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Alive Character Design 100%

Basic Principles and Procedures of Character Design       P25 It’s important to have a sketchbook, documenting designs and ideas P28 Ask yourself some questions about the character you are designing P29 Draft a selection of designs in a low resolution to help define character forms P30 Recommended software P34 Colouring process step-by-step P38 Ten key tips for character design o Working with a joyful mood o Shortcuts to Create characters o Take every character seriously o The character is real o Remember the 3D property of the character o Uniqueness is a characters life o Putting all the characters together o There is no mission impossible o Maintaining curiosity in everything o Learning without holiday Part 3:

https://www.pdf-archive.com/2012/11/02/alive-character-design/

02/11/2012 www.pdf-archive.com

ErickMotaProfile 99%

Leading small group of animators for video games, animating and rigging several characters and props,.

https://www.pdf-archive.com/2017/10/21/erickmotaprofile/

21/10/2017 www.pdf-archive.com

Five by Five 2 .5 (print) 99%

1) Discuss the setting and the story back-drop with the GM as well as the kind of characters that might live in such a world.

https://www.pdf-archive.com/2011/07/18/five-by-five-2-5-print/

18/07/2011 www.pdf-archive.com

CV 2017 99%

Boris Kossmehl animator / animation director / filmmaker Osnabrücker Str.

https://www.pdf-archive.com/2017/12/12/cv-2017/

12/12/2017 www.pdf-archive.com

FinalExam S3 98%

A string of characters always ends with a null character (the value zero).

https://www.pdf-archive.com/2017/09/07/finalexam-s3/

07/09/2017 www.pdf-archive.com

tr-cse-2011-01 98%

Characters can be compared with full comparison, in which the two representations are treated differently, or value comparison, in which they are treated as equivalent.

https://www.pdf-archive.com/2011/04/06/tr-cse-2011-01/

06/04/2011 www.pdf-archive.com

Macho Dan 98%

initial test isuse successful butAction the throwing character did not Killing The maximum rating of Improved Reflexes isof3,the andClinch the on increase character in the Superior Position can let go as a the opponent’s Physical Limit, then both characters are the This power lets you inflict lethal technological damage with or your unarmed attacks.

https://www.pdf-archive.com/2014/08/26/macho-dan/

26/08/2014 www.pdf-archive.com

Harry Potter RPG Core Rule Book 98%

5 SAMPLE CHARACTERS ..............................................................................................................................................................

https://www.pdf-archive.com/2017/02/23/harry-potter-rpg-core-rule-book/

23/02/2017 www.pdf-archive.com

displayofnumberplates 98%

The background surface should be reflex-reflecting but the characters must not.

https://www.pdf-archive.com/2011/04/13/displayofnumberplates/

13/04/2011 www.pdf-archive.com

book critique 98%

Current text xxxxxxxxxxxxxxxx Copy-edited text xxxxxxxxxxxxxx Dialogue/description Your dialogue conveys much about the characters and adds interest to the book.

https://www.pdf-archive.com/2016/02/16/book-critique/

16/02/2016 www.pdf-archive.com

P1 Instructions 97%

if the user enters a $ , consider the characters input so far to be the full word as intended (regardless of suggestions).

https://www.pdf-archive.com/2018/01/26/p1-instructions/

26/01/2018 www.pdf-archive.com

Five by Five 2.5 (screen) 97%

1) Discuss the setting and the story back-drop with the GM as well as the kind of characters that might live in such a world.

https://www.pdf-archive.com/2011/07/18/five-by-five-2-5-screen/

18/07/2011 www.pdf-archive.com

rulebook 97%

1 a game of norse mythology by joe angiolillo the hammer of thor (1.0) SETTING UP THE GAME 2 ICON GLOSSARY 3 (2.0) THE CARDS (2.1) CHARACTERS (2.1A) RELATIVES (2.1B) FRIENDS (2.1C) ABILITIES (2.1D) WEAKNESSES (2.1E) INSTINCTS (2.1F) ITEMS AND ANIMALS (2.1G) CHARACTERISTICS (2.2) ITEMS, RUNES, SHAPE CHANGE CARDS (2.2A) ITEMS (2.2A1) CARRYING CAPACITY (2.2A2) REVEALING AND CONCEALING ITEMS (2.2A3) ROLLING VERSUS WISDOM (2.2A4) EXCHANGING ITEMS (2.2A5) BRONZE ITEMS (2.2A6) FORGED ITEMS (2.2A6) MAGIC ITEMS (2.2A8) BARK OF INSANITY (2.2A9) STAFF ASTRAL SPELL (2.2A10) REPUTATION FOR ITEMS (2.2B) RUNES (2.2B1) ROLLING VERSUS INTELLIGENCE (2.2B2) REPUTATION VALUE OF RUNES (2.2C) SHAPE CHANGE (3.0) SEQUENCE OF PLAY (3.1) BIRTH (3.2) PLAYER-TURNS (3.3) SEASON CHANGE 5 5 5 5 5 5 5 5 6 6 6 6 6 6 6 6 6 6 7 7 7 7 7 7 7 8 8 8 8 (4.0) THE PLAYER-TURN (4.1) FATE (4.2) MOVEMENT (4.2A) CONNECTED LOCATIONS MOVEMENT (4.2B) PROJECTION MOVEMENT (4.2C) ASTRAL MOVEMENT (4.2C1) PROCEDURE (4.2C2) ASTRAL ENCOUNTERS (4.3) ENCOUNTERS (4.3A) ENCOUNTER CARDS (4.3A1) ATTACK | SUBDUE (4.3A2) CON (4.3A3) FOLLOWER (4.3A4) SEDUCE (4.3A5) EVADE (4.3A6) CHALLENGE (4.3A7) NEGOTIATE (4.3A8) FRIENDSHIP (4.3B) LEADER ACTION CARDS (4.4) ENCOUNTERS (4.5) ROLLING FOR ENCOUNTERS (4.6) ENCOUNTERS INVOLVING PLAYER GROUPS 8 8 8 8 9 9 9 9 9 9 9 10 10 10 10 10 10 10 10 10 11 11 (5.0) COMBAT (5.1) BATTLE ROUND (5.2) ATTACK PROCEDURE (5.3) RESOLVING ATTACKS (5.3A) ROLLING TO HIT (5.3B) ROLLING FOR STAMINA LOSS (5.3C) LOSS OF AGILITY (5.4) EFFECTS OF STAMINA LOSS (5.5) GAINING REPUTATION BY KILLING CHARACTERS 12 12 13 13 13 13 13 14 15 1 (6.0) THE DEAD (6.1) CHARACTERS IN THE HELHEIM DECK (6.2) DEAD CHARACTERS CONTROLLED BECAUSE OF CERTAIN INSTINCTS, ETC.

https://www.pdf-archive.com/2017/01/16/rulebook/

16/01/2017 www.pdf-archive.com

powers-brawl 97%

21 Powers-Brawl • pg 0 • Copyright  2008 by Jeff Moore all rights reserved • Artwork Copyright  2008 FunDraw.com Optional Random Character Creation Players unsure of the type of characters they wish to play, or unfamiliar with the rules, can choose a character's powers randomly.

https://www.pdf-archive.com/2011/07/12/powers-brawl/

12/07/2011 www.pdf-archive.com

734 power 97%

◦ ◦ ◦ ◦ You are thin (0 overweight or obese characters) You conform to Western beauty standards (no long or large noses, no kinky hair, etc.) You have money (product placement EVERYWHERE, the poor need not apply?) You are straight and gender conforming (0 gay, asexual, transgender, or “other” characters).

https://www.pdf-archive.com/2016/11/24/734-power/

24/11/2016 www.pdf-archive.com

2-Page July Week 1 Workshop Calendar V1.1 97%

Streamed https://meet.actegroup.edu.au/daniel.foote/ https://meet.actegroup.edu.au/daniel.foote/ https://meet.actegroup.edu.au/daniel.foote/ 0VQ4NHCC FTVC0VLW Z6DFTY6G Texturing IMPORTANT Game Essential introduction to Characters with to ICTPMG501 Beth!

https://www.pdf-archive.com/2016/07/03/2-page-july-week-1-workshop-calendar-v1-1/

03/07/2016 www.pdf-archive.com

Druid'sRestLandscape 97%

The characters find themselves in this chilly forest glade on a misty morning, at the center of which is a carved wooden column depicting a griffin, an owlbear, and a dire wolf.

https://www.pdf-archive.com/2016/05/03/druid-srestlandscape/

03/05/2016 www.pdf-archive.com

Scenario 5 97%

Story characters may be the general if they are the only eligible character.

https://www.pdf-archive.com/2014/01/16/scenario-5/

16/01/2014 www.pdf-archive.com

Sancho 97%

playertofeels choice, feeling that Ifthe character gets before walking into a trap,the the gut call for more Social Tests forplayer characters with Social Stress to not Enhanced Accuracy:

https://www.pdf-archive.com/2014/11/22/sancho/

22/11/2014 www.pdf-archive.com

Untitleddocument 97%

Margaret Sullivan ENG 242 5/2/17    Critical Introduction    This researched web anthology will include visual and textual examples of the  concept of gender within women’s writing and modern literature, television, and  comics. The need to explore the societal contradictions that other authors and writers  reveal is definitely a personal importance but is also relevant to the subject gender  itself. Although the concept of gender is extremely broad, it is necessary to express  concern with societal expectations and breaking the unspoken barriers. To help  formulate this analysis on gender, it will be divided into things like gender roles,  issues, equality, identity, and stereotypes. Critical theory suggests that these concept  are far too crucial for society to ignore. Not only does every person perceive gender in  stunningly different ways, but many of those perspectives have created controversial  topics and have created discussion among scholars. Not only is textual evidence of  theses concept important, but also visual content like visual novels or comics can also  show phenomenal examples of the list above. How female characters are depicted in  comic books and visual texts as well as exploring gender within these different types  of texts to also read and visually see these things come alive through art. Many people  have dedicated their lives to this dire field of work, so that goes without saying that  these types of approaches affect everyone very differently. These ideas are expanding  rapidly and there are new theories, thoughts, and views every day. Every female lives a  different life, but it is what similar things we go through that drive us to stick as one  and stand together. There are many male authors who understand the struggle of  living an everyday average life as a woman, who also offer interesting ideas to the  table about an already interesting wide social subject. This is all immensely important  to help mold a future generation to teach.     History, Theory, and Meaning    In The Critical Theory of Gender, ​Elia Ntaousani​ specifically focuses on gender  as a social construct, and suggests that the word “gender” was initially meant to be  used as a neutral term, rather than just “male or female”. A term that would eventually  create tons of conversation. Ntaousani compares “gender” to “race” in terms of  creating a word that can be considered unbiased. However, she also argues that  “gender” has often times replaced the word “women” in different forms of literature.  To clarify, she considers this a type of objectivity to women, becoming almost a  substitute for the word itself, and shows how the misuse of ‘gender’ has the very  opposite result of its intention. She explains further by saying that gender is no longer  used for its political definition; it has been reinstated by others who are given deluded  misinformation of the true usage of the word. She uses the word “class” to show how a  term could have “analytical association”. She uses binaries to help interpret this  concept, including very obvious things such as “feminine/masculine”, “nature/culture”,  and “animal human”. “In other words, gender ’ did not manage to offer the possibility  of a new world where the social relations between the sexes would be redesignated;  its ‘ usage insists that the world of women is part of the world of men, created in and  by it.” This is part of the history as gender as a social construction.    There is very interesting sub-concept with gender that involves women in  animated/live action movies, tv shows, video games, and comics. “Trinity Syndrome”  refers to female characters who are very interesting and complicated, but most  importantly have a lot of potential. However, the story surpasses this excellent  character and the story virtually gives them nothing to do. This absolutely has to do  with gender because typically there is a male protagonist; then an alluring female  character is introduced with nothing but her personality (not really a “backstory”). A  personality is an extremely important role in characters because that makes them who  they are; it gives them something to identify with. However, when a character is  loosely shown based on how they act, is this fair? Fictional and nonfictional characters  must “deal” with this. A problematic example of this would be when females are  categorized as loud, strong, or outspoken they are usually considered mean and rude.  If this were a male character being described as such, he would be considered to be  strong while having leadership characteristics. In an article titled ​We’re Losing All our  Strong Female Characters to Trinity Syndrome​ by Tasha Robinson, she gives strong  examples from commonly-known movies to help others understand her claim. In the  beginning of this text, she gives credit to the people who seemingly care enough to  push forward a strong female lead in many different things. She talks about the  importance of having a female character and how there has been a “cultural push” to  have female characters become confident and capable, and also starring a main role.  The author of this article suggests an interesting outlook on how the term “strong  female character” can actually be almost ​against​ what it is literally intending to say.  That expression has been dissected and shown to do more harm than good in a lot of  different ways. In a great read titled “I hate Strong Female Characters” by Sophia  Mcdougall, although it seems misleading, the very first few lines are incredibly  accurate. “She​rlock Holmes gets to be brilliant, solitary, abrasive, Bohemian,  whimsical, brave, sad, manipulative, neurotic, vain, untidy, fastidious, artistic,  courteous, rude, a polymath genius. Female characters get to be Strong.” She shows  that men characters can have an infinite amount of synonyms describing them, and  female characters merely get “strong”. She says that typically, men characters are  assumed to be strong due to the societal thoughts on masculinity. The Trinity  Syndrome is “more than a marketing term than a meaningful goal”.    Visual Examples    Currently in this era, there are countless examples that could be used to help  further define gender and its importance in literature of all forms. Starfire, a character  originally from the famous comic “Teen Titans” is an absolutely great example of a  feminist icon in comics. From the very moment Starfire was a mere thought, she was  sexualized. She is initially introduced as a sexy alien who is extremely naive and  culturally unaware with a small hint of anger. She has been described as a “male  fantasy.” On the other hand, once the audience actually has a chance to read, see, and  watch Starfire’s actions and dialogue, she becomes so much more than just that. In the  animated TV show version of Teen Titans, Starfire’s stories come to life and her  character is able to express her true self and the way she was written way more  effectively. Regardless, in either of those ways, the audience progressively sees  through stories and character development that Starfire is arguable the ​strongest  female superhero. Not to say she is a “strong female lead” but she proves her mental  and physical strength to not only her team, but the readers as well. Starfire is proven  to be physically strongest out of her entire team, thanks to her super strength alien  powers. Being mentally strong is a large portion of Starfire’s entire character and  backstory; the women of her planet were usually captured and chosen to live out their  days as servants. In multiple different universes of the Teen Titans, Starfire eventually  becomes the ​leader​ of the Teen Titans. This is remarkably relevant to gender because  when one thinks of a “strong character” a common thought is frequently something  like “Superman” or “The Hulk”-- two very masculine characters. Starfire shatters our  culture’s notion that women should be submissive, fragile, or perhaps simply not as  strong as other characters. She is not pure or innocent; she embraces her sexuality  and gender without ever having to distinctly say it through confident dialogue and  actions.    

https://www.pdf-archive.com/2017/05/02/untitleddocument/

02/05/2017 www.pdf-archive.com

2d6 Core Rules Delta Edition 96%

These kinds of RPGs are played without the aid of a computer, and rely on one of the players to narrate the action of the story and manage the non-player characters (NPCs) within the game.

https://www.pdf-archive.com/2012/01/25/2d6-core-rules-delta-edition/

25/01/2012 www.pdf-archive.com

2d6 Core Rules Full Release 96%

This kind of RPG is played without the aid of a computer, and relies on one of the players to narrate the action of the story, as well as manage the non-player characters (NPCs) within the game.

https://www.pdf-archive.com/2012/05/16/2d6-core-rules-full-release/

16/05/2012 www.pdf-archive.com

2d6 Core Rules - Gamma 96%

These kinds of RPGs are played without the aid of a computer, and rely on one of the players to narrate the action of the story and manage the non-player characters (NPCs) within the game.

https://www.pdf-archive.com/2011/10/18/2d6-core-rules-gamma/

18/10/2011 www.pdf-archive.com

INV-LARP 0.1 Playtest 96%

“Out​ ​of​ ​the​ ​night​ ​that​ ​covers​ ​me,   Black​ ​as​ ​the​ ​pit​ ​from​ ​pole​ ​to​ ​pole,  I​ ​thank​ ​whatever​ ​gods​ ​may​ ​be   For​ ​my​ ​unconquerable​ ​soul.” INVICTUS    Beta​ ​0.1    Since​ ​mankind’s​ ​earliest​ ​ancestors​ ​began​ ​to​ ​roam​ ​the​ ​earth,​ ​monsters​ ​have​ ​always​ ​lurked​ ​on​ ​the  edge​ ​of​ ​our​ ​periphery.​ ​From​ ​dreams​ ​and​ ​visions,​ ​the​ ​KA​ ​tempt​ ​the​ ​wills​ ​of​ ​mortals,​ ​beckoning  the​ ​weak​ ​willed​ ​to​ ​open​ ​the​ ​door​ ​between​ ​the​ ​world​ ​of​ ​spirit​ ​and​ ​the​ ​world​ ​of​ ​flesh.    Some​ ​KA​ ​cross​ ​over​ ​as​ ​twisted​ ​and​ ​horrific​ ​physical​ ​manifestations​ ​of​ ​terror​ ​and​ ​others​ ​hide  away​ ​behind​ ​the​ ​eyes​ ​of​ ​the​ ​possessed.​ ​The​ ​worst,​ ​not​ ​satisfied​ ​with​ ​misery​ ​sewn​ ​in​ ​the  waking​ ​world,​ ​steal​ ​victims​ ​away​ ​from​ ​their​ ​beds,​ ​forever​ ​trapping​ ​them​ ​in​ ​a​ ​realm​ ​of​ ​endless  nightmare.    The​ ​KA​ ​have​ ​no​ ​power,​ ​save​ ​that​ ​which​ ​is​ ​given​ ​to​ ​them​ ​by​ ​mankind.​ ​Each​ ​doorway​ ​opened,​ ​each  body​ ​possessed,​ ​and​ ​each​ ​soul​ ​dragged​ ​screaming​ ​into​ ​the​ ​abyss​ ​has​ ​come​ ​at​ ​the​ ​hands​ ​of  human​ ​agency.​ ​A​ ​ritual,​ ​a​ ​prayer,​ ​or​ ​a​ ​wish​ ​made​ ​under​ ​the​ ​veil​ ​of​ ​dream​ ​are​ ​all​ ​that​ ​is​ ​required  for​ ​the​ ​influence​ ​of​ ​the​ ​KA​ ​to​ ​seep​ ​into​ ​our​ ​world.     The​ ​memories​ ​of​ ​encounters​ ​with​ ​the​ ​KA​ ​oft​ ​fade​ ​as​ ​a​ ​dream​ ​upon​ ​waking.​ ​But​ ​some​ ​face​ ​the  beasts​ ​of​ ​nightmare​ ​and​ ​are​ ​changed​ ​forever.​ ​These​ ​men​ ​and​ ​women​ ​not​ ​only​ ​resist​ ​the​ ​KA,  but​ ​remember​ ​the​ ​creatures’​ ​face​ ​and​ ​form.​ ​They​ ​are​ ​the​ ​Unconquered​,​ ​those​ ​who​ ​live​ ​to  protect​ ​mankind​ ​from​ ​the​ ​monsters​​ ​which​ ​stalk​ ​them​ ​world.    Invictus​ i​ s​ ​a​ ​“Parlor”​ ​style​ ​Live​ ​Action​ ​Roleplaying​ ​game​ ​which​ ​explores​ ​the​ ​supernautal​ ​horror​ ​and  politics​ ​which​ ​drive​ ​secret​ ​societies​ ​of​ ​“monster​ ​hunters”.​ ​It​ ​aims​ ​to​ ​provide​ ​players​ ​with​ ​a​ ​space​ ​to tell​ ​a​ ​number​ ​of​ ​different​ ​stories.​ ​The​ ​mechanics​ ​of​ ​this​ ​game,​ ​rather​ ​than​ ​being​ ​driven​ ​by  randomness,​ ​are​ ​focused​ ​on​ ​spending​ ​and​ ​managing​ ​resources.​ ​Games​ ​are​ ​designed​ ​to​ ​be​ ​four​ ​or  five​ ​hours​ ​long​ ​and​ ​provide​ ​opportunities​ ​for​ ​players​ ​to​ ​explore​ ​mysteries,​ ​face​ ​deadly​ ​foes​ ​in  combat,​ ​and​ ​engage​ ​in​ ​interpersonal​ ​conflict.​ ​While​ I​ nvictus​​ ​strives​ ​to​ ​explore​ ​the​ ​“darkness”​ ​of  what​ ​lies​ ​beyond​ ​mankind’s​ ​imagination,​ ​it​ ​steers​ ​away​ ​from​ ​real​ ​world​ ​hurt.​ ​Stories​ ​about​ ​and  references​ ​to​ ​real-world​ ​discrimination,​ ​sexual​ ​assault,​ ​and​ ​tragic​ ​events​ ​are​ ​not​ ​a​ ​part​ ​of​ ​the  game.    Invictus​​ ​is​ ​about​ ​each​ ​player​ ​having​ ​the​ ​opportunity​ ​to​ ​self-select​ ​into​ ​the​ ​types​ ​of​ ​scenes​ ​and​ ​play  that​ ​are​ ​comfortable​ ​to​ ​them.​ ​To​ ​this​ ​end,​ ​Invictus​ u ​ ses​ ​the​ ​“OK​ ​CHECK​ ​IN”​ ​system​ ​to​ ​allow​ ​players  to​ ​communicate​ ​needs​ ​and​ ​comfort​ ​level​ ​without​ ​breaking​ ​the​ ​pace​ ​of​ ​roleplay.​ ​If​ ​a​ ​player​ ​seems  upset,​ ​but​ ​you​ ​aren’t​ ​sure​ ​if​ ​it​ ​is​ ​the​ ​CHARACTER​ ​not​ ​the​ ​PLAYER​ ​that​ ​is​ ​distraught,​ ​simply​ ​flash​ ​an  “OK”​ ​gesture.​ ​The​ ​“OK”​ ​gesture​ ​is​ ​a​ ​question​ ​that​ ​is​ ​responded​ ​to​ ​with​ ​a​ ​“thumbs​ ​up”,​ ​“thumbs  down”​ ​or​ ​“so​ ​so”​ ​gesture.​ ​Players​ ​who​ ​signal​ ​discomfort​ ​should​ ​be​ ​allowed​ ​to​ ​leave​ ​the​ ​scene,​ ​no  questions​ ​asked.​ ​Players​ ​are​ ​also​ ​encouraged​ ​to​ ​use​ ​the​ ​“thumbs​ ​up”​ ​or​ ​“thumbs​ ​down”​ ​symbols  proactively​ ​to​ ​communicate​ ​their​ ​level​ ​of​ ​comfort​ ​with​ ​a​ ​scene’s​ ​intensity.   The​ ​Invictus  The​ ​Invictus,​ ​or​ ​The​ ​Unconquered​​ ​is​ ​the​ ​organization​ ​of​ ​all​ ​men​ ​and​ ​women​ ​who​ ​resist​ ​and​ ​retain  awareness​ ​of​ ​the​ ​KA.​ ​The​ ​Invictus​ ​is​ ​a​ ​loose​ ​society​ ​that​ ​is​ ​formed​ ​by​ ​many​ ​Orders.​ ​The  Unconquered​ ​recognize​ ​others​ ​of​ ​their​ ​number​ ​by​ ​sight,​ ​for​ ​those​ ​whose​ ​eyes​ ​and​ ​dreams​ ​are​ ​not  clouded​ ​by​ ​the​ ​KA​ ​radiate​ ​as​ ​beacons​ ​hope​ ​to​ ​those​ ​who​ ​have​ ​become​ ​supernaturally​ ​attuned.  Since​ ​ancient​ ​times,​ ​the​ ​Invictus​ ​has​ ​been​ ​driven​ ​by​ ​a​ ​simple​ ​Codex​ ​that​ ​governs​ ​their​ ​activity:    ❖ The​ ​Unconquered​ ​must​ ​gather,​ ​to​ ​share​ ​knowledge​ ​of​ ​the​ ​KA.  ❖ The​ ​truth​ ​of​ ​the​ ​KA​ ​must​ ​be​ ​veiled​ ​from​ ​dreamers,​ ​lest​ ​the​ ​KA​ ​draw​ ​power​ ​from​ ​it.  ❖ The​ ​Unconquered​ ​must​ ​not​ ​slay​ ​one​ ​another,​ ​nor​ ​interfere​ ​in​ ​the​ ​hunt.    Geographically​ ​the​ ​Invictus​ ​divides​ ​itself​ ​into​ ​Cantons,​ ​large​ ​cities​ ​and​ ​the​ ​areas​ ​around​ ​them.  Each​ ​Canton​ ​is​ ​led​ ​by​ ​a​ ​Synod,​ ​a​ ​governing​ ​five-member​ ​council​ ​whose​ ​members​ ​are​ ​each​ ​drawn  from​ ​the​ ​Invictus’​ ​five​ ​major​ ​Orders:​ ​The​ ​Chorus,​ ​The​ ​Orthodoxy,​ ​The​ ​League,​ ​The​ ​Shamar,​ ​and  The​ ​Division.​ ​The​ ​Synod​ ​selects,​ ​by​ ​vote,​ ​a​ ​Magnate​ ​who​ ​serves​ ​as​ ​the​ ​Executive​ ​of​ ​the​ ​Canton.​ ​A  Magnate​ ​settles​ ​disputes​ ​between​ ​the​ ​Orders​ ​and​ ​takes​ ​a​ ​hand​ ​in​ ​leading​ ​hunts​ ​against​ ​the​ ​KA.  When​ ​an​ ​Unconquered​ ​is​ ​accused​ ​of​ ​violating​ ​the​ ​Codex,​ ​it​ ​is​ ​the​ ​Synod​ ​who​ ​decides​ ​innocence​ ​or  guilt,​ ​but​ ​the​ ​Magnate​ ​who​ ​sentences​ ​and​ ​metes​ ​out​ ​punishment.     The​ ​Orders  The​ ​Invictus​ ​is​ ​comprised​ ​of​ ​Orders,​ ​each​ ​guided​ ​by​ ​a​ ​set​ ​of​ ​principles​ ​which​ ​guide​ ​their​ ​nightly  war​ ​against​ ​the​ ​KA.​ ​Not​ ​every​ ​Invictus​ ​is​ ​a​ ​member​ ​of​ ​one​ ​of​ ​the​ ​five​ ​major​ ​Orders​ ​which  comprise​ ​the​ ​Synods​ ​of​ ​each​ ​city’s​ ​Canton,​ ​but​ ​most​ ​are​ ​drawn​ ​to​ ​the​ ​support​ ​and​ ​structure​ ​that  comes​ ​with​ ​membership​ ​in​ ​an​ ​Order.    The​ ​Chorus​ ​of​ ​Legend​​ ​-​ ​(Champions,​ ​Bards,​ ​Knights,​ ​Storytellers,​ ​Lorekeepers)  Gilgamesh,​ ​Corax,​ ​Heracles,​ ​Cú​ ​Chulainn,​ ​Arthur,​ ​Sun​ ​Wukong,​ ​Ramah…​ ​each​ ​civilization​ ​has  heroes​ ​whose​ ​stories​ ​echo​ ​through​ ​history.​ ​The​ ​legends​ ​of​ ​these​ ​Heroes​ ​are​ ​carried​ ​through  history​ ​by​ ​the​ ​Chorus​ ​of​ ​Legend.​ ​The​ ​Chorus​ ​seeks​ ​to​ ​venerate​ ​and​ ​emulate​ ​the​ ​heroes​ ​of​ ​old​ ​and  raise​ ​the​ ​Legends​ ​of​ ​new​ ​heroes​ ​through​ ​story​ ​and​ ​song.​ ​The​ ​Chorus​ ​was​ ​the​ ​first​ ​order​ ​of​ ​The  Invictus,​ ​and​ ​its​ ​virtues​ ​of​ ​heroism​ ​and​ ​boon-companionship​ ​echo​ ​through​ ​the​ ​Unconquered​ ​to  this​ ​day.     The​ ​Orthodoxy​ ​of​ ​Staves​​ ​-​ ​(Paladins,​ ​Priests,​ ​Holy​ ​Men,​ ​Inquisitors,​ ​Vampire​ ​Hunters)  Faith.​ ​Devotion.​ ​Prayer.​ ​Purity.​ ​These​ ​are​ ​the​ ​virtues​ ​of​ ​the​ ​Orthodoxy​ ​of​ ​Staves.​ ​Drawing​ ​its  origins​ ​from​ ​the​ ​organized​ ​religions​ ​of​ ​man,​ ​The​ ​Orthodoxy​ ​has​ ​found​ ​that​ ​acceptance​ ​of​ ​a​ ​higher  power​ ​and​ ​devotion​ ​to​ ​one’s​ ​faith​ ​serve​ ​as​ ​a​ ​powerful​ ​shield​ ​against​ ​the​ ​KA.​ ​The​ ​doctrines​ ​of​ ​the  Orthodoxy​ ​state​ ​that​ ​only​ ​through​ ​rigorous​ ​devotion​ ​to​ ​purity​ ​and​ ​rejection​ ​of​ ​the​ ​KA​ ​can  mankind​ ​be​ ​saved.    The​ ​Shamar​​ ​-​ ​ ​(Ritualists,​ ​Blood​ ​Cultists,​ ​Black-Magic​ ​Practitioners)  The​ ​Shamar​ ​seek​ ​the​ ​power​ ​to​ ​defeat​ ​the​ ​KA​ ​by​ ​wielding​ ​the​ ​very​ ​power​ ​of​ ​dream​ ​and​ ​nightmare.  Through​ ​pact,​ ​rite,​ ​and​ ​binding,​ ​they​ ​wrest​ ​the​ ​power​ ​of​ ​the​ ​KA​ ​for​ ​themselves.​ ​Though​ ​no​ ​one  can​ ​argue​ ​with​ ​the​ ​success​ ​of​ ​the​ ​secretive​ ​and​ ​ritualistic​ ​Shamar,​ ​their​ ​methods​ ​are​ ​rarely  trusted​ ​by​ ​the​ ​members​ ​of​ ​the​ ​other​ ​Orders.    The​ ​League​ ​of​ ​Extranormal​ ​Inquiry​​ ​-​ ​(Mad-Scientists,​ ​Dark​ ​Dabblers,​ ​Mythos​ ​seekers)  Founded​ ​in​ ​the​ ​misty​ ​streets​ ​of​ ​Europe​ ​in​ ​the​ ​1800’s,​ ​the​ ​League​ ​is​ ​comprised​ ​of​ ​those​ ​scholars,  alchemists,​ ​and​ ​practitioners​ ​of​ ​pseudoscience​ ​among​ ​the​ ​Unconquered​ ​who​ ​began​ ​to​ ​experiment  with​ ​extracting​ ​Phlogiston​ ​from​ ​the​ ​corpses​ ​of​ ​slain​ ​KA.​ ​With​ ​these​ ​strange​ ​sciences,​ ​the​ ​League  has​ ​created​ ​powerful​ ​and​ ​dangerous​ ​technologies​ ​that​ ​empowers​ ​them​ ​to​ ​continue​ ​seeking  knowledge,​ ​regardless​ ​of​ ​the​ ​cost.        Division​ ​Six​​ ​-​ ​(G-Men,​ ​Gadgeteers,​ ​Realists,​ ​Men​ ​In​ ​Black)  ​ ​Allegedly​ ​once​ ​an​ ​agency​ ​of​ ​the​ ​United​ ​States​ ​Department​ ​of​ ​Homeland​ ​Security,​ ​the​ ​agents​ ​of  Division​ ​Six​ ​stands​ ​as​ ​a​ ​highly​ ​regimented​ ​and​ ​technologically​ ​empowered​ ​Order​ ​that​ ​operates  throughout​ ​the​ ​world.​ ​ ​Their​ ​mission​ ​is​ ​simple:​ ​destroy​ ​the​ ​KA​ ​and​ ​cover-up​ ​the​ ​existence​ ​of​ ​the  supernatural.​ ​Rejecting​ ​all​ ​superstition​ ​and​ ​pseudoscience,​ ​the​ ​Division​ ​pursues​ ​its​ ​agenda​ ​with  strict​ ​adherence​ ​to​ ​regulation​ ​and​ ​the​ ​principals​ ​of​ ​order.     System  Invictus’​ m ​ echanical​ ​system​ ​is​ ​driven​ ​by​ ​resource​ ​management​ ​and​ ​spending​ ​and​ ​is​ ​played​ ​by​ ​each  player​ ​using​ ​a​ ​full​ ​deck​​ ​of​ ​regular​ ​playing​ ​cards:​ ​13​ ​Hearts,​ ​13​ ​Clubs,​ ​13​ ​Diamonds,​ ​13​ ​Spades​ ​and​ ​Two  Jokers.     Each​ ​player’s​ ​cards​ ​are​ ​divided​ ​into​ ​two​ ​groups:  ● The​ ​Hand​​ ​-​ ​Resources​ ​at​ ​the​ ​player’s​ ​disposal​ ​that​ ​may​ ​be​ d ​ iscarded​​ ​to​ ​take​ ​action​ ​or​ ​activate  effects.  ● The​ ​Deck​ -​ ​ ​Cards​ ​not​ ​available​ ​for​ ​the​ ​player​ ​to​ ​spend,​ ​but​ ​may​ ​be​ ​drawn​​ ​in​ ​certain  circumstances.    All​ ​mechanics​ ​require​ ​players​ ​interact​ ​with​ ​their​ ​cards​ ​in​ ​one​ ​of​ ​two​ ​ways:  ● Draw​​ ​-​ ​Take​ ​a​ ​card​ ​of​ ​the​ ​specified​ ​suit​ ​from​ ​the​ ​deck​ ​and​ ​place​ ​it​ ​into​ ​your​ ​hand.  ● Discard​​ ​-​ ​Take​ ​a​ ​card​ ​of​ ​the​ ​specified​ ​suit​ ​from​ ​the​ ​hand​ ​and​ ​place​ ​it​ ​into​ ​your​ ​deck.​ ​If​ ​a​ ​player  would​ ​discard​ ​a​ ​♥​ ​(heart),​ ♣​ ​ ​(club),​ ​or​ ​♦​ ​ ​(diamond)​ ​they​ ​may​ ​choose​ ​to​ ​instead​ ​discard​ ​a​ ♠​ ​ ​(spade).    Characters​ ​have​ ​four​ ​attributes​ ​or​ ​P.I.T.H.​​ ​with​ ​a​ ​minimum​ ​score​ ​of​ o ​ ne​ ​and​ ​a​ ​maximum​ ​of​ t​ hirteen​:  ● Physicality​ ​ ​-​ ​A​ ​character’s​ ​strength,​ ​toughness,​ ​and​ ​agility​ ​ ​[Represented​ ​by​ ​Clubs​ ​♣)   ● Influence​ -​ ​ ​A​ ​character’s​ ​social​ ​and​ ​interpersonal​ ​graces​ ​(Represented​ ​by​ ​Hearts​ ​♥)  ● Thought​ -​ ​ ​A​ ​character’s​ ​general​ ​wit​ ​and​ ​perceptiveness​ ​(Represented​ ​by​ ​Diamonds​ ​♦)  ● Hope​​ ​-​ ​A​ ​character’s​ ​endurance​ ​in​ ​the​ ​face​ ​of​ ​horror​ ​and​ ​adversity​ ​(Represented​ ​by​ ​Spades​ ​♠)    At​ ​the​ ​beginning​ ​of​ ​each​ ​session,​ ​players​ ​will​ ​draw​​ ​their​ ​starting​ h ​ and​​ ​based​ ​on​ ​their​ ​attributes.​ ​(​For  example,​ ​a​ ​character​ ​with​ ​3​ ​Physicality,​ ​4​ ​Influence,​ ​5​ ​Thought,​ ​and​ ​2​ ​Hope​ ​would​ ​draw​ ​ 3 ​ ♣,​ ​4♥,​ ​5♦,​ ​and​ ​2♠  for​ ​their​ ​starting​ ​hand)     The​ ​rules​ ​of​ ​Invictus​​ ​do​ ​not​ ​discern​ ​between​ ​different​ ​card​ ​values,​ ​only​ ​the​ ​suit​ ​of​ ​the​ ​card​ ​drawn​ ​or  discarded​ ​matters.     If​ ​mechanics​ ​would​ ​have​ ​a​ ​player​ ​draw​​ ​a​ ​card​ ​that​ ​is​ ​not​ ​in​ ​their​ ​deck,​ ​that​ ​player​ ​draws​ ​no​ ​card.​ ​A  player​ ​may​ ​not​ ​have​ ​more​ ​than​ ​13​ ​of​ ​a​ ​given​ ​suit​ ​in​ ​their​ ​hand​ ​at​ ​a​ ​time.    If​ ​mechanics​ ​would​ ​have​ ​a​ ​player​ ​discard​ a ​ ​ ​card​ ​that​ ​is​ ​not​ ​in​ ​their​ ​hand,​ ​that​ ​character​ ​becomes  incapacitated​.​ ​An​ ​incapacitated​​ ​character​ ​immediately​ ​discards​ ​their​ ​entire​ ​hand​​ ​and​ ​becomes  unconscious​ ​or​ ​catatonic,​ ​and​ ​remains​ ​that​ ​way​ ​until​ ​restored​ ​by​ ​a​ ​mechanical​ ​effect.    Challenges  Challenges​ ​in​ ​Invictus​ ​are​ ​used​ ​to​ ​determine​ ​success​ ​or​ ​failure​ ​on​ ​difficult​ ​tasks​ ​or​ ​those​ ​which​ ​are  opposed​ ​by​ ​others.​ ​There​ ​are​ ​three​ ​types​ ​of​ ​challenges:    ● Physical​ ​Challenges​​ -​ ​ ​Some​ ​feats​ ​of​ ​physical​ ​prowess​ ​require​ ​a​ ​simple​ ​spending​ ​of​ ♣​ .​ ​A  Storyteller​ ​may​ ​ask​ ​a​ ​character​ ​attempting​ ​to​ ​leap​ ​across​ ​a​ ​gap​ ​between​ ​buildings​ ​to​ ​spend​ ​a​ ♣​   to​ ​undertake​ ​the​ ​effort.​ ​Such​ ​challenges​ ​will​ ​be​ ​marked​ ​with​ ​the​ ​cost.​ ​Unless​ ​otherwise​ ​specified,  all​ ​such​ ​static​ ​challenges​ ​may​ ​be​ ​collaborated​ ​on,​ ​but​ ​all​ ​cards​ ​must​ ​be​ ​discarded​ ​at​ ​the​ ​same  time​ ​and​ ​all​ ​participants​ ​must​ ​share​ ​the​ ​resulting​ ​victory​ ​or​ ​consequence.       ● Influence​ ​Challenges​​ ​-​ ​When​ ​characters​ ​seek​ ​to​ ​argue,​ ​determine​ ​the​ ​truth,​ ​or​ ​socially​ ​interact  with​ ​one​ ​another​ ​they​ ​may​ ​bid​ ​any​ ​number​ ​of​ ​♥​ ​from​ ​their​ ​hand​ ​in​ ​a​ ​small​ ​bidding​ ​war.​ ​If​ ​another  character​ ​wishes​ ​to​ ​challenge​ ​the​ ​assertion​ ​of​ ​the​ ​bidder,​ ​they​ ​may​ ​attempt​ ​to​ ​contradict​ ​by  bidding​ ​a​ h ​ igher​​ ​number​ ​of​ ​♥.​ ​The​ ​winner​ ​must​ ​then​ ​discard​​ ​a​ ​number​ ​of​ ♥​ ​ ​equal​ ​to​ ​their​ ​bid,  from​ ​that​ ​point​ ​forward,​ ​all​ ​participants​ ​in​ ​the​ ​conversation​ ​must​ ​accept​ ​the​ ​winner’s​ ​assertions  as​ ​truth​ ​until​ ​faced​ ​with​ ​overwhelming​ ​evidence.​ ​An​ ​influence​ ​challenge​ ​cannot​ ​cause​ ​a  character​ ​to​ ​abandon​ ​a​ ​deeply​ ​held​ ​belief​ ​rooted​ ​in​ ​personal​ ​faith​ ​or​ ​ideology,​ ​but​ ​may​ ​cause​ ​a  character​ ​to​ ​differently​ ​recollect​ ​events​ ​they​ ​have​ ​participated​ ​in​ ​or​ ​witnessed.​ ​Once​ ​characters  have​ ​resolved​ ​a​ ​matter​ ​through​ ​an​ ​influence​ ​challenge,​ ​the​ ​issue​ ​should​ ​not​ ​be​ ​revisited​ ​between  them.  Example:​​ T ​ wo​ ​hunters​ ​are​ ​sharing​ ​a​ ​tale​ ​of​ ​glory,​ ​and​ ​one​ ​claims​ ​to​ ​have​ ​taken​ ​the​ ​killing  blow​ ​in​ ​a​ ​battle​ ​against​ ​a​ ​vicious​ ​KA.   Player​ ​One:​ ​“And​ ​that’s​ ​how​ ​I​ ​slew​ ​the​ ​beast”  Player​ ​Two:​​ ​“I​ ​seem​ ​to​ ​remember​ ​that​ ​it​ ​was​ ​me​ ​who​ ​struck​ ​the​ ​final​ ​blow​ ​-​ ​Bid​ ​One”  Player​ ​One​ ​“Are​ ​you​ ​sure?​ ​I’m​ ​pretty​ ​sure​ ​the​ ​Chorus​ ​will​ ​be​ ​singing​ ​about​ ​*my*​ ​legend​ ​-​ ​Bid  Two”  Player​ ​Two:​ “​ Hmm,​ ​it​ ​seems​ ​you​ ​are​ ​right,​ ​I​ ​must​ ​have​ ​misremembered”  *Player​ ​one​ ​then​ ​discards​ ​two​ ​♥​ ​from​ ​his​ ​hand​ ​to​ ​his​ ​deck*    ● Thought​ ​Challenge​​ ​-​ ​When​ ​characters​ ​seek​ ​to​ ​investigate​ ​a​ ​mystery,​ ​crack​ ​a​ ​code,​ ​spot​ ​a​ ​foe  hidden​ ​in​ ​the​ ​darkness​ ​they​ ​engage​ ​in​ ​a​ ​thought​ ​challenge.​ ​Most​ ​challenges​ ​are​ ​resolved​ ​through  static​ ​spend​ ​amounts.​ ​(For​ ​example,​ ​a​ ​challenge​ ​envelope​ ​for​ ​characters​ ​to​ ​decypher​ ​ancient  runes​ ​may​ ​be​ ​marked​ ​with​ ​“8♦”,​ ​which​ ​means​ ​a​ ​total​ ​of​ ​eight​ ​diamonds​ ​will​ ​need​ ​to​ ​have​ ​been  spent​ ​to​ ​decipher​ ​the​ ​runes.).​ ​Unless​ ​otherwise​ ​specified,​ ​all​ ​static​ ​challenges​ ​may​ ​be  collaborated​ ​on,​ ​but​ ​all​ ​cards​ ​must​ ​be​ ​discarded​ ​at​ ​the​ ​same​ ​time​ ​and​ ​all​ ​participants​ ​must​ ​share  the​ ​resulting​ ​information​ ​or​ ​consequences​ ​of​ ​the​ ​challenge.​ ​Sometimes,​ ​contests​ ​of​ ​Thought  between​ ​two​ ​characters​ ​(such​ ​as​ ​a​ ​chess​ ​match)​ ​may​ ​be​ ​resolved​ ​through​ ​bidding,​ ​in​ ​a​ ​similar  fashion​ ​to​ ​influence​ ​challenges​,​ ​with​ ​characters​ ​expending​ ♦​ ​ ​instead​ ​of​ ♥​ .  Combat  ● At​ ​the​ ​beginning​ ​of​ ​each​ ​round​ ​of​ ​combat,​ ​all​ ​participants​ ​must​ ​declare​ ​who​ ​or​ ​what​ ​they​ ​are  attacking.​ ​The​ ​storyteller​ ​will​ ​count​ ​down​ ​verbally​ ​from​ ​three,​ ​at​ ​the​ ​end​ ​of​ ​which,​ ​each​ ​particip  or​ ​interacting​ ​with​ ​during​ ​the​ ​round​ ​and​ ​must​ ​point​ ​at​ ​the​ ​target​ ​of​ ​their​ ​choice.​ ​ ​Characters​ ​who  are​ ​not​ ​attacking​ ​or​ ​interacting​ ​with​ ​anything​ ​must​ ​point​ ​at​ ​themselves.​ ​A​ ​character​ ​pointing​ ​at  themselves​ ​and​ ​whom​ ​no-one​ ​is​ ​pointing​ ​at​ ​may,​ ​at​ ​the​ ​end​ ​of​ ​the​ ​countdown,​ ​declare​ ​“fair  escape”​ ​and​ ​leave​ ​the​ ​combat​ ​scene.     ● Attacking​ ​characters​ ​must​ ​then​ ​discard​ ​a​ ​relevant​ ​card​ ​(usually​ ​♣)​ ​and​ ​declare​ ​the​ ​Power​​ ​of​ ​their  attack.   ○ An​ ​attack’s​ ​Power​ i​ s​ ​the​ P ​ .I.T.H.​​ ​associated​ ​with​ ​the​ ​attack​ ​(usually​ ​Physicality​)​ ​plus​ ​a  single​ ​bonus​ ​from​ ​a​ ​piece​ ​of​ g ​ ear​,​ ​a​ ​single​ ​bonus​ ​from​ ​a​ ​trait​,​ ​and​ ​a​ ​single​ ​bonus​ ​from​ ​a  marvel​.   ● Add​ ​up​ ​the​ ​total​ P ​ ower​​ ​targeting​ ​each​ ​character​ ​compare​ ​that​ ​number​ ​to​ ​each​ ​target’s  toughness.  ○ A​ ​character’s​ T ​ oughness​​ ​is​ ​the​ ​character’s​ ​Physicality​ ​plus​ ​single​ ​bonus​ ​from​ ​a​ ​piece​ ​of  gear​,​ ​a​ ​single​ ​bonus​ ​from​ ​a​ t​ rait​,​ ​and​ ​a​ ​single​ ​bonus​ ​from​ ​a​ ​marvel​.   ● For​ ​each​ ​character,​ ​if​ ​the​ ​total​ ​Power​​ ​attacking​ ​them​ ​in​ ​a​ ​round​ ​exceeds​ ​their​ ​Toughness​,​ ​that  character​ ​must​ ​discard​ ​a​ ​♣.​ ​If​ ​the​ ​total​ P ​ ower​​ ​attacking​ ​a​ ​character​ ​in​ ​a​ ​round​ ​exceeds​ ​double​ ​its  Toughness,​ ​the​ ​character​ ​must​ ​discard​ ​a​ ​second​ ​♣.​ ​Triple​ ​the​ t​ oughness​?A​ ​third​ ​♣​ ​discarded.,​ ​and  so​ ​on.   ● If​ ​the​ ​total​ ​attacking​ ​Power​​ ​on​ ​a​ ​character​ ​does​ ​not​ ​exceed​ ​the​ ​character’s​ T ​ oughness​,​ ​the  defending​ ​character​ ​discards​ ​no​ ​cards.  Abbie,​ ​Bert,​ ​and​ ​Carl​ ​are​ ​engaged​ ​in​ ​deadly​ ​combat​ ​with​ ​a​ ​powerful​ ​KA​ ​in​ ​the​ ​form​ ​of​ ​a​ ​hideous​ ​Boar.​ ​At  the​ ​beginning​ ​of​ ​the​ ​round,​ ​the​ ​storyteller​ ​counts​ ​down:​ ​“3,​ ​2,​ ​1”.​​ A ​ t​ ​the​ ​end​ ​of​ ​the​ ​countdown,​ ​the​ ​Boar  is​ ​pointing​ ​at​ ​Carl,​ ​Abbie​ ​and​ ​Carl​ ​are​ ​pointing​ ​at​ ​the​ ​Boar,​ ​and​ ​Bert​ ​is​ ​pointing​ ​at​ ​himself.​ ​Bert​ ​declares  “fair​ ​escape”​ ​from​ ​the​ ​scene.     Abbie​ ​expends​ ​a​ ​♣,​ ​draws​ ​her​ ​gun​ ​and​ ​fires:​ ​She​ ​adds​ ​her​ ​Physicality​ ​+8​ ​Gun​ [​ gear]​​ ​+2,​ ​and  Sharpshooter​ ​[trait]​ ​+2​ ​to​ ​her​ P ​ ower​​ ​for​ ​a​ ​total​ ​of​ ​12​.    Carl​ ​expends​ ​a​ ​♣,​ ​readies​ ​his​ ​his​ ​fire-emblazoned​ ​fists,​ ​adding​ ​his​ ​Physicality​ ​+5​ ​,​ ​Brass​ ​Knuckles​ ​[gear]  +1,​ ​Brawny​ ​[trait]​ ​+2,​ ​and​ ​ ​Alchemical​ ​Fire​ ​[wonder]​ + ​ 5​ ​to​ ​his​ ​Power​​ ​for​ ​a​ ​total​ ​of​ ​13​.    The​ ​KA​​ ​discars​ ​a​ ♣​ ​ ​and​ ​strikes​ ​Carl​ ​with​ ​a​ ​power​ ​of​ 1​ 8​.     Carl​ ​is​ ​targeted​ ​with​ ​ 1​ 8​​ ​total​ ​Power,​ ​his​ T ​ oughness​​ ​given​ ​all​ ​bonuses​ ​ ​is​ ​only​ 5 ​ ​,​ ​and​ ​so​ ​must​ ​discard  three​ ♣​ .​ ​Carl​ ​only​ ​has​ ​one​ ​♣,​ ​but​ ​a​ ​strong​ ​reserve​ ​of​ ♠​ .​ ​Carl​ ​discards​ ​his​ ​last​ ​♣​ ​and​ ​two​ ♠​ ​ ​and​ ​remains​ ​on  his​ ​feet    The​ ​KA​ ​is​ ​targeted​ ​with​ ​25​​ t​ otal​ ​Power​,​ ​it’s​ T ​ oughness​​ ​is​ 8 ​ ,​ ​ ​and​ ​so​ ​must​ ​discard​ ​three​ ​♣,​ ​leaving​ ​it  wounded​ ​but​ ​not​ ​yet​ ​defeated.      Death  Characters​ ​in​ ​Invictus​ m ​ ay​ ​become​ i​ ncapacitated​​ ​or​ ​otherwise​ ​physically,​ ​mentally,​ ​or​ ​socially  compromised,​ ​but​ ​permanent​ ​character​ ​death​ ​can​ ​only​ ​occur​ ​as​ ​the​ ​result​ ​of​ ​a​ ​direct​ ​choice​ ​of  the​ ​player.     Characters​ ​who​ ​repeatedly​ ​violate​ ​the​ ​themes​ ​and​ ​social​ ​norms​ ​of​ ​the​ ​setting​ ​may​ ​face  character​ ​retirement​ ​or​ ​death​ ​via​ ​storyteller​ ​intervention,​ ​but​ ​will​ ​always​ ​receive​ ​a​ ​warning​ ​and  the​ ​opportunity​ ​to​ ​alter​ ​course​ ​before​ ​such​ ​intervention. 

https://www.pdf-archive.com/2017/11/04/inv-larp-0-1-playtest/

04/11/2017 www.pdf-archive.com

Wheelman 96%

This quality is only available to characters that possess a Magic attribute rating.

https://www.pdf-archive.com/2014/07/03/wheelman-1/

03/07/2014 www.pdf-archive.com