Hesitation at the Gate

a roleplaying game of Fate and Fortune

 Game design and writing
Adam Blumenau
Art
Jabari Weathers
Proofreading
Melinda Race
Playtesting
Adrian Sudol
Alec Ishak
Brian Sanders
Chris Sanders
Jack Pennington
Rowan Michaud
Matthew Gamache
Nathanial Syer
Sean Ramsay

© Adam Blumenau. All rights reserved

This document was prepared used Scribus 1.4.8 along with the typefaces Chapbook and Isabella
Index
1. What it is....................................................................4
2. What You Need.................................................5
3. Game Terms...............................................................6
4. Character Creation............................................10
5. The Order...................................................................17
6. Bonds...............................................................................18
7. Playing the Game................................................21
8. Conflict Resolution.........................................24
9. The Arcana................................................................30
10. Wounds.......................................................................32
11. Character Growth.............................................. 34
12. The City....................................................................36
13. The Supernatural................................................37
14. Arts..................................................................................40
15. Great Works..........................................................43
16. Spinning Fate........................................................48
17. Sample Characters............................................ 51
18. Sample Scenario................................................. 60
1. What it is
Hesitation at the Gate is a game of chasing enlightenment. Your character will have goals, motivations, and
relationships. Their skills will be honed and tested friendships will blossom and wither away. The world will
fight back at them for daring to dream. There will be great successes and tragic failures. No matter how far
they go, the ultimate challenge will patiently wait for them to arrive. When all foes are conquered and all
dangers escaped, will it be worth it? When your character stands before the gates of Truth, will they be
satisfied with the path that has brought them there?
2. What You Need
Participants
Hesitation at the Gate is played with a Fate Spinner and one to five players. The Fatespinner is responsible
for breathing life into the world and its characters. All players other than the Fatespinner are called Seekers.
Seekers are each responsible for playing a single character; an individual with relationships, quirks, and desires.
The Fatespinner will create adversity in the face of their desires. The tarot cards are bid to take control and
fates are set. Their success or failure drives the drama.
Time
Hesitation at the Gate can be played either as a single or multiple sessions. A session is broken into one or
more acts, which are abstract time intervals that cover an arc of the characters’ lives. Each act typically takes
45 to 90 minutes of play.
Tools
You will need one deck of Tarot cards. The rules are written assuming you are using the typical Rider-Waite
Tarot deck. This rulebook will use the common names of the suits and major arcana.
Each Seeker will need a character sheet. Characters will evolve during play, so it is recommended to track
your character using an erasable marking tool. The Seekers will also need a communal character sheet for
their order.

The Suits
You will notice that the Tarot deck does not contain the same suits as a typical deck of playing cards. The
four suits are Swords, Cups, Pentacles, and Wands. These suits are associated with four aspects which cover
the skills and actions your character performs.
• The Swords – This suit represent physicality. Any action requiring bodily exertion; be it lifting a heavy load
or assembling precise machinery, is related to Swords.
• The Cups – This suit represent the mind. The sciences are related to this suit, as is any action related to
organizing thoughts and utilizing brainpower like alchemy and astronomy.
• The Pentacles – This suit relates to all social skills. Any action involving interaction with other sentient
beings is covered by Pentacles.
• The Wands – This suit represents the supernatural. All magics relate to Wands.
3. Game Terms
Certain game terms will be used repeatedly throughout this text. Brief definitions are provided here for
reference. Complete definitions will be provided where they first occur in the text.
• Fate Spinner – The player acting as referee and actor of the non-player characters, in many other games is
referred to as the Game Master.
• Seeker – Each player other than the Fate Spinner. Each Seeker controls one character fleshed out with a
character sheet.
• Act – An abstract period of time that roleplay will take place in. A single act covers a dramatic arc in the
characters’ lives.
• Suit – one of the four symbols associated with the base Tarot cards; Swords, Cups, Pentacles, and Wands.
There is a card for values of 2-10 of each suit.
• Royal – the “face” cards of the Tarot deck; Ace, Page, Knight, Queen, and King. There is a set for each of
the four suits.
• Trump – The trump suit always beats (or Trumps) any other suits regardless of their value.
• Arcana – the twenty-two non-suited cards; each has a unique title.
• Hand of Fate – The hand of cards the FS possesses during the game.
• Fortune Deck – The face down pile of suited cards remaining after hands are dealt to all players.
• Arcana Deck - The face down pile of arcana cards remaining after hands are dealt to all players.
• Discard Pile – The face up pile of cards already played, including suited and Arcana cards.
• Trick – The collection of cards made by participants in a conflict. Each participant takes turns adding one
card to the trick face down. Once all participants have played a card, they are all revealed. Achieving
success is done by taking the trick.
• Advantage – Indicates when a character gets a bonus in a conflict. It modifies how cards are added to the
trick.
• Rank – The level of an Art, Bond, or Great Work. Denoted in numbers of dots.
• Art – what would commonly be called skills. They are measured in ranks from 0 to 5.
• Specialization – A specific focus within an art.
• Bond – A codified connection your character has to a being or organization. They are measured in ranks
from 1 to 5.
• Great Works – Inventions, spells, and charms characters create. They are measured in ranks from 1 to 10
• Experience Points – A special resource used to improve characters.

Some Notes
Occasionally you will see breaks that begin and end with the symbol:

Why are you telling me this?

These breaks are intended to answer pressing questions and provide clarification for rules that are being
explained.
4. Character Creation
This chapter details the process for Seekers to create their characters. This process also explains the
mechanical concepts that give a character influence over the world. Take note, you are aiming to create a
character that will produce drama, not a flawless conqueror.

Body
Name - Even the most basic name like John Smith carries an identity. Choose a name that means something.
You’ll be living it during gameplay.
Description - Try to elaborate beyond just appearance. How does your character carry themselves? What
impression do they give to the outside world? These descriptors have no effect on gameplay so include
whatever you wish to be.
While you are free to elaborate as much as desired, have a description ready that briefly communicates the
first impression of your character. A phrase in the form of *adjective* *identity* (for example; Brusque
Artisan, Detached Healer, or Furtive Demonologist) is a good format.

Can I be a demon? A dragon? A god?

The expectation of Hesitation at the Gate is that characters are humans, but don’t let that stop you. Just be
prepared for situations beyond the scope of the rules of crop up more often than usual.
Soul
Next, define the motivations for your character. These are what drive the character to struggle against
adversity. Motivations are divided into two categories; goals and affects.
Goals
Each character has three types of goal; ultimate, major, and minor. Ultimate goals will be completed as the
major life event of a character. Major goals will be completed as the culmination of many minor goals. Minor
goals will be achieved and created often.
Ultimate - A character’s Ultimate goal should be their highest dream and aspiration. It is the big picture; the
kind of achievement that if gained, a character would live the rest of their life in peace.
Some examples of Ultimate goals are: Create a world free of sickness, Concoct the elixir of immortality, or
Engineer an artificial human.

Can my character’s ultimate goal to be to kill God? To destroy the world?

Your character’s goal can be ridiculous or completely impossible. They are not things they expect to achieve in
months, years, or even a lifetime. Just be sure to create goals that will actually influence the story.

Major - A character’s Major goals should be large, but achievable. They are something they can make progress
towards every day. This goal may not be completed in a single session, but the finish line should be measurable
by milestones.
Some examples of Major goals are: Become the Archduke, utterly destroy my rival, or establish a secret
laboratory.

Minor - Finally, a character’s Minor goals should be achievable in a session or less. The easiest way to
formulate a minor goal is to define one of the milestones towards a major goal. Minor goals should take several
conflicts to achieve, but are concise enough to be completed in one to two acts.
Some examples of Minor goals are: Form a plan to rob the archives, make contact with a spirit, or acquire
alchemical supplies.
Affects
Each character begins with four affects; two sins and two virtues. Sins are moral failings that inhibit your
character. Virtues are moral strengths that distinguish them from the common person.
A sin is a weakness of soul, something that will impede your character in achieving their goals. Be sure to
create sins that are actual moral failings. You don’t want to your character to just be greedy, they should be
ready to pickpocket the Pope when he walks by. They shouldn’t just be selfish; they should choose the
wellbeing of themselves over their closest friends. These sins aren’t limited to the seven classics, be creative! A
character may question the usefulness of mercy. A character whose prayers go unanswered may turn to occult
aid.
Do note that while severe, these sins should not be crippling. Most importantly, it should be fun for you and
your fellow players. No one wants to deal with the character who literally stabs his friends in the back at the
first opportunity. Your character should be flawed, but functional.
Virtues are more straightforward. They are ideals your character refuses to compromise on. Virtues should be
positive, but restricting. A character that never attacks an unarmed enemy will be susceptible to trickery. A
character that always follows the law will be obligated to turn in their sister when she is caught stealing.
Virtues are what makes your character heroic but also what challenges their ideals in an unideal world.
Mind
Next, define the skills and talents of your character. These consist of arts, bonds, great works, and things of
interest. They are all purchased using experience points.
Experience points are the currency of character growth, they are abbreviated as XP. Characters start with an
allotment of XP to spend during character creation and can earn further XP during gameplay. XP can be
spent however you wish, although it is prudent to spend at least a few points on each type. The total XP
allotted during character creation should be discussed and agreed upon as a group. Use the table below for a
guideline of starting character power.

Experience Level Number of Experience Points

Apprentice 5-10
Journeyman 11-20
Master 21-30
Grandmaster 30+

• Apprentice – A fresh faced student with zero professional experience. Will be scraping by for resources and
learning as they go.
• Journeyman – A book-smart scholar with enough knowledge to be dangerous. They will have made a few
friends (and enemies) and grown some skills into expertise.
• Master – A seasoned academic with skills enviable in their profession. Will have a well-established place in
society and big picture plans.
• Grandmaster – A professor at the pinnacle of their ability with friends and enemies in high places. Will be a
major mover and shaker in the world.
Arts
In Hesitation at the Gate, the skills of a character are referred to as Arts. The arts are classified into four
categories; Physical, Mental, Social, and Magical. Each category contains multiple arts and each art also has
possible specializations. Arts are measured in ranks from zero to five and each can have at most one
specialization. Any art with zero ranks must be learned before it can be improved. Learning an art grants the
first dot in it.
The costs to learn and improve arts are listed below. See the Arts chapter (page 40) for a full list and
description of available arts.

Upgrade Cost
Learn New Art 1 XP per # of Known Arts
Increase Art Rank 1 XP per existing ranks
Learn Specialization 1 XP

Does this mean the first art I learn is free?

Correct! The second art would cost 1 XP, the third 2 XP, etc.

Bonds
Bonds are your character’s connections to the world. There are four types of bond; Personal, Relationship,
Pact, and Miscellaneous. A character’s personal bonds are predefined, but all other bonds are created by the
player. Like arts, bonds are measured in ranks from zero to five. Your character’s personal bonds start at rank
1 and can be raised during character creation. Additional bonds can also be purchased during this process. The
cost to create and improve bonds is listed below. See the Bonds chapter (page 18) for a detailed description and
how to use bonds.

Upgrade Cost
Cost to Create 1 XP
Cost to Increase Rank 1 XP per existing ranks

Is there a max rank to bonds I buy at character creation?

You can raise bonds to their max rank of 5 if you have the XP to spend.
Great Works
Great Works are the bespoke tools and charms your character uses. Works come in a variety of shapes, sizes,
and forms. They can be anything from a wrist-mounted grappling hook to a mystic mantra to deadly hex. The
rank of a work determines how much energy it can draw on before being depleted. The cost of creating
works is based on its function and total rank, but does not need to be paid all at once. Full details for
designing, creating, and using works can be found in the Works chapter (page 43).

Things of Interest
Anything not covered by Arts, Bonds, or Works is designated under things of interest. These can be tangible
or intangible, from a signet ring to a wasting disease to an enchantment to a bounty on your head. A thing of
interest represents any specific possession, status, etc. that impacts the character in their day to day life. They
may allow characters to bypass situations that would otherwise trigger a conflict. They may improve a
character’s fortune or allow them to attempt challenges they would otherwise have no chance at accomplishing.
And of course, the reverse may also be true.
Characters will come into possession of and lose things of interest as a natural consequence of the story, but
players may also purchase a thing of interest. The base cost for a thing of interest is 3 XP, but the
Fatespinner can increase or decrease this cost as necessary.

Any unspent experience points are not lost and can be banked for future improvements. Players can also
spend their unused experience points to improve their order.

That’s it? Where’s my gold? My tools? My clothes?

It is assumed that your character has means to modestly clothe themselves and provide for their own room and
board. Otherwise, rules for material possessions are left open to apply at a complexity the players desire. By
default, it is assumed the characters have access to standard tools and possessions required to work and survive.
If not tracking inventories, a conflict can be used to acquire the tools to complete a task.
5. The Order
Once all players have created a character, they collectively design the order of which they are all members.
The order is what binds the characters together in spite of their personal preferences. This order is a shared set
of bonds for all the characters. The order’s character sheet should be accessible to all players during play.

Title
First things first, name your order. The name can be anything you want, but be aware this is the title you
will be promoting or referring to amongst your fellow members. Choose something pleasing to the ear.

Scope
Next decide on the size and extents of your order. Will it comprise of a large public organization or a
secretive cult? Will it hold hundreds of members or just be composed of the characters? Your order does not
need to conform to these extremes; discuss amongst your fellow players what kind of politics and goals you
want your order to pursue and let that form its composition.
Doctrines
These will be the philosophy and policy set in your order’s charter. An order’s doctrines are composed of the
following parts.
• Mission – What is the goal of your order? It can be as broad as “seek knowledge” or as specific as
“Discover a cure for the plague ravaging the city.” This goal is the reason your order was formed.
• Methods – What techniques does your order specialize in? Is it a religious collective studying scripture for
divine truths? Is it a scholarly order perfecting the sciences? Your order won’t be limited explicitly to
the one or two methods described here, but they will shape the general feel and aesthetic of the space
your order occupies.
• Allowances – What lengths is your order willing to go to in pursuit of its goals? What benefits does a
member of your order receive that they would not get from working unaided? Does your order have a
hierarchical structure that lets high ranking members command lower ranked ones?
• Prohibitions – What lengths does your order refuse to go to? These can refer to methods used in pursuit of
knowledge, but they can also refer to what kind of clientele, if any, your order serves. If your order is
secret, one of its prohibitions would be not to reveal its existence to outsiders. The written prohibitions
do not need to be exhaustive, but should give a general feel for what is forbidden and maybe a few
specific examples.
• Punishments – What does your order do to members who break the prohibitions or fail to uphold its
methods? An order may simply be satisfied with expelling illicit members; a serious order may prescribe
death as the most severe consequence.
Order Bonds
Your order has its own bonds independent of the characters. The order’s bonds each start at rank 1 and can be
improved at the same cost of other bonds using XP collectively from all characters in the order. These bonds
are accessible to all members of the order.
6. Bonds
Bonds tie your character to the world. They represent the links your character has forged within themselves
and with others. Bonds are open-ended in use but cannot be limitlessly called upon. There are four types of
bond; Personal, Relationship, Pact, and Miscellaneous.
Bonds are an important distinction between Fatespinner and player control over the world. When a player
creates a bond with an entity or organization, they are exerting control over those entities that the
Fatespinner cannot take away. While the Fatespinner is free to act out the character(s), as long as they are
on the Seeker’s sheet, they cannot be rendered ineffectual through death or other means. While dramatic
circumstances or basic rules of physical space may make the bond temporarily unavailable, the Fatespinner can
never use their power to refuse or reduce the benefit of a character’s bonds.

Personal Bonds
Personal bonds represent the health and power of your character’s identity. The four personal bonds are;
Physical, Mental, Social, and Spiritual.
• Physical (Swords) - The physical bond represents the health, strength, and grace of your mortal body.
• Mental (Cups) - The mental bond is your intelligence, wit, and intellectual fortitude.
• Social (Pentacles) -The social bond is your character’s ability to interact with others and participate in
society.
• Spiritual (Wands) - The spiritual bond is your character’s connection to the supernatural.

Order Bonds
Your order has personal bonds as well. These bonds are slightly different but analogous to the personal bonds
of a character. Like personal bonds, they start at rank 1 and can be increased during character creation. These
bonds can be called upon by any member of the order.
• Affluence (Swords) – The coffers and infrastructure of your order.
• Academy (Cups) – The academic knowledge your order possesses.
• Prestige (Pentacles) – The social standing of your order.
• Lore (Wands) – The magical power and occult collection of your order.
Antagonistic Bonds
Not all bonds are formed from a mutually beneficial relationship. Bonds can also be formed from antagonistic
forces focusing on a character. Other than personal bonds, any bond type can be an antagonistic bond.
Antagonistic bonds have risk, they represent an entity pursuing the character’s downfall. The adversity also
provides greater reward. Whenever an antagonistic bond of a character is used, that character immediately
receives experience points equal to the bond’s rank.
Can I assign antagonistic bonds during character creation?
Absolutely, you are aiming to make a character that will create drama. Antagonistic bonds are created and
improved in the same way as normal bonds.
Antagonistic bonds are a direct and explicit message to the Fatespinner. Unlike normal bonds, the entity or
organization of an antagonistic bond are within the Fatespinner’s control. The Fatespinner should follow basic
rules of logic and space, but they are free to throw them at the player whenever appropriate. One thing to
note is that these antagonistic forces are focused on the character whose sheet they live on. While they can
interfere with group actions, the Fatespinner should be wary of sending another player’s antagonists against
their friends. If such action is called for, reward the XP to the player(s) being inconvenienced.

Relationships/Rivalries
A relationship represents the close friendship with another being or group. While your character will
probably have many casual associations in the world, relationships formalized with a bond indicate they are
narratively important.
Rivalries are relationships of animosity. When a character creates an enemy through insult or injury, they
can also create a rivalry. Rivals will seek to hurt and hinder the character at any opportunity they can.

Pacts/Debts
Pacts are the formalized bonds a character makes by the laws of society. Many times, these will be sealed with
actual contracts in the world. Things like memberships, loans, and magical deals fall under pact bonds. Like
relationship bonds, only narratively significant agreements should be formalized this way.
Debts are pacts gone bad. When a character makes a deal that allows another entity to coerce them, they fall
into a debt. Taking a loan from a bank is merely a pact where the character agrees to repay the money, but if
the bank extorts the character with unpayable interest the bond would be a debt.
Miscellaneous
Miscellaneous bonds are anything that does not fall under the category of Personal, Relationship/Rivalry, or
Pact/Debt. They can be beneficial or antagonistic.

Forming Bonds
A character’s personal bonds are set during character creation, but any new bonds must be formalized. When
a significant enough bond is formed, determine the circumstances of the bond to establish its starting rank. A
casual acquaintance blossoming into friendship would start at rank 1. Signing a contract of membership for a
high-profile position in a guild would be rank 2 or 3 to represent the higher expectations of the connection.
7. Playing the Game
Framework
Hesitation at the Gate is played through collaborative storytelling. The Fatespinner and Seekers are
cooperating to create the twists and turns of the narrative. The Seekers will have characters with goals that
inform what kinds of story they are looking to tell. The Fatespinner will create challenges and obstacles. The
Seekers will decide how their characters work to overcome these obstacles and advance the story for good or
for ill. As characters achieve or fail to realize their goals, they will create new ones from which the
Fatespinner can create new adversaries.
Each Seeker is responsible for acting as their own character. The Fatespinner is responsible for acting as all
other characters in the story. Everyone at the table should feel welcome to contribute details to the game
world. Character quirks, place names, and histories are all fair game for player input. The goal is to foster a
collaborative space where each player feels a connection to the world their characters inhabit. It is the overall
goal of the Fatespinner to ensure that each player is given equal opportunity to contribute and that content
remains respectful of every player’s boundaries (including their own).
Gameplay takes place over multiple acts. Each act represents a collection of scenes in the story, usually a day’s
worth of events. If an extended period of time is required, these acts can be changed to weeks, months, or any
duration. Regardless of the time period declared, gameplay occurs in the same way.
Everyone playing should focus on creating a dramatic and interesting story, not competing for dominance. The
Fatespinner is expected to throw interesting twists that challenge the characters’ beliefs and the Seekers are
expected to embody imperfect characters whose success and failures create drama.
Preparation
Collect all the Tarot cards and separate them into the twenty-two arcana and fifty-six suited cards. Shuffle
these piles separately and place them face down in the center of the table. The deck of suited cards is the
Fortune Deck and the deck of arcana is the Arcana Deck. The Fatespinner then deals each player, including
themselves, six cards from the Fortune Deck. The Fatespinner then deals each player, including themselves,
one card from the Arcana Deck. Finally, the Fatespinner reveals the top card of the Fortune Deck and places
it face-up to the side to form the Discard Pile. At any point, if a player needs to draw from the Fortune deck
and it is empty, shuffle the discard pile and place it face down to refill the fortune deck, then flip the top card
to create the new discard pile.
 Player B's Hand

Fortune Deck Arcana Deck

Player A's Hand Player C's Hand

Discard Pile

Fatespinner's Hand of Fate

Do I need a separate discard pile for the Arcana?

No, the discard deck will hold all used cards, both suited and arcana. If the discard deck is ever reshuffled
during the act to refill the Fortune deck the used arcana go with it. Remind your Fatespinner to separate the
arcana out again at the end of the act!
For each player, this hand of cards represents the luck on their side for the act. For the Fatespinner, this hand
of cards is the Hand of Fate, the power of the antagonistic forces.
Action
Roleplay! Characters will go about their business, trying to achieve goals, interacting with each other and
outside forces, and getting into trouble. Characters may plan out schemes, work towards contracts, hone their
skills, or explore the world. Each Seeker has created goals and desires for their character; now is the time to
start working towards them.
Whenever a character encounters a situation in which success is not guaranteed, this begins a Conflict in
which a trick or tricks are played. Success and failure will create the beats that drive the story.
So I only get seven actions a day?
If a character ever needs to play a card for a trick and has no cards in hand, they draw the top card of the
Fortune Deck and use that. Be aware that the conflict mechanics should only be utilized for dramatic
struggles. A minor argument between a character and the duke over the quality of the wine doesn’t need to be
resolved with a Conflict. A verbal struggle with the Duke over his continued patronage absolutely would be.

Wind Down
Once all players, including the Fatespinner, agree that they are done narrating actions and resolving conflicts,
the act ends. Players are not required to play or use every card they have. Any cards not used are discarded
with no effect. During this period, players should review their goals and declare if any have been achieved.
Players should also review the story so far and declare if any new goals have formed for their character.
During this downtime players may spend experience points to improve their character or order, heal wounds,
and make progress towards Great Works.
8. Conflict Resolution
Whenever a situation emerges in which success is not guaranteed, a trick or tricks are played to determine the
outcome. Resolving conflicts is done by performing the following steps:
1. Determine participants
2. Declare goal
3. Determine length
4. Determine difficulty
5. Play the trick
6. Resolve success or failure

1. Determine the participants – How many Seeker characters are working to achieve success? Anyone capable
of and willing to aid in the conflict can participate.
Next, determine if any forces are acting against the characters. If an antagonistic force is acting against the
participants, then the conflict is a conflict of fate in which case the Fatespinner will add cards to the trick
from their hand of fate. If no outside force is acting in the conflict, then it is a conflict of fortune in which
case the Fatespinner will only add cards to the trick from the top of the fortune deck.

Marco and Flora have stolen a chest from a demonic cult. Marco wants to open the chest and asks
Flora for help. Flora believes the chest is trapped and declines. Since Marco is acting against an
inanimate object the conflict will be a conflict of fortune, so the Fatespinner will only be using cards
from the fortune deck.

2. Declare the goal – What is the character(s) trying to achieve? The Seekers declare what success in the
conflict looks like. The Seekers also declare what art or bond they are using to attempt this conflict. The
Fatespinner may veto any choice that will not contribute towards success. In situations where no art,
relationship, pact, or miscellaneous bond is applicable, the character must rely on an appropriate personal bond.
Success should be a reasonable achievement. “Reasonable” achievements are anything that can be completed in
a period of time with the applicable art or bond. A reasonable success for the pyromancy art would be
conjuring a gout of flame or igniting a human-sized object, not burning down the city or incinerating a
demon.

Marco decides they wants to use their pyromancy art to melt the lock on the chest.
3. Determine length – For short conflicts, only one trick is required to achieve success. For extended conflicts,
multiple tricks may be required. In cases where multiple tricks are required, the Fatespinner may require a
series of consecutive successes or target number of success out of the total.

The chest has a simple lock so the Fatespinner rules that the conflict will only require one trick
to complete.

4. Determine Difficulty - The more difficult the attempted feat, the greater the challenge. The difficulty of
the conflict will determine the degree of advantage of the opposing force. Refer to the list below for what
difficulties correspond with how much advantage the opposing force gains.
• Trivial - No advantage – Success requires minimal effort to achieve regardless of actual skill.
• Simple - 1 degree of advantage – Success requires a modicum of skill to succeed, something even a
beginner could handle.
• Standard - 2 degrees of advantage- Success requires average skill to succeed.
• Tough - 3 degrees of advantage – Success requires developed skills to succeed.
• Difficult - 4 degrees of advantage - Success requires seasoned skill and luck to succeed.
• Challenging - 5+ degrees of advantage - Success requires supernatural skill to succeed.

Advantage
Occasionally circumstances may be in a character’s favor during a conflict. If preparation, luck, or other
conditions calls for a character to have a better chance of success, that character gains Advantage.
If a character has Advantage, when they would play a card towards the trick, they instead choose a card from
their hand and draw the top card of the fortune deck, pick one of the two cards to add to the trick, and discard
the other. A participant can have multiple degrees of advantage; in which case they draw a number of cards
equal to their degrees of advantage from the fortune deck. Each rank of the skill or bond being used in the
conflict grants the user one degree of advantage.
If luck or circumstances are turned against a character, then the forces acting against that character gain
advantage. Multiple participants in a conflict can have advantage.
Marco has a pyromancy rank of 2, so they will choose a card from their hand and then draw two more
cards from the top of the fortune deck, choosing only one to use in the trick and discarding the others.

The extent of success trying to be achieved also correlates to the extent of possible failure. Trying and failing
to light a candle will result in burned fingertips; trying and failing to throw a fireball engulfs the user in
flames. Before playing the trick, the Fatespinner declares what setbacks the Seekers should expect to face if
they fail. Seekers are free to suggest alternate setbacks, but the Fatespinner has final say.
 It is a simple, sturdy lock; the Fatespinner declares that the conflict will have standard difficulty. Since it
is a conflict of fortune, they do not use any cards from their hand; drawing two cards from the fortune
deck, choosing one to use in the trick and discarding the other
5. Play the Trick – All participants play a card from their hand (or card from advantage) face down to assemble
the trick. Once all participants have contributed a card, flip them face up and determine if success or failure
was achieved.
I have no cards left in my hand and a murderer is bearing down on me! Help!
Once a player has run out of cards in their hand, they have used up the fortune that is in their
character’s control. Whenever a player would need to play cards for a conflict and has no cards or can’t play
any cards from their hand, they instead play the top card of the Fortune deck. Advantage still allows the player
to draw multiple cards from the top of the deck and choose which to play.
Using Bonds
Bonds can be called upon during a conflict for aid. This includes, personal, relationship, pact, miscellaneous,
and order bonds. If resources from the bond are available for assistance, a character may use the bond in place
of an art during a conflict. When doing so, use the bond’s rank in place of an art rank and use a trump suit
suitable to the type of assistance being provided (Swords for physical, Cups for mental, Pentacles for social,
and Wands for magic). Bonds are not limited to one type of assistance; their application is up to how the
player uses it. A character with a relationship to a wealthy noble could call upon their aid for monetary
assistance (pentacles) or a team of guards (swords) to achieve their ends. Each time a bond is called upon in a
conflict, assign that bond 1 wound.
Antagonistic bonds can also be called upon during the act, but by the Fatespinner instead of the players. If an
antagonistic force from a character’s bond could be available, the Fatespinner may call upon the bond. Like
normal bonds, antagonistic bonds receive a wound when they are called upon. When calling on an
antagonistic bond, the character in the conflict still uses one of their arts or bonds to defend themselves, but
the difficulty is equal to the rank of the antagonistic bond.

Using Untrained Arts

A character only relies on their personal bonds when no other arts are applicable, not when they have no
applicable trained arts. Characters are free to use any untrained arts (although the FS may veto unrealistic
choices); since they have no ranks in the art, they receive no degrees of advantage. When relying on an
untrained art, the opposing force receives 2 degrees of advantage. In the case of multiple characters acting
together in a conflict, this bonus does not stack; if one or more characters are using the art untrained the
opposing force only gets 2 degrees of advantage.
What if both sides are using an untrained art?
Both sides would gain 2 degrees of advantage.
6. Resolve Success or Failure – In order to achieve success, the participants must win the trick. The art used
in the conflict determines the trump suit. The card played by the primary participant determines the leading
suit. Only cards of the leading suit or trump suit can beat the leading card. Higher values beat lower values of
the same suit.
Trump
The trump suit is the highest priority suit in the trick. While the player can lead the trick with any suit, the
trump suit (the suit of the art used) will always rank higher than any other suit, regardless of its actual value.

The Royals
You may have noticed that the royals do not have a number associated with them.
The Royals - The royals are higher ranked than the values two through ten in ascending order; Page, Knight,
Queen, King.
The Ace – If the trump suit, the Ace is the highest possible value. Otherwise, the ace is the lowest possible
value.
Reference the list below for a breakdown of which cards beat which. Cards are ranked in descending order (#
1 beats everything, # 2 is only beaten by # 1, # 3 is beaten by # 1 or # 2, etc.)
1. Ace of trump suit
2. Royals of trump suit
3. 2-10 of trump suit
4. Royals of leading suit
5. 2-10 of leading suit
6. Ace of leading suit
7. Non-trump suit, non-leading suit cards
What if I lead with the trump suit?
Then the leading suit and trump suit are the same. Only a higher value card of the trump suit can beat the
leading card.
If the leading participant’s card is not beaten, they achieve success in the conflict; the character(s) achieve
their goal. If any of the cards assisting players have added to the trick also beat the card of the opposing force,
those players can inject an additional aspect of success. The benefit can be a separate but appropriate side
effect or an increase in the magnitude of the main objective.
If the leading player achieves success, they collect the cards from the trick and place them face up in front of
themselves in a pile (face up cards from other tricks do not need to be kept separate). That player and
everyone assisting them receives 1 XP.
If their card is beaten, the participants fail and receive fallout. If the participating player did not achieve
success, they collect the cards from the trick and place them face down in front of themselves in a pile (face
down cards from other tricks do not need to be kept separate). That player and everyone assisting them
receives 2 XP.
 Marco and the Fatespinner present their cards face down and simultaneously reveal them. Marco’s card is
the nine of cups and the Fatespinner has the three of wands. While Marco’s card has the higher value,
they used a magical art and thus the trump suit is wands. The Fatespinner’s three of wands trumps the
nine of cups; Marco has failed! The Fatespinner declares that Marco manages to melt the lock, but fuses
the chest sealed in doing so. Marco collects the cards used in the trick and places them face down in front
of themselves. Marco also receives 2 XP for the failed attempt.

Time Marches On
When a character fails to achieve success in a conflict, it’s done. An extended conflict may have multiple won
and lost tricks, but the ultimate success or failure is final. Keep the fiction moving forward, players shouldn’t
be wasting time repeating the same conflict over and over.

Marco wishes to keep trying to open the chest but it is beyond their ability to achieve using pyromancy.
Marco is not trained in any other useful arts and begs Flora for help. After Marco’s flubbed attempt,
Flora decides the chest is probably not trapped and says she’ll make an attempt with her rank 2
Engineering.
Helping Out
When more than one player is participating in the conflict, determine which player is the main participant.
They are the initiating player, and the card they play towards the conflict determines the leading suit. The
other participating players also contribute a card to the trick. Once all cards are revealed, if any of the
participating players’ cards are the highest trump/leading suited card, the trick is a success. Multiple
participants can act on each “side” of the conflict.
Spread the Love
Before playing cards in a conflict, a player may discard 3 face-up cards they have collected to give another
player one additional degree of advantage. This player does not need to be participating in the conflict and can
grant the degree of advantage to any participant in the conflict. The player can grant multiple degrees of
advantage provided they have enough cards.
Down But Not Out
Before playing cards in a conflict, a player may discard 2 of the face-down cards they have collected to give
themselves one additional degree of advantage. The player may give themselves multiple degrees of advantage
this way as long as they have enough face-down cards.

Marco really wants to open that chest. They discard 3 face-up cards collected in previous conflicts to help
out. Flora doesn’t want to ruin the chest any further, so she discards 2 of her face-down cards to gain
another degree of advantage. Flora’s 2 ranks in engineering along with Marco’s aid and her own will give
her a total of 4 degrees of advantage. She chooses a card from her hand and draws four cards from the top
of the fortune deck, picking one to use in the trick and discarding the rest.
The conflict is still against an inanimate object, so the Fatespinner will not use any cards from their hand.
They declare the trick is of Tough difficulty due to the chest’s current state. They draw three cards from
the fortune deck, pick one to use and discard the rest.
Flora and the Fatespinner present and reveal their cards. Flora has the Seven of Pentacles and the
Fatepsinner has the King of Wands. Since the art being used is Engineering, the trump suit is Swords,
but neither participant has played a Sword card. Even though the Fatespinner’s card is higher value, it does
not match Flora’s leading suit (and isn’t trump) so the Fatespinner loses. Flora succeeds! She keeps the
cards from the trick Face up and receive 1 XP.
Flora declares that by using chisels and other tools she disassembles the chest’s metal braces and expose its
contents. The Fatespinner describes an arcane tome and a pagan idol contained inside!
9. The Arcana
The arcana is your most powerful card; a momentous effect that bends fate to your will. Arcana cards can be
played during or outside of a conflict. The arcana’s powers are not specific, they execute the player’s stated
intent. However, each arcana has a domain in which its power can be called. The domain of influence for each
arcana is described below.
The arcana cannot be beaten by any card. Arcana can be used to invoke or protect from their domain of
influence. For example, the Tower, which beckons catastrophe, can also be used to counteract it. This may be
used to avoid a conflict, ignore the setback of a failed conflict, or other powerful effect.
Once a player has played an arcana card, no other player can play an arcana to generate the same effect.
Multiple arcana can be played on the same trick, but they must all be causing different effect to happen (such
as countering the effects of another arcana card). For example, if player A plays The Chariot in a conflict to
dominate their opponent in a fierce battle, player B, who is assisting, could not play the Strength arcana
towards the same effect, but they could play the arcana to increase the wounds/damage being dealt, say that
the glory of the fight inspires other onlookers to fight, or heal Player A’s wounds. In the case in which two
forces play arcana against each other (one to cause an effect and the other to cancel it), the effect is cancelled.
The domains of each arcana are described below.

The Fool – Freedom, divestment, and new opportunities

The Magician – Magic, knowledge, and secrets uncovered
The High Priestess – Divinity, prediction, and theurgy
The Empress – Growth, regrowth, and creation
The Emperor – Stability, protection, and hierarchy
The Hierophant – Alliance, cooperation, and mutual understanding
The Lovers – Attraction, passion, and beauty
The Chariot – Combat, vengeance, and determination
Strength – Power, courage, and energy
The Hermit – Caution, solitude, and concealment
Wheel of Fortune – Destiny, fortune, and luck
Justice – Law, order, and control
The Hanged Man – Sacrifice, endurance, and new perspectives
Death – Finality, destruction, and transformation
Temperance – Moderation, management, and mastery
The Devil – Evil, exploitation, and goetia
The Tower – Ruin, catastrophe, and imprisonment
The Star – Balance, ego, and the subconscious
The Moon – Fear, night, and spirits
The Sun – Wealth, happiness, and grace
Judgement – Absolution, decision, and execution
The World – Success, totality, and completion
 The cult has found Marco and Flora’s hideout and attacks to recover their relics! A group of cultists have
cornered the pair and are attempting to strike them down. Marco and Flora must defend themselves with
the Martial skill, but unfortunately neither of them has any ranks trained. Marco and Flora decide to
work together in this conflict so they each choose a card from their hands and add them to the trick face
down. The Fatespinner declares that this is a Tough challenge. Since enemies are consciously acting
against the characters the Fatespinner chooses one card from their hand and draws five cards from the top
of the fortune deck (three from the difficulty plus two additional degrees of advantage since the
characters are using an untrained skill).
All the participants present and reveal their cards. The Fatespinner's leading card is the Nine of Cups,
Marco has the Ace of Cups, and Flora reveals the Strength Arcana. The Fatespinner’s Nine of Cups
beats Marco’s Ace but Flora’s arcana wins regardless. Flora collects the cards used in the trick face up in
front of her. Both Flora and Marco receive 1 XP for succeeding in the conflict. Flora describes how she
valiantly fights off the cultists by bashing them with the idol. The two escape with their ill-gotten gains!

In Short
• Determine which players are acting in the conflict.
• Determine what is trying to be achieved and how.
• Determine how many tricks will be played in the conflict.
• Determine the difficulty of the conflict.
• Determine degrees of advantage for each participant.
• Play cards into the trick.
• Determine success/failure.
• The trump suit is determined by the art or bond the initiating player is using (the Fatespinner can be the
initiating player).
• The card played by the initiating player is the leading suit.
• Collect face-up cards and 1 XP on a success.
• Collect face-down cards and 2 XP on a failure.
• Major Arcana cards can be used for powerful effects within their domain.
10. Wounds
A pursuer of the hidden truths will find their mortal and immortal body attacked from all avenues. An
overwrought session in the lab could end with a broken mind. An egregious faux pas in front of the duke can
injure one’s social standing. A demon might pluck a bit of soul as payment on their contract.
Harm is tracked on a character’s bonds. Bonds can be harmed in two ways, with wounds or damage. Wounds
are temporary setbacks or injury. Damage is extreme trauma that permanently weakens the character. Bruises
from a bar fight, gossip over a poorly timed insult, and exhaustion from an all-nighter would all be considered
wounds. A brutal stabbing in a fight, prolonged absence from work, and receiving the taint of demons would
all be considered damage.
Whenever circumstances require wounds to be marked on a character, mark the number of wounds to the
appropriate bond, starting from the leftmost dot and filling in to the right. Each wound applies a -1 penalty to
the rank of that bond when used in conflicts, although the actual rank of the bond is not reduced. Wounds
are only marked when a character receives significant, but not traumatic injury.
Characters will mostly receive wounds on their personal bonds, but any bond is capable of being harmed.
Conflicts can assign wounds to multiple bonds if appropriate.

A rank 3 bond A rank 3 bond with 2 wounds

A character can receive wounds to bonds in excess of the bond’s actual rank. In this case, calling upon the
bond would assign the opposing force a number of degrees of advantage equal to the number of wounds
exceeding its rank.
Whenever a bond receives wounds while the current number of wounds exceed its rank, that bond instead
receives 1 damage. When this damage occurs, remove all wounds from the bond. Note that a bond only
receives damage if it receives a wound when the current number of wounds already exceed its rank. A rank 3
bond with 3 wounds would not receive damage. A rank 3 bond with 4 wounds would. Similarly, a rank 3 bond
with 2 wounds would not receive damage if a catastrophe assigned 2 additional wounds.

A rank 2 bond with 3 wounds When receiving another wound, all wounds are
cleared and rank decreases by 1
In conflicts that result in damage, remove that many ranks from the affected bond. Wounds on that bond
remain when damaged in this way. Damage to bonds does not recover naturally, the bond must be raised again
using XP.
Healing and Recovery
At the end of the act, remove one wound from each wounded bond. One additional wound can be removed per
bond by spending XP equal to the current number of wounds on that bond. Multiple bonds can have their
recovery enhanced this way, but only one additional wound per bond can ever be recovered per act. While
wounded, bonds cannot be improved with XP.
Breaking Bonds
A bond whose rank drops from one to zero is broken. When a bond is reduced to rank 0, remove it from the
character sheet and determine any fallout that occurs. Personal bonds (of players or orders) can never be
broken, only reduced to rank zero.
Incapacitation and Dying
If a character receives wounds to their personal bonds equal to or greater than the bond’s rank, the character
becomes incapacitated. Incapacitated characters are unable to act or contribute towards conflicts. They may be
conscious or unconscious, but in either case they are unable to act independently. If a character is
incapacitated as the result of conflict, they complete the conflict but are unable to participate in any
subsequent conflicts until healed.
Incapacitation is the result of exhaustion or succumbing to wounds. Incapacitated characters can be
temporarily returned to consciousness with a successful conflict by another character, but wounds cannot be
removed unless the conflict is tough or harder.
If any of a character’s personal bonds are reduced to 0, that character becomes unplayable. The actual
character may not be dead, but their mental state is so obliterated that they can no longer function. In rare
circumstances, these characters may be given a chance to recover, but the difficulty should be high and
reserved for drastic measures.

Order Dissolution
In the course of your adventures, the characters' order may dissolve or be destroyed. An order with any bond
at rank 0 is defunct; none of its bonds can be called upon. The characters are free to act without an order,
reform the same order, or create a new one. When creating a new order, the Seekers must spend XP (the
order bonds now start at zero, i.e. Seekers will need a minimum of 4 XP to create a new order).

In Short
• Each wound reduces the effective rank of a bond.
• If a bond receives wounds when the current number of wounds exceeds its rank, remove all
wounds and it receives 1 damage.
• If a personal bond ever has a number of wounds equal to or exceeding its rank, the character is
incapacitated.
• If a personal bond is ever reduced to 0 by damage, the character becomes unplayable.
• At the end of each act, remove 1 wound from each bond (including order bonds).
• A player may pay XP to remove an additional 1 wound from each bond.
11. Character Growth
Inspiration
• Whenever a character succeeds in a conflict, that character receives 1 XP.
• Whenever a character fails in a conflict, that character receives 2 XP.
• Whenever a character’s antagonistic bond is called upon by the FS, the characters receiving the brunt of
the antagonist’s fury receive XP equal to the bond’s rank.
• Whenever a Seeker roleplays one of their character’s affects, they receive 1 XP. Any player can nominate a
Seeker for satisfying roleplay.
• At the end of each act, if a character has achieved a minor goal, they receive 2 XP.
• At the end of each act, if a character has achieved a major goal, they receive 5 XP.
Improving Your Character
At the end of each act, Seekers can use the experience points they have collected to improve their character.
The character stats that can be improved this way are Bonds, Arts, Great Works, and Things of Interest.
Bonds – Bonds can be improved by spending XP equal to the bond’s current rank. This applies to both
normal and antagonistic bonds. Each bond can only be improved by 1 rank per act. Bonds cannot be improved
if they have any wounds.
Arts – The rank of an art can be increased by spending a number of XP equal to the art’s current rank. Each
art can only be improved by 1 rank per act.
Great Works – Any amount of XP can be spent towards Great Works to complete them. The player does not
need to supply the work’s full XP cost at the end of the act. Any experience points they contribute are
subtracted from its current cost.
Thing of Interest – A new thing of interest can be purchased for 3 XP.
Defining Goals
Seekers can formalize new goals for their character during play. A character can have more than one Major
and Minor goal.
Completing Goals
At the end of each act, each Seeker reviews their character’s goals and indicates if any were achieved.
Whenever a character completes a minor goal, that character receives 2 XP and removes it from their
character sheet. Whenever a character completes a major goal, that character receives 5 XP and removes it
from their character sheet. Whenever a character completes an ultimate goal, that character has achieved their
life’s work and retires to a life of peaceful solitude. The character becomes unplayable, but successful. Good
job!
Abandoning Goals
Occasionally your character may decide it is more beneficial to give up on a goal. At the end of each act, if a
character has made no progress or lost progress on any of their goals, they may remove and replace them.
Roleplaying Affects
Seekers receive 1 XP whenever they call upon an affect in a way that adds drama to the story. Most often this
will involve making life harder for your character by giving in to sins or not budging on virtues, but creative
use of affects to solve problems is also applicable. Players are free to call on their affects any number of times
during an act, but the Fatespinner is free to curtail XP rewards if Seekers are abusing the option.

Changing Affects
At the end of each act, if a Seeker never called upon a specific vice or virtue, they may change the affect to a
new one. A character is not required to have exactly two sins and virtues, but they must always replace a
removed affect to maintain a total of 4.

Healing Bonds
All bonds heal 1 wound at the end of every act. XP equal to the number of wounds on the bond may be spent
to heal more, but no more than 1 additional wound per bond per act.

Achievement Experience Points

Roleplay affect 1 XP
Achieve minor goal 2 XP
Achieve major goal 5 XP
Call on antagonistic bond 1 XP per bond rank
Succeed conflict 1 XP
Fail conflict 2 XP

Upgrade Experience Point Cost

Grow bond 1 XP per bond rank
Remove 1 additional wound 1 XP per wound on the bond
Improve art 1 XP per existing rank
Learn new art 1 XP per # of known arts
Build work Any amount
New thing of interest 3 XP
12. The City

The adventures in Hesitation at the Gate take place in a single, expansive city-state. Characters work
together within a mystical order, form relationships, and craft wonderous inventions. In order to focus the
drama and cover the necessities required for their work, it is expected that the game is tied to a central
location. Characters may travel to exotic lands or relocate their home base, but they will always have a
headquarters that ties them to the locale and provides infrastructure.
Since so many of their conflicts and interactions will be taking place in this metropolis, it pays to build the
city as a setting. Below are a few jumping off points for various aspects to consider as a group. Your setting
details do not need to be exhaustive, but they should be discussed so that everyone is approaching the game
from the same perspective.
Society
Hesitation at the Gate takes place in the time period between the 17th and 18th centuries. It is late
Renaissance/early industrial revolution, with anachronisms from both. Architecture is baroque and sprawling,
city-states operate autonomously, and vast technological improvement is giving way to decadence. Humans
pray to the divine for salvation and demons work to corrupt souls. Occult orders and mystic scholars discover
ancient powers while daring adventurers return with exotic treasures. The gap between the poor and wealthy
widens while the merchant class expands its influence. Religion and science are interwoven. Advances in
manufacturing are leading to a boom of amateur invention and research. The world has crawled out of the
dark ages and humanity is determining if it will reach the heavens or collapse into debauchery.
13. The Supernatural
A brief explanation of some overarching styles is provided below. Feel free to mix, match, and use as many as
you wish.

Magic
Hermetic - Hermetic magic is academic. Supernatural secrets are unlocked through study and meditation.
Hermetic magic is strongly connected with religious philosophy, the intent to find enlightenment. Hermetic
orders are focused around study and learning, they are not endorsed by the church and their pursuits are often
considered heretical. Hermeticism uses symbols associated with astrology and alchemy, including the zodiac,
planetary orbits, the Qabalah, astrolabes, etc. A typical hermetic practitioner looks like an ornate scholar or
priest; long flowing robes, intricate accessories, and esoteric décor. Use hermetic magic if you want your
game to have a mystical feel.
Sorcery - Sorcery is the magic of folklore. It is the tool of witches and warlocks; dangerous power granted by
supernatural entities. Sorcery is thought of as pagan and heretical. It is distinctly opposed to the existing
religious institutions and its practitioners are viciously persecuted. Sorcery is much more abstract than
hermeticism, it relies on arcane rituals rather than established formulae. Sorcerous groups are often labelled as
covens or cults. Sorcery uses symbols associated with witchcraft; ritual daggers, pentagrams, bones, wands,
crystal balls, etc. Sorcerers are plainer than hermeticists, wearing black robes with mysterious charms and
macabre fetishes. Use sorcerous magic if you want your game to be gothic and spooky.
Mesmerism - Mesmerism concerns itself with the study and manipulation of natural forces. Mesmerists are
inspired, or insane, experimenters marrying the spiritual with the practical. Professionals in other fields are
skeptical of mesmerists, but the public is excited by their wild promises. As the most “scientific” magic,
mesmerists are constantly experimenting with technical equipment; beakers, electrodes, and clockwork.
Mesmeric orders function like a laboratory. Mesmerists are the most simply dressed practitioners of magic,
commanding attention entirely with their eccentric tools and mannerisms. Use mesmeric magic if you want
your game to be scientific and weird.
Demonic
Classic - Classic demons are inspired by Abrahamic lore. They seek to corrupt mortals with power and
temptation. Classic demons are highly varied, coming in many shapes and sizes with bizarre hierarchies. They
are depicted as twisted reflections of material forms; men with animal parts or inexplicable chimeras. Classic
demons usually do not incarnate in the mortal realm. They instead prefer to influence mortals with hauntings
or invisible acts. Use classic demons if you want your game to be fraught with evil influences and Faustian
bargains.
Eldritch - Eldritch demons are otherworldly beings of horror. Their will is strange and unknowable.
Summoning rituals involve protecting the summoner and controlling the demon's power rather than
communication. They are formless and dreadful; tentacled masses and crawling shadows. Eldritch demons can
manifest from occult prying or may lie dormant in the material world. Use eldritch demons if you want your
game to be perilous and horrific.
Native - Native demons are supernatural entities made victim of propaganda. Their true identities masked over
with the label “demon”, they can be tricksters, crafters, sages, or beasts. Native demons hide from society at
large, but they are far from powerless. Communication may be achieved by learning their ancient language,
communing with nature, or pagan rituals deemed heretical by “civilized” society. Use native demons if you
want your game to have prominent themes of imperialism and religious oppression.

Divine
Aloof - Aloof divinities are closest to the typical idea of angels. They are watchful over humanity but prefer
to not directly meddle. They can be called for assistance, appearing as heavenly winged beings radiating light.
Their power is subtle and strong. Use aloof angels if you want the divinities to be mysterious and
inspirational.
Alien - Alien divinities are the esoteric incarnations; multi-faced bundles of wings, burning wheels, and rings
of eyes. They can manifest from calls for help or in response to horrendous evil, leaving cleansing wrath in
their wake. When alien divinities appear the wicked are consumed in fire, the sane are undone, and the
righteous are blessed with otherworldly strength. Use alien divinities if you want the powers of good to be
dramatic and awe-inspiring.
Guardian - Guardian divinities are friendly with humanity. They walk amongst the people disguised as
mortals, preferring to spread good with insightful comments and helping hands. Guardian divinities are not
usually summoned, they show up when needed most. Use guardian divinities if you want angels to be modest
and personable.
14. Arts
Arts are divided into four groups, each governed by a suit. The Physical Arts relate to Swords. Mental Arts
relate to Cups. Social Arts relate to Pentacles. And finally, Magical Arts relate to Wands. Each art has a
rank, from 0 to 5, representing the character’s skill. If a situation calls for actions that do not fully fall within
one of the Arts below, either call on the most applicable Art or the most appropriate Personal Bond.

Specializations
In addition to their broad use, a character may choose to focus on a particular facet of that Art. These focuses
are called Specializations. Whenever a character would use an Art in a situation that relates to their
specialization, that character performs the trick with an additional degree of Advantage.

Physical Arts
Craft (__) - Craft arts cover anything that would be considered capital-A Art. Common crafts are painting,
sculpting, drawing, metalwork, smithing, carving, and woodworking. Craft is an open art that must be
specified when learned. Multiple craft arts can be learned.
Potential specializations – Fine (denoting small and precise work like filigree or clockwork), Ornate
Engineering – Taking theoretical designs and turning them into reality. Engineering allows one to craft
watches, firearms, automatons, buildings, and other technologies.
Potential specializations – Clockwork, Steam Power
Athletic – The athletic art relates to any of the basic acts of physical effort. Lifting heavy objects, enduring
long marches, falling safely, and anything else that puts a strain on the body.
Potential specializations – Sprinting, Feat of Strength
Martial – Any skill related to inflicting violence falls under the martial art. Despite the name, these arts
are not limited to unarmed combat. They can involve any weapon, designed or improvised.
Potential specializations – Sword fighting, Pugilism
Subsistence – The art of surviving, whether it be against wounds or wilds. Traveling over harsh terrain,
scavenging for food in the gutter, and resisting disease all fall under the umbrella of subsistence.
Potential specializations – Iron will, Tough Skin
Mental Arts
Alchemy – The art of distilling, transforming, and combining chemicals. Alchemy has a variety of uses, from
transmutation to brewing potions and poisons.
Potential specializations – High Volume Production, Explosive Results
Astrology – Observing the planets and stars to uncover secrets. One can predict the weather, natural disasters,
and other grand events.
Potential specializations – Horoscope, Meteorology
Medicine – The diagnosis, treatment, and prevention of human ailments fall under medicine. Whether it be
performing surgery, treating sickness, or creating salves.
Potential specializations – Snake Oil, Plague Doctor
Biology – Broader than the human body, biology covers all study of the natural world. A biologist can harvest
natural compounds, preserve food, and identify blights.
Potential specializations – Botany, Dissection
Written – The written art cover everything involving the written word. Wars can be ended, or begun, with a
single letter.
Potential specializations – Forgery, Propaganda

Social Arts
Philosophy – The skill of understanding and interacting with people. Philosophy can also aid the scholar in
hearing what people are really saying; discerning lies, fear, or other nonverbal signals.
Potential specializations – Lie Detection, Interrogator
Theology –Theology helps one analyze scripture and divine hidden truths. A skilled theologist can also
interpret omens, perform sermons, and administer holy sacraments.
Potential specializations – Exorcism, Preaching
Occult – While theology covers the holy, occult covers everything else. Names of demons, pagan practices,
heretical texts; all are tools of the occultist. Occult is also the skill used by cults to organize and perform
rituals while remaining discrete.
Potential specializations – Demonic Dealings, Protective Charms
Business – The business art covers everything from managing money to managing people. Whether haggling
in a bazaar or negotiating loans, it literally pays to be a skilled businessman. Even the spirits may be swayed
by a good deal.
Potential specializations – Treasurer, Shopkeeper
Politics – A cunning politician can stop their order from being excommunicated or convince their order to
pursue more forbidden research. Beings divine and demonic are also prey for the skilled politician, the power
of law extends into the supernatural world.
Potential specializations – Contracts, Gerrymandering
Magical Arts
Necromancy – The art of speaking with and controlling the dead. Given its frequently profane acts,
necromancy is frowned upon if not despised.
Potential specializations – Séance, Fleshcrafter
Pyromancy – Prophetic visions can be glimpsed in the flames. Heavy metals will relent to molten heat and not
much evidence of foul deeds survive the flames.
Potential specializations – Controlled Burn, Firespitter
Hydromancy – Torrential force can batter down even the strongest gates while but a cup of water can sooth
grievous wounds. A hydromancer might also direct their talents towards the creation and control of ice, able to
preserve or destroy organic matter.
Potential specializations – Rain Caller, Chill Touch
Aeromancy – An aeromancer can call tremendous bouts of wind, summon lightning bolts, steal the breath
from your lungs, or carry guarded whispers directly to their ears. Wind can send a body flying or knock
away projectiles. On the less violent side, an aeromancer can blow out fires, send breath to the drowning, and
turn back storms.
Potential specializations – Sparking Touch, Ablative Winds
Geomancy – The manipulation of Earth. Bridges can be erected, walls demolished,, or feet shackled to the
earth. A sculptor may find geomancy more precise than primitive tools. A geomancer can survive anywhere
when shelter is summoned at the snap of their fingers.
Potential specializations – Magical Mining, Rapid Formation
Theurgy – Theurgy deals with the divine and holy beings. A practitioner of Theurgy can speak with angels,
bless themselves or others, and ward off evil.
Potential specializations – Word of God, Abolish Evil
Goetia – The most forbidden of magical arts, Goetia deals with the communication and summoning of demons.
A careful practitioner can summon and bind these beings for knowledge and power.
Potential specializations – Demon Binder, Spew Curses
15. Great Works
Great Works are the creations of your character. They can be works of art, inventions, laws, or other notable
achievements. Progress on Great Works is slow and steady; they cannot fail and persist until they are
completed.
Great Works can be collectively completed. Any character can contribute any amount of XP towards the
work. Once the Work is complete, it is under the sole control of the character who created it.
Great Works can have repeated or limited use. They may provide a benefit that works as long as they are in
the character’s possession or they may be sold for profit. A list of various effects that works can provide is
described below.

Function
All great works start with an idea. What problem does your character hope to solve with their work? The
function of the work will determine how difficult it is to create. Each work has only one function it can
perform. Common functions are described below, but feel free to create your own effects.
The description and costs of common functions are listed below, but feel free to create your own effects.
It is also important to describe the form of the work. Is it a charm? A curse? A contraption? A building? The
work can be any form you wish.
• Alter Fortune: Discard a card and draw a card from the Fortune deck
• Spin Fortune: Draw a card from the Fortune deck
• Exchange Fortune: Trade a card with another willing player
• Alter Fate: Discard a card and draw a card from the Arcana deck
• Respite: Remove 1 wound from a bond of your choice
• Insulate: The next time the target receives wounds, reduce the number of wounds received by 1 (min 0)
• Harm: Assign 1 wound to a target’s bond of your choice
• Ravage: Assign 1 damage to a target’s bond of your choice
• Misfortune: Remove 1 degree of advantage from a participant in their next conflict
• Aide: The target receives an additional 1 degree of advantage in their next conflict
• Brute Force: During the next conflict, the trump suit is swords regardless of the art or bond used
• Mind Over Matter: During the next conflict, the trump suit is cups regardless of the art or bond used
• Peer Pressure: During the next conflict, the trump suit is pentacles regardless of the art or bond used
• Supernatural Substitution: During the next conflict, the trump suit is wands regardless of the art or bond
used
• Reconnaissance: The next time the target initiates a conflict, they choose and reveal their card before any
other participant chooses a card to play
• Glimpse Fate: The Fatespinner reveals one card from the Hand of Fate at random

Function Ranks to Activate

Alter Fortune •
Spin Fortune ••
Alter Fate •••
Respite •
Insulate •
Harm ••
Ravage ••••
Misfortune •
Aide •
Exchange Fortune •
Brute Force •
Mind Over Matter •
Peer Pressure •
Supernatural Substitution •
Reconnaissance ••
Glimpse Fate •
Modifications
Modifications are alterations that improve or limit the great work’s effectiveness. Modifications alter the total
cost of the work by either increasing or decreasing the number of XP required per rank (see below). A work
can have multiple modifications, in which case sum up the total cost change (so a great work that has both
Fast Recharge and Specific Use would have a total cost change of +2 XP/rank).
• Limited Use – The work receives damage instead of wounds upon activation.
• Bonded – The work can only be used on its creator.
• Specific Use – The work only affects specific targets, such as mortals, divine, demonic, spirit, metal, etc.
• Keyed – The work has a secret or complex activation method such that only its creator can activate it.
• Complex – The work is complicated, requiring time and focus to activate. It cannot be activated in response
to anything and the user must have complete focus to initiate the activation.
• Sending – The work does not require close range or line of sight to affect its target. An adequate
description of the target must be provided upon activation or the work will affect the closest thing
that matches the provided description.
• Fast Recharge – The work recovers 2 wounds naturally at the end of each act instead of the normal 1.
• Manual Recharge – The work does not recover wounds naturally at the end of each act.

Can I apply the Fast Recharge and Manual Recharge modifiers to the same work?
Nice try, but no.

Modifier Cost modification

Limited Use -2 XP per rank
Bonded -1 XP per rank
Specific Use -1 XP pre rank
Keyed +1 XP per rank
Complex -1 XP per rank
Sending +2 XP per rank
Fast Recharge +3 XP per rank
Manual Recharge -2 XP per rank
Rank
Once you have decided on a function and any modifications, determine the rank of the work. Rank can range
from 1 to 10, acting as durability and charges for the work. The higher the rank, the more XP required to
complete the work. Work ranks function like bonds, they can receive wounds/damage and recover 1 wound
naturally at the end of each act (representing the maintenance by its owner). Activating a work assigns
wounds to it equal to the activation cost associated with its function. The XP required to complete the work
is calculated as follows.

Ranks XP Cost Minimum XP Cost After Mods

1 3 2
2 7 4
3 12 6
4 18 10
5 25 15
6+ 7 XP per rank 20

Construction
Once a blueprint is established, progress is made towards the work by assigning XP. XP can be assigned at
any point when the character has downtime, usually at the end of each act. The work is not usable until fully
completed, but it retains every experience point spent towards completion between acts.

Adrienne wants to create a great work that will help them draw more cards. They decide it will have the Spin
Fortune function which costs • • to activate. Adrienne wants more than one use out of their work so they
decide it will have a total rank of • • • •. The base cost of the work is 18 XP. Adrienne decides that will take
too long to create so they add modifiers to reduce the costs. They choose the modifiers Bonded and Complex.
The work will only be usable on their character and cannot be used without preparation, but each mod
reduces the cost of the work by 1 XP per rank (18 – 4 – 4) for a final cost of 10 XP. Adrienne only has 7 XP
right now, which they spend on the work. It now requires 3 more XP to complete.
Activation
Activating a work depends on its function, such as flipping a switch or speaking a codeword, but regardless it
is done instantly. Unless the work has the Complex modifier, a character can activate it in response to danger
or surprise. This includes immediately before cards are played in a conflict.
A work can only apply its effect in a small range, generally the size of a room and requiring line of sight. If
the Work has the sending modification, it can apply its effect over great distances regardless of line of sight,
but the activating character must provide an adequate description of the target or the work will apply its
effect to the closest applicable mark.
When a work is activated, apply its effect and assign wounds to the work equal to the activation cost listed
in the table above. Wounds on works heal in the same way as wounds on bonds, 1 per work at the end of each
act and a character can spend a number of XP equal to the current number of wounds to remove another. You
cannot activate a function if the activation would assign more wounds than the number of ranks available

The Rule of Individuality

A character can never use multiple works with the same function. The complexity and arcane confusion
caused by keeping similar functioning works in close proximity creates feedback that nullifies their use. If a
user has created multiple Works with the same function, they can only choose one to use at the beginning of
each act (although they may swap to others during subsequent acts).
Scrapping Works
In extreme circumstances a character may decide that they no longer wish to complete one of their works. At
the end of an act all progress on a work can be erased and the work abandoned. Doing so allows the character
to recover half the XP already committed to the work, rounded down.

In Short
• Using works inflicts wounds on them.
• Building works costs XP.
• The total cost is based on their rank and modifiers.
• The total XP cost does not need to be paid all at once.
16. Spinning Fate

This chapter details various techniques and strategies for the Fatespinner to host a game. There are no
additional rules detailed here, so don’t worry about keeping this section a secret. Above all, remember that this
section is advice first, guide second; if you have a better idea on how to run a game for your group, go for it!

Role
Your job is to ensure that the narrative everyone is creating keeps chugging along. You will be moderating
conflicts and acting for the world and non-player characters, but your primary goal is keeping everyone
engaged and motivated.
Do not feel like you need to fill the world with locations, NPCs, and hooks by yourself. The game is a
collaboration between you and the rest of the players; when they are in a position to dictate world details, let
them. You should still have a framework prepared with plot hooks, potential allies, and enemies, but don’t be
afraid to ask for player input (especially for details directly related to their characters like characters within
their order, their tools and possessions, or factions they are a part of).
Game Preparation
It pays to know your players and their characters. To minimize downtime, have a quick reference sheet of the
characters’ goals, affects, and antagonistic bonds. These are the strings you can pull when the narrative slows
down. If the players begin to feel aimless you can start laying breadcrumbs towards their goals or put pressure
on them from their antagonistic bonds. Challenges and roadblocks that feel banal can be spiced up by making
them interact with the characters’ affects. If you are at a loss for how to present a challenge, give the player
two options; an easy way that gives in to their sins or a hard way that follows their virtues.
You may have noticed that there are no rules for creating NPCs, monsters, or hazards to throw against the
players. This is intentional. As the Fatespinner, your job is to moderate conflicts and assign difficulty. A thief
trying to mug a character does not need a health track, art ranks, or bonds; they exist as a narrative device to
challenge the players in one specific way. How the players respond, what arts or tools they use will dictate the
level of difficulty they face. While you should keep challenges logically consistent, don’t be afraid to tip the
scales so your roadblocks don’t end up as speed bumps.
Session Zero
“Session zero” refers to the collaboration between you and the other players to establish play expectations,
world details, and campaign themes. You can have a full game session dedicated to this prep or have it as a
short preamble before the “real” play starts. In either case it pays to dial in everyone’s expectations so that the
story is enjoyable for everybody. While it is recommended that you implement various safety tools during
play (such as the X-card, Lines and Veils, etc.) this is also the point to ask what kind of story beats are off
the table to minimize disruptions.
For world details, reference The City chapter; here you will find a description of the social structures along
with some examples of magic and supernatural themes to include in your game. Collaborate with your players,
you don’t need to carry the entire weight of worldbuilding by yourself. The choices laid out in this chapter
are not exclusive; mix and match as many as you want with your own ideas.
Hesitation at the Gate is intended to be played in a campaign structure over multiple sessions (although
oneshots are entirely possible). Survey your players for what kind of themes and atmosphere they are looking
for in the game. If the players are expecting a lighthearted adventure you don’t want to be throwing horrific
cult rituals into the mix (and vice versa).
Emergent Storytelling
Hesitation at the Gate runs best when the plot is not prescribed but allowed to blossom on its own. Having a
specific scene 1 that leads to scene 2 and so on will not survive the players and mechanics pulling in different
directions (and it’s a lot of writing you presumably don’t want to spend time doing). Don’t be afraid to start
cold and ask the players what they want to do, they’ve got leads written right on their character sheets.
Let the players hog the spotlight; your job is to keep the narrative running. If the group is spending time
discussing the next plan of action, take advantage of the downtime to come up with potential challenges or
NPCs, but also don’t be afraid to apply pressure if they are dilly dallying.
You control the spotlight, so ensure that each player gets as much exposure as they want.
Characters may split up more often than you feel comfortable. If one player wants to spend the day in the
workshop and the others gallivanting around town it can be hard to juggle focus. Focus on balancing the
spotlight and ensuring each group has fuel for their story.
There is a section titled “time marches on”, that applies to you too! If the players pull one over on you or
trivialize a monkey wrench you threw in their plans, give them the win. You may find that over the course of
the session the players succeed more often than they fail; that’s ok! What’s important is that they feel like
their characters are challenged, not beaten down. If a character is getting along too easy start drawing on their
sins. If they’re having a rough time give them a chance to let their virtues shine.
Tastes may vary from playgroup to playgroup, but the focus should be letting the characters drive to more and
more extreme heights. The game is called Hesitation at the Gate, but as the Fatespinner you can interpret that
as “the road to hell is paved with good intentions”. The goal is to get the character to their ultimate goal, and
then ask them if the path they took was worth it.
Coopetition
Characters' goals may not align, or may even be completely contradictory. Your job is not to keep characters
playing nice, but to make sure all the players are having fun. If two players want to grow a rivalry, let them
(just focus on keeping arguments civil). As long as everyone is on board, don’t shy away from backstabbing
and double-crosses. That being said, if you notice conflicting goals or affects between characters that would
disrupt play more than add to it, it is fully within your power to demand the players mend the rift.

Keep it Moving
Conflicts are not binary chances of pass/fail, they dictate if the narratives swings in favor of or against the
characters. If a character fails a conflict of business to secure funds, it’s not interesting to just say “no funds”.
Perhaps they secure the funds but need offer up collateral. Perhaps the only loan they find is a shark that
lands them with an antagonistic bond as debt. A good fail state is a detour, not a roadblock.

Doing Over Planning

It is easy for a group to get bogged down in planning out an adventure. Things like shopping, crafting, and
organizing equipment or funds creates lots of downtime where nothing narratively happens. You may find it
helpful to rely on “flashbacks” where a character can try a conflict to establish that they acquired or recruited
help in an unspecific past event. For example, if the group wishes to attack a rival order and requires
additional muscle, it may be more expedient to have them play a conflict at the point of attack to establish that
they have hired muscle with them; how and when they were hired being unimportant. Having a character play
an Alchemy conflict to determine the power of their potions in the heat of the moment will be more
interesting than playing through the downtime to craft them (that’s what the Great Works rules are for).
17. Sample Characters
Three sample characters are provided below. Each has been built using a starting 10 XP and can be played as
is or adjusted with additional XP. A sample order charter built with 4 XP is also provided.
Morgana Tratto - A magic focused character seeking access to the spiritual realm. This character is built for
seekers who want a character that relies on arts to get things done.
Layla de Milan - A political character with regicidal plans. This character is built for seekers who want a
character with strong social skills and powerful bonds.
Heinrich von Eisenhart - A no-nonsense engineer trying to perfect his craft. This character is built for
seekers who want to use great works and other tools on their journey.
Morgana Tratto - orphic spiritualist
Sp

Sp

Sp

So
Layla de Milan - magnetic powerbroker
So

So

M
Heinrich von Eisenhart - brusque artisan
P

M
18. Scenario: Tears of Heaven
The following scenario will provide you with material for one to two acts of play. The scenario is compatible
with any level of character experience although you will want to tailor additional challenges for veteran
characters. You may want to provide the scenario intro to your players before the first session so that they
have a chance to create some related goals. Organization names are omitted so that they can be filled in and
characterized by the players.
Introduction
A week ago, a great red blaze streaked across the sky. It raised such a cacophony that every man, woman, and
child was roused from their beds. It struck down a few miles from the city gates. Many believe it is a portent
of things to come, no doubt from the recently discovered heavenly sphere. Astrologers have been tracking the
planetary body for the past two months, its red glow is identical to the one seen in the night sky. Rumors are
spreading of a cult that worships the object, and that they have otherworldly powers to protect it.
Playing the Scenario
The scenario can be roughly broken up into four “scenes”; The order, the city, the farmlands, and the stone.
In each scene a breakdown of its narrative purpose and potential conflicts are provided. You don’t need to use
them all. Don’t restrict yourself to these four scenes if the need for more arise!
Each potential conflict will have suggestions for possible art use. Do not feel bound to follow the exact
prompts for success or failure if you have other ideas.
Scene 1: The Order
Characters start assembled at their order. This scene gives them the chance to discuss plans, perform research,
and gather supplies. This is also an opportunity for the players to set the scene; ask them about details of their
order, how their characters prep for the day, etc.
Potential conflicts
• Recruiting additional order members for aid (a simple to tough conflict of Philosophy or order Prestige).
• Gathering supplies like a cart, rope, tools, etc. (a standard conflict of order Affluence or Prestige).
• Research related occurrences (a simple to tough conflict of Astrology, Occult, or Theology).
If they succeed…
• The party will have additional recruits and equipment to help them on mission, but a larger group and
caravan will draw attention.
• The party will learn about past occurrences, usually fraught with unrest and omens of imminent disaster,
deeper research will allow them to analyze and calculate the location of impact.
If they do poorly…
• The group fails to procure specialized or expensive equipment or loses time in their efforts, giving other
factions a head start.
Scene 2: The City
Travel through the city gives the group an opportunity to collect gossip on the object and the other factions
seeking it. The inquisition will be looking to subdue the cult. They will treat anyone else seeking out the
object with prejudice and can either be a source of interference or incentive for the group to move quickly.
Other rival individuals and orders will also be seeking out the object, resorting to friendly competition or
outright sabotage. The local guardsmen may also be suspicious of any groups bringing equipment out of the
city without a writ of passage, bribe, or good explanation as they report to the inquisitors.
Potential Conflict
• Asking about local rumors and gossip about the object (a trivial conflict of Philosophy or Business).
• The party will need avoid sabotage from rival groups or harassment from the local militia (a standard to
difficult conflict of Martial, Politics, or Philosophy).
If they succeed…
• Local gossip will concern the strange phenomenon around the impact site, alterations to local flora and
fauna, and a growing collective of farmers worshipping something. The group will also learn of the
impact site’s general location.
• The group will evade the inquisition or throw them off their trail.
• The group will avoid interference from other groups or even sabotage their efforts (this is a great chance for
rivalries to develop).
If they do poorly…
• The group will receive confused or conflicting information on the impact site. They will set off in the
wrong direction once they leave the city. Alternatively, the group receives the information they are
looking for but draws attention from the inquisition or city militia.
• The inquisition issues a citation barring the group from leaving the city, takes them in for questioning, or
any other interference that puts serious obstructions in their way.
• Rival factions sabotage the group’s equipment (either overt or covertly to be revealed at a future point) or
enflames enmity, leading to further harassment in the future.
Scene 3: The Farmlands
The farmlands surrounding the city are sprawling. Without proper direction the party may end up wandering
astray. The rolling hills offer multiple opportunities for the party to catch glimpses of other groups and to be
seen by them. Local farmers will be congenial and willing to provide directions but will be put off by displays
of magic or luxury. The famers have a neutral opinion of the various groups involved in the search and will
offer up information on any other caravans they’ve witnessed (they will tell other groups about the party if
not convinced to keep quiet).
Closer to the impact site, the party will start seeing signs of a local cult. Totems will become more and more
frequent; modified scarecrows (as grisly as appropriate for your game), the straw of which is laced with
glimmering red crystal. Following the totems will lead further into the hills towards the impact site. The
crystals can be collected and will offer temporary power if eaten or injected.
Potential Conflicts
• The group does not have exact info on the impact site’s location and will need to divine it or ask for
directions from the locals (a simple to standard conflict of Astrology, Philosophy, Occult, or
Theology).
• The Inquisition has set up a roadblock preventing anyone from heading towards the impact site (a standard
to difficult conflict of Martial or Politics).
• The Inquisition is trailing the group and will detain them if they catch up (a simple to tough conflict of
Athletic, Engineering, Subsistence, or Biology).
• A rival group lays a trap for the group, intending to fend them and other competition away (a standard to
difficult conflict of Athletic, Engineering, Martial, or Subsistence).
If they succeed…
• The group finds their way towards the impact site, gaining ground on the inquisition and their rivals.
• The group evades the Inquisition or their rivals, giving them more time to investigate the impact site without
interruption.
If they do poorly…
• The group becomes lost in the countryside or upsets the farmers who will relay their position to the
inquisition or mobilize a mob.
• The group is weakened or their equipment lost, making future conflicts more challenging.
Scene 4: The Impact Site
Do not reveal everything all at once.
The impact site is tucked away in a small valley, the impact crater has been blocked off by barricades of
freshly cut trees. There are several gates in the barricade, although they have no hinges or locks; they are
merely tree trunks so large it would take several men to lift. More scarecrow totems are placed regularly atop
the barricade. There are people wearing dark robes patrolling along the inside perimeter. Their faces are not
hidden, there are men and women, young and old.
Small barns have been erected inside the barricade and farm equipment is scattered around. Wheelbarrows and
carts are overflowing with freshly cut wheat. In the very center of the impact site is a large structure; part
barn, part church. A deep red glow pulses from within and smoke trickles from the many chimneys.
The cult members are cheerful and talkative. They are eager to spread the word of the miracles gifted to them.
Although they are gullible and eager to demonstrate their gifts, they are highly protective of the stone and
supernaturally strong. They will not hesitate to use violence to protect the stone or just to let out anger if
aware they have been tricked. Cult members will constantly be eating wheat laced with ruby crystals that they
freely offer if asked. If examined, their bodies are at the peak of fitness and health, their eyes will have bright
crimson twinkles.
The inside of the barn is plainly decorated. Heavy curtains break up the space and create a claustrophobic
atmosphere. The various “rooms” created by walls of curtains are occupied by cult members praying, dining,
playing games, and other casual activities. Large braziers are placed regularly around the space, their flames
are low and smoky creating an ambient light that shows through the loose weave of the curtains. Several
layers of curtains are hung in a square around the center of the barn extending all the way to the ceiling. A
bright crimson glow pulses through the curtains and low chanting can be heard.
In the center of the barn is the object from the heavens. It is a hunk of globular metal about four feet in
diameter. The metal is laced with veins of red crystal that pulse slowly. Seeds touched to the stone sprout and
bloom in a matter of seconds, the plants becoming laced with more red crystal. Living things that touch the
stone are healed and their abilities are heightened. The improvement is slow but continuous, with greater
results the more hours spent in the presence of the stone. Those attuned to the supernatural will find the
stone can reach out to them, although it is incapable of communicating comprehensibly. Anyone who has
eaten food laced with the crystals will find the stone responsive to their thoughts as if it is an extension of
their body. The stone is incredibly heavy for its size and partially fused to the ground, although its metal is
relatively soft and can be easily broken up with work tools. The red crystals are brittle, capable of being
snapped off by hand. They can be quickly ground to powder with the right tools and are possible to dissolve
in chemical solutions. The cult will not tolerate any attempts to “hurt” the stone or remove it.
Rival orders will have various levels of forcefulness in investigating the stone. The inquisition will
immediately resort to violence. Although the cultists are stronger, they lack martial training and will
eventually be overwhelmed if not aided. The inquisition will not hesitate to fire burning arrows at the barn
and surrounding structures once they penetrate the barricade.
Potential Conflicts
• The group needs to break into the impact site (covertly or overtly) and get their equipment through the
barricade (a difficult to challenging conflict of Athletic, Engineering, Martial, or Philosophy).
• The group needs to investigate the stone (a standard to challenging conflict of Engineering, Alchemy,
Astrology, Biology, Occult, Theology, or Geomancy).
• The group needs to fend off the cult members to secure the stone (one or more challenging conflicts of
Martial or any magical Art).
• The group needs to aid the cult in fending off the Inquisition or rival orders (one or more standard to
difficult conflicts of Martial, Philosophy, or any magical Art).
If they succeed…
• The group infiltrates (or gains acceptance) into the impact site and has the opportunity to prepare an escape.
• The group learns about the stone’s powers, collects samples, and/or invokes the stone’s powers for their
benefit.
• The group evades capture but will become a known enemy of the cult.
• The group protects the cult and the stone from capture but will be known as conspirators.
If they do poorly…
• The group is captured by the cult.
• The group fails to analyze the stone and suffers fallout either as infection or wounds when it lashes out.
• The group is captured along with the cult members and faces interrogation.
• The group loses the stone to a rival order.