PDF sample of AGOT d20 RPG

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A
GAME
OF
Role-Playing Game and Resource Book
A comprehensive reference guide to the
best-selling fantasy novel series by
GEORGE R.R. MARTIN
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A GAME OF THRONES
DELUXE LIMITED EDITION
Line Developing By
Map By
Keith Curtis
Jesse Scoble
Interior Artwork By
Written By
Roman “Amok” Papsuev (Character Portraits), Nate Barnes (308-309), Dennis Calero (72-73, 378Elissa Carey, Jonathon Cassie, Simone Cooper, Chris Desmarais, Jason Durall, Debbie
379), Shane Coppage (214-215, 440-441), Thomas Denmark (18-19, 44-45, 62-63, 106-107, 118-119, 184-185,
Gallagher, Sam Johnson, David Lyons, Wil Upchurch, Jeremy “Bolthy” Zimmerman.
276-277, 288-289), Chris Dien (94-95, 242-243), Jason Engle (172-173), Mark Evans (36-37, 136-137,
Additional Writing By
162-163, 362-363), Jon Hodgson (150-151), Veronica Jones (328-329), Travis Moore (252-253, 262-263),
Lee Moyer (7-8, 224-225), William O’Conner (320-321), Chris Seaman (84-85, 126-127), Andrew Trabbold
Mark C. MacKinnon, David L. Pulver, Jesse Scoble, Ian Sturrock
(232-233), Beth Trott (53-54), Udon Studio (298-299, Character Classes, Shields)
Special Thanks To
Playtesting By
Elio M. Garcia, Jr. and Linda Antonsson of www.westeros.org for special support,
Nathaniel Bennett, Drew Bergstrom, Robin Boles, John Bryan, Jason Castle, Michelle Klein Castle,
writing, and consultation.
Stephen Cool, Troy Duffy, Dave van Es, Andy Fix, Peter Flanagan, Paul Frazier, Scott Garibay, Kenneth
Michael Siciliano for his interview with George R. R. Martin.
Gatt, Xavi Gracia, Brian Houston, Maarten Hulshoff, Paul Jackson, David de Jong, Thijs Kreukels, David
Troy Duffy, Andy Fix, David de Jong, and Paul Jackson for phase II playtesting above McCaman, Jan Oliehoek, Dylan Pritchard, Bret Smilyk, Mysti Sothen, Robert Stein, Devinder Thiara,
George Thompson, Michel van Heijningen, Lorena Wolfe
and beyond the call of duty.
Joe Saul, who started this whole ball rolling.
Contributing Supporters
Ryan Dancey, for always picking up the phone when it rang.
Matthew Andrews, David Banuelos, Frank Bohnsack, Timothy Carter, Rod Currie, Nagy David,
Cyril Demaegd, Dianne Descoteaux, Tod Detre, Herman Duyker, Mark Eggert, Eric Fouvez, Robert French,
Editing By
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Michelle Lyons and Mark C. MacKinnon
Manhave, Scott Martin, Darren Miguez, Shawn Moore, Eden Rabatsch, Jeff Rasar, Susan Ray, Darren
Richley, K.C. Saniga, Pierre-Alexandre Sicart, Brian Sniffen, Rich Spainhour, Daniel Stanke, Robert
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Vincent Lefavrais, Lisa Leutheuser, Gary London, David McCaman, Karen A. McLarney, Resources
Dylan Pritchard, Rich Spainhour, Paul Tucker, Christopher Young
WESTEROS.ORG
The concordance at www.westeros.org was a tremendous help in putting this book together. The
Art Direction and Graphic Production By
organisation of the world section (Chapter 15) is based on their listings, and used with their permission.
Jeff Mackintosh
BROTHERHOOD WITHOUT BANNERS
The Brotherhood Without Banners — www.bwbfanclub.com — is an official GRRM fan club.
Final Graphic Production By
Adam Jury
Cover Artwork By
Final Thanks To
Mike S. Miller
George R. R. Martin, for creating Westeros in the first place.
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INTRODUCING
A GAME OF THRONES
Winter Is Coming. The motto of House Stark rings through
George R.R. Martin’s A Game of Thrones, foreshadowing the dark
days to come at the end of nine years of summer. While the realm is
ostensibly at peace under the rule of King Robert Baratheon I, there
are many who remember that the continent of Westeros was torn by
war twice in recent memory — first when Robert, Eddard Stark, Jon
Arryn, and their allies raised their swords against Mad King Aerys,
shattering the Targaryen dynasty; and again when Balon Greyjoy
attempted to break from King Robert’s rule to re-establish his islands’
sovereignty and return his people to their barbaric splendour.
Today, the realm is a tinder box, waiting for that first spark.
King Robert’s court is filled with flatterers and liars and worse, and the
king would rather shut his eyes and ears than confront the corruption. The
mighty noble houses still jockey for position, either trying to consolidate their
power over the realm, or biding their time until they can make a move in the only game
worth playing — the game of thrones.
Westeros is a land of ancient, storied, noble houses. The old blood still runs strong
in the hinterlands, and there are none living who remember when dragons walked the land.
The last sparks of magic died when the last dragon did, or so some say; now, the educated
and civilised believe magic to be no more than superstition or the stuff of childhood dreams.
Yet legendary artefacts are still known, from the king’s terrible Iron Throne, forged from a
thousand swords in the heat of dragon fire; to swords of ever-sharp Valyrian steel; to great
castles built in the Age of Heroes; to the mighty northern Wall, 700 feet of ice and stone,
built long ago to defend the realm from nightmares.
Beyond the Iron Throne and centre of Westeros, across the
narrow sea and east of the Free Cities, the last of the dragonlords
survive and plot against King Robert, the Usurper. Prince Viserys
bargains with the great barbarian hordes, selling his sister, Princess
Daenerys, for the promise of an army. These exotic lands are thick
with omens and portents, promising a return to glory for the blood
of the dragon.
And north of Westeros, beyond the awesome Wall, the heart
of winter seems to stir, gazing hungrily with ice-blue eyes.
The principle players in A Game of Thrones include:
Great Houses
HOUSE BARATHEON — youngest of the great houses, founded during
the Wars of Conquest, Baratheon is the royal house. Their shield is a crowned stag,
black, on a golden field.
HOUSE STARK — lords of the North, the old blood still runs strong in these descendants
of the Kings of Winter. Their shield is a direwolf, grey, on an ice-white field.
HOUSE LANNISTER — the lions of Casterly Rock are the wealthiest of noble houses,
and having married the king, one of the most influential. Their shield is a lion, golden, upon
a crimson field.
HOUSE ARRYN — the defenders of the Vale are one of the oldest lines of Andal nobility.
Their shield is a falcon, white, across the moon, upon a sky blue field.
HOUSE TULLY — the riverlords were never kings, but have governed the riverlands for
300 years. Their shield is a leaping trout, silver, on a field of rippling blue and red.
INTRODUCTION
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example of Game Play
The following dialogue is an example of how a typical d20 role-playing session might
progress. The game involves seven players and the Game Master (or GM), Dev. When setting
up the game, Dev tells them they will play a Noble House style campaign.
The game will start one year previous to the events depicted in A Game of Thrones, and
the characters will all be part of, or associated with, a branch of House Tully. In this version of
Westeros, Hoster Tully has a younger cousin, Ser Kent Tully, who rules a small holdfast called
Kent’s Keep on the Cape of Eagles.
Dev tells the players to make characters with 6 total Character Levels. Dev informs
them that he wants to keep the themes and tones to strongly reflect those of the novels. He
also tells them of a few restrictions (no Eastern Backgrounds) and any optional rules (such as
Social Status and Effective Character Level, Fatigue for combat, and a maximum of 9 Bonus
Points for Defects). Then he lets them create their own characters.
Note: Not all groups will have this many players. A large number was chosen to
showcase different options throughout the play examples scattered through this book.
Additionally, this example is written to show the social interaction and role-playing, and does
not focus on the rules.
Dylan creates Brendal Tully, a young noble, and the son of Ser Kent. His Social Status
is Rank 4 (member of a great house) and he is a 3rd Level Noble (his Social Status gives him
three effective extra Levels).
Elio designs Ran Tyrell, a young noble who is being fostered by Ser Kent. His Social
Status is also Rank 4, and he is a 3rd Level Noble. He aspires to knighhood.
Linda creates Morgan Snow, a baseborn daughter of some northern lord or another.
Tomboyish as a child, she fell into a life of fighting and guarding. She has taken service with
Ser Kent as a sworn sword. Her Social Status is Rank 1 (which does not affect her Character
Level), and she is a Level 6 Man-at-arms.
Paul designs Heldan, once of House Frey. Heldan has finished his training at the
Citadel, and is now a sworn maester, sent to advise, and learn from, Ser Kent. His Social Status
is Rank 2 (which gives him one effective extra Character Level), and he is a 5th Level Maester.
Matt creates Sebastian, a local boy who took arms with Ser Kent’s household and
became a loyal member of his guard. As a sworn sword, his Social Status is Rank 1 (which
does not affect his Character Level). Furthermore, once Sebastian reaches a high enough Level
Man-at-arms, he can become a Knight. Matt and Dev decide that just recently, Sebastian saved
Ser Kent’s wife from highway bandits, and in return Ser Kent knighted him. Ser Sebastian is
a 4th Level Man-at-arms / 2nd Level Knight.
Troy designs Kardaine, a member of the smallfolk who heard the call of the Seven from
a begging brother, and went to study with the Faith. Now he is a successful septon, assigned
to Ser Kent’s service. His Social Status is Rank 1 (which does not affect his Character Level),
and he is a 6th Level Septon.
Finally, Robin creates Laurel, another member of the smallfolk. She was raised in the
region, and has spent her early adulthood becoming a successful hunter and tracker in Ser
Kent’s service. Her Social Status is Rank 1 (which does not affect her Character Level), and
she is a multiclassed 3rd Level Hunter / 3rd Level Knave.
At the first session of the campaign, Dev gives the players some general background
on Kent’s Keep, Ser Kent, and his household. At the game’s start, he lets people set their
initial scenes, listening carefully to what they say in order to create hooks to bring them into
the heart of the story.
Dev: It is a year of high summer, the beginning of the 9th year. You are all part of Ser
Kent’s household, and lodged at Kent’s Keep, which lies crouched upon the Cape of
Eagles overlooking Ironman’s Bay. I’m going to let you create the first scene for your
character. Think of the opening sequence of a book, or perhaps a movie, as the story
begins ... (to Robin) Laurel, where are you and what are you doing?
Robin: (as Laurel) I’m away from the Keep, at least a full day’s travel. One of my duties is to
regularly scout the fishing villages, and keep an ear out for stories of raiders. (to Dev)
Have there been many attacks in the recent past?
Dev: No, not so many. The last two years have been quite peaceful — oh, there’s the
occasional dispute, and one or two turn into assaults or even murder, but there has been
no major disturbance to the coastal towns since Ser Kent and a small force trapped and
shattered Red Jack’s raiders.
Robin: (as Laurel) Sure. So I travel the region, on a light riding horse, maybe with a couple of
other scouts, though we all spread out and act independently.
Dev: Fine. (to Troy) Kardaine, where are you and what are you doing?
Troy: Well, Matt and I talked it over while making characters, and I think that while Ser Kent
knighted him, Kardaine performed the rest of the ceremony — the anointing with the
seven oils, and so forth.
Dev: Sure, that’s great.
Troy: So as the knighting just happened, or is just happening, I think Kardaine is in the Sept
with Sebastian ... now Ser Sebastian, and is essentially blessing him.
Dev: Matt, you OK with that?
Matt: That’s fine. Ser Sebastian is dressed for the occasion in an undyed wool shift, and
barefoot. He takes this all very seriously, and is honoured that Septon Kardaine would
aid him in this.
Dev: I got it. Paul, where is Maester Heldan and what is he doing?
Paul: (as Heldan) Reviewing my facts and figures, for the lord. I have just taken over more
of the steward’s duties, in part because I’ve proven myself over the past year, and more
tragically because he recently broke his leg falling from a wild horse.
Troy: How ... convenient.
Dylan: I know who we have to watch out for!
Paul: (dryly) Whatever do you mean?
Dev: That’s fine. You are all free to colour the scene — add details to the world — in minor
ways. And if it contradicts the story, I’ll gently correct you. Or not so gently. Linda,
where is Morgan and what is she doing?
Linda: Can I wait to hear what the other two are doing first?
Dev: (turning to Elio). Elio, where is Ran and ...
Elio: ... and what is he doing! (laughter) Ran is in the yard, practicing as per his usual routine.
He spends several hours a day with the guards, drilling, and also tries to get in personal
sparring ... (to Dylan) Brendal, are you game?
Dylan: (as Brendal) Always, you scoundrel! By the Seven, I’ll thump you this time!
Dev: The two of you are in the yard, clacking blunted swords. There’s a slight advantage to
Ran, but it could easily go either way. Linda, any ideas yet?
Linda: Oh, many. (as Morgan) I’m watching the two boys play in the yard, perched up a lower
balcony. I’ll occasionally catcall and hoot, first for one, then for the other should the
tide turn — always for the underdog, basically.
Dev: That’s fine.
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Elio: (as Ran) Morgan, must you always play the mockingbird? Easy for you to criticise
when you are safely seated in the benches
Dylan: (as Brendal) I agree. You think you’re so tough, pick up a sword.
Linda: What the hell. (as Morgan) I leapt nimbly down the stairs to the yard, snatching up a
sword and shield from the equipment table.
Dev: OK. How are you fighting? And whom do you attack?
Linda: Both! I’m going to go on the assault, picking away at their defences. My goal is to
knock one down or at least off balance, before dealing with the second firmly.
Dev: Guys, I need you to roll some dice (Linda, Dylan, and Elio all roll Initiative, then act
in sequence, making attack and defence rolls as necessary. Unsurprisingly, Morgan
completely dominates the first several exchanges, at which point the GM summarises).
After several tense minutes filled with lightning quick strikes from Morgan, and, well,
considerably slower attacks and defences from the two highborn sons, both boys are
thoroughly pummelled and defeated. (laughter) Meanwhile, Paul, a raven flutters in to
your tower.
Paul: (as Heldan) I go to it. Is there a message tied to its leg?
Dev: You think so, but as you get closer, it squawks furiously and hops away, unsteadily. You
notice what looks like dried blood along one wing.
Paul: (as Heldan) I’m going to leave it alone for a minute to calm down, though I keep a
close eye on it. After a few moments, I slowly move over to a bin with corn and seed,
and take a handful, then cautiously, and slowly, very slowly, head towards the bird.
Dev: It watches you warily, but as you come within a few feet, it screeches and flaps its wings
madly! It tries to fly, but falters, and crashes to the floor.
Paul: (as Heldan) I scatter the seed between us, then back away. I want to grab a pair of thick
leather mitts. Heldan obviously handles these guys all the time, so he should be able
to coax it into eating, and while distracted, catch it safely.
Dev: Good plan. The bird pecks at the seed as though it were starving. Maester Heldan
manages to snatch it up in the mitts. It struggles briefly, but then lies still.
Paul: (as Heldan) Keeping it held firmly, I’ll gently retrieve the message.
Dev: It’s sealed with wax, depicting two crossed scythes.
Paul: (as Heldan) Do I recognise it? I have a high Skill — unless it’s extremely obscure.
Dev: Not exceptionally, no. It takes you a moment, but you recall it is the sigil of Lord
Rodrick Harlaw of Harlaw, Lord of the Ten Towers, also called the Reader.
Paul: (as Heldan) I break the seal, what does it say?
Dev: The language puzzles you for a moment, then you realise it’s in code. The dialect is an
ancient seafarer’s brogue.
Paul: Can Heldan decipher it? In my background I said he collects sea chants and lore.
Dev: Sure. (hands Paul a note) Here you go. Meanwhile... (turns to Troy and Matt). Septon
Kardaine has watched over your vigil, Sebastian. You’ve been fasting and praying for a
night and a day. As the sun sets, Ser Kent arrives.
Troy: (as Kardaine) Ser Kent, may the Seven bless you.
Dev: (as Ser Kent) Dear Kardaine, how fares our young aspirant?
Troy: (as Kardaine) Very well, I believe. He has rigorously held to his fast and his prayers,
and has received the blessings of the Seven with a pure heart and godly spirit.
Dev: Ser Kent draws his sword and stands over Sebastian. (as Ser Kent) Sebastian, do you
promise to honour the Seven, to defend in the name of the Father, to guard in the name
of the Mother, to fight in the name of the Warrior, to build in the name of the Smith,
to bring joy in the name of the Maiden, and to guide in the name of the Crone?
Matt: (as Sebastian) I vow to obey the Seven. Their philosophies will guide me in all that I
do.
Dev: (as Ser Kent) Then I charge you to defend the weak, the innocent, the powerless, to
serve me faithfully as your own lord, and to defend the realm with all your might. Rise
then, Ser Sebastian.
Matt: (as Sebastian) He does, with only a slight tremor in his legs from the long kneeling
and fasting. But he’s too proud, and happy to show weakness.
Paul: Can Ser Kent be found?
Dev: Certainly. Septon Kardaine and Ser Sent are helping Ser Sebastian to his feet when
Maester Heldane bustles in, appearing somewhat agitated.
Paul: (as Heldane) M’lord, my apologies. There is a bird ... from the Iron Islands.
Dev: (as Ser Kent) Come Maester, we will speak of this in my chambers.
Paul: (as Heldane) Ser, your pardons, but ... I think it would do for Septon Kardaine to hear
this. And perhaps Ser Sebastian as well.
Dev: (as Ser Kent) Kent harrumphs. Very well, Maester, spit it out then.
Paul: Heldane fishes out the message, but he’s already memorised the key points. (as
Heldane) It is from Lord Rodrick of Harlaw. He warns of the pirate ship, Seastone,
piloted by the cruellest of raiders, exiled from the Iron Islands for worship of gods
older and more terrible than even the Ironmen’s Drowned God.
Troy: (as Kardaine) More terrible than the Drowned God? I find that hard to believe.
Dev: (as Ser Kent) Is there any sign as to where they might be headed?
Paul: (as Heldane) Lord Rodrick suggests the coastal villages, like Deep Cove or Break
Harbour.
Matt: (as Sebastian) Break Harbour? That’s my home!
Dev: (as Ser Kent) Aye. Hmmm. Sebastian, go find my boy Brendal, and bring him, Ran,
and Morgan to my audience chamber. Septon, Maester, please walk with me. (turning
to Robin) Meanwhile, earlier that day ... Dawn. Laurel has been ranging for several
days, but should be back to Kent’s Keep by early evening if you take a casual pace.
However, in the last fishing village you pass through, the fishermen found a drowned
man. Seeing the lord’s symbol emblazoned on your jerkin, they ask you to deal with it,
for the body is “queer.” We will paraphrase this scene for expediency.
Robin: Whoah. Um, OK. (as Laurel) I tell the villagers to show me the body, ask if they knew
the man. Finally, what is so queer about him?
Dev: No one you talk to recognised the body — it’s a village of twenty families, and they
all know each other. You find the corpse laid out on the rocky beach. He’s covered in
bright red and blue splotches, like a colourful rash. Furthermore, his feet are tangled in
seaweed.
Robin: Laurel is going to check the body. She’ll be careful, and wear gloves. She knows how to
handle dead bodies, but she’s probably never done a murder investigation before. She’ll
take her time.
Dev: You discover the seaweed isn’t random muck, but the legs have been tied together. You
see no other marks, except for the red and blue rash — the body is naked, and the rashes
are all over, in no discernable pattern. Nothing else seems odd, until ... you open his
mouth, and find something jammed under his tongue. It appears to be an ancient iron
coin, stamped with a badly degraded image of a chair, or throne....
INTRODUCTION
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magic
learning Magic
Dany remembered the word from a terrifying story that Jhiqui had told her
one night by the cookfire. A maegi was a woman who lay with demons and
practiced the blackest of sorceries, a vile thing, evil and soulless, who came
to men in the dark of night and sucked life and strength from their bodies.
— A Game of Thrones
Magic is a little understood force in the world. It has been so long since magic was truly
potent that most understanding of it only lives on in superstition and rituals of questionable
validity. Smiths who work with Valyrian steel, members of the Alchemists’ Guild, red priests
and the rare Maester all know some sort of magical ritual, but it is unknown whether any of
these spells have any power behind them.
The Maegi presented here (page 318) is one possible approach to defining the Special
Abilities of people like Mirri Maz Duur. This Prestige Class represents a path for those who
take up an eclectic study of folk remedies, spiritual instruction and arcane rituals. As more
magic is seen as “A Song of Ice and Fire” progresses, future sourcebooks will provide better
detail for how magic works in so far as it can be understood.
A character meeting these requirements must find a teacher, which is a difficult task
at best. There are very few teachers with genuine talent, and fewer still that live in the Seven
Kingdoms. A character looking for a specific magical effect may spend a lifetime looking for a
teacher that knows a relevant spell. Such teaching is unlikely to come for free, and an aspiring
wizard may pay dearly for any lesson he or she receives. At the GM’s discretion, a character
could also seek out rare tomes and try to learn a spell from such a source.
Learning a spell can take weeks or even months under the proper tutelage, with multiple
Wisdom checks made to determine progress in learning the spell. To learn most spells fully
requires a Feat (specific per spell).
DESIGNER’S NOTE:
RARITY OF MAGIC
The exact capabilities of any spell should be largely story
driven. A spell that cures 1d8 Hit Points is not recommended because
it cheapens sorcery and lessens the fear of combat, but one that can
bring a character back from the brink of death fits well with the
apparent cosmology.
spells
It is suggested that in the ancient times of Westeros, magic
shaped the world. It is doubtful that it was common even then, but
was used for mighty workings, such as raising the legendary castles
and forging Valyrian steel. If the GM chooses to set the campaign
in a different time period of Westeros, magic may be more or less
powerful, but it should never become mundane .
“Some would say that death is cleaner.”
— Mirri Maz Duur to Daenerys Targaryen, A Game of Thrones
A character can learn to cast spells as long as he or she meets three requirements: the
character must have a Wisdom of 15 or higher; the character must have at least 6 Ranks in
Knowledge: Arcana; and the character must possess at least one of five Feats (Iron Will, Blood
of the Dragon, Blood of the First Men, Dreams, or Animal Companion).
casting the Spell
Feat: Spell
This mystic ritual allows a character to cast a spell. This is a generic
template to give GMs a simple frame from which to design their own spells.
See A Catalogue of the Strange and Magical, page 324, for some specific
examples.
Even if a character has learned a spell, he or she may not necessarily produce a magical
effect when using the spell. Successfully casting a spell requires a successful Wisdom check
with a DC of 25. The Level of the character, his or her magical knowledge, the usage of
prepared instruments, and even ritual sacrifice can all help ensure the chance of a successful
effect. A character cannot Take 10 or 20 on this roll. This check may be modified as follows.
Prerequisites
Varies (normally at least Wis 15, Knowledge: Arcana 6 Ranks)
Ritual Instruments
Benefit
Mirri Maz Duur chanted words in a tongue that Dany did not know,
and a knife appeared in her hand ... It looked old; hammered red
bronze, leaf- shaped, its blade covered with ancient glyphs.
The character can perform a specific spell or magical ritual. Normally,
each different ritual acts as a separate Feat. To use the Spell Feat requires a
Wis check (normally DC 25), in order to gain some benefit.
— A Game of Thrones
Special
Old, ancient instruments, such as bronze weapons, glyph-inscribed braziers, exotic
herbs, etc., are often used in the dark arts. If the character is using at least good quality
tools, there is no modifier to the roll. Poor or improvised tools impose a -1 penalty. High
quality tools (roughly 10 times the average price and difficult to acquire) provide a +1 bonus.
Rituals, sacrifices, and so forth can normally be used to increase the
chance of success. Some Spell Feats require a particular sacrifice. Similarly,
most Spell Feats have a negative consequence associated with failure, from
Ability Score damage to gaining a permanent Defect.
GMING THE SEVEN KINGDOMS
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GMING THE SEVEN KINGDOMS
Masterwork or antique tools, such as family heirlooms, provide a +2 bonus. By using multiple
instruments of superior craftsmanship (whether high quality or masterwork), a character can
gain a maximum bonus of +4.
The Way is Long and Dark (Optional)
There are several optional rules that GMs may wish to impose on
spellcasting in A Game of Thrones d20. The first limits the number of Spell
Feats a character can learn by requiring a further cost, and the second and
third make spell casting more dangerous.
Ritual Sacrifice
The maegi drew it across the stallion’s throat, under the noble head, and the
horse screamed and shuddered as the blood poured out of him in a red rush.
— A Game of Thrones
Paying Dear
As an optional cost, GMs may require all Spell Feats to cost one
Ability Score point (normally Con, although Str, Dex, or Cha may be
substituted as appropriate). When the Spell Feat is taken, the Ability Score
is immediately lowered, and any derived values (Hit Points, Skill Points,
Influence Points, attack bonus), must be recalculated.
Characters who attempt untrained spellcasting (see sidebar), and thus
have not lost the Ability Score point suffer a -4 to their checks.
Blood, life, and death seem to be keys that can help unlock the secrets of magic.
Warlocks from Qarth bathe Sam Tarly in aurochs’ blood to make him brave. Mirri Maz Duur
sacrifices the horse, and so much more, in her attempt to restore Khal Drogo. Dany burns the
maegi on Drogo’s funeral pyre and wakes dragons.
A ritual sacrifice may be performed to raise a spellcaster’s chances of properly enacting a
ritual. Formally trained maegi will normally use a ritual instrument (see above), but characters
acting from intuition will use whatever is expedient. The target is killed, whether the spell
works or not. The more powerful, special, or pure the sacrifice, the greater power is lent to the
spell. See Table 14-5: Spell Casting Modifiers.
Darkness of the Grave
As an optional rule, if a spellcaster (either trained or untrained) rolls
a natural 1, the ritual critically fails. The spell should do significant harm to
the spell caster and to any subject of the spell (as appropriate). This penalty
should last for approximately a fortnight. Possibilities include:
• 1d6 Ability Score damage
• Lowering the character’s Shock Value by 1
• Suffering a -1 penalty to any Fortitude or Will Saves
• Acquiring a new Defect
Table 14-5: Spell Casting Modifiers
CIRCUMSTANCE
Per 5 Levels of a non-Maegi Class
Per 3 Levels in Maegi
Feat possessed*
Per 5 Ranks of Craft: Alchemy**
Per 5 Ranks of Knowledge: Arcana**
Per 5 Ranks of Knowledge: Nature**
Per 5 Ranks of Knowledge: Religion**
Higher Mysteries Special Ability
MODIFIER
+1
+1
+1
+1
+1
+1
+1
+2
Disturbing the Powers
If a ritual calls for privacy, anything that disturbs this (such as Ser
Jorah carrying Dany into the tent where Mirri Maz Duur was casting) puts
the caster at great risk. The spellcaster must make a Will Save (DC 18) or
suffer a -6 to the spell’s Wisdom check. Even if successful, the interruption
RITUAL INSTRUMENTS
Poor or improvised tools
High quality tools
Masterwork or antique tools
-1
+1***
+2***
RITUAL SACRIFICE
untrained Spell Casting
Animal (per 4 HD)
+1
Noble or great animal
+2***
Human (per 4 Levels),
+1
Notable human (Maegi, royalty, old blood, etc.) +2***
* The caster gains +1 per each of the following Feats: Animal Companion, Blood of the
Dragon, Blood of the First Men, Dreams, or Iron Will.
** Skill bonuses are only counted if the Skill is appropriate to the ritual being
performed. Bonuses from different Skills can stack to a maximum of +4.
*** The caster can stack bonuses from high quality and/or masterwork tools to a
maximum of +4.
Animal stacks with Noble or great animal bonus to a maximum of +5.
Human stacks with Notable human bonus to a maximum of +5.
In rare circumstances, a character can create a magical effect with only sketchy
knowledge and no training, as seen by Daenerys’s impromptu ritual that brought dragons
back into the world. In rare circumstances, a combination of determination, fate, and luck can
allow a character to spontaneously create a magical effect. Such effects are not brought about
by casual attempts at magical workings. Instead, they require the sort of talent derived from
temporary madness. At the GM’s discretion, a properly driven character with a reasonably
defined and inspired ritual can attempt to will a magical effect into existence. Such a character
must still have two or more of the prerequisites (see page 322).
This attempt requires a Wisdom check with a DC of 30. For each prerequisite Feat a
character possesses, he or she may add +1 to the die roll. The GM may also raise or lower the
DC depending on the level of magic in the world and any other relevant factors. There is no
guarantee that the spell will do exactly what the caster intended, and may even have unexpected
side effects.
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the Cost of Magic
Each spell has its own unique costs. In addition to any arcane components needed
to cast a spell (see individual spell descriptions), a magical effect is likely to exact a heavy
toll on the caster. For any significant magical working, assume that the caster suffers at least
1d3 points of Ability damage to Constitution, Wisdom, and/or Charisma. This damage is
inflicted even if the spells fails. In addition, any success gained is likely to be tainted. A person
may be brought back from the brink of death, but they may come back “wrong.”
The effectiveness of any spell depends on the current level of magic present in the
world. It is suggested that if the campaign is set in the modern era, but before the return of the
dragons, then spells will only work under very limited circumstances.
THE HIGH PRICE OF MAGIC
a Catalogue of the
Strange and Magical
There are a handful of strange and mysterious events that occur during the course
of A Game of Thrones. Some rituals fail, while other events are seemingly fortuitous but
explainable. As the level of magic in Westeros rises again, GMs are encouraged to spice their
game occasionally with such events. As noted on page 322, however, magic should never
become mundane.
A catalogue of strange and magical events includes the following.
(As a corollary to 2, Mirri Maz may have never tried to help Drogo
with his wound, and her poultice may actually have caused further harm,
quickening Drogo’s demise. Conversely, she might have honestly tried
to help him, but when he stubbornly refused her medicines, she took
advantage of his weakness).
“The price was paid,” Dany said. “The horse, my child, Quaro and
Qotho, Haggo and Cohollo. The price was paid and paid and paid.”
— Daenerys Targaryen to Mirri Maz Duur, A Game of Thrones
When Mirri Maz Duur tells Dany that “only death can pay for
life,” Dany lies to herself that the maegi means Drogo’s horse. What did
the maegi truly mean, however? She may have meant the horse and that
Drogo would live but as an incomplete man. Then again, perhaps she knew
that the dark powers would somehow exact a greater price from Dany’s
people — the final tally, as Dany says above, was Drogo’s horse; Dany’s
unborn child Rhaego; Qotho kills Quaro; Ser Jorah slays Qotho; Rakharo
and Jhogo kill Haggo; and Aggo’s arrow kills Cohollo.
Dany accuses the maegi of cheating her, of sacrificing her son’s life
and Drogo’s will and so much more. Mirri Maz Duur implies that she
planned this revenge all along, for although Dany believed she “saved”
the maegi’s life, her temple had been burned, her village destroyed, and she
had been raped. Mirri Maz asks Dany “what life is worth, when all the
rest is gone.”
Each GM must decide for him or herself how best to interpret these
events for the campaign. There are two general philosophies.
1) Mirri Maz Duur truly intended to save Drogo, but her spell went
awry, perhaps because Ser Jorah carried Dany into the tent. This greater
sacrifice allowed the dark powers to twist the terms of the spell.
2) Mirri Maz Duur truly intended to betray Dany, and knew that
by opening the door to the other world, great tragedy would result. She
probably did not know exactly what would happen, but knew that her
revenge would be complete. In her hatred for the Dothraki, she would
ensure that the stallion who mounts the world would never be born.
In the first, although she was initially trying to assist, Mirri Maz
Duur took advantage of the situation when disaster struck and spun the
story of her planned revenge. This makes her earlier actions more altruistic,
and she only turns on Dany when the khalasar power is broken.
In the second, Mirri Maz is much more vicious and scheming. This
kind of betrayal is likely far too cruel to inflict upon most player characters.
On the other hand, this kind of backlash makes magic a truly terrible and
awesome element in the game, and one that will never be taken lightly.
THE TRUE PRICE
If a GM wants to make exceptionally dangerous, the true cost of the
spell should be unique, specific to the circumstances of its invoking. Mirri
Maz Duur was willing to sacrifice the spirit of the khalasar to appease
the dark powers and to give Drogo a semblance of life. Her ritual had the
following effects:
• Anyone in the immediate vicinity had their emotions pulled taught.
This heightened anger and anxiety, and made bloodshed far more likely.
All characters had to make a Will Save (DC 20) or effectively suffer
from the Blind Fury Defect, as at 1 BP.
• All characters in the vicinity effectively gained the Critical (Improved)
Feat. This makes death much more likely.
• Anyone who entered the tent after the ritual was begun suffered
greatly. All characters had to make a Fort Save (DC 20). Characters
who failed took 2d6 Con damage, or 1d6 if they succeeded. This killed
the unborn Rhaego, and gravely weakened both Ser Jorah and Dany.
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GMING THE SEVEN KINGDOMS
valyrian Steel
dark Omen
The omen of the dead direwolf, killed by a broken antler in its throat. Such a vision
might be had by any character, or perhaps only one with Dreams, a Blood Feat, or a high Rank
in Knowledge: Arcana (at least 3 Ranks).
animal Bond
The Stark children each get a wolf pup. Summer’s howls seem to help Bran, and the
wolf is there to protect him when needed, as is the case with Jon, Robb, and Rickon. The girls
both lose their wolves — Lady to the sword, and Nymeria by being driven off. This seems
to prophesise that both will lose their way. This kind of bond should be represented by the
Animal Companion Feat.
Other animals, like Lord Commander Jeor Mormont’s, should probably be treated as
normal animals, although once in awhile they may “do” (act in a peculiar fashion, speak if
capable, etc.) something significant. For example, at times Mormont’s raven seems uncannily
smart; it may be coincidence, or it may actually be acting as a sign or omen (perhaps only
visible to those who are special, as described under Dark Omen).
Tobho had learned to work Valyrian steel at the forges of Qohor as a boy. Only
a man who knew the spells could take old weapons and forge them anew.
— A Game of Thrones
The forging of Valyrian steel is a lost art. Once the craft was known to the great artists
of Valyria, but since the Doom, the skill of making Valyrian steel has been lost. Now only a
few know how to reforge the weapons from antiques, and it is a rare skill in Westeros. Trained
weaponsmiths may be able to work with remnants of Valyrian steel to reforge weapons anew.
GMs who prefer a low-magic world may prefer to allow any Artisan with the
Masterwork Special Ability to smith Valyrian steel (rather than require the Work Valyrian
Steel Feat). In this case, Tobho Mott was being poetic rather than literal in his description
of “knowing spells.” With this option, a 12th Level Artisan can craft a +2 attack, +2 damage
weapon, while a 19th Level Artisan can reforge a +3 attack, +3 damage weapon.
Feat: Work Valyrian Steel
The character knows the old spells needed to invoke in order to work
with Valyrian steel.
Prerequisites
true Dreams
Str 13, Int 13 or Wis 13, Craft: Blacksmithing Rank 15
A number of characters have true dreams.
• Bran’s dream of the three-eyed crow. In this dream, Bran sees his family and the events that
befall them. He sees their current troubles and gets hints of what is to come.
• Bran dreams of his father after Eddard’s death. He meets him in Winterfell’s crypts,
foretelling the news of his death. In the dream, Eddard tells Bran something about Jon, but
Bran cannot remember what it was upon waking.
The first part of this is simple to handle from a game mechanics perspective. Characters
with Blood Feats may have intuitive family links (page 167), and thus receive dream-visions
when family is in crisis. The second half is more challenging. If Eddard’s shade revealed a truth
to Bran, the GM could make the player roll a Wisdom check at DC 20. If successful, the
player character remembers the secret. If the roll fails, the player character only remembers
bits and pieces, such as the emotional charge of the event, but not the details. Obviously this
kind of roll should never cause the plot to come to a halt, but may be used to add flavour to
the campaign.
• Rickon also dreams of Eddard’s death. Like Bran, in the dream Rickon clearly spoke to
Eddard, who promised his son he was coming home.
• Daenerys dreams of the dragon. In her dragon dream, her thighs are bloodied, there is a
terrible “ripping sound,” followed by a crackling fire. In another, she burned, cleaned by the
fire, possibly prophesising her rebirth.
These dreams may well prophecy the death of her unborn son, the return of the dragons,
and Dany’s own rebirth. If Dany were a player character, this would be a very difficult concept
for the GM to foreshadow without the player potentially feeling like all control over the
character had been lost. As noted under the Dreams Feat, page 186, player characters will often
fight against even the unchangeable. GMs are encouraged to lace these dreams with visions of
ambiguous meaning that the players can read in different ways, especially as the story becomes
clear. Of course, if it is vital for a plot point to be foretold in such a manner, then this is a
perfect vehicle to ratchet up suspense. It should be used sparingly, however.
Benefit
A weaponsmith using Valyrian steel can create wonderful weapons,
providing a bonus of +2 to attack and +2 to damage. These weapons treat
armour as if it had half its Armour Rating.
Special
The smith cannot create Valyrian steel from common ore, but instead
must have a supply of Valyrian steel that he may use as material. Valyrian
steel is difficult to work and all DCs should be increased by +15. A character
cannot Take 10 or 20 on this check.
Attempting to add colour to the metal increases the DC by a further
+5, however any failures at this stage do not ruin the weapon. The colour
simply does not take properly — the metal may take some of the colour, take
on an unexpected colour, or take none of the colour.
If the smith has Craft: Blacksmithing Rank 21, he or she may recreate
the fabulous weapons of myth, granting a bonus of +3 to attack and +3 to
damage.
strength of Blood
One aspect of bloodmagic concerns rituals based upon transferring courage, strength,
or fearlessness through the blood. Normally the sacrifice must be made at the time of the
ritual, and the subject must eat, drink, or bathe in the fresh blood.
• Warlocks from Qarth slaughter a mighty bull aurochs and make Samwell Tarly bathe in
the hot blood to make him brave. Sam retched, however, so the ritual did not help.
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• Daenerys eats the raw heart of a stallion, as per the Dothraki tradition, to make her son
strong, swift, and fearless. If she failed to eat it all, or choked, or could not hold it down,
the omens would be dire (see Prophecy, below).
Feat: Power of Prophecy
This mystic ritual allows a character to peer into the future, and try to
discern what tomorrow will bring.
Prerequisites
Feat: Strength of Blood
Wis 15, Knowledge: Religion 3 Ranks
This mystic ritual allows a character to be invigorated by the blood
of a sacrifice.
Benefit
Prerequisites
The character has learned how to induce visions. If the character
succeeds at a Wisdom check (DC 20), he or she will receive a waking dream
of the future. See the Dreams Feat, page 186, for more information on how
to use prophecies.
Wis 15, Knowledge: Nature 6 Ranks, a sacrifice of a noble animal or
a notable human
Benefit
Special
The character arranges the ritual for the subject. The subject must
eat a piece of the sacrifice, bathe in its blood, etc. The subject must make
a Fortitude Save (DC 18) to avoid getting sick. If successful, the character
gains a +4 bonus to his or her Wisdom check (DC 25). If the subject
failed the Fortitude Save, however, the character suffers a -8 penalty to the
Wisdom check.
If the ritual is successful, the subject (or the subject’s child) gains one
permanent bonus (a Bonus Feat). This bonus should be determined by the
GM, and should be appropriate for the story. Normally, the character must
meet all prerequisites for the Feat, but in special circumstances the GM
may ignore this.
Traditions used to aid this ritual include a chanting circle of
companions, special dried herbs or grasses, and a ceremonial brazier.
powers Old and Dark
• Mirri Maz Duur summons something great and terrible into the tent with her ritual and the
stallion’s blood. She dances with the shadows of the dead; together they raise Khal Drogo
into a semblance of life and apparently slay and deform Dany’s unborn child.
• Among the shadows, Dany sees a vision of a great wolf, and another like a man wreathed
in flames.
See the True Price of Magic, page 324, for other possible consequences.
Special
If the ritual fails by more than 5, the subject gains a permanent Defect
(equal to 3 BP). This flaw should be determined by the GM, and should be
appropriate for the story. Note that this ritual may be unbalancing (either
positively or negatively towards the subject) and the GM should carefully
consider before allowing access to it.
This ritual can only be performed on a character once in his or her
lifetime.
Feat: Powers Old and Dark
This dark and sinister ritual allows a blood sacrifice to bring someone
back from the edge of death. The Maegi dances with the shadows of the
dead, and they in turn do a favour for the Maegi. If the GM allows, the
Powers may be able to do other favours, instead.
Prerequisites
Wis 15, Knowledge: Arcana 8 Ranks, Sacrifice of a noble animal or
notable human
prophecy
Benefit
The Maegi has learned to bring back someone who is dying of a
mortal wound or disease. The Maegi gains a +5 bonus to the Wisdom check
(DC 25) if using a ritual sacrifice to power the spell.
Certain characters believe they have the power of prophecy. The crones of Vaes Dothrak
chant and their eunuchs throw bundles of dried grasses into a great bronze brazier. The smoke
that rises towards the stars — horses of fire, to the Dothraki — is the smoke of the future. The
eldest crone closes her eyes (or eye, in this case) to peer into that future.
• The crone prophesises the storm that will ride with Dany’s son, Rhaego. The crone appears
to believe her own words, for she trembles as she tells Dany that “the prince is riding, and
he shall be the stallion who mounts the world.”
Since this prophecy does not come to pass as foretold, the GM must decide for his
or her own campaign why it failed. Perhaps the crones never had any power, or perhaps they
didn’t have enough power to succeed at the Prophecy Feat. Perhaps prophecy is not immutable,
but can be affected and changed by the actions of men and women. Another interpretation is
that the crones misidentified the prophecy, and the stallion who mounts the world was never
Rhaego, but instead Dany’s dragons (or possibly even Dany herself).
Special
The roll must succeed by 5 or more for a real success (restoring the
character to life). A success by less than 5 is considered a marginal success,
usually at great cost to the target of the spell (target suffers 2d6 Con, Wis, or
Cha damage, which is permanent). “Death is cleaner,” as the saying goes.
The Maegi must perform this ritual in a private location. Anyone who
enters during the ceremony may be struck by the long shadow of the grave.
The character must make a Fortitude Save (DC 20); characters who fail
suffer 2d6 Con damage, while those that succeed take 1d6 Ability Score
damage. See True Price, page 324.
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