http://w.atwiki.jp/temerairetrpg/ テメレア戦記TRPG/Temeraire: The RPG私家訳wiki ja 2026-04-12T22:57:08+09:00 1776002228 https://w.atwiki.jp/temerairetrpg/pages/14.html #contents() *航空隊(Aerial corp) ドラゴンを戦力として擁する一団。英国においては、まだ空軍として独立していない。 空将、空佐、空尉、空尉候補生などの階級が存在する。 旧訳では空軍。 ***空佐 海軍における海佐(captain)に相当 ***空尉 海軍における海尉(lieutenant)に相当 ***空尉候補生(midwingman) 海軍における海尉候補生(midshipman)に相当 ***英国航空隊司令部 チャタム南東の郊外ドーヴァーから1時間ほどの飛行(1巻上) *ドラゴン 主にドラゴンの品種んついて言及する **ブリテン ***ウィンチェスター種 小型種。紫や茶、灰色などの体色を持つ。 ***アングルウィング種 ***リーガル・コッパー種 英国の大型種、最大で50トンになる。 この国で産み落とされるリーガル・コッパー種の卵は30年に4-5個とされる。 ***イエロー・リーパー種 中型種とされるが、個体差が大きく、小さな個体で10トン、最大の個体で17トン。通常の体重は12トンから17トンの間で推移する。体長は約50フィート(30メートル程度)、翼長約80フィート(約48メートル) 英国で広く普及している種で、丈夫さに定評がある。食事をえり好みせず、極端な寒暖を除いて気温の変化に強く、気性が良いとされる。それ故、ドラゴンの繁殖家はしばしばイエロー・リーパーを掛け合わせ、ブリテン諸島に存在するほぼ全ての血統に、イエロー・リーパーの血が入っている。 本種は斑紋を有する黄色の体色で、わき腹や翼に虎のような白の縞が出現する。北欧のリンドーム種(リンドブルム)とイエロー・リーパーの混血が自然発生的に進んだとされる。アングロサクソン系の流入と不可分。本種は冷涼な気候を好み、スコットランド北東部で多く発見される。 ***マラカイト・リーパー種 イエロー・リーパーの近縁種。暗い黄褐色で淡いグリーンの斑紋を持つ。 ***ロングウィング種 中型種。英国で、酸を吐くことが可能。種特有の習性として、男の担い手を受け付けず、担い手は女性のみ。 >翼がとびきり長く、オレンジ色の翼端からはじまる白と黒のさざ波模様が、徐々にくすんだブルーの地に吸いこまれていく。『テメレア戦記 気高き王家の翼 上巻 5.トレーニングマスター』より引用 ***パルナシアン種 中型種、リーパー種よりも15倍程大きいとされる。 ***グレー・コッパー種 ***パスカルズ・ブルー種 **フランス ***シャンソン・ド・ゲール 大型種。半透明の象牙色の翼に、オレンジ色、黄色、茶色の縞が混じり、大理石模様をしている。 「戦いの歌」の意。 ***フルール・ド・ニュイ ***フラム・ド・グロワール 「栄光の炎」の意。フランスの火吹き竜。 ***プティ・シュヴァリエ *** 2026-04-12T22:57:08+09:00 1776002228 https://w.atwiki.jp/temerairetrpg/pages/1.html *このWikiは？ 2026年2月25日にkick starterが始まったTemeraire: RPGのQuick starterをとりあえず、和訳して情報共有するためのwikiです。 ※3月11日追記:現在、共有する相手がいるか不明な為、和訳作業を一旦中断して、テメレア戦記TRPGの動画を作成しています。 また、管理人がテメレア戦記TRPGを遊びたいので、セッションの募集やクルー(仲間)集めのために、ディスコードのサーバーを用意しました。 ・Discord『テメレア戦記TRPGを遊ぶ会』 https://discord.gg/V9pe3ga2jw Quick start版ルールは無料なので、是非以下からダウンロードして頂きたい。 ・DrivethruRPG https://www.drivethrurpg.com/en/product/554051/temeraire-the-roleplaying-game-quickstart ・Temeraire: the RPGキックスターター https://www.kickstarter.com/projects/magpiegames/temeraire-the-roleplaying-game **テメレア戦記とは？ 2006年に刊行されたナオミ・ノヴィク氏の、ナポレオン戦争期に、もしドラゴンがいたら？ という設定で語られる、歴史改変SFファンタジー小説です。 トラファルガー海戦では、ドラゴンがいたことでネルソン提督が戦死せずに生還したり、中米ではスペインとの戦争が続いており、我々の知る歴史とは異なる流れを歩んでいます。 マスター&コマンダーやホーン・ブロワーに、皇国の守護者を足してナポレオン戦争期を小説にした、とでも言えばわかりやすいかもしれません。 アメリカ本国では『オーブリー&マチュリーン(要するにマスター&コマンダー)』シリーズと『パーンの竜騎士』を合わせた感じで、どちらかといえば竜騎士というよりは、航空隊。つまりは現代風に言えば空軍の話である。 本国では既に完結しておりますが、邦訳版は6巻が出て以降、長い期間刊行されておりませんでしたが、ようやく2026年3月26日に完結することになりました。 https://www.amazon.co.jp/dp/B09P4QMC7D/ #region **@wikiへようこそ -ウィキはみんなで気軽にホームページ編集できるツールです。 -このページは自由に編集することができます。 -メールで送られてきたパスワードを用いてログインすることで、各種変更（サイト名、トップページ、メンバー管理、サイドページ、デザイン、ページ管理、等）することができます **まずはこちらをご覧ください。 -[[@wikiの基本操作>>http://www1.atwiki.jp/guide/pages/11.html]] -[[編集モード・構文一覧表>>http://www1.atwiki.jp/guide/pages/137.html]] -[[@wikiの設定・管理>>http://www1.atwiki.jp/guide/pages/36.html]] **分からないことは？ -[[@wiki ご利用ガイド>>http://atwiki.jp/guide/]] -[[よくある質問>>http://www1.atwiki.jp/guide/pages/21.html]] -[[@wiki更新情報>>http://www1.atwiki.jp/guide/pages/143.html]] -[[@wikiへのお問合せフォーム>>https://atwiki.zendesk.com/hc/ja]] 等をご活用ください **[[アットウィキモードでの編集方法>>http://www1.atwiki.jp/guide/pages/226.html#id_6861418f]] -[[文字入力>>http://www1.atwiki.jp/guide/pages/228.html]] -[[画像入力>>http://www1.atwiki.jp/guide/pages/230.html]] -[[表組み>>http://www1.atwiki.jp/guide/pages/914.html]] **[[ワープロモードでの編集方法>>http://www1.atwiki.jp/guide/pages/226.html#id_a14c0938]] -[[文字入力>>http://www1.atwiki.jp/guide/pages/2644.html]] -[[画像入力>>http://www1.atwiki.jp/guide/pages/2645.html]] -[[表組み>>http://www1.atwiki.jp/guide/pages/2646.html]] **その他にもいろいろな機能満載！！ -[[@wikiプラグイン一覧>>http://www1.atwiki.jp/guide/pages/264.html]] -[[@wikiかんたんプラグイン入力サポート>>http://www1.atwiki.jp/guide/pages/648.html]] **他のWIKIが気になる方はこちら -[[VPVP wiki>>https://w.atwiki.jp/vpvpwiki/]] -[[エルプリ攻略wiki>>https://w.atwiki.jp/erupri/]] -[[ULTIMATE MARVEL VS. CAPCOM 3 @ wiki>>https://w.atwiki.jp/umvsc3/]] -[[プログラミングに関する私的メモ>>https://w.atwiki.jp/gen3/]] -[[REBELLION Z-LIMITED>>https://w.atwiki.jp/z-limited/]] **バグ・不具合を見つけたら？ 要望がある場合は？ お手数ですが、[[お問合せフォーム>>https://atwiki.zendesk.com/hc/ja]]からご連絡ください。 #endregion 2026-04-08T21:23:45+09:00 1775651025 https://w.atwiki.jp/temerairetrpg/pages/15.html *Attlibutes & Skills AttlibutesとSkillsは、別のTRPGで例えれば、Attlibuteは能力値、Skillは技能に相当する。 Attlibuteは0から4の値となり、0であれば、そのAttlibuteには全く適正がないことを意味する。 そのAttlibuteに類する行動を取る際には、資産や有利な状況、仲間、そして、純粋な運に頼ることとなる。 3から4であれば、そのAttlibuteに関する分野では並外れた際を持っていることを意味する。 あなたは天性の才を持ち、達人であり、味方や仲間の助けがなくとも、深刻な妨害に直面したとしても、困難な課題さえも成功させることができるでしょう。 各Attlibuteには、関連するskillsが存在する。それらのSkillに関連する判定を行う場合、殆ど必ず、関連するAttlibuteの値が適用される。Body(身体能力)に依存するもの、MannersやCunningsに依存するもの、Steel、鋼のような精神を必要とするものなど、Attlibuteの説明に合致すると思われるChallenge Rollをする場合には、まずはそのAttlibuteに関連するSkillを確認すること。 *Attlibutes **Body 筋力、頑丈さ、器用さ、Bodyは、身体能力のその鍛錬と仕上がりを表す。Bodyの高いキャラクターは、非常に強靭であったり、非常に素早い可能性があり、「テメレア戦記TRPG」の世界における兵士という文脈では、白兵戦で非常に危険な存在となるだろう。 関連するスキルは以下の三つである。 ***Agility ***Force ***Lethality **Cunning ***Attention ***Guile ***Intution **Manners ***Performance ***Percepsion ***Propriety **Steel ***Corcion ***Direction ***Endurance 2026-03-29T14:57:38+09:00 1774763858 https://w.atwiki.jp/temerairetrpg/pages/13.html ゲーム用語を抜粋する。ただし、全てが実際にゲーム用語かは不明。いずれ抜粋した単語を除外する可能性あり。 現状では、それぞれに和訳をつけるつもりはないが、翻訳中に、文脈上誤ってゲーム用語らしき箇所の和訳をしないよう気を付けたい。 |原文中ゲーム用語|解説| |Challenge roll|| |Hit/ Hits|| |Defeat|| |Unstable Result|| |Success|| |Triumphant Success|| |Skill|| |Suboptimal Circumstances|| |Opposition|| |Trained|| |Adept|| |Master|| |Situation|| |Circumstances|| |Asset|| |Helping|| |Formidable Difficury|| |Opposed challenge rolls|| |Competition|| |Blocks|| |Conflict|| |Conflict rolls|| |Attribute|| |Body|| |Cunning|| |Manners|| |Steel|| |Agility|| |Force|| |Lathality|| |Attention|| |Guile|| |Intution|| |Performance|| |Persuasion|| |Proprity|| |Coercion|| |Direction|| |Endurance|| |Dangers|| |Dishonor|| |Scandal|| |Stress|| |Wounds|| |Duty|| |Desire|| |Burden|| ||| 2026-03-08T20:41:22+09:00 1772970082 https://w.atwiki.jp/temerairetrpg/pages/2.html **Temeraire:the RPG -[[Ædana system]] -[[用語]] **Temeraire RPG Quick Start -[[Dragons at war]] -[[Playing the games]] -[[Characters]] -[[a Minuet of Dragons]] **メニュー -[[トップページ]] -[[プラグイン紹介>プラグイン]] -[[メニュー]] -[[右メニュー]] ---- **リンク -[[@wiki>>http://atwiki.jp]] -[[@wikiご利用ガイド>>http://atwiki.jp/guide/]] // リンクを張るには "[" 2つで文字列を括ります。 // ">" の左側に文字、右側にURLを記述するとリンクになります //**更新履歴 //#recent(20) &link_editmenu(text=ここを編集) 2026-03-08T20:14:30+09:00 1772968470 https://w.atwiki.jp/temerairetrpg/pages/12.html ゲーム用語を抜粋する。 現状では、それぞれに和訳をつけるつもりはないが、 |原語|| |Challenge roll|| |Hit/ Hits|| |Defeat|| |Unstable Result|| |Success|| |Triumphant Success|| |Skill|| |Suboptimal Circumstances|| |Opposition|| |Trained|| |Adept|| |Master|| |Situation|| |Circumstances|| |Asset|| |Helping|| |Formidable Difficury|| |Opposed challenge rolls|| |Competition|| |Blocks|| |Conflict|| |Conflict rolls|| |Attribute|| |Body|| |Cunning|| |Manners|| |Steel|| 2026-03-08T20:13:36+09:00 1772968416 https://w.atwiki.jp/temerairetrpg/pages/11.html *Ædana systemについて Ædana systemとは、magpie gamesの開発したTRPGのシステムである。 本来は「Áes Dána」という古アイルランド語に由来する単語で、「people of the arts」という意味であるらしい。 吟遊詩人やseanchaithe(アイルランドの伝統的な語り部)を指す。 **判定について Ædana systemでは、6面体ダイスを基本として判定を行う。 いくつかの6面体を振り、5か6が出ればその分がhitとなる。 hitした数によって、どの程度の成功であったのかを判定する。 これをチャレンジロール(challenge roll)と呼ぶ。 この判定には四段階あり、以下のようになる。詳細はPlayng the gameで触れる。 |0 hits|Defeat(失敗)|物事は期待した通りには進まない。GMが起こることを決められる。| |1 hit|Unstable Result|PCは成功の瀬戸際に立っているが、それを達成するには追加の代償を払うか、さらなる困難に直面しなければならない。| |2 hits|Success(成功)|PCの試みは完全に達成される。| |3+ hits|Triumphant success|PCの試みは完全に達成され、さらにそれ以上の成果を得る。追加効果はGMが決定する。| 2026-03-08T14:05:34+09:00 1772946334 https://w.atwiki.jp/temerairetrpg/pages/10.html #contents() **HOW TO PLAY Temeraire: The Roleplaying Game shares a lot of ideas with most tabletop roleplaying games. When you sit down to play, most players create a single character to play throughout the game. These characters are called “player characters” or PCs, and represent the protagonists of the whole game. They might include everyone from the crew of a dragon to the dragon themself. One player becomes the gamemaster, whose responsibility is to represent the world to the other players. The gamemaster must: ・Play every other character (the “non-player characters,” or NPCs). ・Describe the world that the PCs perceive. ・Explain what happens when the PCs act, and when the world acts upon them. ・Adjudicate the rules of the game. If you’re reading these words, there’s a very good chance that you’re the GM of your game. Your chief responsibility right now is to read through this entire quickstart, including the mission, to give yourself the best possible sense of the game and how to run it. But for now, there are a few fundamental ideas necessary to getting in the mindset to either play or gamemaster a game of Temeraire: The Roleplaying Game. ***Storytelling, Conversation, and Uncertainty To many players, a roleplaying game like this one is about storytelling. They play to create a story, with ups and downs, tension and release, victories and defeats. At the end of a game, they can look back at all the events of the story and see a plot, as if they had read a novel much like those of the Temeraire series! Even if they didn’t have a clear idea of exactly where their characters were going when they made them, in reflection they can see full and interesting character arcs. But that moment of reflection is crucial to understanding the kind of RPG that Temeraire represents. While you play the game, you are not “telling a story,” as such; the story takes shape later, when you look backward and fit the events together into a real narrative. While you play, you are having a conversation, portraying a life, and responding to uncertainty. ***Conversation What you are actually, literally doing while you play Temeraire: The RPG is fundamentally just talking to the other players! Sometimes you roll some dice, or consult a sheet to help steer the conversation, sure. But when you envision play, think of it as a fun, sprawling back and forth exchange between you and your friends. You’ll ask each other questions, and give each other answers, and see just where the conversation goes. You might listen to others talk back and forth, enjoying their conversation as an audience, or you might seize the chance to speak yourself, adding interesting things to the dialogue. You might listen quietly, interject, laugh, gasp, and even applaud! Sometimes, the rules will kick in and push the conversation down a new, unexpected path. Other times, the gamemaster might perform the same role, injecting new comments into the conversation to keep it lively and exciting. The most important thing that any person can do in the midst of the game’s conversation is simply to be a good participant. When someone else is speaking, listen attentively, and maybe even ask a question or two. When it’s your turn to speak, don’t worry about saying the pithiest or most brilliant comment you can; speak naturally, ask questions, and feel free to send the conversation back to other players, including the gamemaster. The heart of the game is conversation; don’t be daunted by dice or by rules! ***Portraying a Life During the conversation, if you’re not the gamemaster then you’re probably speaking on behalf of yourself or on behalf of your character. When you’re speaking for yourself, go ahead and do just that! Ask questions, say what you think, and so on. When you’re speaking on behalf of your character, however, it’s your job to portray them and their perspective, as fully and truthfully as you can. That might sound like an enormous responsibility, but really it’s just about putting yourself into someone else’s shoes. Imagine the GM turns to you and says: “You see the enemy captain smile at you viciously across the great hall. You can’t throw down with each other, not here in Constantinople while the Ottoman Empire is still neutral and you have a chance of changing that… and the soldier knows it. But then he leans over and whispers something to an aide, who promptly rushes out of the hall as fast as possible, before the captain returns that sneering smile to you. What do you do?” To answer that question, you’re going to have to put yourself in the shoes of your character. Would they be able to tell what scheme the enemy captain might be hatching? Maybe, if they’re familiar with the area, if they know the politics or even military tactics. Maybe not, if they’re a rough individual well-prepared for a fight atop a dragon’s back but ill-suited to a hall with dancing and politics. You might need to ask clarifying questions to figure out what your character would do in that moment: “We came here with an ambassador, right? Did they brief us about this guy, or any plots? Heck, are they still around? Maybe they can tell us what’s happening.” That’s great! Always ask these questions if you think they’re relevant; one of the best ways to portray your character’s perspective is to advocate for their knowledge and experience. The gamemaster will give you an answer directly, or might turn to one of the game’s mechanics to help answer. But once you have your answer, be sure to incorporate it into what you say next. The only way you can really fail to represent your character’s perspective is if you ignore it entirely. ***Responding to Uncertainty Uncertainty is a crucial component to Temeraire: The RPG. The excitement of discovery, of “What are they going to do?” and “What is going to happen?” and “Will it work?” are all bound up in uncertainty. Sometimes, you have to be unsure of what will happen next, unsure of exactly what to say in the conversation, to get these moments of surprise and tension and excitement. Usually, uncertainty manifests in exactly that way—being unsure of what to say next. Players feel that uncertainty most often when they describe their characters undertaking some risky or challenging action—something whose results and effects they can’t be sure to predict. When a player says their PC dragon is trying to sneak into the enemy camp under cover of darkness, they might hope that they succeed…but they can’t be certain that they won’t be caught. The gamemaster, too, experiences that kind of uncertainty regularly. In that exact same situation, the gamemaster might feel similarly unsure of whether the PC will successfully sneak into the enemy camp, or whether a stray lantern from a drunken soldier will catch the glint of their scales at a terrible moment. Then again, there will be times when the players and gamemaster feel no such uncertainty. Usually, if everyone in the game agrees that there is no real uncertainty, then there isn’t any. If the PC is a heavyweight dragon—more than a hundred feet long—sneaking into the enemy camp in broad daylight…well, then the gamemaster and the players might feel there is no uncertainty. Yes, of course the dragon is caught; it would be silly to imagine otherwise. If there is disagreement between the players and the gamemaster, then usually that means there is uncertainty about the situation…or that the players and the gamemaster have to talk a bit more to make sure they share a common understanding of the fictional moment. If that player, sending their heavy-weight enormous dragon into the enemy’s camp, didn’t see why the action is certainly going to lead to their detection, then they need to talk a bit more to make sure they share a vision of what is happening. Usually the gamemaster takes charge in that moment, as they are responsible for representing and communicating the state of the fictional world, but everyone should take the opportunity to clarify what is happening and why. Sometimes, uncertainty arises because the game itself insists upon it—see some examples of that in the very next section. But when you are feeling this hesitation, this tension, this excitement about not knowing what the gamemaster will say next—that’s a good sign you should turn to the game’s mechanics to help move the conversation forward. The mechanics help to resolve the uncertainty, to “answer the question,” to shift the moment toward a definitive conclusion, one that hopefully leads to new and exciting moments in the shared narrative. **WHEN TO MAKE A CHALLENGE ROLL Use a challenge roll when a player has described their PC taking an action in the fiction whose success, failure, or other outcomes are uncertain. Most likely, this is because the action is challenging! In particular, here are the main instances when you use a challenge roll. ***Skill & Luck When a PC takes action that requires a high degree of skill or luck, and it is unclear if they have that skill, make a challenge roll. The question here is something like, “Are you good enough to do this?”, or “Are you lucky enough to do this?” A PC tries to leap directly from the back of their dragon onto the back of an enemy dragon flying below, without any special equipment to either slow their descent or guide their trajectory. This is a challenging action to say the least, and it is unclear if the character is skilled enough to achieve it—not to mention if any random circumstances get in the way. Make a challenge roll. Counterpoint: If the action seems like it would not be challenging to the PC, do not make a challenge roll. After all, if you ask the question, “Are you good enough to do this?” and the answer seems to be “Obviously, yes,” then don’t make a challenge roll! This is the space for every player at the table to make sure you’re all on the same page with regard to the kinds of things that feel uncertain and luck-reliant. A PC with Master skill in Agility is trying to transfer from their dragon to an ally dragon, with the two dragons flying so close as to be touching. Both dragons’ harnesses are undamaged and well-maintained, and there is no time pressure. This doesn’t seem challenging to the PC’s prodigious skill, so there is no uncertainty; do not roll. ***Suboptimal Circumstances When a PC takes action in harsh, suboptimal circumstances that make the action much more challenging and obscure the outcomes the PC might achieve, make a challenge roll. The question here is something like, “Can you overcome the dangerous, awful, or difficult conditions you’re in?” A heavily wounded PC is trying to leap from the back of their dragon onto an enemy dragon. The enemy is flying close by and their harness has loops to catch, but it’s storming outside and t the wind is gusting hard. The task might be (relatively) easy were the PC whole and the weather calm, but the situation is dire; even though the PC has Master Agility and would be able to make this leap with no uncertainty on a good day, this is not a good day. Make a challenge roll. Counterpoint: If the circumstances are so dire and the challenge so phenomenally unbeatable that the PC’s action has no believable chance of success, then there is no uncertainty; don’t roll. After all, if you ask the question, “Can you overcome the dangerous, awful, or difficult conditions you’re in?” and the answer seems to be “Obviously, no,” then don’t make a challenge roll! A PC with absolutely no skill in Endurance and slick with their own blood is trying to hold on to an enemy dragon as it dives down at the greatest possible speed, with the wind buffeting them and the dragon itself trying to shake them. It isn’t believable that they can hold on, that they have any chance of holding on, so no challenge roll is made. ***Opposition When a PC takes action in the face of meaningful and determined opposition, make a challenge roll. The question here is something like, “Can you overcome your opposition?” There must be opposition, then, in a real way. A PC is trying to leap from the back of an enemy dragon onto the back of their own nearby, friendly dragon, but an enemy soldier is coming at the PC with a saber. Even though the PC has Master Agility and would normally be able to make such a jump without undue difficulty, that enemy soldier poses a real problem. The situation has become uncertain and the PC must make a challenge roll. Counterpoint: If the opposition is either over- or underwhelming, don’t make a challenge roll. Opposition that can’t stop the PC doesn’t merit a challenge roll; opposition that can’t be overcome doesn’t allow a challenge roll. A PC is trying to leap from the back of an enemy dragon onto the back of their own nearby, friendly dragon, but the enemy dragon they are riding on suddenly begins to dive at the highest speed! The PC doesn’t get a chance to leap off the enemy dragon; if they dove off now, they are assured to fall into the earth below. The situation has no uncertainty; the PC will have to find some other way to escape! **ASSEMBLING A CHALLENGE ROLL Whenever a player makes a challenge roll, they assemble a bunch of d6s to reflect what they’re doing and the situation they are in. More dice is almost always better! If you would ever make a challenge roll but for whatever reason, you would have 0 dice to roll, you instead roll 2d6 and take the single worst result! Here are the components of a challenge roll dice pool: ***Skills & Attributes First, the GM and the player determine the appropriate skill and attribute for the action. You can see more about the skills and attributes on page 25. The GM is the final arbiter, but this determination should be a discussion between both players; when a player says that they are surprised it isn’t the skill they expected, it’s important that both parties get on the same page! After that, the player collects dice equal to the PC’s corresponding attribute for the action, usually somewhere between 0 and 4 dice. Then, the PC might get a benefit from their skill level. Skills are ranked as Trained, Adept, or Master, and each rank grants different advantages and options: ・Trained: If a PC is Trained in the skill, then they receive a 1d6 skill die, adding it to the pool as if it was just another die. (+1d6) ・Adept: If a PC is Adept in the skill, then they may either receive a 1d6 skill die as if they were Trained, or they may set that skill die aside from the pool. After rolling, if they haven’t rolled any hits at all, they may turn a set-aside skill die to a hit (5-6) and add it to the results of the roll. If they have rolled any hits, then the set-aside skill die is discarded. (+1d6 OR Guaranteed minimum 1 hit) ・Master: If a PC is Master in the skill, then they set aside their skill die as a hit (5-6) and add it to the results of the roll. (+1 hit) A skill at Trained or Master is the simplest; you either get +1d6 in your challenge roll pool before the roll, or you get +1 hit after the roll. Being Adept means you have a choice to make! Do you want that extra die, giving you a chance of one more hit, but with less than a 50/50 shot of getting it? Or do you want a guarantee that you will never get fewer than 1 hit? The guarantee means that in normal conditions, you will never get a miss, but you can’t get a triumphant success, either. ***Situation & Circumstances The group of players collectively answers (with the GM being the final arbiter): ・Are the circumstances favorable to the PC and their action? If the answer is yes, the player adds 1d6—a single six-sided die—to their pool. Favorable circumstances are entirely contextual and based on the character’s situation. If the situation the character is in gives them a substantially greater chance of success and good outcomes than they would normally have, then the answer to this question is “yes.” If the situation doesn’t really help them or hurt them, then the answer is “no.” If the situation actively makes things harder for them, then the answer is “no.” “The situation” here is shorthand for the character’s position and environment. Are you standing in a burning building with no clear way out and a broken leg? That sounds like a pretty bad situation! Are you the one presiding over the whole ball, sitting on a raised chair while others have to bow to you? That sounds like a pretty favorable position! Most cases will be a bit less obviously tilted, of course, and might require a short discussion between GM and player to get on the same page. Favorable circumstances are just that—circumstances. Favorable circumstances exist outside of the characters, in the world around them. You won’t get favorable circumstances just by being capable; you need the world itself to be tilted toward you. There is some interaction between the nature of your character and the world outside them, of course; different characters will find different circumstances favorable. But favorable circumstances require the situation you’re in to give you a strong advantage, independently of any advantages you may claim as your own. Similarly, favorable circumstances only matter with regard to the action being taken. Presiding over the ball might actually be awful circumstances if you’re trying to sneak away! Always assess favorable circumstances with regard to the specific action being taken. So a young, small midwingman trying to escape from imprisonment by the enemy might have favorable circumstances sneaking away: This question is binary; there either are favorable circumstances, providing real aid to the PC taking the action, or there aren’t. Don’t worry about how favorable those circumstances are, exactly! ***Assets The group of players collectively answers (with the GM being the final arbiter): ・Does the PC have any particularly useful assets (resources or equipment)? If the answer is yes, the player adds 1d6 to their roll. Particularly useful resources or equipment are entirely contextual and based on the action and the situation. If a resource, piece of equipment, or item the PC is using gives them a significantly greater chance of success and good outcomes than they would have without that specific resource, then the answer to the question is “yes”. Simply having a necessary tool isn’t enough for the answer to be “yes.” If you are trying to write a compelling letter, having something to write with and upon isn’t particularly advantageous; instead, a pen, paper, and ink are just the basic resources needed to take the action at all. If you have exceptional creamy paper, and a clean, well-nibbed quill, with a hint of perfume to scent the page, however…that might make a difference if the recipient is the kind of person who would care about those things! Put another way, basic equipment and resources won’t count as assets. The couple of bank notes in your pocket won’t be an asset; an enormous line of credit from a global bank might be. The musket issued to you by your military simply allows you to shoot, but gives you no advantage. The excellently-crafted and well-customized rifle you’ve been using for a decade, though, is an asset. For example, a young lieutenant attending a crucial audience with a powerful noble to sway them to their side in the war might have an asset: ・If they have an array of gleaming medals displayed on their chest ・If they have a chest full of valuable tribute ・If they have secret plans to show the noble, proving that they will be betrayed soon Just as with the favorable circumstances, this question is binary; the asset is either useful and valuable, or it isn't. **RESOLVING A CHALLENGE ROLL After answering each question and building the pool of dice—likely ending up with between 1 and 7 dice—the player rolls them all and looks for 5s and 6s, called hits. Depending upon the number of hits the player rolls, she gets different results. ・0 hits - Defeat - Whatever you hoped for, this isn’t it. The GM gets to say what happens. 1 hit - Unstable Result - You’re on the precipice of success, but you have to pay an additional cost or face an additional complication to get what you wanted. 2 hits - Success - You achieve your priority in full, without cost, complication, or reduced effect. 3+ hits - Triumphant Success - You achieve your priority and then some. The extra effect is determined by the GM. ***Defeat When you score no hits – no 5-6s on any dice – then the situation goes from bad to worse. Exactly what occurs is the GM’s call, but the following always happens: ・You will not achieve your desired end. ・The situation will change. “You will not achieve your desired end” means that you will not get what you wanted in the form you desired. You can still “succeed” at the physical action you took, but on a defeat, the effect of that “success” will not be what you had wanted. If you sneak up on someone and stab them, you will be surprised to find they were not who you thought, but your blade still cut just the same. If you bow to a newly met important personage, you will portray proper obeisance to them, but they will assume it means you are no one of significance; they dismiss you entirely, though they are not offended by you. The GM decides exactly what form the actual results of the action take, and how they fail to meet your desire; the only guarantee is that you won’t have gotten what you truly wanted. “The situation will change” means that after you roll, the situation won’t be the same as when you initiated the roll. In other words, you cannot make the exact same challenge roll again. Sometimes, the change is minor – for example, the person you are speaking with becomes annoyed, and you lose any situational bonus. Sometimes, the change is major – for example, the person you are speaking with leaves the room angrily. The GM says what happens and determines the change based on what seems appropriate for the situation. ***Unstable Result You’re on the precipice of success, but you have to pay an additional cost or face an additional complication to get what you wanted. When you score 1 hit—a single 5-6 on all of your rolled dice—then you are on the edge between success and defeat. If you exert yourself, you can find your success; if you don’t, you will tumble into defeat. Being on the precipice of success means you’re close, but you haven’t quite gotten what you wanted. Imagine someone who leapt across a chasm to catch the other ledge with their fingertips—now, they have to pull themself up, or they will plunge into the ravine below! When you get an unstable result, you can gain success by paying a cost or facing a complication chosen by the GM. If you do pay the cost or face the complication, then your roll is treated as a success. The cost or complication are determined by the GM, and then the player decides if they want to pay that cost or face that complication. Players can always say no, at the cost of facing a defeat and not knowing what it will involve. “Pay an additional cost” means that you have to push yourself harder and dangerously to achieve your goal. These costs most commonly take the form of marking Dangers appropriate to the situation. For example, you can pull yourself up on the ledge, but doing so hurts your arms and scrapes your torso; you mark 2 Wound boxes to do it. Or, you can get your dance partner to stay with you and dance another round at the ball, but you have to make a fool of yourself to keep their attention; mark 2 Scandal boxes to do it. Any specific numbers and dangers are the GM’s to determine, though the player can always suggest a likely possibility. The “additional cost” might also be the loss of a resource or the temporary loss of a piece of equipment, if the GM thinks that makes more fictional sense. If you have almost persuaded the gatekeeper to let you in, but you have to increase your bribe, that’s a cost. If you have to hand over your sword to a third party just to get the other side to sit down and talk with you, that’s a cost. If you wind up dropping your loved one’s locket while you clamber up the side of your dragon, that’s a cost. “Facing an additional complication” means that you must push harder, and in so doing something else happens that changes your situation and adds new difficulties. It is usually a side effect of your actions or inaction; if you’re too focused on this one action, then you might give an opportunity for an NPC to act simultaneously, for example. If you are shooting your pistol at an escaping thief, then the GM could tell you that you have to shoot faster than you’d like; you miss the thief but hit a nearby ladder, causing it to fall on the thief but raising quite a commotion and drawing attention. If you are trying to trade with another dragon for a piece of their meal, then the GM could tell you that you have to wind up really proving your dominance over the other dragon, threatening them in a way you’d hoped to avoid; if you accept the complication, then you get the food but you may have just made an enemy. You do get to hear about the cost or complication, and then choose to accept it or not, but remember, if you don’t accept it, then you don’t simply retreat from the roll. Instead, it is treated as if it were a defeat, with all the consequences thereof. The GM must make those consequences orthogonal to the complication or cost you refused, however; whatever happens as a result of the defeat must be unrelated to those costs and complications. For example, if you refuse to increase your bribe, the GM can’t then simply say that the gatekeeper then takes all of your money. If you refuse to shoot your pistol wildly, then the GM can’t simply say that you still wind up hitting the ladder and causing it to fall. But a defeat is almost always going to create more problems than paying the cost or facing the complication of an unstable result. So players, you should only refuse the cost or complication when you are comfortable facing an unknown, terrible fate instead! ***Success With 2 hits, you achieve success! You get what you wanted! In some ways, this is the simplest and easiest result to understand. If a PC rolls this result, then they successfully accomplished their end, and nothing else surprising or untoward should happen…at least immediately. GMs might still have to say more to elaborate on what is happening around the PC and their action, but none of it should take the form of a cost, complication, or reduced result. The PC accomplishes exactly what they set out to do; the stakes of the challenge roll turn in their favor. ***Triumphant Success Everything that is true of a success is true of a triumphant success. Nothing that happens immediately as a result of the challenge roll should take the form of a cost, complication, or reduced effect. But unlike a regular success, the PC also receives some additional benefit, something that makes their success all the sweeter! Triumphant successes are relatively rare, and as such, the GM is best off choosing an additional benefit that matches the specific situation for the challenge roll. The additional benefit underlines and emphasizes the PC’s approach and interests, giving them something they could actually want. If the PC is trying to persuade a light-weight dragon not to fly off and attack a heavy-weight, then a triumphant success could mean that not only does the other dragon assent, but the PC actually gets to tell them what course they should take next—and be assured that the other character will listen and agree! Commonly, a GM will offer a triumphant success with either an appropriate reduction in dangers or a brand new resource, almost as the inverse of the results of a defeat. GMs can always ask the player what kind of additional effect would match their interests in the moment. **HELPING A formation of dragons and their crews might still have internal conflicts aplenty, but they’re still on the same side, and they’re likely to want to help each other out. In Temeraire: The RPG, PCs may help each other in challenge rolls, but only in limited fashion; any given challenge roll is centered on the PC taking the central action. Conflict systems provide more of a venue for team-based collaborative action; see more about conflicts on page 13. To help another PC, you might: Hand over a useful asset to provide a die, if there is enough time. ・Shift circumstances in favor of a new action, though this usually requires a challenge roll first. ・Provide the aid of a relevant skill, but only at a reduced capacity and if the acting PC doesn’t have their own skill. ・Generally provide favorable circumstances. Handing over a useful asset means handing over an item, a resource or piece of equipment. If there is enough time, such an exchange of useful items can easily provide aid to another PC. Sometimes, this might be as simple as one PC marking off a resource to give a bonus die to another PC. Other times, it might mean one PC wielding their piece of equipment exactly as another instructs them. If the challenge roll is covering a lightning quick span of time, or if the exchange of an asset isn’t immediately obvious in its utility, then this kind of help won’t work. Handing over a useful asset means handing over an item, a resource or piece of equipment. If there is enough time, such an exchange of useful items can easily provide aid to another PC. Sometimes, this might be as simple as one PC marking off a resource to give a bonus die to another PC. Other times, it might mean one PC wielding their piece of equipment exactly as another instructs them. If the challenge roll is covering a lightning quick span of time, or if the exchange of an asset isn’t immediately obvious in its utility, then this kind of help won’t work. Trying to shift circumstances usually means making a challenge roll first to effect some change that positions another PC to better make their own challenge roll. Essentially, this becomes a two-step process; first, one PC makes a challenge roll to change the situation in some way, and then the other PC makes a challenge roll to actually undertake the action. Think of it as “setup” and “delivery.” The advantage of this kind of helping is that it spotlights both characters, giving them each a chance to show off their own talents; the disadvantage for the players is that two challenge rolls create two chances to get a defeat, and two chances to pay costs for an unstable result. But that might be worth it to guarantee the kinds of outcome they want! Providing the aid of a relevant skill means that a PC can try to share their skills, but doing so is difficult. This is the classic form of help, when in a single moment, one PC jumps in to aid another. Essentially, the helping PC can provide their skill die to the other PC as if it was one rank lower than what it ought to be; a PC with Master skill can provide a skill die that their ally can treat as if they were an Adept in the skill, and a PC with Adept skill can provide a skill die that their ally can treat as if they were Trained in the skill. If their ally is already getting their own skill die, then this kind of help is only worth undertaking if the skill gap between the helper and the helped is great enough. Lastly, the PCs can help provide each other favorable circumstances. If a bunch of PCs are all tugging on a rope at the same time, one of them will still make a challenge roll to pull down the statue, but their collected strength easily provides favorable circumstances! GMs as always are the final arbiter of whether or not the other PCs’ aid provides favorable circumstances. **FORMIDABLE DIFFICULTY Sometimes, a challenge roll faces astonishing difficulty; it still seems possible, still worth a challenge roll, but GMs and players both feel that this is a truly monumental task. These are the cases when formidable difficulty becomes a crucial tool. A formidable challenge represents particularly difficult or trying tasks. If the GM declares that a given challenge roll is formidable, then the first hit a PC gains on the roll is simply removed. In other words, against a formidable challenge the PC must achieve: ・2 hits for an unstable result ・3 hits for a success ・4 hits for a triumphant success The GM declares a challenge roll to be formidable as soon as possible, preferably before the player even begins to assemble dice, and at minimum before the PC rolls. If a player finds out that a challenge roll is going to be formidable when they weren’t expecting it, they might want to do something else; when this is the result of the GM and the player not being on the same page about the nature of the situation, the circumstances, and the action itself, GMs should absolutely support players in doing something different. Formidable challenges should also be relatively rare; they represent moments of extraordinary difficulty, when the very nature of the task or the situation is tremendously skewed against the PC. A challenge roll already covers “regular” difficulty, with situations that are uncertain enough to warrant rolls! Formidable challenges represent that edge just before the impossible, when there is a tiny chance to succeed. The simplest way to understand formidable challenges is that characters with Master-level skills approach formidable challenges the same way that unskilled characters approach regular challenge rolls. A character with a Mastered skill automatically gains 1 hit on the roll, and a formidable challenge removes that 1 hit, leaving the acting character to make a roll as normal, albeit without a skill die. If a situation is so complex and difficult that only a character with Master-level skill could have a standard chance of success, then it’s likely formidable On the next page, there are some examples of the four main forms of action PCs will take and players will encounter in the game – a certain success, challenge rolls, formidable challenges, and a certain defeat. In all cases the GM is the final arbiter, but players should freely discuss what they think makes sense based on the situation. **OPPOSED CHALLENGE ROLLS Sometimes, one PC wants to take an action and another wants to stop them or oppose them in some way; these can lead to opposed rolls. Only PCs make challenge rolls—NPCs might make conflict rolls (see page 13), but not challenge rolls. As a result, opposed challenge rolls only emerge when one PC opposes another. When an NPC opposes a PC or vice versa, that can be resolved just as a regular challenge roll; the NPC’s abilities and advantages affect the PC’s favorable circumstances, rolled attribute and skill, and formidable difficulty. Opposed challenge rolls are usually either competitions or blocks. ***Competition A competition is an attempt by both sides to reach a goal first, before the other. Neither side is trying specifically to harm the other; instead, they are competing to see which accomplishes the goal better or faster. For a competition, both sides assemble a challenge roll. Whichever side gets more hits reaches the goal first or better than the other. Then, subtract the hits of the losing side from the hits of the winning side, and read the roll’s final results only with the difference. For example, if the winner rolled 3 hits and the loser rolled 1 hit, then you would treat the challenge roll as if the winner rolled 2 hits total. If the winner rolled 2 hits and the loser rolled 1 hit, then you would treat the challenge roll as if the winner rolled 1 hit total. GMs assign results—be they the benefits of a triumphant success or the costs of an unstable result—as normal. If the winner of the competition has an unstable result at the end, and is unwilling to pay the associated costs, they still win the competition but they face a defeat on the challenge roll. For example, they snatch the item from the floor first, but they slip and can’t catch themselves in time; they spill straight out the window If both sides tie, keep all hits and reroll all the other dice until they no longer tie. If both sides roll their maximum amount of hits and they still tie, the GM treats it as if both had a defeat, and something happens that causes neither side to accomplish their end. ***Blocks A block is an attempt by one PC to stop the other. The blocker succeeds when the blocked PC fails. A block involves the acting PC trying to accomplish a goal, and the blocker doing something different to try to stop them. First, the blocker makes an appropriate challenge roll as normal, with all usual results, including paying a cost for an unstable result and receiving a benefit for a triumphant success. After the blocker has finished their challenge roll, the acting PC makes their challenge roll, and so long as the blocker had a success, the acting PC subtracts one die from their pool for each hit that the blocker rolled. So if the blocker rolled 1 hit, the acting PC loses 1 die from their pool before rolling. If the blocker rolled 3 hits, the acting PC loses 3 dice. This could reduce the acting PC’s pool to 0 dice, in which case they roll 2d6 and take the lowest single result. **CONFLICTS In Temeraire: The RPG, challenge rolls cover individual moments over the ordinary course of play in which tension and uncertainty mount to a breaking point. The players and the GM together use challenge rolls to resolve the uncertainty in these moments. Challenge rolls offer a certain degree of time dilation, as well—you might use a challenge roll when a PC tries to pick a lock on a door, and you might use a challenge roll when a PC tries to travel across weeks worth of wilderness. Even though the two actions might take wildly different amounts of time, both can be resolved with a single challenge roll, the story picking back up once the action is over. But sometimes, the tension, the spotlight, the importance of a challenging moment feels like it requires a greater focus. A single die roll doesn’t seem to honor the significance of what is happening in the f iction. For example, a final climactic battle between two rival dragons and their crews might be resolved in a single challenge roll…but as the culmination of their complex stories and their intense relationship, a single roll doesn’t feel full enough, climactic enough, real enough. Conflicts are specialized systems to help resolve these more demanding, intensive moments when a single challenge roll doesn’t quite cut it. Conflicts are bespoke for particular situations—that is to say, each conflict follows its own rules and procedures in order to produce outcomes suited to that situation. They always are much more involved than using challenge rolls, but they can produce more nuanced and surprising outcomes, as well as giving critical moments the time they need to truly come alive. Keep in mind that conflicts, as a rule, resolve a situation; if you run a Ball conflict, then it resolves how the characters comport themselves and what they achieve at a ball. They can’t end the ball conflict, and then try to get a few more dances in. Similarly, if you run an aerial battle, then it usually resolves with either defeat or retreat; no one who is defeated or has retreated can simply turn around and dive back in. The conflicts described here usually include how and when they end, but a conflict can always be interrupted by other events; for example, if an explosion rocks the outside of the ballroom, the ball is probably over! End the conflict and resume normal play! Everything that applies to normal play still, by default, applied to play throughout conflicts. Talk about what is happening, make sure everyone is on the same page about the situation and the fiction, and so on. There is one important difference, however, in the distinction between normal challenge rolls and conflict rolls. ***Conflict Rolls A conflict roll is the primary kind of roll made throughout a conflict. It is assembled in the same way as a challenge roll—attribute, skill, favorable circumstances, assets—but it has lower stakes. For a conflict roll, defeats do not lead to massive changes in the situation immediately. Most of the time a defeat on a conflict roll is simply a failure to achieve your intent. On a challenge roll, the GM’s job is to make sure that every roll resolves uncertainty and moves the situation forward. In a conflict, however, every character makes far too many rolls to resolve many smaller moments of uncertainty to uphold the burden of every roll having monumental consequences. The individual rolls of a conflict all have lower stakes than a standard challenge roll; but the overall conflict itself will lead to wildly new situations. GMs do still assign costs and consequences to unstable results as normal, however. PCs still must pay those costs or accept those consequences to shift their rolls to successes, or refuse those costs and consequences and suffer a defeat instead. The defeat may not have as dire or terrible an effect with a conflict roll, but in the midst of a real conflict, especially with pressure upon the PCs, the cost of a completely failed action might still be worth avoiding. |The Flow of Play| |Conflicts are tools for the Ædana system. They aren’t meant to be straightjackets! When you’re playing through a conflict, you’re still playing the same way you did as the rest of the game. Make sure to say what characters are actually doing in the fiction. GMs, modify individual actions and rolls as needed to best reflect what’s going on in your game. You’ll see in the example for an aerial battle on page 23, the GM modifies a roll to suit the actions of one of the PCs. Make those kinds of modifications freely! Don’t stop playing during a conflict. What’s more, if you don’t want to get into the depth and rigor of a conflict, don’t! Conflicts should be used to enhance play, not to override it.| ***How Often To Use Conflicts The conflict systems in Temeraire: The RPG are more involved than the standard challenge rolls used throughout play. They take time, and they can seem daunting to new players! That’s because conflict systems are optional! They allow GMs and players to focus in on exciting scenes, expanding them to appropriately create tension and excitement for climactic battles or desperate struggles...but in nearly every case, the same moment that is resolved by a conflict could be resolved by one or more challenge rolls. Only use conflicts if everyone at the table is excited and interested in giving this moment its full due! Otherwise, use challenge rolls. That’s because conflict systems are optional! They allow GMs and players to focus in on exciting scenes, expanding them to appropriately create tension and excitement for climactic battles or desperate struggles...but in nearly every case, the same moment that is resolved by a conflict could be resolved by one or more challenge rolls. Only use conflicts if everyone at the table is excited and interested in giving this moment its full due! Otherwise, use challenge rolls. Over the course of a longer campaign of play, you’re unlikely to want to use more than one conflict per session, considering the additional attention they can demand. If you’re playing a one-shot game, especially with a limited time to play—and this quickstart is, in general, designed for just such situations—then you might want to limit your focus to the conflict or two that particularly excites you! **EXAMPLE PCS In the ensuing sections, there are examples describing what these conf licts might look like in actual play. Each example uses the pre-generated PCs from the mission in this quickstart. You can find more about each of them on page 43. Those characters include: ・Captain Constance Hawthorne, veteran British aviator captain of Peredur, trying to get home safely and without entanglement. ・Captain Constance Hawthorne, veteran British aviator captain of Peredur, trying to get home safely and without entanglement. ・Venustas, Squame d’Argento dragon, light-weight and young, eager to prove herself in a true, grand battle, just as Peredur has. ・First Lieutenant August Wilde, British aviator aboard Peredur, scion of the Wilde family; his parents (Chiara and Magnus Wilde) want him to wed an Italian noble and leave the British Aerial Corps. Julia is his sister. ・Julia Wilde, midwingman of Venustas, favored crewmember of Marco, runaway daughter of the Wilde family; she wants a dragon of her own, but has agreed to attend her parents’ ball at their estate near Sassari. They want her to come home. August is her brother. **CONFLICT: BALL Here, a ball refers to any human party large enough to have food, fancy dress, music, and dancing. These are the epitome of public society, a chance to perform manners and etiquette. They usually skew toward the grand or opulent, with ample opportunity to dance, mingle, and interact. ***Setup The GM outlines the location of the ball, the setting, the style, and all the major NPCs participating in the ball. If they haven’t already, all PCs must either opt in or out of the ball—that doesn’t mean a PC can’t try to crash the ball later, but it makes such an entrance rather scandalous. Further, if a PC refuse to participate and they are expected to do so, it usually comes at a cost in dangers—likely scandal, though possibly dishonor or stress. ***Overview The ball proceeds in a series of rounds. Each round represents one dance and some intervening time; the GM may tell the players how many rounds they can expect in advance based on the expected length of the ball. Usually, a ball conflict should have no more than 4 rounds. (Note that events may interrupt the overall ball; it is possible that the number of expected rounds is cut short.) During each round, the ball’s attendees can interact, but only within their own spheres: dancers with dancers, and watchers with watchers. Choosing to participate in a dance is a high-risk, high-reward chance to contend with or affect a particular other character; choosing to watch decreases the risk and the rewards, and gives the chance to affect any other watching characters, not just a single dance partner. At a ball, characters may humiliate each other (or themselves), glean important secrets, or extract promises from each other. ***Single Round Setup At the start of each round, each PC makes a Manners + Propriety conflict roll; each NPC rolls their Manners. The character with the most hits chooses first whether they are dancing or watching. Ties between NPCs and PCs go to PCs; ties between PCs are broken by the higher Propriety skill rating, followed by the higher Manners attribute rating, followed by a reroll. ***Dancing Setup If you wish to be a dancer, you must invite your partner to dance. You may invite anyone who has not already gone to dance this round, including those who have chosen to watch. If they decline to dance with you, whichever of you has the higher Scandal must immediately gain 1 level of Scandal—and if you have the same level of Scandal, both of you must gain 1 level—and then you (the one making the invitation) automatically move to watching. ***Watching Setup The watchers all mingle together at the edges of the dance. When you are watching, you are in a single, large, amorphous and shifting group. When you become a watcher, however, you may choose to stand near someone else on the periphery of the dance. If they stay close to you, then you take favorable circumstances when you speak to them this round (see below). If they move away from you, then you must immediately mark 1 stress and 1 scandal. ***Dancing Procedure One at a time, the GM spotlights each pair of dancers. Each member of the pair secretly chooses their goal for this dance, simultaneously: ・LEARN a secret: use this to read your dance partner, through their words and their body language. ・EMBARRASS your partner: use this to embarrass or ruin your dance partner, through their words and their body language. ・CONVINCE your partner of something/entice your partner: use this to get your partner to make you a promise, honestly and earnestly; if you are hoping to be seductive, this is the appropriate action. ・PRESENT a suitable appearance: use this to put on a good show in the dance and avoid any further complication or entanglement. PRESENT a suitable appearance: use this to put on a good show in the dance and avoid any further complication or entanglement. ・Opposed: Each character makes their conflict roll. Subtract the hits of whichever character rolled fewer from the hits of whichever character rolled more. The character with remaining hits achieves success as normal according to however may hits are left; the character with fewer hits is treated as if they had a defeat with 0 hits. If they tie, then both of them are treated as if they had a defeat with 0 hits. ・Independent: Each character makes their conflict roll. Each character achieves success entirely based on however many hits they roll, without considering how many hits the other character rolls. 表p.14 Learn: If you get a success, then your barbs, insinuations, and prods reveal a secret from the other dancer; ask them one yes or no question out of character, and they must answer honestly. (Their player may choose to reveal additional information, honestly, if they want.) If you get a triumphant success (at least 3+ hits), you may ask a yes or no follow up question out of character. Embarrass: If you get a success, then your manipulations, insults, and trickery damages the reputation of the other dancer; they suffer twice as many boxes of Scandal, Dishonor, or Stress, as appropriate based on the situation (GM’s choice), as the number of hits you rolled. Convince: If you get a success, then they must either mark stress equal to three times your number of hits, or they honestly grant you the promise you were seeking. They must take a level 1 duty or desire, as appropriate, to represent their promise. Present: If you get a success, you perform admirably in the dance; choose one: ・Reduce your Scandal by up to three boxes or by 1 level ・Take favorable circumstances until the next time you mark Scandal in this ball ・Gain a 1-use temporary resource representing your grown reputation from your performance in the dance **Watching Procedure As you watch, you may choose to keep your composure, convince another watcher of something, or learn a secret from another watcher. Each watcher chooses which action they want to take and, if need be, whom they are targeting secretly and simultaneously. Keep composure (no target): Do this if you wish to avoid being affected or getting yourself into trouble. Make a conflict roll; any hits subtract from the hits rolled by other watchers who target you. If no one targets you, or you have any hits remaining at the end of the round that weren’t used to subtract from other watchers’ rolls, then for each of your remaining hits at the end of the round, choose 1: ・Clear 1 box of stress ・Clear 1 box of scandal ・Gain a temporary resource with 1 use to reflect how well you composed yourself and a small increase in reputation and appearance (or add 1 box to an existing such resource) Convince (target): Do this if you wish to try to convince another watcher to make you a promise, earnestly. Make a conflict roll; if it is a success, then your target must either mark 2 boxes of stress or give you a promise (and take a corresponding duty or desire at level 1), their choice. Learn a secret (target): Do this if you wish to read a watcher’s words and body language. You can do this while others are interacting with the target (and most likely will gain favorable circumstances if they are distracted by conversation with others!). Make a conflict roll; if it is a success, then you may ask your target’s player one yes or no question out of character. They must answer honestly, or mark 2 boxes of stress **EXAMPLE BALL The ball is happening at the Wildes’ estate near Sassari, as the sun goes down. The ball is outside in the estate’s plaza with local musicians playing local tunes, a livelier and folksier music than one might expect in one of the grand halls of Europe, but more joyous. The current attendees include: ・The PCs Marco, Constance, Julia, and August ・Signora Chiara Wilde and Signor Magnus Wilde, Julia and August’s parents ・Signorina Anna Maria di Conti, a young Italian noblewoman from a promising family in Rome, and Magnus’s chosen fiancé for August (albeit with some French ties) ・Captain Felix Bromley, British trader visiting the Wildes Each PC makes a Manners + Propriety roll, and the GM rolls the Manners of each NPC, ordering them by how many hits they rolled: 1. Magnus Wilde 2. August Wilde 3. Constance Hawthorne 4. Anna Maria di Conti 5. Marco de Sanctis 6. Chiara Wilde 7. Felix Bromley 8. Julia Wilde The GM decides first that Magnus will ask his daughter, Julia, to dance. Julia agrees, in order to get a chance to convince her father to let her remain as a dragon’s crewmember with Marco. Then, August’s player decides that August will play the proper child and ask Anna Maria di Conti to dance. The GM says Anna Maria agrees. Constance’s player decides just to watch; she thinks Constance wouldn’t particularly enjoy dancing. Anna Maria has already agreed to dance with August, so Marco’s player decides next…and he thinks Marco would ask Constance to dance, even though Constance had already decided just to watch. Constance’s player decides to say no, keeping to herself, especially because Marco has a higher Scandal than Constance; Marco must raise his Scandal level by 1 as Constance refuses to dance with him. Fortunately, Marco is moved to watching alongside Constance, which might give him the chance to convince Constance to change her mind. Chiara Wilde decides to watch as well; the GM thinks her interests are focused on her children, so she’d simply try to make sure they do as she wants, and they’re already in places she’s happy with. Felix Bromley chooses next, and the GM decides that Felix asks Constance to dance! Felix and Constance have the same level of Scandal, so if Constance refused now, she would gain Scandal as well. She reluctantly agrees to dance with Felix to avoid any Scandal. That leaves three pairs of dancers—Magnus and Julia, August and Anna Maria, and Constance and Felix—with two watchers, Marco and Chiara. The GM spotlights Magnus and Julia first. The GM secretly decides that Magnus will try to convince Julia to change her mind and come home, while Julia’s player decides that Julia tries to do the same thing, convincing her father to let her go! They reveal their respective intents at the same time. They must make opposed rolls to convince each other! They play out the moment for a bit, both to hear each other’s arguments and to guide them to the proper conflict rolls. Magnus argues that she has a responsibility, a duty, to her family to stay here on Sardinia. Julia argues that she’s not going to change her mind, that this is something she’s good at and that makes her happy, and that her father has to get over this; nothing will make her stay. The GM decides that Magnus is rolling his Manners, but after talking to Julia’s player, decides that Julia is actually rolling Steel and Endurance. They both roll, but Magnus gets 2 more hits than Julia; Julia has to take on a duty or desire to reflect Magnus’s wishes, or has to mark 6 total stress! Julia’s player decides she will take the stress. The GM says they will resolve the effect fully after every other dancer, but because her stress level goes up by 1, she has to react. Julia agrees she probably breaks from her father with anger on her face, and rushes out to Venustas, likely incurring Scandal for such an outburst. The GM turns attention to the watchers, then. Secretly, the GM chooses Chiara’s action while Marco’s player chooses what Marco does; the GM feels confident that Chiara has nothing to say to Marco, and has her simply choose to keep her composure (the watcher’s version of presenting a mannerly appearance). But Marco decides to take the shot at convincing Chiara to allow Julia to stay with him. They reveal their respective intents simultaneously. The GM then rolls Chiara’s Manners for her to keep her composure, while asking Marco what kind of argument he makes to Chiara. Marco’s player decides to go for trickery; he says that it’s a shame Julia is being forced to leave his dragon before her contract with him fully matures. She won’t get any of the fortune she’s guaranteed from his spoils. Oh well! The GM tells Marco’s player that sounds like Cunning and Guile. Marco rolls and compares his hits to Chiara’s. Chiara gets 1 more hit than Marco does, which means she both resists Marco’s attempts to convince her—the GM describes her simply lifting one perfect eyebrow at Marco’s lies—and gets another benefit from keeping her composure. The GM gives her a temporary resource to help her, especially against Marco’s nonsense. The GM then turns attention back to the other two dancing couples. Between August and Anna Maria, August decides to simply present a mannerly appearance—he isn’t sure he wants to fully give in to his father’s wishes and get married to Anna Maria yet!—while Anna Maria decides to convince August that it would be good for both if they became affianced. Unfortunately for August, that means the roll is independent! If Anna Maria gets any hits at all, he’ll have to deal with her successfully convincing him…but she doesn’t! August gets 2 hits to present a mannerly appearance, however, and he uses them to gain a resource and gain favorable circumstances. Between Constance and Felix, the GM decides to have Felix learn a secret—he wants to know if Constance has any attachments of note to anyone, emotional or otherwise. Constance, meanwhile, is annoyed at Felix and decides to embarrass him! Once again, they chose a pairing of independent actions. Each describes what they do, with Felix asking leading questions and watching Constance’s responses closely while Constance tries to lead the actual dance and make Felix take on the traditionally submissive role. The GM rolls Felix’s Cunning, and Constance’s player rolls her Manners + Performance to represent how well she can successfully dance while reversing the roles. Each of them scores one hit! Constance inflicts 2 Scandal on Felix, but on Felix’s behalf, the GM gets to ask Constance’s player a yes or no question out of character, and Constance’s player must answer honestly. The GM asks: “Are you interested in anyone here romantically?” Constance’s player thinks for a moment, deciding whether to say Constance is romantically interested in Marco or not, before she answers: “Yes.” She could say that she is interested in Marco, if she chose, but she is under no obligation to share that information! The first round of the dance is over, and now a new round commences. Every character again must make a Manners + Propriety roll to see in what order they decide to either invite each other to dance or to watch… ***But which dance? The specific kind of dance may provide better or worse circumstances for any given action. GMs may use this at their discretion: WALTZ - A couples dance that provides ample opportunity for the two dancers to interact, but especially as it was only gaining in popularity in Europe at the time, it was still considered quite a scandalous dance. Provides favorable circumstances to Embarrass, Convince (with a seductive bent), or Learn. Any Scandal marked while dancing a Waltz is increased by 1 box. COTILLION/QUADRILLE - A dance performed by 4 couples, trading partners and moving amongst each other. The quadrille provides less of a chance for specific partners to speak to each other, and puts a greater emphasis on performance; in particular, the lead couple of the quadrille performs a dance while the other couples observe, and then the other couples match that first dance, leading to a stately “call-and-repeat” mode of dance that asks for grace of movement. Provides favorable circumstances for Present, and makes Learn and Convince face formidable difficulty (even on opposed rolls, each roll loses one hit before any opposition is determined). MINUET - A dance performed in couples alongside each other, moving in and coming apart. More acceptable and traditional than the waltz, but less exciting. Provides favorable circumstances to Learn and Present. Any boxes of Scandal marked during a minuet are reduced by 1 box (levels of Scandal marked are unaffected). POLONAISE - An almost parade-like dance, usually lively and spirited, between couples but in long rows. Somewhat more energetic than the other dances. Provides favorable circumstances to Convince and Learn. All dancers must mark 1 box of stress for every round of dancing; if they cannot or will not, they exit the dance. 2026-03-07T19:51:08+09:00 1772880668 https://w.atwiki.jp/temerairetrpg/pages/3.html **更新履歴 #recent(20) &link_editmenu2(text=ここを編集) 2026-02-27T23:05:22+09:00 1772201122 https://w.atwiki.jp/temerairetrpg/pages/4.html * ニュース @wikiのwikiモードでは #news(興味のある単語) と入力することで、あるキーワードに関連するニュース一覧を表示することができます 詳しくはこちらをご覧ください。 ＝＞http://www1.atwiki.jp/guide/pages/266.html#id_542badf7 ----- たとえば、#news(ゲーム)と入力すると以下のように表示されます。 #news(ゲーム) 2026-02-27T23:05:22+09:00 1772201122