BY BRIAR SOVEREIGN

This arcane text was certified by: Briar Sovereign

Certification Date: 31st December 2023
If the above is empty, please leave this text in the care of your local College associate so that
it may be given proper certification. Additionally, please leave yourself in the care of your
nearest councillor or judiciary clerk so that you may be properly charged with possession of
an uncertified text of magical origin or content.

The Crown thanks you for your diligence and honesty.

 Armour Astir: Advent is a high-fantasy
roleplaying game about striking back against an
authority that seeks to control you.

It is a game of rival pilots clashing in steel-clad

Astirs, of soldiers holding their own against the
odds, and of spies and diplomats twisting the
world to their ends. It is not a game of careful
preparation or pleasant truces;

It's hard to change the world without taking a

risk.
WRITING & DESIGN ADDITIONAL WRITING
Briar Sovereign S. Malachai Peters, HB, LE
Amaranth
COVER ART
Zac Morrison SENSITIVTY READERS
Kade Chapman, Carolyn
INTERIOR ART McLennan, Catherine Liao
S. Malachai Peters, Simon Sweetman, Jolyne ‘Jojo’
Gremory, Zac Morrison, Bonnie Guerra, Tan Juan Gee,
Terrence Hector, Florian Walraven, Viktor Engholm,
Peyton Gee, Andrian Schweinsberg, Carey Disini

TOUCHSTONES INCLUDE;
• Mobile Suit Zeta Gundam, Mobile Suit Gundam ZZ, SD Gundam Gaiden, Vision Of Escaflowne, Super
Dimension Fortress Macross, Armour Hunter Mellowlink
• The Legend of Zelda: Breath of the Wild, Titanfall, Valkyria Chronicles, Final Fantasy VIII, Final Fantasy XII,
XCOM 2
WHAT DO I NEED?
If you're playing in-person, you'll need some 6-sided dice, a copy of this rule book, and printouts of
the character playbooks. If you're playing online, you just need the PDFs. You can find links to all
these at https://weregazelle.itch.io/armour-astir.
WHERE SHOULD I SEND MY FEEDBACK/QUESTIONS?
Feel free to email me at weregazelle@gmail.com with the header ‘Feedback (Armour Astir)’.
Also, feel free to join the Armour Astir discord! (https://discord.gg/5DrDpCr)
 PLAYTESTING CREWS
THE CREW OF THE MANY HANDS
Sean DMR (Luca Sharpe, Impostor of the Tempest Zephyr), Evan Nyquist (Impostor of the Collosus
Azure), LilypadNebula (Cassandra Val Nelithia, Witch of the Wistful Glance), Briar Sovereign (Director).
THE CREW OF THE HELLEBORE
Austin Walker (Director: Empyrean, Barter, and the forces of the Divine Principality), Art Martinez-
Tebbel (Briar Brightline, Captain of the Constellation-Class Carrier Hellebore, aka The Ivory Prince),
Sylvi Bullet (Cerise Sky, Low Consul of the Center & Arcanist of the Perennial Hallow Aster), Janine
Hawkins (Teasel Moad, Witch of The Day's Eye), Andrew Lee Swan (Vessel's Gold, Impostor of The High
Price).
THE CREW OF THE SALAMANDER
Em Marko (Agnes Rota, Witch of the Kubuto), Lizzy (Astrid Ascendant, team Scout), Jackson Tyler
(Avery Sova, Paradigm of the Caelus), Alison Autumn June (Ilia Vanseer, Arcanist of the Aeon), Briar
Sovereign (Director).
THE CREW OF THE FORGE
Evan Nyquist (Director), Ben Cornell (Ciaran, crew Scout), Landon Cornell (Stila, Paradigm of the
Vengeance), and Tasha Zobel (Davée, Imposter of the Stalker).
THE CREW OF THE GOBLIN WHALE
Sean DMR (Director: Blaidud, Bridge Marshal Kessler, and the forces of the Cardinal Agglomerate),
Briar Sovereign (Custodian Cobalt, Arcanist of the Nothic), Ruby Ariel Lilith Saint Dennis (Lilly / Ren
Konsche Klauvei Faut-Naushika, Paradigm of The Wight Knight), Andrew (Zaiban Rashilik, Impostor of
the Zyar), Emily G. (The Duchess of Marmalade, crew Artificer).
THE CREW OF THE RUBATO RED
Dax Richardson (Director), Simon Sweetman (The late Cantankerous Tor, Paradigm of the Tatu Forté),
Rowan Paulsen (Captain Capriccio Hawk, Captain of the Obsidian Overture Cruiser [PIPE ORGAN
REFIT] Rubato Red), Kris (Aneko Bora, team Scout), Brock McCord (Merric mac Maehve, Impostor of
the Iris Scáith).
THE CREW OF THE WHOSE NAME ESCAPES ME
Jared Haughton (Director), Christopherlyn Nunez (Lalo Alyxi, Arcanist of the Pazcal's Wager),
Matthew Mlodzienski (Daiko, Imposter of the Laika III), Amndeep Singh Mann (Kar Kha, Paradigm of
the Chem Chem), Killian McDonnell (Abigail Ortega, Captain of the Whose Name Escapes Me), God-
Forsaken Lizard (Tamir Skellington, crew Artificer).
THE CREW OF THE MUTED REQUIEM
Ida Ailes (Director: Captain Pace Ouedraogo, Apollinariya Wolfram III, and the forces of the Wolfram
Union), Tallula Memory Boysen (Meory Virgo, Tactician of the Stella née Astro), Zoey Faye Whiting
(Danica Arkose, Diplomat of Choir-state Coralinth, aka Agent Allegro of the Nacrine Tide), Aliza
Aphrodite Courtney (Symbol And Deeds, Haunted of the Psalm known as Union), Minttu Tabbert (“C”,
Aligned of the AQA-939)

For corrections or additions to the playtesting crews, email weregazelle@gmail.com.

 QUICK SETUP
Just playing a one-shot and want to get set up as quickly as possible? Follow these steps and you’re
good to go!
1. Detail your Authority and Cause
2. Detail your Carrier
3. Detail Characters & Choose Playbooks
4. Start Making Stuff Up
DEFINE YOUR AUTHORITY... ... AND YOUR CAUSE
The first step is to define your Authority. This The second is to do the same for your Cause -
should be an oppressive group that the players the group that backs and hands orders down to
are interested in fighting back against, however the player characters. As a whole, the Cause
difficult that might be. Also, unless you’re should be a group with whom the players align
feeling particularly unimaginative, they should for the time being, even if the occasional
have a better name than 'the Authority'. representative is an asshole.
If you're stuck, try thinking about the If you're stuck, try thinking about who would
Authority's goals, why they haven't achieved have the resources to stand up to the Authority,
them yet, and what sort of people are attracted and whether they would do so for purely
to the Authority. virtuous ends.

In both cases, you should also think about what their broad aesthetic is, as well as the design of any
common Astirs (your Zakus, your Nemos, etc).
QUICK CARRIER
The Carrier is your shared home and the ship that takes you from place to place (think the White
Base from Mobile Suit Gundam, or the Normandy from Mass Effect). Decide together what your
Carrier looks like, how it moves and how you got it. It has;
• A CREW trait of +1, or +2 if someone chooses to play a Captain.
• A main gun that can shoot down other Carriers but is too slow for Astirs.
• Turrets that can be used to fight off Astirs but will barely scratch a Carrier.
DETAIL CHARACTERS & CHOOSE PLAYBOOKS
The last step is for the players to make their characters!
• Start by choosing a playbook—if you've never played a PBTA game before, they're like classes, or
archetypes. Talk with the group what kind of action they are interested in, and what kind of
playbooks might support that fiction.
• Next, assign the following values to your Traits as you wish: +2, +1, +0, +0, -1. Some playbooks
have an extra Trait, CHANNEL, which will come with a pre-set value.
• Then, name your character, and pick out some words to describe their look from the examples—
or think up your own!
• Next, choose from the gear or equipment options your playbook has. Some playbooks have more
than one choice.
• Next, pick some moves from your playbook list (unless it says you don’t get to).
• Finally, since you won’t be building them in play, fill out a GRAVITY clock with each other player
character, describing your relationship or dynamic and giving it a value of +1.
START MAKING STUFF UP
With characters made and the stage set, it’s time to launch! Consult the Basic Moves when you’re
ready to take action or the Playbooks when you want to pull something special off. If you’re the
Director, the Running The Game chapter has example enemies and advice to help you get things
rolling, but don’t be afraid to improvise and go off script. It’s a one-shot, and nobodies going to be
mad if you get things a little wrong. For a little extra help, check out the Mission Hooks.
 A NOTE ON WORLDBUILDING
While this game doesn’t include a pre-written setting you are expected to play, that’s not to say
these rules are completely free of any details outside the mechanics. These are intended to establish
a feel for the game that will serve as a starting point for your own world—some core elements that
you can build around. ‘Armour Astirs’ rather than mechs, ‘Channelers’ rather than pilots—these
things are there to inspire and set an identity, and you should feel free to change all of them if the
world you and your fellow players are exploring demands something different, or if you already have
a setting you’re bringing these rules to.

Replacing magic itself is a little trickier, but it’s doable. Astirs and Ardents are already a pretty
natural parallel to mechs and other combat vehicles, and Familiars are intended as an equivalent to
drones or funnels/bits. For any weapon you can think of there’s probably some modern or sci-fi
alternative that fulfils the same role, and you might try to convert the CHANNEL Trait into
something that represents piloting skill, grit or luck instead of magic.

The artwork depicted in this book is the work of a group of artists with different ideas, experiences
and histories with mecha fiction. It is my hope that it inspires and fills you with ideas about what the
world in a game of Armour Astir can look like, not what it has to look like.
- Briar
 CONTENTS
MAIN CONCEPTS 8 CONFLICT & TIERS 65 Authority Attack! 145
Who You Are 8 Opposing With +CLASH 66 THE GHOST REACHES 146
Who They Are 8 Opposing With +TALK 67 Overview 146
What You’re Doing 8 Tiers 68 The New Hunt 147
Taking Action & Rolling 9 Situations & Edge Cases 69 The Faces Of Progress 149
Traits 10 TAGS & GEAR 70 Example Astirs of The Ghost
Playbooks: Channeler & Reaches 150
Support 10 Acquiring Equipment 70
Tags 71 Example Gear of The Ghost
Astirs & the Carrier 10 Reaches 150
Hooks 11 Tier I Equipment 74
Conflict Turns & Downtime 11 Tier II Equipment 75 THE ACADEMY ARCANE 151
Clocks 11 THE CARRIER & ASTIRS 79 Overview 151
Spotlight 12 The Carrier 79 Grand Contest Era 152
GRAVITY 12 Creating A Carrier 79 Torn Continent Era 154
Dangers 13 Astirs 82 Example Astirs of The
Burdens 13 Creating An Astir 83 Academy Arcane 155
Astir Extras 90 Example Gear of The Academy
SETTING UP 14 Arcane 155
Setting The Stage 14 Salvaging Astirs 90
The Authority 15 The Astir Card 90 PALUS SOMNI 156
The Cause 16 Example Astirs III 92 Overview 156
Creating Player Characters 17 THE CONFLICT TURN 106 The Living Dead 157
Ready To Play! 18 Authority Structure 106 The Duality of Earth & Sun 159
Cause Structure 110 Example Astirs of Palus Somni
BASIC & SPECIAL MOVES 19 160
Basic Moves Summary 19 Pillars 112
The Wayward 113 Example Gear of Palus Somni
Weather The Storm 21 160
Read The Room 22 Playing The Conflict Turn 113
Dispel Uncertainties 23 Conflict Outcomes 114 THE ICE OF VALDEMAR 161
Help or Hinder 24 Conflict Scenes 115 Overview 161
Weave Magic 25 RUNNING THE GAME 120 The Equinox 162
Cool Off 26 Agenda 120 The Restoration 164
Exchange Blows 27 Principles 120 Example Astirs of Valdemar
Strike Decisively 28 Director Moves 123 165
Bite The Dust 29 Safety Tools 126 Example Creatures of
Group Moves 30 Starting & Ending Your Valdemar 165
Special Moves Summary 30 Campaign 127 APPENDIX 166
Lead A Sortie 31 Preparing & Ending Sessions Risk & Peril Examples 166
Subsystems 32 128 Glossary & Shorthands 167
B-Plot 33 Creating Actors 129 Magical Objects 168
DOWNTIME SCENES 35 Example Foes 130 Magical Weapons 169
Plan & Prepare 37 Astirs & Ardents 131
People 132 RELEASE NOTES 171
PLAYBOOKS 38 Creatures & Monsters 133 ACKNOWLEDGEMENTS 172
ARCANIST 39 Outsiders 134
IMPOSTOR 42 Rivals 135
PARADIGM 45 Setting & Mission Hooks 135
WITCH 48 Optional Rules: Multi-sided
CAPTAIN 50 Conflicts 136
Optional Rules: Generational
DIPLOMAT 53 Conflict 138
ARTIFICER 55
SCOUT 58 MISSION HOOKS 141
Cantrips 60 The Grand Melee 141
ADVANCEMENT 61 Neutral Ground 142
Escort Duty 143
Soldier Moves 61 Eleventh Hour 144

Armour Astir: Advent © 2019 by Briar Sovereign

All Rights Reserved. This publication may not be reproduced, resold or stored by any
means without explicit prior permission.
 MAIN CONCEPTS
WHO YOU ARE
In Armour Astir, you’re rebels, mercenaries, and revolutionaries. You might be a Channeler,
someone with the ability and training to control an Astir—a humanoid construct of magic and metal,
some of which stand ten times the height of their pilots. You might be a Paradigm who gained that
power through devout service, a Witch who made a pact in their darkest hour, or an Impostor who
seized magic for their own at a cost. You might be the kind better suited to life outside of a suit of
magical armour, of course: you might be a Scout trained by the Authority who left to fight back, an
Artificer who grew up keeping things working around their hometown, or a Diplomat who made a
name for themselves holding factions together.
Whoever you are, you represent something. This might be a small group, a company, or simply an
ideology—but whatever it is, it is referred to as the Cause, and it is from your Cause that you receive
direction and instruction. There are surely other factions involved in the struggle against the
Authority, and it may be in your interests to align with them—but the Cause is what you belong to.

WHO THEY ARE

The exact nature of the Authority is up to you and everyone else at your table, but the Authority is
generally an authoritarian group, usually in a grand position of power, that seeks to control and
subjugate people who do not fall in line. There is no need for things to be entirely black and white in
regards to the motivations of individuals, but as a general whole the Authority should represent
something you as players are interested in fighting back against.
As with any other tabletop game, you should discuss what kind of content and themes you want to
you want to tackle or avoid during play. There are different degrees and scales of evil, after all—and
fighting a simpler, less subtle Authority is just as valid as fighting back against something more real
and personal.
Also, unless you’re feeling particularly unimaginative, they should have a better name than the
Authority.

WHAT YOU’RE DOING

In Armour Astir, players typically rotate between Downtime (where they spend their limited free
time to repair, rest, and rendezvous) and Sorties (where they leave the Carrier together to try and
achieve a goal). Sorties themselves are usually a combination of several scenes—individually framed
sections of action, like scenes in a movie or TV show—after each of which the player’s risks are
cleared. A larger goal, referred to as a Mission, is typically achieved over the course of a few Sorties.
A SORTIE MIGHT BE;
• Venturing out to defend the Carrier against attackers.
• Stabilising or destroying a dangerous magical artifact.
• Negotiating a peace treaty between two rebel groups.
• Something that could be done in one or two sessions of play: a short-term goal.
A MISSION MIGHT BE;
• Disrupting a major military operation.
• Liberating a city from the Authority.
• Dislodging a dragon and their minions from the region.
• Something that can be clearly split into multiple Sorties: a long term goal.
 TAKING ACTION & ROLLING
In Armour Astir, actions are resolved using ‘moves’, which are rolls consisting of 2 d6’s and a single
modifier, usually a Trait: one of 6 values that represent your character's core attributes.
Generally, actions are resolved as such;
1. The Player explains to the Director what it is they want to do (and narrates action where
appropriate)
2. The Director decides what move is appropriate.
3. The Player rolls 2d6 and adds the noted Trait.
4. The Director determines and narrates the outcome. Play continues.
OUTCOMES
As a PBTA game, Armour Astir resolves rolls as either a 6- (failure), a 7-9 (partial success) or a 10+
(full success). By and large, moves have their own specific outcomes for a 7-9 or 10+ result, but
generally speaking a 7-9 will get you what you wanted but with some drawback or cost, and a 10+ will
get you what you wanted with no further consequences.
By comparison, most moves do not have a specific 6- outcome. For most moves, a 6- result means the
Director gets to make a move of their own, and they have freedom in how soft or hard they want that
move to be; but whatever happens, it will probably be bad for you.
ADVANTAGE & DISADVANTAGE
Sometimes you'll be asked to roll with advantage or disadvantage. This means to roll 3d6 and take
the highest or lowest 2 respectively. These do stack: if you have advantage from 2 sources, for
example, you'd roll 4d6 and take the highest 2. Similarly, they cancel each-other out. If you have 2
advantage and 2 disadvantage on a roll, you have neither. When rolling with either, you choose
kept dice after all other modifiers or alterations to the roll (like confidence and desperation below)
are made.
Tags on equipment and moves are common sources of advantage & disadvantage, but your Director
might also impose either where it makes sense in a situation. The most dice you may roll at a time is
4, regardless of how much advantage or disadvantage you have.
CONFIDENCE & DESPERATION
Additionally, you might also sometimes be asked to act with confidence or in desperation. When
acting with confidence, you are almost assured of your success: treat any dice result of 1 as a 6
instead. When acting in desperation, you have a slim chance to claim an unexpected victory: treat
any dice result of 6 as a 1 instead.
Both are applied before you keep dice when rolling with advantage or disadvantage: you might, for
example, be acting with disadvantage and confidence and roll two 1’s and a 3. You’d upgrade both
those 1’s into 6’s first, leaving you with the lowest two of 6, 6 and 3 (9).
When you act in desperation and succeed, you may deepen a Hook.
When you act in confidence and fail, you may loosen a Hook.
HOLD
Some moves give you ‘hold’ to spend. Typically, hold can only be spent on the move that provided it,
and it will usually give one or more things you can spend that hold in exchange for. When you spend
hold, you just do it—you don’t need to roll—and whatever outcome is listed on the move happens.
For example, the basic move read the room gives you hold to spend on asking the Director
questions about your current situation. You don’t need to roll again to ask those questions; you just
spend the hold, and ask away. That hold is only for read the room, though, so you can’t spend it on
other moves that use hold.
 TRAITS
Traits are measured from -3 to 3, and are as follows;
• DEFY, the ability to resist pressure and power through adversity.
• SENSE, the ability to read people and situations.
• CLASH, your prowess in combat, at distance or up close.
• TALK, your skill with the spoken and written word.
• KNOW, your ingenuity and cunning.
Certain playbooks also have the CHANNEL trait, representing magical abilities from various sources.
CHANNEL is a special trait, in that it cannot be increased or decreased except through methods
specific to your playbook. You cannot increase CHANNEL when taking an advancement.
When you make a character, you’ll set your Traits as you desire, on the conditions that;
• No Trait be higher than +2 or lower than -2.
• Your Traits add up to a total of +2.
In the future, you’ll get opportunities to improve your Traits as you play and earn advancements.

PLAYBOOKS: CHANNELER & SUPPORT

Like many PBTA games, in Armour Astir players choose a playbook: a set of moves and equipment
that make up the foundation of their character and define their role in the world—or at least their
role before the events of your game. You can think of playbooks as something like a class in an RPG,
or a job the character has within the setting.
Armour Astir has two kinds of playbooks: channeler playbooks, which all revolve around characters
who channel (pilot) and control Astirs (mechs) as their primary way of contributing to the conflict,
and support playbooks, who primarily contribute in other ways. Broadly;
• Channeler playbooks are assumed to be able to use magic, and have the +CHANNEL trait used for
weave magic and other magic-related moves.
• Channeler playbooks know how to move and command Astirs, and can generally control any
they find unless it is particularly complex or magically locked to a specific person.
• Channeler playbooks can use the special move subsystems to activate parts of their Astir.
• Support playbooks typically cannot use magic or Astirs, unless specified otherwise.
• Support playbooks instead start with additional moves, and have special Quarters on the party’s
Carrier that provide benefits.
• Support playbooks can use the special move b-plot to explore and advance a side objective
during a Sortie.

ASTIRS & THE CARRIER

Channeler playbooks all start with a custom Astir, and the party itself has a shared Carrier to use as
both a home base and their mode of transport. Support playbooks contribute extra Quarters towards
it, granting benefits for both themselves and the group. For more information on both, see The
Carrier & Astirs.
 HOOKS
Hooks are short phrases that define how your character acts and thinks about the world and people
around them. They might be beliefs about the world and their allies, goals they personally seek to
accomplish, or duties they have taken up. Whatever their nature, Hooks are things that colour and
inform the things your character does: a Hook might pull you to something new, where another
might be something your character struggles to break free of. All players should write three Hooks
during character creation, but don’t worry about them being perfect: Hooks can be altered during
play, based on how deeply you are caught on them.
Typically, Hooks can only be altered when you are prompted to do so: this might be by Downtime
Scenes (see below), moves you have access to, or so on. However, sometimes, your Hooks may be
deepened or loosened. Acting in desperation or confidence and biting the dust are the primary
sources of this.
Deep Hooks cannot be re-written, forcibly or otherwise. Loose Hooks, on the other hand, can be re-
written whenever you feel like it. If a loose Hook is deepened it returns to normal, and vice versa.
LOOSE HOOK NORMAL HOOK DEEP HOOK
Change it whenever you feel like Change it when prompted by a Can’t change it even when
Move or Downtime Scene prompted, act with confidence
when you cross it off

SPENDING HOOKS
When you take action that requires you to sacrifice, outgrow or otherwise conclude one of your
Hooks, cross that Hook off permanently: you may then immediately take an advancement, and act
with confidence if the Hook was deep.

CONFLICT TURNS & DOWNTIME

Between sessions, the tide of battle between the Authority and the Cause doesn’t freeze in place.
During the Conflict Turn, players direct the broader course of their struggle through playing out
Conflict Scenes together: directing Challenges to each other through role-played scenes before
discerning which side gets to pick an Outcome.
Afterwards, players return to their normal characters for Downtime: resting, recuperating and
repairing the damage of their Sortie in similar Downtime Scenes before they venture out into danger
once again.
TOKENS
Tokens are narrative currency, gained and used during Downtime. You gain tokens when entering
it, and lose any you don’t spend at the end: so spend them!
During Downtime you’ll spend your tokens to add to other player’s Scenes and gain benefits for
yourself. By default you receive 2 tokens for each Downtime, but several playbook moves and other
sources give you extra tokens broadly or for specific use cases. Keep an eye out for them!

CLOCKS
Clocks are a measure of progress towards a goal or some other event, and
are typically measured from 4 to 8 segments long based on complexity or
other factors. What causes a clock to fill might differ depending on the
clock—during Downtime players can advance project clocks by working on
them during Scenes, for example—but there is a constant: when a clock fills,
something happens.
Outside of project clocks, clocks will typically be more the Director’s
concern than any of the other players. For them, clocks are a handy way of
measuring progress against objectives, literal ticking clocks for time
pressure, and so on.
 SPOTLIGHT
Whenever you fail a move (that is, you roll a 6 or below), you may take a point of Spotlight. Once you
have 6 Spotlight, you may spend it at any time to take centre stage and immediately gain an
Advancement. Whatever you do next, you may act with confidence to do it right now.

GRAVITY
GRAVITY clocks represent relationships and attachments you have with people and with groups.
They’re not measures of how much someone loves or hates you: they are countdowns to when a
relationship is challenged, confronted or addressed. What this looks like is up to you and the other
party—it might be an admission that you want a different kind of relationship, a commitment to
things continuing as they are, or you accepting that the relationship should be over entirely—but it
should be significant. GRAVITY clocks don’t have to be positive: they are for star-crossed lovers just
as much as fierce rivals meeting on the battlefield time after time. If it seems like the forces of the
universe are dragging two people together often, it might be GRAVITY.
GRAVITY clocks are 6 segment clocks, and start empty. They are shared between two players or a
player and the Director (representing a Director character or a faction/group), and represent their
relationship and how those characters see each-other. When the clock advances, it advances for
everyone involved: they are both sharing the same clock and the same progress. You’re ticking your
shared clock once.
You don’t need an GRAVITY clock for everyone you meet—you should save them for your character’s
relationships you want to focus on and explore in play. For this reason, you may only be part of 3
GRAVITY clocks at a time, as well as 1 for your Rival should you acquire one. When you make a
GRAVITY clock with one of the Director’s actors or a faction/group, you’re showing the Director that
they’re someone you want to engage with often in play.
When you start a new GRAVITY clock, choose a word or short phrase that sums up the relationship,
and give it a value of +1. Whenever you make a move involving the other party of a clock, you may
add the clock’s value instead of the normal Trait or value. If you do so, advance the clock. You can
start a new clock whenever it feels appropriate.
FILLING GRAVITY CLOCKS
When a GRAVITY clock is filled, the relevant players have three choices;
• Redefine the relationship; you may take an advancement, start a new GRAVITY clock, and
increase its value by 1 (to a max of +3).
• Commit to the relationship; increase its value by 1 (to a max of +3), and you may take an
advancement. Circle the filled clock—it can’t be filled any further. When you take action that
ends this relationship, like sacrificing yourself for your beloved or betraying the person you’re
supposed to be loyal to, succeed as if you rolled a 10+ and cross out that clock forever.
• Abandon the relationship; you may take an advancement and erase the GRAVITY clock, freeing
up a spot for a new one.
This change doesn't need to be shown the second the clock fills, but it should be represented in play
either during the Sortie or during an upcoming Downtime Scene.

+1 +3 +1 +2 +2

Nervous friends Fated lovers Zealous rivals Chasing the Estranged

same boy siblings

Clocks can technically advance any number of times during a session. If you find clocks are ticking
too quickly, though, or you’re playing a longer game and want progression to happen more steadily,
your Director might limit this; perhaps only allowing each clock to be advanced once or twice per
session, or by making all clocks 8 segments instead of 6.
 DANGERS
When twenty-foot-long swords and magic guns are involved, injuries tend to be the severe kind.
Thankfully, characters in Armour Astir are plenty capable of defending themselves—up to a point.
Should enough problems, distractions or dangers arise, you may find yourself defenceless.
For players, being defenceless means your usual methods of avoiding harm aren’t available to you.
Where you might usually exchange blows or weather the storm to avoid a blow or dodge real
consequences, that’s no longer the case—your guard is down, your armour has a hole, etc. When you
are defenceless and someone or something tries to harm you, you must roll to bite the dust.
The dangers that make it harder to defend yourself come in two kinds: risks are temporary things that
can be resolved during a Sortie (like having the low ground during a fight, being on fire, or being
distracted), and perils are more permanent issues that must be solved during Downtime (like serious
injuries to you or your Astir, being heartbroken, being exhausted). A danger to you is a danger to your
Astir, and vice versa. For all intents and purposes, your Astir is an extension of yourself. Characters
can be affected by a certain amount of both before they are defenceless:
• Players, Rivals and Main characters are defenceless at 3 dangers.
• Side characters are defenceless at 2 dangers.
• Extra characters are defenceless at 1 danger.
When a move or other effect says you take a risk or are put in peril, it means you’re being given one
of those dangers. Sometimes it will be specific exactly what you’re gaining—e.g., ‘take a risk
(outnumbered)’ means you add a risk named ‘outnumbered’ to your character sheet. If there’s no
brackets, it means you choose what the risk or peril is. Generally, if you’re asked to take a risk, you
decide: if you’re put in peril, your attacker decides. Either way, you should feel free to discuss them
with your Director.
If you want some examples, there’s some given towards the end of this document. When someone is
defenceless, it should be obvious—but individual perils and risks don’t need to be so explicit.
Sometimes, risks might be linked to temporary situations rather than the effects of a move. The most
common example would be if you’re taking someone by surprise or attacking from a stealthy
position: the situation puts them at risk, but the second you reveal yourself that risk is no longer
relevant. An actor who is an extra, vulnerable at 1 danger, could be struck decisively from stealth
since the situation leaves them defenceless. With anyone else, you won’t be so lucky.
If you take a risk but already have 3 dangers, replace one with a peril. If you would be put in peril but
already have 3 dangers, replace a risk with it if you have one—otherwise, bite the dust in
desperation until the end of the Sortie. Further dangers just trigger bite the dust instead.

BURDENS
A counterpart to risks and perils, burdens do not inherently put you in danger as long as they are
managed properly. When you enter Downtime, you discard one of your tokens (used during
Downtime to take part in Scenes and gain benefits) for each burden you have and describe what kind
of upkeep or attention it requires. If you have the misfortune to earn three burdens, you lose your
Downtime Scene—your obligations simply take precedence. Other players may still give you tokens
to spend as usual, if they want to.
Burdens might represent long-term injuries or illnesses, but might also represent social
circumstances or other duties that require regular attention. Your Diplomat might be burdened with
the need to report to their superiors, or your Artificer might feel the burden of needing to personally
run maintenance for all the crew’s Astirs.
Burdens are primarily gained from bite the dust and certain playbook moves.
 SETTING UP
Setting up for a game of Armour Astir: Advent is simple, and consists of defining some key elements
of the world you’ll be playing in, building up the player characters, and figuring out what your first
mission together will be.

SETTING THE STAGE

The very first part, and arguably one of the most important parts of playing Armour Astir, is setting
up the world in which your game will take place. Other than the existence of a few things, like Astirs
and other magical devices (which you and your group are free to re-fluff to suit your personal tastes,
of course), this game doesn’t assume much of your setting—meaning as a group you have a lot of
freedom when coming up with the setting you’d like to play in. There are a few important things to
iron out, however.
Your first job as a group will be to shape your games Authority—the controlling force, like a ruling
empire or military group that the players are aligned against. The Authority will be the central
villain of your game (usually), and should be a group that the players are all interested in fighting
against. It’s probably a group of power-hungry, empire-minded bastards. For some examples, see: the
Earth Federation / the Titans (Mobile Suit Gundam et al.), the Zaibach Empire (Vision Of Escaflowne), the
Grineer (Warframe), the British Empire, etc.
The second will be to do the same for the Cause—the group of revolutionary factions to which the
players belong, who supply them with equipment and support to further the fight against the
Authority.
Finally, with the above done, players should pick the playbooks they are interested in playing, and
use the ideas presented within to create their characters. Character creation doesn’t happen in a
vacuum - players should feel free to discuss their character ideas with each other and help flesh out
an interesting cast.
You might want to also establish some more broad details about your world. Some less obvious
things to consider might include;
• How is magical energy stored in your world? How effective is this storage?
• Do people move around your world often? What is the most common kind of transport?
• How common are Astirs? Would it be shocking to see one in a town or city?
• How long has it been since the last major conflict here? Are there many veterans?

“I always wanted better for you than this, Luine.When we used to train together, I could
see you were made for great things.What brought you this low?Were we too good to you?”
The words stung far more than any of her myriad wounds did.What did Hymn
know of her fight? What did he know of anything outside his gated home?
“Don’t mock me, Hymn,” she spat back. “Made for great things? Like standing guard at
some gilded spire? Maybe you’d have me teach the governor’s children.Your father would
think those both better than listening to his people.”
Hymn scowled. “You would dare demean the spire?”

- Excerpt from ‘Spire:The Fall’, Alain Week, XX32

 THE AUTHORITY
As mentioned above, the Authority is the group (or coalition of groups, if that’s your thing) that
forms the primary antagonist for the players in Armour Astir. ‘Authority’ as opposed to ‘villain’ or
‘foe’ has a certain subtext, and that was intentional. The Authority should be a powerful, oppressive
group, that as a whole cares more about stamping out opposition and furthering its own goals than
doing what is best for its citizens or its neighbours. Individuals within the Authority need not
entirely agree with it, and it may be more interesting for your story that in the smaller scale they
operate in shades of grey, rather than being cartoon villains; but either way, it should be clear that as
a group the Authority is something that the players are ready to tear down.
As with any other tabletop game, you should discuss what kind of content and themes you want to
tackle or avoid during play. There are different degrees and scales of evil, after all; fighting a
simpler, less subtle Authority is just as valid as fighting back against something more real and
personal. When depicting fascist and imperialistic powers it is practically impossible not to also
depict relatable, personal violence, and everyone at the table should be in agreement exactly where
their boundaries and interests are in regards to what the Authority does.
CREATING THE AUTHORITY
While working out the exact depth and nature of the Authority and what they’re up to is something
your Director will need some time for, start by answering the questions below as a group to come up
with the basics.
• What do the people of the Authority value?
• What do the people of the Authority hate or disparage?
• What is hypocritical about the Authority?
• What is the Authority’s primary goal? Why haven’t they achieved it?
• What does the average person think of the Authority? Do they support/oppose it?
• How does the Authority look? What symbols and colours do they use? What materials?
• Does the Authority have a standard or mass-produced Astir? What is it like?
• What is the Authority called? Does the Cause call it something different, and if so–what?
Functionally, the Authority is comprised of three Divisions (see Authority in the Director’s section
for info on how these work). As a group, you should come up with what these Divisions are and what
they do. Every Division should have:
• A name, official or otherwise
• A type that determines their area of influence
• A few actors who lead or hold important positions within it
See The Authority for more info on the types of Divisions and what they do. These don’t need to be
all decided immediately, but the sooner the better. You might leave deciding the details of the
Authority to the Director while the other players focus on the Cause, or all work the above out
together.
If you just want to get started, you can work out a name and type but leave the actors until later,
since they’ll have plenty of time to develop during play.
If you want to work out the actors now, the Director should check out Creating Actors later in the
book for an idea on what kinds of info is important to figure out.
 THE CAUSE
Opposed to the Authority is the Cause—a revolutionary group to which the players belong,
comprised of a half-dozen or more smaller Factions. The players work directly for, and might even
be in control of, one of these Factions.
The Cause has resources and information, and fights against the Authority on its own terms - but it
relies on the players as its most trustworthy asset. The Cause’s network of Factions provide the
players and each other with assets and support, like Carriers and Astirs, and can assist them with
repairing and acquiring new equipment—but there is an expectation that this aid will be repaid in
turn by striking out at the Authority and furthering the Cause’s aims.
As with the Authority, Factions and individuals within them might not see eye-to-eye on the Cause’s
goals and how they should be achieved—but as a whole, the Cause should be a group with whom the
players align, even if the occasional representative is an asshole.
CREATING THE CAUSE
Again, as a group you should answer some questions to come up with the basics of who the Cause is;
• Does the Cause have aims other than opposing the Authority?
• How much of a secret is the Cause?
• Where do the Cause’s resources come from?
• What do people within the Cause disagree over?
• What does the average citizen think of the Cause? Do they support/oppose it?
• How does the Cause look? What symbols and colours do they use? What materials?
• Does the Cause have a standard or mass-produced Astir? What is it like?
• What is the Cause called? Does the Authority call it something different, and if so–what?
As a group, you should decide on some basic information about the Cause. This might include
answers to the above questions like a name or visual palette, but might also include a few characters
who are important to the Cause at large rather than a specific Faction.
While the Director will flesh out most of the Factions (unless the group wants to do this together),
the details of the one the players will belong to are up to them. Between you, you’ll want to come up
with a name for your Faction, official or otherwise, and choose a Faction type from the list in The
Conflict Turn.
For other Factions, the type mainly determines what kind of consequences you impose on the
Authority during the Conflict Turn when your attempts to oppose it succeed: for the players, it
signals to the Director what kind of Sorties you’re interested in playing.
For further information on Factions, see Cause Structure.
 CREATING PLAYER CHARACTERS
Finally, each player needs to make their character! Making characters in Armour Astir is simple, and
ideally something you should all do together as a group. This helps everyone get a feel for the kind of
characters you’re making, and lets you make characters that immediately feel a little more coherent
as a group. The main part of creating your character is choosing a 'playbook', which could be
thought of like a 'class' or a character archetype within the world of your game. There's a few other
things you must do too, though—the steps below will lead you through the process.
During play, you might suddenly find yourself in need of a new character. This might be due to the
one you were previously playing dying, but for whatever reason you do need to make a new one, you
follow the below steps as usual.
CHOOSE PLAYBOOK
Look over the playbooks and decide which one you want to play. Playbooks are split widely into two
categories: Channelers (playbooks that use Astirs to fight) and Support (playbooks that have
expertise outside of Astirs). It’s ok if two people want to play the same one, but consider mixing up
the group so everyone gets to feel a little unique.
CHOOSE NAME
Every unsung hero has a name, even if nobody learns it. Write a name for your character–if you’re
having trouble, consider working out what kind of naming conventions the people in the area your
story will take place use.
CHOOSE LOOKS
Each playbook has a few choices for clothing, your overall look, and something else playbook-
appropriate, like how your magic looks or how you fight. These are just suggestions to help you think
about your character's appearance, so feel free to ignore them! Channeler playbooks also ask what
you say when you launch your Astir. This can say a lot about how your character feels about Astir
piloting and how seriously they take it, so put some thought into it!
CHOOSE GEAR
Each playbook has a list of starting equipment, as well as one or more other lists to make a few
choices from (as specified by your starting list). Channeler playbooks all start with a tier III Astir (see
The Carrier & Astirs).
SET TRAITS
You may set your Traits as you desire, on the conditions that;
• No Trait be higher than +2 or lower than -2.
• Your Traits add up to a total of +2.
CHANNEL, for the playbooks that have it, start at whatever value is listed on the playbook—you don’t
need to assign a value to it. For some playbooks, it will fluctuate during play.
These values are added to your roll when you make certain moves. It’s a good idea to look at the
basic moves, as well as the starting moves for your playbook, to get an idea of what Traits might be
most useful to you.
CHOOSE MOVES
Each playbook starts with a few moves (as a Channeler, one of these will be built into your Astir),
some of which are pre-picked, and some of which are your choice. Each playbook will list which ones
you already have, if any, and will let you know how many to pick, so make sure you check!
CHOOSE HOOKS
Finally, you should come up with up to 3 Hooks for your character. If you're just playing a one-shot
(or are playing a character you won't return to for other reasons) and won't be bothering with
Advancements, you don't need them but they might still help you decide how your character acts.
If you want, some extra things to consider;
• Did you know each other before you started working for the Cause? If so, how?
• How did you first come into contact with the Cause?
• Have you been personally suffered under the Authority? If so, how?
• Where did you acquire the skills of your playbook? Where did the equipment come from?

READY TO PLAY!
Once the above is all done, you’re ready to play. You might want to have some further conversation
as a group to flesh out your characters and the setting you’re in (starting with the questions above),
but if not, it’s time to all turn and look expectantly at your Director for the setup to your first Sortie.
When it’s time to do things, read on for information on the Basic Moves as well as some important
Special Moves—more specifically, the move lead a Sortie! When it’s time for the action to begin,
whoever is in charge should roll to lead a Sortie, establishing how well things start off. This is
similar to the engagement roll in some other systems, and is rolled with a different Trait depending
on who did the planning. You can find more detail under Special Moves.
 BASIC & SPECIAL MOVES
BASIC MOVES SUMMARY
The Basic Moves are moves everybody has access to, regardless of their chosen playbook. You use
Basic moves to do most things, unless your playbook provides a move that is more specific to the
situation you’re in. Below is a quick summary of them, followed by some more detailed info with
examples of their use.
WEATHER THE STORM
When you weather the storm to do something safely under pressure, roll;
• +DEFY to dodge, tough it out or strong-arm your way through.
• +KNOW to make it through with quick thinking or the ace up your sleeve.
• +SENSE to notice quiet cues, signs of danger or bad vibes before it’s too late.
On a 10+, you manage to make it to safety.
On a 7-9, you succeed but at some cost: it’ll keep you occupied longer than you thought, the Director
will ask you to make a difficult choice, or you’ll burn a point of Spotlight as you take dramatic action.
READ THE ROOM
When you read the room to get insight on your situation, roll +SENSE;
On a 10+, hold 3. On a 7-9, hold 1, and spend it 1-for-1 to ask the Director the following questions;
they must answer truthfully. Your hold lasts until you leave the current situation or it changes
significantly.
• Who has the upper hand here? • What is x’s approach?
• What is being overlooked or obscured here? • How is x at risk or in peril?
• Where do my Hooks pull me here? • Where can I find x?
• How does x really feel?
On a failure, you may ask one of the above questions immediately, but the answer creates a problem
or puts you in danger.
Roll with advantage when you act on the answers to what you've asked.
DISPEL UNCERTAINTIES
When you dispel uncertainties by clarifying the unknown or answering a question, roll +KNOW;
On a 10+, the Director will tell you something directly useful you know about the situation or subject
at hand.
On a 7-9, the Director will tell you something potentially useful, but it is up to you to discern how.
The Director might ask you to explain how you know that information, or where you learned it.
HELP OR HINDER
When you help or hinder someone to influence their attempts to do something, roll;
• +1 if you spent meaningful time together before this Sortie
• +1 if they’ve helped or hindered you previously this Sortie
• +1 if they’re part of one of your Hooks
On a 10+, they take advantage (help) or disadvantage (hinder) to their roll. On a 7-9, as above, but
you become entangled in the consequences of their actions, and possibly cause them.
WEAVE MAGIC
When weave magic to do something taxing with your power, roll +CHANNEL;
On a 10+, you manage to channel power the way you desired without ill effect.
On a 7-9, you succeed, but your invocation is twisted in an unexpected and dangerous way.
COOL OFF
When you take a moment in safety to cool off or help someone else do the same, declare a risk you
want to get rid of and roll whatever Trait seems most appropriate;
On a 10+, you/they erase a risk or untick ‘overheating’ from an Astir.
On a 7-9, as above, but your moment of safety is interrupted.
EXCHANGE BLOWS
When you exchange blows with foes capable of defending themselves, roll +CLASH or +TALK,
whichever is more appropriate, and advance a GRAVITY clock if you have one;
On a 10+, either your opponent takes a risk, or you take a risk and put your opponent in peril.
On a 7-9, both you and your target are forced to take a risk.
STRIKE DECISIVELY
When you strike decisively against someone who is defenceless, roll +CLASH or +TALK, whichever is
more appropriate;
On a 10+, you strike true. Director characters are killed, forced to retreat or otherwise removed as a
threat as per the fiction. Player characters should bite the dust.
On a 7-9, you succeed as above, but choose 1;
• You overreach or underestimate—take a risk.
• You waste ammo or words, losing use a weapon until you can re-arm, or losing the weight of
some bargaining chip or piece of leverage.
• You strike carelessly, causing collateral damage beyond your expectations.
BITE THE DUST
When you’re caught defenceless or risk harm so severe you might bite the dust, roll +DEFY;
On a 10+, they miss, hesitate, or you’re saved by sheer luck—you rally, and clear a risk if you have
one.
On a 7-9, retreat from the Sortie safely, or take a peril.
On a fail, that strike sure was decisive. Decide with your Director the consequences of what has
happened to you—what was damaged? What have you lost? Who and what is affected by your defeat?
If you survive, you are changed by your defeat. As well as the above, choose one;
• Deepen all of your Hooks, as you clutch your ideals tighter and tighter.
• Loosen all of your Hooks, as you lose faith in that which drives you.
• Take a burden, as you are saddled with some lingering injury, duty or obligation.
• Choose a new playbook. Keep what moves you and the Director agree are truly part of your
character, and discard the others. Replace them with the starting moves for your new playbook.
You do not gain its starting equipment.
HEAT UP
When you push your Astir to it’s limits and start to heat up, you may tick ‘overheating’ to retry a
roll. The original results are discarded, and you must take the second roll even if it’s worse.
 WEATHER THE STORM
When you attempt to ignore the 'witty' barbs of ambitious politicians, try and walk across a thin wet
beam as thunder booms overhead, or otherwise do something under significant pressure, you're
attempting to weather the storm. When you do so, roll;
• +DEFY to dodge, tough it out or strong-arm your way through.
• +KNOW to make it through with quick thinking or the ace up your sleeve.
• +SENSE to notice quiet cues, signs of danger or bad vibes before it’s too late.
On a 10+, you manage to make it to safety.
On a 7-9, you succeed but at some cost: it’ll keep you occupied longer than you thought, the Director
will ask you to make a difficult choice, or you’ll burn a point of Spotlight as you take dramatic action.
If you’re doing something that doesn’t fall under another more specific move and there’s a chance
something could go wrong for you, your Director will probably ask you to weather the storm. As
long as there’s a ‘storm’, i.e something that could hurt or inconvenience you, this move should cover
it if nothing else does. Just make sure you pick the correct Trait! It’s easy to look at DEFY and KNOW
and think they cover physical and mental resistances respectively—but you could DEFY someone's
provocations just as easily as you could KNOW how to quickly reroute magic from your Astir’s
weapons into a defensive spell. Similarly, you might SENSE a volley of incoming missiles early
enough to just step aside instead of using DEFY to dodge them once they’re already headed right for
you.
DIRECTOR NOTES
On a result of 7-9, they still manage to pull through—but the storm is a bit fiercer than they were
ready for. It’s ultimately up to you which of the three drawbacks you offer, but be willing to listen to
your players if they have something in mind. Obviously, you can’t ask them to burn a point of
Spotlight if they don’t have any.
Just remember: whatever you impose on them, it shouldn't invalidate the fact that they still
succeeded at whatever they were trying to do. If they’re avoiding fire, taking extra time doesn’t
mean they were too slow—it means there were even more attacks to dodge, etc.
In an earlier version of this game, a 7-9 had the possibility of imposing a risk, but I felt this too easily
led to recursive situations where you were trying to avoid taking a risk, only to end up partially
succeeding… and taking a risk. As such, I’ve taken that option off of the table.
EXAMPLES OF WEATHERING THE STORM:
Perrin the Witch is trying to cross the field of battle in his Astir, but finds himself caught in crossfire.
There's dangers both magic and mundane flying through the air from all angles, but Perrin hopes he
can focus on evading the bigger threats as he moves across. He rolls a 4, and I get to declare the
outcome. While attempting to dodge a huge bolt from a trebuchet, he's caught by a wayward
beamrifle shot. Because he's in an Astir, I decide to damage it rather than him directly, and the blast
tears a chunk out of its right leg. Perrin notes that he’s in peril (damaged leg), and grits his teeth: it'll
be much harder to get anywhere now.
Prim, an Arcanist, is trying to reload his beamrifle. This normally wouldn't be any hassle at all, but
he's trying to do it while a nearby squad pelt him with boltrifle fire. Not only is it distracting as their
bolts fly past his vision and clatter against the Astir’s plating, if one hits him in the wrong place it
might actually cause some damage. He rolls an 8, and I offer him an ugly choice—does he dash into
the open to reload, taking the risk (exposed), or does he hunker down and make the reload where he
is, missing something he might’ve spotted otherwise?
Elias, a Scout, is being charged at by a few men armed with spears. Rather than stand there and be
horribly stabbed, Elias instead decides they want to side-step the spears and vault over one of their
foes. On a 7-9, I might consider having a spear snag their clothing, tearing some of their equipment
onto the floor, or have them land badly after vaulting. They roll a 10 and succeed, so instead they
perform the manoeuvre without a hitch and land on their feet behind the surprised footmen.
 READ THE ROOM
When you're trying to figure out which side a battle is in favour of, whether or not a holding is
defend-able, or are otherwise trying to get insight on your situation, you're trying to read the
room. When you do so, roll +SENSE;
On a 10+, hold 3. On a 7-9, hold 1, and spend it 1-for-1 to ask the Director the following questions;
they must answer truthfully. Your hold lasts until you leave the current situation or it changes
significantly.
• Who has the upper hand here? • What is x’s approach?
• What is being overlooked or obscured here? • How is x at risk or in peril?
• Where do my Hooks pull me here? • Where can I find x?
• How does x really feel?
On a failure, you may ask one of the above questions immediately, but the answer creates a problem
or puts you in danger.
Roll with advantage when you act on the answers to what you've asked.
If you’re trying to learn more about the situation you’re in, chances are you’re trying to read the
room. There’s a lot of things this could look like—gazing stoically out onto a raging battlefield,
listening closely to a pair of arguing politicians, going over a shipping manifest you’ve found in an
Authority camp—and even if you fail, you still learn something. It’s just going to get you in trouble.
Unless you fail, you keep your hold as long as you stay in the current situation or scene. No need to
spend it quickly.
DIRECTOR NOTES
Don’t be too strict with your players on what constitutes their scene changing or ending. Respect the
risk they’ve taken in trying to learn more about their situation, and let them put what they learn
into use within reason. When in doubt, lean on letting them keep it. Whenever someone asks a
question from read the room, you get to advance and complicate the situation at hand, and that’s
probably always going to be interesting. When someone rolls a 6 or below on this move, they
basically get to pick their poison. If they ask who has the upper hand, it probably isn’t them. If
there’s anyone defenceless around, it might be someone they’d rather see make it through. If
something is being overlooked, it’s already too late. Be inventive.
EXAMPLES OF READING THE ROOM:
Anya, a Diplomat, is mediating a discussion between ambassadors from two smaller factions. She
expected things to get heated, but Fran, the usually more demanding of the two, is conceding minor
points at every turn. I suggest she read the room to represent the attention paid to what has been
said so far, and she rolls a 7-9. She decides to ask ‘How does Fran really feel?’. I explain that, given
what she knows about Fran, there is no way he’d accept all these concessions: it’s likely he has an
ulterior motive, and is here solely for appearances.
Torres, the group’s Paradigm, skids to a halt on a crowded battlefield, and uses vis elevated position
in an Astir to assess the situation. Ve reads the room and rolls… a 4. Ve asks ‘What is being
overlooked here?’, and the answer strikes ver in the back: there’s a squad armed with a beamrifle
hiding on the ridge behind ver!
Kai, a Diplomat, has broken into a small military base, and is snooping around for useful intel. Given
that he’s looking for information on bigger picture things than this one camp, there are some
questions that don’t have obvious answers. If I had something specific in mind to reveal here, I might
have him weather the storm instead to find it before he is discovered. But I don’t, so instead I ask
him to roll as usual and interpret ‘here’ to mean the group’s Sortie, as what he’s doing is likely to
give him broader information. He rolls an 11, and chooses to save his hold until he returns to his
friends. While he’s technically leaving this scene, the information he’s gained is still pertinent
outside of it, so I let him keep his hold.
 DISPEL UNCERTAINTIES
When you offer an answer to a difficult question, rack your brains for what you know about a topic,
or explain to everyone what mysterious thing you’ve encountered is, you are dispelling
uncertainties. When you do so, roll +KNOW;
On a 10+, your Director will tell you something directly useful you know about the situation or
subject at hand.
On a 7-9, your Director will tell you something potentially useful, but it is up to you to discern how.
Your Director might ask you to explain how you know that information, or where you learned it.
Dispel uncertainties is pretty straightforward as far as moves go. Confronted with something
unknown that you want to clarify? Dispel uncertainties. Need to see if you know about an Astir
model? Dispel uncertainties. On a 7-9, what you know isn’t directly useful, but it’s related—and
still useful if you can figure out how to use it.
DIRECTOR NOTES
As above, this isn’t a move you need to think too hard about. On a 10+, hand them what they wanted
to know, or at least something they can clearly use. On a 7-9, go a little adjacent. Give them
something close, or something they can make their own conclusions from. On a 6-, make a move as
usual.
EXAMPLES OF DISPELLING UNCERTAINTIES
The group is meeting a mysterious faction for the first time, and is introduced to their leader. Scour,
a Witch, asks if he recognises her. He rolls to dispel uncertainties, and gets a 10—he knows exactly
who she is! It’s a member of the royal family he remembers meeting some years prior.
Prim, an Arcanist, is fighting a mysterious new Astir that has turned up on the battlefield. They
explain how they think back to a codex of Astir designs they looked through recently which might
offer some information, and they roll. They get an 8, and I give them some potentially useful
information. The new Astir wasn’t in that codex, but Prim can tell from some of the design elements
that it was designed by Rosegold Factoria, a faction in their campaign.
Merin, the party Artificer, is overseeing some repairs to their Cruiser, The Planted Standard. It wants
to speed things up, so it asks me if it knows a safe way to make those repairs faster than usual. It rolls
a 6, and I explain to it how it would be very safe if it re-purposed the energy channels from the
Standard’s main gun and used them to make the repairs. Or, that’s what it thinks, at least.
 HELP OR HINDER
When you attempt to lend aid to someone or interfere with their ability to make a roll, you are trying
to help or hinder. When you do so, roll:
• +1 if you spent meaningful time together during Downtime
• +1 if they’ve helped or hindered you previously this Sortie
• +1 if they’re part of one of your Hooks
On a 10+, they take advantage (help) or disadvantage (hinder) on their roll. On a 7-9, as above, but
you become entangled in the consequences of their actions, and possibly cause them.
If someone else is making a move, and you’re trying to do something to either help them or to get in
their way, your Director will probably ask you to help or hinder. Succeeding lets you pass them a
bonus to their roll, but on a 7-9 you get caught up in the results of the move. If someone gets hurt,
it’s probably you, etc.
Help or hinder asks you to roll without a trait, adding modifiers based on your interactions with
that character. If you have a GRAVITY clock with the target character, however, you can substitute
that as usual. You can assist before or after a roll has been made; though if you as a group are aiming
for a grittier more dramatic feel, you might restrict offers of help to before rolls only.
DIRECTOR NOTES
This isn’t a particularly complex move, so it shouldn’t often cause you any trouble. If someone is
clearly trying to prevent or facilitate someone else doing something, this is what they should roll. On
a 7-9, involve them in what happens afterwards, and feel free to make it their fault if you want to.
Feel free to determine with your table whether you can help or hinder after a roll or just before it.
If you want a little more depth to this decision, you might decide that players can help or hinder
after a roll, but at the cost of still suffering a consequence on a 7-9 (even if the person they’re helping
gets a 10+).
The third +1 here comes from Hooks specifically, not Hooks or GRAVITY, because if they’re relying
on GRAVITY with someone, they should just roll the clock.
EXAMPLES OF HELP OR HINDER:
Fau, a Witch, is striding into battle alongside zir allies. Ahead of zir, Brennan is tangling with a pair
of enemy Astirs. Brennan is going to exchange blows with them, and Fau decides to help out by
giving covering fire to zir friend. Ze rolls a 6, +1 for having spent a scene with Brennan during
downtime, for a final result of 7. This allows zir to give advantage to Brennan for his roll. He
succeeds, and all is well.
Seven is not so lucky, however. Having rolled a 9 to help Matrice avoid an serious blow from their
would-be-rival and passed them advantage, Seven is in harm’s way—and when Matrice rolls a 5 on
their bite the dust, I decide that their intervention puts them in the path of the blade, rather than
Matrice.
Serrah, a Captain, is watching over a battle from the helm of their Carrier. Down below, Merin is
making use of its Artificer abilities to quickly construct a foothold, from which it can assess the state
of the fight. Serrah offers her assistance—from this high up, and with the capabilities of the Carrier,
she could definitely help pick out things on the battlefield. I ask her to help or hinder: she adds her
GRAVITY clock with Merin and rolls an 11, allowing her to offer Merin advantage without putting
herself on the line. Merin then, unfortunately for it, rolls a 6. There will be repercussions—but
Serrah won’t be part of them.
 WEAVE MAGIC
When you invoke your magic to crumble a bridge, attune to mystical orbs at the centre of the galaxy,
or otherwise do something taxing with your power, you're attempting to weave magic. When you do
so, roll +CHANNEL;
On a 10+, you manage to channel power the way you desired without ill effect.
On a 7-9, you succeed, but your invocation is twisted in an unexpected and dangerous way.
In Armour Astir, magic is typically channelled through an Astir, imbued into potions through
alchemy, or forged into objects by enchanters and artificers. More direct uses, in the form of spells
and such, have fallen out of use somewhat. When you try to twist your magic ability into desired
results, then, you’re not picking a spell from a list—you’re weaving magic. It’s tiring to use your
magic directly in this way: expect to take a risk or even be put in peril if you test yourself in this way
multiple times during a Sortie.
DIRECTOR NOTES
Like some of the others, this is a pretty straightforward move. If they’re trying to do something with
their magic outside the usual purview of controlling their Astir, and you think it’s something within
their ability, they’re trying to weave magic. Magic makes a lot of things possible, especially things
other moves might not give you; the trade-off to this flexibility is the cost of potential dangers.
Overuse of weave magic should visibly exhaust characters, and make it tough for them to operate.
This is the trade-off for how wide and varied the uses of this move could be.
EXAMPLES OF WEAVE MAGIC:
Lamina, an Arcanist, is on foot, trying to get back to their Astir that they have been separated from.
They encounter some soldiers on the way back, and not being trained in using her magic for direct
combat, Lamina decides she wants to try teleporting herself the short remaining distance to her
Astir. I ask her to weave magic, and she rolls an 8. I narrate how her sudden burst of unfiltered
magic is easily picked up by a sensory ritual over the area, which magically ‘tags’ her Astir as a
target—as a result, I ask her to take a risk, suggesting ‘targeted’. She’s at her mech, but it’s going to
be tougher to escape now there’s an ethereal bulls-eye painted on her.
Strata, the party Paradigm, wants to try and produce a magical shield to protect his allies while they
make some quick repairs. This feels like something he could do, so I ask him to weave magic. He
rolls a 10+, so it happens just the way he wanted. It’s a little exhausting, but sure enough a white-gold
sheet of magical force spreads out from his fingertips, lasting as long as he concentrates on it.
Plana is trying to collapse a bridge their group has just travelled over, to prevent anyone from
following them. As an Artificer, Plana doesn’t usually have a CHANNEL Trait, but they have the
arcane generator move which gives them one. Plana describes how they try to send waves of
magical force through the bridge to shake it apart, and I ask them to roll weave magic. On a 7-9, I
might describe how their magic spills dangerously out, causing a localised earthquake that shakes
more than just the bridge to pieces.
 COOL OFF
When you attempt to vent heat from an Astir, to calm yourself from spiralling emotions, or to
otherwise take a few minutes to fix something about your or someone else’s situation, you’re trying
to cool off. When you do so, declare a risk you want to get rid of and roll whatever Trait seems most
appropriate;
On a 10+, you/they erase a risk or untick ‘overheating’ from an Astir.
On a 7-9, as above, but your moment of safety is interrupted.
Doing things can be pretty stressful, especially when those things include fighting, getting hurt, or
talking to people. Many actions in Armour Astir can require you to take risks, and while it’s easy to
imagine getting rid of these with many other moves (getting rid of 'outnumbered' with exchange
blows, using read the room to clear 'surprised', etc) sometimes it won’t always be that clear, or
might be something you can’t fix without a minute to breathe.
For those things, cool off acts as a catch-all risk removal move. What using it looks like can differ a
lot: it might be taking a quiet moment to centre yourself, talking an ally down from an emotional
peak, or venting heat buildup from your Astir—heat represented by the ‘overheating’ tick gained
from certain Channeler moves—which also might look different depending on how your Astir is
designed. Maybe your Astir collects heat in canisters that it can eject, or maybe you have a
maintenance ritual you cast that disperses excess energy from it.
DIRECTOR NOTES
The important thing about cool off is that it takes a little time. While you make this move, you’re
not fighting, you’re not running, and you’re not paying close attention to what’s going on. Maybe it’s
only a minute or two, but that can be a big opportunity for foes - so characters should try to make
themselves some breathing room before they take a breath. You can choose what Trait you use when
cooling off, but it should match what you’re doing. If you’re trying to flush a hex out of your Astir’s
systems, it’d be +CHANNEL. If ice has frozen over the finger joints of your Astir, you can’t chip it off
with +TALK—it’d be +DEFY, or maybe +CLASH.
EXAMPLES OF COOL OFF:
Ray, a Scout, has just seen vis ally Luxx narrowly dodge a bolt of lightning. The close call disrupted a
sensory ritual, giving them the risk (blinded). Ray has the Scout move patch job, and ve decides to
move in and try to clear up the disruption for Luxx. Ve describe how ve scales up the Astir's side and
sets to work replacing some shattered reagents. I ask ver to roll to cool off with +DEFY since this is
a pretty routine fix done quickly, and ve rolls a 9, attracting unwanted attention as a result. A second
bolt of lighting sears overhead: they've both been spotted!
Fau has just dispatched a pair of enemy Astirs but caused zirs to overheat in the process. With zir
sensory chimes picking up new contacts incoming, ze decides to do something about that heat
problem. Ze describe how zir Astir has a series of pods full of frosty, alchemical liquid attached to it,
and ze activate one to cool off. Ze rolls an 11 after adding zir +CHANNEL, which is a total success.
The liquid frost washes through zir system, and ze removes the 'overheating' tick.
Merin, an Artificer, currently has the risk (entangled) after being caught up in some magical plants. If
they were in a hurry they might have tried to weather the storm to escape, but they're alone and
otherwise safe - so they decide to take their time cutting themselves free. They roll to cool off with
+CLASH, and unfortunately only get a 5. The more they cut, the more these vines seem to trap them,
and they end up taking too long. A flying enemy ardent sweeps overhead and spots them - if they
weren't in a hurry before, they sure are now.
 EXCHANGE BLOWS
When you charge at a foe with your blade, engage someone in debate or try to provoke them, or
otherwise act against someone able to defend themselves, you are attempting to exchange blows.
When you do so, advance a GRAVITY clock if you have one, and roll +CLASH or +TALK —whichever is
more appropriate;
On a 10+, either your opponent takes a risk, or you take a risk and put your opponent in peril.
On a 7-9, both you and your target are forced to take a risk.
When you go toe-to-toe against someone capable of defending themselves, you’re exchanging
blows. This move is used to wear foes down before striking decisively to deal with them for good -
whether you’re doing it with +CLASH and physical harm, or +TALK and your words. When you’re
actually fighting, it’s important to consider what weapon you’re using. You can’t hit someone far
away with a melee weapon, for example, or shoot someone close up with a sniper weapon. When it
comes to using +TALK, it’s worth keeping in mind that most conversations are probably just that:
conversations. But when there is conflict or you’re trying to get something, it might instead be
exchanging blows.
DIRECTOR NOTES
When players are trying to exchange blows, make sure to keep in mind the methods and weapons
they are using, as well as who they’re using them on. There’s lots of variables that could come into
play, so don’t be afraid to offer adjustments to the roll based on the situation. If players are
exchanging blows with +TALK, it should go without saying that their choice of weaponry probably
doesn’t factor in, unless they’re using it to intimidate someone.
If a player is trying to harm someone who isn’t trying to harm the player back but is otherwise still
capable of evading or defending themselves, they still need to exchange blows. While they're not in
direct danger there's still plenty of other reasons they might need to take a risk—over-committing to
chase an agile foe, getting mad they they can't land a solid hit, and so on.
If a player wants to continue exchanging blows with someone who is defenceless, let them, but it
should be clear they are toying with someone who is basically done. It should seem cruel.
When the move asks if you have a GRAVITY clock, it means between you and the target of the move,
not someone that’s fighting alongside or observing. However, if someone else involves themselves
through help or hinder and uses your +GRAVITY, you can advance a clock with them as usual
instead. These don’t stack: it’s one or the other (otherwise everyone would complete their clocks in
the blink of an eye). If you’re playing the kind of campaign where people don’t come to blows often,
your Director might allow both to help people keep GRAVITY clocks moving.
EXAMPLES OF EXCHANGE BLOWS:
Caryx, an Arcanist, wants to engage an enemy Astir that has rushed up to block their path. They
describe pulling out the greatsword their Astir is armed with, and launching into melee. This sounds
like exchange blows to me, which they roll. They get a 10+, and take the option ‘your opponent
takes a risk’. I narrate how their foe boosts backwards suddenly to evade the blow, leaving them
unsteady on their feet, and I add the risk ‘unstable’ to their sheet.
Juniper is blade-to-blade with aer Rival, Sequoia. They have already traded risks a few times, and
Juniper’s player continues the fight, rolling to exchange blows. Ae rolls a 7, meaning both aer and
Sequoia have to take another risk. Juniper elects to take the risk ‘distracted’, describing how ae’s so
focused on Sequoia that ae could miss something else. I give Sequoia the ‘disarmed’ risk as the blade
is knocked from her hands.
Frankly Darling is trying to convince an engineer they’ve bumped into in an enemy base that they’re
supposed to be there. They might weather the storm to avoid suspicion this once, but they want to
not have to worry about this engineer for the rest of the scene, so we exchange blows. They roll a 5
–as it turns out, they’re not that good a talker.
 STRIKE DECISIVELY
When you're lining up the perfect shot against an opponent who can't defend themselves, delivering
a scathing dismissal of their character using irrefutable fact, or otherwise engaging someone who is
defenceless, you are striking decisively. When you do so, roll +CLASH or +TALK, whichever is more
appropriate;
On a 10+, you strike true. Director characters are killed, forced to retreat or otherwise removed as a
threat as per the fiction. Player characters should bite the dust.
On a 7-9, you succeed as above, but choose 1;
• You overreach or underestimate—take a risk.
• You waste ammo or words, losing use a weapon until you can re-arm, or losing the weight of
some bargaining chip or piece of leverage.
• You strike carelessly, causing collateral damage beyond your expectations.
If you’re trying to kill someone you’re fighting or to otherwise do something serious enough to
remove them from the situation at hand, and it’s possible to do so, you’re trying to strike
decisively. This doesn’t necessarily need to be something that causes actual harm to the target, and
in many cases, like when you’re using +TALK, it’s likely physical harm might not be involved. You
can’t call someone’s shitty ideology out so hard that they die (unless your Director says you can, in
which case: hell yeah).
DIRECTOR NOTES
As with exchange blows, a player cannot strike decisively if they aren't at the right range for the
weapon they're using. It's also hard to lay into someone if they're too far away to hear you (though,
it is of course possible to damage someone's reputation or assets by talking about them, rather than
to them). When battling it out with +TALK, a 10+ will typically look like getting what you wanted out
of the conversation rather than them being owned so hard that they burst into flame. This might be
convincing them of something, intimidating them into a course of action, winning an argument, etc.
Central to this move is the target being defenceless. If a player is trying to finish off someone that isn't
defenceless, they aren’t making this move—they’re being overconfident, and giving you a good
opportunity to make a move of your own.
EXAMPLES OF STRIKING DECISIVELY;
Mura, a Scout, spots an enemy bearing down on her friend Ophelia, a large axe drawn. Mura thinks
the fact that it is distracted by its fight with Ophelia makes them defenceless to her, and she takes aim
with her marksman bow, intending to kill them. I know they aren’t actually that distracted by their
fight, and actually have room for another danger. I explain this to Mura, and describe how her target
sidesteps the attack, before returning fire with a hand-crossbow. Things are going to get rough for
Mura.
Cirrus the Diplomat has been trying to convince a guard to let them into a restricted area. Having
already worn them down a little, Cirrus delivers the coup de grace (“You know, I could put in a good
word with your superiors…”) and rolls to strike decisively. They get an 8, and choose to waste
ammo or words—I describe how now none of the other guards will buy that line until you actually do
put in a good word for this one, since they’ll talk to the others about it. It’s still a success though, so
the guard is removed as a threat, which in this case just means they’ll stand aside and let Cirrus
through. The guard doesn’t suddenly die or anything. But they might’ve.
Damocles, a Scout, is working in tandem with his friend Erin to take out a service ardent. Damocles
climbed onto its back while Erin distracted it, and wants to try and destroy it with a bomb. The
ardent’s pilot is defenceless, but Damocles only rolls a 6. I decide the charge is faulty, and that it goes
off early, sending him flying back down to the floor painfully, giving him the peril (burned).
 BITE THE DUST
When something dangerous slips through your defences, you're caught off-guard, or someone
delivers those perfect words to tear you down, you're at risk of biting the dust. When you do so, roll
+DEFY;
On a 10+, they miss, hesitate, or you’re saved by sheer luck—you rally, and clear a risk if you have
one.
On a 7-9, retreat from the Sortie safely, or be put in peril.
On a fail, that strike sure was decisive. Decide with your Director the consequences of what has
happened to you—what was damaged? What have you lost? Who and what is changed by your
defeat? If you survive, you are changed by your defeat. As well as the above, choose one;
• Deepen all of your Hooks, as you clutch your ideals tighter and tighter.
• Loosen all of your Hooks, as you lose faith in that which drives you.
• Take a burden, as you are saddled with some lingering injury, duty or obligation.
• Choose a new playbook. Keep what moves you and your Director agree are truly part of your
character, and discard the others. Replace them with the starting moves for your new playbook.
You do not gain its starting equipment.
DIRECTOR NOTES
When a player is defenceless as a result of having three risks or perils, they’re in real danger. When
someone threatens them with the intent to finish them off—i.e, when they would fictionally be
striking decisively rather than exchanging blows—that player should bite the dust in response.
You still have agency to make moves (you could exchange blows as the aggressor, for example,
potentially incurring the penalty for having more than 3 dangers), but any time someone specifically
‘attacks’ you this move is triggered.
Failure on this move should be a conversation between you and the player, but you shouldn’t feel the
need to have this conversation there and then. Feel free to go with something ambiguous in the
short term—a pair of Astirs dashing out of sight but only one returning, a bloody trail left leading off
somewhere unseen, an escape pod landing heavily—and determine the outcome once the action of
the Sortie dies down.
EXAMPLES OF BITE THE DUST:
Min-seo, a Captain, is commanding the crew of her Carrier against a huge elder dragon. Things are
going badly: covered with burns, streaked by talon-marks and gripped by fear, Min-seo and her crew
are defenceless. The dragon cuts them off, and launches one last burst of flame towards the Carrier's
bridge. It's time to bite the dust, but lucky for Min-seo (and her crew) she rolls a 10. She describes
how the crew pulls off a miraculous manoeuvre, dropping the Carrier out of the sky for a moment to
evade the attack, and she removes the risk (afraid) as everyone cheers.
Aidah, eir group's Paradigm, was ambushed by a group of Astirs. Between being outnumbered and
taking a few extra risks while trying to even the odds, e is defenceless. It's too late to weather the
storm: If Aidah wants to get out, e needs to make sure e doesn’t bite the dust. E rolls an 8, and I
give em the choice: retreat safely from the Sortie, or be put in peril. E decides to take the peril, so
while e escapes to regroup, e does it under fire and a rayrifle shot shears through eir right shoulder
joint, replacing one of eir risks with the peril (destroyed arm).
Scour is in a bad way. His Astir is damaged, disarmed, and he's defenceless. His opponent, channelling
a mysterious prototype Astir, isn't interested in giving him mercy, but Scour’s not backing down. He
rushes back in and risks biting the dust. He rolls the dice: it’s a 3. It's early in the campaign and
Scour's player still has things they want to explore with them in play, so we agree that they manage
to eject from their Astir before their foe gets a decisive slash in, destroying it completely. They're
alive, but shaken, and will need rescuing from the battlefield. They decide to loosen all of their Hooks,
representing their courage and confidence taking a major hit.
 GROUP MOVES
When everyone would be performing the same move (like all weathering the storm to get away
from a big blast of magic), or if multiple people want to help out with something (since usually only
one person can help or hinder a move), you should instead make it a group move.
When performing a group move, the person participating with the lowest relevant trait makes the
roll, but anybody participating counts as doing so—thus, any bonuses to rolls they have, like
advantage or hold they can spend, apply to the group move. A chain is only as strong as its weakest
link, but good teamwork can shore up any weaknesses.
Everyone participating in a group move may advance GRAVITY clocks with other participants if they
have them.

SPECIAL MOVES SUMMARY

There are a few other moves that don’t fit into the above categories. These are lead a Sortie, which
is rolled once at the beginning of each Sortie to determine how the initial engagement goes,
subsystems which is a move usable by any Channeler playbook, and B-plot which is a move usable
by any Support playbook.
LEAD A SORTIE
When it's time for action and you lead a Sortie, decide who planned the mission and roll;
• +KNOW, if you’re leading with wits or following a clever plan.
• +CREW, if it was someone else aboard.
• +DEFY, if you're heading into danger blind.
On a 10+, you make it to the action unscathed. On a 7-9, the crew stumbles, misses something
important, or is unprepared for what they meet.
SUBSYSTEMS
When you activate your Astir's subsystems, spend 1 Power to re-activate an expended [Active] Astir
part and use it again.
B-PLOT
When you take part in the b-plot rather than be involved in a Sortie, name one or two Director
characters that accompany you and hold 3. During the Sortie, you may spend it 1-for-1 to do the
following;
• Give another player confidence on their next move, but complicate things for yourself.
• Deny a Director character from appearing during the Sortie—they’re busy, possibly with the same
thing as you.
• Spend some time and take a Downtime move.
• Cut away from the Sortie during a moment when time is precious, giving everyone room to think.
 LEAD A SORTIE
When you lead the group into battle, get in the robot when you're not supposed to, or otherwise take
action that would move the game from Downtime to a Sortie, you're leading a Sortie. When you
lead, roll;
• +KNOW, if you’re leading with wits or following a clever plan.
• +CREW, if success hinges on someone else aboard.
• +DEFY, if you're heading into danger carelessly.
On a 10+, you make it to the action unscathed. On a 7-9, the crew stumbles, misses something
important, or is unprepared for what they meet.
While most moves have certain triggers or can be used whenever you want, lead a Sortie is a little
different. At the beginning of every Sortie, when everyone leaps into action (whatever that action
may be), the players should figure out which Trait is appropriate and have someone roll for the
move. Lead a Sortie establishes on what footing the crew finds itself once they get to their first
obstacle.
DIRECTOR NOTES
You should always have someone roll to lead a Sortie once the action starts, but if you forget, it’s
OK to do it retroactively and carry the results forward as you continue playing. When rolling with
+CREW, it doesn’t matter who makes the roll, since those attributes don’t belong to any one player.
When rolling +KNOW or +DEFY however, the roll should be made by whoever’s trait is being used. If
you’re all going along with a plan thought up by the player with a -2 in KNOW, you don’t get to have
the +3 KNOW player make the roll on their behalf—that doesn’t make any sense. There being a plan
doesn’t prevent someone from rolling with +DEFY if they want to rush off and ignore it.
EXAMPLES OF LEAD A SORTIE:
The crew of the Ouroborous has drawn up a plan to assault a prison ran by their campaign's
Authority, the Zonel Empire. However, Dimir, the crew's Impostor, hotheadedly rushes into action so
everyone else can benefit from their don't follow me move. So, they roll to lead a Sortie with
+DEFY. It's a 7-9, and I decide the crew missed something important—they missed Dimir leaving!
They'll have to catch up, and Dimir will be alone until they can.
The Coarse, Correct is heading into battle alongside a Carrier sent by one of their allied Factions, the
Atteri Guild. Vetter, the group’s Captain, has a GRAVITY clock with the Atteri Guild, and decides to
lead a Sortie with the value of that Clock since they’re helping out. It's +2, and she gets lucky—the
result is a 12! The Coarse, Correct and the Atteri ship both make it into battle safely, positioned to
carry out the Sortie.
Serrah, a Captain, is leading the crew of her Carrier, the New Serpent. They're on a mission to
deactivate an ancient magical relic their foes have unearthed, and having made the plan, Serrah rolls
to lead a Sortie. She rolls a 5, which leaves the crew on an unfortunate footing. All around the ship,
sensors light up in worrying shades: they won't be making it anywhere without a fight.
 SUBSYSTEMS
When you activate your Astir's subsystems, spend 1 Power to re-activate an expended [Active] Astir
part and use it again.
All Channeler playbooks may use the subsystems move. This allows them to spend Power, a resource
that is part of their Astir, to re-use its [Active] parts. Some Astirs have 0 Power, but most have
between 1 and 4 depending on the choices made creating it. You start every Sortie with your Astir’s
full amount of Power, and do not usually regain spent Power between scenes.
DIRECTOR NOTES
The subsystems move gives players a quick way of resolving a variety of problems. It's risk-free and
many Astirs offer the opportunity to do it more than once, so don't be afraid to remind your players
if they find themselves in a tough spot and have Power to spend. As long as they're piloting their
Astir and it's not deactivated or shut down, they can activate subsystems.
EXAMPLES OF SUBSYTEMS:
Aidah is fighting eir Rival, and has just tried to exchange blows with them. E described how they
tried to circle around them, laying into them with a rayrifle, but then e rolled a pair of 2s. Not happy
with this result, e decides to spend a point of Power on subsystems to reuse their ‘Afterburners’
Artifact and roll with advantage. E rolls an extra dice for the advantage, which is a 6! Taking eir two
highest results (the 6 and a 2), combined with eir +CLASH of +1, brings the total from 5 to 8, making
the move a partial success instead of failure.
Strata, the party Paradigm is snooping through a strange labyrinth, clearly built to be explored by
something even larger than their Astir. He's been lost in there for a little while without finding
anything, but he doesn't want to risk something bad happening if he reads the room. Instead, he
spends Power on subsystems to use his Divination Codex and safely ask one question from the read
the room list. He asks 'what is being overlooked here?'.
Prim, an Arcanist, is attempting to outrun a rampaging magma worm. He's pulling out all the stops,
and his Astir is overheating after he used the overrides move to weather the storm with
+CHANNEL instead of +DEFY. Since his CHANNEL is +2, much better than his DEFY of -1, Prim decides
to spend Power on subsystems to use his Heat Condensers and remove the overheating tick,
meaning he can safely use overrides again.
 B-PLOT
When you head out for some solitary revenge, leave to take part in negotiations, or otherwise take
part in a secondary narrative thread to the players involved in the Sortie, you're in the b-plot. Name
one or two Director characters that accompany you and hold 3. During the Sortie, you may spend it
1-for-1 to do the following;
• Give another player confidence on their next move, but complicate things for yourself.
• Deny an actor from appearing during the Sortie—they’re busy, possibly with the same thing as
you.
• Spend some time and frame a Downtime Scene.
• Cut away from the Sortie during a moment when time is precious, giving everyone room to think.
All Support playbooks may use the b-plot move. If the Sortie looks like it's going to involve Astir
combat and you want to help out in an indirect way, or you have a plot thread you want to follow
alone, you can use the b-plot to do that: it lets you be elsewhere, effectively in a Sortie of your own,
while still having some agency over the main one.
DIRECTOR NOTES
The b-plot move provides people playing a Support playbook an easy way of always being able to
apply their skill-set, even if the Sortie calls for something else entirely. Artificers can be off fixing
things, Diplomats can be taking part in negotiations, and so on. This means that players can place
themselves in somewhere interesting for their character, rather than sitting around on the Cruiser
idly, or putting themselves in grave danger fighting Astirs on foot if they're the lone Support in a
group full of Channelers.
If there's a b-plot to a Sortie, it should be established when lead a Sortie is rolled, or earlier if
possible. If the b-plot takes a player far away from the Carrier and the rest of their group, they
should be prepared to explain how that happened. Since Sorties follow a period of Downtime, they
might have travelled beforehand, or maybe they used some kind of magical method like a
teleportation circle. B-plot by itself isn't magic, but the game's full of it elsewhere, so don't hold
them to anything too rigid here.
A key thing to remember is that using b-plot enforces a level of narrative separation from the rest of
the Sortie. You could, on a physical level, be very close to the events of the Sortie: but the effects of it
cannot touch you until you run out of hold, at which point the two plots can come together
whenever it feels appropriate.
EXAMPLES OF B-PLOT:
Captain Brightline has left to meet with other members of their Cause at a star castle. The rest of the
crew is busy dealing with an errant god during the Sortie, so Brightline's meeting is a b-plot. They
have 3 hold to help out though, and later when the fighting gets tough they spend 1 to let their ally
Teasel act with confidence when she tries to commune with a space orb.
Kai, a Diplomat, is using the b-plot to sneak around a military encampment. Back in the Sortie, their
allies are handling things ok, and the other players suggest Kai use his last hold to play a Downtime
Scene. They do so, choosing the hallways or listening post scene, representing them
eavesdropping and gathering info earlier. They tick up some progress on a project they had earlier
established that seems relevant, and play continues.
Mura, a Scout, is aiding one of their allied Factions by helping break the siege on a neutral city. Since
everyone else is working to broker a peace treaty between two other Factions this Sortie, Mura's
taking part in the b-plot. The group has been worried an Authority agent named Prose will show up
to disrupt the treaty meeting, so Mura decides to spend hold to deny Prose from appearing during
the Sortie. This'll certainly stop Prose from interfering with the meeting, but it also opens them up
to being a problem for Mura.
“Rocky sat in the frame all night ‘cus it was the warmest place I
could put him outta the wind, with the engine still hot, even
busted. I wanted him comfortable, just when I woke up he was
gone some time during the night, and Three-by, old Three-by was
gone too, oil leaks all down her front plate like she was cryin'
�erce...”

- Excerpt from ‘OurYear In The Dust’, Anonymous,

FoundingYear Of The Empty Throne Era
 DOWNTIME SCENES
Between Sorties, characters have time to themselves on the Carrier to rest, recuperate, and do their
own thing. This is referred to as Downtime, and during it Downtime Scenes are played out—each
focused on a different location on your Carrier. Downtime Scenes are similar to Conflict Scenes, but
each is led by a single player who may invite others into it. Downtime Scenes don’t need to be
elaborate or long—they can be as simple as describing some actions you take. They may continue to
invite other characters into the Scene as it plays out: other players may force a character into the
Scene, at the cost of one of their tokens.
Every player gets to lead a Scene each, and also gets 2 tokens to spend during any player’s Scene for
further benefits. The Director also takes 1 token per other player: when they spend theirs, they may
refocus the Scene for a moment and spend them on behalf of the Authority, to show members of it
having their own ‘downtime’ (imposing the opposite of an option’s benefit onto the players where
appropriate). Additionally, you may choose to frame your Scene as a failure and not take the benefit
described: if you do so, you may choose another player to gain an extra token for this Downtime.
First, though, everyone should take a moment to...
CHECK IN
When you finish a Sortie and return to the Carrier to figure out what’s next, it’s time to check in
with each-other not as your characters, but as players. Is everyone happy with how the game has
gone since the last downtime? Has everyone remembered to clear any risks they gained during the
last Sortie? Does anyone want to discuss the safety tools you’re using, and maybe amend any lines/
veils etc? Does anyone have thoughts or comments on how the game is progressing, and what they
might want to see more or less of?
After you’ve checked in, everyone can choose and play their Downtime Scene.
COMMAND DECK OR BRIEFING ROOM
The leading player helps plan for the upcoming Sortie: adding a d6 to the upcoming plan & prepare.
They frame a short scene around this, either alone, or with invited characters.
During the scene, anyone may spend a token to choose one:
• Contribute to the plan & prepare, as above.
• Report on aid they’ve given to a Faction, untapping it.
• Report on intel they’ve gathered: the Director will reveal something useful about the Sortie.
• Volunteer to take point: you’ll lead a Sortie in confidence.
SOCIAL SPACE OR PRIVATE QUARTERS
The leading player talks it out with another character and clears a peril of emotional or social origin
from them, or they spend time with someone they have GRAVITY with, advancing it. They frame a
short scene around this, either alone, or with invited characters.
During the scene, anyone may spend a token to choose one:
• Talk it out and clear someone elses peril, as above.
• Encourage/demoralise someone: they’ll make their first move during the Sortie at advantage/
disadvantage.
• Spend time with someone you have GRAVITY with, advancing it.
• Rewrite a Hook, or press someone else to do the same.
FADE
The leading player describes somewhere on the Carrier or nearby that they pass time, gaining a
point of Spotlight and advancing a GRAVITY clock if they have one with someone that joins them.
They frame a short scene around this, either alone, or with invited characters.
During the scene, anyone may spend a token to choose one:
• Pass time, as above.
INFIRMARY OR HANGAR
The leading player clears a peril of mechanical or physical origin from a character or construct, or
swaps an Astir part out for another you already have. They frame a short scene around this, either
alone, or with invited characters.
During the scene, anyone may spend a token to choose one:
• Clear a peril or swap a part, as above.
• Help someone you have GRAVITY with, advancing it.
• Start or advance a long-term project: describe what your work looks like.
• Take their Astir and rush ahead: you’ll lead a Sortie with +DEFY & advantage.
When you rush ahead, this doesn’t end the Downtime: other Scenes can be played chronologically before this
one, and the crew might also just not spring into action in your wake.
HALLWAYS OR LISTENING POST
The leading player overhears something: they may start or advance a long-term project to learn
more, or take advantage during the next Sortie acting on what they learned. They frame a short
scene around this, either alone, or with invited characters.
During the scene, anyone may spend a token to choose one:
• Overhear something, as above.
• Discuss how this info will factor into the Sortie: add a d6 to your plan & prepare.
• Have a heated conversation with someone you have GRAVITY with, advancing it.
• Barge in on whoever was overheard, causing trouble for someone involved.
SOMEWHERE NEARBY
The leading player rolls a d4 to see what resources they can muster, and acquires gear or equipment
with a total value up to the result. They may spend extra tokens or tap Factions to increase the result
by another d4, or trade objects with the valuable or treasure tags for +2 or +4 respectively. They frame
a short scene around this, either alone, or with invited characters.
During the scene, anyone may spend a token to choose one:
• Buy or trade for something of value, as above.
• Start or advance a long-term project: describe what your work looks like.
• Spend time working or in the field with someone you have GRAVITY with, advancing it.
• Run into trouble: resolve it with moves as usual, and see what you learn.
As a reminder: smaller equipment like weapons and Astir parts have a basic cost equal to their Tier.
Larger things, like Astirs and Ardents, have a basic cost equal to their Tier squared (Tier III things
cost 9, etc). Gear with tags must have their values balance out to 0; see Tags & Gear for more.
WORKSHOP OR LAB
The leading player straps on their protective gear (or not) and gets to work on something. They may
start or advance a long-term project to build something, run an experiment, salvage the leftover
wreckage from a recent battle, attempt to figure out how a mechanism or spell works, etc.
During the scene, anyone may spend a token to choose one:
• Start or advance a long-term project, as above.
• Spend time tinkering or working with someone you have GRAVITY with, advancing it.
• Produce something of trade value or strip spoils of battle for useful salvage, acquiring:
▪ Supplies I (valuable, bulky OR fragile).
• Make something that directly aids a Faction, untapping it.

Remind your players: every Conflict Turn requires at least one Faction per Division to be tapped.
With your baseline three Divisions, that’s three Factions per Downtime, not including any
optionally tapped to ensure success. When they’re considering their Downtime Scenes and what
they’ll earn each Sortie through plan & prepare, they might want to keep that number in mind.
DIRECTOR’S NOTES
 PLAN & PREPARE
Once everyone has taken their Downtime Scene, finish off the Downtime period by setting up the
next Sortie. Everyone describes what they are doing to help prepare for what is to come, and rolls
plan & prepare.
PLAN & PREPARE
When you review orders for the next Sortie, go over scouting reports and maps, or otherwise
attempt to prepare the crew for what comes next, you’re trying to plan & prepare. Roll a d6, plus
any extra dice earned during Downtime Scenes, and compare the results to the Strength of the
Division that your next Sortie will target.
For every result that is equal to or above the Division’s Strength, choose one:
• During the Sortie, you will have an opportunity to;
▪ Untap a Faction of the Cause—securing supplies, freeing captives, etc
▪ Reduce a Division’s Strength by 1 during the next Conflict Turn—interfering with supply
routes, undermining their operations, etc
▪ Reduce the GRIP on a Faction or Pillar by 1—rooting out agents, destroying fortifications, etc
▪ Expose or make vulnerable an asset or actor
• During the Sortie, you will have a risky opportunity to;
▪ Fell a Pillar with 0 GRIP—winning a decisive battle, capturing a position, etc
▪ Destroy or capture an exposed asset or actor
▪ Reduce a Division’s Strength by 2 during the next Conflict Turn—disrupting a key shipment,
assassinating important staff, etc
• The next lead a Sortie roll is made with advantage.
• All players hold 1. You may spend your hold during the next Sortie as if it were hold gained
through one of your basic or playbook moves.
Options can be picked multiple times, and their effects stack; you could, for example, reduce a
Division’s Strength multiple times, reducing it heavily during the next Conflict Turn, or you could
reduce multiple Division Strengths by just 1. Similarily, you could reduce the GRIP on a Pillar
multiple times, and so on.
Many of the benefits of plan & prepare are opportunities, not guarantees. During your next Sortie,
you’ll be able to pursue them in addition to your primary objective (bug your Director if it seems like
they’ve forgotten), but doing so might take you time or make the mission even more dangerous than
it might have been already. But hey; risk and reward go hand in hand, right?

By the time the party is about to roll plan & prepare, they should have a good idea of what the
upcoming Sortie is, and who those opportunities available might affect. If not, don’t be afraid to
lay this on the table for them; there’s nothing wrong with simply telling them “hey, you could help
x Faction during this Sortie if you chose that,” or “well, the Pillar you’d be able to fell is this one.”
DIRECTOR’S NOTES
 PLAYBOOKS
All players in Armour Astir create a character using a 'playbook', which is a mechanical framework
similar to classes or archetypes in other games. Playbooks offer choices for starting equipment,
moves, and aesthetics like clothing or style. They also offer some narrative background for your
character to root them into the world you're playing in, as well as some questions to help you further
develop what it means to be that playbook in your setting.
Playbooks are split into two kinds: Channelers, who are Astir pilots primarily, and Supports, who are
not. Each kind has a specific extra move attached to it. For Channelers, it's subsystems. For
Supports, it's b-plot.
CHANNELERS
Channelers are magic-users who stride into battle while piloting Astirs, making them best equipped
to deal with Sorties that involve physical conflict. While they have their differences, all Channelers
are more than capable in a fight. They’re also all capable of diverting magic to their Astir’s
subsystems with the move below.
ARCANIST IMPOSTOR
PARADIGM WITCH
Subsystems
When you activate your Astir's subsystems, spend 1 Power to re-activate an expended [Active] Astir
part and use it again.
SUPPORTS
Supports are a varied group, but are generally people with less of a direct combat focus than
Channelers. While they’re all capable of holding a sword, most Support playbooks have an area of
expertise best put into practice off the battlefield. When a Sortie doesn’t call for their skill-set, they
can instead take part in the b-plot with the move below.
SCOUT CAPTAIN
ARTIFICER DIPLOMAT
B-Plot
When you take part in the b-plot rather than be involved in a Sortie, name one or two actors that
accompany you and hold 3. During the Sortie, you may spend it 1-for-1 to do the following;
• Give another player confidence on their next move, but complicate things for yourself.
• Deny an actor from appearing during the Sortie—they’re busy, possibly with the same thing as
you.
• Spend some time and frame a Downtime Scene.
• Cut away from the Sortie during a moment when time is precious, giving everyone room to think.
 ARCANIST
Disciplined students of arcane magic, who practice their talents for years before graduating to the cockpit of an
Astir.
+CHANNEL (+2)
LOOK
You look: smart, bookish, wily, anxious or imposing
You wear: pilot jumpsuit, military uniform, dress uniform, fancy robes
Your magic is like: roaring elements, bright and neon, abstract and formless, formulaic and defined
When you launch your Astir, you say: ________________
APPROACH
When fighting on foot, your approach is: arcane or elemental (choose one)
GEAR ARCANIST GEAR
• 1 Astir III • Telescoping Staff I (melee / impact)
• Touch Spells I (melee / bane) • Reagent Knife I (melee / mundane)
• 2 Arcanist Gear • Sidearm I (ranged / defensive)
• Clothes that match your look • Shield Broach I (ward)
Arcanists are careful, prepared magic-users. This is most apparent in their use of ‘rituals’ — magical
tactics and enhancements preemptively cast before they embark onto the battlefield. Arcanists
typically attain the magical mastery they have through formal study, and while good at making plans
and full of useful knowledge, they often don't deal well with surprises.
Playing an Arcanist often means calling your shot, either through your choice of rituals or through
plans you make in the heat of action. Once you have advanced and can take new ones, other moves
like expend rituals and reshape make it easier to respond to situations you haven't prepared for.
Consider;
• What does formal magical study look like in your world?
• Is this something open and public, like an academy, or private, like training passed down through
a family lineage? Was it tied to military service?
• Do you have a familiar or bonded item you use to focus your magic?
• What does performing your rituals entail?
• Where did you get your Astir? Is it stolen from a military force? A family heirloom? Does it belong
to the Cause?
• Do all Arcanists study where you did, or are there multiple schools of thought?
• Are people like you openly referred to as Arcanists? If not, is there another name for what you
are?
GRAVITY TRIGGER
When you declare your plan to solve a problem and it works, advance a GRAVITY clock with someone
who doubted you.
STARTING MOVES
You start with the prepare rituals move. Your Astir also begins with a move of your choice from
your Additional Moves or the Cantrips list (see Creating An Astir).
Prepare Rituals
Before every Sortie, you prepare a set of complex rituals to bolster your magical potential. When
someone leads a Sortie, describe to your Director 3 magical rituals you prepare, and choose an
effect for each from below. Any remaining rituals expire when you prepare new ones.
• You may spend the ritual to make a specified move in confidence.
• Your Astir’s approach becomes a different one of your choosing for this Sortie.
• Hold 2: you may spend this 1-for-1 to ignore a disadvantage.
ADDITIONAL MOVES
When you take a new move from your playbook as an advancement, choose from the list below.
Adaptive Rituals
When you fail a move on a 6-, you may re-choose any rituals you have remaining.
Pre-ordained
When you make a move with advantage or disadvantage, you may hold onto one unkept d6 for the
rest of the Scene. During that Scene, you may replace any rolled d6 with that kept one. You may only
keep one d6 at a time in this way, and must use it before you can keep another.
Consult Literature
You have a store of books and scrolls on various subjects that you can consult for information when
given time. Choose 1 subject you have almost perfect records of, and 2 you have extensive
information on;
• Construct models and design • Natural flora and fauna
• Magical beasts and monsters • Military tactics
• Enchantment and spell-craft • A specific nation/faction
• Mundane craft and building • General world history

Your Director might offer you opportunities during Sorties and Downtime to expand your
knowledge, adding new subjects you have records on. Occasionally, people might lean on you for the
information that you hold.
Tactical Illusions
When you distract your foes with magic, roll +CHANNEL. On a 10+, choose 2. On a 7-9, choose 1, but
your illusions also distract an unintended audience.
• The illusions last until you stop sustaining them (otherwise they last up to a minute).
• Your illusions affect anyone you intend to perceive them, rather than a single person.
• Your can create illusions that affect all the senses, rather than just sight.
Identify
You may spend 1 hold from read the room to identify an Astir, learning its approach, source and
general capabilities. When attempting to recreate elements of an identified Astir or help someone
else do the same, take advantage.
Reshape
When you weave magic to reshape a battlefield to your liking, hold 2. The usual consequence of a 7-9
still applies. You may spend your hold 1-for-1 to do the following;
• Prevent a foe from leaving the battlefield
• Delay others from joining the battle
• Provide someone with the cover they need to cool off
• Create a spectacle that will be difficult to suppress or cover up
Transmute Self
Arcanists are well-educated in many things, and the good ones learn to augment their natural
abilities to better suit different situations—or just to pursue different interests. You may select two
more sets of Trait values, using the same conditions used during character creation. With a magical
flourish you swap between any of these sets of Traits—though doing it under pressure or unnoticed
might require a move.
When you increase a Trait as an advancement, apply this to your transmute self Traits too.
New Perspective
When you are put in peril, you may read the room with confidence & advantage in response.
THE ARCANIST THE IMPOSTOR
 IMPOSTOR
Through magic, medicine, or sheer force of will, you took control of your body and made it ideal. This is who you
were meant to be, and they'll never take it away from you.
+CHANNEL (+1)
LOOK
You look: wild, cold, sharp, cocky or brash
You wear: custom-made jumpsuit, modified uniform, ill-suited dress, casual attire
Your magic is like: smoke and industry, neon beams, firey outbursts, arcing bolts
When you launch your Astir, you say: ________________
APPROACH
When fighting on foot, your approach is: profane or elemental (choose one)
GEAR IMPOSTOR GEAR
• 1 Astir III • Power Focus I (ranged / blitz)
• Augments I (melee / bane) • Nullblade I (melee / mundane)
• 2 Impostor Gear • Sidearm I (ranged / defensive)
• Clothes that match your look • Shield Broach I (ward)
You have no magic of your own, and control an Astir through enchanted augmentations or
alterations to your body. They say what you do is fake. They call you an Impostor—but what you do is
real, and you’ve made yourself exactly who you needed to be. The Impostor has a diverse skill set
with lots of ability to play with risks and perils.
To play an Impostor is to, depending on what your arcane augments are and why you got them,
invite questions about the body: about disability, transhumanism, being transgender, loss of bodily
autonomy to the Authority or otherwise and so on. It might not be the focus of your campaign or
even your character to tackle this in-depth, but you should be actively thinking about the place of
these things and the people affected by them in your world. It's also the playbook most indulged in
mecha anime tropes, with moves like face to face, resonance, bullheaded and let loose all
lending themselves to various kinds of hot-blooded action. Consider;
• Where and how did you get your augments?
• How are they made, and of what material? How rare are such things in your world? How
noticeable are they?
• Do people use a word other than ‘augment’?
• Why did you choose to undergo augmentation? Did you choose?
• How does the existence of Impostors relate to disability in your world?
• How do your augments impact your daily life and routines?
• What kind of reactions do people have to your augments?
• Are your augments heavy or uncomfortable? Can they be removed?
• How do your augments help your control an Astir? Do you use controls with them like usual, or
do they interface directly into it somehow?
• How often is the term Impostor used, if at all? Is it formal or informal? Do you have another word
for yourself? Are there others who control Astirs in a similar way?
GRAVITY TRIGGER
When someone you have GRAVITY with sees you be put in peril, advance it.
STARTING MOVES
You start with the arcane augments move. Your Astir also begins with a move of your choice from
your Additional Moves or the Cantrips list (see Creating An Astir).
Arcane Augments
Impostors control their Astir using magical augmentations, like artificial limbs or organs. These
augmentations allow a non-magic user to power and control an Astir, but otherwise do not interfere
with your life unless you (the player) decide so. Being bonded to magic in this way often leads to it
affecting the body and vice versa, irreversibly tying their magic to their emotional and physical
state.
Your CHANNEL is increased by 1 for each danger you have (up-to a max of +3).
ADDITIONAL MOVES
When you take a new move from your playbook as an advancement, choose from the list below.
Hot-blooded
When you heat up, hold 1. You may spend 3 hold gained in this way to;
• Succeed at a move as if you had rolled a 10+.
• Attempt something uncanny, superhuman, or unbelievable.
Troublemaker
Whenever you fail a Downtime Scene, you may give yourself 2 tokens instead of passing 1 to another
player.
Don’t Follow Me
During any Downtime Scene, you may do the below without spending a token:
• Take your Astir and rush ahead: you’ll lead a Sortie with +DEFY & advantage.
Resonance
When you would weave magic to form a clear empathetic bond with another, sharing your true
feelings and clearly communicating your Hooks, choose 1 instead of rolling;
• Your connection lasts a single, precious moment—time for little more than a short exchange.
• They or someone else view it as a breach of trust or some kind of trick, and will hold it against
you.
• You miss something important while you’re together.
Let Loose
For every burden you have, you may increase one of your Traits by +1. The usual max of +3 does not
apply to increases earned through let loose.
Bullheaded
You may take a risk to take advantage on your next roll. People know that you are brash and liable
to put yourself—and maybe them—in danger to get the job done.
Face To Face
When you leave your Astir in the hopes another will do the same to meet you face to face, roll
+TALK.
On a 10+, They will leave their Astir to face you. Player characters may weather the storm to
refuse.
On a 7-9, They will leave their Astir to face you, but choose one;
• Take the risk (entangled).
• You have disadvantage to moves against the other Channeler.
• You are separated from your Astirs temporarily.
Player characters may choose whether to leave their Astir or not—if they do, they pick one of the
above for you.
Realignment
You undergo deeper alteration and adjustments to your body. Discuss what it is with your Director,
and either choose a move from another playbook to represent its effects, or work with your Director
to create a new one.
Mecha fiction is typically, whether it intends to be or not, about bodies. Mechs are a projection of
the self—something huge and powerful, but draped in the visual language and shorthand we use
for ourselves. By extension, mecha fiction often asks complex (and sometimes ill-considered)
questions about disability and the place of disabled people in times of conflict. What does it feel
like—and what does it mean—to take control of another body when that body is a war machine?
Less often interrogated is how they are kept out of and forgotten by oppressive structures of
power, and far less so is how movements that set out to disrupt those structures often replicate
the same exclusion: both of disabled people, as well as other marginalised groups.
These issues are often just as front and centre, if not more so, in genres like cyberpunk that deal
with human augmentation or ‘enhancement’: where alteration or realignment of the human form
is easily doable, but often inextricably linked to new avenues of capitalist exploitation and new
masks on old prejudices.
The Impostor, then, is a collision of these things. When playing one or running a game where they
exist, I urge you not to forget disabled people in the places and conflicts you depict, and to
consider their relationship and accessibility to the kind of body modification that is explicitly
already in reach of the Impostor. Make room for the disabled players at your table to take
authorship on these subjects when they come up in your game if they want to, and make sure to
elevate their thoughts and feelings on how you and others handle them if you yourself are not
disabled.
Furthermore, extend that same concern to those living with gender dysphoria, chronic illness,
substance abuse or other issues to which relief and treatment (and often even sympathy) are
actively controlled and restricted by those in power today.
The core concept of the Impostor is that you have been changed so that you can power and pilot
an Astir: it is important to consider which is the prize and which is the price for your character.
Did they change you so that you could fight, or do you fight so that they would change you?

DIRECTOR’S NOTES
 PARADIGM
Adherents of the gods who channel sacred power into their Astir to control them. The devout know to respect their
faith’s tenets, lest their Astir fail beneath them in the line of duty.
+CHANNEL (+3)
LOOK
You look: serious, haughty, caring, wise or zealous
You wear: pilot jumpsuit, military uniform, dress uniform, religious garb
Your magic is like: angelic choirs, blinding lights, warm embraces, blazing icons
When you launch your Astir, you say: ________________
APPROACH
When fighting on foot, your approach is: divine or profane (choose one)
GEAR PARADIGM GEAR
• 1 Astir III • Holy Symbol I (ranged / area)
• Divine Touch I (melee / bane) • Sacred Weapon I (melee / mundane)
• 2 Paradigm Gear • Sidearm I (ranged / defensive)
• Clothes that match your look • Shield Broach I (ward)
Paradigms channel their divine power from a deity, and must adhere to its tenets in order to
maintain that power. These tenets, as well as what upholding them looks like, might vary between
members of a faith as well as just between different faiths. Paradigms have something to uphold
outside of the Cause's goals, and naturally bring a religious element to the game that might not be
present otherwise - of course, there doesn't need to be Paradigms in a world for faith to be
important.
While playing a Paradigm, you have lots of moves that let you aid and protect other players, like
safeguard and bless. Your high natural CHANNEL of +3 also gives you a great chance of success on
moves like weave magic and firebrand, but making good use of it will require you to always keep
your tenets in mind. Broadly speaking, playing a Paradigm also means you have an important voice
in what the role of faith and religion is in your setting. Consider;
• Is your deity really divine in the supernatural sense, or just a godlike figure?
• How formal is your religion/connection to your deity?
• How well known is your deity?
• How common are people like yourself? Are they called Paradigms, or something else?
• What is the Cause’s relationship to faith?
• What is the Authority’s relationship to faith?
• What is your deity like? What do they demand, and what do they request?
• What does giving service or worship to your deity look like?
• What was your life like before the Cause?
• How were you introduced to your deity?
GRAVITY TRIGGER
When you discuss your faith with someone or learn something about how they personally relate to
faith and spirituality, advance a GRAVITY clock with them if you have one.
STARTING MOVES
You start with the tenets move. Your Astir also begins with a move of your choice from your
Additional Moves or the Cantrips list (see Creating An Astir).
Tenets
Instead of Hooks, write three tenets that represent your deity’s will. When you break or lose faith
in a tenet, your deity will ask something of you. Roll +CHANNEL with desperation until you resolve
this: once you have, take an Advancement and replace that tenet with a Hook representing how
your faith has changed or grown.
If you refuse or resolve it in a way that angers or disappoints the divine, reduce your CHANNEL by 1
permanently. If your CHANNEL reaches 0 in this way, immediately change playbooks and take an
additional Advancement.
Example tenets might be:
• Violence is a road taken when all others are closed.
• Share your faith freely, that it might spread.
• Scepticism is an affront to the divine.
• From each according to his ability, to each according to his needs.
Additionally, you are in service of a deity or faith and are responsible for the spiritual well-being of
your Carrier’s crew. You may perform an extra Social Space or Private Quarters Scene during
Downtime, as you discuss your faith with another or give religious service of some kind.
ADDITIONAL MOVES
When you take a new move from your playbook as an advancement, choose from the list below.
Divine Guidance
When you consult your deity for information or guidance, you may dispel uncertainties with
+CHANNEL. If you do so, on a 7-9 the information is still directly useful, but it is difficult to discern if
your answer came from the intended deity. People know you can literally contact the divine.
Avenger
When an ally or yourself is put in peril, you may declare the responsible party (you are the judge of
who is responsible in this context) your target. You may freely ignore any risks you would be forced
to take in direct pursuit of your target during a Sortie. If you do so, the extra Scene from tenets is
lost during your next Downtime: you must use it to tend to yourself instead.
Inspire Focus
Once per Sortie, you may take a visible position over the battlefield and inspire confidence and
clarity in your allies that see you: they each clear a risk and take advantage to their next roll.
Safeguard
When you exchange blows and someone helps or hinders you, you can protect them from any
harm they might suffer as a result. When you help or hinder someone who is exchanging blows,
you can suffer any harm taken in their place.
Turn Unearthly
You may exchange blows and strike decisively using +CHANNEL against creatures and entities
that are not of our mortal plane. You can sense such creatures, and make them uncomfortable.
Firebrand
When you openly and loudly advocate for something related to one of your tenets, roll the highest of
+TALK or +CHANNEL. On a 10+, choose 2. On a 7-9, choose 1.
• Your words reach people far beyond where your voice is heard.
• Even those not of your faith connect to your message.
• You are not targeted immediately for what you preach.
On a 6 or below, your words are misinterpreted, co-opted, or misrepresented in a terrible way.
Consecrate Ground
When you attempt to imbue an area or building with your divine power and presence, roll
+CHANNEL. On a 10+, choose 2. On a 7-9, choose 1;
• Creatures opposed by your deity or faith cannot enter the consecrated area.
• Creatures within your consecrated area cannot take violent action against each other.
• Creatures within the consecrated area cool off with advantage.
• Creatures within your consecrated area cannot knowingly lie.
Ascension
By divine decree you become something beyond the person you were. You may bite the dust with
+CHANNEL, and you clear all risks on a 10+ rather than one.
THE PARADIGM THE WITCH
 WITCH
Witches seize power through pacts with powerful creatures, knowingly or otherwise. This power fuels and binds an
Astir as well as any other, but its sources can be demanding… and mischievous.
+CHANNEL (+2)
LOOK
You look: dark, mysterious, shrouded, unsure or haunted
You wear: pilot jumpsuit, military uniform, dress uniform, occult robes
Your magic is like: smothering darkness, roiling chaos, striking bolts, withering curses
When you launch your Astir, you say: ________________
APPROACH
When fighting on foot, your approach is: arcane or profane (choose one)
GEAR WITCH GEAR
• 1 Astir III • Patron’s Icon I (ranged / concealable)
• Pact Weapon I (melee / bane) • Ritual Dagger I (melee / mundane)
• 2 Witch Gear • Sidearm I (ranged / defensive)
• Clothes that match your look • Shield Broach I (ward)

Witches receive their magic from an otherworldly patron or benefactor, whose motivations are
rarely discernible to mortal folk. Many kinds of being might be a patron, and their grip on a Witch
might be visible in a lot of different ways—but they all have one thing in common. Patrons trade in
Influence: a resource they can spend to make sure you hold up your end of the bargain.
While playing a Witch, you trade Influence to your patron to activate a variety of moves, like re-
weave reality and borrowed power. These moves let you break the rules a little: altering weapon
tags, messing with dice results, and even using moves from other playbooks. Receive boons gives
you two moves at random per Sortie, but both whims and borrowed power give you some control
over what you end up with. Consider;
• What and who is your patron? Are they supernatural, or just powerful enough to seem so?
• What is the nature of your relationship with your patron?
• Are there other Witches serving your patron? Are there other Witches at all?
• Do people refer to you as a Witch? Is there another term they or you use?
• Is your bond with your patron forever, or will it expire?
• What other kinds of beings exist that could be patrons?
• Did forming this bond cost you anything now, or will it in the future?
• Is there a recognisable symbol of your patronage? An associated familiar?
• Does your patron have a direct connection to you, or do they act through agents?
• Are your boons an informal collection of helpful magics, or something more defined? If so, what
do you call them?
GRAVITY TRIGGER
You have an extra GRAVITY clock with your patron, representing the tenuous bond between you:
whenever they spend Influence, advance your GRAVITY clock with them.
STARTING MOVES
You start with the patron move. Your Astir also begins with a move of your choice from your
Additional Moves or the Cantrips list (see Creating An Astir).
Patron
Your patron offers you two boons at random whenever someone leads a Sortie.
Additionally, they may spend Influence 1-for-1 to do the following;
• Help or hinder you, succeeding as if they had rolled a 10+.
• Attempt to force you to do something; you may weather the storm to resist.
• Re-roll your boons for the day.
As long as you Patron has at least 1 Influence, your CHANNEL is increased by 1.
The more Influence on you a Patron holds, the clearer their mark is upon you.
ADDITIONAL MOVES
When you take a new move from your playbook as an advancement, choose from the list below.
Occult Lore
When you consult your patron for information, you may dispel uncertainties with +CHANNEL. If
you do so, on a 7-9 the information is still directly useful, but using it would cause some unforeseen
complication entertaining or beneficial to your patron.
Whims
Your patron is unfathomable, and their interests obscure. Your Director should, once per Sortie, give
you some minor goal or abstract requirement your patron demands of you—it should be doable
within the session. If you complete it, you may choose your boons instead of rolling next time. If you
don't, give your patron 1 Influence.
Embrace Chaos
Whenever you roll a 10+, you may opt to instead take a partial success as if you had rolled a 7-9. If
you do so, hold 1, which you may spend at any point before the end of the Sortie to do one of the
following;
• Convert a disadvantage into an advantage.
• Upgrade a result of 7-9 to a 10+.
Re-Weave Reality
When you use a piece of equipment to make a move, e.g using a weapon to strike decisively, you
can ignore one of its tags OR act as if it had an additional one of your choice. When you do so, give
your patron 1 Influence.
Relinquish
If a part of your Astir is damaged or destroyed and you take a peril as a result, you may relinquish
your boons; losing them until you receive boons again but fixing that part and losing the peril. You
cannot re-roll relinquished boons.
Bearer Of Curses
When you exchange blows with someone for the first time in a Scene, choose 1;
• They cannot use subsystems for the rest of the Scene.
• You leave a difficult to remove brand or mark on them, according to your patron.
• They suffer misfortune in the future: the next move against them is made with advantage.
Borrowed Power
When you request help from your patron, roll +CHANNEL and give your patron 1 Influence. On a 10+,
hold 3. On a 7-9, hold 1, or be in peril and hold 3. You may spend your hold at any point during the
Sortie 1-for-1 to use any boon you don’t currently have, or you may spend 2 hold to make any move
from another playbook.
BOONS

1 Empowering Boon: You may give your patron 1 Influence to make the subsystems move for
free. When you do so, describe what mark your patron’s power leaves on the situation.
2 Tenacious Boon: When you cool off you may choose to succeed as if you had rolled a 10+. If
you do so, give your patron 1 Influence.
Masking Boon: You can mask yourself or an Astir you are attuned to against detection. When
3 you do so, roll +CHANNEL. On a 10+, you are disguised or cloaked in a fashion appropriate to
your patron. On a 7-9, the Director will tell you a flaw with your disguise.
4 Shielding Boon: You may give your patron 1 Influence to avoid taking a risk.
5 Shifting Boon: You may swap two of your Traits for this Sortie.
6 Trickster’s Boon: Whenever you roll doubles, something helpful but unexpected happens.
 CAPTAIN
Even the best of teams need guidance. Overlooking sorties from the Carrier’s helm, the Captain commands the
crew and ensures those in the field get the help they need.
LOOK
You look: noble, upright, callow, eager or intimidating
You wear: immaculate uniform, casual clothes, armoured clothing, officer’s coat
You lead with: gut feelings, well-informed advice, stoic instruction, tested experience
APPROACH
When fighting on foot, your approach is: mundane
GEAR CREW/CARRIER BONUSES
• 1 Ornate Gear • Marine Infantry (they’ll fight tooth and nail
• 2 Crew/Carrier Bonuses to defend the Carrier)
• Clothes that match your look • Civilian Quarters (Can safely accommodate
ORNATE GEAR refugees)
• Gilded Sidearm I (ranged / versatile) • Construct Bay (Steed Ardents for everyone)
• Ruinlock I (ranged / reload, ruin, profane) • Cloaking Rituals (Can hide the Carrier from
• Duelist’s Blade I (melee / bane, decisive) sight)
• Arcane Mantle I (ranged / defensive, arcane)
Responsible for the crew and their mission, the Captain provides support on missions by leading the
crew and harnessing the Carrier’s equipment and weaponry. Captains can even provide temporary
upgrades and refits for Constructs deployed on a sortie, or level their tactical know-how into better
positioning on the battlefield.
While playing a Captain, you're in command of the group's Carrier and its crew. This lets you roll
several moves with the Carrier's +CREW trait instead of your own when commanding it—which is
either a blessing or a curse, depending on what that CREW value is. Additionally, while at the helm of
your Carrier you can take 4 dangers rather than 3 before you're defenceless, meaning you're tough to
take down in a straight fight. All those hands on deck add up, after all. Many of your other moves
revolve around supporting other players, like surprise requisition and fire support. Consider;
• Were you formally schooled as a Captain? How exclusive are such schools?
• Who appointed you Captain of this Carrier?
• Have you served with another crew before?
• Are you used to helming ships this big?
• Have you served with a military before? Are you a commissioned officer?
• What exactly is your place on the Carrier’s bridge?
GRAVITY TRIGGER
When anyone rolls a 6 or below while rolling +CREW, advance a GRAVITY clock with someone who
has put their trust in you.
STARTING MOVES
You start with the in command move as well as two others from your Additional Moves.
In Command
You are the Carrier’s captain, and naturally have command of its crew. While at the helm of the
Carrier, you may order the crew to perform moves on your behalf: unlike when other playbooks use
+CREW, you may do this any number of times. Increase your Carrier’s +CREW by 1.
When you do so, explain how the crew helps you do this thing—they share in the consequences of
your move, good and bad. You are responsible for their lives. If things go bad rolling your Traits,
things go bad for you. If things go bad rolling +CREW, you endanger everyone.
Additionally, both Carrier and crew are part of your character as far as risks and perils are concerned,
just like an Astir is an extension of its channeler. To reflect the many minds and hands at work for
you, you are defenceless at 4 dangers while at the helm of your Carrier, rather than 3. You go down
with it, and it goes down with you.
ADDITIONAL MOVES
When you take a new move from your playbook as an advancement, choose from the list below.
Tactical Genius
When you're supervising allies from afar during a Sortie, you can lever your tactical know-how into
better positioning. Take 1+KNOW hold at the start of a Sortie, and spend it 1-for-1 to do the
following;
• Remove one risk from an ally.
• Give an ally advantage to their next move, describing how you advise or support them.
• Have an ally appear somehow in a place they are needed.
Force Multiplier
You acquire something—a tool, ship upgrade, a caged malevolent sentience, etc—that allows the
Carrier and it’s staff to operate far better than usual, but it has a downside. For each of the below
drawbacks you give it, once per Sortie you may act with confidence.
• It whispers in your ear—change one of your Hooks to represent its demands.
• It’s fragile and needs protecting. It grants no benefit while damaged or destroyed.
• It is physically taxing or requires upkeep of some kind: gain a burden. If you gain this move at the
same time as you would gain a burden from another source, you take this one instead.
Surprise Requisition
When you dispatch supplies to another character or reveal something extra you had them deployed
with all along, roll +CREW. On a 10+, choose 1 for free. On a 7-9, you had to requisition that gear
personally; tap a Faction as they spread themselves thin to help you.
• A weapon rendered unusable by damage or lack of ammo is replaced/rearmed (clearing a related
peril, if applicable).
• A weapon gains the bane tag until the end of the scene.
• A weapon gains the ruin tag for one shot or strike.
• An Astir changes it’s approach until the end of the scene.
Fire Support
When you provide instruction and call shots for the Carrier’s crew, you may exchange blows and
strike decisively using +KNOW and the Carrier’s weaponry.
Information Network
When you contact your superiors or an appropriate source for relevant intel, you may dispel
uncertainties with +TALK.
Take +1 token during Downtime to spend on any info-gathering efforts or projects.
Born Leader
You lead a Sortie with advantage and give the crew confidence when they plan & prepare.
Figures within the Cause lean on you for strategic advice: to some degree, their successes and failures
during the Conflict Turn can be attributed to your guidance.
Human Resources
When you read the room, you may also choose from the following questions;
• What is the crew’s mood like?
• Who is responsible for a problem on-board the Carrier?
• What could be a problem for the crew in the immediate future?
Coordinator
When you roll a 10+ to help or hinder and choose to help, your ally may act with confidence in
addition to advantage.
THE CAPTAIN THE DIPLOMAT
 DIPLOMAT
Not every war is fought with weapons. For a Diplomat, the battlefield is a boardroom, the landmines are a host’s
hospitality and the only weapon you need is a winning smile.
LOOK
You look: noble, refined, experienced, naive or slick
You wear: military dress, mostly disguises, luxury fashion, recognisable uniform
You have a reputation for being: fair and trustworthy, sly and wily, unpredictable, bold and pushy
APPROACH
When fighting on foot, your approach is: mundane
GEAR 'DIPLOMACY' TOOLS
• 1 Diplomacy ‘Tool’ • Listenbugs (overhear anyone during Downtime near a bug
• 3 ‘Diplomacy’ Tools you’ve hidden—they’re fragile)
• Clothing that matches your look • Lockpicks (Useful for picking locks, unsurprisingly)
• Silencing Matrix (Removes all noise from a tier I weapon)
DIPLOMACY ‘TOOLS’ • Shimmershape Clothing (Clothing can magically change
• Spyglass Ray I (sniper / bane, colour and design)
elemental) • Agents (Does the below once per Downtime)
• Fencing Blade I (melee /
defensive, blitz) ▪ Report on intel they’ve gathered: the Director will
• Arcane Dagger I (melee / ruin, reveal something useful about the Sortie.
intimate, arcane) • Transport (You have a mount or vehicle that’s fast and
quiet—probably something tier II)

Diplomats are the kind of people that bring factions together and negotiate the impossible. They
definitely never ever spy on anybody; instead, they meet with other important people face to face to
achieve with words the kind of things that a legion of men couldn’t with blades. The pen is their
sword, and none of them have ever knocked a man out before stealing his uniform to pass as a guard.
While playing a Diplomat, you have a lot of power to set the rules of a social situation with moves
like facilitator and bureaucrat. You're also very good at subterfuge, both by manipulating people
and by stabbing them when they aren't looking, with a suite of moves including sharp tongue and
sharper knives. Consider;
• Are you actually a diplomat? Do you hold any official office?
• How long have you been with the Cause? Were you part of it before joining this crew?
• What’s your stance on violence?
• What is your network of connections like? Do you have one?
• What motivates you during this conflict? What are your goals?
• What’s the most danger you’ve been in before?
• What does diplomacy mean to you? How do you go about it?
• Have you ever negotiated with the Authority before?
GRAVITY TRIGGER
When you successfully negotiate or advocate for something important to you, advance a GRAVITY
clock of your choice.
STARTING MOVES
You start with the facilitator move as well as two others from your Additional Moves.
Facilitator
You may read the room with +TALK when mediating or taking part in a conversation/discussion.
When you set up a clandestine meeting, choose 2;
• There’s no risk of an ambush or interference.
• Third parties aren’t privy to the contents of the meeting.
• All parties are willing to discuss in good faith.
ADDITIONAL MOVES
When you take a new move from your playbook as an advancement, choose from the list below.
Sharp Tongue
When you exchange blows with +TALK, on a roll of 12+ your opponent is put in peril.
Sharper Knives
You’re trained in the arts of assassination and stealth. Take advantage while attempting to remain
undetected or unseen, and being unaware of your presence counts as two risks.
Stir The Crowd
When you attempt to inspire dissent against the Authority, roll +TALK. On a 10+, choose 1. On a 7-9,
choose 2, or let your Director choose 1.
• It takes a tragedy to truly galvanise people.
• In doing so, you become known and targeted.
• You have no control or influence over any acts of protest.
• You are unable to spark wider resistance than the local area.
Bureaucrat
When you would exchange blows with +TALK to slow someone down or distract them with
regulations, bylaws, or whatever piece of red tape you can think of, you also choose two from the
below even on a fail.
• You’re not lying—they’ll really be in trouble if they don’t listen to you.
• They’re invested in what you’re saying: act in confidence against them for the rest of the Scene.
• They won't remember or recognise you.
• You don't need to take a risk.
Irrefutable
When you argue or advocate for something and back up your point of view with hard evidence or
facts, hold 1. When you reach 3 hold, you may spend them to strike decisively with +TALK against
someone who isn’t defenceless.
Connected
When you meet someone of note, roll +TALK. On a 10+, you’re familiar with them, and you may
choose whether their view of you is positive or negative. On a 7-9, as previous, but the Director
decides how they think of you. On a 6-, things are bad: act in desperation against them for the rest
of the Scene.
Shree Klime
During Downtime, you may also prepare an alias or disguise. Most people will believe you are who
you say you are, unless you're disguised as someone they're very familiar with, or they are given
reason to thoroughly check your person or any identification. During Downtime, instead of the usual
benefit for a Scene, you may secure 2 of the following;
• You have ID that is either legitimate or so well faked it is impossible for anyone short of an expert
to tell the difference.
• There's a reason or expectation for someone fitting your disguise to show up.
• You've had something useful planted ahead of time—select a weapon or piece of equipment (one
you have access to) to be hidden just where you'll need it.
 ARTIFICER
Between necessary repairs and wholly unnecessary tinkering, Artificers do their best to keep their allies
equipped and their Astirs functioning.
LOOK
You look: tough, filthy, punky, weary or wise
You wear: pristine overalls, casual clothes, patched jumpsuits, homemade armour
You handiwork looks: clean and utilitarian, fancy and artistic, like it barely holds together, unremarkable
APPROACH
When fighting on foot, your approach is: mundane
GEAR ARTIFICER TOOLS
• 2 Artificer Tools • Heavy Wrench I (melee / bane, impact)
• 1 Transport or Service Ardent II • Beam Cutter I (melee / reload, ruin, decisive)
• Construct Manuals (dispel uncertainties • Steelfuser I (ranged / restraining, elemental)
regarding construct & Astir design with • Alchemical Gel I (advantage when cooling
advantage) off to repair something)
• Clothing that matches your look

Artificers ensure that the Carrier and the Constructs it carries are in top condition, repairing and
tinkering with them whenever the chance arises. While talented at putting new things together, an
Artificer's expertise is just as easily applied to taking something apart. Artificers might be
professionals, trained in the construction and repair of Astirs, or natural tinkerers who grew up
making jury-rigged improvements to their town.
While playing an Artificer, expertise lets you give everyone else room to breathe during Downtime,
and experimenter lets you occasionally give others the chance to tweak their Traits. Aside from
that, you have some very versatile options: arcane generator and jury-rigger let you control
Astirs and quick construct things, and combat engineer even lets you branch out into the Scout
playbook easily. Consider;
• Where and how did you learn your craft?
• Are there others as skilled at working with Astirs as you in the Cause? What about the Authority?
• How did you get involved with the Cause?
• What was your life like before the Cause?
• Have you always worked on Astirs, or did you hone your craft making something else?
• Do you have a certain material or style that is considered tell-tale of your work?
GRAVITY TRIGGER
When you tend to someone’s body or Astir, advance a GRAVITY clock with them if you have one.
STARTING MOVES
You start with the expertise move as well as two others from your Additional Moves.
Expertise
You’re an expert at making and mending, and may perform an extra Infirmary or Hangar Scene
during Downtime, as you repair and mend the things around you. Whenever you advance a long-
term project to build, dismantle or modify something, advance it twice.
ADDITIONAL MOVES
When you take a new move from your playbook as an advancement, choose from the list below.
Field Testing
You’re used to testing out new equipment, and can easily get to grips with new tech. You have
advantage when trying to use, analyse, or figure out something about unfamiliar equipment,
constructs, or similar magical machinery.
Experimenter
When you fail a Downtime Scene, you may pass 2 tokens to other players instead of 1.
When you remove a peril from someone, roll a d6. On a 5 or 6, they may adjust one of their Traits by
+1 and another by -1 if they wish, to a maximum of +3 and minimum of -2.
Combat Engineer
You supplement your Artificer expertise with advanced combat training: for all purposes related to
physical conflict, you are considered tier II rather than I. This includes wielding weapons, fighting,
avoiding harm, and so on. Take a Custom Scout Weapon: it is tier II, and is either too heavy or
requires too specific training for other people to use without taking disadvantage.
Jury-Rigger
When you take random parts or objects and attempt to create something useful out of them, roll
+KNOW. On a 10+, choose 3. On a 7-9, choose 2;
• It fits the purpose you had in mind.
• It stops working after hours, not minutes.
• It doesn’t explode when it stops working.
• It doesn’t look like garbage stuck together.
Refined Rituals
When someone leads a Sortie, hold 3. You may spend this hold 1-for-1 to let an ally make the
subsystems move for free.
Arcane Generator
You’ve built a remarkable artifact, small enough to be worn on your back or at your hip, that
generates and sustains it’s own magical energy. You may power and control an Astir while it is
working: you effectively have a CHANNEL of +1.
Additionally, when you tap into it to create something long-lasting, roll +KNOW. On a 10+, you can
create a single object as large as it is simple (i.e small and complex like a clock, or large and simple
like a wall), and it takes but a few minutes of work. On a 7-9, choose 1;
• What you create is fragile and will not stand up to attack well.
• Your device creates an unnatural magical feedback: the next person to roll +CHANNEL does so
with disadvantage.
• The work is taxing—take the peril (exhausted).
It’s A Prototype
Once per Sortie, you may reveal what prototype upgrade you’ve made to a Astir that you reasonably
had access to recently. When you do so, choose 2;
• You didn’t have to disassemble anything else for parts.
• Your invention doesn’t draw unwanted attention to you.
• The upgrade burns out at the end of the Sortie, rather than after one use.
• Using the upgrade isn’t dangerous is any way.
Counterspell
When you get close and use your expertise in magical machinery to try and disrupt or damage a
magical ritual, enchantment or construct, you may exchange blows and strike decisively with
+KNOW using the following profile;
• Counterspell III (melee / set-up, slow, ruin)
THE ARTIFICER THE SCOUT
 SCOUT
Scouts are straightforward people. Trained in navigating any terrain and path-finding for less mobile troops,
scouts are often the eyes and ears for their Astir allies.
LOOK
You look: wild, cold, sharp, cocky or brash
You wear: gleaming plate, well-worn uniform, survivalist’s gear or rugged leathers
You fight with: brute strength, dexterous moves, practised discipline, raw tenacity
APPROACH
When fighting on foot, your approach is: mundane
GEAR SCOUT EQUIPMENT
• 1 Custom Scout Weapon • Maps & Tools (You can always find
• 2 Scout Equipment a way through or past)
• Any tier I weapons that feel appropriate • Aid & Repair Kit (You can tend to
• Clothes that match your look minor injuries or damages)
• Traps & Wards (You can always set
CUSTOM SCOUT WEAPON up a defence given time)
Design a +2 total cost weapon using tags of your choice from • Blades & Bracers (You can always
the list in the Equipment chapter. Describe its appearance produce a basic weapon, +ward)
and where you got it to the group, and tell them it’s name if it
has one.

Scouts are more than the rank-and-file soldier. Trained to be fast, strong and capable, Scouts are the
trailblazers and survivors that make it possible for everyone else to do their job. From sneaking into
enemy territory to gather information to performing patch repairs on Astirs damaged in the field, a
good Scout can work wonders.
While playing a Scout, your choice of starting moves let you stand toe-to-toe with things higher tier
than you, even Astirs if you choose, more easily. Depending on the moves you take, a Scout can be a
dangerous solo agent, leaning on moves like improvisation and mobility, or a powerful team player
with moves like natural leader and patch job.
Consider;
• Are Scouts common, or are you an exception?
• Do you have a tool or ability that helps you be mobile, or are you just agile?
• What kind of reputation do Scouts have? Is fighting an Astir considered risky for you?
• Who didn’t want you to fight?
• Who encouraged you to fight?
• How long have you been a soldier?
• Were you trained or are you a natural fighter?
• Where did you get your equipment?
• What drives you to work on foot in a world of mechs?
• Do you have a better relationship with regular soldiers due to not being a pilot?
GRAVITY TRIGGER
When you hold your own against something bigger than you or help someone in an Astir out of a
tight spot, advance a GRAVITY clock with someone who sees you and is impressed.
STARTING MOVES
Pick either the field scout or giant slayer move, as well as two others from your Additional Moves.
Field Scout
You're an expert at managing operations in the field and supporting your allies. You’re agile and
strong, you tend to notice things those in Astirs don't, and your size allows you access to spaces too
small for them. Read the room with confidence, always.
Your skill at combat is above and beyond that of other fighters, too: for all purposes related to
physical conflict, you are considered tier II rather than I. This includes wielding weapons, fighting,
avoiding harm, and so on. Your custom weapon is tier II, and is either too heavy or requires too
specific training for other people to use without taking disadvantage.
Giant Slayer
You have trained and honed your fighting skill to the point that you can easily go toe-to-toe with
giants, Astirs and other huge creatures: for all purposes related to physical conflict, you are
considered tier III rather than I. This includes wielding weapons, fighting, avoiding harm, and so on,
though Astir-sized weapons might still present you some difficulty (given their sheer weight and
size) unless the Astir was particularly small or you have a clever solution for leverage.
Your custom weapon is tier III, and is a huge, unique armament that you alone can wield as easily as
any other. No other person can hope to use it well with just their mere hands.
ADDITIONAL MOVES
When you take a new move from your playbook as an advancement, choose from the list below.
Team Player
When you read the room, you may pass the information you gain along and allow an ally to act with
advantage instead of you. This counts as them making a move involving you, and they may roll with
+GRAVITY as appropriate.
Mobility
When you're fighting somewhere with the room to be acrobatic and mobile, roll +DEFY. On a 10+,
hold 3. On a 7-9, hold 1. You can spend 1 hold at any time to do one of the following;
• Escape from something that binds, traps or impedes you
• Acquire high ground or a defensible position
• Get to somewhere or something before others can
• Avoid an incoming source of physical harm
Improvisation
At the beginning of a Sortie, hold 3. You may spend 1 hold to change your approach for a single
move. Explain to your Director what you did or used to do this.
Natural Leader
When participating in a group move, you can always make the roll in place of whoever has the lowest
relevant trait.
Patch Job
When you cool off to remove a risk or the ‘overheating’ tick from an Astir, you can do it in a few
moments rather than minutes, even while the Astir is still moving. Instead of the usual result, on a
7-9 you attract unwanted attention.
Guerrilla
When you attempt to evade detection or sneak past others, roll +KNOW. On a 10+, choose 2. On a 7-9,
choose 1, or choose 2 and take a risk.
• You avoid detection.
• You find something hidden or forgotten.
• You can set up for an ambush.
• You find a way to allow others to follow you without being detected.
Path-finding
When you're leading a group that is travelling a long distance, hold 3, and spend it 1-for-1 on the
following options while you travel;
• You lead the group past an area of difficult terrain without issue.
• You find a comfortable, sheltered place to set up camp.
• You're familiar with the area; dispel uncertainties regarding it or the things in it with
advantage during the journey.
• You find a shortcut, reducing the length of your journey but adding complications.
 CANTRIPS
Cantrips are moves not assigned to a particular playbook. Whenever you choose a move, including
those chosen when picking a playbook, you make instead choose from the Cantrips list. Cantrips
count as playbook moves for the purposes of moves like borrowed time.
If you don’t have a CHANNEL trait, you may still pick a Cantrip that is rolled with +CHANNEL.
When using it, explain what device, enchanted item, or otherwise allows you to wield magic in this
way and act as if you had a CHANNEL of +1.
CANTRIPS
Classical Spellcasting
Choose a Basic Move: while out of your Astir, you may roll it with +CHANNEL instead of the usual
Trait. If things go wrong, your magic backfires. Using magic to exploit people’s emotions and
minds is as bad as using magic to hurt them, and will be remembered as such. If you do use magic
violently, use the following profile:
• Hand-casting II (ranged / area)
Advanced Evocation (Requires: Classical Spellcasting)
Choose one of the following tags (defensive, decisive, restraining, impact); when you use classical
spellcasting violently, add that tag to the above profile. At your Director’s discretion, you may
choose a tag not on the above list or create a new one entirely.
Don’t Die Yet
When you enter battle with a group of allies, give up to four people (including yourself) advantage
when they next bite the dust.
Seek Allies
Once per Sortie, you may summon a cadre of creatures, spirits, elementals or otherwise to assist
you in combat. When you do so, you may act as a squad until the end of the scene.
Haste
If there is a question of who acts first in a situation, the answer is you. If multiple characters with
haste are all attempting to be the quickest, they act simultaneously.
Deny
When you use magic to temporarily restrict the actions of another, roll +CHANNEL.
On a 10+, you prevent them from taking a single action or move.
On a 7-9, as above, but you or someone else rushes to act against them in desperation.
Fire-Eater
You may take a peril (seared, volatile, overcharged) to untick ‘overheating’ from your Astir and act
with confidence.
All In
When you have advantage on a move, you may take an additional advantage at the cost of also
acting in desperation.
Lifesense
You have a keen sense of where all living creatures around you up to sniper distance are, as well as
roughly how strong their life force is—living things close to death, for example, seem more faint
and difficult to conceive of in this way.
Truth-making
When you read the room, on a 12+ you may answer one of your questions yourself—though your
answer must be within the relative realm of possibility.
Personal Familiar
You have a small familiar that aids you, like an animal companion or spirit or summoned creature.
Once per Sortie, you can ignore a single disadvantage as they help you out of trouble. Once per
Downtime, they can report back to you about the events of a Scene you weren’t present for.
 ADVANCEMENT
In Armour Astir, characters earn advancements in three ways;
• Completing a GRAVITY clock
• Compromising, sacrificing or outgrowing a Hook
• Spending 6 Spotlight, earned on a 6-
Advancements can be spent on the following options, once each;
• Choose an Additional Move from your playbook or from the Cantrips list.
• Choose an Additional Move from your playbook or from the Cantrips list.
• Choose an Additional Move from your playbook or from the Cantrips list.
• Choose an Additional Move from another playbook or from the Cantrips list.
• Increase a Trait by 1, to a max of +3.
• Increase a Trait by 1, to a max of +3.
After you have advanced and chosen from the above options 3 times, you may also choose from the
following additional options.
• Choose a new Move from the Soldier Moves.
• Choose a new Move from the Soldier Moves.
• Choose a new playbook. Keep what moves you and your Director agree are truly part of your
character, and discard the others. Replace them with the starting moves for your new playbook.
You do not gain its starting equipment.
• Choose a new character: your old one retires from play according to their Hooks, and passes one
of their Moves onto your new one.

SOLDIER MOVES
GET OUT OF MY WAY!
When you come to blows with your Rival, see someone you have a GRAVITY clock with die, or
witness the Authority commit a truly terrible act, hold 3.
You may spend this hold 1-for-1 to strike decisively against non-Rival or Main foes, even if they
aren't defenceless, and treat any result of 6 or below as a 7-9.
RED COMET
Any Astir you channel gains an extra Artifact part called 'Uncanny Speed', and its Power capacity is
increased by 1.
FLASH
You may communicate with other Channelers instantly over great distances in times of urgent need,
sending words or even feelings and sensations to help or hinder faster than anyone or anything
else can act: so quickly, in fact, that you may do it after a roll has been made.
Additionally, dead characters may still help or hinder you, their spirit able to speak with you from
beyond.
SELFLESS
You may put yourself in peril to completely defend another from one source of incoming harm, like a
blade or a challenging statement, however severe it is.
You may put yourself in peril to attempt something uncanny, superhuman, or unbelievable.
INDOMITABLE
Whenever you make a move, on a result of 12+ you may clear a risk.
WHITE DEVIL
Stories of your talent and your Astir have spread far and wide among your enemies: anyone other
than your Rival who would act against you whilst piloting your Astir must take the risk (intimidated)
to do so. This risk is cleared if they witness your Astir be seriously damaged, if you flee from fighting,
or if they have reason to believe you aren't piloting it.
NIGHTMARE OF SOLOMON
You have acquired a weapon of horrific potential. When you deploy it to destroy your enemy with
overwhelming force, you succeed. Resolve all your GRAVITY clocks as if you had filled them, even
ones that have been previously committed to and locked. No advancements are gained for clocks
resolved in this manner. In the future, no matter how noble your intent or just the results, your
actions will be used to justify further violence.
THE ARITY METHOD
Once per Sortie, when you would bite the dust, succeed as if you’d rolled a 10+. Act with confidence
and advantage the next time you would exchange blows or strike decisively.
ORIGINAL VIDEO EPISODE
During Downtime, you may lead a raid or operation against the Authority to disrupt their activities
as your Downtime Scene. Tell the Director what you set out to do, and who comes with you. If it’s
anyone you have GRAVITY with, advance it. During the next Conflict Turn, the Cause may start a
Conflict Scene of their choice with one success already.
ONCE THE WAR’S OVER
When you talk about what’s waiting for you after the fighting’s over, hold 3.
You may spend your hold 1-for-1 to automatically succeed on any move as if you had rolled a 10+.
Whether or not you spend your hold, you will perish before the beginning of your next Downtime.
Don’t roll to bite the dust as usual—instead, let your Director know when you think it’s time.
THAT’S DIALECTICS
You take over another Faction of the Cause, and steer them towards something impressive. Start an
6-step long-term project clock. Once it’s filled, your next plan and prepare succeeds as if the group
had rolled a 10+ and you gain every listed benefit regardless of how much hold is available. You also
may then lead a Sortie in confidence for as long as the Faction remains in the Cause, as they fight
alongside you.
You must work on this project at least once per Downtime when possible: otherwise your influence
over the other Faction dwindles, and the clock is reduced 1 step.
MIDSEASON UPGRADE
The opportunity to acquire something of immense power and value will present itself to you. It
might be a tier IV Astir, a legendary Ardent, some other kind of powerful magical artifact or
something of more mundane importance.
FISHER OF MEN
When you strike decisively and succeed, you may impose one of your Hooks on the other party if
they survive. If that character belongs to a player, it does not count against their usual limit of three
Hooks.
CHANGED FOR GOOD
Select a committed Gravity clock. Replace one of your Traits with its value, describing how that
relationship bettered you in one aspect.
 ccording to Irion (1Y Dimitri, p.173),Astirs used in regions of

A theWestern Reaches (his studies focusing on Jennehill and

Locaster primarily), even smaller ardents used for simple
labour work, would “encounter what is colloquially known in the area
as ‘rust monsters’ (but recognisable through simple observation as a
common oxide-dog, canis lupus ferrugo) on a near-daily basis.” Irion
detailed futher how these encounters would affect constructs whose
designs incorporated iron plating or frames, noting that “even when
guards posted nearby were able to chase away the creatures quickly
from idle Astirs, repeated cases of even minor contact would result in
a build-up of rust so severe that most were no longer functional after
two to �ve weeks of deployment.” In my own observations, extending
from Jennehill and Locaster into the current western front in the
Dragonspine Mountains, I found this estimate of two to �ve weeks to
be charitable.
At three military forts in the region of Dragonspine, all constructed
within the last �ve years, quartermasters reported to me an
operational lifespan of, at most, three weeks for Astirs whose designs
featured iron heavily. Furthermore,Astirs whose designs used iron in
a more reduced role—just as armour plating, as joints, or as is
commonly used in radiator grilles—would still require much heavier
maintenance over their typical operational lifespan.
Why, then, are the troops deployed to theWestern Reaches so often
supported by newer and more expensive Astir designs that are still
constructed on iron frames?

- Excerpt from ‘A Treatise On Endemic Rust Monsters & Their

Effects On Astir Deployment In TheWestern Reaches’, Artificer-
Knight Cecil Knowles,ThirdYear Of Emperor Dimitri’s Reign
 CONFLICT & TIERS
As a game largely about getting into magical mechs and fighting fascism, much of the interaction
between players and other characters (during Sorties at least) will involve them in various kinds of
conflict or negotiation. In Armour Astir, much of this will largely fall under the purview of two
moves: from friendly duels to fights to the death, from lying to avoid suspicion to addressing a
nation.
In the fiction, players will exchange blows to set opponents up, wear them down, give an argument
strength or cast doubt, then strike decisively to land a killing blow, dismiss an argument entirely,
or otherwise follow through on opportunities opened up by their earlier exchanges.
Mechanically, players will exchange blows to make an opponent defenceless by giving them a
number of risks or perils, then strike decisively to remove them as a threat according to the fiction.
Of course, there are many factors at play that might affect how the rolls behind these moves go
down. Physical conflicts are affected most obviously by physical things: by the weapons being used as
well as what kind of protection those involved have to rely on. The terrain, relationships, weather,
and so on might also come into play. Anything settled with words is likely to be affected on a more
circumstantial basis: by what is being said, who it is being said to, and countless other little factors.
What this largely boils down to is having one or more levels of advantage or disadvantage, or if
you’re particularly lucky (or unlucky) the ability to act with confidence (or desperation). See
Opposing With +CLASH and Opposing With +TALK below for specifics on things that might affect
these rolls.
Affecting both equally are Tiers, the embodiment of what kinds of creature or object something can,
broadly speaking, be considered in the same league as. Fighting something below your tier is far
easier (see: an Astir stomping on a man), whilst fighting something above your tier is far harder (see:
a man trying to stomp on an Astir). See Tiers below for more information.

Just as complex spells often require intricate rituals and awkward somatic gestures, the
magic used to power an Astir can be augmented by intentionally complicating its design.
‘Flourish components’, as they are referred to, sometimes take the form of odd, restrictive
design choices, and sometimes look like compact rube-goldberg-esque contraptions that
contribute somatic components to an Astir’s spells.
Regardless of their differences, they can largely be described as additions to an Astir that
serve no true function, their lack of purpose providing a supplementary source of magical
energy. I am told that new Channelers, at schools abreast of such advancements, are given
a stern warning: be wary of Astirs with capes.

- Excerpt from ‘Ef�cient Inef�ciency: Practical Applications of the Flourish Theory’,

Prof. Keller June, ERA3/1 (Lilac)
 OPPOSING WITH +CLASH
When it comes to literal combat, weapon ranges and approaches are the primary thing to consider.
Many tags also offer benefits when using certain moves or fighting in certain situations.
RANGES
Weapon ranges, largely, define if you can trigger moves like exchange blows or strike decisively.
They might also have relevance in attempts to intimidate or threaten: a smart foe might know full
well that you’re bluffing with a weapon they have little to fear from.
• Melee: This weapon is used to physically hit targets at close range.
• Ranged: This weapon is used to hit targets from a medium distance or close up.
• Sniper: This weapon is used to shoot at targets from a long or medium distance.
Range tags are relative to the tier of the weapon—an Astir-sized sword with melee range can strike
something a lot further away than a sword wielded by a person, for example. Ranged and sniper
weapons mounted on something higher tier than them are re-tuned so that their range bands are
relative to their new housing.
APPROACHES
There are, in the broadest of senses, five approaches to combat. Each is particularly effective against
another, but in turn vulnerable in the same way. You act with confidence when facing an approach
yours is strong against, and desperation when facing an approach that is strong against yours. They
are:
• Mundane, the approach of those with blades, bows and shields, which cuts easily through
arcane defences meant to protect against magic with simple steel.
• Arcane, the approach of those who weave pure unaspected magic, which pierces the domains of
the divine well, having long since been stolen from them.
• Divine, the approach of those with a godly sponsor, which scours the profane from our world
quite readily, holy powers being anathema to those of the dark.
• Profane, the approach of those who consort with the unkind and the forgotten, which is
effective against the natural forces of our world, and as such easily smothers elemental magic.
• Elemental, the approach of those wielding fire and frost, which easily subverts mundane
defences that rely on materials that warp, conduct and shatter under the elements.
You might work on a long-term project to change the damage type of something, or frame a
Downtime Scene somewhere else to find a quick way do it temporarily.

MUNDANE

ELEMENTAL ARCANE

PROFANE DIVINE

On foot, your approach is typically defined by your playbook. Ardents, Astirs, Carriers and other
magical constructs have their own approaches which override yours when you’re fighting in them.
 OPPOSING WITH +TALK
When trying to achieve things with words, the tags on your gear and weapons tend to be less
important (though if intimidation is your chosen avenue, this might not be the case). What matters
more is what is being said, who it is being said to, what kind of person they are, and so on.
DEBATE ME
When you’re using exchange blows or strike decisively to persuade, intimidate, deceive, inspire
and otherwise use words get your way, it’s very important to keep the facts of your fiction in mind.
Rugged mercenaries are less likely to cower under intimidation than shy scholars, and it’s harder to
negotiate with an expert merchant than someone with barely a sale to their name: situations like
these are where advantage and disadvantage might often come from when using +TALK. You
should feel free to suggest these to your Director when they arise.
When opposing someone with +TALK, approach doesn’t matter. Unless you decide it does for some
reason, in which case: refer to the above +CLASH rules for a reminder on that.
Strike decisively notes that on a success your foe is removed as a threat according to the fiction.
When rolling with +TALK, the fiction will typically be that they truly believe what you’ve said, are
willing to carry out some instruction or bow under threat, etc. As such, striking decisively in this
manner means the character will do what you wanted and then cease being a threat to you. This
might mean they stand aside, retreat, are so well-convinced of your disguise they no longer suspect
you at all, or so on: whatever it is you wanted, you get it for the rest of the Sortie.
Characters must still be made defenceless for this to happen. In social circumstances, the risks and
perils you inflict to do so are likely to be very different to the ones you inflict in actual combat. You
might mention a name that makes someone uneasy, imply violence that leaves someone scared, or
speak with courage that inspires confidence in someone you’re trying to instruct. That’s not to say
dangers of a more physical nature don’t effect social engagements and vice-versa: someone already
hurt could be easy to intimidate, just as someone who is scared might falter in battle.
Additionally, risks and perils might be a way to get what you want temporarily or to a smaller effect:
you might exchange blows and make someone fooled or charmed, but remember that this is never
going to be as reliable or permanent as securing a result with strike decisively.
TALKING TO GOD
While weapon tags like bane and ruin provide an avenue of overcoming tier differences (see Tiers on
the next page), those differences also apply when you’re exchanging blows or striking decisively
with +TALK. If you’re just one person, it can be hard to sway the entire crew of a Carrier, intimidate
someone in an Astir, or lie to a deity. There are, of course, plenty of situations where those
differences break down though. If you are someone in a position of authority over them that crew
might listen to you immediately; if you know the trigger word for an explosive rune etched onto that
Astir, you have leverage behind your threat.
For that reason, when rolling with +TALK, you may treat words as having the bane or ruin tags where
appropriate, or even ignore the tier rules altogether if the situation calls for it.
 TIERS
In Armour Astir, there are five tiers things usually come in when it comes to conflict, reaching from
tier I (characters) to tier V (carriers). Weaponry within each of these categories is described
relatively—that is to say, in general, a Carrier-sized weapon with area has a much larger effective
radius than a person-sized weapon with area—because close range between two people is a lot
smaller than close range between two Carriers.
• Tier I covers any creature of around vaguely human strength and resilience.
• Tier II covers simple magical constructs and people particularly talented in combat. Monsters
that might threaten two or three people alone could be tier II.
• Tiers III and IV are Armour Astirs; large, magically-animated suits of armour that are piloted by
someone with magical ability, referred to here as a Channeler. Monsters with tough hides or
magical protection might be one of these tiers.
• Tier V is the realm of vessels and vehicles on a grander scale than any single construct - ships,
trains, or other interesting creations, that often carry and deploy constructs or Astirs into battle.
Carriers, like the one the players have, are tier V. Immense creatures, like krakens or really big
dragons could be considered tier V.
• Tier VI covers things beyond Carriers or Astirs. They are things men might call unfathomable, or
unknowable—but men designed them, men lifted the timbers, and men guided them until they
could walk. It is not the shape or definition of the divine that makes them beyond us.
You should feel free to include exceptions to the above in your game. Ardents of a higher tier that
can go toe-to-toe with Astirs more readily, smaller Carriers or ships that are only tier III/IV, and
other things can be interesting to think about: what does a tier V person look like?
Typically, you can only use things of the same tier as you unless a move specifies otherwise, or unless
you’re ‘inside’ of something that is a higher tier: a construct, an Astir, a defensive emplacement, etc.
Using equipment that is lower tier than you does not bring it up to level: if a tier III Astir picks up a
tier I dagger in it’s big stone fingers and tries to stab another Astir with it, the only thing that’s going
to break there is the dagger.
LOWER VS HIGHER TIER
People, monsters, weapons and so on have a tier—typically the same as its intended users. These
tiers reflect what they are typically effective against: tier III weapons are built to fight tier III things,
and so on.
When using moves like exchange blows or strike decisively to attack something a tier above you,
make that move with disadvantage. If your opponent is two or more tiers above you, you simply
don’t pose a reasonable threat to them: your move fails, and you must bite the dust. An exception
to these rules can be made if there’s a reason your foe would be left vulnerable to you despite their
advantage: an open Astir cockpit, a personal connection, an unguarded back, etc.
Another exception to this rule are weapons with the bane and ruin tags, which make up for tier
differences of one and two steps respectively. These still kick in if it’s not enough to make up the full
gap: if your foe is two tiers above you, bane still puts you in disadvantage territory by letting you act
one higher.
HIGHER VS LOWER TIER
Working the other way around basically works in the opposite direction. Take advantage when
acting against something of one tier lower than you; if they’re two or more below, skip exchanging
blows and go right to striking decisively.
Bane and ruin only make up for being lower tier than your foe: they don’t actually increase it. For
example, if you’re wielding a tier III weapon with bane, and your opponent is tier III, you don’t take
advantage attacking them: your tier is still III, not IV.
If all this is a bit much at first, the important thing to remember is that if you want to hurt
something one step tougher than you, you need bane on your weapon. If you want to hurt something
two steps tougher than you, you need ruin. If you want to hurt something three or more steps
tougher than you, you need a plan.
 SITUATIONS & EDGE CASES
OUTNUMBERED
When actors or players use their numbers to even the odds—either by attacking as a coordinated
squad, or by just attacking en masse—they can threaten to overwhelm a foe. When you’re
outnumbered heavily, two-to-one at least, you have the risk (outnumbered). The same goes for
actors when they are overwhelmed in the same way. This is a very situational risk, and there’s lots of
ways you might get rid of it or negate it entirely. For example;
• Dispatching enough foes that they simply don’t outnumber you anymore
• Having a weapon tag like area that would reasonably let you hold your own against multiple foes
• Fleeing the area, either to find allies or just to get away from the fight
DEFENCELESS VS DEFENCELESS
If you find yourself in a situation where two defenceless characters are still continuing to fight, lead
with the player character if one is involved. Let them strike decisively, and then have them bite
the dust if they fail. If there’s no player characters involved, just decide who is able to strike a
desperate blow first. If both parties involved are player characters, skip straight to rolling a bite the
dust each at the same time to resolve the fight; keeping in mind there’s a good chance this ends in
mutual destruction.
ALL THE TIME IN THE WORLD
If you have time and aren’t under threat, it’s easier to deal some serious damage to things that you
otherwise might struggle with. Someone on foot would stand practically no chance against a tier III
Astir during a fight; but give them a sledgehammer and a few minutes, and I bet they can break
something important. Even if you don’t have weaponry that would usually suffice to make up for a
tier difference, like things that have the bane tag, you can also make up for it with volume of
attempts.
In situations where you have the opportunity to cause harm but no chance of failure, or where
failure does not matter—like taking potshots at a launching and fleeing ship, wrecking a stationary
Astir with mundane equipment, etc—take the tier difference between yourself and your target, and
roll a d6. The result is the amount of minutes of uninterrupted work (in those circumstances) you’d
need to inflict a peril. It is, of course, up to your Director whether you actually have that much time.
For example, say you (tier I) are loose in the guts of an Authority carrier (tier V), with decent cover
and a box of tools. The tier difference is 4, and your die result is 5; it would take you 20 minutes of
uninterrupted work damaging the ship’s internals to inflict a peril. Is that the kind of time you have
running around an enemy ship, unquestioned and uninterrupted? Maybe, but it doesn’t seem likely.
Either way, doing damage in this way is never going to be subtle. The price of inflicting harm without
rolling in this way, and exposing yourself to the potential of failure, is that it is always noticeable; it’s
loud, obvious and noisy.
 TAGS & GEAR
Equipment in Armour Astir is distinguished by a few things. While weaponry has specific ranges and
types of damage, all equipment also has tags. These tags help define an object in terms of narrative
effects as well as more specific mechanical ones. Feel free to the lists below with options of your own
to better suit your campaign and setting, as well as the tastes of you and your players. Neither list is
by any means exhaustive.
Some tags offer a specific mechanical effect, whilst others are simply descriptive. Don’t let this
convince you narrative-focused tags cannot have a mechanical effect, though: consider the effects on
your story their descriptive nature might lend! They might make triggering moves possible, provide
vectors for other action, or give you a good excuse to give your Director a wink and a smile and say
“wouldn’t x give me advantage here, don’t you think?”. Though, keep in mind, your Director is well
within their rights to use them to impose disadvantage on you instead. Trying to, say, enact careful
and precise violence with something that’s messy might be a little harder than you’d like.
UNARMED COMBAT & TIER
Generally speaking, your fists (or whatever other part of your body you want to hit people with) are
the same tier as you. You, Dear Reader I, have Fists I. When a carrier, the Little Flourish V, crashes
into something, it is hitting it with Several Hundred Tonnes Of Steel and Ceramic V. When a move
changes your tier—for example, the Giant Slayer move making a Scout count as tier III—this also
changes the tier you are fighting at without a weapon.
This does not necessarily mean you can punch clean through an Astir, though: fists are fists, and
bringing your hands to a swordfight means your Director is likely to impose some limits or negative
modifiers to your moves unless you have some way of making up for your reduced reach and the fact
that punching metal sucks really bad.

ACQUIRING EQUIPMENT
Typically, there isn’t anything for sale on board your Carrier. Okay, there’s probably a quartermaster
you could requisition things from, if you’re willing to wait for it to be shipped out, and maybe you
could persuade a private merchant to tag along—but in general, when you want to buy something
you need to go and find it. The somewhere nearby Downtime Scene is generally how this is done,
with options for finding things available locally whether they’re common or difficult to find.
Objects have a value that determines how costly to acquire they will be. Generally speaking, the
higher an object’s value, the richer a place you’ll need to go to find it: small farming towns do not sell
legendary artifacts, usually. Value is provided for all example equipment below, and determined as
follows:
• Equipment like weapons, Astir parts, and so on have a starting value equal to their Tier—a Tier III
object has a starting value of 3, etc. The valuable and treasure tags then increase this by a further
+2 or +4 respectively.
• Ardents, Astirs and Carriers have a value equal to their Tier squared (a Tier III Astir is 9, while a
Tier V Carrier is a whopping 25), and are made using the same creation rules as those developed
during character creation. Additions beyond that must be bought separately.
As a remind, somewhere nearby functions as follows:
SOMEWHERE NEARBY
The leading player rolls a d4 to see what resources they can muster, and acquires gear or equipment
with a total value upto the result. They may spend extra tokens or tap Factions to increase the result
by another d4, or trade objects with the valuable or treasure tags for +2 or +4 respectively. They frame
a short scene around this, either alone, or with invited characters.
During the scene, anyone may spend a token to choose one:
• Buy or trade for something of value, as above.
• Start or advance a long-term project: describe what your work looks like.
• Spend time working or in the field with someone you have GRAVITY with, advancing it.
• Run into trouble: resolve it with moves as usual, and see what you learn.
 TAGS
Gear tags have a cost (+1, etc) that denotes roughly how beneficial or powerful the effect is. These
tags must balance out to 0 overall: meaning positive tags must be paired up with negative ones. Feel
free to combine tags and rewrite them as something that represents multiple effects, or create new
ones wherever it suits your campaign. Many playbooks start with gear that ignores these
restrictions: that equipment is special! Hold onto it.
Some things don’t have tags at all, because they do something specific it’s easier to just explain.
-2 TAGS
Heavy drawbacks that largely restrict an objects usefulness or availability.
• Cursed: You cannot wield anything else once you raise a cursed weapon, and it becomes bound to
you until the curse is broken. When you die it will consume your essence, probably.
• Dangerous: Volatile or difficult to use safely, dangerous objects invite dire consequences if not used
carefully. Once per Sortie, the director may upgrade a risk you acquire while using something
dangerous to a peril.
• Dreaded: This weapon has a history and a reputation that stains it, and stains you as long as you’re
carrying it. People will treat you with fear and apprehension.
• Huge: Basically impossible to move around without help. Absolutely not something you are ever
going to hide, either.
• Junk: In such a terrible condition it cannot be used. You may remove this tag with a 6-step long-
term project.
• One-Use: Can only be used a single time per Sortie—perhaps it needs time to recharge, or uses rare
ammo, or explodes.
• Treasure: Highly valuable—and a gold, glittering target on your back. Increases value by +4.
-1 TAGS
Almost entirely negative tags that make an object less useful, more dangerous to have on your
person, prone to damage or failure, and so on.
• 2H: Takes both hands to use properly, though not necessarily just to carry.
• Bulky: Large (relative to tier) and difficult or awkward to move around.
• Drain: This object draws excessive power from an Astir, and reduces the Astir’s Power by 1 while
equipped. Objects can have this tag multiple times, increasing the reduction.
• Distinct: Impressive, loud, or just particularly memorable, distinct equipment is hard to be subtle
with. Might make you easy to track or follow, or ruin your attempts at stealth.
• Slow: There is a delay involved in this objects use, like the travel time of a projectile, or the low
speed of a construct. Might, for example, impose disadvantage where speed matters.
• Limited: You have a particularly limited supply or use of this thing—it always seems to run out at
the most perilous moments.
• Messy: Something messy is imprecise (or indiscriminate), and could have excessive (or
intimidating), unwanted results.
• Intimate: Requires you to get to get up close and personal, making it hard to use against anyone
wielding something with better reach—or anyone just trying to keep their distance.
• Fragile: Easily broken, either by shoddy design or frail materials.
• Forbidden: Forbidden objects are banned by the Authority, and possession of them or suspicion of
such carries a heavy price.
• Set-Up: Make moves using this item at disadvantage unless you spend time prepare or arm it in
some way. In battle this might only be a few moments, but it can make all the difference.
• Reload: After firing, this weapon requires you to manually reload it or perform some other action
to ready it for use.
• Unreliable: This object is prone to failure and breakdowns—make your first move with it each
Scene in desperation.
• Weak: Lacking in physical impact, and generally useless for piercing armour or cover.
• Valuable: Expensive to acquire, and fairly sought-after. Increases value by +2.
+1 TAGS
These tags have strong beneficial effect. You’ll likely need to balance them out with -1 tags, unless
you’re intentionally making something uncommonly powerful and valuable.
• Adapted: This object has been modified or designed to let it overcome the difficulties of certain
environments—it might be an amphibious Astir with an air supply, an Ardent designed to keep
it’s occupants cool in searing-hot terrains, etc.
• Arcane/Divine/Elemental/Mundane/Profane: This tag changes your approach to the listed one
while you’re actively using it.
• Area: This weapon affects a large area: while any melee weapon might hit multiple people stood
right next to each-other, an area weapon might slice through an entire crowd or several spread-
out foes.
• Bane: You suffer no penalty against opponents one tier above you when attacking with bane.
• Blitz: You may spend this tag once per Scene to make a move with confidence.
• Concealable: Easily hidden—a casual inspection will rarely if ever find it.
• Decisive: Decisive weaponry is precise and powerful, excellent for ending fights. Once per Scene,
you may reroll a failed strike decisively when using it.
• Defensive: Defensive weaponry is excellent for keeping foes at a distance, parrying their blows, or
suppressing them. Once per Scene, you may reroll a failed exchange blows when using it.
• Impact: This weapon packs a heavy physical punch, capable of knocking foes down or away easily,
and will dent or break through surfaces.
• Infinite: This thing either doesn’t use ammo or power to function, or uses such small amounts
relative to your supply that it is practically endless. You’re never in danger of running out as a
result of a roll.
• Guided: This weapon has guided strikes or projectiles, allowing you to take a 7-9 result when you
exchange blows and strike decisively rather than rolling if you wish. Guided projectiles are
reliable, but leave little room for finesse.
• Mounted: This weapon is mounted or worn in some way that frees up the hands of the user for
other tasks. As a result, it’s also difficult to disarm a target of without breaking it.
• Restraining: Can restrict or slow targets down in some way, making it hard for them to escape or
move without expending a lot of effort.
• Refresh: Objects that refresh can only be used once per Scene, but automatically replenish or
restore themselves even if they are destroyed or wasted (they cannot be taken away from you by
a peril).
• Ward: You may use this tag once per Sortie to reduce an incoming source of harm from a peril to a
risk, or from a risk to nothing.
+2 TAGS
The big deal. These tags have a clear, strong effect, and as a result are going to be uncommon on all
but the strongest or most drawback-laden equipment.
• Ruin: As per bane, but up to two tiers higher rather than one.
• Versatile: This tag combines the effects of decisive and defensive.
• Vorpal: Vorpal weaponry is exceedingly lethal: you may use this tag once per Sortie to upgrade a
risk you’d inflict to a peril instead.
REGARDING VALUABLE AND TREASURE
Valuable and treasure are a pair of tags that make equipment more expensive to acquire. They are -1
and -2 cost tags respectively since this increase in difficulty should be represented as a balancing
factor when it comes to tag costs.
On equipment you don’t pay for—i.e, equipment you or your Astir etc starts with—these tags can
look like a ‘free’ way of balancing out positive tags. They are not. People like having expensive
things, and many people will go to great lengths to acquire them without paying. If your players are
carrying around valuable or treasured equipment often, look for opportunities to redistribute their
wealth.
Additionally, if the players are looking to buy something EXPENSIVE, hoarding valuable and treasure-
tagged items are effectively the best way to do it. So when they do so, remind them that they’re
filling their Carrier with chests of gold whilst people go hungry.
“Magic weapons and towering constructs will win a war, for sure… but a blacksmith
cannot reforge magic any better than an Astir can pull a plough.And who will buy them
from you, but the next lot to raise their �ags? Think of your future, lords and ladies, and
think only of armouries that can be smelted down one day.”

- Excerpt from Rhaz-an-Reer Court Records, hearing the plea of an unnamed

worker, 5/4—0031—Mithril Century
 TIER I EQUIPMENT
Tier I equipment is intended for use by people, like humans, elves, whatever brand of furry lives in
your setting or other similarly scaled characters. It is generally easier to find than higher tier
equipment, and often cheaper too. Since the focus of this game is largely on combat between Astirs,
tier I equipment is largely abstracted.
A tier I weapon will typically have a range and possibly one or two tags from above. All playbooks
receive a weapon, but some additional examples can be found below.
To some degree, feel free to just wholesale make up what tier I weapons exist in your world, because
unless you’re doing it to try and gain a large advantage on a roll or to try and deus-ex-machina your
way out of a bad situation, you probably can’t break anything badly enough that it matters. Take that
fire sword. It’s cool.
EXAMPLE TIER I WEAPONS
Infantry Weapon I (melee)
Simple, sturdy weapons like blades and clubs.
Dagger I (melee / intimate, concealable)
A concealable dagger, easily worn beneath clothing and thrown if needed.
Greatsword I (melee / area, 2H)
A large weapon, with good reach and weight, perfect for taking heads. Praxis.
Armourbane I (melee / fragile, decisive)
A thin, pretty blade, good for slipping between armour plates.
Enchanted Blade I (melee / distinct, bane)
What was once simple steel now carries the unmistakable sheen of ritual.
Partisan I (melee / defensive, 2H)
A long spear, perfect for keeping your friends safe and your enemies at a very specific distance, as the saying
goes.

Bow I (ranged / decisive, 2H)

For when you don’t need anything fancy, a bow is perfectly capable of doing the job for as long as you have
arrows.
Sidearm I (ranged / defensive, weak)
The typical protections afforded to Astir pilots: a reliable tool capable of firing bursts of light arcane energy.
Raypistol I (ranged / limited, bane)
A powerful but short-lived firebolt wand, fitted with a comfortable grip.
Boltrifle I (ranged / blitz, 2H)
Effectively repeating crossbows fed by lightweight ‘barrels’ of ammunition, bolt rifles are a common sight
among troops of any real armed force.
Rayrifle I (sniper / reload, ruin, 2H)
A heavy rifle, often using magical crystals or wands as charge for a single shot. Their bulk, heavy recoil and
cost makes them highly uncommon, but not overly so: after all, little else hand-held will put a hole through an
Astir.
Ashstaff I (ranged / area, bane, unreliable, 2H)
A large, shoulder-carried staff charged with incendiary magic. A little lighter and easier to use than a rayrifle,
but still fairly bulky and lacking in the ability to pierce the protective wards of Astirs.
EXAMPLE TIER I GEAR
Luxury Gift I
For good first impressions, making up for bad ones, or just plain bribery.
Farspeech Stone I
Stones of Farspeech allow you to communicate over great distances with the holder of a linked stone. Most are
enchanted to be linked only to one other stone, but more expensive versions can be linked to as many as the
owner requires.
Construct Sensor I
Circular tables with a surface constructed of an array of enchanted steel pins. The pins independently slide up
and down when unregistered Constructs are detected in a certain radius, creating a rough three-dimensional
relief of oncoming forces. The height of raised pins correspond to the size of a detected constructs, and larger
tables with denser arrays allow for more precise reliefs.
Latch I
Basically handles enchanted to lock into place when pushed against something magical, Latches are typically
used by ground forces to hitch a ride on constructs that don’t have room for them to ride inside of. Also
available as a pair of weaker Latches, built into a glove and boot, so that the wearer may simply hold a hand
and foot against a construct to attach to it.
Grappling Hook I (Allows you to climb or grapple)
A small sturdy grip attached to a barrel loaded with an steel hook, which is propelled by forceful magic. An
attached cord can then be reeled in, allowing the holder to quickly relocate.
Invisibility Cloak I (fragile, valuable, lets you be invisible)
Generally speaking, doing just about anything is cooler whilst invisible.
Arcane Charge I (ruin, one-use)
A destructive spell delayed by a wax timer. Stick it on an Astir, light the wick, and run for your life.

TIER II EQUIPMENT
The most common way players and other characters might make themselves tier II is by piloting an
ardent: a sort of magical vehicle or construct. There are some examples of ardents on the following
page, but here’s some examples of tier II weapons that might be used by a player with the Scout
playbook, or might be found as emplaced weapons mounted in a fortress or some other defensive
position. To create an Ardent, choose an approach and two Parts or Weapons from the Astir creation
rules that do not cost Power, or make up your own. Ardents and their weapons are tier II.

Baneblade II (melee / bane, 2H)

Most Astir pilots do not concern themselves with the scrambling of foot-soldiers. Some of these pilots meet very
unexpected ends.
Might also be: Blowtorch, Enchanted Broadsword, Bolt Gauntlets
Warp-Slinger II (ranged / blitz, infinite, huge)
An emplaced device incorporating multiple wands linked to a simple firing ritual that can be triggered by even
those not gifted with magic.
Might also be: MG Turret, Point Laser, Multi-Crossbow
Ardent Rifle II (ranged / bane, 2H)
A large two-handed tool that fires searing bolts of light, capable of burning through even an Astir’s defences.
Typically used by ardents, due to its weight.
Might also be: Arbalest, Flame Staff, Greatbow
Seeker Cluster II (ranged / guided, defensive, reload, messy)
Guided by a faint magical intelligence, this device lets loose a swarm of small magical crystals to hound a
particular target. Though they struggle to pierce armour, these crystals shatter on impact, resulting in sharp
shrapnel.
Might also be: Orbiting Motes, Shock Rod, Command Bracelets & Drone
--BEGIN PARTIAL TRANSCRIPT--
KEEPER 02: ...in te food trough. Et was, much kind
of [unintelligible]
KEEPER 01 (interrupting): --Sabe Graces, wie
gets et? (shouting) Baron!Wass griber tha,
hein?
GRF-B41 'BARON' (150 decibel
emanation from the obelisk, sufficient
to dispel the recording daemon for
approximately two seconds): A KNIFE.
KEEPER 02: (shouting) NIE! KOLP SIE
OBER EN DROPPIT!
--END PARTIAL TRANSCRIPT--

- Excerpt from untitled ritual recording,

Aesefyreth, 23 Cropquart Y8.34
ARDENT NAMES / TAGS
Steed Ardent II mundane
• Iron Hooves II (melee/ intimate, blitz)
• Steel Plating II (+ward)
A large, horse-shaped mechanism driven by simple
magic. Steed Ardents are no faster than a normal horse,
but never tire or want for food, making them much
easier to maintain.
Might also be: Armoured Horse, Motorbike, Personal
Shuttle
Transport Ardent II mundane
• Cargo Hold II (spacious)
• Standardised Parts II
For moving things from point A to point B - just make
sure you have an escort.
Might also be: Van, Trader Caravan, Cargo Shuttle
Service Ardent II arcane
• Ardent Fists II (melee / intimate, blitz)
• Condenser Stave II (ranged / infinite, 2H)
Service Ardents are large, roughly humanoid
constructs, designed to perform heavy lifting and assist
infantry forces without impacting their resupply costs
much.
Might also be: Loader Frame, Exo-suit, Industrial Drone
Tank Ardent II arcane
• Salvo Stave II (sniper / area, bane, messy, reload)
• Hexplate II (+ward)
Protected by heavy metal plating and carried by large,
flexible legs, Tank Ardents are capable of launching
explosive magical spells over a long distance.
Might also be: Tank, Fighter Jet, Artillery Platform
ACT II
SCENE III. Gatehouse above the Battle of Almafwyr
Enter MYTHRY and ROMERE
ROMERE
Beloved!What a gift you have given to appear before me now.
We were fated to meet, surely?
MYTHRY
You truly think our fates are bound? It is by your lord’s will
you are sent to die today, not by mine.
MYTHRY and ROMERE clash, as do their ASTIRS.
ROMERE
To die? Would you not mourn our love?
MYTHRY
Fool! I will mourn neither your love nor your life. Stand aside
or perish, an example for your lord to follow.
ROMERE
Ha!You would not kill me.
ROMERE is killed.
MYTHRY
[To AUDIENCE] Pity this man! Even at death’s door he could
not see I strike not him, but his master. A fatal mistake, to think
I yearn more for love than for justice.

- Excerpt from ‘MYTHRY’, Promise Apparent,YA223

 THE CARRIER & ASTIRS
THE CARRIER
Your Carrier is the place you call home—it's the base of operations you return to between the
fighting to rest, recuperate, and hopefully not fight with your friends instead. Your Carrier might be
a large ship, flying fortress or other huge vehicle, and is probably powered by a complex blend of
magic, alchemy and simple human ingenuity–most importantly, meaning it doesn't require a
Channeler to helm it, freeing them up for active service. It is in many ways your most valuable asset.
Your Carrier typically has enough room to store an Astir (or another ‘vehicle’, like an ardent, a
magical carriage, or a horse I guess) per player, and room for any Director characters who journey
with them to store their own. It's also assumed to have enough room for each player character who
lives there to have their own space—though how large or comfortable this is might vary. The ship’s
regular crew might not be so lucky. Your Carrier is your home, but that doesn't necessarily mean it's
a safe place. Players should be prepared to defend it, and should think about how best to do so. At the
very least, it contains a small armoury so that all crew members have access to a simple blade,
crossbow, or whatever passes for self-defence in your setting.
MECHANICALLY SPEAKING...
A Carrier is made up of a few things:
• A CREW Trait, starting at +1. Like other traits, it has a maximum of +3.You can also work on a
long-term project to increase CREW by 1—it's an 6-step clock, and could represent training,
developing new equipment, or something else. CREW might also be lowered should staff be killed
or hurt, or if the Carrier is damaged heavily. When the crew acts in your defense or covers for
you, you may make a move using +CREW instead of the usual value: they’ll do this an amount of
times per Sortie equal to the Trait (two times at +2, etc).
• Weapons (for knocking Authority ships out of the sky).
• Quarters, which provide various benefits. You’ll start with some of these if some of your players
are playing Support playbooks, and choose what benefit they provide.

CREATING A CARRIER
Creating the Carrier, in at least these first few steps, is a group task. Players will decide what kind of
craft their Carrier is (and the Director should take this into account when deciding what kinds of
Carriers and similar crafts the Authority uses). Once that’s out of the way, you have a few initial
choices to make between you.
CARRIER TYPE
Firstly, you’ll want to decide broadly what kind of craft or vehicle your Carrier is. This is mostly a
fiction decision, and will inform where it can go and what kind of places it might take you to—things
that, naturally, should tell your Director what types of places you’re interested in going to.
• Flying: Lifted through the sky by magic, levitating crystals, lighter-than-air gases or something
else entirely, a craft that soars through the air is capable of taking you practically anywhere
above ground. You might dramatically take it down between narrow canyon walls, make
emergency landings in an arid desert, or explore islands floating above the clouds.
• Ground: Either a single vehicle or a convoy of them, ground Carriers are bound to the earth but
might be equipped to explore very particular environments: train wheels that restrict your
movements to tracks, big thick wheels for splashing through muddy marshland, mechanical drills
for exploring hidden caverns, etc.
• Aquatic: Whether floating on the surface or plumbing the deepest depths, an aquatic Carrier is
built for the sea. It, naturally, probably doesn’t perform to its fullest once it hits the shore.
• Combination: Your Carrier does some or all of the above! It’s just flexible like that. What magic or
artifice lets it do this? Is it better in some environments than others? Is this functionality part of
its design or something it’s been altered for?
WEAPONRY
A Carrier typically has weapons built into it: tier V weaponry to be precise, perfect for taking on
Carriers, krakens, elder dragons and fascists (the really big ones). Firstly, you should together decide
on your Carrier’s approach. It may use any of the approaches, and that might colour how its
weaponry works. Then, figure out;
• A tier V weapon: this is likely of ranged or sniper range (though if you want a melee one, I’m
definitely not going to stop you). This is probably positioned or mounted in such a way that it’d
be inconvenient to use it smaller targets: it’s for taking out things as big as you, after all.
▪ Take tags that add up to a total cost of +2: describe what kind of weapon you have, and why it
has those tags.
▪ Take set-up and mounted: describe what restricts your primary weapon from being useful
against all targets and in any situation.
• A tier III weapon: again, likely ranged or sniper. This is a support weapon of some kind, designed
for tackling Astirs that come too close and giving covering fire to your allies in battle.
▪ Take tags that add up to a total cost of +1: describe what kind of secondary weapon you have,
and what makes it suited for defending the Carrier closer up.
▪ Take mounted: describe where on your Carrier these weapons are installed and how they are
controlled. Are they manually crewed, guided by magic, or controlled remotely?
QUARTERS
Finally, Quarters are the facilities, features and upgrades that make your Carrier more than just a
box you all sit in to move from one place to the next. Your Carrier starts with everything you’d need
to perform the various Downtime Scenes: whatever you decide those things look like.
Additionally, anyone playing a Support playbook gets to add new Quarters to the Carrier. It might be
a room or feature that you added to the Carrier anew, a part of your life before the Cause that has
been put here to help you do what you do best, or something that has always been part of it and just
happens to suit your needs.
Each person playing a Support character should describe what their Quarters are and where they can
be found on the ship, as well as what it fictionally provides to them and the crew. Finally, choose two
benefits it offers them;
• Take an extra token when you enter Downtime.
• You may spend 5 Spotlight rather than 6 to earn an advancement.
• Increase the Carrier’s CREW by 1. In the future, when you work on a long-term project to increase
it, reduce the size of the Clock by 1 (to a minimum of 4).
• Add +1 to a Trait of your choice (max +3).
THE CREW
This isn’t a required mechanical step, but it’s in many ways as important as the others. Together, you
should think of some people that crew the Carrier! This thing doesn’t steer itself (it could, I guess, if
your players are particularly unsociable), and it’s much more colourful to have a support staff of
artificers, soldiers, doctors and so on around to make the Carrier a busier place.
If someone is playing as a Captain, this is extra important. If you don’t have a crew, whose Captain
are you? It’d be a good idea to have a few names on deck for when you make your moves and need to
tell people what to do.
DIRECTING THE CARRIER
During play, it’s likely you’ll want the Carrier and its crew to do things. This is, arguably, what
they’re for. If nobody is playing the Captain playbook, your Carrier and it’s crew are effectively
Director actors. They’re on your side, but you’re not in charge—you’re part of a larger effort
represented by the Cause, and if you want the Carrier to be used in a certain way you might need to
do some convincing. You can expect things like fire support and transport during Sorties,
obviously—after all, you’re the best Astir team they have—but convincing them to break orders from
above or take more drastic courses of action might be difficult.
If you’re playing the Captain, forget all of the above. You’re in charge! Fly it into the ground if you
want to. Okay, maybe don’t do that: that’s probably not the kind of damage easily repaired even with
magic. But as the Captain, you have authority over the Carrier’s crew and can give them orders
which they will, broadly speaking, follow to the best of their ability. This is why the Captain has
moves like in command and information network that use the Carrier’s CREW Trait, as well as an
extra box for dangers: you’re not just responsible for your character, you’re also playing the Carrier.
Just like a Channeler playbook might take a risk or be put in peril to represent damage to their Astir,
the Captain is responsible for anything that happens to the Carrier.
 ASTIRS
Astirs are, in simple terms, magical mechs. They are piloted (and powered) by a Channeler (someone
with magical ability that is trained to control one), and given their magical nature are not bound in
their designs to how we might think of mechs in a typical setting. Materials are much more flexible—
sturdy materials can be enchanted to be lightweight, and vice versa—so don’t feel tied to heavy
metals and so on.
Depending on your setting and who built them, an Astir’s design might include wood, stone,
ceramics, glass, or even organic matter like bone, natural fabrics or still-living plants. Your Astir
with armour made of glass and structure made of monster bones can match one made of twice-
forged steel blow for blow if you want it to, because magic.
The same goes for its design. Things don’t need to look mechanical, or even make logical sense
outside of what limits you establish at the table for your game. Your Astir could be a typical
humanoid design, or it could be giant cursed monolith with arms that glides everywhere, humming.
If everyone’s cool with that, Astirs could be closer to planes or other vehicles than mechs if that’s
what you’re interested in.
Talk between yourselves about what is appropriate for your setting, and how far from the norm you
want to get with designs. Go with whatever feels right for what you want an Astir’s look to say about
it and its pilot, but be prepared to have a discussion with the other players in your game about what,
broadly speaking, Astirs in your setting look like, as well as where they come from. Are they
constructed, or grown, or summoned from elsewhere? Do different factions and groups have their
own aesthetics and designs, or even methods they use to get them?
You might also want to discuss control mechanisms. Does your magic allow you to control an Astir
with 1:1 body movements, your mech being a true extension of self, or do you still need to guide it
through more conventional means? Again, is this different depending on where the Astir came from,
or what faction developed it?
SETTING EXPECTATIONS
Regardless of the design or model you choose, we assume by default all Astirs are at least capable of
the below;
• Free flight when not weighed down by gravity (the natural phenomenon, not the game
mechanic)—short, limited flight otherwise.
• Providing a magical source of oxygen, at least for a limited time (some Astirs might be designed
to provide something more reliable)
• Facilitating communication between friendly, willing pilots within line of sight (external factors
might make this ineffective at long distances, like areas where the ambient magic in the air isn’t
dense enough)
• Facilitating communication between any pilots when in physical contact.
If the above doesn’t work for your game, feel free to change them. It won’t break anything!
MECHANICALLY SPEAKING...
When it comes to the actual mechanics of using or creating one, Astirs are are made up of the
following;
• A core, which determines the approach of your Astir.
• Two parts, which offer a variety of bonuses and abilities.
• Weapons, which are used to destroy fascists, imperialists, god, etc.
• A move, which is inherent and unique to that model of Astir.
All Astirs also have a pool of Power. This begins at 4, and is spent on choosing Parts and Weapons.
The remainder becomes the amount you have to spend on the subsystems move in play, and you
return to this amount every time you start a Sortie.
CREATING AN ARDENT
To create an Ardent, choose an approach and two Parts or Weapons from the Astir creation rules
that do not cost Power, or make up your own. Ardents and their weapons are tier II.
 CREATING AN ASTIR
When creating a custom Astir, there are a few simple steps to follow. First, you pick your Astir's core,
determining its approach. Then, you'll spend some of your Power (starting with 4) on Parts and
Weapons, before creating a unique move that defines your Astir. As above, your leftover Power then
becomes the pool available to you for the subsystems move, so you don’t need to spend all of it—in
fact, it’s a good idea to leave yourself some left over!
1) CORES
An Astir's core determines what it’s approach to combat is. Consider this a broad summary of the
kinds of spells and rituals used by your Astir to protect itself and attack your foes. You may freely
swap which of your Core’s approaches is currently in use during Downtime.
Alchemical
An alchemical core, that uses magical substances and mechanisms to amplify the power of a Channeler and
allow them to move an Astir.
• Mundane or Arcane
Crystalline
A simple core that uses a large magic-rich crystal or gemstone as a focus for a Channeler’s own magic.
• Arcane or Profane

Natural
A gift of the wilds: a living core, of bark, briar or bramble, imbued with all the life and grace of nature.
Installed into a war machine.
• Divine or Elemental
Ancient
An ancient magical artifact, handed down by the gods to mankind long ago. While once a hero might have
borne this into battle, it now fuels an Astir.
• Mundane or Divine

Occult
A core made from false life and stolen power. Blood, sacrifice, demons, you know.
• Profane or Elemental
 MUNDANE

ELEMENTAL ARCANE

PROFANE DIVINE

As a reminder, you act with confidence when facing an approach yours is strong against, and
desperation when facing an approach that is strong against yours. Don’t worry too much that
you’re giving your Astir a huge weak spot here: all your foes will have one too, and there are ways of
permanently or temporarily changing your Astir’s approach.
You might work on a long-term project to change it, or frame a somewhere nearby Downtime
Scene to find temporary protection or weaponry of a different kind.
An Astir’s approach also typically leads the fiction of how they fight and protect themselves. For
example:
• A mundane Astir might rely on thick armour or speed for protection. At range, it might use
weapons that magically propel physical projectiles like metal bolts or pellets. Up close, its melee
weapons likely rely on sharp blades or weighted heads to pierce the protections of other Astirs.
• An arcane Astir might rely on charms and rituals that cast magical shields or provide limited
bursts of invincibility for protection. At range, it might cast destructive bolts of eldritch energy
or barrage foes with magical force. Up close, its melee weapons might be enchanted to cut clean
through armour or wrapped in arcane energy that lets it pass through shields or barriers.
• A divine Astir might rely on blessings or small miracles for protection. At range, it might sear
away foes with divine light or undo them with the power of the gods. Up close, its melee weapons
might channel the power of a deity through symbols and blessings to smite the Channeler’s
enemies.
• A profane Astir might rely on cloaking itself in shadow or impeding foes with hexes and curses
for protection. At range, it might shower other Astirs in acid or poison, or use ignoble magic that
harms an Astirs pilot directly. Up close, its melee weapons might use dangerous or forbidden
materials for cruel results, or project blades of psychic or shadowy energy that passes through
armour easily.
• An elemental Astir might rely on bolts of lightning that strike down projectiles or weapon-
melting mantles of flame for protection. At range, it might use artifacts that bring about localised
storms or flash-freeze enemy Astirs. Up close, its melee weapons could carve apart armour with
super-heated blades or discharge a powerful shock on impact.
When adding weapons to your Astir, you should feel free to tweak their names and fiction to better
fit the approach it uses.
2) PARTS
The charms, rituals and other magical enhancements built into an Astir are what make it truly
special. While most of these are free, some are particularly demanding of an Astir’s core. Choosing
these requires you to spend Power, but remember: the more you spend on Astir parts, the less you
have during play for subsystems.
Some parts are marked as [Passive], indicating their benefit is effective all the time. [Active] parts
have an effect that can be used once per Sortie (unless specified otherwise) and is then expended.
[Active] parts may be re-used once expended with the subsystems move.

Extra Arms [Passive] (-1 Power)

Two extra arms &
While adding extra arms to an Astir is child’s play, properly coordinating them is hands
much more complex.
Weapon Conduit [Passive]
+2 Power towards
A magical conduit that compensates for the heavy magical load of certain weaponry, weapons only
trading utility for output.
Divination Codex [Active] Ask 1 question from
A cross-referenced record of countless common omens, signs and prophecies, easily the read the room
perused by an attuned Channeler in a flash. list
Arcane Forge [Passive] You may cool off to
A magically-powered forge, capable of casting common Astir supplies and munitions resupply an
from magical energy and a local stock of raw materials. expended weapon
Flourish Component [Passive] (-1 Power)
Regain 1 Power
Like traditional spellcasting relies on strange gestures, chanting and complex foci to when you roll
provide power, an Astir’s design can be complicated in similar ways to achieve much doubles (1/p roll)
the same.
Spell Routines [Passive] (-1 Power) Choose to take a
result of 7-9 on a
The battlefield is a busy place, full of countless distractions. It can be helpful to let the
magic take over sometimes. move of your choice
(before the roll)
Familiar Matrix [Passive] (-2 Power) Holds and comes
Matrices store and coordinate Familiars, making it possible for one Channeler to guide with one set of
many at a time. Familiars of your
choice
Chromatic Focus [Active] Swap to any other
A device capable of twisting and re-aspecting magic. For Channelers that don’t like to approach for a
ever be at a disadvantage. single Scene
Alchemical Suite [Passive] (-2 Power)
A selection of alchemical equipment, capable of storing and mixing useful potions
before venting them into the cockpit as a vapour to save time. Take 1 of each
Potions; Potion when
• Red: Remove a peril related to physical injury or wounds. Metallic. someone leads a
• Blue: Take advantage when you next weave magic. Fruity. Sortie
• Yellow: Take a risk. Act with confidence when you next exchange blows
or strike decisively. Tangy and sharp.
Input Channel [Passive]
Conduit channels running directly from a component to the Channeler allow them to Make a chosen move
assert more direct magical control over it in times of need. with +CHANNEL
Chameleon Cloak [Active] Become invisible for
They can’t hit what they can’t see. a Scene. The next
risk you take is
‘revealed’.
Standardised Parts [Passive] Gain +1 token
This Astir uses a large amount of common, easy-to-find parts shared with similar during Downtime to
models. This makes it easy to repair, lightening the load on everyone else. spend on repairs
only
Warding [Active]
Anything that helps an Astir not explode is a worthwhile investment. +ward

Transmutation Link [Passive]

A frame endowed with the ability to shift between two forms quickly, making for a +aerial OR +aquatic
versatile Astir.
Resistance Charms [Passive]
While it is difficult to offer a broad blanket of protection against damage and difficulty,
more specific avenues of harm are relatively simple to protect an Astir against.
Examples: Lowers dangers
• Replication Rituals (Lowers dangers from limb loss) from one source.
Crawl. Climb. Rip. Tear. Many hands make light work. Peril > Risk
• Failsafe Channels (Lowers dangers from comms disruption) Risk > Nothing
Hear you loud and clear, 9th. Everyone else went quiet.
• Lightningrod Spines (Lowers dangers from electricity)
Don’t be the fool caught out in a storm. Plan ahead.
Artifact [Active]
High-quality artifice provides an edge when it is needed most.
Example:
• Familiar Sync Rituals
Co-ordination rituals allow a Channeler to better direct their familiars, cutting down on
the ‘attunement drift’ common in most matrices. Grants advantage
• Dragonscales towards tasks the
For decades before Astirs became a possibility, craftsmen put bartered dragon scales to Artifact is designed
work as a protective material, never understanding why it seemed less durable wrapped for (before or after
around a man than it did around a dragon. Those profitable wyrms never let slip quite the roll)
how much magic ran in their blood.
• Afterburners
An injection of volatile alchemical substances paired with a burst of magic can provide a
substantial, if short lived, increase in speed. Not for those on a shoestring alchemicals
budget.
Heat Condensers [Active] Untick
Stopping to vent heat during a fight can make you a sitting duck—it makes sense then, ‘overheating’ from
that many Channelers who could care less about managing it carefully opt to invest in your Astir
heat condensers.
Complex Spellwork [Passive] (-1/2/3/4 Power)
Sometimes, the key magical functions of an Astir require sacrifice, their complex enchantments or rituals
taking up power and space.

Your Director might ask you to take Complex Spellwork to offset a particularly powerful or rule-
bending Astir Move.
3) WEAPONS & ARMS
Astirs can use as many weapons as they can carry. Unless you took extra arms from the previous
step, an Astir is assumed to be able to carry and use two weapons, or one with the 2H (two-handed)
tag. When you add weapons to your Astir past this initial capacity, you should decide whether they
are mounted to your Astir for hands-free use (add +mounted and +drain) or carried in a holster or
sheathe (which costs nothing, but naturally the weapons aren't usable whilst stored). It should go
without saying that covering your Astir in dozens of sheathed weapons will come with some
narrative drawbacks.
There are both ranged and melee weapons available for Astirs: some of these have the drain tag,
which causes a weapon to cost Power. For convenience, these have been separated out into their
own lists. There are also familiars, which can only be chosen if your Astir has a Familiar Matrix
(chosen from Astir parts). If you're making a tier IV Astir instead of a tier III one, just replace the tier
number and rename the weapon if you want.
The weapon listed below are just examples; re-imagine them to suit you and your Astir however you
please. Many of the example Astirs use altered versions of the weapons from these tables!
— Basic Weapons —
Astir Fists III (melee / intimate, blitz)
Every Astir can fall back on its fists, but they don’t make for graceful brawlers.
Might also be: Concealed Blades, Close-Range Vulcans, Mining Drill
Sword/Mace/Axe & Shield III (melee / defensive, 2H)
An Astir-sized melee weapon paired with a shield makes for a reliable combination. Bones and forelimbs of
monstrous creatures are often used as sturdy, cheap parts.
Might also be: Flame Jets, Shielded Gauntlets, Energy Field
Forceknife III (melee / bane, intimate)
Short (for an Astir) blades jacketed in a layer of magical energy, forceblades are good for when you find
yourself up close and personal.
Might also be: Throwing Glaive, Charged Hatchet, Enchanted Daggers
Greatarm III (melee / area, 2H)
Often almost as tall as the Astirs wielding them, ’greatarms‘ are the Astir equivalent of greatswords,
battleaxes, and any other kind of large, simple, 2-handed weapon.
Might also be: Godbuster, Laser Flail, Industrial Saw
Force Repeater III (ranged / defensive, weak)
A simple mechanism that rapidly fires short blasts of magical energy, serving as an effective reserve weapon.
Might also be: Powerpistol, Mining Laser, Point-Defense Turret
Autoballista III (ranged / area, blitz, bulky, 2H)
One of the few non-magical weapons in active use among Channelers. Autoballistae are popular for their fire
rate, which allows for fending off groups with a spray of bolts as well as overwhelming a single Astir with a
flurry of shots.
Might also be: Heavy Bowgun, Assault Cannon, Flechette Launcher
Rayrifle III (ranged / infinite, 2H)
Rayrifles are the workhorse of most armies when it comes to arming Astirs. A highly efficient charging cycle
means every cast uses an almost meaningless amount of magical energy.
Might also be: Machine Gun, Arc Staff, Recycler Rifle
Magic-Missile Array III (sniper / guided, weak)
Often mounted on an Astir’s shoulder to leave their hands free, magic-missile arrays fire a dizzying cluster of
magical darts that can be guided by an Astir rather than its Channeler.
Might also be: Chaser Missiles, Lock-On Beam, Automortar
Titan Bow III (sniper / ruin, reload, 2H)
Immense, heavily-reinforced longbows, taller than even some Astirs. While some baulk at taking a bulky
single-shot weapon into the field, others point to the ability to sink an arrow through Carrier hulls as a
valuable upside.
Might also be: Single-Cast Rifle, Beam Sniper, Abyss Gun
 — Drain Weapons (-1 Power) —
Ardentpiercer III (melee / impact, decisive, set-up, drain)
Immense lances designed to punch through armour plating, ardentpiercers are heavy enough that they must
be held in place and used as a charging weapon—just swinging one around is unlikely to deliver results.
Might also be: Ceremonial Pike, Heavy Estoc, Pile Bunker
Forceblade III (melee / bane, drain)
Your typical, garden-variety sword made out of projected magical force. It cuts well and won’t explode - what
else do you want?
Might also be: Beam Saber, Thermal Cutter, Pneumatic Hammer
Basilisk Lance III (ranged / bane, restraining, drain, 2H)
An uncommon weapon, basilisk lances house a lens composed of dozens of magically preserved basilisk eyes.
When a certain energy is passed through this lens, a petrifying beam is produced.
Might also be: Chemical Jet, Beam Rifle, Plasma Repeater
Blazewands III (ranged / versatile, reload, drain)
Arranged in paired racks and crafted using subdued motes of elemental fire, short-range wands are a common
and potent weapon when it comes to arming Astirs.
Might also be: Grenade Launchers, Acid Pods, Plasma Mortar
Burstcaster III (ranged / area, bane, 2H)
Burstcasters launch a projectile that discharge a spell on impact —typically some kind of dramatic fireball.
The wand projectile only arms past a certain distance, to prevent a Channeler from being caught in their own
fireball.
Might also be: Rocket Launcher, Fireball Cannon, Reactor Rifle
Novawhip III (melee / area, vorpal, dangerous, drain)
Concentrated motes of fire slumber at equal lengths along this whip, and violently detonate on impact. A
devastating weapon in skilled hands that know how to recharge the motes mid-battle.
Might also be: Chain Mines, Plasma Cable, Storm Gauntlet

— Drain 2 Weapons (-2 Power) —

Ruinblade III (melee / ruin, decisive, fragile, drain 2)
Long, slender, and fragile—ruinblades are long swords edged with arcane-charged crystal, allowing them to
cut through even Carrier hulls. Just try not to break it.
Might also be: Decay Lance, Null-space Projector, Hi-Beam Saber
Overcharged Bolts III (sniper / ruin, drain 2)
If if need of something punchier, you can take very standard Astir equipment—a simple lightning bolt spell, for
example—and simply feed it far, far more magical energy than expected.
Might also be: Gatling Gun, Gauss Rifle, Beam Rifle
Spellcannon III (ranged / versatile, blitz, drain 2, 2H)
A heavy, devastating weapon. Though it demands magic such that few Channelers can muster more than a
handful of shots, the results are easily worth the expense.
Might also be: Assault Cannon, Heavy Beam Rifle, Anti-Materiel Rifle
Chaos Revolver III (ranged / ruin, drain 2, messy, profane)
A thick, metal wand with a pistol-style grip. The rotating chambers are filled with overcharged and desecrated
crystals, the magical output of which is immense (and volatile).
Might also be: Fusion Pistol, Acid Thrower, Planar Displacer
Storm Axe III (melee / vorpal, drain 2)
A handheld hatchet, insulated to protect it’s user and engraved with sigils that perpetuate a constant flow of
thunderous magic.
Might also be: Plasma Blade, Chainsword, Powered Hammer
 — Familiars —
Familiars are small autonomous constructs, typically launched from an Astir, that assist a Channeler
in battle. They are small, expendable and easily replaced—any perils you take as a result of your
Familiars being lost or destroyed are automatically removed during Downtime. You don’t need to
spend resources or Downtime to regain or repair lost Familiars: this is part of the upside of them
requiring a Familiar Matrix, at that hefty 2 Power cost.
Additionally, when you exchange blows or strike decisively with Familiars, you roll with
+CHANNEL instead. All Familiars are ranged or sniper to reflect either ranged attacks or the fact they
can move independently of you.
Wisp Familiar III (ranged / area, limited)
Wisps are by far the most common familiar, and for most people are synonymous with the word. Small floating
constructs that pack a surprising punch for their size, wisps are limited by the short lifespan on their magic.
Might also be: Assault Funnel, Fire Spirits, Attack Drones
Mote Familiar III (sniper / impact, bane, dangerous)
Motes are primed with conflagration magic, and detonate in a fiery blaze when impacted against a target.
Channelers tend to use them only when needed, since if shot the explosions tend to set off other nearby motes.
Might also be: Remote Bombs, Volatile Elements, Lev-Grenades
Needle Familiar III (ranged / restraining, weak)
Needle Familiars pin their targets in place with thin, iron spikes. While lacking when it comes to decisive
blows, they excel at restraining and harassing foes.
Might also be: Glue Turret, Labour Drones, Medusa Heads
Claw Familiar III (ranged / defensive, distinct)
Sharp-clawed contraptions of magic and stone, in the familiar shape of a crow.
Might also be: Trained Wolves, Raven Ghosts, Saw Drones
4) ASTIR MOVE
Finally, every Astir has a move attached to it, which is unique to that model of Astir's design and
doesn’t cost any Power. For this, you may choose from your playbook’s Additional Moves or from the
Cantrips list: explain how this move is inherent to the design of your Astir, and what artifact, ritual,
spell or otherwise it relies on. Additionally, if you so desire, you might take your Astir move from
one of the example Astirs (all of which have custom moves) or work with your Director to create a
new one that suits whatever specific concept you had for it’s abilities.
It would probably be easier to acquire a new Astir than modify or rebuild one to have a different
Astir move, but nobody is stopping you from trying. It would likely be separate projects to create
whatever embodies the new move and to fit it into your Astir in place of the old one.
 ASTIR EXTRAS
Sometimes, you know a Sortie is going to involve certain kinds of danger or problems. To combat
them, you can add an Extra to your Astir: a temporary Part or Weapon that is useful for one Sortie.
Extras might be things like heavy armour (Warding), special lenses for seeing in the dark (Resistance
Charm), or a mantle mounted with a weapon (Weapon Conduit).
To acquire an Extra, you might have a Downtime Scene somewhere nearby or build one yourself in
the hangar. Extras only ever last for the Sortie they are made or bought for. Extra weapons are
expended or blown up, equipment is tossed aside to make your Astir lighter, armour is dramatically
destroyed to reveal your Astir spotless beneath it, etc.

Extra parts don’t need to necessarily be those from the example list! Feel free to work with your
players to build unique extras to meet the situations and circumstances of your campaign and the
Sorties they go on.
If you find players making the same Extras multiple times, you might consider offering them some
way of acquiring that extra more efficiently or without cost at all in the future. They might be able
to invest tokens in a production facility on the Carrier, might come up with a more streamlined
method through repeated builds, and so on.
DIRECTOR’S NOTES

SALVAGING ASTIRS
If you capture intact enemy Astirs in the field, you might want to re-purpose or salvage them for
your own needs. Channelers often bond with or magically lock their Astirs in some way, though,
meaning doing so is often a complicated task. Refitting an Astir to be used regularly by one of your
Channelers would be a long-term project, with a length chosen based on its condition and how
advanced its magical protections are—most likely a 6 or 8 step clock, if not multiple smaller ones.
Astirs that can be salvaged after a battle are rarely in such a usable state, however. If the party
wishes, they might sift through the wreckage of a recent battle with the workshop or lab
Downtime Scene to acquire useful supplies or work on their own projects. If a particularly lucrative
battlefield is available, the Director might hand out additional tokens for that Scene as a reward.

THE ASTIR CARD

You'll record your choices and the stats of your Astir on small sheets like these, which have space to
record all of its component Parts as well as its Power capacity (used to make the subsystems move)
and a tickbox for overheating. As a Channeler, certain moves might ask you to tick or mark
'overheating'—that's this box. If you're asked to tick this box but it's already ticked, the building
heat destroys one of your Parts, putting you in peril.

CORE POWER
EXAMPLEIII APPROACH OVERHEATING
PART A PART B
Description of Astir part Description of Astir part

Description of Astir. MV: ASTIR MOVE

A unique move that
de�nes your model of
Astir.

CARRIED Weapon Name III (range / tags)

SHEATHED, ETC Weapon Name III (range / tags)
“When I was fourteen, see, my bearer took me aside one night
and showed me the thing they'd made. It was this heavy black
and white blanket, patterned all over with the big old lumps of
Reach cactus, which I hated for the prickles, and the diamond
dashes of the tattoos we gave ourselves, which I loved for how
brave they made you look. Sometimes I would see them brush
it with horsehair to remove dust, or wash it with a pump-vack,
just an inch at a time, and then fold it and put it back in the
closet. I asked them then, if it was, say, a curtain, or a blanket
for spreading on the prairie rocks and sunning on.They told
me it was for their war-love, that it was a craft they performed
all on their own, and that when it passed away they took hold
of it once more. It's a tradition, they told me, one with teeth.
Wool thick enough, made with desire and grace enough, to
stop any blade, arrow, or channelling. So now I'm making one
for you.”

- Excerpt from ‘Windswept: Conversations From The Reach’,

Ironcase #23 “June”, SecondYear Of The Empty Throne Era
 EXAMPLE ASTIRS III
A selection of example tier III Astirs, made using the above custom Astir rules.
CORE POWER 2
GOLIATH III MUNDANE ANCIENT OVERHEATING
RESISTANCE CHARM WARDING
STALWART GREAVES TITANIC ARMOUR (+ward)
(Lowers dangers from knockback or pushing)
The Goliath is constructed with a simple design intent—to provide an MV: GOLIATH SHIELD
unyielding bulwark for its allies to shelter behind. Thick armour and an Advantage when you
even thicker shield make this effortless: for Goliath channelers, the tides help or hinder to
of war are barely a stream. protect others.

CARRIED Battleaxe & Shield III (melee / defensive, 2H)

+MOUNTED Blazewands III (ranged / bane, reload, mounted, drain)
 CORE POWER 3
ADVENTIII DIVINE ANCIENT OVERHEATING
ARTIFACT WARDING
REACTION ENHANCER ADVENTIUM PLATE (+ward)
The Advent is a storied design, said by some to be based on an Astir MV: ADVENT LEGACY
that won a great war a century ago, and said by others to be that very lead a Sortie with
same Astir. Stories of the white Astir vary, but it never seems to be on advantage when piloting
the losing side, whether that side is right or wrong. an Advent

CARRIED Rayri�e III (ranged / in�nite, 2H

SHEATHED Forceblade III (melee / bane, drain)
 CORE POWER 2
SUMMONERIII ARCANE CRYSTALLINE OVERHEATING
ARTIFACT FAMILIAR MATRIX
FAMILIAR SYNC RITUALS Shard Familiars III
The Summoner is designed to overwhelm foes by directing fire from MV: REFRESH MATRIX
multiple angles. It does this with a small network of familiars, which +blitz, -limited to
coordinate fire as directed by their Channeler. A special matrix Familiars
augmented to increase its magical output allows for a veritable swarm
of familiars.

CARRIED Cleaving Axe III (melee)

MATRIX Shard Familiars III (ranged / area, blitz)
 CORE POWER 0
TARRASQUEIII PROFANE OCCULT OVERHEATING
ARTIFACT RESISTANCE CHARM
CHAOS ENGINE CHAINBREAKER’S BOON
(Lowers dangers from restraints or slowing)
The Tarrasque has a reputation for being piloted by the brave or those MV: MANA DEVOURER
with a death-wish, and it’s not hard to understand why. Armed with +1 Power when you
little more than claws and a tail and powered by a voracious chaos- successfully strike
engine, it’s a heavy, inefficient mess. But slip up once, and it’ll eat you decisively another
alive. With a meal in its belly, this mess becomes a monster. Astir with physical harm
CARRIED Rending Claws III (melee / ruin, drain 2)
+MOUNTED Novatail III (melee / impact, mounted, drain 2)
 CORE POWER 2
LANCE-MINORIII ELEMENTAL NATURAL OVERHEATING
HEAT CONDENSERS FLOURISH COMPONENT
Untick ‘overheating’ from your Astir Regain 1 Power when you roll doubles.

Armed with a long, armour-piercing lance, this gallant model excels at MV: INERTIA DRIVE
charging down a foe from distance and delivering a decisive hit. While Regain 1 Power when
its length makes it difficult to strike close foes, a sidearm allows for you roll a 12+ on
defensive fire to keep foes occupied. weather the storm
to outpace, rush or
dodge.
CARRIED Ardentpiercer III (melee / impact, decisive, set-up, drain)
CARRIED Force Repeater III (ranged / defensive, weak)
 CORE POWER 1
PROTEANIII ELEMENTAL ALCHEMICAL OVERHEATING
TRANSMUTATION LINK ARTIFACT
+adapted (aerial form) QUICKSILVER FORM

The Protean is intended to be a flexible, middle-of-the-road design - a MV: FICKLE FORM

jack of all trades. It’s body is filled with alchemical quicksilver, which You may take the risk
can be magically reformed at a moments notice, making for an Astir (unstable) to use your
that can adapt to virtually any situation. Quicksilver Form without
spending Power on
subsystems.
CARRIED Quicksilver Armoury III (melee / defensive, 2H)
+MOUNTED Mercurial Torrent III (ranged / area, bane, mounted, drain 3)
 CORE POWER 3
OMEN III MUNDANE ALCHEMICAL OVERHEATING
STANDARDISED PARTS ARCANE FORGE
Gain +1 token during Downtime to spend on You may cool off to resupply an expended
repairs only weapon
While somewhat austere a design compared to other Astirs, Omens are MV: GENERIC PARTS
famously easy to maintain and repair. Combined with the fact their cool off with
design makes use of many common parts, Omens (or suits like them) con�dence when
typically make up the bulk of any organised force of Astirs. repairing or maintaining
an Omen.
CARRIED Palm Bolter III (ranged)
CARRIED Conduit Blade III (melee / bane, drain)
 CORE POWER 1
ARIESIII ARCANE ALCHEMICAL OVERHEATING
HEAT CONDENSERS FAMILIAR MATRIX
Untick ‘overheating’ from your Astir Wisp Familiars III

The Aries is an imposing design, with devilish horns and familiars that MV: MANAWHEELS
have a habit of congregating in aura-like formations. The scariest thing While overheating, take
about it, of course, is it’s speed. Propelled on wheels of magical flame advantage when
that scorch the ground beneath it, the Aries is not an easy thing to run making a move that
from. relies on your speed.
CARRIED Blazewands III (ranged / versatile, reload, drain)
CARRIED Forceknife III (melee / bane, intimate)
MATRIX Mote Familiar III (sniper / impact, bane, dangerous)
 CORE POWER 0
JESTERIII ARCANE CRYSTALLINE OVERHEATING
RESISTANCE CHARMS COMPLEX SPELLWORK
PRESSURE REGULATOR Component for Jester Lev-Spells
(Lowers dangers from acceleration)
Embedded with spell-stones that reduce its weight, the Jester excels at MV: LEV-SPELLS
staying mobile. Capable of hovering short distances and moving with You may use the
agility unheard of for most Astirs, most long-time Jester Channelers mobility Move from
develop an almost supernatural sense of battlefield positioning. the Scout Playbook
while piloting this Astir.
CARRIED Dire Shotel III (melee / ruin, 2H, drain)
HOLSTERED Basilisk Lance III (ranged / bane, restraining, drain, 2H)
TIER IV
CORE POWER 3
PURSUERIV PROFANE OCCULT OVERHEATING
WARDING ARTIFACT
SHADOWVEIL (+ward) HASTE RITUALS

The Pursuer is hunter, designed to track and destroy specific enemy MV: PURSUIT-BOND
Astirs. Though its pursuit-bond requires line-of-sight for an initial lock, You may designate
the tracking it provides is accurate, long-lasting, and incredibly another Astir you can
difficult to shake. When it comes time to end the hunt, sharp claws are see as your target. You
often more than good enough to finish off a Pursuer’s prey. are supernaturally aware
of its location at all times
CARRIED Scything Claws IV (melee / intimate, blitz)
+MOUNTED Ritual-Ri�e IV (sniper / mounted, drain)
 CORE POWER 2
BIRDCAGEIV DIVINE ANCIENT OVERHEATING
ARTIFACT FAMILIAR MATRIX
ANGEL COLLARS Bound Angels IV
There are many that would say the concept of Astirs is a dangerous one. MV: BINDING RITUALS
Evil, even. There are few that make such a judgement so easy as the When you use
Birdcage, a hefty, walker-style Astir with little in the way of its own subsystems to
armaments. It makes up for this with a flock of bound and collared activate your ANGEL
angels, who are cowed into service by threat of a true death. They are COLLARS, you may
cruel machines, and their Channelers more so. clear a risk related to
your Bound Angels.
CARRIED Hulking Form IV (melee / bane, intimate)
MATRIX Bound Angels IV (ranged / defensive, distinct)
 CORE POWER 3
JACK-OF-BLADESIV MUNDANE ANCIENT OVERHEATING
RESISTANCE CHARM EXTRA ARMS
FLASHFORGE +2 Arms
(Lowers dangers from melee weapon breakage)
Rarely witnessed as anything but a storm of sharp and shattering MV: BRANDED
metal, the Jack-Of-Blades is a strange Astir, designed to wield fragile BLADES
weaponry that it breaks and re-forges repeatedly during combat. Your next exchange
Power-channels in the blades allow for the re-purposing of magic blows or strike
usually lost in the heat venting process, and a paired armament decisively has
forgoing defence in favour of offense means very little remains standing advantage when you
long in the face of a Jack-Of-Blades. untick ‘overheating’.
CARRIED Paired Blades IV (melee / defensive, 2H)
CARRIED Paired Knives IV (melee / bane, decisive, intimate, 2H)
 CORE POWER 0
MEDUSAIV PROFANE OCCULT OVERHEATING
FAMILIAR MATRIX SPELL ROUTINES
Adder Familiars IV Choose to take a 7-9 when you strike
decisively
Protected by magically animated snakes and bearing petrification MV: PETRIFIER CORE
magic, the Medusa is understandably a feared Astir. Even the most When you exchange
talented of pilots put themselves at risk when coming close to its gaze. blows, you may take
disadvantage to have
your opponent take the
risk (restrained) on a 6-.
CARRIED Gorgon’s Glare IV (ranged / bane, restraining, 2H, drain)
MATRIX Adder Familiars IV (ranged / area, limited)
 ouple summers ago, a few folks from up at the pass—ones with

C magic of a sort, but not the kind your Channelers use—�gured

out that if you hang enough people from the same tree–they
hang deserters up there–it gets a little twitchy.A little angry,
especially at those that are doing the hanging. It gets the inkling
that, a little nudge from mother nature, and those branches can be
arms. But, they also �gured, well, you spin a little spell to stop it
telling one man from another, and it don’t care too much about who
it swings those gnarled �sts at. Now the trees up at the pass? I reckon
you could build yourself a tidy little house out of one of those.They
ain’t, by any means, something you want taking a shot at you.
A lot of people came through that year, from the city, asking me what
I thought this meant for the war. If what they were doing made up
for them not having Channelers of their own.
Never did have an answer they liked. I’m not one that can speak too
much on if this kind of magic’s better than that kind of magic. But I
always told them what I could.We run caravans that way once a
month, buying and selling, and you know what?
Up at the pass, they always need more rope.

- Excerpt from ‘The Thoughts And Tales Of Albert Jayner’, Albert

Jayner, YA230
 THE CONFLICT TURN
The Authority and the Cause are the big players in any game of Armour Astir. The Authority is
oppressive, powerful, and domineering, with its sights set on the world: or at least the slice of it our
game takes place in. On the other hand, the Cause is (hopefully) benevolent and driven—but is just as
likely scattered, conflicted, and scared. While players tend to their wounds and sneak precious
moments in Downtime, these forces develop too, during the Conflict Turn.

AUTHORITY STRUCTURE
The Authority is a single entity, divided into Divisions and held together by Stability. Mechanically
speaking, Divisions are comprised of the following;
• Important actors or assets that keep them safe from the player characters.
• A passive step, a benefit they automatically provide at the start of the Conflict Turn.
• Pillars that they control on behalf of the Authority (3 each).
• Outcomes, that can be chosen from when they’re victorious during a Conflict Scene.
The latter two are determined by the Division’s type: see the next page for a selection, though you
should feel free to invent new ones. You should choose 3 Divisions, and give each a name as well as a
goal or ideal they strive for as they serve the Authority—this ideal might conflict with other
Divisions, or even the Authority writ large.
If you want to define your Authority further, with more than 3 Divisions, remember that more
Divisions means more Conflict Scenes per turn. If you don’t also add more Factions to the Cause, you
risk making it very easy for the Divisions to tire out Factions and make it difficult for them to
oppose, not to mention the extra complexity this adds to the Conflict Turn.
Additionally, keep in mind that the Authority isn’t set in stone: the Divisions you start with might be
replaced or fall apart, so don’t feel like what you start with is necessarily the only set of Divisions
you’ll get to play with.
DIVISION STRENGTH & ROLLS
Divisions are not equal: every Authority has one Division that is stronger and more important to it
than the other two—a major Division (5+) and two minor Divisions (4+). Their Strength affects the
rolls players make during Conflict Scenes and when they plan & prepare. In Conflict Scenes, against
the major Division, a 5+ results in a success for the Cause. Against a minor Division, a 4+ results in a
success for the Cause. If the Cause doesn’t succeed, the Authority does.
STABILITY
Even the most cruel, squabbling petty empire has some kind of internal equilibrium or momentum
that stops it falling apart: Stability represents that. The Authority starts with 9 Stability, and loses it
when the Authority’s Pillars are felled (or as the result of a particularily successful and ambitious
Sortie, if your Director decides so).
At 6 Stability or below, players start with 2d6 for plan & prepare instead of 1d6.
At 3 Stability or below, one Faction un-taps itself at the start of the Conflict Turn.
At 0 Stability, the Authority can no longer hold itself together. It’s time to scatter it for good.

With major and minor Divisions winning Conflict Scene rolls 2/3 and 1/2 of the time, the Conflict
Turn is by default tilted a little in the Authority’s favour. This is because plan & prepare allows
the player characters to lower Division Strengths with a successful Sortie; meaning that when the
Conflict Turn is weighted towards the Cause, it’s because the players achieved it, not because the
Authority is incompent for some reason.
DIRECTOR’S NOTES
TYPE FOCUS EVERY TURN:
Military Deploying forces to attack or Hold 3 to spend during the next Sortie 1-for-1 to;
defend with violence. • Introduce a new threat
• Force someone to act in desperation
When a Military Division wins a Conflict Scene, choose one:
• A Faction with 3 GRIP is seized.
• The Authority gains 1 GRIP on a Faction or Pillar.
• A vulnerable or exposed asset or actor is fortified or hidden.
Subterfuge Deploying spies or agents to Place 1 GRIP on a Faction or Pillar of their choice.
deal with things covertly.
When a Subterfuge Division wins a Conflict Scene, choose one:
• A Faction with 3 GRIP is seized.
• The Authority learns a secret about the Cause or a Faction.
• The Director may force a re-roll during a Conflict Scene this turn.
Resource Accruing wealth, information Start a Division Scheme, or advance any existing one
and personnel. by 1 step.
When a Resource Division wins a Conflict Scene, choose one:
• At the end of the Conflict Turn, you may re-assign which Divisions are Major or Minor.
• The next Sortie faces a complication: lead a Sortie with disadvantage.
• The Director takes 2 extra tokens during the next Downtime.
Research Developing new enchantments The Director may force a re-roll during a Conflict
and rituals. Scene this turn.
When a Research Division wins a Conflict Scene, choose one:
• The Authority learns a secret about the Cause or a Faction.
• The Authority starts a new Scheme, or advances an existing one.
• The Director takes 2 extra tokens during the next Downtime.
Curator Stealing and investigating that Start or advance a 4-step clock titled ‘Take
which doesn’t belong to it. something that isn’t theirs.’

When a Curator Division wins a Conflict Scene, choose one:

• The Authority starts or advances a 4-step clock titled ‘Take something that isn’t theirs.’
• The Authority starts a new Scheme, or advances an existing one.
• A vulnerable or exposed asset or actor is fortified or hidden.
Executive Protecting and deepening Sneaking through, fooling or subverting Authority
systems of control. security and bureaucracy is done in desperation.
When an Executive Division wins a Conflict Scene, choose one:
• The next Sortie faces a complication: lead a Sortie with disadvantage.
• The Authority starts a new Scheme, or advances an existing one.
• The Director may force a re-roll during a Conflict Scene this turn.

What happens when a Faction is seized? As usual, the narrative specifics are up to you.
Mechanically speaking, the Faction is removed from the Cause. Anything beyond that, such as the
fate of specific characters and the circumstances of the seizing are for you to decide.
Similarly, when a Pillar is felled, we assume that the Cause are taking control of whatever makes
that thing important. This means that, fictionally speaking, a Cause doesn’t have to hold an entire
city or region in its hand to seize it: just whatever little piece made it valuable on the board as a
Pillar.
DIRECTOR’S NOTES
GRIP
GRIP is a rough measure of the Authority’s influence over Faction or Pillar, and represents
everything from military occupation or pressure to the meddling of diplomats and spies. When a
Faction the Authority doesn’t control has 3 GRIP on it, it may seize it through a Conflict Scene: when
a Pillar the Authority controls has 0 GRIP on it, the Cause may free it.
All Factions begin with 0 GRIP, and all Pillars begin with 3 GRIP.
DIVISION SCHEMES
With the Outcomes from Conflict Scenes, Divisions can gradually start and complete long-term
projects. These Schemes, if completed, should create a large advantage for the Authority that
threatens to completely turn the war in their favour unless it is dealt with as quickly as possible.
Alternatively, the Authority might undergo a long term project to regain some of its Stability by
building a new Pillar (literally or otherwise).
Schemes don’t need to be one big macguffin that’s being slowly constructed. A Scheme might be
developing a plan for one decisive military push, slowly accruing reserve forces for an unstoppable
offensive, or even the inner political turmoil of the Authority slowly resolving itself into a state
where its true might can be properly coordinated.

Unsealing the Sovereign Crypt

Crown-Claimant Goze aims to open the Sovereign Crypt
and use the contents as fuel for another ritual.

The End Of Mourning

Once the mourning period for the last Empress is
over, the remaining heirs are sure to unleash the
forces they have massed in a civil war.

Binding the Northspine Mountains Tyrant

The tyrant of the Northspine Mountains, a ferociously
devious green dragon, would make an excellent adviser for
the Kyrgain forces... if they can be brought in line.

DESTROYED DIVISIONS
If a Division is destroyed or dissolved during the Conflict Turn, it is replaced at the end of the next
one with a Division of a different type. Until the new Division is created, any Pillars the old one
controlled are temporarily considered to have 0 GRIP, meaning they can be felled with a Faction
Outcome or with a Sortie via plan & prepare. The new Division inherits any Pillars the old one
controlled if they’re still standing.
Additionally, if it was previously the Major Division, it becomes a Minor and one of the others is
promoted to Major instead, as the remaining groups within the Authority take or steal the lost
Division’s resources and favour. Once you’ve shifted that position, you should show a quick vignette
of what this new Division’s formation looks like.
DISFAVOUR
Divisions are not entirely a power unto themselves: they are a part of the Authority, and to an extent
are held accountable for upholding its values, however terrible those are. Divisions that cannot toe
the line and get results mark themselves apart with disfavour. When a Division takes action that
disappoints, dishonours or disrespects their masters, increase that Division’s disfavour by 1.
Alternatively, when a Division does something that would make another look incompetent or
disloyal, increase that Division’s Disfavour by 1.
Similarly, when a Division takes action that impresses or elevates them in the eyes of their masters,
reduce that Division’s disfavour by 1. This should be something of note: more than just succeeding
at a move. Trust is easy to lose, and hard to regain.
Mechanically speaking, any Division with 10 or more disfavour can be removed at the start of the
Conflict Turn, if the other two Divisions desire it. No action or roll is needed, but toss a coin:
• On heads, the target Division is ousted and becomes a tapped Wayward Faction instead. A
replacement Division (of a different type) moves in immediately: 10 disfavour doesn’t usually
happen overnight, after all. Moves were already being made.
• On tails, the the target Division is dissolved, and absorbed messily back into the rest of the
Authority. A replacement Division (of a different type) moves in at the start of the next Conflict
Turn, and until then any Pillars the old one controlled are temporarily considered to have 0 GRIP,
meaning they can be felled with a Faction Outcome or with a Sortie via plan & prepare.
When playing Scenes during the Conflict Turn or more broadly depicting Authority characters, they
should take the disfavour of Divisions into account when showing how they think and feel about
them. This may also play into Sorties, with Divisions steeped in disfavour either not being given
valuable opportunities to prove themselves or seizing any then can to try and claw back some worth
in the eyes of their masters.
AUTHORITY FORCES
The Authority, broadly speaking, has far more soldiers and assets than ever worth individually
keeping track of. Instead, we just keep a record of the movers and shakers—people and things that
are key to how their Division operates. Broadly speaking, everything important that the Authority
and its Divisions make use of is either an actor or an asset. An actor is someone or a squad of
someones that can appear on-screen and threaten the players. They take risks and perils like the
players, and might carry perils with them out of a Sortie if they retreat during it. An asset is an
object or place that is useful to the Authority, and might be anything from a stockpile of simple
supplies like food or clothing to an entire fortress or base. There’s no strict limit or defined amount
of these that the Authority has—this is not a simulated game of attrition where the Authority’s
finances and military numbers need to be kept track of—but actors and assets are important.
When a Division has lost actors or assets equal to or over it’s Strength (5+ for a Major Division, 3+ for
a Minor one), that leaves the Division vulnerable. Vulnerable Divisions can be destroyed either during
the Conflict Turn or as the result of a Sortie, allowing players to deal real harm to the Authority.
Of course, not every foe or object your players stumble upon is an actor or asset. If you sneak in the
back door of an Authority base and shoot a single guard, that doesn’t bring the whole thing
meaningfully closer to collapse: save that label for things that feel like they matter.
As the Director, it's important to think about what happens when actors and assets are defeated or
destroyed. Does that elite cadre of Astir pilots fall in line behind a different officer when theirs is
killed in battle, or was their loyalty to that officer rather than the Authority overall, causing them to
leave it? When they lose a trio of experimental Astirs in battle, is the Captain of the Second-Hand
Fortune given command over a new unit, or just demoted underneath one of their peers? Don't feel
like you need to have a grand plan penned for every actor or asset in advance, though. Sometimes
decisions in the moment are the most fun to make.
 CAUSE STRUCTURE
While the Authority is one entity organised into orderly Divisions, the Cause is disparate Factions
united under one banner. Factions represent the smaller groups and efforts that make up the Cause.
For those, we just keep a list of their leader, a short summary of who they are, and their type, which
has an Outcome attached to it—what they’ll do when they succeed during the Conflict Turn.
In the Conflict Turn, the primary role Factions play is taking part in Conflict Scenes and, depending
on how the dice turn out, making moves of their own. What that opposition looks like, and what
Outcome they provide, is determined by their type;

TYPE OPPOSITION OUTCOME

Guerrillas Opposes with ambushes and A specific asset or actor is made vulnerable or
scattered force exposed in some way.
Agents Opposes with assassination and Disrupt the Authority, removing 1d3 GRIP on a
subterfuge Faction or Pillar.
Bandits Opposes with robbery and sabotage Reduce a Scheme clock 1 step, and increase a
beneficial clock 1 step.
Despoilers Opposes with unnecessary and All Scheme clocks are reduced by d6. Players
imprecise force have 1 less token each next Downtime.
Scholars Opposes with ingenuity and Key intel gives the party advantage when they
curiosity next lead a Sortie.
Suppliers Opposes with new equipment or Replace a seized Faction, or untap any other two
supplies Factions.
Firebrands Opposes with propaganda and A Division of your choice increases its disfavour
diplomacy by d6.
Military Opposes with direct assaults and Fell a Pillar with 0 GRIP, or destroy a vulnerable
force Division (flip a coin: on tails, they become a
Wayward Faction).
Strange Opposes with the weird and Something unexpected and strange happens.
unexplained
Adventurers Opposes with bold action and Deliver a cut of loot to the Carrier: flip a coin.
unpredictable tactics Heads, it’s valuable—tails, it’s treasure.

You want 2 Factions per Division: so 6 by default. If you are hacking the game a little and running
extra Divisions, add extra Factions to balance it out. If you want, you could also combine multiple
Factions into one larger one that can be tapped multiple times (see below).
TAPPED FACTIONS
Factions can’t offer infinite support. During Conflict Scenes they may become tapped as they expend
manpower, supplies, or revolutionary zeal. Tapped Factions are exactly that: temporarily spent or
unavailable. They can still take action that would cause them to be tapped, but only at the cost of
sacrificing themselves permanently: their remaining members scattered to the winds, their
resources lost, etc. Typically, 3 Factions will end up tapped each Conflict Turn; this is easily recouped
by the players during Downtime if they want to do so, but will stack up fast if they ignore it.
Once a Faction is un-tapped, they can oppose Division Scene in the normal manner again. Factions do
not normally un-tap on their own: the players un-tap them through their actions in Sorties using
plan & prepare and with certain Downtime Scenes.
The Faction the players belong to acts like any other during the Conflict Turn, and can be tapped, un-
tapped or destroyed as per any other—though in the latter case, the players should consider looking
for a different Faction to group up with.
If a Faction is destroyed, a new one can be created to take it’s place: Supplier Factions can do this
with their Outcome, but it might also be the goal of a Sortie, a long-term project, or simply
something that unfolds in the background of play over multiple sessions.
EXAMPLE FACTIONS
The Iron Circus (Suppliers) TAPPED?
The Iron Circus build and repair magical constructs, operating out of a steel-clad
airship. The Circus aren’t an orderly workforce, but they’re fast, reliable, and
loyal. GRIP

Syl’s Stallers (Bandits) TAPPED?

The Stallers, led by Syl Sarna, specialise in stopping constructs in their tracks.
Using experimental gauntlets that nullify enchantments, they infiltrate
reinforcements in transit and prevent their constructs from ever animating. GRIP

Allington Merchant’s Association (Suppliers) TAPPED?

More commonly known as just the Allington Association, they possess a
significant amount of capital and are more than willing to put it on the line to
support more revolutionary-inclined clients. GRIP

The Riverknights (Guerillas) TAPPED?

A cadre of fighters who use custom-enchanted aquatic Ardents to rapidly
navigate rivers and canals, often striking ships or dockside fortifications before
retreating as quickly as they arrived. GRIP

The Barkwrights (Military) TAPPED?

Though low on resources and stretched thin, the Barkwrights have long since
made a name for themselves protecting against deforestation. Their secret to
success is an ancient transmutative magic that bonds flesh with living wood, GRIP
which they use to recover from even terrible injuries.

League Lament (Agents) TAPPED?

An elderly coven of witches who orchestrate assassinations through repeatedly
hexxing their targets over a period of time, eventually causing them to die in
accidents that, to anyone else, seem incredibly unlucky. The superstitious often GRIP
blame the League Lament for any misfortune they suffer.

The Door Society (Firebrands) TAPPED?

Locksmiths by day and revolutionaries by night, the Society considers revealing
that done behind closed doors their speciality. All locks can be picked, and it’s
far easier if you’re the person that made it. GRIP
 PILLARS
Pillars are places, people or objects of great importance that allow the Authority to continue their
stranglehold on wherever your game is set: each Pillar corresponds to 1 point of Stability, and is
controlled by a Division: decide which Division controls which of your Pillars when you start your
campaign. A Division starts with 3 GRIP on every Pillar under its purview.
When a Pillar falls, that Stability is lost: and thus, the Authority is inched closer to collapse. When a
Pillar falls, the Authority consolidates: it rebuilds its strength around what is left, rather than
attempting to regain what has been taken. It cannot regain GRIP on fallen Pillars: they’re gone. The
Authority never sees its collapse until it is inevitable.
In a large campaign spanning a globe, Pillars might be entire countries and capital cities or hugely
influential diplomats and leaders, while in a smaller campaign your Pillars might be cities, towns
and magical artefacts. In either case, make sure you don’t step into the trap of only considering
Pillars that are of military importance. Places and things of historical, cultural, spiritual or
ecological importance are equally as valid: they, after all, represent the people and the future that
the players and Factions are fighting to protect or free from the Authority’s clutches.
Pillars aren’t just for fighting over, of course. Once liberated from the Authority, Pillars will likely
still need the attention of the Cause occasionally—you should allow your players to invest themselves
in the future of Pillars if they want to. Players might help repair the damage from Authority raids or
occupation, assist key figures in planning for the future of the region, or help seal away, protect or
repair important relics. All of the above might be things done in Downtime, or might be the focus of
Sorties and Missions.
Players may have a GRAVITY clock with a Pillar if they desire, but Pillars themselves do not have
any statistics or moves attached to them—even small communities are difficult to codify in a way
that is truly representative. The Director might associate Authority actors or assets with a Pillar: as
occupying forces, as a home base, etc.

Why can’t the Authority re-take Pillars? This is to prevent a tug-of-war situation where your game
lasts forever as Pillars are traded back and forth. When players fell a Pillar, they’re making a
conscious choice to push the campaign, and the Authority, closer to an ending.
While the Cause and the players can attempt to take Pillars one by one, reducing their GRIP until
they are exposed, they might also focus on attacking a Division: taking more effort, but giving
them a temporary window in which they might fell multiple Pillars in quick succession. Make sure
they understand both options are available to them!
DIRECTOR’S NOTES
 THE WAYWARD
Sometimes, when a Division is ousted badly or the fiction demands it, groups with power that are
unaligned to either the Authority OR the Cause can appear. Sometimes, these third parties may have
always been there, waiting on the sidelines until it is time to make their move.
Wayward Factions use the same rules as those of the Cause, in that they have types and Outcomes,
and can be tapped or un-tapped in play. They differ, however, in that Wayward Factions may choose
to oppose the Cause instead of the Authority: tapping themselves to force a failure during a Conflict
Scene, or more broadly tapping themselves to support the Authority during a Sortie. Wayward
Factions typically become un-tapped as the result of Director moves.

What allows Factions to succeed is teamwork and a united front when opposing moves—something
the Wayward, naturally, interferes with. What, then, unites the Wayward Factions? What do they
want? These are the kind of things you should figure out if you have an interest in spotlighting the
Wayward in your game.
DIRECTOR’S NOTES
PLAYING THE CONFLICT TURN
During the Conflict Turn, you will play out Scenes together to depict the Cause’s struggle to resist the
Authority and it’s endeavours, or it’s attempts to bloody the Authority’s nose on its own terms.
During each Scene, you’ll pick Challenges—some of which involve rolls—to add detail, then you’ll
choose a Resolution for the Scene based on how those rolls went. You could play the Conflict Turn
with your whole group, or just a few players. You might even play the Conflict Turn of a campaign
with a different set of players entirely!
When playing out a Conflict Scene, you might temporarily step into the role of characters who are
part of the Authority or the Cause, or even appear as your normal character occasionally. You don’t
need to make up characters ahead of time, but it can be helpful to do so if you’re not good at coming
up with them on the spot.
Characters you embody in the Conflict Turn don’t need a playbook or Traits—just a rough idea of
who they are, what they look like, and what they want is good enough. Conflict Turn characters can
be captured or die during certain Scenes, so be careful who you throw into them: there’s nothing
wrong with playing someone who feels a little disposable instead. It’s what they’re doing that will
matter.
There are three steps to the Conflict Turn:
• Choosing which Scene to play, and what Division & Faction are involved
• Playing that Scene by making Challenges and rolling
• Resolve the Scene by comparing Cause and Authority successes
STEP 1: CHOOSE CONFLICT SCENE
Three Conflict Scenes are played during each Turn, one led by (or targeting) a Division of the
Authority. Some Conflict Scenes will invite everyone playing to take turns choosing Challenges—in
this case, some players won’t get to issue one, so give priority to those who ideas they’re excited
about.
When you choose a Scene, choose the Division involved and tap a Faction that will be representing
the Cause’s efforts or interests during it. If it’s already tapped, the Faction is destroyed. If you have no
Factions that aren’t tapped or just don’t want to tap one, you can skip it: still play the Scene out, but
the Division automatically wins when you get to the Resolution.
STEP 2: PLAY THE SCENE
Each Scene has it’s own set-up and instructions for play, detailing who players are and what they are
doing. Each also has it’s own list of Challenges for players, including the Director, to make at each-
other: some of these call for you to roll. When you do so, roll a single d6; if the result is equal to or
higher than the Division’s Strength, the Cause succeeds; if it’s lower, the Division succeeds instead.
Keep note of how many successes and failures are scored during the Scene. If the players wish, they
may tap a Faction to skip a roll and add a success. When you do so, narrate how this other Faction
swoops in to provide aid or assistance (and potentially at what cost).
STEP 3: RESOLVE CONFLICT SCENE
Once all of a Scene’s Challenges have been played, it’s time to resolve it. Compare the successes and
failures from rolls: if there are more successes, the Cause comes out of the Scene with a victory or
advantage of some kind. If there are more failures, the Division is victorious instead. In the event of a
tie, interpret the outcome as a group: if you’re unsure, flip a coin.
In either case, as a group, choose a Resolution for the Scene that you feel lines up to the events of it
as well as who came out on top. The winning side then narrates their answer to the Resolution, and
chooses an Outcome they earned through it: feel free to flash forward to show the effects of a Scene
where you need to.
When playing out Conflict Scenes, try to think of them as brief flashes to the broader events of the
war: keep them short and sweet. Conflict Scenes are a great opportunity to briefly show off
characters who don’t have much opportunity to appear otherwise.
Finally, the events of the Conflict Turn should be communicated to the player characters in-fiction.
Naturally, Downtime will provide a great opportunity to slip them this information, through
newspaper reports and other media, relevant characters passing along accounts, and so on.

CONFLICT OUTCOMES
After a Conflict Scene is played out, the victorious side may choose an Outcome. If the winner was
the Authority, the group may choose an option from those listed on the Division’s type. If the winner
was the Cause, the group may instead choose one of the Factions that was involved in that Scene—
either the initial ‘defending’ Faction, or any that were tapped to skip rolls—and gain their Outcome.
If you have a specific Outcome in mind, you might frame a Conflict Scene around it specifically: but
you don’t need to commit to a choice ahead of time.

A Division being destroyed or changed is a big deal. Make sure this is seen and felt appropriately
by the players, and unless you’re intending it to be a big surprise, try and work that Division’s
falling fortunes into the fiction beforehand.
DIRECTOR’S NOTES
 CONFLICT SCENES
AN UNFURLING PLAN
Everyone plays, taking the role of either members of the Authority (as you hatch a plan of some
nefarious nature) or the Cause (as you figure out how to thwart that plan). Decide together where
this meeting is taking place, and who else is present. Who are you both playing? What history do
you have?
During the conversation, anyone may ask anyone else for details on the situation and
circumstances.
Playing The Scene
Players freely roleplay, issuing Challenges to escalate and complicate the Scene. Continue playing
until at least three rolls have been made or the Scene reaches what feels like a natural end: look at
the Resolutions below for what that might look like.
During the scene, anyone may issue a Challenge:
• I present evidence of a spy in our ranks: roll to see if it’s taken seriously.
• I point out a blind spot in our intel: will we recommit resources (reduce a beneficial clock by 1 step) or
roll and take the risk?
• A step of our planning is left undone: who will roll and suggest a solution?
• My squad or group is eager to contribute. Who will give us direction?
• Explain to me how this represents the Authority/Cause’s ideals.
• How does your plan better serve the common people?
• I’m hesitant to commit my resources: who will roll and try to convince me?
Resolutions
• A consensus is reached: who benefits the most?
• We leave without reaching an agreement: who acts alone?
• The meeting falls to argument and conflict: who feels most slighted?
A COVERT OP
Everyone plays. The Director assumes the role of various Authority or Cause characters, while
other players act as agents for the opposite. Discuss what kind of undercover operation you are
leading, and what happens should you fail.
Who are you? What part of the Division or what Factions are you tied to? Why were you chosen for
this? What do you think about the mission?
Playing The Scene
Players freely roleplay, issuing Challenges to escalate and complicate the Scene. Continue playing
until at least three rolls have been made or the Scene reaches what feels like a natural end: look at
the Resolutions below for what that might look like.
During the scene, anyone may issue a Challenge:
• A magical trap bars the way. Do you take a slow route around, or roll to disarm it?
• Tight guard patrols threaten to catch you. Roll to see if you can evade them.
• You must quickly and quietly take out a watchman: who will roll to do the job?
• Your intel turns out to be inaccurate: what’s wrong, and how do you improvise?
• You find a position that overlooks something secret: describe it.
• Someone will have to split off as a decoy. Who goes? Roll to see how successful they are.
• Our plans are changed suddenly: roll to see if it’s for better or worse.
Resolutions
• The agents are discovered and exposed: can they still escape?
• The agents escape without being caught: how do they celebrate?
• The agents sacrifice themselves to accomplish their duty: is it worth it?
ALL OUT WAR
Everyone plays. Players distribute themselves between the Authority and the Cause evenly if
possible, casting themselves as soldiers, Channelers and other members of the Division or a
Faction. The Director may freely play characters from both sides where needed to facilitate the
scene. Decide together where your battlefield is, what the stakes of this fight are and how these
characters feel about the war and their place in it.
Freely roleplay the clashing forces, Astir against Astir, Carrier vs Carrier, and so on. During the
struggle, anyone may ask anyone else for details on the situation and circumstances.
Playing The Scene
Players freely roleplay, issuing Challenges to escalate and complicate the Scene. Continue playing
until at least three rolls have been made or the Scene reaches what feels like a natural end: look at
the Resolutions below for what that might look like.
During the scene, anyone may issue a Challenge:
• I come straight for you, weapons ready: roll to see if you can hold me back.
• I lead an unexpected ambush, and roll to see if I catch you by surprise.
• I separate you from your supporting forces: roll to see if you can regroup.
• You are ordered to pull back. Do you follow orders?
• I seem to drop my guard: if you seize the opportunity, roll to find out if it’s a feint or not.
• Our battle endangers a group of civilians. If you refuse to hold back, roll.
• You could complete a key objective at cost. What would you lose? If you give it up, don’t roll: just add a
success.
Resolutions
• One side is forced to rout: are they cut down as they flee?
• A truce is reached: what are its terms?
• The battle will continue tomorrow, but an impressive push wins it for today: what is secured?
A CHASE
Two volunteers play, one hunter and one hunted. They should decide between them which takes
the role of an Authority member and which represents the Cause, on what level the chase is
occurring—on foot, in Astirs, etc—and why it is happening. Decide where the chase takes place,
and who is at risk should things get messy.
Freely roleplay the chase. During it, anyone may ask anyone else for details on the situation and
circumstances. Other players may embody bystanders, the environment, and so on where
required.
Playing The Scene
Take turns making Challenges, starting with the hunter. Continue playing until at least three rolls
have been made or the Scene reaches what feels like a natural end: look at the Resolutions below
for what that might look like.
During the scene, anyone may issue a Challenge:
• I lead you into a trap. Roll to see if you can escape it.
• We briefly draw close, and I injure you: how do you push me away?
• We dash through a dangerous area. Will you take your time, or will you roll to give chase?
• I deploy something magical to my advantage. What happens?
• I find a sudden burst of speed in me: roll to see if you can match me.
• I slip through a busy, crowded place. Do you rush through and cause a scene, or roll to find another path?
• You turn a corner and lose sight of me. How do you find me?
Resolutions
• We walk into a dead end. Can the hunted still escape?
• An escape is in sight: can the hunter catch up in time?
• A third party intervenes: whose side are they on?
ONE-ON-ONE
Two volunteers play, locked in conflict with one another. They should decide between them which
takes the role of an Authority member and which represents the Cause, what form their duel takes,
and what it’s stakes are.
Decide where the duel takes place, and who is at risk should things get messy.
Freely roleplay the duel. During it, anyone may ask anyone else for details on the situation and
circumstances. Other players may embody bystanders, the environment, and so on where required.
Playing The Scene
Take turns making Challenges, starting with whoever has the most to lose. Continue playing until at
least three rolls have been made or the Scene reaches what feels like a natural end: look at the
Resolutions below for what that might look like.
During the scene, anyone may issue a Challenge:
• My guard seems to drop for a moment. Will you roll to take the risk and strike?
• I reveal a surprising new weapon. Roll to see if you can adapt to it.
• We reach a momentary impasse: what do you say to me?
• I make a flashy, unnecessary play. Do you let me show off?
• I reach for a moment of intimacy, like a kiss, between blows. Will you let me close?
• Your allies appear. Do you allow them to intervene?
• I push you and our fight into a new location. Roll to see if you find an advantage here.
• I make an attack that threatens innocents. Will you roll to ensure their safety?
Resolutions
• I drive you back to the point that you could flee. Do you run or stand?
• We are evenly matched. Will you risk something to strike me down?
• Your skills are undeniable. Can I convince you to join me?
THE DISCOURSE
Everyone plays, taking the role of either members of the Authority, the Cause, or both, as key figures
discuss and politic among themselves, idly or otherwise. Anyone may be present, but roll; on a
Division success, a Faction must still be tapped if you can do so without destroying it—the discourse
is exhausting. Decide together where this conversation occurs, who else is present, and what the
power dynamic between participants is.
During the conversation, anyone may ask anyone else for details on the situation and circumstances.
Playing The Scene
Players freely roleplay, issuing Challenges to escalate and complicate the Scene. Continue playing
until the Scene reaches what feels like a natural end: after the discourse, there is no winner or
loser and no Outcomes are earned. Simply choose a Resolution as a group.
During the scene, anyone may issue a Challenge:
• I say something insulting about a superior or influential figure. Who reacts strongest?
• I press someone for their opinion on something. Do you answer honestly?
• I arrive, dressed to kill. Whose eye do I catch?
• I talk flippantly about our duties. Does anyone admonish me?
• I offer my opinion on another Division or Faction. Whose attention do I catch?
• I direct a flirtatious comment towards someone. Does it take root?
• I openly question our current course of action. Who can reassure me?
• I offer to take someone aside, to dance, talk privately, or otherwise. Is my offer accepted?
• I make a hopeful statement about our future. Can anyone back me up, genuinely?
• I say something overly revealing or personal. Does anyone press me on it?
Resolutions
• Someone or something breaks up our discussion. Who or what, and why?
• Our conversation is overheard: by who?
• One of us makes a statement that history will look back on as prophetic: who, and what is it?
INVENTORY OF ‘THE BUSY BEETLE’
Port Huginn Authority,YA230, Quartermaster Luis
1 HERCULES-Class Astir, ‘Dire Dismissal’
2 STAG-Class Astirs, ‘Fair Lady’ & ‘Florence’
4 SHIELDBEARER Ardents, unnamed
90 javelins (steel-tipped)
10 javelins (steel-tipped, enchanted to pierce armour)
1 dozen spears (iron-tipped)
1 dozen crossbows (wood construction, leather bindings)
180 crossbow bolts, quivers of 15
3 snap-rifles (licensed, unknown artificer)
9 fingers of alchemical ruby (medium quality, fully charged)
50 candles, beeswax
18 lanterns, brass
18 flasks, lantern oil, 1 pint
4 drums, lantern oil, 1 gallon
13lb powdered silver
1lb powdered diamond
3lb elemental fire, salts
7 healing elixirs, 6 fl oz
2 crates, assorted bandages & ointments
6 large drums, water, 10 gallons
6 crates, packaged rations
8 parcels, fresh fruit (sealed)
1 barrel, pickled fish
1 bar of chocolate, 4oz
1 crate, unmarked (sealed, shielded against divination)

- Excerpt from ‘Flight Log Of The Busy Beetle’, several writers,

first entry YA211, final entry YA231, recoveredYA233
 RUNNING THE GAME
As the Director, it’s primarily your job to facilitate play. To that end, you have an agenda and
principles to guide your decisions and help you figure out what is in the spirit of the game. When it
comes to making moves, your director moves give you clear options for directing the action. There’s
also a brief primer on safety tools, though I encourage you to research these more to find something
that suits you, some example foes and guidelines for creating characters to oppose the players, and
an explanation of rivals.

AGENDA
As a Director running Armour Astir, there are certain things you should strive for. These are your
agendas. Think of these like your tenets, as you perform the sacred rites of running a fun game for
your friends.
• Portray a world entrenched in conflict.
• Let the players make a difference.
• Play to find out what happens.

PRINCIPLES
Additionally, you have your principles. Your principles are things to consider when deciding what
move to make, and can also serve as a reference when you’re unsure if a move you want to make is
appropriate.
• Give Conflict Weight
• Begin And End With The Fiction
• Fight Wars With Words (Sometimes)
• Address The Characters, Not The Players
• Build Something Diverse
• Ask Questions And Use The Answers
• You Can’t Pull Punches If You Don’t Throw Them
• Make Moves Off-Screen
• Keep Things Magical
GIVE CONFLICT WEIGHT
In Armour Astir, conflict reaches everyone in some way. When you present your world and the
people in it, consider the effects of it on them, and the things they've been caught up in because of it.
Confront your players with the consequences of their actions, and remind them that marginalised
people often suffer the most during times of struggle: even if it feels like what is being struggled
against isn’t something directly adversarial to marginalised identities.
Armour Astir is less gritty and boots-on-the-ground than some war games, but that is absolutely no
excuse not to properly consider those most hurt by conflict and excluded from the power structures
used to perpetuate it in their absence. Do not forgot those that your Authority gladly would.
BEGIN AND END WITH THE FICTION
When you make your moves, establish and ground them in the fiction before you detail what the
mechanical results are. Then, return to the fiction, and show the fictional consequences of those
results. Be a good example for your players: teach them to make their action clear before resolving it
with dice, and then to hook the consequences back into the fiction.
FIGHT WARS WITH WORDS (SOMETIMES)
Not all fights are fought with blades. Fight your players with words, spoken or otherwise, and remind
them of the impact influential figures can have without setting foot on a battlefield when the
opportunity arises. If your players are so inclined, let them wield this power too: let them disarm
foes with a scathing insult, or write a challenging letter that wins over a sympathetic lord. Not all
problems are best solved with force, after all.
ADDRESS THE CHARACTERS, NOT THE PLAYERS
As far as you're concerned, once you start the session you're no longer at the table with your good
friends. To your left is Cordelian, the Arcanist, piloting his Lance-Minor Astir. To your right, the
rough-and-rowdy Scout, Rio. Staring daggers at you from across the table is Mire, the Witch, whose
Falcon-class Astir is currently missing an arm. So when you talk to your players, make sure you're
actually addressing those Paradigms, Artificers and assorted other heroes. Ask Mire what they do,
not what their player thinks they do. This helps everyone focus and keep their minds on the fiction
that you're all creating together.
BUILD SOMETHING DIVERSE
War is a big, bloody thing, stretching continents as easily as it stretches time. Let your players feel
the consequences of their involvement with it on more than one scale. Just as they involve
themselves in the small-scale of conflict, getting in their Astirs and taking the fight to the enemy as
commanded, let them involve themselves in the overarching systems of war—the politics, the
organisation—and let them become valuable to the cause they fight for. Then, you can involve them
in larger consequences—and if they try to run, they should find these connections they've made
difficult to cut.
On a similar note, the people of your world represent a far broader set of identities and experiences
than those likely represented by your players and their characters. Make sure that when you depict
those people that you are not forgetting this, and do so in a way that ensures they are more than just
beat-down groups that you set the Authority on for effect. Give marginalised players at your table
room to take authorship and ownership of the fiction when it comes to people who share in their
experiences, if that is a thing they are interested in doing. If not, be ready to listen and make changes
if you misstep in your own handling of those elements. Remember too that the ways in which people
are marginalised, especially when it comes to disabilities, are not always easily visible. Consider the
ways in which disability affects people’s daily life and routines, how this might be exacerbated or
alleviated by the environment around them even when it goes unnoticed by others, and keep this in
mind when making decisions about how those characters act and are presented to the table. Give
disability the same focus and care you would when depicting characters who are marginalised by
their sexuality, their gender or race.
Let marginalised groups of all descriptions have agency and purpose in your game, especially when
the Authority would rather see them disappear. I guarantee you there is room for us.
ASK QUESTIONS AND USE THEIR ANSWERS
The shared fiction of your world is something you work on together with your players, so involve
them in fleshing it out. Ask them questions about their characters, and the places and concepts
related to them. If you don't know something, if you're short on interesting ideas, or you just want
someone else’s viewpoint, don't hesitate to ask one of your players instead. Be curious about what
they want to contribute to the fiction, and help them feel invested in it by using the information they
give you. This lightens the narrative load for you, helps keeps things a little varied, and also lets you
have the same curiosity and surprise as the players do when something new becomes part of the
story.
Additionally, as the Director you’ll often be given responsibilities or moves you can make on behalf
of the Authority or otherwise. Feel free to delegate these to a player whenever and however you
want, to sponsor their investment in various elements of your narrative.
YOU CAN’T PULL PUNCHES IF YOU DON’T THROW THEM
At the table, you're all part of the same fiction. Your players are the stars of the show—so let them
feel like it by giving them foes that feel worth their time. Characters in Armour Astir have lots of
options for tilting the odds in their favour and tearing through lesser opposition: so don’t be afraid
of flooding the field with targets, or throwing tough and imposing foes at them when the moment
calls for it. Death isn’t so easy to meet for the players—bite the dust is explicit that there is always a
choice made, even on a failure—so it’s better to throw punches you can pull back on as foes retreat or
are called away, rather than take it easy and have everyone feel the Authority was a little toothless
this time around.
MAKE MOVES OFF-SCREEN
It’s also important to remember that,
while your players and their characters
are important, not everything that
happens does so right in front of them.
Don't be afraid to make moves and keep
things shifting behind the scenes, then
present the results of those moves to the
group when appropriate. There are
battles the characters aren't involved in,
and discussions or decisions they don't
get to make. Remind them that the
world is bigger than they are.
KEEP THINGS MAGICAL
Finally, Armour Astir isn’t just a game
about mechs and pilots. It’s a game
about giant magical constructs, slinging
spells at each other through enchanted
weapons, protected by complex rituals
and powered by Channelers—powerful
magic-users fuelled by innate talent,
divine powers, otherworldly influences
and arcane artifacts. Don’t forget that!
 DIRECTOR MOVES
Just like your players have moves, you as a Director have moves to help guide and codify what you
can do. The players make a move when they want to do something - you make a move when;
• They roll a 6 or below on one of their moves
• When they look to you for something to happen, or can’t decide what to do
• When the fiction says something should happen
Broadly speaking, the moves you have are to;

• Make an obvious threat • Reveal something new

• Test the forces of GRAVITY • Attack someone who’s defenceless
• Exploit a danger or a tag • Start a (mysterious) clock
• Split them up • Give an option with cost or consequence
• Put them in danger

Typically, after making a move, you should pass the narrative baton back to your players by asking:
what do you do?
MAKE AN OBVIOUS THREAT
Show them the barrel of the gun, tease something to come, etc. Put things on the table so everyone
can see what's in play, and take that into account when making awful decisions.
"There's an explosion from behind the bay doors, and a blue Astir striped with grey dashes through the smoke
directly towards you, a long blade streaking with white-hot energy. What do you do?"
"You're out of sight, moving from column to column keeping an eye on the Ambassador, when one of his guards
falls out of step with the others. They reach into their coat. What do you do?"
"Back on the ship, Hargen, you watch as the construct sensor spikes upwards in two, no, three spots. Ensign
Wren dials in the sensitivity and turns to you. 'Two Wolves and an unidentified third, closing fast.' What do you
do?"
EXPLOIT A DANGER OR A TAG
Use the risks and perils your players have taken, and the tags on their gear, as vectors for action
against them.
"They're faster than you expect, rushing up on the side where your sensors are disrupted. You dodge just
enough to make sure the blade doesn't go through your cockpit, but they carve your Astir's head off entirely
instead; replace that risk (blinded) with a peril (blinded). What do you do?"
"You took the risk 'embarrassed', right? As you try to walk away, Cress takes your wrist, and says 'You know,
we don't have to do this in front of the others. Come with me.' She starts to pull you away as the others are
leaving—what do you do?"
"June brings her shield up, but she doesn't need it. You run the firing ritual and... nothing. Your missiles had
the limited tag, and that previous salvo was your last. What do you do?"
PUT THEM IN DANGER
When the players fail a roll or leave themselves exposed to harm, that's a good opportunity to hurt
them by putting them in danger. It's up to you how severe you be here in a given situation: putting
them in peril is a much harder move than asking them to take a risk, and having them replace a risk
with a peril is a slightly kinder middle ground.
"He dashes out of your reach to safety, and fires a rayrifle shot directly at you. You'll need to take a risk to
avoid it. Ok, now what do you do?"
"You're holding the wreck up for the time being, but your Astir just isn't made for this. You can hear and feel
the grating and grinding of its parts as your arms start to buckle—take the peril 'crushed'. What do you do?"
"They don't look impressed by what you have to say at all. The guy with the helmet looks at you, and seeing
how scared you look, keeps eye contact as he slowly puts his blade through the injured guard. Replace your
'scared' risk with the peril 'shaken'. What do you do?"
ATTACK SOMEONE WHO'S DEFENCELESS
If a character has stacked up enough dangers to become defenceless, they're truly in the cross-hairs
and are exposed to consequences that could force them to flee, be killed, or otherwise taken out of
action. When someone is defenceless, there's blood in the water and everyone can smell it.
"Carryl, you glance leftwards and see Paldry's Astir, smoking and immobile. She's defenceless, and does nothing
but panic as one of the Coursers dashes forward, sinking its lance right through her iron carapace. What do you
do?"
"You try to step away, but Kett isn't going to let you leave even if it costs him his life. He swings the thermal axe
at you, decisively. I need you to bite the dust—what do you do?"
"The crowd are talking among themselves as they watch you, waiting for you to respond, but you can't find the
words. Second-of-Blades gives you that smug grin again, and says 'Take your time, channeler. I can wait here
all day to see how little merit your case has.' You're already defenceless, so I need you to bite the dust and
see if you can keep your cool. What do you do?"
GIVE AN OPTION WITH COST OR CONSEQUENCE
When your players ask you how or if they can do something, give them options: and where
appropriate, tell them the cost or consequence attached. This lets them make more educated choices
about the fiction you're all making together.
"Sure, you can try and snatch the sword away from him, but if you mess it up you'd be putting yourself in a
really dangerous spot."
"You catch that red Astir out the corner of your eye, breaking away from the pack. You could give chase, but
with the damage to your mobility enchantments you'd really have to push your Astir to catch up to them: you'd
have to mark 'overheating'."
"You reach out with your magic to the presence you noticed, feeling around in the ether for it. You can feel your
senses dimming as you extend further and further from your body, and you know that if you keep going you
risk losing yourself entirely. Do you keep going?"
TEST THE FORCES OF GRAVITY
Ask a player to make a decision that calls one of their GRAVITY clocks into question, like putting
someone they love in danger, or giving them a tough request from a trusted friend. They can't
change their clocks until they're filled, but you can always make moves to sow the seeds of doubt—or
reinforce those relationships instead.
"You're taking the time to carefully line up the shot, when you hear Function over the comms, struggling
against someone. You have GRAVITY with them, right? What do you do?"
"Knight Huller breaks away from the others as he sees you leave, and plants himself between you and the door.
Your clock is 'We can't help but fight when we lock eyes.', right? You could maybe still get past him if you
wanted. What do you do?"
"Mishell takes you by the hand, and comes in close if you let her. She looks genuinely worried, and actually—she
puts one of her hands on your shoulder, and says 'Jess, I need you to trust me. I know it seems like a lot, but I
know you can do this. You're ready.' What do you do? As a reminder, your clock with Mishell is 'Always had
each-other's backs'."
SPLIT THEM UP
Nice and simple—introduce something that separates the players, requiring them to deal with
trouble without working together.
"Manchester, you fall behind as the three of you are sprinting through the halls. Hold and Sander make it down
to the end of the corridor ahead of you, and you're catching up when the building shakes. The floor and walls in
front of you crumble as an Astir backs through the building, demolishing a wide portion of it and cutting you
off from the others. What do you do?"
"You watch the others swipe their stolen sigils against the crystal, and the lifts take them upwards. It goes red
when you do yours, though, and instead you start descending. You know what's on the floor below, right? What
do you do?"
"June, you manage to quickly boost your way out, so you're safe. Sear, though, you're not quite so lucky. That
grey Astir didn't just stab you, the spear went through your armour and it's pinning you to the inside of the
chamber. You can hear the hum of the macrospell charging, and see June rushing to safety in the distance.
What do you do?"
REVEAL SOMETHING NEW
Reveal something new to the players that complicates things for them.
"Ok, ok. That's a six, but you don't fail here actually. There's a hiss of pressure as the Lovesong's cockpit opens,
and the pilot gets out. It's like looking into a mirror, Coln. It's your brother. What do you do?"
"You dash forwards, bringing your axe down towards Hill as he staggers backwards, but his guard hasn't fallen.
It was a feint, Lottie. He steps under your swing and tugs the weapon loose from your grip. I'm erasing his
'stunned' risk, and you should take the risk 'disarmed'. What do you do?"
"There's a huge cracking noise, and all of you—even the people who aren't channelers—feel the magic in the air
around you get stronger instantly. Up in the sky, the clouds break as the Ophelian Engine tears into your plane
of existence. What do you do?"
START A (MYSTERIOUS) CLOCK
Start a clock to represent a countdown until something happens, progress towards something, etc.
Label it, or leave it a mystery: either way, a ticking clock creates pressure on the players and leaves
them anticipating whatever is to come. Clocks typically have 4, 6, or 8 segments, but you could make
a larger one if you wish, or divide something into multiple shorter clocks.
You should also decide what advances these clocks: will they fill on their own over time, are they
something that ticks up when the players fail moves or ignore a threat, or do the players need to
take action directly to advance it? Whatever the method, when a clock is filled, it should be a big
deal. Everyone should know about what happens next.

SAFETY TOOLS
When playing tabletop games, even with people you're intimately acquainted with, there can be
situations in which topics and imagery players aren't comfortable with can arise. It's important to
communicate clearly ahead of time to help keep everyone at the table safe.
Personally, I recommend at very least having a 'Session 0', where players and the Director can make
characters together and discuss what kinds of play and subjects they're interested in tackling.
However, this alone doesn't provide a framework for the group to step back in the event that
something unexpected and potentially triggering comes up during play.
To help with that, there are a number of safety tools groups can use to help avoid these situations
that, even if they aren't used, better communicate the boundaries of everyone at the table. You
should discuss as a group what safety tools, if any, you will be using.
Provided below is info on a few I am personally familiar with, but there are more out there - I
encourage you to talk with your players and look up tools that suit your needs. There is no end-all
be-all of safety tools other than open, honest communication with the people you play games with.
While they can be helpful, they are no replacement for treating each-other with genuine care.
THE X-CARD
The X-Card is a simple method by which players can veto content during a game, signalling to
everyone that they wish to step back from whatever has been flagged. It is a card with an X on it,
that, should a player be uncomfortable with something that arises during a session, they can tap or
raise to signal their discomfort. The group steps back or edits out the signalled content.
More information on the X-Card and examples of its use can be found at tinyurl.com/x-card-rpg.
LINES & VEILS
Lines & Veils is a system where players can designate topics as a boundary for them at two levels - as
either a 'line' or a 'veil'.
• Lines are hard limits. A 'line' is something that should not come up during the game - it is
something that a player has communicated that they do not want present in their role-play.
• Veils are soft limits. A 'veil' is something a player has communicated they wish to 'fade to black'
or 'pan away' from. Unlike a line, they are ok with it being present in the story—just not with it
being a focus.
More information on Lines & Veils and examples of its use can be found at rpg.stackexchange.com/
questions/30906/what-do-the-terms-lines-and-veils-mean.
 STARTING & ENDING YOUR CAMPAIGN
STARTING A CAMPAIGN
Session 0! There are few better ways to start a campaign than all getting together and making your
characters together. In Armour Astir specifically, you’ll also want to sketch out the Authority and
Cause with your players, and take notes on the things your players show interest for when you
expand on them later. As for your first Sortie, it can be best to draw some thoughts from the table on
what they think the relationship between their characters looks like at the start of the campaign. Are
they unfamiliar heroes, waiting to be brought together by fate, or are they already a friendly crew
working within the Cause? What does life look like under the Authority for them, and what form
does resisting it take?
If most of the characters are new to the Cause, it can be fun to play the inciting incident that brings
them all together. Did some of the crew steal Astirs during an attack by the Authority on their
homes? Did someone defect from a Division while it clashed with the Cause?
If everyone is an established crew already, you have plenty of options too. Do you start with a Sortie
that reveals a change in the status quo, or makes something new possible for the Cause? Is this Sortie
the first open move the Cause has made, operating quietly until this moment?
ENDING A CAMPAIGN
Eventually, you will want your campaign to end. All good things do, after all. The back and forth of
the Conflict Turn will likely eventually end with the Authority at 0 Stability, ripe for defeat, but
there’s more you can do to manage the length of your campaign.
Generally, it’s a pretty good idea to think about how long you want the campaign to run, and talk
about this with your players. Are your players happy to keep playing however long it takes, letting
the events of the Conflict Turn and the choices they make define it? Or do you have a specific length
in mind? 6 sessions? A certain amount of Sorties, however many sessions it takes to get through
them?
With that info in mind, if you’ve ran a game or two before you might already have a pretty good idea
how to end your campaign when it’s the appropriate time. You’re well within your rights to hand the
players other opportunities to damage the Authority’s Stability through their Sorties, or you might
even choose to just automatically reduce it throughout the course of play, landing them at 0 when
you’re ready for your big finale.
Whatever happens, feel free to bend the rules a little to end your game in a way that works for your
group.
RE: PACING
Armour Astir has a lot of tools for both players and the Director to directly influence the pacing of
the campaign: players have a lot of direct control over how quickly they gain advancements from
their GRAVITY clocks, for example, as well as having a big part to play in the decisions of the Conflict
Turn. Those decisions have a big impact on how quickly the Authority goes from being
overwhelming and untouchable to blissfully mortal.
If, as a group, you want to tweak this pacing further, you have plenty of options available to you.
GRAVITY clocks, for example, could be shifted from 6-step to 8-step clocks if you know as a group
you want those inter-character arcs (and the associated advancements) to come along slower. You
can also extend the amount of Spotlight required to gain an advance too: if you so desired, you could
even start with Spotlight requirements and GRAVITY clocks of a shorter length and then extend
them each time they are filled.
Additionally, Division Schemes give you a good excuse to shift things around for the Authority. If the
group finds choices they’ve made have interfered with the campaign’s pacing in a way they’re not
happy with, or if they just find the game seems to be drawing to a close faster or slower than
expected, giving an upcoming Division Scheme a bigger-than-expected impact is a good way to set
things right again.
 PREPARING & ENDING SESSIONS
PREPARING SORTIES
When preparing Sorties, a good starting place is to look at is your player’s character sheets. What are
their Hooks and GRAVITY clocks flagging? Where do their skills lie? What do their moves equip them
for, and what don’t they?
It’s always a good idea to look over your notes from previous Sorties and Downtimes, if this one isn’t
your first. Your players probably expressed interest in certain characters and story elements: these
are always good things to consider bringing back in the future. Additionally, did the events of the
Conflict Turn highlight any new opportunities for the players? Have new weaknesses been exposed
in the Authority to exploit, or do desperate Factions need their aid?
Additionally, if you’re unsure what kinds of outcomes your Sorties should gain the players, looking
at plan & prepare’s choices is a good place to start; messing with GRIP, exposing actors, etc.
If it’s your first Sortie, you won’t have previous ones to look back on, but hopefully you had the good
sense to run a Session 0 with your players. Among other things, your first Sortie is a great thing to
discuss with them as they make characters, as it’s a great way for those characters to be introduced
to each other and even the Cause if they are personally starting outside of it.
When it comes to opposition, the key thing to remember is the amount of dangers they can take.
Main actors can take up to 3, putting them on par with players: they’ll take multiple successful
moves to dispatch, giving the people making the rolls ample room for failure. Side and Extra foes on
the other hand can take only 2 or 1 respectively, making them easier to get rid of and much easier to
present to a group in larger numbers. If you really want a larger amount of actors ‘on-screen’, you
can even consider using squads to represent large numbers of quickly-dispatched foes. Generally,
given the free-form action economy of games like Armour Astir that do not use turn based combat,
putting a few Main or Side characters in front of you group makes for a much riskier ‘encounter’
than a large number of Extras.
PREPARING DOWNTIME
When the table is heading into Downtime, you as the Director have much less work to do. By picking
out their Moves, the rest of the group will be directing scenes on their own terms, meaning your role
is mostly reactive. All you need to really do is be prepared to make some moves should anyone fail,
lend a hand by playing Director characters during scenes, and look out for opportunities to sprinkle
in information on the events of the Conflict Turn.
Good things to think about ahead of Downtime, then, include:
• What risks and perils everyone has: what moves might they take to clear them? What could go
wrong on a failed move?
• Who is around that could get involved in their moves? Do any players have GRAVITY clocks with
Director characters that you should spotlight?
• What happened during the Conflict Turn? Do you need a scene or two to set up larger events? Is
there anything small that can come up during theirs?
ENDING A SESSION
When ending a session, it’s a good idea to give yourselves some space—maybe ten, twenty minutes or
so—to cool down and go over the events of the session. Is everyone happy with how things went? Is
there anything people want to discuss, or see more or less of in future sessions?
It’s also a good time to check over the progress people have made on GRAVITY clocks and Spotlight.
Has anyone forgotten to tick up their clocks? Are there clocks that are close to being filled that
people should pay extra attention to next time?
As the Director, it’s also a good time to take notes on things the players have flagged as things
they’re interested in this session. Are there characters you introduced that they responded well to?
Plot threads you thought weren’t important that they couldn’t help but pull at? These are the kinds
of things you can carry forward and bring back later to help them feel engaged and important to
your shared fiction.
 CREATING ACTORS
Actors (or non-player characters in more common parlance, though the GM of a game is also a
‘player’) are any characters other than those created and owned by the players. When they appear
on screen, the Director is typically responsible for their actions, though where appropriate you could
(and should) find opportunities to let players step into their shoes.
When creating an actor, you first need to think about how important they are. Actors are ranked as
either extras, side or main characters. Extras are those who are only important in their opposition
to the player characters: the rank-and-file, the nameless soldiers, etc. Side characters are those that
have some minor importance to the story: if they’re important enough for a player to know their
name, they’re probably at least a Side character. Finally, Main actors have a larger role, appearing
fairly often and having an impact on the world similar to or beyond that of the players.
When making a Main actor, someone who is important to the story you’re telling and likely to be on-
screen often, come up with three adjectives to describe them. For a Side actor, someone who will
appear more than once but isn’t quite so important, come up with two. For Extras, who are unlikely
to appear more than once (and are likely to end up dead), a focus on one adjective can help their
short time on screen feel nice and sharp. If you know a character might involve themselves with the
players in a more hostile manner—say, if they’re one of the Authority’s actors—you might choose a
tag or two instead of some of your usual adjectives. Saying someone is resolute means something, but
saying someone is decisive has specific mechanical effects.
If you want to come up with additional details or backstory ahead of time for Main or Side
characters, feel free—but putting that degree of effort in for Extras is likely to be wasted time (unless
your players latch onto them).
When creating the Authority and Cause, the characters you come up with that lead or influence
those groups are most likely Main or Side actors. That said, actors can move between these
classifications in play wherever appropriate. Sometimes you bring on an Extra without realising how
in love with them the players will become—sometimes you want them to deal with a Main quickly in
a way that doesn’t become a whole complicated scene.
When a player makes a GRAVITY clock with one of your actors or a Faction/group, they are
signalling that they want them around often to interact with and advance that clock. If for some
reason it isn’t feasible to give that actor/Faction/group regular presence in the game, you might
agree to shorten that GRAVITY clock to 4 segments instead of 6—allowing it to be completed in fewer
moves or interactions.
CLASHING WITH ACTORS
Naturally, players can and will probably spend a lot of time fighting against and opposing the actions
of actors on account of the Authority being made of them (if a player is a member of the Authority
something has gone drastically awry).
In conflict, a character’s status as either an extra, side or main actor determines how many risks
and dangers a player needs to inflict on them to make them defenceless.
Extras are defenceless at one danger, meaning they are dealt with pretty quickly in straightforward
conflicts, or even immediately vulnerable when in a situation where they might be at risk already—a
character attacking them when they’re unaware, etc. Extras are perfect for the rank-and-file or
enemies that attack in massed numbers.
Sides are defenceless at two dangers, making them a little more involved to deal with. Even in a
situation where they’re at risk to begin with, you’d still need to inflict a second on them to strike
decisively, making them less resilient than the players but still someone they need to confront
properly.
Mains are defenceless at three dangers, making them equal to players in this regard. Mains should be a
challenge the players can’t ignore—someone they might tangle with on more than one occasion, who
feels like a fair match for them (at least one-on-one).
If you know an actor is going to be involved in fighting, there’s some additional details you might
want to come up with for them. You’ll need to decide their tier, as described above in Conflict &
Tiers. This defines broadly what what they are effective against, and what is effective against them.
You will also want to determine what approach they use in combat, which gives them weaknesses
and strengths against certain opposition.
Finally, give them whatever equipment, attacks or bonuses that feel appropriate for who they are
and what their role is, either from the example lists or made fresh for your game. For Extra-level
monsters, creatures, or other foes that you want to keep simple, you might forgo giving them this
level of detail and just give them a note like 'this actor’s attacks have the bane tag' or 'this actor has
the ward tag'. Keep a few things in mind, though;
• Bane and ruin lets anyone hit effectively above their tier.
• For simplicity’s sake, actors who pilot Astirs don’t have Power or subsystems unless you decide
specifically otherwise.
• Weapons used by actors might be stolen or picked up by players, and vice versa.
• You don't need to build the Astirs used by actors using the normal rules.
• Similarly, ‘weapons’ that aren’t things players could take—like the natural attacks of creatures
with claws or firebreath—don’t need to have a balanced set of tags.

EXAMPLE FOES
The following pages have some
example foes of various ranks and
tiers, broadly categorised into;
• Astirs & Ardents
• People
• Creatures & Monsters
• Outsiders

These aren’t the only kinds of

creatures and things that can exist in
your world, obviously: this list is by
absolutely no means exhaustive, and is
just comprised of examples to inspire
your table.
 ASTIRS & ARDENTS
Like those piloted by the players, Astirs and Ardents are the mainstay of most Authorities when it
comes to warfare. Whether grown from the soil, forged in foundries, or summoned from another
plane, all Astirs have something in common: they are exceptionally dangerous in the right (or
wrong) hands.
UNPREPARED CADET III (EXTRA: SNEAKY) (MUNDANE)
• Sidearm I (ranged / defensive, weak)
• Omen III (mundane)
▪ Magic Focus III (ranged / defensive, 2H)
“U-uh, reporting for duty, sir! Ready to skirmish.”
MILITIA LABOUR PILOT II (EXTRA: AMBITIOUS) (ARCANE)
• Sword, Axe, Mace I (melee)
• Service Ardent II
▪ Ardent Fists II (melee / intimate, defensive)
▪ Condenser Stave II (ranged / refresh, 2H)
“Simple bipedal constructs, Service Ardents are still capable of doing the work of ten men. If only we had more
of them.”
BANDIT SKIRMISHER PILOT II (SIDE: OVERCONFIDENT, MEAN) (MUNDANE)
• Sword, Axe, Mace I (melee)
• Skirmisher Ardent II
▪ Hefty Blade II (melee / messy, area)
“Quit bragging, Marco. It's not much of a competition when we have to scrap and fight to pull down one servo,
but you can cut down two in one swing.”
MERCENARY ASTIR PILOT III (SIDE: PREPARED, AMENABLE) (DIVINE)
• Raypistol I (ranged / bane, limited)
• Wolf III
▪ Rayrifle III (ranged / infinite, 2H)
▪ Forceknife (melee / intimate, decisive)
“There’s our print on the steelwork, sure—but everything else is new. The benefit of… diverse employers.”
AUTHORITY ACE IV (MAIN: IDEALISTIC, BOLD, VOLATILE) (PROFANE)
• Raypistol I (ranged / bane, limited)
• Cobra IV
▪ Forceblade IV (melee / bane, drain)
▪ Burstcaster IV (ranged / area, bane, messy, 2H)
“Cobra, mark one. Launching.”
MECHANICAL KNIGHT II (MAIN: NO-NONSENSE, CALM, DECISIVE) (MUNDANE)
• Shatterlance II (melee / bane, impact, reload, 2H)
• Sword/Axe/Mace I (melee)
• Warded Plate (ward)
• Steed Ardent II
▪ Iron Hooves II (melee)
“Cavalry? Of a sort, I suppose. Just stay out of our way.”
 PEOPLE
People come in all shapes and sizes, from all walks of life, with all kinds of identities. They're you,
and they're me.
ANTI-CONSTRUCT TEAM I (EXTRA: SNEAKY) (ARCANE)
• Rayrifle I (sniper / reload, ruin, 2H)
• Shortswords I (melee)
• Arcane Generator I (Ignore reload on weapons)
“Stop complaining, kid. It won’t feel heavy once you see it put a hole in an Astir.”
MILITIA I (EXTRA: ENTHUSIASTIC) (MUNDANE)
• Sword, Axe, Mace I (melee)
• Ardentbane Crossbow I (ranged / bane, 2H)
“People like you or me, ready to fight for what they believe in. Or to keep their homes, at least.”
RIFLEMAN I (SIDE: CAUTIOUS, FRESH-FACED) (MUNDANE)
• Sword, Axe, Mace I (melee)
• Snaplock Rifle I (ranged / decisive, vorpal, distinct, reload, 2H)
“Heads down, hold fire. Don't shoot back until you hear the snap.”
KNIGHT I (SIDE: DISCIPLINED, RESILIENT) (MUNDANE)
• Great Weapon I (melee / bane, area, messy, 2H)
• Warded Plate (ward)
“Clad in steel, bearing blades almost as tall as they are, and carrying the confidence of a nation. Once upon a
time that was all an army needed.”
SCOUT II (MAIN: ATHLETIC, SHARP, SNARKY) (MUNDANE)
• Scourblade II (melee / bane, 2H)
• Raypistol I (ranged / bane, limited)
• Grappling Rig I
“So, bad news about the captain. Someone swung out of a tree and stuck a broadsword through his cockpit.”
PATHFINDER I (MAIN: QUIET, CAREFUL, PREPARED) (MUNDANE)
• Blessed Bow I (sniper / decisive, 2H)
• Hatchet I (melee)
• Invisibility Cloak I (valuable, fragile, makes you invisible)
“Arrows have to come from somewhere! Spread out. Search the treeline.”
 CREATURES & MONSTERS
All sorts of things lurk in the deep, dark corners of this land. Some of nature, some not so much.
WOLF I (EXTRA: FEROCIOUS) (MUNDANE)
• Tooth & Claw I (melee)
“Hail, adventurer. Prithee bring me ten wolf asses, so that I might fashion you a belt.”
GIANT SPIDER I (EXTRA: SKITTERING) (MUNDANE)
• Fangs I (melee)
• Spinnerets I (ranged / restraining)
“Scouts say they found an Astir in the northern forest, covered in so much webbing they couldn’t move it at all.
No sign of the pilot. Probably for the best.”
OWLBEAR II (SIDE: TERRIFYING, RESILIENT) (PROFANE)
• Rending Claws II (melee / decisive, 2H)
“Look, I don't care if you believe me or not. I’m not going back in without an ardent. Not while that thing is in
there too.”
WYVERN III (SIDE: HUNGRY, FLYING) (ELEMENTAL)
• Fireball III (ranged / area)
• Rending Claws III (melee)
• Fireproof Scales III (Cannot be harmed by fire)
“If you can see their shadow pass on the ground, it's too late. Your best bet is to hope that when they descend,
it's not you they're after.”
FROST DRAGON V (MAIN: IMPERIOUS, CRUEL, FLYING) (ELEMENTAL)
• Rimebreath V (ranged / area, reload, restraining)
• Tail Sweep V (melee / area)
• Frostbound Hide V (ward)
“The final count? Two companies of men, their assigned ardents, and a full wing of astirs.”
LANDSHARK MATRIARCH IV (MAIN: TERRITORIAL, HULKING, EVASIVE) (MUNDANE)
• Crushing Jaws IV (melee / messy, bane)
• Digging Claws IV (Can dig and swim through earth or sand)
• Tremorsense IV (Can detect foes through vibrations in the ground)
“The worms? Oh, no. You can feel them coming from miles away. No, it's the sharks you want to worry about.”
 OUTSIDERS
Extraplanar creatures, those from worlds beyond ours, are broadly referred to as 'outsiders'.
Unbound by natural law, outsiders are often inherently magical.
IMP I (EXTRA: TRICKY) (PROFANE)
• Devilish Firebolts I (ranged / bane)
“Among the lowest orders of devils, but dangerous in their own right.”
FROST MOTE I (EXTRA: FREEZING) (ELEMENTAL)
• Freezing Touch I (melee / restraining)
• Ice Shard I (ranged / bane, reload)
“Set a fire burning tonight, have someone keep an eye on it. Mara said she saw motes blow in on the wind last
night.”
LOWLY ANGEL II (SIDE: UNPREDICTABLE, RADIANT) (DIVINE)
• Divine Flame II (ranged)
“The shapes of angels seem strange, but why pretend to understand the work of the divine?”
VOID GIANT III (SIDE: DESTRUCTIVE, DRIVEN) (MUNDANE)
• Obelisk III (melee / messy, 2H)
• Voidborn (Doesn't need to breathe or eat, is immune harm from cold)
“They came from above. Down from the skies, from the deep darkness of night.”
PIT FIEND III (MAIN: CRUEL, AMBITIOUS, LAWFUL) (PROFANE)
• Abyssal Warmace III (melee / bane, messy)
• Hellish Regrowth (Perils from physical harm reduced to risks)
“Leading any gathering of devils will be a pit fiend. Unlike the lesser creatures beneath them, these fiends have
the strength and tenacity to match their cruelty."
TERRA, TITAN ALIVE V (MAIN: INDIFFERENT, STOIC, BRUTAL) (ELEMENTAL)
• Erupting Earth V (ranged / area, messy)
• Titanic Punch V (melee / slow, ruin)
• Uncaring Gaze (Doesn't notice things III or lower unless directly interfered with)
“The elemental planes have no king or governor, and they never will. One would have to wrest power from the
waking earth itself. ”
 RIVALS
Rivals are recurring characters who appear again and again to challenge specific players who have
earned their attention. Mechanically speaking, they are Main actors with a GRAVITY clock with
whoever they’re the Rival to. They also have a Need (what their faction demands of them, what they
are obligated to do, etc), and a Want (what they want from their counterpart), which helps direct
their fiction but also provides them with leverage the Director may use against their counterpart
(whichever player is involved with a particular Rival).
Leverage
When your counterpart interferes with your Need or indulges you in your Want, hold 1. You may
spend this hold whenever 1-for-1 to do the following;
• Make them act in confidence or in desperation.
• Ask a challenging question that must be answered.
• Appear somewhere you aren’t expected.
Rivals don’t need to explicitly be foes that are gunning for a player in an antagonistic way. They
might be an allies with a competitive relationship, someone they are trying to impress (or vice
versa), and so on.

NAME: Corel White NAME: Bromwael

NEED: To follow her orders to the letter NEED: To be rewarded by the Associate
WANT: To learn more about the Ilgard’s music WANT: To fight their rival alone
GRAVITY: +2 HOLD: 2 GRAVITY: +3 HOLD: 1

EXAMPLES OF LEVERAGE
Lilette, an Arcanist, is crossing blades with her Rival, Kett. She has forced them into a corner and
made them defenceless. There’s no love lost between the two of them, so Lilette takes the opportunity
and tries to strike decisively, driving her trice-forged blade right through the chest armour of
Kett’s astir. Kett, however, has hold to spend. They spend it to force Lilette to act in desperation, the
Director narrating as they release a wave of shocking force from their Astir to try and stay Lilette’s
blade.
Dani is struggling against Cress, her Rival. Rain is pounding against the rooftop they are fighting on,
and Dani has been knocked over, crawling along the slick roof-tiles to try and grab their dagger.
Before she can reach it though, the Director spends one hold to ask a challenging question that must
be answered. Cress calls out through the storm: “Did what we had mean anything to you?”

SETTING & MISSION HOOKS

The next section of the book is dedicated to Setting & Mission Hooks.
Setting Hooks serve as examples of the settings you might play Armour Astir in: each containing an
example Cause and Authority, some key locations, factions and characters, and even some variants of
example gear and Astirs. Take them whole-cloth, scavenge from the bones, or simply use them as
inspiration.
Similarly, Mission Hooks provide a quick scenario outline with options for customising it to match
the setting and players of your game. If only part of a hook interests you, cut it out and just use that!
You could even take elements from various hooks and combine them, just like any of the other
example content in this book.
 OPTIONAL RULES: MULTI-SIDED CONFLICTS
For some campaign scenarios, like The Academy Arcane, your story isn’t one of a vast Authority
staring down the ambitious Cause. The conflict is one fought between multiple squabbling parties,
resulting in something more complex but evenly-matched than usual play.
When playing a Multi-sided game, rather than a Cause and Authority, we play with multiple Sides,
each comprised of multiple Branches. Instead of being agents of the Cause, the players are attached
to a Side; rather than untapping Factions during Downtime, they replenish lost points of GRIP.
Additionally, during Downtime, the Director may spend their tokens on behalf of any Side or
Branch. If there are more Sides than players, take that many tokens instead of the usual amount.
BRANCHES & GRIP
Each Branch has a Strength, like a Division, and a list of Faction types that it is made up of: these
determine what Outcomes can be gained following a Conflict Scene. At the beginning of play, all
Branches have a Strength of 4+, making rolls during a Conflict Scene evenly matched. At the
Director’s discretion, there might be a leader and an underdog in the Conflict—in which case, one
Side’s Branches start at 5+ and another Side’s at 3+.
The disfavour, Stability and Pillar mechanics are not used in a Multi-sided Conflict. Instead, each
Branch has GRIP, and begins play with 3 points of it. This is a broad representation of supplies,
secure positions, and morale: The less GRIP a Branch has, the closer to defeat it is. At 0 GRIP, a
Branch is vulnerable: if it would lose GRIP again, either from a Conflict Scene or from the events of a
Sortie, it is destroyed.
Destroyed Branches are replaced after one Conflict Turn, and begin at 3+ Strength—this can be raised
back to 4+ with an Outcome gained from wining a Conflict Scene. If a Side with no Branches would be
attacked or acted against, it falls, collapsing and crumbling under the weight of its foes.
The amount of Branches per Side depends on the total amount of Sides in your game. At 3 Sides,
each has 3 Branches. At 4-5 Sides, each has 2 Branches. In games with 5+ Sides, each has 1 Branch.
THE CONFLICT TURN
In a Multi-sided game, the same Conflict Scenes are used; they are played out differently, however.
Instead of being between the Cause and Authority, during the Conflict Turn in a Multi-sided game
every Side chooses a Conflict Scene and targets another with it. For that Scene, the issuing Side is the
‘attacker’, and their target the ‘defender’. In a game with many Sides, you might play Scenes for only
half of your Sides in each Conflict Turn to stop them taking a very long time to play.
Before a Scene is played, both Sides select a Branch to represent them during it. From that Branch,
they also select what kind of actors they will deploy: this determines what Outcome the Side earns if
they win the Scene.
Scenes are played out as normal: when you are asked to roll, you roll against the attacking Branch’s
Strength. If the result is equal to or higher to it, the defender earns a success; if the result is lower,
the attacker earns a success instead. If a Side wishes, it may spend one point of GRIP to make use of
the benefit listed on their Branch. Whichever Side earns more successes during a Scene is victorious,
and narrates the Resolution. As with a normal Conflict Turn, in the event of a tie, interpret the
outcome as a group: if you’re unsure, flip a coin.
Rather than choosing an Outcome after Resolution, the winning Side earns the benefit associated
with the actor they deployed. Alternatively, they can also spend a point of GRIP to choose a different
Outcome from those available to any Branch.
SCHEMES
Just like the Authority can start and progress Division Schemes, Sides can also start and progress
Schemes using their Branches. Every Branch has at least one method of starting or advancing clocks,
which includes Schemes. If allowed to be filled, they should have an immediate noticeable effect;
typically equivalent to 1-3 Outcomes, dependant on how long the Scheme’s clock was. As with
regular Division Schemes, the players may attempt to stop a completed Scheme with a Sortie; if it
isn’t targeted at their Side, though, they might prefer to let events unfold.
TYPE FOCUS SPEND GRIP TO…
Military Deploying forces to attack or Roll twice and take the favourable result during all
defend with violence. out war or one on one.

A Military Branch can deploy these actors and gain the associated Outcomes:
• Military (soldiers & mercenaries) - Remove 1 GRIP from the opposing Branch.
• Firebrands (community leaders & activists) - Flip a coin; on heads, start/advance a beneficial
clock by 2 steps.
• Mavericks (wildcards & rebels) - Remove 2 GRIP total from the opposing Side’s Branches, and 1
GRIP from a different Branch that is part of this Side or an allied one.
Subterfuge Deploying spies or agents to Roll twice and take the favourable result during a
deal with things covertly. chase or a covert op.
A Subterfuge Branch can deploy these actors and gain the assosciated Outcomes:
• Agents (spies & saboteurs) - Flip a coin; on heads, remove 1 GRIP from any Branch secretly.
• Thieves (bandits & infiltrators) - Reduce a Scheme clock 1 step, and start/advance a beneficial
clock by 1 step.
• Scholars (researchers & strategists) - Reveal or obscure information about the next Sortie.
Resource Accruing wealth, information Add to or remove a die from the next plan &
and personnel. prepare.
A Resource Branch can deploy these actors and gain the associated Outcomes:
• Suppliers (merchants & financiers) - Start/advance a beneficial clock 1 step, or restore 1 GRIP.
• Courtiers (diplomats & bureaucrats) - This Side cannot be targeted for the rest of the turn.
• Adventurers (walking catastrophes) - Deliver a cut of loot to the Carrier: flip a coin. Heads, it’s
valuable—tails, it’s treasure. If this isn’t the Carrier’s Side, it comes with a request or bargain.
Research Developing new enchantments Tiebreak any Conflict Scene in the direction of their
and rituals. choice.
A Research Branch can deploy these actors and gain the assosciated Outcomes:
• Scholars (researchers & strategists) - Reveal or obscure information about the next Sortie.
• Suppliers (merchants & financiers) - Start/advance a beneficial clock 1 step, or restore 1 GRIP.
• Mavericks (wildcards & rebels) - Remove 2 GRIP total from the opposing Side’s Branches, and 1
GRIP from a different Branch that is part of this Side or an allied one.
Curator Stealing and investigating that Start or advance a 4-step clock titled ‘Take
which doesn’t belong to it. something that isn’t theirs.’

A Curator Branch can deploy these actors and gain the assosciated Outcomes:
• Thieves (bandits & infiltrators) - Reduce a Scheme clock 1 step, and start/advance a beneficial
clock by 1 step.
• Military (soldiers & mercenaries) - Remove 1 GRIP from the opposing Branch.
• Adventurers (walking catastrophes) - Deliver a cut of loot to the Carrier: flip a coin. Heads, it’s
valuable—tails, it’s treasure. If this isn’t the Carrier’s Side, it comes with a request or bargain.
Executive Protecting and deepening Roll twice and take the favourable result during an
systems of control. unfurling plan or the discourse.
An Executive Branch can deploy these actors and gain the assosciated Outcomes:
• Agents (spies & saboteurs) - Flip a coin; on heads, remove 1 GRIP from any Branch secretly.
• Courtiers (diplomats & bureaucrats) - The Side cannot be targeted for the rest of the turn.
• Firebrands (community leaders & activists) - Flip a coin; on heads, start/advance a beneficial
clock by 2 steps.
 OPTIONAL RULES: GENERATIONAL CONFLICT
While your typical campaign might stretch over the events of weeks, months or even years, you
might wish to play a game focused on much longer spread out sections of time. In a Generational
Conflict game, we focus on multiple Eras, seeing the growth of focal characters—or even the
emergence of new ones—over the course of a much longer war, or over the course of multiple
distinct wars.
In each Era, we build characters anew, choosing Advancements from previous Eras to inherit in this
one. We might be playing the same character, having held onto skills from their past but having let
others wane, or we might be playing new characters, influenced by and inspired by those in the past.
THE FIRST ERA
The first Era of a Generational Conflict plays out mostly the same as regular play; you make
characters, you build your Authority and Cause, etc. You also decide on an endpoint for the Era; a
narrative beat you aim to reach in play that will mark the end of the Era. This might be;
• Seizing or destroying a Pillar
• Dealing with one of the Authority’s Divisions
• Having one of the player characters roll a 6- on a bite the dust
• Completing a certain amount of Sorties, or a full Mission
• Completely destroying the Authority
How long an Era takes to complete should be a collaborative process, with everyone on the same
page. Are your Eras short arcs within a Campaign? Are they entire Campaigns themselves, telling one
iterative story across multiple games? Or are they somewhere in between? Everyone should have a
good idea of what they’re committing to.
Additionally, title the Era. This could be an in-fiction title, given by
historians looking back, or something meta-textual purely used at your
table, but either way it should set a vibe for the Era.
Once the Era is over, each player should make a list titled ‘Legacy’, and
add one Advancement they or another player took during this Era to it.
They should also write down one element of the setting or story present
in this Era that they’d like to explore more in the future.
ERA 2 AND BEYOND…
In further Eras, you’ll review the events of previous Eras, and then decide
how far in the future your next Era is. You might be playing a few years
or decades later into the same war: you might be picking up characters a
century from now, as similar powers clash once again. You should decide:
• How long has passed between these Eras?
• Are you playing the same characters, or new ones?
• Are the Cause and Authority the same? If so, how have they changed
in the time between?
• What makes this Era feel different to the past one?
Once the above has been decided, it’s time to make characters again. Regardless of whether you’re
playing the same characters or new ones, each player makes a fresh character sheet (you may change
playbooks if you desire); their new character then also starts with any Advancements written on
your Legacy. Additionally, they should pick one or more of the thematic elements they’ve recorded
from previous Eras, and write starting Hooks for their new character based on them.
As with the first Era, you should again decide an endpoint for the Era, and title it. Once it’s over,
you’ll once again add a new Advancement and setting/story element to explore further in the future.
For further Eras, you’ll repeat this structure—making characters, adding elements of your Legacy to
them, then expanding your Legacy with things that interested you before moving on to the next Era.
[-3H TO INCIDENT]
Chief Machine-seer Aldaine enters Astir Hangar #3, and
proceeds to perform the standard rituals for seraph-binding.
Divination reveals no deviations or mistakes made in ritual
process.
[-1H TO INCIDENT]
Second-seer Gauld enters Astir Hangar #3 to deliver necessary
tools and implements for seraph-binding. Divination reveals
minor deviations in binding ritual seals at this time due to a
small lizard smearing the second glyph.
[-.3H TO INCIDENT]
Labourers Hurley,Wright and Lilan enter Astir Hangar #3 and
begin preparations on a Siege-walker Class Astir to receive the
modified, binded core. Seer-adepts Lucah and Chess enter Astir
hangar #3 and assist Chief Machine-seer Aldaine and Second-
seer Gauld as they begin the seraph-binding process.
[-.1H TO INCIDENT]
Labourers Hurley andWright install the binded core
containing LOSANTHES (outsider, divine source, classification
#47) into the prepared Siege-walker Class Astir. Astir is at this
time re-classified as Radiant, and titled ‘PRIDE OF
LOSANTHES’.
[INCIDENT]
Binded core containing LOSANTHES (outsider, divine source,
classification #47) malfunctions due to earlier deviations in
seraph-binding rituals. Manifestation is immediate (flames:
class A, eyes: class D, chorus: class undetermined). ‘PRIDE OF
LOSANTHES’ is rapidly liquified from the inside out due to
extreme heat. Damage to Astir Hangar #3 is considerable. Chief
Machine-seer Aldaine, Second-seer Gauld, Seer-adepts Lucah
and Chess all evacuate via standard teleportation. Labourers
Hurley,Wright and Lilan are subject to divine incineration.

- Excerpt from ‘The Seraphim Files’, author unknown,

discovered C3/Y73.3, divine-dated to C2/Y93.8-9
 MISSION HOOKS
THE GRAND MELEE
The Authority has arranged a grand tournament between Channelers. It has invited would-be
challengers from [around the country/within its military/around the world] to fight in their Astirs [one-
on-one/in teams] and compete for [glory/a grand prize/a blessing/an important role]. Little do the
challengers know, however, the Grand Melee is simply an opportunity for the Authority to [show off
a new Astir/kill off skilled channelers/steal custom Astirs/recruit channelers].
PLACES
An Astir workshop, where:
• Artificers are dismantling a heavily damaged Astir
• Trainee Artificers are being taught the basics by the workshop chief
• Everyone is working together on an emergency/large repair job
• An injured channeler is being freed from their destroyed Astir
A lounge where;
• Channelers are waiting between tournament bouts
• Rich spectators are watching the tournament from safety
• Authority officials are debriefing their plans for the tournament
• The players can relax, whilst secretly being observed
The tournament grounds, where;
• Some challengers are being a little too secretive about their Astirs
• A boisterous Channeler is looking for a fight to tide him over
• The Authority is openly recruiting channelers
• Someone is itching to cause trouble
PEOPLE
An ace Authority channeler who is;
• Waiting for the perfect opportunity to betray their masters
• Desperate to prove their true worth
• Taking part in the tournament as penance
An artificer who is;
• A double agent
• Sabotaging any Astirs they work on
• Looking for a promising channeler to give an experimental upgrade
A mercenary channeler who is;
• Here for revenge
• Trying to find a place for themselves
• Ready to cause a whole lot of trouble
THINGS
• Ruined banners • A vandalised altar
• A lost badge of office • Books full of odd rituals
• A malfunctioning weapon • A storm in a teacup
• A rare magical focus • A trapped storeroom
• Crates of alchemical supplies • A mythical sword
 NEUTRAL GROUND
The Cause has learned of a secret Authority project set up in a supposedly neutral city. It has sent
the players to [scout out/steal/destroy] the project, which is [an experimental Astir/a dangerous magical
experiment/a secret arms depot]. Complicating this is the fact that the Cause [has no intel on the nature
of the project/is hiding something from the players/has been fed false information].
PLACES
An entry checkpoint, where:
• Overworked employees aren’t checking anyone’s papers
• A recent event has extra attention being paid to inbound parties
• Someone is trying to smuggle goods into the city
• Some Authority soldiers are making a scene
A warehouse where;
• Authority personnel can enter their secret base
• A Cause agent has stored something valuable
• Astirs are being covertly stored
• A third party is trying to avoid suspicion
The forest nearby, where;
• The Authority is secretly testing something
• The magically enhanced trees are being directed to Authority lumberyards
• A large clearing makes for a perfect ambush spot
• Someone is itching to cause trouble
PEOPLE
A rookie Authority channeler who is;
• Far, far too naïve
• Personally invested in the success of the project
• An old friend of one of the players
An artificer who is;
• Helping cover up the project, since it might lead to other advancements
• Posing as a civilian while spying for the Authority
• Sheltering smuggled Cause resources
A Cause agent who is;
• Here on completely unrelated business
• Way in over their head
• Looking for help getting somewhere they shouldn’t be
THINGS
• Stolen alchemical supplies • A broken chain
• An abandoned Astir • Forged documents
• A hidden weapons cache • A trail of blood, still wet
• An unfinished ritual • A seeing orb
• Strange remains • Smuggled luxuries
 ESCORT DUTY
Needing protection, the Cause deploys the players to escort [a convoy of goods/a prisoner transport/an
important VIP] to its destination. Unsurprisingly, the Authority show up to [steal the escort for their
own/attacking the party while they’re vulnerable/raze and destroy what they can]. Surprising both,
however, is the unexpected arrival of [a titanic creature/a showboating, disobedient Authority ace/a
hungry third party].
PLACES
A narrow pass, where:
• Local predators have grown hungry
• A neutral party was hiding out in a small settlement
• Opportunistic brigands have erected some kind of blockage
• Astirs and Carriers have to go around, leaving the escort to those on foot or in smaller Ardents
An open plain, where;
• Mirages threaten to distract anybody unfocused enough
• The escort unveils how fast they can really go
• Something dangerous is sleeping
• Intense weather forces all parties into shelter
A bridge, where;
• Weakened supports threaten to collapse
• The Authority has set up an ambush ahead of time
• The party is permitted to expose their escort as a decoy
• Other travellers are caught up in a jam
PEOPLE
A civilian driver or pilot who is;
• Way too into running up against the Authority
• New to this, unfortunately
• Trying to prove themselves to the Cause
A distant command officer who is;
• Meddling and trying to take credit for the mission
• Being fed incorrent intelligence
• Just genuinely trying to help
An Authority spy who is;
• In the [wrong/right] place at the [wrong/right] time
• Trying to establish deep cover
• Wounded and desperate
THINGS
• Alchemical mines • Some keys (assorted)
• An abandoned mineshaft • A ton of gravel
• A sniper’s overlook • An armour-clad safe
• A suspicious cave • A smuggling compartment
• A travelling circus • An unexpected absence
 ELEVENTH HOUR
The Cause has learned that the Authority has developed [a macrospell/an Astir/a magical weapon/
something strange and arcane] capable of ending the war in one fell swoop—in their favour, of course.
It falls to the players to [discover it’s secret location/destroy it/seize it for the Cause] before the Authority
can use it to [force Cause leadership to expose themselves at a ‘peace’ meeting/destroy the Cause’s primary
base or holding/kill an absurd amount of dissenters].
PLACES
A grand hall, where:
• The Cause’s bureaucracy is crumbling
• An official is about to overplay their hand
• A performance with unforeseen consequences is about to begin
• A betrayal is about to be revealed
A Carrier’s command deck, where;
• A terrifying order is about to be given
• A mistake is about to be made
• A coup attempt is made
• Someone has a moment of clarity
A secret location, where;
• The players aren’t welcome
• The players are, suspiciously, very welcome
• Something is revealed to have been vastly misunderstood
• Something equally as bad is happening far more quietly
PEOPLE
An ace Authority channeler who is;
• Aghast at the lengths the Authority is going to
• A Cause agent in deep cover
• Responsible for pulling the trigger, whatever that looks like
A diplomat who is;
• Moving resources in a very unhelpful way
• Moving resources in a very unhelpful way, intentionally
• Trying to cajole a reticent group into action
A chief Artificer who is;
• In charge of the Authority’s team working on the [macrospell/Astir/etc]
• Looking for a weakness in the Authority’s plan
• On the verge of a magical breakthrough
THINGS
• Something unrecognisable • A dropped key
• A door that shouldn’t be open • Files meant to be burned
• An immense magical gemstone • A bribe
• Forgotten bones • Something you think is yours
• A construct of vast size • A volatile potion
 AUTHORITY ATTACK!
The Authority is raiding [a small town/a Cause stronghold/an off-planet colony/a major city] in order to
[search for something/capture and occupy it/destroy Cause morale]. It falls to the players to fend off the
assault and save the day, even though [one of the players calls this place home/a grand Cause secret is
sequestered here/this place was once sacred to the Authority].
PLACES
A warehouse, where:
• A prototype Astir is waiting
• The Authority have found a way in
• Evacuees have found shelter
• Something isn’t right
A street, where;
• Drastic action is about to be taken
• Something hidden is being uncovered
• A stand-off occurs
• Innocents are left vulnerable
The outskirts, where;
• A heated skirmish is building
• Something is amiss
• A declaration is made
• An escape route is being protected
PEOPLE
A civilian leader who is;
• Held hostage by the Authority
• Hiding out with something important
• Leading evacuation efforts
An Authority channeler who is;
• In no way ready to lead this mission
• Out for revenge
• Trying to prove themselves to their superiors
A civilian who is;
• In the wrong place at the wrong time
• One of the players (better find yourself an Astir)
• Taking matters into their own hands
THINGS
• A childhood home • A hoisted flag
• An unfinished miracle • A missing shipment
• A stockpile of arms • A hole in the wall
• A broken gate • A number of gold bars
• A system of canals • A delicate alchemical process
 THE GHOST REACHES
OVERVIEW
The Ghost Reaches are a bustling, dense archipelago, that stretch from the many temperate southern
islands up to the frigid Isle of Repose. Named for an old local legend, which described how wayward
spirits would make a pilgrimage from island to island, eventually coming to a final rest at Repose.
The Reaches, while once divided by fierce rivalries, have long since been united under a ruling
council consisting of democratically elected delegates from each island. How many delegates an
island may elect is based on a number of factors, like population, how much trade value their ports
provide to the Reaches, and so on. While in their warring days many of the islands struggled to be
self-sufficient, co-operation has allowed them to find new identities and niches in regards to what
they provide those that live there and the Reaches at large. These transformations in infrastructure
and industry have left the Reaches a prosperous but lightly defended place, much of its military
returning to civilian life in the post-unification period.
In recent years, this attracted the attention of the Faces Of Progress, an industrial-militaristic faction
from the continent to the west. Seeking access to the Reaches’ resources and workforce, the Faces Of
Progress made a rapid, unexpected move to capture the Isle of Repose and re-purpose it as a staging
point from which to move on the entire region. Opposing them (and their now-frequent raids on
nearby islands) is The New Hunt, a loose militia that cobbles together Astirs from what local
craftsmen can spare and parts taken from creatures on the Isle of Kings.
AUTHORITY: THE FACES OF PROGRESS
The Faces Of Progress, having recently grown from ‘vampiric cohort’, to ‘cabal of industrial
magnates’, to ‘sovereign state’, is quickly becoming the production centre of the known world. Their
factories produce everything from cutlery to armed Astirs, in dizzying quantities. To keep this up
and expand even further, they find themselves in need of new sources for raw materials, a need they
see fit to address by force. The Ghost Reaches is merely first on their list: once it has been strip
mined and levelled to make room for factories, Progress will be made somewhere else.
Leader: The invasion of the Reaches is led by Galinn Juriss, a former mine foreman who proved
himself as a natural military leader during the Faces’ violent transition from business to nation.
Rumour has it the Faces’ true leadership has shared a certain sanguine gift with him.
Aesthetic: Porcelain, damage repaired with gold lacquer. Leather padding and patterned silks.
Golden trims and ornamentation. Exposed tubing and scarlet liquids.

CAUSE: THE NEW HUNT

Formed in reaction to the Faces Of Progress seizing the Isle of Repose, The New Hunt is a loose militia
of a few dozen resistance cells, doing what they can to prevent their foes gaining any more of a
foothold in the archipelago.
Leader: The New Hunt has no overall leader, with cells acting largely independently.
Aesthetic: Monster bones, horns and teeth. Recycled driftwood, iron chains and bolts. Colourful
paintwork, kill tallies and trophies.
 THE NEW HUNT
OVERVIEW
Formed in reaction to the Faces Of Progress seizing the Isle of Repose, The New Hunt is a loose militia
of a few dozen resistance cells, doing what they can to prevent their foes gaining any more of a
foothold in the archipelago.
Leader: The New Hunt has no overall leader, with cells acting largely independently.
Aesthetic: Monster bones, horns and teeth. Recycled driftwood, iron chains and bolts. Colourful
paintwork, kill tallies and trophies.
EXAMPLE FACTIONS OF THE NEW HUNT

King’s Isle Couriers (Guerillas) TAPPED?

Once upon a time, the KIC were your best bet for getting packages quickly and
safely across the Isle of Kings. With the Faces of Progress on the scene, they’ve
turned their pathfinding skills and secret routes to slightly different ends. GRIP

The Beached (Military) TAPPED?

An offshoot of a mercenary company, The Beached washed up on shore after
getting caught in crossfire during the Faces’ initial invasion. In following with
their company’s code, they quickly set about converting their wrecked ship to a GRIP
local HQ and scheming against their accidental attackers.

Sif’s Sleepers (Strange) TAPPED?

Many were displaced when the Isle of Repose was seized, including the many
priests that tended to its restful temples. Those young and angry enough to turn
their sorcery against the Faces banded together as Sif’s Sleepers. GRIP

The Reaches Unity Fund (Suppliers) TAPPED?

With the Reaches’ actual military slow to mobilise, many influential and
resourceful individuals collected together to form the Unity Fund, a thinly-veiled
operation to financially back the various resistance cells of The New Hunt. GRIP

Calistone (Bandits) TAPPED?

Calistone were a small-time band of thieves who just happened to have a very
well-hidden route in and out of Repose at the time of the invasion. Though the
route was only good for one heist, the spoils of Progress were enough to take GRIP
them from an amateur group to a well-tooled organisation.

Loreth Tidal Guild (Scholars) TAPPED?

The Tidal Guild is responsible for maintaining a system of dams and locks that
keep Loreth Island inhabitable following an magical accident that sunk it a few
meters below sea level. Their engineering expertise also made them naturals at GRIP
disrupting arcane fortifications and Astirs belonging to the Faces Of Progress.
BREAKING: MERCENARIES MAKE LANDFALL ON
MERMAID’S ISLE - FRIENDS OR FOE?
Onlookers were stunned today as armed swords-for-hire made
landfall on the northern shore of Mermaid’s Isle, commonly known by
locals asWatcher Beach. Bringing a number of constructs with them
including a large Astir, these sell-swords quickly set about making a
camp and raising a small stake wall.Their ship, which seemed to this
scholar to be damaged quite heavily, was brought high on the beach
and stripped for wood.
It is unknown from what company these mercenaries hail, but those
of Mermaid’s Isle are hopeful they will not cause trouble in the
coming days of the Progress’s occupation.

- Excerpt from ‘The Reach Gazette’, Silt-town Publishing,

YA212.M3.D13
 THE FACES OF PROGRESS
OVERVIEW
The Faces Of Progress, having recently grown from ‘vampiric cohort’, to ‘cabal of industrial
magnates’, to ‘sovereign state’, is quickly becoming the production centre of the known world. Their
factories produce everything from cutlery to armed Astirs, in dizzying quantities. To keep this up
and expand even further, they find themselves in need of new sources for raw materials, a need they
see fit to address by force. The Ghost Reaches is merely first on their list: once it has been strip
mined and levelled to make room for factories, Progress will be made somewhere else.
Leader: The invasion of the Reaches is led by Galinn Juriss, a former mine foreman who proved
himself as a natural military leader during the Faces’ violent transition from business to nation.
Rumour has it the Faces’ true leadership has shared a certain sanguine gift with him.
Aesthetic: Porcelain, damage repaired with gold lacquer. Leather padding and patterned silks.
Golden trims and ornamentation. Exposed tubing and scarlet liquids.
EXAMPLE DIVISIONS OF THE FACES OF PROGRESS

The Juriss Company (Military)

Galinn Juriss’s personal expeditionary force, sent to claim the Ghost Reaches for his vampiric
masters. Galinn is eager to improve his position: there are few within the Faces of Progress who
have their own armed Companies, but there are fewer with their own lordships.

Progress’s Promise (Curator)

Members of the Promise dedicate their lives to recording and preserving evidence of progress:
where ‘progress’ is the many conquests of their vampiric masters. This typically involves
plundering the lands taken by the Faces for artifacts and heirlooms to study... or just put on
display.

Artery #23 (Resource)

The many Arteries of the Faces Of Progress transport goods, weapons, and that sweet sweet
sanguine wherever they are needed. #23 is tasked with aiding and abetting the Juriss Company in
their many endeavours.

EXAMPLE SCHEMES OF THE FACES OF PROGRESS

Pacifying The Isle Of Kings

Sinnh Renere, an agent of Artery #23, thinks something
can be done to make the Isle Of Kings’s wildlife ignore
Juriss Company troops.

A Watchful Eye
An extensive checkpoint system between islands
would be tough to install, but would heavily restrict
movement of The New Hunt.
 EXAMPLE ASTIRS OF THE GHOST REACHES
CORE POWER 2
CLIPPERIII MUNDANE ANCIENT OVERHEATING
WARDING SPELL ROUTINES
RUGGED BUILD (+ward) Choose to take a result of 7-9 on a weather
the storm
Clippers are large, rugged Astirs originally designed for patrols over the MV: CUTTING ARMS
Isle of Kings, keeping the roads clear of overgrown fauna. The New You may use the
Hunt has re-purposed an entire fleet of them for war, a task they are subsystems move to
more than fit for. remove a environmental
hazard of your choice.
CARRIED Hewer III (melee / bane, drain)
CARRIED Force Repeater III (ranged / defensive, weak)
CORE POWER 2
PUNCTUREIII PROFANE OCCULT OVERHEATING
ARCANE FORGE RESISTANCE CHARM
You may cool off to resupply an expended CLARITY COVENANT
weapon (Lowers dangers from stunning/dazing)
Punctures are the rapier of any Faces Of Progress squad, designed to be MV: FOE EYE
let loose on particularly dangerous foes. Carrying large blood-fed You can always assess
spellcannons, Punctures are best dealt with harshly: focusing rituals which foe before you is
mean middling blows will do little to sway their aim. the most dangerous.

CARRIED Spellcannon III (ranged / versatile, blitz, drain 2, 2H)

SHEATHED Forceknife III (melee / bane, intimate)

EXAMPLE GEAR OF THE GHOST REACHES

Bloodletter I (melee / distinct, defensive)
The rank-and-file of the Faces Of Progress carry these sinister spears, mundane in nature but by design
capable of drawing the blood of their victims. Those not of the rank-and-file, it turns out, have an
unquenchable thirst.
Ashmaker Bow I (ranged / ruin, decisive, dangerous, 2H)
Ashmakers were just a theory until the invasion began: one the New Hunt have taken pleasure in putting into
practice. Immensely dangerous alchemical arrows paired with a bow ritually treated with the protections
needed to withstand them, Ashmakers are the prized possession of any resistance cell.
Little Shark II (melee / intimate, freezing)
When the first mariner’s ardent team was dispatched to interfere with Progress reinforcements, they found
their equipment lacking for undersea use. Dubbed Little Sharks, these ardent-fit wands stacked with short-
range frost magic provided an easy way of ruining ship hulls.
Decanting Staff III (ranged / bane, 2H)
A long staff, held in both hands of an Astir. A series of alchemical processes purify and extract magical energy
from stolen blood, before turning it to violent ends.
Hewer III (melee / bane, drain)
A circular saw, spun at lightning speeds by the volatile reaction between distilled alchemical fire and
permafrost from the deep heart of Repose.
 THE ACADEMY ARCANE
OVERVIEW
The Academy Arcane is the oldest and finest magical college in the land, and has for centuries
trained the best and brightest mages, whatever nation bore them forth. Whether they aspire to be
war mages, artificers, alchemists, illusionists, or whatever else—few places give you as good a chance
at success as The Academy Arcane. Archmage Alejandaine, the new Headmaster, aims to keep it that
way… and in keeping up with the world outside, has for the upcoming year opened The Academy
Arcane’s doors to would-be Channelers for the first time. For the first time, students bound for the
cockpit of an Astir will walk the halls of the Academy Arcane, find a new family among their chosen
House, and forge a truly magical future.
It, of course, is not quite that simple. In the Grand Contest era, a school-wide tournament lingers in
the future… but the conflict between Houses will not wait for the opening ceremony. It never has—
and bringing clashing Astirs into the mix for the first time will only stoke the flames further.
A decade later, the embers of those flames will kindle anew. In the Torn Continent era, the members of
those feuding Houses have long since graduated into soldiers of the nations they represent. Can they
steer their chosen banner to the peak of victory? Or will they become dogs of war in the process?
GRAND CONTEST ERA SIDES
At The Academy Arcane, four Houses vy for recognition and victory. They are Blue River, sponsored
by the Lowland Federation; Red Mountain, sponsored by the Kingdom of Emmechia; Green Pasture,
sponsored by the Central Principalities; and Gold Valley, sponsored by the Auslier Demarchy.
TORN CONTINENT ERA SIDES
Years later, war sweeps the land; no longer one fought between school houses, but the nations
behind them. The Lowland Federation, a cluster of allied democratic states; the Kingdom of
Emmechia, an aging monarchy in decline; the Central Principalities, a collection of territories that
seek to use the war to winnow their princes into a single king; and the Auslier Demarchy, an
outlying merchant nation ruled by lottery.

The Academy Arcane uses the optional Multi-sided Conflict and Generational Conflict rules,
found in Running The Game. This means that rather than an Authority & a Cause, The Academy
Arcane features several Sides, each vying for victory. It also takes place over two distinct Eras of
play; the Grand Contest Era and the Torn Continent Era.
DIRECTOR’S NOTES
 GRAND CONTEST ERA
OVERVIEW
The Academy Arcane divides its students into four houses: Blue River, Red Mountain, Green Pasture
and Gold Valley, each sponsored by one of the neighbouring powers. Students are free to choose
their own house, and spend the duration of their time at the Academy Arcane living among the other
students of their house in dedicated, private dormitories.
Throughout the year, the houses vy for supremacy through practice skirmishes, limited deployments
overseen by tutors, and other tests designed to raise them up as skilled, valuable wielders of magic.
This culminates in the Midsummer Tournament; an annual series of challenges that pit house against
house, in order to determine a single winner that will hold the trophy for a year. Being part of the
winning house is seen as a mark of great talent and achievement—and as such, lights the fire of
rivalry and inter-house competition like nothing else.
SIDES OF THE GRAND CONQUEST ERA

Blue River GRIP

Sponsored by the Lowland Federation. Befitting its theming, Blue River often
attracts students interested in water or curative magics, but also is a popular
house for illusionists. Blue River haven’t won the Midsummer Tournament in
around thirty years, since it also tends to attract more scholarly students, but GRIP
the aging Housemaster is insistent on one last victory before he retires.
Their house motto is ‘Strength of the rapids, grace of the stream’.
Branches: Subterfuge (illusionists and enchanters), Executive (bookish types)

Red Mountain GRIP

Sponsored by the Kingdom of Emmechia. Red Mountain has a proud military
tradition inherited from its sponsors, and Emmechia often picks future officers
from among Red Mountain’s finest. It makes sense, then, that those with a knack GRIP
for destructive magics often find a home in Red Mountain.
Their house motto is ‘The unassailable heights of glory’.
Branches: Military (noble scions), Curator (third sons and bastards)

Green Pasture GRIP

Sponsored by the Central Principalities. Green Pastures directs students to be
independent, and to become their best selves through study and practice;
putting emphasis on pushing the boundaries of known magic to create new
opportunities. Green Pasture students, then, are less marked by common
practice or kinds of magic, and more coloured by their passion and ambition to GRIP
claim a high place in life.
Their house motto is ‘Both shepherds and wolves stand above sheep’.
Branches: Military (mercenary brats), Research (rule-bending mages)

Gold Valley
Sponsored by the Auslier Demarchy. The Demarchy’s involvement with Gold GRIP
Valley is less hands-on than some of the other houses, standing primarily as a
demonstration and reminder that they remain part of the same stage as the
other nations. This laxer attitude means Gold Valley tends to attract students
looking for a less demanding house, or for those who are unsure about their GRIP
future and don’t want to commit to something just yet.
Their house motto is ‘All effort is golden’.
Branches: Resource (rich kids), Subterfuge (pranksters and troublemakers)
The four houses were established early in the formation of
the Academy Arcane, in order to foster camaraderie and
competition between students—and to bring additional
funding into the school, as neighbouring nations sought to
sponsor the future of would-be mages.
Given that little has changed in the centuries since, it would
be fair to say the houses were a success on all fronts.

- Excerpt from ‘A History Of The Academy Arcane’, Martine Teu-

no-cail, MD734
 TORN CONTINENT ERA
OVERVIEW
War, as it always does, has swept the continent. Scholars and diplomats argue who truly instigated it;
the Federation claims it acted in proactive self-defense, striking an Emmechian patrol that was,
supposedly, not the first to attack their borders. Emmechia, on the other hand, claims to have no
knowledge of the sort, but the Central Principalities disputes ever giving them permission to patrol
troops this far through their territory—a dispute they were clearly willing to raise arms over.
As the war between the three ignited in full, the Demarchy would not be left out; citing attacks on
Auslier trading caravans, the Demarchy’s new Wartime Council voted unanimously to defend their
interests. Once again, the Academy Arcane is the eye of the storm; a neutral ground, encircled by the
tempest of war.
SIDES OF THE TORN CONTINENT ERA

Lowland Federation GRIP

The Lowland Federation is a large cluster of allied states, unified by their shared
interest in democracy and freedom. They share resources and information in the
interest of combined survival, even where their individual laws and cultural
identities clash: to a lowlander, your neighbour is the most important person on GRIP
the street.
Branches: Subterfuge (spies and illusionists), Executive (their bosses)

Kingdom Of Emmechia GRIP

The Kingdom of Emmechia is a large, long-declining monarchy, desperate to
reinforce its strength and borders through victory. With the only direct heir far
too young to govern, the Kingdom’s aging sovereign is looking to turn his GRIP
nation’s death throes into a new decade of security—one that will ensure his son
comes to the reins of a true power.
Branches: Military (the royal army), Curator (trophy-hunters)

Central Principalities GRIP

The Central Principalities are a diverse set of, as their name declares,
principalities. Once, the principalities were a single monarchy, like Emmechia,
but split as the many sons of a despised king split the land between themselves.
Centuries later, competition and rivalry has them looking to war as an
opportunity to thin their herd of aspiring princes down into a single sovereign. GRIP
This mercenary spirit has spread like wildfire, especially among ambitious
Principality mages; hoping to prove their worth to the future king.
Branches: Military (militias & mercenaries), Research (aspirant archmages)

Auslier Demarchy
The Auslier Demarchy is governed entirely by several councils of randomly- GRIP
selected senators, elected by lottery to oversee their respective subjects (a
council for education, a council for diplomatic relations, etc). It stands to gain
little in the conflict, and likely would have stayed out of it had the new military
council not unanimously voted to do so following reports of other nations GRIP
plundering Asulier trading endeavours.
Branches: Resource (trading companies), Subterfuge (agent provocateurs)
 EXAMPLE ASTIRS OF THE ACADEMY ARCANE
CORE POWER 3
DANCERIII ARCANE CRYSTALLINE OVERHEATING
INPUT CHANNEL CHAMELEON CLOAK
Defy danger with +CHANNEL Become invisible for a Scene. The next risk you
take is ‘revealed’.
Dancers are designed for a single purpose: to weave beautiful havoc in MV: FEATHERLIGHT
and around enemy formations, without taking a scratch in return. For You never lose your
graceful exits, most are outfitted with stealth rituals. footing or balance as
result of a fall or
manoeuvre.
CARRIED Greatblade III (melee / area, 2H)

CORE POWER 3
DIVINERIII DIVINE ANCIENT OVERHEATING
DIVINATION CODEX COMPLEX SPELLWORK
Ask 1 question from the read the room list -1 POWER
Though many would be quick to point out that the presence of Astirs in MV: FUTURE SIGHT
a conflict is a clear enough omen on its own, Diviner units fill a When you read the
powerful strategic role. Many an army’s tactics are informed at the last room, you may ask
moment by a Diviner’s predictions. questions about the
immediate future.
CARRIED Rayri�e III (ranged / in�nite, 2H)
SHEATHED Forceknife III (melee / bane, intimate)

EXAMPLE GEAR OF THE ACADEMY ARCANE

Simplified Codex I (ranged / dangerous, arcane, bane)
Most arcane codices are useless in mundane hands. Thankfully, this edition has been heavily edited and
simplfied to allow even total novices to cast a few basic destructive spells.
Colour Spray I (ranged / area, weak)
A staple of any academy prankster: small glass bottles, full of enchanted water that dyes any surface it
touches an illusory colour. It wears off… after a few days.
Cannon II (sniper / huge, vorpal)
Most have little interest in non-magical weaponry, especially given the prestige of the Academy. That said, the
cannoneers of the west have steadily been making a name for themselves in recent years.
Colossus Repeater III (ranged / blitz, impact, 2H, drain)
Using the same mechanism as a common crossbow, Collossus Repeaters are designed to fire magically-charged
bolts for maximum armour penetration. In a pinch, a talented Channeler can work the reloading mechanism
quickly enough for multiple follow-up shots.
Contact Runes III (melee / reload, unreliable, ruin)
Heavily charged magical runes engraved on an Astir’s hands and arms make for volatile, if difficult to use,
close-combat weaponry.
 PALUS SOMNI
OVERVIEW
Since time immemorial, all that dies upon the face of the Earth has been drawn inexorably to the
Moon above, awakening breathless and unknowing in the dusty, airless wasteland. Marked by the
Sun, the dead are then driven across the cold lunar seas into the Marsh of Sleep. Here they are
protected by the ancient Compact of the Shade: accept the Sun’s eventual consumption of your form,
and you will be safe here. Under this agreement the Marsh grew into an ageless, eclectic country of
strange cities reminiscent of a long-lost Earth, and its grateful dead became a kind of citizenry under
the Sun, all too willing to step into its fire when they felt their time was due.
The Sun’s dominion lasted until the wizards of Earth descended upon the Moon to plunder the
districts of the dead and challenge the Sun itself for ultimate cosmic power. For a year and a day now
the wizards have cataclysmically clashed with the Sun, their Astirs and earth-shattering magic
surging into explosive yet inconclusive battles that set whole swaths of the Moon aflame. Death here
is confusing, rarely sticking, always reversible to some extent. The unaffiliated dead find themselves
stolen away by wizards or conscripted by the Sun, or often just abruptly vaporised by errant
weaponry. Enraged but powerless, many throw in with the outlawed theorists of the Living Dead,
who reject the Compact of the Shade and wizards alike, and instead plot the unthinkable: the
liberation of the Moon from the duality of Earth and Sun, an unhinging from their orbit in favour of
a course into space.
AUTHORITY: THE DUALITY OF EARTH & SUN
Brilliant wizards and blazing solar servitors contend across the breadth of the Moon for ultimate
cosmic dominance. A year and a day into the war, neither side has made significant headway in their
objectives. Made undying by the Moon’s own power, they may well fight forever.
Leader: The Sun oversees its servitors wherever the Moon is illuminated, screaming direct orders in
a language of charged particles travelling at near-lightspeed to the eager ears of its minions. Earth’s
efforts are led more indirectly by a treacherous gang of wizard-lords with an unnervingly fluid
leadership determined by personal prestige: the Voyager Council.
Aesthetic: Solar flares, strange matter, auroras, obsidian shards, burning sigils, nuclear blasts,
lightning storms, flying lancers, meteorites, hovering mountains, mobile fortresses, lightspeed
munitions.

CAUSE: THE LIVING DEAD

To live in one’s own right, the Living Dead theorise, requires severance from the authority of
imperious celestial bodies. So, in order to unyoke the moon, the Living Dead collectively develop a
science of unmaking via theorist cells experimenting amid the cosmic violence of the Earth and Sun.
Leader: More mainstream theorists unofficially defer to the Sloth King’s careful and measured
judgement. Radical elements, however, seldom acknowledge the megathere in the room.
Aesthetic: Surrealism, dazzle camouflage, cartoon trickery, particle accelerators, subterranean
labyrinths, extinct lifeforms, stolen hardware, stage magic.
 THE LIVING DEAD
OVERVIEW
To live in one’s own right, the Living Dead theorise, requires severance from the authority of
imperious celestial bodies. So, in order to unyoke the moon, the Living Dead collectively develop a
science of unmaking via theorist cells experimenting amid the cosmic violence of the Earth and Sun.
Leader: More mainstream theorists unofficially defer to the Sloth King’s careful and measured
judgement. Radical elements, however, seldom acknowledge the megathere in the room.
Aesthetic: Surrealism, dazzle camouflage, cartoon trickery, particle accelerators, subterranean
labyrinths, extinct lifeforms, stolen hardware, stage magic.
EXAMPLE FACTIONS OF THE LIVING DEAD

The Sloth King’s Retinue (Agents) TAPPED?

Oldest of the old guard, the Sloth King’s retinue dug the ancient boltholes of the
original Living Dead. A cadre of practically minded mammals, they are led by the
Sloth King, a megathere who’ll perform veritable feats of engineering, provided GRIP
he agrees with their theoretical justification.

The Causal Cavaliers (Strange) TAPPED?

The Cavaliers represent the bleeding edge of high-energy occultism, best known
for opportunistically “surfing” on thermonuclear fireballs, leeching their energy
to reliably achieve hyperlight velocities. Breaking causality from there, it turns GRIP
out, is unavoidable, unpredictable and impossibly useful.

The Treacher of Images (Scholars) TAPPED?

The paintings of the Treacher’s crew are so lifelike that the only way to ascertain
their reality is hurtling into the rocks they’re painted on, a property she uses to
routinely and comically misdirect the Earth’s wizards, the Sun’s servitors and GRIP
especially the Sloth King.

Antlion Brigade (Bandits) TAPPED?

In the confusion of battle things often go missing: munitions, Astirs, whole
fortresses. Surprisingly often it’s swallowed by the ground, a sure sign of the
work of the Antlion Brigade, whose sleight of hole has long been integral to GRIP
sourcing fresh Earth arcana for experimental purposes.

Running Lizards (Military) TAPPED?

Few sights are more commonplace in the Marsh than a dinosaur going about
their day. This affords great cover for the Running Lizards, community-minded
dinosaur theorists who crew camouflaged saurian Astirs and penetrate deep into GRIP
war zones to rescue those in danger.

Garden of Earthly Delights (Suppliers) TAPPED?

A long-running experiment to find out how useful the unsafe mass storage of
Earth arcana could potentially be, the Garden is a controlled underground
disaster area that produces fresh horrors mined, studied and traded by heavily GRIP
armed teams of dedicated theorists-in-residence.
This library is dedicated to the Living Hierophant Zemelien,
the first of our number to conquer mortality, without whose
deeds we would not be here today.
Notoriously terrified of the idea of life after death, Zemelien
experimented extensively with the concept of wholesale
annihilation of the soul.Their work culminated, like that of
many wizards of the time, in a final self-experiment as an
ultimate test of rigour and commitment: the transformation of
their own wizened body into a pine tree, each and every needle
inscribed with arcane sigils that remain largely undeciphered.
To honour their irreplaceable work, we transplanted a cutting
of Zemelien from Earth onto this hateful Moon so that they
may witness our glorious effort in ending their hated cosmic
order.The tree you see before you is a near-perfect regrowth of
the original tree, facilitated by our finest botanical sorceries!
[Let it be known that theVoyager Council has issued a handsome
reward for any information about the current location of the
Regrown Hierophant Zemelien, who left this lobby the Tuesday before
last and has not been seen in over a week. If you encounter the
Regrown Hierophant, DO NOT ENGAGE and instead notify
Councillor Drem at your nearest farspeech station.]

- Sign at the Eternal Library aboard the Dark Star, hand-etched,

date Unknown
 THE DUALITY OF EARTH & SUN
OVERVIEW
Heavily armed wizards and burning solar servitors contend across the breadth of the Moon for
ultimate cosmic dominance. A year and a day into the war, neither side has made significant
headway in their objectives. Made undying by the Moon’s own power, they may well fight forever.
Leader: The Sun oversees its servitors wherever the Moon is illuminated, screaming direct orders in
a language of charged particles travelling at near-lightspeed to the eager ears of its minions. Earth’s
efforts are led more indirectly by a treacherous gang of wizard-lords with an unnervingly fluid
leadership determined by personal prestige: the Voyager Council.
Aesthetic: Solar flares, strange matter, auroras, obsidian shards, burning sigils, nuclear blasts,
lightning storms, flying lancers, meteorites, hovering mountains, mobile fortresses, lightspeed
munitions
EXAMPLE DIVISIONS OF THE DUALITY OF EARTH & SUN

The Dark Star (Military)

A vast blue eye in the sky encircled by lightning, calling forth arcane forces powerful enough to
boil an ocean – this is not the Dark Star, only the energy signature of its weapons. Its body is a
floating fortress carved from one of Earth’s mountain ranges and crewed by Earth’s finest
enchanters, filling people with unaccountable dread as it passes invisibly overhead in the night.

Hounds Of Sol (Subterfuge)

Hounds are vicious spidery constructs of jagged volcanic glass with a core of sapient molten
metal, tasked specifically with rooting out traitors to the Sun such as the Living Dead. Their
striking intelligence is a double-edged sword: it makes them gifted detectives, but also
universally prone to sedition and even defection.

The Refractive Procession (Resource)

A chosen flock of solar emanations who bear the distilled, crystalline mind of a vanquished god
forever into the illuminated side of the moon. Sunlight passes through the Procession and
refracts, taking novel solid shapes that can then be armoured and forged into the mightiest of
solar servitors.

EXAMPLE SCHEMES OF THE DUALITY OF EARTH & SUN

Councillor Teal’s Final Temptation

A seditious cell of Hounds has made contact with Councillor Teal, a
member of the Voyager Council in good standing. If they can lure
her into their grasp by feeding the Council false information, they
intend to crystallise her mind and use it to refract their own rogue
servitors.
Project Sunspot
The orders of the Sun are directly relayed to
its forces on the Moon from on high. Councillor Silver suspects
that this could be used to Earth’s advantage. If a crack team of
wizards could make their way to the Sun and irritate its outer
layers, the ensuing confusion could result in serious gains for
Earth.
 EXAMPLE ASTIRS OF PALUS SOMNI
CORE POWER 2
PALIMPSESTIII ARCANE CRYSTALLINE OVERHEATING
STANDARDISED PARTS FAMILIAR MATRIX
Gain +1 token during Downtime to spend on Needle Familiars III
repairs only
Palimpsests are central to Earth’s offensive doctrine, forming an MV: PALIMPSEST
ominous advancing line with humming strange-shields and attendant SYSTEM
swarms, exposed crystal cores glowing with absorbed magic. Often used You may weave magic
for live artillery practice to give their magic an extra punch, an elite with advantage to
Channeler’s personal Palimpsest carries a magical sample that most duplicate any magic or
theorists can only dream of. weapon recently utilised
against this Astir.
CARRIED Strange-Shield III (melee / defensive, ward, in�nite, dangerous, 2H)
MATRIX Needle Familiars III (ranged / restraining, weak)

CORE POWER 3
SPRINGTAILIII ELEMENTAL NATURAL OVERHEATING
DIVINATION CODEX WEAPON CONDUIT
When you read the room, also ask “What +2 Power towards Weaponry
is about to happen?”
Powered by a curious oily bramble retrieved from a Cavalier excursion, MV: HYPERLIGHT
the Springtail represents the next generation of causal engineering, MANIFOLD
capable of bending reality with a modicum of magical impulse. Only You may use
one was ever made, but somehow more and more of these keep turning subsystems to be in
up where you’d least expect. another place at the
same time.
CARRIED Force Repeater III (ranged / defensive, weak)
+MOUNTED Paracausal Hook III (melee / ruin, decisive, messy, mounted, drain 3)

EXAMPLE GEAR OF PALUS SOMNI

Wayward Skull I (sturdy, whispering, autonomous)
Skulls are easier to find than ever on the Moon, and are often a great source of information and advice.
Befriend one, and all the newest rumours will find your ear.
Projection Vat II (enormous, set-up, sealed)
Much of the Moon’s surface is unsafe for people to be on. To sidestep this issue, people sometimes dip
themselves in sense-depriving projection vats to astrally project themselves across moderate distances.
Bestiary Array II (ranged / bane, versatile, messy, dangerous)
A popular weapon among the Living Dead, the Bestiary Array projects words of power into acrid smoky shapes
of beasts, hard to catch and irritatingly effective at unravelling Astir enchantments.
Strange-Shield III (melee / defensive, ward, infinite, dangerous, 2H)
A luminous, semi-permeable cage surrounds this piece of cursed matter, acting as a shield for the Astir that
would hold it. Indiscriminately devouring and compacting any matter and most energy caught within, they
are a tool best used with great care.
Paracausal Hook III (melee / ruin, decisive, messy, drain 2)
Devised as a latch for hyperlight applications, the paracausal hook, if carefully aimed, also turned out to be
remarkably effective at twisting physical matter in a way that displaces it into undiscovered dimensions, and
vice versa. Stand well back.
 THE ICE OF VALDEMAR
OVERVIEW
The people of Valdemar have forgotten what peace is like, and the warmth of summer is only a
distant memory. For over three decades, the former breadbasket of an entire continent has been
bound in ice and snow. A mysterious curse fell upon the land shortly after the assassination of the
King, Morgan II, causing an unending winter. The perpetrator is unknown, though many suspect a
conspiracy within Valdemar's standing army, the Kingsguard…
The civil war that followed caused as much death as famine and the cold. The Kingsguard easily got
the upper hand in the initial battles. But as the seasons changed, the ice did not relent, and total
victory eluded the monarchists. The war stalled, icing over into deep-seated hatreds. Now, only the
hardiest of life remains in Valdemar, buffeted by howling winds and razorice. Those who were too
poor, too stubborn, or too foolhardy to flee for warmer climes have gathered in walled settlements,
protected by magical or mundane means from the relentless weather and hostile incursion. These
bastions, islands in a sea of snow, are connected by the Iron Horses, titanic armoured vehicles that
ride on rails at tremendous speed. And since the Restoration controls the railroads, they have the
fealty, if not loyalty, of most of the remaining populace.
The few who still oppose the crown dream of a thaw in the bitter cold. The Equinox, the scattered
and disparate forces of resistance, fight in any way they can to hold the dream of liberty alive.
AUTHORITY: THE RESTORATION
King Morgan II died days before renouncing the monarchy’s absolute power over Valdemar. In his
place, the nobles clustered around the head of the Kingsguard, who now calls himself King. With
control over almost all transport, an army of advanced Astirs, and a ruthless desire for power, the
Restoration seeks to return things “to normal”, no matter how many people have to suffer.
Leader: Gareth I, as he styles himself, has the fealty of the remaining nobles. Ambitious and cunning,
he controls the railroads that keep Valdemar alive. To him it’s only a matter of time before the forces
of resistance capitulate entirely, and the monarchy rules once more.
Aesthetic: Plate and mail armour in gold and silver. Family crests, jewels, and crowns. Clouds of
black smoke and soot when exerting themselves. White capes.
CAUSE: THE EQUINOX
The people of Valdemar cried out when the king, Morgan II, was slain days before his promised
Declaration of Reform. Several disparate factions have banded together under the desire to remove
the new king and finally bring about spring.
Leader: Isabelle of Nowhere, the heralded rebirth of a Warrior Saint from Valdemar’s past. Though
she denies this herself, her zeal and combat acumen have given her the de facto position as the head
of the Equinox.
Aesthetic: Industrial scrap and re-purposed junk combined with a mix of a religious and
revolutionary iconography. White flowers, red flags. Lovingly painted fists and cockpits. Powered by
anything from ancient holy relics to chunks of razorice to the last seed from an orchard now
vanished.
 THE EQUINOX
OVERVIEW
The people of Valdemar cried out when the king, Morgan II, was slain days before his promised
Declaration of Reform. Several disparate factions have banded together under the desire to remove
the new king and finally bring about spring.
Leader: Isabelle of Nowhere, the heralded rebirth of a Warrior Saint from Valdemar’s past. Though
she denies this herself, her zeal and combat acumen have given her the de facto position as the head
of the Equinox.
Aesthetic: Industrial scrap and re-purposed junk combined with a mix of a religious and
revolutionary iconography. White flowers, red flags. Lovingly painted fists and cockpits. Powered by
anything from ancient holy relics to chunks of razorice to the last seed from an orchard now
vanished.
EXAMPLE FACTIONS OF THE EQUINOX

The Steel Chariot (Guerillas) TAPPED?

Isabelle’s personal forces, loyal to Her and the liberation of Valdemar. They use
superior mobility and local knowledge to make hit and run attacks. When
cornered, however, they will die for Her. GRIP

Union of Equals (Firebrands) TAPPED?

Prior to the Regicide, these were young revolutionaries and intellectuals looking
to bring about major change. Now they're older and wiser, but still yearn for
freedom. The firebrands of the Union keep the people of Valdemar hopeful, GRIP
working, and willing to fight.

The Red Hilts (Agents) TAPPED?

The long feared cadre of revolutionary anti-monarchists were the easy scapegoat
for Morgan II’s death. In truth, they had supported his Declaration, even
preparing to disband their organisation. Hilts of Red sprout once again in the GRIP
hearts of monarchists everywhere.

Cook’s Company (Military) TAPPED?

One of the few mercenary bands to side with the Equinox. Their eponymous
leader is Valdemari born and despises Gareth for deeply personal reasons. His
forces are small, but battle-hardened from years of campaign on the continent. GRIP

The Vagabonded (Suppliers) TAPPED?

Part artist collective, part engineers, the Vagabonded are the builders keeping
the Equinox’s machines operational. Their ability to turn discarded metal scrap
and destroyed engines into functional weaponry is a marvel and totally worth GRIP
their occasional eccentricity or design flourish.

The Daphnaie (Strange) TAPPED?

The secret reason Valdemar’s fields were so plentiful was that they were cared
for by the dryads. The humanoid plants using their great power over nature is
the only thing keeping many redoubts and enclaves not controlled by the GRIP
Royalists alive. But years of winter have drained their strength, and time is
running out.
The blade of razorice cut through Isabelle’s Astir like its
blessed armour wasn’t even there. She clutched her side, the
giant machine’s hands mimicking the gesture with precision.
The full body integration circuit that gave her a dancer’s grace
in combat had the drawback of transferring not just tactile
information through the neural link, but pain as well.The pain
was blinding. An overhead smash, and Isabelle’s Astir hit the
frozen ground. She bounced inside the cockpit, restraints
failing.The metal tang of blood filled her mouth.
“So this is the fabled Isabelle of Nowhere.The sainted saviour of
all Valdemar,” a voice cackled over the voice caster. Jocasta
Nixon’s Astir had already regrown the frozen blade’s tip. She
twirled the alchemical marvel at her side. “It doesn’t have to
end like this. I could be persuaded to be lenient, if you give up
the location of the rest of your little band, you will receive
medical treatment.”
Isabelle spat. Her Astir dug its fist into the ground and pushed,
staggering to its feet once more.With a pained yank, it tore out
the shard of ice from its chassis. She held the colossal icicle like
a club, grip biting into the frozen weapon.
“Two things before I beat you senseless. One, you need to start
aiming higher.This chunk had no chance of hitting my core.”
The mirth left Jocasta’s voice. “And the second?”
An explosive impact sent the Kingsguard’s Astir toppling to the
ground.The local sensor grid lit up with contacts all around
her, each engaging with one of her guards with withering
weapons fire.
“The second,” Isabelle said, stalking forward like a woman
possessed, “Is that you don’t need to ask where my friends are.
They’re already here.”

- A Tale Of Restoration, author Unknown, date Unknown

 THE RESTORATION
OVERVIEW
King Morgan II died days before renouncing the monarchy’s absolute power over Valdemar. In his
place, the nobles clustered around the head of the Kingsguard, who now calls himself King. With
control over almost all transport, an army of advanced Astirs, and a ruthless desire for power, the
Restoration seeks to return things “to normal”, no matter how many people have to suffer.
Leader: Gareth I, as he styles himself, has the fealty of the remaining nobles. Ambitious and cunning,
he controls the railroads that keep Valdemar alive. To him it’s only a matter of time before the forces
of resistance capitulate entirely, and the monarchy rules once more.
Aesthetic: Plate and mail armour in gold and silver. Family crests, jewels, and crowns. Clouds of
black smoke and soot when exerting themselves. White capes.
EXAMPLE DIVISIONS OF THE RESTORATION

The Kingsguard (Military)

Once an elite order of warriors dedicated to the protection of the royal family, the Kingsguard
blossomed in both size and ambition after Morgan II's death. They’ve spent the intervening years
acquiring new and powerful Astirs, enforcing compliance, and besting most armed resistance to
the new order. Jocasta Nyxon, Gareth I’s protégé, leads the charge to crush the Equinox with an
iron fist.

Royalists (Subterfuge)
Counter-revolutionary forces within and without the Equinox attempt to aid the Royalist forces
in restoring monarchy, in the hopes that that will bring life back to the land. Some are craven
opportunists, but many are just scared of what the alternative to the “safety” of King Gareth’s
rule would be.

Scalded Hands (Resource)

The engine at the heart of the Restoration’s war machine, the secretive guild of artisans and
alchemists are also the source of the kingdom’s magical might. They perform dark and profane
rituals, often entrapping magical creatures to drain of strength or to power their smog-billowing
Astirs.

EXAMPLE SCHEMES OF THE RESTORATION

Chokehold
Jocasta Nyxon, new leader of the Kingsguard, is blockading the
railroads leading to towns that refuse to hand over Equinox
sympathisers. Time, and supplies, are running out.

Request From Below

A demonic emissary is asking for your help to stop the Scalded
Hands from raiding her infernal plane and kidnapping her
people for use as power sources. Closing their portal by force
could cripple their war effort.
 EXAMPLE ASTIRS OF VALDEMAR
CORE POWER 4
HAMMERIII DIVINE ANCIENT OVERHEATING
STANDARDISED PARTS WEAPON CONDUIT
Gain +1 token during Downtime to spend on +2 Power towards Weaponry
repairs only
Hammers are the battering ram that lead the way during Iron Chariot MV: NEVER
attacks. They eschew survivability for firepower, often granted by SURRENDER
sacred relics and controlled by a Channeller strong in the faith. Rumour Advantage when you
has it Isabelle herself pilots one, and many Royalists have fallen by her weather the storm
own hand. while outnumbered

CARRIED Radiant Hammer III (melee / ruin, decisive, drain 2, 2H)

CORE POWER 2
CATAPHRACTIII MUNDANE ALCHEMICAL OVERHEATING
ALCHEMICAL SUITE WARDING
Take 1 of each Potion when someone leads a ARTISAN SHIELDING (+ward)
Sortie
Though originally of foreign make, the Cataphracts became the flagship MV: RUN THEM
Astir of the Kingsguard. Years of fighting have depleted the stores of DOWN!
replacement parts, however, and the regime has moved on from the Strike decisively
design. Even though their armour has begun to tarnish, they can still with advantage when
pack a wallop. striking from a running
start.
CARRIED Glaive III (melee / decisive, set-up)
SHEATHED Brimstone Petard III (ranged / area, bane, unreliable, limited)
EXAMPLE CREATURES OF VALDEMAR
FROSTBEAR I (EXTRA, MUNDANE)
• Tooth & Claw I (melee)
“I’ve never seen one this far south before. They’re getting hungrier.”
INFERNAL SPARK I (EXTRA, PROFANE)
• Scalding Touch I (melee / bane)
“The smaller War Horses are powered by lesser demons and elementals. But the bigger the engine, the bigger
the power source. I looked inside the engine of a Carrier once, kid. Once.”
ABOMINATION II (SIDE, ARCANE)
• Rending Claws II (melee)
• Acidic Breath II (ranged / area)
“Most towns have some kind of subterranean project going on. New Hope was the one that dug too deep. There
are things in this world worse than any Royalist. Don’t forget that.”
REVENANT III (SIDE, PROFANE)
• Tarrasque III
▪ Broken Bow III (ranged / defensive)
“Whatever curse we’re under is doing more than making things cold. Half-mangled Astirs with long-dead pilots
wander old battlefields, re-enacting their final moments in a disjointed pantomime. Do not interfere; the
dreamer does not enjoy being awoken.”
 APPENDIX
RISK & PERIL EXAMPLES
RISKS
Risk (distracted) - Something has caught your eye, and it's very distracting. Maybe you could make
some space and collect your thoughts?
Risk (targeted) - Missile lock! Evade, evade! Could you counterspell the targeting systems, or put
something between you and the missiles?
Risk (suppressed) - You're being held at bay by suppressing fire. Maybe you could take them out, or
find some cover.
Risk (on fire) - Your Astir is on fire. It's really hot all of a sudden. You could find some water, or do
something else to extinguish the flames.
Risk (bleeding) - That's a nasty cut you've got—you could bandage it up, or try to close the wound
with magic...
Risk (chilled) - Brrr! You or your Astir are all frosty. Find a way to turn up the heat, or chip away that
building ice.
Risk (flirty) - Can love bloom on the battlefield? You're hoping, but maybe you just need a minute to
cool off.
Risk (scared) - Getting in an Astir can be pretty frightening. Maybe someone could talk you down, or
maybe you just need to face your fear.
Risk (disrupted) - Your Astir's systems have been messed up, knocked out of alignment, etc. You
could magically re-align them, or manually open things up and fix the problem.
Risk (angry) - That was too damn close! You're real mad about it! You could get rid of the target of
your frustrations, or just try to get some space from them.
Risk (unaware) - You just didn’t know they were coming for you! Lucky for you, the moment you have
this risk it will probably remove itself very quickly... when your attacker hits you.
PERILS
Peril (exhausted) - You're running on empty. Little short of a real rest will fix that.
Peril (wounded) - That's more than a little bruise or cut—you need real medical attention for this one.
Peril (broken limb) - Whether it belongs to you or your Astir, this needs proper treatment—and for
your Astir, maybe replacement.
Peril (impaled) - You'd better leave that where it is. It's going to get in the way, but it'd get worse if
you took it out...
Peril (furious) - Something REALLY got to you, huh? You're mad in a way that sticks even when the
fire dies down, and need some real time to work things out.
Peril (bad rep) - Your reputation with someone or something has taken a real hit. It's going to be
trouble until you do the work to fix things.
Peril (in love) - It turns out love can bloom on the battlefield, and it's got you good. There's a few
ways you could resolve this one.
Peril (burnout) - Overheating has seared the inside of your Astir, destroying parts. This calls for some
real internal repairs.
 GLOSSARY & SHORTHANDS
Sortie: A period of time in which the players have left their Carrier to fight, scout or otherwise act
with an objective in mind.
Mission: A larger goal that would take multiple Sorties to achieve.
Campaign: A full game of Armour Astir, consisting of several Missions and ending in resolution in
some way of the core conflict.

Trait: The 6 stats that cover your characters abilities and are used to make moves.
GRAVITY: A measure of one characters admiration and understanding of another.
Cause: The group that you and yours represent in your fight against an Authority.
Authority: The primary antagonistic group of your game.
Dangers: Dangers are effects that make you vulnerable to harm, physical or otherwise. Dangers are
split between minor ‘risks’ and more serious ‘perils’.
Defenceless: Being defenceless means that you must bite the dust when threatened by harm,
physical or otherwise.
Approach: The five approaches: mundane, arcane, divine, profane and elemental. Approaches
offer confidence or desperation when using exchange blows and strike decisively and are
determined by your playbook or by an Astir or Ardent. Some weapons have their own approach,
which overrides your usual if you choose to use it.

Tag: A tag is a small note that provides some narrative or mechanical information that can be easily
added to an object or character to provide detail or customisation.
Weapon: Something used to inflict harm on someone else (by design or otherwise).
Gear: Any piece of useful equipment that isn’t used to hit someone over the head.
Construct: A magically-powered machine or vehicle. Constructs typically require a Channeler to
pilot and fuel them, though some are automatons. Ardents, familiars, and Armour Astirs are all
constructs.
Armour Astir: Astirs are powerful enchanted constructs, typically at least 20-30ft tall at least, that
must be piloted by a Channeler who provides the magic required for them to function. They’re
mechs. You know what these are.
Ardent: A mobile construct, smaller and simpler than an Astir. Some require a driver or controller,
though anyone with the skill will do, and some have a life of their own. Ardents can be anything from
mechanical steeds to magical tanks and beyond.
Familiar: Familiars are small, autonomous constructs that assist their master with a narrow field of
tasks. Like a drone, or funnels/bits.
Artifact: A part of your Astir that can be activated with the subsystems move to give you
advantage on a roll, before or after you make it.

Advantage: To roll an additional die and take the highest two.

Disadvantage: To roll an additional die and take the lowest two.
Confidence: To treat any dice result of 1 as a 6 instead.
Desperation: To treat any dice result of 6 as a 1 instead.
Overheating: Caused and removed by certain moves. Normally removed at the end of a Scene like
risks, also.
 MAGICAL OBJECTS
d66 Object
11 A set of cooking utensils that are always spotlessly clean.
12 An orb that floats by the head of its owner, providing them with wisdom.
13 A coin that always lands as it is called.
14 A basket of porcelain spheres that move to form a model of the solar system when laid on black
cloth.
15 An ornamental sword that any onlooker views as tailor made for them.
16 A jar of sand that wards the bearer against fear.
21 A clay tablet that can capture a perfect rendering of any scene it is held up against.
22 A map that may be temporarily written on with your fingers.
23 A thin crystalline needle that constantly points at the closest source of invisibility magic.
24 A hammer that will drive nails through anything.
23 A silver token that prevents the holder from knowingly lying.
26 A small vial of liquid that burns through everything except glass.
31 A gold-painted ring that alters divination magic cast by the wearer to show more hopeful or
lucky futures and outcomes.
32 An iron rose that sprouts thorns in the hands of someone who has broken a vow or promise.
33 A gem that can capture words from the bearer’s target.
34 A shield that can hold back any flood.
35 A feathered cloak that projects a waterproof barrier around the wearer.
36 A box that only opens during an eclipse.
41 A knife and fork that vibrate gently in the presence of poison.
42 A set of hand-made dice that only ever roll 3’s.
43 An adhesive that will bond any two things.
44 A solvent that will separate any two things.
45 A mask with jewelled lenses that feeds false information about the wearer to anyone who would
use mind-reading magic on them.
46 A lock that merges with any surface it is pushed into, until unlocked.
51 A wax strawberry that becomes poison once a trigger word is spoken.
52 A flag that slowly ruins the soil wherever it is planted.
53 A never-ending ball of string.
54 A fake paper Astir that folds up to fit in your pocket.
55 A thin stone disc that floats freely wherever it is left, and can support a few kilograms of weight.
56 A keyring that guides the holder to lost keys.
61 A leather collar that hides the wearer from magic that detects living creatures.
62 A crown that repairs itself and reshapes itself to fit any head.
63 A short knife that is capable of cutting through any non-magical rope, cord or chain.
64 A gauntlet fitted with a jewel that can conjure a storm overheard.
65 A pair of gloves that can touch in the intangible.
66 A pair of picture frames that act as a portal to each-other.
 MAGICAL WEAPONS
d66 Object
11 A spear that binds those injured by casting chains from their blood.
12 A sheathe from which a blade of any length can be drawn.
13 A long Astir’s cannon that fires shells full of magically contained magma.
14 A launcher filled with wands that cast blighting spells upon impact.
15 A javelin that trails flame behind it when thrown.
16 A wand that allows the bearer to draw down bolts of lightning.
21 A flintlock pistol with rounds guided by bound spirits.
22 An ornamented halberd that lets forth a terrifying roar when it takes a life.
23 Paired swords that unerringly track wounds left by the other.
24 An Astir-sized staff capable of spraying beams of frost.
23 A crossbow adorned with elemental crystals that charge its bolts with thunderous energy.
26 A bow, made from the wood of a tree grown in blessed grove.
31 A set of perfectly balanced bronze orbs.
32 Three silver arrows, each with a small plaque for a target’s name.
33 A pair of alchemical mortars, designed to flood the world with toxin.
34 A rifle loaded with thick pieces of magical crystal.
35 A hollow mace, from which sticky tar oozes.
36 A ballista that trails a path of solid, tangible light behind its bolts.
41 A multi-chambered firearm designed to fire lead-encased scrolls.
42 A flat-tipped executioner’s sword that leaves only closed wounds.
43 A brace of flintlocks that briefly crack open thin portals to a much more incendiary realm than
ours.
44 An axe carved wholly from one huge, serrated fang.
45 A pouch of small gems that explode dramatically when shattered.
46 A blade that is magically incapable of leaving wounds.
51 A long whip embedded with venomous, weeping thorns.
52 A catapult that conjures a new payload into existence after every shot.
53 A ring of keys which can magically merge into a small blade.
54 A lightweight lance, embellished with golden seals that attempt to deflect any magic that would
harm their bearer.
55 A thin glass orb filled with acid, that slowly repairs and refills itself after smashing against its
holders target.
56 A silver dagger that can be safely hidden in the flesh of its bound owner.
61 A heavy mace that emits a dispelling field, designed to stop Astirs without causing damage that
would make them unsalvageable.
62 A winged spear that grants the bearer limited flight in pursuit of their foe.
63 A contraption that fires searing javelins accurately in trios.
64 A matched pair of long-clawed gauntlets, which harbour a charge of frosty magical energy.
65 A crystalline wand, charged with spells that brand those struck.
66 A long-handled axe, enchanted to whip up heavy winds whenever it is swung in anger.
You are a coven of MAGE-ARTIFICERS, brought together to enchant an ASTIR—a magical construct
that will, alongside its CHANNELER, push back the ENEMY.
One of you is RADICAL, and sees the ASTIR could be more than the others understand.
One of you is BELOVED, and knows everything about their CHANNELER.
One of you is DILIGENT, and understands well what threats the ENEMY poses.

Take turns describing a spell, enchantment or magical artifact that could be implemented into the
ASTIR's design to the other ARTIFICERS. One ARTIFICER will support your pitch, and tell you why—
The other will dispute it. Then, you roll to see how your magic turns out.
Alone, you roll a single d6, but;
If the RADICAL describes a potential transgression or misuse, good or bad, they add a d6.
If the BELOVED describes how the CHANNELER will feel about this and why, they add a d6.
If the DILIGENT describes how this counters a threat presented by the ENEMY, they add a d6.

Roll these dice, and check what the highest result is;
If it is a 1 or 2, it is �awed: whoever disputed the feature may narrate a scene in the future describing how it failed or
caused someone harm once.
If it is a 3 or 4, it is acceptable: whoever designed the feature may narrate a scene in the future describing it being
used to successful ends.
If it is a 5 or 6, it is perfect: whoever supported the feature may narrate a scene in the future describing how it was
used to achieve something beyond what you thought possible.

When the three of you decide that the ASTIR is finished, give it a name. Finally, check how many
designs were flawed, how many were acceptable, and how many were perfect. Finally, you will
narrate how the ASTIR and its CHANNELER are remembered, far in the future:
If most were �awed, you are scavengers stood around the recent wreck. The DILIGENT narrates �rst, the BELOVED
second, and �nally, the RADICAL.
If most were acceptable, you are soldiers watching a parade of arms. The BELOVED narrates �rst, the RADICAL
second, and �nally, the DILIGENT.
If most were perfect, you are students touring an exhibit. The RADICAL narrates �rst, the DILIGENT second, and
�nally, the BELOVED.

If you have more than three players and want to add extra roles, consider; the HAUNTED, who will not see the same MISTAKE made
twice, the ARTIST, who has a VISION for the future, the PRAGMATIST, who will not let us build beyond our MEANS, or the
IDYLLIST, who knows swords must one day be PLOWSHARES.
 RELEASE NOTES
V1.5 THE BIG REFRESH
• Removed bewitched words & dueling magic, since classical spellcasting did the same thing
effectively. Added a new Cantrip to replace them.
• Added a non-listening post option for advancing projects as a Scene. Clarified Astir Salvaging and
some more Conflict Turn wording. Added another Mission Hook to the main book.
• Example settings have now been moved into the Scenario Samples!
• Added new optional rules for Multi-sided and Generational Conflicts instead of the typical
Authority vs Cause setup.
• Added extra guidance to Main Concepts for a few things.
• Moved the settings back into the main book. I’m indecisive. Also added one!
V1.3 SPRING CLEANING
• Added some clarification about how rolling against Division Strength is different during Conflict
Turns and Downtime, and why that is exactly.
• Clarified some aspects of exchange blows and how it advances GRAVITY clocks.
• Clarified some information about tiers and bane/ruin tags, and how they affect larger tier gaps.
• Clarified wording around how many moves playbooks begin with.
• V1.31 — Some small fixes and clarifications to the Conflict Turn.
V1.2 DISFAVOURABLE FIXES
• Fixed an inconsistency with how Divisions being ousted due to disfavour was described in two
different sections of the Conflict Turn. New behaviour combines the two into one, more
interesting system.
• Fixed several other minor inconsistencies and grammatical errors throughout the text.
V1.1 TAG REWORK
• Reworked tags to be organised by value, rather than a simple mechanical/narrative split.
• Edited some Cantrips.
• Made certain headers BIGGER.
• Provided actual rules for buying/acquiring equipment based on value.
• Revised the starting gear for a few playbooks.
• Reduced starting Traits to +2 total, but gave Supports a Quarters option to add an extra +1.
• Rebalanced many Astir weapons in line with the new tag costs.
V1.0 FULL RELEASE
• Reworked the Conflict Turn heavily! See alterations to Conflict Scenes and Regions—now
Pillars—primarily.
• Updated plan & prepare in line with the above Conflict Turn changes.
• Tweaked Alchemical Suite a bit to prevent a huge amount of ward stacking. Also made some other
minor changes to Astir parts.
• Made Quarters a little stronger! You don’t get an Astir so it’s only fair.
• Added some extra notes about tier and attacking with a weapon (or something else with a
profile). Also added some notes about using things of a lower tier than yourself.
V0.8 “MOSTLY SMALL CHANGES, BUT I WANTED TO INCREASE THE VERSION NUMBER”
• Further clarifications to the Conflict Turn.
• Some minor playbook tweaks.
• Additional art pieces added.
• Added a third Resolution to all the Conflict Scenes.
• Added extra options to The Discourse.
 ACKNOWLEDGEMENTS
As a Powered By The Apocalypse game, Armour Astir naturally owes a lot to Apocalypse World by
Vincent Baker and Meguey Baker. Thank you for teaching me about failing forwards. It’s great.
Additionally, the new Conflict Turn owes a lot to Mobile Frame Zero: Firebrands. Additional design
influences include Technoir by Jeremy Keller, The Sprawl by Hamish Cameron, Masks by Brendan
Conway, Scum & Villainy by Stras Acimovic and John LeBoeuf-Little, We Made Them Look Like Us by
Takuma Okada, Tendencies: Spirits & Glamour by Dusty De Leon, and countless others. The Generational
Conflict optional rules are very inspired by Microscope by Ben Robbins, which I love. Additionally, a
huge thanks to the members of the Treehouse discord, for answering more questions and tipping
more of my words in the right direction than I could ever keep count of. You and the work you all do
inspires me every day.
SPECIAL THANKS
I'd also like to thank the cast of Friends At The Table, who re-ignited my love of tabletop role-playing
after one too many long nights of Pathfinder. This game wouldn't exist without you.
Additionally, I'd like to thank Em and Jackson of Abnormal Mapping. Without the Great Gundam
Project I never would have had the motivation to keep watching, and I'm very glad I did. I love those
cool robots.
Shout-outs to discord servers I call home. Thank you for opening your doors and making me feel at
home. I’m glad to know you all, even if you give me headaches at 3am.
Thanks to my partner, Dusty, who spurs me on to think about design and why I make things the way
I do so often. You’re my biggest inspiration, the funnest person I know, and the best GM I’ve ever
played with. I love the stories we tell together almost as much as I love you.
Last but absolutely not least, a special thanks to my dear friend Thursday! I couldn’t ask for a better
friend, and I’m eternally glad to know how much my design work fuels your love of mecha.
MISC.
Other things I enjoyed throughout this games development include;
• Podcasts: The Shrieking Shack, Waypoint Radio, Emojidrome, Film Critters, The Magnus Archives, Hold
This L, Borat Club, Just King Things, A More Civilised Age, Night Clerk Radio,
• Books/Comics: Delicious In Dungeon, Dead Dead Demon's DeDeDeDe Destruction, Dorohedoro, Ancillary
Justice/Sword, Consider Phlebas, Player Of Games, Little Teeth, Men Women & Chainsaws, about 25% of
From A Certain Point Of View (The Empire Strikes Back), The Honjin Murders
• Games: Dragon's Dogma: Dark Arisen, Risk of Rain 2, Path of Exile, Disco Elysium, Outer Wilds,
Timespinner, Battletech, Umurangi Generation, Destiny 2, DUSK, Resident Evil 2 Remake, Resident Evil 7,
Resident Evil Revelations
• TV/Films: Dirty Pair, The Tatami Galaxy, Us, Get Out, Armored Trooper VOTOMS, Nichijou, Midsommar,
Raw, Ghost In The Shell: SAC, Night Is Short, Walk On Girl, Hardware, Nosferatu the Vampyre, Pontypool,
Parasite, Kamen Rider Kuuga/Agito/Faiz/Blade/Hibiki/Kabuto/Ex-Aid/Build/Den-O/Revice, Riverdale,
What We Do In The Shadows
FONTS
Fonts used throughout this game include Gentium Book Basic, Tw Cen Mt, Scheherazade, Poor Richard,
Perpetua, Centaur, Berry Rotunda, Liberation Sans, Liberation Sans Narrow and Liberation Serif.
riar Sovereign is a trans, nonbinary games designer and

B
writer based in the UK.They love mechs, magic, and Kamen
Rider: only two of which feature in this book, unfortunately.
 ARMOUR ASTIR: ADVENT is a high-fantasy
roleplaying game about striking back against an
authority that seeks to control you.
It is a game of rival pilots clashing in steel-clad Astirs, of
soldiers holding their own against the odds, and of spies
and diplomats twisting the world to their ends. It is not a
game of careful preparation or pleasant truces;
It's hard to change the world without taking a risk .

Take on the role of magical mecha pilots or their supporting crew as you and your
table flesh out a tyrannical Authority; and then create the Cause that will tear it down.
A love letter to mecha anime and fantasy fiction broadly, Armour Astir is designed to
evoke the feel and pace of iconic mecha shows in an accessible, narrative-focused
format: without skimping out when it comes to the exciting action.

• 4 Channeler playbooks: magical mecha pilots who stride into battle in a custom
Astir
• 4 Support playbooks: the engineers, spies and diplomats whose skills lie off the
battlefield
• Powered By The Apocalypse rules, expanded with new systems for dynamic physical
and social conflict
• Zoom out during the Conflict Turn to depict the changing tide of the war in
narrative Scenes
• Optional systems for conflicts with several sides & campaigns spread across
multiple time periods or generations
• 4 example Mission Hooks for quickly creating Sorties
• 4 example Settings Hooks, complete with Cause & Authority, for running campaigns
within