T13 is a Narrative Engine, designed to create Stories and play games that create stories (although with a simulationist philosophy). Stories need Characters to fill the roles of the Narrative. In T13, Stories can embody the Conflict in many different ways, but most commonly a Character acts as the Embodiment of at least one Side of the Conflict and usually this means they are the Embodiment of a particular Facet.
| Type | Description |
|---|---|
| Incarna | The Conflict Embodies one Facet as a Character (or Descendant) Incarna. Often the easiest Embodiment to create Fantastical Characters, but not often suitable to all Genres and Conflicts. Also Incarna Embodiments tend to to make for very obvious, unsubtle, comic-book style Plots where one Ice-based hero must defeat an Heat/Fire-based villain. |
| Persona | The Conflict Embodies one Facet as a Character Persona. Often this is the most satisfying embodiment, but it can lead to easy identification of the Embodiment, and unsubtle, stereotyped Plots. Of course, not every Plot needs to be subtle, sometimes you just want a Villain to fight. |
| Core | The Conflict Embodies one Facet as a Character Core. This can create very satisfying embodiments that are suitable for most Genres. Core Embodiments can create both obvious and stereotypical plots, and so require some care. |
| Hitch | The Conflict Embodies one Facet as a Character (or Descendant) Hitch. This can create quite secretive and subtle embodiments that can be very difficult to spot, especially on Descendants. Other times, Hitch Embodiments can be very obvious, and in the case of Character Woes, glaring. |
| Monster | The Conflict Embodies one Facet as a Monster Facet. This Monster might be a Dragon, an Orc Horde, or just a human Villain. Monsters can be great fun, but are rarely subtle. Where possible when using Monster embodiments, the Plot may want to keep the exact nature of the Monster a secret for as long as possible. |
| Proficiency | The Conflict Embodies as a single Proficiency from one Facet. Characters or Descendants that have the Proficiency may be Hooked to that side. This is a very subtle Embodiment when handled gently, and can make for incredible, interesting and fresh Plots, but can also create incomprehensible messes. |
| Annex | The Conflict Embodies at least one Facet within an Annex, this could be a subtle, solitary Nimbed or Umbral, or be as obvious as being Root, Channel and at least one Umbral. The Annex may be within Descendants, Characters, or may be part of a Creation Plot. This can be a powerful and subtle Plot, and are often a lot of fun. |
| Tone | The Conflict Embodies one Facet as the Tone of the Scene, Act or Story. This can be an easy way to embody some Facets, but can be restrictive and may not suit your style. It can also cause problems with conflicts between Tone and Suspense Level, where high Suspense calls for Rational Conflict, but the Embodiment is a conversational Tone. Use with care. |
| Ordeal/Test/Hurdle | The Conflict Embodies one Facet as an Ordeal (or Test) or as a Hurdle within the same. This is simple and effective, but can be obvious and boring if used too often. A good External Stand-in embodiment during say a single Warp Fray, not a very good choice across a whole Volume usually. |
| Obstacle | The Conflict Embodies one Facet as an Obstacle that the player must overcome. The Obstacle should match Suit with the Facet (Obstacles are defined by Cards normally). Obstacle embodiments can be fairly subtle, as you need not reuse the same Obstacle each time, this can even allow for Red Herring Facets from the same Suit to misdirect. |
| Descendant | The Conflict Embodies one Facet as a Descendant Incarna. In some cases this can result in Location, Pact, or Lore Descendants. Conflicts embodied with Descendants can be very subtle. Commonly used by Creation Plots, when they are not nearly as subtle, but then Creation Plots are usually pretty straight forward anyway. |
| Location | The Conflict Embodies one Facet as a Location. This can be a very subtle embodiment, while still allowing the Conflict to progress. There can be a danger of overusing the same Location as the Embodiment is such a satisfying one. But any Location where the action returns again and again is probably an Embodiment of something from one of the higher Conflicts anyway. |
| Pact-Descendant | The Conflict Embodies one Facet as a Pact Descendant, or group of Characters, such as the Party or a Guild. This Embodiment is the most obvious to use when you are starting out. The Players become one side of the Conflict fighting the other side. It is also great for modelling any number of political and social situations. Pact-Descendants are often the source of an Internal Side and frequently are a good source of Sub-Plots. |
| Quest/Hurdle | The Conflict Embodies one Facet as a Quest (or if there is already enough Quests as a Hurdle to a Quest) that the Character must attempt. This can be great for creating Chapters of Epics and is a way of deciding NPC Ends, but be wary of using Quests in a substitute for Character development. They can be great fun, but are best used sparingly. Quests are fairly blatant embodiments, as are Hurdles, although they are slightly harder to spot. |
| Lore | The Conflict embodies as a special type of Descendant called a Lore. Lores are the rumours the Players hear about the enemy (and themselves occasionally) as the story goes on. Lores might grant extra Descendants (including Pacts and Locations) and even access to Monster Facets to any Character, as it is revealed that they are a powerful wizard, a Necromancer, with a skeleton horde, armed with magickal broadsword, etc. |
| Emotions | The Conflict embodies as one of the Facet’s Emotions, this emotion will usually be the Emotion tested against during the Recoiling of a Weft for example. Emotional Embodiments can be handled subtly to create complex Plots, but can also just be glaringly obvious if the Yarn-Teller is not careful. |
| Failure | The Conflict embodies as additional Failure Levels that plague the Characters during the Story. Failure Levels are rarely a subtle Embodiment (although they can be with careful handling, especially if you throw in a few from another Facet from time to time). |
| Turn | The Conflict embodies as a Turn of the Story itself. Changing the narrative in minor ways usually and occasionally in major ways. Turns are best used as a one-shot External Stand-In Embodiment, as repeatedly having say “Reversal of Fortune” Turns throughout a Volume could quickly become predictable and annoying. |
| Success | The Conflict embodies as additional Sucess Levels that bless the Characters during the Story. Success Levels are rarely a subtle Embodiment (although they can be with careful handling, especially if you throw in a few from another Facet from time to time). |
| Fumble | The Conflict embodies as a potential Fumble that may affect the Characters during the Story, if the appropriate card is drawn. Embodiment Fumbles are never subtle when they activate, although they can be overlooked if they are not triggered. |
| Critical | The Conflict embodies as a potential Critical that affect the Characters during the Story, if the appropriate card is drawn. Embodiment Criticals are never subtle when they activate, although they can be overlooked if they are not triggered. |
| Type | Description |
More Complex Characters occur when they are the Embodiment of more than a single Facet or even Side of a Conflict, or when they embody more than one Conflict simultaneously, perhaps causing Internal Conflicts in the Character as they try to reconcile these different Narrative forces and Tensions.
It can help to think of most Characters as conforming to one of these Narrative Archetypes.
| Type | Description |
|---|---|
| Ally | An Ally is a Character who will act alongside a character, often the Protagonist (although other characters may have their own allies). Allies might be family members, friends, loyal employees, hired mercenaries, enemies of an enemy, or just those currently politically aligned, depending upon the situation. They are usually at least Cast Extras. |
| Antagonist | The Character opposed to the Protagonist, usually the Embodiment of the Dominant side of the Conflict. The Antagonist is your villain and may only appear in one Story. Sometimes to mix things up in a series/campaign the normal Protagonist may become an Antagonist, Ally, Foil or even Love Interest for a Story. |
| Comic Relief | Comic Relief Characters are usually Chorus Extras (although one or two may rise to Cast or higher), that are Allies of the Protagonist. Surprisingly often the Comic Relief may be associated with the Dominant Facet, when they are normally low-level Mooks. |
| Confidante | A variant Ally who is often the closest friend of the Protagonist and is therefore the person that they tell everything to. The confidante can often be combined with other Characters, such as the Innocent, Mentor, Herald, Foil, or often a Love Interest, or Pet. |
| Critic | Critics are characters who criticise the actions and plans of the Protagonist or Antagonist. The Critic can only find fault in others, and rarely improve a situation, only point out how it is going wrong, they specialise in complaint rather than constructive criticism. Critics may act to deflect, hinder, or confuse the Protagonist or Antagonist, often while claiming alliance with one side, but actually being neither. |
| Cynic | Cynics are characters who do not support anyone, they will generally oppose everyone and everything, and will rarely be persuaded away from this position. Cynics will not believe in a cause, they will not join up, instead they will avoid and disbelieve. |
| Dynamic | Any Character that changes from being an Antagonist to Protagonist, or vice-versa is a Dynamic Character. Depending on the plot, they may change what Facets they embody, or simply remain the same as the Plot revolves the status-quo around them. |
| Ensemble | Ensemble characters are usually Chorus or Cast Extras, who have names, and even some defined character traits, that elevate them above the Stock, but they are still very minor characters. Often associated together as a group (hence the name), they may actually be a Pact Descendant that include Allies, Love Interests, Mentors, etc (such as Robin Hood’s Merry-men, or that Magical Headmaster’s Army of Students). The ensemble might be allies, mooks, or outsiders depending upon the situation. |
| Everyone | The Everyone (inclusive of the every-woman and every-man) character is a mundane individual (as such often a working-class or lower-middle class person, usually neither child nor elderly, nor exceptional in ability or looks). Everyone Protagonists are surprisingly common throughout fiction, often though they will develop unusual skills and abilities later in their Arc. Everyone characters can often serve as an audience surrogate, asking for exposition for any part of the setting that is unusual, or little known. This is especially true of things impossible in the real world, but part of the setting, an Everyone character can keep asking “what was that?” and the audience will appreciate any answers they get. |
| Fall-guy | A Fall-guy is a character who is set up as a scapegoat for the Antagonist, they are usually assumed to be the antagonist by the protagonist, until the deception is revealed. |
| Fatale | A Fatale (or Vamp / Vampire / Temptation) character is a dangerous, seductive foe, they are usually driven by personal ambitions, and are blessed with intelligence, good-looks, and charm, but are cunning, ruthless, and treacherous, manipulating their lovers, and others, with a hypnotic sexual allure that traps and endangers. Fatale characters may be armed with subduing weapons, such as knock-out drops, sleeping gas, or narcotic lipstick, although this is not necessary as these characters play at Soul-Stakes most of the time, with their treachery pitched to break hearts and scar souls. Often Fatales will ally themselves with the Protagonist, only to turn on them later, revealing they are the lover of a Rival or the Antagonist. |
| Foil | A Foil is a contrasting Character, perhaps quick to another’s slow, or perhaps cowardly to another’s bravery. Foils are often recurring Characters and they are usually a Mirror Rival (but don’t have to be), in fact, the best Foils are often crafted specifically for that role. Foil Characters usually compare a Facet to its Anti-Facet, but they can explore other Conflicts. |
| Fool | A Fool is a character who is a comic-relief character, but to whom some wisdom is given. The old saying is many a true word spoken in jest and the Fool exemplifies this, telling jokes at others expense always involves a sprinkle of truth. Fool’s can often have a Cassandra effect, where they state exactly what is going on, everyone laughs thinking it is a joke, and then ignores any advice the Fool gives them. |
| Henchman | Henchman are side-kicks to Antagonists. They often are Foil or Rival characters to the Protagonist. Henchman are sometimes a Foil contrast to the Antagonist, and can be both at once. |
| Herald | In T13 a Herald is a Character that exposes some aspect of the plot, Conflict, Embodiments, setting or background through a Revelation Scene. Usually Heralds are Chorus Extras, but one may rise to Cast (and Ally) if they recur often enough. |
| Imposter | Imposters are characters who pretend to be something they are not. Imposters come in two main types, accidental and malicious, accidental imposters are mistaken for someone or something they are not, but circumstances make it difficult for them to admit they are not who everyone thinks they are; malicious imposters do it deliberately (for all sorts of reasons, from being a doppelganger replacement for the original, to a desire for power) and will often kill to protect their secret. |
| Innocent | Innocents are often children, but don’t have to be. They are sympathetic Characters that the Protagonist is meant to try and protect. Innocents are usually Vexes or Chorus Extras, although at least one usually rises to Cast Extra (or better). Innocents that lose their innocence somehow during a narrative may become another archetype, often a Tragic. |
| Janus | The Janus is the two-faced friend, they appear as an Ally, or a Mook, but they are not. While they don’t generally act against their friends directly, they do speak badly of them behind their back. This can sour relationships and create situations where information leaks, via gossip channels, to the enemy. |
| Looker | The Looker is a beautiful person, a stunner. They may be of either gender, but are gorgeous to behold. Often the Looker will have some perceived character flaw that makes them unsuitable to be the Love Interest, this will occasionally turn out to be a misunderstanding and the Looker will become the Love Interest, but this is rare. |
| Love Interest | A Love Interest is a type of recurring Antagonist Character who has a Tension “Conflict” with the Protagonist that draws the Characters together. This may express as a will-they-won’t-they relationship. Of course, for some stories these relationships may be reversed, with the Love Interest being the Protagonist of their own Stories. |
| Magna Mater | The Magna Mater (or Earth-mother) is a female character who has a mentor-like role (and is often married to another mentor), the magna mater offers nourishment and advice, usually of a spiritual or emotional nature, rarely this may be of a romantic or sexual nature. |
| Master | A Master is a powerful NPC that has a unique relationship with the Protagonist or PCs. Masters come in many types, from the Slave-master or Lord, who literally owns others, to the Mentors of Apprentices, Master of a vessel the PCs serve upon, or just a boss at work. Masters usually set Tasks (often Quests) for the PCs to perform. Masters can often be the Embodiment of the Above side of the Conflict. |
| Mentor | Mentors are a teacher, they will teach the Protagonist their Skills, Talents and Powers, or at least some Training Descendants. Mentors are usually more powerful than the Protagonist, but they are often busy fighting larger problems, or are too old for adventuring. It is not unusual for Protagonists to have several Mentors through their lives. In T13, Grunts usually require a Hero Mentor, to teach them how to manipulate Dooms. Heroes often eventually seek out a Yarn-Teller to teach them the ways of the Omniversal Characters. Sometimes the Mentor of Grunts may be a Yarn-Teller who will guide them through both. |
| Minder | The Minder is a side-kick, ally, mook, henchman, or Love Interest character who protects and takes care of the Protagonist (or Antagonist). They are usually strong, tough, and athletic, and will die to protect the Protagonist (or Antagonist) from harm. Crucially though, the Minder cares nothing about the Protagonist’s (or Antagonist’s) goals or desires, only their physical well-being is important. The Minder can also be used as a parental figure, especially for younger Protagonists (or Antagonists). |
| Monster | Monsters are an Antagonist Character that physically Embodies the Conflict like no other Character can. “Monster-of-the-week” are Cast or Force of Nature Extras with at least a single Monster Facet (usually the Dominant Facet of the Conflict), “Boss-Monsters” add at least Two and upto 5 or 6 Monster Facets to a Force of Nature Extra (or a Detailed or Full Character), “Big-Bads” can add all the Conflict Facets to their Monsters and may be Demons, Kaiju or similar Characters. |
| Mooks | Mooks are the usually nameless minions / Allies of an Antagonist or Protagonist. Mooks can be any NPC type, but are usually an Extra, from Vex to Force of Nature, depending on the power level being played at. Plots can add Mooks to a Scene, |
| Obsessive | Obsessives are characters who at first seem like an Ally, or potential Love Interest, but they are revealed to be darkly, morbidly obsessed with something (a job, a person, an objective target, revenge, etc), and will turn on anyone (usually the Protagonist or a Love Interest) if they get in the way of the Obsessive’s goals. |
| Outsider | Outsiders are a type of Mentor or Critic character that sit outside of the Conflict. They are often characters who can provide some perspective on the situation, but will never be drawn into it. Outsiders are usually not accepted by either side of the conflict, and may be pariahs or outcasts, but always have insight into the conflict. If all the main characters are young, the outsider is often much older. |
| Patron | A Patron is a master, but usually not the PC’s, often a lord, someone with political clout, or just a bit of cash, who wants a job doing. Patrons may approach the Protagonist offering them work, for pay, or they may blackmail, or exert other pressures upon the PCs to incline them to perform the task. |
| Philanderer | Philanderers are characters, male or female, who seek only hedonistic pursuits. They seek to seduce characters not for love, but as conquests, to be discarded once they have had their way with them. Traditionally, the male Philanderer is seen as more evil than the feminine seductress, due to the perceived nature and worth of feminine and male sexuality and virtue. |
| Platonic | Platonics are Ally characters that could act as Love Interests, but do not. This may be because they are related to the Character, or they have been friends for so long that they cannot see each other as sexual beings. Platonics do not change and never become a Love Interest to the Protagonist (although they can become a Love Interest to literally any other character). |
| Possessive | Possessives are Allies and potential Love Interests, or apparent Platonics, who will sabotage and ruin the Protagonists relationships and even life, so that they are forced to spend time with the Possessive. Possessives can appear deranged, with “If I can’t have them, no one can” often being their ultimate psychotic manifesto. In some cases, the Possessive will actually be the Antagonist, and try to destroy the Protagonist. |
| Protagonist | The primary Character of a Story, usually the Embodiment of the Pressed side of the Conflict, often referred to as the hero or heroine. |
| Rational | A Rational is a thinking, logical, sagacious, character. They will use logic to decide what is best for themselves and others around them, and will not respond well to an emotional appeal. A Rational can usually be persuaded by logic to assist either side. Variants include the emotionless robot, the repressing great emotions with mental techniques alien, the neuro-divergent scientist, and the cold-blooded fish-dude. |
| Rival | A recurring Character who competes with a character (often the Protagonist). They may be the Antagonist for a particular Story (usually a sub-plot), but can appear in other Stories as a Foil, Ally, or as a stand-in if no Embodiment is available. There are a number of different types of Rival. |
| Rogue | A Rogue will not abide by all the laws, rules and demands of the society that they live in. Rogues are usually quick-witted, charming, independent thinkers, who are often liars and criminals because they see no reason not to be. Rogues can be more virtuous than sinful though, as they will often do the right thing, such as saving a life, or helping someone, out of some sense of personal honour, pride, or some desire to subvert expectations. In fact, many rogues seem to cultivate an uncaring, or mercenary attitude, so that others will not expect their help and be surprised when it is offered. |
| Scoundrel | A Character who is often similar to a Rogue in behaviour and appearance, but is actually a Rival to both the Protagonist and Antagonist. Scoundrels delight in lies, betrayal, back-stabbing, and double-dealing, where the Rogue may act rough, but is virtuous, the scoundrel is the opposite, they will act innocent, all sweetness and light, while planning out exactly they are going to skin you. |
| Sentimental | The Sentimental is emotional, often idealistic, and completely driven by emotions. They will oppose or support characters for purely emotional reasons, and cannot be persuaded by logic. |
| Shy | Shys are characters who are the quiet, even silent, shy type. They have difficulty expressing themselves, especially around those they find attractive and may seem asocial or even antisocial. They come in a number of variants, wall-flowers, the invisible, the unrequited. |
| Side-kick | Side-kicks are usually less powerful companions of the Protagonist. They are often Foil Characters who contrast the Protagonist somehow, such as Watson to Holmes. The Protagonist often takes a Mentor role to the Side-kick, and for this reason Side-kicks and Innocents may be merged to create child Side-kicks. Side-kicks can be merged with the Comic Relief, Love-Interest or Tragic as well to various effects. |
| Stock | Stock (or gag, background or generic) Characters are everyone else, all the shop keepers, politicians, policeman, everyone. They are usually Vex or Chorus Extras (although may rise to Cast Extras if they are reused often enough). |
| Tragic | A tragic is a character fated to die. They are often the “Mr. Body” of the story, a victim of circumstance, in some cases they are an Innocent, who dies immediately that their innocence is lost. Often the Tragic character will not be very detailed because they are destined to die, but a good Yarn-Teller will always be aware of the tragic’s full backstory. |
| Tsundere | A Tsundere is a character who is initially cold towards the Protagonist, but who mellows, and warms towards them eventually. Although, there are a number of variants, Aloof but warms, Scary but mellows, and the lovey-dovey psycho, are all possible. |
| Unruly | An Unruly character is usually a lower social class, although they may be an outsider or a venerable high-class character who no longer gives a hoot, regardless they can get away with bending and breaking the normal rules of society. They will be cheeky, scandalously flirtatious and sexualised, and may act as comic-relief or a love-interest. |
| Vice | Vice characters are a hold-over from morality plays, originally they were the embodiment of a specific vice, but over time this evolved into a more comic role, “The Vice” who is seen as some Agent of the Devil, sent to tempt mankind, although due to the comic nature here they are largely bawdy revellers, mostly focused on the hypocrisy of priests. The Vice can be thought of as a comic villain, sometimes more comedic, sometimes more antagonist. |
| Wit | A wit character is a type of comedic hero, although they can act as a rival, love-interest or a foil, they are clever, loquacious, sharp-tongued and quick-witted. They are usually a strongly independent and bold character, the sort who will mock a lord to his face, especially if social convention forbids him from acknowledging. Wits can cut a man down to size with a few expertly chosen words, and their quick-wits usually also translate into sound tactical planning and fast foot-work should things go wrong. |
| Wretch | A Wretch is any Character who appears to be a sympathetic character, someone down on their luck, homeless, poor, broken-hearted or similar, but who actually is allied to the Antagonist. Wretches are often addicted to substances that the Antagonist will willing provide, in exchange for favours and information. Wretches will sometimes attach themselves to the Protagonist, hanging around their location, following them, ostensibly as a friend-in-need, but really so that they can more directly spy on them for the antagonist. |
| Type | Description |
Character Hooks
During the Frame Act of any Narrative the Plot tries to Hook Characters, and their players to the Plot. The reasons for this include:
- Plots Need Characters — Plots cannot act themselves, they can’t examine or work a Conflict without Embodiments, and Characters make the most useful and effective embodiments.
- Plots get their Facet Boons from Hooked Characters — When a Character is Hooked the Plot gets to replace Facet Boons with the Character’s. This causes Plots to target Characters with the Highest Facets for Hooking. Note that for simplicity’s sake we often standardise the Facet Boons of larger Plots (a Cycle, for example, already Hooks everyone in the universe the Cycle contains, so we can say with some confidence that there will be a Scale 13, 26 Boon somewhere now Hooked).
- Playing The Game — It is a lot easier to bring a Character to care about the Plot if it has also Hooked the Player of that Character somehow. Plots tempt Players by providing tempting ideas, from the basics like, “You like to kick ass? Have I got a bad-ass for you to try and kick.” to “You like puzzles? I’ve got a locked room murder mystery, with secret societies of time-travellers, set in a pan-dimensional labyrinth, that connects all human settlements, from Atlantis to Zebulon-9, into one huge city.”
- Plots can only affect Hooked Characters and Extras — Plots can play cards, and spend Yarn to affect Hooked Characters and Extras only. So the only way a Plot can directly affect a PC is by Hooking them, that isn’t to say that the Plot can’t make an Extra attack an unhooked Character (in fact that might Hook them), but the Plot cannot play any Yarn cards on that Character specifically. Plots can get around this by Hooking the Party Pact so they can affect everyone at once where applicable.
- Only Hooked Characters Gain — Gains are events when a side of the Conflict gets or makes something for themselves. They are how the Plot pays out to the Hooked Characters (and is part of the Conflict Resolution). Unhooked Characters may get a share of a Gain, but never get a Gain of their own.
Player Characters are usually Hooked to the Pressed side of a Conflict (although sometimes they are Hooked to the Dominant, it is uncommon to play through Tragic Fall Plots with PCs). It is also possible, but rare, for a PC to be Hooked to one of the other sides of a Conflict (although usually not to the Shadows, and never to the Deeper Shadows sides).
The Dominant side of the Conflict must be at least one Boon Higher than the Pressed Facet, and any Pressed Character’s Facet Boon, and all Conflict Facets have a Minimum Boon of 13 in all cases. When preparing Conflicts without Hooking Characters before hand, the Dominant Facet can be set to Boon 26 and Pressed Facets to Boon 13. These figures can be updated once the Characters are Hooked.
Non-Player Characters
NPCs are usually created by the Plot in response to the Characters that have been Hooked.
They represent everyone else in the world and come in different types. Most are just Extras, they aren’t really important in the same way as a player Character and we don’t need to know much about them.
Some, like Rivals should be similarly detailed Characters to the PCs (or at least Cast Extras). When you Hook any Character you may automatically Hook one (or more) of their Rivals, sometimes to the same side, more often to the opposite.
| Type | Description |
|---|---|
| Anima | Anima Rivals are more “passive / creative / accepting / nurturing / feminine” versions of the Character. They may not be female, but are often portrayed as camp or effeminate if they are male, although this is not universal. Anima Rivals increase Yin Facets by one Boon and Reduce Yang Facets by one Boon. Such Characters may require some balancing and alterations to Annexes, to be practical. |
| Animus | Animus Rivals are more “aggressive / warlike / destructive/ active / masculine” versions of the Character, they are usually a male version of a female Character, but can just be a more muscular, taciturn or aggressive version. They typically are similar to a Twin, but increase all Yang Boons by one and decrease all Yin Boons by one. Such Characters may need more balancing to be practical, entire Annexes may require rebuilding, rather than just renaming. |
| Competitor | The Competitor is a fairly standard Rival who is intended to be a bit different to the original. For each Facet Boon roll 1d6-3 and apply the result to all Yang facets -altering the Yin Facet Boons as well. You can apply the 1d6-3 again for the Yin Facet (again altering the Yang as well). Competitors generally have similar Annexes to the original character, but obviously Values should vary. Competitors are usually a friendly rivalry, but can also be murderous. |
| Corrupted Clone | The Corrupted Clone is usually a version of the Character that has been mutated somehow. The Corrupted Clone will have at least one additional Hitch (often a Woe) and additional Scale to match. The Corrupted Clone will have largely the same Skills and Talents (although often with changes to Umbrals and Nimbeds), but will usually have a dramatically different seeming variant on the original’s Power, with different Umbrals and Nimbeds to reflect the mutation. |
| Dark | Dark Rivals are (even more) evil versions of the Character. Increase the Character’s Sin and either Heresy or Fury Boons by two and decrease Virtue and either Orthodox or Quiet by two also. Dark Rivals are usually similar to the original, although they may favour Fiend, Beast and Deviant Personalities, and frequently have more dangerous Descendants and darker Annexes and Proficiencies. Dark Rivals may have additional Hitches and increased Scale too. |
| Frenemy | The Frenemy is a Rival to the Character who is both a friend and an enemy. They often have complicated relationships, and may be pulled or pushed embodiments as required, indeed Frenemies can save the Protagonist from danger, only to declare that it is only so they will kill them later. Frenemies usually have some reason they are trusted by the Protagonist and vice-versa. The Frenemy usually has at least one Annex in common with the Protagonist, but their Facets are randomly assigned, not based on the Rivalry. |
| Lancer | The Lancer is a Rival to the Character who is on the same team, and often is a best friend to the original. Lancers will have a similar build to the original, but with a major change in the Style of that build. If the main Character is a ice-based, melee-based, shocker, then the Lancer could be a fire-based, ranged, tank. Lancers may alter a quarter of their Boons (6) up by 1, which will also force a quarter (6) down by 1. Lancers are usually the same Scale as the original. |
| Love Rival | The Love Rival seeks the same romantic interest as the Character. A Love Rival is often a Rake or Idol Personality, but may actully be of any Persona. The Love Rival usually has a little in common with the Protagonist, sharing a hobby or profession (ideally they are already what the Character aspires to be), but is often richer, more successful, and more powerful (having at least one more Hitch and often extra Scale). |
| Mirror | Mirror Rivals swap Yin Facets for Yang Facets and vice-versa everywhere they occur. So a Defensive Annex on the original Character becomes an Attack Annex on the Mirror Rival. A Detective may become an Enigma, a Prince a Pauper and so on. |
| Monstrous | The Monstrous Rival is the ultimate Rival type in T13. Monstrous Rivals are an extreme version of the Character. Adding at least Two Monster Facets to the Character (usually the Conflict Facet(s) for their side, plus the Monster Facet of the original Character’s Persona, Core or Highest Hitch). Monsters usually also increase the Boons of their Monster Facets by 3 (with a negative 3 to their anti-facets). |
| Outlander | The outlander is basically a Mirror or Twin Character, with one important difference. They are a different nationality, race or even species to the original Character. Usually the differences will all be in Descendants (often just the National Pact the Character is a member of), although the Outlander may also be Scale +1 to the original. |
| Pure | Pure Rivals are the opposite of Dark Rivals. Increase the Character’s Virtue and Orthodox or Quiet by two and decrease Sin and Heresy or Fury Boons by two also. Pure Rivals are usually similar to the original, although they may favour Hallow, Hermit and Mentor Personalities, and are more benevolent in their choices for Proficiencies, Annexes and Descendants. Pure Rivals may have additional Hitches and increased Scale too, but this is much rarer than with Dark Rivals. |
| Reversed | A Reversed Rival is based off the Character, using the same Statblock, but every Annex is reversed, Personality for Core, Core for Personality, Root for Channel, Channel for Root. Otherwise the Reversed Rival is generally equal in power to the original Character. You may also swap Umbrals for Nimbeds and Resolved and Active Hitches too, where appropriate. |
| Twin | A Twin Rival is exactly like the original Character, although details such as the Proficiencies used, and Annex names may be a little different. The Twin is commonly used when creating a rival group to the PCs, with the group having a Twin for each Character. |
| Type | Description |
You don’t generally need to include a Hook Scene for the NPCs (however you can if you want). TV shows, Novels and Films do occasionally do this, showing us some inciting event for the bad guy, or showing them first becoming aware of the Plot that they are now working for.
NPCs are created often as mirrors, foils, or challenges for the PCs, and when a Character is Hooked you should include Characters to oppose them. You can use Rivals, Monsters, Cast Extras, Archetypes or even other Detailed Characters as the opposition, as you wish.
Plots gain Yarn from every Character that they create. You can think of this as being the Cost in Yarn for that Character, and no matter how many you have, you only have to pay for the first. So if you add a Vex Extra that “costs” 1 Yarn, 1 point is added to the Plot’s Yarn.
Yarn-Teller Characters trying to do the same thing for one of their own schemes, would have to pay this cost (usually by rolling to generate enough Score with whatever reality-bending ability they are using, or paying the Yarn cost with Chi). However, it is also possible for a Yarn-Teller to spawn a Subplot from another Plot and then the Subplot will create its own Extras and other Characters without the Yarn-Teller having to pay these costs. It should be noted thought that Yarn-Tellers do not, and cannot, have complete control over any Plot. Plots are always subject to interference from other Yarn-Tellers, particularly other Plots.