Root Corebook Preview Mar2021

Introduction
R oot: The Roleplaying Game is a pen-and-paper tabletop

storytelling game. You play with a few friends, and together
you spin out the stories of roguish vagabonds as they journey
throughout the Woodland, acting as something between knaves and
heroes as you reshape the Woodland!
You meet up with your friends, whether it’s around an actual table,
in an online call, or whatever way fits your group. Most of you have
your own character, an individual vagabond in your band, sometimes
acting as a rogue, a scamp, a survivor, and maybe a hero. One of you
is the Gamemaster (GM) and describes the rest of the world and all
the other characters in it. Every now and then, when you describe
something chancy or complicated or tense, you roll some dice to find
out what happens instead of just deciding. Over a bunch of individual
meetings—sessions—of your play group, you and your friends play out
a larger story of these miscreants and legends of the Woodland.
Let’s break all that down a bit…
What Is Root?
Root: A Game of Woodland Might and Right is a board game
created and published by Leder Games, designed by Cole Wehrle and
with art by Kyle Ferrin. The game was originally published in 2018 and,
since then, has racked up a slew of awards, including Golden Geek
Awards and the Origin Award for Best Board Game in 2019.
The board game is an asymmetric wargame featuring wildly different
factions of anthropomorphic animals vying for control of the Woodland.
The Marquise de Cat and her minions try to build workshops and
lumber mills and keep control of the Woodland at large, while the Eyrie
Dynasties manage a complicated bureaucratic “program” of orders, and
the Woodland Alliance starts with no pieces on the board, only to spring
forth with sudden force as a surging insurrection against the greater
powers. The base game included one faction—the Vagabond—who acted
as a single, isolated roguish figure, moving throughout the Woodland,
playing allegiances between the other factions, and performing quests
for the denizens of the Woodland.
At the time of writing, two additional expansions are available for
the board game: one that adds the mercenary Riverfolk Company
and the cryptic Lizard Cult; and another that adds the arrogant Great
Underground Duchy and the anarchic Corvid Conspiracy.
4 Root: The Roleplaying Game

Root: The Roleplaying Game is based on the same fictional world as
Root: A Game of Woodland Might and Right, playing with many of the
same themes and ideas, but from a different perspective—that of a tabletop
roleplaying game focused on the vagabonds themselves.
What Is a Tabletop Roleplaying Game?

A tabletop roleplaying game (often abbreviated to TTRPG or RPG) is a kind of
storytelling game that you play at your table with pen, paper, and dice. It plays
out as if you and your friends were cooperatively and conversationally telling a
story together, creating an ongoing TV show that lives inside your heads. Over
a few hours—or many sessions—your collective story evolves and changes,
going to new and unexpected places based on your characters’ actions.
Most of the players take on the role of a character in the setting of the game.
You describe what that character looks like and what they do. You say what they
say, either describing their words (“I say something apologetic!”) or speaking for
them verbatim (“I say, ‘You’ll never catch me, Count Ragar!’”). You think about
what they think and feel, and you guide them to actions selfish and noble,
careful and dangerous.
You do all of that alongside your friends playing their own characters, like
you’re all playing the leading cast of characters of your own TV show. You
work together in times of danger, and you argue with each other in times of
drama. You flesh out friendships, rivalries, romances, and more, all from the
perspectives of these fictional characters.
One of your friends plays a special role—the Gamemaster or GM. They portray
the rest of the world, including all the other characters. They tell you what
your character sees, hears, smells, and so on. They describe what the non-
player characters—NPCs—do or say. They fill in any holes in the world so that
everyone at the table shares the same imaginary world in their heads.
Very importantly, the GM isn’t at all playing against the other players. They
have a few different goals (see Agendas on page XX), but on the whole, they’re
here to try to represent the world faithfully and interestingly—to say what
happens and what exists in a way that makes the fictional world make sense.
And they’re here to keep things compelling, fun, and exciting—which includes
honoring how awesome the other players’ characters are!
Chaper 1: Introduction 5
How Does Tabletop Roleplaying Work?
For the most part, a tabletop roleplaying game plays like a conversation—you
take turns speaking, describing the action or sharing dialogue, reacting to
each other, switching back and forth between in-character speech and out-
of-character speech. But the conversation leads to places of uncertainty,
times when no one is sure exactly what to say next, when no one knows what
happens in the story. When one character tries to jump from a flaming tree to
another, across a seven-foot gap, no one knows for sure what happens, whether
they successfully reach the next tree or go plummeting to the ground!
In those moments, you turn to the game’s rules. The rules of Root: The RPG
help you to figure out what happens in moments of tense uncertainty, guiding
the conversation forward into new, interesting, and surprising outcomes. The
rules themselves will provide plenty of guidance on exactly when they come
into play, what to do to resolve a situation, and what the outcomes are. But
much of the time, the GM will have to provide some additional interpretation
to help the mechanics fit the very specific situation in your game.
What’s more, the GM also acts as a kind of impartial judge, helping the table
determine when the rules actually come into play. If there’s ever doubt about
whether or not the rules apply, the GM acts as the final arbiter and decision maker.
For example, if a character is jumping from one tree to another when there’s no
fire and the two trees are touching, the GM might look at the rules, look at the
situations in which they’re supposed to come into play, and decide that there’s
no real uncertainty here. There’s no tension. The character just does it.

If, on the other hand, that character is jumping from a flaming tree to another tree
about seven feet away, the GM might look at the rules and the situations in which
they’re supposed to come into play, and then decide that, yes, there absolutely IS
uncertainty here. Time to go to the rules!
Think of it like this:
· Each player is in control of their own character in this fictional, imaginary
· The
world.
· When
GM describes the rest of the world.
no one knows what happens next, the rules come in to provide
interesting results. The GM helps to interpret the rules, calling out when
·
they should come in.
Sometimes, the rules will tell you that even though you think you know what
happens next, you don’t, and they’ll provide interesting results to help guide
·
the conversation.
The GM acts as a kind of interpreter, making the rules and outcomes fit the
specifics of your fictional world at that particular moment.
You can find plenty more description of how the game works over the course of
this chapter and the next (see page XX)!
What Is This Game?

Root: The Roleplaying Game is a tabletop roleplaying game in which the
characters you play are anthropomorphic animal vagabonds—miscreants,
rogues, outcasts, and renegade heroes—adventuring across the Woodland. The
vagabonds are highly skilled and capable, but they’re not really at home anywhere
in the myriad clearings of the Woodland. So they move around, traveling the
paths and crossing the dangerous forests, taking jobs for pay and equipment.
Whether they mean to be or not, the vagabonds are often drawn into the
overarching conflict between the powerful factions of the Woodland. As those
factions wage war against each other, the vagabonds may prove the key to tipping
the balance in favor of one faction or the other…or they may act as heroes,
protecting the average Woodland denizens from a war that might consume them.
Whatever they do and whomever they support is your choice as you play!
Root: The RPG is a game for 2–5 players and a GM (3–6 total people), played
in sessions of about 2–4 hours. The game can be played in a single one-shot
adventure, or it can be played over the course of 6 or more sessions, letting the story
of the Woodland and its war play out in an ongoing campaign. The game is well-
suited to players 13+, though GMs can adjust it for younger players (see page XX).
Trials & Adventure
As you progress further through this game and this book, keep a few important
ideas in mind—core precepts of Root: The Roleplaying Game, its setting,
its tone, and its themes. Specifically, Root: The RPG tells stories of adventure
and action amid greater drama and political conflict. The Woodland, the
overall setting of Root: The RPG, is a place where a vagabond can cut a
rope and fly up as a chandelier falls…and it is a place embroiled in war, where
deposing the local sheriff can have real, dangerous consequences.
Just to be clear up front—the Woodland is populated by anthropomorphic
animals. There are no humans at all in the Woodland. In general, the
anthropomorphic animals—the denizens—are around the same size, and they
all have the same general capabilities as a human. For more on how Root: The
RPG handles the anthropomorphic animals, see page XX.
The vagabonds are always capable characters with the skills necessary to
undertake difficult, dangerous tasks and come through more or less unscathed.
They’re social outcasts at the start of play, separated from the backing or
support that might allow them to focus on larger issues. So they take on the
distasteful or complicated tasks that others throughout the Woodland pay
them for, anything from getting rid of a dangerous bear, to exploring newly
uncovered caverns, to stealing important military documents from a foe. All of
these jobs become their own fun adventures, as things inevitably become more
complicated than the vagabonds originally anticipate. They run into guards
while carrying contraband—will they fight or talk their way out of trouble?
They wind up accidentally knocking over a lantern in the middle of a scroll
repository—will they try to put out the flames or just bolt?
But their actions inevitably have an effect on the Woodland at a higher scale.
When they deliver those stolen military documents to their employer, they have
just given one faction a significant advantage over another—and the Woodland
changes to reflect that. When they set that fire in the scroll repository, the
treaty protecting that clearing from invasion goes up in smoke—and another
faction invades.
Even though, at any given moment, the story you’re telling will likely be about
one particular caper, one specific adventure or situation, the actions that your
vagabonds undertake can have consequences that ripple across the Woodland.
And when you play a full campaign, you’ll not only encounter the effects of
your own actions, but you’ll also revisit the places you changed and see exactly
what happened, for example, after you accidentally set that fire.
The combination produces stories with immediate, in-the-moment excitement and
action, accompanied by long term storylines and meaning.

The Woodland
For ages, the Woodland has been a place of conflict, struggle, and difficulty.
Different factions have fought for control of the Woodland’s denizens and its
resources, all amid conditions that amplify the threat of any battle. The place
has always been dangerous, the thick woods concealing a multitude of threats
from bears to bandits. It has resources to support life, but only for those willing
to risk life and limb, or after a great effort has been poured into creating a safe
place. The clearings carved out of the forest are the best examples of this safety,
little pockets where the forest’s greatest dangers have been pushed back—and a
whole new set of dangers have taken their place.
Today is no different. The players struggling for control of the Woodland might
have different names and different goals, but they still vie for hearts, minds, and
bodies in the clearings, each hoping to seize control of as much of the Woodland
as possible, each able to hold on for only so long.
The denizens of the Woodland have seen war fairly recently. The Grand
Civil War between the Eyrie Dynasties rocked the Woodland a few decades
ago, tearing down whatever remained of the Eyrie’s established order. Some
clearings were left to govern themselves after the conflict. Others found
themselves endangered without the aid of Eyrie soldiers to guard the clearing
or nearby paths. While different clearings were affected in different ways to
different extents, no place was left untouched, no life unchanged.
In the absence of another great power controlling the Woodland, the
Marquise de Cat, a powerful and dangerous noble of a far-off empire, swept
in to seize opportunity. She led her forces to invade the Woodland, bringing
it under her control in the Marquisate. The Marquisate might be in total
control if the Eyrie Dynasties hadn’t recovered enough to try to retake the
Woodland…and if the Woodland itself didn’t threaten rebellion with the
newfound Woodland Alliance.
Now, more upheaval seems imminent. The Marquisate looks upon the
Woodland with hungry eyes, eager to squeeze resources out of it; the Eyrie’s
claws stretch out to reclaim their lost territory; the Woodland Alliance arises to
push back all other powers; and more factions gaze upon the Woodland from
afar, a gleam in their eyes.
War returns to the Woodland, and the vagabonds will be drawn in.
Playing to Find Out

Root: The RPG depends upon one core principle, woven throughout the game
from its setting to its mechanics: play to find out what happens.
There may come a time when you, a player of a vagabond, think you know
exactly what should happen next in your dealings with some Eyrie lieutenant.
You just know that the lieutenant should hate your character, and they should
wind up in a duel to the death!
But here’s the thing: let those feelings go. Play to find out what happens. Don’t
pre-plan, and don’t rely on what you “know” should happen next.
There may come a time when you, the GM, think you know exactly what should
happen next when the players break into the vice-governor’s office to steal all the coin
from her desk. You just know that they should get caught!
Let that feeling go. Play to find out what happens. Don’t pre-plan, and don’t rely
on what you “know” should happen next.
The mechanics in Root: The RPG will push you towards unexpected,
surprising outcomes. They’ll complicate any situation where you think you
“know” what should happen. Go along with that! Let the game and the story go
where it will and surprise you! Don’t fight the mechanics when they suggest an
outcome you never would’ve predicted—go with them! We promise, the story
you tell will be better for it.
Playing Safely
When you let the story go where it will, there are times when it can threaten to
get out of hand, to go someplace that someone in your group isn’t comfortable
with. That’s okay, just so long as you and your group have the tools you need to
handle just such a situation.
In general, it’s always a good idea to talk about the game. Talk about it before
you start, talk about it during play, talk about it after. Check in with your players.
Be mature and understanding with each other. If somebody looks frustrated or
annoyed by something the GM says—maybe because it makes them feel like their
character is a lot less cool—then talk about it to get on the same page!

Beyond that, there are many tools for keeping your table on the same page, to
make sure the game is comfortable and fun for everyone. The X-Card is one of
our favorites!
X-Card
The X-Card is a handy tool developed originally by John Stavropoulos. Take
an index card or a piece of paper and draw an X on it, and then put it in the
middle of your table. That’s your X-Card. If someone is feeling uncomfortable
in any way because of something happening in the game, they can point to the
X-Card, tap on the X-Card, hold up the X-Card—whatever works for them. In
an online game, you might hold your crossed arms up in front of the camera, or
type “X” into the chat.
In that moment, everybody in the group agrees to stop and edit out whatever
was X-Carded. The player who uses the X-Card doesn’t have to explain
themselves, though the other players may have a few questions just to make
sure they understand exactly what was X-Carded.
For example, if the GM is describing a hidden spider nest deep in the woods,
and how a vagabond steps into it, and the spiders crawl out and get all inside a
vagabond’s fur, one player might tap the X-Card—they can’t stand spiders and
would like them edited out of play. The group agrees to stop, and the GM walks
things back to before the hidden spider nest and says something else instead.
In practice, the X-Card is as important just to have as it is to actually use. A
lot of players feel much more comfortable knowing that the X-Card is there,
whether or not they actually have to use it. It’s an especially great tool when
you’re playing with people you don’t know all that well!
What You’ll Need

To play Root: The RPG, you will need a few friends willing to commit to
playing at least one session lasting 2–4 hours. A single session of Root is fun,
but the game will come alive if you can string together multiple linked sessions.
Root: The RPG needs one player to be the GM—see more about that role on
page XX—and 2–5 players to portray the main characters of the game, the player
characters or PCs.
You’ll also need some additional supplies, described below—make sure
someone is bringing them. Having this book at the table in some form is pretty
handy, too.
Dice
You need at least two six-sided dice, like the kind you find in Monopoly or
Risk. One pair is enough to play, but it’s a lot better to have one pair of dice for
each player. The GM doesn’t need their own pair.
Playbooks
You need a printed copy of each of the playbooks you’re using in your game.
Each one can be printed, double-sided, portrait, on regular letter paper. This
book comes with 9 playbooks, and you can easily have all 9 printed and ready
to use. The Travelers & Outsiders expansion book comes with another 10
playbooks. We recommend either defaulting to the 9 in this book, or choosing
a selection of the 19 total playbooks so that you don’t offer more than 10 or so
when you’re starting a new game.
Pencils and Paper

You’ll want plenty of pencils, at least one for each player. Throughout the game, the
players mark up and make changes to their character sheets, so they need pencils
for sure. You’ll also want plenty of scrap paper, either notebooks or index cards or
sticky notes, so you can write down names and notes throughout the game.
Woodland Map
The GM fleshes out a map of the Woodland, either before or during the first
session. That map can be scribbled on a sheet of paper, drawn over one of the
map images we’ve provided, or even built off the map from the Root: A Game of
Woodland Might and Right board game. You’ll need to keep referencing that
map and making changes to it.
Additional Materials
Here are some other materials you’ll need or want:
· The Equipment Deck—to give you plenty of easy-to-reference pieces of
· The
equipment to use throughout the game.
Denizen Deck—to give you inspiration for denizen NPCs, along with all
· Printed
of their in-game mechanics and statistics.
copies of the basic moves, weapon moves, reputation moves, and
· A printed copy of the GM materials.

travel moves—one copy for each player including the GM.
You can find the materials for running a game of Root: The RPG as downloads,
along with more information on the decks, at www.magpiegames.com/root.

The Woodland
Explored
A game of Root: The RPG is always set against the Woodland
backdrop—but it’s not always the same backdrop. In this
chapter, you’ll find the essential qualities of the Woodland,
the things that must be true, along with plenty of information and
guidance to set up your version of the Woodland for your game. But
that’s crucial—the version of the Woodland you use for your game is
your version of the Woodland.
When you set up the board game Root: A Game of Woodland Might
and Right, you choose which faction each player will play. In exactly
the same way, when you set up a game of Root: The RPG, you make
decisions about your particular version of the Woodland—who the
major players are, what the current state of the Woodland is, and more.
Maybe in your version, the Marquisate and the Eyrie have smashed
each other to pieces, and the real story is about the Woodland Alliance
competing with the Lizard Cult and the Riverfolk Company (two
factions you can find more about in the Travelers & Outsiders
supplement to this game). Maybe the Marquisate destroyed the
Eyrie and quelled the Woodland Alliance, and the story is primarily
about the Marquisate contending with an invasion from the Great
Underground Duchy (again, see Travelers & Outsiders).
Everything in this chapter is here to guide you—to provide tools,
concepts, and starting points to build from—but not to tell you exactly
how things are, without any room for adjustment. Keep that in mind
as you continue through the chapter: every Woodland is different…and
yet every Woodland is the same.
What Is the Woodland?

The Woodland is the name for the entire forested area of resources,
clearings, and denizens. It’s like the name of a country, although the
Woodland is more an area than a united nation. Living in the Woodland
are the denizens, an all-purpose word to refer to mice, rabbits, foxes, birds,
and others—the Woodland’s “peoples,” none human, all of them animal.
The Woodland comprises thick, deep forests with plenty of resources
for an enterprising empire, divided only by clearings and by paths. A
clearing is a big area that the denizens of the Woodland have previously
cut from the forest’s grip, now one of the important spaces playing
home to denizen life in the Woodland. All clearings are fairly built up,
their contents ranging from large villages to small cities.

The paths were similarly cut down ages ago, clear tracks amid the forest that
connect the clearings and enable trade and travel. They’re maintained by a
combination of constant use and active effort, most of the time on the part of
the leading factions of the Woodland who control and need those paths. Plenty
of paths have been lost to time and the forest’s voracious regrowth.
Beyond the clearings and paths lies the forest, a dangerous, wild space. No
good, self-respecting denizen will go into the forest unless they have to.
Bandits, thieves, and miscreants will often take refuge there, striking out from
the thick growth to attack merchants upon the paths. Plenty of dangerous
creatures abide within the forest—from enormous and terrible bears to strange
and hidden deer. And there is an abundance of purely natural threats in the
forest—flash floods, lightning strikes, hidden caves, and more.
The forest contains another important feature of the Woodland, however—
the ruins of old. Sometimes these ruins are just decades old, leftover broken
structures from prior iterations of the Eyrie Dynasties. Sometimes the ruins are
ancient and overgrown, hiding strange secrets from civilizations long forgotten.
The ruins are always dangerous enough to turn away all but the bravest or most
foolish of denizens…but still lucrative enough to keep drawing them in with the
promise of lost treasures, ancient relics, and more that the vagabonds can sell
back in the clearings.
The History of the Woodland

The history of the Woodland…is unknown. At least, its depths remain buried
beyond memory and record. Recent events have left a far greater impression,
but the far-off history of the Woodland is out of reach.
The Woodland itself is ancient, and denizens of myriad kinds have been
carving out lives there for ages. Some denizens even tell stories today of ancient
empires or cultures that once spread out where the trees now grow—all that is
left of them are ruins grown over with roots and ivy.
As far as most living there today are aware, the Woodland hasn’t been unified,
or even connected, for all that long—not in the grand scheme of time. Those
who did make lives there have crafted homes largely in isolation, periodically
making contact with others perhaps to trade, but otherwise living alone or
with only their families. For those in the Woodland, there were always tales of
greater empires and cities in far-off lands, but those places weren’t here, and the
world amid the leaves was untouched by their reach.
Everything changed some time ago when the denizens began to work together,
creating clearings within the Woodland where they could live together in safety.
They cut back the forest and turned some trees into buildings. They tamed
Chapter 2: The Woodland Explored 15

the growth until there was a boundary past which the Woodland could not
encroach. They even blazed trails across the Woodland, between the different
clearings, and wore them so thoroughly that they became known paths—the
veins of a new Woodland.
This “new” Woodland—not exactly unified, but connected to itself; not tame by
any means, but livable—is the one that persists to this day. The denizens who
live there are proud of the lives they make for themselves, lives characterized by
the difficulty of surviving amid such wilds and the rewards of making lives for
yourselves, instead of being handed something by the powers that be.
The forests between the clearings and the paths are still utterly untamed, great
hiding places for bandits and criminals, home to dangerous or unknowable
creatures like bears or deer. The paths themselves are far from safe—plenty of
dangerous denizens like to stage ambushes along the path, and all it takes is one
bad storm to inadvertently send a flood crashing across the path at the wrong
moment—a denizen’s entire life can be washed away. The Woodland is still a
place of hardship and difficulty…but the denizens who call it home wouldn’t
leave it for the world.
Control of the Woodland

Dangerous as it was, the Woodland was a place with denizens to control and
resources to take. Once the paths and clearings were formed, it was only a
matter of time before greater powers in the world took an interest in the
Woodland…or before denizens of the Woodland itself chose to seize control of
whatever they could in the world around them.
The most successful and notable power to control the Woodland within the
past couple centuries was the so-called Eyrie Dynasties. A collective of birds,
ruled by birds, raising birds up above the other denizens. The birds already flew
above the other denizens—why shouldn’t they rule?
The Eyrie’s success is attributable to a quirk of understanding, history, and
branding. Over decades, countless individual rulers and ruling councils held
control, each one taking over from the last, often in a coup or open revolt. Had
they spoken of themselves differently, named themselves differently, they might
be seen as individual failed regimes—but instead, each carried the same name
time and again to create an illusion of continuity: the Eyrie of the Woodland.
With the different regimes and ruling families connected by that name, that
story, the denizens came to call them the Eyrie Dynasties, viewing them as
one connected—if rarely truly united—ruling entity. And the Eyrie Dynasties
as a whole were all too happy to accept that understanding. It added an air of
legitimacy to their rule, a sense of continuity.

Lions and Tigers and Bears, Oh My
All the denizens of the Woodland are anthropomorphic animals. But when you
think about which animals can be found as denizens, stick to animals no bigger
than a wolf in the real world. Bigger animals, like bears, moose, deer, and more,
are either largely absent or hidden from the Woodland, or they occupy a different
role—stranger, more mysterious, and more dangerous. Bears are similar to the
trolls or ogres of other fantasy settings; deer are something like spirits; moose are
akin to huge dragons; and so on.
There’s no essential truth here—no mystical reason for why these animals aren’t
denizens, no ancient secret to uncover. It’s just part of the fable setting of Root:
The RPG. The same way that you shouldn’t worry about how a cat came to
stand upright and use its paws like hands, you shouldn’t worry about why a bear is
a dangerous monster of the forest.
In time, the Eyrie Dynasties came to be known as the ruling body of the
Woodland. All clearings paid taxes to them; their soldiers patrolled the paths
(though never enough to make them fully safe); their laborers and engineers
built up the clearings, even helping carve new paths; their bureaucracy ordered
the Woodland.
The Eyrie undeniably favored the birds of the Woodland over any other
creatures, and they brooked no dissent, enforcing their will through strength of
arms and control of the Woodland’s resources. Their rulers were preoccupied in
gaining and keeping power, and their turnover kept the Woodland’s leadership
in a chaotic churn, no ruler capable of getting much done even if they had
wanted to. The denizens of the Woodland were caught in more than one
squabble between power-hungry rulers, with all the costs that war entails.
So it was for the many decades of Eyrie rule over the Woodland—a kind of
self-balancing instability, perpetuating itself. A government useful enough that
it could avoid full-scale rebellion, and destructive enough that it would never
fully avoid the specter of revolt.
Then everything changed in the Grand Civil War.

The Grand Civil War
The Grand Civil War of the Eyrie Dynasties tore the Woodland’s dominant
power to pieces, and most can’t even remember how it began. The details are
unclear, confusing, and complicated, even to those who lived through it; most
recall the effects far more readily than they recall the causes. They remember
the lack of food, the burned homes, the broken swords.
Suffice it to say, the exact causes have been lost to the chaos of the time.
Undoubtedly, one faction of the Dynasties saw a chance to seize power and
struck at another, leading still more factions and families to seize their own
opportunities for power by allying with the leaders or by striking against
vulnerable foes. And on, and on, and on. Alliances fell apart and were rebuilt in
new configurations, double crosses became triple crosses became anarchy. The
entirety of the Woodland was consumed in battle and conflict and confusion
as supply and communication lines were cut. Some troops, absent contact with
their superiors, carried out old orders unaware of changed situations.
In the end, the Woodland was devastated. Many clearings were damaged
or all but destroyed. Countless denizens had been lost in battle or to its
consequences. And whatever force bound the Eyrie Dynasties together as a
coherent faction had long since broken—the Eyrie retreated from their position
of control, and the Woodland was left unmoored.
The Interbellum
In the aftermath of the Grand Civil War, the Woodland was in ruins, without any
clear widespread authority capable of organizing defenses or reconstruction. The
denizens’ lives were hard, but many also found a freedom they had not known in
years. The crushing power of the Eyrie Dynasties was fragmented in some places
and completely absent in the rest.
Each clearing was more or less on its own—not because denizens wouldn’t
help each other (although some clearings were most certainly stingy with the
supplies and resources they did have), but because each clearing was dealing
with its own problems. The paths themselves became more dangerous and
overgrown as clearings traded only with their closest neighbors, and most
turned their attentions inward to focus on local problems and politics.
Through it all, the Woodland survived. The clearings rebuilt themselves even
as they formed their own new structures and ways of governing themselves.
In one or two cases, new minor “kingdoms” arose, gathering power over
neighboring clearings, but always fell apart with time. The lives of the
denizens became better, easier than at the height of the war, even if still
difficult in many ways.

Almost all denizens alive today remember something of the Interbellum and
their opinions vary wildly. Some denizens thought that the Woodland had
never been better. They were free! Masters of their own destinies! Others
longed for the safety and order of life under the Eyrie Dynasties, and some of
those denizens even sought to begin an Eyrie resurgence, collecting their heirs
and servants. Most had mixed opinions, but were content enough.
But the Woodland, for all it had suffered, still had too much in the way of
resources to avoid the notice of great powers…
The Invasion
In the world at large, there are many other territories, many other powers and
cultures, many other creatures, and many other beliefs. The Domination de Cat
is one of the greatest of powers elsewhere in the world, but it had never turned
its attentions to the Woodland before—there were always greater concerns in
its own territories, or in the territories closer by.
Only when an enterprising, ambitious, clever aristocrat of the Domination
saw the potential of the Woodland did the Domination—or at least, a part of
it—begin look at the Woodland more closely. The Marquise de Cat held power
within the Domination, but she wanted more. Struggling against her fellow
nobles promised little success; those who had power and assets worth taking
were too strong to assail. But the Woodland was a new piece of territory with
resources and potential subjects. And if her scouts were correct, the reigning
power of the Woodland had recently fallen apart, leaving it open to conquest…
The Marquise assembled her own forces and, with permission of the
Impératrice of the Domination, she marched to the Woodland.
The disparate clearings were in no position to resist the Marquise and her well-
trained, well-provisioned, well-equipped forces. In the first clearing she took,
located on the edges of the Woodland, she immediately set about building a
new power base from which to hold the rest. Meanwhile, her forces swept out
over the paths—cutting back the growth as they went—and captured clearing
after clearing. Some clearings resisted, but soon enough, word spread—fighting
the Marquisate forces was a losing battle.
In truth, of course, the Marquise’s forces were far from infinite, and as she took
control of the Woodland, they were spread thinner and thinner. Of necessity,
she recruited new warriors from the clearings themselves—a move that required
winning the goodwill of the denizens, at least enough for them to join up.
Marquisate forces began to implement techniques and devices from the
Domination within the Woodland clearings. They built lumber mills and
workshops. They helped construct effective irrigation for food within the

clearings. They cleared out the paths and even created new ones. And all
the while, they spread the word about the Marquisate. They weren’t here as
conquerors—they were here to save the denizens of the Woodland from the
chaos and anarchy that had befallen them.
Some denizens were more than a little suspicious. These new “benefactors”
had come into the Woodland bearing arms. Clearings that resisted them were
met with force. The Marquisate began to demand that taxes be paid, and that
clearings obey the laws laid out by the Marquise and her cohort. Plenty of
denizens felt like it was a return to the Eyrie Dynasties, but the Marquisate
was a different beast—one that the denizens couldn’t predict as reliably. And it
meant they were waiting with bated breath for the moment that the Marquisate
cruelties would begin in earnest.
But then again, the advantages the Marquisate bestowed upon the Woodland
were significant. The elements of industry gave the Woodland a capacity for
production and resource gathering that it had never had before, even as they
changed the denizens’ very ways of life. Some saw the Marquisate as a boon to
the Woodland, the force for betterment that the Woodland had needed to truly
grow into something new. And these denizens were primed to be recruited into
Marquisate forces.
Soon enough, Marquisate control over the Woodland began to solidify. Their thin
ranks began to grow with new recruits, and while some clearings continued to
resist the Marquisate, others simply accepted the new state of things.
But the Marquisate wouldn’t be without challenge for long.
The War for the Woodland

While the Marquise de Cat was eyeing the Woodland, the Eyrie Dynasties,
shredded and tattered though they were, had fled to the edges of the Woodland
and beyond. In those spaces at the edges of the clearings, they reestablished
themselves under new leadership. They appealed to loyalists in exile. They grew
in power and strength, waiting for the moment to return to the Woodland,
triumphant and powerful. They were preparing to attack…
Then the Marquisate invaded the Woodland, before the Eyrie had brought itself
to action. The Woodland was no longer simply “awaiting their return”; now it
was occupied by a powerful enemy.
In the face of the Marquisate conquest, the Eyrie actually grew stronger.
Dissatisfied denizens and former Eyrie subjects came to believe the return of
the Dynasties would be better than the rule of the Marquise, and the Eyrie’s
forces swelled as a result. When ready, the Eyrie Dynasties, new and old, began
to retake the Woodland.

Who Is in Charge?
One of the more important questions you may have at this point is simply “Who is
in charge of these disparate factions?”
The answer isn’t writ in stone. You’re expected to adjust the answer to your game,
to the details the players provided when they created their characters, and to the
particulars of your Woodland.
Perhaps in your game, the Marquise de Cat is a puppet for a powerful oligarchic
council, the real strength of the Marquisate. Or maybe the Marquise herself isn’t
even accessible in the Woodland, and the highest figures a vagabond can meet are
Marquisate generals.
The Eyrie Dynasties likely have a singular ruler, but that ruler might be a dangerous
war-mongering general, or an unscrupulous hedonistic noble, or a cunning and
power-hungry manipulator. Perhaps the viziers of the Eyrie are the only true
powers in the Eyrie.
The bottom line here is that there is no perfectly concrete, objective truth about
“Who is in charge?” Each faction is different, and the way each is represented in
your Woodland will be different from other Woodlands. If you’d like to see more
about the likely leaders of each faction, check out their sections starting on page
XX.
First they occupied their own edge of the Woodland, claiming the great
restoration had begun. And then they began to march into other clearings,
engaging the Marquisate forces directly.
The war between the Marquisate and the Eyrie had begun. All the clearings and
their denizens had hard choices to make: Would they join one side or the other?
Would they simply keep their heads down and hope the war passed them by?
Would they fight to stay free of either side?
That last thought grew louder and louder in many denizens’ minds, until the
war changed again…
The Rise of the Alliance

The Interbellum had given the denizens a taste of freedom again, and plenty did not
want to go back to life under one domineering power or another. Angry denizens
from across the Woodland began to send messages to each other, secretly when
necessary, and in short order they were coordinating something new—an organized
rebellion against the two warring factions who would claim the Woodland.
Calling themselves the Woodland Alliance, they vowed to stand against tyranny
and for freedom—to ensure that the Woodland would never be under the claws

of tyrants again. They began to stockpile weapons, armor, resources. They
created networks of informants and message-carrying travelers. They set out
to recruit members in every clearing they could, hoping to bide their time until
their membership reached critical mass and they could revolt successfully.
The goals of the foundling Alliance were as disparate as their members and the
clearings they represented, but one thing was certain: the Woodland Alliance’s
goals were their own, and they were not at all guaranteed to be in line with the
best interests of the denizens. What was best for the nascent rebellion was not
always what was best for the denizens of the clearings.
Not everyone in the Alliance agreed with all such decisions, but many came to
realize that to win the greater war against the Marquisate, the Eyrie, and any
other would-be conquerors, great sacrifices might be required. Which is more
valuable to the cause: A clearing freed from the Marquisate but leveled by the
uprising, in ruins, unable to feed or protect itself? Or a clearing burned to the
ground by Marquisate soldiers provoked to the edge, now usable as a symbol of
what the Alliance is fighting against?
The leaders of the Alliance might never talk openly about these goals and
ideas…but anyone who grows aware of the larger fights will come to see that
though the Alliance may be fighting for the denizens’ freedom, they may not be
fighting the way the denizens would want.
The Woodland Alliance is still relatively young and relatively small in the
present day—they haven’t built up a real network of resources across the
Woodland, certainly not enough to truly make up a force on par with those
of the Eyrie Dynasties and the Marquisate. But they are a growing power, and
it’s only a matter of time before they muster enough sympathy and support to
strike back against the other factions.
The Present War

The Woodland of today is a Woodland at war. The Eyrie Dynasties and the
Marquisate cling to the clearings they already control and struggle over the
clearings they don’t. The Woodland Alliance rises up in the background, a
threat to both other factions, which may not even know the Alliance exists.
Not every clearing is embroiled in battle at every moment. Some are behind
lines of control, embedded in either Eyrie talons or Marquisate paws, well-
protected and mostly pristine. But the war touches even those clearings.
Whether a blockade of trade paths, or a build-up of soldiers, or a diversion of
necessary resources, even the most untouched clearing can taste the effects of
the war that consumes the Woodland.

The Factions
The Eyrie Dynasties
The old regents of the Woodland, led by one royal
monarch or another alongside a court of viziers.
Rigid, tradition-bound, arrogant, and ambitious.
The Eyrie Dynasties ruled the Woodland for years
and years, but those times were far from peaceful.
The Eyrie helped structure the Woodland into a
larger entity, but they were just as likely to tear the
Woodland apart as a new group of royals tried to seize
power from the old group. They lost power because
of just such a conflict, creating the opportunity for
the Marquisate to invade. Now they’re struggling to
regain the territory they see as rightfully theirs.
The Eyrie won’t be content until they have
reestablished firm control over the Woodland,
quelling any rebellions and pushing back any
outsiders. They seek a return to the way things were.
The Marquisate
The invaders from another empire, led by the
Marquise de Cat. Industrializing, forceful,
opportunistic, and pragmatic.
The Marquisate is, at heart, a foreign power come
from far-off Le Monde de Cat to conquer the
Woodland. But it grows more tied to the Woodland
each day. It builds new structures across controlled
clearings; it recruits new soldiers and agents directly
from ruled denizens; and it forces the culture of
the Marquisate upon the Woodland, even as the
Marquisate itself changes to adapt.
The core goal of the Marquisate remains what
it has always been—to control the Woodland as
another holding of Le Monde, a base from which
the Marquise can further her ambitions. But as it
adds new members to its ranks, its goals are drawn
towards establishing order, industry, and prosperity
in the Woodland.

The Woodland Alliance
The vehement, vocal rebels of the Woodland.
Passionate, disorganized, outmatched, and zealous.
The Woodland Alliance is a new, rising power in the
Woodland. There have been rebellions before, of
course, but rarely have the denizens of the Woodland
been able to organize revolt across multiple clearings.
The Alliance’s ability to wage war across the
Woodland gives them a real chance to change the
nature of rulership in the Woodland.
The Woodland Alliance is determined to overcome
the other factions that seek to dominate the
Woodland. Ostensibly, their members also seek new
government after the revolution…but their leaders
only truly agree on overthrowing the old powers,
not on what the new government looks like. The
leaders of the Woodland Alliance also show differing
levels of willingness to sacrifice the denizens
themselves for the sake of the larger Woodland.
The Denizens
The average inhabitants of the Woodland.
Conservative, timid, downtrodden, and standoffish.
The denizens aren’t a faction, as such—they
don’t have a dominant organizing principle,
besides being “civilians.” They’re the individuals
throughout the Woodland who aren’t devoted to
any particular faction. They’re connected by trade
and by travelers’ stories.
The denizens, above all else, just want to live and be
safe. There may be outliers looking to pick fights, but
when denizens want to fight for causes, they veer
towards membership in one of the factions. What
defines the denizens is their dominant interest in
continued survival amid the more powerful factions
and their concern with the “ordinary” problems that
arise in their day-to-day lives.

The Vagabonds
Miscreants, outcasts, strangers. Rebels, mercenaries, and vigilantes. Vagabonds
have always been a part of the Woodland. Those who weren’t safe enough, accepted
enough, or satisfied enough to settle down in a clearing. Those who didn’t, couldn’t,
or wouldn’t commit themselves to any particular faction. Those who were capable,
skilled, and morally flexible.
“Vagabond” is an all-encompassing term for this kind of denizen, an individual
who moves around from clearing to clearing, taking on odd, dangerous jobs,
and likely causing trouble wherever they go. A vagabond is usually highly skilled
compared to the average denizen—you don’t survive for long in the lifestyle
unless you’re skilled or protected by another skilled vagabond. And they usually
have a certain moral flexibility, a willingness to perform jobs for different,
opposing factions, or to perform jobs that other denizens might find distasteful.
In particular, there is one act that sets all vagabonds apart from the rest of the
Woodland: vagabonds are willing to travel through the forests. More impressive
still, vagabonds are capable of accomplishing this feat with a fair chance of
surviving. Most other denizens know better; they stick to the paths or clearings,
the safe spaces, the places where authorities and guards are around to deal with
bandits or bears or other threats. But the vagabonds, they’ll cut through deep,
thick forests, potentially traveling faster than any path-bound force. If the pay
is right, they’ll gladly troop into forests to root out bandits, or find their way to
ancient ruins in search of relics and treasure.
The capabilities of vagabonds are the source of their value. The Marquisate,
the Eyrie Dynasties, and the Woodland Alliance all have plenty of work for
vagabonds to take on. A vagabond is most likely a match for any one soldier
from any faction, and many vagabonds are capable of contending with entire
squads. Vagabond tinkers can create devices and equipment that no normal

smith would even conceive of; vagabond vagrants can infiltrate dangerous
spaces with lies and tricks no other denizen would be brave (or mad) enough to
try; vagabond rangers can move a band through forests with a speed no other
force can match. Vagabonds may be dire troublemakers, but they’re so useful
that most factions have a base level of tolerance for their nonsense.
Vagabonds don’t tend to travel in groups. They’re inherently loners, driven
by their own quirks or desires to be apart from the rest of Woodland society.
They’ll often meet one another through their travels, however, coming to know
each other’s names and natures. They might even work together, when the job
is tough and the reward is enough.
If a band of vagabonds were to arise, capable of sticking together, willing to help
each other out and overcome challenges collectively…they could be a force to
respect and fear. There are stories of such vagabond bands in the Woodland’s
myths, though it’s hard to determine if any such tales are more than fable. But the
alleged deeds of prior vagabond bands range from rescuing princes to defeating
tyrants and freeing subjugated denizens.
A whole band of vagabonds, shoring up each other’s weaknesses and supporting
each other’s strengths, has the potential to tip the scale on the larger conflict
between the factions…

The Fundamentals
Y ou’ve got some notion of the Woodland and the setting of
Root: The RPG—now it’s time to get into the basics of the
game itself! This chapter is all about the underlying skeleton
of the game, the core ideas you’ll need in your head to create and grow
stories about your own band of vagabonds.
The Conversation
What does a roleplaying game actually look like during play? If you
were to watch a group sitting down to a game of Root: The RPG,
what would you see and hear?
You’d see, at its most basic, a conversation playing out.
That’s what a roleplaying game like Root: The RPG is at heart—an
ongoing conversation between the players where they take turns
talking about what happens next, who says what, how the world and
other characters react, and so on.
When you hear “taking turns,” don’t think of something deeply rigid and
regimented, like taking turns in a traditional board game—instead, think
about an actual conversation you’d have with your friends. You “take turns”
speaking, asking each other questions, joking, sometimes interjecting. It
flows naturally and easily, and much of the time that’s how Root: The
RPG will feel during play!
Within the conversation, each player has a few roles to fill and jobs to
do, things that direct their part of the conversation. Most of the players
in the game have their own singular character—a player character, or
PC—for whom they speak. The player describes what their character is
doing or what their character looks like. They speak on behalf of their
character, saying what the character says. They ask questions about
what their character sees or knows, or where their character is.
But one person in the conversation has a different role: the
Gamemaster, or GM role. The GM is still a participant in the
conversations, but instead of speaking for one individual character,
they speak on behalf of the entire rest of the fictional world. They
describe the environment around the characters; they speak on behalf
of all of the non-player characters, or NPCs, of the fictional world; they
even say what happens when a character takes an action, though they
often have help from the rules.

The conversation between you and your friends is always about the characters
of your game, what they do, and the world around them. It’s almost as if you’re
telling a story together, but not quite—the conversation in Root: The RPG
unravels and reveals a story over time, especially when you look back on it, but
while you’re playing, you’re thinking much more immediately, considering what
to say next in the conversation. You respond to the questions and statements of
the other people in the conversation, and follow them wherever they take you.
Example
I’m the Gamemaster, playing with some friends—Mark playing Mint the Ranger;
Marissa playing Tali the Adventurer; Miguel playing Guy the Scoundrel; and Sam
playing Hester the Tinker.
“The cave mouth yawns wide, a big black hole amid the forest greenery around it,” I
say. “It matches the description of Bernird the smith perfectly—if he’s right, the bear
is in there.”
“Oh, I don’t want to go in there,” Sam says, speaking for Hester. “Maybe we can
lure it out?”
“We could do that,” Mark says, speaking for Mint. “Maybe we use one of us as bait,
and the others lie in wait on top of the cave! Who here is good at shooting arrows?”
Mark, Miguel, and Sam raise their hands. “I don’t have a bow,” says Marissa,
speaking for Tali.
“Looks like we have our bait!” says Miguel, speaking for Guy. “Don’t worry, we’ll get
the bear before he can get his paws on you.”
“I feel very reassured.” Marissa laughs.
Framing Scenes
To make the conversation flow, you have to frame scenes. You have to set up
situations in your game, in your story and your fiction, that then spur further
conversation and give players enough information to make decisions.
A scene here is like a scene in a movie or a book, with a bunch of characters in a
place, talking to each other or taking actions. The scene ends when it’s time to
move on and change something important—the location changes, or the characters
in the scene change, or what they’re doing changes, or time advances. For Root:
The RPG, you can even think of a scene as a discrete chunk of the overall
conversation of the game, as if it were one topic that you discuss to completion
before moving on to a new topic.
So every time you start a session of Root: The RPG, the GM starts things
off by framing a scene. When the time comes, they end the scene, too, and
frame a new one. That’s one of the key responsibilities of the GM—framing
and ending scenes.
Chapter 3: The Fundamentals 29

The GM doesn’t always frame scenes single-handedly—a player can suggest a
scene, or ask for a scene, or build off something another player suggests. But the
GM is the final arbiter of the scene framing.
When the GM frames a new scene, they describe the setting of the scene,
which characters are there, and what’s happening, if anything. The GM
provides the important details so the conversation can begin. They don’t have
to cover every single exacting detail that might possibly matter—that’s part of
the conversation! Other players can ask questions of the GM, adding to the
conversation by fleshing it out. But the GM has to frame the scene with enough
detail that the players know what questions to ask.
Hard Scene Framing

Framing a scene doesn’t mean starting at the “beginning” of a moment.
You might frame a scene where the characters enter the room, introduce
themselves, and start talking; but you also might frame a scene where the
conversation is already going strong, someone has just insulted another
character’s beliefs, and daggers are close to being drawn.
That second example is called hard scene framing. There’s no room for
negotiation, no room to adjust and aim for a different kind of scene—the
characters are in the scene, in that moment, dealing with that situation, and
they have to react as best they can.
Example
Tali the Adventurer, Marissa’s character, wants to go talk to the Earl of Flathome
to try to talk him into freeing some unwitting, innocent denizens from his prisons. I
could frame the scene with Tali talking her way past the guards and into the Earl’s
office…but instead, I decide to frame the scene hard.
“Tali, we pick up with you standing in the Earl’s office. He’s sitting behind his desk,
his wings folded in front of him, his yellow eyes focused on you. Behind you, two of
his elite hawk guardians stand with halberds—ready for anything to go wrong, or for
the Earl to give the word. They’ve already disarmed you as a condition to get inside.
The Earl opens his beak and says, ‘So, vagabond. I hope this is worthy of my time.’
What do you do?”
“What Do You Do?”

A key component to the conversation is the repeated refrain: “What do you do?”
It’s what the GM says to turn the conversation back to another player, a way of
saying “It’s your turn!” It prompts action, or it suggests that the players need
more information to make a decision.

Root: The RPG is all about action in the most direct way—it’s about characters
doing things. Leaping through windows, swinging swords, picking locks, running
away. And characters can do things by talking, for sure—but it’s about talking
with a purpose, not just idly discussing things. They’re talking to figure out
what a foe is thinking, or to trick a silly guard into doing what they want, or to
convince a Woodland Alliance conspirator to trust them with a secret.
“What do you do?” is a crucial question that ensures everyone is able to say
what they actually do. When the GM asks the question, if a player can’t answer
because they don’t understand the situation enough, then it’s important to take
a step back and make sure everyone’s on the same page. But if a player doesn’t
want to answer because they don’t want their character to have to make a hard
choice…then the Woodland will move around them, whether they like it or not!
Moves and Uncertainty

Sometimes, though, you’ll wind up in a moment where you don’t know what
happens next. It’s not clear who should speak in the conversation or what
they should say. A lot of the time, this happens when a PC takes an action
whose outcome is uncertain. When a PC walks through a doorway, there’s
no uncertainty; the GM says what happens—and what happens is the PC
walks through the doorway into a new room. When a PC dives out of a glass
window three stories up, though, there’s plenty of uncertainty! Are they cut
by the glass? Do they catch a branch outside? Do they plummet to the ground
below? Are they hurt?
In those moments, the table, and also the conversation, turns to the rules of
Root: The RPG and the dice to resolve the uncertainty. Root: The RPG
uses a rules structure with moves, which are discrete chunks of program-like
rules covering lots of different areas within the game. There are lots of moves in
the game, from basic moves that every PC will use, to playbook-specific moves
that only those characters of a particular playbook can use. But almost all
moves have a similar basic structure, with a trigger and a result.
The trigger tells you when the move comes into play. Triggers are always
phrased as “When you do [x]…” or “When [x] happens…” They are both
prescriptive and descriptive. If you want to roll the dice for the move, and get
the results offered by the move, then you have to hit the trigger by taking action
in the fiction. If you wind up taking the appropriate action in the fiction, then
it doesn’t matter whether or not you want to roll the dice—you’ve triggered the
move, and its results come into play. The result tells you what outcomes of the
move are possible.

A common way to phrase the way moves work is “To do it, do it.” If you want
the results of the move to engage someone in melee, then you have to do that
in the world of the game—in the fiction (see page XX for more about “the
fiction”)—by describing yourself swinging your sword and dashing forward.
And if you decide to start sword-fighting someone, then you’re going to roll
engage someone in melee. You took the action, so now you roll for results on
the move…and to roll for results on the move, you must take the action.
The results of the move always come to bear after the move is triggered. Some
moves will just say what happens: “When you do [x], [y] happens.” But many
moves require a die roll to see what happens: “When you do [x], roll with a stat
(Charm, Cunning, Finesse, Luck, or Might), and depending on what you rolled,
[y] or [z]] happens.” You can see more on interpreting those results in Hits and
Misses on page XX. Follow the full results of the move as written—don’t fudge
them or ignore them! You won’t have to. Because a move can’t possibly be
perfectly suited to the exact situation in the fiction—it has to be open enough
to apply to several similar situations—it will always require a GM to interpret
the results to fit them to your specific fiction. That’s perfect for making sure
that the move and its results make sense.

Once you’re done applying and interpreting the results of the move, then you
go right back to the conversation, responding to those results, saying new
things, and moving forward.
That’s the flow of the game and the conversation in Root: The RPG. All the
players and the GM talk, following the conversation as it flows, responding to
each other’s statements and questions, until you reach one of these moments
when a move is triggered, when everyone is uncertain about what comes next.
Then the rules kick in, you resolve the moment of uncertainty, and you get
back to the overarching conversation. Sometimes you might reach a series of
these moments in a row, but the pattern remains the same.
Example
Marissa, Tali’s player, describes Tali sitting down nervously in the chair across from the
Earl. “I try to put on a serious face. ‘Thank you for meeting with me, Earl,’” she says
As the GM, I speak for NPCs like the Earl, and I choose to set a dismissive tone. “‘Yes,
yes, get on with it,’ the Earl says, waving one wing at you dismissively.”
“Right. ‘I come to speak to you on behalf of Greta and Prewitt, the two rabbits you
imprisoned for being Woodland Alliance spies. They’re not spies at all—they’re just
foolish young bunnies who said things they shouldn’t have. They don’t deserve to be
locked up for a youthful mistake, my lord Earl.’ I look down when I say the last bit,
I’m trying to look deferential.”
I make the Earl’s scoffing snort. “‘You would have me release two individuals who
might be dangerous spies, just because you think they’re not? I need to make an
example of these dissidents for the clearing.’”
“‘But releasing them will make a different kind of example. It will show you’re
merciful, and it will deflate the Woodland Alliance’s efforts in the clearing. The
denizens will be grateful to you, and their will to fight will vanish.’”
I’m beginning to feel that uncertainty—I’m not sure how the Earl would react. He
might hate being lectured by a vagabond, but he’s also a shrewd operator, and Tali
is making a good point. I look at the list of moves, and see the trigger for persuade
someone: “When you persuade an NPC with promises or threats, roll with Charm.”
“Hey, Tali, it sounds like you’re persuading the Earl. You’re promising him that if he
does what you want, the Woodland Alliance presence in the clearing will start to die
down. Is that about right?”
Marissa groans, but nods. “Yeah, I guess I am. I don’t like that promise, but it
makes sense.”
“Great! Time to roll, then!”
The only times you use the dice during the conversation are when the moves
and rules call for it. Especially if you’re familiar with other roleplaying games,
you may feel a desire to use the dice to resolve moments in the conversation
that you think are uncertain, even when there isn’t actually a move to roll.

Don’t do that. If there isn’t a move to resolve the uncertainty in that moment,
then it’s actually not uncertain—the resolution is the GM’s call, based on their
agendas, principles, and moves (see page XX for more on those).
Hits and Misses

When a move asks you to roll, you’ll grab two six-sided dice (hereafter referred
to as 2d6) and roll them. Most of the time you’ll be rolling with something,
meaning you’ll add one of your stats to the result of the 2d6. So if you roll with
Charm, and your Charm is a +1, you’ll roll the 2d6 and add 1 to the result.
Moves with dice rolls split up the outcomes in the same categories:
· Awanted.
7 or higher is called a “hit” and means you’ll get at least the main thing you
· Awanted,
10 or higher is called a “strong hit” and means you’ll get almost all you
· but usually witha “weak

or some additional benefit.
A 7–9 is called hit” and means you’ll get the main thing you wanted,
· next, with an eye towards

some cost or complication attached.
A 6 or less is called a “miss” and means that the GM gets to say what happens
complicating the situation dramatically.
Crucially, try not to think in terms of concrete success or failure. It can be an
easy shorthand to say “a 7 or higher is a success and a 6 or less is a failure,” but
that’s not quite right, and it’s depriving you of useful tools for making your
game much more interesting! A 7 or higher is a hit, which means the player
making the move will probably get the key thing they wanted…but it could be
very messy, complicating the “success” in a way that makes it far from a pure
victory. And a 6 or lower might, at the GM’s discretion, translate into a “failure,”
where you don’t get the thing you wanted…but it just as easily might turn into
a situation where you get exactly what you wanted and it turned out to be the
wrong thing to want, or a situation where you get what you wanted but in a way
that far exceeds what you had intended.
Misses are opportunities for the GM to make their own moves—to say what
happens—and they provide some of the most interesting complications in the
entire game. Don’t deflate them by thinking of them just as failures!
Example
Marissa rolls for Tali’s persuade move—2d6 plus Tali’s Charm of +2. The dice,
unfortunately, come up a 1 and a 2—a total of a 5. A miss. I think about what to do,
and I see Tali’s reputation with the Eyrie Dynasties—a –1, not tremendously low, but
low enough to change the Earl’s opinions. It gives me an idea!
“Yeah, the Earl looks at you, considering your words, and then a terrible grin comes
over his face. ‘An interesting proposal, indeed. The one flaw, of course, is that I

cannot be seen as too merciful—that will diminish my position in the Eyrie. No, I
cannot just release two prisoners and have nothing to show for it but the denizens’
gratitude. I will need another prisoner to replace them. Perhaps a dangerous
vagabond, a wanton would-be criminal who is a threat to our order. Someone
whom the denizens of this clearing won’t care about. Someone I can imprison with
impunity and execute quickly.’ He looks over to those two hawks with halberds. ‘Take
this one into custody. She’s a criminal and a threat to the clearing.’ Then he turns his
yellow eyes on you again, that cruel smile still showing. ‘Thank you for your help. It
is most appreciated.’ What do you do?”
One more important note here: the GM never rolls dice for moves during play. The
GM may roll dice for random tables to set things up—see Woodland Creation (page
XX)—but they won’t roll dice to resolve what happens. It’s always the players rolling
dice on behalf of their PCs. That keeps the focus on those PCs, their actions, and
the results of those actions.
The Fiction
When you play Root: The RPG, your conversations are about the fiction—the
full, encompassing, fictional world of your game. The fiction includes all the
characters, the places, and the events of your ongoing game. It doesn’t just cover
the things that happen during your conversation—if one PC is the child of two
important Eyrie nobles, and their backstory says that those Eyrie nobles were
overthrown and have gone missing, then all of that is part of the fiction, too.
Think of the fiction almost as the “canon” of your game. What’s true? What’s
questionable? What’s been established? What makes sense? The fiction starts
off primed by everything in this book (see Chapter 1), but it changes as you play.
Everything you say and do during the game adds to and changes your fiction.
The fiction is all important to a game of Root: The RPG. Everything that
goes on in the game has to take it into account. It creates the boundaries of the
conversation that you’re having.
Can a bird character fly? To answer, you go to the fiction: yes, they can fly.
They have wings, and they live in the upper parts of the clearings. It makes
sense. And now that you’ve said that, from that point forward, all players can
reasonably assume a bird can fly.
Can a fox character fly? Go to the fiction: no, they can’t fly on their own. They
have no wings, they live on the ground. And now that you’ve said that, from
that point forward, all players can reasonably assume foxes aren’t going to be
found in the sky.
Can a bird character fly if they’re covered in plate mail and carrying a giant
hammer and three sacks full of gold? Go to the fiction: no, it’s too much. They
can’t take off; they’re too heavy. Now, all players can make assumptions about

how birds have to deal with weight—birds are
probably more predisposed to wear lighter
armor and carry lighter weapons if they care
about flying.
Can a fox character fly if they’re wearing a leafy
gliding apparatus made by an expert Tinker?
Go to the fiction: well, the Tinker built it, and
we know how skilled they are. But it still seems very dodgy.
So, maybe? They can probably fly, but can they fly well?
Or safely? Sounds like either the answer lies in a move the
Tinker made when constructing the gliding apparatus…or
that the fox is trusting fate now. Either way, we’ll use a move
to resolve the uncertainty.
That last example shows how crucial the fiction is.
Understanding the fiction is how you can comprehend what
is possible, and what actions and statements and truths
make sense in the conversation. Most importantly, when you
encounter a moment of uncertainty, the fiction helps you
understand how and when moves are triggered.
Shared Understanding
When you play Root: The RPG, the world of the game, the fiction, doesn’t
exist in any one player’s mind, not even the Gamemaster’s. It exists between
everyone playing the game, a shared imagined world with its own truths,
history, and rules. To play well and effectively, to use moves and resolve
uncertainty, you must all be on the same page with the way you understand
the fiction.
Let’s say your character tells the guard, “I have served the Marquisate nobly, and
you should allow me to enter the clearing.” You must understand the fiction in
that moment to recognize whether the character is telling the truth and trying to
persuade the guard, or whether the character is lying and trying to trick the guard.
It’s crucial not only to have an understanding of the fiction, but to have a
shared understanding of the fiction. If you actually believe that you’re telling
the truth when you say you served the Marquisate nobly, but the GM believes
that you’re lying and tricking the guard, then there’s a problem—you don’t have
a shared understanding of the fiction, enough for the correct move to be used
and the conversation to flow forward.
When that happens, though, it’s easy to resolve—just have a conversation to get
on the same page!

Example
“Okay, so you’re lying? You’re tricking the guard?”
“No, no! I mean it! We served the Marquisate that time, when we helped them
recover their stolen jewels!”
“Yeah, but then you burned down their workshop, Opensky Haven.”
“True, but these guys don’t know about that! And to prove we’re on the Marquisate’s
side, I can show them the medal the Marquise gave us after the jewel thing!”
“Hmm. Okay then—let’s say that you’re telling the truth and trying to persuade
them right now.”
Your game can be derailed if the players bring different assumptions about
the fiction to the game, but just like everything else, it’s all part of the
conversation—so always clarify, ask questions, and make sure everybody’s
understanding of the fiction is more or less the same.
Starting the Game

Before you get going with your game of Root: The RPG, there are a few things
you need to prep, and a few things you need to hold in your mind.
Preparing to Play
Make sure you know the space you’re playing in. Whether it’s a table with chairs
or an online video call, think through what you’re doing; how to adapt to the
number of players; and the need for character sheets, reference sheets, and dice.
To start, each player needs their character sheet (for their particular playbook),
a basic moves reference sheet, and a character creation reference sheet. The GM
needs their GM reference sheets and should probably also have a basic move
reference sheet and a character creation reference sheet.
Each player needs a way to roll 2d6. You can get away with a single pair of dice
in a pinch, but it’s way easier if everyone has their own set. If you’re playing
online, pick out a shared dice roller and set it up. In tense moments, it’s a lot of
fun to watch together as the dice fall!
Each player needs some pencils and paper for extra notes. The GM, in
particular, must be able to take notes on the Woodland, on individual clearings,
and on NPCs. The Woodland Notepads are a great resource for these notes.
You’ll need your map of the Woodland, be it a piece of paper, an online sketch,
the board game map, whatever.
Finally, you’ll need some time, probably between 3 and 4 hours. The first time
you play, character creation is likely to take up to 2 hours to fill out all the

details, set up all the connections, and so on. From that point forward, a good
session or “episode” of play can take about 3 or 4 hours to play out, so try to
plan for at least that much.
Woodland Expectations
There’s plenty of setting information about the Woodland in Chapter 2 of this
book. There’s still more throughout the rest of the book, especially in page XX,
XX, and XX.
Before you start play, everyone should be on generally the same page. That
usually means that the GM will provide a base-level explanation of the
Woodland, the factions at play, the nature of the denizens of the Woodland,
etc. And the players can and should ask questions to make sure everybody’s
understanding of the Woodland is aligned.
But here are a few expectations that you should have about the Woodland to
keep you in sync with the rest of the game.
The Balance Tips Towards Fable

What do foxes—notable carnivores—eat in the Woodland?
Do birds have hands?
Is a wolf the same size as a mouse?
Root: The RPG tips a bit towards fable in its setting, in the answers to these
questions and more. The focus isn’t on straight realism—obviously not, when the
game is about empires ruled by talking, upright, armor-wearing cats and birds!
So focusing too much on these setting details is not only unproductive, it’s
also contrary to the core setting of Root: The RPG. When you play, your
focus is on the characters; the choices they make; and the difficulties of the
Woodland and the factions around them—not on the specifics of exactly how
a bird holds a sword.
If you find yourself saying about a bird, “Okay, he picks up the satchel in his
hand,” it’s a slip, sure, because a bird doesn’t really have hands! But by no
means is it worth lots of effort to get right. So let these more specific, more
questionable details slide—they’re not as important for you to get right as the
dramatic character situations and conflicts.
So what do foxes eat? What everybody else eats. Probably a decent amount of
bread or hard tack.
Do birds have hands? More or less.
Is a wolf the same size as a mouse? Depends on the wolf and the mouse!

Close to Medieval…But with a Hint of the Fantastic
The Woodland in Root: The RPG is medieval in style. The kind of clothing
characters wear, the kinds of weapons and equipment they carry, the kinds
of problems they face…if you hold fictional medieval settings in mind when
thinking about all these details, you’ll be on the right track. The Woodland’s
history isn’t a perfect mirror of the real world’s history—for example, the kind
of gender discrimination you might have expected in real medieval Europe is
completely absent from the Woodland—but for the most part, you can easily
function by holding medieval tropes in your mind.
There are, however, places and ways that the Woodland is significantly more
fantastic than any real medieval setting. The Marquisate is rumored to have
impressive, ample clockwork mechanisms—maybe they engage in a scheme
to launch clockwork armies across the Woodland. Ancient astrologers of the

Eyrie Dynasties may actually have gleaned important insights from the stars
themselves. A Tinker vagabond may be able to rig up incredible devices out of
branches, spider silk, cogs, and vines.
Don’t shy away from these fantastic tidbits for the sake of adherence to
the harsh medievalism of the larger setting. The strange, the unusual, the
extraordinary, the otherworldly, even the nigh-supernatural—these are quite
rare in the Woodland, but your vagabonds’ story is a tale that might feature
some surprising twists!
Heroism with an Edge

The vagabonds of Root: The RPG aren’t straightforwardly heroes. They’re
probably closer to anti-heroes by default, but even that isn’t quite right. They’ll
often be self-centered and greedy, both because of the mechanics, and because
the Woodland is a harsh, rough place. The vagabonds have had to be just as
harsh and rough to survive as long as they have.
Some of them might have heroic aspirations, and over the course of
play, they might change. But always, there’s an edge. The vagabonds are
pushed towards that same selfishness. The choices they face are never
straightforward or simplistically heroic. The entire Woodland interferes
with direct, obvious heroism.
Everyone should be on the same page that the Woodland is neither a place of
great evil nor purest goodness. There may be antagonists who are capable of
great evil and terrible acts…but they’re isolated. Their followers won’t be the
same. And no one is inherently evil.
The Marquisate, the Eyrie Dynasties, and even the Woodland Alliance…they are
all, for better and worse, a mix of grey, of good and bad. A Marquisate general’s
belief—that nigh-totalitarian control of the Woodland is a good thing—may be
wrongheaded and evil, but they might still have the best of intentions, trying to rid
the Woodland of the violence and pain that has plagued it throughout its existence.
If a PC chooses to believe that a situation is simpler, then that’s on them. But the
players and GM should all be on the same page that the Woodland is a complex
place where nothing shakes out as easily as it might look.
Focus on the Vagabond Band

Root: The RPG is geared towards telling stories about a band of vagabonds.
That’s crucial to keep in your mind as you play—the game isn’t about soldiers
in the organization of the Marquisate, or up-and-coming nobles of the Eyrie
Dynasties. The mechanics and playbooks of the game won’t support those
stories nearly as effectively as the stories of a band of vagabonds.

That means two key things:
· IfIf aa character
· they no longersplits
stops being a vagabond, they no longer fit the story of the game.
character off from the band, the overarching group, for good, then
fit the story of the game.
Vagabonds are defined by their independence and their traveling natures.
They may grow in power in relationship to any of the factions but, ultimately,
they’re not a part of those factions—with all the costs and benefits associated
with remaining apart. If they ever fully join a faction, then they’re not really
vagabonds anymore. Similarly, vagabonds travel across the Woodland, moving
over path and forest. They may have a “home base,” a particular place they like
to come back to, where they can find safety and rest…but it’s not the same as a
real home, a place they call their own and don’t want to leave. If vagabonds ever
settle down, then they’re not really vagabonds anymore.
A vagabond band is not all that common—most vagabonds travel
independently and come together for temporary jobs before disbanding again—
but that’s why it’s so special, and that’s why Root: The RPG is about a band.
The vagabonds in the band are connected by professional ties, by friendship, by
real support and care, by mutual self-interest, or by something else altogether.
Whatever it is, they’re connected, and they’ve decided that they’re better off
sticking together than splitting up. If that ever changes and a vagabond wants
to leave the band, then they’re moving away from the game’s spotlight.
In any of these cases, the most likely result is that the vagabond PC who stops
being a vagabond or splits off from the band isn’t a PC anymore. They might
still be a character in the overall Woodland and in the fiction…but they’re not
one of the main characters of the story you’re telling anymore. It’s almost like
when a character leaves a TV show; they might come back to guest star in an
episode, but they’re not part of the main cast anymore.
That’s okay! Sometimes those moves make the most sense for a character and
a story! None of this is to suggest that you can’t have a vagabond settle down
or split off from the band. The real takeaway here is that a character who does
either of these things is moving away from the tone and focus of the game—so
it’s probably best to only do these things when everyone involved is okay with
that character ceasing to be a PC. The player can easily make a new vagabond to
jump into the band (see page XX), but the original character no longer fits the
story and is, in one way or another, retired as a PC.

Why Play?
So, what will Root: The RPG do for you that is special to it, that you won’t
necessarily find elsewhere? Why play?
Because you get to play cat adventurers, bird warriors, mouse thieves, and fox
con artists—all in a world filled with animal characters ranging from heroic to
villainous and everything in between.
Because you get to tell the story of awesome, chaotic, skilled, surprising
characters having adventures across an ever-changing landscape.
Because you get to actually change that landscape—the Woodland will respond
to your characters’ actions, good and bad, driving your choices home to you.
Because you can stand strong against dangerous powers, keeping innocents safe
from their oppression, and come through victorious—if not unscathed.
Because telling dramatic stories about skilled and capable characters in tense
situations is a path to moving, funny, involving, and exciting moments.
Because you want to go on capers, have heists, and rebel against tyranny, all in a
world that might actually respond to your actions.
Because the Woodland is in danger, and you and your friends may be its
greatest hope…if you can just avoid burying yourselves in trouble first.

Making
Vagabonds
w hen you start any game of Root: The RPG, you have to make
the player characters. Each player (except the GM) makes their
own, and together these PCs constitute the band and the main
cast of your game. So this is not a duty to take lightly!
One important thing to know throughout the process—expect to flesh
everything out as you go. Add details to descriptions and objects. Think
about the questions someone might have about your character, and
think about what the answers are. Never be afraid to add more detail
above and beyond what’s listed on your character sheet—that’s how
full, rich characters are made!
Choosing a Playbook
To make a vagabond PC, you first need to pick a playbook. A playbook
is a particular archetype, a set of ideas bound together as a guideline
for your character—but not a straitjacket. Each playbook has plenty of
room for you to build a unique vagabond!
There are nine playbooks in this book, each corresponding to one
of the vagabonds in Root: A Game of Woodland Might and
Right, Root: The Riverfolk Company Expansion, and Root: The
Underground Expansion. These are the playbooks you’ll find: The
Adventurer, The Arbiter, The Harrier, The Ranger, The Ronin, The
Scoundrel, The Thief, The Tinker, and The Vagrant. Each player will
pick their own playbook, and no doubling up—each player must
choose a different playbook than the others. That way you’ll have
a band of vagabonds with different traits, different problems, and
different skill sets.
Each playbook is its own unique double-sided sheet. When you make
your character, you’ll print out your particular playbook and write all
the pertinent information on those sheets, using it as the actual record
of all your traits, abilities, equipment, and more, so this book often
uses the terms “playbook” and “character sheet” interchangeably.
For more on the individual playbooks, see page XX.
Example
Derrick is making his new character. He looks at the playbooks to see what
matches his interests. He’d like a socially oriented character—not so much a
fighter—so he’s looking at the Adventurer and the Vagrant. Since Marissa is
interested in playing the Adventurer, though, he decides to take the Vagrant.

Filling Out the Playbook
While you’re picking your playbook, you should be looking them over a
bit. Once you know exactly which one you’ll play, make sure you have that
whole playbook in front of you. Skim it over, taking a look at your playbook’s
particular elements.
Next, work your way through the playbook, filling out many sections entirely,
making some notes and marks in other sections. You’ll make all of the crucial
decisions to create your character’s core framework through this process. Your
character will continue to change and grow over time, and many parts of your
playbook will change to match—but the decisions you make now will have a
great effect on your character’s identity and capabilities.
Name, Species, Details, and Demeanor

For these sections, you pick your name, your species, your details, and your
demeanor. Choosing these elements can help sketch out the initial skeleton of
your character. You can always revisit these later if you change your mind and
want to pick something that better matches your developing character.
Name
For name, choose one option from the name list (found on page XX), or
make up a similar option of your own. You can also find the name list on the
character creation sheet.
Species
Your species is what kind of animal you are; either pick one option from the list,
or add your own in the blank. There are four common animals in the Woodland—
birds, foxes, mice, and rabbits. Other animals are less common, but the Woodland is
a big place filled with lots of different creatures.
In fact, your species can more or less be anything, with a few limits:
· Don’t pick an animal that is bigger than a wolf in the real world. All denizens
in Root: The RPG are more or less person-sized, but it starts feeling a bit
strange if you bring in larger animals…and in the background of the Woodland,
· Don’t
a lot of the larger animals (deer, bears) are particularly strange or dangerous.
choose purely aquatic animals. Amphibious animals can work, but no
fish. The denizens of the Woodland—and the other player characters—are
going to be skewed heavily to land animals. Make sure you’re picking an
animal that can physically interact with the other denizens, and about whom
you won’t be asking every five seconds, “But how do your gills work above
water? How can you breathe?”
Chapter 4: Making Vagabonds 45

Animals don’t come with any special traits or abilities, beyond what makes
sense in the fiction. Birds can fly. Moles can dig. Beavers can chew through
wood. Foxes can scent other animals with ease. And on and on.
These abilities aren’t special—they fit into the existing moves perfectly! When
a bird tries to fly, if there’s no tension and no uncertainty, then she just does.
When she tries to fly to evade a flash flood, well, that sounds like trusting fate,
or attempting the roguish feat of acrobatics. When a mole tries to dig a tunnel,
if there’s no tension and no uncertainty, then he just does. If he needs to dig
a tunnel with perfect secrecy that comes up inside the Mayor’s house…then
maybe he’s attempting the roguish feat of sneaking. And so on.
The biggest effect of choosing a particular species for your character is social.
If you’re a bird, then a lot of denizens will automatically associate you with the
Eyrie Dynasties. If you’re a cat, then they’ll associate you with the Marquisate. If
you’re a rabbit, fox, or mouse, you’ll be seen as a downtrodden, regular denizen
of the Woodland. If you’re a lizard, wolf, toad, anteater, or some other animal
from afar, then you might be viewed with suspicion and mistrust. Everybody in
the Woodland carries their own expectations and prejudices, and unfortunately,
your species affects how others see you, even if you try your best to distance
yourself from those factions.
Details
For details, you have three lines of options with a few details that are mostly
unique to your playbook. Circle at least one option from each line, or fill in your
own and circle it. You can circle more options if you choose for them to apply.
The first line is always the pronouns that your character uses; the second
line is a small physical description of your character, to prime other players

for picturing the character in their heads; and the third line is an interesting
detail or item that you carry, not generally something of great use or particular
advantage, but a trinket that means something to you.
Demeanor
For demeanor, choose one option and circle it, or fill in your own. Demeanor is just
a short cue about your character’s overall bearing and personality. As always, this is
meant to be a prompt, a way to get you started with options that fit your playbook
well—it’s not meant to be a hard limit.
Example
Derrick looks at the name list and likes the sound of “Jinx.” He considers for a
minute making Jinx a mouse, but “opossum” keeps calling to him. Derrick likes
the image of a vagabond who solves problems by playing dead and feels that an
opossum is great for that! He circles it, picturing Jinx as a grey-furred rat-tailed
opossum. But even though the character is an opossum, Jinx doesn’t get any special
advantage by playing dead—instead, Derrick will still roll to trick an NPC when
Jinx tries, and that’s when the Cunning stat will matter—but that’s all something to
think about later.
For details, Derrick chooses from the pronouns line that Jinx uses “they” pronouns,
and “patchwork” from the physical description line sounds good—Derrick sees Jinx
as having patched-up clothes sewn from countless other garments. He likes three
of the trinket options, so he circles all three—“tattered cloak,” “luck charm,” and
“gambling paraphernalia.” The good luck charm feels right, but he’ll figure out what
it is later. He sees the gambling paraphernalia as dice and a cup to roll them.
Background Questions
The background questions are prompts to get you thinking about and filling in
your character’s past. Every vagabond has a past, and those elements are great story
fodder for interesting, dramatic scenes down the line.
Each playbook has five questions, and each question has a few answers you can
select. The five questions are usually the same on every playbook, although
some of the options differ from playbook to playbook. If you feel strongly, you
can answer a question with a different answer from those provided, but you
should see if the presented answers work at all—most of them have plenty of
wiggle room to provide more specifics and further detail.
Where Do You Call Home?

This question is a combination of “where are you from?” and “what place
matters deeply to you?” If you’re a vagabond, you don’t really have a place where
you’re settled, where you live day in and day out. But many vagabonds have a

place in their hearts held in special fondness, whether because they’re from
that place, or because they return to that place when they need to rest for a
time. That’s your home. Saying that it’s one of the clearings means that clearing
is an important place to you; saying it’s the forest means that somewhere in
the wilds of the Woodlands, you have a safe space to rest; and saying that it’s a
place far from here means that you’re likely from elsewhere, not attached to any
particular spaces in the Woodland.
Why Are You a Vagabond?

Every PC in a game of Root: The RPG is a vagabond. That means they don’t
settle down, they keep traveling around the Woodland, and they’ve had to acquire
some degree of skill. But most importantly, they choose to continue being
vagabonds. Answering why you are a vagabond speaks both to the events that
brought you to be a vagabond in the first place, and to the reasons you continue
to be a vagabond today. What’s more, if you find the answer to this question is
ever resolved, then it’s fair to ask if that character would retire and settle down.
If they wouldn’t give up a life of adventuring yet…you need a new reason to keep
being a vagabond.
Whom Have You Left Behind?

Becoming a vagabond always means leaving others behind, one way or another.
Whether it’s friends and family you left behind at your home or it’s a teacher you
left behind as you struck out on your own, there’s someone who meant a great
deal to you whom you left to move throughout the Woodland as a vagabond.
When you choose your answer to this question, you choose a character of
significance to you. Make sure you think about some details for them, like their
name, species, why you left them, and where they might still be found.
Which Faction Have You Served the Most and

With Which Have You Earned a Special Enmity?
Both of these questions have to do with your vagabond’s relationship to the
major factions present in your game. The factions are the powers like the
Marquisate, the Eyrie Dynasties, the Woodland Alliance, and the denizens
themselves. For each of these questions, you choose one faction, establishing
that you’ve either aided them or harmed them in the past through your actions
as a vagabond. Whatever you did, it was no little thing—the faction as a whole
cares about and remembers what you did, to the point that your actions
continue to influence their current feelings about you.
You mark two prestige with the faction you served, and one notoriety with the
faction you harmed. Marking prestige means that you are coming closer to
forming a good reputation with that faction. Marking notoriety means that you

are coming closer to forming a bad reputation with that faction. You can choose
the same faction for both questions if you like—it means you’ve both helped
and injured the same faction. For more on prestige and notoriety, see page XX.
And make sure over the course of character creation you think a bit about
what you did to help or hurt those factions. There are plenty of other places
throughout character creation where you might be able to flesh those details
out, like when you establish your connections with other PCs (page XX) or
when you establish the vagabond band’s feat (page XX), so you don’t necessarily
have to decide right away. But at some point during character creation (most
often when you introduce your character to the other players, page XX), you
will explain what you did to help and hurt those two factions, so make sure it’s
percolating as you move forward.
Example
It’s time for Derrick to fill in the background of Jinx. He decides that Jinx is from
somewhere far from here—Jinx is an opossum and they see themself as coming
from a family of opossums living deep in the woods. The reason Jinx is a vagabond,
Derrick decides, is that they are on the run for their lies and tricks. Jinx has run one
too many cons in one too many places; nearly anywhere they’d go, there are probably
a few denizens who might recognize them and try to take retribution.
Derrick also decides that Jinx recently left behind their best friend and former partner
in crime, a combination of two of the answers on the Vagrant playbook. Derrick sees
this friend, named Pell, as another scammer who ultimately settled down and left
the life of endless tricks. He names the clearing Pell still lives in, based on the options
on the map. Finally, Derrick decides that Jinx has served the Woodland Alliance
the most—Jinx’s tricks have been useful for the would-be rebels—and has earned a
special enmity with the denizens themselves. The regular denizens of the Woodland
are annoyed by the Vagrant’s cons. Derrick marks two prestige with the Woodland
Alliance, and one notoriety with the denizens.

The Stats
Every PC in Root: The RPG has five stats that measure, as a rough baseline,
how good they are at particular things. Those five stats are: Charm, Cunning,
Finesse, Luck, and Might.
Charm represents a character’s facility with conversation, dialogue, and social
interaction. The higher Charm a character has, the more likely they are to be
able to persuade NPCs to act as they wish, or to figure out what’s going on in
other characters’ heads.
Cunning represents a character’s craftiness, perceptiveness, and cleverness.
The higher Cunning a character has, the more likely they are to be able to
trick NPCs to act as they wish, or to take in the situation around them and
determine effective courses of action.
Finesse represents a character’s manual dexterity and skill with their hands.
The higher Finesse a character has, the more likely they are to be able to
perform complicated roguish feats and do things like shoot a bow accurately.
Luck represents a character’s sheer willpower, survivability, and, well…luck.
The higher Luck a character has, the more likely they are to be able to scrape
through dangerous or complicated situations more or less intact, but never
without a price.
Might represents a character’s pure physical strength. The higher Might a
character has, the more likely they are to be able to smash apart doors or locks,
or to be absolutely deadly in close-up melee combat.
Your playbook comes with a pre-chosen set of stats, showcasing the particular
kind of character that playbook represents. You can adjust your character’s pre-
chosen set of stats slightly by adding +1 to any one stat of your choice, but you
can’t raise any stat beyond a +2 (right now).
In general, a +0 represents an average stat for a vagabond—which is still better
than most Woodland denizens. Anything below a 0 means that when the
vagabond tries to use that stat, they’re taking a real risk. Anything above a 0
means that when the vagabond tries to use that stat, they’re likely to remain in
control and get what they want.
Example
As a Vagrant, Jinx’s starting stats are Charm +2, Cunning +1, Finesse –1, Might 0,
and Luck 0. Derrick gets to add +1 to any one stat of his choice, as long as he doesn’t
raise it above a +2. Charm’s out, then. Derrick thinks about Luck—he can see Jinx
as someone who’s relied on sheer good luck and will to make it through tough
situations—but he ultimately chooses Cunning so that Jinx can run their tricks with
even greater facility.

Who Decides?
Who decides when you have achieved your drive or followed your nature? Does the
player call it out, or is it the GM’s call?
Ultimately, it’s the GM’s call, but the answer is often somewhere in the middle. If
the GM notices that a vagabond has fulfilled their nature or drive, the GM should
call it out—it’s a chance to get on the same page about how and when it is fulfilled,
and to give that character an appropriate reward for dramatic play. In practice,
though, it’s a lot harder for the GM to keep track of every vagabond’s natures and
drives along with everything else going on in the game. So the most likely course
of events is that the vagabond’s player fulfills their nature or drive and calls it out.
If a player thinks they have hit their condition for a nature or drive, they should
say so aloud. Most of the time, the GM will be on the same page, and everyone
will agree that you’ve fulfilled it. If the GM does disagree, then it’s a good
opportunity to get on the same page about what the drive or nature means. And
if the character’s drive or nature doesn’t feel right anymore, it’s always possible to
change it—see page XX for more!
Nature & Drives

Every vagabond PC has a nature and two drives. Your nature speaks to your
inner character, a kind of baseline description of what you feel, how you act,
and most importantly, how you relieve stress. Your nature describes a way
that you can clear all of your exhaustion track, usually by getting into trouble
or giving in to some difficult urge. Exhaustion is one of your harm tracks,
measuring how tired your character is; clearing it gives you a burst of energy to
be much more effective. For more on exhaustion, see page XX.
You are never required to follow your nature, but you will likely want to
over the course of play, whether because it makes sense for your character
or because you need to clear your exhaustion track. Pick a nature that you’re
interested in actually following; if you can’t see yourself ever fulfilling your
nature, then it’s not a good choice.
Your drives, on the other hand, speak to deep wants within your character. If
your nature is a kind of dangerous instinct of your vagabond, then your drives
are desires that come up again and again. Your drives each give you a condition
by which you can advance—fulfill the condition, and your vagabond grows just
a bit stronger, just a bit more effective. For more on advancement, see page XX.
You have two drives, and you can advance once for each drive per session.
Similar to your nature, pick drives that you’re interested in pursuing. During

play you will look for opportunities to fulfill your drives and advance, so if
you’re not interested in doing that for a particular drive, it’s not a good choice.
Example
Derrick knows that he wants Jinx to be a tricksy con artist. He looks at the Vagrant’s
two natures, Drunk and Hustler, and instantly chooses Hustler—it fits Jinx’s
mischievous, deceptive manner way better. Then, Derrick looks at the Vagrant’s
drives. Clean Paws kind of speaks to his desire for Jinx to trick other people into
acting how Jinx wants and then appear to be innocent…but he’s most interested in
Chaos and Thrills. Derrick can see Jinx trying to fulfill those drives much more often
during play, so he picks Chaos and Thrills as Jinx’s two drives.
Connections
Your connections set up your relationships with the other vagabonds in your
band. Most vagabonds have heard of each other, know about each other’s
reputations—they’re all in the same “profession,” after all. But you and
your fellow PCs are particularly connected to one another. You’ve worked
together, pulled heists together, fled from the authorities together. You’re
friends, coworkers, allies, maybe even family. Your connections establish those
relationships between you.
Each connection includes a few elements: a category, a sentence with a blank
space, and a mechanical effect. The category is a general notion of how you feel
about the other vagabond in the connection—you see them as family, a fellow
professional, a friend, etc. The sentence is a description of the actual, specific
relationship and history you have with each other. You’ll fill in the blank with
the name of the other vagabond in the connection. Finally, the mechanical
effect is a change, tweak, or advantage that you get because of your relationship.
Unless otherwise noted, the mechanical effect applies only to you.
Every player has two connections on their own playbook. Each connection
links you and another PC. You’ll wind up with at least the two connections on
your own playbook linking you to other PCs, but you might wind up with more
connections when other PCs choose your character to fill in the blanks on their
own connections.
When you make your characters, you fill in your connections last. After
everyone has made their characters in all other respects, go around the table
one at a time. Choose a single connection, and fill in the blank with the name
of another PC vagabond. Always choose a PC—never an NPC denizen or
vagabond. If there are questions about the connection, answer them. The
GM may ask a few additional questions to fill in details of the connection, to
make sure it’s fleshed out and everyone has a shared understanding of the PCs’

histories with each other.
After you’ve gone around once, go around a second time, filling in names
for the second connection. Don’t pick the same vagabond for both of your
connections. It’s fine if you fill in another vagabond’s name in a connection
on your own playbook, and they fill in your name in a connection on their
playbook. Think about how the connections build on each other to flesh out
your relationship.
Every connection in this book has one of six mechanical effects, depending
upon the type of connection. Most mechanical effects list a specific trigger for
when they come into effect during play—for example, the Protector connection
only comes into effect “when they are in reach”. The Partner connection has an
immediate effect that comes into play as soon as you establish the connection,
as well as an ongoing effect during play. As mentioned above, the specific
fictional relationship of the connection varies a bit based on the prompt for the
connection. Here are the mechanical effects, listed for reference.
Protector Friend
When they are in reach, mark When you help them, you can
exhaustion to take a blow meant for mark 2-exhaustion to give a +2,
them. If you do, take +1 ongoing to instead of 1-exhaustion for a +1.
weapon moves for the rest of the scene.
Professional
Partner If you share information with them
When you fill in this connection, you after reading a tense situation, you
each mark 2-prestige with the faction both benefit from the +1 for acting
you helped, and mark 2-notoriety with on the answers. If you help them
the faction you harmed. During play, while they attempt a roguish feat,
if you are spotted together, then any you gain choices on the help move
prestige or notoriety gains with those as if you had marked 2-exhaustion
factions are doubled for the two of you. when you mark 1-exhaustion.
Watcher Family
When you figure them out, you When you help them fulfill their nature,
always hold 1, even on a miss. you both clear your exhaustion track.
When you plead with them to go
along with you, you can let them
clear 2-exhaustion instead of 1.

Example
After hearing about all the other characters, Derrick introduces Jinx—
mischievous con artist that they are. When it’s Derrick’s turn to select a
connection, he thinks about which connection to use with which fellow PC. First,
he chooses to fill in Jinx’s Family connection—“After _________ and I pulled off
an impressive heist and stole something very valuable from a powerful faction,
my bad choices landed me in dire straits. But they bailed me out, and we’ve
been close ever since.”—with the Thief, Cloak. It makes sense to Derrick—Jinx
and Cloak are two of the characters most interested in straight theft, and after
talking about it a bit, they decide to say that they stole a whole cart of gold from
the Marquisate. Then, after it comes around to Derrick’s turn again, he chooses
to fill in Jinx’s second connection, the Watcher connection—“_________ saw
through one of my cons and turned it back on me. How? Why did we forgive
each other?”—with the Harrier, Quinella. He figures that she managed to scam
Jinx for the coin they were trying to get out of her, and that the two got along
fine after because Jinx was so impressed!
Faction Reputation
This is how you keep track of the ways other factions view you. Your reputation
is the number you have circled for a given faction, ranging between –3 and
+3. The higher the number, the better a faction’s view of you. A +0 means
members of the faction haven’t heard much about you, or what they’ve heard is
conflicted—they’re not sure if you’re a friend or foe. A +3 means that members
of the faction view you as practically a hero, certainly as one of their own. A
–3 means that members of the faction view you as a dire threat—and they’ll
probably try to take you down on sight.
-3 -2 -1  +0   +1 +2 +3
notoriety prestige
Write the name of each faction in your game into the blanks on your character
sheet (make sure you remember to include “Denizens” in that set!). When play
starts, not counting any boxes you marked for connections or your background
connections, your reputation is a 0 with each of those factions—circle the
number 0 to indicate that.
Every time you’re told to mark 1 prestige with a faction, mark a box to the right of
the 0 on that faction’s line. Every time you’re told to mark 1 notoriety with a faction,
you mark a box to the left of the 0 on that faction’s line.
-3 -2 -1   +0    +1 +2 +3
notoriety prestige

When you’ve filled five boxes of prestige—all the boxes between the 0 and the
+1—your reputation changes. Erase the circle around the 0, and circle the +1
to indicate that your reputation went up by 1. Then, clear all of your marked
prestige with that faction; when you mark prestige again, start with the boxes
immediately next to 0.
-3 -2 -1  +0      +1 +2 +3
-3 -2 -1  +0 +1 +2 +3
To go from a +1 reputation to a +2 reputation, you must fill all the prestige boxes
between 0 and +2, ten boxes in total. Similarly, to go from +2 to +3 reputation, you
must fill all the prestige boxes between 0 and +3, fifteen boxes in total.
-3 -2 -1  +0      +1      +2 +3
-3 -2 -1  +0 +1 +2 +3
Notoriety works much the same way. When you’ve filled all the boxes between
0 and –1, you would lower your reputation, erasing the circle around the 0 and
circling the –1, and clearing all your marked notoriety with that faction. To go
from –1 to –2 reputation requires you to fill all the notoriety boxes between 0
and –2—six boxes in total. To go from –2 to –3 reputation requires you to fill all
the notoriety boxes between 0 and –3—nine boxes in total.
-3 -2 -1    +0   +1 +2 +3
-3 -2 -1 +0   +1 +2 +3
If your reputation is above 0, then filling all the notoriety boxes between 0 and
–1 will drop it a level. For example, if your reputation is +2, and you fill the three
notoriety boxes between 0 and –1, erase your +2 reputation, circle +1, and erase all
the marked notoriety boxes for that faction.
-3 -2 -1    +0      +1   +2 +3
-3 -2 -1 +0      +1   +2 +3
If your reputation is below 0, then filling in all the prestige boxes between 0 and
+1 will raise it a level. For example, if your reputation is –2, and you fill the five
prestige boxes between 0 and +1, erase your –2 reputation and circle –1, and erase
all the marked prestige boxes for that faction.
-3 -2 -1  +0      +1 +2 +3
-3 -2 -1  +0 +1 +2 +3

During character creation, you’ll only change your reputation through
background questions and some connections—but it’s not impossible to start
with a +1 or a –1.
Prestige and notoriety tracks are independent from each other. When you mark
enough prestige that your Reputation would go up, you only clear your prestige.
When you mark enough notoriety that your Reputation would go down, you only
clear your notoriety. Whenever Reputation would change, the relevant track—
and only that track—is cleared.
If a Reputation loss or gain shifts the threshold for when prestige or notoriety
would shift Reputation, the new threshold applies. This might lead you to
instantly make two changes to your Reputation that ultimately cancel each
other out, but clear out much of your prestige and notoriety.
When you clear prestige or notoriety because of a Reputation change, you
should only clear as much as you need to reach the new number. Any extra
prestige or notoriety is left over, starting from +0, to apply to the next
Reputation shift.
-3 -2 -1    +0      +1   +2 +3
-3 -2 -1 +0      +1   +2 +3
-3 -2 -1 +0   +1 +2 +3
Example
Because they served the Woodland Alliance most, Jinx has two boxes of prestige—
the first two to the right of the 0—marked. And because they managed to earn a
special enmity with the denizens, they have the first box of notoriety—the first to
the left of the 0—marked. Then, because Keera the Arbiter chose Jinx for her Partner
connection, Derrick has to mark two additional prestige boxes with the faction Jinx
and Keera helped, and two additional notoriety with the faction Jinx and Keera
harmed. Derrick winds up marking two prestige with the Marquisate, and two
notoriety with the denizens—pushing Jinx to a –1 reputation with the denizens!
Derrick erases the 0, circles the –1, and clears all the notoriety for the denizen track.

Moves
Every playbook comes with its own set of moves—special abilities, expertises,
advantages, and traits that a vagabond might have. Sometimes, playbook moves
will just change your stats. Sometimes, they’ll give you a whole new trigger and
result. All of the moves on a playbook are geared to support that playbook’s
overall archetype.
When you create your character, you’ll usually get to choose three out of six of your
moves to start with. Choose moves that sound interesting and exciting to you!
For more on the playbooks and their moves, see Chapter 5.
Example
Derrick has to pick three playbook moves for Jinx from the Vagrant playbook. He
takes a look at his options and likes the look of Let’s Play, a move that lets Jinx
gamble to get information out of people; Pocket Sand, a move that Derrick hopes
will give Jinx some options in a fight; and Desperate Smile, which Derrick thinks fits
Jinx’s likelihood to rely on desperate begging to save their skin. Derrick likes the look
of Instigator and Charm Offensive as more ways to handle fights, but he thinks
the other playbook moves suit his character better to start. He notes Instigator and
Charm Offensive for future advancements.
Harm Tracks
Your harm tracks represent different kinds of “harm” or “costs” you might
suffer. Usually, you’ll want to keep them as empty and unmarked as possible.
Every PC vagabond has three harm tracks: depletion, exhaustion, and injury.
They all start the game four boxes long. You won’t have to make any changes to
these tracks during character creation.
Depletion tracks how much assorted equipment and supplies you’re carrying.
You can mark depletion to have a small, useful item, pulling it from one of your
pouches at the right moment. You can also mark depletion for extra money,
or on some moves that ask you to pay it as a cost. When all the boxes on your
depletion harm track are filled, then your pockets are empty—you can’t mark
any more depletion, for any reason.
Exhaustion tracks how much energy you have left, and how tired you are.
You won’t choose to mark exhaustion without a specific move, effect, or GM
move asking you to, but several moves have you pay exhaustion to avoid some
consequence (like attempt a roguish feat, see page XX). When all the boxes on
your exhaustion harm track are filled, you’re utterly drained, just about to drop
into unconsciousness or powerlessness—in this state, you can’t choose to mark
exhaustion for any reason, and if something else inflicts exhaustion harm on

you, you become unconscious or entirely removed from action.
Injury tracks how much physical harm you’ve suffered. Similar to exhaustion,
you won’t choose to mark injury without a specific move or effect asking you
to. Injury is usually inflicted upon you when things go wrong—when you fall
too far, when someone’s sword connects with you, and so on. When all the
boxes on your injury track are filled, you’re on death’s door. You’re barely able
to function physically—definitely no running, jumping, or fighting (if you try,
you’re asking the GM to make a hard move against you)—and you need medical
attention immediately. If something inflicts injury harm on you while your
injury track is filled, then your character perishes.
To see more on harm and harm tracks, see page XX.
Roguish Feats
Roguish feats represent particular larcenous skills that a vagabond has picked
up. Vagabonds are very skilled—no one lasts long as a vagabond if they aren’t
possessed of enough willpower and skill, so the only vagabonds around for an
extended time are all widely capable, with their own smaller array of specialized
skills. Roguish feats are how Root: The RPG represents some of the criminal
abilities vagabonds have acquired over their careers.
Roguish feats are used hand in hand with attempting a roguish feat. Over the
course of play, you often attempt tasks that fall in line with a roguish feat. If you
have that feat marked on your playbook—abbreviated to “having that roguish
feat”—then you’re attempting a roguish feat: you roll with Finesse, and the move
will give you more controlled results. If you don’t have that feat marked on your
playbook—abbreviated as “not having that roguish feat”—then you’re trusting
fate: you roll with Luck, and no matter how well you roll, you’re going to pay a
cost or suffer a complication. (For more on both these moves, see page XX.)
Put another way—having a roguish feat means that you’re much more likely to
keep control of a situation in which you're counting on your larcenous abilities. Not
having the feat doesn’t mean you can’t attempt those acts, but it does mean that
you are going to face some consequence or messy circumstance whenever you do.
Most playbooks have your roguish feats pre-selected, so you don’t have a choice to
make. Some playbooks give you a choice, and you pick one or more from the list.
Example
Derrick doesn’t need to pick any roguish feats for Jinx—for the Vagrant, they’re
preselected as Pick Lock and Sleight of Hand. Derrick likes the look of Sneak for
sure, and makes a note of it for future advancement. For now, though, when Jinx
sneaks, Derrick will roll to trust fate.

Weapon Skills
Weapon skills represent special combat-related techniques that a vagabond has
mastered. The same way that roguish feats represent particular larcenous skills
a vagabond has picked up, weapon skills represent combat skills a vagabond
has acquired. They are advanced moves giving vagabonds special, particularly
effective maneuvers during fights. They give vagabonds the ability to contend
with dangerous, potent enemies, and with larger groups of foes—though even
then, they’re far from invulnerable.
There are three basic weapon moves that all characters have access to—engage
in melee, target someone, and grapple with someone. As long as a vagabond
is in the right place to use those moves in the fiction—they have the right
equipment, they’re at the right range, etc.—they can use those moves. For
example, any vagabond can target a foe at far range if they have a bow.
In order to use any of the other weapon moves, a vagabond needs to have the
weapon skill marked on their playbook. Most of the weapon moves also require
the vagabond to wield an appropriate weapon, tagged with that skill, though
there are some exceptions like improvise weapon. The important takeaway
for you is this: it’s not enough to just have the weapon skill marked on your
playbook, and it’s not enough to just have a weapon with the right tag. For most
weapon moves, you must have both.

When you’re creating your character, you pick one weapon skill to start with
from a set of four specific to your playbook. The set of four is bolded on your
playbook; the bolding only matters for character creation. From that point
forward, you can get more weapon skills through advancement or special
moves, and all of them are open to you. For more on advancement and weapon
skills, see page XX.
You may get more weapon skills during character creation through a playbook
move, like Dirty Fighter on the Ranger playbook. Usually, these moves grant
weapon skills that don’t count against your maximum limit of six weapon skills
gained through normal advancement. Mark weapon skills you gain through a
move with a single slash instead of a full X, to indicate they don’t count against
your maximum.
For more on weapon moves and how to use them, see page XX.
Example
Derrick gets to pick Jinx’s starting weapon skill from Improvise, Parry, Quick Shot,
and Vicious Strike. Improvise seems handy and like it fits Jinx’s style, but Derrick
settles on Vicious Strike—Jinx is the type to take advantage of dirty fighting across
the board.
Equipment
Vagabonds have plenty of bags, satchels, pouches, backpacks, pockets, and
more. They carry plenty of knickknacks, coins, assorted herbs, and more. Most
of that stuff is represented by the depletion harm track (see page XX for more
on depletion) as general gear your vagabond carries.
When Root: The RPG refers to equipment, it refers to important, larger,
specific, and non-replaceable items. Your sword or your bow are pieces of
equipment. Your armor is a piece of equipment, as is your shield. Arrows aren’t
equipment in the same way…unless they’re very special arrows. A lockpick isn’t
equipment and is better represented by depletion…unless it’s a masterwork,
unbreakable lockpick.
In terms of the game’s rules, a piece of equipment is something that has both
a wear track and its own tags. Wear is a special harm track unique to an
individual piece of equipment, representing the equipment’s durability. When
all the boxes of a wear track are full, then the associated piece of equipment is
damaged pretty badly, to the point that it’s barely functional. If you ever need to
mark another box of wear on a piece of equipment with a full wear track, then
the equipment is destroyed entirely, beyond repair.

Tags represent special traits, moves, abilities, and other
mechanical effects that a piece of equipment might bear.
They range from traits that make a weapon more effective in
combat, to abilities that make a flute particularly useful for
putting on shows.
Weapon move tags are a specific kind of tag that allows a
wielding vagabond to use a particular weapon move—as long
as they also have the appropriate weapon skill (see page XX).
A weapon will also have at least 1 Range by default. That is the
range at which the weapon can reach enemies, the range at
which it is effective. There are only three ranges—intimate,
close, and far. For more on ranges, see page XX.
If an item isn’t significant enough to have wear or tags, then it
isn’t a piece of equipment within the game’s rules—it can be
discarded, forgotten, lost, and ignored without much trouble.
This is the difference between a single, unimportant torch,
and a special bull’s-eye lantern crafted with colored glass from
the far away Domain of the cats.
Load
You can’t carry an infinite amount of equipment without
consequence. Every vagabond can carry only so much Load
without being burdened—4 by default, modified by your
Might. If you have a Might of +1, you can carry 5 Load; if you
have a Might of –1, you can carry 3 Load. Carrying handheld,
pocket-sized, or lighter wearable items doesn’t use up any
Load. But larger, significant, or heavier items use up 1 Load.
Think of Load as an indicator of large and obvious items
when someone sees your vagabond. Your armor, your sword,
your bow, your shield—someone looking at your character
would see them all on the body, hanging from a scabbard,
slung over a shoulder—and each would use up 1 Load. The
knife that your character has in their boot, however, wouldn’t
use up any Load.
A particularly large or bulky item might have a flaw tag that
makes it take up 2 Load—a huge sword, for example. If an item
is small or easy to carry, then even if it has wear, you can carry it
without it using up any of your Load.

If you’re ever carrying more Load than your maximum, then you’re burdened—
meaning that you’re slow, you’re not able to move quickly or easily, and the GM
will make moves as appropriate. You absolutely cannot carry more Load than
twice your maximum.
Buying Equipment at Character Creation

When you create your character, you also get to choose your equipment,
keeping in mind your Load. You get some amount of Value to spend on
customizing what equipment you carry.
Root: The RPG represents “money” in the form of Value—an abstracted
measure of general worth. Every faction uses different coinage, and many
clearings rely primarily on barter, so Value is how the game represents currency
as a mechanic. Every piece of equipment is worth a certain amount of Value,
based on this simple formula:
Boxes of Wear + Extra Ranges + Special Tags + Weapon Move Tags – Flaw Tags
A sword with three boxes of wear, one special tag, one weapon skill tag, and no
flaw tags would have a Value of 5.
You can spend your starting Value however you choose, and you get to keep
anything you don’t spend in coinage or valuable goods that you’re carrying and
can use for money later. For more on equipment, including a list of equipment
tags and pre-made items, see page XX.
Example
Derrick has 8 Value to spend for Jinx on equipment. He knows he wants Jinx to have a
special dagger, so he picks out a baseline dagger from Chapter XX, and adjusts its traits
a bit. Ultimately, he winds up with a blade that has two boxes of wear, two ranges
(intimate and close), the Vicious Strike weapon move tag (to make sure he can use his
starting weapon skill), and the Mousefolk Steel special tag, for a total cost of 5 Value.
He names it the Jinxblade and records it on the equipment section of his sheet.
He also decides that he wants something armor-esque, but that Jinx wouldn’t really
be wearing armor. He picks out a robe with one box of wear and the special trait
Friendly, for a total cost of 2 Value. That leaves Jinx with 1 Value leftover, which
Derrick chooses to hold onto as a bag of coin. The Jinxblade started as a dagger, but
Derrick and the GM agree that because of its two ranges, it’s more of a short sword
now, so it uses up 1 Load. Jinx’s robes are specifically light and cloth, so they don’t use
up any Load, and the bag of money is small enough to just fit in his pouches, so it
uses up no Load. Jinx is only using up 1 of his 4 total Load!

The Vagabond Band’s Daring Exploit
Finally, the last step in all character creation is one for the group to do
collectively. When you start play, your group of vagabonds, called a band,
didn’t just come together yesterday. You all know each other and have some
initial relationships, thanks to your connections, but the whole group has been
together for a bit of time before play even begins.
To represent this, you and your band has accomplished some daring exploit
together. They might have changed your map of the Woodland (see page XX
for more on the Woodland map). To determine what you have accomplished
together, roll 1d6 to find the corresponding exploit on the list:
1. Added a new path: Draw a new line connecting two clearings. Try to use
a different color or style of line (dotted or dashed) to indicate the new path as
different from all of the old paths. Every vagabond in the group marks prestige
and inotoriety with any factions connected by the new path. Explain how you
built the new path. When you travel along your band’s path, take +1 to the roll.
2. Destroyed an existing path: Add an X or other symbol indicating the
place where you damaged or destroyed the path. Don’t destroy the only path
connecting a clearing to the rest of the Woodland. Every vagabond in the group
marks prestige and notoriety with any factions connected by the destroyed path.
Explain how you destroyed the path. When you travel through the forest where
the path used to be, take +1 to the roll.
3. Changed ownership of a clearing: Change which faction is in control of
a clearing, or remove all faction control and return it to the denizens. Every
vagabond in the group marks 3-prestige with the faction now in control, and
marks 3-notoriety with the faction removed from control. Explain how and why
you changed the ownership of the clearing.
4. Defended a clearing from faction attack: Every vagabond in the group
marks 3-prestige with the defending faction, and marks 3-notoriety with the
attacking faction. Explain which clearing you defended, how you defended it,
and why you defended the clearing from changing hands. Mark the clearing
that launched the attack and the clearing you defended by drawing a dotted
arrow from the attacker to the defender—that conflict is likely to flare up again.
5. Discovered and explored a valuable ruin of the forest: Add the explored
ruin to the map and describe some aspects of the ruin, including which denizens
once lived there. If you shared information about the ruin with a faction, every
vagabond in the group marks prestige with that faction. If you sold your finds from
the ruin, every vagabond in the group gains 3 Value worth of coin or equipment. If
you kept your finds from the ruin, the GM will tell you what artifact you found.

6. Performed a remarkable heist: This heist earns the vagabonds more Value
to start, and greater reputations. Every vagabond in the group marks 2-prestige
with the faction you helped in your exploit, and 2-notoriety with the faction
you harmed in your exploit. Every vagabond gains 2 Value worth of coin or
equipment. Explain what you stole, why it was remarkable, and how taking it
harmed one faction and aided another. Mark the site of your heist and what
you stole on the map.
Random Faction The group of vagabonds can collectively

choose which clearing they affected,
1d6 Faction
and which factions (from those that
1 Denizens make sense in the fiction) were involved.
2 Your 1st faction If they cannot agree, or if the players
Your 2nd faction
want a random choice, then the GM can
3
determine these aspects randomly.
4 Your 3rd faction
To determine factions randomly, roll
5 Your 4th faction, or reroll.
1d6 using your existing factions on the
6 Your 5th faction, or reroll Random Faction table. Most games
of Root: The RPG only feature four
factions; the GM can reroll a 5 or 6.
Random Clearing To determine a random clearing, either
2d6 1-3 4-6 drop a d6 on your map and choose the
clearing closest to where the die falls, or roll
1 Clearing 1 Clearing 2
2d6 and use the Random Clearing table to
2 Clearing 3 Clearing 4 choose which clearing was affected.
3 Clearing 5 Clearing 6 After determining which exploit the band
4 Clearing 7 Clearing 8 accomplished, where they accomplished it,
5 Clearing 9 Clearing 10 and which factions were involved, spend
some time fleshing out details. The GM can
6 Clearing 11 Clearing 12
ask questions of different PCs throughout
to have each player fill in more details!
Ready for Adventure!

Once you've established your band's exploits, you're ready to play! The whole
of the Woodland awaits you—daring adventure, political intrigue, mysterious
ruins...and any kind of trouble someone is willing to pay your band to handle.

Core Rules
A s discussed in Chapter 3 (page XX), Root: The RPG uses
“moves” as its core rules framework during play—in other
words, the moves of the game are the mechanisms used more
than anything else while you’re playing. Each of the many different
kinds of moves is a sort of nugget of rules, its own process for resolving
a moment in the game’s conversation wherein no one quite knows
what happens next. This chapter introduces most of the different
kinds of moves, breaking down how they work, and explaining all the
associated mechanics and rules of the game.
First is a breakdown of the basic moves on page XX. These are the
most common moves used in the entire game, available to all PCs at all
times. Next is a breakdown of specialized moves, used in more specific
circumstances, but very important when they come up. These include
weapon moves (page XX), reputation moves (page XX), travel moves
(page XX), and session moves (page XX).
After explaining the basic moves, this chapter covers an explanation of
several related rules and mechanics, including the harm tracks—depletion,
exhaustion, injury, and morale—and the rules for character advancement.
Finally there is a bit of advice on how to create your own custom
moves for play—not a necessary thing, but something you may find
yourself wanting to do over the course of your campaign.
Using Moves in Play

All of these moves are player-facing—that means they’re usable by the
players and PCs of Root: The RPG. The GM should know the moves
and how they work, especially to support the players in using them, but
only the players (through the PCs’ actions) can actually take the actions
that trigger them.
That’s the most important thing to understand about how to use all of
these moves during play: To do it, you do it. Every move has a trigger
and a result. To get the result, a PC has to perform the trigger. If a
PC performs the trigger, they get the result. No exceptions—if a PC
triggers a move, it happens.
If your Tinker’s eyes dart around a room filled with hostile guards,
looking for an escape, then you are reading a tense situation. If
your Arbiter punches the door to try to knock it down, then you
are wrecking something. If your Thief pickpockets a rich cat noble,

then they’re attempting a roguish feat (or trusting fate if they don’t have the
pickpocket feat marked on their character sheet!).
If you want to persuade that bandit leader to let you go, then you’d better hit
that move’s trigger by making a promise or a threat. If you want to trick your
way past a guard and into a building, then you need to describe what you do
to trick her, whether it’s throwing a rock or shouting “LOOK OUT! FIRE!” If
you want to figure someone out and ask the question, “how could I get your
character to _______?” then you need to seize the opportunity to do that in a
situation where you can watch them and try to see what’s in their mind.
The GM can help by calling attention to the moves and their triggers during
play, and the GM acts as the ultimate arbiter of whether or not a move has
been triggered. But all of the moves that follow in this chapter depend on a PC
triggering them in some way.
Using Moves to Resolve Uncertainty

The last crucial element to keep in mind—these moves are not limits on
what you can do! You can describe your character doing anything they could
reasonably do within the game’s world, within the fiction. If you’re playing
a bird, then you could describe your character flying, as long as they’re not
overburdened, or chained up, or what have you. It doesn’t matter that there
is no particular move for “flying”—it’s a thing that your character could
reasonably do within the game’s world, so you can do it!
Angling for a particular move is useful because it can help resolve uncertainty—
and often in your favor if you have a high stat for that move. But it isn’t
necessary! You can just describe what your character does, what they say, and
how they act. If the things you describe, say, or do trigger a move, then you or
the GM can call it out. If nothing you do triggers a move, that’s fine—it just
means you haven’t reached any moments of uncertainty, and the GM can just
tell you what happens in response to the things you’re doing.
The way moves are invoked is most obvious when you have a conversation
with an NPC. Your PC and the NPC might trade words, going sentence after
sentence, without ever triggering a move. Not every sentence needs to be a
move—the GM can just respond to your PC based on their understanding of
the NPC, with no uncertainty. But the moment that the conversation drifts
towards a real attempt at persuasion, or an attempt to trick, or an attempt to
figure the NPC out—that’s when a move is triggered and the dice come out!
Chapter 5: Core Rules 67

Types of Moves
As mentioned at the start of the chapter, there are a few different types of
moves, all used in different situations:
The basic moves are used throughout play, and PCs can trigger them in
nearly any scene. Because all PCs can trigger the basic moves, they’re the most
important for everyone to know, including the GM. They cover a wide array
of the major situations that you encounter during play, and knowing how and
when basic moves are triggered, and what they do when they’re triggered, helps
everyone to play better and more smoothly!
The weapon moves only come up around physical combats. Everyone should be
relatively familiar with the three basic weapon moves—engage in melee, target
someone, and grapple with someone—for similar reasons as with the basic
moves. But players only need to familiarize themselves with the special weapon
moves that they can actually use. In turn, it’s useful if the GM is familiar with
all the weapon moves to help the players out. But ultimately these abilities are
so specialized and potent the GM can rely on the players to know their own
moves and abilities, and to call out when they’re triggered.
Reputation moves are usually triggered in situations where PCs are
encountering important representatives of the factions for the first time, or
when they’re trying to ask for favors from the factions. There aren’t many
reputation moves and, as with the others, if everyone knows them, then
everyone can help call out when they come into play. But these moves are often
missed by the players during play, so it’s particularly helpful if the GM has these
moves in mind to call out regularly when they come up.
Travel moves are all about the vagabond band moving from one clearing to
another. They’re only triggered when the vagabonds want to travel between
clearings, so as long as the GM and players know they exist, you don’t have to know
them that well; you can get by looking them up when they actually are triggered.
Session moves, as the name implies, are triggered once per session at the end
of play. When you’re closing up your game for the night, that’s when a session
move triggers. Though they happen once every session, you can get by looking
them up every time you need to—just like with the travel moves—because they
are triggered at the same time every time.
Custom moves all depend upon exactly what you need and when you need it.
Most often you make a custom move to cover a very specific circumstance, and
that move will only be used for that one instance. For example, you might make
a custom move as part of a “love letter” to help explain what happens when an
extended amount of time passes in the Woodland.

Hold, +1 Forward, and +1 Ongoing
Some moves use a few additional, specialized terms in their results. Here’s a
short rundown:
· Hold is a resource, a “point” that you hold onto until you spend it as per the
move. For example, in the move figure someone out, on a hit you get some
hold, which you can spend one for one to ask the other character’s player a
question. The point of hold is that you don’t have to spend it immediately.
You can, if that’s what you want—but you absolutely do not have to. You can
hold it for as long as is reasonable, usually until the situation or the scene
meaningfully changes (GM’s call), and spend it when you choose using the
· +1Sometimes,
parameters of the move.
Forward means that on your very next roll, you add +1 to the result.
the move granting you +1 forward will give you a more specific
situation in which you apply the +1—for example, a move saying “take +1
forward against the NPC” means you only take +1 on the next move you
·
make that is “against” the NPC, involving them and directed towards them.
+1 Ongoing is similar to +1 forward, but instead of applying only to the very
next roll you make, it continues to be added to every roll that fits the move’s
conditions. For example, a move saying “take +1 ongoing against the NPC”
means you take +1 on each and every move you make that is “against” the
NPC. “Ongoing” bonuses usually end either when the move says they do, or
when the situation or scene has dramatically changed (GM’s call).

Basic Moves
As mentioned earlier, every PC in Root: The RPG can use every basic move. Basic
moves are the most likely to come up in during play. They both resolve common
situations of uncertainty and drive the story forward in interesting ways.
The eight basic moves available to all vagabonds are attempt a roguish feat,
figure someone out, persuade an NPC, read a tense situation, trick an NPC,
trust fate, wreck something, and help or interfere.
Attempt a Roguish Feat

When you attempt a roguish feat you are skilled in, say your goal and
roll with Finesse. On a hit, you achieve your goal. On a 7-9, mark ex-
haustion or one risk of your feat (GM’s choice) comes to bear. When you
attempt a roguish feat you are NOT skilled in, you are trusting fate.
You know where the stolen Marquisate gold is, and you’re ready to climb up the
wall, sneak in through the window, and crack the lock on the door. Whichever
specific task you’re doing, you’re attempting a roguish feat!
Attempting a roguish feat is for applying the skills your vagabond has picked up
in illicit, non-combat arenas. It’s for lockpicking, pickpocketing, sneaking, and
so on—but only when your vagabond is actually skilled in that arena.
Every vagabond has a list of roguish feats on their playbook, and they start play
with some set based on the playbook. Look at the Roguish Feats table for a list
of the feats, descriptions of each, and their accompanying risks.
If you have a roguish feat marked on your playbook, then awesome! You’re
skilled at that particular action, and when you try to use the related skills in
some way, you’re attempting a roguish feat.
Crucially—if you don’t have the roguish feat marked on your character sheet
when you’re taking the appropriate action, then you're not attempting a
roguish feat. Instead, you're trusting in fate! All vagabonds are skilled enough
in general that they can rely on luck to try to pull off these roguish feats, but
they get much more consistent, reliable results when they actually are skilled in
the appropriate roguish feat. See more on trust in fate on page XX.
When you attempt a roguish feat, always start by stating your goal—the thing
you’re trying to accomplish with your roguish feat. That helps you and the GM
pick the correct roguish feat for your aims. For example, if your goal is “Get
inside the guard tower,” then you’re sneaking—getting into or out of a place

Roguish Feats
Feat Description Risks
Acrobatics Adeptly climbing, vaulting, Break something, detection, plunge into danger
jumping
Blindside Backstab, murder, sneak attack, Draw unwanted attention, leave evidence,
sucker punch plunge into danger
Counterfeit Copying, forgery, fakery Leave evidence, weak result, take too long
Disable Disarming traps, turning off Break something, draw unwanted attention,
device mechanisms expend resources
Hide Disappear from view, remain Expend resources, leave evidence, take too long
hidden
Pick lock Open a locked door, chest, etc. Break something, detection, plunge into danger
Pickpocket Subtly steal from a pocket Leave evidence, weak result, take too long
Sleight of Palming, switching, ditching, Draw unwanted attention, leave evidence, weak
hand flourishes result
Sneak Get into or out of places without Break something, draw unwanted attention,
being seen plunge into danger
without being seen. On the other hand, if you just want to escape the notice
of the guards coming down the hall, you’re probably hiding—disappearing and
staying in one place—instead of sneaking!
Knowing your goal also means you know what’s at stake with the move—on a
hit (7+), you accomplish your goal, and that cannot be taken away from you by
any other conditions of the move. If your goal is to get into the guard tower,
you get into the guard tower! If your goal is to avoid those guards coming down
the hall, then you avoid the guards!
On a 7–9, though, a risk of your feat comes to bear, or you must mark exhaustion.
The choice between “risk” and “exhaustion” is the player’s, not the GM’s—so the
player who made the roll can choose to avoid risks if they have exhaustion to spare!
But if they do choose to have a risk come to bear (or if they don’t have enough
exhaustion to mark), then the GM determines what risk complicates the situation.
The table of all the feats has common, suggested risks associated with
particular feat, but the specific situation you’re in may indicate that some of
those common risks shouldn’t apply, and other risks should apply. For example,
if you’re performing a feat of acrobatics to get to the roof of a building while
fires surge up from within, maybe on a 7–9 you actually take too long and the
fire is poking through the roof when you get there! Ultimately, it’s the GM’s call,
and the player doesn’t get to know what will go wrong before they make the
choice between marking exhaustion or suffering a risk.

Options for Attempt a Roguish Feat
The roguish feats are themselves self-explanatory, but here’s a bit more on each:
Acrobatics - Clambering up trees, vaulting a chasm, swinging from a vine onto
a riverboat—any kind of complicated, impressive act of moving can fall under
the acrobatics roguish feat. If you’re racing from guards or soldiers, then this
feat might be the right one—just so long as the escape is acrobatic! If you’re just
running on the ground in straight lines, you’re not doing anything acrobatic, but
if you’re leaping over barrels, scaling walls, and so on, this roguish feat is for you!
Blindside - Surging from the dark without warning to strike a blackjack across
someone’s head, leaping out of a wardrobe and stabbing at a foe—any attempt
to strike without warning and take an enemy out (lethally or non-lethally) is a
blindside. You need the fictional positioning to blindside an opponent: you need
to be hiding or your foe needs to be distracted. That also means you likely can’t
blindside a fully armored foe with a stiletto—they’re too well protected.
Counterfeit - Creating fake patents of Eyrie nobility, writing a false message from
a superior to a Marquisate officer—any attempt to create a written document
falls under the counterfeit roguish feat. Any vagabond who has this feat has the
familiarity with myriad sigils and forms of writing to counterfeit all manner of
document. If they need especially rare or complicated materials to counterfeit
something—say, gold leaf for the ornamentation on a patent of nobility—then the
GM can ask them to mark depletion for those special materials. But for the most
part, someone with this roguish feat is likely prepared to use it, and shouldn’t have
to mark depletion as a base cost (although it’s a great risk coming to bear on a 7–9).
Disable device - Disabling the ancient machinery of a ruined trap, sabotaging
a siege weapon—any attempt to disable or sabotage a machine or device falls
under this feat. This sits as the flipside of the wreck something basic move. If
you’re destroying something through knowledge and finesse, you’re attempting a
roguish feat (disable device); if you’re smashing it to pieces, you’re wrecking it.
Hide - Slipping into a closet and closing the door, finding a spot among some
barrels—any attempt to remain stationary, still, and unobserved until danger
or time has passed falls under the hide roguish feat. Hiding is often reactive,
something a vagabond will do in response to an incoming danger to survive it.
Pick lock - Opening up a locked chest or a locked door—any attempt to get
past a lock through finesse and care falls under the pick lock roguish feat. Like
disable device, this sits alongside the wreck something basic move. You can get
through a locked door by smashing it open, or by picking the lock.

Flashbacks
For the most part, all of these moves are used in the present, during the action. But
sometimes, you can use a move in a flashback when you would have had time to
prepare for the current situation. A roguish feat like counterfeit is great for this—
the vagabond whipped up some documents in the past to use them right now, but
you resolve the move in the present, to see how good the work on the documents
was. It can be hard to use counterfeit in advance of when the counterfeited
material is needed. So if a vagabond wants to use counterfeit in the moment they
need an item to set up a flashback where they wrote it out before—that can be
great!
To use a move in a flashback in this way, it has to make sense in the fiction—the
vagabond needs to have had time to actually take the action in the past, and
knowledge that would’ve reasonably led them to expect this outcome. And a
vagabond needs to expend resources to set up the flashback, usually exhaustion (for
their time and effort) or depletion (for actual physical resources). The GM sets the
cost as appropriate, but usually no more than 1 or 2 total exhaustion or depletion—
anything more, and it’s probably too much to use the move in flashback.
Finally, depletion itself is a great way to set up simple resources. See page XX for more
on how to spend depletion to have a simple useful item the moment you need it!
Pickpocket - Slipping a coin pouch off a merchant’s belt, lifting orders from
the pocket of an officer’s uniform—any attempt to steal something subtly and
covertly from a denizen falls under the pickpocket roguish feat. This isn’t for
legerdemain or stealing things from a table, for example—those fall under
sleight of hand. But when you’re stealing something from another character,
you’re picking pockets.
Sleight of hand - Making a key disappear from sight to a secret pocket on your
person, covertly lifting a piece of paper from among many on a table—any
attempt to perform a deft act of legerdemain that doesn’t directly involve
another denizen falls under the sleight of hand roguish feat. If it does involve
another denizen, it’s much more likely to be picking a pocket.
Sneak - Slipping down a hallway to the prince’s quarters, racing quietly through
the dark along a wall to reach the crack—any attempt to move quietly, silently,
and secretly from place to place falls under the sneak roguish feat. Sneak isn’t
useful for avoiding attention within a location—it’s only useful for moving from
place to place. Hide is the feat for avoiding attention within a location.

Risks of Attempting a Roguish Feat
The risks of the roguish feats are largely in the GM’s control. The GM picks the
appropriate applicable risk and the exact way it manifests. But it’s useful to have
a bit of information on what each risk is:
· Break something - Break something you’re carrying or in the environment.
· Detection
Possibly mark wear.
· Draw
- Straight up get noticed by an onlooker. It has to matter.
unwanted attention - Either create hostile onlookers where before
no one cared, or call attention without actually being detected. Increase the
·
danger in the area.
Expend resources - Use up supplies. Mark depletion or exhaustion as the GM
·
chooses.
Leave evidence - Leave behind evidence that can later lead an investigation
·
against you or expose your allies to retribution.
Plunge into danger - Seize the chance to perform the feat and wind up
·
running straight into a more dangerous situation.
Take too long - Take too much time, leading the situation to change around
·
you in some meaningful way.
Weak result - Get a hard choice about exactly what you want, or straight up
don’t quite get everything you want.
Example
Cloak, played by Brendan, is on the run from a whole platoon of Marquisate
soldiers! He races to the edge of the clearing and leaps up to fly over the 15-foot wall
surrounding the clearing before the soldiers can open fire with their bows!
“This sounds like it’s uncertain, going over the wall, fast, while they’re firing arrows
at you. Do you have acrobatics?” the GM asks.
“Yes! Attempting a roguish feat!” Brendan rolls with finesse and gets a 7–9!
“Okay, you get over the wall,” the GM says. But one risk comes to bear. The GM
takes a look at the common risks: detection doesn’t matter; Cloak is already very
much detected. And plunging into danger doesn’t seem fun—that just seems like
repeating the situation. “When you fly over the wall, leaving all those soldiers behind,
you accidentally catch your belt and tear some pouches. Mark depletion!”

Figure Someone Out
When you try to figure someone out, roll with Charm. On a 10+, hold 3.
On a 7–9, hold 1. While interacting with them, spend your hold 1 for 1 to
ask their player a question:
· iswhat
· what isdoesyouryourcharacter
your character telling the truth?
· what does your character intend

really feeling?
· how could I get your character

character to do?
·
wish I’d do?
to _______?
You and the fox captain of the Eyrie guard are seated across the table from each
other, staring each other down, each trying to get inside the other’s head. In
this moment, you’re trying to figure someone out!
Figuring someone out is for getting into another character’s head, trying
to figure out what makes them tick in this scene, what they want and how
you might be able to get them to act differently. It’s a move for those intense
moments when a character is staring down someone else, but it’s just as often
a move for when you and a “friend” are laughing together and your eyes dart
towards them to determine what they are really laughing at.
Figuring someone out usually requires interacting with someone. You have to
be talking to them, watching them, saying something to see how they react and
then gauging that reaction. The GM might make exceptions for when you’re
watching someone without their knowledge—for example, when you’re in the
rafters watching someone from above—but those situations are only for when
you have an especially perfect vantage point to watch people who are active.
When you get a hit on figuring someone out, you get hold to spend on
questions. That means you don’t have to ask all the questions up front—you
can wait and talk to them more, shifting the conversation, before you spend
your hold. But if you want to spend all your hold to ask all those questions up
front, that’s awesome too!
When you spend a hold to ask a question, you’re not asking it in character, in the
fiction of the game world. You’re asking it at the player level, as yourself outside
the Woodland and the fiction, and the other player must answer it at the same
level, honestly. If you’re figuring out an NPC, then the GM answers for them.

Options for Figure Someone Out
“Is your character telling the truth?” is with reference to something the other
character just said, and it’s about the character’s belief. If they believe what they said
is true, then the answer is “yes,” regardless of whether or not it is actually true.
“What is your character really feeling?” provides information about emotions
first and foremost, but the really is important. When you ask the question, you
get what’s below the surface, even if you don’t get a deep explanation of why
they are feeling that way.
“What does your character intend to do?” provides information about that
character’s immediate plans. This isn’t “What is your grand scheme for taking over
the Woodland?” but “When we finish talking, what are you going to do next?”
“What does your character wish I’d do?” acts as an inverted version of “What
does your character intend to do?”, essentially asking that question but with
reference to what they want you to do. This question can focus a bit more on
the long term—”I want you to fight alongside my faction in the war” might be
an appropriate answer.
“How could I get your character to _________?” is an open-ended question; fill
in the blank with whatever you want. That also means it’s the one question you
might spend multiple hold on, filling in the blank with different statements. If
you do whatever it is they ask of you, then they are obligated to do whatever you’d
asked of them. This bypasses the need for any other move—no need to persuade
or plead with them—as long as you asked the question and performed the task
they asked. The other player can also legitimately say “You cannot get me to do
that” if it is actually true. In that case, the player—not the character—believes that
there is absolutely no way that the character would ever take that action.
Example
Copper the Ronin, played by Grace, is trying to get a Woodland Alliance operative
to lead her to the Woodland Alliance cell in the clearing. “Ah, this is going nowhere,”
she says. “Can I figure her out? I’m watching her carefully, gauging her every
reaction.” Grace rolls with Charm and gets a 10+. “I’ll spend 1 hold. How could I get
you to take me to your boss?”
The GM considers. “Her eyes keep shifting to sack of food on your back—she may be
a loyal Alliance agent, but her clearing hasn’t seen much food in weeks. Give her a
bribe, 1-Value of food, and she’ll help you out.”
“Awesome! I’m going to hold onto my other hold then, for now,” says Grace. “I give
her the bribe—I’ll mark off a depletion for 1-Value of food.”
“She takes the food from you, her eyes wide; it’s been a while since she’s seen this much
good food. She starts chowing down as she gets up and gestures for you to follow.”

Persuade an NPC
When you persuade an NPC with promises or threats, roll with Charm.
On a 10+, they see things your way, provided you have given them a
strong motive or reasonable bribe. On a 7–9, they aren’t sure; the GM
will tell you what you need to do to sway them.
You’re trying to get into the Mayor’s special dinner, and you pull out a knife to
threaten the guard into letting you past. You’re persuading an NPC!
Persuade an NPC is for getting NPCs to act the way you want them to, but in
an overt, fairly clear way—essentially using bribes or threats. It can only be used
on NPCs, as well. If you want another vagabond to go along with you, then
you should talk to them and, at best, plead with them (see page XX for more on
pleading). Persuade an NPC can only be used on individual NPCs. The promises
and threats you make are always catered to individual NPCs, and the more
denizens you’re trying to make a promise or threat to at once, the more likely it
is that things go awry and someone is displeased—without another special move
helping out, trying to persuade a group is more trusting fate than anything else.
When you persuade an NPC, you’re trying to get them to do something. At
heart, this move isn’t about changing beliefs or ideology, although it can have
that effect at the GM’s discretion. Instead, it’s about getting an NPC to actually
take some concrete action. And while you can try to persuade an NPC to act in
a particular way in the future, if the situation changes enough, they can change
their mind. Most often, you use this move to get an NPC to take action right
now, so always try to have an idea for what action you want them to take.
You must always persuade using a promise or a threat. A promise means that you’ve
promised they’ll get something they want if they do what you ask, whether you take
the action to give it to them, or someone else does—the proverbial “carrot.” A threat
means that you’ve threatened to do something bad to them or to something they
care about if they don’t do what you want—the proverbial “stick.”
Finally, persuading an NPC is an honest move. You ultimately might not follow
through on your end of the bargain, whether because you can’t or because you
choose not to; but you’re not trying to deceive the NPC into doing what you
want. At bare minimum, you believe you could fulfill your end of the bargain,
delivering on your promise or your threat in a meaningful fashion. Especially on
a 10+, you aren’t bound to do so—the situation might change, and you can always
reconsider...but at the time you make the move, you aren’t trying to fool them. If
you are tricking them, then you’re using the trick an NPC move (see page XX).

Options for Persuade an NPC
The 10+ result, “provided you have given them a strong motive or reasonable
bribe,” means that the NPC will do what you want, just so long as the promise
or threat you’ve made to trigger the move is significant enough and matters
enough to them that it could get them to take action. A strong motive or
reasonable bribe for a low-level guard is going to be different than for the
Mayor of the clearing, so it’s always dependent upon the situation and the
character. For the most part, this result means the NPC takes the action you
want, but you might have to sell it a little more, with a little prick of a knife or a
little coin greased across a paw.
On a 7–9, however, you have to take some concrete action here and now to
get the NPC to act. You are never left in the dark here; the GM tells you exactly
what you need to do to get them to act how you want. Do it, and the NPC will
act that way. But this might require you to actually follow through on a bit of
your threat, or to pay a significant bribe, or to share a secret, or to make good
on at least a portion of your promise, etc. It means your words alone aren’t
enough, and the NPC needs some proof before they will act.
Example
Tali the Adventurer, played by Marissa, wants an Eyrie captain to leave the area
with all his soldiers so she can set it up as a Woodland Alliance camp. “But you and
your squad don’t even want to be here! It’s just an old ruin, and it’s hot out here, and
there’s no point!” Marissa says.
“It sounds like you’re trying to persuade the captain, but you haven’t made a
promise or a threat yet,” says the GM.
“Hm, you’re right. Okay, how about, ‘If you head back to town, I promise, I’ll put in a
good word for you with Duke Whitetalon. How’s that sound?’”
The GM arches an eyebrow. “Can you do that? Do you even know Duke Whitetalon?
This sounds more like it’s a trick than a persuade.”
“Fair,” says Marissa. “How about, ‘If you head back to town, I promise I’ll make it
worth your while,’ and I pull out a big pouch of gold.” Marissa knows that she’s only
promising the gold—on a 10+, she won’t have to give it to him right away!
“Nice!”
Marissa rolls with Charm and gets a 7–9.
“The captain is looking at the pouch of gold with greed in his eyes. ‘How about you
give me the gold up front, and then I’ll go,’ he says. You’re going to have to give him
the gold, but then he’ll head out.” Marissa groans, but agrees, and marks the gold off
her character sheet.

Read a Tense Situation
When you read a tense situation, roll with Cunning. On a 7–9, ask 1. On
a 10+, ask 3. Take +1 when acting on the answers.
· what’s
· who or what
my best way out / in / through?
· what should Iisbemost

who or is the biggest threat?
· who is in control here? lookout for?

what vulnerable to me?
·
on the
Woodland Alliance rebels have just sprung out of the bushes pointing bows
at you! Your eyes dart around the path, trying to look for a way out of here—
you’re reading a tense situation!
Reading a tense situation is for evaluating your surroundings and
circumstances to figure out how to make the best of a bad scenario. The
situation has to be tense to read it, which means there has to be some sense of
uncertainty, danger, or concern. If the situation isn’t tense—there’s no electric
thrill of danger or threat in the air—then you can’t read it.
When you get a hit while reading a tense situation, you can ask some questions
from the list. You ask your questions immediately—you can ask them one at
a time, but you can’t save any for later in the same scene. They refer to the
situation right then and there, so no holding onto the questions!
The GM answers all the questions (one of their roles being to describe the world)
and answers truthfully. All of the answers they give are “true”—if they say that
something is the best way through, then it is actually the best way. Sometimes,
the GM can just answer the question, but other times the GM and the player will
go back and forth a bit to make sure they both understand exactly what question
is being asked so the GM can provide the appropriate answer.
When you act on the answer to the questions you receive, you take a +1 to
any moves you make—meaning that reading a tense situation gives you both
a path to follow and a bonus to follow that path. That bonus is normally
non-transferable—only the vagabond who read the situation gets the +1 to
follow the answers to their questions—but the Professional connection allows
vagabonds to share the bonus (see more on connections on page XX).

Options for Reading a Tense Situation
“What’s my best way out/in/through?” lets the player find out how to get out
of or past a bad situation. The player gets to choose which option it is, whether
out, in, or through. Whatever the GM says is the best way...but that doesn’t have
to mean the best way is actually good. The “best way” into a heavily guarded
fortress might still be terrible!
“Who or what is the biggest threat?” tells the player what to either focus on,
or run from! The biggest threat isn’t always the single deadliest combatant,
either—it might be the commander, tactically leading troops with brilliant
acumen. But sometimes the answer will be perfectly obvious—of course the
giant grizzly bear is the biggest threat! The question may still be worth asking
because of the +1 bonus to act on the answers.
“Who or what is most vulnerable to me?” has a bit of leeway around what
“vulnerable” means. It might mean “susceptible to my attacks,” but it also might
mean “likely to believe my lies,” or “easily swayed by my reputation.” As with all
of these options, GM and player should ask questions and go back and forth to
make sure everyone is on the same page about the question being asked and the
reason the answer fits.
“What should I be on the lookout for?” flags a danger, threat, or problem in
the area. It doesn’t have to be a brand-new problem, either. Finding out that
something you thought would be a problem will definitely be a problem is still
useful, not least because of the +1 to act on the answer!
“Who is in control here?” is the question most directed towards subtlety and
secrets. It’s possible that the real power in the scene—the character really in
control—is not at all who you expected, and this question points that out. On
the other hand, this question might point out that everything is exactly as it
seems—power lies in the most obvious place! When you ask this question,
make sure you and the GM both have a sense for what “control” means in this
situation, as well. A bear might be the biggest threat, but the enemy vagabond
who stands at the front of the bear’s cave with a sword, preventing anyone from
fleeing, may actually be in control!
Example
Jinx the Vagrant, played by Derrick, has managed to talk his way into a secret
Woodland Alliance gathering in a cellar. While he’s mingling, trying to look
inconspicuous, an old enemy—Drylla Vines—walks into the meeting. “She doesn’t
see you,” says the GM, “but you’re pretty sure it’s a matter of time.”
“Ah, crud. Okay, I think this is a tense situation—I’m going to read it.” Derrick rolls with
Cunning and gets a 10+. “First, I want to ask, what’s the best way out?” Derrick says.
“Well, the meeting just started—bolting now would be conspicuous. But you

definitely saw some lookouts outside when you came in. You’ve either got to wait out
the whole meeting, or bluff your way out by pretending you’re a lookout.”
“Okay. But I want to get something for my pains. Who or what here is most
vulnerable to me?”
“Hm. Drylla is definitely vulnerable to you—she doesn’t know you’re here, and you
have a chance to move against her right now.”
“Sweet. And finally, might as well—who is in control here?”
“Oh, yeah—you begin to realize that as Drylla walks around, all the other Woodland
Alliance agents are sort of deferring to her. They came here to listen to her—she’s in
charge! What do you do now?”
Trick an NPC
When you trick an NPC to get what you want, roll with Cunning. On a
hit, they take the bait and do what you want. On a 7–9, they can instead
choose one:
· they
· they
hesitate; you shake their confidence or weaken their morale.
· overreact; take +1 forward against them.

stumble; you gain a critical opportunity.
they
The Eyrie sergeant has come to the ruins to take you captive—so you hide and
cry out that you have him and all his soldiers surrounded. If they don’t leave
now, your allies will take them all! You’re tricking an NPC!
Trick an NPC is a move for deception, trickery, cons, and lies. If you’re telling
the truth or honestly trying to change someone’s mind, then you’re persuading
an NPC. But if you’re deceiving an NPC, then you’re tricking them.
As the name of the move suggests, just like persuade an NPC, you can only use
this move on NPCs. You can’t trick a PC with a move; you can lie to another PC,
but you can always figure someone out and see if the other person is lying!
Tricking an NPC doesn’t always have to mean a single NPC. You can
conceivably trick a group—if the trick you’re pulling is big enough, and the
group is really a group. A good rule of thumb—if the GM would stat up the
group as a group, instead of as individual members, then you can probably trick
it. (See page XX for more on the GM statting up NPCs.)
When you trick an NPC you should know exactly what you want the NPC to
do. This is immediate—you are trying to get them to do something right now.
If you need them to do something at all long-term, you’re better off persuading
them, or figuring them out and asking “How could I get you to _____?”

There has to be at least some believability to your trick or deception for the move
to trigger; if they couldn’t possibly believe your deception, then it’s not a trick at
all. You can’t convince a soldier of the Eyrie that you are secretly their liege lord
whose face was changed by a strange creature of the trees...not without lots of
other weird elements filling out a context where they might possibly believe that
nonsense. At best, you’d be trusting fate to buy time while your friends move into
position, desperately spouting unbelievable silliness to keep the enemy just off-
balance enough to give a fellow vagabond a chance to blindside the soldier
Options for Trick an NPC

“They take the bait and do what you want” means that the NPC does exactly
the thing you’re trying to trick them to do. On a 10+, the NPC falls for your
trick, and you get what you wanted!
On a 7–9, however, they might not do what you want. The NPC (meaning, the
GM on the NPC’s behalf) gets to choose to either hesitate, stumble, overreact,
or fall for the trick and do what you wanted. The PC doesn’t get to choose—
which means there’s a decent chance that the NPC might not fall for the trick
entirely. But GMs are, as always, encouraged to be fans of the PCs and follow
the fiction, meaning there may be times when an NPC could choose another
option but doesn’t, because it makes more sense that they buy the trick.
“They hesitate” means that the NPC is uncertain about what to do next. They
may back down or retreat from the situation. Underlings will often seek out a
superior to confirm what they should be doing. Most NPCs also have a morale
harm track, and “they hesitate” is a good reason for the GM to mark morale harm
on the NPC (see more on morale harm on page XX). You might not get the bandit
to put her sword away, but you can shake her confidence and inflict morale harm,
buying yourself a bit of time and the chance to get her to retreat entirely.
“They stumble” means that the NPC makes a mistake, trips up, leaves an
opening. The PC gets an opportunity, one they can seize on to take action and
get something they might want. The NPC doesn’t entirely fall for the trick—
they don’t simply do what the PC wanted—but they might give the PC another
opening to get a similar effect if the PC is willing to take a risk and seize the
chance. You might not get the guard to let you onto a boat willingly, but maybe
you can push him overboard when he takes his eyes off you for a moment!
“They overreact” means that the NPC gets upset, angry, overexcited, or
something similar. They might fall for the trick too much. They don’t do
exactly what the PC wanted, again—but their overreaction gives the PC a
mild advantage against them, in the form of +1 forward. You might not get
the merchant to purchase your fake gold alone, but they might offer the same
amount of money to buy every single thing in your bag!

Example
Guy the Scoundrel, played by Miguel, was trying to escape from danger with a
friendly merchant in tow, when he ran right into the hideout of the notorious
bandit—the Timber Wolf! “‘Who are you?’ the Timber Wolf asks, leveling his axe at
you,” says the GM.
“‘I’m a friend! I’m here to help you out!’” Miguel exclaims as Guy.
“Hmm, it sounds like you’re trying to trick him but it’s not quite enough yet. Just
saying ‘I’m a friend’ isn’t particularly convincing,” says the GM.
“I turn to the merchant. ‘Look, I brought you this hostage as proof! He’s a successful
merchant, you can probably ransom him back for lots of coin!’” Miguel says.
The GM laughs and asks Miguel to roll to trick an NPC. Miguel rolls and gets a 7–9.
The GM thinks about what to choose—the Timber Wolf hesitating doesn’t seem like
it will change the situation. Overreacting might be interesting, but stumbling and
providing an opportunity seems the best choice. “Okay, the Timber Wolf is obviously
thrown and confused. He puts his axe down and comes real close, grabbing the
merchant and patting him down to see if he’s carrying any valuables. He’s in reach,
unarmed, and not paying any attention to you. What do you do, Guy?”

Trust Fate
When you trust fate to get through trouble, roll with Luck. On a hit, you
scrape by or barrel through; the GM will tell you what it costs you. On a 10+,
fortune favors the bold; your panache also earns you a fleeting opportunity.
Pyreus Coldsteel is walking towards you, a sword in each paw, while the fires
lick the tapestries on one side of the room. Only one option—you dive out
the window, tuck and roll, and hope the drop wasn’t really all that high. You’re
trusting fate to get through trouble!
Trust fate is the move for taking tremendous risks, flinging yourself into
trouble and hoping you come out the other side, and generally being a
swashbuckling rogue! It acts a bit as the underlying basic move for the entire
game. If you’re taking action that feels risky and chancy, if you’re unsure of
what’s going to happen, but no other move applies—you’re probably trusting
fate. If any other move fits better, then it’s probably that move.
Because trusting fate to get through trouble is such a widely applicable trigger, you
should always keep that criterion in mind—if any other move applies, then it’s not
trusting fate—along with the idea that you’re only trusting fate if you’re taking a
real, uncertain, substantial risk. A bird character isn’t trusting fate to fly up to the
top of even a very high building if there’s no risk or chance to it. If they’re fleeing
from Marquisate guards and trying to get out of the clearing at high speed, then
they’re only trusting fate if they don’t have the acrobatics roguish feat; if they do
have it, then they’re attempting a roguish feat. But if the bird has a net thrown over
them while they fly up through a burning canopy of leaves and massed Marquisate
siege weaponry fires on them from below? Even if they have the acrobatics roguish
feat, it’s probably trusting fate—the situation is just too dire to be anything else!
Use this move when the situation is risky, over the top, and chancy enough that
the main determinant of whether or not things go well is a vagabond’s sheer
grit and luck. Keep in mind that it’s always possible for the GM to impose a
baseline cost on such a risky action, regardless of what the results are. If you
dive out of a tree from 30 feet in the air, you may suffer injury no matter what—
the question becomes “Just how much injury do you suffer?”
Options for Trust Fate

“On a hit, you scrape by or barrel through; the GM will tell you what it costs
you” means that on any hit—any result of 7+—you manage to accomplish your
main goal, but always with some cost or complication. If you dive through glass,
then you’ll reach the ground below—but not without suffering some injury.

Trusting Fate vs Other Moves
Here’s a bit more on when to use trusting fate instead of one of the other moves:
• If a PC acts and no other move quite fits the situation, but it’s still risky and
chancy, then it’s trusting fate.
• If a PC acts and their chances for success are ridiculously low, even if another
move might trigger, then it’s trusting fate.
Both these situations are moments in which the GM can rely on the dice to say how
things go; rather than saying, “No, that doesn’t work,” the GM can turn to trust
fate to find out what happens!
If you’re picking a lock without the roguish feat, then the lock is picked, but
probably not without paying depletion. Even on a 10+, you don’t avoid the cost
or complication. Wear, depletion, exhaustion, and injury are all fine costs, as are
more fictional costs that make your victory messy.
“On a 10+, fortune favors the bold; your panache also earns you a fleeting
opportunity” means that instead of avoiding the cost on a 10+, you actually get
a chance for some extra benefit! It’s icing on the cake for taking such a huge
risk, above and beyond the core success of the move. The GM says what the
opportunity is, and tells you what you must do to seize it. Getting a 10+ doesn’t
mean you automatically get a benefit—it just means you get an opportunity,
a chance. Maybe you see something valuable you can grab on the way out of
the burning room—but it’ll mean getting a bit more burned. Maybe when you
fall from a tree, you spot a place you can land out of sight of any enemies, just
without anything soft to cushion your fall, increasing the injury you suffer.
Example
Copper the Ronin, played by Grace, is talking to the Baroness Redly of the Eyrie
Dynasties, trying to get her to give up information about where she will next lead her
troops, when she gets a miss while trying to figure someone out!
“The Baroness sees you looking at her so closely, Copper, and tilts her head. ‘You
know, I do believe you seem familiar. I’ve heard reports of a raccoon vagabond
causing trouble out in the Woodland, fighting Eyrie soldiers with a blade...just like
that one.’ She gestures at your sword. It’s pretty clear she’s about a moment away
from figuring out who you really are. What do you do?” says the GM.
“I say…’Ah, yes, yes, I know well of whom you speak. That is the brigand Copper! But
I, Baroness, I, am...her twin! My name is Bronze! And I am certainly nothing like
that criminal!’ Am I tricking her?” asks Grace.

“Uh...no. You’re Bronze’s ‘good twin’? Yeah, trust fate there.” Grace rolls with Luck
and gets a 10+! “The Baroness looks at you with surprise in her eyes. ‘Oh indeed?
Well, then. If you are this brigand’s twin, then you likely know all about her tactics...
and I would imagine that sword is just like hers. I would very much appreciate seeing
that sword.’ She holds out one paw. If you want her to buy this, you’re going to have
to hand over your sword for her to examine—leaving you unarmed.” But it was a
10+, so Copper gets a fleeting opportunity, too! “If you do this, though, and fully
commit, telling her all about your ‘evil twin,’ all about your exploits and your tactics
and your strategies, you’ll get to mark 2-prestige with the Eyrie—the Baroness will
actually be impressed by what she hears about the real Copper! What do you do?”
Wreck Something
When you wreck something, roll with Might. On a hit, you seriously
break it; it can’t be used again until it’s repaired. On a 7–9, you’re impre-
cise and dangerous; you cause collateral damage, attract attention, or
end up in a bad spot, GM’s choice.
Your friend is locked behind bars inside a prison, so you reach out and begin to
pull the bars apart! You’re wrecking something!
Wreck something is for breaking, smashing, and ruining objects. You can’t
“wreck” a living being—it’s just for nonliving things. Wrecking also isn’t subtle.
When you wreck something, you’re using brute force to break it. If you’re
relying on smarts, there’s a good chance you’re attempting a roguish feat.
There are obvious cases of wrecking—smashing down a door, ripping apart jail cell
bars, snapping a lock, cutting down a tree—but it can also extend to other methods
that rely on pure strength. Rolling a boulder down a hill at a building, knocking
down a tree into something else—these are all great ways to wreck something!
Wrecking something is fairly versatile, as well. If you want to wreck a cave and
bring the ceiling down, as long as there’s some way you can actually do that
(knocking out support beams, shoving your sword into a crack and prying it
apart, etc.), go for it! If you want to wreck a road to make it impassable, go for
it! As long as it’s a nonliving thing, you can probably wreck it!
Of course, remember that moves are based on uncertainty—in this case, the
uncertainty of whether or not you can successfully wreck the thing in the first
place, and the uncertainty of what the other consequences of wrecking it will be. If
you’re tearing a piece of paper apart, you’re not really wrecking it—you know you
can tear it apart, and you know that the immediate consequences of ripping the
paper are likely to be entirely insignificant. Kicking in a door might be wrecking it
if the door is locked with a dead bolt—it’s uncertain whether you can kick it in in

the first place—but there might be no uncertainty if it’s already unlocked, or if you
don’t actually need to use enough force to break the door or draw any attention.
The move only triggers when you’re trying to wreck something that requires lots
of effort, and/or something strong enough or significant enough to cause further
complications when you use enough force to break it.
Options for Wreck Something

“On a hit, you seriously break it; it can’t be used again until it’s repaired”
means just that. The door, the lock, the wall—they’ll require repairs to be useful
in their intended fashion again. Of course, smashing a lock will open the lock,
and smashing a door will open the door.
“You’re imprecise and dangerous; you cause collateral damage, attract
attention, or end up in a bad spot, GM’s choice” means that on a 7–9, the
wreckage you create gets a bit out of hand and causes problems for you. The
GM will tell you how.
“Collateral damage” means someone or something else—not you—is harmed
by your act of wrecking something. The cave-in catches a friend, or the door
falls onto someone on the other side! Collateral damage can even apply to
a tool you use to accomplish the wrecking, marking wear on the item or
depletion on the vagabond.
“Attract attention” means that someone or something is going to come
running to see what made that noise. Wrecking something is already a fairly
loud action to take, but “attracting attention” means that no matter how safe
you thought you were, danger is on its way.
“End up in a bad spot” means that the GM can complicate your situation and
put you in a tough, difficult position right now. The cave ceiling sure does come
down, but you’re trapped inside! The tree sure does come down, but now it’s
rolling towards you!
Example
Keera the Arbiter, played by Kate, decides that enough is enough—she’s going to knock
down this guard tower from which the guards are pelting her with arrows. First,
she reads a tense situation and gets a question. Kate asks, “Who or what is most
vulnerable to me? I’m looking specifically for ‘vulnerable’ so I can wreck the tower.”
“Well, the tower’s sturdy, but you can maybe knock down that big dead tree next to
the tower directly into it. That’s definitely vulnerable to you,” says the GM.
“Excellent! I go wreck that!” says Kate.
“How do you do that?” asks the GM.
“I break out my greatsword and hack at its base until it’s broken enough that I can
just shoulder-check it!” The GM nods and Kate rolls with Might, getting a 7–9.

“Awesome! So you totally knock the tree down, and it smashes into the guard
tower, breaking the stones at the top and slowly starting to tip the whole thing over.
Trouble is, the guard tower is now falling towards the blacksmith’s forge behind it—
and the blacksmith is still inside!” The GM is inflicting collateral damage but still
giving Keera a chance to respond. “What do you do?”
Help or Interfere
When you help or interfere with another vagabond, mark exhaustion to
add +1 or –2 to their roll (after rolling). Mark exhaustion again to select
one of the following:
· conceal
· create an opportunity or obstacle
your help or interference
Your friend is frantically waving back at the clearing and claiming the
Woodland Alliance is attacking to trick the guards into leaving—so you jump
in, screaming about how it’s horrible and they’re lighting fires everywhere!
You’re helping your friend to trick an NPC!
By default, PCs make moves individually. You trigger your move on your own,
make the roll, and then make your own choices. But your fellow vagabonds can
influence a move you make by either helping or interfering.
Helping or interfering is a major move in which there is no roll—you just mark
exhaustion, and the move happens. There’s no uncertainty to the outcome,
only the question of how much you’re willing to pay to accomplish your end.
Unlike most moves, you only use the help or interfere move after you’ve seen
what the other vagabond has rolled. You might say something that describes
you physically helping, but don’t trigger the move and pay its costs until you
actually see the dice result.
When you help, you can give them a +1, and when you interfere, you can give
them a –2. There’s no point in triggering the move for a friend who already got
a 10+, and there’s no point in triggering the move against a foe who already got
a 6–. Similarly, if only one vagabond can help, then they’re only able to affect
the result if it’s a 6 or a 9—on all other numbers, there’s no point in helping.
In those cases, even if you do something in the fiction to help or interfere, you
don’t make the move—you’d just be paying the move’s costs with no effect.
To help or interfere, you also have to be able to actually do something that would
impact the outcome of the other vagabond’s move! If you’re nowhere near each
other, you probably can’t help or interfere. If your friend is doing something

highly technical and precise and you lack equivalent skills, you might not be able
to help. If your friend is lying to a guard while you’re gagged in the corner of a
cell, you probably can’t help or interfere. So make sure you know exactly what
you’re doing that is either helping or interfering with their move.
Multiple vagabonds can help or interfere with the same move. As long as all
the vagabonds are willing to pay the appropriate costs, the bonuses or penalties
they provide will stack on top of each other.
Options for Help or Interfere

Each vagabond who helps or interferes must mark exhaustion individually to
provide the +1 or –2 as appropriate.
You can only mark 2-exhaustion total—one for the +1 or –2, and a second for
the concealment of your aid or interference, or for creating the opportunity or
obstacle. You cannot spend 3-exhaustion to get all the options.
“Conceal your aid or interference” means that you aren’t tied to the results of
the move in the same way. Any watcher wouldn’t know clearly that you had just
intervened for good or ill. If you don’t take this option, you give yourself away,
and anyone watching the situation knows you tipped the scales. You’ll be tied
to the results of the move, whatever they are—for example, if a wreck move you
helped winds up “drawing attention,” then attention is drawn to you, as well.
“Create an opportunity or obstacle” is a way to get an additional benefit from
your help. An opportunity is a chance the GM describes and fleshes out, based
on your help, to get some extra benefit on top of the move; an obstacle is a new
difficulty or problem that further inhibits your opposition’s actions.
Example
Quinella the Harrier, played by Sarah, wants to interfere with Keera’s attempt
to persuade an Eyrie sergeant to lead his troops away from angry denizens (with
Woodland Alliance infiltrators!). Kate, Keera’s player, rolled a total of 10 for her
persuade an NPC move. “I don’t want this situation to get calmer—I want the
denizens to rebel! I start a chant from the sidelines, something like ‘Get out Eyrie!’”
says Sarah.
“You can only bring the roll down to an 8, though, by providing a –2 through
interfering. Is that okay?”
“Yep! I’m hoping that Keera won’t be willing to do what she has to do to get the guy
to leave on a 7–9.” Sarah marks exhaustion for interfering.
“Do you want to hide your interference, or create an obstacle?” asks the GM.
“Oh, I think I’ll hide my interference. I start the chant, and then I slip away quietly,”
says Sarah.
“Excellent. Mark another exhaustion!”

Plead with a PC
When you plead with a PC to go along with you, they clear 1-exhaustion
if they agree to what you’ve proposed. You may use this move only once
per session.
You really want to go chase down the Marquisate treasure wagon, but your
friend wants to stay in town, so you look at them and say, in a whining tone,
“Pleeeeaaaase?” You’re pleading with a PC to go along with you!
Pleading with a PC to go along with you is the one real way you can
mechanically bribe another PC into following your plans. You can always figure
out another PC, of course, asking them “How could I get you to _____?” and
then taking appropriate action. But if you don’t want to do that, you can plead
with them!
Pleading just means that you’re making an impassioned plea in whatever
manner suits your character’s personality.
When you plead with another PC, they don’t have to agree. They can turn down
the offer to go their own way. If they do, that still counts as your one use of this
move per session.
Use this move both in the fiction and on the level of the players themselves. If
another PC turns down your offer, then they’re signaling that they are adamant
about not doing that thing—so move on and find something else to do!
Example
Tali the Adventurer, played by Marissa, wants the group to remain where they are,
in Crestfallow Falls, to try to deal with the terrifying Woodland Alliance leader in
the area, but her fellow vagabond, Hester the Tinker (played by Sam), is interested in
leaving to earn prestige elsewhere. “‘Come on, Hester! We need to help these people!
Please, let’s stay here and finish what we started,’” says Marissa as Hester. “I want to
offer you a cleared exhaustion to stay!”
“No, I really want to get on the road,” says Sam.
Marissa keys in on Sam turning down the offer, and says, “Okay, I get it, let’s hit the
road. But I’m going to push us to come back here eventually!”

Get Along to Play Along
In general, the PCs are a team—a band of vagabonds. They might not always agree,
might not always get along, but this game isn’t about the strife between those
vagabonds. If they’re arguing so much that the entire group is at risk of fracturing,
then that’s going to interfere mightily with Root: The RPG!
Think of it in terms of the game’s general holding environment, a way to talk
about the baseline premise of the game—if the game were a TV show, this
would be the fundamental promise of that TV show. If a TV show is set in a space
station, then when someone leaves the space station forever, they leave the TV
show. Well, in Root: The RPG, the show is set in and around the exploits of
this band of vagabonds. If someone leaves the group, then they leave the show!
That can be fine if a player wants to start up a whole new character (see more on
adding new characters to the game on page XX), but no one should be surprised
to find out that internal conflicts between their characters lead to the exit of one
character from the game!
So keep in mind that this is a game in which your group of vagabonds ultimately
always chooses to stick together and work together, and if that ever changes, it
means some characters are likely exiting the narrative.
Weapon Moves
Even though the rest of the moves give you plenty of ways to resolve problems
or overcome obstacles, there are going to be times when you get into a real
fight. Swords come out, bows are drawn and fired, and lives are on the line.
All of the basic moves still apply to those fights—you can absolutely read a
tense situation to try to get an edge in a fight or figure out your opponent in an
attempt to see what they really want while you’re sword to sword. You can even
make a threat and try to persuade an NPC to surrender—though if they’re ready
to fight, it’s probably going to take some doing to convince them that surrender
is a better option.
This section covers the weapon moves, special moves that are used only for
fighting or fighting-adjacent activities. These aren’t used nearly as much as
the basic moves because they’re so tied to fighting; the vagabonds trick and
persuade the denizens of the Woodland every day, but fights aren’t usually a
daily occurrence. Any time you use one of these weapon moves, you’re starting
a fight (or getting really close to starting one) if one hasn’t already broken out.

Enter Combat!
“Starting a fight” here doesn’t mean engaging a whole new tactical subsystem
that transmogrifies play. These weapon moves are much more likely to come into
play during a fight, yes, but the overall structure of the game remains the same: a
conversation, bouncing back and forth, saying what your character does, triggering
moves when appropriate. A “fight” in Root: The RPG is just a fictional
description, not a mechanical one.
There’s more advice on how to run fights on page XX of the GM’s section, but
the key takeaway for players is not to expect some switch to flip and now things
are on, and that’s why these moves are activated. Instead, think of it more in
fictional terms—you wouldn’t just throw a punch randomly as part of a regular
conversation. If you do throw a punch…you’re likely to get punched back. And
that’s how a fight breaks out.
Basics vs Special Skills

There are three weapon moves that all characters can use, just like the basic
moves: engage in melee, grapple an enemy, and target someone. These moves
are combat abilities all vagabonds have based on their experience as outsiders—
the average denizen of the Woodland wouldn’t be able to engage in melee
nearly as well as a vagabond, let alone fire a bow with accuracy!
Then there are special weapon moves, called weapon skills. A weapon skill is
a highly specific technique and ability that a vagabond might have learned in
their travels, but there’s no guarantee that any two vagabonds have anything
close to the same weapon skills. They are a bit like the roguish feats (see page
XX), but instead of being a part of a larger basic move like attempt a roguish
feat, the weapon skills each have their own individual move.
Weapon skills also tie heavily into equipment. To use a weapon skill, you have
to have a weapon suited to that particular maneuver. You can’t pull off an
expert-level disarm or parry with just any sword. You can’t fire off a trick shot
with just any bow. A master has to have the right tools! To see more about
equipment and tag, see page XX.

In practice, to use one of these weapon skills, you must meet all of the following:
· Have the weapon skill marked on your character’s playbook, indicating that
· Wield
the vagabond has learned the skill in question.
a weapon tagged with the same weapon skill, indicating that the
· Satisfy
weapon is well-suited to that particular maneuver.
the specific conditions of the weapon skill move, performing the
trigger of the move in the fiction.
It’s never enough to just have the skill marked, or just have a weapon with the
right tag. You need both the skill and the tag on a weapon to use one of the
special weapon skills during a fight.
Ranges
Many of the weapon moves refer to a particular range, meaning a distance
between you and your target. Range in Root: The RPG is not a carefully
measured thing—you don’t keep track of specific quantities of distance, and
you’re certainly never that worried about the difference between someone 25
feet away and someone 20 feet away. Instead, Root: The RPG uses three basic
ranges entirely based on the fiction.
· Intimate: You’re right up in each other’s faces, easily in touching range,

breaking each other’s personal space bubbles. The kind of range you’d be in
·
to start wrestling, to poke a finger into someone’s chest, to hug someone.
Close: You’re close enough to talk comfortably, to fight with weapons—not
close enough to touch without effort, but certainly close enough to lunge at
the other denizen and reach them. The kind of range you’d be in to sword-
fight (or to fistfight from a distance), to walk in each other’s company without
·
holding hands, to easily toss something.
Far: You’re far enough that you have to speak louder, even yelling, to hear
each other—but you still can hear each other. The kind of range you’d be in
to shoot a bow, to spot each other from a distance, to be able to easily break
line of sight and hide.
Anything farther than far range is functionally too far to be accessible for
combat—you’ll have to close distance to be able to use any of these weapon moves.
If you don’t have a weapon that can hit at the appropriate range, then you aren’t
able to inflict any harm at that range, and you aren’t able to trigger moves that
only work at that range.
You can find more on range in combat on page XX.

Basic Weapon Moves
Engage in Melee
When you engage an enemy in melee at close or intimate range, roll
with Might. On a hit, trade harm. On a 10+, pick 3. On a 7–9, pick 1.
· inflict
· suffer
serious (+1) harm
· impress, dismay,
little (–1) harm
·
shift your range one step
or frighten your foe
You’re swinging your sword at your foe while they, axe in hand, charge you
down. You’re engaging an enemy in melee!
This is the all-purpose “fight close-up with weapons” move, the “swords
clashing” move, the “battle of staves” move, and so on. Every time your
vagabond engages an opponent in an exchange of melee strikes, they’re
engaging in melee!
“Engage an enemy in melee” means that you’re exchanging blows—you’re
taking swings, they’re blocking your swings and returning attacks. This move
covers a whole exchange of blows, not one strike. If your enemy isn’t capable of
returning attacks, then you’re not engaging them in melee—you’re just hitting
them, and you just inflict your harm on them.
An “enemy” can also cover small groups of foes, instead of just individual
combatants. Just keep in mind, a group of enemies is likely to inflict
phenomenally more harm and be much harder to defeat—and a large group of
enemies might be too big to actually engage in melee, leading you to trust in
fate to deal with a whole large group of soldiers. If you really want to be able to
handle groups of enemies, look into storming a group on page XX. There’s also
more on the mechanics of fighting groups on page XX.
“Engage in melee” can include fist fights, instead of just fights using weapons.
The difference is between boxing and wrestling. If you’re up close, wrapping
limbs around each other, then you’re grappling (page XX). If you’re keeping
a bit of distance, holding up a guard, sending a series of punches at your
enemy without getting tied up in their limbs, then you’re engaging in melee—
although, that kind of melee is very likely to turn into a grapple at any moment!
“Trade harm” means that you inflict your harm on your target, and your target
inflicts their harm on you. The two of you are engaged in a series of blows
against each other, so you each inflict harm on the other.

Harm
One of the primary effects of weapon moves is the infliction of harm. There’s
more about harm later on in this chapter on page XX, but for now, here’s what
you need to know:
• “Harm” is a generic term encompassing depletion (resource expenditure),
exhaustion (energy expenditure), injury (bodily harm), wear (damage to
equipment), and morale (NPC-only will to fight).
• Harm is determined based on the weapon or fictional cause of the harm—a
quarterstaff might inflict exhaustion, while a giant sword might inflict 2-injury.
• Characters in a fight can absorb injury on their armor or shield, marking wear
on the equipment to reduce the injury harm they suffer on a one-for-one basis.
By default, every weapon—bows, swords, and the like—inflicts 1 injury harm,

and fists inflict 1 exhaustion harm. Many pieces of equipment have ways to
inflict additional harm at some cost. Some non-edged, blunted weapons subdue
an enemy instead of injuring them, i exhaustion harm instead of injury. That is
all reliant upon the particular traits of the weapons in the fight.
Options for Engage in Melee

“Inflict serious (+1) harm” means that you inflict 1 additional harm of whatever
kind you already inflicted. You’re striking a particularly vicious, dramatic blow,
managing to find a weak point in armor or trip your opponent up so your blade
cuts them deeply. If you’re inflicting injury, then you inflict +1 injury harm, and
if you inflict exhaustion harm, you inflict +1 exhaustion harm.
“Suffer little (–1) harm” means that you suffer 1 fewer harm from your
opponent’s attack. Simply reduce the amount of harm they inflict by 1 before
marking any of your own harm boxes or wear boxes.
“Shift your range one step” means that after you exchange blows, you either
slip in closer or pull back farther, advancing or retreating as you choose. You
can go from intimate range to close range, from close range to far range, or
from close range to intimate range. It’s a great way to set yourself up to grapple
immediately after, or to retreat past the range of melee weapons.
“Impress, dismay, or frighten your foe” means that you managed to make an
impression on your opponent in your exchange of blows. The exact nature
of the outcome is left to the GM, whether it means that your opponent is
awed and pauses, giving you a chance to act in some other way, or that your
opponent is terrified of you and flees. Often, the GM will have the NPC mark
morale harm (see morale harm on page XX).

Example
Mint the Ranger, played by Mark, draws his sword and charges into battle against a
fox bandit with an axe. He rolls to engage in melee, getting a 10+. Mint has suffered
a fair amount of wear on his armor and has most of his exhaustion marked, so he’d
prefer not to get into a big fight up close. He thinks he can switch to his bow and
safely fire some arrows from a distance, or even just get the bandit to flee. He chooses
to shift his range to far and impress, dismay, or frighten his foe. Mark describes
Mint deftly weaving his blade through the air, turning back axe blows left and right
before jabbing quickly and leaping backward. Mint inflicts his weapon’s harm—1-
injury—on the fox bandit, and the fox bandit inflicts her weapon’s harm—1-injury—
on Mint. At the end of the exchange, Mint is back out of melee range, having shifted
to far instead of close, and the fox bandit is frightened by the vagabond’s skill—the
GM describes the fox bandit turning tail and fleeing.
Grapple an Enemy
When you grapple with an enemy at intimate range, roll with Might.
On a hit, you choose simultaneously. Continue making choices until
someone disengages, falls unconscious, or dies. On a 10+, you make one
choice first, before beginning to make simultaneous choices.
· you
· you wear
strike a fast blow; inflict injury
· you withdraw;weakness;
you them down; they mark exhaustion
·
exploit mark exhaustion to inflict 2-injury
disengage to close range
You’re face-to-face with your opponent, your paws and their wings entangled,
rolling around in the dust and punching each other. You’re grappling an enemy!
This is the move for up-close intimate wrestling, when you’re all tied up with
your foe. Grappling is inherently a “weaponless” move—you grapple with your
limbs, not your sword. However, some weapons might have tags or abilities
that make them useful in grapples (see more on tags on page XX). It’s also for
grappling with a single opponent—if you wind up grappling with multiple
opponents, you’re in trouble, and you’re likely trusting fate to get out.
Grapple an enemy works kind of like a minigame, a small and fast exchange
of blows until someone either loses or concedes. You’ll make choices from the
list, inflicting harm (injury or exhaustion) to each other or disengaging from
the grapple.
On a hit (7+) you both choose simultaneously, writing down your choices on scraps
of paper and revealing them at the same time, or just saying them aloud at the

same time, or something similar. Both of your choices take effect simultaneously.
For example, if your opponent inflicts injury on you as you are disengaging, then
you mark injury as you escape to close range and end the grapple.
On a 10+, you get to make the first choice, picking a single option that
immediately comes into effect, before then beginning to make simultaneous
choices, the same as if you had rolled a 7+.
Options for Grapple an Enemy

“You strike a fast blow” means that you jab your opponent, hard and fast,
inflicting 1-injury to them from the strike.
“You wear them down” means that you push against your opponent, your
muscles struggling against theirs, wearing them down and forcing them to
mark exhaustion.
“You exploit weakness” means that you see an opportunity in your struggle
against your opponent, and you take it. You mark exhaustion, and you inflict
2-injury harm on them.
“You withdraw” means that you break out of the fight and return to close range
with your opponent, ending the grapple and the exchange of choices. This is the
only way, besides going unconscious or dying, that a character can end the grapple.
Example
Keera the Arbiter, played by Kate, has closed to intimate range with an Eyrie hawk
guard, and now grabs him with both paws for a grapple. She rolls with Might and
gets a 10+. As she and the hawk guard begin wrestling, she makes one early choice and
decides to exploit a weakness, going for a low blow and marking exhaustion to inflict
2-injury on the hawk guard. The hawk takes the 2-injury on his armor, marking
boxes of wear—but that uses them all up, and because the hawk is an NPC, that’s all
he has. Then, both Kate and the GM write down their next choices on slips of paper,
revealing them simultaneously. Kate chooses for Keera to strike a fast blow and inflict
injury, while the GM chooses for the hawk guard to wear Keera down and make her
mark exhaustion. Keera is punching the hawk guard with fast, hard strikes while the
hawk tries to overpower her. Keera has 2-exhaustion marked, but the hawk guard has
1-injury marked now—and because the hawk guard only has 3-injury boxes in total, if
he marks 2 more, he will be unconscious or dying! Kate and the GM both write down
another choice on their slips of paper and reveal them simultaneously. Kate chooses
for Keera to strike another fast blow, while the GM chooses for the hawk guard to
disengage. Keera inflicts 1 more injury on the hawk guard, marking the second out of
his three boxes, but then the hawk disengages to close range—and likely to try to run
for help! The grapple ends; Keera has to catch the hawk to grapple him again if she
wants to continue to wrestle him into submission.

Target Someone
When you target a vulnerable foe at far range, roll with Finesse. On a
hit, you inflict injury. On a 10+, you can strike again before they get to
cover—inflict injury again—or keep your position hidden, your choice.
You draw back your arrow, sight down the shaft, and let loose at the Woodland
Alliance rebel charging at you. You’re targeting someone!
This move is the basic weapon move for ranged attacks, using bows and thrown
weapons. The base range of the move is far—using bows and crossbows at close
range is a bit trickier and often requires special skills or weapons. If you try to fire
a bow at close range without any special skills or weapon tags, you’re probably
just handing the GM a golden opportunity to make a hard move against you and
tell you how it all goes awry (see more on golden opportunities on page XX).
To use this move, you must target a vulnerable foe—that is to say, a foe who
might actually be injured or affected by your attack. If you’re aiming a simple
shortbow at an enemy clad from head to toe in plate armor, then your enemy
might not be vulnerable to you—their armor is just too thick. Similarly, you
might not be able to successfully target someone who is hiding amid the
battlements and crenellations of a castle wall—they’re not vulnerable to you
while they’re so well hidden behind cover.

Options for Target Someone
On a hit with target someone, you inflict 1-injury on them by default. That
might be modified by whatever specific weapon you’re using.
On a 10+, you can choose to fire another shot, inflicting injury a second time
or remaining hidden. Keeping your position hidden means that your opponent
isn’t sure from where they were shot. It may not be possible to keep your
position hidden if you’re standing upright in the middle of an empty field—but
if you’re in the middle of a melee, or if you’re firing from cover, you can ensure
your foe doesn’t know where you’re shooting from.
Example
Cloak the Thief, played by Brendan, lifts his bow and takes aim on the lead guard of
a caravan moving down a Woodland path. He’s hidden up in the branches of a tree,
at far range. He rolls to target someone, rolling with Finesse, and gets a 10+. His
arrow arcs down and strikes the guard, inflicting injury (which the guard marks as
wear). Then, Brendan chooses to have Cloak keep his position hidden so the guards
won’t know where the arrow came from. But the guards are alert now, and they start
to break out their own bows…
Weapon Skill Moves
Cleave special
When you cleave armored foes at close range, mark exhaustion and roll
with Might. On a hit, you smash through their defenses and equipment;
inflict 3-wear. On a 7–9, you overextend your weapon or yourself: mark
wear or end up in a bad spot, your choice.
You heft your warhammer and smash it into the armored guard in front of you,
right on the breastplate, with all your might. You’re cleaving!
The cleave weapon skill is all about breaking armor, tearing it to pieces, cleaving
it asunder. It’s a specialized move for dealing with foes who are dangerously
well protected.
Using cleave often looks a lot like engaging an enemy in melee—the difference
lies in the character’s intent, and in marking exhaustion. If you want to inflict
injury, then you are engaging in melee; if you want to break armor, then you
are cleaving. If you can’t mark exhaustion, you can’t cleave—hitting hard
enough to break armor is tiring!

Weapons specialized for cleaving are usually large and heavy, capable of
breaking or ripping even the strongest armor.
Options for Cleave

On any hit, you inflict 3-wear on your enemy, wholly on their armor. If you
inflict more wear than they have boxes to mark, you can rest assured that you
have utterly destroyed their armor.
“You overextend your weapon or yourself” means that you pushed yourself
too hard with your full-strength strikes. You choose either to mark wear on
your weapon or to be pushed into a bad spot—the GM will tell you exactly what
the bad spot looks like if you choose that option.
Confuse Senses special

When you throw something to confuse an opponent’s senses at close or
intimate range, roll with Finesse. On a hit, you’ve thrown them off bal-
ance, blinded them, deafened them, or confused them, and given your-
self an opportunity. On a 10+, they have to take some time to get their
bearings and restore their senses before they can act clearly again. On a
7–9, you have just a few moments.
You’re scrabbling back to your feet after a massive hammer strike knocked
you down, and you fill your paw with dirt as you do, throwing it into your
opponent’s face as you stand back up. You’re confusing their senses!
The confuse senses weapon skill is all about throwing your opponent off
balance using dirty tactics. You’re throwing dirt in their eyes, you’re throwing a
smoke bomb on the ground, you’re waving a torch in their face, etc. The move
is used to create opportunities for something else, whether it’s escaping or
getting in close for a strike while they’re off-balance.
Confuse senses can work on multiple opponents at once if you have the right
way to confuse their senses. Throwing dirt can probably only confuse one
enemy at a time, but using a flash bomb or a smoke bomb might do the trick
against a group.
Unlike most other weapon skills, confuse senses doesn’t require a tagged
weapon for you to use it—you just have to have something that might confuse
their senses, and you need to have the weapon skill marked on your playbook.

Options for Confuse Senses
“You’ve thrown them off-balance, blinded them, deafened them, or confused
them” just means you did whichever one is most appropriate to your particular
method of confusing their senses.
“[You’ve] given yourself an opportunity” means that you have a chance to take
some action without your opponent interfering or reacting. The player says what
they want to do next and the GM tells them if the opportunity allows for that—but
much of the time, the opportunity will eliminate uncertainty and allow the PC to
just act without needing to make another move. No need to roll dice to see if you
can escape when your opponent is busy trying to brush the sand out of their eyes!
“They have to take some time to get their bearings and restore their senses
before they can act clearly again” means your opponent is busy for a few
minutes while they clear their head, clean their eyes, or whatever else they
might have to do. The opportunity that their confused senses provides you is
more significant—you have more time before they can react. You might be able
to steal something from the room around them and escape, all before they get
back to themselves.
“You have just a few moments” means your opportunity is fleeting—only
enough for a single strike of your weapon or a dash out the window!
Disarm special
When you target an opponent’s weapon with your strikes at close
range, roll with Finesse. On a hit, they have to mark 2-exhaustion or
lose their weapon—it’s well out of reach. On a 10+, they have to mark
3-exhaustion instead of 2.
You and your opponent are circling each other before you suddenly lash out
with your sword, aiming for the hilt of their blade, trying to knock it from their
grasp! You’re disarming!
Disarm is a weapon skill for quickly leaving your enemy unarmed or forcing
them to pay a terrible cost to hold onto their weapon. Because the move always
leaves the option for your opponent to either drop their weapon or suffer
exhaustion, it won’t reliably inflict harm on your foe—but hopefully an enemy
who drops their weapon is a great deal easier to handle!
Weapons tagged with the disarm weapon skill are likely longer (like a rapier)
and may have some kind of notch or guard that allows the wielder to catch the
enemy weapon, twist, and rip it from their foe’s grasp.

Options for Disarm
When you get a hit with disarm, your opponent must choose to either mark some
exhaustion or drop their weapon. On a 10+, they must mark 3-exhaustion. On a
7–9, they must mark 2-exhaustion. If they don’t have enough boxes to mark, they
can still choose to mark exhaustion instead of dropping their weapon, but that
means they fall unconscious or are otherwise entirely removed from the fight—
they manage to keep their paws on their weapon, but you take advantage of the
moment to punch them and knock them out, for example.
If your opponent drops their weapon, that doesn’t mean they drop it at their
feet, where it is easily reacquired. It’s well out of reach. You disarm them, and
the weapon falls some distance away, likely within close or far range (except,
for example, if it falls off a bridge—mind your surroundings!). It may not be out
of the scene, but your opponent has to scramble to snap it back up, giving you
ample opportunity to respond to any attempt they make to rearm themselves.
Remember that once an enemy is disarmed, there’s a good chance they can’t
really engage in melee anymore, or at the very least, they might not be able to
inflict harm on you when you trade harm with them. It’s not exactly noble, but
there are a lot of advantages to fighting an unarmed foe while you have a sword!
Harry a Group special

When you harry a group of enemies at far range, mark wear and roll
with Cunning. On a 10+, both. On a 7–9, choose 1:
· inflict
· pinned or blocked
2-morale harm
they are
A group of bandits is coming your way; you lift your bow and fire arrow after
arrow, letting them rain down on the incoming foes. You’re harrying a group!
Harrying a group is essentially “suppressing fire.” You’re firing a hail of arrows
in the hopes of making your foes keep their heads down, not really worrying if
any given arrow hits any given target. That’s also why it’s always against a group
of foes—when you’re firing at a single enemy, you might as well just target
them. The skill represents your ability to fire arrows very rapidly, and to fire
them with just enough accuracy that your foe is forced to duck and seek cover.
Harrying a group uses up your arrows and puts fatigue on your bow, so you
have to mark wear to use it. It also only works at far range, when you can fire
from enough distance that you can put many arrows into the air safely before
anyone can react and reach you.

Weapons tagged with the harry a group weapon skill are likely to be strong,
sturdy, shorter bows, designed to be quickly drawn and fired.
Options for Harry a Group

“Inflict 2-morale harm” means that the GM marks 2-morale harm on a
targeted group of NPCs. They become frightened, confused, and thrown into
disarray—much more likely to break, flee, or even surrender.
“They are pinned or blocked” means that your targets are unable to safely act
or move from cover while you’re firing. You’ve given the rest of your vagabond
band a chance to move or act in some way while you pepper your foes with
fire. Of course, if you switch to some different act, then you’ve stopped firing
arrows, and your foes are no longer pinned or blocked from acting themselves.
Improvise a Weapon special

When you make a weapon out of improvised materials around you, roll
with Cunning. On a hit, you make a weapon; the GM will tell you its
range tag and at least one other beneficial tag based on the materials you
used. On a 7–9, the weapon also has a weakness tag.
The Marquisate has found you in the bar! You quickly knock over your barstool
and break off a leg, holding it up in front of you as a makeshift weapon. You’re
improvising a weapon!
Improvising a weapon is about arming yourself quickly and effectively using
makeshift tools or items. The weapons you make by improvising will never
really match up with those you get from a blacksmith, but they can get you
through trouble in a pinch. Broken bottles, table legs, rocks tied hurriedly to
branches—these are weapons of desperation, but they’re better than nothing!
The skill for improvising weapons represents your knowledge of and practice
at stringing together materials into a usable item. Anyone can try to smash
a bottle to create a jagged edge, but most denizens will just wind up with a
pawful of unusable broken glass.
Improvising a weapon never requires a specific weapon tagged with the skill,
but it does require some supplies. If you’re in a prison cell, you’re probably
going to have a hard time improvising a weapon…although, enterprising
vagabonds with the right skill set can do a lot a with a fork and a plate…

Options for Improvise a Weapon
When you make a weapon, you describe what you’re using and what you’re
hoping to make. On a hit, the GM will feed you the weapon’s details, including
its range and at least one other beneficial tag. See more on equipment tags on
page XX. A few good examples of beneficial tags for improvised weapons include:
· Blunted:
· Fast:
This weapon inflicts exhaustion harm, not injury harm.
· Flexible:
Mark wear when engaging in melee to suffer 1 fewer harm, even on a miss
When you grapple with someone, mark exhaustion to ignore the
· Quick:
first choice they make.
· additional harm.
Mark exhaustion to engage with Finesse instead of Might.
Sharp: Mark wear when dealing harm with this weapon to inflict 1
On a 7–9, the GM will also tell you a weakness tag the item might have, something
that makes it less effective. A few good examples of weakness tags include:
· Fragile: When you make a weapon move with this weapon, mark wear on it.
· Slow:
Mark exhaustion to ignore this effect.
When you engage in melee with this weapon, choose one fewer option.
· Unwieldy:
Mark wear to ignore this effect.
Take a –1 to all weapon moves, basic moves or skills, made with
this weapon. Mark exhaustion to ignore this effect.
An improvised weapon has the equivalent of zero boxes of wear. If you have to
mark wear on it, then the weapon is destroyed entirely.
Parry special
When you try to parry the attacks of an enemy at close range, mark
exhaustion and roll with Finesse. On a hit, you consume their attention.
On a 10+, all 3. On a 7–9, pick 1.
· you
· you disarm
inflict morale or exhaustion harm (GM’s choice)
· don’t suffer any harm

you your opponent; their weapon is out of hand, but in reach
Your enemy hefts their club and lashes out at your leg—but you bring your staff
into the way, and proceed to twist it around the club, throwing your enemy’s
strike off entirely. You’re parrying!
Parry, as a weapon skill, is all about keeping an enemy preoccupied and
off-balance, without being able to inflict harm on you. When you engage in

melee with an enemy, you’re assumed to be doing some degree of parrying and
dodging automatically. So having the skill represents that you are particularly
adept at deflecting incoming strikes, at keeping your enemy’s attention on you
while you manage to neutralize their offensive.
Triggering the parry weapon skill move comes down to intent—it might
look like you’re engaging in melee, but if your goal is to keep your enemy
preoccupied while deflecting their strikes, you’re parrying. You must mark
exhaustion to use the parry weapon skill, as well.
Crucially, parrying does not inflict any harm on your opponent by default,
but it does put you at risk of suffering harm—your opponent is still attacking
you, after all. If you don’t choose “you don’t suffer any harm,” then you are
guaranteed to suffer harm from your opponent.
Weapons tagged with the parry weapon skill are maneuverable and a bit lighter,
often with hand guards or other elements that let them catch blades, like a
longsword or a rapier.
Options for Parry

“On a hit, you consume their attention” means that your opponent is entirely
focused on you. They aren’t paying attention to your allies or to theirs. They
aren’t paying attention to anything else going on in the world around them. It’s
a great way to give your allies an opportunity to take other action, or to keep
a particularly dangerous opponent distracted in a single fight while the rest of
your band wins the larger battle.
“You inflict morale or exhaustion harm (GM’s choice)” means that you inflict
one morale or exhaustion harm on your opponent, but the GM chooses which
kind of harm it is. Your foe’s response dictates which kind of harm they suffer—
if they’re becoming infuriated at your parrying, then it’s likely morale harm,
while if they’re becoming exhausted by making countless ineffectual strikes,
then it’s exhaustion harm.
“You disarm your opponent; their weapon is out of hand, but in reach” means
that your opponent loses their weapon, but they can get it back. This is not
entirely dissimilar to disarming your opponent with the disarm skill, but with
parry, your opponent can definitely reclaim their weapon. That might give
you an opportunity to flee or strike back as they reach down to pick it up, but
disarming your opponent with parry does not put them entirely at your mercy
the way disarm does.
“You don’t suffer any harm” means that your opponent’s strikes do not land
on you. If you do not choose this option, you suffer harm from your opponent’s
attacks, whatever their normal inflicted harm might be.

Quick Shot special
When you fire a snap shot at an enemy at close range, roll with Luck.
On a hit, inflict injury. On a 7–9, choose 1. On a 10+, choose 2.
· you
· you don’t
don’t mark wear
· you keep your

you mark exhaustion
·
move quickly and change your position (and, if you choose, range)
target at bay—they don’t move
A ruffian with a hammer is closing in on you where you’re hiding behind a tree,
so you quickly step out of cover and loose an arrow at her, with barely any time
to aim. You’re making a quick shot!
At its core, the quick shot weapon skill is designed for using a bow or other
ranged weapon at close range. Most ranged weapons are tagged for far range,
but with quick shot, you can fire them right up close at an enemy when you
would otherwise be fighting sword to sword. The disadvantage of making a
quick shot, of course, is that you can’t really aim all that well when you have
only a second to pull and loose your arrow.
The quick shot weapon skill is also useful because it might surprise a foe—you
can make a quick shot without having your bow up and already aimed.
But the risks of quick shot are fairly high. It uses Luck, and it has a lot of
potential costs, so you likely won’t want to use it every time you’re shooting!
Weapons tagged with quick shot are generally smaller or more compact, more
easily readied and fired.
Options for Quick Shot

“On a hit, inflict injury” is the baseline effect of a quick shot—on any hit, you
will inflict 1-injury (and possible more, based on your weapon).
“You don’t mark wear” and “You don’t mark exhaustion” are choices to eliminate
the costs of the move. If you don’t choose “you don’t mark wear,” you must mark
wear on your weapon. If you don’t choose “you don’t mark exhaustion,” you must
mark exhaustion. On a 10+, you can choose both of these options to eliminate all
the costs, but then you get no other advantages or effects besides inflicting injury.
“You move quickly and change your position (and, if you choose, range)”
means that your quick shot gave you a chance to shift where you are. You can
take cover, dive out a window, even close in or move away (changing your range
from close to intimate, or from close to far).

“You keep your target at bay—they don’t move” means that your enemy can’t
change their position or take cover. If you do choose this, your opponent is
functionally pinned. If you don’t choose this, however, they won’t stay still
when you fire an arrow at them; regardless of whether you choose to move
quickly and change your position, they will move and change theirs, up to and
including changing ranges.
If you move quickly and change your position but you do not choose to keep
your target at bay, then you can both move—but you get to see first how they
move before you decide how you move and change your position.

Storm a Group special
When you storm a group of foes in melee, mark exhaustion and roll with
Might. On a hit, trade harm. On a 10+, choose 2.On a 7–9, choose 1.
· you
· you avoid
show them up; you inflict 2-morale harm
· you use them

you keep them off-balance and confused; you inflict 2-exhaustion
· inflict their harm

their blows to the best of your ability; you suffer little (–1) harm
against each other; you mark exhaustion again and they
against themselves
You heft your twin swords and leap off the wall, directly into the midst of the
soldiers. Before they know what’s happening, you’re whirling and slashing like a
devil. You’re storming a group!
Storming a group is the best method available to most vagabonds for actually
fighting a whole group of enemies. Most of the time, a group of enemies—even
mob of villagers!—is pretty dangerous for an individual vagabond to engage
with directly. But if a vagabond can storm a group, then they have the skill set
to keep multiple combatants preoccupied and off-balance, enough to survive
and maybe even come out on top!
Storming a group is only for melee—if you want to deal with a group from afar,
you’re looking for harry a group. Just like engaging in melee, storming a group
works only at close or intimate range.
You have to mark exhaustion to storm a group. It costs you a lot of energy to
successfully balance a fight against many foes at once.
Weapons tagged with the storm a group weapon skill are likely to be some
combination of very fast, long, and wide-sweeping. A massive two-handed
hammer might do it, as might a pair of fast scimitars.
Options for Storm a Group

Trading harm for storming a group works just like trading harm for engaging in
melee. Just remember that a group’s inflicted harm is likely far greater than any
individual combatant. See more on group harm on page XX.
“You show them up; you inflict 2-morale harm on them” means that you’ve
rattled the group you’re fighting. They weren’t expecting any single denizen to
be able to put up such a good fight! The GM marks 2-morale harm on them.
“You keep them off-balance and confused; you inflict 2-exhaustion on them”
means that you’re whirling around, doing your best to ensure that the whole
group can’t find its feet. The GM marks 2-exhaustion harm on the group.

“You avoid their blows to the best of your ability; you suffer little (–1) harm”
means that you’re ducking, weaving, and bobbing, trying to stay just out of
reach of the deadliest strikes against you. You suffer 1 fewer harm when you
trade harm with them during this move.
“You use them against each other; you mark exhaustion again and they inflict
their harm against themselves” means that you’re not only ducking and diving,
but you’re trying to get members of the group to hit each other. It costs you in
energy—you must mark exhaustion—but you can make the group inflict its own
harm on itself, wielding its power against it in addition to the harm you inflicted.
Trick Shot special

When you fire a clever shot designed to take advantage of the environ-
ment at any range, mark wear and roll with Finesse. On a 7–9, choose 2.
On a 10+, choose 3.
· your shot lands in any target of your choice within range, even if it’s
· your
behind cover or hidden (inflicting injury or wear if appropriate)
· your
shot strikes a second available target of your choice
shot cuts something, breaks something, or knocks something
· your shot distracts an opponent and provides an opportunity

over, your choice
The sheriff is hiding behind the bar, and you’re on the other side of the tavern,
hiding behind a table. You take a quick look at the environment and plan your
shot—you’ll fire an arrow at the lantern over there, where it will ricochet into
the shelves of bottles above the bar, knocking them down on top of the sheriff.
You’re firing a trick shot!
The trick shot weapon skill represents your ability to land ridiculous,
complicated, and impressive shots with a bow, a sling, or other ranged weapons.
This is for ricocheting an arrow around corners, or putting a slung rock exactly
where it will hit the crank and drop the drawbridge. If you don’t have the skill,
trying one of these incredible shots is trusting fate at best, and much more
likely just outside of your abilities.
You can make a trick shot at any range as long as you have a ranged weapon.
You can make trick shots only at ranges the weapon is tagged with—usually far
range, but sometimes close as well (and very rarely intimate).
You must always mark wear on your weapon to make a trick shot. Making the
kind of weapon distortions you need to make to land a trick shot puts undue
stress on the weapon!

Weapons tagged with the trick shot weapon skill are always ranged and are
usually of particularly high quality, designed to be contorted and twisted to
make incredible shots without breaking.
Options for Trick Shot

“Your shot lands in any target of your choice within range, even if it’s behind
cover or hidden (inflicting injury or wear if appropriate)” means that you
control exactly where your shot ends up. If you want your arrow to hit a specific
foe or land in a specific place, you should choose this option. The advantage
here is that a trick shot can easily hit a foe who might otherwise be out of reach,
hidden behind cover. If you don’t choose this option, the GM can decide where
your shot ultimately lands (after all of the other options take effect).
“Your shot strikes a second available target of your choice” means that you
ricocheted your shot, successfully hitting two individual targets (and inflicting
injury or wear if appropriate on both). If you want to make sure your shot hits a
single target, choose the first option and say where your shot lands; this option is
only for when you chose the first option, and you would like to hit a second target.
If you don’t choose this option, all it means is that you don’t strike two targets.
“Your shot cuts something, breaks something, or knocks something over,
your choice” means that your shot changes your environment in some way.
Choose this when you want to make sure you cut a rope, knock over shelves,
or hit a button, etc. If you don’t choose this, then the GM says how, if at all, the
environment around you is affected by your trick shot.
“Your shot distracts an opponent and provides an opportunity” means that
your shot successfully diverts attention as you choose. For example, when you
fire an arrow and ricochet it, so that a guard is distracted by an arrow coming
from an unexpected direction, you’ve diverted the guard’s attention and created
a chance for you (or an ally) to act. This option is about using your shot as
a deception. If you don’t choose this option, then your opponent might be
impressed by your shot, but they won’t be confused.

Vicious Strike special
When you viciously strike an opponent where they are weak at intimate
or close range, mark exhaustion and roll with Might. On a hit, they
suffer serious (+1) harm and cannot mark wear on their armor to block
it. On a 10+, you get away with the strike. On a 7–9, they score a blow
against you as well.
After another vagabond fires an arrow into the soldier’s knee, you decide to take
advantage of the wound—when you close in on the soldier, you thrust your
dagger right at their knee! You’re making a vicious strike!
Vicious strike as a weapon skill is all about knowing exactly where and how to
strike an opponent to inflict the most damage. It’s not particularly nice—more
like a “sucker punch” or a “cheap shot”—but it’s effective.
A vicious strike is not an exchange of blows, by default. You’re making a
significant enough attack that this move resolves the single strike and its
immediate aftermath.
To use vicious strike, you have to know where your opponent is weak.
Sometimes it’s obvious, but sometimes you’ll have to use another move to get a
read on the situation first—or even create a weakness, like an unarmored area.
You must also mark exhaustion when you trigger the move.
Weapons tagged with vicious strike are usually dangerous and fast, often small,
and effective at targeting specific areas on your opponent—something like a
dagger, for example.
Options for Vicious Strike

“They suffer serious (+1) harm and cannot mark wear on their armor to block
it” means exactly what it says—the harm you inflict with vicious strike is always
one more than your usual, and your foe cannot use armor (or shields) to absorb
the harm as wear.
“You get away with the strike” means that you hit your opponent where they are
weak and dance backward without consequence—they don’t get to return a blow.
“They score a blow against you as well” means your opponent also makes
an attack on you before you can get away, most likely inflicting harm on
you (although, at the GM’s discretion, their “shot” might be something like
grabbing you).

Reputation
As your vagabonds take action across the Woodland, the powerful factions
waging war for control will come to know your vagabonds’ names, whether for
good or for ill. Your Reputation with each faction represents how that faction
thinks of you, be it as a hero, as a villain, or not at all. You have a different
Reputation value with faction, meaning that it’s possible (albeit very difficult) to
have a positive (or negative) Reputation with every faction!
Your Reputation always serves as a baseline of how a member of that faction
will react to you, and how well known you are. If your Reputation with a given
faction is a 0, that indicates the faction as a whole largely doesn’t know much
about you or have an opinion on you—it’s just as likely members of that faction
haven’t heard of you as it is that they are ambivalent. If your Reputation is a
+3 or –3, members of that faction have certainly all heard of you and can likely
recognize you on sight (as long as you aren’t hiding your distinctive features).
Check out the Reputation table for more on how creatures of the Woodland
generally react to your character's reputation.
Beyond establishing initial reactions towards your character, Reputation allows
you to use additional moves to wield your Reputation in your own favor. You
might be able to ask for boons from a friendly faction or make threats against
an enemy faction!
The first moves in this section are about marking prestige and marking
notoriety, the two resources that change your Reputation with a faction.
You can see more about how marking prestige and notoriety works on your
Reputation track—with visual examples—on page XX.
Mark Prestige
When you mark prestige, mark the next box on the positive (right) side of 0
on the appropriate faction’s track. When you mark enough boxes to reach (not
pass, reach) the next highest positive number on the track, your Reputation
with that faction increases! Clear all prestige boxes on the track, and circle
the next highest number up from your current Reputation. If you had –2
Reputation and marked enough prestige to increase your Reputation, you
would circle –1; if you had +0 Reputation, you would circle +1. Note that this
means you need to mark five boxes to advance from –2 to –1, or from –1 to +0,
or from +0 to +1 Reputation, but you need to mark ten boxes to advance from
+1 to +2, and 15 boxes to advance from +2 to +3.

Reputation
Value Description
+3 Legendary - You are a hero of the faction, about whom positive stories (some true,
some false) are regularly told.
+2 Esteemed - You are an honored figure of the faction, whose deeds are recognized.
+1 Respected - You are treated with politeness and valued by members of the faction.
+0 Unknown or Ambivalent - You are either unknown to the faction, or the faction
lacks a clear and consistent view of your actions and character.
–1 Disdained - You are disliked by the faction, treated with mild contempt and derision.
–2 Reviled - You are deeply scorned figure by the faction, viewed as a real problem two
steps away from being a real enemy.
–3 Feared or Hated - You are a foe to the faction, seen with a combination of deep fear
and deep hatred.
Mark Notoriety
When you mark notoriety, mark the next box on the negative (left) side of 0
on the appropriate faction’s track. When you mark enough boxes to reach (not
pass, reach) the next lowest negative number on the track, clear all notoriety
boxes on the track and circle the next lowest number down from your current
Reputation. If you had +2 Reputation and marked enough notoriety to damage
your Reputation, you would circle +1; if you had +0 Reputation, you would
circle –1. Note that this means you need to mark three boxes to drop from +3
to +2, from +2 to +1, from +1 to +0, or from +0 to –1, but you need to mark six
boxes to drop from –1 to –2, and nine boxes to drop from –2 to –3.
Reputation Moves
The rest of the moves in this section are the special moves you can use your
Reputation for in a more active fashion. Some of them require you to have a
certain Reputation level with a given faction to use, but otherwise all of these
moves can be used by any vagabond towards any members of any faction. (More
specific faction moves can be found in the chapter on factions, page XX).
Each PC tracks Reputation independently, and each PC tracks Reputation for
each faction independently of the others. It’s possible for one vagabond to have
a great Reputation with a faction while their friends are all perceived as foes.
Each of these moves requires the vagabond to roll with their Reputation with
an appropriate faction. If multiple vagabonds are meaningfully involved in the
situation, so that all their Reputations might affect the outcome, just sum up
their Reputations and roll with the total (minimum –3, maximum +4).

Ask for a Favor
When you ask for a reasonable favor based on your reputation, roll
with Reputation with the appropriate faction. On a hit, they’ll grant you
what you want. On a 7–9, it costs your rep a bit; clear prestige or mark
notoriety, your choice. On a miss, they refuse and view you with suspi-
cion; mark notoriety.
You arrive at the Marquisate-controlled clearing tired, without food or supplies,

your armor tattered, and your weapon broken. You beg the Marquisate viceroy
to resupply you, referring to the time you supplied the Marquisate with those
Eyrie secrets. You’re asking for a favor!
Asking for a favor is the move to use when you are hoping to cash in on your
good Reputation with a faction. If you need equipment, a place to stay for the
night, even backup in one of your endeavors, there’s a good chance that asking
for a favor is what you want to do.
“A reasonable favor based on your reputation” is always based on the fiction—
even if you have an excellent Reputation with a faction, asking the leader of a
famine-starved clearing to provide food may be unreasonable. But in general,
here is some inspiration for reasonable favors at different levels of Reputation:
Reputation Favor
+2, +3 Minor military backup, 5- or 6-Value in monetary or physical resources
+1 Free equipment repair, full depletion resupply, a comfortable place to stay
+0 Information, one or two boxes of depletion resupply, a barebones place to stay
–1 A few moments to hear you out
–2, –3 A head start
Example
Tali the Adventurer, played by Marissa, needs a place to stay for the night. She’s
exhausted (all of her exhaustion boxes are filled!) and she really needs to get some rest.
She approaches the local innkeeper, a squirrel named Haisy, and pleads for a place to
stay for the night. “I’ve been working so hard to get the Eyrie’s Baron to stop overtaxing
the denizens, I haven’t had time or money to get a place to stay. Please, can you help
me?” Marissa says as Tali. She to ask for a favor, using Tali’s Reputation with Haisy’s
faction, the denizens. Tali has a +1 Reputation with the denizens, so she rolls and gets
a 7–9. Haisy will give Tali a place to sleep for the night, but Tali uses up some goodwill
and has to clear one of the prestige she’s marked for the denizens.

Secret Faction Loyalties
A vagabond goes to ask a favor of a denizen…and that denizen is secretly a member
of the Woodland Alliance! The vagabond doesn’t know that yet, though. So do they
roll with their Reputation with the denizens, or with the Woodland Alliance?
The answer: the Woodland Alliance.
Vagabonds are sharp enough to pick up on small cues and signs of an NPC’s
loyalties, especially when those NPCs aren’t really trying to hide it, or aren’t that
deft at hiding their loyalties. The GM always tells PCs to roll with the correct
Reputation, even if it “gives away” the true loyalty of an NPC.
In the rarest of cases, an NPC might be deep undercover, hiding who they are
with great skill and verve—and in those cases, a GM might tell the PCs to roll only
with the faction of that NPC’s cover identity. But those situations are fringe cases,
exceptions and not the rule.
Meet Someone Important

When you meet with someone important for the first time, roll with
Reputation for their faction. On a hit, you’re aware of their wider repu-
tation (if any), and they’re aware of yours (if any). On a 7-9, pick one. On
a 10+, both.
· You’ve heard stories; ask a question about them, and the GM will tell
· They’ve
you one story you’ve heard about them or their interests as an answer.
heard something in your favor; take +1 forward when you first
try to play up your connection with them and their faction.
On a miss, you only know the basics about them, and they’ve heard
stories about you and the things you’ve done, true or false—prepare for
major complications.
You arrive at Opensky Haven, and you’re met at the gate by an eagle wearing
a laurel, a massive bronze scepter in one wing, flanked by elite Eyrie guards on
all sides. You look at the eagle as their piercing eyes take you in. You’re meeting
someone important!
Meeting someone important is the move for encountering significant NPCs—
the kind who are likely returning members of your game’s cast, movers and
shakers of either the setting or the drama. “Someone important” is pretty
versatile in usage. It can refer to characters who are leaders of factions, generals

and mayors and guard captains, but it can also refer to the friendly local veteran
blacksmith, or an entrepreneurial young raccoon, or a rebel fox who hasn’t
quite been accepted by the Woodland Alliance yet. “Important” is more of a
fictional designation agreed upon by the players (including the GM) at the
table than it is some kind of objective quality. Use the “important” designation
to avoid needing to use this move for every individual guard, every individual
shopkeep, every individual assorted denizen; any time you use this move,
everyone at the table is agreeing that this character matters to your story.
This move covers more nuanced aspects of what you’ve heard about the
important character, and what they’ve heard about you. Non-important
NPCs—the kind you wouldn’t use this move for—have likely heard information
about the PCs based upon their reputations, and the PCs likely haven’t heard
anything about those non-important NPCs. For more on the basic ways in
which NPCs will react to a PC’s Reputation, see page XX.
“You’re aware of their wider reputation (if any) and they’re aware of yours (if
any)” means that you’ve heard whatever information is shared and spread about
each other. If there are widespread stories about the important NPC’s cruelty
or magnanimity, for example, you would have heard those. You might not have
heard anything if the other character is a local figure who has kept themself
below the radar of the Woodland. They might not have heard anything about
you if you have a Reputation close to 0.
“You’ve heard stories” means that you’ve heard more than what you would’ve
learned from general gossip and news. You can ask the GM a question to clarify
what you’ve heard, but the GM only answers with another story—it might be
true, it might be exaggerated, and the only way to find out is to look into it.
“They’ve heard something in your favor” means one of the stories that did
catch their ear about you managed to make them a bit more favorable towards
you. When you play up your own relationship to them and their faction,
you can take +1 forward on an appropriate move. This is all about a positive
relationship—you play up how you helped other denizens in another clearing,
getting this denizen to trust you more, for example.
On a miss for this move, you don’t know nearly as much about them as you
would like, and they’ve heard plenty about you. They might not have a purely
negative attitude towards you—but whatever attitude they have, whatever they
think about you, it’s going to cause you trouble.

Example
Hester the Tinker, played by Sam, is walking around the clearing. “Is there a
blacksmith in town?” Sam asks. “I’d love to meet someone who can make stuff
like I can.” The GM nods and describes Hester approaching the smithy, where a
burly rabbit pounds a metal tool into shape on an anvil. “Oh great! Am I meeting
someone important?” Sam asks. “Do you think the blacksmith is important?” the
GM replies. “I definitely think so! They’re a blacksmith, so that’s all Hester needs to
be interested, and they’d probably have a pretty important role in town, right?” The
GM nods and agrees—the blacksmith might not have been “important” before now,
but Hester’s interest is enough to make them important! The GM introduces the
blacksmith as Lenda, and tells Sam to roll to meet someone important. Sam goes
to roll Hester’s Reputation with what she assumes is the blacksmith’s faction—the
denizens—when the GM tells her to roll with her Woodland Alliance Reputation
instead, describing how Hester notices the item the blacksmith is working on might
be more makeshift weapon than tool. Hester rolls and gets 10+! The GM tells Sam
that Hester hasn’t really heard much about Lenda before—she’s a pretty local figure,
and what little Hester has heard seems to imply she’s industrious, capable, gets the
job done, and keeps her head down—but Lenda has definitely heard stories about the
wandering tinker and her wondrous creations, giving Hester a possible +1 when she
plays up her connection to the Woodland Alliance. Sam then gets to ask a question
about Lenda—so she asks, “Why are you a member of the Woodland Alliance?” The
GM tells Sam that Hester has heard stories about how the Marquisate took control
of the clearing: by deploying big fire-hurling machines that threw flaming projectiles
over the walls. Plenty of denizens perished in the fire, and when Hester surveys
Lenda’s home attached to the smithy, it does look a bit burnt and damaged.

Draw Attention
REQUIRES –2 OR LOWER REPUTATION
When you try to publicly draw attention to yourself as an enemy of a
faction, roll with Reputation for that faction, treating it as positive (+2 or
+3) for this roll. On a hit, you draw out the faction’s resources to oppose
you; brace yourself. On a 7-9, choose 1; on a 10+, choose 2.
· the
· chasefaction
faction employs significant military strength to chase you down
the deploys an available, capable NPC agent (of your choice) to
· the faction is rattled by your threat; mark 2-notoriety with them

you down
On a miss, your enemies are already moving against you quietly; the GM
tells you how they catch you unprepared.
You know the Marquisate is about to launch an attack on the local Woodland
Alliance cell, so you step out in front of the local Marquisate general’s quarters.
You call out a challenge, loud enough the general should be able to hear
you from inside, calling him a coward and asking for a duel. You’re drawing
attention to yourself!
Draw attention is the move for large-scale misdirection. It might look like
you’re tricking an NPC, but the chief difference is that you’re relying on your
negative Reputation instead of cleverness—you’re not so much deceiving as
you are making yourself a big, obvious target and threat. With a low enough
Reputation (–2 or lower), you might present such a good target that your foes
can’t help but come after you.
When you roll this move, treat your negative Reputation as positive for
purposes of adding it to the dice result. You must have a –2 Reputation or a –3
Reputation with the appropriate faction to make the move, so you will either be
rolling with a +2 or a +3 on the actual roll.
“You draw out the faction’s resources to oppose you; brace yourself,” means
that you got what you wanted—the faction is coming after you, but they aren’t
going to take it easy on you.
“The faction employs significant military strength to chase you down” means
that they have deployed actual real military resources against you—squads of
soldiers, couriers to spread news of your whereabouts, even large siege-level
weapons to try to destroy the entire area you’re in. The good news? If those
resources are coming after you, they aren’t somewhere else! This is a great way
for you to draw military forces away from another target.

“The faction deploys an available, capable NPC agent (of your choice) to chase
you down” means that the faction is using somebody you should be afraid of
to come after you. A capable assassin, a well-trained knight, a dangerous and
powerful political figure—whoever they are, they are a real threat entirely on
their own. “Of your choice” here means that you can direct which agent is
coming for you if you have an idea in mind—for example, if you want your old
nemesis Sergeant Whitefur to come after you, you can name her! If you don’t
have someone in mind, though, you can leave it up to the GM to decide, or you
can suggest a brand-new character from your vagabond’s backstory.
“The faction is rattled by your threat; mark 2-notoriety with them” means that
you’ve only made yourself more of a threat to your enemies. You can’t choose this
option if you don’t have two boxes to mark, although that should only happen if
you’re at –3 Reputation and have all nine notoriety boxes marked.
Remember that on a 10+ here, you must choose two options!
“On a miss, your enemies are moving against you quietly; the GM tells
you how they catch you unprepared” means that your whole ploy to draw
attention to yourself inadvertently played right into your enemies’ hands. They
were already making moves against you behind the scenes, and now they’ve got
you in their sight. You’re in deep trouble! Note here that “enemies” can be left
up to the GM’s interpretation—it doesn’t always have to be the faction you’ve
called out if there’s another enemy that might fictionally make sense. But even
if it is the faction you wanted to call out, the difference here is that on a hit, you
have a chance to control the situation, but on a miss, you are entirely at their
mercy as they spring some trap on you.
Example
Cloak the Thief, played by Brendan, has a –2 Reputation with the Eyrie Dynasties.
That’s fortunate because, at the moment, Duke Whitetalon is marching a large force of
Eyrie soldiers down the path towards Badgerhill. While the other members of the band
are trying to shore up Badgerhill’s defenses and evacuate its denizens, Cloak decides to
try to buy them time by drawing attention to himself. He stands in the middle of the
path, waiting for the force to come into view, and proceeds to draw the ancient Eyrie
scepter of regency he stole a while back, using it as a taunt against Duke Whitetalon.
He rolls with a +2—from his –2 Reputation—and scores a total of a 10+! He chooses
that the faction employs significant military strength to chase him down—he needs
this force to follow him into the forest rather than move on Badgerhill—and he decides
that they send an agent against him. He doesn’t have someone immediately in mind,
exactly, so he suggests an old Eyrie Skyhunter, an elite trained soldier who’s been
hunting Cloak for years now. The GM loves the idea, names the Skyhunter Wembry,
and describes how Whitetalon points at Cloak and screams “After him!” causing the
mass of troops to charge after Cloak, and how Wembry’s form leaps into the air over
the mass, bow in her talons, ready to fire. Cloak needs to run now…

Sway an NPC
REQUIRES +2 OR HIGHER REPUTATION
When you try to sway an open or vulnerable NPC by appealing to their
belief in your reputation, roll with Reputation for their faction. On
a hit, you can change their mind about the world; say what you want
them to believe, and the GM will rewrite their drive accordingly. On
a 7–9, you use up some goodwill; clear 3-prestige. If you don’t have
enough prestige to clear, mark the remainder in notoriety. On a miss,
the NPC takes the wrong message away from what you say; the GM
will rewrite their drive accordingly.
You’re talking to the Mayor of Limmery Post, and you plead with her to
change her mind. Her crackdown on any dissent in the clearing, her focus on
militarizing the clearing’s guard—it’s not helping anyone. You’ve only ever
worked for the denizens’ favor, you say to her, and you know that her mindset
won’t help anyone. You’re swaying an NPC!
Sway an NPC is the move for truly changing someone’s mind. This isn’t about
persuading them to take some specific action. After you sway them, they
absolutely might take the specific action you want them to take…but far more
importantly, swaying them actually changes their mind moving forward. They
will continue to take different actions past any one incident, based on how
you’ve changed their mind.
Think of the difference as offering someone a good reason to do something
specific (persuasion) and getting someone to see the world in a whole new way
(swaying). The latter can lead to real, significant, ongoing change in how they act!
In order for you to sway an NPC, they have to be open and vulnerable to you,
and you have to appeal to their belief in your reputation. “Open and vulnerable
to you” means that they have to actually be willing to listen to you. If you’ve
betrayed this specific NPC before, for example, it might not matter what your
Reputation is—they probably aren’t open to what you’re saying. “Open and
vulnerable” also means you probably can’t sway the NPC again and again and
again. Any given denizen will only be willing to change fundamental beliefs
at your behest so often; trying to sway them too much certainly means they
become “closed.”
“Appeal to their belief in your reputation” means you’re playing off all the
things you’ve done for them and the denizens they care about. This isn’t about
a rational plea to their own self-interest—this is about keying off your own
Reputation, and how they should listen to what you’re suggesting.

“On a hit, you can change their mind about the world; say what you want
them to believe, and the GM will rewrite their drive accordingly” means
exactly what it says. You and the GM have a conversation about how you’re
trying to change their mind, what new belief you hope they hold, and then
the GM will rewrite the NPC’s drive based on what you say. You might take an
NPC whose drive is “To utterly destroy the Marquisate and its supporters” and
change their drive to “To defend the denizens of the Woodland,” for example.
“On a 7–9, you use up some goodwill; clear 3-prestige” means that changing
someone’s mind like this comes at a bit of a cost. You’re using up your clout, but
you still get the job done.
“On a miss, the NPC takes the wrong message away from what you say;
the GM will rewrite their drive accordingly” means that you’ve successfully
changed the NPC’s mind, but not the way you wanted. The GM gets to decide
how exactly they misunderstand you, but expect it to be an exaggerated,
warped, or twisted version of what you had hoped for.
Example
Copper the Ronin, played by Grace, wants to convince the Marquisate General
Emmott to stop fighting the war. She wants to save the clearing he’s about to attack,
so she thinks about persuading an NPC, but she knows that it might not really
change Emmott’s mind—it’d only be a matter of time before he attacked somewhere
else. Copper has a +2 Reputation with the Marquisate, so she can sway Emmott.
He’s open and vulnerable to her, seeing as she saved his life from renegade Woodland
Alliance captors. She explains that she’s seen the best of the Marquisate, and she’s
fought for that potential and possibility—but she’s also seen its worst, when it
pursues pointless war, and she wants him to help her mold the Marquisate into its
best possible form. She rolls with her Reputation of +2 and gets a 7–9—enough to
change his mind, but she loses some prestige. She clears her two marked boxes of
prestige and marks notoriety for the third. Then, she tells the GM that she wants
Emmott to believe that war is not the right path for the Marquisate—that pursuing
peaceful change and betterment of the Woodland is the right way to go. The GM
rewrites Emmott’s drive from “To save the Woodland by conquering it” to “To win
the hearts and minds of the Woodland’s denizens.”

Make a Pointed Threat
REQUIRES -3 REPUTATION
When you make a pointed threat to an NPC by wielding your reputation,
roll with Reputation for their faction, treating it as positive (+3) for this
roll. On a 10+, they are rattled; they must surrender, retreat, or charge,
GM’s choice. On a 7–9, you must make a demonstration of your danger-
ous intent first, before they are rattled. On a miss, your reputation pre-
cedes you; they reveal how they prepared for someone like you.
The local Woodland Alliance cell has attacked their clearing, starting fires, taking
many denizens hostage…and you’re trying to stop them. You face off against the
leader of the cell, and even as they’re searching you and take your weapons from
you, you glare at them and tell them that if they hurt anyone, you’re never ever
going to stop hunting them, because you’re the famous Fang of the Marquisate,
and they’ll never escape from you. You’re making a pointed threat!
Making a pointed threat is a way to use your extremely negative Reputation to
get your enemy to back down or make a mistake. It’s most useful in situations
where you couldn’t normally persuade—enemies with whom you have a –3
Reputation are unlikely to listen your attempts at persuasion! But you can still
threaten them or goad them and, in doing so, give yourself an advantage.
Like with drawing attention, treat your –3 Reputation as +3 for purposes of the
roll—add +3 to whatever you roll on 2d6.
On a 10+, the NPC is rattled—the GM chooses whether they surrender, retreat,
or charge. “Surrender” here means give in to you and your demands; “retreat”
means that they withdraw, perhaps trying to defer to a higher authority
(without themselves standing in your way) or perhaps straight up running
away; and “charge” means they attack you, hard, fast, and poorly. If an NPC
“charges” at you, they are still giving you the upper hand—they’re not thinking
straight at all, and you can take advantage of their carelessness. Envision it
more as “blindly attacking” than anything else.
“On a 7–9, you must make a demonstration of your dangerous intent first,
before they are rattled” means that they will be rattled—you did get a hit, after
all—but you have to prove your dangerous Reputation and your threat here
and now. This demonstration has to be something significant, something the
target would feel as real, upsetting, and serious. Drawing your sword can be
intimidating, but likely isn’t enough. Drawing the sword you took from the
enemy faction’s greatest hero and showing it off might do the trick. Drawing the
sword and putting its edge against a hostage’s throat definitely sends a message.

Nested Moves and Uncertainty
When you make a pointed threat, on a 7–9 you have to make a demonstration of
your dangerous intent. That means you have to act in some further, additional way
for the move to fully resolve.
Sometimes that further action won’t have any uncertainty—you can demonstrate
your dangerous intent by drawing your blade along the cheek of your hostage
without needing to trigger any move.
Other times, though, the action you take to resolve a move will lead to
uncertainty—and the triggering of another move. You make your demonstration
of dangerous intent by smashing apart one of the support struts of the building
you’re in, triggering the wreck move. That’s okay! But everyone should keep
in mind that the stakes of the first move are being resolved by the second. The
consequences of the second move cannot derail the results of the first—if you pull
off the necessary condition from the first move (like making your demonstration),
then you still get the results of the first move. That said, these moments are rare—
for the most part, moves resolve entirely independently.
“On a miss, your reputation precedes you; they reveal how they prepared
for someone like you” means that when you try to make your pointed threat,
you find out that you’ve stumbled right into a terrible trap. Your Reputation
is fearsome and dangerous, after all—your foes probably heard about your
approach and cooked something up just for this situation. It might be guards
hidden somewhere nearby; it might be poison slipped into the food you just
left; but whatever it is, it’ll be bad.
Example
Keera the Arbiter, played by Kate, has managed to earn a –3 Reputation with the
denizens (it’s a long story, don’t ask, she’s not proud). She decides to use that to her
advantage when she wants the local guard captain to let her friend out of prison.
Kate describes Keera advancing on the prison, her giant two-handed sword out.
The GM says the captain and other guards move in front of the prison to meet her,
blocking her path. “I lift up my blade and point it at the captain, holding it with one
hand, and say, ‘Let my friend Cloak go, or face my wrath…just like Dimvault did,’”
Kate says. The GM says that’s a pointed threat playing off Keera’s Reputation, so she
rolls with her Reputation, treating it as a +3 for purposes of the roll. Keera gets a 7–9!
She has to make a demonstration before the guards are rattled. “Am I close enough
to something I can just destroy with my sword, to cow them?” Kate asks. The GM
tells her there’s a cart nearby, and Kate rolls to wreck something by swinging her
sword at it. She gets a 10+ to wreck something, and utterly destroys the cart. The GM
decides that the guards will respond by charging and says, “Yep, they’re rattled now.

The guard captain takes one look at you, one look at your sword, one look at the
destroyed cart, gulps, and then shouts ‘ATTACK!’ The other guards are surprised and
don’t join the captain in the charge at first, and the captain is clearly shaken, coming
at you haphazardly and thoughtlessly. What do you do?”
Command Resources
REQUIRES +3 REPUTATION
When you command an NPC to give you significant, valuable resources,
roll with Reputation for their faction. On a 10+, you get what you need
as soon as they can get it to you. On a 7–9, they impose a condition on
how you can use the resources, or what you must return to the faction
in recompense. On a miss, they don’t have what you need, but they tell
you a way you can get it at a steep cost or some serious difficulty.
You storm into the local Marquisate legate’s office, smash your dagger down
into their map of the Woodland, and demand they assign troops to follow you
to a local clearing help free it from the Eyrie Dynasties. You’re commanding
resources!
Command resources is the move for wielding your positive Reputation like
a hammer to get what you want from allies. You’ve achieved such a high
Reputation—you’re basically a legend among that faction—that you can
straight up give them commands, and they can’t possibly just brush you off.
“…Give you significant, valuable resources” means that you aren’t just giving
any command—you’re commanding them to give you resources you otherwise
couldn’t get under your control. Commanding them to give you a bed for the
night isn’t really a “significant, valuable resource” so this move wouldn’t be
triggered; but commanding them to assign a whole siege weapon to you would
definitely trigger this move.
There is no restriction on whom this move can be used—if you’ve managed to
earn and maintain a +3 Reputation with the Marquisate, you’ve earned the right
to make these demands even on the Marquise de Cat herself.
“You get what you need as soon as they can get it to you” means exactly what
it sounds like—they might not be able to get you those resources immediately,
but as soon as they possibly can, they do.
“They impose a condition on how you can use the resources, or what you
must return to the faction in recompense” means that you don’t get what you
wanted without strings. Exactly what they ask for is up to the GM, but it will

either be a restriction on the resources’ use or a favor you have to give them in
return. A restriction just complicates your relationship with the faction—break
the restriction and you’ll likely earn notoriety—by complicating what you’re
allowed to do. “You can’t use the siege weapon to destroy the clearing’s main
wall” is a good example of a restriction. A favor in return doesn’t need to involve
the resource but often will, and failing to return the favor will also earn you
notoriety. “You have to hand over the eagle governor of the clearing after you
win” is a good example of a favor.
“On a miss, they don’t have what you need, but they tell you a way you
can get it at a steep cost or some serious difficulty” means that they aren’t
refusing you—they just straight up cannot help you out, not without a lot
of trouble. Perhaps the siege weapon you’re asking for has been taken by the
enemy—if you can free it, you can have it. Perhaps the siege weapon is crucial
to a current battle the faction is fighting—you have to provide them with
enough resources to hire mercenaries to shore up their forces before you can
get the weapon. In all such cases, you still have a chance of getting it, but only
through a path that’s quite costly.
Example
Mint the Ranger, played by Mark, needs a king’s ransom in treasure to pay off the
ransom on a fellow vagabond held by a bandit wolf-pack. He doesn’t plan on giving
it to the wolves, but he has to at least show them the treasure to convince them to
come out of hiding and give him a chance of taking them down. He’s earned a +3
Reputation with the Woodland Alliance, so he goes to the local WA commander and
orders her to give him the required treasure. He rolls and gets a 7–9. “Commander
Erryn would love to give you the treasure, you can tell,” says the GM. “But she can’t
do it easily. ‘We need this treasure,’ she tells you. ‘I can give it to you for a time, but
you have to return it to me in two days—in full—so I can send it off to the troops
who really need it.’” The GM is imposing a condition on the treasure’s use. Mark has
Mint nod in agreement.

Travel Moves
The vagabonds don’t have real homes. They journey across the Woodland,
moving from clearing to clearing. Sometimes they cross the paths of the
Woodland, and sometimes they cross the dangerous forests. But travel is always
a crucial part of the vagabonds’ tales, and these moves are here to support the
game with interesting uncertainty when the vagabonds begin a new journey.
Travel Through the Forest

When you travel from clearing to clearing through the forest, the band
collectively decides how it travels and one member of the band rolls for
the group:
· Slowly, foraging heavily: everyone clears 2-depletion. The band collec-
· Carefully,
tively marks an exhaustion for each band member; –1 to the roll
avoiding trouble: the band collectively marks one depletion
· As+2 toquickly
or exhaustion for each band member; +1 to the roll
as possible: everyone marks exhaustion and depletion;
the roll
On a hit, you pass through the forest to any clearing on the other side.
Along the way, one of you spots an interesting site; you leave markers so
you can return after you finish your trip. On a 10+, the transit is largely
safe. On a 7–9, something from the forest is following you; you can let it
track you, or every vagabond marks exhaustion to lose it. On a miss, you
run afoul of one of the forest’s dangers during the trip, and you can’t escape
it easily; deal with it before you can reach the clearing on the other side.
You and your band depart from Opensky Haven, diving into the forest to try to
take a shortcut to the clearing of Mellowhill on the other side. You’re traveling
through the forest!
Traveling through the forest is fairly dangerous—only vagabonds are brave
enough and skilled enough to do it very often with any degree of safety. But
there’s no better way to quickly cut across a wide swath of the Woodland and
arrive at an important destination.
When you travel through the forest, the band collectively decides how it travels,
including where it’s going—any clearing on the other side of an intervening
forest, no matter how far away it would be by path. That means all the players
should have a discussion. If there is real disagreement, it’s a great chance to use
the plead with another PC move to convince other PCs to go along with you

(page XX), or to find out just how committed to their plans they are. If there is
still major disagreement, go with the majority vote of the players.
Traveling “slowly, foraging heavily,” means that the band is taking its time and
replenishing its supplies from the forest as it goes. Each PC in the band gets to
clear 2-depletion, but the group as a whole has to mark at least 1-exhaustion
for each PC. So a band of four vagabonds would still allow each vagabond to
clear 2-depletion, but would have to mark 4-exhaustion collectively. That
means one PC might mark 3-exhaustion and another PC might mark a single
exhaustion, or two PCs might mark 2-exhaustion each, or each PC might mark
exhaustion…just as long as the total exhaustion marked equals the number of
PCs. This represents which PCs are spending time collecting resources for the
group. The band takes –1 to the roll, then, for its slowness.
Traveling “carefully, avoiding trouble,” means that the band is moving safely
through the forest, but not so painstakingly slowly as to constantly replenish
its supplies. The band must collectively mark a total number of exhaustion and
depletion equal to the PCs. That means a band of four vagabonds might have
one PC mark 2-depletion and another PC mark 2-exhaustion, or might have
two PCs each mark depletion and a third PC mark 2-exhaustion, or one PC
mark depletion and 3-exhaustion all on their own…as long as the total of both
kinds of harm marked across all the members of the group is the same amount
as the number of PCs in the band. The band takes +1 to the roll, then, for its
relative speed.
Traveling “as quickly as possible” means that the band is tearing its way across
the forest. It’s the best possible way to arrive at your destination fast, but it’s
very costly. Each PC in the band has to mark both depletion and exhaustion.
The band takes +2 to the roll, then, for moving so quickly.
“Along the way, one of you spots an interesting site; you leave markers so
you can return after you finish your trip” means that you found something
interesting in the forest, but it doesn’t derail your travels. Going through the
forest always reveals another interesting place to return to, but you are never
obligated to visit it. You can find it again later without having to make this
move again, and without paying further costs, if you and your band chooses to
return to the forest. An interesting place might be a ruin, a bandit camp, a large
animal cave, or even another vagabond’s hiding place. The GM will tell you
what the interesting site is.
“The transit is largely safe” means that you arrive at your destination clearing
without any significant difficulty. “Something from the forest is following you”
means that you have a bit of trouble; it won’t stop you from arriving at your
destination, but it might cause you problems when you do arrive, or even later
down the line. If every vagabond marks exhaustion, then the band can avoid
the threat.

On a miss, a danger of the forest stands in your way; the band cannot arrive
at its destination without dealing with that danger. The GM will tell the band
what the danger is, and the conversation of play picks up with that situation,
using all the basic moves to play out the conflict. Once the danger is resolved,
the band can journey on to its destination without making this move again.
Example
The band of vagabonds, including Tali, Guy, Cloak, Keera, and Copper, is trying
to escape a pursuing group of Woodland Alliance rebels by cutting through the
forest, leaving Opensky Haven to go to Mellowhill far on the other side of the forest.
They agree that they do need to replenish some supplies, so they settle on traveling
slowly and foraging heavily. Each vagabond clears 2-depletion, but the band must
collectively mark 5-exhaustion. Tali agrees to mark 2-exhaustion, Cloak marks
exhaustion, and Copper marks the remaining 2-exhaustion. Then they make the roll
for travel, rolling at –1. They get a 7–9, so the GM describes the band encountering
a strange structure in the woods, like the top of a stone tower peeking out of the
dirt. They think they see something moving inside, but they continue on their way…
only to later realize something amid the trees is following them. Best they can tell, it
seems like it’s some kind of razor-taloned hawk, moving faster than they would have
ever expected. Every band member agrees to mark exhaustion to avoid the hawk—
they don’t want to have to deal with whatever terrible threat this is when they arrive
at Mellowhill—and the GM describes the band arriving at their destination.
Travel Along the Path

When you travel from clearing to clearing along the path, the band collec-
tively decides how it travels and one member of the band rolls for the group:
· atmarks
a relaxing pace: everyone clears 3-exhaustion; the band collectively
· marks 1-depletion;
a total of 2-depletion; –1 to the roll
at an average pace: everyone clears 2-exhaustion; the band collectively
· safely,
+0 to the roll
quickly, and under the radar: the band collectively marks 1-de-
· urgently fast: everyone marks exhaustion; take +2 to the roll

pletion for supplies; +1 to the roll
On a hit, you reach the next clearing in a timely fashion. On a 10+, the
trip is uninterrupted and quick. On a 7–9, you encounter something
noteworthy on the path—a caravan, a battleground, or something else
odd passing through. On a miss, you are caught in the middle of a dan-
gerous situation before you arrive at the next clearing.
You and your band depart from Opensky Haven, taking the path to the
neighboring clearing of Pruitt’s Brook. You’re traveling along the path!

Traveling along the path is, in general, safer than going through the forest—
that’s the point of the paths. But you’re also more likely to encounter forces of
a faction or other denizens on the path, as only vagabonds are brave enough (or
foolish enough) to travel through the forest.
When you travel along the path, the group collectively decides how it
travels. That means all the players should have a discussion. If there is real
disagreement, it’s a great chance to use the plead with another PC move to
convince other PCs to go along with you (page XX), or to find out just how
committed to their plans they are. If there is still major disagreement, go with
the majority vote of the players.
Traveling “at a relaxing pace” means taking your time, ensuring you won’t
be exhausted. The advantage is that you clear exhaustion—each vagabond
gets to clear 3-exhaustion. The disadvantage is that it costs you more in food
and supplies, and it makes you more likely to run into something along the
road. The band must collectively mark 2-depletion—that means between the
entire group of vagabonds, as long as two boxes of depletion are marked, the
condition is satisfied. Both can be marked by a single vagabond, or they can be
marked by two different vagabonds.
Traveling “at an average pace” is less costly in resources (the band only has to
mark a single box of depletion among its members) and in the chance to run into
something, but it’s also less relaxing—vagabonds only clear 2-exhaustion each.
Traveling “safely, quickly, and under the radar” means you’re being cautious as
you move along the road, trying to avoid any conflicts or dangerous situations.
You don’t get to clear any exhaustion and someone in the band still has to mark
a single box of depletion, but you also take +1 on the roll, meaning you are
much less likely to run into something.
Traveling “urgently fast” gets you to your destination as fast as possible,
but moving at such speeds is costly. Each member of the band has to mark
exhaustion for the pace.
“Reaching the next clearing in a timely fashion” means that you arrive at your
destination pretty much as fast as any denizen would’ve expected. “The trip is
uninterrupted and quick” means that you arrive even faster than expected—it’s
the best way to ensure that you overtake some other group on your journey.
“You encounter something noteworthy on the path” means that your journey
isn’t uneventful. Something is on your path—the GM will tell you what—and
you might allow yourselves to be diverted to investigate. But most of what
you encounter can also be ignored to continue your journey. For example,
if you come across the remains of a battle, then you can choose to move on
instead of investigating further, but merely encountering the battle will tell you
something about the events of the war. The GM can simply tell the band about

what they encounter, and then allow them to arrive at the clearing. If the band
wants to stop and spend time on the noteworthy encounter, they are more than
welcome to, using the other moves of the game. When they are done, they can
journey on to their original destination without making this move again.
“You are caught in the middle of a dangerous situation before you arrive at
the next clearing” means that you do not arrive at your destination. The GM
will tell you what dangerous situation halts your progress and demands your
attention. You have to contend with the situation before you can return to the
path. When you have dealt with the dangerous situation, you can choose to
finish your journey to the original clearing without making this move again.
Example
The band of vagabonds, including Mint, Cloak, Hester, and Quinella, is traveling
from Opensky Haven to Pruitt’s Brook. They need to travel to Pruitt’s Brook to warn
the denizens there of an impending Eyrie attack. They’ve already decided to travel
along the path instead of through the forest. The players discuss for a bit, going back
and forth about exactly how they should travel; they do need to get there quickly,
but they also need to conserve their resources. They don’t know what the situation in
Pruitt’s Brook will be when they arrive, after all! They settle on trying to travel “safely,
quickly, and under the radar;” that way, they’ll hopefully get there quickly and quietly,
while using up only their depletion. One PC marks depletion for the travel—Mint
decides to take the hit—and then Mark rolls for the group. With a +1, they get a
total of a 7–9. They will reach Pruitt’s Brook in a timely fashion, but they encounter
something noteworthy on the path. The GM thinks for a moment, and then describes
how they come across a traveling Eyrie messenger headed back to Opensky Haven.
The messenger happily explains that he brought terms of surrender to Pruitt’s Brook
and is now carrying the clearing’s message back to his superiors at Opensky. The
players talk briefly about trying to intercept the missive—maybe they can actually
change what it says!—but then agree to finish their trip to Pruitt’s Brook.

Harm
In Root: The RPG, every character has a few different ways to track their
status—their harm tracks. For each track when more boxes are marked, the
character is worse off, depending upon the track in question. In these rules,
“harm” is an all-purpose word to refer to all of these tracks.
Vagabond PCs have three harm tracks for three kinds of harm: depletion,
exhaustion, and injury.
Depletion represents a character’s all-purpose funds and assorted goods and
supplies. Vagabonds are covered in pouches, belts, and pockets, and they carry
all sorts of additional equipment. There’s no point in tracking all of it because
of how much of it there would be, so Root: The RPG uses depletion instead.
An unmarked box of depletion represents some amount of equipment or
supplies the vagabond is carrying; a marked box of depletion represents empty
pockets and pouches.
Exhaustion represents a character’s energy, strength, and capacity for pushing
ahead. Vagabonds are particularly vivacious, so they have plenty of exhaustion
boxes to mark when applying themselves substantially to some big effort. An
unmarked box of exhaustion represents energy a character is ready to commit;
a marked box of exhaustion represents tiredness and used-up energy.
Injury represents a character’s health and overall physical well-being.
Vagabonds are hardy, but even the hardiest vagabond can be laid low by sword
strokes and hammer strikes. As vagabonds mark injury, they push ever closer to
incapacitation and even death. An unmarked box of injury represents a portion
of good health; a marked box of injury represents just that—injury, a wound,
damage done to the body.
There are two other kinds of harm of import: wear and morale.
Wear is a kind of harm track held only by items and NPCs. Wear represents
equipment’s durability, its strength, its own “health.” On an item, it tracks how
much structural damage the item has endured, and how much it can endure before
being destroyed. On an NPC, it’s a general tracker for all of that NPC’s equipment—
GMs don’t track NPC equipment individually. An unmarked box of wear represents
functional, if not pristine, condition; a marked box of wear represents damage to
the weapon, nicks and breaks and cracks and loosened fastening.
Morale is a kind of harm track held only by NPCs. It tracks an NPC’s will to
keep resisting (most likely, resisting the vagabonds), to keep fighting, or to keep
arguing. An unmarked box of morale represents an NPC’s commitment to their
drives and causes; a marked box of morale represents that NPC’s will draining
away. (You can find more about morale harm on page XX.)

Marking Depletion
Sometimes a vagabond marks depletion because their pouches get torn when they
race through trees or tumble out a window, but much of the time, a vagabond
marks depletion because they need some item. Depletion represents a kind of all-
purpose “stuff,” meaning that anything a vagabond might reasonably be carrying
on their person in their pouches or backpack is fair game. It’s never high quality,
but it’s always good enough.
If a vagabond needs some spare coin, then they can mark depletion for the
equivalent of 1-Value worth of coin—so a vagabond can spend depletion on new
equipment if they choose. For more on Value and equipment, see page XX.
Otherwise, here are some items a vagabond could reasonably pull from their
pouches or backpack at the cost of marking a single depletion:
• a torch, small lantern, • supplies for repairing an • mirror
or a few candles item or binding a wound • quill, parchment, and
• a length of rope (about (see clearing wear and ink
30 feet or so) injury, page XX) • basic map
• a grappling hook • small pocket knife • flask of oil or alcohol
• climbing gloves (for carving or cutting • bedroll
• food and water for a day through something, • ball bearings
• fire-starting kit not for fighting)
• basic lockpicks • small smoke bomb
Marking Harm
Throughout Root: The RPG, you’ll find a few ways of representing and
marking harm. This is a breakdown of all of those ways, intended to be pretty
technical and specific—that way, if you find any such representation of harm,
you can check here to make sure you know exactly what it means.
· “Mark [harm]” means that you mark a single box of that harm track. For
example, “Mark exhaustion” means “mark a single box of exhaustion harm
·
on your exhaustion harm track.”
“Mark 2-[harm]” means that you mark two boxes of that harm track. The
·
same applies for “mark 3-[harm]” and “mark 4-[harm]” and so on.
“Inflict [harm]” means that you cause your target to mark a single box of that
harm track. For example, “Inflict injury” means “cause your target to mark a
·
single box of injury.”
“Inflict 2-[harm]” means that you cause your target to mark two boxes
of that harm track. The same applies for “inflict 3-[harm]” and “inflict
4-[harm]” and so on.

· “Clear [harm]” means that you clear a single marked box of that harm track.
For example, “Clear exhaustion” means “erase the mark from a single box of
·
exhaustion.”
“Clear 2-[harm]” means that you clear two boxes of that harm track, and so on.
·
“Clear all [harm]” means that you clear all marked boxes of that harm track.
“Harm,” as described above, refers to the general idea of all the different
kinds of harm. If something says “inflict harm,” then the harm is suited to the
fictional situation; for example, when you engage in melee, you might inflict
harm, with that harm being dependent upon the weapon you’re wielding
·
(maybe injury for a sword, maybe exhaustion for a blunted staff).
“Suffer harm,” as in the construction “When you suffer harm,” refers to when
you mark harm on your own harm tracks. Often, the kind of harm will be
·
specific, as in “When you suffer injury.”
“Additional [harm]” means that the amount of harm is increased. If no
amount is specified, increase it by one. For example, “Inflict 1 additional
·
injury” means increase the amount of injury inflicted by one.
“Fewer [harm]“ means that the amount of harm is decreased. If no amount
is specified, decrease it by one. For example, “Inflict 1 fewer injury” means
decrease the amount of injury inflicted by one.
Harm Past the End of the Track

When you mark harm, it means you’re using up resources (whether it’s cash
in your pockets or your energy for action), but it also means that you’re
approaching some dangerous fate past the end of the harm track.
For every kind of harm, you have a limited number of boxes to mark. If you’ve
marked them all, you’re in some dangerous state:
If all your depletion is marked, your pockets are empty. You’re broke, unless
you’re carrying some extra treasure. This is likely the least dangerous track to
have full, but it still leaves you without a significant resource.
If all your exhaustion is marked, you’re wiped out, on the door of collapsing
entirely. You can still move, still act, but you can’t push yourself any further
without the risk of utter collapse and even unconsciousness.
If all your injury is marked, you’re on death’s door. You’ve been wounded,
injured, and hurt so much that while you’re still alive now, all it would take is
another wound to finish you. You likely need medical attention, now.
If all of an item’s wear is marked, then the item is about to break. It’s only
damaged right now, but all it would take is a bit more stress to fracture it
irreparably. For an NPC, it means their equipment in general is damaged and
ready to break, similarly.

If all of an NPC’s morale is marked, then they’re just about ready to retreat or
submit entirely. Just a bit more pressure on them, and they will cave.
The real risk and cost comes when you have all your harm boxes marked, and
you need to mark one more. Most of the time this will be inflicted upon you as
the result of someone else’s actions and efforts, but sometimes you can choose
to push past the end of your track, depending upon the situation. For example,
you can always just to push your equipment to the breaking point and mark
wear when you have no boxes left to mark, and at the GM’s discretion you
might be able to mark exhaustion when you have no boxes left to mark and
push yourself past your limits. You can’t choose to mark depletion when you
have no boxes left to mark—you don’t have anything in your pockets!
If you need to mark depletion when your depletion track is full, you can’t,
and you are utterly spent. There is no greater negative effect here—marking
depletion is usually voluntary, or the result of losing some of your equipment
in a scrape or a tussle. When your track is full you have nothing left to lose. You
cannot ever choose to mark depletion when your track is full, but any depletion
inflicted upon you when your track is full is ignored.
If you need to mark exhaustion when your exhaustion track is full, you
are exhausted into submission, inaction, or even unconsciousness. The GM
decides exactly what your state is. You aren’t dead—not right away—but you
are helpless and at your enemy’s mercy. Your friends might be able to save you,
but you can’t act on your own behalf, whether it’s because you’re dazed and
concussed, or because you’re so tired your body won’t respond.
If you need to mark injury when your injury track is full, you die. That’s it for
this character. Depending upon the situation, you might have a last moment
to act, and almost always you’ll get last words. But marking injury past the end
of your track is the end of your character. This is by far the direst result of an
overflowing harm track, so be wary of it.
If you need to mark wear when your item’s wear track is full, the item is
destroyed, damaged irreparably. Up until this point, an item can always be
repaired and more or less be considered the same item. At this point, the item
has endured so much damage, “repairing it” is more or less making it anew. You
can cross the item off your equipment list.
If an NPC needs to mark morale when their morale track is full, they submit
or flee, immediately and entirely. They’re done resisting, and they capitulate
with any foe or aggressor without question—though the exact nature of that
capitulation will vary depending upon the NPC’s personality.

Clearing Harm
Over the course of Root: The RPG, you will mark harm on all your tracks,
and eventually you’ll be in real danger of needing to mark harm past the end—
so you need to find a way to clear them out from time to time!
You can clear depletion by gaining new supplies or money. Clearing depletion
harm looks like filling your pockets with useful items and coin again. So getting
a chance to gather useful supplies from the forest, or scrounging about in
someone’s home, or being unleashed upon the local barracks where you can
take whatever you want—all would clear depletion.
· Clear 1-depletion: a small payment from a denizen, rummaging through a
· Clear
normal denizen’s larder, a few hours spent foraging in the forest
2-depletion: a decent wage from a denizen, rummaging through a
· Clear
normal denizen’s whole house, a day or so spent foraging in the forest
3-depletion: a decent wage from a wealthy denizen, rummaging through
· Clear
a workshop of a wealthy denizen, a couple days spent foraging in the forest
4-depletion: a significant wage from a powerful denizen, rummaging
through a wealthy denizen’s whole house, a week spent foraging in the forest
You can clear exhaustion by fulfilling your nature (page XX), or by getting
some good rest. Clearing exhaustion with your nature means fulfilling your
inner personality—being who you really are is invigorating! Of course, that
often causes you more trouble than you’d like, so you can always try clearing
exhaustion by getting rest. Clearing exhaustion through rest looks like sleeping,
recovering, and giving yourself a break. Getting a good night’s rest in a real bed,
sleeping in a safe and comfortable place, is the best way to recover exhaustion.
· Clear 1-exhaustion: a night’s rest in a safe and well set-up camp site in the
· Clear
forest, a night’s rest in someone’s loft, a notably good meal
2-exhaustion: a week’s rest in a safe and well set-up camp site in the
· Clear
forest, a night’s rest in a bed in a denizen’s home, an exceptional meal
3-exhaustion: a week’s rest in a bed in a denizen’s home, a night or
· Clear
two’s rest in a nice plush bed in a very safe place, a safe and indulgent feast
4-exhaustion: a week’s rest in a nice plush bed in a very safe place, good
eating and drinking for a week
You can clear injury by receiving healing and medical attention. Clearing
injury looks like having someone tend to your wounds, splinting broken bones
and applying poultices to bruised limbs. Most often it requires a denizen who
knows what they’re doing—vagabonds are generally skilled and can patch up
basic injuries, but anything complicated or serious needs a real healer. The
healer also often requires supplies, so it might cost depletion to recover a
significant wound.

· Clear 1-injury: another vagabond tends to your wounds (one of you marks
depletion for supplies), a healer spends an hour or less tending to your
·
wounds (and requires 1-Value of supplies), a week of bed rest
Clear 2-injury: a healer spends a day or less tending to your wounds (and
·
requires 2-Value of supplies), two weeks of bed rest
Clear 3-injury: a healer spends a week or less tending to your wounds (and
·
requires 3-Value of supplies), a month of bed rest
Clear 4-injury: a healer spends two weeks or more tending to your wounds
(and requires 4-Value of supplies)
You can clear wear by repairing the damaged item. Clearing wear looks like
restringing, tightening, rebinding and so on—repairs, instead of making the
item anew. All vagabonds are relatively adept at making low-level repairs on
their equipment, but serious repairs will require greater skill. Almost all repairs
require some supplies.
· Clear 1-wear: a vagabond spends a few hours repairing the item (and marks
depletion), a trained expert spends an hour repairing the item (and requires
·
1-Value of supplies)
Clear 2-wear: a vagabond spends a couple days repairing the item (and marks
2-depletion), a trained expert spends a few hours repairing the item (and
·
requires 2-Value of supplies)
Clear 3-wear: a trained expert spends a couple days repairing the item (and
·
Clear 4-wear: a trained expert spends a week or more repairing the item (and
Session Move
Root: The RPG has two “session moves”—moves that trigger at the end of
each session of play. For this game, these moves are more or less reminders to
make sure you check in on certain aspects of the vagabond PCs.
When the session ends, one at a time, each player reads their drives out
loud. The players and GM discuss whether the player fulfilled their drive
during the session in an instance that wasn’t already called out during
the session. If they did, and they did not already advance this session for
the drive in question, then they advance.
This end of session move exists just to make sure that every player gets a chance
to advance, even if they forgot to call out how they were fulfilling their drive in

the heat of the moment. Each PC only has two drives, but it’s far easier for each
player to track their own drives than for the GM to try to track every player’s
drives—and even then, players who get caught up in the excitement and fun of
the moment might not realize they fulfilled a drive. Use this move just to make
sure that players get credit for the cool things they did during the session!
When the session ends, one at a time, each player may choose one ele-
ment of their playbook to update or change. They do not have to choose
anything, if they don’t want to. They may choose one of the following
options:
· Replace
· Replace
one drive with a new drive from any playbook
· from anya playbook

nature with a new nature from any playbook
Replace connection (both type and subject) with a new connection
This end of session move exists to let players keep their characters up-to-date
with the fiction and the players’ conception of them. Sometimes, a vagabond’s
nature, drive, or connections will stop making sense. A ranger fully satisfies their
revenge. An arbiter breaks with their “master.” A thief sways towards radicalism
over kleptomania. A friendship cools and becomes professional, or strengthens
and becomes a familial bond. Changing these elements of a vagabond is not a
matter of advancement, but it is important that a vagabond’s nature, drives, and
connections continue to reflect the state of the fiction. This move lets players
do just that—a Ranger who has finally defeated the target of their Revenge can
choose a whole new drive, or an Arbiter who has given up on their Principles can
take a new drive to match their more pragmatic sensibilities.
Custom Moves
Your game of Root: The RPG doesn’t have to be limited to the moves you
find here. You may find yourself wishing for a specific move to match a very
particular situation—a move for dodging the particularly ruthless traps of an
Eyrie ruin, or a move for using astrology to make predictions about the future,
or a move for playing a particularly vicious and cunning strategy game. The
moves provided throughout this chapter will give you plenty of framework, but
you might want to bring a bit more specificity, a bit more flavor, to your game.
That’s fantastic, and you should! You can easily create your own custom moves
to fulfill these specific needs in your game.
To make a custom move, you need to give it a trigger and an effect. Together,
they form the structure, “When [x] happens, [y] happens.”

Trigger
To reiterate, a move’s trigger is the phrase that describes when it comes into
effect—the “when [x] happens” part of the move. A trigger points to the moment
the move draws attention to. Having a very specific trigger, suited even to a
single location, can be great—that’s exactly what custom moves are for! Most of
the time, you want your trigger to point to a moment of uncertainty, when the
GM wouldn’t be certain of what happens next. The move helps fill in the gap, or
guides the GM away from what they think would happen.
“When you dash across the molten lava” is a clear, effective, and exciting
trigger—it points to an obvious situation where there is a lot of uncertainty!
“When you walk down a perfectly safe sidewalk” is an odd trigger because the
situation seems to have no uncertainty to it, nothing to be resolved. It's either a
bad trigger, or you're saying the situation is more complicated than it seems.
Think about exactly what the situation is that you want to cover, and why it’s
uncertain. If it’s not uncertain, then you might not need a custom move for it—
although there is still some mileage to get out of more “certain” custom moves,
when you want to describe a strange, unique, or particular effect. For example,
a move that says “When you fight in the gas-filled mine, mark exhaustion” is
great! There’s no uncertainty, but the move calls out an interesting situation
and pins an effect to it that suits the fiction. Speaking of effects…
Effect
A move’s effect is the other part of the move—the “[y] happens” part of the
move. Most of the time, your effects will be based on a die roll. PCs roll 2d6
with one of their stats. On a 10+, things go their way; on a 7–9, they get what
they want but at a cost or with a complication; and on a 6–, things go awry in a
way that’s interesting, exciting, or different—never merely failure.
There are many different ways to write up a move’s effects, from descriptive
statements to lists of options. Take a look at the moves throughout this book
for some ideas on structures you can use. In general, lists are better when you
want to give interesting options to the player, while direct statements are better
for quick resolution and clear effects.
Don’t hesitate to add costs or benefits into your move—everything from the
harm tracks to the Reputation tracks to Value exists to be played with!
If you want a move that just adds an interesting effect to a setting or character,
to draw them out, then you might not use a die roll at all, as the “gas-filled
mine” example suggests. A move without a die roll won’t have nearly the same
uncertainty, however, so make sure you only use those kinds of moves when
you want to draw attention to a direct cause and effect relationship.

Love Letters
Finally, one particularly full and complex version of custom moves lives in
“love letters.” Think of these as write-ups the GM puts together after time
skips forward a while in the fiction, or when the game is picking up again after
you’ve taken a few months off in real life. “Love letters” reset the fiction and get
everyone on the same page while kicking off the situation with a complicated
uncertain opening.
Love letters open with a description of the relevant fiction and situation, so all
the players can be on the same page. The GM uses this opportunity to set up
expectations, much like they would at the start of the game.
Then the love letter uses a custom move—most often one with a list, so it gives
the players options—to kick things off with uncertainty and surprise. The
custom move allows the PCs to affect, alter, or interact with the situation right
up front, and ensures that it remains interesting for everyone, including the GM.
The GM might write a separate love letter for each vagabond, but one love
letter for the band as a whole will usually work great, with maybe some
specific sections for individual vagabonds who have their own issues requiring
attention. Use moves like the travel moves that require the band to mark harm
collectively as a way to unite the players in the move’s costs and consequences.
The next page has an example of a love letter your GM might write for you:

Love Letter
Dear Heroes, Rogues, and Vagabonds All—
Your successes in ousting the Marquisate from Clutcher’s
Creek have made you more than a bit famous!
Good news: the denizens of Clutcher’s Creek have gladly given you a place
to stay, fed you, tended your wounds, fixed your equipment—the whole
thing! Clear all marked injury, exhaustion, depletion, and wear.
Bad news: word has spread, and the Marquisate (or specifically,
Baroness Imogene) wants you dealt with. Specifically you, too—the
good Baroness doesn’t care about Clutcher’s Creek at all anymore.
It was only luck that Riggen of Clutcher’s Creek spotted the
Marquisate’s hired assassins before they arrived in the clearing. These
assassins aren’t Marquisate at all, either. They’re vagabonds, led
by the legendary Wylie Burntail. And they’re coming for you.
Each vagabond can mark exhaustion to represent preparations
for the assassins. If at least one vagabond marks exhaustion, roll
with +1. If all vagabonds mark exhaustion, roll with +3.
On a 10+, choose 3. On a 7–9, choose 1.
• You have an escape route planned—a way to get out of
the clearing and into the forest safely. Describe it.
• You’ve prepared an ambush point for Burntail and company. Say where it is.
• You’ve set up three actual traps for Burntail and company, traps you
can trigger during a fight. Each trap inflicts 2-injury, but only at
close range, and can be triggered only once. Describe the traps.
• You’ve enlisted the denizens of Clutcher’s Creek to help you out,
whether in the fight, or by deceiving Burntail and company.
Name three denizens who are ready to help you.
• You looked through the old Marquisate papers for information on Burntail.
Ask any two questions about Burntail, and the GM will answer honestly.
On a miss, Burntail is on you much faster than expected—
you’ve got to either fight her while you’re off-balance or run
right now, and leave the Creek to the assassins.
Good luck, vagabonds!
Hugs and Kisses, your GM

Playbooks
W hen you make a player character for Root: The RPG, you
start by choosing a playbook. Each playbook is a kind of
character, a set of options for how you interact with and see the
Woodland. Some playbooks might be interested in getting into fights;
others like to talk their way out of conflicts. Some might be criminals
through and through; others might be up-and-coming heroes.
No playbook is a straitjacket. Each provides clear guidance to get
you started with your character, but there is space to define your
vagabond within the boundaries of the playbook. Furthermore, your
character can change, grow, and move beyond the initial constraints
of the playbook over the course of a campaign. You can even change
playbooks entirely, down the line, emphasizing a whole new way for
your character to approach the world.
Each PC uses a different playbook. That way, the band of vagabonds
consists of different, interesting characters who don’t overlap too much
in their abilities. Using different playbooks helps to ensure each PC
gets their own area to shine.
For more on the individual parts of the playbooks, make sure to check
out Chapter 4: Making Vagabonds on page XX.
The list of playbooks included in this chapter is:
· Adventurer - A charismatic, diplomatic vagabond, interested in
· Arbiter
forging connections and maybe even changing the Woodland.
- A strong, battle-ready vagabond, acting often as defender
· Harrier
and interceding in unfair conflicts.
- A fast, freelancing vagabond, specializing in smuggling and
· Ranger
speedy movement within and without clearings.
- A forest-savvy, antisocial vagabond, quite skilled but more
a creature of the forests between clearings than of the clearings
·
themselves.
Ronin - A highly trained outlander vagabond, cast forth from their
·
homeland and now masterless in the Woodland.
Scoundrel - A destructive, risk-taking vagabond, with a heavy
·
inclination towards arson and over-the-top action.
Thief - A skilled, criminal vagabond, expert in burglary and theft but
·
with a tendency to bite off more than they can chew.
Tinker - An innovative, technically-competent vagabond, interested in
·
mechanisms, crafting, equipment, and dangerous new philosophies.
Vagrant - A deceitful huckster vagabond, master of cons and trickery.

The Adventurer
You are a peaceful, diplomatic vagabond, making allies
from those you aid, perhaps toppling greater powers by
forging strong bonds with others.from yourself.
Species Details
• fox, mouse, rabbit, • he, she, they, shifting
bird, owl, other • formal, colorful,
multicultural, simple
Demeanor • Medal of service,
• charming, diplomatic, beaded jewelry, carved
agreeable, stern flute, pouches with
pretty stones
+2 Charm Your Nature choose one

Extrovert: Clear your exhaustion track when

+1 Cunning you share a moment of real warmth, friendship,
or enjoyment with someone.
Peacemaker: Clear your exhaustion track when
0 Finesse

you resolve a dangerous conflict nonviolently.
Your Drives choose two

0 Luck Ambition: Advance when you increase your

reputation with any faction.
-1 Might Clean paws: Advance when you accomplish an

illicit, criminal goal while maintaining a believable
Add +1 to a stat of your veneer of innocence.
choice, to a max of +2 Principles: Advance when you express or embody

your moral principles at great cost to yourself or
Weapon Skills your allies.
Choose one weapon skill Justice: Advance when you achieve justice for

to start someone wronged by a powerful, wealthy, or
Disarm high-status individual.

Harry
Improvise
Your Connections
Parry See page XX for full mechanical effects of connections.
• Partner: _________ and I fought alongside
Roguish Feats each other to defend a clearing from a faction’s
You start with these: advances...but we failed. Why did we defend the
Counterfeit, Sleight of clearing? Why did we fail? Who defeated us?
Hand • Friend: I traveled with _________ for the time
right after I became a vagabond. They helped keep
Equipment me safe and showed me the Woodland. What
Starting value 9 keepsake did I gift them?
Chapter 6: Playbooks 143

Adventurer Moves choose three
Sterling Reputation

Whenever you mark any amount of prestige with a faction, mark one
additional prestige. When you mark any amount of notoriety with a faction,
you can instead clear an equivalent amount of marked prestige.
Subduing Strikes

When you aim to subdue an enemy quickly and nonlethally, you can engage
in melee with Cunning instead of Might. You cannot choose to inflict serious
harm if you do.
Talon on the Pulse

When you gather information about the goings-on in a clearing, roll with
Cunning. On a 10+, ask 3. On a 7-9, ask 2.
• Who holds power in this clearing?
• Who is the local dissident?
• What are the denizens afraid of?
• What do the denizens hope for?
• What opportunities exist for enterprising vagabonds?
On a miss, your questions tip off someone dangerous.
Orator

When you give a speech to interested denizens of a clearing, say what you are
motivating them to do and roll with Charm. On a hit, they will move to do it as
they see fit. On a 10+, choose 2. On a 7-9, choose 1.
• They don’t try to take your intent too far
• They don’t disband at the first sign of real resistance
• They don’t demand you stand at their head and lead
On a miss, they twist your message in unpredictable ways.
Well-Read

Take +1 Cunning (max +3).
Fast Friends

When you try to befriend an NPC you’ve just met by matching their
personality, body language, and desires, mark exhaustion and roll with
Cunning. On a hit, they’ll look upon you favorably—ask them any one non-
compromising question and they’ll answer truthfully, or request a simple favor
and they’ll do it for you. On a 10+, they really like you—they’ll share a valuable
secret or grant you a serious favor instead. On a miss, you read them totally
wrong, and their displeasure costs you.

Where do you call home? Whom have you left behind?
____________ clearing

My mentor

the forest

My family

a place far from here

My loved one

My student

Why are you a vagabond? My greatest ally

I want to help the Woodland

I want to explore the Woodland

Which faction have you served
I believe the current factions should

the most? (mark two prestige for
be overturned appropriate group)
I must keep a promise to a loved one

With which faction have you earned
I want freedom from society’s

constraints
a special enmity? (mark one notoriety
for appropriate group)
Pleasant, persuasive, renowned, peaceful. The Adventurer is a speaker and

negotiator, trying to resolve conflicts and better the Woodland through honest
speech and genuine pleas.
As the Adventurer, you are a capable talker with a tendency towards
nonviolence and resolution of conflicts through negotiation. You might be
driven by a general tendency to help those in need, by the goal of rising in
renown, or by a specific desire to fix the larger Woodland—but one way or
another, you’re interested in being viewed positively.
Your fellow vagabonds will likely want to resolve things a bit more directly than
you, focusing on combat, thievery, or deception to get what they desire. But
in the long run, you are much more likely to achieve positive results; combat,
thievery, and deception tend to have consequences, even if you get away scot-
free in the moment.
Your natures, “Extrovert” and “Peacemaker,” both point at your penchant for
conversational interaction with other characters, your talent for relationship
building. Focus on your interactions with other characters, PCs and NPCs alike.
Look for chances to resolve situations by talking, without using violence, and
don’t shy away from risky situations. Your fellow vagabonds might have to come
in to bail you out, but that’s all for the best, making a more interesting game
and giving everyone a chance to shine. Use your other skills and connections
to support your fellow vagabonds if it does come to blows—if nothing else,
assessing the situation is always pretty useful.

Notes of The Adventurer Moves
For Sterling Reputation, keep in mind that you only increase prestige gains by
one each time you gain prestige. This incentivizes pursuing lots of small good
deeds. Don’t hesitate to lose prestige to stop yourself from gaining notoriety—
racking up notoriety can hurt your Reputation much more than losing a few
prestige.
For Subduing Strikes, “aiming to subdue an enemy quickly and nonlethally”
often requires using an appropriate weapon. Coming at a foe with a sword
makes it difficult to try to subdue them nonlethally, even if you hit with the flat
of the blade. If your weapon inflicts exhaustion, then you are guaranteed that it
is nonlethal.
For Talon on the Pulse, you need a bit of time to actually collect the
information. Think of the move as covering a short montage of you going
around the clearing and asking NPCs lots of different questions. On a miss,
you won’t necessarily be attacked or accosted, but drawing the interest of a
dangerous individual will complicate your life.
For Orator, you have to give your speech to “interested denizens of a clearing.”
The move won’t trigger if you try to speak to denizens who have no reason to
pay attention to what you say, and it won’t trigger if you’re speaking to non-
clearing denizens, like a group of bandits or a squad of well-trained soldiers.
“They will move to do it as they see fit” means that you don’t control exactly
how they follow your exhortations—the GM will describe what they do, based
on who they are and what choices you make from the list.
For Well-Read, keep in mind that moves like this are the only way to get +3 in a stat.
For Fast Friends, a “non-compromising question” is one they don’t feel
endangers them or threatens them in any way; a “simple favor” is one that
doesn’t cost them too much to conduct. A “valuable secret,” however, can
actually put them at risk for sharing it, and a “serious favor” might cost them
quite a bit in time, effort, or money—not so much that it’s self-destructive, but
enough that it actually puts them out.

The Arbiter
You are a powerful, obstinate vagabond, serving as
somewhere between a mercenary and a protector,
perhaps taking sides too easily in the greater conflict
between the factions.
Species Details
bird, badger, other • large, scarred, well-
groomed, old
Demeanor • faded military insignia,
• intimidating, honest, eyepatch, repaired
brusque, open clothes, tarnished locket

Defender: Clear your exhaustion track when
0 Cunning

you put yourself in harm’s way to defend
someone against injustice or dire threat.
Punisher: Clear your exhaustion track when
0 Finesse

you tell a powerful or dangerous villain to their
face that you will punish them.
-1 Luck Your Drives choose two
Justice: Advance when you achieve justice for

+2 Might someone wronged by a powerful, wealthy, or
high-status individual.
Add +1 to a stat of your Principles: Advance when you express or

choice, to a max of +2 embody your moral principles at great cost to
yourself or your allies.
Weapon Skills Loyalty: You’re loyal to someone; name them.

Choose one weapon skill Advance when you obey their order at a great
to start cost to yourself.
Confuse Senses Protection: Name your ward. Advance when you

Improvise protect them from significant danger, or when
Parry time passes and your ward is safe.
Trick Shot
Your Connections
Roguish Feats See page XX for full mechanical effects of connections.
Choose any four feats to • Protector: I once protected _________ from
start (page XX) a mortal blow during a fight, and I would do it
Equipment again. Why?
• Partner: _________ and I together helped a
Starting value 10
faction take control of a clearing, and share
responsibility for it.

Arbiter Moves choose three
Brute

Take +1 Might (max +3).
Carry a Big Stick

When you use words to pause an argument or violent conflict between
others, roll with Charm. On a hit, they choose: mark 2 exhaustion and keep
going, or stop for now. On a 10+, take +1 ongoing to dealing with them
peacefully. On a miss, NPCs turn their anger to you, and PCs take +1 ongoing
against you for the scene.
Crash and Smash

When you smash your way through scenery to reach someone or something,
roll with Might. On a hit, you reach your target. On a 10+, choose 1. On a 7–9,
choose 2.
• You hurt yourself: mark 1 injury
• You break an important part of your surroundings
• You damage or leave behind a piece of gear (GM’s choice)
On a miss, you smash through, but you leave yourself totally vulnerable on the
other side.
Hardy

Take 1 additional injury boxes. Whenever time passes or you journey to a new
clearing, you can clear 2 injury boxes automatically.
Strong Draw

When you target someone with a bow, mark wear on the bow to roll
with Might. On a hit, mark exhaustion to inflict 1 additional injury. Mark
exhaustion again to make your shot ignore the enemy’s armor—they cannot
mark wear to absorb the injury.
Guardian

When you defend someone or something from an immediate NPC or
environmental threat, roll with Might. On a hit, you keep them safe and choose
one. On a 7–9, it costs: expose yourself to danger or escalate the situation.
• Draw the attention of the threat; they focus on you now.
• Put the threat in a vulnerable spot; take +1 forward to counterstrike.
• Push the threat back; you and your protectee have a chance to maneuver or flee.
On a miss, you take the full brunt of the blow intended for your protectee, and
the threat has you where it wants you.

____________ clearing

my peer and friend

the forest

my family


my loved one

my ward

Why are you a vagabond? my commander

I’m being hunted by a powerful official

I wish to make up for a past

transgression the most? (mark two prestige for
I want to fight injustice

appropriate group)
I must clear my tarnished name

I have been exiled from most clearings

Just, mighty, committed, defensive. The Arbiter is a capable warrior and

protector, intervening in conflicts on one side or another, defending the
innocent and punishing the transgressors.
As the Arbiter, you are one of the most competent fighters among your
vagabond brethren, with a tendency to act like a wandering knight—a force of
martial prowess without a single specific cause, but with a sense of justice all
your own.
Other powers and figures are likely to want you on their side. After all, you
are one of the best warriors they could have fighting for them! A key question
for the Arbiter is always “On whose side do you fight?” Maybe you defend the
innocent from tyrants, but maybe you pick the side you think is most likely to
bring about peace.
Your natures, “Defender” and “Punisher,” speak to the two sides of the
Arbiter—one as a protector keeping harm from your wards, and the other as
an avenger pursuing justice against wrongdoers. Both of them are likely to
aim you at dangerous and powerful foes, so be on the lookout for antagonists
who are targeting other denizens (so you can protect them) or who are
deserving of justice.
Try to find causes to fight for or against. You’re skilled at fighting, but if you
only wait for fights to come to you, you might find yourself waiting more than
you’d like. And don’t hesitate to use other skills like Carry a Big Stick to try
to avoid fights—you’re skilled at fighting, but martial conflict almost always
creates new problems.

Notes on The Arbiter Moves
For Carry a Big Stick, every party in the fight has to make the choice to mark
2-exhaustion and keep going or to stop for now. If one side keeps going and the
other stops, the side that keeps going has to mark 2-exhaustion but gets to make
the first move in the continued fight—after that, the side that chose to stop can
act as normal. “Stop for now” means that they have to stop fighting more or less
for the scene, but they can pick back up later. The “+1 ongoing to dealing with
them peacefully” also lasts only until the end of the scene (only lasting longer at
the GM’s discretion).
For Crash and Smash, you need a destination to trigger the move. “You break
an important part of your surroundings” means you break something you don’t
want broken—the GM will describe what that is. “You damage or leave behind
a piece of gear (GM’s choice)” means the GM chooses whether you damage the
gear or leave it behind—not both. The amount of damage (in wear marked) that
the equipment suffers is at the GM’s discretion based on where you are and what
you’re smashing through, although it defaults to 1-wear.
For Hardy, “journeying to a new clearing” includes both through paths and
through forest.
For Strong Draw, you must mark 2-exhaustion to ignore the enemy’s armor—
you cannot mark exhaustion just for the armor-piercing effect without the
additional 1-injury.
For Guardian, “defending someone” means that you are actively trying to keep
them from harm caused by an immediate danger—not hypothetical harm, not
harm in the future, but harm right now. “Draw the attention of the threat”
means that, as long as it’s a conscious threat, it’s now a danger more for you than
for your protectee. “Push the threat back” means that you create an opportunity
where you and your protectee are not in immediate danger and can try to
maneuver to safety.

The Harrier
You are a quick, enterprising vagabond, racing easily
from building to building and clearing to clearing
without anything stopping you, perhaps finding yourself
in places others would rather keep secret or hidden.
Species Details
bird, squirrel, other • roguish, kitted out,
vibrant, scarred
Demeanor • half-started maps,
• excited, energetic, sewn bandana,
passionate, flighty ball and cup, wide-
brimmed hat
0 Charm Your Nature choose one
Dutiful: Clear your exhaustion track when you

-1 Cunning

take on a dangerous or difficult task on behalf
of another.
Competitive: Clear your exhaustion track
+2 Finesse

when you take dramatically unnecessary risks
to show off.
+1 Luck Your Drives choose two
Crime: Advance when you illicitly score a

0 Might significant prize or pull off an illegal caper against
impressive odds.
Add +1 to a stat of your Discovery: Advance when you encounter a new

choice, to a max of +2 wonder or ruin in the forests.
Infamy: Advance when you decrease your

Weapon Skills reputation with any faction.
Choose one weapon skill Wanderlust: Advance when you finish a journey

to start to a clearing.

Disarm
Harry
Your Connections
Quick Shot See page XX for full mechanical effects of connections.
Trick Shot • Peer: ___________ and I tried to blaze a new trail
between two clearings; without the support of the
Roguish Feats major factions, it never fully came to fruition.
You start with these: • Friend: ___________ and I forged a bond while
Acrobatics, Sneak investigating a ruin deep in the woods. What
Equipment strange minor trinkets do each of you carry from
that expedition?
Starting value 9

Harrier Moves choose three
Cross Country

Take one extra box of exhaustion. When your exhaustion track is full and
you must mark exhaustion, you may choose to mark an equivalent amount of
injury instead of being removed from the situation or going unconscious.
Fleet of Foot and Hand

Take +1 Finesse (max +3).
Don’t Shoot the Messenger

Take the Counterfeit roguish feat. (It does not count against your maximum.)
When you pretend to be an innocuous messenger carrying a missive of import
to trick someone, roll with Luck instead of Cunning.
Parkour

When you dash your way through a chaotic scene or fight, roll with Finesse.
On a 10+, hold 3. On a 7-9, hold 2. Spend your hold 1-for-1 to dash to something
within sight and reach without being stopped, or to dash away from something
nearby without being stopped. You can dash away from an enemy even at the
moment they attack. On a miss, your surroundings trip you up, and you’re
caught in place while danger closes in.
Traveler Extraordinaire

When you travel along the paths to another clearing, you can always give +1 to
the roll or clear 2-exhaustion, your choice. When you travel through the forest
to another clearing, you can always give +1 to the roll or clear 2-depletion, your
choice. In both cases, before you arrive at the next clearing, you can ask the GM
any two questions about the next clearing, based on what you remember from
your last time through.
Smuggler’s Path

You’ve got a good sense for finding secret paths and doors. When you spend
time looking for a secret way in or out of a place that might have one, mark
exhaustion and roll with Luck. On a hit, you find a hidden path—the GM will
detail it and to where it leads. On a 10+, there’s something along or inside the
path of value to you—the GM will tell you what. On a miss, you find a secret
path...and someone else is using it right this second. They probably won’t be
happy you found their secret.

____________ clearing

My teacher

the forest

My family


My loved one

My idol

Why are you a vagabond? My best friend

I want to fight for Woodland freedom

I am chasing a loved one

I am on the run for my crimes

I feel a deep wanderlust

appropriate group)
I am on the run from a commitment

at home
Mobile, crafty, unbound, criminal. The Harrier is a moving, traveling vagabond,

often specializing as a freelancer for other powers. When they need something
smuggled in or out of a clearing, they’ll turn to the Harrier.
As the Harrier, you have a lot of useful skills, and you should seek opportunities
to apply them. You’re not as obvious a mercenary as a warrior like the Arbiter,
but plenty of black marketeers would love to have a Harrier on their payroll.
The Harrier is very effective at getting jobs and other tasks from NPCs, but is
just as effective at finding their own opportunities to take advantage of alongside
their fellow vagabonds. As the Harrier, don’t be afraid of trying to betray greater
powers for some gain or profit—it will often fit your drives perfectly.
Your natures, “Dutiful” and “Competitive,” both incentivize your taking
action—doing over planning or thinking. Dutiful incentivizes taking on jobs
on behalf of others, so don’t hesitate to figure out what NPCs want and ask
them for work. Competitive incentivizes taking on risks—it’s easy enough to
hit Competitive in the middle of any job. Both of them shine a light on the
Harrier’s emphasis on constantly moving.
For the Harrier, your drives are even more crucial—if you’re ever looking for the
next big thing to do, look at your drives and focus on that. But you can easily
get by supporting other vagabonds in their goals, especially because it’s often
easy to hitch your drives and your nature to their objectives.

Notes on The Harrier Moves
For Cross Country, the injury you mark represents pushing your body past its
limits. You cannot soak this injury with armor.
For Fleet of Foot and Hand, keep in mind that moves like this are the only way
to get +3 in a stat.
For Don’t Shoot the Messenger, remember that the “Counterfeit” roguish
feat granted by this move doesn’t count against your maximum total allowed
through advancement (six feats). You don’t have to have a counterfeit message
in your possession to “pretend to be an innocuous messenger.”
For Parkour, whatever hold you generate from the move, you may continue
to spend as you choose throughout the duration of the scene. Once the chaos
is over, any remaining hold is lost. You can spend your hold to move to places
“within sight and reach.” “Within sight” means you must either be able to
see them or know they are there; “within reach” means you must feasibly be
able to reach them within a few seconds of very fast, skilled movement. If you
“dash away from an enemy at the moment they attack,” you spend a hold and
automatically shift ranges, and their attack misses (unless they can still reach
you).
For Traveler Extraordinaire, make the choice of adding +1 or clearing
2-exhaustion or 2-depletion before the roll, but after any other expenditures
you make—if the results of the move allow you to clear exhaustion or depletion,
you can clear the exhaustion or depletion you just marked for the roll. When
you ask two questions of the GM about the next clearing, the answers the GM
gives you only refer to what you can recall; things very well may have changed
since last you were there.
For Smuggler’s Path, you can only make the move in a place that might have
a secret path. The GM determines if the place might have a secret path; if it
couldn’t have a secret path, the GM tells you that and you don’t need to mark
exhaustion. On a miss, you still find the path and the GM will ultimately detail
it as a hit, but you have to deal with the other denizen inside it first.

The Ranger
You are a capable, stealthy vagabond, centered on the
forests that fill the Woodland between the clearings,
more interested in the wilds than in the company of
other Woodland denizens or their society.
Species Details
bird, wolf, other • unkempt, scarred,
natural, practical
Demeanor • forest charm, leafy
• terse, mistrusting, cloak, smoking pipe,
polite, kind stolen ring
-1 Charm Your Nature choose one

Loner: Clear your exhaustion track when you

+1 Cunning

enter a dangerous situation alone, without
backup or assistance.
Cynic: Clear your exhaustion track when you
+1 Finesse

openly and directly ask dangerous questions
about an accepted “truth”.
0 Luck Your Drives choose two
Discovery: Advance when you encounter a new

+1 Might wonder or ruin in the forests.
Freedom: Advance when you free a group of

Add +1 to a stat of your denizens from oppression.
choice, to a max of +2 Revenge: Name your foe. Advance when you

cause significant harm to them or their interests.
Weapon Skills Protection: Name your ward. Advance when you

Choose one weapon skill protect them from significant danger, or when
to start time passes and your ward is safe.

Cleave
Disarm
Your Connections
Harry See page XX for full mechanical effects of connections.
Vicious Strike • Watcher: I was tricked, conned, or deceived by
___________ once. Why do I choose to continue
Roguish Feats working with them?
You start with these: • Protector: I did something that would have
Hide, Sneak gotten me the enmity of a Woodland faction—if
Equipment ___________ hadn’t covered for me. What did I
do? Why and how did they protect me? Regardless,
Starting value 9
I feel indebted to them.

Ranger Moves choose three
Silent Paws

You are adept at slipping into and out of dangerous situations without anyone
noticing. When you attempt a roguish feat to sneak or hide, you can mark 2
exhaustion to shift a miss to a 7-9.
Slip Away

When you take advantage of an opening to escape from a dangerous
situation, roll with Finesse. On a hit, you get away. On a 10+, choose 1. On a
7-9, choose 2:
• You suffer injury or exhaustion (GM’s choice) during your escape
• You end up in another dangerous situation
• You leave something important behind
On a miss, you escape, but it costs you—mark injury or exhaustion, GM’s choice—
and you leave ample evidence behind for your foes to track and follow you.
Poisons and Antidotes

You have expertise in the poisons and antidotes of the Woodland. When you
brew a poison, mark depletion and say what effect you want it to have: sleep,
weakness, inebriation, or death. Any poison you make requires ingestion or
injection; you can use the poison on your weapon or put it in your target’s food
or drink. When you study a poison or its effects to make an antidote, the GM
will tell you what special ingredient you’ll need. Get the ingredient and mark 1
depletion to brew the antidote.
Forager

When you travel or pass into a forest, before making any travel move, you can
clear your choice of:
• Up to 3-depletion
• Up to 2-exhaustion
• Up to 2-injury
Threatening Visage

When you persuade an NPC with open threats or naked steel, roll with Might
instead of Charm.
Dirty Fighter

Take two of the following weapon skills: Trick Shot, Confuse Senses, Improvise
Weapon, Disarm, Vicious Strike. None of the skills you take with this move count
against your maximum for advancement.

Where do you call home? Why are you a vagabond?
____________ clearing

I dislike the hypocrisy of society

the forest

I am mistrusted by other denizens


I want to wander the Woodland

I need to find and save a loved one

Whom have you left behind? I seek escape from the wars

my commander

my family

my best friend

my student

appropriate group)
no one—I lost those who mattered to

me. (mark notoriety with the faction
responsible)
Solitary, dangerous, stealthy, wild. The Ranger is an experienced forest-

dwelling vagabond, capable of fighting and surviving in the Woodland’s most
dangerous spaces.
As the Ranger, you are a skilled and dangerous fighter, but your emphasis is on
stealth—striking from shadows, escaping from dangerous conflicts, and more.
You can handle yourself in a straight-up fight, but it’s likely not your preferred
form of conflict.
At heart, the Ranger is a bit more of a loner than the rest of the vagabonds, but
they have found the advantages of the band drawing them in. Companionship,
teamwork, shared burdens—these things will always draw the Ranger back
to the band. You can play them as gruff and standoffish as you want, but
remember that the Ranger belongs with the band as long as they are a PC.
Your natures, “Loner” and “Cynic,” point to your antisocial behaviors. “Loner”
is obviously pointed at your tendency to try to solve problems alone—keep
in mind that it’s going to cause you trouble, and that it’s about individual
situations, not leaving your band behind and journeying to another clearing
altogether. “Cynic” draws attention to your desire to speak truth to power, to
question assumptions of the factions and powers that be…but in ways very
likely to draw the ire of those very same powers.
Lean into your connections and your fellow vagabonds. Your drives and your
nature might draw you into conflicts that seem isolated, but they’re always
more fun when the other PCs can get involved eventually, even if they mostly
end up rescuing you!

Notes on The Ranger Moves
For Silent Paws, keep in mind that you will still incur a risk of the feat on a 7–9,
unless you’re willing to mark a third exhaustion to avoid it.
For Slip Away, you need an opportunity to escape, so you might need to take
some action first to create that chance. If you end up in another dangerous
situation, the GM establishes that situation and how it is different from what
you just escaped. If you leave something important behind, the GM ultimately
decides what it is.
For Poisons and Antidotes, any poison or antidote you make does require some
time to make, along with a place to brew it. When you inflict your poison on
someone, it does not take immediate effect; the more severe the effect you
choose, the longer it will take to come to fruition, with death poisons taking up
to a day or two to fully work. Antidotes, similarly, take some time to fully cure
the poison, with more terrible poisons taking more time to cure.
For Forager, make your choice about what to clear before any expenditures for
traveling through the forest.
For Threatening Visage, your threats must be believable—if you’re bound to a
chair, for example, you might not be able to make a believable threat.
For Dirty Fighter, keep in mind that whatever skills the move grants do not
count against your maximum total for advancement (seven skills).

The Ronin
You are a skilled, willful vagabond, formerly a servant of
a lord in a different land, now masterless. You came to
the Woodland to live as a free vagabond.
Species Details
bird, racoon dog, other • militaristic, outlandish,
simple, colorful
Demeanor • lord’s token, mark
• gruff, polite, direct, of esteem, stringed
dangerous instrument, board game

Survivor: Clear your exhaustion track when

+1 Cunning

you try to flee or cover allies’ flight from a
dangerous or overwhelming situation.
Pilgrim: Clear your exhaustion track when you
0 Finesse

find an expert in a skill you don’t possess.

-1 Luck Principles: Advance when you express or

embody your moral principles at great cost to
+2 Might yourself or your allies.
Revenge: Name your foe. Advance when you

Add +1 to a stat of your cause significant harm to them or their interests.
choice, to a max of +2 Thrills: Advance when you escape from certain

death or incarceration.
Weapon Skills Wanderlust: Advance when you finish a journey

Choose one weapon skill to a clearing.
Your Connections
to start
Cleave
Storm a Group • Partner: __________ and I worked together on
Vicious Strike my first real task of significance in the Woodland,
deposing a dangerous authority figure of a faction.
Roguish Feats Who did we depose? Why?
You start with this one: • Watcher: I see in ____________ many reminders
Blindside of my old master. I am drawn to them, even as
Equipment I watch them carefully. What is it that reminds
me of my old master? How do they feel about my
Starting value 11
watchful eyes?

Ronin Moves choose three
Always Armed

Take the weapon skill Improvise a Weapon (it does not count against your limit).
When you deal harm with an improvised weapon, deal +1 harm.
Knowing a Lord’s Will

When you figure out a denizen of status, authority, or power, roll with Might
instead of Charm. When you trick a denizen of status, authority, or power by
playing subordinate, roll with Might instead of Cunning.
Well-Mannered

When you enter a social environment dependent on manners and etiquette,
roll with Cunning. On a 10+, hold 3. On a 7-9, hold 2. Lose all hold when you
leave or when social rules fall apart. Spend hold 1-for-1 to:
• Cover up a social faux pas on behalf of you or an ally; clear 1 exhaustion.
• Call out someone else’s social faux pas; inflict 1-morale harm on them.
• Charm someone; take +1 ongoing to speak to them while you have hold.
• Demonstrate your value; mark prestige with a powerful denizen’s faction.
On a miss, the rules of etiquette here are far different from what you expected;
mark exhaustion as you commit a gravely impolite error.
Fealty

When you commit yourself to the cause of someone you deem worthy, swear
an oath to them stating what task you will complete on their behalf. Mark
exhaustion to reroll a move made in pursuit of that task. You cannot commit
yourself to another cause until you accomplish the first, or break your oath. If
you break your oath, fill your exhaustion track and mark 4 notoriety with the
faction whose trust you betrayed. If you fulfill your oath, mark 4 prestige with
the faction whose trust you kept.
The Rules of War

When you call upon a reasonable foe to uphold a rule of war, roll with Might.
On a hit, they feel obliged; choose one below they must follow. On a 7-9, they
choose one that you must follow; disobey, and the obligation ends.
• Show mercy to surrendering foes and prisoners
• Refrain from underhanded tactics in a fight
• Face each other without aid, back-up, or assistance
• Keep the violence away from the unarmed or innocent
• Fight to surrender or subdual, without retreat
On a miss, they feel no obligation to your ideas of war; prepare for a brutal
lesson in the rules they adhere to.
Always Watching

Take +1 Cunning (max +3).

Where do you call home? What happened to your last master?
____________ clearing

Assassination

the forest

Unjust imprisonment


Disappearance

Justified overthrow

Why are you a vagabond? Betrayal

I want to build a masterless life

I seek a cause to redeem myself

I aim to bring a hunted foe to justice

I am hunted by old foes

appropriate group)
I need freedom to fulfill my master’s

last wish
Well-trained, willful, expatriate, free. The Ronin is a former servant and warrior
of some master in a land far from here, now broken from their lord and come
to this land as a free agent.
As the Ronin, you are quite a capable fighter, but you’re also a social
character—a “servant” well used to figuring out the vagaries of the court,
the needs of a lord, and the ways of propriety. You’re at home both on the
battlefield and in the halls of power.
The Ronin, by definition, is originally from somewhere other than the
Woodland. They left that life behind with the demise of their master—one of
the background questions on the playbook is all about what happened to that
master. As such, the Ronin has a different cultural background with different
traditions and ideas than a Woodland denizen.
That said, the Ronin is still a denizen like the other characters. They have the same
overarching drives and desires. And the Ronin certainly has been in the Woodland
long enough to be able to easily function there, though NPCs recognizing the
Ronin’s background and treating them differently can make for dramatic trouble (if
everyone at the table is on board with those issues coming to the fore).
In playing a Ronin, be sure to avoid some of the pitfalls of playing a character
of a different culture—no accents, no silly misunderstandings about
commonplace objects, no broken grammatical constructions. The Ronin is
competent and capable, and they’ve learned how to navigate the Woodland.

Your natures point you at two different styles of wandering Ronin in the
Woodland. The first, “Survivor,” is all about getting into big dangerous situations
with friends, and then helping them get out. Note—you don’t have to escape for
Survivor to trigger. You just have to help your allies escape. The second, “Pilgrim,”
is all about learning. Seek out interesting new denizens and try to learn from
them—you’ll forge new bonds and maybe pick up a thing or two!
Either way, play into your “search for a master.” The Ronin’s past was defined
by their relationship to their master. Whether they struggle to be free of that
past, or whether they will happily commit to a new lord, the conflict creates an
interesting path for the Ronin to follow.
Notes on The Ronin Moves

For Well-Mannered, any more formal or proper setting would be appropriate
to the move, but there might be some strange cases that also count—a thieves’
guild with a lot of intricate rules on action and hierarchy might count, for
example. For each of the options when you spend hold, make sure you actually
describe what happened, what faux pas you called out, or which character you
charmed (and how).
For Fealty, when you swear the oath and declare your task, make sure you
declare a bounded task, something with a finite and clear condition under
which it has been accomplished. “Defend Hoproot” is unbounded—it could
go on forever—but “Defend Hoproot from the upcoming Redclaw Platoon
attack” is specific and clear. “Breaking your oath” can happen whenever you feel
appropriate, but it should be clear to everyone—you have broken your oath,
and there is no trying to fulfill it later. And the notoriety and prestige you earn
for breaking or fulfilling your oath are in addition to any other notoriety or
prestige you might earn through those actions.
For The Rules of War, your foe must be “reasonable”—if they are raging, or if
they are unlikely to follow any rules of conflict at all, then they don’t qualify. If
your opponent feels “obliged” to follow a rule, it means they must follow it and
cannot take any action contrary to the rule.

The Scoundrel
You are a lucky, dangerous vagabond, acting more as
destroyer and troublemaker than anything else, perhaps
creating chaos and destruction for its own sake.
Species Details
bird, cat, other • suspicious,
impoverished, flea-
Demeanor bitten, scarred
• shifty, slimy, • full face mask,
straightforward, naive mousesteel spark
lighter, overly large coat,
sulphurous pouches
+1 Charm
Your Nature choose one
-1 Cunning Arsonist: Clear your exhaustion track when

you use needlessly destructive or damaging
methods to solve a problem.
0 Finesse Combative: Clear your exhaustion track when

you try to start a fight against overwhelming
opposition.
Chaos: Advance when you topple a tyrannical or
0 Might

dangerously overbearing figure or order.
Thrills: Advance when you escape from certain

Add +1 to a stat of your death or incarceration.
choice, to a max of +2 Crime: Advance when you illicitly score a

Weapon Skills
significant prize or pull off an illegal caper
against impressive odds.
Choose one weapon skill Infamy: Advance when you decrease your

to start reputation with any faction.
Confuse Senses
Improvise Your Connections
Quick Shot See page XX for full mechanical effects of connections.
Vicious Strike • Friend: ____________ and I once met and pulled
Roguish Feats off a mad, impossible stunt together. What did
You start with these: we do? Why?
Acrobatics, Sneak, Hide • Partner: ____________ and I destroyed a
faction’s resource, on behalf of an opposing
Equipment faction. Why?
Starting value 8

Scoundrel Moves choose three
Explosive Personality

When you wreck something with flagrantly dangerous means (explosives,
uncontrolled flame, etc.), roll with Luck instead of Might.
Create to Destroy

When you use available materials to rig up a dangerous device, roll with
Finesse. On a hit, you cobble together something that will do what you want,
one time. On a 10+, choose one. On a 7-9, choose two. The device is:
more dangerous than intended
larger or more unwieldy than intended
more temperamental and fragile than intended
On a miss, you need some vital component to finish it; the GM will tell you
what.
It’s a Distraction!

You gain the roguish feat Blindside (it does not count against your maximum for
advancement). When you attempt a roguish feat to blindside someone while
they are distracted by environmental dangers (a raging fire, an oncoming flood,
etc.), roll with Luck instead of Cunning.
Daredevil

You’re at your luckiest when you go into danger without hesitation. When
you dive into a dangerous situation without forethought or planning, treat
yourself as having “Luck Armor,” with 1 box of wear (remember, armor is only
“destroyed” when you would mark another box of wear, and all its boxes are
full). The “Luck armor” automatically goes away once the danger has passed,
and the next time you would have “Luck armor,” you gain it as if it was brand
new with clear boxes.
Danger Mask

You have a mask or outfit you wear when you go about your most destructive
work—more of a calling card, an identifier of “the real you,” than a disguise.
Treat it as a piece of equipment with two boxes of wear. While you have your
mask on, any notoriety you gain is doubled, any prestige you gain is halved,
and take +1 to trust fate and all Scoundrel playbook moves. If your mask is
ever taken from you, mark exhaustion. If your mask is ever destroyed, mark
4-exhaustion. If your mask is destroyed, you can make a new mask when time
passes.
Better Lucky than Good

When you use a weapon move (basic or skilled), mark exhaustion to roll with
Luck instead of the listed stat.

____________ clearing

My teacher

the forest

My family


My loved one

My only defender

Why are you a vagabond? My best friend

I am on the run for a destructive crime

I seek vengeance for my suffering

I wish to defeat a faction


appropriate group)
I want to be free from society’s bonds

Destructive, risky, wild, mischievous. The Scoundrel is a stealthy destroyer, an

arsonist, rebel, and agent of chaos in a mask.
As the Scoundrel, you’re a troublemaker, for good and for ill. You can cause a lot
of trouble for tyrants and oppressors, but you’ll create just as much trouble for
your comrades. That’s okay, though—your high Luck means you’re just about as
good as can be expected at getting out of those sticky situations you create.
The Scoundrel might have a bit of a tendency to be antisocial with the rest of
the vagabonds—if they grow too frustrated with the way you blow up situations
and use dangerous and extreme solutions, then the other vagabonds might
want to part ways with the troublemaker. You should make liberal use of the
plead basic move to get the other PCs to go along with your plans, and you
should play hard into your connections—you’ve got a friend and a partner at
least, and those positive relationships should help make up for your mischief!
That said, when playing a Scoundrel, be sure that you don’t create meaningless
chaos (at least, not often). Even if you have the Chaos drive, you’re actually
after a particular goal, not just chaos for its own sake. Play towards your goals,
towards accomplishing ends—even if you tend to blow things up along the way,
it’s more fun if the explosions are purposeful.
Your natures both point at your troublemaking essence. If you’re an “Arsonist,”
then you have incentive to cause more destruction than necessary in
accomplishing your ends. If you’re “Combative,” then you have incentive to
start fights you probably can’t win. In both cases, you’re going to cause a LOT
of trouble to get back your exhaustion. The more you can get buy-in from your
fellow vagabonds before things explode, the better.

But when the time comes, don’t hesitate to hit your moves and blow stuff up.
The Scoundrel is a fun playbook because of the trouble it creates—it’s not a
playbook for playing it safe, no matter what your pals think!
Notes on The Scoundrel Moves

For Explosive Personality, “flagrantly dangerous” means “obviously dangerous
to more than just the thing you’re wrecking.” A giant badger might convince
himself he can bend the bars of his cell without breaking the walls. But when
the Scoundrel uses a “flagrantly dangerous” barrel of explosives, no one is under
that misapprehension.
For Create to Destroy, you are limited by available resources. You can’t build a
bomb if you have nothing to build a bomb with! That said, marking depletion is
a great way to get some supplies you otherwise don’t have around you, and you
can have fun coming up with inventive and weird combinations for a dangerous
device. Don’t worry about the science! Just know that you need something to
make a bomb. But remember that all of the choices in the move mean that the
dangerous device doesn’t operate as intended, at some level.
For Daredevil, the box of “Luck armor” is independent of all your other armor.
When it “goes away” once the danger has passed, you don’t have to transfer the
marked wear to anything else—it’s as if you had temporary extra wear.
For Danger Mask, the mask doesn’t create a totally separate identity. You’d
have to spend extra effort, likely tricking watchers, to pin the blame for your
actions on a completely different person than yourself—denizens can tell that
the tabby cat is still probably the tabby cat, even when they’re wearing a piece
of pumpkin on their face. The objective isn’t to hide your deeds, but to adopt a
troublemaking demeanor to give yourself a boost, and to let everyone else know
that you’re in danger mode!

The Thief
You are a cunning, criminal vagabond, capable of
stealing even the most well-guarded treasures, perhaps
committed to crime and theft for its own sake.
Species Details
bird, racoon, other • worn, fidgety,
inconspicuous,
Demeanor flamboyant
• fast-talking, quiet, • black cape, large bag,
angry, friendly old broken weapon,
stolen scarf

Kleptomaniac: Clear your exhaustion track

0 Cunning

when you try to selfishly steal something
valuable or important.
Rebellious: Clear your exhaustion track when
+2 Finesse

you grievously insult, defy, or anger figures of
authority.
Freedom: Advance when you free a group of

-1 Might denizens from oppression.
Greed: Advance when you secure a serious

Add +1 to a stat of your payday or treasure.
choice, to a max of +2 Ambition: Advance when you increase your

reputation with any faction.
Weapon Skills Thrills: Advance when you escape from certain

Choose one weapon skill death or incarceration.
Your Connections
to start
Confuse Senses
Improvise See page XX for full mechanical effects of connections.
Parry • Peer: I stole something important, something
Trick Shot needed or craved, for ___________.
I proved my worth to them.
Roguish Feats • Friend: ____________ sprang to get me out of
Choose any four feats to holding, whether they bailed me out or rescued
start (page XX) me. I owe them.
Equipment
Starting value 6

Thief Moves choose three
Breaking and Entering

When you attempt roguish feats to get into or out of a place you’ve previously
been, you can mark exhaustion to make the move as if you had rolled a 10+,
instead of rolling.
Disappear Into the Dark

When you slip into shadows while unnoticed, mark exhaustion and hold 1.
As long as you remain quiet, move slowly, and hold 1 for this move, you will
remain hidden. If you inadvertently reveal yourself, lose your hold. Spend your
hold to reveal yourself from a darkened place, suddenly and without warning. If
you attack someone immediately after spending the hold, take +3 on the roll.
Rope-a-Dope

When you evade and dodge your enemy so as to tire them out, roll with
Finesse. On a hit, you can mark exhaustion to make them mark 2-exhaustion.
On a 10+, you can mark exhaustion to make them mark 3-exhaustion. On a
miss, they catch you in the middle of a dodge—you’re at their mercy.
Small Hands

When you grapple with an enemy larger than you, roll with Finesse instead of
Might. On a miss, they overpower you—you’re at their mercy.
Master Thief

Take +1 Finesse (max +3).
Nose for Gold

When you figure someone out, you can always ask (even on a miss):
• what is the most valuable thing they are carrying?
When you read a tense situation, you can always ask (even on a miss):
• what is the most valuable thing here?

____________ clearing

My partner-in-crime

the forest

My family


My loved one

My protector

Why are you a vagabond? My benefacor

I have no better way to get food,

water, shelter, and money Which faction have you served
I am on the run from “associates”


appropriate group)
I am pursuing a treasure

I am being hunted by a powerful

official
Crafty, professional, nimble, quiet. The Thief is the ultimate criminal, taking
whatever valuables they can grab from any treasure room, vault, or safe, no
matter how secure.
As the Thief, you are likely the single best vagabond in your band with regard
to roguish feats. Your high Finesse and your four chosen roguish feats make
you more than capable of shoring up any gaps in your band’s skill set or solving
problems through illicit action. You should be looking for ways to bring your
skills to bear and solve problems.
You’re not in trouble when it comes to fights—you are a vagabond, after all—
but by default, you’d likely prefer to solve things through stealth and guile. That
said, part of the push-pull in the playbook is that your fellow vagabonds aren’t
going to be able to follow you into every place you sneak. The more you can
create opportunities for your fellows to follow by opening doors, leaving ropes
out open windows, and so on, the more you can rely on them when a fight
(inevitably) breaks out.
Your general skill set is about getting through trouble stealthily, without
calling attentions, so your natures instead push you to cause some problems
for yourself. That’s great! Embrace the trouble you get into by selfishly stealing
things and grievously insulting authority figures.
Your natures—Kleptomaniac and Rebellious—are both likely to get you into hot
water. “Selfishly steal something” always means that you’re stealing something
you want, and something likely to cause you and yours trouble, instead of
stealing something that you and your whole band have agreed is necessary.

Similarly, “grievously insult, defy, or anger” means that whatever you do, you’re
pretty much guaranteed the authority figure will react—if you haven’t taken
enough action that they react, then you haven’t hit the trigger.
At its heart, the Thief is a pretty direct, simple playbook—steal stuff and get
away with it!—but you provide real utility to the rest of your band. So pay
attention to their goals and desires, too. Much of the time, they’d love to have
your help picking locks, sneaking into places, and nabbing vital treasures. You
get to show off and help a friend!
Notes on The Thief Moves

For Breaking and Entering, think about the move like casing the joint before
you break in later. The more you can get someone to let you inside during the
daylight, the more easily you’ll be able to get back in that night!
For Disappear into the Dark, you could use the move either instead of hiding
or sneaking, or to further capitalize on those roguish feats. It costs you
exhaustion, but guarantees you remain hidden for as long as you act carefully
and stay quiet. That might put a limit on how far you can move, or what you
can do while hidden—you might inadvertently reveal yourself when you try to
climb a wall, for example, as a risk of the roguish feat. But you can always spend
your hold to suddenly appear from a shadow if there were any reasonable way
you might have reached that shadow after disappearing.
For Rope-a-Dope, as long as you describe yourself ducking, dodging, and
weaving, you’ve triggered the move.
For Small Hands, the size difference between you and your enemy must be
noticeable—if they’re an inch taller, then the move wouldn’t apply. If they’re
half a foot taller, or they weigh half again as much as you, then the move
triggers.
For Nose for Gold, the value of the object is with reference to you. It might
always be just about the item’s Value in terms of the game—something worth
more coin. But the GM can also tell you about a valuable object that you would
consider especially valuable for whatever reason.

The Tinker
You are an adept, clever vagabond, interested in
mechanisms and craftsmanship, perhaps possessed of
ideas that separate you from those around you.
Species Details
bird, beaver, other • scattered, organized,
grubby, singed
Demeanor • eccentric tool belt,
• hopeful, cheerful, beautiful whetstone,
inquisitive, cynical former patron’s
insignia, massive packs
-1 Charm Your Nature choose one

Perfectionist: Clear your exhaustion track

+2 Cunning

when you replace someone else’s existing tool
or resource with something truly great.
Radical: Clear your exhaustion track when
+1 Finesse

you espouse dangerous ideas to the wrong
audience.
0 Luck Your Drives choose two
Greed: Advance when you secure a serious

0 Might payday or treasure.
Ambition: Advance when you increase your

Add +1 to a stat of your reputation with any faction.
choice, to a max of +2 Revenge: Name your foe. Advance when you

cause significant harm to them or their interests.
Weapon Skills Protection: Name your ward. Advance when

Choose one weapon skill you protect them from significant danger, or
to start when time passes and your ward is safe.

Cleave
Harry
Your Connections
Improvise See page XX for full mechanical effects of connections.
Trick Shot • Peer: ____________ and I have been working
together well for a while. We read each other’s
Roguish Feats moves easily.
You start with these: • Family: _____________ and I had each other’s
Counterfeit, Disable back when we were run out of a clearing because
Device, Pick Lock our natures got out of hand.
Equipment
Starting value 8

Tinker Moves
you get toolbox & repair, then choose one more

Toolbox

You have a kit of tools and supplies with which you work on long-term projects.
Choose two features:
assorted scrap wood, assorted gears and springs, esoteric hand tools, manuals,
assorted medicines, portable alchemy kit, sewing kit, cookware, minor explosives
Choose one drawback:
heavy (counts as 2 Load instead of 1), bulky & obvious, stolen, fragile
When you open up your toolkit and dedicate yourself to making a thing or
to getting to the bottom of something, decide what and tell the GM. The
GM will give you between 1 to 4 conditions you must fulfill to accomplish
your goal, including time taken, materials needed, help needed, facilities/tools
needed, or the limits on the project. When you accomplish the conditions,
you accomplish the goal.

Repair

When you repair destroyed personal equipment with your toolbox, the GM
will set one condition as per the toolbox move. Fulfill it, and clear all wear for
that equipment. When you repair damaged personal equipment with your
toolkit, you do it as long as you spend depletion or value, 1 for 1, for each box
of wear you clear.
Big Pockets

Take two extra boxes of depletion.
Jury Rig

When you create a makeshift device on the fly, roll with Cunning. On a hit,
you create a device that works once, then breaks. On a 10+, choose one:
• It works exceptionally well
• You get an additional use out of it
On a miss, the device works, but it has an unintended side effect that the GM
will reveal when you use it.
Nimble Mind

When you attempt roguish feats involving mechanisms or locks, mark
depletion to roll with Cunning instead of Finesse.
Dismantle

When you dismantle a broken or disabled piece of equipment or machinery,
clear 2 depletion boxes.

____________ clearing

My mentor

the forest

My family


My best friend

My loved one

Why are you a vagabond? My leader

I refuse to keep my ideas to myself

I need to rebuild my workshop anew

in a safe place
appropriate group)
I crave adventure

I need to find and save my family

I need to keep my most dangerous

design safe for appropriate group)
Genius, awkward, incautious, inventive. The Tinker is an incredibly capable maker

and mechanic, solving problems through devices and clever…well…tinkering.
The Tinker is more than a crafter or a smith—they’re a true wonder with
mechanics, and they’re able to string up all manner of equipment and devices
with base supplies. Compared to most clearings’ smiths and crafters, the Tinker
is practically a wizard.
Between the Tinker’s Toolbox and Repair moves, they are oriented more
towards longer-term goals and objectives than nearly any other playbook. In
practice, that means the Tinker’s projects will often be the spur for the PCs to
take action; the Tinker needs the other vagabonds’ help to get the materials
they need, or to secure a meeting with the Royal Engineer of the Marquisate, or
whatever the case may be.
The Tinker’s natures point at their potentially strange, “exile-worthy” beliefs
in ways that prompt them to action. A “Perfectionist” Tinker can get in trouble
when they help the wrong denizens. And a “Radical” Tinker might try to
improve minds as well as materials and wind up saying the wrong thing to the
wrong crowd, for example suggesting that monarchy might not be the greatest
governmental system to a room full of Eyrie nobles.
The Tinker absolutely needs the other vagabonds in the band to support them.
The Tinker is far from incompetent (like all vagabonds), but unlike some other
vagabonds the Tinker is no match for a troop of armed soldiers on their own.
Fortunately, every other vagabond will love having a Tinker around to repair
their equipment and sometimes even arm them anew.

Notes on The Tinker Moves
For Toolbox, your features are mostly about limiting the conditions the GM
might set for you, while most of your drawbacks are about creating more
problems for you in the fiction, outside of this move.
· “Dedicate yourself to making a thing or to getting to the bottom of

something” means that either you are trying to create a new device, or you
are trying to answer some question, performing experiments or examinations
to learn difficult-to-obtain information. The conditions the GM gives you
are always in direct relation to what you set out to do. A relatively simple
device or question might have only a single condition, while an incredibly
· “Time
complicated, rare, or special device might take four conditions to create.
taken” means the GM tells you how long the work will take; you need a
· “Materials
safe space to work for that time, and new events may occur while you’re busy.
needed,” “help needed,” and “facilities/tools needed” focus on
additional resources or aid of a specialized nature that you need to accomplish
·
your goal. Obtain those resources or aid and you fulfill the condition.
“The limits on the project” means the GM can tell you how you can’t quite
manage the full extent of what you had asked for; if you want to build a fully
functional sentient wooden robot, the GM might tell you that the limit is
creating only a clockwork automaton, not really a robot. Accept the limit,
and the condition is satisfied.
For Big Pockets, these two extra boxes of wear do not count against the
maximum six total you can get through normal advancement.
For Jury Rig, you still need materials to construct your makeshift device. The
GM might ask you to mark depletion if the materials are not available in your
environment. You’re also limited by what makes sense based on those materials.
If you use a makeshift device, then it usually just works, no additional move
necessary; only in extremely uncertain circumstances should the GM ask
you to make another move to see what happens. You cannot make out-and-
out weapons (like swords or bows) with this move, though you could make
mechanisms to blow down doors or walls.
For Nimble Mind, remember the stat swap is for any roguish feat attempted
using a mechanism or lock, not just pick lock or disable device. For example,
if you’re trying to attempt a roguish feat and fling yourself into the air using a
chandelier’s winching mechanism and ropes, then you could roll with Cunning
instead of Finesse. (Though you do still need to have the feat marked—
otherwise you’re trusting fate!)
For Dismantle, taking apart a piece of equipment takes a bit of time, but you can
take apart everything from a broken cart to a smashed door if you aren’t in a rush.

The Vagrant
You are a charming, survivor vagabond, using words
to get out of dangerous situations, perhaps even
setting possible predators upon each other to keep
them away from yourself.
Species Details
bird, opossum, other • scattered, organized,
grubby, singed
Demeanor • eccentric tool belt,
• hopeful, cheerful, beautiful whetstone,
inquisitive, cynical former patron’s
insignia, massive packs
Glutton: Clear your exhaustion track when you

+1 Cunning

overindulge on vices like drink, food, and gambling.
Hustler: Clear your exhaustion track when you try

-1 Finesse
to spring a con on a powerful or dangerous mark.

0 Luck Chaos: Advance when you topple a tyrannical or

dangerously overbearing figure or order.
Thrills: Advance when you escape from certain

0 Might death or incarceration.
Clean paws: Advance when you accomplish

Add +1 to a stat of your an illicit, criminal goal while maintaining a
choice, to a max of +2 believable veneer of innocence.
Wanderlust: Advance when you finish a journey

Weapon Skills to a clearing.
Your Connections
Choose one weapon skill
to start
Improvise • Family: After ____________ and I pulled off an
Quick Shot impressive heist and stole something very valuable
Vicious Strike from a powerful faction, my bad choices landed
me in dire straits. But they bailed me out, and
Roguish Feats we’ve been close ever since.
You start with these: Pick • Watcher: ____________ saw through one of my
Lock, Sleight of Hand cons, and turned it back on me. How? Why did we
Equipment forgive each other?
Starting value 9

Vagrant Moves choose three
Instigator

When you trick an NPC into fighting another NPC, you can remove one
option from the 7-9 list—they cannot choose that option instead of doing
what you want.
Pleasant Facade

When you suck up to or otherwise butter up an unsuspecting NPC, roll with
Charm. On a 10+, hold 3. On a 7-9, hold 2. Spend your hold 1 for 1 to deflect
their suspicion or aggression away from you onto someone or something else.
On a miss, your attempts at flattery are suspicious—they’re going to keep their
eye on you.
Desperate Smile

When you trust fate to see you through by begging, pleading, or abasing
yourself, roll with Charm instead of Luck.
Charm Offensive

When you play upon an enemy’s insecurities, concerns, or fears to distract
them with words during a fight, roll with Cunning. On a hit, you create an
opening for yourself—make any available weapon move against them at +1, or
strike quickly and deal injury to them. On a 7-9, you also tick them off; they
aren’t listening to you anymore, no matter what you do, until the situation
drastically changes. On a miss, you infuriate them—they come at you, hard,
and you’re not prepared.
Let’s Play

When you play a game of skill and wit to loosen another’s tongue, roll with
Charm. On a hit, they let slip something useful or valuable. On a 7-9, you have
to lose the game to get them there; mark one depletion. On a miss, they’re
better than you ever thought; either mark one depletion and cut your losses, or
mark three depletion and they’ll start talking.
Pocket Sand

Take the weapon skill Confuse Senses. This does not count against the
maximum number of weapon skills you can take. When you throw
something to confuse an opponent’s senses at close or intimate range, roll
with Cunning instead of Finesse.

____________ clearing

my partner in crime

the forest

my family


my loved one

my boss

Why are you a vagabond? my best friend

I am being hunted by a powerful

vagabond
I can’t settle down with the denizen

appropriate group)
I truly love
I seek to depose corrupt and

dangerous leaders a special enmity? (mark one notoriety
I feel deep wanderlust

I am on the run for my lies

Deceitful, tricksy, charming, social. The Vagrant is a consummate con artist, a

trickster and huckster who gets their way by sweet-talking and lying past trouble.
The Vagrant is a bit like the Adventurer meets the Thief—a charismatic talker
who relies on deception for survival and for gain. They are likely to try to push
to the front of the band whenever talking (and especially whenever lying) is
involved. As the campaign progresses, however, they might find themself in a
tight spot. Their lies generally won’t lead to prestige gains with the deceived
faction, so at some point, the Vagrant should probably pick one faction they’re
not going to con left and right…unless, of course, they’re okay being on every
faction’s bad side.
As with all vagabonds, the Vagrant works best in the “has a heart of gold” mode.
If the Vagrant has no shame about deceiving anyone and everyone, including
innocents and victims of oppressors, then they’re going to become unlikable
fast. Testing the boundaries of how far the Vagrant will go to land their tricks is
part of the character development of the playbook, and a Vagrant player should
almost always have some limit to how far they will go.
The Vagrant’s “Hustler” nature feeds into the core activity of the Vagrant—
conning people—but makes it messy by forcing the Vagrant to target denizens
who are too dangerous to safely and easily trick. It’s a good nature for the
Vagrant whose reach exceeds their grasp. The “Glutton” nature, on the
other hand, is a nature for the carousing, good-natured, vice-driven Vagrant.
Overindulging any vice will always cause trouble, but at least a Vagrant who
spreads the wealth might make a friend or too while having a good time.

While the Vagrant is very much a trickster, they don’t really get away with
tricking their fellow vagabonds. They might try from time to time, but they
don’t have a move to deceive a PC, and there will always be at least one PC—
their Watcher connection—who can see past any attempted deception. When
playing the Vagabond, keep in mind that your fellow vagabonds exist in a
different state than the rubes you usually trick; they’re not nearly so easily
misled, and that’s probably why they make worthy companions.
Notes on The Vagrant Moves

For Instigator, keep in mind that even on a 7–9, the GM might still choose that
the NPC falls for your trick. You’re best off removing the most likely option for
the NPC to choose so that they’re more likely just to fall for your trick than to
choose a different, highly unbecoming option from the list.
For Pleasant Facade, think of the move as providing a kind of social armor.
Once you have hold, you can spend it to ameliorate misses and 7–9 results as
you try to trick or persuade further.
For Charm Offensive, you have to know your enemy’s insecurities, concerns, or
fears to play upon them, so this move will often be preceded by figuring them
out. On a 7–9, they’re not listening to you anymore—you can’t persuade them,
can’t trick them by talking to them, and definitely can’t use Charm Offensive on
them again.
For Let’s Play, the depletion you’re marking represents bets you’re losing in
the effort to loosen their tongues. This move isn’t just for winning a game of
chance; it’s for using gambling to get them talking.

Advancement
& Equipment
A t the start of a campaign of Root: The RPG, the band
of vagabonds is already composed of competent, capable
characters, a set of adventurers, mercenaries, criminals, and
heroes (maybe) who are already adept at feats the average Woodland
denizen could not possibly match. But as they pursue their drives,
fulfill contracts, and otherwise take action across the Woodland, they
will inevitably grow and change.
This chapter is about two significant modes of change—advancement
and equipment. As vagabonds fulfill their drives, they earn advances
that directly improve their capabilities. And as they earn more money
or obtain valuable objects, they can spend those resources to get better
equipment, further increasing their capabilities. In this chapter, you’ll
find all the rules about both of those kinds of change.
You’ll also find additional rules for changes to your character to reflect
alterations in their drives or nature, rules for making a new character
altogether, and a set of pre-generated equipment you can easily use
throughout your game.
Advancement
“Advancements” in Root: The RPG are explicitly the rewards for a
vagabond who pursues their drives. (For more on drives, see page XX.)
Earning Advancements
A vagabond can earn one advancement each session for each drive they
fulfill. That means in any given session of play, a vagabond might earn
two advancements at most—one for each drive. Vagabonds cannot
earn more than one advancement per drive per session.
The conditions for fulfilling a drive are described on each playbook in
the Drives section. While any given playbook might have a different set
of drives, every playbook pulls from the same overall pool.
A PC advances just as soon as they fulfill the condition of the drive. At
the end of each session, GMs and players should go around and see if
anybody fulfilled a drive but just missed it; if they did (and they haven’t
advanced for that drive already), they can advance then, at the end of
the session.

Here are all the drives with a bit of additional detail and explanation:
Ambition
Advance when you increase your Reputation with any faction.
Your Reputation is the number, not simply prestige boxes. The actual value
of your Reputation has to go up. You advance for any time your Reputation
with any faction goes up (although again, only once per session). Whether the
Reputation moves from –3 to –2 or +2 to +3, it still counts.
Chaos
Advance when you topple a tyrannical or dangerously overbearing figure or order.
“Topple” means that the figure or order has been deposed, removed from
power, at least temporarily (it doesn’t always have to be permanent). Who or
what qualifies as a “dangerously overbearing figure or order” is a matter of
discussion between players and GM, with GM having the final call.
Clean Paws
Advance when you accomplish an illicit, criminal goal while
maintaining a believable veneer of innocence.
An “illicit, criminal goal” should be a goal that any force of law and order in the
area would frown upon. “A believable veneer of innocence” means that, by and
large, most denizens aware of the crime have no reason to blame you. Maybe
they are suspicious of you, but they definitely don’t have evidence.
Crime
Advance when you illicitly score a significant prize or pull
off an illegal caper against impressive odds.
“Illicitly score a significant prize” or “pull off an illegal caper against impressive
odds” offer two ways to advance with this drive. “A significant prize” can be
relative to the vagabonds’ circumstances, but it should always be something
either of extraordinary monetary value or of extraordinary intrinsic value—an
incredibly valuable gemstone, or the gemstone that determines the next ruler of
the Eyrie, respectively. “Pulling off” the caper in no way means that everything
went well; all it means is that you more or less achieved your desired end. When
determining whether “impressive odds” applies, think about whether or not it
makes a good story; you wouldn’t recount the tale of duping some guard, but
you would absolutely recount the tale of robbing the local governor’s mansion.
Chapter 7: Advancement & Equipment 181

Discovery
Advance when you encounter a new wonder or ruin in the forests.
Both the “new wonder” and the “ruin” are understood to be “in the forests”—
this drive is for vagabonds interested in exploring the forests. A new ruin is one
you haven’t been to before, not necessarily one that no one has found before. A
new wonder is anything impressive, surprising, exciting, or special that you find
in the forests—think of it as something you could tell other denizens about and
have them listen with rapt attention.
Freedom
Advance when you free a group of denizens from oppression.
“Free a group of denizens” doesn’t mean “permanently,” but it does mean

that for the moment, their bonds are removed. “Oppression” can take many
different shapes, but it must be real; the oppressed denizens must themselves
believe fully in their own oppression.
Greed
Advance when you secure a serious payday or treasure.
“A serious payday or treasure” can be from anywhere, but it has to be worth a

LOT of money. The amount can be relative—a “serious payday” for a dirt-poor
vagabond might be less than for a rich vagabond—but should be approximately
5-Value or more.
Infamy
Advance when you decrease your Reputation with any faction.
Your Reputation is the number, not simply notoriety boxes. The actual value of
your Reputation has to go down. You advance for any time a Reputation with
any faction goes down (although again, only once per session). Whether the
Reputation moves from +3 to +2 or –2 to –3, it still counts.
Justice
Advance when you achieve justice for someone wronged by
a powerful, wealthy, or high-status individual.
“Justice” is highly dependent upon the exact situation and should be discussed
between GM and players. If need be, the GM has final say. “Wronged by a
powerful, wealthy, or high-status individual” means that the victim was genuinely
harmed, and the perpetrator is of greater power, whether de facto or de jure.

Loyalty
You’re loyal to someone; name them. Advance when you
obey their order at a great cost to yourself.
You can name any character, including an NPC you make up from scratch or
another PC if you so choose. If you name an NPC, make sure you consider how
you get orders from them—if they stay put and you travel, then you can still
receive orders from them through missives. “At a great cost to yourself” means
that you undertake great risk or suffer great consequence in carrying out their
orders. If you carry out their orders while suffering nothing, risking nothing,
and paying no cost, then you haven’t satisfied the drive.
Principles
Advance when you express or embody your moral
principles at great cost to yourself or your allies.
“Your moral principles” have to be real—no “but my moral principles say it’s fine
to steal from anyone at any time!” By choosing this drive, you are saying your
character has real moral principles, a code of conduct that matters to them. You
don’t have to outline every aspect of their principles, but at character creation
you should have a notion of some overriding principle that matters to your

character—“Violence is never justified,” “The poor deserve as much succor as
we can give,” “Democracy is the only fair mode of government.” “Express or
embody your moral principles at great cost to yourself or your allies” means
that your principles dictated your action, and because of those actions you and
your friends paid a meaningful price.
Protection
Name your ward. Advance when you protect them from significant
danger, or when time passes and your ward is safe.
You can name any character, including an NPC you make up from scratch or
another PC if you so choose. If you name an NPC, then you should either plan
on their traveling with you, or you should understand that you are unlikely
to advance with this drive unless time passes or you are specifically in their
home clearing. “Protect them from significant danger” means that you either
prevented them from coming to harm or rescued them from a worse fate. “When
time passes and your ward is safe” means that whenever “time passes” and the
Woodland’s war progresses, if your ward is more or less safe, you advance.
Revenge
Name your foe. Advance when you cause significant harm to them or their interests.
You can name any NPC, including one you make up from scratch. Do not
name a PC. Whomever you choose should be a powerful foe—a real enemy
who can return again and again. If you choose someone easily disposed of,
then this drive will quickly become irrelevant. “Significant harm” is left up to a
conversation between the GM and the players, with the GM having final say.
Thrills
Advance when you escape from certain death or incarceration.
“Certain death or incarceration” here refers to the overdramatic sense of “dire

straits”—obviously, if death were actually certain, then you wouldn’t have
escaped! Think of it instead as making a narrow escape from what looks like
impossible-to-overcome danger.
Wanderlust
Advance when you finish a journey to a clearing.
This is one of the most direct, simplest drives in the game—every time you
arrive at another clearing, you advance. Not when you begin the journey, of
course; only when you arrive.

Choosing Advancement
When you earn an advancement from your drive, you can immediately pick one
option from the list. The list is the same for all characters.
If the option you choose changes the fiction in some way—for example, taking
the Toolbox move from the Tinker playbook providing you a new physical tool
kit—then the GM works with the player to introduce the new element in a
way that makes sense as soon as possible. If you took Toolbox in the middle of
a fight, then it’s unlikely you would suddenly sprout a tool kit—but if you take
it after the fight is over, then maybe you find it as salvage, or a denizen you
defended gratefully provides it.
Advancements
When you advance by following a drive, choose one from the list:
· Take
· Take a new
+1 to a stat (max +2)
· Take up to two
Take a new move from your playbook (max 5 moves from your own playbook)
· Take up to two new

move from another playbook (max 2 moves from other playbooks)
· Add one box to new

weapon skills (max 7 total)
· Take up to two new connections

roguish feats (max 6 total)
·
any one harm track (max 6 each)
(max 6 total)
Take +1 to a stat (max +2)

Add +1 to one of your stats! The highest it can go through this advancement
is a +2, but there are moves you can take from several playbooks that might
boost it to a +3.
Take a new move from your playbook (max

5 moves from your own playbook)
Check another box and gain another one of your own playbook’s moves!
Remember that the majority of playbooks start with three moves already, so
that means you can only take this advancement twice.
Take a new move from another playbook

(max 2 moves from other playbooks)
You have access to the whole range of moves available in other playbooks. It’s a
lot to look through, so unless you have something specific in mind you might
want to take suggestions from the other players and GMs, or look through the
other playbooks during downtime. You can only take this advancement twice,
for two total moves from other playbooks.

Take up to two new weapon skills (max 7 total)
Check off the boxes and learn two more weapon skills! Spend a bit of time
thinking about from where you learned these skills—was it a teacher, or just
practice, practice, practice? The maximum seven total weapon skills counts
the weapon skills you start the game with, but it does NOT count any of the
weapon skills you might learn as the result of a playbook move.
Take up to two new roguish feats (max 6 total)

Check off the boxes and learn two new roguish feats! Remember that means
that you’ll use attempt a roguish feat and Finesse (by default) for those actions
instead of trusting fate and Luck—but with the benefit that attempting a
roguish feat is a lot less risky and messy than trusting fate. Like with the
weapon skills, think a bit about how you learned these skills. The maximum six
total roguish feats includes those you start with, but does NOT include any you
might learn as the result of a playbook move.
Add one box to any one harm track (max 6 each)

Expand your harm track—give yourself greater reserves of energy (Exhaustion),
bigger pockets (Depletion), or more toughness (Injury)! Each track can only
increase to six boxes, though you can ultimately increase all three tracks to six
boxes. This doesn’t count any additional boxes you might earn as the result of a
playbook move.
Take up to two new connections (max 6 total)

Take two new connections—just the mechanics, like Protector or Watcher. See
page XX for the full list of connection types. This advancement is mostly for
larger vagabond bands, in which you might have a lot of companions and want
a connection to each, or for when you feel very strongly that your relationship
with a single vagabond has become multifaceted and thus deserving of two
connections pointed at the same character.

Changing Character
Over the course of a long-term game, your vagabond is going to change. They’ll
come to change their beliefs, act in different ways, alter relationships, and
form brand new ones. That’s both to be expected and to be desired—dynamic
characters are interesting to watch.
To track the ways your character might change over the course of play, you have
the session move, described on page XX. Here is the full text of that move again:
When the session ends, one at a time, each player may choose one ele-
ment of their playbook to update or change. They do not have to choose
anything, if they don’t want to. They may choose one of the following
options:
· Replace
· Replace
one drive with a new drive from any playbook
· from anya playbook

nature with a new nature from any playbook
Replace connection (both type and subject) with a new connection
This move allows you to say at the end of any session, “I have changed, and
here is how.” It lets you pick a new drive for your character and thereby indicate
that they will be pursuing a new course of action. It allows you to replace your
nature with a new one, indicating a major change to the core of your character.
It even lets you say your relationships to other characters change, swapping out
the mechanical benefits of one connection for another.
Use this move to make sure your understanding of your character matches
what’s on your character playbook, and that the other players and the GM are
all on the same page with you about what matters most to your character on
both emotional and mechanical levels.
If you find yourself wanting to change more elements at the same time, talk it
over—it’s not impossible some major upheaval could change both your drives and
your nature all at once, but that should be far from commonplace, and everyone
at the table should agree with the change and understand why it is happening.
If you want to undergo an even more massive change to your character, however…

Changing Playbooks
You might come to a point at which you say, “This playbook no longer matches
my vagabond at all.” At that time, it might be right to change playbooks.
For the most part, the playbook frame in Root: The RPG is pretty flexible. You
can take moves from other playbooks; you can take natures and drives from other
playbooks; you can change your stats and your harm tracks; you can even learn
new roguish feats and weapon skills. If you’re the Arbiter, there’s little from any
other playbook that is out of your reach, if you want to expand in that direction.
So changing your playbook is usually not a necessary part of the game.
If, however, you feel strongly that you are no longer the same vagabond, and
something has fundamentally changed, talk it over with your table so everyone
is on the same page. As long as the GM and the rest of the players agree, then
you can use the following procedure at the end of a session of play or during a
major in-fiction time jump to change playbooks:
· Details: You may pick new descriptors from the options for your new playbook
· Background:
if they apply. Explain how and why your character’s description changed.
Your background stays the same; don’t change or make any
· Stats:
new choices here.
You will keep your vagabond’s stats mostly the same. Look at the new
playbook’s starting stats, and pay attention to the new playbook’s highest and
lowest stats. You may decrease the new playbook’s lowest stat by one for your
vagabond to raise the new playbook’s highest stat by one for your vagabond.
This cannot exceed raise a stat above +2 or lower a stat below the minimum
of –2. Example: When switching to the Arbiter playbook, the Arbiter’s
highest stat is Might, and its lowest stat is Luck. You may decrease your Luck
·
by –1 to increase your Might by +1.
Nature and Drives: Change your nature to one from the new playbook,
·
and both your drives to two from the new playbook.
Connections: Change two of your connections to the types from your new
·
playbook—explain why you see those characters in that new light.
·
Reputation: Your Reputation, prestige, and notoriety all stay exactly the same.
Moves: You may swap moves from your old playbook for moves from your
new playbook, one for one. You do not gain any new moves—the overall
number of moves you have remains the same. Furthermore, the overall
number of moves you have must follow normal advancement limits—so you
are only allowed two moves from outside your new playbook, and five moves
from inside of it. Explain why your skills are changing and what changed
·
about you to match.
Equipment: Your equipment stays exactly the same.

· Harm
· Roguish
tracks: Your harm tracks stay exactly the same.
feats: You may swap one roguish feat to match one you could have
· Weapon
chosen from the new starting playbook. The rest stay the same.
skills: You may swap one weapon skill to match one you could
have chosen from the new starting playbook. The rest stay the same.
And you’re set!
Anything complicated or confusing, work out with your GM and your table—
exceptions are perfectly fine, so long as everyone is okay with them and they
make sense within the fiction.
In general, though, just keep in mind that the degree to which you can advance
and expand your character should make the option of changing your character’s
playbook only necessary for the most extreme cases—otherwise, you should be
able to develop the way you want!
Making a New Character

Sometimes a vagabond character’s story comes to an end. Maybe they’re ready
to settle down and stop wandering the Woodland. Maybe they’ve taken up a
position of real power within a faction, and they’re going to join in earnest,
abandoning their vagabond independence. Maybe they met a heroic but
untimely end under a hail of arrows. Maybe the character’s player is just ready
for a change and a new kind of character!
All of those instances lead to the player making a new character. Here are the
guidelines, procedures, and tips for doing just that.
Out with the Old

First of all, if the old character is still alive, then they become an NPC. The GM
and the player should agree upon the circumstances of that NPC and their
general drives, goals, and attitudes upon their retirement.
A PC can retire in such a way that they are removed from the story entirely—
they leave the Woodland to venture across the world, or they retire in their own
quiet, utterly hidden corner of the forest. If a player wants their character to be
gone from the story, never to be portrayed as an NPC or to have an effect upon
events, they should make that clear to the GM when they retire.
Otherwise, however, a PC most likely becomes an NPC. A vagabond who settles
down will still exist in that location and can represent an ally who can provide
the band some food, shelter, and respite…but will also become subject to the
same ebbs and flows of the Woodland’s struggles. A vagabond who joins a
faction might be as noble or power hungry as any other faction representative,
and might take actions both for and against the vagabond band.

On Masteries
In Travelers & Outsiders, the supplement book for Root: The RPG, you
will find more information about masteries. Masteries are special advancements
that can push you above normal skill with many of the weapon skills and even basic
moves, giving you special outcomes on a 12+ result that reward you even further.
They’re advancements designed to support the idea of specialization. If you’re
interested in knowing more, make sure to check out Travelers & Outsiders!
If a player accepts their PC becoming an NPC in the Woodland, then the GM has
a duty to portray that character in a way honest to that character’s nature and
desires—just like with any other NPC. But the GM does not have any obligation
to check in with the original player before making new choices for the former
PC. The former PC can change and become a different character, as long as it
makes sense in the fiction and matches up with the GM’s agendas, principles,
and moves. (See more on agendas, principles, and moves on page XX.)
Put another way, if a player absolutely doesn’t want their PC to become
something they wouldn’t have chosen, then the PC should retire well outside
of the Woodland’s story. If the player accepts that their PC becomes an NPC
still active within the Woodland in any way, then they are trusting the GM to
portray that character as interesting, complicated, and dramatic, just like with
any other good NPC.
For any vagabond who had connections pointing at the now retired/removed/
dead character, they may point those connections to other characters in the
band, including the new character.
In with the New

Then, the player makes a brand-new vagabond! Choose a new playbook as
if you were making a character from scratch, again avoiding any duplication
with the other PCs in the band. Fill them out as normal, but with the following
adjustments:
· When you flesh out the new PC’s background, think about where the PC has
been during the events of the game so far. What do they think of the band’s
actions? And because the new PC is joining the band, make sure to think
·
about why they want to join up with the band now.
When you choose connections, you can fill them out as usual. A vagabond
who had connections pointing at the old character can swap them to match
up with the new character, even changing the connection type at the GM’s

discretion. Make sure to think about how the new vagabond knows the
members of the band, why the new vagabond wants to join now, and why
·
they are accepted by the current members of the band.
Choose moves, stats, and equipment as normal. At the GM’s discretion, the
new vagabond may have one or two free advances to start, and may have
an additional 4-Value to spend on equipment—mostly this is in situations
where the rest of the vagabonds have earned many advances already or have
·
significantly improved equipment.
Finally, resolve how the new vagabond joins the group. This is better handled
as an event that occurred during a stint of time passing—not as an actual
out and out scene. The core questions of such a scene—”Will this new
vagabond join the band? Will the band accept this new vagabond as one
of their own?”—are already answered. Yes, the new vagabond will join the
band, and yes, the band will accept this new vagabond as one of their own
(more or less). Instead, make sure everyone is on the same page about the
circumstances of that joining and about how the characters know of or have
heard of each other, and then get to playing!
Equipment
Equipment is an important part of Root: The RPG. A vagabond is incredibly
capable, but one with bad tools is going to have a hard time, no matter their skills.
Throughout the game, vagabonds will put strain on their existing equipment and
then spend resources to repair it or to buy new equipment altogether. They’ll
steal noteworthy or valuable items to upgrade their existing kit. They’ll debate
whether to wield twin daggers or to wield one enormous greatsword.
That said, it’s important to note up front that equipment is far from the be
all and end all of a vagabond’s competency. While a vagabond can have better
or worse equipment, there is plenty going on that no equipment will help
resolve. A vagabond with the epic greatsword of Eyrie Dynasties legend Yorick
Thunderwing will still have a hard time going up against a whole platoon of
soldiers, and if the vagabond doesn’t maintain a good reputation with the Eyrie,
that’s what they might find themself facing one day.
So while vagabonds are going to spend time paying attention to their
equipment, it also shouldn’t become the sole focus of the game. It’s a part of
their overall story in the Woodland, but not the focal point.
There is some information about equipment earlier in this book in the section
on making characters, page XX. Here you’ll find some of those rules restated to
keep them in one place.

What Is Equipment?
When Root: The RPG refers to equipment, it refers to important, larger,
specific, and non-replaceable items. Your sword or your bow are pieces of
equipment. Your armor is a piece of equipment, as is your shield. Arrows aren’t
equipment in the same way…unless they’re very special arrows. A lockpick isn’t
equipment and is better represented by depletion…unless it’s a masterwork,
unbreakable lockpick.
In terms of the game’s rules, a piece of equipment is something that has a
wear track and has its own tags. Wear is a special harm track unique to an
individual piece of equipment, representing the equipment’s durability. When
all the boxes of a wear track are full, then the associated piece of equipment is
damaged pretty badly, to the point where it’s barely functional. If you ever need
to mark another box of wear on a piece of equipment with a full wear track,
then the equipment is destroyed entirely, beyond repair.
Tags represent special traits, moves, abilities, and other mechanical effects that
a piece of equipment might bear. They range from traits that make a weapon
more effective in combat, to abilities that make a flute particularly useful for
putting on shows.
Weapon move tags are a specific kind of tag that allows a wielding vagabond
to use a particular weapon move—as long as they also have the appropriate
weapon skill (see page XX).
You can see a full list of tags on page XX.
A weapon will also have at least one range by default. That is the range at which
the weapon can reach enemies, the range at which it is effective. There are only
three ranges—intimate, close, and far. For more on ranges, see page XX.
If an item isn’t significant enough to have wear or tags, then it isn’t a piece
of equipment within the game’s rules—it can be discarded, forgotten, lost,
and ignored without much trouble. This is the difference between a single,
unimportant torch, and a special bullseye lantern crafted with colored glass
from the far away Domain of the cats.
Load
Every vagabond can carry only so much Load without being burdened—4
by default, modified by your Might. If you have a Might of +1, you can carry
5-Load; if you have a Might of –1, you can carry 3-Load. Many items don’t use
up any Load to carry. But most larger or significant items use up 1-Load.
Think of Load as indicating which items are large and obvious when someone
sees your vagabond. Your armor, your sword, your bow, your shield—someone

looking at your character would see them all, on your vagabond’s body, hanging
from a scabbard, slung over a shoulder—and each would use up 1-Load. The
knife that your character has in their boot, however, wouldn’t use up any Load.
A particularly large or bulky item might have a flaw tag that makes it take up
2-Load—a huge sword, for example. If an item is small or easy to carry, then
even if it has wear, you can carry it without it counting against your Load.
If you’re ever carrying more Load than your maximum, then you’re burdened—
meaning that you’re slow, you’re not able to move quickly or easily, and the GM
will make moves as appropriate. You absolutely cannot carry more Load than
twice your maximum.
Value
There is no single consistent currency in the Woodland, no coin of the realm
that you can rely upon. Barter and exchange are the order of the day. As such,
in Root: The RPG, the financial worth of objects is measured in Value, an
abstract generalization of price. A single box of depletion on a vagabond’s harm
tracks provides roughly the equivalent of 1-Value in coins or other objects.
The actual going price of items and objects varies based on the circumstances—
1-Value of food might normally be a couple loaves of bread, but in a clearing
suffering from famine, the same loaves might go for coin worth 4-Value—but
here’s a rough approximation of the kinds of things you might find for a few
different Value amounts.
Value Item
1 A day’s worth of food, decent healing supplies for a non-life-threatening wound, a
pouch of coin, a night’s rest at an inn
2 A very simple dagger, basic tools for farming or smithing, a traveling cloak
3–4 A basic sword or bow, simple leather armor, a shield, a decent wheelbarrow, a week’s
rest at an inn
5–6 A decent sword or bow, good leather or chain armor, a wagon cart, two weeks’ rest at
an inn
7–10 An excellent weapon, good plate armor, a chest laden with gold, an ancient jewel-
encrusted cup from a ruin, a simple riverworthy boat

Buying and Selling Equipment
Every piece of equipment is worth a certain amount of Value, based on this
simple formula:
Boxes of Wear + Extra Ranges + Special Tags + Weapon Move Tags – Flaw Tags
A sword with three boxes of wear, no additional ranges, one special tag, one
weapon skill tag, and no flaw tags would have a Value of 5.
You can buy equipment from merchants, traders, or crafters who would
actually have the appropriate equipment—a food merchant is unlikely to sell
a sword, for example. Simple purchases of relatively basic objects are likely
always available in a decent-size clearing, as long as the vagabonds can move
around. For example, a vagabond who wants to buy a sword with two boxes
of wear and a single weapon move tag—a fairly basic sword—might be able
to do so in a clearing with a market without any special effort or work. At the
GM’s discretion, such basic purchases might just be transactional without any
uncertainty, no moves triggered. Pay the Value, and get the item.
Similarly, a vagabond might be able to sell simple items without much issue,
restoring depletion or even getting a satchel of coin instead. Selling the same
basic sword worth 3-Value might be as simple as finding a weapon merchant,
and again, at the GM’s discretion, might occur with no uncertainty, no moves
triggered. Just clear 3-depletion, or take a piece of equipment with 3-wear (the
satchel of coin, whose wear can only be marked to spend it).
But always remember that, in practice, the going price for an object may vary
based on circumstances. A merchant might buy an obviously stolen sword
for less than it’s worth, while a friendly blacksmith might charge a lot less
to make a sword for her allies. And particularly noteworthy items, or large
bundles of items, are a lot less likely to be sold or bought without question. The
weaponsmith who’d buy a single sword, no issues, is a lot less likely to buy five
swords at once from someone she doesn’t trust.
In those cases, the nature of the NPC seller or buyer matters greatly, and the
GM portrays them just like any NPC, with their own drive and desires. Within
those desires, they might offer discounts or price hikes. Normal changes to
price are around 1- or 2-Value up or down—anything past that, and the NPC is
either very fond of the PC or is trying to take advantage of the PC in some way.
So when buying equipment, remember that all the moves are still handy. You
can persuade merchants, trick merchants, ask for a favor from merchants, and
so on. All those tools can help get you more Value when you sell or pay a lower
price when you buy.

Crafting Equipment
The majority of vagabonds in Root: the RPG cannot craft equipment. The
Tinker can, thanks to their toolbox, but that move has its own rules about
crafting and creation. Generally speaking, the minimum cost in Value for a
Tinker to make an item is equivalent to the item’s normal Value—a sword
with 2-wear and a single weapon skill tag would still cost at least 3-Value of
materials to make.
A vagabond can always pay a competent crafter to make their own equipment,
of course. In all such cases, though, there is uncertainty, and the GM and player
should expect to see the scene in action. Crafting a new item to a vagabond’s
specifications isn’t a simple thing, and the crafter might charge more or ask for
a favor in return. Just the same, a vagabond might persuade a crafter to take on
the job for a lowered price, or ask for a favor and have the crafter make it for
free (if they have a high enough Reputation).

Finally, when putting together any piece of equipment, make sure you think
about how the tags all play together. A sword likely cannot have the Friendly
tag by its very nature—what would a friendly sword even look like? A dagger
cannot have Heavy Draw Weight, a tag all about the draw weight of a bow’s
string…but there might be a way to make that kind of tag make sense for a
dagger. A bow cannot both have Short Limbs and Large—how could the bow
both be specifically short, and also large? The tags always have a fictional
element in understanding what the item actually is, what it looks like, how it’s
put together. Make sure that the tags all make sense together, and if they don’t,
then adjust them or change them.
Tags
Equipment tags are special traits held by a piece of equipment that give it
additional abilities. Each positive tag adds 1-Value to the overall worth of the
item in question. Each negative tag refunds 1-Value from the overall worth of
the item, lowering its price by 1-Value. In parentheses after each tag, you’ll find
an idea of the kind of item the tag could apply to; although, as always, use these
tags as inspiration to create more specific appropriate tags as you need them.
Positive Tags
+ Arrow-proof: Ignore the first hit dealing injury from arrows that you suf-
fer in a scene. (Armor)
+ Blunted: This weapon inflicts exhaustion, not injury. (Hammer, staff)
+ Catfolk Steel: Mark wear when engaging in melee to shift your range one
step, even on a miss. (Armor, weapons)
+ Ceremonial: Choose an attached faction. While this item is displayed, treat
yourself as having +1 Reputation with that faction, and –1 Reputation with
other factions. (Anything)
+ Comfortable: This item counts as 1 fewer Load. (Armor)
+ Durable: If this item would ever be destroyed, permanently remove 1-wear
from it instead. If it ever has no wear remaining, it is destroyed. (Anything)
+ Eaglecraft: Mark wear when engaging in melee to both make and suffer
another exchange of harm. (Weapons)
+ Fast: Mark wear when engaging in melee to suffer 1 fewer harm, even on a
miss. (Smaller or thinner weapons)
+ Friendly: When you meet someone important, mark exhaustion to roll
with your Reputation +1. (Armor, nonthreatening weapons like staves)

+ Flexible: When you grapple with someone, mark exhaustion to ignore the
first choice they make. (Armor)
+ Foxfolk steel: Ignore the first box of wear you mark on this item each
session. (Weapons and some armor)
+ Hair Trigger: Mark wear to target a vulnerable foe at close range instead
of far. (Crossbow)
+ Healer’s Kit: Mark wear to clear exhaustion. Mark 2-wear to clear injury.
(Healer’s kit)
+ Heavy Bludgeon: Mark exhaustion to ignore your enemy’s armor when you
inflict harm. (Hammer, mace)
+ Heavy Draw Weight: When you target a vulnerable foe with this bow,
mark exhaustion to inflict 1 additional injury. (Bow)
+ Iron bolts: This weapon inflicts 1 additional wear when its harm is ab-
sorbed by armor. (Bow, crossbow)
+ Large: Mark exhaustion when inflicting harm with this weapon to inflict 1
additional harm. (Weapons)
+ Luxury: After creation, this item is worth +3-Value. (Anything)
+ Mousefolk Steel: Mark wear to engage in melee using Cunning instead of
Might. (Weapons)
+ Mighty: When you wreck something with this item, mark 2-wear to shift a
miss to a 7–9 or a 7–9 to a 10+ result. (Explosives, heavy weapons)
+ Oiled string: Mark wear to use the weapon skill quick shot even if you
don’t have it. (Bow)
+ Quick: Mark exhaustion to engage in melee with Finesse instead of Might.
(Small or fast weapons)
+ Rabbitfolk Steel: Mark wear to engage in melee with Finesse instead of
Might. (Weapons)
+ Reach: When you engage in melee, mark wear on this weapon to inflict
harm instead of trading harm; you cannot use this tag if your enemy’s weap-
on also has reach. (Large, tall weapons)
+ Refreshing: When you take some time to relax and drink or eat from this
item with a group, mark 3-wear, +1 additional wear for each participant past
the third. Every participant clears all exhaustion. (Meal, flask)
+ Sharp: Mark wear when inflicting harm with this weapon to inflict 1 addi-
tional harm. (Edged weapons)

+ Short Limbs: Mark wear to fire a quick shot at far range. (Small bow)
+ Signature: Whenever you earn prestige or notoriety while showing this
item, mark 1 additional prestige or notoriety. (Anything displayed)
+ Thick: When you mark wear on this shield to block a hit, you only ever
mark 1-wear, even if you are blocking more harm from a single hit. (Shield)
+ Thief Kit: When you attempt a roguish feat appropriate for this item, you
may mark wear on this item instead of marking exhaustion to avoid a risk
coming to bear on a 7–9. (Tools, specially made armor or weapons)
+ Throwable: Mark exhaustion to target a vulnerable foe with this weapon
at far range. (Daggers, grenades)
+ Tightly woven: When you take a few seconds to repair this armor after a
fight, clear 1-wear you marked during the fight. (Chain armor)
+ Tricky: When you use this item to trick an NPC by distracting them at a
distance, on a 7–9 mark wear to eliminate one option from the trick an NPC
move before the NPC picks. (Bolas, bows)
+ Unassuming: Until you harm an enemy, they will never deem you more of a
threat than other vagabonds with arms and armor. (Robes, staves)
+ Versatile: When you move to or from a range this weapon can reach, mark
wear to make a quick strike and inflict injury on any opponent in this weap-
on’s range. (Fast weapons)
Negative Tags
- Bulky: This weapon cannot be hidden and is always visible while on your
body. Mark exhaustion whenever you attempt a roguish feat or trust fate to
sneak, hide, blindside, or perform an act of acrobatics. (Large weapons)
- Cumbersome: Mark 1-exhaustion when you don your armor—clear 1-ex-
haustion when you take it off. (Heavy armor)
- Fragile: When you make a weapon move with this weapon, mark wear on
it. Mark exhaustion to ignore this effect. (Light weapons)
- Hated: Take –2 Reputation with the faction that loathes this item while it is
displayed. If you reveal this item to foes of that faction, they clear morale as
they are energized by anger at you. (Anything)
- Shoddy: Repairing this item costs twice as much Value per box of wear
cleared. (Anything)
- Slow: When you engage in melee with this weapon, choose one fewer op-
tion. Mark wear to ignore this effect. (Heavy weapons)

- Ugly: Take –1 to meet someone important while they can see this item.
Mark exhaustion to hide it. (Weapons or handheld items)
- Unwieldy: Take a –1 to all weapon moves, basic moves or skills, made with
this weapon. Mark exhaustion to ignore this effect.
- Weighty: This item counts as 1 additional Load. (Anything large)
- Wicked: Anyone who sees this weapon will deem its wielder a threat, at
least to be watched carefully. When you inflict any harm with this weapon,
mark notoriety with an observing faction for each harm inflicted.
Inventing Your Own Tags

Feel free to invent your own tags. When you do, use the tags above as a baseline
for the level of effect that each one should have—if your tag has substantially
better or worse effect, then its Value should be higher or lower, as appropriate.
In general:
· Ifyouyouwant.
can, find an existing tag and mirror it into the new version of the tag
· Aharm;
tag’s effects do not have to be limited to fighting and blocking or inflicting
they can interact with Reputation or even just the fiction itself
·
without issue. (See tags Unassuming and Friendly.)
Most tags with potent abilities that allow users to swap stats, inflict
additional harm, ignore armor, or otherwise achieve extra effect will have a
cost attached. In other words, if a PC would always want to have the effect
whenever they use the item because the effect is so potent, then it should
likely be limited by a cost. “Mark exhaustion,” “mark depletion,” and “mark
wear” are all common costs.
For example, if you wanted a version of Weighty that made an item count as 2
additional Load, then it should refund a total of 2-Value. If you wanted a tag
that made a sword completely ignore armor, then it could just be a renamed
version of Heavy Bludgeon worth the same (1-Value) and still requiring a
character to mark exhaustion to use it. If you wanted a new tag that indicated
a weapon could light fires with every strike, perhaps because of a special oil
channel running down its length, then such a specific and expert tag could
be worth 2-Value to match its uniqueness, and likely would still require the
character to mark wear on the weapon to use it (as lighting it on fire might
cause some damage to the item).

Improving Existing Equipment
For the most part, changing and improving existing equipment isn’t an option.
Most equipment in the Woodland is paw-/wing-/talon-/claw-made, meaning
that it isn’t made with modularity or improvement in mind. It can be repaired,
but it is the thing that it is, and it would take a true master craftsman to
improve it meaningfully without unmaking it. (As an example, a vagabond
might always generally sharpen their own sword, but adding the Sharp tag is
also a function of the whole blade, its materials, its length; trying to add the
Sharp tag without expertise might blunt or ruin the blade.)
Should the vagabonds find a master craftsman, however, or even have one
in their midst in the form of the Tinker, then improving existing equipment
becomes possible. GMs should use the Tinker’s Toolbox move, even for NPCs,
to determine what it would take to improve an existing piece of equipment,
providing appropriate conditions that match the extent of the improvements.

Pre-Made Equipment
Here is a set of pre-made equipment, common enough throughout the
Woodland. Use these when you need to stat up a piece of equipment quickly, or
when you need a template you can change to make something special. Adding
a tag, weapon move tag, additional range, or box of wear increases Value by 1
each, while removing a tag, range, or box of wear decreases Value by 1 each. The
only exception are negative tags: adding a negative tag decreases Value by 1, and
removing a negative tag increases Value by 1.
Dagger  Greatsword  
Value: 5 | Load: 0 | Range: Intimate, close Value: 6 | Load: 2 | Range: Close
Weapon skill tags: Parry, vicious strike Weapon skill tags: Cleave, storm a group,
disarm
+ Quick: Mark exhaustion to engage in
melee with Finesse instead of Might. + Sharp: Mark wear when inflicting
harm with this weapon to inflict 1
Mousefolk Short Sword  additional harm.
+ Large: Mark exhaustion when inflict-
Value: 5 | Load: 1 | Range: close ing harm with this weapon to inflict 1
Weapon skill tags: Parry, disarm additional harm.
+ Mousefolk Steel: Mark wear to engage in - Bulky: This weapon cannot be hidden
melee using Cunning instead of Might. and is always visible while on your
body. Mark exhaustion whenever you
attempt a roguish feat or trust fate to
Foxfolk Longsword 
sneak, hide, blindside, or perform an
Value: 5 | Load: 1 | Range: Close act of acrobatics.
Weapon skill tags: Disarm, vicious strike
+ Foxfolk steel: Ignore the first box Smithy Hammer 

of wear you mark on this item each Value: 5 | Load: 1 | Range: Intimate, close
session.
Weapon skill tags: Cleave
Rabbitfolk Axe  + Heavy Bludgeon: Mark exhaustion to

ignore your enemy’s armor when you
Value: 4 | Load: 1 | Range: Close inflict harm.
Weapon skill tags: Disarm
+ Rabbitfolk Steel: Mark wear to engage Staff 

in melee with Finesse instead of Might. Value: 4 | Load: 1 | Range: Close
Weapon skill tags: Parry
+ Blunted: This weapon inflicts exhaus-

tion, not injury.

Quarterstaff  Sling and Rocks 
Value: 6 | Load: 1 Value: 3 | Load: 0 | Range: Close
Range: Close | Weapon skill tags: Parry Weapon skill tags: Harry a group
+ Reach: When you engage in melee,

mark wear on this weapon to inflict Leather Armor 
harm instead of trading harm; you
cannot use this tag if your enemy’s Value: 3 | Load: 1
weapon also has reach. + Flexible: When you grapple with some-
+ Blunted: This weapon inflicts exhaus- one, mark exhaustion to ignore the
tion, not injury. first choice they make.
Shortbow     Chainmail   
Value: 6 | Load: 1 | Range: close Value: 3 | Load: 2
Weapon skill tags: Quick shot
+ Tightly woven: When you take a few
+ Short Limbs: Mark wear to fire a quick seconds to repair this armor after a
shot at far range. fight, clear 1-wear you marked during
the fight.
Longbow     - Weighty: This item counts as 1 addi-
tional Load.
Value: 5 | Load: 1 | Range: Far
Weapon skill tags: Harry a group
Plate Armor 
Value: 3 | Load: 2
Trick Bow 
+ Arrow-proof: Ignore the first hit deal-
Value: 5 | Load: 1 | Range: Close
ing injury from arrows that you suffer
Weapon skill tags: Harry, trick shot in a scene.
- Cumbersome: Mark 1-exhaustion
Crossbow   when you don your armor—clear 1-ex-
haustion when you take it off.
Value: 6 | Load: 1 | Range: Far
- Weighty: This item counts as 1 addi-
Weapon skill tags: Trick shot tional Load
+ Oiled string: Mark wear to use the
weapon skill quick shot even if you Robes 
don’t have it.
Value: 2 | Load: 1
+ Hair trigger: Mark wear to target a
vulnerable foe at close range instead + Unassuming: Until you harm an enemy,
of far. they will never deem you more of a
+ Iron bolts: This weapon inflicts 1 addi- threat than other vagabonds with arms
tional wear when its harm is absorbed and armor.
by armor.

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What is a tabletop roleplaying game?

What is a tabletop roleplaying game?

What factions are featured in Root: A Game of Woodland Might and Right?

What factions are featured in Root: A Game of Woodland Might and Right?

Introduction

R oot: The Roleplaying Game is a pen-and-paper tabletop

4 Root: The Roleplaying Game

What Is a Tabletop Roleplaying Game?

6 Root: The Roleplaying Game

· Each player is in control of their own character in this fictional, imaginary

What Is This Game?

8 Root: The Roleplaying Game

Playing to Find Out

10 Root: The Roleplaying Game

What You’ll Need

Pencils and Paper

· The Equipment Deck—to give you plenty of easy-to-reference pieces of

· A printed copy of the GM materials.

12 Root: The Roleplaying Game

What Is the Woodland?

14 Root: The Roleplaying Game

The History of the Woodland

Chapter 2: The Woodland Explored 15

Control of the Woodland

16 Root: The Roleplaying Game

Chapter 2: The Woodland Explored 17

18 Root: The Roleplaying Game

Chapter 2: The Woodland Explored 19

The War for the Woodland

20 Root: The Roleplaying Game

The Rise of the Alliance

Chapter 2: The Woodland Explored 21

The Present War

22 Root: The Roleplaying Game

Chapter 2: The Woodland Explored 23

24 Root: The Roleplaying Game

Chapter 2: The Woodland Explored 25

26 Root: The Roleplaying Game

28 Root: The Roleplaying Game

Chapter 3: The Fundamentals 29

Hard Scene Framing

“What Do You Do?”

30 Root: The Roleplaying Game

Moves and Uncertainty

Chapter 3: The Fundamentals 31

32 Root: The Roleplaying Game

Chapter 3: The Fundamentals 33

Hits and Misses

· but usually witha “weak

· next, with an eye towards

34 Root: The Roleplaying Game

Chapter 3: The Fundamentals 35

36 Root: The Roleplaying Game

Starting the Game

Chapter 3: The Fundamentals 37

The Balance Tips Towards Fable

38 Root: The Roleplaying Game

Chapter 3: The Fundamentals 39

Heroism with an Edge

Focus on the Vagabond Band