Prev   Next   Contents

Advanced Rules

The fog enveloped all the mages. The light from a thousand stars exploded within the circle.

Wooden bells, silver chimes, steel cymbals could be heard. Some of the mages began to bleed from the ears. Others cried out with pain and made as if to clap their hands over their eyes.

Then all disappeared. The fog vanished with them, revealing a late afternoon mountaintop without tree or living beast. All was silent.

- A gathering of power,
Hederick the Theocrat

Sorcery is strange stuff. What's more, sorcerers are strange people. With that in mind, the SAGA magic rules were designed to allow a hero skilled in sorcery to do almost anything he wanted within the schools he knew. Given enough time, practice, and spell points, a sorcerer can use the basic magic rules to accomplish almost any effect he can imagine. But the nature of magical researchers (like all scientists) urges them to push beyond the constraints that nature has set up for them, even when those boundaries are so wide that they have yet to be fully measured.

This chapter answers some of the questions most likely asked by players with sorcerer heroes and offers optional rules to enhance and expand the basic magic system.

Narrators and players alike should remember, however, that all the material presented in this chapter is optional. If they do not think it adds to the fun of their DRAGONLANCE: FIFTH AGE campaign, or if they have invented their own "house rules" to cover these topics, Narrators are under no obligation to use it. They should feel free to modify these rules or cobble them together with ideas of their own; these concepts are meant to be as adaptable as the basic rules. The most important thing in any DRAGONLANCE game is that everyone playing enjoys himself.

Levels of Training

One of the most underused facets of the SAGA rules is the ability code. Of course, a Reason code of "B" or higher is required to play a sorcerer hero, but what - other than the number of schools of sorcery he can learn - is the difference between a hero with a code of "A" and one with a "B?" In terms of sorcerous comprehension, is there any real difference among the lower codes? What exactly is it that a hero with a code of "C" must learn to be able to perform sorcery?

Reason Code "A"

Heroes with Reason codes of "A" have undertaken extensive study of sorcery and understand not only the practical application of magic, but also the theories that explain how and why a spell does (or doesn't) work. This study need not have taken place at a formal school, but it will almost always include some kind of support and advice from an accomplished sorcerer. It is a rare prodigy that can reach Reason code "A" solely on innate ability.

An "A" code allows a sorcerer to learn three separate schools of sorcery, which itself demonstrates the range of his understanding. Another benefit of this comprehensive knowledge is that the hero can speak intelligently on details and theories pertaining to all schools of sorcery, even those to which he has no access. He can always aid a sorcerer researching spells in one of his schools of expertise, but if his Reason score is high enough (6 or higher) he can also help a sorcerer preparing a (pell for a school from which he himself cannot cast (for details on aiding tpell research, see "Effects of Study" on page 60).

It will be clear to anyone listening to this hero that he knows the subject of sorcery well and his opinion, while not always correct, certainly should hold some weight in any debate on sorcerous principles.

Reason Code "B"

A Reason code of "B" indicates that the hero understands sorcery enough to make use of specific sorcerous abilities. He does not, however, have the knowledge or training to be considered a true expert. Perhaps he simply hasn't studied enough yet, or perhaps he has reached his own intellectual saturation point, but his experience is extremely focused and does not generally apply to schools of sorcery other than the one he knows. Many people with codes of "B" will have had no formal training. It is becoming more and more common to find characters and heroes who "dabble in sorcery."

The sorcerer with a "B" code can cast spells from only one school, so his understanding of the nature of sorcery is necessarily limited. He can speak very eloquently about his realm of expertise, but can only appreciate sorcery's full spectrum as it relates to his own abilities. He can aid in sorcerous research, but only in the school he knows (see "Effects of Study").

Sorcerers with Reason codes of "A" can tell that this hero is extremely specialized in his knowledge of sorcery, but to all others he will sound like a fully qualified expert. His opinions seem sensible and will carry weight in his specialized field, but may appear hopelessly naive when applied to sorcery in general.

Reason Code "C"

At this level, a sorcerer does not have the ability to cast spells from any school. He does, however, have a fairly accurate understanding of the underlying principles of sorcery. Perhaps he has spent enough time in the company of sorcerers to pick up the basics, or perhaps he has worked to learn the ways of magic, only to find that he simply didn't have the aptitude or the time to master it. In any case, a hero with a Reason code of "C" can "talk a good game," but has only a pedestrian familiarity with sorcery.

Despite their inability to cast spells, persons with a "C" code in Reason can be useful to sorcerers doing research or looking for assistants for a group casting action (see "Group Castings" on page 67). Because they understand the jargon and basic principles of sorcery, Reason code "C" heroes can do book research or take useful notes for a sorcerer preparing a new spell (see "Effects of Study"). Furthermore, in situations where a sorcerer is drawing power from a group of nonspellcasters, heroes and characters with "C" codes are more useful than less knowledgeable folk.

While these heroes cannot speak eloquently about any specific facet of sorcery, they have a complete enough background to discuss the general principles of the art nearly as well as Reason code "B" sorcerers. What's more, if they listen carefully to a group of sorcerers debating a particular problem or theory for an hour or more, heroes with codes of "C" may attempt one daunting Reason action to make a single, insightful contribution to the discussion.

Reason Code "D"

Heroes with Reason codes of "D" have had first-hand experience with sorcery, either being affected by it or simply watching it in action, but they have no practical understanding of the art or the energies which fuel it. They quite probably have met sorcerers from time to time, and can usually tell the difference between sorcery and well done sleight-of-hand. Anyone growing up in a large town or small city will probably have at least this rating. Sorcery will not be part of their daily lives, but they will see it as a common enough thing, to use if situations get desperate enough and if one can locate a reasonably priced spell broker.

Heroes at this level are of practically no use to sorcerers engaged in research. They cannot be entrusted with even the simplest academic tasks, but may do purely physical labor if given specific instructions. Code "D" heroes understand the necessity of precision in magical processes, but being anything less than crystal clear when describing a task likely will result in a misunderstanding and quite possibly the destruction of valuable materials. They are of slightly more value to a sorcerer performing a group casting action, but only barely.

A discussion of sorcerous principles is so far above heroes with this Reason code that it may as well be in a foreign language. Not only do they have nothing of any value to contribute, they are likely either to voice so many basic questions that the sorcerers ask them to stop interrupting or to become so lost that they simply walk away from the conversation.

Reason Code "X"

A Reason code of "X" indicates that a hero is completely uninformed about sorcery. There is no doubt that he has heard of things like spellcasting, but he has never actually seen evidence of sorcery. He may have strange or even superstitious beliefs about the nature and source of sorcery, and may become unnerved when spells are cast in his presence (although it is equally likely that he will be fascinated by magic and constantly ask to see more).

These heroes are of absolutely no use to researchers. Their complete lack of comprehension of sorcery makes them incapable of doing anything (even manual labor) without supervision. They do not understand that certain things must be done certain ways to successfully cast a particular spell. They are of even less value to a group casting action than code "D" heroes and may even prove disruptive to the effort.

Debates of sorcerous principles sound like gibberish to anyone with a Reason code "X." They may find the perceived double-talk amusing, however, and occasionally enjoy listening to sorcerers babble nonsense at one another, although rarely for long periods of time.

Wild Talent

Among this section of optional rules, there is one (considered particularly optional) which allows some heroes and characters with a Reason code of "X" to have a wild talent. Narrators are advised to read this section carefully before ruling on whether or not to use it in their campaigns.

In hero creation, playing the 8, 9, or 10 card for a hero's Reason score, thus giving him an ability rating of 8X, 9X, or 10X, also entitles the hero to some kind of sorcerous wild talent. Somehow, this hero has a natural affinity to sorcerous energy and can subconsciously tap into it. At times of great danger or stress he may, without even knowing it, use a minor sorcerous effect to distract or eliminate whatever threatens him. The hero himself, however, has no control over this ability.

This last point cannot be stressed enough. Wild talents are tools for the Narrator to use to advance the plot, not for players to use as extra powers for their heroes. There will be no telling if and when a wild talent will manifest. Likewise, there will be no predicting exactly what effect will be produced. Perhaps a nearby item (or even one associated the threatening presence) will spontaneously combust, a sudden insight will fill the hero's mind showing him his foe's weakness, or an unseen patch of ice will cause the hero to slip and fall, causing a killing blow to pass harmlessly overhead. Pride and style have no bearing on the effects of a wild talent; it will work in the most expedient way possible, panache be damned.

The theory is that a hero with a high Reason score and an "X" code has innate sorcerous ability, but is so artless that he cannot conceive of a way to use this knack. It is only when he is otherwise helpless that his subconscious mind uses sorcery in its Most rudimentary form to protect the body. The manifestation will always be from the same school of sorcery (to be determined by the Narrator and player at the time the hero is created). However, it is relatively rare to find wild talents in the schools of enchantment, summoning, and transmutation.

The exact effect caused by a wild talent may change from instance to instance, but it will always be beyond the hero's (and therefore the player's) control. Players do not play cards for wild talent actions. Instead, they make a random draw from the Fate Deck to determine the general effect of the wild talent: good (white aura), bad (black aura), or indecisive (red aura). The Narrator then simply describes whatever specific manifestation occurs.

Alternatively, a wild talent may give a hero an automatic trump bonus in particular situations (any action involving normal fire for a pyromantic wild talent, for example). Wild talents are plot devices and should be used as such. If a manifestation would interfere with the story, then it should not occur.

Difficulty vs. Cost

In the basic magic rules offered in the Book of the Fifth Age, all sorcerous spells have a spell point cost equal to their difficulty. It seems reasonable to assume, though, that casting even a simple spell may be made more difficult by a particularly disruptive situation (much like conditional modifiers can apply to combat actions, as described in Heroes of Steel). The distractions and increased stress would not in any way affect the energy cost of casting the desired spell, only the sorcerer's probability of performing the casting incorrectly. To simulate this effect, the Narrator may choose to increase the difficulty of any spell cast under trying circumstances.

In such cases, the charts provided in Chapter Five of the Book of the Fifth Age (and on the FIFTH AGE reference card) determine the spell point cost and base difficulty of a spell action. The spell point cost for a specific effect will never increase and, in most situations, the total difficulty will equal the base difficulty. However, the Narrator may assess a penalty to the base difficulty whenever he deems that the circumstances surrounding the sorcerer make it hard for him to concentrate properly or might otherwise interfere with his spellcasting.

Penalties should be assessed based on how disruptive the distraction is. A raucous noise or sudden jostle might be cause for a 1-point penalty, while casting a spell in the midst of a great battle may result in a 5-point penalty. Trying to keep enough concentration to cast while under the close scrutiny of a dragon overlord could give a hero a 10-point penalty. Each Narrator is free to assign his own values to different individual disruptions, but he should take care to maintain a sense of proportion between the seriousness of the situation and the penalty it creates.

Example: Palin Majere knows a spell which will cause a ball of flame to engulf someone within the immediate area, causing 10 damage points (base difficulty/spell point cost = 14). In the classroom, the spell's required action score would be 14. However, if Palin were ambushed by a draconian minion of Malystryx, the difficulty number might become 17 (assuming a 3-point penalty for surprise and ferocity). Trying to cast the same spell in the middle of a battle between a unit of Knights of Solamnia and an equal number of Knights of Takhisis would prove even more difficult, perhaps resulting in a difficulty number of 20 or higher (a 6-point penalty or more for spellcasting in the midst of a major battle).

Effects of Study

With the advent of sorcery, a magical art that relies upon the caster's understanding of and sensitivity to forces present in all things (as opposed to High Sorcery, which depended on memorizing incantations and performing ceremonial gestures), it would seem that the advantage to be gained through extensive study has been lost. This is not, however, precisely true. While success as a sorcerer depends more upon a holistic understanding of the forces of creation than spell-specific rituals, it still takes a considerable amount of study and practice to create a specific sorcerous effect repeatedly, particularly under adverse conditions such as combat.

Study does not necessarily mean attending a school or formal lesson. It indicates giving considered thought, researching similar efforts by other sor- cerers, and making useful preparations before attempting spells that have not yet been mastered. For the purpose of the game, any spell effect that is, in the Narrator's opinion, commonly used by the hero (or most sorcerers trained in the school of sorcery involved) may be considered "mastered." For example, all students of pyromancy will have mastered spells which cause fire to appear and inflict damage upon everyone in a general area (whether the fire takes the form of a ball, cone, or simply spontaneous combustion is immaterial).

Any spell action the Narrator rules particularly difficult, original, or complicated is considered an "innovative spell," subject to special restrictions and penalties.

Innovative Spells

Spouting sorcerous theory and postulating about the required energy and potential effects of a new spell are one thing; actually casting it and achieving the desired results is quite another. No matter how well a sorcerer understands his art, things never translate exactly as expected when taking a spell from theory to practice. For this reason, the first success with a spell is more difficult to achieve than any other. Once a hero has actually produced the effect, repeating it is significantly easier.

One thing that makes attempting new spells easier is abundant preparation. A hero who reads a sorcerer's notes (or better yet, talks to him personally) about similar spells he has attempted will increase his chance of success at an innovative spell of similar design. Any difficult spell can be made easier by breaking it up into smaller component spells and practicing these before attempting the grand whole spell. Finally, assistants or co-casters not only make it easier to do more research in less time, but can also reduce the base difficulty of a spell (see "Group Castings" on page 67).

Attempting any innovative spell assesses a -5 penalty to the caster's action score for this action. In other words, a sorcerer with a Reason score of 6 who plays a 7 card for his action would not generate an action score of 13 as expected (6+7= 13). Rather, he would generate an action score of 8 (13-5=8).

This penalty may be offset through study, research, and other types of preparation. These include:

- Library research: A sorcerer can gain a +1 bonus to his action score for spending one full week researching books, scrolls, diaries, and first-hand accounts of previous attempts to cast spells similar to the one he is planning. A maximum of a +4 point bonus may be gained in this manner.

- Personal advice: if the sorcerer spends one full day discussing his plan with a character who has succeeded at a similar spell, or two full days discussing it with a sorcerer who knows the school the spell falls under, he gains a +1 bonus to his action score. A maximum of a +2 point bonus may be gained this way.

- Skilled assistants: Fellow sorcerers can be of invaluable assistance in preparing for an innovative spell action. Each assistant with a Reason code of "A"and an understanding of the appropriate school of sorcery adds a +2 bonus to the action score for the spell action, and each assistant with a Reason code of"B" adds a +1 bonus (to spells of his own school). A maximum of +4 bonus points may be gained this way; although a sorcerer may have as many assistants as he likes, as the old saying goes, "Too many cooks spoils the spiced potatoes".

- Unskilled assistants: While those unskilled in the art of sorcery can be of some help, their impact is undercut by the fact that the caster must constantly review their work to be sure that errors do not creep in. A +1 point bonus can be gained for two assistants with Reason codes of "C" or for four assistants with Reason codes of "D." A maximum of a +2 point bonus may be gained this way. Characters with Reason codes of "X" can offer no help and, in fact, assess a -1 penalty to the action if they are not prevented from "helping out as best they can."

Of course, not all of these aids may be available in a given situation. In order to do library research, the sorcerer must have access to a collection with information pertinent to his subject. In order to get personal advice, he has to find skilled spellcasters willing to spend long periods of time speaking with him. The availability of resources is up to the Narrator's best judgment.

Extended Invocations

Another forrn of study which may affect spellcasting is purposely long invocation times. The difficulty modifier for invocation time can never be lower than 1 point, as described in the basic magic rules. However, once all the possible preparations have been made, a hero can increase the likelihood of success of many spells by stretching the invocation over a significantly longer period of time. These lengthy castings consist of preparing the thirty-minute version of the spell to the very verge of completion, but returning to the beginning rather than actually releasing the magical energy. The theory is that each time he repeats the spell, the caster makes slight improvements on his frame of mind and concentration, thus making the final spell as dose to perfect as possible.

Below are the suggested effects for extended invocation times. Narrators are, of course, free to amend them as they see fit.

- Four-hour invocation: The cost of the casting action is reduced by 4 spell points. This reflects the conservation of energy made possible by such a concentrated effort.

- Eight-hour invocation: As above, plus the player plays a card from his hand for the action normally, then flips the top card of the Fate Deck. He may choose either of the two to generate his action score and discard the other.

- Twelve-hour invocation: As above, plus the action automatically gets a trump bonus, regardless of the suit of the card played.

- Mishap: If the sorcerer completes an extended invocation but incurs a mishap, he must spend double the normal number of spell points he would have spent had the spell succeeded. If he hasn't enough points remaining to pay the increased cost, he loses all his remaining sorcery points and may not recover any for a number of hours equal to the difference between what he had to pay and what he actually paid. For example, a sorcerer gets a mishap while trying to cast a spell that costs 14 points. He has only 16 points left, so he may not recover any spell points for twelve hours (14 doubled is 28, minus 16 available points leaves 12). Furthermore, regardless of whether he could pay the additional cost, he falls unconscious and does not wake for ten hours less one hour per point of his Endurance score.

Long-Term Durations

The basic rules for sorcery in the DRAGONLANCE: FIFTH AGE boxed set cover practically every spellcasting situation likely to come up during an adventure. Just about any spell effect that a sorcerer can conceive of can be created. However, because of the boundaries built into the spell point charts, every spell must have a pre-set duration; it is not possible to create spells that last indefinitely. While many sorcerers may yearn for the days when they could cast permanent spells, this is just one of the changes they have had to get used to in working with this new sorcery. Still, there is one school of sorcery which fairly cries out for the possibility of permanent magical effects: enchantment.

Many magical items and potions and most scrolls lost their powers with the withdrawal of the gods. It seems only natural that, to recreate all the magical items that had lost their power, newly trained sorcerers would try to cast permanent enchantments as some of their first effects. Alas, it was not that easy. The secret of permanent enchantments has eluded even this age's most prominent magical researchers.

Still, some progress has been made. Sorcerers can now cast spells that last longer than once thought possible. Some groups of enchanters have reported successfully casting spells that lasted a month, six months, a year, or more. Some have even cast spells which to this date have not dissipated; it is not certain if these spells are actually permanent, but they certainly seem to be. The method has not been perfected yet, and these sorcerers still cannot guarantee that any individual spell will last any longer than an hour (the longest time guaranteed on the spell duration chart). They are teaching their methods to others, however, so the availability of long-term (and even permanently) enchanted items is slowly increasing.

Casting Long-Term Duration Spells

So far, the only school capable of producing long-term durations is the school of enchantment. In order even to attempt an extended duration spell, a sorcerer must be an enchanter. However, this is not the only requirement. If the spell being cast is anything more complex than a simple bonus to attack or defense rating, the caster also must be (killed in the school of sorcery most closely related to the desired effect. (For instance, if the spell attempts to make a crystal give off a radiant light, the sorcerer must be skilled in enchantment and spectramancy.) This is required for all sorcerers involved in the casting (see "Group Castings") and works the same way as any other enchantment, (described in Chapter Two).

In order to cast a spell with a long-term duration, the player must declare this as his hero's intent before the sorcerer attempts the casting. He must tell the Narrator that the spell is intended to be of longer duration than usual and decide exactly how many spell points his sorcerer will spend in the effort before he plays any cards for the action. This number should be as close to his estimated action score as possible, for if he doesn't assign enough spell points to the action, a high action score will not have enough energy to work to its full capacity (see below). If the spell succeeds at all, the sorcerer must spend the full number of spell points regardless of the actual duration.

The minimum action score of a long-term duration spell is determined by adding two numbers together:

Base difficulty + Difficulty modifier = Minimum action score

Base Difficulty

The base difficulty for a long-term duration spell is equal to the difficulty of the spell when cast at a duration of one hour. If the action score generated exceeds this level, the spell succeeds. If this action score does not exceed the minimum action score (or the minimum spell point cost is not paid), the spell lasts for only one hour and then dissipates.

Difficulty Modifier

The difficulty modifier represents the work involved in achieving the longer duration of a spell. Simpler spells will be easier to infuse with extended life, while more complicated ones will be much harder to prolong. The Narrator must determine the relative degree of difficulty (average, challenging, etc.) of the spell being attempted on the action difficulty chart (Book of the Fifth Age, page 47). The corresponding difficulty rating becomes the difficulty modifier for the spell.

For example, a spell which the Narrator decides is easy would have difficulty modifier of +4; one which seems daunting would have a +16 difficulty modifier. For spells the Narrator deems impossible, 24 points is merely the minimum difficulty modifier; Narrators are free to assess as high a difficulty modifier as they consider appropriate. Therefore, it is entirely possible to have a long-term duration spell whose minimum action score would be nearly impossible to achieve.

Minimum Action Score

An action card is played normally to generate an action score. If this action score exceeds the minimum action score (after applying the difficulty modifier) and the spell points spent cover the full cost of such an action, the hero has achieved a long-term duration.

While a sorcerer will surely know whether or not he has succeeded at a long-term duration spell, he will not know exactly how long the spell will last. The result of the "Determining Duration" section at right is for the Narrator alone to know. However, casting spells which break the usual boundaries of sorcery is not something to undertake lightly. The heavy toll for creating such powerful spells is described in "The Price of Success" (next page).

A Sample Spell

Mistress Jenna (Re 9A) wishes to imbue her staff with the permanent ability to shine with a magical light so she no longer needs the use of a lantern. She knows both the necessary schools of sorcery: enchantment and spectramancy. Her player has a 9 card to play for the action and so announces that she will spend 30 sorcery points, hoping for a high trump card. The spell's base difficulty is determined to be 13, and the Narrator decides the spell is an easy one, as Jenna has cast it many times before for shorter durations. The minimum action score is set at 17 (13 + 4).

Jenna's player plays her 9 card and flips the top card of the Fate Deck, revealing the 5. Since this is also a trump card, the next card, the 8, is also added in. This makes the action score 31 (9+9+5+8= 31), while the spell points spent total 30, both significantly higher than the minimum action score. The spell succeeds and will have a long-term duration, but Jenna does not know exactly how long.

Determining Duration

Once a long-term duration spell has been successfully cast, the Narrator must determine its actual duration. The sorcerer who cast the spell will rarely have anything other than a broad idea of how well he accomplished his work. (If he presses for information, Narrators should feel free to tell a player that his enchantment will last for such periods of time as "less than a month," "more than a year," or "you have no idea.")

The length of a long-term duration spell is determined by subtracting the minimum action score (generated above) from the energy put into the casting:

Spell strength - Minimum action score = Duration score

Spell Strength

The amount of energy and effort put into a casting determines its spell strength. This figure equals the action score generated for the spell or the total number of spell points spent (decided before the action score was generated), whichever is lower. Therefore, a high action score is useless if the player allocated too few sorcery points, and many points must be spent and wasted if the action score is not high enough.

Duration Score

The chart below will help the Narrator determine the exact length of a successful long-term duration spell. Although this chart provides some exact figures, interpretation is encouraged. The only hard-and-fast rules should be that a duration score of 1 results in a minimum length of one day, and no spell is ever truly permanent unless it has a duration score of at least 100. Other than this. Narrators are free to assign durations according to the needs of their campaigns.

Duration Score
   Length of Spell
1
   1 day
5
   1 week
10
   1 month
20
   1 year
50
   100 years
75
   1000 years
100
   Permanent

Jenna's Spell Result

In the example on the previous page, Jenna succeeded in casting a long-term duration spell. The spell strength was 30, the number of spell points she allocated before casting (it could have been 31, the action score, if she had allotted more spell points to the effort). With a minimum action score of 17, this makes her duration score 13 (30-17=13).

According to the chart, this score puts the length of the spell at somewhere between a month and a year. The Narrator may decide exactly how long to let the effect last, can remark that the light slowly begins to fade after a month or so has passed, or may simply wait until an appropriate point in the campaign storyline to declare that the staff no longer has any magical energy.

The Price of Success

Successfully casting a long-term duration spell means that the sorcerer has imbued an enchanted item with a bit of himself. He has not merely manipulated the sorcerous energy within and surrounding the item, he has used his own energy to insure the continuation of the spell effect. This act, forcing primal forces of magic to go against their nature, has a high cost attached to it.

Every time a sorcerer successfully casts a long-term duration spell, he permanently loses a portion of his magical power. The energy used to make a mundane item magical is actually transferred from the sorcerer into the item itself. As a result, the sorcerer permanently lowers his maximum available sorcery points by a number equal to the base difficulty of the spell. These spell points do not regenerate with time, and the sorcerer can never regain them. Improving his Reason score will raise his available spell points normally, but the penalty must be applied to his new spell point total.

In the example above, Jenna would permanently lose 13 sorcery points, dropping her total (if this was her first successful long-term casting) from 81 to 68 points. If she ever managed to raise her Reason score to 10, her available spell points would be 87 instead of 100.

Furthermore, after a hero has lost more than one-third of his sorcery point total this way, the Narrator is free to assign an additional story-based penalty, if one is appropriate. For example, if the hero has lost many spell points casting long-term pyromancy spells, the Narrator may rule that his ability to cast spells from that school has been impaired; from now on, all pyromancy spells he casts will carry a -3 action penalty.

The Fine Points of Permanence

Making permanent objects may seem particularly difficult; it is intended to be so. Sorcery is about the manipulation of energies within objects, not about changing their very nature.

Those who have experimented with long-term duration spells have found them much easier to cast successfully in a team effort. A group of sorcerers who all know the same two or three schools of magic can generate action scores well above what even the luckiest single sorcerer could manage (see "Group Castings"). However, every sorcerer involved with the casting of the spell suffers the same consequences. So, while success is more easily achieved, the mages burn out their magical abilities in a shorter period of time.

It might seem that the heavy price of making lasting magic would bring an end to attempts to create enchanted scrolls and potions. However, these sorts of items operate under slightly different rules than do most extended duration spells and are usually more economical to make than permanently enchanted items (see "Special Magical Items" on page 70). In the end, this line of research may lead to an easier way to create permanent enchantments, but so far no progress has been made toward that end.

Using Enchanted Items

One of the benefits of the long-term duration spell is that the spell effects imprinted on an item are reusable without the expenditure of spell points. Items with simple enchantments are active every time the weapon is used (and work as described on page 88 of the Book of the Fifth Age). For more complex enchantments (generally ones involving spell effects from schools other than enchantment), however, a spell point cost is attached to each use of the power.

If an item is one which, in the days of High Sorcery, would have been created with a specific number of "charges" before the item is exhausted - such as wands of fireballs, lightning bolts, and other particularly powerful effects - then a specific number of spell points must be spent each time a "charge" is used. As a rule, this cost equals to the minimum action score of the initial enchantment. These spell points are paid by the item itself.

Enchanted items with charges are activated when a specific action is performed upon or with the item. Examples of these trigger mechanisms include opening a box or book, submerging the item in water, working a mechanical lever, waving the item in a particular pattern, and simply concentrating and willing the item to work. Heroes may have to attempt an easy Reason action to activate the item, as described in Chapter Five of the Book of the Fifth Age, if the Narrator deems it necessary.

Every enchanted item has a reservoir of spell points which is equal to the maximum spell point total its maker had at the time he created the item. In other words, an enchanter with a Reason score of 7 would create enchanted items with a reservoir of 49 spell points available each day. The item will always have 49 spell points available each day, even if the caster later raises his Reason score. Likewise, items regain spell points the same way a sorcerer does, 1 point per hour (refreshing itself completely the next day). If an item has no spell points left in its reservoir (or too few points to hurl a charge), it is exhausted until it has regained at least enough spell points for one charge.

Example: The enchanter described above creates a wand which hurls +20 damage fireballs over a very long range. The initial enchantment had a minimum action score of 17, so every time the wand uses a charge it uses 17 apell points. The wand has 49 spell points, therefore it can only fire two charges before it is exhausted (49 - 17 - 17 = 15). Once the wand has been unused for two hours (and regained two (pell points) it may be used to cast one more charge (15 + 2 = 17). After that, however, it may not be used again for at least seventeen hours or until the next day.

Extraordinary Spell Parameters

Having discussed the possibility of extended invocation times and durations, it seems prudent to say a word about expanding other spell parameters. The charts given for determining spell difficulty were designed with the thought of covering all reasonable possibilities. However, it is clear that from time to time heroes will want to try extraordinary feats of sorcery. What should a Narrator do, for example, if a sorcerer wants to cast a spell that affects an area larger than a house?

The answer is, as always, that he should use his best judgment and improvise. To aid Narrators to that end, though, is the following advice:

- Narrators should assess severe penalties to spell actions which should not work (or bonuses to those which should not fail). They may alter the difficulty number to a point that they consider fitting for the action being attempted, regardless of what the charts say the difficulty should be. As stated in the "Difficulty vs. Cost" section, sometimes a spell is just more difficult to cast than it "ought" to be according to the basic rules.
- Cooperative magic (see "Group Castings") ought to have the possibility of more powerful effects than individual spellcasters might achieve working alone.
- Narrators should never allow the heroes any chance to succeed at blatantly impossible actions. No matter how hard they try, they will never split the world asunder or instantly kill a Great Dragon solely through their own sorcerous powers.
- Absolutely no player may use the letter of the rules to disrupt the story. The premise of the SAGA rules is that the story is the most important thing. No rule or regulation ever has power over the tale being told.

Group Casting

As with most things in life, spellcasting can be done more effectively and more efficiently when a group of heroes works together to achieve a common goal. Cooperation is the one weapon the humanoid races of Ansalon have that even the mighty dragon overlords can neither overpower nor achieve themselves.

There are two ways a sorcerer in the act of casting a spell can make use of a group of willing assistants. First, a number of sorcerers may work together, cooperatively casting a spell. This is called a combined spellcasting action. Alternatively, a single sorcerer may cast a spell while drawing on the power, expertise, and discipline of a group of supporters, who may be of any role, sorcerous or not. This is called a coordinated spellcasting. In both cases the difficulty and opposition ability vary from spell to spell.

Combined Casting
Difficulty: Varies
Action ability: Reason
Opposition ability: -

Comments: When a group of sorcerers works together to cast a spell, the spellcasters greatly increase their chance of success. The difficulty of the spell is figured normally, and the hero with the highest Reason score performs the action. The action score, however, is determined by adding together the Reason scores of all the participating sorcerers. Each sorcerer must be skilled in the school of magic being used and must likewise pay the spell point cost for the action.

Participating in a combined spell action counts as a sorcerer's action for that combat minute (or other period). He may do nothing other than participate in the casting for its full length (therefore, if the invocation time is particularly long, he may lose two or more opportunities to perform his own individual spell actions). During this time he may neither attack a foe nor defend himself from counterattacks (his defense automatically fails and he suffers damage normally). Should a participating sorcerer leave the casting for any reason, or be knocked unconscious, the spell is disrupted and the other sorcerers all suffer the same consequences they would have incurred if the action had resulted in a mishap.

For example, say the Master of the Tower (Re 10) and his two comrades, Jaclyn Cashell (Re 8) and Grevasse (Re 7), work together to cast a spell to divine the outcome of an upcoming battle. Since all three have been trained in the divination school, they may perform a combined spell action together. They add their Reason scores first (10 + 8 + 7 = 25). The Master is the lead sorcerer (his Reason score is higher than is the others'), so his player would play the action card, in this case the 5. Since this card was trump, the player flips the top card of the Fate Deck to reveal a 3 which yields a total action score of 33 (25 + 5 + 3 = 33). All three will, of course, have to pay the full sorcery point cost of the spell, but they have achieved a success level well beyond what is normally considered impossible, proving that when sorcerers as powerful as these three work together, there is very little they cannot accomplish.

Groups performing spells with a difficulty rating of 24 or higher do not automatically gain one quest as an individual sorcerer would after completing a spell considered an impossible action (see Chapter Three of Book of the Fifth Age).

Mishap: Any mishap that occurs during a combined casting affects the entire group (although the Narrator may give the sorcerers the opportunity to protect themselves individually). Suggestions for appropriate mishaps can be found in the "Magical Mishaps" section (page 76). For example, say the sorcerers were trying to divine information from a time too far in the past (scrying on the creation of Krynn, for example) and failed. They might each be asked to succeed at a desperate Reason action or suffer severe memory loss, leaving the possibility that the Master and Jaclyn may escape unscathed while Grevasse is left a temporary amnesiac.

Coordinated Casting
Difficulty: Varies
Action ability: Reason
Opposition ability: -

Comments: In situations where no sorcerers are available (or willing) to join a hero in a combined casting, he can still use an untrained (or mixed) group of volunteers to help him cast his spell. This is a two-step process. First, the spellcaster must coordinate his assistants. Second, he must attempt the spell action.

To coordinate a group of assistants, the sorcerer must succeed at an average Presence action. This represents his ability to communicate what he wants the group to do and when he wants them to do it. Should the coordinating action fail, the sorcerer may not attempt the spell action.

If the coordinating action succeeds, the sorcerer goes on to attempt the spell action. He determines its difficulty normally, but adds one-half the combined Reason scores from his assistants to his action score (rounding fractions down).

The spell points for the action can all come from the spellcaster or from any or all of the assistants. The assistants decide individually how much energy they want to offer to the casting. Nonsorcerers calculate their sorcery points by squaring their Reason scores the same way spell users do; they just cannot access to this energy on their own. If the total of spell points contributed is not enough to pay for the spell, the caster must make up the difference. If there is a surplus of spell points, the caster must still pay at least 1 point per spell he coordinates.

Contributing spell points to a coordinated spell action counts as a hero's action for that combat minute (or other period); he may do nothing other than participate in the casting for its full length (therefore, if the invocation time is particularly long, he may lose two or more opportunities to perform his own actions). During this time, he may neither attack a foe nor defend himself from counterattacks (his defense automatically fails and he suffers damage normally). Should a contributing hero leave the casting to engage in battle or be knocked unconscious, the sorcerer must succeed at a challenging Presence action in order to continue with the casting. If this action succeeds, the spell goes on as before, albeit minus the spell points the missing hero would have contributed (which the sorcerer must now provide); if it fails, the spell is disrupted and everyone still involved suffers the same consequences they would have if the action had resulted in a mishap.

For example, say Palin and Ulin Majere, returning from a quest to rescue Usha from a prison camp, are ambushed by draconians. Palin wants to use his knowledge of summoning to transport the group to safety but, due to the battle at the prison, does not have the sorcery points to pay for the 16-point spell. He and Ulin cannot perform a combined spell action, since Ulin is not schooled in summoning. Palin therefore decides to perform a cooperative casting and asks Ulin and Usha to offer him whatever energy they can. Usha offers 5 spell points worth of energy and Ulin offers 10. Palin uses 1 point of his own depleted resources. The action score is determined by taking Palin's Reason score (10) and adding half the total of the contributors' Reason scores. Usha has a Reason score of 8, as does Ulin (8+8=16+2 = 8). Using this total (10 + 8 = 18), Palin's player lays down an action card and resolves the action normally.

The number of assistants a sorcerer can coordinate is determined by his Presence code:

Presence    Number of Assistants
A Large group (10 people)
B Small group (5 people)
C Couple (2 people)
D Individual (1 person)
X -

Mishap: A mishap in a coordinated spellcasting is directed at the spellcaster only. However, all assistants must pay double the number of spell points they volunteered for the casting and will remain dazed and disoriented for ten minutes less one minute per point of Endurance they have. Suggestions for appropriate mishaps can be found under "Magical Mishaps."

Competitive Spells

Sorcerers may be able to tap into the primordial magic of Krynn, but they are still only human (or elf, or gnome, as the case may be), as likely to disagree and work at cross purposes as any other group of individuals. However, while warriors can get into a tug-o-war over a sword, and rogues can wage a war of pocket picking, sorcerers do not have such an obvious, physical manifestation to their disputes. Two sorcerers skilled in the same school can wrestle over control of a spell effect with no outward sign of the competition except the strained looks on their faces.

Competitive spells occur only when two or more sorcerer heroes share a common school. The competition is actually over control of an existent spell effect - the sorcerers cast separate spells ordering the effect to behave in the manner each desires. This situation cannot arise between a hero sorcerer and an opposing character; in that case the hero's spell is considered simply a resisted action.

When two or more sorcerer heroes engage in this type of competition, each player must announce exactly what his hero is trying to do magically to the spell effect. They all then attempt spellcasting actions, and the hero who succeeds by the most points controls the spell effect for this attack. The effect he sought occurs, and the other heroes must wait until the next attack to attempt to wrest control of the effect from him. All the heroes must pay the full number of sorcery points their attempted spell actions cost, regardless of whether they succeeded.

If one sorcerer is clearly in control of the effect, the Narrator may, if he chooses, give that hero an automatic trump bonus to his next Reason spell action to simulate his pre-existing dominance of the situation.

Special Magical Items

The history and folklore of Krynn is replete with magical scrolls, potions, weapons, and enchanted items of all descriptions. The gods of magic obviously were proud to see their gifts infused into diverse vessels, and allowed the practitioners of High Sorcery to create as many magical items as they could manage during their mortal lives. Almost every group of adventurers in previous eras carried with them at least one or two scrolls or potions-quite often designed to help heal the seriously wounded. Most of these items have become inert or have completely disappeared since the withdrawal of the gods. Until recently it has been impossible to replace them using sorcery. A catalog of magical items which have survived into the Fifth Age has been compiled by Jaclyn Cashell, head librarian of the Tower of High Sorcery in Wayreth. This work describes in detail the workings of all known items of magic and is considered the definitive guide to enchantment under High Sorcery. (This information may be found in the The Last Tower dramatic supplement.)

The discovery of a method for casting spells with long-term, possibly even permanent, durations begs the question of whether or not it is possible to make such items widely available again.

Scrolls

While most magical effects can be created by both High Sorcery and modern sorcery, there are definitely some things that each does better than the other. Today's sorcery is much more versatile than High Sorcery, with its rigid reliance on incantations, material components, and ritualistic gestures. However, the essence of High Sorcery spells could, under the right conditions, be imprinted onto a scroll for use whenever needed. Modern sorcery is about activating magical energy within objects and immediately shaping it to the caster's needs. This is not a process which can be simulated by words on a page.

Scrolls cannot be made to carry the essence of today's sorcerous spells. In other words, despite the efforts of dozens of the Academy of Sorcery's best minds, spell scrolls do not work in the Fifth Age the way they did in previous ages (however, see "Single-Use Items" on the next page).

Potions

Potions are another idea that has carried over from the methods of High Sorcery, but they have fared little better than scrolls in their translation to modern magic. A very few of the old potions do still work, more because of the natural properties of the ingredients than a successful translation of magical methodology. Mostly these potions are poisons or brews which induce sleep or aid healing. In well over ninety percent of the cases, though, recipes for potions from before the withdrawal of the gods do not work in the Fifth Age as they did before the Chaos War, and the alchemical formulae for creating them now produces only inert liquids (however, see "Single-Use Items," below).

Single-Use Items

Other types of magical items have been much easier to reproduce using modern techniques. Originally these remained potent only over the very short term, considering duration limitations. However, with the discovery of a method to cast long-term duration spells, it has once more become possible to enchant items to produce specific magical effects for long periods of time. This process, however, exacts a high price from the caster: He must permanently give up a portion of his sorcerous abilities every time he casts a long-term spell. Fortunately, Academy researchers working to revive the art of scrollmaking discovered a "loop-hole" in the sorcery of long-term duration spells: single-use enchantments.

Single-use enchantments are cast exactly as other long-term duration enchantments are (see page 62), but the item can produce the magical effect only once, and the sorcerer's spell point loss is not permanent. When someone trips the enchanted item's trigger, the spell imbued in the item goes off. The item then becomes mundane once more, and the spell points invested in it return to the sorcerer who cast the enchantment.

Any item that can be affected by sorcery may be turned into a single-use magical item, but enchanters who specialize in this process prefer to use cheap, easily replaceable materials. Oddly enough, the two most popular media among enchanters today are scrolls and potions. There is nothing actually magical about the parchment or liquids involved in these spells-the sorcerous energy is not bound in the parchment and ink, nor is it distilled into the colorful brew. Rather, the enchantments are set to be triggered (or activated) by breaking the seal on the scroll or emptying the vial; it is in no way required that the user actually read the scroll or drink the potion. It is important to realize that modern sorcerers have copied only the form (the scroll or potion) from the era of High Sorcery, not the actual type of magic.

Perhaps the use of scrolls and potions is the enchanters' way of showing respect for the departed gods of magic, using their old vessels as a tribute to the long, honored history of High Sorcery. Or, maybe the forms of the scroll and potion are so deeply ingrained in the tradition of magic users that finding a method to include them in modern sorcery provides a comforting sense of continuity.

Using These Items

Single-use magical items work in practically the same way that other enchanted items do; however, they use a number of trigger mechanisms that cannot be employed with items meant to be used repeatedly. Examples of such trigger mechanisms include breaking the seal on a scroll, emptying a vial of liquid, snapping or tearing the item in half, burning the item, and breaking the item over the target.

The only real difference between wielding reusable and single-use magical items is that one-shot items have no set invocation time. The enchantment is bound to the item in such a way that the user controls how quickly the energy is released. When a hero wants to activate a single-use magical item, he should declare how long the effect will take to manifest. He must then consult the invocation time spell design chart (chart 1 on the FIFTH AGE reference card) and pay the number of sorcery points associated with his chosen invocation time. Generally, a hero will want to use 4 or 5 spell points to gain a one-minute or instant invocation. However, if for some reason he is budgeting his spell points (perhaps to use with another magical item), he may call for longer invocation times, causing a delayed effect while he concentrates on releasing the enchanted item's magical energy.

For the purpose of using magical items, it is assumed that heroes all have a number of sorcery points equal to the square of their Reason scores, just as if they were sorcerers. Normally, the hero cannot access these latent spell points, but the enchantment cast on the item is designed to tap them to power itself.

Magic Batteries

As the basic understanding of sorcery increases, it becomes possible for spellcasters to create more and more powerful spell effects. These strong new spells, however, have proportionally higher difficulties and spell point costs. Several sorcerers working together can generate an action score high enough to succeed at almost any spell. However, gathering enough spell points to actually attempt the spell is a much more difficult problem. Sorcerers have a limited number of spell points available to them, and, even if they do have enough for a mega-spell, they are understandably hesitant to attempt it for fear of exhausting their resources.

Considering the fact that many sorcerers ignore more mundane aspects of their education in order to learn more about their specialty, it is easy to see why they might be averse to committing large portions of their energy to single spells.The solution to the problem of not having enough spell points to cast high-powered spells is, if not solved entirely, lessened by a nearly overlooked ramification of the nature of sorcerous energy.

The spell points that sorcerers use are the manifestation of the spark of god-energy, an inheritance from the divine creation of their races. Every creature that is a creation of the gods carries within him a bit of the divine - a bit of magic. However, this statement is true of all the gods' creations. Every rock, lake, cloud, and fire on Krynn contains a bit of the gods. These natural phenomena might, therefore, be used for the energy they contain.

The spark of the gods' magic can be found in every item and substance on the planet. Every mote of dust in Ansalon can be considered a magic battery, based on the power of the gods at its heart. However, the energy needed to free that magical power is so great that the process leaves a sorcerer nearly drained and yields very little energy in return. In other words, while it is possible to draw spell points out of any pebble, raindrop, or spark, the process is impractical because it costs more spell points than any normal item contains.

Research conducted by Ulin Majere, with the help of the enigmatic Shadow Sorcerer, has revealed one type of item which freely yields a large number of spell points: magical artifacts. Enchanted items from the time before the Second Cataclysm are infused with the power of the gods and can be tapped relatively easily for their energy. Any sorcerer who holds such an artifact may freely drain away its spell points in order to power his spells. However, if more than a quarter of the sorcery points in an item have been drained, its magical abilities do not function until it has been allowed to recover all its lost points. An artifact which has been leeched of energy rejuvenates at a rate of 1 spell point per week. Exactly how many spell points a particular artifact has - and whether they are sorcery or mysticism points - is for the Narrator to decide. However, the following chart may be used as a general guideline:

Type of Artifact   
Spell Points
Item of distinction
10-20
Item of renown
20-40
Item of fame
30-60
Item of glory
50-100
Item of legend
100+

Magical Reservoirs

One other possibility exists for sorcerers desperate for naturally occurring sources of magical energy. For years, visitors to many of the legendary and historic sites of Ansalon have com- mented that these locales have a magical air about them. This is, in fact, more literally true than most visitors would believe. For some reason, places of historical importance-where the fate of the world has been decided, where the gods themselves have stopped to note the actions of mortals - are steeped in magical energy. The very rocks, plants, and air in places like the Tomb of Huma, Life's Spring, the heart of the Blood Sea, and even Dargaard Keep (home of the murderous Lord Soth) fairly crackle with magic. Any sorcerer (or mystic) who casts spells in such places of power may find the spell points he needs simply flowing out of the air.

This source of spell points, however, is not nearly so sure as draining an item of magic. Certain places of legend may serve as magical reservoirs, but they are also very nearly living, breathing beings unto themselves. Each one remains true to its past. A legendary site will supply spell points for those it deems worthy, heroes whose hearts and purposes match those of the site itself. The Tomb of Huma, for instance, proves a nearly limitless source of spell points for those who are pure of heart or are battling the forces of Takhisis. Dargaard Keep, on the other hand, would be a place in which a covetous, scheming spellcaster might find his spell energy bolstered. And, in any case, the spellcaster must use the reservoir's points immediately to cast a spell; they cannot use these spell points to replenish their own pool or "hold onto" them for future castings.

If a site of legend is befouled, if minions of a faction antithetical to its nature take up residence, or if a sorcerer who appears worthy uses the site's spell points for an action that defies the spirit of the legend, the site might not produce any more spell points until such time as righteous heroes reclaim the land and restore it to its "proper" state.

Narrators are left to decide how much, if any, help a particular locale yields as magical reservoir. Sometimes, legends of a site's sorcerous nature are merely rumors spread by overly poetic minstrels or proud locals. Other times, the site may not agree with the heroes' purpose or plan. Use of magical reservoirs is not a right. Only the proper hero in the right place at the right time can tap the magic of a particular spot. And, of course. Narrators should feel free to limit the number of spell points available from a single reservoir to prevent abuse.

Players should note that, although they may reap spell points from casting spells at legendary sites, there are also drawbacks. These sites are generally very public, well known places. Casting an extremely powerful sorcerous spell away from prying eyes will be nearly impossible. And if the heroes do successfully tap the magic of a location, they can be sure that the next time they go there they will find a dozen other sorcerers who have heard tales of the event and seek to claim the power for themselves. Word also will leak back to the hero's enemies, who are likely to set a trap for him when next he visits.

Focuses

A great deal of research has gone into building a personal magic battery, or focus. Unfortunately, no sorcerer has yet managed to create such an item. Most researchers have progressed with the idea that all items on Krynn are low level batteries anyway, so a sorcerer might be able to enchant a rock or small bauble so that he could store several days' worth of spell points in a vessel for use at a later time. As of yet, though, no sorcerer has succeeded in manufacturing an item to serve as a focus. Mystics have suggested that sorcerers should limit themselves strictly to unaltered natural items, but this has not yet worked, either.

Most enchanters seeking to create a focus agree that the amount of energy contained in an object is fixed. In every known case, attempts to store more magical power than the object could normally hold has ruined the item.

Some scholars of the new magic believe that sorcery comes from the result of the gods hammering into shape primordial chaos itself, and suggest that releasing this energy could have catastrophic consequences. It might be dangerous to attempt to unlock and alter the potential power stored in natural materials, for in doing so, the enchanter may unleash more power than he can control.

Magical Mishaps

Sorcery is an art which is very loosely defined. There are no spell lists or other artificial restrictions placed on a sorcerer. Whatever spells he can conceive of, and has the energy to create, are his for the casting. This, however, leaves the Narrator in a bit of a quandary. If he does not know in advance what magical effects a sorcerer will attempt to create, he cannot plan for such contingencies as spell failure or mishap.

This is ultimately a situation which cannot be remedied. The fact of the matter is that the Narrator's job is a difficult one. He will repeatedly be called on to make snap decisions which will determine the heroes' fates and even lives. Fortunately, though, it is possible to give the Narrator a guide to help him make his decisions.

Crime and Punishment

The best rule of thumb to use when deciding the result of a magical mishap is to "make the punishment fit the crime." While mishaps represent bad luck more than they do retribution, the Narrator should weigh the motives of the sorcerer in casting his spell. If he was selfish, greedy, or otherwise ignoble, the Narrator should feel completely justified in ruling harshly, with the mishap causing the hero personal loss, public embarrassment, or even physical danger. If the spell was cast in the name of charity, sympathy, honor, or some other selfless cause, the Narrator may want to temper the mishap somewhat. The heroes should have some kind of bonus for trying to do the right thing in a difficult situation, even if it didn't work.

Follow the Story

The central theme to every good DRAGONLANCE: FIFTH AGE game is the story. That point cannot be stressed enough. Even a mishap, whatever it is, should advance, and hopefully add to, the story. This is a game about heroes, and heroes must overcome hardships. Mishaps are Fate's way of adding the few extra challenges which turn an ordinary adventurer into a legendary hero. If it is possible. Narrators should make the mishap point out the direction the heroes should take (or at least away from any erroneous paths they seem likely to follow). This will let them learn something from this bad situation.

When All Else Fails

Sometimes a mishap will occur when there is simply no way to make it balance the scales of justice or tie it into the story. When all else fails, there are four types of mishaps applicable to just about any spell. Narrators who feel truly stuck for unique, story-based mishaps to throw at the heroes may want to choose an appropriate fate from one of the following categories.

Reversal

A mishap that takes the intended result of a spell and turns it completely around is a reversal. Examples of reversals include a lightning bolt (or other attack) which strikes friends rather than foes, divinations which give enemies an insight into the plans of the heroes, transmutations which completely miss the desired effect (turning a door into mud rather than granite), and enchanting an item with a negative modifier instead of a positive one.

An alternative type of reversal would be one in which the spell takes effect exactly as the sorcerer planned, but the results and repercussions of the spell are opposite to his expectations. For example, if through geomancy he drives off a band of marauders with flying rocks and dirt, the townspeople end up being less than appreciative when they find out that the source of the ammunition was their corn fields. The bandits may be gone, but their crop is now ruined. They may not be able to survive the coming winter thanks to this hero's "help."

Reflection

A mishap that causes a spell effect to happen to the caster rather than his intended target is a reflection. This type of mishap is most commonly seen when an offensive spell (such as a pyromantic attack) damages the sorcerer rather than his target. Creative Narrators, though, can find more subtle applications for reflection mishaps. The new target of the spell does not necessarily have to be the sorcerer himself; instead, it may be his friends or even his possessions.

Embarrassment

Sometimes a hero's most vulnerable spot is his ego. A mishap which does no real damage to anything other than the sorcerer's pride and reputation is simply referred to as an embarrassment. Perhaps the spell causes the hero to wind up standing in a public square soaking wet, covered in mud, or completely disrobed. Maybe his bungling destroys or permanently mars a local landmark. There is no end to the possible embarrassments a creative Narrator can inflict on a hero.

Spell Point Cost

If no other option seems appropriate, the Narrator may always rule that some aspect of the spell went so terribly awry that the casting grew far beyond the hero's control. Not only did the spell fail, but it ballooned and used twice (or more) the number of spell points it should have. The physical result of this might be unspectacular, but the repercussions of doubling the spell point cost may be staggering, particularly for an expensive casting or after the sorcerer has already cast several spells that day. When recovery of spell points is measured in hours, this mishap can be the most feared of all.

Prev   Next   Up