Arcana Academy

Table of Contents
The Game 3
Getting Started ....................................................................... 4
The Conversation .................................................................. 5
Follow the Fiction ................................................................... 7
Making Moves ....................................................................... 7
The Mystery .......................................................................... 9
The School ............................................................................ 11
Before Starting ...................................................................... 12
Player Comfort ..................................................................... 15
The Other Characters ........................................................... 16
Character Creation ............................................................... 17
The Characters 19
Playing Your Character ........................................................ 19
Creating Traits ...................................................................... 20
Conditions ........................................................................... 23
Creating Spells ..................................................................... 24
Spell Types ........................................................................... 25
Spell Progression ................................................................ 29
Connections ........................................................................ 30
Sway ..................................................................................... 34
1
The moves 35
How Moves Work .................................................................. 36
Getting Into Trouble ............................................................. 37
Basic Moves ......................................................................... 37
Take Action ........................................................................... 38
Lash Out ............................................................................... 39
Figure it out .......................................................................... 40
Sneak Around ....................................................................... 42
Convince ............................................................................. 43
The Special Move ................................................................. 44
Magic Solves Everything ...................................................... 45
The Game Master 49

Your Agenda ......................................................................... 47
Your Principles ..................................................................... 49
Trouble ................................................................................. 57
Creating a Mystery ............................................................... 60
Sample Mystery .................................................................... 63
Creating Side Characters ..................................................... 64
Creating Special Locations ................................................... 65
Warwick Academy 67
The Faculty ........................................................................... 68
Locations .............................................................................. 75
School Life ............................................................................ 79
2
The Game
Arcana Academy is a game where you get to tell the
stories of students attending a magical school. You get
to learn new spells, make friendships, get into trouble
together, and try to figure out why there are so many
strange things happening at your school. You and your
friends get to be at the center of this story, working to
solve the mysteries before it’s too late.
Unlike regular story-telling, Arcana Academy uses

rules to take the story in unexpected directions. As
you talk about who your character is and what they’d
do in certain situations, the rules will create
complications you have to deal with. These
complications keep you wondering what will happen
next and provide surprises to make the story more
interesting.
3 | The Game
The game is first and foremost a game about
students at a magic school, but it’s also a game
about getting into trouble with your friends and
solving mysteries. Strange things are going on at
school, and it’s your job to figure out what’s going
on and put a stop to it.
getting started
Sitting down to play a session of the game will
usually take around 2 to 4 hours. While it’s still fun
to play just a single session, the game is designed to
ideally take place over multiple linked sessions. This
allows the characters and story to develop in
interesting ways over time.
One player will take on the role of the Game

Master, also referred to as the GM. Their job is
different than the other players. They will fill the
world with unique people, locations, and problems.
They will also be the one creating a mystery for the
other players to solve and determining what
happens when the rules say that something goes
wrong.
The other players will all take on the role of a single

character that they create. They will determine the
details about their character, what they’re good at,
The Game | 4
and what spells they’ve mastered. They are the
main characters, and the story is always centered on
them. Though there isn’t a strict player count, the
game works best when there are 3 to 5 characters.
To play the game, you will need a few things. Each

player will need a character sheet to keep track of
spells and their character’s traits. They will also
need paper and pencils to record the things that
happen to their character as you all play the game.
You will also need two six-sided dice (referred to as
2d6) preferably a set for each player.
The Conversation
Playing the game is just like having a conversation.
You say what your character is doing, saying,
thinking, and feeling. You react to the events that
come up, and listen as the other players do the
same. Arcana Academy is a game that’s all about
working together to tell a story.
Often, this will mean that you try and imagine

yourself as if you were your character. Many people
find it natural to talk in character, acting out the
things their character is saying. This is a normal
part of role-playing, and it can be a lot of fun once
you get used to it!
5 | The Game
While the conversation is going to naturally
progress, it’s important to remember that the point
of all of this is to create an interesting story.
Sometimes this means you will make decisions that
aren’t in your character’s best interests, but sound
like a fun direction to take this story.
While it may feel like it’s the GM’s job to keep the
story going, it is the job of everyone at the table.
You as a player need to interact with the story, so
it’s important to reach out to the people your
character is close to, or try and get involved in the
problems happening at school. Being involved as a
player is the best way to make the story fun for
everyone.
Just like a regular conversation, you also need to

give time for other people to talk and explore their
place in the narrative. Include others, and be aware
of when you are taking up too much of the
conversation.
The Game | 6
Follow the Fiction
The game works best when you worry about what’s
happening in the fiction. Listen to what the other
players and the GM are saying; don’t worry about
where you think the story should go.
This is also known as active listening. If you’re

thinking about what you’re going to do next, then
you aren’t paying attention to what is going on.
Role-playing games work best when the group is
listening to each other and naturally responding
rather than trying to set themselves up for cool
moments.
In fact, using active listening can help you set up

your fellow players for their cool moments. If you’re
paying attention to what they’re saying instead of
what you’re going to do, then working together
becomes a lot easier. It can be a lot of fun to work
together to create amazing story moments. This is
the goal of the game.
Making Moves
The narrative is naturally going to hit points of
uncertainty. These moments are broken up into a set
of moves that work to keep the conversation
moving in interesting ways.
7 | The Game
Moves are made up of two parts: a fictional trigger,
and a mechanical outcome. Moves are an extension
of the story, not a replacement of it. In order to use
a move, you have to perform the trigger in the
fiction first. What your character is doing in the
story sets the move up, and the rules take over to
keep things interesting.
These moves are divided into the moments that are

meant to be the most critical to the story. They all
work essentially the same way. When you need to
make a move, you roll 2d6 and add a bonus
depending on what your character is good at and
who they are. Based on the results, something
happens. Generally, each move is structured like
this:
10 or more You more or less do what you want

without difficulty.
7-9 Things work out, but with some complication.
6 or less Something goes wrong and causes a new

problem.
The Game | 8
The Mystery
The mystery is the core conflict that the game
revolves around. Something strange is always going
on at the school. It won’t always be world-ending,
but it will matter to your characters.
It’s your job to try and solve the mystery before bad
things happen. Mysteries are broken down into two
separate parts: the question the characters are
trying to answer, and the bad things that happen
when they don’t. In order to solve a mystery, there
are three steps the players must take.
1. Discovering the Mystery

You won’t know what the question is when you first
start the game, but as bad things start happening
you will begin to get an idea of what is going on. As
you play the game, you will earn clues that allow
you to ask the GM questions. However, the GM will
never answer the question that is central to the
mystery. When the players ask the mystery
question, or a question that would give the answer
away, they have discovered the mystery. The GM
then explains exactly what the mystery.
9 | The Game
2. Finding the Answer
Once you know what question you’re trying to
answer, you will have to search for the answer
yourselves. During this step, you will use clues to
help you look for the answer. They are a great way
to help lead you to the answer, even if they can’t be
used to solve the mystery directly.
3. Solving the Problem

After you have the answer to the question, you still
need to solve the problem. You can still use clues to
find out more about the problem, and use this
information to find a way to put a stop to whatever
is happening. Once you have confronted and solved
the problem, you will have completed the mystery.
Whenever you solve a mystery, there are always

more strange things going on at the school that you
will need to investigate. In fact, mysteries are often
connected to each other. You may solve one mystery
just to learn that an even greater problem is
threatening your school!
The Game | 10
The School
All stories are a lot more than just what is going on;
they have different elements that make them
interesting. In this game, there are two other things
that are included in the story: the side characters
and the various locations.
Side characters are just the

other people at the
school. The teachers,
other students, and
anyone the players
interact with. Some of
these side characters
will matter more to
you than others, but
they all have their own
motivations and quirks
that make them
interesting.
11 | The Game
Special locations are the areas that have special
significance to the group. Each special location has
some positive or negative attribute that changes
how you can interact with it. Knowing what is
easier and harder because of where you are is a
great way to get ahead and solve your problems.
Before starting
Before you’re ready to start playing the game, there
are a few things the group needs to take care of.
First, it’s important to have a conversation about
what everyone should expect. Below are a few topics
that are worth talking about before you jump into
the game.
It’s important to note that there is no right answer

to any of these questions. It’s up to the group to
figure out how they are going to get on the same
page. Often, the GM will have an idea of where they
want things to go, but every player should have a
say in what the story is going to look like.
The Game | 12
Expectations
Everybody should be on the same page when it
comes to what they’re expecting out of the game.
This should usually include things like the tone and
whether the game will be more silly or serious. It
can also include what everybody’s expectations of
the world are like, and how they envision magic
working. If you are using a specific setting, some of
these questions will already be answered.
The Group
Next is figuring out what the characters’ group
dynamic is like. How do they know each other? How
does the group feel about the characters not getting
along with each other? Why do these characters
spend time together? Do you want to have mean or
selfish characters in your group?
You should also discuss the kinds of characters

you’re thinking about playing. Have an idea of who
you want to be, but be open to change. Work
together as a group to decide.
13 | The Game
Style of Play
It’s good to know how casual or involved everyone is
expected to be in the story. Don’t forget that
different people find different things fun, and some
people may want to be more or less involved during
certain parts of the game. Make efforts to
accommodate and share the spotlight.
It’s also good to know how much the players will be

able to contribute to the story. Does the group want
to let any player suggest story details, or is that
entirely up to the GM? It can be a lot of fun to give
players a bit of agency in how the story progresses,
but others may find this ruins their immersion.
Logistics
Setting up how often you plan on meeting and if
there’s a schedule can prevent a lot of headaches in
the future. You might also ask about the plan in
case someone can’t make a session, and discuss how
it will affect their character if you decide to play
without them. Get a reference for how long you
expect each session to run and how long the whole
campaign will last.
The Game | 14
Player Comfort
Each player’s level of comfort with specific topics is
one of the most vital things to go over. Everyone
should feel like the table is a safe place. If there are
certain topics or situations that make a player feel
uncomfortable, the group should respect that.
This may include things that players

merely have distastes for, or things they
don’t want at the table at all. You
should not try to convince
others to do things they are
uncomfortable with.
15 | The Game
Sometimes this does mean adapting the story. It
could also mean that the game or group isn’t a good
fit. Regardless, players should always work together
to create an open and comfortable environment for
everyone.
The Other Characters

There are more characters in the world than just
your group. Take time to create what other
characters exist in the world. For now, focus on the
side characters that are going to act as your
character’s connections. Each connection represents
the way that you feel about them, not the way
they feel about you. Each side character should
have a name, and a bit about who they are.
Each player should have a side character as one of

their connections. It’s okay to share side character
connections with another player; this can even lead
into some really interesting moments. When you
choose a connection, remember to write down an
emotion or memory associated with them to explain
why that connection matters to your character.
The Game | 16
Character Creation
You should now be ready to start creating your
character. To start, you will choose three traits for
your character, three spells you know, and one
connection. The next section will guide you through
each of these steps.
Don’t forget to keep in mind the things your group

talked about before starting character creation.
17 | The Game
The Game | 18
The Characters
The characters you create are all at the center of the
story. When you’re creating your character, try to
imagine what they’re like. You don’t need a detailed
backstory, but you should have a good idea of who
they are and how they approach problems.
Playing Your Character

When you’re playing your character, always try to
make the choices that fit who they are and will take
the story in interesting directions. Remember to play
to your character’s strengths and leave room for others
to have the spotlight. Don’t try to overshadow the
other players. If you can, set them up for moments
that will make their characters shine.
19 | The Characters
Remember that the other players don’t know what’s
going on inside your character’s head, so it’s
encouraged to share what they are thinking or
feeling in any given moment. This helps deepen the
story and give context for what your character is
doing.
Creating Traits
Your character is created by using short descriptions
of specific qualities called traits. These traits cover
the details that set your character apart. When you
can apply one or more of your traits to a given
situation, you gain +1 to any move. Each player
chooses three different traits for their character.
Traits cover things such as your beliefs, personality,
talents, and resources.
Beliefs
Your beliefs are the things your character holds to
be true. They are the way you see the world or the
way you choose to live your life.
always get even • doing good is its own reward •

better to ask forgiveness than permission• honesty
first
The Characters | 20
Personality
Your personality is the aspects that make you
unique. They might be the things you are passionate
about or defining emotions for your character.
brave to a fault • friendly to everyone • cool and

collected • tough guy
Talents
Your talents are the things you’re particularly good
at. They are the things you know or do better than
anybody else.
smooth talker • strong as an ox • I can always spot

a liar • best on a broomstick • great with animals
Resources
Your resources are the things you can count on
when you need them. It might be a person you can
call on, a special possession, or something else
entirely. Resources are not unique magical items.
Magic is reserved for spells.
when my father hears about this • comprehensive

history book • secret hideout • faculty mentor
21 | The Characters
Because traits are open-ended, you need to get them
approved by your GM to make sure they would be a
good fit for the game. A good trait should pass a
simple three part test.
First, traits should be clear. They should be concise,

and you should know exactly how and when you can
apply a trait for a bonus. Beast-kin is a bad trait
because while it’s evocative, it isn’t immediately
obvious how to use it. Great with animals is a better
trait, because it’s obvious when you could use it to
your advantage.
Second, traits should be specific. Traits that can be

used in a lot of situations are bad because
they take away from what makes
other characters special. Everyone
deserves the chance to shine, and
traits that can only be used in
specific circumstances help
facilitate this. Observant
would be a bad trait because
it can be used whenever you
want to look for details. I can
always spot a liar is a better trait
because it’s being observant
in a specific situation.
The Characters | 22
Third, traits should be descriptive. Traits are
supposed to be what makes your character special.
A good trait tells a story about your character.
Physically fit is a bad trait, because it doesn’t tell
us much about how you approach challenges. Strong
as an ox is a better trait because it’s not only more
descriptive, but gives an idea of how you tackle your
problems.
Conditions
Sometimes a move or other consequence will ask you
to mark a condition. Essentially, this is a one word
description of what’s affecting you that is tied to
one of your traits. When a trait has a condition
attached to it, you can’t use that trait.
Conditions are removed by resolving them in the

fiction. So if you had the condition “coward,” you
could clear it by doing something despite fear and
risk. Getting rid of a condition has to be done in a
dramatic way. Doing something vaguely related to
the condition is not enough. It has to be something
above and beyond what your character would
normally do.
23 | The Characters
You might feel the urge to try and immediately seek
a way to rid yourself of a condition, but it can be a
lot of fun to role-play a negative trait. Wait to get
rid of your condition until it feels like the natural
time to do so.
Conditions can be any adjective, but are always tied

to one of your traits. They could be an injury, how
you’re feeling, or how others view you. When a
condition is given to a side character, you instead
use it up to gain +1 on any roll where you could
take advantage of that condition.
Creating Spells
After your traits, the most important thing that
your character has are the spells they know. Spells
work similarly to traits, but with a few exceptions.
If the player rolling doesn’t have a relevant spell,
you are able to cast one to help them accomplish
something. Choose a thematic name for each spell
your character can use. Using a spell grants +1 to
any given roll. Each character starts by knowing
three different spells. There are six different spell
archetypes you can choose from.
The Characters | 24
Spell Types
Power
How does this spell allow you to physically affect the
world around you?
Power spells are all about

how you can affect things.
These spells directly affect
the environment, and
usually aren’t
subtle. Being able
to unleash bursts
of flame, pulling
objects towards you, or
smashing something to
pieces are examples
of power spells.
25 | The Characters
Influence
How does this spell allow you to influence others?
Influence spells are all about how you can

manipulate others. These spells are often tied to
manipulating emotions or fooling the senses. Being
able to make someone temporarily like you, incite
another to anger, or create an illusion to trick
someone are examples of influence spells.
Knowledge
How does this spell help you know things you
wouldn’t otherwise know?
Knowledge spells allow you to gain access to

information. Sometimes this information is
something you couldn’t have gained in any other
way. Being able to hear someone’s thoughts, viewing
a scene from far away, or knowing the exact path
needed to some place or object are examples of
knowledge spells.
The Characters | 26
Creation
What does this spell bring into the world?
Creation spells allow you to make things that

didn’t exist before. What you create often has a
narrow purpose that makes it particularly effective.
Conjuring a sword from thin air, creating an
invisible barrier that can’t be crossed, or
summoning a flock of birds to harass someone are
examples of creation spells.
Mobility
How does this spell help you get somewhere else?
Mobility spells let you move about freely or gain

access to places you normally wouldn’t have access
to. Mobility spells don’t have to be directly about
movement, just about getting to places. Gaining the
ability to fly, transporting yourself to a specific
location, or unlocking a locked door are examples of
mobility spells.
27 | The Characters
Change
What does this spell alter the state of and how?
Change spells are about altering the form of things

in indirect ways. What they change things into is
open to interpretation, but you must
always specify both what is altered
and what it changes into. Turning an
object into an animal of similar size,
changing your appearance to
resemble someone else,
or shrinking an object
to fit in your
pocket are
examples of change
spells.
The Characters | 28
Spell Progression
While you may know a few spells, you are still new
to magic and don’t have control of your spells yet.
Each spell should have one weakness attached to it.
What’s most interesting about a spell isn’t always
what it can do, but what it can’t do. Answer one of
the following weaknesses for each spell you know.
• What is something your spell doesn’t affect?
• What is a situation where your spell won’t work?
• What specific thing must happen to cast this

spell?
As you solve mysteries and progress, you will gain

mastery over your spells, allowing you to cast them
when previously you wouldn’t have been able to.
Whenever you resolve a mystery, you can choose to
master a spell you already know (removing the
weakness) or to learn a brand new spell.
29 | The Characters
Connections
Your connections are the other characters that are
important to your character’s story. Connections are
allowed to be either another player’s character or a
side character. With each connection, you will also
write down a brief description of the associated
emotion or relationship with that character. The
GM will be able to compel you to act a certain way
towards these characters, giving you a bonus if you
listen, or a penalty if you don’t.
Your connections are one of the areas that defines

your character the most. Seek out opportunities to
interact with your connections, and try and include
them in the story. Having more characters involved
in the plot can be a lot of fun for yourself and
others at the table.
You can add another character as a connection at

any time, but be careful. Once you choose a
connection, you may be compelled to act certain
ways. The following three questions are used to
establish your connections. You may only have one
connection per question.
The Characters | 30
Who do you really dislike?
The reasons you dislike someone can be very
different. They might have wronged you at some
point, they could be the person that your crush likes
instead of you, or you could be jealous that
they’re doing better in
school than you. They
don’t have to dislike
you back, but they
often do. Be careful
before choosing
another player’s
character for this
connection. Playing out a
rivalry can be fun, but it
can also be hard. The GM
will compel you to try and compete
with this person or make them look
bad in some way.
Who are you fond of?

This is the person that you just
like. They could be a person that
you find attractive, your best
31 | The Characters
friend, or maybe someone who is always there for
you. The GM will compel you to be nice to this
person and always help them out when they’re in
need.
Who do you look up to?

Who you look up to could be a teacher that you
respect, or another person that once did you a favor
or stood up for you. For whatever reason, you
respect and admire this person. You may want to be
just like them or appreciate a value in them that
you don’t have. The GM will try and compel you to
impress this person or show off your talents in front
of them.
When the GM compels you to act a certain way

towards these characters, you have two options. If
you accept, you gain +1 on the next roll directed at
or involving this character. If you refuse, then the
connection takes strain. Whenever a connection
takes strain, you roll a single six sided die. If you
roll greater than the number of strain on this
relationship, then everything is fine. However, if you
don’t roll higher, the connection has to shift and
you gain a condition.
The Characters | 32
A shift in a connection means that something is
going to change in the relationship. There are three
different ways that a connection shifts. You can
choose the option that will take the story in the
most interesting direction, or the one that you just
want to happen. They are as follows.
Fade Away
When a connection fades away it means that you
just don’t feel as strongly as you once did. This
person is no longer part of your story. They likely
will interact with you less and you cannot add them
as a connection again without special permission
from the GM.
Deepen
When a connection deepens, it means that you
realized it really matters to you. You refuse to
forget what they did to you or for you and don’t
want to let go. When the GM compels you with this
character, you take a condition in addition to the
normal consequences for refusing. You also remove
strain every time you accept a compel relating to
this character.
33 | The Characters
Change
When a connection changes, it means that you don’t
feel the same way about this character, and in fact
feel quite different. This character changes to a
different kind of connection, potentially replacing
someone else.
Sway
When one character gains leverage over another
character, they get to take sway over them. This is
a representation of intimidation, favors, guilt, or
anything else that would give one character
influence over another.
You may spend sway in order to compel that

character to do something. They must do what you
say or take a condition as fits the situation best.
The GM is allowed to give you sway over someone

whenever you do something big to help them. This
has to be a grand gesture that your character
wouldn’t normally do or would put them at extreme
risk.
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The Moves
Always keep in mind that moves are triggered by
what is happening in the fiction, and not by anything
else. Every move has two parts: the fictional element
required to trigger it, and the mechanical elements
that you resolve using the rules.
No move triggers unless it happens in the fiction first.

If you want to use a specific move, then all you have
to do is describe what your character is doing in a way
that would trigger the move. The GM is also
watching for actions that trigger the moves, and will
call them out when they see them. It’s okay to rely on
the GM and only focus on what your character is
doing.
35 | The Moves
Remember that just because there isn’t a move for
something doesn’t mean you can’t do it. They aren’t
a list of actions you are supposed to choose from.
Their purpose is to create moments of uncertainty
and add complications you have to react to. They
are there to help create interesting outcomes, not
tell you what you can or can’t do.
How Moves Work

All moves follow the same basic structure. When
you trigger a move, you will roll 2d6 and add +1 if
one of your traits applies and an additional +1 if a
spell applies. You then use the result to determine
what happens.
10 or more You do what you want without

difficulty.
7-9 Things work out, but with some complication.
6 or less Something goes wrong and causes a new

problem.
The Moves | 36
getting into Trouble
When you roll a 6 or less, or give the GM the
perfect opportunity to have something go wrong,
they get to make something bad happen. They have
a list of options for what kind of trouble they can
cause the characters. Usually, trouble forces you try
a new strategy or focus on the new problem that
came up.
Trouble is a natural part of the game, and it’s also

one of the things that will help you solve the
mystery. As you get into trouble, the GM can
choose to trigger the mystery’s consequence. While
this is bad for your characters, it does give them
another opportunity to investigate what’s going on
and gather new clues.
Basic Moves
There are five basic moves that players can trigger.
Take Action, Figure it Out, Sneak Around, Lash
Out, and Convince Someone. Each of these moves
are given in more detail below.
37 | The Moves
Take Action
When you try and do something challenging or risky,
make a roll. On a 10+ you make it happen. On a 7-9
the GM will tell you what it will cost to succeed.
Taking Action is the move for when you’re jumping

straight into the thick of things. It isn’t used when
you’re being reactive or merely trying to avoid
what’s going on around you, but when you have a
specific goal that is either challenging or risky.
This move is often a good choice for when no other

move fits, but the table feels like this moment
deserves to have the stakes raised and that the rules
should determine what happens next. It is
specifically worded so that anything difficult or
dangerous can trigger it.
When you roll a 7-9 with this move, the GM can

choose any consequence they think might happen if
you choose to press forward. This means that if you
want, you can choose to back down and avoid the
consequence. This doesn’t mean you didn’t attempt
the action, just that you pulled away before the
really bad thing happened. Your narrative will still
change because you had attempted the action in the
first place.
The Moves | 38
Lash Out
When you try to affect someone, emotionally or
physically, make a roll. On a 10+ you give them a
condition, or they are unable to react to what you
do next. On a 7-9 you succeed, but also gain a
condition.
Lashing Out is the move you use when your

character is trying to act against someone else.
Whether you’re using your words or you’re
physically working against them, this move still
applies. This move isn’t used when you’re being
subtle or trying to persuade someone, only when
you’re being forceful.
When you trigger this move, you are able to give

them a condition or prevent them from reacting.
The condition you give them is going to be related
to the way that you emotionally or physically hurt
them. Preventing them from reacting is shutting
them down, getting them out of your way, or
making them run away from you.
If you roll a 7-9, the GM can choose what kind of

condition this is. You might have also gotten hurt
when they fought back, or others might have
perceived your actions as negative and you are now
viewed poorly because of what you did.
39 | The Moves
Figure It out
When you examine a location or person, make a roll.
On a 10+ gain two clues. On a 7-9 treat it as a
success but choose one.
• You are only able to ask yes or no questions

• You only get one clue
Figure it Out is the move used when you want to

look for clues. There are several ways to examine
something. It could be just looking at something,
but it might also look like making conversation or
researching the topic. Casually
looking around the
room isn’t enough
to trigger this
move. You
have to be
actively
doing some
specific
task that
could help
lead you to
a clue.
The Moves | 40
You also can’t use this move if someone else has
already searched this area. Without new information
to go off of, you only get the one chance. Multiple
characters are not allowed to search the same area
in the hopes of finding more clues. It is assumed you
are working together, but the person making this
move is the one who noticed something.
When you succeed, you gain two clues, which means

you get to ask two questions. Each clue doesn’t have
to be spent immediately, but the questions you ask
have to be about the person, location, or event that
occurred at the place you got the clues. This means
that you have to use your clues before leaving that
area.
On a 7-9, you have two options. Choosing to only

receive one question means you won’t be able to ask
a followup question. Only being able to ask yes or
no questions means that you won’t be able to get
specific information, and need a good idea of what
you want to know before asking.
41 | The Moves
Sneak Around
When you attempt to sneak around or do something
without drawing attention, make a roll. On a 10+
nobody notices. On a 7-9 you either have to quickly
leave and lose this opportunity or you won’t have
long and the Game Master can trigger trouble at
any time in the future.
Sneaking Around is the move for when you want to

do things without being noticed, especially if you’re
trying to avoid specific people, or you have limited
access to a location. It’s important to know that you
don’t always have to try and hide from everyone.
You might only be avoiding the notice of specific
people.
When you succeed, you are able to act without

notice. This means that you can proceed without
that person interfering. You are also allowed to have
others sneak with you if you choose to do so. It is
assumed that the person making the move is the one
taking the lead and helping the others sneak by.
The Moves | 42
On a 7-9, you have to choose between delaying a
bad consequence or giving up and turning away.
Losing this opportunity means that you can’t
attempt to try sneaking again unless the situation
changes dramatically and the obstacle that stopped
you is no longer present.
Convince Someone
When you give another student a good reason to do
what you say, make a roll. On a 10+ they do what
you say. On a 7-9 they do what you say, but gain
sway over you.
Convincing Someone is the move for interacting

with others and trying to get them to do what you
want them to do. It is important to know that
words can only get you so far. You have to provide
them a good reason to do what you say. Using force
or threats doesn’t count as a good reason. It has to
be something they would actively want or agree to.
If you succeed and they do what you say, it doesn’t

necessarily mean they succeed. They definitely
might, but it is up to the GM to determine if this
character’s skills are enough to accomplish what
you’ve asked them to do. They will however, do any
simple task you ask them to do without problem,
especially if it doesn’t put them at risk.
43 | The Moves
If you roll a 7-9, they gain sway over you, meaning
that they can compel you at a later time. You owe
them, and sooner or later they will come to try and
make good on that debt. Refusing their favor may
mean that they will be less likely to be persuaded,
and will require a really good reason to listen to you
in the future.
The Special Move

Magic Solves Everything is a special move that
works differently than the other moves. It allows you
to do things beyond your normal capabilities. When
you want to use this move, tell the GM what you
want to do and they will tell you three things you
need to gather or do first. Each time you fulfill one
of these requirements, you gain a +1 bonus to the
final roll. If one of these conditions isn't met, you
may still attempt to make it happen and hope for
the best.
The Moves | 44
Magic Solves Everything
When you need to special magic to solve a problem,
ask the GM what it will take to make it happen.
After you have met the requirements, make a roll. On
a 10+ it goes as planned. On a 7-9 the GM chooses
one:
• There is an unintended consequence
• Using the magic puts you in a bad situation
• The magic will not last very long
Magic Solves Everything is the move for when you

want to accomplish something big or flashy with
magic. This could be making potions, performing a
powerful ritual, or using some strange magical
object to accomplish some task. You are able to
choose almost any outcome or desired effect, but
more complicated tasks will often have requirements
that are harder to accomplish.
The GM is responsible for determining how hard

something is and what you have to do in order to
make it happen. Sometimes they aren’t sure what
would be required right away. In these cases, they
will tell you that you need to research a bit to figure
out how to make it happen and will come with a list
of requirements prepared for the next
session.
45 | The Moves
On a 7-9, the GM has three options for how to
complicate the outcome of the magic. An
unintended consequence might stem from something
you messed up earlier when fulfilling the
requirements, or might just be a fluke, but
something will go wrong. The magic mostly worked,
but with some condition.
If the magic would put you in a bad situation, it

could mean that something dangerous happens or
that it gets you into trouble with another student or
teacher. The consequence isn’t immediate, but it
will happen soon and it’s up to you to use the magic
to your advantage before this happens.
If the magic doesn’t last very long, the GM is

allowed to end the effect at any time they feel
like. This means that if they feel like you
are taking too long to use it, they can
end it. They should
signal that the
magic is ending soon
before doing so, giving you
a quick opportunity to
decide how to react
before the magic ends.
The Moves | 46
The Game Master
The Game Master is responsible for keeping the story
going in the right direction. To help them, this chapter
outlines their agenda, the principles they use to
make the game fun for everyone, as well as other
helpful tips on creating the other elements necessary
to the game.
Your Agenda
The GM has one of the most important roles in the
group. Your agenda is broken down into three separate
parts: fill the world with wonder, keep the story
exciting, and play to find out what happens. If you are
doing these three things, then you’re a good GM.
47 | The Game Master

Fill the World With Wonder
The world is full of magic, and it’s your job to
portray that. Lean into the mysterious, and resist
the urge to explain how things work. Wonder is all
about creating scenarios that are strange and
unusual.
Keep the Story Exciting

Keeping the story exciting is easy if you remember
to use moves and trouble correctly. Moves are
designed to make this happen. Every roll has the
potential to create exciting problems the characters
have to deal with. It’s okay for players to fail and to
get into trouble, that’s part of the game.
Play to Find Out What Happens

The direction the story takes should be driven by
the players. Never attempt to plot what will happen
in the story. There are exactly three things that you
are supposed to plan: the side characters, details
about the school, and the mystery.
The Game Master | 48

Principles
The GM should use these principles to help guide
their actions. Whenever you have to describe some
element of the story or use trouble to act against
the characters, it should follow these principles.
Using the following principles is a great way to keep

the story fun for everyone. Eventually, using these
principles will become entirely natural for you as a
GM.
• Focus on the characters, not the players
• Lean into the mystical and strange
• Name every side character
• Use side characters they have already met
• Focus on what’s happening in the fiction
• Make the mystery important
• Be a fan of the main characters

Focus on the Characters, Not the Players
Focusing on the characters instead of the players
can do a lot for the immersion of the game. It
encourages the player to get inside the head of their
character and to think like they would.
Whenever you need to ask a question, ask

the player how their character feels and
what their character is going to
do. Use the character’s name
when you ask these
questions. The
game is about
these
characters, and
they need to
be the focus
at all times.

Lean Into the Mystical and Strange
When you’re describing the world and what is
happening in the story, don’t be afraid to make it
strange. Magic often feels best when it is
mysterious. This doesn’t mean you should hide
things from your players. They will ask questions
when they get clues, and it’s your job to answer
them honestly. You also should answer questions
their character would reasonably know about the
world.
That being said, don’t go out of your way to fill

them in on what is going on behind the scenes. You
might want certain details you added into the
campaign to be acknowledged and appreciated, but
leaving things mysterious helps sell the world.
This is a game about magic and mystery. There are

going to be things the players aren’t going to know.
Discovery is part of what makes this game fun, so
use it to your advantage.

Name Every Side Character
Every side character the players encounter should be
named. Having named characters makes the world
feel alive. At times you may want to keep someone’s
identity a secret. In these cases, you can give an
evocative title to that character instead.
In addition to naming these characters, you need to

make them individuals. Know at least one detail
about each of them, and use this detail often so that
the players get a sense of who they are. Keep notes
on the cast of side characters you have to work with,
so that you can use them at a moment’s notice.
Use Side Characters They Have Already

Met
Whenever you need to have a side character used in
a scene, you should be using ones the players
already know. A smaller cast of characters makes
the world a lot more relatable to the players.

Sometimes, when the players are looking for people
who might know something that could help them
solve the mystery, you have a character that already
has this information. Other times, you need to
introduce a new character.
When you create a new side character, it needs to

fit into the plot. This character is now part of the
story. While the cast of characters in the story is
expected to grow, having too many at once can
cause confusion. Be selective with who you add.
The exception to this principle

is at the beginning of a new
mystery. This is a time when
you are supposed to be
introducing new elements into
the story. When you add
these new characters, call
attention to them more and
put them in situations where
the main characters will run
into them so they can get
used to the new characters.

Focus on What’s Happening in the Fiction
The game works best when you worry more about
the story than the rules. You should ask for moves
and cause trouble when the rules ask you to, but the
fiction is always where it starts.
Focusing on the fiction means that you shouldn’t be

referencing the exact titles of the trouble you’re
getting the players into. Just tell them what
happens in the narrative.

A part of this is also getting good at active
listening. Being involved in what the players are
doing instead of what you’re going to say is vital to
being a good storyteller. It also helps clue you in to
the things the players are getting at. Pay especially
close attention to the intent of their actions. This
will help inform what you should do next more than
your own ideas will.
Make the Mystery Important

The mystery is going to be what the players are
working towards, so it should matter a lot. Making
a mystery important is done by making the
consequences matter to the story, and also by
making the mystery important to the characters.
Essentially, you’re pushing the characters forward
with the consequences, but pulling them in by
making it intriguing.
The consequences for failing need to be big enough

that the players feel the need to solve it. It should
necessitate their action because if they don’t act,
there will be very real consequences, and eventually
those consequences are going to affect them directly.

In addition to the players needing to solve the
mystery to prevent bad stuff from happening, they
should also just want to solve it. Making the
mystery interesting and making it revolve around
the areas the characters care about are great ways
to motivate them. Find the aspects of the world
your characters seem most interested in, and use
these to help you create your mysteries.
Be a Fan of the Main Characters

Above all, you need to be a fan of your player’s
characters. This is their story, and you’re helping to
tell it. Neither you nor the players want to see their
characters constantly failing and suffering. This
doesn’t make a good story. Good stories have
payoffs.
At the same time, nobody wants to see the

characters always succeed. Good challenges and
obstacles that make the players think and keep their
characters’ lives interesting make the story worth it.
They need moments to shine and chances to use
their strengths to overcome the problems that get in
their way.

You are responsible for balancing these two things.
Rewarding payoffs and meaningful challenges are the
hallmark of a good story. The game’s rules naturally
support this, but being a fan of your player’s
characters in the same way you’d be a fan of the
main characters in a book or movie helps improve
the game.
Trouble
Trouble is meant to drive the action forward even
during failures. It provides new problems that have
to be dealt with and shifts the player’s priorities.
Trigger trouble whenever the players roll a 6 or less,

whenever there's a perfect opportunity to make
something bad happen, or when everyone looks to
you to find out what happens next. The options for
what kind of trouble you can get the players into
are as follows.
Trigger a Mystery's Bad Stuff

Triggering a mystery is all about bad things
happening behind the scenes because the main
characters were busy somewhere else. This
consequence is designed to lead the players to the

central mystery. It's okay to be obvious. You want
the players to figure out what the mystery is.
Risk Something They Care About

This consequence is all about raising the stakes and
making it personal. Try and think of about the
characters, locations, or items the main characters
enjoy interacting with, and put those in danger.
This also means if they don’t do anything about it
being in danger, you can remove it from the story
either temporarily or permanently. Connections they
feel close to are a
great target for
this kind of
consequence.

Restrict Access to a Location
Using this consequence makes it harder for the main
characters to get around. When you restrict access
to a location, it should be one they already know is
important and need to get to. They can still go
there, but there's some obstacle that makes it
difficult for them.
A Connection Shows Up at the Worst

Time
Connections are a great way to make the story more
emotionally driven. Having a rival show up when the
main characters are doing something they shouldn't,
or someone they like show up in a moment of
embarrassment can really affect them. When a
connection shows up, you may either compel the
character or add strain to that connection,
whichever is more appropriate. If you compel them,
they do not gain the normal advantages for
accepting it.

Give Them a Condition
This can be one of the easiest consequences to pass
out because of how versatile conditions are. You can
choose to give multiple characters conditions if it
fits the situation.
A Problem Requires Immediate Attention

This consequence is all about complicating the
characters’ current situation. The problem should be
something that they can't ignore easily. If they
choose to ignore it, it might present the perfect
opportunity to hit them with even more trouble.
Creating a Mystery
The mystery is the most important aspect of your
planning. It’s what the entire game revolves around.
To create a mystery, first think in terms of what
question you want the characters to answer. Often,
questions that ask why or how are better than
simply what is going on.

The question you come up with doesn’t have to be a
grand and mysterious plot. It is often better to start
small. Find something the characters can take
personally. It might seem fun to have the characters
try and save the world, but it’s usually more fun to
save a friend. Consider having multiple mystery
questions you can use. You’ll often find that some
questions you assumed would be a good mystery
answer themselves, and it’s good to have backup
questions. Only choose a backup question if one of
the other questions gets answered without spending
a clue.
The next step is to come up with clear

consequences. The bad stuff that happens as part of
a mystery is meant to be two-fold. First, it creates
incentives for the players to attempt to solve it. If
bad things are happening around them, they will
often want to fix it. Second, it helps give the players
leads to finding out what is going on. Make sure
that the consequences of the mystery and the
question they’re trying to answer are solidly linked.
Don’t worry about being too obvious when using a

mystery’s bad stuff. The whole point is for the

players to figure it out. When the players gain clues
and ask questions, pay attention. You may even
want to write down some of the ones that don’t
directly relate to the mystery. These are usually
great places to start when creating the next
mystery.
The other aspect you need to decide is the

complication. Basically, this is the thing that is
preventing the players from fixing the mystery
immediately. A good complication means that the
story isn’t over as soon as they’ve solved the
mystery.
When creating further mysteries, don’t feel like you

have to escalate things, though you definitely can.
The next mystery should come from a place of
understanding where the characters are at and what
they care about. Pay attention to how they react,
and don’t be afraid to frequently ask them questions
about what their character is feeling or thinking.
Knowing this can be a great help in making the
story personal to them.

Sample Mystery
To help you get an idea of what a mystery should
look like, we’ve create a sample mystery. The format
of your mystery should look similar to this. Create
at least one question you think could work, but
always have more than one bad thing that can
happen.
Concept
An old rival of the Headmaster got past the school’s
defenses and is hypnotizing students to get artifacts
from the school’s attic. He is after something
specific, but doesn’t know how to get it directly.
Questions
What is causing the students to have large gaps in
their memories?
Who could be behind the recent thefts of artifacts

from the dusty attic?
What is the artifact that this rival wants, and what

is he going to do with it?

Bad Stuff
A cursed artifact from the dusty attic turns up in a
friend’s possession.
Someone the group is counting on disappears for a

few hours and gets in trouble for it.
Creating Side Characters

Creating characters that the players interact with is
one of the best ways to make a world interesting.
Each character should always be named and always
have some detail the players can latch on to. Often,
giving them a trait similar to the kind players have
can be enough to make the character unique and
interesting.
Try not to add too many characters to the story.

When you can, use the side characters that are
already a part of the story, especially connections.
After the players solve a mystery can be a great
time to introduce a new character or two. They
could be new to the school, or just someone the
main characters haven’t interacted with yet.

Creating special Locations
Locations are the places where things happen at the
school. Each location should have something unique
about it, some positive or negative quality that the
players can interact with. These qualities don’t need
to have any mechanical effect, but they should
impact what is and isn’t possible within the fiction.
Perhaps a location is a secret room that very few

know about. It could be someplace where there’s no
teacher supervision, or maybe the room is protected
so that no magic can be cast inside. In every case,
include some unique element that makes it special
from everywhere else at the school.
The characters don’t always have to be in a special

location. Hallways and common areas aren’t
expected to have special attributes to use. When
they aren’t in a special location, don’t worry about
these aspects.
You should tell the players what the special

characteristic of a room is when they first enter it. If
it’s not immediately obvious within the fiction, you
might consider showing them in some other way, but

they should always get to know what is special.
Introduce locations whenever it makes the most

sense, but have several that the characters know
about. Especially at the start of a mystery, find
reasons to lead them to these special locations so
that the players know they are there and can start
interacting with them.

Warwick Academy
While you are free to use whatever setting you’d like,
Warwick Academy is presented as an option that you
can use to fill your world and provide inspiration for
side characters, locations, and mystery hooks.
Warwick Academy has long been a place for raising

the next generation of the magically gifted. Founded
before almost anyone can remember, the school itself
is hidden away deep within the mountains and
protected with more magical wards and illusions than
anyone bothers to count.
The school is home to several irregularities, mostly

stemming from the layer upon layer of wards, spells,
and various other forms of magic. While the school is
arguably the most prominent school of magic, it’s also
the one with the most magical mishaps. Thousands of
67 | Warwick Academy
years of spells rarely mix well together, and often
create strange and unpredictable phenomena. Some
see this as one of the school’s features rather than a
flaw. Students of Warwick Academy leave knowing
how to handle cases of aberrant magic.
One of the features that makes Warwick Academy

so prestigious is its extensive library. Because of the
knowledge stored here, many rival academics and
other wizards who wish to use knowledge for their
own gain attempt to sneak into the school to steal
knowledge and power.
The Faculty
Professor Longfellow - Alchemy
Professor Longfellow has been teaching at the
Academy for the past 48 years, and he’s seen it all.
Lacking all interest in his job, students are able to
get away with anything in his class. He teaches the
brewing of potions and other alchemicals, and has
been known to completely ignore students that nab
a few ingredients for their own personal studies.
Longfellow would have been fired long ago were it

not for the fact that he is the greatest potion brewer
the academy has ever seen. He’s created a great deal
of the recipes used in modern potion brewing today.
Warwick Academy | 68
Sandra - Necromancy
Sandra is a brand new teacher at Warwick Academy.
She’s incredibly excited to be here, and insists that
all her students call her by her first name. She
teaches necromancy classes, which is a big surprise
to everyone given her excitable personality.
She can often be found chatting with dead relatives

and keeping them up to date on all the latest gossip.
To those this doesn’t deeply creep out, she’s willing
to chat with about anything and often councils
students about the tough things they’re going
through.
Professor Locke - Conjuration
Professor Locke is one of the meaner professors at
the academy. He is not above calling out students
who he believes aren’t understanding the material,
and is hated universally by the students of the
academy.
His classroom is incredibly cluttered from all of the

various items and creatures he’s conjured into being.
The contents of his classroom vary from day to day
and are often distracting for the students. Many
believe this is intentionally done to bother his
students, though he is rather disorganized in his
personal life and may just be bad at cleaning
up after himself.
Professor Wright - Rituals

Professor Wright is one of the more practical
teachers at the academy. He focuses heavily on the
kind of rituals that make lives easier for students
and society at large. His class is one of the more
demanding at the academy, and he expects his
students to do a lot of work on their own time.
He is especially fond of students that show the

dedication to try and meet his expectations, and
often holds tutoring sessions early every morning
where students can show up and ask him whatever
questions they have about the intricacies of rituals.
These sessions often focus on the kinds of rituals not
taught in his class, and vary a lot depending on the
group of students that shows up each morning.
Professor Spicer - Enchantments

Professor Spicer is a strict follower of the rules and
believes in dedication to your craft above all else.
He is arrogant, and often short with students and
members of the faculty that refuse to uphold the
long list of various rules for the academy. He has a
particular distaste for Professor Longfellow and his
laid back demeanor. He can’t understand how
someone so involved in their craft could be so
negligent.
He teaches enchantments, likely because it is the

easiest discipline of magic to abuse, and he wants to
ensure that the students are given a proper and
thorough set of guidelines for the appropriate use of
influencing the minds of others.
Professor Jones - Divination

Professor Jones has a bit of a reputation as a
troublemaker at the academy. She often uses her
knack for peering into the future to predict the right
time and place to cause the most amount of
mayhem. Most of the faculty take her antics in
stride, treating her as one would a natural disaster
rather than a person.
Students who attempt to get Professor Jones in on a

prank will find her all too ready to agree to help,
but will inevitably find themselves the target of
their own prank through her clever manipulation.
Professor Santos - Transfiguration

Professor Santos is a self taught wizard, one of the
rare exceptions at the academy. Growing up, they
weren’t aware of the opportunities provided to those
with magical talent, and took to experimenting in
their free time. They took a particular liking to
experimenting on themselves, trying out different
changes to their looks for fun.
Professor Santos is excited to teach at the academy,

despite having not grown up in an academic setting.
Despite this, their cheerful attitude, unique
perspective, and unconventional teaching style
makes them one of the most liked teachers at the
school.
Professor Khun - Practical Magic
Professor Khun enjoys competition above all else.
As a practical magic teacher, she is responsible for
teaching her students the basic magics that can
affect the world around them in a variety of ways.
Her favorite way to do this is with a series of games
and sports that put her students’ problem solving
skills to the test.
She herself used to be part of a competitive magical

dueling team, and is a legend outside of her
academic life. She secretly sponsors several
unsanctioned events that the students put on. These
events are usually over the top, and are infamous for
not having well defined boundaries.
Dominic - Assistant Librarian

Dominic is another student and the assistant
librarian. He knows how to navigate the Library
better than anybody else, and is constantly having
to find lost students and bring them out. He is often
annoyed at the other students who go deeper than
they’re ready for, and gives each of them a stern
talking to after he rescues them.
Dominic wants to be a famous explorer when he
leaves the academy, and spends his time exploring
ancient ruins for clues about forgotten magic and
rediscovering the way the people of the past used
their abilities.
Stick - Dragonhand
Stick is the dragonhand in charge of running the
dragon stables and keeping them safe. He’s not
technically a professor, though many of the faculty
look to him for his expertise in handling various
magical and dangerous creatures.
Stick is easy going, except when it comes to safety.

He insists that proper protection be worn at all
times before you even approach the dragon stables.
He’s very prone to going off on long lectures about
previous students who have had terrible accidents
caused by not wearing the proper protection while
milking a dragon.
Locations
The Labyrinthine Library
The library at Warwick Academy is a labyrinth of
bookshelves organized with the fundamental
materials at the front, and more complex works
deep within the maze. Many students go missing in
the library and have to be rescued by Dominic.
The library became a maze after a spell meant to

automatically organize the books by topic and
complexity went awry. The spell worked, and all
books dropped on the library floor instantly move to
the correct section. However, it warped the shelves
into something almost impossible to navigate.
Occasionally, as more books are added, the library

opens up new secret rooms and passageways to fit
the new information.
The Silent Courtyard

Despite the name, the silent courtyard is quite the
opposite. This is a gathering place where all
students come to hang out and enjoy the outdoors.
For whatever reason, no magic functions in the
silent courtyard, a fact that many students take
advantage of from time to time.
In the center of the courtyard is an enormous tree
that students often climb and wander around. Over
the years, dozens of bridges, ladders, and walkways
have been set up to help students get about from
limb to limb.
Treehearth
Just outside of the school grounds is an enormous
tree that was rumored to be planted over the grave
of a particularly old dragon. The tree slowly alters
it’s appearance throughout the year. It might
appear as a pine tree in the winter or an apple tree
in summer, but constantly shifts to fit the seasons.
At the base is a sturdy metal door that opens into

the tree. The magic of the tree is strange, causing
the inside to be much larger than the outside.
Inside, the tree is a series of rooms the students use
as a place to hang out and enjoy each others’
company. As the tree shifts throughout the year, so
do the rooms.
The tree has been a part of the school’s history for

ages as a refuge from the worries of a rigorous
academic life. As such, the most recent headmaster
has strictly forbidden any teachers to enter. It is a
safe place where students can blow off steam away
from the gaze of their teachers.
The Dragon Stables
Like all good institutions in this day and age,
Warwick Academy has its own dragon stables. It’s
incredibly dangerous to sneak into the stables
unsupervised, yet it remains a popular place to
students who are seeking to prove how brave they
are by attempting to milk a dragon.
Dragon’s milk, despite the terrible odor, is one of

the most useful ingredients, used in a large variety
of potions and various rituals. Because of this,
students are only allowed to go to the dragon
stables under the supervision of Stick, the
dragonhand.
The Spirit Gate

Deep in the basement of Warwick
Academy lies a gate that
allows the living and
dead to pass into
eachother’s realms. Many rumors insist that this
gate was the reason the school was built in this
location, but it’s hard to separate the truth from
the rumors.
Access to the gate is strictly prohibited. The realm

of spirits is a mirror of ours, but with everything on
the other end appearing faint and ghostly. In fact,
the main way ghosts get into the school is through
this gate. Warwick Academy’s many many wards
keep most ghosts away from the school, but those
who die while at the school can find this gate and
return to haunt the school and interact with the
students and faculty.
School Life
Final Exams
Every year, students are expected to complete a
rigorous test to evaluate their progress. The exact
nature of the exams is entirely a secret, and many
are confused at how the school and faculty are able
to maintain secrecy year to year. There are rumors
that a few exceptionally talented students have been
able to discover what these exams are going to
cover, but the faculty determined that their
ingenuity was proof of their skill.
One thing is known about the exams, however. Each
one is individual to a student or select groups that
work well together, and are designed to seem
impossible. While this is hidden from the students,
some of these exams are in fact impossible and
merely a test of what the students will try when
there is no obvious solution.
The Great Hunt Society

One of the most secretive groups at the school is
The Great Hunt Society. They are a secret club that
only lets in a few members each year. Notorious for
their wild antics, they are the envy or consternation
of much of the school.
Every year, the society holds a hunt to see who can

find the five oldest books in the library that weren’t
found by any current members of the society. This
event is completely unsanctioned, though there are
rumors that Professor Khun founded the society
when she attended Warwick, and still helps the
students set up the events.
While most of the society is dedicated to harmless
pranks, they tend to mess with those students who
feel they are above others. The group maintains that
they are about pursuing fun, which means that
doing anything to students who often find
themselves picked on is explicitly against everything
the society stands for.
Moonlit Dance
Once each year, the school holds an elaborate dance
for its students to attend. This dance is something
many look forward to all year, because it takes place
during the annual gathering of magical spirits at the
school. Nobody really understands why they come,
but certain things in nature function completely
different during this time.
As the spirits play and dance through the forest, the

lake becomes solid, the trees spring to life, and
moonlight falls like sparkling dust down from the
sky. The occasion has been celebrated for hundreds
of years. It was once simply an opportunity to invite
others to a romantic evening of fascinating and
strange magic. Over time, it eventually evolved into
a formal event held by the school, and has remained
a tradition ever since.
The Crafters’ Bazaar
Each month, a set of the school’s best and brightest
students sets up an impromptu bazaar of magically
enchanted items they have made. In previous years,
the school had tried to keep this from happening
due to potentially dangerous items being made, but
in recent years has taken the approach to regulate it
instead.
The crafters all try to outdo each other each year,

showing off the wackiest and strangest magic items
they were able to create. They often save their most
ambitious inventions to display just before final
exams each year. It’s a tradition among students
who attend the bazaars to pick up at least one item
during this time, in the hopes that it will bring
them good luck and provide some use during the
exams themselves.
Arcana Academy
Name: Pronouns:
Description:
A role-playing game of magic and mystery
Character Traits
Your Spellbook
Name:
Name:
Type:
Type:
Condition:
Weakness:
Name:
Name:
Type:
Type:
Condition:
Weakness:
Name:
Name:
Type:
Type:
Condition:
Weakness:
Connections
Who do you really dislike? Name:
Name: Type:
Strain: 0 0 0 0 0 0 Compel: 0 Weakness:
Who are you fond of? Name:

Name: Type:
Who do you look up to? Name:

Name: Type:

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Table of Contents

The Game Master 49

Unlike regular story-telling, Arcana Academy uses

One player will take on the role of the Game

The other players will all take on the role of a single

To play the game, you will need a few things. Each

Often, this will mean that you try and imagine

Just like a regular conversation, you also need to

This is also known as active listening. If you’re

In fact, using active listening can help you set up

These moves are divided into the moments that are

10 or more You more or less do what you want

7-9 Things work out, but with some complication.

6 or less Something goes wrong and causes a new

1. Discovering the Mystery

3. Solving the Problem

Whenever you solve a mystery, there are always

Side characters are just the

It’s important to note that there is no right answer

You should also discuss the kinds of characters

It’s also good to know how much the players will be

This may include things that players

The Other Characters

Each player should have a side character as one of

Don’t forget to keep in mind the things your group

Playing Your Character

always get even • doing good is its own reward •

brave to a fault • friendly to everyone • cool and

smooth talker • strong as an ox • I can always spot

when my father hears about this • comprehensive

First, traits should be clear. They should be concise,

Second, traits should be specific. Traits that can be

Conditions are removed by resolving them in the

Conditions can be any adjective, but are always tied

Power spells are all about

Influence spells are all about how you can

Knowledge spells allow you to gain access to

Creation spells allow you to make things that

Mobility spells let you move about freely or gain

Change spells are about altering the form of things

• What is something your spell doesn’t affect?

• What is a situation where your spell won’t work?

• What specific thing must happen to cast this

As you solve mysteries and progress, you will gain

Your connections are one of the areas that defines

You can add another character as a connection at

Who are you fond of?

Who do you look up to?

When the GM compels you to act a certain way

You may spend sway in order to compel that

The GM is allowed to give you sway over someone

No move triggers unless it happens in the fiction first.

How Moves Work

10 or more You do what you want without

7-9 Things work out, but with some complication.

6 or less Something goes wrong and causes a new

Trouble is a natural part of the game, and it’s also

Taking Action is the move for when you’re jumping

This move is often a good choice for when no other

When you roll a 7-9 with this move, the GM can

Lashing Out is the move you use when your

When you trigger this move, you are able to give

If you roll a 7-9, the GM can choose what kind of

• You are only able to ask yes or no questions