CHRONOS Universal LARP System Core Rulesbook

William Myers (order #6211081)

DISCLAIMER
This book provides rules for a theatrical non-contact role playing game.
Although these rules provide for the safest experience we can create,
you assume the risks that are associated with any physical activity you
participate in and are ultimately responsible for your own safety. This
includes the use of safe props, safe and proper interaction, choosing a
safe and legal place to play, and adjusting for terrain and weather.
Eschaton Media INC, its employees, and related companies assume no
responsibility or liability, including but not limited to injury, damage, or
loss incurred by using these rules in a role playing game setting. You
are responsible for complying with all local, state, and federal laws,
regulations, and statutes.
Finally, remember that this is just a game.
Stay Safe and Have Fun!
CREDITS
ORIGINAL CONCEPT
Megan Dawson Jaffe
Joshua Brain Jaffe
R.M. Sean Jaffe
Michael Pucci
Matthew Volk
Ashley Zdeb
WRITERS
Josh Harrison
Megan Dawson Jaffe
Joshua Brain Jaffe
R.M. Sean Jaffe
Shoshana Kessock
Ian Powell
Michael Pucci
Matthew Volk
LAYOUT & DESIGN
Joshua Brain Jaffe
EDITING
Megan Dawson Jaffe
Matthew Volk
ART
Jaclyn Wellner
Matthew Volk
PRODUCER
Ashley Zdeb
With special thanks to all of our play testers, friends, loved ones, and
supporters over 8 years of development and toil. Without you we could
not have made CHRONOS a reality.
ALSO VERY SPECIAL THANKS TO ALL OF OUR
KICKSTARTER SUPPORTERS
ESCHATONMEDIA.COM/CHRONOS
TABLE OF CONTENTS
INTRODUCTION 6
THE MISSION
Air
WHAT IS THIS BOOK? 8
A Welcome to Roleplaying Games
INTERMISSION: ExARCANA 6
AN INTERVIEW
Water
WHAT IS THIS GAME? 20
A Welcome to the Chronos System
INTERMISSION: DEVIL DAYS 28
SATURDAY NIGHT
Fire
PLAYING THE GAME 32
Rules & Examples for Playing Chronos
INTERMISSION: THE DREAMLESS 54
CAREFUL WHAT YOU CALL
EARTH
SETTING THE GAME 56
Suggestions for Running Chronos
CONCLUSION 65
THE NEXT MISSION
LEXICON 68
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INTRODUCTION
THE MISSION
Saniya Elian looked down at the ragged grey-green hotel carpet and
cleaned her glasses again. She sniffed as she shifted in her seat, and
looked out the window at the parking lot again and the drab highway
beyond. A sign for a nearby chain restaurant ficked on as the sun hung
low and lazy into an early twilight.
A kid dressed as an anime character bustled past her, knocking her
glasses down with his tail. Sighing, she picked them up, wondering why
they always do these things at these silly events. She looked around.
People in t-shirts and jeans, all wearing gaudy name badges, flled the
lobby. Mostly younger kids, but the occasional greying beard or streak
of white hair betrayed the older crowd among the superheroes and
Stormtroopers and wizards, all tethered to reality by the Welcome to
ClumpyCon! barges slung around their necks. Saniya hated to judge,
but it seemed to odd to her; the strange escapism of it. Her eyes again
darted around the room. It wouldnt be too much longer. She wondered
if she had enough to to grab a coffee. She looked at her watch.
Probably not.
Stretching, she rose from her chair as a cadre of early-20s males with
brightly colored hair maneuvered their luggage past her. She heard
the sound of falling papers, and at her feet, she found a single manila
envelope. She picked it up and started to raise her arm to offer it to
them when a thin man in a well-tailored suit walked past in the other
direction. As the elevator doors closed, one of the green-haired boys
nodded at her, almost imperceptibly. She looked into it , then shut the
envelope with purpose, placing it in her bag as she strode after the
suited man.
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Saniya hated doing this here; she missed the old locations for these
things, warmer places, sometimes even locales that could be considered
glamorous. But it was always so obvious. This was a new world, with a
new economy, which meant this kind of work usually took place in out-
of-the-way hotels around small towns and quiet cities, in universities and
even parks and private homes. The suited man turned a corner into long
hallway leading to a business meeting room marked Academy Suite.
She followed, stopping by the door to the suite.
Looking in, she was confdent no one had seen her. The Suited Man
had joined to other men and the frst thing Saniya noticed wasnt their
exquisite tailoring or well-pressed slacks but the identical Eye of Horus
lapel pins they all wore. She reached into her purse.
Nick Morganchild? She asked with all of the sweetness of a hotel
receptionist. He began to turn, but never fnished. She fred. One in the
eye, one in the throat for good measure. He never even got to see the
gun, but that was the point. Saniya was a professional.
Morganchilds guards pulled their guns, but she ducked behind the
door before they could even get a shot off. Bullets whizzed out the door,
but she stayed tight to the walls and was out the hallway before they
could catch up. Too many witnesses now. She started towards the lobby
when a third suited man, Lapel Pin worn high, emerged from the service
exit in front of her, gun drawn.
You failed to adequately cover your escape. He smirked.
A hand reached over from behind him, neatly slicing his through
before he could fre. Sanaiya tagged back to see green-hair gently
wipe his razor on Lapel Pins tie. Putting a fnger to his lips, he took her
hand and led her through the superheroes and orks to the elevators as
the other two bodyguards carefully gave chase. The doors dinged and
closed as one saw them go, only moments too late.
You do good work. Saniya offered. Where did you train?
Quantico? Novosibirsk? Belgium?
Green hair smiled. Gencon.
Saniya nodded. Shed learned to roll with it. After all, Espionage had
gotten very different in the past few years.
Welcome to the Chronos Universal LARP system. For those
of you who have just picked up this book for the frst time,
we will use the next few pages to introduce you to the core
concepts explored within and answer some basic questions
for novice and veteran gamers alike.
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Air
WHAT IS THIS BOOK?
This book will show you how to play Chronos.
We understand a game as a set of rules that provide instructions for
how to play. Play is an improvisational communal activity. If you watch
kids engage in imaginative play, youll see that they introduce new
elements and change existing assumptions just by making suggestions
(How about if), creating a constantly shifting and dynamic play
space. Games provide systems which ration out this agency and
authority to minimize arguments and create a cohesive and consistent
experience.
Here is an example: Setting up chess pieces and pretending to be
medieval kings is play, but it is not until you decide how each piece
moves and attacks that youve made chess into a game.
The rules you put into place give your play structure. They resolve
the disagreements that would compromise your creative play. Instead
of stepping back to argue whether a knight can hop over a pawn, you
reference the predetermined rules, see that they address the situation,
and continue the story of your two scheming kings and their miniature
war. Thats what a game can do for your imaginative play, and thats
what a game like Chronos can do for your role playing experience.
HOW TO USE THIS BOOK
This book isnt designed to be read cover-to-cover in one go. We
expect you will read it in sections, learning more about the world and
system as necessary. A good frst stop is the basic game and setting
information that follows. Once you understand the world of the game,
you can continue into character creation or to the Game Organizers
guide, depending on your interests in the game and your role in it. From
there, you can explore the mechanics and narrative materials relevant
to your character or story. We strongly suggest taking the time to read
the narrative elements, since they are an excellent point of entry for
understanding our world setting.
You will be able to use these rules and game tools to play the Chronos
universal LARP system as either a Tabletop or a Live Action Role Playing
Game. The system uses a set of cards to represent your characters
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abilities and skills, as well as the challenges you may face within our
world. With the help of this book and those tools you will be able to
create a diverse and immersive game world to explore.
While the Chronos system is designed to require very little reference
to this book during play, you can certainly keep it on hand as a go-to
source of information and rules clarifcations. As you become more
familiar and comfortable with the rules, you may leave the book aside
to be better able to focus on the game at hand.
WHAT IS LIVE ACTION
ROLE PLAYING (LARPING)?
Live Action Role Play, often shortened to LARP, is a form of play
that blends improvisational acting, storytelling, strategy, and socializing
into a seamless real-world experience. Like its Table Top cousins, Live
Action games challenge their players to invent and embody imaginary
characters and bring their story to life. They can explore the details of
their characters motivations, wants, desires, and challenges in a variety
of scenarios, all while interacting with other players characters.
Other styles of game are represented through pieces on a game
board, miniatures on a map, or data on a computer screen. LARPs
represent that information through the players themselves. Imagine
walking in on a game of chess in progress and asking, Whos
winning? By viewing the captured and active pieces, youd be able to
tell which side had the advantage. In a Live Action game, however, you
would have to look at the players, noting both their appearance and
their actions, to judge the state of the game. For this reason, LARPing is
one of the most immersive role playing genres. The experience of play
corresponds very closely to the in-world experience of the game. LARP
rules work to highlight this close relationship while providing real-world
safety and community.
WHAT IS NARRATIVE ROLE PLAYING (TABLETOP)?
While Live Action play is the most immersive style of roleplaying, it
has its limitations- not the least of which is that it requires a tremendous
amount of effort with regards to sets and location. Its also worth noting
that certain options go completely out the window- for example, its a
long time before we can successfully LARP a car chase or aerial combat.
Fortunately, Chronos is designed to work just as well in tabletop play, and
more importantly, to translate seamlessly between Live and Tabletop play.
In Narrative Play, The Game Organizer takes on the role of storyteller,
and the other players interact in a story created by that individual.
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The players fnd a comfortable location- usually around a table, hence
the colloquial tabletop gaming,- and tell the story together, with the
action unfolding exclusively in the players imagination. While not as
immediately engaging or immersive, this style of play allows for much
broader range and scope than any Live-Action scenario could ever
offer. Massive foating castles or world-sized starships, tremendous
battles between huge armies, collapsing worlds of falling rock and
fowing lava, and multi-lane car chases replete with multiple-car pileups
are all impossible in LARP, but easily
doable in Narrative.
WHAT IS A CHARACTER?
A character is a persona that you,
the player, design to interact with the
fctional world of a roleplaying game.
This book will guide you through the
process of creating a character. It is
best to start with a basic idea, what we
call a character concept, to guide your
choices as you design your persona.
If you are stuck for an idea, you can
browse this book to see what factions,
story themes, and abilities appeal to
you that could inform your characters
development. Character creation is
more than simply a list of skills and
abilities, but a set of important choices
that can be diffcult to readjust during
play. We recommend that you take
some time during this step and create a
persona you will enjoy playing long-
term.
You make these decisions about
your characters history, motivations,
and allegiances before you enter play.
During play, you will have chances to
update your characters personality
and goals based on the experiences
you share with your fellow players
characters. Your character is a dynamic
personality that will grow and undergo change based on in-game
events both planned and unexpected as the game progresses.
You can guide the development of your character by staying focused
on the story you are trying to tell and making in-game choices true to
that narrative. In turn, your character can illuminate aspects of your own
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personality and style of play. While dealing with situations in-game,
you should be asking yourself, What would my character do? That
doesnt mean you have to stop asking, What should I do? Instead, if
you keep your own identity as a player in mind alongside your fctional
persona, youll be able to create a relationship that satisfes you as a
player while providing interesting in-game challenges to your character.
WHO IS THE GAME
ORGANIZER?
A Game Organizer is an Individual in
charge of managing both the storyline
and the administrative side of a LARP
game. Those familiar with Table Top role
playing games (RPGs) might recognize
terms like Dungeon Master, Game
Master, or Storyteller. These titles have a
lot in common with our own. Your game
may have a single Game Organizer or
a number of them working in concert.
Whether they are shared or held by a
single person, Game Organizers have
many responsibilities, ultimately to attain
one goal: providing an entertaining and
meaningful experience for the players.
To do this, the Game Organizers write
plots for game events, portray allies and
villains who are non-player characters
(NPCs), and adjudicate confict
resolutions as needed.
Before play begins, the Game
Organizer is typically responsible for
the logistics behind the game such as
fnding appropriate game locations,
scheduling sessions, and making
announcements. During play, the
Game Organizer will be on hand to
help players resolve issues that arise
regarding the game rules or setting.
Though the Game Organizer will shape the over arcing story of a
game session, their authority should focus, rather than monopolize, your
communal narrative. The Game Organizers voice and vision unite the
story lines of the players characters and build a shared experience for
everyone to explore.
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THE UNIVERSAL RULES OF PLAY
When playing a Chronos game there are a few basic safety
guidelines you should always follow to ensure that the game remains
safe and fun.
This is just a game.
Within a LARP, the intended goal is for you to fully immerse yourself
in your character. An ideal game experience would have every LARPer
so engrossed in his or her character that the world transcended rules
and costumes and felt real. Sometimes, however, this deep connection
to the character translates back into the real world, and this can lead to
hurt feelings, angry tirades, and bruised egos. If you fnd yourself in a
situation like this, take a big step back and remember these words:
This is just a game.
There is no winning or losing in a LARP. You play your character
to experience their journey. Sometimes that journey may take you to
astoundingly emotional highs, or devastating lows. These emotional
transitions should be a source of excitement and fun. Some people may
forget this purpose by becoming too entangled within the game and
start taking things to heart. They may take things personally and be
pained by slights against their character. But at the end of the day, a
LARP is just a game, and if the game stops being fun for you, then you
should either reexamine your approach or reevaluate if the game is
right for you.
Fun should be the end game. Get lost in the drama, but dont lose
your common sense.
No use of real weapons, drugs, or alcohol.
In a world where emotions are running high and people are making
a fantasy real, adding drugs, alcohol, or tools of violence can make
for a lethal mistake, and are in many instances illegal. Never mix real
weapons, drugs, or alcohol into your game environment.
Weapons, even props that have been peace bound or dulled, are
potentially deadly tools that people may not realize are lethal. Latex
replicas can be convincing, and a person wielding your grandfathers
combat knife may not realize hes wielding a piece of live steel.
Accidents happen, and an accident with a sword or handgun can often
end with a wooden box in the ground.
Drugs and alcohol may seem like a fun addition to your LARP, but
adding mood and mind altering substances to a world that is already
intended to alter your mind and mood will only detract from the
experience of the game. If the Game Organizer and your fellow players
are doing their part, the LARP will surely alter your perceptions of reality
enough on their own.
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Respect the personal limits of others.
You may like hugs. Someone else may not. Hugging that person
violates their personal limits. That is a simplifed example, but the
example still stands. A persons limits may be much more subtle, or
may be different depending on their circumstances and company, but
crossing their limits will lead to said person not having fun. We are all
here to have fun, after all.
Limits may involve fear or phobias, words or ideas, or physical
contact. Many times, especially within the structures of a LARP, you
may not know you are crossing these lines. If someone voices their
discomfort, the impetus is now on you to respect and honor those
boundaries.
Play in a safe, secluded, and legal location.
Safe: Safety is key to any LARP. Playing in a locale that is poorly
lit or full of dangerous obstacles is a recipe for a hospital visit. Make
sure your games are in areas clear of dangers. A physically safe
environment makes more relaxed and comfortable players. Relaxed and
comfortable players make a better game.
Secluded: A secluded environment does two things for a LARP. First,
it increases the reality of the game. Taking the players away from the
things they know and see daily makes this different and new game
world feel more realistic. It also prevents people who are curious or just
taking a look from wandering through your game brandishing cameras
and detracting from the world you have worked so hard to build. It also
avoids an even worse scenario, a misunderstanding with the locals or
law enforcement. If you were not in the LARPer mindset, and saw a few
dozen people running around the wood near your house brandishing
seemingly real swords and handguns, you would be justifably
concerned. Seclusion prevents these misunderstandings.

Legal: While it shouldnt really need saying, play in places you are
allowed to be. While that abandoned feld by Farmer Johns house
looks like a great place for a game, or that old warehouse on Foster
Avenue could really be a used for a swinging nightlife hotspot for a
plot you are running, nothing destroys a games atmosphere faster
than a group of police offcers telling you to leave for trespassing. No
one wants to be in the following moment where you, as the Game
Organizer, are put in handcuffs and placed in the back of a patrol car.
If you wish to play Chronos out in the world, fnd a location that you
can play in legally, and avoid such mishaps.
Always abide by all local laws and legal guidelines.
This taps into the above concept of not contradicting the legal
precedents of your play space. For a game to stay fun and healthy, it
is in the best interests of everyone involved in that game to play within
the confnes of the law of the land. Violating laws in the real world
can and will lead to confrontations with local law enforcement and the
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government that will only hurt your games chances for success. To make
a LARP that is fun to play and safely enjoyable by all, it is best to keep
in line with local laws.
Dont endanger yourself or others.
This rule is one of the simplest. It may seem cool to go diving through
a crowd to catch a rare and precious artifact falling to the foor, but
in reality, you are probably not as nimble as your character, and that
cool action quickly turns into caused
game to stop because some idiot
knocked two people over and broke his
arm. If you have to ask yourself is this
safe? then dont do it. If the question
crosses your mind, then the answer
more than likely going to make you look
the fool as opposed to the bad-ass.
Always aim to make your game
experience better
for others and yourself.
There is nothing more contagious
than good roleplaying. Delving deep
into your character makes others
around you dig deeper into theirs. This
relationship between players is what
makes LARP such an amazing means
of communication and story telling.
The actors and the audience are one
in the same. By bettering yourself and
your character, you improve the reality
of the game world. By being your
best, you inspire the same in others.
If you see another player who may
be uncomfortable or not sure of how
to play, reach out to them and strike
up conversation. Bringing them into
the fold with you may be a rewarding
experience for both of you, helping
them learn the ropes, and maybe
learning more about your character and
yourself in the bargain.
By being a positive player, leading by
example, and encouraging other players to join in the fun, you improve
the game not only for them, but for yourself.
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INTERMISSION
ExARCANA
AN INTERVIEW
- Chicago - 4:35pm March 14th, 2009 - Introductory Interview Transcript
- Elias McCallum - Apothecarium Guttersnipe Scientist and therian Scholar
So, sorry if this interview isnt terribly exciting. I know that when
most Magisters hear Guttersnipe they expect some brash young kid
hucking freballs off the back of skateboard to the tune of Arcade Fire or
something.
Well, Im not... Arcade Fire? Oh, its a band. Rock and roll. Theyre
an indie band that won the... you know, its not important.
So, yeah, about me. I was studying at the Institute for Molecular
Engineering at the University of Chicago when it frst happened. You
see, I still dont totally understand it. But I suppose its my hunt for
that answer that makes me who I am. It all starts with the Standard
Model. Fermions and bosons. You know, the God Particle and other
elementary particles.
Ok, Im losing you. Im going to assume you know what an atom is,
yes? Ok, good. So atoms are made of smaller things, and those smaller
things are made of even smaller smaller things.
You see, no matter how much you split something, theres always
something there left to split. Thats not the weird part. The weird part is
that smaller the pieces get, the more powerful they are. And this power
is everywhere, in everything. No ones ever really understood it all, let
alone how to really harness it. Like the Large Hadron Collider. Its over
15 miles wide, and it allowed us to prove that the Higgs Boson exists,
and people were afraid that the damn thing could create a man-made
black hole.
Oh, its a hole in all of time of space that could suck in light, for Petes
sake. And you know what? They were right to be afraid. I, like most
scientists, had no clue what kind of power we were toying with.
ther. What is it? Some dont know, most dont care. Its the stuff
freballs and telekinesis and telepathy is made of, right? Who cares,
as long as it works. Thats certainly the common Guttersnipe take on
it, which to me is sad. Its like a a poet who cant read or write. I try to
explain it, but then next thing you know, some Oathbreaker shows up,
or a Bunyip or... or they start falling asleep. Whatever.
So here goes. As best can be fgured out, ther is simultaneously
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time and energy; concurrently solid and yet ethereal and untouchable,
like light. Like time itself, it merely is. As it stands, unfortunately, at
this point in human evolution, our brains are simply incapable of fully
understanding ther. Think of how incapable any single cell of your
body is of being able to understand you, or even its relation to you. It
merely understands its place and role within you. We are only feebly
able to categorize the characteristics while never being able to conceive
of the whole.
Somewhere in there lies the secret. The power in the minutiae. Its
always there, in everything... or really, next to it. Or around it. Were
working on it. It seems the trick is in the ability to gather enough of it
to be useful, without splitting atoms in a 17 mile radius hula hoop. The
Eldritch can simply store it in vast enough quantities to actually utilize
it. Most people are so focused on the effect, they never think about the
cause. And thats where I come in, you see. I ask those questions, and I
answer them as best I can, even though I often feel like a surgeon in the
dark ages, cataloging the symptoms with no idea what the disease is.
Or that diseases even exist.
So, we know ther is real. We know its a calculable yet intangible
thing. We know its not inherent to our dimension, but its attracted
to it like osmosis. ther seeps into our world from the Outer Spheres,
attaching itself to various components. Even the magical universe abhors
a vacuum, so it seems. Dont even get me started on the Rule of Fours,
and the elemental properties of ther.
Ok, well, too late.
You see, this is how I got the attention of the Arcanum, the
Apothecarium to be precise. I started noticing the theric alignments in
all things. The weirdest part was that when I realized these properties
didnt seem to exist in my research as an undergrad, prior to 2008.
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But after 2008, everything I studied fnally started making more sense,
and yet less at the same time. Everywhere I looked, I ran into this wall.
That wall was the Rule of Fours. Nothing in modern literature seemed
to be able to explain it, and thats what got me searching for older and
older texts.
I was last one to expect to fnd how scientifcally accurate the
alchemists of the past were, but Id be damned if I didnt keep proving
them right at every turn. Earth, air, fre and water. It defed logic, and
yet had a logic all of its own. My professors were less than enthused,
and thats when things got hard. I had to fake my results to better
match proven modern science, because I couldnt get them to believe
or understand my fndings. I felt like I was looking at one of those
magic eye posters, and I just couldnt get them to see the sailboat that
was hovering right in front of my eyes, clear as day. I was starting to
question my own research, hell, my own sanity on a daily basis. Thats
then things got really weird.
Now, most people wouldnt recognize Tesla if he was standing right
in front of them and didnt look like David Bowie. But I am of course
not most people. He looked like he walked right of that classic portrait.
Apparently he reverses his own aging process on a pretty regular basis;
He claims its a matter of impressions and expectations. I still fnd it
weird for a guy whos been a virgin since 1856.
Whatever, thats not the point. So Nicola Frackin Tesla walks up to
me in my own lab around 2am, looks me right in the eyes and says
Dobrodoli na Arkanum.
I blink. He looks confused, then repeats, this time in English,
Welcome to the Arcanum.

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WHAT IS THIS GAME?
THE CHRONOS SYSTEM
The Chronos Universal LARP System is built around a core set of rules
which defne a baseline reality for our world. However, our normal
blue green sphere has forces at work upon it beyond our perception,
known as Aethers, which flter into our world and make possible the
seemingly impossible. The core rules set allows you to build a basic
person who survives and lives in the mundane world. But the world is
far more than simply your average fre fghter or accountant; by being
a protagonist within the Chronos setting, you can be someone special.
You are someone who has the potential talent, birthright, or training to
see what lurks between the lines of reality.
The Thresholds are the barriers between worlds, a flter of a sort that
protects us from being constantly aware of the naked truth: our world
is not alone. Throughout history there have been events that were so
powerful, dramatic, or cataclysmic, the very nature of reality had to
shift, and generated a variation of our world, known as a Skein. This
phenomenon is known as the Infnite World Theory.
THE INFINITE WORLD THEORY
Scholars have studied the nature of reality as long as philosophers
have asked who am I? Scientists have plumbed the depths of human
knowledge and technical understanding to explore the depths of space
and the minutia of the atom, all in the hope of better understanding
how our universe works and what our place is in it. What has been
theorized, but rarely comprehended, is that we are limited in our
perceptions. We can only witness the world we live in, and that world
is one of an infnite number of variations that have occurred throughout
history.
Those who study these phenomena have come up with many names
for them. Watershed Points. Aetheric Rifts. Temporal Shearing. Breaches
of Space-Time. Each of these titles refects a fraction of the truth, that the
world is built on core principle laws that are not so much immutable, but
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redundant and insulated against traumatic shifts. At any time in history
when such an event occurred, the world defended itself, and deviated
into a branching timeline from our own. A refection of our world was
born and now lives independent of our own.
These events share one thing in common; Aetheric energies. At those
points in history, Aetheric energy in one form or another entered our
world and was discovered and embraced. From the earliest moments of
human history when ancient magi spoke
with faerie kin and goblin kind, to
more recent rifts where secret societies
embraced dark philosophies and
energies to power vast war machines,
there have been these crisis moments.
The introduction of Aether at particular
moments of history dramatically
redirects humanity into new directions
of technological, political, and spiritual
growth.
THE SKEIN WORLD GUIDES
While the Chronos Core rules let you
explore our world as we know it, the
Expansion decks and Skein world
books and decks allow you to build
characters using specialized powers,
items, and knowledge of worlds beyond
ours, and sometimes entirely different
than the one we know.
Each Skein book and its partnered
decks are designed to give you the
in-depth knowledge needed to run a
game set within that echo of reality. You
will fnd history as it is reckoned within
that world, their understanding of the
Aether, the Thresholds, and their own
Watershed moment.
For example, in the Ex Arcana Skein,
there was a critical point in prehistory
where Aether technologies and rituals
were discovered and implemented by magi. From that moment forward
Aether was seen as a supernatural power to be refned and wielded
by those who were talented and loyal enough to be trusted with it, and
to protect those that could not harness its power from those who would
seek to abuse it. This society of wizards, warlocks, and witches would
continue to grow and refne itself over time, becoming a powerful secret
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society of magic users fghting a secret war hidden from the world of the
silent masses.
When using the Chronos system, you are stepping into one (or more)
of these potential timelines. Each time you cross the Threshold you step
into a unique world, timeline, and environment that replaces the True
Time reality of modern day.
THE IMPORTANCE OF TRUE TIME
True Time, simply put, is the real history of the real world that we
really live in. True Time is often referenced in the Chronos game
universe as the events that have happened prior to the pivotal moments
known as Aether Watershed points. Different game Skeins all use True
Time or True History prior to a particular point. At this moment in time,
Aether is introduced into the True History and the timeline of history
changes. When a book refers to True Time or True History, they are
referring to real world events which predate the Aether Watershed that
has caused a particular timeline to become different.
To further explain: in our True History in 1249 Roger Bacon
introduced a formula for gunpowder to Europe. This key event triggered
thousands of events in the True Time that we have experienced. If
instead Roger Bacon had discovered an alchemical method, using
Aether as an accelerant, then the entire technological (and historical)
timeline would be completely different. This would be considered an
Aether Watershed moment, and the reality that came into existence after
the Watershed moment would be defned by the Skein game book you
apply to your game. Every moment prior to the Aether watershed point
would be True History, and every moment after the watershed point
would be the work of fction that the Skein game book defnes. We live
by default in True Time; the games that we play take place in one of the
different variations of the Aether Constant.
WHAT IS THE AETHER CONSTANT?
Aether is a concept that transcends all of the different genres and
Skeins of the Chronos game system. The Aether Constant is the idea
that history and reality varies from True History once Aether is introduce
to True Time. The appearance and use of Aether changes from Aether
Constant to Aether Constant as well as from Skein to Skein. In one
Aether Constant, Aether may be found through occultists that are
members of early European secret societies. With the discovery and
use of Aether in the hands of old world European ritualists, the use and
manifestation of Aether becomes rather esoteric.
If Aether were instead to be discovered during the combat driven
scientifc boom of World War 2, the uses of Aether would be focused
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into combat and mechanical design. Gone would be the bell, book,
and candle of the early European occultists with their desire to harness
Aether through acts of will, and born would be complex transportation
and war focused machines fueled on the curious properties of Aether
reaction.
In short, the Aether Constant is the fact that along a Skeins history, at
one point or another Aether is introduced, which then causes the history
of the Skein to be very different from the history of True Time.
THE NATURE OF THE SPHERES
While the deviations generated by Watershed points are typically
derivative of True Time and maintain a strong connection to the reality
we know today, there are Aetheric events that can cause much more
fundamental shifts in the fabric of reality. In these cases, where perhaps
even the laws of physics were thrown askew by the introduction of
Aether, the world splinters off of reality in such a dramatic fashion that
it barely seems related to True Time earth. These divergent realms have
become known and understood to be part of the greater cosmology of
Chronos universe.
These bizarre, mystical, and alien worlds can bear almost no
resemblance to our own, and are awash with the powerful Aethers
that created them. You may fnd a world sundered from our own by
Empyrean energy, wracked with violent electrical storms and mind-
bending science fction technologies. Others may be the epitome of
Ondine energy, where dragons and faerie kin roam and rule freely.
In truth, every Skein functions like this, with the Aetheric infuences
upon it determining just how far from True Time the world deviates.
Some are not so set apart from the constant of True Time, some are
more dramatically different. As such, the cosmology of Chronos does
not so much refect a solar system of planets in relation to one another,
but instead a series of mixtures, each unique combination creating a
different colorful world to explore. These worlds do not so much exist
apart, but simultaneously overlaid just beyond comprehension.
WHAT IS AETHER?
Aether, as a varied source, is neither a liquid nor a gas, yet contains
properties of both. Aether is a mercurial substance which is defned in
relation to the Skein in which it is used. In some Skeins and genres,
Aether is found by pulling essence from the makeup of reality. In other
Skeins, Aether may be found in a particular genetic design, by pulling
energy from arcane locations, or even through making pacts with
beings which exist outside the standards of reality.
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That is the trick of Aether; Aether changes. Aether leaks through the
cracks of reality as a near indefnable substance that is a catalyst of
change. However, Aether does hold certain universal traits across all
Skeins.
Aether is an energy source that links physical manifestations of power
to ethereal and mystical forms.
Aether is only tangible when it is
transferred in some sort of solution.
Aether can be stored in particular
solutions that act as a means of short
term storage.
Aether responds to particularly strong
willed individuals who have studied
techniques to focus their mind and spirit.
Individuals with weaker wills require
additional external devices to control
Aether, such as tools or complex rituals
which assist in focusing intent.
Aether binds potently to mortal
fesh. With skilled hands directing it,
this bonding can augment the human
form beyond the limits of normal fesh.
Aether binding can cause extreme fesh
transfgurations with varying permanency.
Aether comes from limited sources
known as Fonts, or more potent portals
known as Thresholds. Fonts and
Thresholds are harvested for Aether
through different means across Skeins.
Aether bubbling or pouring forth from
Fonts must be harvested. Each Skein
and timeline has produced different
techniques for gathering Aether in
relation to the events of the Aether
Watershed point of that timeline. In
addition to harvesting from these
individual Fonts, some timeline Skeins
have developed additional Aether garnering processes. While Aether
may fow freely during an offshoot of an Elizabethan era Watershed
point, the people that live during a World War 2 Aether manipulated
timeline may have to make deals and fght for every ounce of Aether. In
a world of demonic investment and walking dead, the Aether wielder
may fnd that they must harvest Aether from living people who have
touched the Font instead of pulling directly from the Font itself.
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FONTS AND THRESHOLDS
Aether fows through conduits that connect the many and varied
worlds of Chronos. They range from tiny cracks and pinholes which
only emit Aether, know as Fonts, to larger fssures which can allow
passage from one world to the next, called Thresholds. These breaches
in reality, the cracks through which
Aether seeps, all seem to fow inward
towards a magnetic center. Near as
any scholar can tell, that center is here,
True Time, but that is not to say there
are not other Skeins that are close
enough to True Time that it seems they
are the center of their own cosmology.
What has slowly become apparent,
however, is that Aether is a diminishing
resource. While some realms are so
infused with Aetheric energy as to
become wellsprings of it, they can only
produce Aether at a particular rate, and
it fows out from them as fast as other
realms use it. In most of the spheres,
this is nearly unnoticeable, a drop in
the bucket by contrast to the Aether
they generate versus how much is lost
or used. However, in a few cases, there
are worlds beginning to crumble at
the edges, entire realities falling apart
because they no longer have enough
Aether to sustain them.
Aether, as it transcends the different
Aether Constants, travels like ribbons
of chaos that bring change from an
outside source. These ribbons of Aether,
manifesting in Fonts and Thresholds,
are not limitless resources. Each Font or
Threshold will only produce Aether for
certain durations of time before either
drying up or moving to a new location.
With such a powerful resource being
in such limited quantity it should be
no surprise that individuals, groups, and organizations would seek to
control the fow of Aether. As Aether has different unique meanings to
the individuals that wield it, conficts and contradictory philosophies and
intent often cause dissidence between different sects of Aether users.
In some places, these breaches are large enough for more than simply
Aether to cross over into a given world, but for spirits, creatures, and
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denizens to step across a Threshold into neighboring Skein worlds. This
is how the theorists, philosophers, and scientists have become aware of
the Infnite World Theory, for they have met people and creatures from
the far side. In many cases, they have been lucky, meeting denizens
who have been friendly, or from realms similar enough to our own that
those Thresholds have been maintained and protected as channels of
communication and trade. Not all have been so lucky.
THE THREATS FROM BEYOND THE SPHERES
Beyond the universal theme of Aether existing within all of the Skeins
of Chronos, there are two other reoccurring themes: the threat from
within and the threat from without. With the infux of Aether being
brought into True Time, each individual Aether Constant fnds that the
control and use of Aether not only brings about moral and philosophical
issues, but also new threats to those aware of Aether.
In addition to the tensions caused between groups within each
individual Skein, there is an external threat that is universal for all
worlds that Aether touches. Aether has a source from somewhere
outside of reality, a place not limited by the perceivable dimensions
of logic. Some have theorized that Aether is the remnants of primal
energies of the Big Bang. More romantic and theological minds theorize
that the energies of the Aether come from the spiritual location the soul
retreats to in the afterlife. Regardless of the origin, the trickle of Aether
not only provides a font of power and change, but also a source of
otherworldly threats. Inhuman, supernatural monsters that seem to not
only be born of the Aether (which varies in its physical manifestation
based on the Skein) but also are drawn towards those who wield it.
Aether leaves a mark on those that have wielded it, and once it has
touched the individual they will never be truly free of attacks from the
outside threat.
These threats are varied, based on the physical form that Aether has
taken in a particular Skein. In a world where demonic investment is the
primary source of Aether, the antagonists of the Aether often take both
demonic and angelic forms. Imps, demons, devils, miracles, demonic
possession, and the angelic host become threats to all those who have
taken the gifts of the Aether. In a world where Aether is imbued into a
select few via the gifts of the restless dead, the threat of the Aether often
manifests in the form of poltergeists, haunting, curses, and apparitions
that pursue the Aether users both day and night.
In all realms there exists threats from beyond. Lurking on the far
side of the thresholds, in the dark beyond the outermost spheres,
are the great unknowns, the outsiders, and those beyond even them.
Thresholds, once opened, may lead to the profound depths of the
infnite universe, and each Skeins denizens must learn how to protect
their world from those threats beyond.
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INTERMISSION
DEVIL DAYS
SATURDAY NIGHT
The hall was lit with an eerie red light, the tables covered in the white
tablecloths of a high school dance. The dance foor was sparse, the
men and women garbed in the mod sock hop trappings of the times.
The boys dressed in tan and grey suits with black and grey trim lining
their lapels, their hair slicked back into suave pompadours. The girls
wore plaid skirts and puffed pink and red dresses, their white stockings
looking a stained red in the dance light. A few sat at a bar in the
corner, the radio playing out the coolest tunes of the day, flling the
room with rock guitar and smooth crooning. One of the gentleman
had removed his jacket, the sleeves of his black t-shirt rolled up to hold
a pack of cigarettes. Horns poked out from under his pompadour,
matching the horns of everyone else in the room, black and sleek,
curved in a fashion that could only conjure up one predecessor.
Hey man, this party getting to be a real drag. When are we gonna
ditch this joint and go paint the town?
Another man sat next to him, smoking a cigarette, the smoke curling
around him like a wisp of cloak. His suit was a simple brown check,
although under the lights, everyone appeared to be tinted crimson.
He rested his cigarette in the ashtray, and produced a comb from his
front pocket, slicking back his hair. James was not known to let his
appearance slip, even for a moment.
Chill my man. We just gotta wait it out til Frankie sends word. He
says hes gonna bring a whole bunch of juice to the party my man.
Well be swimming in it. Just relax Tommy.
Tommys face curled into a sneer. Frankie always says hell be
packing the juice. Hes such a square. We know it aint gonna be
worth the wait.
James seemed nonplussed. Just cool your jets man. Just gonna be a
little while. Why dont you go cut a rug? Dont bring me down.
Tommy kicked out of his barstool and began to storm away toward
the dance foor. The song ended and the radio crackled with the voice
of an announcer.
Hey out there cats and kittens. Its your main man Mad Man Mike!
A maniacal cackle pierced the room, and the occupants of the party
cheered out.
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Now old Mad Man has been wondering, what are all you bad Jacks
and wailing Janes are up to tonight? I sure hope youre all havin a
gas! Let me hear it! The teens called out to the airwaves, screaming
in approval, certain that Mad Man could hear them somewhere. His
broadcast sounded as though he had dragged his voicebox through an
ashtray flled with gravel. He cackled again.
Alright! Thats what I like to hear out there. Now Im going to
keep spinning the best of the best for all you jumping jiving Jakes, but
before I do, lemme just throw on out a tip of the hat to those old hepcats
partying over at the American Square. All you soulless ghouls and
gizmos are just fy in my book. You dig? The room went wild with
screaming. Although he was a local jockey, Mad Man was the voice
of the town, and the voice of their generation. Furthermore, Mad Man
was the voice of their soulless lot, and their soulless adversaries. The
Aether had brought devils into this world, devils which had formed
factions and given power to those who served them. The Aether
replenished the loss that those powers used and allowed the footsoldiers
and generals of these newly minted demonic legions to function. Not
only did Mad Man speak for the cool and hip, he spoke for the minions
of the devil lords. He was honored in all Houses as a purveyor of
knowledge, and as a righteous deejay.
James smiled at the mention. His bosses would be pleased to know
that Mad Man had shown them respect on the airwaves. Such a coup
would be highly regarded, and considering that he had made his
presence known at the gathering, such regards would be passed his
way for having such foresight and good taste.
Although now that I got down to it, you may want to watch your
backs out there tonight, dig? Seems one of your devilish brethren has
gotten in a bit over his head. Seems he went out and tried to steal
himself some of that sweet, sweet juice all of you kids are into. And
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you know what Jack? Seems like he went and got himself caught, and
got himself all sorts of trouble. Trouble that gets you a wooden jacket.
Those greasers, theyre not known for their mercy. The party continued
on, a dull hum in the background. The teens were clinking glasses and
giggling still over the acclaim they had received from the deejay. James
no longer had the satisfed sneer written across his face. His eyes
widened, searching the room for Tommy, whose eyes met his, the same
panic in his eyes.
Get them moving Tommy! Hey you mopes! Get your gear! Get
the door ready now! James was on his feet and barking orders, the
crowd stood staring for a moment, and then sprang into action. Guns
and knives were pulled from holsters and boots, bats and bits of pipe
were dug out from under chairs. James produced a simple six-shooter.
Tommy bolted to the door, two knives protruding from his clenched fsts,
their grips designed like brass knuckles.
So Im gonna say it once again my midnight mongrels: Get ready.
Theres gonna be blood tonight. Another wild cackle pierced the
room, and an up tempo rock-a-billy song came tearing through the
speakers. As if on cue, the doors burst wide open, spilling back the
two slight horned men guarding it. A dozen leather jacketed thugs
poured in, brandishing axes and knives. Blood ran from their mouths
and eyes, the crimson looking black under the red lights. The largest
stepped forward, his pompadour large and messy, studs protruding
from the shoulders of his jacket. He bore a club covered in rusty spikes
and sharp implements, and his smile was maniacal and horrifying. He
screamed a guttural and primal laugh.
ALRIGHT BOYS! LETS BREAK SOME SQUARES!
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PLAYING THE GAME
HOW TO USE CHRONOS CARDS
Like most roleplaying games, the Chronos system lets you build your
character, choosing from core traits, skill sets, and special talents to
construct a character that is unique to you. To build your character,
you will be choosing between a variety of playing cards and spending
creation points to assemble what will become your Character Deck,
which you will retain throughout your gameplay experience from
session to session. This Character Deck will evolve and change as
you acquire new items and abilities, or as you add to your character
using Experience Points gained by participating in game sessions. Your
Character Deck will be comprised of a mixture of Core Cards, Specialty
Cards, Item Cards, Augment Cards, and Aether Cards.
Core Cards defne the very essence of who your character is, be it
their general outlook on life, personality, or basic physical prowess,
and will be used in most interactions and challenges. The Core Card
is where you will fnd your Characters secondary traits, Health, Focus,
and Speed, as well as your general Aetheric alignment.
Specialty Cards represent your training, skills, and further expertise,
which provides the ability to use certain items or tackle certain puzzles
and overcome challenges. On each Specialty card you will fnd a list of
skills that your character possesses as a result of this specialty, allowing
you to handle challenges or use items that require specifc skills.
Item Cards are devices, tools, and objects you have at your disposal,
providing you have the right training to utilize them. Each Item Card
has a list of items that you are assumed to have access to in Live Action
play, provided that you have a physical representation for it on or
about your person, as well as the skill or skills required to use them.
Additionally, there will be items listed in Italics that are only available in
Narrative play.
Augment Cards are the most diverse of the Chronos cards and can
be cornered in either red or blue. In the Skeins, Augments can represent
metaphysical abilities, allegiances to hidden organizations, or hidden
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techniques and training. In the basic deck, Augments are divided into
blue Talents and red Traits.
Aether Cards are the wild card of the Chronos System, which you
dont purchase at character creation, but instead draw from a Font
or Threshold in each game session. These cards allow you to power
special abilities and items found in the various Skein decks you might
use. You draw these cards randomly when you gain them from a
Font, so there is no telling just how potent or useful your Aethers may
be session to session. They are also discarded after use, as Aether
is a resource which can run dry. Aether cards can either be Burned-
discarded to activate a special ability, or Used- replacing a Core Card
for an added boost.
THE STATS OF A CHRONOS CARD
Primary stats
Chronos Cards are designed with a few key elements you will need
for gameplay. Along the top and left edge of each card is a set of
four letters with numbers inside them. These represent the four building
blocks of any action: Acumen, Resolve, Dexterity and Brawn. The top
edge of the card represents the active or aggressive use of these traits.
The left edge of the card represents the defensive or passive use of these
stats.
Acumen represents your characters ability to overcome
challenges relating to awareness, knowledge, and critical
thinking. Your ability to overcome cerebral challenges is
determined by this trait.
Resolve represents your characters ability to manipulate
and refuse the infuence of others in challenges relating to
stubbornness and infuence. You ability to overcome social
challenges is determined by this trait.
Dexterity represents your characters ability to overcome
challenges relating to agility, speed, and fne motor
controls. Your ability to overcome precision challenges is
determined by this trait.
Brawn represents your characters ability to power
through obstacles and overpower challenges of physical
strength and endurance. Your ability to overcome physical
challenges is determined by this trait.
You will fnd that not all cards will have number values for every stat.
There are simply some Specialties, Augments, and Items that cannot
help you in certain challenges.
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On each card you will fnd an art window featuring a visualization
of what the card represents. In the center of the card you will fnd the
details of the cards mechanics along with a short quote or descriptor
giving you a sense of the cards favor. These mechanics are determined
by the type of card, and will allow your character to have access to
various special abilities, items, and tricks while facing challenges.
Every Chronos Card also has a listing of its Cost in the very upper
right hand corner. The Card Cost represents how many Character
Creation or Experience points must be spent to have that card as part of
your character Deck at the beginning of each game session.
Secondary Stats: Health, Focus, and Speed
In addition to the standard 4 traits found on every card, your character
has three secondary stats determined by their Core Card: Health,
Focus, and Speed. Health determines the amount of abuse you can take
before being knocked out, and can be depleted or restored through
various means. Focus determines how much Aether you are capable of
manipulating and storing innately. Speed determines how many steps or
paces you may move in combat without taking special actions.
ASSEMBLING THE CHARACTER DECK
Each card is assigned a point value that is used in character creation.
At the beginning of game, players are assigned a number of creation
points they may spend while assembling their Character deck. There are
some limitations during card selection.
A Character must have only 1 Core Card.
A Character must have at least 1 Specialty Card.
Beyond those basic limitations, the Game Organizer is at liberty to
restrict or allow cards to be utilized from the Chronos Core set, Skeins,
Expansion Decks, and from their own GO deck as they see ft. A typical
Character deck will consist of 1 Core Card, 1-3 Specialty Cards, 1-2
Equipment Cards, and 1-4 Augment cards depending on the individual
players play style and which decks they have access to. The Game
Organizer will determine a point level for the game; a basic Tier 1
character will be 12 points.
THE SKEIN CARDS
The Skeins and Expansion Decks interact with the Core; they are
inseparable. No Character Deck will be without Core cards. The
Chronos Core provides the archetypal base off of which the Skeins
build. The Core can also provide the everyday people and NPCs with
which the Skein characters interact. Skein cards require approval of a
Game Organizer before they may be allowed in play.
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Each Skein will come with a set of cards unique to that Skein. Skeins do not
provide Core cards, though there are Augments that may be used instead of
Core cards. These special cards provide the strange powers and allegiances
each Skein incorporates. Elemental sorcery and talismanic items, Demonic
Investments, Animalistic Totem powers, and the wildest of Fae magics are
examples, with more to come as the number of Skeins increases. Many of
these Augment cards are fueled by the mysterious Aethers; each Skein has its
own methods and manners for drawing Aethers from Fonts and Thresholds.
ASSEMBLING A CHALLENGE HAND
When a character is confronted with either a static challenge, an outside
threat represented by the Game Organizer, or another player, they must
assemble a three card character hand. Every card will have a colored corner
to indicate what type of card it is. Core Cards are grey, Specialty Cards
blue, Items red. Augment Cards may be cornered blue or red depending on
the nature of their abilities and what they represent or replace in your typical
character hand. Each Challenge hand must consist of one grey, one blue,
and one red card. The one exception to this is Aether cards. Aether cards are
cornered in black, and can be a one-time replacement for your Core card in
a Hand, in order to use a special ability or boost a primary stat. Each corner
type also has either 1 (grey), 2 (red) or 3 (blue) notches for the colorblind.
You must keep in mind that certain cards may only be used in specifc
combinations. For example, if you wish to strike at someone using an antique
sword from the Archaic Items card, you must include a Specialty card that
possesses the skill Melee Weapons in the Challenge Hand. Once you have
determined the three card hand you wish to use, you arrange them so that
you can see all of their traits listed so that you can add up the total value of
the trait relating to the challenge.
RESOLVING CHALLENGES
Challenges can be represented a number of ways in the Chronos system.
Most often they will be challenges between two characters or between a
character and an NPC represented by a Game Organizer or MetaCharacter.
In other cases, challenges may be situational cards found at a Story table.
Other situations may be represented by index cards affxed to elements of the
play space, with a target number that you need to beat before you can fip the
card and read the information on the other side. Whatever the means of the
challenge, you determine the Primary Stat of the challenge and assemble your
Challenge Hand to try and beat your target number.
Once the Challenge Hand has been assembled, it is only a matter of
matching the nature of the challenge and adding up the totals to compare
them against the diffculty of the challenge. All participants in the challenge
reveal their totals. Whoever has the higher total wins, with ties going to the
defender.
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BASIC CHALLENGE DIFFICULTY TABLES
STANDARD DIFFICULTY
7
Simple 3-5
Standard 6-8
Diffcult 9-11
Almost impossible for one person 12+
ACUMEN CHALLENGES
Maze on a cereal box 2
Simple riddle 4
A complex word problem 6
Rubiks Cube 8
Translating Navajo 10
Designing a viable spacecraft 12
RESOLVE CHALLENGES
Befriending a dog 2
Making a sale 4
Giving and impassioned speech 6
Intimidating a guard 8
Resisting an addiction 10
Converting an atheist to your faith 12
DEXTERITY CHALLENGES
Threading a needle 2
Pulling a splinter on the frst try 4
Breakdancing 6
Walking a tightrope 8
Catching a fy with chopsticks 10
Free climbing a glass building 12
BRAWN CHALLENGES
Changing a tire 2
Lifting 100lbs 4
Dragging an adult human body 6
Pushing a car uphill 8
Forcing open a locked door 10
Lifting a car off a child 12
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SAMPLE CORE vs CORE CHALLENGE
The Rebel challenges the information the Guardian has provided. The
Guardian uses her Scholastic Gear and experience as an Occultist to
dig up the exact book reference, defeating the Rebel.
THE REBEL
Attacks with a 7
THE GUARDIAN
Defends with an 8
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SAMPLE CORE vs AETHER CHALLENGE
A Caregiver has gotten into an extremely over matched fght with a
Warrior. Fortunately, using a high Vulcan Aether, the Caregiver can
focus their will and deliver a surgical strike to the otherwise superior
fghter.
THE WARRIOR
Defends with an 9
THE CAREGIVER
Attacks with a 10
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SKILL LIST AND MECHANICS
Each character in a Chronos game may safely be assumed to
have many useful abilities. These are represented by Skills. On each
Specialty card, there is a list of four Skills. Talent Augments also provide
Skills, though only two. Skills are a Prerequisite for using Items and Trait
Augments. Additionally, Game Organizers can use Skills as gate checks
for if a person can handle a specifc challenge (you must have the
appropriate skill in your challenge hand to overcome a challenge, and
thus only items relating to that skill or other skills on that specialty card.)
ARTISTRY Acumen
Creating items or performances of beauty or complexity.
ATHLETICS Dexterity or Brawn
Overcoming physical challenges.
BUSINESS Acumen
Understanding of commerce and trade, and how to handle money.
CONCENTRATION Resolve
Possessing self control and spiritual awareness.
CURRENT EVENTS Acumen or Resolve
Contemporary knowledge, gossip, and news.
DEMOLITIONS Acumen
Knowledge of explosives and demolition techniques for structures.
DIPLOMACY Acumen or Resolve
Etiquette and frst impressions.
ENDURANCE Resolve or Brawn
Able to muster mental or physical determination.
HAND TO HAND Brawn
Able to fght without weapons or with improvised weapons.
HISTORY Acumen
Understanding and remembrance of history.
LARCENY Acumen or Dexterity
Understanding security systems and mechanical locks, and how to defeat them.
LINGUISTICS Acumen
Facility with different languages.
MEDICINE Acumen
Understanding of medicine, toxins, and cures.
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MELEE WEAPONS Dexterity or Brawn
Specialized ability to fght in combat utilizing Melee weapons.
NAVIGATION Acumen
Able to fnd ones way in any environment.
OCCULT Acumen
General knowledge of rituals and practical understanding of various beliefs.
PERCEPTION Acumen
Awareness of hard to fnd things.
PERFORMANCE Resolve or Dexterity
Playing to the audience and convincing portrayals, or lying.
PILOTING Dexterity
Controlling land, sea or air based vehicles.
RANGED WEAPONS Acumen or Dexterity
Specialized ability to fght in combat utilizing Ranged weapons.
RAPPORT Resolve
Persuasive speaking and arguments.
REPAIR Acumen or Brawn
Maintenance and repair of items mechanical and electrical.
SCIENCE Acumen
Scientifc understanding and applicable knowledge.
SLEIGHT OF HAND Dexterity
Pick pockets, quick searches, and smuggling.
STEALTH Dexterity
Staying unseen and unheard. Camoufage and silent movement.
STREETWISE Resolve
Mixture of area knowledge and you know a guy.
SURVIVAL Acumen or Resolve
Wilderness survival and trail signs. Hunting and fshing.
TECHNOLOGY Acumen
Computers and other advanced technology operations.
THROWING Dexterity or Brawn
Specialized ability to use Thrown weapons and items.
TRACK Resolve
Finding someone who doesnt want to be found, either bureaucratically or physically.
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TEAM EFFORT
Sometimes your character may simply not have what it takes to
overcome a challenge, and you need the aid of another character to
succeed. Players working together to overcome a particularly diffcult
challenge may combine their totals, providing they have the appropriate
Specialty, Items, or Augments to assist in the action.
For example: Cheryl and Jace are trying to force open an old vault
door thats been long overdue for maintenance. To haul the door open
despite protest of the rusted hinges, Jace needs a successful Brawn
challenge of 8, but the lithe getaway driver is known for his Dexterity,
not his Brawn, and only has a 5. Cheryl, his heist team coordinator and
socialite can only manage a paltry 4 on her own, but with their efforts
combined, they have a 9 and can force the door open.
GAME ORGANIZER AND
METACHARACTER CHALLENGES
When a Game Organizer is within the Live Roleplay space, they often
will take on the role of a variety of NPCs and agents over the course
of a session. However, that does not mean they do not exist within the
play space. They will often take on the role of a MetaCharacter, or
a character within the environment that is available for direct player
interaction. This character helps maintain the game worlds continuity
by giving the Organizer a physical presence within the world. As such,
while playing a MetaCharacter, the Organizer still can use a Game
Organizers deck to provide challenges and NPCs in the game world.
They do this using Calamity Cards and Spirit Cards, which allow
them to build custom challenges and complications on the fy. These
challenges are handled in the same way as a normal challenge hand
when resolving a confict. The Game Organizer can also recruit other
people to assume MetaCharacters, in order to provide rules assistance
and more NPCs for larger games.
TIMED COMBAT RESOLUTION
In life, some rain must fall, and in most game sessions, some degree
of confict will likely erupt between characters or against NPCs. When
combat takes place in the Live game space, the game enters what we
call Timed Combat. At the beginning of the confict, when the frst attack
or aggression is declared, the game pauses and the Game Organizer(s)
overseeing the confict then declare that Timed Combat will begin by
calling CHRONOS! This affects all characters within the sound of the
Game Organizers voice. If in doubt, the Timed combat at the very least
affects the room in which the combat is taking place.
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THE COMBAT ROUND
Combat Rounds are declared by a Game Organizer or
MetaCharacter and resolve every 30 or 60 seconds. During each of
these intervals, players must prepare their Challenge hand and resolve
their current actions before the next round, including any movement
or special actions they wish to take. Players must move in slow
motion through the round, to represent that time is being stretched to
capture all of the action in play. Role
playing the attack not only ensures
everyone understands how the attack
is happening but also ensures that the
individual making the attack actually
has the ability to attack by confrming
range and line of sight. If making a
Ranged attack on someone who is not
looking at you, call out the person by
name or appearance.
Characters may make one attack
action at any time during their
movement, this does not prevent them
from completing their movement. They
may only make one attack per round
unless otherwise modifed by a Power,
Specialty, or Item.
Attacks may be made only when in
suffcient range for their attack type.
Hand to Hand strikes must be within
Arms Reach. Melee strikes must be
within the reach of the Weapon used.
Ranged Attacks must have line of sight
to their target and be within Short
(Small Room, approximately 10 yards),
Medium (Large Room, approximately
50 yards), or Long (Outdoors, over 100
yards) range.
Any actions that have not been
declared by the end of the round are
lost. Any resolutions still in progress
may cause the round to be paused to
complete resolution. Players who do not
adequately prepare their defenses against an action or habitually drag
out their defense resolutions are considered to have automatically lost
their challenge. Any resolution should be easily completed in less than
30 seconds so that combat may proceed.
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Safety Caveat
As all attacks are made on a target, the person making the attack
must attack in slow motion. This must always be done in a safe
way. Never make contact with your target, use weapons or physical
representations that could cause harm, or attempt dangerous stunts.
DEALING DAMAGE
Characters will compare Offensive and Defensive values appropriate
to their actions. Should a character be struck, they receive damage
equal to the damage value present on the Weapon, Power, or Specialty
card. If no value is present, they deal 1 damage.
For example: Maggie, the Attacker, wants to stab Miles, the Defender.
With her Challenge Hand ready she steps towards Dean and calls an
attack of 8 to Dean. Maggie then calls CHRONOS! Everyone has a
few seconds to make sure they have their Challenge Hands prepared.
When the Game Organizer says go, Miles declares a defense of 6 and
role plays a look of shock and horror on his face, since he has been
stabbed (for 2 points of damage). The only other person in the room,
Josie, is one of Maggies cohorts. Josie stands up and takes Steps
towards the fght, getting ready to attack Miles with her fsts. Miles
takes a few Steps away from Maggie, going in the direction of the door
on the far end of the room.
TIMING AND ABILITY MODIFIERS
Of course, in confict and in action there are more options than simply
attack or defense. In the Chronos system, a card may have special
traits which modify how the card is used, how often it can be used, or
otherwise grant the character special means to defend or attack. Many
of these special abilities will be found in and covered by the specifc
Skein world books, but there are some universal concepts with which
you should familiarize yourself, as they will be found within all Chronos
system game worlds.
Sustained
Many Items or abilities require focus and concentration to properly
use, be it summoning a mystical power or setting a broken limb. To use
this Item or ability, the character must continuously perform the action
for the specifed number of rounds without interruption. Defending
yourself does not interrupt sustained actions, but taking damage does.
Note that outside of Timed Combat, the rounds are translated to
seconds multiplied by 10. So for example, 5 would take 5 rounds of
Timed Combat, or 50 seconds in real time.
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Cooldown
Recharging Items and abilities after use is a common phenomenon,
especially when dealing with Aetheric powers or technological devices.
After this Item or ability has been used, it cannot be used again until the
specifed number of rounds have elapsed. Note that outside of Timed
Combat, the time required is counted in seconds multiplied by 10.
Armor
There is much common sense in putting a protective layer between
you and things that want to hurt you, and beyond the traditional body
armors and shields of history, various powers and devices have also
been developed over time to protect their wielder. acts like health,
providing extra damage you can take. It is also the frst points lost when
taking damage. Note, armor must be repaired via an Item or Skill in
order to restore its points after having been depleted.
Pierce
Of course, since armor was created, adversaries have been trying to
fnd a way around it. An Item or ability which possesses the piercing
quality will ignore up to the specifed amount of armor. Any armor
above and beyond the specifed amount will stop damage as
normal.
Toxic
There are also more insidious ways to deal damage, with the intent to
kill slowly or debilitate instead of instantly incapacitate. Poisons, toxins,
and abilities that cause damage over time will be indicated as , with
an indicated amount how much damage is dealt every 30 Rounds of
Timed Combat, or every 5 minutes of Real Time. The toxic effect can
only be removed by Items and abilities that specifcally cure toxins.
Burst
There is strength in speed, and items or abilities which allow for
multiple attacks or actions in a round will be indicated by the Burst
modifer. This allows for the Item or ability to be used as many times
as indicated per round of Timed Combat. The Item or ability will also
indicate whether it must have an S single target, or if it can be used
against M multiple targets. So for example, a machine gun that can
burst fre three shots in a round at a single target would be indicated
as 3S, while a blade that can be used for multiple strikes in melee
would be indicated as 2M.
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Subdual
Not all Items or abilities are designed to kill or maim, but instead to
simply subdue. Any item or ability marked by can only be used as
a non-lethal attack, and will only knock out a target instead of sending
them into bleed out.
Shock
Another form of non-lethal attack utilized by mystical and
technological abilities alike is the Shock effect. Items or abilities that
successfully deal damage to their targets health with the modifer
do not deal any damage, but instead force the target to lose their next
rounds actions. They may defend themselves as normal, but cannot
move, activate Augment abilities, or attack.
Haste
While very rarely found within True Time, Aether abilities and
technologies have made it possible to move at super human speeds.
Abilities or Items with the modifer allows the user to perform two
actions in a single round so long as the Item or ability is activated.
Concealable
Some Items and weapons are more subtle than others. A card with
on it does not require the player to show a physical representation of
the object on their person.

Clip
Ranged weapons only have so many projectiles. From bows and
arrows to guns and rifes, each have only so many times they may be
fred. Clip indicates how much ammunition each Ranged weapon
carries before needing to be reloaded.
Reload
Nocking an arrow or changing a clip takes time. Reload functions
as a Sustained Action with the value denoting how many rounds you
must actively reload before the weapon is ready to fre again.
Silenced
Sometimes subtlety isnt enough; one must achieve invisibility. An item
marked may be used without revealing the location of a hidden or
obscured attacker.
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For example: Jason has drawn a bead on Dan with his Long Arm rife.
Dan has not noticed, as he is currently swinging at Jeff in Hand to
Hand. Jason calls out Ranged 8 Dan, and Dan reacts to the punch
of a rife bullet for 4 damage. Fortunately for Dan, he was wearing his
Armor today. His 1 turns Jasons 4 damage into 3 damage, leaving
Dan with 1 Health out of 4 and still in the game.
Jason would love to shoot Dan again, but he used up his on a
different opponent, and his weapon has 4. Dan has 4 rounds before
Jason can fre on him again, enough time to get the hell out of Dodge.
COMBAT ACTIONS
A player must choose and declare one action per round that they are
performing at the top of the round.
Standard Action
Character may move up to their Speed in Steps and may make a
Ranged attack, Melee attack, Hand to Hand attack, or activation of an
Augment effect at any point during their movement. Ranged attacks are
resolved as Dexterity Versus Dexterity, while Melee and Hand to Hand
Attacks are resolved as Brawn Versus Brawn, unless otherwise stated on
the Item, Specialty, or Augment card. (For the purposes of brevity, Melee
will be used to represent both Hand to Hand and Melee attacks in this
section.)
Attack for Effect
Character may move up their Speed in steps and make one Melee
attack, declaring the intent of the attack. Attacks for effect include
Disarm Item, Knock Prone, Blocking Movement, Grapple, and
Disengage.
With a successful Dexterity versus Brawn challenge, an Item may be
Disarmed. Disarmed Items are discarded to the foor at least 1 step
away from both attacker and defender.
A character can be knocked Prone by a successful Brawn versus
Dexterity challenge. Prone characters must spend 1 Step to stand before
they may resume their movement. Note that this interrupts the targets
current movement, and must be resolved before the targets movement
can continue.
A Blocking Movement cannot be moved past within Melee reach
without passing a Dexterity Versus Brawn or Brawn versus Brawn
challenge (For example, blocking a doorway.) This interrupts the targets
current movement, and if the attack is successful, ends the targets
remaining movement this round. This does not prevent the attacker from
being attacked via Melee attacks.
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To Grapple, the attacker must make a successful Brawn versus
Dexterity check and be able to reach their target with both arms. If
successful, the target cannot move (but may still attack and defend) until
they Disengage from their attacker. The attacker may choose to end the
Grapple at any time, and can take no aggressive action but to hold
their target in place so long as they maintain the Grapple.
To Disengage, a successful Brawn
Versus Brawn forces the target to move
away from the attacker by two steps.
Focused Attack
The character may not move, but
may double either Offensive Brawn or
Dexterity this round. They may only make
one attack or aggressive Augment effect
this round, regardless of special effects
or Items that allow for multiple attacks.
Focused Defense
The character may move up to half
their Speed rounded down in Steps,
but cannot perform any attacks or
aggressive Augment effects. Their
Defensive Dexterity and Brawn are
doubled for this round.
Dash
The character may move up to double
their Speed in Steps in a straight line,
but may not take any other action this
round. They may still defend as normal.
An example of some terms: Kat, seeing
Dean running for the door, starts taking
three Steps towards Dean. Dean is
outside of the reach of her Discreet
Weapon knife, but Kat wants to keep the
option for attacking this turn and does
not declare Dash. Dean wants to get the
hell out of this kill box of a room, and
declares Dash. Dean has a Speed of 4,
so he is allowed 8 paces at full sprint.
Abigail sees that Dean is running towards the door and she declares
Dash as well. Abigail has a movement of 5, so her Dash is a 10. She
begins to take her 10 Steps and reaches the only exit of the room
before Dean reaches the door. Dean is still two Steps away from the
door.
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The Time Keeper yells Turn, and the action continues. Abigail
declares Focused Defense, intending to let no one through the doorway
she is standing in. Dean realizes he can not move Abigail out of the
doorway without some struggle, so he does not move towards the door.
ZERO HEALTH, BLEEDING OUT
AND NON-LETHAL ATTACKS
It is assumed that all attacks against a target are intended to be lethal
strikes unless otherwise stated. When a character loses all of their
health, they are considered incapacitated and Bleeding Out. They may
no longer take any action except roleplaying being in severe pain and
talking quietly and slowly. They are literally on deaths doorstep, and if
left too long will Bleed Out and die.
If an attack is made that is non-lethal, instead of entering Bleed Out,
they are simply knocked out. To declare a non-lethal attack, the attacker
needs to state that their damage is non-lethal and be using a Melee
or Hand to Hand attack. Ranged attacks may not be made non-lethal
unless a Specialty or Item card says otherwise. A knocked out character
will remain unconscious for 10 minutes outside of Timed Combat, or
100 rounds in Timed Combat.
So long as the character is knocked out or Bleeding Out, they are
considered Prone and may only use a single Core card for their
resolution hand to defend against incoming attacks. If at any time, a
knocked out character receives damage, they immediately return to
consciousness at zero health and are now Bleeding Out.
A character may provide medical assistance via the Medicine skill
for one full round to immediately revive a knocked out character at 1
health.
For example: Clinton has been hit by a fung bench, effectively ruining
his day. He has been dropped from 4 Health to Bleed Out. Fortunately
for Clinton, Rebecca is at hand, and has both the Specialty: Medic and
the Item: Medical Gear.

She uses her Skill in Medicine and her First Aid Kit to restore 2 of
Clintons Health as a Action over 10 rounds. Justin keeps a watch
over them both, ensuring that Rebecca is not interrupted and allowing
Clinton to get back on his feet.
BLEEDING OUT AND KILLING BLOWS
Once a character has begun to Bleed Out, they are in a very
dangerous position. That character has fve minutes outside of Timed
Combat, or 150 Rounds of Timed Combat, before they will die without
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medical assistance. They are also vulnerable to someone putting them
out of their misery by administering a killing blow. A successful attack of
any kind on a character in Bleed Out immediately ends the characters
Bleed Out, killing them outright.
DECLARING THE END OF TIMED COMBAT
If at the end of any Timed Combat round there are no conficting
actions being resolved, the Game Organizer can declare Timed
Combat Over and resume the normal fow of time. Game play may now
continue at full speed again.
LIVE ACTION VERSUS NARRATIVE PLAY
There will be times when you fnd yourself as a player or Game
Organizer wanting to include action that cannot be safely or reasonably
represented in the Live Game play area. While it would certainly
be amazing if you could have a car chase or set yourself up with a
sniper rife on a church steeple, there are elements that simply cannot
be enacted while still following the universal rules we discussed in the
introduction. For these instances, the game enters Narrative Play, where
a Game Organizer and the players involved step into another area
and work through their actions with words and descriptions, in place of
acting them out in the Live play space.
While players are in Narrative play, card resolutions are handled
in the same way, but distances, placement, and setting are at the
discretion and description of the Game Organizer running the Narrative
Play sequence. A sequence can be as simple as making a phone call to
a friend at a laboratory to analyze some materials youve collected, or
can be as in depth and complex as crossing a Threshold into another
world and exploring what lies beyond.
THE STORY TABLE
In addition to being a gateway to Narrative Play, the Story Table
also serves as a location where certain cards must be played that affect
gameplay at large. There must be a table in the space designated as
the Story Table. If players use a power, Item, or ability that could be
easily detected by someone in the space, they then play that card upon
it. The Story Table is considered an Out Of Game area for all intents
and purposes, but allows for players to check in and see what persistent
effects might be lingering in the play space. Game Organizers may also
use this space to leave announcements for players regarding elements in
play that all characters have a chance of discovering.
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For example: Ethan has cast a Ritual within the space, but out of sight
of the other characters. However, the magic lingers in the air, and the
Ritual card is placed on the Story Table. Any choosing to pay attention
may then notice that magic has recently been worked here.
NARRATIVE PLAY INTEGRATION
There are billions of possible worlds
in the Chronos universe, and many of
them do not obey the laws of True TIme;
magic, monsters and massive machines
may appear. In order to depict the
scope of these worlds, you may wish to
temporarily move your characters into
Narrative Play. By moving the action
to the players imagination, you will
fnd that there is opportunity for far,
far larger scope in your stories, but be
wary of losing the characters in the
action.
Chronos Narrative play integration can
work three ways:
Primarily Narrative
In this style, the game largely takes
place around a table, with an optimal
group size of roughly three to seven
players. On occasion, the players may
venture into Live play. In a more casual
setting, players can leave their seats to
act out scenes, leaving the Organizer to
narrate the action. In a more involved
Live setting, the Live Action part of play
will be a special occasion wherein the
Live events are more coordinated.
For example: A game wherein the
players are all aliens, embroiled in
an intergalactic adventure who will
occasionally visit a safehouse here on
Earth.
Primarily Live
A primarily live game will, for the most part, be Live play wherein
occasionally the players fnd their way into a scenario best played out
around the table. These games will tend to be larger, consisting or ten
players or more, and it is inadvisable at best for all of them to be in a
Narrative Session together.
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For example: A group of Espionage Agents compete and conspire
for top missions involving stealing jet fghters and riding motorcycles
through the White House and all of that other fun action-movie stuff.
Simultaneous Play
There are some important rules for playing with any combination of
Live Action and Narrative Play, in order to preserve the best experience
in either case:
Keep Narrative and Live play separate.
The narrated action of Tabletop play
can diminish the immersion of the Live
playing experience, and the movement
of Live Play can distract from Narrative.
Always make certain that there
are enough MetaCharacters to
maintain both events, and that there
is adequate communication between
MetaCharacters. Texting can be used
to some serious advantage here. Make
sure all MetaCharacters agree on the
salient points of the Simultaneous event
before play begins in earnest. Take
care when bringing Narrative players
back into Live Play.
When dealing with items and powers
solely available in Narrative play, the
Organizer has ultimate discretion.
Organizers may refer to the diffculty
table to determine the players ability
with anything from a motorcycle to an
interstellar starship.
Finally, allow for improvisation. The
golden rule of storytelling is that players
will rarely do what the Organizers
expect, and in these events, it is usually
advisable to go in the direction the
players want to go, whenever feasible.
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COMBAT IN NARRATIVE PLAY
In a Live Action combat, you may simultaneously block a sword with
a shield and fre a gun at an assailant, but you have the advantage of
your body as well as the other players to help move the combat along.
You know exactly whats happening most of the time by looking at it. In
Narrative combat you dont have this, so all actions must be described,
preferably as quickly and poignantly as possible.
In physical challenges, the character with the highest Speed declares
frst. In mental challenges, the character with the highest Focus declares
frst. Make sure to keep it short, sweet, and to the point while not
downplaying the awesomeness. After all, thats why youre here.
ANATOMY OF A CHRONOS CARD
Build Value
Corner, Card Type and Tier Value
Offensive Stats
D
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Card Title
Secondary
Stats
Flavor
Text
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INTERMISSION
THE DREAMLESS
CAREFUL WHAT YOU CALL
A name.
The captor across from me asked me what my name was. She stood
above me as she casually inquired what she should name me. Even as
disoriented I was, I had to resist the urge to rip her throat out and dance
in the spray of her blood. The audacity of such a thing! I swallowed
my wrath and remembered that to the feshy ones, to those who only
vaguely understood the powers they used, a name is nothing more than
a label to refer to someone by.
To her, she had asked a simple question. A form of polite interaction
that would allow her a degree of interaction between two people. To
me, she asked me to defne the very essence of who I was and present
it to her in her feeble mortal language. To summarize the core spirit of
what I was and to tie the entire being of my existence into a notation of
sounds for her recollection.
Ignoring the ridiculous concept that somehow this partially shaven
monkey was going to have cordial interaction with the immortal she had
in a binding circle, I gave thought to the insult of asking my name. No
greeting. No welcome. No offering of placation. No, this one wanted
to know what she should refer to the thing as. Words, in particular
names, have power. My name, in the tongue of immortals, is that of
a god-king. I am the frst frost that forms on a feld of battle after the
dead have been dragged away by carrion and the winter consumes
the blood spilled by the fallen. I am kin to the frst spots of decay and
rust upon godly crafted goods and I am the most loved of the war tribes
that are the desperation one feels before embracing nothingness. I
locked my eyes on the ground, and on the warding circle, to focus my
indignant rage.
The circle she had inscribed between the two of us looked as if it had
taken her some effort. Red clay dust in a perfect circle. Another circle
of sea salt. Broken earthen bread with raw honey. A bowl of milk now
curdled. Hand forged iron nails. A ring of autumn harvest seeds. A
blood sacrifce from a rooster that crowed at midnight. The waxen hand
of a corpse, taken from an executed murderer. Runes of binding carved
into the earth using a branch from an oak tree that had been struck by
lightning, the branch hewn with just a single strike. There were items
here I didnt even recognize, but obviously these trinkets had worked
their way somehow into the bell book and candle of the mortal mage.
She looked proud, in control, as if she had researched every potential
shortcoming she could have summoning and binding me. She and her
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smug feeling of accomplishment would not survive to see the frst drops
of her blood striking the stones at our feet. The words inscribed in the
binding were for the fair Laume, while the summoning was for the
frozen hearted Deives.
I stood to my full height, nearly ten dream stone taller than she. The
frost and ice from my home fell from between the folds of my blood
stained armor. There was a creak and groan as I fexed my leathery
hand, unfurling claws borrowed from the hawk. Locking eyes with the
ape I could smell the fear radiate from her as I stepped beyond her
warding circle. She wanted a name, I would give her a term she could
comprehend.
You may call me Goblyn.
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SETTING THE GAME
RUNNING AN EVENT
Running a Chronos event is a creative and logistical challenge. To
put together a great experience for your friends, youll need to bring a
clear vision, a cooperative spirit, and a winning combo of planning and
improv. You can give yourself a head-start by creating the perfect space
for your Chronos game.
Finding a site to accommodate your Chronos game can be tricky,
especially if you live in an area without suitable locations for rent
or in public. Live Action games of the past have played absolutely
everywhere, from acting studios to public parks to all-night diners.
Your players will use their imaginations to fll in the blanks wherever
you locate your game, but you want to give them the right toolkit to
jump-start their creativity. Thats why many Game Organizers employ
principles of theatrical set design and leverage a collection of genre-
appropriate props to their advantage.
A consistent, private space will allow you do to the most set design,
incorporating fxed lighting, special effects, and sound equipment for
a total sensory experience. If you cant manage to snag such prime
real estate, you can transform any room with the right tools. Shop
for props online or at a local costume, antique, or novelty shop. For
many Chronos games, a carefully selected tapestry or movie poster
can mean the difference between a blank space and a narrative gold
mine. Assemble a lighting kit, with spotlights, food lights, and various
color gels to provide ambience. Spend some time digging up a killer
soundtrack. You can even make your own recordings to give the
ambient noise in game a customized, theme-specifc touch. You may
also want to take note of the physical dimensions of your chosen space
and set certain areas aside for private conversations or scenes taking
place outside the main location of the game. These extra conversations
rooms can provide a storyline convenience as well as give the sense
of a greater world outside of the game space. Youll want to take the
same care decorating these added rooms, if theyre available, as you
will take when youre putting together your primary game space. Dont
forget the Story Table! Make sure its in a prominent place, and lit well
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enough for any cards upon it to be read easily.
Even if you cant bring a crate full of fake cobwebs and occult trinkets
to the business park your game calls home, you can make a lot of
difference for your players with some more modest props. Whenever a
signifcant item or piece of Equipment enters your game, provide a phys
rep (a physical representation) of the object. An encoded message or
mystical heirloom that your players can touch will make much more of
an impact than an index card or bit of
narration.
You can also take this creativity-frst
approach when costuming your Game
Organizer Metacharacters. Since you
may need to swap roles on the fy, its
best to keep your basic costume simple,
but a standout piece for each major
face can help make your cast distinct as
well as memorable.
You dont need a Hollywood budget
to make theater magic. Just pick up
the right fabric here, a couple plastic
fngers there, and soon youll be on
your way to creating a home for your
story.
USE OF PROPS FOR RANGE
AND RESOLUTION
Props, the theatrical representations
of items that your character possesses,
are a fantastic tool for ensuring the
complete immersion of a game space.
Knowing that a person is wearing heavy
armor and carrying a semi-auto shotgun
at a glance may result in different role
play than just seeing someone wearing
sweatpants and a hooded sweatshirt.
To properly use props, there are certain
guidelines every player and Game
Organizer needs to follow.
All props must be safe. Props should not be sharp, dangerous, or
EVER actual weapons. Many sites offer latex weapon physical
representations which are much safer than homemade props. We
cannot stress enough that safety is the number one concern in regards to
props, and that props must ensure that no one gets hurt. A person with
a prop in their hand needs to be conscientious of those around them,
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and are responsible for the safety of those around them.
Props can NOT be ultra-realistic. Use of exact replicas may be
perceived as an actual threat and could cause both safety and legal
issues. We highly suggest that bright orange safety tips are never
removed from toys used as weapon physical representatives. Airsoft
and replica frearms may sometimes incur police response even with the
required orange tips.
Any weapon prop should not be brandished, used, or shown in public
areas. You must abide by all local and federal laws in regards to
potential issues with the carrying and holding of weapons physical
representations.
In addition to ensuring the safety and immersion of your game world,
physical representations have a minor mechanical effect in Timed
Combat. During Timed Combat, physical representations are used to
measure striking distance, line of sight, and feasibility of weapon use. In
the exaggerated slow motion movement of Timed Combat, individuals
involved in the combat are expected to role play their actions and
motions in slow motion. This slow motion includes the slow motion
gestures of attacking someone, being struck, or being displaced in
combat. Overly large weapons will fnd themselves unable to maneuver
in tight or close space combat, thereby making the use of these items as
limiting as they are in the real world. Short weapons may not be able to
reach their target within the given number of Steps.
Another concern for allowing props is a look and feel appropriate to
your game. If youre telling the story of wizards battling evil sorcerers
in Victorian London, you dont want somebody running around with an
enchanted iPhone. For a lot of Chronos games, everyday items or thrift
store fnds are completely suitable, but as the line gets blurrier, youll
want to keep a close eye on what does and doesnt ft. Coming up with
a concrete rubric detailing your genre expectations is a good way to
stay on the same page with your players.
Book Keeping and Organization
Of course, getting creative is just one aspect of being a Chronos
Game Organizer. As the title suggests, the role of Game Organizer also
demands a lot of bookkeeping. You wont have to build your own giant
database or invest in a huge fling cabinet, but you will want to stay on
top of your games development with some concrete records.
Some of this work can be really easy, like taking attendance,
providing feedback forms, and supplying rules pamphlets for anything
you introduce. These physical notes are a great way to keep track
of whats going on in your Chronos game. You can archive them in
a system of folders, a binder, or whatever makes you feel like your
heads on straight. Digital management is also a good tactic for
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handling information as it comes to you. Prep an Excel spreadsheet with
details about character back stories, schedules for timed plot events,
or Skein elements youd like to introduce. You can fnd an array of
organizational software online, so shop around and see what works
for you. Make sure you have a means to easily share your records with
your staff: Provided you keep communication frequent and on-task, a
team can manage information as effciently as an individual, with more
opportunity for collaboration.
You can share the job of keeping your game organized with your
players by asking them to keep records of their XP expenditures,
character changes, and other personal info. You might even be able to
send around feedback forms or request post-event letters from the players
who regularly attend your game. Collect everything in one place, come
up with a system to sort and label your archives, and youll be all set to
handle whatever logistical twists and turns await in your Chronos game.
DECIDING WHICH DECKS TO USE
One of the best ways to decide what kind of setting to create is to
consider your world and the kind of atmosphere you want to project. For
that, you get into perhaps one of the most fun parts of running a game -
world building and defnition!
The Core of Chronos is a malleable system that is good for creating
worlds relatively close to True Time. While the Specialities, Augments,
and Items allow you a wide range of options for your characters as skilled
individuals, your skill as a storyteller allows you freedom to work within a
vast and unrestricted framework. That being said, if you wish your game to
fnd more focus, or if you wish to expand the framework that is the Chronos
Core Deck, adding Skeins or Expansions to your game will facilitate
entering a larger world of play.

As a Game Organizer, deciding what Skeins or Expansions to use in
addition to the Core is completely dependent on the style of game that the
individual Game Organizer wishes to host. Each Skein offers different
moral questions, different time periods, different focuses, and different
themes. The choice of what Skein to use boils down to What shared story
do you wish to tell?
Every story can be defned by flling in the blanks in the phrase My story
is about (blank) which is focused on (blank) around the time of (blank).
The frst and third blank can be defned by which Skein you choose for
your core world. Each Skein offers a unique Aether timeline that can be
used, a unique set of powers, and a unique set of people that all can be
a part of the same game. As an example, if you as the Game Organizer
wish to have a game that involves rockin and rollin demonic souls set in
the 1950s, you would want to choose Devil Days as your core Skein.
Your core Skein defnes character creation, the organization of your
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players, your timeline, and to a degree the focus and themes of your game.
Choosing a single Skein does not have to be the end of your decisions.
Each Skein is designed in such a way where you can blend and mix
Specialties, Augments, and unique Items with one another. Using our prior
example of the 1950s rock and roll demons themed game, if the Game
Organizer wished to introduce high magic into the world, the Organizer
can allow for the magical tradition cards of ExArcana to be allowed in the
world. While the individual character would have to spend experience
points on the Skein cards required in ExArcana to have access to magic,
this twist would allow for a unique feel to the game world.
In the end all of the Skeins of Chronos exist at the same time, each going
a different direction from their Aether Watershed point. Given that the
players within these timelines might have access to exclusive powers and
abilities, Organizers should not immediately shun the idea of incorporating
different Skeins into their timeline as additional favor to their own world.
Game Organizers also have the potential of having players originate in
multiple different Skeins, to travel between Skeins, and to interact with other
timelines depending on the degree of Meta-Arc the individual Organizer
wishes to bring into their own game. In the end the Game Organizer is the
arbiter for the individual story that they are telling.
DIFFERENT OPTIONS FOR DIFFERENT THEMES
If youve read through the Infnite Worlds section earlier in this book,
youve already learned that as a Game Organizer, what Skein you
chose will directly impact what kind of story you want to tell. Each Skein
brings players into vastly different worlds all tied together by the Aether
Constant. However, its also important to note that just as the Skein you
choose gives you an environment in which to tell your story, different
Skeins provide spaces to explore different themes.
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Considering what themes you wish to play with is an important step in
choosing your Skein. A good way to think about themes are as ideas,
emotions or conceptual elements that you want to examine throughout
your game. Certain Skeins are going to be better at conveying certain
themes than others, and depending on the Skein you choose the world
that Skein provides can drastically change the interpretation of your
themes.
A good example is of a Game Organizer creating a game exploring
womens rights. The Organizer identifes themes like equality versus
inequality, freedom versus subjugation, political change versus
stagnation, and gender roles as the themes theyd like to see players
explore. The Organizer then has the option of plenty of game Skeins
to choose from, either pre-created or home generated, to serve as
their game world. Yet a game exploring womens rights and these
themes will be very different set in Elizabethan times than in a modern
zombie apocalypse. The themes might be the same, but theyll articulate
differently based on the world. The Game Organizer should look at
how they want to explore these themes, and from there choose the Skein
which will suit that exploration best.
A Game Organizer can also choose a Skein frst and then decide
on thematics. Say the Organizer and staff want to run a game in a
steampunk world full of magic and adventure. That aesthetic excites
them and makes them want to tell stories, so thats the world in which
they want to design adventures for their players. If a Skein is chosen
before themes are decided, the staff should then sit down and talk about
what themes ft this worlds ideology and aesthetic well. Some worlds
will hold certain ideas better than others. For example, if the game
is going to be set in a modern American world focusing on political
intrigue within a corrupt magical-inspired environment, themes of power
and privilege might work well in the setting, but issues of monarchy
would not. Its up to the Organizer to determine what themes will work
to create interesting stories and plan accordingly.
Something to consider when organizing around a Skein instead of
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thematics are works of art set in similar universes. If your Skein features
a noir environment, you might fnd it helpful to look into some novels
by Dashiell Hammett or watch some good Bogart movies to get in the
mindset for creating solid noir. You might end up changing things from
the traditional noir narratives, but looking at literature, art, music or
movies from similar settings can really get the juices fowing on thematic
inspiration. In the end, its important to remember that these Skeins and
themes are guidelines for telling stories and not hard and fast rules. The
framework is simply presented to you - as a Game Organizer, you get
to make the fnal decisions.

CROSSING TIMELINES AND REALITIES
One of the unique aspects of the Chronos system is its universal
nature. Character mechanics from one genre of game will apply to
another genre of game with little to no house rules being needed. In
truth, there is only three decisions that a Game Organizer needs to
consider regarding their own local game.
Do I allow any travel between games? Sometimes Game Organizers
want to have total control of all aspects of a players environment, so
they do not want other Game Organizers writing or running materials
for their players. If a Game Organizer wishes to have this total control,
they need to inform their players that their game is going to be a Closed
Realm. A Closed Realm game is a Pocket Universe which exists only as
far as one particular Game Organizer. A players character does not
gain experience points from traveling to other games, cannot participate
in other games with the same person, and if a player wants to play
in other game universes they must make completely new characters for
each game.
Do I allow travel, but only from Pocket Universe to Pocket Universe?
This is the most popular form of game, wherein a player may travel
to other games and other Skeins with the same character. When the
character travels to these other games they are considered to have
stepped through a Threshold into an alternate reality. In this alternate
reality the Skeins, world, and design may be very different. While the
character can travel back to their home game with information and
stories about their experiences at other games, no materials or powers
can travel back without the permission of the home Game Organizer.
No experience points are earned for characters traveling outside of
their home game, only great fun and role play.
Do I become a part of a larger Game Network? Sometimes multiple
Game Organizers work together to write story for the same Universe,
with plot that crosses over between multiple player bases and even
multiple Skeins. If you do choose, as a Game Organizer, to be a part
of a larger Universe, you need to organize and design a Network
that thoroughly details what is and is not allowed. Much like Pocket
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Universe games, Networked game play only earns experience at a
players home game, but, allows a greater and richer environment for
role-play.
Whatever scope you decide to allow, Chronos will provide you with
as much or as little space and breadth as you and your player desire.
WRAPPING UP
Sometimes the hardest part about a game is determining when to
end it. Depending on theme and mood, its best to try and end on some
form of an up note- even the most dark and dour game requires a glint
of hope to keep players coming back. Some groups like to have a sort
of round-table cool-down after wherein players discuss the events of the
game and how their characters reacted. Its also worth noting that after
a game, usually, players are pretty hungry and may wish to chat at a
nearby diner or restaurant. At this point, its usually best to go with the
fow. Enjoy the real world a while. Chronos will be right where you left it.
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CONCLUSION
THE NEXT MISSION
The Initiates gathered around the body. One crouched by his head,
noting the details of the scene with a practiced eye.
Have we confrmed a shooter yet? He asked.
Saniya Elian Said one of the other guards, adjusting his tie. She
was contracted to hit Mr. Morganchild last week. She came in, popped
him, and booked while she still had the element of surprise. She has an
ally, too, some green-haired punk that got one of ours on the way out.
Weve moved him, of course, and managed to cover it up with the hotel-
they all think its some kind of sci-f nerd stage show.

The frst guard nodded. This is getting expensive. Youd think theyd
know better by now. He leaned over the body- a gruesome display,
arms and legs akimbo, hair wet and matted with pooling blood.
Seriously His partner sighed. Were gonna be on the hook for all of
these carpets. Do you have the stuff?
His partner nodded. Yeah, I have it. I just didnt want to use it yet. After
this, were out. Next shipment doesnt get here till tomorrow morning, so
from here on, play it safe. Capisce? He withdrew a small, glass vial of
scintillating silver fuid, like liquid moonlight. Cradling his bosss head,
he poured a few drops into the corpses dead, slack jaw.
The body twitched.
Then coughed.
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Are you OK, Mr Morganchild? Asked the frst guard. Nicholas sat
up and blinked, touching his fngers to the back of his head, where a
gruesome exit wound had been moments before.
Im fne. He said getting to his feet. Ill never get used to that. Did
she get anyone else?
Just Johnson. But were out of Grey Reactive Agent Inf-
Just call it GRAIL. Morganchild snapped, smoothing his jacket. Its
a stupid brand name anyway. Once we synthesize the compound and
unlock its secrets, were going to make sure people like Elian and her
Trilateral cronies no longer corner the market on immortality. Were
going to make it available to the people. Make sure Johnsons body is
safe. Hes getting married on Tuesday, and if hes late just because hes
dead, Rachel will kill me.
He shrugged the jacket back on and walked out of the room, holstering
his weapon.
I know were out of juice, boys, but this sideshow ends tomorrow
and when it goes, so does our cover. Were out of time. Weve got less
than 24 hours of this convention left. Smiling, he pressed the elevator
button. Lets fnd an assassin.
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CHRONOS LEXICON
Aethers Aethers are a mystic, expendable resource, used for short-term
boosts of your character, or to fuel powers and effects.
Armor Armor acts like health, providing extra damage you can
take. It is also the frst points lost when taking damage. Note, armor
must be repaired via an Item or Skill in order to restore its points after
having been depleted.
Augment Augments are diverse cards that represent powers, talents
and traits.
Burn To burn is to discard an Aether without use, usually to activate
powers or abilities.
Burst There is strength in speed, and Items or abilities which allow
for multiple attacks or actions in a round will be indicated by the Burst
modifer. This allows for the Item or ability to be used as many times as
indicated per round of Timed Combat
Challenge Hand A challenge hand is a three card hand, made up of
one blue, one red, and one black or grey card.
Character Hand A character hand is effectively your character sheet,
made up of a certain number of cards equal to the point value ascribed
by your storyteller at creation.
Chronos Time Chronos Time is the call made by the storyteller when
a combat or skill challenge is about to take place. Time then falls into
rounds of action, each round being no longer than 30 to 60 seconds,
Game Organizers call.
Clip Ranged weapons only have so many projectiles. Clip indicates
how much ammunition each Ranged weapon carries before needing to
be reloaded.
Concealable Some Items and weapons are more subtle than others.
A card with Concealable on it does not require the player to show a
physical representation of the object on their person.
Cooldown After this Item or ability has been used, it cannot be
used again until the specifed number of rounds have elapsed. Note
that outside of Timed Combat, the time required is counted in seconds
multiplied by 10.
Core Your core card is the card that describes the archetypal nature
of your character. It is the base card in your Character Hand. It is
denoted by a grey border.
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Haste While very rarely found within True Time, Aether abilities
and technologies have made it possible to move at super human
speeds. Abilities or Items with the Haste modifer allows the user to
perform two actions in a single round so long as the Item or ability is
activated.
Item An Item card is a tool or weapon your character has. It is
denoted by a red border.
Live Play When players are engaged in the actual actions their
characters are taking, they are engaging in live play.
Narrative Play When the players are describing their actions and the
setting is being discussed as opposed to occupied, they are engaging in
narrative play.
Pierce An Item or ability which possesses the piercing quality will
ignore up to the specifed amount of armor. Any armor above and
beyond the specifed amount will stop damage as normal.
Real Time All actions not in Chronos time are in real time.
Reload Nocking an arrow or changing a clip takes time. Reload
functions as a Sustained Action with the value denoting how many
rounds you must actively reload before the weapon is ready to fre
again.
Shock Another form of non-lethal attack used by mystical and
technological abilities alike is the Shock effect. Items or abilities that
successfully deal damage to their targets health with the Shock modifer
do not deal any damage, but instead force the target to lose their next
rounds actions. They may defend themselves as normal, but cannot
move, activate Augment abilities, or attack.
Silenced Sometimes subtlety isnt enough; one must achieve
invisibility. This Item may be used without revealing the location of a
hidden or obscured attacker.
Skein A Skein is a supplemental book and deck for the Chronos
system. Skeins contain other game settings and new cards to allow the
building of new characters.
Skill Skills are prerequisites for Items and the talent Augment. They are
gate checks for storytellers in regards to your character being able to
engage in certain actions of challenges.
Specialty A Specialty is a card describing your characters profession
or skill set. They are denoted by a blue border.
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Story Table Players and storytellers may utilize a story table to place
cards that represent ongoing effects in the area of play.
Subdual Not all Items or abilities are designed to kill or maim, but
instead to simply subdue. Any item or ability marked by Subdual can
only be used as a non-lethal attack, and will only knock out a target
instead of sending them into bleed out.
Sustained To use this Item or ability, the character must continuously
perform the action for the specifed number of rounds without
interruption. Defending yourself does not interrupt sustained actions, but
taking damage does.
Talent A talent card describes a particular ability your character has
that they are very skilled in. Talents have prerequisite skills that are
required before you can purchase a talent. They are denoted by a blue
border.
Toxic Poisons, toxins, and abilities that cause damage over time will
be indicated as Toxic, with an indicated amount how much damage is
dealt every 30 Rounds of Timed Combat, or every 5 minutes of Real
Time. The Toxic effect can only be removed by Items and abilities that
specifcally cure toxins.
Trait A trait card describes an intrinsic quality about your character,
and grants your character access to two skills. They are denoted by a
red border.
Use By using an Aether card, you replace your core card with an
Aether card to increase your stats for a challenge.
FOR SKEINS, CARDS AND OTHER INFO GO TO
ESCHATONMEDIA.COM/CHRONOS

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