from 14 to 12.
D egrees of S uccess
Hosts who want to include degrees of success on a Feat
can keep the original guidelines from Castle Falkenstein,
which are reproduced below for the sake of convenience.
ɶɶ A Fumble results when the Dramatic Character’s
total is less than ½ the Requirement.
ɶɶ A Failure results when the Dramatic Character’s
total is equal to or greater than ½ the Requirement
but less than the Requirement.
ɶɶ A Partial Success results when the Dramatic
Character’s total is equal to or greater than
the Requirement but less than half again the
Requirement.
ɶɶ A Full Success results when the Dramatic
Character’s total is equal to or greater than half
22
again the Requirement but less than double the
Requirement.
ɶɶ A High Success results when the Dramatic
Character’s total is equal to or greater than double
the Requirement.
E xamples of A bilities
The following examples of Requirements for each Ability,
using this Variation, are provided here for the edification
of the Host. Abilities which govern multiple powers, such
as Creature Powers, Kindred Powers, and Poison do not
have examples. The following abbreviations are used when
denoting the origin book of an Ability: AoF (The Memoirs
of Auberon of Faerie), CC (Curious Creatures),   CiF (Comme
il Faut), CF (Castle Falkenstein) LN (The Lost Notebooks of
Leonardo da Vinci), SS (Sixguns and Sorcery).
A n imal H an dling (CC)
ɶɶ Convincing a hungry dog to eat a scrap of meat
would be an Elementary Feat (2).
ɶɶ Convincing a friendly dog to allow you to pet it
would be a Simplistic Feat (6).
ɶɶ Convincing a dog you trained to perform a series
of tricks would be a Laborious Feat (10).
ɶɶ Convincing a guard dog which is unfamiliar with
you to gnaw on a bone would be a Challenging Feat
(14).
ɶɶ Convincing a well trained guard dog which is
unfamiliar with you to gnaw on a bone would be an
Astounding Feat (18).
ɶɶ Convincing a rabid dog to gnaw on a bone instead
of attack you would be a Dubious Feat (22).
ɶɶ Convincing a dog bespelled by Magick to hunt you
down to gnaw on a bone rather than attack you
would be an Improbable Feat (26).
A n imal S peech (CC)
ɶɶ Communicating a single word to a member of a
species whose speech you understand would be an
Elementary Feat (2).

ɶɶ Communicating simple concepts to a member of

a species whose speech you understand would be a
Simplistic Feat (6).

ɶɶ Communicating complex concepts to a member of

a species whose speech you understand would be a
Laborious Feat (10).

ɶɶ Communicating simple concepts to a member

of a species whose speech you do not understand
normally would be a Challenging Feat (14).

ɶɶ Communicating complex concepts to a member

of a species whose speech you do not understand
would be an Astounding Feat (18).

ɶɶ Communicating simple concepts to a completely

alien species would be a Dubious Feat (22).

ɶɶ Communicating complex concepts to a completely

alien species would be an Improbable Feat (26).
A thletics (CF)
ɶɶ Climbing a ladder would be an Elementary Feat (2).
ɶɶ Climbing a knotted rope would be a Simplistic
Feat (6).
ɶɶ Climbing a normal, unknotted rope would be a
Laborious Feat (10).
ɶɶ Climbing up a rock face with hand-holds would be
a Challenging Feat (14).
ɶɶ Climbing up a rock face with few hand-holds
would be an Astounding Feat (18).
ɶɶ Climbing up a slick, wet rock face with few hand-
holds would be a Dubious Feat (22).
ɶɶ Climbing up a sheer rock face which has been
coated in oil would be an Improbable Feat (26).
C harisma (CF)
ɶɶ Convincing your loyal servant to give you aid would
be an Elementary Feat (2).
ɶɶ Convincing a loving relative to give you aid would
be a Simplistic Feat (6).
ɶɶ Convincing a good friend to give you aid would be
a Laborious Feat (10).
ɶɶ Convincing a friendly stranger to give you aid
would be a Challenging Feat (14).
ɶɶ Convincing a suspicious stranger to give you aid
would be an Astounding Feat (18).
ɶɶ Convincing an enemy to give you aid, even if it
might benefit them would be a Dubious Feat (22).
ɶɶ Convincing an enemy to give you aid when
it cannot possibly benefit them would be an
Improbable Feat (26).

23

C omelin ess (CF)
ɶɶ Seducing a paramour during a moment of passion
would be an Elementary Feat (2).
ɶɶ Seducing a prostitute when you have ample
currency with which to pay would be a Simplistic
C ou rage (CF)
Feat (6).
ɶɶ Seducing a receptive stranger who normally finds
your physical type attractive would be a  Laborious
Feat (10).
ɶɶ Seducing a receptive stranger who normally
finds your physical type unappealing would be a
Challenging Feat (14).
ɶɶ Seducing a receptive guard away from their post
would be an Astounding Feat (18).
ɶɶ Seducing an unreceptive guard away from their
post would be a Dubious Feat (22).
ɶɶ Seducing a person of high moral conviction who
has sworn an oath of fidelity or chastity would be
an Improbable Feat (26).
C on n ections (CF)
ɶɶ Learning the news of the day while in a city would
be an Elementary Feat (2).
ɶɶ Learning the gossip of a particular group to which
C raftsmanship (C i F)
you belong would be a Simplistic Feat (6).
ɶɶ Learning gossip about a person with whom you are
acquainted would be a Laborious Feat (10).
ɶɶ Learning gossip about a person with whom
your acquaintances are acquainted would be a
Challenging Feat (14).
ɶɶ Learning guarded secrets about a person with
whom your acquaintances are acquainted would be
an Astounding Feat (18).
ɶɶ Learning guarded secrets about a person with
whom you have no direct or indirect connection
would be a Dubious Feat (22).
24
ɶɶ Learning guarded secrets about a well protected
individual, such as a celebrity or royalty would be
an Improbable Feat (26).
ɶɶ Maintaining composure when exposed to a minor
wound would be a Elementary Feat (2).
ɶɶ Maintaining composure when exposed to a
decently preserved dead body would be a Simplistic
Feat (6).
ɶɶ Maintaining composure when exposed to a
bloodied dead body would be a Laborious Feat (10).
ɶɶ Maintaining composure when exposed to a mangled
dead body would be a Challenging Feat (14).
ɶɶ Maintaining composure when exposed to a charnel
house would be an Astounding Feat (18).
ɶɶ Maintaining composure when exposed to the full
might and glory of a powerful Dragon or Faerie
Lord would be a Dubious Feat (22).
ɶɶ Maintaining composure when exposed to creature
so alien it is beyond all possible comprehension
would be an Improbable Feat (26).
ɶɶ Whittling a stick so it can be used to cook food over
a fire would be an Elementary Feat (2).
ɶɶ Whittling a stick so it can be used as a crude spear
would be a Simplistic Feat (6).
ɶɶ Whittling a piece of wood so it vaguely resembles a
bird would be a Laborious Feat (10).
ɶɶ Carving a piece of wood so that it resembles
a recognizable but simple bird would be a
Challenging Feat (14).
ɶɶ Carving a piece of wood into a saleable sculpture of
a bird would be an Astounding Feat (18).
 ɶɶ Carving a piece of wood into a sculpture of a bird
which would win prizes in most art contests would
be a Dubious Feat (22).
ɶɶ Carving a piece of wood into a sculpture of a bird
so perfectly rendered it fools others into believing
it to be a real animal without the benefit of paint
would be an Improbable Feat (26).
E ducation (CF)
ɶɶ Knowing an extremely common piece of
knowledge, such as a scrap of recent local history
would be an Elementary Feat (2).
ɶɶ Knowing a common piece of knowledge, such as a
information about recent national history would be
a Simplistic Feat (6).
ɶɶ Knowing a somewhat common piece of knowledge,
such as basic information about an important
battle from your country’s history would be a
Laborious Feat (10).
ɶɶ Knowing an uncommon piece of knowledge, such
as which regiments fought in a specific battle
would be a Challenging Feat (14).
ɶɶ Knowing a somewhat uncommon piece of
knowledge, such as the names of the regiment
commanders who fought in a specific battle would
be an Astounding Feat (18).
ɶɶ Knowing an obscure piece of knowledge, such as the
specific strategies and movements used to start and
end a specific battle would be a Dubious Feat (22).
ɶɶ Knowing a truly obscure piece of knowledge, such
as the names of a dozen soldiers who died during a
specific battle would be an Improbable Feat (26).
E therealn ess (CF, A o F)
ɶɶ Flowing through a hole or crack at least one inch
wide would be an Elementary Feat (2).
25
ɶɶ Flowing through a hole or crack which is less than
one inch wide would be a Simplistic Feat (6).
ɶɶ Slowly passing through a wooden door or wall
would be a Laborious Feat (10).
ɶɶ Slowly passing through a stone door or wall would
be a Challenging Feat (14).
ɶɶ Slowly passing through a door or wall made from
non-ferrous metal would would be an Astounding
Feat (18).
ɶɶ Slowly passing through a door or wall made from
steel (but not iron) would be a Dubious Feat (22).
ɶɶ Slowly passing through a door made from iron
would be an Improbable Feat (26).
E xchequ er (CF)
ɶɶ Salvaging a scrap of food from the wastebins of a
city would be an Elementary Feat (2).
ɶɶ Purchasing a loaf of bread would be a Simplistic
Feat (6).
ɶɶ Paying for a nice meal at a quality restaurant would
be a Laborious Feat (10).
ɶɶ Paying for a nice meal for yourself and several
friends at a quality restaurant would be a
Challenging Feat (14).
ɶɶ Purchasing a steam uniped on a whim would be an
Astounding Feat (18).
ɶɶ Purchasing a steam automotive on a whim would
be a Dubious Feat (22).
ɶɶ Purchasing a vane clipper on a whim would be an
Improbable Feat (26).
F encing /F isticu ffs (CF)
ɶɶ Striking a large, immobile object would be an
Elementary Feat (2).
ɶɶ Striking a large, immobile object without harming
yourself or the weapon in the process would be a
Simplistic Feat (6).
ɶɶ Striking an equally skilled partner at least once
during a sparring match would be a Laborious
Feat (10).
ɶɶ Striking an opponent who is somewhat better
trained than you at least once during a sparring
match would be a Challenging Feat (14).
ɶɶ Striking an opponent who is quite a bit better
trained than you at least once during a sparring
match would be an Astounding Feat (18).
ɶɶ Winning a sparring match against an opponent with
superior training would be a Dubious Feat (22).
ɶɶ Winning a sparring match against an opponent
with superior training while you are injured would
be an Improbable Feat (26).
26
G ambling (C i F)
ɶɶ Playing a game you know without breaking the
rules would be an Elementary Feat (2).
ɶɶ Winning a hand or two without winning the majority
of the matches would be a Simplistic Feat (6).
ɶɶ Breaking even after a night of gambling with
opponents of equal skill to you would be
a  Laborious Feat (10).
ɶɶ Winning money after a night of gambling with
opponents of equal skill to you would be a
Challenging Feat (14).
ɶɶ Successfully cheating while gambling against
opponents who are not on guard against such
measures would be an Astounding Feat (18).
ɶɶ Successfully cheating while gambling against
opponents who are specifically watching for such
trickery would be a Dubious Feat (22).
ɶɶ Walking away with most of a casino’s funds after a
night of gambling would be an Improbable Feat (26).
G lamou r (CF/A o F)
ɶɶ Making light brighter or shadows darker would be
an Elementary Feat (2).
ɶɶ Creating indistinct shapes of light and shadow
would be a Simplistic Feat (6).
ɶɶ Creating simple, static illusions would be a
Laborious Feat (10).
ɶɶ Creating simple, animated illusions which register
as real to all senses would be a Challenging Feat (14).
ɶɶ Creating complex, animated illusions which
register as real to all senses would be an
Astounding Feat (18).
ɶɶ Creating complex and animated illusions which
remain in place for years after created would be a
Dubious Feat (22).
 ɶɶ Reshaping reality to create curses akin to that
which affected Sleeping Beauty would be an
Improbable Feat (26).
I n ven tion (C i F)
ɶɶ Drawing crude plans for a simple device you are
intimately familiar with would be an Elementary
Feat (2).
ɶɶ Drawing crude plans for a complex device you are
intimately familiar with would be a Simplistic Feat
(6).
ɶɶ Drawing workable plans for a device you are
intimately familiar with would be a Laborious Feat
(10).
ɶɶ Inventing a simple improvement for an already
existing device would be a Challenging Feat (14).
ɶɶ Inventing a complex improvement for an already
existing device would be an Astounding Feat (18).
ɶɶ Inventing a new device based on existing
technology would be a Dubious Feat (22).
ɶɶ Inventing an entirely new technology would be an
Improbable Feat (26).
H elmanship (CF)
ɶɶ Entering and exiting a new vehicle for the first
time would be an Elementary Feat (2).
ɶɶ Working out how to start the engine of a vehicle
with simple controls would be a Simplistic Feat (6).
ɶɶ Slowly piloting a vehicle about in a large, open
space would be a Laborious Feat (10).
ɶɶ Successfully piloting a vehicle from starting
point to destination without mishaps would be a
Challenging Feat (14).
ɶɶ Successfully performing a simple maneuver while
engaged in vehicle to vehicle combat would be an
Astounding Feat (18).
27
ɶɶ Successfully performing a complex maneuver while
engaged in vehicle to vehicle combat would be a
Dubious Feat (22).
ɶɶ Pushing a vehicle to perform past all expectations
while not breaking it entirely would be an
Improbable Feat (26).
G u nslinging (SS)
ɶɶ Drawing your gun quickly enough to fire it the next
turn would be an Elementary Feat (2).
ɶɶ Drawing your gun quickly enough to fire it during
the current turn would be a Simplistic Feat (6).
ɶɶ Spin-cocking a rifle or pumping a shotgun one
handed would be a Laborious Feat (10).
ɶɶ Successfully performing a ricochet shot would be a
Challenging Feat (14).
ɶɶ Successfully shooting a weapon out of a person’s
hand would be an Astounding Feat (18).
ɶɶ Successfully shooting a hard to hit target such
as a swinging piece of rope or chain would be a
Dubious Feat (22).
ɶɶ Successfully hitting multiple targets with the
same bullet using trick shooting would be an
Improbable Feat (26).
L eadership (C i F)
ɶɶ Ordering an employee or servant to perform a
task which is part of their duties would be an
Elementary Feat (2).
ɶɶ Ordering an employee or servant to perform a task
which is not part of their duties but not too much
of an imposition would be a Simplistic Feat (6).
ɶɶ Ordering an employee or servant to perform a
task which is not part of their duties and which
would be something of an imposition would be a
Laborious Feat (10).
 ɶɶ Ordering a receptive stranger to perform a simple
task would be a Challenging Feat (14).
ɶɶ Ordering an unreceptive stranger to perform a
simple task would be an Astounding Feat (18).
ɶɶ Ordering an enemy to perform a simple task would
be a Dubious Feat (22).
ɶɶ Ordering your arch-rival to perform any task would
be an Improbable Feat (26).
M arksmanship (CF)
ɶɶ Shooting a large, immobile target from close range
would be an Elementary Feat (2).
M otoring (C i F)
ɶɶ Shooting a large, immobile target from a weapon’s
effective maximum range would be a Simplistic
Feat (6).
ɶɶ Shooting a human sized, immobile target would be
a Laborious Feat (10).
ɶɶ Shooting a moving, human sized target would be a
Challenging Feat (14).
ɶɶ Shooting a small, moving target would be an
Astounding Feat (18).
ɶɶ Shooting a small, moving target while avoiding
being shot yourself is a Dubious Feat (22).
ɶɶ Shooting off the wings of a fly would be an
Improbable Feat (26).
M esmerism (C i F)
ɶɶ Making a relaxed, receptive subject a bit woozy
would be an Elementary Feat (2).
ɶɶ Making a relaxed, receptive subject quite dizzy
would be a Simplistic Feat (6).
ɶɶ Placing a relaxed, receptive target into a light trance
during which they will answer simple questions
would be a Laborious Feat (10).
28
ɶɶ Making a relaxed but unreceptive subject dizzy
would be a Challenging Feat (14).
ɶɶ Convincing a relaxed but unreceptive subject
the item they are holding is something entirely
different would be an Astounding Feat (18).
ɶɶ Convincing a hostile subject to perform a simple
action which will not harm them is a Dubious
Feat (22).
ɶɶ Placing a hostile subject in a deep trance in
which they will answer any question would be an
Improbable Feat (26).
ɶɶ Entering and exiting a new vehicle for the first
time would be an Elementary Feat (2).
ɶɶ Working out how to start the engine of a vehicle
with simple controls would be a Simplistic Feat (6).
ɶɶ Slowly driving a vehicle about in a large, open space
would be a Laborious Feat (10).
ɶɶ Successfully driving a vehicle from starting
point to destination without mishaps would be a
Challenging Feat (14).
ɶɶ Successfully driving a simple maneuver while
engaged in a multiple vehicle race would be an
Astounding Feat (18).
ɶɶ Successfully driving a complex maneuver while
engaged in a multiple vehicle race would be a
Dubious Feat (22).
ɶɶ Pushing a vehicle to perform past all expectations
while not breaking it entirely would be an
Improbable Feat (26).

N atu ral S ciences (C i F)
ɶɶ Knowing an extremely common piece of
knowledge, such as the name of a plant which
grows commonly near your community would be
an Elementary Feat (2).
ɶɶ Knowing a common piece of knowledge, such
as the culinary uses for a plant which grows
commonly near your community would be a
Simplistic Feat (6).
ɶɶ Knowing a somewhat common piece of knowledge,
such as the medicinal uses for a plant which grows
commonly near your community would be a
Laborious Feat (10).
ɶɶ Knowing an uncommon piece of knowledge, such
as the name and uses for a plant which grows in
your country but not near your community would
be a Challenging Feat (14).
ɶɶ Knowing a somewhat uncommon piece of
knowledge, such as the name and uses for a plant
which normally grows only in another country
would be an Astounding Feat (18).
ɶɶ Knowing an obscure piece of knowledge, such
as the name and uses for a plant which is either
extinct or mythical would be a Dubious Feat (22).
ɶɶ Knowing a truly obscure piece of knowledge, such
as the name and uses for a plant which is native
to a world Beyond the Faerie Veil would be an
Improbable Feat (26).
O u td o orsmanship (CC)
ɶɶ Surviving for a full day in your garden in mild
weather without access to provisions would be an
Elementary Feat (2).
ɶɶ Surviving for a full day in the wild in mild weather
without access to provisions would be a Simplistic
Feat (6).
ɶɶ Surviving for a full day in the wild in inhospitable,
but not freezing, weather without access to
29
provisions would be a Laborious Feat (10).
ɶɶ Surviving for a full day in the wild in freezing
weather without access to provisions would be a
Challenging Feat (14).
ɶɶ Keeping alive both yourself and comrades in
the wild in freezing weather without access to
provisions would be an Astounding Feat (18).
ɶɶ Surviving for a full day on the arctic shelf without
access to provisions would be a Dubious Feat (22).
ɶɶ Surviving for a full day in the Faerie Veil without
access to provisions or aid would be an Improbable
Feat (26).
P erception (CF)
ɶɶ Noticing your watch is running backwards would
be an Elementary Feat (2).
ɶɶ Finding your watch when it has been thrown into a
drawer full of other watches would be a Simplistic
Feat (6).
ɶɶ Noticing a watch you consult every day has
a scratch on the inside of the lid would be a
Laborious Feat (10).
ɶɶ Noticing a watch you consult every day has been
switched out with a fake which looks the same but
weighs a different amount would be a Challenging
Feat (14).
ɶɶ Noticing a man who you know to have perfect
vision is now holding his watch closer to his face to
read the time would be an Astounding Feat (18).
ɶɶ Noticing the faint smell of pine sap, a substance
commonly used in disguise adhesives, on a man
consulting his watch across the room would be a
Dubious Feat (22).
ɶɶ Noticing a man now has exactly thirty-four freckles
on his cheeks when before he had exactly thirty-
six freckles on his cheeks before would be an
Improbable Feat (26).
P erformance (CF)
ɶɶ Singing a pub song along with other drunkards
without disrupting the proceedings would be an
Elementary Feat (2).
ɶɶ Singing a hymn in church as part of the
congregation without disrupting the proceedings
would be a Simplistic Feat (6).
ɶɶ Singing a lullaby to soothe a sleepy infant would be
a Laborious Feat (10).
ɶɶ Singing a solo to applause during an amateur
production would be a Challenging Feat (14).
ɶɶ Singing a solo to applause during a professional
production would be an Astounding Feat (18).
ɶɶ Singing a solo to a standing ovation during a
professional production would be a Dubious
Feat (22).
ɶɶ Singing a song to bring tears to the eyes of
murderous Unseelie would be an Improbable
Feat (26).
30
P hysician (CF)
ɶɶ Tending to a scratch or small cut would be an
Elementary Feat (2).
ɶɶ Tending to a mild illness would be a Simplistic
Feat (6).
ɶɶ Tending to an intense but common illness would
be a Laborious Feat (10).
ɶɶ Properly setting a broken bone or sewing up a deep
gash would be a Challenging Feat (14).
ɶɶ Successfully a performing single surgery on the
body would be an Astounding Feat (18).
ɶɶ Successfully performing multiple surgeries on a
patient who has suffered severe physical trauma
would be a Dubious Feat (22).
ɶɶ Successfully performing surgery to repair a
damaged brain would be an Improbable Feat (26).
P hysiqu e (CF)
ɶɶ Picking up twenty pounds would be an Elementary
Feat (2).
ɶɶ Picking up fifty pounds would be a Simplistic Feat (6).
ɶɶ Picking up one-hundred pounds would be a
Laborious Feat (10).
ɶɶ Picking up two-hundred pounds would be a
Challenging Feat (14).
ɶɶ Picking up three-hundred pounds would be an
Astounding Feat (18).
ɶɶ Picking up five-hundred pounds would be a
Dubious Feat (22).
ɶɶ Picking up a thousand pounds would be an
Improbable Feat (26).
R enown (SS)
ɶɶ Your family having knowledge of who you are
would be an Elementary Feat (2).
ɶɶ Your community having knowledge of who you are
would be a Simplistic Feat (6).
ɶɶ Your community knowing not just your identity
but a few of your greatest deeds would be a
Laborious Feat (10).
ɶɶ Becoming a folk hero within the territory,
state, parish, or other region surrounding your
community would be a Challenging Feat (14).
ɶɶ Becoming a topic of conversation across your
country would be an Astounding Feat (18).
ɶɶ Having your deeds become a topic of conversation
in global newspapers would be a Dubious Feat (22).
ɶɶ Having your legend spreading Beyond the Faerie
Veil would be an Improbable Feat (26).
R iding (C i F)
ɶɶ Riding a placid horse while someone walks
alongside, holding the reigns would be an
Elementary Feat (2).
ɶɶ Riding a horse trained to carry a rider would be a
Simplistic Feat (6).
ɶɶ Riding a somewhat spirited horse who has no
incentive to buck you would be a Laborious Feat (10).
ɶɶ Riding a horse in a race and crossing the finish line
without incident would be a Challenging Feat (14).
ɶɶ Performing tricks while sitting, or standing, in the
saddle would be an Astounding Feat (18).
ɶɶ Breaking a wild horse to bridle would be a Dubious
Feat (22).
ɶɶ Breaking a wild horse whose veins run with Faerie
blood would be an Improbable Feat (26).
31
S hapeshifting (A o F)
ɶɶ Shapeshifting into an imperfect, horrific copy of
a form which sags, drips, and oozes would be an
Elementary Feat (2).
ɶɶ Shapeshifting into a form of a creature of similar
size to your own would be a Simplistic Feat (6).
ɶɶ Shapeshifting into a form or an inanimate object
of similar size to your own would be a Laborious
Feat (10).
ɶɶ Shapeshifting into a form of a creature or object up
to the size of an elephant would be a Challenging
Feat (14).
ɶɶ Maintaining a shapeshifted form when touched
with steel would be an Astounding Feat (18).
ɶɶ Maintaining a shapeshifted form when touched
with iron would be a Dubious Feat (22).
ɶɶ Maintaining a shapeshifted form indefinitely, with
no need to ever change back except if touched by
Cold Iron would be an Improbable Feat (26).
S o cial G races (CF)
ɶɶ Using basic manners, such as saying “please” and
“thank you”, would be an Elementary Feat (2).
ɶɶ Knowing the proper form of address when
speaking to those of a higher social class would be
a Simplistic Feat (6).
ɶɶ Performing a decent waltz without making a
complete fool of yourself would be a Laborious
Feat (10).
ɶɶ Surviving a formal dinner without making a faux
pas would be a Challenging Feat (14).
ɶɶ Impressing all present with your poise and grace
during a diplomatic event would be an Astounding
Feat (18).
ɶɶ Defusing the temper of a livid Dragon Lord with
your social acumen would be a Dubious Feat (22).
 ɶɶ Gaining the love and gratitude of a hostess despite
showing the ultimate rudeness to her by attending
a social event without an invitation, would be an
Improbable Feat (26).
S orcerous E ngin eering (LN)
ɶɶ Carefully carrying a portable Magickal Engine in
peaceful circumstances without disrupting the
delicate mechanisms would be an Elementary
Feat (2).
ɶɶ Carefully carrying a portable Magickal Engine
on a battlefield without disrupting the delicate
mechanisms would be a Simplistic Feat (6).
ɶɶ Properly tuning a simple Magickal Engine
(Requirement 20 or lower) with the help of detailed
instructions would be a Laborious Feat (10).
ɶɶ Properly tuning a complex Magickal Engine
(Requirement 20+) with the help of detailed
instructions would be a Challenging Feat (14).
ɶɶ Properly tuning a Magickal Engine by yourself
would be an Astounding Feat (18).
ɶɶ Constructing a Magickal Engine based on existing
plans would be a Dubious Feat (22).
ɶɶ Planning and constructing a completely new
Magickal Engine would be an Improbable Feat (26).
S orcery (CF)
ɶɶ Noticing an immense, flashy, and physical effect
and realizing it might be Magick would be an
Elementary Feat (2).
ɶɶ Noticing a more subtle physical effect and realizing
it might be Magick would be a Simplistic Feat (6).
ɶɶ Feeling a shiver down your spine when Magick is
being worked near you would be a Laborious Feat (10).
ɶɶ Hazily perceiving the flow of Thaumaturgic Energy
around you would be a Challenging Feat (14).
32
ɶɶ Clearly seeing the etheric knots which lie beneath
the surface of the mundane and comprise all energy
and matter would be an Astounding Feat (18).
ɶɶ Meditating and identifying all Spells being worked
within a mile of you would be a Dubious Feat (22).
ɶɶ Meditating and identifying all Spells being worked
within ten miles of you would be an Improbable
Feat (26).
S tealth (CF)
ɶɶ Sneaking past a guard who has been heavily
drugged would be an Elementary Feat (2).
ɶɶ Sneaking past a guard who is in a deep sleep would
be a Simplistic Feat (6).
ɶɶ Sneaking past a guard who is lightly dozing would
be a Laborious Feat (10).
ɶɶ Sneaking past an alert but not particularly
perceptive guard would be a Challenging Feat (14).
ɶɶ Sneaking past an alert pair of guards who are
working together to survey the area would be an
Astounding Feat (18).
ɶɶ Sneaking past a pair of guards and their specially
trained hound would be a Dubious Feat (22).
ɶɶ Sneaking past someone of exceptional observational
powers, such as James Moriarty or Sherlock Holmes,
would be an Improbable Feat (26).
T in kering (CF)
ɶɶ Operating a simple device without breaking it
would be an Elementary Feat (2).
ɶɶ Operating a complex device after being given
training would be a Simplistic Feat (6).
ɶɶ Learning how to operate a complex device without
the benefit of training would be a Laborious Feat (10).
ɶɶ Repairing a simple device without aid but with the
 proper tools would be a Challenging Feat (14).
ɶɶ Repairing a complex device without aid but with
the proper tools would be an Astounding Feat (18).
ɶɶ Inventing a new device without aid but with the
proper tools would be a Dubious Feat (22).
The Dwarfish Requirement Variation is
compatible with the original rules as presented in
Castle Falkenstein. It is not compatible with the Fearful
Harm & Greater Danger rules from Comme il Faut.

ɶɶ Inventing an amazing innovative device, such as a

powered flying machine or a death ray would be an
Improbable Feat (26).

33
T he S ix -S ided
V ariation
So, there I was: captured and tied up.
Again.
This time, I was the guest of one Professor
James Moriarty, head of the World Crime
League and future arch-nemesis of a certain
consulting detective. I had been investigating
Prussian attempts to build a self-guided,
long range rocket when I stumbled into the
clutches of Moriarty’s henchmen beneath the
streets of Paris.
Let’s just say the fight didn’t go my way
and, as a result, I was now tied to a
chair while Moriarty loomed over me with a
particularly large hypodermic needle.
“It would be easier for you to just tell me
what you know about my operations here in
Paris, of course.” Moriarty explained in his ever
charming way while he scrutinized the liquid
in the hypodermic. “I have every faith my new
honesty serum will work but I’ve yet to test
it. There might be unintended side-effects.”
Always eager to avoid being injected
with anything, I cast my gaze around the
cavernous underground bunker looking for
something, anything really, to use as a
distraction. Off in the corner of the room
I noticed a group of five henchmen playing
some sort of boisterous game with dice and
wooden poker chips.
34
“Don’t look now, Moriarty,” I motioned with
my chin towards the game, “But I think your
foot soldiers are gambling. That can’t be
good for morale.”
Moriarty didn’t even look back.
“Actually, Captain Olam, those five are in
training. They are, in fact, doing so with
your Great Game. I found it marvelous help
in teaching the skills needed to keep a cool
and clever head when overcoming unexpected
obstacles. Remind me to thank you. After
your interrogation, of course.”
“Can’t be my game,” I noted, “My Great
Game uses cards, not dice.”
“Yes, well, my followers aren’t all as well
bred as those you wrote your game for,”
Moriarty admitted, “I’ve found they respond
better to the sort of excitement which comes
from a random roll of the dice more than to
the subtle joy gained from strategic card play.”
I was intrigued. Better yet, I knew if I
could keep the Professor talking, I’d buy
Marianne time to find and rescue me.
“Please,” I said, giving Moriarty my best
smile, “Tell me more.”
Even in New Europa, there are some Players who prefer
the thrill of rolling dice over the tactical deliberation
involved in a carefully cultivated hand of cards. The Six-
Sided Variation strikes a balance between the two by
introducing dice to Castle Falkenstein while still maintaining
the elegance and immersion of the original system. Rules
for replacing both the Fortune Deck and the Sorcery Deck
are provided in this document.
R eplacing the F ortu n e D eck
When replacing the Fortune Deck with dice, Players
and the Host each draw four chits at the beginning of the
session. These chits are used during play to purchase dice,
which are then rolled and added to an appropriate Ability
in an attempt to succeed at Feats.
C hits an d T heir U se
Use of the Six-Sided Variation to replace the Fortune
Deck requires a bowl, hat, bag, or other appropriate
container (hereafter referred to as the pot) from which
chits can be randomly drawn. There should be fifty-two
chits total in the pot, divided into four sets of thirteen. The
sets should be differentiated in some way, such as by color,
shape, or marking. Chits can be any appropriate item, such
as poker chips, glass beads, slips of paper, playing cards
(where the suits matter but the value of the card does not),
or even actual dice. Each set of chits corresponds to one
of the four playing card Suits and Hosts should make it
clear which type of chit corresponds to which Suit at the
beginning of play.
As an example, Sophie has decided to use this Variation while
Hosting a session of Castle Falkenstein. She takes inventory of
her possessions and realizes she has a number of poker chips she
can use as chits. Sophie counts out fourteen each of red, blue,
green, and yellow chits and then assigns a Suit to each: red will
represent Hearts, blue will represent Spades, green will represent
Diamonds, and yellow will represent Clubs. To help her players
remember this, she writes the colors and their corresponding suits
out on a whiteboard located near the gaming table.
At the start of a session, each Player draws four chits
from the pot. During play, a Player spends their chits to
purchase dice to roll in an effort to succeed at Feats, as
described below. After a Feat is resolved, any spent chits
are returned to the pot and the Player draws new chits
until they have a total of four in their possession once
again. The contents of the pot should be stirred or shaken
regularly to ensure these draws are random.
35
P u rchasing D ice an d R esolving F eats
As mentioned in the previous section, to attempt a Feat
a Player must first spend their chits to purchase dice.
Chits of a type which matches the Ability being used to
attempt the Feat are always worth two dice. The Host
should determine the value of chits which do not match
the Ability being used.
Please note, the dice used for this Variation are always
six-sided ones, as those are the most commonly available
to the public of New Europa.
T he V alue of I ncorre ct C hits
Before the session begins, the Host should first
determine the value of chits of a type which do not match
an Ability when they are played.
First Option Chits of an inappropriate type have a
value of one. Using this option, these chits rarely
matter unless the Player has no chit of the proper
type to spend. As a result, more emphasis is placed on
playing tactically by saving chits for an appropriate
occasion or matching one’s actions to the type of chits
in hand.
Second Option Chits of an inappropriate type are worth
one die. This option increases the chance of success
at a Feat even when the chits they hold poorly match a
Dramatic Character’s strengths or the situation at hand.
K eeping and T otaling D ic e
Once a Player spends their chits, they roll the purchased
dice. They keep a certain number of dice and total
their worth, then add that number to the value of their
appropriate Ability Rank. The Host compares this final
result to the Requirement of the Feat to determine success
or failure. How many dice are kept when attempting a Feat
should be decided upon by the Host at the beginning of
the session.
 First Option Players are allowed to keep up to four
dice. This option is best used for fully narrative
games, where the risk of failure is an occasional spice
and not an omnipresent worry, especially if each chit
of the wrong type is worth one die instead of just one.
In games such as this, the question is rarely “does
the Dramatic Character succeed” but “how does the
Dramatic Character succeed.”
Second Option Players are allowed to keep up to three
dice. This option balances the narrative with the
practical, making Feats harder but rarely impossible. In
games such as this, the risk of failure grows but the blind
luck and bold action can still play an important role.
Third Option Players are allowed to keep up to two
dice. This option leans towards the practical, giving
Dramatic Characters more chances to shine in areas
which play to their strengths. In games such as this,
the risk of failure is always present and Players are
encouraged to find solutions based on the Abilities of
their Dramatic Characters.
As an example, famed scholar of the supernatural, Professor
Doyle, finds himself with the need to quickly scale a wall during a
particularly nasty rainstorm. He has an Athletics of Poor (2) and
his Player holds two chits of the color which matches Athletics
and two chits which do not match. The Host has declared chits of
the improper color can buy a single die and Players are allowed
to keep the two highest diced rolled.
The Professor’s Player decides to spend the two matching chits
and one non-matching chit to purchase a total of five dice and
then rolls for a result of 5, 3, 2, 1, and 3. His Player totals the two
highest (3 + 5) and the value of the Professor’s Athletics Rank (2)
for a total of 10. The Host compares this to the Requirement of
the Feat, which is also 10, and declares this a Partial Success.
Professor Doyle reaches the top of the wall but is quite winded
and must rest.
36
T he O ption of S pecial C hits
Players and Hosts using the Six-Sided Variation might
want additional options to better simulate the experience of
drawing a “good card” from the deck. If this is the case, Hosts
are encouraged to use one or both of the following options.
R oya l C hits
The Host should mark one chit from each set in some
way before filling the pot. These marked chits are known
as Royals. If a spent Royal chit matches the suit of the
Ability being used to attempt a Feat, one of the two dice
purchased automatically has a value of six. A Royal chit has
no special effect when spent if it is not of the proper type
for the Ability being used.
As an example, Professor Doyle’s player spends a Royal chit of the
appropriate type when attempting an Education Feat, purchasing
two dice to roll. One of the dice is automatically a 6 while the other
is rolled as a 3. Added together they have a total of 9.
W il d C hits
The Host should add either one, two, three, or four
chits (their preference) of a unique color or shape to the
pot. These are Wild chits and, when spent, automatically
purchase two dice worth a value of six each. Wild chits are
akin to the Jokers in a normal deck of cards.
As an example, Professor Doyle’s player spends a Wild chit
when attempting an Education Feat, purchasing two dice, each
with a value of 6. Added together they have a total of 12.
T he H o st ’ s H an d
Host can also draw chits from the pot and use these to
purchase dice to use when Feats might be harder than a
base Requirement might suggest due to special conditions
or unusual circumstances. It is recommended the Host
draw four chits for general purposes. Important Host
Characters should each have their own collection of
four chits, especially if they will come into conflict with,
and thus engage in Opposed Feats with, the Dramatic
Characters. A Host’s chits are drawn and spent just like
those of a Player’s.
R eplacing the S orcery D eck
When replacing the Sorcery Deck with dice, a second
pot with its own set of fifty-two chits, also divided into
sets of thirteen, is needed. Again, each set of chits should
correspond to one of the four playing card Suits and this
should be made clear to the Players of any Sorcerous
Dramatic Characters who might be gathering Power
during a session.
C hits an d D ice an d M agick
Each time a Sorcerous Dramatic Character must gather
Power, they should pull a chit from the pot. The chit can
then either be returned, if the Sorcerer releases the Power,
or used to purchase dice, which should immediately be
rolled. Chits of a type appropriate for a Spell purchase
two dice. The worth of a chit of an incorrect type depends
upon which option is selected by the Host.
First Option Chits of the incorrect type are worth 1
TER, much like cards of the incorrect Suit in the base
rules of Castle Falkenstein. This option emphasises the
importance of deliberate Power gathering and spell
construction.
Second Option Chits of the incorrect type are worth 1
die, which can then be rolled as normal. This option
speeds Spellcasting and increases the chances of
Harmonics entering a Spell.
Once the total of the dice rolled equals or exceeds the
TER requirement, the Spell is cast. It is recommended
the Player keep the rolled dice on top of or next to the
chit which purchased them so the Host can quickly and
properly work out Harmonics.
37
As an example, Sister Mary Ruth, a Sorceror of the Holy Order
of Saint Boniface is casting a Spell with a TER requirement of 12.
On her first draw, her Player pulls a chit of the correct type and
rolls two dice: a 3 and a 6. The current total is 9 TER. She places
the two dice on top of the drawn chit and waits until two minutes
have passed in game, then draws a second time. This time she
pulls a chit or the incorrect type, which the Host has ruled is only
worth 1 TER. Sister Mary Ruth’s Player returns the chit to the
pot and waits until two more minutes have passed in game. She
draws a third time, drawing a chit of the correct type. She rolls the
two dice it purchases with a result of 1 and 3. This brings her total
TER to 13, which is one more than is needed. After six minutes of
gathering Power, Sister Mary Ruth casts her Spell.
T he O ption of S pecial C hits
Hosts seeking to emulate the effects of the Joker on
Spellcasting should add either one, two, three, or four chits
(their preference) of a unique color or shape to the pot.
These are Wild chits and, when drawn, execute the Spell
in a strange and unpredictable way, no matter how much
actual Power was gathered. See the “Wild Spell” rules in
the Castle Falkenstein core rules for more information. If
using the Sorcerous Tarot Variation, when a Wild chit is
drawn, the spell does not automatically execute. Instead,
the Player should draw from a deck of Major Arcana cards
and consult the chart in that section of this document to
determine what effect the whims of Magick might throw
their way.
The Host can also mark one chit from each set in some
way. These are Royal chits and, if the correct type, add
a third die to the roll to determine how much Power is
gathered. Royal chits have no special effect if they are the
wrong type for the Spell and are treated as per normal.
The Six-Sided Variation is compatible with
the original rules as presented in Castle Falkenstein
and with the Fearful Harm & Greater Danger rules
from Comme il Faut.
T he F ortu nate T arot
V ariation
I included an idea for using Tarot cards to
enhance Castle Falkenstein in Comme il Faut
on page 76. To be honest, this was meant
as a springboard for Hosts to come up with
their own ideas and I hadn’t given it much
thought beyond the few examples I wrote up
for the book.
I don’t know why I was surprised when the
Faerie Express messenger showed up from his
latest French fry run with letters demanding
I fully explain my “Tarot Variation”. So, here
you go! I still encourage Hosts to come up
with their own ideas for the effects of Major
Arcana cards but hopefully what I’m about to
present explains the whole concept better.
Sorry for not giving you more detail the
first time.
In Castle Falkenstein, success or failure can all come down
to a draw of the cards. Players begin each session by drawing
a hand of four cards from a Fortune Deck. Over the course
of the session they play their cards strategically to enhance
Abilities in an attempt to accomplish heroic deeds.
M inor A rcana A ctivity T ypes
Tarot Suit Playing Card Suit
Cups Hearts
Pentacles Diamonds
Swords Spades
Wands Clubs
38
In the Fortunate Tarot Variation, the ordinary deck of
playing cards used for the Fortune Deck is replaced with
a Tarot Deck. Over the centuries the Tarot Deck has been
used both for playing games and for divination and thus
these colorful cards, which are rich with imagery and
symbolism, can add a new twist to the Great Game. With a
Tarot Deck performing Feats in Castle Falkenstein becomes
more than just a calculation of numbers but a chance for
surprises and storytelling.
The Fortunate Tarot Variation assumes the Tarot Deck
being used utilizes the arrangement of cards as presented
in the Rider-Waite-Smith deck (also known as the Rider-
Waite deck). The system might need to be adapted when
used with other varieties of the Tarot.
T he M inor A rcana
The Minor Arcana portion of a Tarot Deck corresponds
to a regular deck of playing cards. It has four suits,
numbered cards, and face cards, though there is one
extra member, the Page, in each court. Just as in a normal
Fortune Deck, in the Fortunate Tarot Variation each suit
represents a specific type of activity and the face cards have
a numerical value.
Ability Type
Emotional and Romantic activities
Mental and Intellectual activities
Social and Status-related activities
Physical activities
 available to play. Alternatively, the Host can rule Major
M inor A rcana V alu es Arcana cards drawn from the Fortune Deck are held in
Card Value their own, unique hand. In this case, when Players draw a
Ace 15 Major Arcana card it is set aside and another card is drawn
2 thru 10 2 thru 10 from the Fortune Deck to help restore their hands to four
cards. Using this method, Players have full access to both
Page 11
the plot twisting capabilities of the Major Arcana and the
Knight 12
regular, Ability enhancing virtues of the Minor Arcana.
Queen 13
King 14
Next, a decision must be reached on how many
Major Arcana cards can be held by each Player. If Major
Please note, because the Minor Arcana includes one Arcana cards are being added to each Player’s hand, it
more face card in each suit but no Jokers, when using the is recommended no more than one or two be allowed
Fortunate Tarot Variation the Fortune Deck includes four in a hand at a time. Any more than that could well
cards worth 15 points instead of just two. make it impossible for a Dramatic Character to actually
accomplish a feat due a lack of playable Minor Arcana
cards. On the other hand, if the Players are holding their

T he M ajor A rcana Major Arcana cards in a separate hand, the Host may wish
to allow a maximum of three or even four cards in order
The Major Arcana portion of a Tarot Deck are twenty- to give everyone the full benefit of a game where strategy
two unique and named cards, each fully illustrated and and wild cards play important roles in equal measure. In
rich with story and symbolism. In the Fortunate Tarot either case, if a Player draws a Major Arcana card from the
Variation they represent unpredictability and can be used Fortune Deck but already possesses the maximum number
to twist a story in unusual ways or to represent the forces allowed, the card should be shuffled back in and another
of luck, divine intervention, or perhaps karma. Each card drawn in its place.
in the Major Arcana is assigned a unique trait and affects
the resolution of a Feat in some way.
Finally, the Host should come to a decision as to how
many Major Arcana cards can be played during a single
Before play begins, Hosts intending to use of the Fortune Feat. For most Hosts the limit will be one but some may
Tarot Variation must decide on three factors involved in how wish to allow more than one Major Arcana card to play
Players will hold and make use of Major Arcana cards. Hosts played on a single Feat during suitably dramatic moments.
themselves will find Major Arcana cards of little use and
should shuffle them back into the Fortune Deck when drawn.
The cards of the Major Arcana, and the effect they have
on a Feat when played, are as detailed on the Major Arcana
First, the Host must decide if Major Arcana cards, when Effects chart.
drawn, will be held in a Player’s hand or apart from it. Keep
in mind the Fortunate Tarot Variation does not change the
maximum number of cards a Player can possess at once.
Thus, if Major Arcana cards are held in Players’ hands this
reduces the number of Minor Arcana cards which can
also be held. This helps balance the unique and possibly
game-altering qualities of the Major Arcana by reducing
the number of Ability enhancing Minor Arcana cards

39
M ajor A rcana E ffects
Card Number Card Name Effect
Something quite unexpected occurs. The Host should draw a card from
the Fortune Deck and use its suit to guide them in creating a twist in the
story. Swords/Spades might mean the barmaid a Dramatic Character is
attempting to seduce is actually a princess in disguise while Pentacles/
0 The Fool
Diamonds might mean the Dramatic Character not only strikes down an
interfering guard but convinces him to change vocations and later rejoin
play as an ally. If another Major Arcana is drawn, the Feat simply succeeds
in the most spectacular way possible.
The Dramatic Character finds a perfect moment of clarity and focuses all
their energy on the task at hand. They can convert the suit of one card in
1 The Magician
their hand to the suit of the Ability being used. The converted card need not
be played on this Feat.
Oh my, the Dramatic Character is looking particularly fetching today. Convert
2 The High Priestess the suit of one card, chosen at random from the Dramatic Character’s hand,
to Swords/Spades. The converted card need not be played on this Feat.
The Dramatic Character feels a rush of passion for the task at hand! Treat any
3 The Empress
one card played as if it were the Queen of its suit.
True confidence allows one to control the universe instead of the reverse. The
Player chooses one card, at random, from the Host’s hand and discards it. The
4 The Emperor
Host cannot draw back up to a full hand until a Host Character makes use of
an Ability which matches the suit of the discarded card.
It seems the Dramatic Character has come into a bit of money! When the
5 The Hierophant Hierophant is played, elevate the Player’s Exchequer by one Rank (to a
maximum of Extraordinary) for the remainder of the session.
All for one and one for all! Allow the entire party exactly one minute to trade
6 The Lovers cards or exchange hands as desired. Cards representing drawn power for
Sorcery may not be included in this exchange.
It isn’t luck the Dramatic Character possesses but honest skill. When the
Chariot is played, the Player can choose to return one card they just played
7 The Chariot
back to their hand after the Feat is resolved. Major Arcana cards cannot be
recovered in this way.
Like a knight of old, the Dramatic Character steps forward in the defense of
8 Strength others. Increase the level of success of a Feat (Partial to Full, for example, or
Full to High) but only if the Dramatic Character is acting to defend another.
The Dramatic Character gains an intellectual insight into the problem at
hand. Treat a single Pentacles/Diamonds card as if it were the suit of the
9 The Hermit Ability being used for the current Feat. If the Ability’s suit is Pentacles/
Diamonds, treat any Pentacles/Diamonds played as one higher for the
purposes of resolving the Feat.
There are occasions when luck is more valuable than mere skill. The Player
10 Wheel of Fortune discards their Hand and draws six new cards. They must keep four of the
cards drawn and return the other two to the Fortune Deck.

40
 The universe itself seems to be judging the Dramatic Character, perhaps based
on past actions. The Player must draw a card from the Fortune Deck. If they draw
11 Justice Cups/Hearts or Pentacles/Diamonds, they achieve a High Success on the Feat
currently being attempted. If they draw Swords/Spades or Wands/Clubs, they
Fumble the Feat instead. If a Major Arcana card is drawn it should be ignored.
For a brief instant, the Dramatic Character experiences a dizzying sensation as
12 The Hanged Man reality itself seems to twist and warp. The Player and the Host must exchange
their hands. The Player then resolves the feat using their new hand.
Success often comes at a price! The Dramatic Character automatically
succeeds at the Feat being attempted. However, for the next three Feats the
13 Death Dramatic Character attempts, no Major Arcana cards can be played and all
other cards are treated as if they are the wrong Suit (though they remain the
same color, if such matters are important).
The intensity of the challenge grows but so, too, does the skill of the Dramatic
Character. The Requirement of the current Feat is increased by one step (from
14 Temperance
Good to Great, for example) but the value of any cards played to resolve the
Feat increases by 1.
Beware the gifts of the good neighbors. A nearby Faerie (or perhaps something
15 The Devil else unearthly!) comes to the Dramatic Character’s aid… but such help often
comes with a price!
When accomplishing a task, be careful not to overdo it! The Dramatic
Character’s level of success increases by one (from Partial to Full, for example)
16 The Tower
but they injure themselves in the process and suffer 1 point of damage for
every card they played while resolving the Feat.
Wishes can come true but hopes can come crashing down. The Player should
hazard a guess as to the color of the top card of the fortune deck and then flip
17 The Star it over. If their guess was correct or if the card is from the Major Arcana, they
gain a High Success on the current Feat. If the guess is incorrect, they instead
Fumble the Feat.
The Fates can be secretive and have a sly sense of humor. The Player must
place a single card from their hand face down in front of the Host. This
18 The Moon cannot be a Major Arcana card. The Host must then guess the suit of the card.
If the Host is correct, the Dramatic Character’s current Feat fails. If the Host
is incorrect, the Dramatic Character’s current Feat automatically succeeds.
The Dramatic Character is blessed with an abundance of prosperity. For the
19 The Sun rest of the session they can hold a total of five cards in their hand instead of
the usual four.  
News of the Dramatic Character’s actions spreads like wildfire and not
necessarily for the good. When Judgement is played, treat a single Swords/
Spades card being played on the current Feat as if it were the King of Swords/
20 Judgement
Spades. However, if the action being performed is illicit or scandalous, any
Swords/Spades card played for the rest of the session has a value of 1, even
when played to enhance an Ability governed by Swords/Spades.
If an individual and the world are in harmony, anything becomes possible.
21 The World When the World is played, if the Ability being used in the current Feat is
ranked Poor or Average, treat the Ability as if it were ranked Great instead.

41
T he M ixed D eck O ption The Fortunate Tarot Variation is compatible
with the original rules as presented in Castle
Some Hosts may prefer to introduce the game altering
Falkenstein and with the Fearful Harm & Greater
effects of the Major Arcana to the Great Game without
Danger rules from Comme il Faut.
changing the Fortune Deck. Hosts seeking to do so should
remove the Major Arcana from a tarot deck and set them
next to the Fortune Deck. The Minor Arcana can be put
away as they will not be needed.

When play begins, deal either one or two Major Arcana

cards (as the Host prefers) to each Player to use as they see
fit during the session. These cards are held apart from the
Player’s hand. As an added option, a Host can deal Players
additional Major Arcana cards during gameplay as a reward
for engaging in excellent roleplay, entertaining with
amusing antics, or employing astounding ideas and tactics.

Using this option, the Major Arcana remains useful

without requiring a change from the Fortune Deck and
Suits familiar to Players of the Great Game.

T he R edeal O ption
Some of the effects listed in the chart above are
situational and depend on the right set of circumstances
coming along. The Hierophant might not be helpful in a
session spent completely in a Lost World where Exchequer
never comes to bear, for example.

As an option, the Host can allow Players, at any time,

to trade in a Major Arcana card in order to discard their
current hand and draw a new one from the Fortune Deck.
This means Players always have a use for Major Arcana
cards, even if they do not suit the Dramatic Character’s
Abilities or the current encounter and will have a chance
to replace a “bum” hand when needed.

42
T he S orcerous T arot
V ariation
In the cold winter of 1873 I found myself
accepting the hospitality of a village witch
in one of the darker forests of Ruritania
in order to avoid dying of hypothermia in
a nasty storm. She gave me food and
shelter and I did my best to repay her with
entertaining stories and conversation. Given her
profession, it probably was only natural the
subject eventually turned to Magick.
“What do you know of Magick, Mister
Olam?” she asked me.
I told her some of what I’d learned from
Morrolan and the other Sorcerers I had met
since arriving in New Europa.
“You’ve been learning from the academics and
their dusty old books, I see! That’s all well
and good, Mister Olam, but there are things
those myopic fools either don’t know or
refuse to recognize about Magick.” The old
witch cackled.
Intrigued, I asked for a bit more information.
She obliged me by explaining the truth as
the ancient sisterhood of witches knew it.
Magick, the old witch told me, is alive
and has its own strange desires. Someone
performing a Spell might encounter more than
mere Harmonics when casting. They might
find unexpected help when Magick is feeling
generous or unforeseen obstacles when it is
not. Energies might twist and change in the
middle of Gathering Power and the strength
43
of the Power gathered might wax or wane
depending upon conditions no Sorcerer could
possibly guess. No one ever truly mastered
Magick, she told me. They simply hoped to
become good enough to mitigate the worse
possible effects and give their spells the best
chance at succeeding as intended.
I admit, the thought of Magick being alive
and aware enough to change Spellcasting
pushed my brain into working on new game
mechanics. By the time the storm died down
I had written a new Variation to simulate
the ideas shared with me by my host.
In Castle Falkenstein, Sorcerers must harvest ambient
Magickal energy from the ether around them by drawing
cards from the Sorcery Deck. As the rules are written, the
Sorcery Deck is intended to be an ordinary deck of cards, joker
included, with each of the four suits intended to represent a
different type of Magick, also known as a Harmonic.
In the Sorcerous Tarot Variation, the ordinary deck of
playing cards used for the Sorcery Deck is replaced with
a Tarot Deck. Over the centuries the Tarot Deck has been
used both for playing games and for divination and,
because of this, these colorful cards, rich with imagery
and symbolism, can perfectly represent a more robust
and fascinating Magick. With a Tarot Deck, Magic in
Castle Falkenstein becomes more than just a form of energy
divided into four types but a living, breathing thing with
whims and purposes of Its own.
The Sorcerous Tarot Variation assumes the Tarot Deck
being used utilizes the arrangement of cards as presented
in the Rider-Waite-Smith deck (also known as the Rider-
Waite deck). The system might need to be adapted when
used with other variations of the Tarot.
For Hosts who keep track of such things, the Sorcerous
Tarot Variation changes the amount of Thaumaturgic
Energy available in a region from 143 TE to 158 TE, with even the living will of Magick. Each card in the Major
the amount of clean power now becoming equal to 119 TE. Arcana is assigned a unique trait and affects the casting of
Magic in some specific way.

T he M inor A rcana Hosts have two options when dealing with the Major
Arcana as part of the Sorcerous Tarot Variation. First,
The Minor Arcana portion of a Tarot Deck corresponds to they can treat the Major Arcana cards as full Sorcery Deck
a regular deck of playing cards. It has four suits, numbered cards. Any Major Arcana card drawn counts as a full draw,
cards, and face cards, though there is one extra member, albeit one which provides no actual Power Gathered. The
the Page, in each court. Just as in a normal Sorcery Deck, Sorcerer cannot draw another card from the Deck for two
in this Variation each suit represents a specific Magick minutes, as per normal. As an alternative, if a Sorcerer
Harmonic and the face cards have a numerical value. draws a Major Arcana card, they are allowed to draw
another card immediately. If the next card drawn is also
a Major Arcana card they draw again and continue to do
so until they draw a Minor Arcana card, which they add
M inor A rcana H armon ics to their hand as Gathered Power. Any Major Arcana cards
Playing Card drawn should also be added to Sorcerer’s hand. The Host
Tarot Suit Harmonic
Suit has the option of limiting the number of Major Arcana
Cups Hearts Emotional Magicks cards allowed to influence a single spell should they so
Pentacles Diamonds Material Magicks choose. If such a limit is in place, any Major Arcana cards
beyond the allowed amount are set to the side and shuffled
Swords Spades Spiritual Magicks
back into the Sorcery Deck after the spell has been cast.
Wands Clubs Elemental Magicks

The cards of the Major Arcana, and the effect they have
on a spell if drawn, are as follows.
M inor A rcana V alu es
Card Value
Ace 15
2 thru 10 2 thru 10
Page 11
Knight 12
Queen 13
King 14

T he M ajor A rcana
The Major Arcana portion of a Tarot Deck are twenty-
two unique and named cards, each fully illustrated and
rich with story and symbolism. In the Sorcerous Tarot
Variation they represent the unpredictability and perhaps

44
M ajor A rcana E ffects
Card Number Card Name
0 The Fool
1 The Magician
2 The High Priestess
3 The Empress
4 The Emperor
5 The Hierophant
6 The Lovers
7 The Chariot
8 Strength
9 The Hermit
10 Wheel of Fortune
11 Justice
12 The Hanged Man
13 Death
14 Temperance
Effect
The spell goes wild, as if a Joker were drawn in an ordinary Sorcery Deck.
The Sorcerer gains control over the Harmonics of one specific knot of energy.
They can convert the Suit of one card from those drawn so far from the
Sorcery Deck to the governing Suit of the spell.
Spiritual Magicks are strong in this area. Convert the Suit of one card, chosen
at random, from those drawn so far from the Sorcery Deck to Swords.
The Sorcerer tugs hard as they gather and is rewarded with a rush of extra
energy. Treat the next card drawn as if it were the one card higher in the suit
(i.e. 6 becomes 7). If the card’s Suit does not match the governing Suit of the
spell, consider it to be worth to be increased by 1.
A nearby Sorcerer pulls at the energy as well. One card is chosen at random
from those so far drawn from the Sorcery Deck and discarded. Devious Hosts
might instead insist on a Sorcerous Duel over the energy.
Material Magicks are strong in this area. Convert the Suit of one card, chosen
at random, from those drawn so far from the Sorcery Deck to Pentacles.
Emotional Magicks are strong in this area. Convert the Suit of one card,
chosen at random, from those drawn so far from the Sorcery Deck to Cups.
Just as the Sorcerer takes hold of the energy, a nearby spellcaster does as well,
cleaving it in twain. Cut the numerical value of the next card drawn from the
Sorcery Deck in half, rounded down (i.e. 6 becomes 3).
Wards become more powerful in this area. Double the duration and multiplier
if a Ward is being created, but not the cost.
As the Sorcerer gathers power, they are possessed by an insight into the
nature of the Spell. Treat their Sorcery skill as if it were a Rank higher (i.e.
Great instead of Good) and recalculate the cost of the Spell.
Harmonics enter the Spell, no matter what cards are played. Draw a card from
the Sorcery Deck. If the card drawn is from the Suit governing the Spell or
a Major Arcana card, draw again. The card drawn does not count as gathered
power and should be reshuffled into the Sorcery Deck. The Harmonic leaning
of the Spell will be in the form and strength of the card drawn.
Magick seems to judge the purpose of the spell. If it is noble, then the Spell
can be cast as normal. If it is selfish or cruel, the Spell will turn on the caster.
Just what the definitions of noble and selfish are in this scenario are and what
the effects of the turned spell are is left to the judgment of the Host.
The Spell warps and becomes a new Spell entirely. The Host decides what
form the new Spell takes.
The Sorcerer is locked into Gathering Power and must continue to collect
Energy until the TER is met, but the spell will fizzle when the Casting is
attempted.
The duration of the Spell is cut in half, though the cost remains the same.
45
 The Sorcerer’s Spell attracts the attention of a nearby Unseelie Faerie (or
15 The Devil
perhaps something even worse).
The energy slices through the Sorcerer and causes them to unravel part of
themself. Draw another card from the Sorcery deck. If it is a numbered Minor
16 The Tower
Arcana card, they uffer 1 Wound. If it is a Minor Arcana face card or Major
Arcana card, they suffer 2 wounds.
The intent of the Spell shines through the Harmonics. No matter what cards
17 The Star
are played, the Spell is cast as if it has no Harmonic influences.
18 The Moon The Sorcerer’s spell attracts the attention of a nearby Seelie Faerie.
Thaumaturgic Energy flows more easily than normal to the Sorcerer. For the
19 The Sun rest of the Gathering period, they draw two cards every two minutes instead
of one.
The Energy gathered has been influenced by the Sorcerer’s Order. If the spell
20 Judgement is not directly in line with the goals of the Order as decided upon by the Host,
it fails.
Elemental Magicks are strong in this area. Convert the Suit of one card,
21 The World
chosen at random, from those drawn so far from the Sorcery Deck to Wands.

The Sorcerous Tarot Variation is compatible with the original rules as presented in Castle
Falkenstein.

46
47
Var iations
on the
Gr eat Game
48 C astle F alkenstein
A lt e r n ative R ules for