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 Armour Astir: Advent is a high-fantasy roleplaying game about
striking back against an authority that seeks to control you.
It is a game of rival pilots clashing in steel-clad Astirs, of soldiers
holding their own against the odds, and of spies and diplomats twisting
the world to their ends. It is not a game of careful preparation or
pleasant truces;
It's hard to change the world without taking a risk.
ACKNOWLEDGEMENTS
As a Powered By The Apocalypse game, Armour Astir naturally owes a lot to
Apocalypse World by D. Vincent Baker and Meguey Baker. Thank you for teaching
me about failing forwards. It’s great. Additional design influences include The Sprawl
by Hamish Cameron, Masks by Brendan Conway, Scum & Villainy by Stras Acimovic
and John LeBoeuf-Little, We Made Them Look Like Us by Takuma Okada, Technoir
by Jeremy Keller, and countless others. The creativity of the TTRPG community
knows no bounds.
TOUCHSTONES INCLUDE;
• Mobile Suit Zeta Gundam, Mobile Suit Gundam ZZ, SD Gundam Gaiden, Vision
Of Escaflowne, Super Dimension Fortress Macross, Armour Hunter Mellowlink
• The Legend of Zelda: Breath of the Wild, Titanfall, Valkyria Chronicles
PLAYTESTING FAQ
CAN I RUN A PLAYTEST OF THIS GAME?
Of course! Feel free to run it however much you like. If you do so, though, I urge you
and your group to provide feedback based on their experience with the game. These
are in-progress rules, as up-to-date as I can give them, and as a tradeoff for that
early access I’d really like to stress how important it is to development that you
provide some feedback after your game.
WHAT DO I NEED?
If you're playing in-person, you'll need some 6-sided dice, a copy of this rule book,
and printouts of the character playbooks. If you're playing online, you just need the
PDFs. You can find links to all these at https://weregazelle.itch.io/armour-astir.
CAN I STREAM/RECORD MY PLAYTEST?
Again, feel free! If you do so, I’d love to hear about it.
WHERE SHOULD I SEND MY FEEDBACK?
Feel free to email me at [email protected] with the header ‘Feedback
(Armour Astir)’. Make sure to note how you and your group would like to be credited
in the list of playtest groups. If you haven’t playtested but still have errors or
inconsistencies you’ve spotted, feel free to email those in too!
Also, feel free to join the Armour Astir discord! (https://discord.gg/5DrDpCr)
ANY SPECIFIC AREAS OF FEEDBACK YOU’RE LOOKING FOR?
Yes! I’m always looking for feedback on the feel and clarity of the core risks and
perils system, and how it feels to trade these back and forth during ‘combat’. I’m also
looking for feedback on how it feels to have a mixed group of Channeler and Support
playbooks in a group, and if b-plot and other moves help Supports feel like they have
things to do during sorties.
Ran a playtest? Get in touch with your feedback! I'd love to hear about it and credit
you with the other Playtesting Crews. If you're already listed overleaf under a handle
and would rather have your actual name, or vice versa, let me know and I can make
sure it's updated.
 QUICK SETUP
Just playing a one-shot and want to get set up as quickly as possible? Follow these
steps and you’re good to go!
1. Detail your Authority and Cause
2. Detail your Carrier
3. Detail Characters & Choose Playbooks
4. Start Making Stuff Up
DEFINE YOUR AUTHORITY... ... AND YOUR CAUSE
The first step is to define your Authority. The second is to do the same for your
This should be an oppressive group that Cause - the group that backs and hands
the players are interested in fighting orders down to the player characters.
back against, however difficult that As a whole, the Cause should be a
might be. Also, unless you’re feeling group with whom the players align for
particularly unimaginative, they should the time being, even if the occasional
have a better name than 'the Authority'. representative is an asshole.
If you're stuck, try thinking about the If you're stuck, try thinking about who
Authority's goals, why they haven't would have the resources to stand up to
achieved them yet, and what sort of the Authority, and whether they would
people are attracted to the Authority. do so for purely virtuous ends.
In both cases, you should also think about what their broad aesthetic is, as well as
the design of any common Astirs (your Zakus, your Nemos, etc).
QUICK CARRIER
The Carrier is your shared home and the ship that takes you from place to place
(think the White Base from Mobile Suit Gundam, or the Normandy from Mass Effect).
Decide together what your Carrier looks like, how it moves and how you got it. It has;
• A CREW trait of +1. This is used for some Downtime moves and by the Captain.
• 5 SUPPLY, representing parts, credit, and local currencies.
• A main gun that can shoot down other Carriers but is too slow for Astirs.
• Turrets that can be used to fight off Astirs but will barely scratch a Carrier.
DETAIL CHARACTERS & CHOOSE PLAYBOOKS
The last step is for the players to make their characters!
• Start by choosing a playbook—if you've never played a PBTA game before,
they're like classes, or archetypes. Talk with the group what kind of action they
are interested in, and what kind of playbooks might support that fiction.
• Next, assign the following values to your Traits as you wish: +2, +1, +1, +0, -1.
Some playbooks have an extra Trait, CHANNEL, which will come with a pre-set
value.
• Then, name your character, and pick out some words to describe their look from
the examples—or think up your own!
• Next, choose from the gear or equipment options your playbook has. Some
playbooks have more than one choice.
• Next, pick some moves from your playbook list (unless it says you don’t get to).
• Finally, since you won’t be building them in play, fill out a GRAVITY clock with
each other player character, describing your relationship or dynamic and giving it
a value of +1.
START MAKING STUFF UP
With characters made and the stage set, it’s time to launch! Consult the Basic Moves
when you’re ready to take action or the Playbooks when you want to pull something
special off. If you’re the Director, the Running The Game chapter has example
enemies and advice to help you get things rolling, but don’t be afraid to improvise
and go off script. It’s a one-shot, and nobodies going to be mad if you get things a
little wrong. For a little extra help, see the Setting & Mission Hooks.
 PLAYTESTING CREWS
THE CREW OF THE MANY HANDS
Sean DMR (Luca Sharpe, Impostor of the Tempest Zephyr), Evan Nyquist (Impostor
of the Collosus Azure), LilypadNebula (Cassandra Val Nelithia, Witch of the Wistful
Glance), Briar Sovereign (Director).
THE CREW OF THE HELLEBORE
Austin Walker (Director - Empyrean, Barter, and the forces of the Divine Principality),
Art Martinez-Tebbel (Briar Brightline, Captain of the Constellation-Class Carrier
Hellebore, aka The Ivory Prince), Andrew Lee Swan (Cerise Sky, Low Consul of the
Center & Arcanist of the Perennial Hallow Aster), Janine Hawkins (Teasel Moad,
Witch of The Day's Eye), Sylvi Clare (Vessel's Gold, Impostor of The High Price).
THE CREW OF THE SALAMANDER
Em Marko (Agnes Rota, Witch of the Kubuto), Lizzy (Astrid Ascendant, team Scout),
Jackson Tyler (Avery Sova, Paradigm of the Caelus), Alison Autumn June (Ilia
Vanseer, Arcanist of the Aeon), Briar Sovereign (Director).
THE CREW OF THE FORGE
Evan Nyquist (Director), Ben Cornell (Ciaran, crew Scout), Katelin Cornell (Stila,
Paradigm of the Vengeance), and Tasha Zobel (Davée, Imposter of the Stalker).
THE CREW OF THE GOBLIN WHALE
Sean DMR (Director - Blaidud, Bridge Marshal Kessler, and the forces of the Cardinal
Agglomerate), Briar Sovereign (Custodian Cobalt, Arcanist of the Nothic), Ruby Ariel
Lilith Saint Dennis (Ren Konsche Klauvei Faut-Naushika, Paradigm of The Wight
Knight), Andrew (Zaiban Rashilik, Impostor of the Zyar), Emily G. (The Duchess of
Marmalade, crew Artificer).

For corrections or additions to the playtesting crews, email [email protected].

SPECIAL THANKS
I'd also like to thank the cast of Friends At The Table, who re-ignited my love of
tabletop roleplaying after one too many long nights of Pathfinder. This game wouldn't
exist without you.
Additionally, I'd like to thank Em and Jackson of Abnormal Mapping. Without the
Great Gundam Project I never would have had the motivation to keep watching, and
I'm very glad I did. I love those cool robots.
Finally, a special thanks to all the artists who have collaborated with me on this
project. Without you, it’d just be words.
MISC.
Other things I enjoyed throughout this games development include;
• Podcasts: The Shrieking Shack, Waypoint Radio, Emojidrome, Film Critters, The
Magnus Archives, Hold This L, Borat Club
• Books/Comics: Delicious In Dungeon, Dead Dead Demon's DeDeDeDe
Destruction, Ancillary Justice, Consider Phlebas, Player Of Games, Little Teeth,
Men Women & Chainsaws
• Games: Dragon's Dogma: Dark Arisen, Risk of Rain 2, Path of Exile, Disco
Elysium, Outer Wilds, Timespinner, Battletech, Umurangi Generation
• TV/Films: Dirty Pair, The Tatami Galaxy, Us, Get Out, Armored Trooper VOTOMS,
Nichijou, Midsommar, Hereditary, Ghost In The Shell: SAC, Night Is Short, Walk
On Girl, Hardware, Nosferatu the Vampyre, Pontypool, Parasite
 A NOTE ON WORLDBUILDING
While this game doesn’t include a pre-written setting you are expected to play, that’s
not to say these rules are completely free of any details outside the mechanics.
These are intended to establish a feel for the game that will serve as a starting point
for your own world—some core elements that you can build around. ‘Armour Astirs’
rather than mechs, ‘Channelers’ rather than pilots—these things are there to inspire
and set an identity, and you should feel free to change all of them if the world you and
your fellow players are exploring demands something different, or if you already have
a setting you’re bringing these rules to.

Replacing magic itself is a little trickier, but it’s doable. Astirs and Golems are already
a pretty natural parallel to mechs and other combat vehicles, and Familiars are
intended as an equivalent to drones or funnels/bits. For any weapon you can think of
there’s probably some modern or sci-fi alternative that fulfils the same role, and you
might try to convert the CHANNEL Trait into something that represents piloting skill,
grit or luck instead of magic.

The artwork depicted in this book is the work of a group of artists with different ideas,
experiences and histories with mecha fiction. It is my hope that it inspires and fills
you with ideas about what the world in a game of Armour Astir can look like, not what
it has to look like.
- Briar
 CONTENTS
MAIN CONCEPTS 8 PLAYBOOKS 75
Who You Are 8 ARCANIST 76
Who They Are 8 IMPOSTOR 79
What You’re Doing 8 PARADIGM 81
Resolving Actions 9 WITCH 84
Traits 9 CAPTAIN 86
Ideals 9 DIPLOMAT 89
Spotlight 10 ARTIFICER 91
GRAVITY 10 SCOUT 94
Dangers 11
The Conflict Turn 11 ADVANCEMENT 96
SETTING UP 12 Soldier Moves 96
Setting The Stage 12 THE AUTHORITY & THE CAUSE 99
The Authority 13 The Authority 99
The Cause 14 The Cause 101
Creating Player Characters 15 Regions 103
Ready To Play! 16 The Conflict Turn 104
BASIC & SPECIAL MOVES 17 RUNNING THE GAME 107
Basic Moves Summary 17 Agenda 107
Weather The Storm 19 Principles 107
Read The Room 20 Director Moves 109
Dispel Uncertainties 21 Safety Tools 112
Help or Hinder 22 Optional: No-Dice Downtime 113
Weave Magic 23 Creating Director Characters 115
Cool Off 24 Example Foes 116
Exchange Blows 25 Astirs & Golems 117
Strike Decisively 26 People 118
Bite The Dust 27 Creatures & Monsters 119
Group Moves 28 Outsiders 120
Special Moves Summary 28 Rivals 121
Lead A Sortie 29 Setting & Mission Hooks 121
Subsystems 30 THE GHOST REACHES 124
B-Plot 31 Overview 124
DOWNTIME MOVES 33 The New Hunt 125
CONFLICT & TIERS 37 The Faces Of Progress 127
Example Astirs of The Ghost Reaches 128
Opposing With +CLASH 38 Example Gear of The Ghost Reaches 128
Opposing With +TALK 39
Tiers 40 MISSION HOOKS 129
TAGS & GEAR 41 The Grand Melee 129
Neutral Ground 130
Tags 41 Eleventh Hour 131
Acquiring Equipment 43 Authority Attack! 132
Tier I Equipment 44
Tier II Equipment 45 APPENDIX 133
THE CARRIER & ASTIRS 49 Risk & Peril Examples 133
Glossary & Shorthands 134
The Carrier 49 Magical Objects 135
Creating Your Carrier 49 Magical Weapons 136
Astirs 52
Creating Your Astir 53 RELEASE NOTES 138
Astir Extras 61 CREDITS 138
The Astir Card 61
Example Astirs III 62
 MAIN CONCEPTS
WHO YOU ARE
In Armour Astir, you’re rebels, mercenaries, and revolutionaries. You might be a
Channeler, someone with the ability and training to control an Astir - a humanoid
construct of magic and metal, some of which stand ten times the height of their pilots.
You might be a Paradigm who gained that power through devout service, a Witch
who made a pact in their darkest hour, or an Impostor who seized magic for their own
- at a cost. You might be the kind better suited to life outside of a suit of magical
armour, of course - you might be a Scout trained by the Authority who left to fight
back, an Artificer who grew up keeping things working around their hometown, or a
Diplomat who made a name for themselves holding factions together.
Whoever you are, you represent something. This might be a small group, a company,
or simply an ideology - but whatever it is, it is referred to as the Cause, and it is from
your Cause that you receive direction and instruction. There are surely other factions
involved in the struggle against the Authority, and it may be in your interests to align
with them - but the Cause is what you belong to.
WHO THEY ARE
The exact nature of the Authority is up to you and everyone else at your table, but the
Authority is generally an authoritarian group, usually in a grand position of power, that
seeks to control and subjugate people who do not fall in line. There is no need for
things to be entirely black and white in regards to the motivations of individuals, but
as a general whole the Authority should represent something you as players are
interested in fighting back against.
As with any other tabletop game, you should discuss what kind of content and
themes you want to you want to tackle or avoid during play. There are different
degrees and scales of evil, after all - and fighting a simpler, less subtle Authority is
just as valid as fighting back against something more real and personal.
Also, unless you’re feeling particularly unimaginative, they should have a better name
than the Authority.
WHAT YOU’RE DOING
In Armour Astir, players typically rotate between Downtime (where they spend their
limited free time to repair, rest, and rendezvous) and Sorties (where they leave the
Carrier together to try and achieve a goal). Sorties themselves are usually a
combination of several scenes - individually framed sections of action, like scenes in
a movie or tv show - after each of which the player’s risks are cleared. A larger goal,
referred to as a Mission, is typically achieved over the course of a few Sorties.
A SORTIE MIGHT BE;
• Venturing out to defend the Carrier against attackers.
• Stabilising or destroying a dangerous magical artifact.
• Negotiating a peace treaty between two rebel groups.
• Something that could be done in one or two sessions of play - a short-term goal.
A MISSION MIGHT BE;
• Disrupting a major military operation.
• Liberating a city from the Authority.
• Dislodging a dragon and their minions from the region.
• Something that can be clearly split into multiple Sorties - a long term goal.
 RESOLVING ACTIONS
In Armour Astir, actions are resolved using ‘moves’, which are rolls consisting of 2
d6’s and a single modifier, usually a Trait: one of 6 values that represent your
character's core attributes.
Generally, actions are resolved as such;
1. The Player explains to the Director what it is they want to do (and narrates action
where appropriate)
2. The Director decides what move is appropriate.
3. The Player rolls 2d6 and adds the noted Trait.
4. The Director determines and narrates the outcome. Play continues.
ADVANTAGE & DISADVANTAGE
Sometimes you'll be asked to roll with advantage or disadvantage. This means to
roll 3d6 and take the highest or lowest 2 respectively. These do stack: if you have
advantage from 2 sources, for example, you'd roll 4d6 and take the highest 2.
Similarly, they cancel each-other out. If you have 2 advantage and 2 disadvantage
on a roll, you have neither. Tags on equipment and moves are common sources of
advantage & disadvantage, but your Director might also impose either where it
situationaly makes sense. The most dice you may roll at a time is 4, regardless of
how much advantage or disadvantage you have.
CONFIDENCE & DESPERATION
Sometimes, a rule will say you act with confidence or in desperation. When acting
with confidence, you are almost assured of your success: roll with 2 advantage, and
ignore any disadvantage. When acting in desperation, you have a slim chance to
claim an unexpected victory: roll with 2 disadvantage, and ignore any advantage.
TRAITS
Traits are measured from -3 to 3, and are as follows;
• DEFY, the ability to resist pressure and power through adversity.
• SENSE, the ability to read people and situations.
• CLASH, your prowess in combat, at distance or up close.
• TALK, your skill with the spoken and written word.
• KNOW, your ingenuity and cunning.
Certain playbooks also have the CHANNEL trait, representing your magical abilities.
Arcanists draw power from within through practice and training, Impostors claim
power through augmentation and enhancement, and both Witches and Paradigms
are given power by another - Witches through pacts and deals, and Paradigms
through faith or miracle.
IDEALS
Each player should write up to 3 beliefs or ideals that are important to their character.
They could be principles or ethics they hold dear, views about specific people that
heavily shape their interactions, or even oaths they’ve sworn. Whatever they are,
they should be things that drive and colour your character's actions. They don’t
necessarily need to be things about your character that are true: just what they
believe or think is right.
When you take action that requires you to sacrifice or significantly compromise one
of your Ideals, cross that Ideal off and act with confidence. You may immediately
take an advancement.
 SPOTLIGHT
Whenever you fail a move (that is, you roll a 6 or below), you may take a point of
Spotlight. Once you 6 Spotlight, you may spend it at any time to take centre stage
and immediately gain an Advancement. If you take a move, you may act with
confidence to use it right now.
GRAVITY
GRAVITY clocks represent relationships and attachments you have with people and
with groups. They’re not measures of how much someone loves or hates you - they
are countdowns to when a relationship is challenged, confronted or addressed. What
this looks like is up to you and the other party - it might be an admission that you
want a different kind of relationship, a commitment to things continuing as they are,
or you accepting that the relationship should be over entirely - but it should be
significant. GRAVITY clocks don’t have to be positive - they are for star-crossed
lovers just as much as fierce rivals meeting on the battlefield time after time. If it
seems like the forces of the universe are dragging two people together often, it might
be GRAVITY.
GRAVITY clocks are 6 segment clocks, and start empty. They are shared between
two players or a player and the Director (representing a Director character or a
faction/group), and represent their relationship and how those characters see
eachother. You don’t need an GRAVITY clock for everyone you meet - you should
save them for your character’s relationships you want to focus on and explore in play.
For this reason, you may only be part of 3 GRAVITY clocks at a time, as well as 1 for
your Rival should you acquire one.
When you start a new GRAVITY clock, choose a word or short phrase that sums up
the relationship, and give it a value of +0. Whenever you make a move involving the
other party of a clock, you may add the clock’s value instead of the normal Trait. If
you do so, advance the clock. You can start a new clock whenever it feels
appropriate.
FILLING GRAVITY CLOCKS
When a GRAVITY clock is filled, the relevant players have three choices;
• They may redefine the relationship; take an advancement, start a new GRAVITY
clock, and increase its value by 1 (to a max of +3).
• They may commit to the relationship; increase its value by 1 (to a max of +3),
and take an advancement. Circle the filled clock - it can’t be advanced anymore.
When you take action that ends this relationship, like sacrificing yourself for your
beloved or betraying the person you’re supposed to be loyal to, succeed as if you
rolled a 10+ and cross out that clock forever.
• They may abandon the relationship; both parties take an advancement and erase
their GRAVITY clock, freeing up a spot for a new one.
This change doesn't need to be shown the second the clock fills, but it should be
represented in play. If it doesn't happen during the Sortie, you gain a free talk it out
(more on that and other Downtime actions on page 31) during the next Downtime to
explore the change in more detail instead - this could be played as a flashback scene
if appropriate.

+0 +3 +1 +2 +1

Nervous friends Fated lovers Zealous rivals Trying to Estranged

impress the siblings
same boy
 DANGERS
When twenty-foot-long swords and magic guns are involved, injuries tend to be the
severe kind. Thankfully, characters in Armour Astir are plenty capable of defending
themselves - up to a point. Should enough problems, distractions or dangers arise,
you may find yourself defenceless.
For players, being defenceless means your usual methods of avoiding harm aren’t
available to you. Where you might usually exchange blows or weather the storm to
avoid a blow or dodge real consequences, that’s no longer the case—your guard is
down, your armour has a hole, etc. When you are defenceless and someone or
something tries to harm you, you must roll to bite the dust.
The dangers that make it harder to defend yourself come in two kinds: risks are
temporary things that can be resolved during a Sortie (like having the low ground
during a fight, being on fire, or being distracted), and perils are more permanent
issues that must be solved during Downtime (like serious injuries to you or your Astir,
being heartbroken, being exhausted). A danger to you is a danger to your Astir, and
vice versa. For all intents and purposes, your Astir is an extension of yourself.
Characters can be affected by a certain amount of both before they are defenceless:
• Player, Rival and Main characters are defenceless at 3 dangers.
• Side characters are defenceless at 2 dangers.
• Extra characters are defenceless at 1 danger.
When a move or other effect says you take a risk or are put in peril, it means you’re
being given one of those dangers. Sometimes it will be specific exactly what you’re
gaining - e.g., ‘take a risk (outnumbered)’ means you add a risk named
‘outnumbered’ to your character sheet. If there’s no brackets, it means you choose
what the risk or peril is. Generally, if you’re asked to take a risk, you decide - if you’re
put in peril, your attacker decides. Either way, you should feel free to discuss them
with your Director.
If you want some examples, there’s some given towards the end of this document.
When someone is defenceless, it should be obvious—but individual perils and risks
don’t need to be so explicit.
If you take a risk but already have 3 dangers, replace one with a peril. If you would
be put in peril but already have 3 dangers, replace a risk with it if you have one -
otherwise, bite the dust in desperation until the end of the Sortie.
THE CONFLICT TURN
Between sessions, the tide of battle between the Authority and the Cause doesn’t
freeze in place. During the Conflict Turn, the Director (or the full group, if you want to
do this together) will select actions for the Authority to take and Factions to oppose
them. These actions might be influence or be influenced by the events of the Sorties
that the players are involved in, and could have sweeping effects on the campaign.
If multiple players are involved in the Conflict Turn, you might individually take up the
role of certain Faction or Division leaders, with players responsible for the actions of
those groups.
If your group finds themselves wanting some structured roleplay outside of usual
sessions, using a game like Mobile Suit Zero: Firebrands (by D. Vincent Baker and
Meguey Baker), Follow (by Ben Robbins) or Fiasco (by Jason Morningstar) to frame
the events of a Conflict Turn could be a fun change of pace.
 SETTING UP
Setting up for a game of Armour Astir: Advent is simple, and consists of defining
some key elements of the world you’ll be playing in, building up the player
characters, and figuring out what your first mission together will be.
SETTING THE STAGE
The very first part, and arguably one of the most important parts of playing Armour
Astir, is setting up the world in which your game will take place. Other than the
existence of a few things, like Astirs and other magical devices (which you and your
group are free to re-fluff to suit your personal tastes, of course), this game doesn’t
assume much of your setting - meaning as a group you have a lot of freedom when
coming up with the setting you’d like to play in. There are a few important things to
iron out, however.
Your first job as a group will be to shape your games Authority - the controlling force,
like a ruling empire or military group that the players are aligned against. The
Authority will be the central villain of your game (usually), and should be a group that
the players are all interested in fighting against. It’s probably a group of shitty
imperialists. For some examples, see: the Earth Federation / the Titans (Mobile Suit
Gundam et al.), the Zaibach Empire (Vision Of Escaflowne), the Grineer (Warframe),
the British Empire (real life), etc.
The second will be to do the same for the Cause—the group of revolutionary factions
to which the players belong, who supply them with equipment and support to further
the fight against the Authority.
Finally, with the above done, players should pick the playbooks they are interested in
playing, and use the ideas presented within to create their characters. Character
creation doesn’t happen in a vacuum - players should feel free to discuss their
character ideas with each other and help flesh out an interesting cast.

“I always wanted better for you than this, Luine.When we used to train
together, I could see you were made for great things.What brought you this
low?Were we too good to you?”
The words stung far more than any of her myriad wounds did.What did
Hymn know of her fight? What did he know of anything outside his
gated home?
“Don’t mock me, Hymn,” she spat back. “Made for great things? Like standing
guard at some gilded spire? Maybe you’d have me teach the governor’s children.
Your father would think those both better than listening to his people.”
Hymn scowled. “You would dare demean the spire?”

- Excerpt from ‘Spire:The Fall’, Alain Week, XX32

 THE AUTHORITY
As mentioned above, the Authority is the group (or coalition of groups, if that’s your
thing) that forms the primary antagonist for the players in Armour Astir. ‘Authority’ as
opposed to ‘villain’ or ‘foe’ has a certain subtext, and that was intentional - the
Authority should be a powerful, oppressive group, that as a whole cares more about
stamping out opposition and furthering its own goals than doing what is best for its
citizens or its neighbours. Individuals within the Authority need not entirely agree with
it, and it may be more interesting for your story that in the smaller scale they operate
in shades of grey, rather than being cartoon villains - but either way, it should be clear
that as a group the Authority is something that the players are ready to tear down.
As with any other tabletop game, you should discuss what kind of content and
themes you want to you want to tackle or avoid during play. There are different
degrees and scales of evil, after all - and fighting a simpler, less subtle Authority is
just as valid as fighting back against something more real and cruel. When depicting
fascist and imperialistic powers it is practically impossible not to also depict relatable,
personal violence, and everyone at the table should be in agreement exactly where
their boundaries and interests are in regards to what the Authority does.
CREATING THE AUTHORITY
While working out the exact depth and nature of the Authority and what they’re up to
is something your Director will need some time for, start by answering the questions
below as a group to come up with the basics.
• What do the people of the Authority value?
• What do the people of the Authority hate or disparage?
• What is hypocritical about the Authority?
• What is the Authority’s primary goal? Why haven’t they achieved it?
• What does the average person think of the Authority? Do they support/oppose it?
• How does the Authority look? What symbols and colours do they use? What
materials?
• Does the Authority have a standard or mass-produced Astir? What is it like?
• What is the Authority called? Does the Cause call it something different, and if so
- what?
Functionally, the Authority is comprised of three Divisions (see Authority in the
Director’s section for info on how these work). As a group, you should come up with
what these Divisions are and what they do. Every Division should have:
• A name, official or otherwise
• A type (Military, Subterfuge or Resource) that determines their area of influence
• A few key characters who lead or hold important positions within it
These don’t need to be all decided immediately, but the sooner the better. You might
leave deciding the details of the Authority to the Director while the other players focus
on the Cause, or all work the above out together.
If you just want to get started, you can work out a name and type but leave the
characters until later, since they’ll have plenty of time to develop during play.
If you want to work out the characters now, the Director should check out Creating
Director Characters later in the book for an idea on what kinds of info is important to
figure out.
 THE CAUSE
Opposed to the Authority is the Cause—a revolutionary group to which the players
belong, comprised of a half-dozen or more smaller Factions. The players work
directly for, and might even be in control of, one of these Factions.
The Cause has resources and information, and fights against the Authority on its own
terms - but it relies on the players as its most trustworthy asset. The Cause’s network
of Factions provide the players and each other with assets and support, like Carriers
and Astirs, and can assist them with repairing and acquiring new equipment—but
there is an expectation that this aid will be repaid in turn by striking out at the
Authority and furthering the Cause’s aims.
As with the Authority, Factions and individuals within them might not see eye-to-eye
on the Cause’s goals and how they should be achieved—but as a whole, the Cause
should be a group with whom the players align, even if the occasional representative
is an asshole.
During the Conflict Turn, when the Authority tries to take action, the smaller Factions
that make up the Cause help oppose and prevent those actions.
CREATING THE CAUSE
Again, as a group you should answer some questions to come up with the basics of
who the Cause is;
• Does the Cause have aims other than opposing the Authority?
• How much of a secret is the Cause?
• Where do the Cause’s resources come from?
• What do people within the Cause disagree over?
• What does the average citizen think of the Cause? Do support/oppose it?
• How does the Cause look? What symbols and colours do they use? What
materials?
• Does the Cause have a standard or mass-produced Astir? What is it like?
• What is the Cause called? Does the Authority call it something different, and if so
- what?
As a group, you should decide on some basic information about the Cause. This
might include answers to the above questions like a name or visual palette, but might
also include a few characters who are important to the Cause at large rather than a
specific Faction.
While the Director will flesh out most of the Factions (unless the group wants to do
this together), the details of the one the players will belong to are up to them.
Between you, you’ll want to come up with a name for your Faction, official or
otherwise, and choose a Faction type from the list in Running The Game. For other
Factions, the type mainly determines what kind of consequences you impose on the
Authority during the Conflict Turn when your attempts to oppose it succeed: for the
players, it signals to the Director what kind of Sorties you’re interested in playing.
Once the other Factions are done, or if your Director had prepared them ahead of
time, you’ll also want to decide on:
• A Faction that has taken the lead, and is shouldering most of the burden: they
start with 3 Stake, rather than 2.
• Two Factions that are struggling, and unable to contribute right now: they start
with 0 Stake, rather than 2.
 CREATING PLAYER CHARACTERS
Finally, each player needs to make their character! Making characters in Armour Astir
is simple, and ideally something you should all do together as a group. This helps
everyone get a feel for the kind of characters you’re making, and lets you make
characters that immediately feel a little more coherent as a group. The main part of
creating your character is choosing a 'playbook', which could be thought of like a
'class' or a character archetype within the world of your game. There's a few other
things you must do too, though - the steps below will lead you through the process.
During play, you might suddenly find yourself in need of a new character. This might
be due to the one you were previously playing dying, but for whatever reason you do
need to make a new one, you follow the below steps as usual.
CHOOSE PLAYBOOK
Look over the playbooks (found on Page 66) and decide which one you want to play.
Playbooks are split widely into two categories: Channelers (playbooks that use Astirs
to fight) and Support (playbooks that have expertise outside of Astirs). It’s ok if two
people want to play the same one, but consider mixing up the group so everyone
gets to feel a little unique.
CHOOSE NAME
Every unsung hero has a name, even if nobody learns it. Write a name for your
character – if you’re having trouble, consider asking your GM what kind of naming
conventions the people in the area your story will take place use.
CHOOSE LOOKS
Each playbook has a few choices for clothing, your overall look, and something else
playbook-appropriate, like how your magic looks or how you fight. These are just
suggestions to help you think about your character's appearance, so feel free to
ignore them! Channeler playbooks also ask what you say when you launch your Astir.
This can say a lot about how your character feels about Astir piloting and how
seriously they take it, so put some thought into it!
CHOOSE GEAR
Each playbook has a few choices for equipment and items you have at the start of
the game. Channeler playbooks all start with a tier III Astir (see The Carrier & Astirs).
CHOOSE TRAITS
Take the following values and assign them however you wish to your Traits. These
values are added to your roll when you make certain moves. CHANNEL, for the
playbooks that have it, start at whatever value is listed on the playbook - you don’t
need to assign a value to it.
+2, +1, +1, +0, -1
It’s a good idea to look at the basic moves, as well as the starting moves for your
playbook, to get an idea of what Traits might be most useful to you.
CHOOSE MOVES
Each playbook starts with three moves (except for the Arcanist and the Witch, whose
starting moves provide multiple benefits), some of which are pre-picked, and some of
which are your choice. Each playbook will list which ones you already have, if any,
and will let you know how many to pick, so make sure you check!
CHOOSE IDEALS
Finally, you should come up with up to 3 Ideals for your character (Ideals are detailed
on Page 8). If you're just playing a one-shot (or are playing a character you won't
return to for other reasons) and won't be bothering with Advancements, you don't
need them but they might still help you decide how your character acts.
If you want, some extra things to consider;
• Did you know each other before you started working for the Cause? If so, how?
• How did you first come into contact with the Cause?
• Have you been personally suffered under the Authority? If so, how?
• Where did you acquire the skills of your playbook? Where did the equipment
come from?
READY TO PLAY!
Once the above is all done, you’re ready to play. You might want to have some
further conversation as a group to flesh out your characters and the setting you’re in
(starting with the questions above), but if not, it’s time to all turn and look expectantly
at your Director for the setup to your first Sortie.
When it’s time to do things, read on for information on the Basic Moves as well as
some important Special Moves—more specifically, the move lead a Sortie! When it’s
time for the action to begin, whoever is in charge should roll to lead a Sortie,
establishing how well things start off. This is similar to the engagement roll in some
other systems, and is rolled with a different Trait depending on who did the planning.
You can find more detail under Special Moves.
 BASIC & SPECIAL MOVES
BASIC MOVES SUMMARY
The Basic Moves are moves everybody has access to, regardless of their chosen
playbook. You use Basic moves to do most things, unless your playbook provides a
move that is more specific to the situation you’re in. Below is a quick summary of
them, followed by some more detailed info with examples of their use.
WEATHER THE STORM
When you weather the storm to do something safely under pressure, roll;
• +DEFY to dodge, tough it out or strong-arm your way through.
• +KNOW to make it through with quick thinking or the ace up your sleeve.
On a 10+, you manage to make it to safety.
On a 7-9, you succeed but at some cost: your Director will ask you to settle for less,
take a risk, or make a difficult choice.
READ THE ROOM
When you read the room to get insight on your situation, roll +SENSE;
On a 10+, hold 3. On a 7-9, hold 1, and spend it 1-for-1 to ask the following
questions. Your hold lasts until you leave the current situation or it changes
significantly.
• Who has the upper hand here?
• What is being overlooked here?
• How does x really feel?
• What are x's real intentions?
• How is x at risk or in peril?
On a failure, you may ask one of the above questions immediately, but the answer
creates a problem or puts you in danger.
Roll with Advantage when you act on the answers to what you've asked.
DISPEL UNCERTAINTIES
When you dispel uncertainties by clarifying something unknown or answering a
question, roll +KNOW;
On a 10+, the Director will tell you something directly useful you know about the
situation or subject at hand.
On a 7-9, the Director will tell you something potentially useful, but it is up to you to
discern how. The Director might ask you to explain how you know that information, or
where you learned it.
HELP OR HINDER
When you help or hinder someone to influence their attempts to do something, roll
+GRAVITY with them if you have one;
On a 10+, they take advantage (help) or disadvantage (hinder) to their roll. On a 7-
9, as above, but you become entangled in the consequences of their actions, and
possibly cause them.
WEAVE MAGIC
When weave magic to do something taxing with your power, roll +CHANNEL;
On a 10+, you manage to channel power the way you desired without ill effect.
On a 7-9, you succeed, but your invocation is twisted in an unexpected and
dangerous way.
COOL OFF
When you take a moment in safety to cool off or help someone else do the same,
declare a risk you want to get rid of and roll whatever Trait seems most appropriate;
On a 10+, you/they erase a risk or untick ‘overheating’ from an Astir.
On a 7-9, as above, but your moment of safety is interrupted.
EXCHANGE BLOWS
When you exchange blows with foes capable of defending themselves, roll +CLASH
or +TALK, whichever is more appropriate, and advance a GRAVITY clock if you have
one;
On a 10+, either your opponent takes a risk, or you take a risk and put your opponent
in peril.
On a 7-9, both you and your target are forced to take a risk.
STRIKE DECISIVELY
When strike decisively against someone who is defenceless, roll +CLASH or
+TALK, whichever is more appropriate;
On a 10+, you strike true. Director characters are killed, forced to retreat or otherwise
removed as a threat as per the fiction. Player characters should bite the dust.
On a 7-9, you succeed as above, but choose 1;
• You overreach or underestimate—take a risk.
• You waste ammo or words, losing use a weapon until you can re-arm, or losing
the weight of some bargaining chip or piece of leverage.
• You strike carelessly, causing collateral damage beyond your expectations.
BITE THE DUST
When you’re defenceless or risk harm so severe you might bite the dust, roll
+DEFY;
On a 10+, they miss, hesitate, or you’re saved by sheer luck—you rally, and clear a
risk if you have one.
On a 7-9, retreat from the Sortie safely, or be put in peril.
On a fail, that strike sure was decisive. Decide with your Director the consequences
of what has happened to you - what was damaged? What have you lost? Who and
what is changed by your defeat?
If you survive, you are changed by your defeat. As well as the above, choose one;
• Increase one of your Traits by 1 and reduce another by 1 (no Trait may be higher
or lower than -/+3.
• Choose a new playbook. Keep what moves you and the Director agree are truly
part of your character, and discard the others. Replace them with the starting
moves for your new playbook. You do not gain its starting equipment.
HEAT UP
When you push your Astir to it’s limits and start to heat up, tick ‘overheating’ and take
advantage on the next move you make.
 WEATHER THE STORM
When you attempt to ignore the 'witty' barbs of ambitious politicians, try and walk
across a thin wet beam as thunder booms overhead, or otherwise do something
under significant pressure, you're attempting to weather the storm. When you do so;
• Roll +DEFY to dodge, tough it out or strong-arm your way through.
• Roll +KNOW to make it through with quick thinking or the ace up your sleeve.
On a 10+, you manage to make it to safety.
On a 7-9, you succeed but at some cost: your Director will ask you to settle for less,
take a risk, or make a difficult choice.
If you’re doing something that doesn’t fall under another more specific move and
there’s a chance something could go wrong for you, your Director will probably ask
you to weather the storm. As long as there’s a ‘storm’, i.e something that could hurt
or inconvenience you, this move should cover it if nothing else does. Just make sure
you pick the correct Trait! It’s easy to look at DEFY and KNOW and think they cover
physical and mental resistances respectively - but you could DEFY someone's
provocations just as easily as you could KNOW how to quickly reroute magic from
your Astir’s weapons into a defensive spell.
DIRECTOR NOTES
On a result of 7-9, they still manage to pull through - but the storm is a bit fiercer than
they were ready for. When considering what risk, difficult choice or limited success to
offer, you should be able to come up with something related to that storm fairly easily
as if it didn't present some threat or setback it wouldn't be worth rolling over to begin
with.
If for some reason nothing springs to mind, consider letting them choose what kind of
risk they take, narrating how they claw back the success they wanted dangerously.
Just remember - whatever you impose on them, it shouldn't invalidate the fact that
they still succeeded at whatever they were trying to do.
EXAMPLES OF WEATHERING THE STORM:
Perrin the Witch is trying to cross the field of battle in his Astir, but finds himself
caught in crossfire. There's dangers both magic and mundane flying through the air
from all angles, but Perrin hopes he can focus on evading the bigger threats as he
moves across. He rolls a 4, and I get to declare the outcome. While attempting to
dodge a huge bolt from a trebuchet, he's caught by a wayward beamrifle shot.
Because he's in an Astir, I decide to damage it rather than him directly, and the blast
tears a chunk out of its right leg. Perrin notes that he’s in peril (damaged leg), and
grits his teeth - it'll be much harder to get anywhere now.
Prim, an Arcanist, is trying to reload his beamrifle. This normally wouldn't be any
hassle at all, but he's trying to do it while a nearby squad pelt him with boltrifle fire.
Not only is it distracting as their bolts fly past his vision and clatter against the Astir’s
plating, if one hits him in the wrong place it might actually cause some damage. He
rolls an 8, and I offer him an ugly choice - does he dash into the open to reload,
taking the risk (exposed), or does he hunker down and make the reload where he is,
missing something he might’ve spotted otherwise?
Elias, a Scout, is being charged at by a few men armed with spears. Rather than
stand there and be horribly stabbed, Elias instead decides they want to side-step the
spears and vault over one of their foes. On a 7-9, I might consider having a spear
snag their clothing, tearing some of their equipment onto the floor, or have them land
badly after vaulting. They roll a 10 and succeeds, so instead they perform the
manoeuvre without a hitch and land on their feet behind the surprised footmen.
 READ THE ROOM
When you're trying to figure out which side a battle is in favour of, whether or not a
holding is defend-able, or are otherwise trying to get insight on your situation, you're
trying to read the room. When you do so, roll +SENSE ;
On a 10+, hold 3. On a 7-9, hold 1, and spend it 1-for-1 to ask the following
questions. Your hold lasts until you leave the current scene or it changes significantly.
• Who has the upper hand here?
• What is being overlooked here?
• How does x really feel?
• What are x's real intentions?
• How is x at risk or in peril?
On a failure, you may ask one of the above questions immediately, but the answer
creates a problem or puts you in danger.
Roll with Advantage when you act on the answers to what you've asked.
If you’re trying to learn more about the situation you’re in, chances are you’re trying
to read the room. There’s a lot of things this could look like - gazing stoically out
onto a raging battlefield, listening closely to a pair of arguing politicians, going over a
shipping manifest you’ve found in an Authority camp—and even if you fail, you still
learn something. It’s just going to get you in trouble. Unless you fail, you keep your
hold as long as you stay in the current situation or scene. No need to spend it quickly.
DIRECTOR NOTES
Don’t be too strict with your players on what constitutes their scene changing or
ending. Respect the risk they’ve taken in trying to learn more about their situation,
and let them put what they learn into use within reason. When in doubt, lean on
letting them keep it. Whenever someone asks a question from read the room, you
get to advance and complicate the situation at hand, and that’s probably always
going to be interesting. When someone rolls a 6 or below on this move, they basically
get to pick their poison. If they ask who has the upper hand, it probably isn’t them. If
there’s anyone defenceless around, it might be someone they’d rather see make it
through. If something is being overlooked, it’s already too late. Be inventive.
EXAMPLES OF READING THE ROOM:
Anya, a Diplomat, is mediating a discussion between ambassadors from two smaller
factions. She expected things to get heated, but Fran, the usually more demanding of
the two, is conceding minor points at every turn. I suggest she read the room to
represent the attention paid to what has been said so far, and she rolls a 7-9. She
decides to ask ‘What are Fran’s real intentions?’. I explain that, given what she
knows about Fran, there is no way he’d accept all these concessions - it’s likely he
has an ulterior motive, and is here solely for appearances.
Torres, the group’s Paradigm, skids to a halt on a crowded battlefield, and uses vis
elevated position in an Astir to assess the situation. Ve reads the room and rolls… a
4. Ve asks ‘What is being overlooked here?’, and the answer strikes ver in the back -
there’s a squad armed with a beamrifle hiding on the ridge behind ver!
Kai, a Diplomat, has broken into a small military base, and is snooping around for
useful intel. Given that he’s looking for information on bigger picture things than this
one camp, there are some questions that don’t have obvious answers. If I had
something specific in mind to reveal here, I might have him weather the storm
instead to find it before he is discovered. But I don’t, so instead I ask him to roll as
usual and interpret ‘here’ to mean the group’s Sortie, as what he’s doing is likely to
give him broader information. He rolls an 11, and chooses to save his hold until he
returns to his friends. While he’s technically leaving this scene, the information he’s
gained is still pertinent outside of it, so I let him keep his hold.
 DISPEL UNCERTAINTIES
When you offer an answer to a difficult question, rack your brains for what you know
about a topic, or explain to everyone what mysterious thing you’ve encountered is,
you are dispelling uncertainties. When you do so, roll +KNOW;
On a 10+, your Director will tell you something directly useful you know about the
situation or subject at hand.
On a 7-9, your Director will tell you something potentially useful, but it is up to you to
discern how. Your Director might ask you to explain how you know that information,
or where you learned it.
Dispel uncertainties is pretty straightforward as far as moves go. Confronted with
something unknown that you want to clarify? Dispel uncertainties. Need to see if
you know about an Astir model? Dispel uncertainties. On a 7-9, what you know isn’t
directly useful, but it’s related - and still useful if you can figure out how to use it.
DIRECTOR NOTES
As above, this isn’t a move you need to think too hard about. On a 10+, hand them
what they wanted to know, or at least something they can clearly use. On a 7-9, go a
little adjacent. Give them something close, or something they can make their own
conclusions from. On a 6-, make a move as usual.
EXAMPLES OF DISPELLING UNCERTAINTIES
The group is meeting a mysterious faction for the first time, and is introduced to their
leader. Scour, a Witch, asks if he recognises her. He rolls to dispel uncertainties,
and gets a 10 - he knows exactly who she is! It’s a member of the royal family he
remembers meeting some years prior.
Prim, an Arcanist, is fighting a mysterious new Astir that has turned up on the
battlefield. They explain how they think back to a codex of Astir designs they looked
through recently which might offer some information, and they roll. They get an 8,
and I give them some potentially useful information. The new Astir wasn’t in that
codex - but Prim can tell from some of the design elements that it was designed by
Rosegold Factoria, a faction in their campaign.
Merin, the party Artificer, is overseeing some repairs to their Cruiser, The Planted
Standard. He wants to speed things up, so he asks me if they know a safe way to
make those repairs faster than usual. He rolls a 6, and I explain to him how it would
be very safe if they re-purposed the mana channels from the Standard’s main gun
and used them to make the repairs. Or, that’s what they think, at least.
 HELP OR HINDER
When you attempt to lend aid to someone or interfere with their ability to make a roll,
you are trying to help or hinder. When you do so, roll +GRAVITY with them if you
have one;
On a 10+, they take advantage (help) or disadvantage (hinder) on their roll. On a 7-
9, as above, but you become entangled in the consequences of their actions, and
possibly cause them.
If someone else is making a move, and you’re trying to do something to either help
them or to get in their way, your Director will probably ask you to help or hinder.
Succeeding lets you pass them a bonus to their roll, but on a 7-9 you get caught up
in the results of the move. If someone gets hurt, it’s probably you, etc.
Help or hinder asks you to roll the value of your GRAVITY clock with the target
rather than a regular Trait. If you don't have a clock with them, you don't add a Trait.
DIRECTOR NOTES
This isn’t a particularly complex move, so it shouldn’t often cause you any trouble. If
someone is clearly trying to prevent or facilitate someone else doing something, this
is what they should roll. On a 7-9, involve them in what happens afterwards, and feel
free to make it their fault if you want to.
EXAMPLES OF HELP OR HINDER:
Fau, a Witch, is striding into battle alongside zir allies. Ahead of zir, Brennan is
tangling with a pair of enemy Astirs. Brennan is going to exchange blows with them,
and Fau decides to help out by giving covering fire to zir friend. Ze rolls an 8, allowing
zir to give advantage to Brennan for his roll. He succeeds, and all is well.
Seven is not so lucky, however. Having rolled a 7 to help Matrice avoid an serious
blow from their would-be-rival and passed them Advantage, Seven is in harm’s way -
and when Matrice rolls a 5 on their bite the dust, I decide that their intervention puts
them in the path of the blade, rather than Matrice.
Serrah, a Captain, is watching over a battle from the helm of their Carrier. Down
below, Merin is making use of their Artificer abilities to quickly construct a foothold,
from which he can assess the state of the fight. Serrah offers her assistance - from
this high up, and with the capabilities of the Carrier, she could definitely help pick out
things on the battlefield. I ask her to help or hinder, and she rolls a 10, allowing her
to offer Merin advantage without putting herself on the line. Merin then, unfortunately
for her, rolls a 6. There will be repercussions - but Serrah won’t be part of them.
 WEAVE MAGIC
When you invoke your magic to crumble a bridge, attune to mystical orbs at the
centre of the galaxy, or otherwise do something taxing with your power, you're
attempting to weave magic. When you do so, roll +CHANNEL;
On a 10+, you manage to channel power the way you desired without ill effect.
On a 7-9, you succeed, but your invocation is twisted in an unexpected and
dangerous way.
In Armour Astir, magic is typically channelled through an Astir, imbued into potions
through alchemy, or forged into objects by enchanters and artificers. More direct
uses, in the form of spells and such, have fallen out of use somewhat. When you try
to twist your magic ability into desired results, then, you’re not picking a spell from a
list - you’re weaving magic. It’s tiring to use your magic directly in this way - expect
to take a risk or even be put in peril if you test yourself in this way more than once
during a Sortie.
DIRECTOR NOTES
Like some of the others, this is a pretty straightforward move. If they’re trying to do
something with their magic outside the usual purview of controlling their Astir, and
you think it’s something within their ability, they’re trying to weave magic. Overuse of
weave magic should visibly exhaust characters, and make it tough for them to
operate. This is the trade-off for how wide and varied the uses of this move could be.
EXAMPLES OF WEAVE MAGIC:
Lamina, an Arcanist, is on foot, trying to get back to their Astir that they have been
separated from. They encounter some soldiers on the way back, and not being
trained in using her magic for direct combat, Lamina decides she wants to try
teleporting herself the short remaining distance to her Astir. I ask her to weave
magic, and she rolls an 8. I narrate how her sudden burst of unfiltered magic is
easily picked up by a sensory ritual over the area, which magically ‘tags’ her Astir as
a target - as a result, I ask her to take a risk, suggesting ‘targeted’. She’s at her
mech, but it’s going to be tougher to escape now there’s an ethereal bullseye painted
on her.
Strata, the party Paradigm, wants to try and produce a magical shield to protect his
allies while they make some quick repairs. This feels like something he could do, so I
ask him to weave magic. He rolls a 10+, so it happens just the way he wanted. It’s a
little exhausting, but sure enough a white-gold sheet of magical force spreads out
from his fingertips, lasting as long as he concentrates on it.
Plana is trying to collapse a bridge their group has just travelled over, to prevent
anyone from following them. As an Artificer, Plana doesn’t usually have a CHANNEL
Trait, but they have the arcane generator move which gives them one. Plana
describes how they try to send waves of magical force through the bridge to shake it
apart, and I ask them to roll weave magic. On a 7-9, I might describe how their
magic spills dangerously out, causing a localised earthquake that shakes more than
just the bridge to pieces.
 COOL OFF
When you attempt to vent heat from an Astir, to calm yourself from spiralling
emotions, or to otherwise take a few minutes to fix something about your situation,
you’re trying to cool off. When you do so, declare a risk you want to get rid of and
roll whatever Trait seems most appropriate;
On a 10+, you/they erase a risk or untick ‘overheating’ from an Astir.
On a 7-9, as above, but your moment of safety is interrupted.
Doing things can be pretty stressful, especially when those things include fighting,
getting hurt, or talking to people. Many actions in Armour Astir can require you to take
risks, and while it’s easy to imagine getting rid of these with many other moves
(getting rid of 'outnumbered' with exchange blows, using read the room to clear
'surprised', etc) sometimes it won’t always be that clear, or might be something you
can’t fix without a minute to breathe.
For those things, cool off acts as a catch-all risk removal move. What using it looks
like can differ a lot: it might be taking a quiet moment to center yourself, talking an
ally down from an emotional peak, or venting heat buildup from your Astir—heat
represented by the ‘overheating’ tick gained from certain Channeler moves—which
also might look different depending on how your Astir is designed. Maybe your Astir
collects heat in canisters that it can eject, or maybe you have a maintenance ritual
you cast that disperses excess mana from it.
DIRECTOR NOTES
The important thing about cool off is that it takes a little time. While you make this
move, you’re not fighting, you’re not running, and you’re not paying close attention to
what’s going on. Maybe it’s only a minute or two, but that can be a big opportunity for
foes - so characters should try to make themselves some breathing room before they
take a breath. You can choose what Trait you use when cooling off, but it should
match what you’re doing. If you’re trying to flush a hex out of your Astir’s systems, it’d
be +CHANNEL. If ice has frozen over the finger joints of your Astir, you can’t chip it
off with +TALK - it’d be +DEFY, or maybe +CLASH.
EXAMPLES OF COOL OFF:
Ray, a Scout, has just seen vis ally Luxx narrowly dodge a bolt of lightning. The close
call disrupted a sensory ritual, giving them the risk (blinded). Ray has the Scout move
patch job, and ve decides to move in and try to clear up the disruption for Luxx. Ve
describe how ve scales up the Astir's side and sets to work replacing some shattered
reagents. I ask ver to roll to cool off with +DEFY since this is a pretty routine fix done
quickly, and ve rolls a 9, attracting unwanted attention as a result. A second bolt of
lighting sears overhead: they've both been spotted!
Fau has just dispatched a pair of enemy Astirs but caused zirs to overheat in the
process. With zir sensory chimes picking up new contacts incoming, ze decides to do
something about that heat problem. Ze describe how zir Astir has a series of pods full
of frosty, alchemical liquid attached to it, and ze activate one to cool off. Ze rolls an
11 after adding zir +CHANNEL, which is a total success. The liquid frost washes
through zir system, and ze removes the 'overheating' tick.
Merin, an Artificer, currently has the risk (entangled) after being caught up in some
magical plants. If they were in a hurry they might have tried to weather the storm to
escape, but they're alone and otherwise safe - so they decide to take their time
cutting themselves free. They roll to cool off with +CLASH, and unfortunately only
get a 5. The more they cut, the more these vines seem to trap them, and they end up
taking too long. A flying enemy golem sweeps overhead and spots them - if they
weren't in a hurry before, they sure are now.
 EXCHANGE BLOWS
When you charge at a foe with your blade, engage someone in debate or try to
provoke them, or otherwise act against someone able to defend themselves, you are
attempting to exchange blows. When you do so, advance a GRAVITY clock if you
have one, and roll +CLASH or +TALK - whichever is more appropriate;
On a 10+, either your opponent takes a risk, or you take a risk and put your opponent
in peril.
On a 7-9, both you and your target are forced to take a risk.
When you go toe-to-toe against someone capable of defending themselves, you’re
exchanging blows. This move is used to wear foes down before striking decisively
to deal with them for good - whether you’re doing it with +CLASH and physical harm,
or +TALK and your words. When you’re actually fighting, it’s important to consider
what weapon you’re using. You can’t hit someone far away with a melee weapon, for
example, or shoot someone close up with a sniper weapon. When it comes to using
+TALK, it’s worth keeping in mind that most conversations are probably just that -
conversations. But when there is conflict or you’re trying to get something, it might
instead be exchanging blows.
DIRECTOR NOTES
When players are trying to exchange blows, make sure to keep in mind the methods
and weapons they are using, as well as who they’re using them on. There’s lots of
variables that could come into play, so don’t be afraid to offer adjustments to the roll
based on the situation. If players are exchanging blows with +TALK, it should go
without saying that their choice of weaponry probably doesn’t factor in, unless they’re
using it to intimidate someone.
If a player is trying to harm someone who isn’t trying to harm the player back but is
otherwise still capable of evading or defending themselves, they still need to
exchange blows. While they're not in direct danger there's still plenty of other
reasons they might need to take a risk—over-committing to chase an agile foe,
getting mad they they can't land a solid hit, and so on.
If a player wants to continue exchanging blows with someone who is defenceless,
let them, but it should be clear they are toying with someone who is basically done. It
should seem cruel.
EXAMPLES OF EXCHANGE BLOWS:
Caryx, an Arcanist, wants to engage an enemy Astir that has rushed up to block their
path. They describe pulling out the greatsword their Astir is armed with, and
launching into melee. This sounds like exchange blows to me, which they roll. They
get a 10+, and take the option ‘your opponent takes a risk’. I narrate how their foe
boosts backwards suddenly to evade the blow, leaving them unsteady on their feet,
and I add the risk ‘unstable’ to their sheet.
Juniper is blade-to-blade with aer Rival, Sequoia. They have already traded risks a
few times, and Junipers player continues the fight, rolling to exchange blows. Ae
rolls a 7, meaning both aer and Sequoia have to take another risk. Juniper elects to
take the risk ‘distracted’, describing how ae’s so focused on Sequoia that ae could
miss something else. I give Sequoia the ‘disarmed’ risk as the blade is knocked from
her hands.
Frankly Darling is trying to convince an engineer they’ve bumped into in an enemy
base that they’re supposed to be there. They might weather the storm to avoid
suspicion this once, but they want to not have to worry about this engineer for the
rest of the scene, so we exchange blows. They roll a 5 - as it turns out, they’re not
that good a talker.
 STRIKE DECISIVELY
When you're lining up the perfect shot against an opponent who can't defend
themselves, delivering a scathing dismissal of their character using irrefutable fact, or
otherwise engaging someone who is defenceless, you are striking decisively.
When you do so, roll +CLASH or +TALK - whichever is more appropriate;
On a 10+, you strike true. Director characters are killed, forced to retreat or otherwise
removed as a threat as per the fiction. Player characters should bite the dust.
On a 7-9, you succeed as above, but choose 1;
• You overreach or underestimate - take a risk.
• You waste ammo or words, losing use a weapon until you can re-arm, or losing
the weight of some bargaining chip or piece of leverage.
• You strike carelessly, causing collateral damage beyond your expectations.
If you’re trying to kill someone you’re fighting or to otherwise do something serious
enough to remove them from the situation at hand, and it’s possible to do so, you’re
trying to strike decisively. This doesn’t necessarily need to be something that
causes actual harm to the target, and in many cases, like when you’re using +TALK,
it’s likely physical harm might not be involved. You can’t call someone’s shitty
ideology out so hard that they die (unless your Director says you can, in which case:
hell yeah).
DIRECTOR NOTES
As with exchange blows, a player cannot strike decisively if they aren't at the right
range for the weapon they're using. It's also hard to lay into someone if they're too far
away to hear you (though, it is of course possible to damage someone's reputation or
assets by talking about them, rather than to them). When battling it out with +TALK, a
10+ will typically look like getting what you wanted out of the conversation rather than
them being owned so hard that they burst into flame. This might be convincing them
of something, intimidating them into a course of action, winning an argument, etc.
Central to this move is the target being defenceless. If a player is trying to finish off
someone that isn't defenceless, they aren’t making this move - they’re being
overconfident, and giving you a good opportunity to make a move of your own.
EXAMPLES OF STRIKING DECISIVELY;
Mura, a Scout, spots an enemy bearing down on her friend Ophelia, a large axe
drawn. Mura thinks the fact that it is distracted by its fight with Ophelia makes them
defenceless to her, and she takes aim with her marksman bow, intending to kill them.
I know they aren’t actually that distracted by their fight, and actually have room for
another danger. I explain this to Mura, and describe how her target sidesteps the
attack, before returning fire with a hand-crossbow. Things are going to get rough for
Mura.
Cirrus the Diplomat has been trying to convince a guard to let them into a restricted
area. Having already worn them down a little, Cirrus delivers the coup de grace (“You
know, I could put in a good word with your superiors…”) and rolls to strike
decisively. They get an 8, and choose to waste ammo or words - I describe how now
none of the other guards will buy that line until you actually do put in a good word for
this one, since they’ll talk to the others about it. It’s still a success though, so the
guard is removed as a threat, which in this case just means they’ll stand aside and let
Cirrus through. The guard doesn’t suddenly die or anything. But they might’ve.
Damocles, a Scout, is working in tandem with his friend Erin to take out a service
golem. Damocles climbed onto its back while Erin distracted it, and wants to try and
destroy it with a manacharge. The golem’s pilot is defenceless, but Damocles only
rolls a 6. I decide the charge is faulty, and that it goes off early, sending him flying
back down to the floor painfully, giving him the peril (burned).
 BITE THE DUST
When something dangerous slips through your defences, you're caught off-guard, or
someone delivers those perfect words to tear you down, you're at risk of biting the
dust. When you do so, roll +DEFY;
On a 10+, they miss, hesitate, or you’re saved by sheer luck - you rally, and clear a
risk if you have one.
On a 7-9, retreat from the Sortie safely, or be put in peril.
On a fail, that strike sure was decisive. Decide with your Director the consequences
of what has happened to you - what was damaged? What have you lost? Who and
what is changed by your defeat? If you survive, you are changed by your defeat. As
well as the above, choose one;
• Increase one of your Traits by 1 and reduce another by 1 (no Trait may be
higher or lower than -/+3.
• Choose a new playbook. Keep what moves you and your Director agree are truly
part of your character, and discard the others. Replace them with the starting
moves for your new playbook. You do not gain its starting equipment.
DIRECTOR NOTES
When a player is defenceless as a result of having three risks or perils, they’re in real
danger. When someone threatens them with the intent to finish them off - i.e, when
they would fictionally be striking decisively rather than exchanging blows - that
player should bite the dust in response. The time for weathering the storm or
defending yourself by exchanging blows is over. This is what it means to be
defenceless.
Failure on this move should be a conversation between you and the player, but you
shouldn’t feel the need to have this conversation there and then. Feel free to go with
something ambiguous in the short term—a pair of Astirs dashing out of sight but only
one returning, a bloody trail left leading off somewhere unseen, an escape pod
landing heavily—and determine the outcome once the action of the Sortie dies down.
EXAMPLES OF BITE THE DUST:
Min-seo, a Captain, is commanding the crew of her Carrier against a huge elder
dragon. Things are going badly: covered with burns, streaked by talon-marks and
gripped by fear, Min-seo and her crew are defenceless. The dragon cuts them off,
and launches one last burst of flame towards the Carrier's bridge. It's time to bite the
dust, but lucky for Min-seo (and her crew) she rolls a 10. She describes how the
crew pulls off a miraculous manoeuvre, dropping the Carrier out of the sky for a
moment to evade the attack, and she removes the risk (afraid) as everyone cheers.
Aidah, eir group's Paradigm, was ambushed by a group of Astirs. Between being
outnumbered and taking a few extra risks while trying to even the odds, e is
defenceless. It's too late to weather the storm: If Aidah wants to get out, e needs to
make sure e doesn’t bite the dust. E rolls an 8, and I give em the choice: retreat
safely from the Sortie, or be put in peril. E decides to take the peril, so while e
escapes to regroup, e does it under fire and a rayrifle shot shears through eir right
shoulder joint, replacing one of eir risks with the peril (destroyed arm).
Scour is in a bad way. His Astir is damaged, disarmed, and he's defenceless. His
opponent, channelling a mysterious prototype Astir, isn't interested in giving him
mercy, but Scour’s not backing down. He rushes back in and risks biting the dust.
He rolls the dice: it’s a 3. It's early in the campaign and Scour's player still has things
they want to explore with them in play, so we agree that they manage to eject from
their Astir before their foe gets a decisive slash in, destroying it completely. They're
alive, but shaken, and will need rescuing from the battlefield. They adjust their DEFY
by +1, and their CLASH by -1 to represent a blow to their confidence.
 GROUP MOVES
When everyone would be performing the same move (like all weathering the storm
to get away from a big blast of magic), or if multiple people want to help out with
something (since usually only one person can help or hinder a move), you should
instead make it a group move.
When performing a group move, the person participating with the lowest relevant trait
makes the roll, but anybody participating counts as doing so - thus, any bonuses to
rolls that have, like Advantage or hold they can spend, applies to the group move. A
chain is only as strong as its weakest link, but good teamwork can shore up any
weaknesses.
Everyone participating in a group move may advance GRAVITY clocks with other
participants if they have them.
SPECIAL MOVES SUMMARY
There are a few other moves that don’t fit into the above categories. These are lead
a Sortie, which is rolled once at the beginning of each Sortie to determine how the
initial engagement goes, subsystems which is a move usable by any Channeler
playbook, and B-plot which is a move usable by any Support playbook.
LEAD A SORTIE
When it's time for action and you lead a Sortie, decide who planned the mission and
roll;
• +Stake, if a Faction’s help is vital to the Sortie.
• +KNOW, if you’re leading with wits or following a clever plan.
• +CREW, if it was someone else aboard.
• +DEFY, if you're heading into danger blind.
On a 10+, you make it to the action unscathed. On a 7-9, the crew stumbles, misses
something important, or is unprepared for what they meet.
SUBSYSTEMS
When you activate your Astir's subsystems, spend Mana 1-for-1 to do one of the
following;
• Power up an expended [Active] Astir part and use it again.
• Divine your situation, asking one question from the read the room list.
• Disperse away excess energy, fully unticking ‘overheating’ on your Astir.
B-PLOT
When you take part in the b-plot rather than be involved in a Sortie, name one or two
Director characters that accompany you and hold 3. During the Sortie, you may
spend it 1-for-1 to do the following;
• Give another player increased level of success on their next move, but complicate
things for yourself.
• Deny an NPC from appearing during the Sortie - they’re busy, possibly with the
same thing as you.
• Spend some time and take a Downtime move.
• Cut away from the Sortie during a moment when time is precious, giving everyone
room to think.
 LEAD A SORTIE
When you lead the group into battle, get in the robot when you're not supposed to, or
otherwise take action that would move the game from Downtime to a Sortie, you're
leading a Sortie. When you lead, roll;
• +Stake, if a Faction’s help is vital to the Sortie.
• +KNOW, if you’re leading with wits or following a clever plan.
• +CREW, if success hinges on someone else aboard.
• +DEFY, if you're heading into danger carelessly.
On a 10+, you make it to the action unscathed. On a 7-9, the crew stumbles, misses
something important, or is unprepared for what they meet.
While most moves have certain triggers or can be used whenever you want, lead a
Sortie is a little different. At the beginning of every Sortie, when everyone leaps into
action (whatever that action may be), the players should figure out which Trait is
appropriate and have someone roll for the move. Lead a Sortie establishes on what
footing the crew finds itself once they get to their first obstacle.
DIRECTOR NOTES
You should always have someone roll to lead a Sortie once the action starts, but if
you forget, it’s OK to do it retroactively and carry the results forward as you continue
playing. When rolling with +Stake and +CREW, it doesn’t matter who makes the roll,
since those attributes don’t belong to any one player. When rolling +KNOW or
+DEFY however, the roll should be made by whoever’s trait is being used. If you’re
all going along with a plan thought up by the player with a -2 in KNOW, you don’t get
to have the +3 KNOW player make the roll on their behalf - that doesn’t make any
sense. There being a plan doesn’t prevent someone from rolling with +DEFY if they
want to rush off and ignore it.
EXAMPLES OF LEAD A SORTIE:
The crew of the Ouroborous has drawn up a plan to assault a prison ran by their
campaign's Authority, the Zonel Empire. However, Dimir, the crew's Impostor,
hotheadedly rushes into action so everyone else can benefit from their don't follow
me move. So, they roll to lead a Sortie with +DEFY. It's a 7-9, and I decide the crew
missed something important - they missed Dimir leaving! They'll have to catch up,
and Dimir will be alone until they can.
The Coarse, Correct is heading into battle alongside a Carrier sent by one of their
allied Factions, the Atteri Guild. Since a Faction is helping them out, they'll be rolling
to lead a Sortie with the value of that Faction’s Stake. It's +1, which isn't bad, so one
of the players makes the roll. She gets lucky - it's a 12! The Coarse, Correct and the
Atteri ship both make it into battle safely, positioned to carry out the Sortie.
Serrah, a Captain, is leading the crew of her Carrier, the New Serpent. They're on a
mission to deactivate an ancient magical relic their foes have unearthed, and having
made the plan, Serrah rolls to lead a Sortie. She rolls a 5, which leaves the crew on
an unfortunate footing. All around the ship, sensors light up in worrying shades: they
won't be making it anywhere without a fight.
 SUBSYSTEMS
When you activate your Astir's subsystems, spend Mana 1-for-1 to do one of the
following;
• Power up an expended [Active] Astir part and use it again.
• Divine your situation, asking one question from the read the room list.
• Disperse away excess energy, fully unticking ‘overheating’ on your Astir.
All Channeler playbooks may use the subsystems move. This allows them to spend
Mana, a resource that is part of their Astir, like hold for the above results. Some Astirs
have 0 Mana, but most have between 1 and 4 depending on the choices made
creating it. You start every Sortie with your Astirs full amount of Mana, and do not
usually regain spent Mana between scenes.
DIRECTOR NOTES
The subsystems move gives players a quick way of resolving a variety of problems.
It's risk-free and many Astirs offer the opportunity to do it more than once, so don't be
afraid to remind your players if they find themselves in a tough spot and have Mana
to spend. As long as they're piloting their Astir and it's not deactivated or shut down,
they can activate subsystems.
EXAMPLES OF SUBSYTEMS:
Aidah is fighting eir Rival, and has just tried to exchange blows with them. E
described how they tried to circle around them, laying into them with a rayrifle, but
then e rolled a pair of 2s. Not happy with this result, e decides to spend a point of
Mana on subsystems to reuse their ‘Afterburners’ artifact and roll with Advantage. E
rolls an extra dice for the Advantage, which is a 6! Taking eir two highest results (the
6 and a 2), combined with eir +CLASH of +1, brings the total from 5 to 8, making the
move a partial success instead of failure.
Strata, the party Paradigm is snooping through a strange labyrinth, clearly built to be
explored by something even larger than their Astir. He's been lost in there for a little
while without finding anything, but he doesn't want to risk something bad happening if
he reads the room. Instead, he spends Mana on subsystems to safely ask one
question from the read the room list. He asks 'what is being overlooked here?'.
Prim, an Arcanist, is attempting to outrun a rampaging magma worm. He's pulling out
all the stops, and his Astir is overheating after he used the diverse channelling
move to weather the storm with +CHANNEL instead of +DEFY. Since his CHANNEL
is +2, much better than his DEFY of -1, Prim decides to spend Mana on subsystems
to remove the overheating tick, meaning he can safely use diverse channelling
again.
 B-PLOT
When you head out for some solitary revenge, leave to take part in negotiations, or
otherwise take part in a secondary narrative thread to the players involved in the
Sortie, you're in the b-plot. Name one or two Director characters that accompany you
and hold 3. During the Sortie, you may spend it 1-for-1 to do the following;
• Give another player confidence on their next move, but complicate things for
yourself.
• Deny an NPC from appearing during the Sortie - they’re busy, possibly with the
same thing as you.
• Spend some time and take a Downtime move.
• Cut away from the Sortie during a moment when time is precious, giving everyone
room to think.
All Support playbooks may use the b-plot move. If the Sortie looks like it's going to
involve Astir combat and you want to help out in an indirect way, or you have a plot
thread you want to follow alone, you can use the b-plot to do that - it lets you be
elsewhere, effectively in a Sortie of your own, while still having some agency over the
main one.
DIRECTOR NOTES
The b-plot move provides people playing a Support playbook an easy way of always
being able to apply their skill-set, even if the Sortie calls for something else entirely.
Artificers can be off fixing things, Diplomats can be taking part in negotiations, and so
on. This means that players can place themselves in somewhere interesting for their
character, rather than sitting around on the Cruiser idly, or putting themselves in
grave danger fighting Astirs on foot if they're the lone Support in a group full of
Channelers. If there's a b-plot to a Sortie, it should be established when lead a
Sortie is rolled, or earlier if possible. If the b-plot takes a player far away from the
Carrier and the rest of their group, they should be prepared to explain how that
happened. Since Sorties follow a period of Downtime, they might have travelled
beforehand, or maybe they used some kind of magical method like a teleportation
circle. B-plot by itself isn't magic, but the game's full of it elsewhere, so don't hold
them to anything too rigid here.
EXAMPLES OF B-PLOT:
Captain Brightline has left to meet with other members of their Cause at a star castle.
The rest of the crew is busy dealing with an errant god during the Sortie, so
Brightline's meeting is a b-plot. They have 3 hold to help out though, and later when
the fighting gets tough they spend 1 to let their ally Teasel act with confidence when
she tries to commune with a space orb.
Kai, a Diplomat, is using the b-plot to sneak around a military encampment. Back in
the Sortie, their allies are handling things ok, and the other players suggest Kai use
his last hold to make a Downtime move. They do so, choosing to take the overhear
action, representing them eavesdropping and gathering info. They roll with +SENSE
and get an 11, letting them choose 2 from the results listed on overhear.
Mura, a Scout, is aiding one of their allied Factions by helping break the siege on a
neutral city. Since everyone else is working to broker a peace treaty between two
other Factions this Sortie, Mura's taking part in the b-plot. The group has been
worried an Authority agent named Prose will show up to disrupt the treaty meeting,
so Mura decides to spend hold to deny Prose from appearing during the Sortie. This'll
certainly stop Prose from interfering with the meeting, but it also opens them up to
being a problem for Mura.
“Rocky sat in the frame all night cus it was the warmest place I
could put him outta the wind, with the engine still hot, even
busted. I wanted him comfortable, just when I woke up he was
gone some time during the night, and Three-by, old Three-by was
gone too, oil leaks all down her front plate like she was cryin'
�erce...”

- Excerpt from ‘OurYear In The Dust’, Anonymous,

FoundingYear Of The Empty Throne Era
 DOWNTIME MOVES
Between Sorties, player characters have time to themselves on the Carrier to rest,
recuperate, and do their own thing. This is referred to as Downtime, and the moves
they use during it are the Downtime moves. You may use GRAVITY clocks on
Downtime moves by involving other characters in the ‘scene’, whether handle it in
abstract or actually play it out.
Each player may make TWO moves per Downtime, unless something specifies
otherwise, but before you can do that everyone should take a moment to...
CHECK IN
When you finish a Sortie and return to the Carrier to figure out what’s next, it’s time to
check in with each-other not as your characters, but as players. Is everyone happy
with how the game has gone since the last downtime? Does anyone want to discuss
the safety tools you’re using, and maybe amend any lines/veils etc? Does anyone
have thoughts or comments on how the game is progressing, and what they might
want to see more or less of?
After you’ve checked in, everyone can choose and make their two Downtime moves.
OVERHEAR
When you wait in the corridor, tap into someone else's sending stone, or otherwise
become privy to information you’re not supposed to (intentionally or not), you're
attempting to overhear. When you do so, roll;
• +CREW to consult ship records, books or other recorded information.
• +SENSE to listen out for exchanges, out-loud thinking, or generally eavesdrop.
On a 10+, you aren’t noticed or detected, and may choose 2. On a 7-9, choose 2, but
someone takes notice of you.
• What you learn changes how you think about someone—start or advance a
GRAVITY clock with them.
• Roll with Advantage in the next Sortie while acting on what you learned.
• You make progress on learning something larger—start a clock to represent this
progress, or advance an existing one as per work on a project. You may work
on a project to perform research towards this clock as if it were a normal project.
TALK IT OUT
When you try to ease tensions, make a connection or spend time with other
characters during Downtime, you’re trying to talk it out. When you do so, declare
one or more characters you would like to have a scene with, and roll +TALK;
On a 10+, everyone in the scene holds 3. On a 7-9, they hold 1, as does the Director.
This pool is shared between them (except for the Director, who keeps their 1 to
themselves), and during the scene anyone can spend it 1-for-1 to do the following;
• Remove a peril of social or emotional origin from another character.
• Add to or excuse a character from the scene—or invite a player to enter/leave.
• Roll with advantage next time you plan & prepare.
MEND SOMETHING
When you attempt to repair a damaged Astir, suture wounds, or take the rest you
need to recover from that last Sortie, you’re attempting to mend something. When
you do so, roll +CREW;
On a 10+, clear a peril of mechanical or physical origin from a character or construct.
On a 7-9, as above, but you use up parts—pay 1 SUPPLY, or take disadvantage to
mend something until you do.
SHORE LEAVE
When you try to purchase something at a market, look for trouble in neutral turf, or
otherwise leave the safety of the ship to do something on foot during Downtime,
you’re taking shore leave. When you do so, roll +TALK, and take;
• Disadvantage if what you want is limited or hard to find
• Disadvantage if you want to skip a queue for something
• Disadvantage if what you want is illegal or restricted here
• Advantage if you’re willing to accept lower quality
• Advantage if what you want is abundant or easy to find
• Advantage if what you want is useless or a burden to the owner
On a 10+, you find what you were looking for if it’s available, without any problems.
On a 7-9, you find what you’re after, but there’s a complication, trouble, or even a
fight involved to get it.
WORK ON A PROJECT
When you take part in long negotiations, start building something from scratch, or
otherwise put effort towards a longer-term endeavour, you’re trying to work on a
project. If you’re starting a new project, explain it to your Director and they will start a
clock to represent it. When you work on a project, roll +KNOW;
On a 10+, fill in two empty segments of the clock. On a 7-9, fill in one empty
segment. On a 6-, you suffer a setback of some kind—either remove one filled
segment, or scrap the project for parts and take advantage next time you work on a
project.
PLAN & PREPARE
When you review orders for the next Sortie, go over scouting reports and maps, or
otherwise attempt to prepare the crew for what comes next, you’re trying to plan &
prepare. When you do so, roll +KNOW;
On a 10+, choose 2. On a 7-9, choose 1. On a 6 or below, choose 1, but some
element of your preparation or planning will backfire or fail during the Sortie.
• During the next Sortie, you will have the opportunity to recover 1 dropped Stake
and give it to a Faction of your choice.
• During the next Sortie, you will have the opportunity to acquire up to 3 SUPPLY.
• The next lead a Sortie roll is made with advantage.
• All players hold 1. You may spend your hold during the next Sortie as if it were
hold gained through one of your basic or playbook moves.
Only one player may plan & prepare per Downtime. Players may give up one of their
Downtime actions to assist: if one does so, take advantage. If two do so, act with
confidence.
 ccording to Irion (1Y Dimitri, p.173),Astirs used in regions of

A theWestern Reaches (his studies focusing on Jennehill and

Locaster primarily), even smaller golems used for simple
labour work, would “encounter what is colloquially known in the area
as ‘rust monsters’ (but recognisable through simple observation as a
common oxide-dog, canis lupus ferrugo) on a near-daily basis.” Irion
detailed futher how these encounters would affect constructs whose
designs incorporated iron plating or frames, noting that “even when
guards posted nearby were able to chase away the creatures quickly
from idle Astirs, repeated cases of even minor contact would result in
a build-up of rust so severe that most were no longer functional after
two to �ve weeks of deployment.” In my own observations, extending
from Jennehill and Locaster into the current western front in the
Dragonspine Mountains, I found this estimate of two to �ve weeks to
be charitable.
At three military forts in the region of Dragonspine, all constructed
within the last �ve years, quartermasters reported to me an
operational lifespan of, at most, three weeks for Astirs whose designs
featured iron heavily. Furthermore,Astirs whose designs used iron in
a more reduced role—just as armour plating, as joints, or as is
commonly used in radiatior grilles—would still require much heavier
maintenance over their typical operational lifespan.
Why, then, are the troops deployed to theWestern Reaches so often
supported by newer and more expensive Astir designs that are still
constructed on iron frames?

- Excerpt from ‘A Treatise On Endemic Rust Monsters & Their

Effects On Astir Deployment In TheWestern Reaches’, Artificer-
Knight Cecil Knowles,ThirdYear Of Emperor Dimitri’s Reign
 CONFLICT & TIERS
As a game largely about getting into magical mechs and fighting fascism, much of
the interaction between players and other characters (during Sorties at least) will
involve them in various kinds of conflict or negotiation. In Armour Astir, much of this
will largely fall under the purview of two moves: from friendly duels to fights to the
death, from lying to avoid suspicion to addressing a nation.
Narratively, players will exchange blows to set opponents up, wear them down, give
an argument strength or cast doubt, then strike decisively to land a killing blow,
dismiss an argument entirely, or otherwise follow through on opportunities opened up
by their earlier exchanges.
Mechanically, players will exchange blows to make an opponent defenceless by
giving them a number of risks or perils, then strike decisively to remove them as a
threat according to the fiction.
Of course, there are many factors at play that might affect how the rolls behind these
moves go down. Physical conflicts are affected most obviously by physical things: by
the weapons being used as well as what kind of protection those involved have to
rely on. The terrain, relationships, weather, and so on might also come into play.
Anything settled with words is likely to be affected on a more circumstantial basis: by
what is being said, who it is being said to, and countless other little factors.
What this largely boils down to is having one or more levels of advantage or
disadvantage, or if you’re particularly lucky (or unlucky) the ability to act with
confidence (or desperation). See Opposing With +CLASH and Opposing With
+TALK below for specifics on things that might affect these rolls.
Affecting both equally are Tiers, the embodiment of what kinds of creature or object
something can, broadly speaking, be considered in the same league as. Fighting
something below your tier is far easier (see: an Astir stomping on a man), whilst
fighting something above your tier is far harder (see: a man trying to stomp on an
Astir). See Tiers below for more information.

Just as complex spells often require intricate rituals and awkward somatic
gestures, the magic used to power an Astir can be augmented by intentionally
complicating its design.‘Flourish components’, as they are referred to,
sometimes take the form of odd, restrictive design choices, and sometimes look
like compact rube-goldberg-esque contraptions that contribute somatic
components to an Astir’s spells.
Regardless of their differences, they can largely be described as additions to an
Astir that serve no true function, their lack of purpose providing a
supplementary source of magical energy. I am told that new Channelers, at
schools abreast of such advancements, are given a stern warning: be wary of
Astirs with capes.

- Excerpt from ‘Ef�cient Inef�ciency: Practical Applications of the Flourish

Theory’, Prof. Keller June, ERA3/1 (Lilac)
 OPPOSING WITH +CLASH
When it comes to literal combat, weapon ranges and approaches are the primary
thing to consider. Many tags also offer benefits when using certain moves or fighting
in certain situations.
RANGES
Weapon ranges, largely, define if you can trigger moves like exchange blows or
strike decisively. They might also have relevance in attempts to intimidate or
threaten: a smart foe might know full well that you’re bluffing with a weapon they
have little to fear from.
• Melee: This weapon is used to physically hit targets at close range.
• Ranged: This weapon is used to hit targets from a medium distance or close up.
• Sniper: This weapon is used to shoot at targets from a long or medium distance.
Range tags are relative to the tier of the weapon - an Astir-sized sword with melee
range can strike something a lot further away than a sword wielded by a person, for
example. Ranged and sniper weapons mounted on something higher tier than them
are re-tuned so that their range bands are relative to their new housing.
APPROACHES
There are, in the broadest of senses, five approaches to combat. Each is particularly
effective against another, but in turn vulnerable in the same way. You act with
confidence when facing an approach yours is strong against, and desperation
when facing an approach that is strong against yours. They are:
• Mundane (M), the approach of those with blades, bows and shields, cuts easily
through arcane defenses meant to protect against magic with simple steel.
• Arcane (A), the approach of those who weave pure unaspected magic, pierces
the domains of the divine well, having long since been stolen away from them.
• Divine (D), the approach of those with a godly sponsor, scours the profane from
our world quite readily, holy powers being anathema to those of the dark.
• Profane (P), the approach of those who consort with the unkind and the
forgotten, is effective against the natural forces of our world, and as such easily
smothers elemental magic.
• Elemental (E), the approach of those wielding fire and frost, easily subverts
mundane defenses that rely on materials that warp, conduct and shatter under
the elements.
You might work on a project to change the damage type of something, or take
shore leave to find a quick way do it temporarily.
MUNDANE

ELEMENTAL ARCANE

PROFANE DIVINE
On foot, your approach is typically defined by your playbook. Golems, Astirs, Carriers
and other magical constructs have their own approaches which override yours when
you’re fighting in them.
 OPPOSING WITH +TALK
When trying to achieve things with words, the tags on your gear and weapons tend to
be less important (though if intimidation is your chosen avenue, this might not be the
case). What matters more is what is being said, who it is being said to, what kind of
person they are, and so on.
DEBATE ME
When you’re using exchange blows or strike decisively to persuade, intimidate,
deceive, inspire and otherwise use words get your way, it’s very important to keep the
facts of your fiction in mind. Rugged mercenaries are less likely to cower under
intimidation that shy scholars, and it’s harder to negotiate with an expert merchant
than someone with barely a sale to their name: situations like these are where
Advantage and Disavantage might often come from when using +TALK. You should
feel free to suggest these to your Director when they arise.
Strike decisively notes that on a success your foe is removed as a threat according
to the fiction. When rolling with +TALK, the fiction will typically be that they believe
what you’ve said, are willing to carry out some instruction or bow under threat, etc. As
such, striking decisively in this manner means the character will do what you
wanted and them cease being a threat to you. This might mean they stand aside,
retreat, are so well-convinced of your disguise they no longer suspect you at all, or so
on. Characters must still be made defenceless for this to happen. In social
circumstances, the risks and perils you inflict to do so are likely to be very different to
the ones you inflict in actual combat. You might mention a name that makes
someone uneasy, imply violence that leaves someone scared, or speak with courage
that inspires confidence in someone you’re trying to instruct.
That’s not to say dangers of a more physical nature don’t effect social engagements
and vice-versa. Someone already hurt could be easy to intimidate, just as someone
who is scared might falter in battle.
TALKING TO GOD
While weapon tags like bane and ruin provide an avenue of overcoming tier
differences (see Tiers on the next page), those differences also apply when you’re
exchanging blows or striking decisively with +TALK. If you’re just one person, it
can be hard to sway the entire crew of a Carrier, intimidate someone in an Astir, or lie
to a deity. There are, of course, plenty of situations where those differences break
down though. If you are someone in a position of authority over them that crew might
listen to you immediately. If you know the trigger word for an explosive rune etched
onto that Astir, you have leverage behind your threat.
For that reason, when rolling with +TALK, you may treat words as having the bane or
ruin tags where appropriate, or even ignore the tier rules altogether if the situation
calls for it.
 TIERS
In Armour Astir, there are five tiers things usually come in when it comes to conflict,
reaching from tier I (characters) to tier V (carriers). Weaponry within each of these
categories is described relatively—that is to say, in general, a Carrier-sized weapon
with area has a much larger effective radius than a person-sized weapon with area—
because close range between two people is a lot smaller than close range between
two Carriers.
• Tier I covers any creature of around vaguely human strength and resilience.
• Tier II covers simple magical constructs and people particularly talented in
combat. Monsters that might threaten two or three people alone could be tier II.
• Tiers III and IV are Armour Astirs; large, magically-animated suits of armour that
are piloted by someone with magical ability, referred to here as a Channeler.
Monsters with tough hides or magical protection might be one of these tiers.
• Tier V is the realm of vessels and vehicles on a grander scale than any single
construct - ships, trains, or other interesting creations, that often carry and deploy
constructs or Astirs into battle. Carriers, like the one the players have, are tier V.
Immense creatures, like krakens or really big dragons could be considered tier V.
• Tier VI covers things beyond Carriers or Astirs. They are things men might call
unfathomable, or unknowable - but men designed them, men lifted the timbers,
and men guided them until they could walk. It is not the shape or definition of the
divine that makes them beyond us.
You should feel free to include exceptions to the above in your game. Golems of a
higher tier that can go toe-to-toe with Astirs more readily, smaller Carriers or ships
that are only tier III/IV, and other things can be interesting to think about: what does a
tier V person look like?
LOWER VS HIGHER TIER
People, monsters, weapons and so on have a tier - typically the same as its intended
users. These tiers reflect what they are typically effective against: tier III weapons are
built to fight tier III things, and so on.
Affecting something of a higher tier than you is difficult due to the difference in scale
and power, meaning moves like exchange harm and strike decisively can’t be
triggered normally. In certain situations these restrictions might be sidestepped—an
Astir’s magic isn’t much protection if you open the cockpit, etc. Another exception to
this rule are weapons with the bane and ruin tags, which make them effective against
targets of one and two tiers higher respectively.
Additionally, if you’re a lower tier than something trying to harm you, instead of
weathering the storm or exchanging blows to avoid that harm, you must bite the
dust - but you roll with Advantage, since you’re not actually defenceless.
HIGHER VS LOWER TIER
Working in the other direction is a little different. When moving against something one
or more tiers above you, players can strike decisively against foes of a lower tier
without making them defenceless. When doing so, you roll with disadvantage to
represent the difficulty and distraction of hitting a small target—unless you’re using a
weapon with the area tag. Beware the dangers of painting details with a such broad
brush, however.
If all this is a bit much at first, the important thing to remember is that if you want to
hurt something one step tougher than you, you need bane on your weapon. If you
want to hurt something two steps tougher than you, you need ruin. If you want to hurt
something three or more steps tougher than you, you need a plan.
 TAGS & GEAR
Equipment in Armour Astir is distinguished by a few things. While weaponry has
specific ranges and types of damage, all equipment also has tags. These tags help
define an object in terms of narrative effects as well as more specific mechanical
ones. Below, you’ll find a list of mechanical and narrative tags followed by a list of
equipment across tiers I and II (see The Carrier & Astirs for tiers III through V). Also
provided is a recap of weapon ranges and damage types.
Feel free to expand all these lists with options of your own to better suit your
campaign and setting, as well as the tastes of you and your players. Neither list is by
any means exhaustive.
If you encounter a tag that isn’t on these lists, assume it’s a Narrative tag: what it
does should be self-descriptive.
TAGS
MECHANICAL
The following tags have specific mechanical affects ascribed to them, as well as any
narrative implications.

• Bane: Can damage or harm targets of a tier above it.

• Ruin: As per bane, but can damage or harm targets up to two tiers higher.

• Blitz: You may expend or break a weapon with this tag to make a move with
confidence. If your weapon also has a tag like infinite or sturdy that would make
it more long-lasting, remove that instead.
• Decisive: Grants advantage when you strike decisively, but usually relies on
precision or catching your opponent off-guard, meaning you have disadvantage
when you exchange blows with it.
• Defensive: Provides good defence or ease of use at the cost of lethality, granting
advantage when you exchange blows but disadvantage when you strike
decisively.
• Versatile: A versatile weapon grants Advantage to both exchange blows and
strike decisively.
• Guided: This weapon has guided strikes or projectiles, allowing you to take a 7-9
result when you exchange blows and strike decisively rather than rolling if you
wish. Guided projectiles are reliable, but leave little room for finesse.
• Refresh: Readily available or replenish-able in some way, objects with refresh can
be replenished before the next scene if lost or expended.
• Area: This weapon affects a large area and can hit multiple targets. While any
melee weapon might hit multiple people stood right next to each-other, an area
weapon might slice through an entire crowd or catch spread-out foes in blasts or
hails of fire.
• Set-Up: Make moves using this item at disadvantage unless you prepare or arm
it in some way.
• Ward: You may discharge this tag once per Sortie to reduce an incoming source
of harm from a peril to a risk, or from a risk to nothing.
NARRATIVE
The following tags do not have specific mechanical effects, but their descriptive
nature could have mechanical effects.
• Aquatic: Can manoeuvre in water easily, and might have an extended oxygen
supply if an Astir or Golem.
• Aerial: Can fly easily in gravity rather than being limited to short jumps and glides.
If your campaign involves space, an aerial Astir might be able to survive
atmospheric re-entry.
• Custom: This weapon would be easier than normal to modify for or load with
custom ammunition.
• Dangerous: Volatile or difficult to use safely, dangerous objects invite dire
consequences if not used carefully.
• Fragile: Easily broken, either by shoddy design or frail materials.
• Distinct: Impressive, loud, or just particularly memorable, distinct equipment is
hard to be subtle with.
• Rare: Difficult to find, and sure to be prized by anyone who owns one.
• Infinite: This thing either doesn’t use ammo or power to function, or uses such
small amounts relative to your supply that it is practically endless.
• Insulated: Provides a degree of protection against the elements, allowing you to
better weather intense cold or heat.
• Small: Small, light, and easy to hide or be quick with. You might throw small
things with enough accuracy to hit foes.
• Slow: There is a delay involved in this objects use, like the travel time of a
projectile, or the low speed of a construct.
• Limited: You have a particularly limited supply or use of this thing, and it will run
out typically at an inconvenient moment.
• Messy: This weapon is imprecise, and can have excessive, unwanted results.
• 2H: Takes both hands to use properly, though not necessarily just to carry.
• Mounted: Rather than taking up the hands of the wielder, this weapon is mounted
or worn in some way.
• Restraining: Can restrict or slow targets in some way.
• Reloading: After firing, this weapon requires you to manually reload it or perform
some other action to ready it for use. If it is listed as bane/reloading or ruin/
reloading, it means those tags specifically require a reload, but the weapon can
continue to be used without them otherwise.
 ACQUIRING EQUIPMENT
Typically, there isn’t anything for sale on board your Carrier. Okay, there’s probably a
quartermaster you could requisition things from, if you’re willing to wait for it to be
shipped out, and maybe you could persuade a private merchant to tag along - but in
general, when you want to buy something you need to go and find it.
Doing so means making the shore leave move during Downtime. Provided you don’t
roll a 6 or below, you find what you’re after if it’s available - but on a 7-9, it’s not going
to be as simple as handing over the cash. Keep in mind that you can’t find something
if it isn’t there - if you stop by a small farming town looking for Astir parts, you
probably won’t find them.
Generally speaking, the equipment provided below is not a comprehensive list of
what exists in any given world, and some might have a completely different set of
things people use. You should feel free to, as a group, tweak existing things and add
anew to fit your game and its requirements.
SUPPLY AND SHORE LEAVE
ARMOUR ASTIR uses SUPPLY to represent currency, trade goods, and whatever
else you have aboard your Carrier to exchange for the things you need. Feel free to
rename it for your game, but either way it’s assumed you often actually deal in local
currencies and trade goods where appropriate - it’s just easier to keep track of a
single value. When you roll shore leave, you can expect your SUPPLY to go a lot
further depending on what you’re trying to get. 1 SUPPLY might be enough to restock
parts or equipment used up when mending something, but it’s also probably enough
to feed the entire crew for a week or patch up serious damage to the Carrier.
Depending on what you’re looking for and where, your Director might modify the roll
further - especially if you’re looking for something rare or expensive. Generally, you
can expect to take;
• Disadvantage if what you want is in limited supply
• Disadvantage if you want to skip a queue for something
• Disadvantage if what you want is illegal or restricted here
• Advantage if you’re willing to accept lower quality
• Advantage if what you want is abundant or easy to find
• Advantage if what you want is useless or a burden to the owner
GAINING SUPPLY
Getting SUPPLY to pay for things can happen in a variety of ways. If the goal of a
Sortie was given to you directly by one of the Factions that makes up the Cause, they
might offer SUPPLY in exchange for it—though this might come with obligations or
restrictions in how it could be spent. A Faction of Assassins might not be able to give
you materials to repair an Astir, but might have medical knowledge that are willing to
give you some points of SUPPLY worth of access to.
Additionally, during the Conflict Turn, Factions might provide you with SUPPLY
depending on how certain moves shake out. Factions are often busy opposing the
Authority, but might occasionally be able to spare SUPPLY for you. You might also
take shore leave after a Sortie and try to salvage or gather SUPPLY from the
wreckage of battle.
It’s also important to remember that you can only carry a certain amount of SUPPLY.
By default, your Carrier is equipped with a Cargo Bay that can hold up to 10. If you’re
finding yourselves carrying lots of surplus, you might want to look into getting a
second one.
 TIER I EQUIPMENT
Tier I equipment is intended for use by people, like humans, goblins or other similarly
scaled characters. It is generally easier to find than higher tier equipment, and often
cheaper too. Since the focus of this game is largely on combat between Astirs, tier I
equipment is largely abstracted.
A tier I weapon will typically have a range and possibly one or two tags from above.
All playbooks receive a weapon, but some additional examples can be found below.
To some degree, feel free to just wholesale make up what melee weapons exist in
your world, because unless you’re doing it to try and gain a large advantage on a roll
or to try and deus-ex-machina your way out of a bad situation, you probably can’t
break anything badly enough that it matters. Take that fire sword. It’s cool.
TIER I MELEE WEAPONS
Infantry Weapon I (melee)
Simple, sturdy weapons like blades and clubs.
Dagger I (melee / small)
A concealable dagger, easily worn beneath clothing and thrown if needed.
Greatsword I (melee / area, 2H)
A large weapon, with good reach and weight, perfect for taking heads. Praxis.
Armourbane I (melee / decisive)
A thin, pretty blade, good for slipping between armour plates.
Enchanted Blade I (melee / bane)
What was once simple steel now carries the unmistakable sheen of ritual.
Partisan I (melee / defensive, 2H)
A long spear, perfect for keeping your friends safe and your enemies at a very
specific distance, as the saying goes.

TIER I RANGED WEAPONS

Crossbow I (ranged / 2H)
For when you don’t need anything fancy, a crossbow is perfectly capable of doing
the job for as long as you have bolts.
Sidearm I (ranged / defensive)
The typical protections afforded to Astir pilots: a reliable tool capable of firing bursts
of light arcane energy.
Raypistol I (ranged / bane)
A powerful but short-lived firebolt wand, fitted with a comfortable grip.
Boltrifle I (ranged / blitz, 2H)
Effectively repeating crossbows fed by lightweight ‘barrels’ of ammunition, bolt rifles
are a common sight among troops of any real armed force.
Rayrifle I (sniper / reloading, ruin, 2H)
A heavy rifle, often using magical crystals or wands as charge for a single shot.
Their bulk, heavy recoil and cost makes them highly uncommon, but not overly so -
after all, little else hand-held will put a hole through an Astir.
Ashstaff I (ranged / area, bane, 2H)
A large, shoulder-carried staff charged with incendiary magic. A little lighter and
easier to use than a rayrifle, but still fairly bulky and lacking in the ability to pierce
the protective wards of Astirs.
GEAR NAMES / TAGS
Extra Protection I +ward
Helps keep you intact, usually.
Farspeech Stone I (small, fragile)
Stones of Farspeech allow you to communicate over great distances with the holder
of a linked stone. Most are enchanted to be linked only to one other stone, but more
expensive versions can be linked to as many as the owner requires.
Construct Sensor I (bulky)
Circular tables with a surface constructed of an array of enchanted steel pins. The
pins independently slide up and down when unregistered Constructs are detected in
a certain radius, creating a rough three-dimensional relief of oncoming forces. The
height of raised pins correspond to the size of a detected constructs, and larger
tables with denser arrays allow for more precise reliefs.
Latch I (small)
Basically handles enchanted to lock into place when pushed against something
magical, Latches are typically used by ground forces to hitch a ride on constructs
that don’t have room for them to ride inside of. Also available as a pair of weaker
Latches, built into a glove and boot, so that the wearer may simply hold a hand and
foot against a construct to attach to it.
Grappling Hook I (Allows you to climb or grapple)
A small sturdy grip attached to a barrel loaded with an steel hook, which is propelled
by forceful magic. An attached cord can then be reeled in, allowing the holder to
quickly relocate.
Invisibility Cloak I (limited, fragile, makes you invisible)
Generally speaking, doing just about anything is cooler if you’re invisible when you
do it.
Manacharge I (area, ruin, fragile)
A destructive spell delayed by a wax timer. Stick it on an Astir, light the wick, and run
for your life.
TIER II EQUIPMENT
The most common way players and other characters might make themselves tier II is
by piloting a golem: a sort of magical vehicle or construct. There are some examples
of golems on the following page, but here’s some examples of tier II weapons that
might be used by a player with the Scout playbook, or might be found as emplaced
weapons mounted in a fortress or some other defensive position.
Baneblade II (melee / bane, area, 2H)
Most Astir pilots do not concern themselves with the scrambling of foot-soldiers.
Some of these pilots meet very unexpected ends.
Might also be: Blowtorch, Enchanted Broadsword, Bolt Gauntlets
Warp-Slinger II (ranged / blitz, infinite, mounted)
An emplaced device incorporating multiple wands linked to a simple firing ritual that
can be triggered by even those not gifted with magic.
Might also be: MG Turret, Point Laser, Multi-Crossbow
Golem Rifle II (ranged / reload, bane, 2H)
A large two-handed tool that fires searing bolts of light, capable of burning through
even an Astir’s defences. Typically used by golems, due to its weight.
Might also be: Arbalest, Flame Staff, Greatbow
Seeker Cluster II (ranged / guided, defensive)
Guided by a faint magical intelligence, this device lets loose a swarm of small
magical crystals to hound a particular target. Though they struggle to pierce armour,
these crystals shatter on impact, resulting in sharp shrapnel.
Might also be: Orbiting Motes, Shock Rod, Command Bracelets & Drone
--BEGIN PARTIAL TRANSCRIPT--
KEEPER 02: ...in te food trough. Et was,
much kind of [unintelligible]
KEEPER 01 (interrupting): --Sabe Graces,
wie gets et? (shouting) Baron!Wass
griber tha, hein?
GRF-B41 'BARON' (150 decibel
emanation from the obelisk, sufficient
to dispel the recording daemon for
approximately two seconds): A KNIFE.
KEEPER 02: (shouting) NIE! KOLP SIE
OBER EN DROPPIT!
--END PARTIAL TRANSCRIPT--

- Excerpt from untitled ritual recording,

Aesefyreth, 23 Cropquart Y8.34
GOLEM NAMES / TAGS
Steed Golem II M
• Iron Hooves II (melee)
A large, horse-shaped mechanism driven by
simple magic. Steed Golems are no faster than
a normal horse, but never tire or want for food,
making them much easier to maintain.
Might also be: Armoured Horse, Motorbike, Personal
Shuttle
Transport Golem II (ward, bulky) M
• Cargo Hold II (Secure and spacious)
For moving things from point A to point B - just
make sure you have an escort.
Might also be: Van, Trader Caravan, Cargo Shuttle
Service Golem II A
• Golem Fists II (melee / small, blitz)
• Condenser Stave II (ranged / infinite, 2H)
Service Golems are large, roughly humanoid
constructs, designed to perform heavy lifting
and assist infantry forces without impacting
their resupply costs much.
Might also be: Loader Frame, Exo-suit, Industrial
Drone
Tank Golem II (ward) A
• Salvo Stave II (sniper / area, bane,
mounted)
• Bolt Rifle I (ranged / infinite, mounted)
Protected by heavy metal plating and carried by
large, flexible legs, Tank Golems are capable of
launching explosive magical spells over a long
distance.
Might also be: Tank, Fighter Jet, Artillery Platform
ACT II
SCENE III. Gatehouse above the Battle of Almafwyr
Enter MYTHRY and ROMERE
ROMERE
Beloved!What a gift you have given to appear before me now.
We were fated to meet, surely?
MYTHRY
You truly think our fates are bound? It is by your lord’s will
you are sent to die today, not by mine.
MYTHRY and ROMERE clash, as do their ASTIRS.
ROMERE
To die? Would you not mourn our love?
MYTHRY
Fool! I will mourn neither your love nor your life. Stand aside
or perish, an example for your lord to follow.
ROMERE
Ha!You would not kill me.
ROMERE is killed.
MYTHRY
[To AUDIENCE] Pity this man! Even at death’s door he could
not see I strike not him, but his master. A fatal mistake, to think
I yearn more for love than for justice.

- Excerpt from ‘MYTHRY’, Promise Apparent,YA223

 THE CARRIER & ASTIRS
THE CARRIER
Your Carrier is the place you call home - it's the base of operations you return to
between the fighting to rest, recuperate, and hopefully not fight with your friends
instead. Your Carrier might be a large ship, flying fortress or other huge vehicle, and
is probably powered by a complex blend of magic, alchemy and simple human
ingenuity - most importantly, meaning it doesn't require a Channeler to helm it,
freeing them up for active service. It is in many ways your most valuable asset.
Your Carrier typically has enough room to store an Astir (or another ‘vehicle’, like a
golem, a magical carriage, or a horse I guess) per player, and room for any Director
characters who journey with them to store their own. It's also assumed to have
enough room for each player character who lives there to have their own space -
though how large or comfortable this is might vary. The ship’s regular crew might not
be so lucky. Your Carrier is your home, but that doesn't necessarily mean it's a safe
place. Players should be prepared to defend it, and should think about how best to
do so. At the very least, it contains a small armoury so that all crew members have
access to a simple blade or crossbow.
MECHANICALLY SPEAKING...
Your Carrier is made up of a few things:
• A CREW Trait, starting at +0. Like other traits, it has a maximum of +3.You can
also work on a project to increase CREW by 1. It's an 8-step clock, and could
represent training, developing new equipment, or something else. CREW might
also be lowered should staff be killed or hurt, or if the Carrier is damaged heavily.
• Weapons (for knocking Authority ships out of the sky).
• Modules, which provide various benefits. You’ll start with some of these if some of
your players are playing Support playbooks, and fit them into the Carrier layout.
CREATING YOUR CARRIER
Creating the Carrier, in at least these first few steps, is a group task. Players will
decide what kind of craft their Carrier is, what kind of movement it is capable of, what
it looks like, etc (and the Director should take this into account when thinking about
what kinds of Carriers and similar crafts the Authority uses—there won’t be much
fighting if the players live on a burrowing ship that goes beneath the earth while the
Authority mostly just have submarines). Once that’s out of the way, you have a few
initial choices to make between you.
CARRIER TYPE
Firstly, you’ll want to decide broadly what kind of craft or vehicle your Carrier is. This
is mostly a fiction decision, and will inform where it can go and what kind of places it
might take you to—things that, naturally, should tell your Director what types of
places you’re interested in going to.
• Flying: Lifted through the sky by magic, levitating crystals, lighter-than-air gases
or something else entirely, a craft that soars through the air is capable of taking
you practically anywhere above ground. You might dramatically take it down
between narrow canyon walls, make emergency landings in an arid desert, or
explore islands floating above the clouds.
• Ground: Either a single vehicle or a convoy of them, ground Carriers are bound to
the earth but might be equipped to explore very particular environments: train
wheels that restrict your movements to tracks, big thick wheels for splashing
through muddy marshland, mechanical drills for exploring hidden caverns, etc.
• Aquatic: Whether floating on the surface or plumbing the deepest depths, an
aquatic Carrier is built for the sea. It, naturally, probably doesn’t perform to its
fullest once it hits the shore.
• Combination: Your Carrier does some or all of the above! It’s just flexible like that.
What magic or artifice lets it do this? Is it better in some environments than
others? Is this functionality part of its design or something it’s been altered for?
WEAPONRY
Your Carrier probably has weapons built into it: tier V weaponry to be precise, perfect
for taking on Carriers, krakens, elder dragons and fascists. The really big ones.
Together, choose a main weapon for your Carrier, and decide on its approach. It may
use any of the approaches, and that might colour how its weaponry works.
• A powerful long-range weapon V (sniper / decisive, bane, limited, mounted) - This
might be a powerful magical blast capable of reaching far into the distance, a
steam-powered weapon that propels a steel bolt at distant foes, a scorching ray
fuelled by bottled motes of elemental flame, etc.
• A seeking mid-range weapon V (ranged / guided, mounted) - This might be
magically-guided wands carrying explosive spells, bolts of arcane force that never
miss their target, sealed explosives etched with guidance rituals, etc.
• A relatively close-range weapon V (melee / defensive, infinite, mounted) - This
might be defensive sceens of blasting magical force, volleys of alchemically-
treated arrows, a shocking aura or shield, etc.
MODULES
Finally, modules are the facilities, features and upgrades that make your Carrier more
than just a box you all sit in to move from one place to the next. Your Carrier starts
with a Cargo Bay module stocked with 3 SUPPLY (used to barter, make repairs, etc).
If all players are playing Channeler playbooks, at this point your Carrier is finished:
it’s time to pick out your Astirs!
Any player who has chosen a Support playbook, however, gets to add a module to
the Carrier. This might be something you’ve added to the Carrier yourself, something
from a past life before you joined the Cause, or something that has always been part
of it. The modules you pick will need to be fitted into the layout on your Carrier Card,
so each one is listed with how many boxes it takes up in the layout: ■, ■■, or ■■■.
Acquiring new Modules might be done through a Sortie or through the Downtime
move shore leave. You might then also need to work on a project to install/set it up.
Spellcraft Lab (+1 segment when you work on a project to build an Extra) ■
Crew Quarters (+1 CREW) ■
Infirmary (mend something with Advantage when treating physical injuries ■
or illnesses once per Downtime)
Cargo Bay (Can store up to 10 SUPPLY) ■
Simulation Rituals (+1 CREW) ■
Mana Fonts (+1 Mana to all Astirs) ■■■
Advanced Tools (work on a project with Advantage once per Downtime) ■
Mess Hall (overhear with Advantage once per Downtime) ■
Officer Quarters (talk it out with Advantage once per Downtime) ■
Historical Records (plan & prepare with Advantage once per Downtime) ■
Artifice Workshop (mend something with Advantage when repairing ■
damage to an Astir once per Downtime)
Advanced Shielding (+ward) ■■
Full Pantry (+1 CREW) ■
LAYOUT & THE CARRIER CARD
You’ll record your Carrier’s information on a card like the one below - it has space for
your CREW Trait, any weapons your Carrier has, and also your Carrier’s layout
where you will slot in any Modules you have.

CREW
THE TWICE REMOVED V +2
FLYING / ARCANE

MANA MANA MANA FULL

LV1 CARGO BAY
FONTS FONTS FONTS PANTRY

CREW
LV2
QUARTERS

WEAPON Magic Missiles V (ranged / guided, mounted)

WEAPON
The layout on your Carrier Card has two levels to it. The first level is open to use by
default - any Modules you being play with will slot in here. If you need the extra
space of the second level, you’ll need to modify your Carrier.
Accessing your Carrier’s second level can be done in two ways. You can:
• Spend 5 SUPPLY to refit the Carrier during Downtime
• Work on a project during Downtime to do the refits yourself (8-step clock).
DIRECTING THE CARRIER
During play, it’s likely you’ll want the Carrier and its crew to do things. This is,
arguably, what they’re for. If nobody is playing the Captain playbook, your Carrier and
it’s crew are effectively Director characters. They’re on your side, but you’re not in
charge - you’re part of a larger effort represented by the Cause, and if you want the
Carrier to be used in a certain way you might need to do some convincing. You can
expect things like fire support and transport during Sorties, obviously—after all,
you’re the best Astir team they have—but convincing them to break orders from
above or take more drastic courses of action might be difficult.
If you’re playing the Captain, forget all of the above. You’re in charge! Fly it into the
ground if you want to. Okay, maybe don’t do that: that’s probably not the kind of
damage easily repaired even with magic. But as the Captain, you have authority over
the Carrier’s crew and can give them orders which they will, broadly speaking, follow
to the best of their ability. This is why the Captain has moves like in command and
information network that use the Carrier’s CREW Trait, as well as an extra box for
dangers: you’re not just responsible for your character, you’re also playing the
Carrier. Just like a Channeler playbook might take a risk or be put in peril to
represent damage to their Astir, the Captain is responsible for anything that happens
to the Carrier.
 ASTIRS
Astirs are, in simple terms, magical mechs. They are piloted (and powered) by a
Channeler (someone with magical ability that is trained to control one), and given
their magical nature are not bound in their designs to how we might think of mechs in
a typical setting. Materials are much more flexible—sturdy materials can be
enchanted to be lightweight, and vice versa—so don’t feel tied to heavy metals and
so on.
Depending on your setting and who built them, an Astir’s design might include wood,
stone, ceramics, glass, or even organic matter like bone, natural fabrics or still-living
plants. Your Astir with armour made of glass and structure made of monster bones
can match one made of twice-forged steel blow for blow if you want it to, because
magic.
The same goes for its design. Things don’t need to look mechanical, or even make
logical sense outside of what limits you establish at the table for your game. Your
Astir could be a typical humanoid design, or it could be giant cursed monolith with
arms that glides everywhere, humming.
Talk between yourselves about what is appropriate for your setting, and how far from
the norm you want to get with designs. Go with whatever feels right for what you
want an Astir’s look to say about it and its pilot, but be prepared to have a discussion
with the other players in your game about what, broadly speaking, Astirs in your
setting look like, as well as where they come from. Are they constructed, or grown, or
summoned from elsewhere? Do different factions and groups have their own
aesthetics and designs, or even methods they use to get them?
You might also want to discuss control mechanisms. Does your magic allow you to
control an Astir with 1:1 body movements, your mech being a true extension of self,
or do you still need to guide it through more conventional means? Again, is this
different depending on where the Astir came from, or what faction developed it?
SETTING EXPECTATIONS
Regardless of the design or model you choose, we assume by default all Astirs are
capable of the below;
• Flight when not weighed down by gravity (the natural phenomenon, not the game
mechanic) - short, limited flight otherwise.
• Providing a magical source of oxygen, at least for a limited time (some Astirs
might be designed to provide something more reliable)
• Facilitating communication between friendly, willing pilots within line of sight
(external factors might make this ineffective at long distances, like areas where
the ambient magic in the air isn’t dense enough)
• Facilitating communication between any pilots when in physical contact with each
other
If the above doesn’t work for your game, feel free to change them. It won’t break
anything!
MECHANICALLY SPEAKING...
When it comes to the actual mechanics of using or creating one, Astirs are are made
up of the following;
• A core, which determines the approach of your Astir.
• Two parts, which offer a variety of bonuses and abilities.
• Weapons, which are used to destroy fascists, imperialists, god, etc.
• A move, which is inherent and unique to that model of Astir.
All Astirs also have a pool of Mana. This begins at 4, and is spent on choosing Parts
and Weapons. The remainder becomes the amount you have to spend on the
subsystems move in play, and you return to this amount every Downtime.
 CREATING YOUR ASTIR
When creating a custom Astir, there are a few simple steps to follow. First, you pick
your Astir's core, determining its approach. Then, you'll spend some of your Mana
(starting with 4) on Parts and Weapons, before creating a unique move that defines
your Astir. As above, your leftover Mana then becomes the pool available to you for
the subsystems move, so you don’t need to spend all of it.
1) CORES
An Astir's core determines what it’s approach to combat is. Consider this a broad
summary of the kinds of spells and rituals used by your Astir to protect itself and
attack your foes.
Alchemical
An alchemical core, that uses magical substances and mechanisms to amplify the
power of a Channeler and allow them to move an Astir.
• Mundane or Arcane: work on a project to swap
Crystalline
A simple core that uses a large mana-rich crystal or gemstone as a focus for a
Channeler’s own magic.
• Arcane or Profane: work on a project to swap
Natural
A gift of the wilds: a living core, of bark, briar or bramble, imbued with all the life and
force of nature. Installed into a war machine.
• Divine or Elemental: work on a project to swap
Ancient
An ancient magical artifact, handed down by the gods to mankind long ago. While
once a hero might have borne this into battle, it now fuels an Astir.
• Mundane or Divine: work on a project to swap
Occult
A core made from false life and stolen power. Blood, sacrifice, demons, you know.
• Profane or Elemental: work on a project to swap
 MUNDANE

ELEMENTAL ARCANE

PROFANE DIVINE

As a reminder, you act with confidence when facing an approach yours is strong
against, and desperation when facing an approach that is strong against yours.
Don’t worry too much that you’re giving your Astir a huge weak spot here: all your
foes will have one too, and there are ways of permanently or temporarily changing
your Astir’s approach.
You might work on a project to change what it, or take shore leave to find
temporary protection or weaponry of a different kind.
An Astir’s approach also typically leads the fiction of how they fight and protect
themselves. For example:
• A mundane Astir might rely on thick armour or speed for protection. At range, it
might use weapons that magically propel physical projectiles like metal bolts or
pellets. Up close, its melee weapons likely rely on sharp blades or weighted
heads to pierce the protections of other Astirs.
• An arcane Astir might rely on charms and rituals that cast magical shields or
provide limited bursts of invincibility for protection. At range, it might cast
destructive bolts of eldritch energy or barrage foes with magical force. Up close,
its melee weapons might be enchanted to cut clean through armour or wrapped in
arcane energy that lets it pass through shields or barriers.
• A divine Astir might rely on blessings or small miracles for protection. At range, it
might sear away foes with divine light or undo them with the power of the gods.
Up close, its melee weapons might channel the power of a deity through symbols
and blessings to smite the Channeler’s enemies.
• A profane Astir might rely on cloaking itself in shadow or impeding foes with
hexes and curses for protection. At range, it might shower other Astirs in acid or
poison, or use ignoble magic that harms an Astirs pilot directly. Up close, its
melee weapons might use dangerous or forbidden materials for cruel results, or
project blades of psychic or shadowy energy that passes through armour easily.
• An elemental Astir might rely on bolts of lightning that strike down projectiles or
weapon-melting mantles of flame for protection. At range, it might use artifacts
that bring about localised storms or flash-freeze enemy Astirs. Up close, its melee
weapons could carve apart armour with super-heated blades or discharge a
powerful shock on impact.
When adding weapons to your Astir, you should feel free to tweak their names and
fiction to better fit the approach of your Astir.
2) PARTS
The charms, rituals and other magical enhancements built into an Astir are what
make it truly special. While most of these are free, some are particularly demanding
of an Astir’s core. Choosing these requires you to spend Mana, but remember: the
more you spend on Astir parts, the less you have during play for subsystems.
Some parts are marked as [Passive], indicating their benefit is effective all the time.
[Active] parts have an effect that can be used once per Sortie (unless specified
otherwise) and is then expended. [Active] parts may be re-used once expended with
the subsystems move.

Extra Arms [Passive] (-1 Mana) Two extra arms

While adding extra arms to an Astir is child’s play, properly & hands
coordinating them is much more complex.
Weapon Conduit [Passive] +2 Mana
A magical conduit that compensates for the heavy magical load of towards
certain weaponry, trading utility for output. weapons only
Divination Codex [Passive] When you read
A cross-referenced record of countless common omens, signs and the room, also
prophecies, easily perused by an attuned Channeler in a flash. ask “What is
about to
happen?”
Mana-Forge [Passive] You may cool
A magically-powered forge, capable of casting common Astir off to resupply
supplies and munitions from mana and a local stock of raw an expended
materials. weapon
Flourish Component [Passive] (-1 Mana) +1 point of
Like traditional spellcasting relies on strange gestures, chanting Mana at the
and complex foci to provide power, an Astir’s design can be start of a scene.
complicated in similar ways to achieve much the same.
Spell Routines [Passive] (-1 Mana) Choose to take
The battlefield is a busy place, full of countless distractions. It can a result of 7-9
be helpful to let the magic take over sometimes. on a move of
your choice
Familiar Matrix [Passive] (-2 Mana) Holds and
Matrices store and coordinate Familiars, making it possible for comes with one
one Channeler to guide many at a time. set of Familiars
of your choice
Chromatic Focus [Active] Change your
A device capable of twisting and re-aspecting magic. For approach for a
Channelers that don’t like to ever be at a disadvantage. single Scene
Alchemical Suite [Passive] (-1 Mana) Choose 3
A selection of alchemical equipment, capable of storing and Potions from the
mixing useful potions before venting them into the cockpit as a list when
vapour to save time. someone leads
Potions; a Sortie
• Red: Remove a peril related to physical injury or wounds.
Metallic.
• Blue: Gain +1 Mana. Tangy and sharp.
• Purple: Take Advantage when you next weave magic. Fruity.
• Yellow: Take a risk. Act with confidence when you next
exchange blows or strike decisively.
Chameleon Cloak [Active] Become
They can’t hit what they can’t see. invisible for a
Scene. The next
risk you take is
‘revealed’.
Standardised Parts [Passive] mend
This Astir uses a large amount of common, easy-to-find parts something with
shared with similar models. This makes it easy to repair. Advantage when
repairing this
Astir
Warding [Active] +ward
Anything that helps an Astir not explode is a worthwhile
investment.
Transmutation Link [Passive] +aerial OR
A frame endowed with the ability to shift between two forms +aquatic
quickly, making for a versatile Astir.
Resistance Charms [Passive] Lowers dangers
While it is difficult to offer a broad blanket of protection against from one
damage and difficulty, more specific avenues of harm are source.
relatively simple to protect an Astir against. Peril > Risk
Examples: Risk > Nothing
• Replication Rituals (Lowers dangers from limb loss)
Crawl. Climb. Rip. Tear. Many hands make light work.
• Failsafe Channels (Lowers dangers from comms disruption)
Hear you loud and clear, 9th. Everyone else went quiet.
• Lightningrod Spines (Lowers dangers from electricity)
Don’t be the fool caught out in a storm. Plan ahead.
Artifact [Active] Grants
High-quality artifice provides an edge when it is needed most. advantage
Example: towards a task
• Familiar Sync Rituals of your choice
Co-ordination rituals allow a Channeler to better direct their
familiars, cutting down on the ‘attunement drift’ common in most
matrices.
• Dragonscales
For decades before Astirs became a possibility, craftsmen put
bartered dragon scales to work as a protective material, never
understanding why it seemed less durable wrapped around a man
than it did around a dragon. Those profitable wyrms never let slip
quite how much magic ran in their blood.
• Afterburners
An injection of volatile alchemical substances paired with a burst
of magic can provide a substantial, if short lived, increase in
speed. Not for those on a shoestring alchemicals budget.
Heat Condensers [Active] Untick
Stopping to vent heat during a fight can make you a sitting duck - ‘overheating’
it makes sense then, that many Channelers who could care less from your Astir
about managing it carefully opt to invest in heat condensers. twice per Sortie
3) WEAPONS & ARMS
Astirs can use as many weapons as they can carry. Unless you took extra arms from
the previous step, an Astir is assumed to be able to carry and use two weapons, or
one with the 2H (two-handed) tag. When you add weapons to your Astir past this
initial capacity, you should decide whether they are mounted to your Astir for hands-
free use (add +mounted and pay an additional 1 Mana) or carried in a holster or
sheathe (which costs nothing, but naturally the weapons aren't usable whilst stored).
There are both ranged and melee weapons available for Astirs, some of which cost
Mana to take. These are categorised as ‘basic’, ‘bane’ and ‘ruin’ weapons. There are
also familiars, which can only be chosen if your Astir has a Familiar Matrix (chosen
from Astir parts). If you're making a tier IV Astir instead of a tier III one, just replace
the tier number and rename the weapon if you want.
The weapon names and descriptions below are merely suggestions. You should feel
free to re-imagine them to suit you and your Astir however you please.
Basic Weapons
Astir Fists III (melee / small, blitz)
Every Astir can fall back on its fists, but they don’t make for graceful brawlers.
Might also be: Concealed Blades, Close-Range Vulcans, Mining Drill
Sword/Mace/Axe & Shield III (melee / defensive, ward, 2H)
An Astir-sized melee weapon paired with a shield makes for a reliable combination.
Bones and forelimbs of monstrous creatures are often used as sturdy, cheap parts.
Might also be: Flame Jets, Shielded Gauntlets, Energy Field
Forceknife III (melee / small, decisive)
Short (for an Astir) blades jacketed in a layer of magical energy, forceblades are
good for when you find yourself up close and personal.
Might also be: Throwing Glaive, Charged Hatchet, Enchanted Kunai
Greatarm III (melee / area, 2H)
Often almost as tall as the Astirs wielding them, ’greatarms‘ are the Astir equivalent
of greatswords, battleaxes, and any other kind of large, simple, 2-handed weapon.
Might also be: Godbuster, Laser Flail, Industrial Saw
Force Repeater III (ranged / defensive)
A simple mechanism that rapidly fires short blasts of magical energy, serving as an
effective reserve weapon.
Might also be: Manapistol, Mining Laser, Point-Defense Turret
Autoballista III (ranged / area, blitz, bulky, 2H)
One of the few non-magical weapons in active use among Channelers. Autoballistae
are popular for their fire rate, which allows for fending off groups with a spray of
bolts as well as overwhelming a single Astir with a flurry of shots.
Might also be: Heavy Bowgun, Assault Cannon, Flechette Launcher
Rayrifle III (ranged / infinite, 2H)
Rayrifles are the workhorse of most armies when it comes to arming Astirs. A highly
efficient charging cycle means every cast uses an almost meaningless amount of
mana.
Might also be: Machine Gun, Arc Staff, Recycler Rifle
Magic-Missile Array III (sniper / guided)
Often mounted on an Astir’s shoulder to leave their hands free, magic-missile arrays
fire a dizzying cluster of magical darts that can be guided by an Astir rather than its
Channeler.
Might also be: Chaser Missiles, Lock-On Beam, Automortar
 Bane Weapons (-1 Mana)
Golempiercer III (melee / bane, decisive, set-up)
Immense lances designed to punch through armour plating, golempiercers are
heavy enough that they must be held in place and used as a charging weapon - just
swinging one around is unlikely to deliver results.
Might also be: Ceremonial Pike, Heavy Estoc, Pile Bunker
Forceblade III (melee / bane)
Your typical, garden-variety sword made out of projected magical force. It cuts well
and won’t explode - what else do you want?
Might also be: Beam Saber, Thermal Cutter, Pneumatic Hammer
Basilisk Lance III (ranged / bane, 2H)
An uncommon weapon, basilisk lances house a lens composed of dozens of
magically preserved basilisk eyes. When mana is passed through this lens, a
petrifying beam is produced.
Might also be: Chemical Jet, Beam Rifle, Plasma Repeater
Blazewands III (ranged / bane, reloading)
Arranged in paired racks and crafted using subdued motes of elemental fire, short-
range wands are a common and potent weapon when it comes to arming Astirs.
Might also be: Grenade Launchers, Acid Pods, Plasma Mortar
Burstcaster III (ranged / area, bane, 2H)
Burstcasters launch a projectile that discharge a spell on impact - typically some
kind of dramatic fireball. The wand projectile only arms past a certain distance, to
prevent a Channeler from being caught in their own fireball.
Might also be: Rocket Launcher, Fireball Cannon, Reactor Rifle
Novawhip III (melee / area, reloading/bane, dangerous)
Concentrated motes of fire slumber at equal lengths along this whip, and violently
detonate on impact. A devastating weapon in skilled hands that know how to
recharge the motes mid-battle.
Might also be: Chain Mines, Plasma Cable, Storm Gauntlet

Ruin Weapons (-2 Mana)

Ruinblade III (melee / ruin, 2H)
Long, slender, and fragile - ruinblades are long swords edged with arcane-charged
crystal, allowing them to cut through even Carrier hulls. Just try not to break it.
Might also be: Decay Lance, Null-space Projector, Hi-Beam Saber
Titan Bow III (sniper / ruin, reloading, 2H)
Immense, heavily-reinforced longbows, taller than even some Astirs. While some
balk at taking a bulky single-shot weapon into the field, others point to the ability to
sink an arrow through Carrier hulls as a valuable upside.
Might also be: Single-Cast Rifle, Beam Sniper, Abyss Gun
Spellcannon III (ranged / ruin, limited, 2H)
A heavy, devastating weapon. Though it demands magic such that few Channelers
can muster more than a handful of shots, the results are easily worth the expense.
Might also be: Assault Cannon, Heavy Beam Rifle, Anti-Materiel Rifle
 Familiars
Familiars are small autonomous constructs, typically launched from an Astir, that
assist a Channeler in battle. They are small, expendable and easily replaced—any
perils you take as a result of your Familiars being lost or destroyed are automatically
removed during Downtime. When you exchange blows or strike decisively with
Familiars, you roll with +CHANNEL instead. All Familiars have the area tag, to reflect
their numbers, and are ranged or sniper to reflect either ranged attacks or the fact
they can move independently of you.
Wisp Familiar III (ranged / area)
Wisps are by far the most common familiar, and for most people are synonymous
with the word. Small free-floating constructs that pack a surprising punch for their
size, wisps are limited by the short lifespan on their magic.
Might also be: Assault Funnel, Fire Spirits, Attack Drones
Mote Familiar III (sniper / area, bane, limited)
Motes are primed with conflagration magic, and detonate in a fiery blaze when
impacted against a target. Channelers usually deploy them only when needed, since
if shot the explosions tend to set off other nearby motes.
Might also be: Remote Bombs, Volatile Elements, Lev-Grenades
Needle Familiar III (ranged / area, restraining, defensive, fragile)
Needle Familiars pin their targets in place with thin, iron spikes. While lacking when
it comes to decisive blows, they excel at restraining and harassing foes.
Might also be: Glue Turret, Labour Drones, Medusa Heads
Claw Familiar III (ranged / area, defensive)
Sharp-clawed contraptions of magic and stone, in the familiar shape of a crow.
Might also be: Trained Wolves, Raven Ghosts, Saw Drones

4) ASTIR MOVE
Finally, every Astir has a move attached to it, which is unique to that model of Astir's
design and doesn’t cost any Mana. It should feel equivalent to a playbook move, or
around 1-2 Mana worth of things from the earlier steps. It could be something you roll
for, or something passive - it’s up to you. If in doubt, consult your Director for help
making something suitable for your concept, or try taking an existing playbook move
and modifying it to your needs. There are some examples below, and you can also
always look to the example Astirs for further ideas or moves to rename to fit your
Overdrive Ritual - +blitz to all weapons.
Sanguine Sensors - You can detect living creatures up to sniper range.
Munitions Forge - Whenever you use your subsystems, you may also re-arm a
weapon that has ran out of ammunition or has been damaged.
Auto-Divination - Whenever you use your subsystems, you may ask two
questions from the read the room list rather than one.
Conjure-Core - Add the following option to subsystems;
• Create an object of up to tier III that has the limited and fragile tags.
Ironfeather Wings - +aerial
Aura of Health - Anyone who rests beneath your Astir is slowly cured of illnesses
and injuries.
“When I was fourteen, see, my bearer took me aside one night
and showed me the thing they'd made. It was this heavy black
and white blanket, patterned all over with the big old lumps of
Reach cactus, which I hated for the prickles, and the diamond
dashes of the tattoos we gave ourselves, which I loved for how
brave they made you look. Sometimes I would see them brush
it with horsehair to remove dust, or wash it with a pump-vack,
just an inch at a time, and then fold it and put it back in the
closet. I asked them then, if it was, say, a curtain, or a blanket
for spreading on the prairie rocks and sunning on.They told
me it was for their war-love, that it was a craft they performed
all on their own, and that when it passed away they took hold
of it once more. It's a tradition, they told me, one with teeth.
Wool thick enough, made with desire and grace enough, to
stop any blade, arrow, or channelling. So now I'm making one
for you.”

- Excerpt from ‘Windswept: Conversations From The Reach’,

Ironcase #23 “June”, SecondYear Of The Empty Throne Era
 ASTIR EXTRAS
Sometimes, you know a Sortie is going to involve certain kinds of danger or
problems. To combat them, you can add an Extra to your Astir: a temporary Part or
Weapon that is useful for one Sortie. Extras might be things like heavy armour
(Warding), special lenses for seeing in the dark (Resistance Charm), or a mantle
mounted with a weapon (Weapon Conduit). To make an Extra, you can either;
• Pay 1 SUPPLY (+1 per Mana cost) to get one quickly from another Faction.
• Work on a project during downtime (2 steps, +2 per Mana cost) to build it.
Extras only ever last for the Sortie they are made or bought for. Extra weapons are
expended or blown up, equipment is tossed aside to make your Astir lighter, armour
is dramatically destroyed to reveal your Astir spotless beneath it, etc.
THE ASTIR CARD
You'll record your choices and the stats of your Astir on small sheets like these, which
have space to record all of its component Parts as well as its Mana capacity (used to
make the subsystems move) and a tickbox for overheating. As a Channeler, certain
moves might ask you to tick or mark 'overheating'—that's this box. If you're asked to
tick this box but it's already ticked, the building heat destroys one of your Parts,
putting you in peril.

CORE MANA
EXAMPLEIII APPROACH OVERHEATING
PART A PART B
Description of Astir part Description of Astir part

Description of Astir. MV: ASTIR MOVE

A unique move that
de�nes your model of
Astir.

CARRIED Weapon Name III (range / tags)

SHEATHED, ETC Weapon Name III (range / tags)
 EXAMPLE ASTIRS III
A selection of example tier III Astirs, made using the above custom Astir rules.
CORE MANA 2
GOLIATHIII MUNDANE ANCIENT OVERHEATING
RESISTANCE CHARM WARDING
STALWART GREAVES TITANIC ARMOUR (+ward)
(Lowers dangers from knockback or pushing)
The Goliath is constructed with a simple design intent - to MV: GOLIATH SHIELD
shield allies from long-range fire without putting the Advantage when you
Channeler at risk. Thick armour and a fair Mana capacity help or hinder to
provide a reliable bulwark, with a paired axe and shield protect others.
serving as a simple, but effective, armament.
CARRIED Battleaxe & Shield III (melee / defensive, ward, 2H)
+MOUNTED Blazewands III (ranged / bane, reloading)

ART PLACEHOLDER
 CORE MANA 3
ADVENTIII DIVINE ANCIENT OVERHEATING
ARTIFACT WARDING
REACTION ENHANCER ADVENTIUM PLATE (+ward)
The Advent is a storied design, said by some to be based on MV: ADVENT LEGACY
an Astir that won a great war a century ago, and said by lead a Sortie with
others to be that very same Astir. Stories of the white Astir Advantage when
vary, but it never seems to be on the losing side, whether that piloting an Advent
side is right or wrong.
CARRIED Rayri�e III (ranged / in�nite, 2H
SHEATHED Forceblade III (melee / bane)
 CORE MANA 2
SUMMONERIII ARCANE CRYSTALLINE OVERHEATING
ARTIFACT FAMILIAR MATRIX
FAMILIAR SYNC RITUALS Wisp Familiars III
The Summoner is designed to overwhelm foes by directing MV: REFRESH MATRIX
fire from multiple angles. It does this with a small network of +blitz, +many to
familiars, which coordinate fire as directed by their Familiars
Channeler. A special matrix augmented to increase its
magical output allows for a veritable swarm of familiars.
CARRIED Arcane Focus III (ranged / in�nite, 2H)
MATRIX Shard Familiars III (ranged / area, blitz, many)
 CORE MANA 0
TARRASQUEIII PROFANE OCCULT OVERHEATING
ARTIFACT RESISTANCE CHARM
CHAOS ENGINE CHAINBREAKER’S BOON
(Lowers dangers from restraints or slowing)
The Tarrasque has a reputation for being piloted by the brave MV: MANA DEVOURER
or those with a death-wish, and it’s not hard to understand +1 Mana when you
why. Armed with little more than claws and a tail and powered successfully strike
by a voracious chaos-engine, it’s a heavy, inefficient mess. decisively another Astir
But slip up once, and it’ll eat you alive. With a meal in its with physical harm
belly, this mess becomes a monster.
CARRIED Rending Claws III (melee / ruin, 2H)
+MOUNTED Novatail III (melee / area, reloading/bane, dangerous)
 CORE MANA 1
LANCE-MINORIII ELEMENTAL NATURAL OVERHEATING
HEAT CONDENSERS FLOURISH COMPONENT
Untick ‘overheating’ from your Astir twice per Generate 1 point of Mana at the start of a scene.
Sortie
Armed with a long, armour-piercing lance, this gallant model MV: INERTIA DRIVE
excels at charging down a foe from distance and delivering a Regain 1 Mana when
decisive hit. While its length makes it difficult to strike close you roll a 10+ on
foes, a small weapons mount allows for defensive fire to keep weather the storm to
foes occupied. outpace, rush or dodge.
CARRIED Golempiercer III (melee / bane, decisive, set-up)
+MOUNTED Force Repeater III (ranged / defensive)
 CORE MANA 3
PROTEANIII ELEMENTAL ALCHEMICAL OVERHEATING
TRANSMUTATION LINK ARTIFACT
+aerial QUICKSILVER FORM

The Protean is intended to be a flexible, middle-of-the-road MV: FICKLE FORM

design - a jack of all trades. It’s body is filled with alchemical You may take the risk
quicksilver, which can be magically reformed at a moments (unstable) to use your
notice, making for an Astir that can adapt to virtually any Quicksilver Body without
situation. spending Mana on
subsystems.
CARRIED Force Repeater III (ranged / defensive)
SHEATHED Forceblade III (melee / bane)
 CORE MANA 3
OMENIII MUNDANE ALCHEMICAL OVERHEATING
STANDARDISED PARTS MANA-FORGE
mend something with advantage You may cool off to resupply an expended
when repairing this Astir weapon
While somewhat austere a design compared to other Astirs, MV: GENERIC PARTS
Omens are famously easy to maintain and repair. Combined Act with con�dence
with the fact their design makes use of many common parts, when you mend
Omens (or suits like them) typically make up the bulk of any something to repair an
organised force of Astirs. Omen.
CARRIED Rayri�e+1 III (ranged / bane, 2H)

ART PLACEHOLDER
 CORE MANA 1
ARIESIII ARCANE ALCHEMICAL OVERHEATING
HEAT CONDENSERS FAMILIAR MATRIX
Untick ‘overheating’ from your Astir twice per Wisp Familiars III
Sortie
The Aries is an imposing design, with devilish horns and MV: MANAWHEELS
familiars that have a habit of congregating in aura-like While Overheating, take
formations. The scariest thing about it, of course, is it’s Advantage when
speed. Propelled on wheels of magical flame that scorch the making a move that
ground beneath it, the Aries is not an easy thing to run from. relies on your speed.
CARRIED Blazewands III (ranged / bane, reloading)
CARRIED Forceknife III (melee / small, decisive)
MATRIX Wisp Familiar III (ranged / area)
 CORE MANA 0
JESTERIII ARCANE CRYSTALLINE OVERHEATING
RESISTANCE CHARMS SPELL ROUTINES
PRESSURE REGULATOR weather the storm (+DEFY)
(Lowers dangers from acceleration)
Embedded with spell-stones that reduce its weight, the Jester MV: LEV-SPELLS
excels at staying mobile. Capable of hovering short distances You may use the
and moving with agility unheard of for most Astirs, most long- mobility Move from the
time Jester Channelers develop an almost supernatural Scout Playbook while
sense of battlefield positioning. piloting this Astir.
CARRIED Ruinblade III (melee / ruin, 2H)
HOLSTERED Basilisk Lance III (ranged / bane, 2H)
TIER IV
CORE MANA 3
PURSUERIV PROFANE OCCULT OVERHEATING
WARDING ARTIFACT
SHADOWVEIL (+ward) HASTE RITUALS

The Pursuer is hunter, designed to track and destroy specific MV: PURSUIT-BOND
enemy Astirs. Though its pursuit-bond requires line-of-sight You may designate
for an initial lock, the tracking it provides is accurate, long- another Astir you can
lasting, and incredibly difficult to shake. When it comes time see as your target. You
to end the hunt, a simple blade is often more than good are supernaturally aware
enough to finish off a Pursuer’s prey. of its location at all times
CARRIED Wrist Blades IV (melee / small, blitz)
+MOUNTED Magic-Missile Array IV (sniper / guided)
 CORE MANA 2
BIRDCAGEIV DIVINE ANCIENT OVERHEATING
ARTIFACT FAMILIAR MATRIX
ANGEL COLLARS Bound Angels IV
There are many that would say the concept of Astirs is a MV: BINDING RITUALS
dangerous one. Evil, even. There are few that make such a When you use
judgement so easy as the Birdcage, a hefty, walker-style Astir subsystems to take
with little in the way of its own armaments. It makes up for Advantage with your
this with a flock of bound and collared angels, who are cowed Angel Collars, you may
into service by threat of a true death. They are cruel clear a risk related to
machines, and their Channelers more so. your Bound Angels.
CARRIED Hulking Form IV (melee / defensive, ward, 2H)
MATRIX Bound Angels IV (ranged / area, bane, fragile)
 CORE MANA 3
JACK-OF-BLADESIV MUNDANE ANCIENT OVERHEATING
RESISTANCE CHARM EXTRA ARMS
FLASHFORGE +2 Arms
(Lowers dangers from melee weapon breakage)
Rarely witnessed as anything but a storm of sharp and MV: BRANDED
shattering metal, the Jack-Of-Blades is a strange Astir, BLADES
designed to wield fragile weaponry that it breaks and re- Your next exchange
forges repeatedly during combat. Mana-channels in the blows or strike
blades allow for the re-purposing of magic usually lost in the decisively has
heat venting process, and a paired armament forgoing Advantage when you
defense in favour of offense means very little remains untick ‘overheating’.
standing long in the face of a Jack-Of-Blades.
CARRIED Paired Blades IV (melee / defensive, ward, 2H)
CARRIED Forceknife IV (melee / small, decisive) x 2
 CORE MANA 0
MEDUSAIV PROFANE OCCULT OVERHEATING
FAMILIAR MATRIX ALCHEMICAL SUITE
Adder Familiars IV Blue x 3
Protected by magically animated snakes and bearing MV: PETRIFIER CORE
petrification magic, the Medusa is understandably a feared When you exchange
Astir. Even the most talented of pilots put themselves at risk blows, on a result of 6-
when coming close to its gaze. you may spend 1 Mana
to have your opponent
take the risk (restrained)
CARRIED Gorgon’s Glare IV (ranged / bane, 2H)
MATRIX Adder Familiars IV (ranged / area)
 PLAYBOOKS
All players in Armour Astir create a character using a 'playbook', which is a
mechanical framework similar to classes or archetypes in other games. Playbooks
offer choices for starting equipment, moves, and aesthetics like clothing or style.
They also offer some narrative background for your character to root them into the
world you're playing in, as well as some questions to help you further develop what it
means to be that playbook in your setting.
Playbooks are split into two kinds: Channelers, who are Astir pilots primarily, and
Supports, who are not. Each kind has a specific extra move attached to it. For
Channelers, it's subsystems. For Supports, it's b-plot.
CHANNELERS
Channelers are magic-users who stride into battle while piloting Astirs, making them
best equipped to deal with Sorties that involve physical conflict. While they have their
differences, all Channelers are more than capable in a fight. They’re also all capable
of diverting magic to their Astir’s subsystems with the move below.
ARCANIST IMPOSTOR
PARADIGM WITCH
Subsystems
When you activate your Astir's subsystems, spend Mana 1-for-1 to do one of the
following;
• Power up an expended [Active] Astir part and use it again.
• Divine your situation, asking one question from the read the room list.
• Disperse away excess energy, fully unticking ‘overheating’ on your Astir.
SUPPORTS
Supports are a varied group, but are generally people with less of a direct combat
focus than Channelers. While they’re all capable of holding a sword, most Support
playbooks have an area of expertise best put into practice off the battlefield. When a
Sortie doesn’t call for their skill-set, they can instead take part in the b-plot with the
move below.
SCOUT CAPTAIN
ARTIFICER DIPLOMAT
B-Plot
When you take part in the b-plot rather than be involved in a Sortie, name one or two
Director characters that accompany you and hold 3. During the Sortie, you may
spend it 1-for-1 to do the following;
• Give another player confidence on their next move, but complicate things for
yourself.
• Deny an NPC from appearing during the Sortie: they’re busy, possibly with the
same thing as you.
• Spend some time and take a Downtime action.
• Cut away from the Sortie during a moment when time is precious, giving everyone
room to think.
 ARCANIST
Disciplined students of arcane magic, who practice their talents for years before
graduating to the cockpit of an Astir.
+CHANNEL (+2)
LOOK
You look: smart, bookish, wily, anxious or imposing
You wear: pilot jumpsuit, military uniform, dress uniform, fancy robes
Your magic is like: roaring elements, bright and neon, abstract and formless,
formulaic and defined
When you launch your Astir, you say: ________________
APPROACH
When fighting on foot, your approach is: arcane or elemental (choose one)

Arcanists are careful, prepared magic-users. This is most apparent in their use of
‘rituals’ - magical tactics and enhancements preemptively cast before they embark
onto the battlefield. Arcanists typically attain the magical mastery they have through
formal study, and while good at making plans and full of useful knowledge, they often
don't deal well with surprises.
Playing an Arcanist often means calling your shot, either through your choice of
rituals or through plans you make in the heat of action. Once you have advanced and
can take new ones, other moves like expend rituals and diverse channelling make
it easier to respond to situations you haven't prepared for. Consider;
• What does formal magical study look like in your world?
• Is this something open and public, like an academy, or private, like training
passed down through a family lineage? Was it tied to military service?
• Do you have a familiar or bonded item you use to focus your magic?
• What does performing your rituals entail?
• Where did you get your Astir? Is it stolen from a military force? A family heirloom?
Does it belong to the Cause?
• Do all Arcanists study where you did, or are there multiple schools of thought?
• Are people like you openly referred to as Arcanists? If not, is there another name
for what you are?
STARTING MOVES
You start with the plans and prepare rituals moves.
Prepare Rituals
You have a practised set of rituals you use to enhance your piloting talents. Discuss
what they are with your Director and where you perform them. When someone leads
a Sortie, choose 2 rituals you had time to perform;
• A realigning ritual - Increase one of your Traits by 1 and reduce another by 1 (no Trait may be
higher or lower than -/+3)
• A contingency ritual - Specify three speci�c situations: if you �nd yourself in one of them, increase
your level of success on your next roll by one, and this ritual expires.
• An adaptation ritual - When you fail a roll, take advantage on your next one.
• A clarity ritual - When you read the room, you may ask questions of a broader situation than here
and now.
All rituals expire after the Sortie, and you lose their effects when that happens.
Plans
Arcanists are educated in the art of war, and fight according to preordained tactics in
order to perform at their best. Unexpected situations are the bane of a good arcanist.
Whenever the party enters a dangerous situation, declare your plan to resolve it.
If your plan is interfered with or prevented at any point, take the risk (perturbed,
irritated, vexed, confounded).
If your plan succeeds, even accidentally, advance a GRAVITY clock with someone
who didn’t think it would.
ADDITIONAL MOVES
When you take a new move from your playbook as an advancement, choose from
the list below.
Expend Ritual
When you disperse the magical energy of a ritual to re-use that energy in a pinch,
choose one of your prepared rituals—you no longer gain its benefit. You may then
choose an option from the subsystems move without spending Mana.
Diverse Channelling
When you make a move while piloting an Astir, you can roll +CHANNEL instead of
the usual Trait. If you do so, tick 'overheating' on your Astir. If it's already fully ticked,
it destroys one of your Astir’s parts—you are in peril (burnout).
Consult Literature
You have a store of books and scrolls on various subjects that you can consult for
information when given time. Choose 1 subject you have almost perfect records of,
and 2 you have extensive information on;
• Construct models and design
• Magical beasts and monsters
• Enchantment and spell-craft
• Mundane craft and building
• Natural flora and fauna
• Military tactics
• A specific nation/faction
• General world history
Combat Spells
If you are outside your Astir and fighting on foot, you can exchange blows and
strike decisively with +CHANNEL when attempting to cause physical harm, using
the following profile;
• Hand-casting II (ranged / area, bane)
Tactical Illusions
When you distract your foes with magic, roll +CHANNEL. On a 10+, choose 2. On a
7-9, choose 1, but your illusions also distract an unintended audience.
• The illusions last until you stop sustaining them (otherwise they last up to a
minute).
• Your illusions affect anyone you intend to perceive them, rather than a single
person.
• Your can create illusions that affect all the senses, rather than just sight.
Archivist [Requires: Consult Literature]
You acquire a new source of knowledge, and choose 2 more subjects you have
extensive information of to your consult literature move.
THE ARCANIST THE IMPOSTOR
 IMPOSTOR
Through magic, medicine, or sheer force of will, you took control of your body and made
it ideal. This is who you were meant to be, and they'll never take it away from you.
+CHANNEL (+1)
LOOK
You look: wild, cold, sharp, cocky or brash
You wear: pilot jumpsuit, military uniform, dress uniform, casual attire
Your magic is like: smoke and industry, neon beams, firey outbursts, arcing bolts
When you launch your Astir, you say: ________________
APPROACH
When fighting on foot, your approach is: profane or elemental (choose one)

You have no magic of your own, and control an Astir through enchanted
augmentations or alterations to your body. They say what you do is fake. They call
you an Impostor - but what you do is real, and you’ve made yourself exactly who you
needed to be. The Impostor has a diverse skillset with lots of ability to play with risks
and perils.
To play an Impostor is to, depending on what your arcane augments are and why
you got them, invite questions about the body: about disability, transhumanism, being
transgender, loss of bodily autonomy to the Authority or otherwise and so on. It might
not be the focus of your campaign or even your character to tackle this in-depth, but
you should at least think about the place of these things and the people affected by
them in your world. It's also the playbook most indulged in mecha anime tropes, with
moves like face to face, resonance, bullheaded and let loose all lending
themselves to various kinds of hot-blooded action. Consider;
• Where and how did you get your augments?
• How are they made, and of what material? How rare are such things in your
world? How noticeable are they?
• Do people use a word other than ‘augment’?
• Why did you choose to undergo augmentation? Did you choose?
• How does the existence of Impostors relate to disability in your world?
• Do your augments require maintenance or upkeep in some way?
• What kind of reactions do people have to your augments?
• Are your augments heavy or uncomfortable? Can they be removed?
• How do your augments help your control an Astir? Do you use controls with them
like usual, or do they interface directly into it somehow?
• How often is the term Impostor used, if at all? Is it formal or informal? Do you
have another word for yourself? Are there others who control Astirs in a similar
way?
STARTING MOVES
You start with the arcane augments move as well as two others from your Additional
Moves.
Arcane Augments
Impostors control their Astir using magical augmentations, like artificial limbs or
organs. These augmentations allow a non-magic user to power and control an Astir,
but otherwise do not interfere with your life unless you (the player) decide so. Being
bonded to magic in this way often leads to it affecting the body and vice versa,
irreversibly tying their magic to their emotional and physical state.
Your CHANNEL is increased by 1 for each danger you have (up-to a max of +3).
When someone you have GRAVITY with sees you be put in peril, advance it.
ADDITIONAL MOVES
When you take a new move from your playbook as an advancement, choose from
the list below.
Vent Wrath
If you are outside your Astir and fighting on foot, you can exchange blows and
strike decisively with +CHANNEL when attempting to cause physical harm, using
the following profile;
• Hand-casting II (ranged / area, bane)
Scour Existence
You can exchange blows and strike decisively with +CHANNEL when attempting
to cause physical harm with Astir-mounted weapons. If you do so, tick 'overheating'
on your Astir. If it's already fully ticked, it destroys one of your Astir’s parts—you are
in peril (burnout).
Don’t Follow Me
When you lead a Sortie with +DEFY, give everyone that follows advantage to their
next roll.
Resonance
When you would weave magic to form a clear empathic bond with another, sharing
your true feelings and ideals, choose 1 instead of rolling;
• Your connection lasts a single, precious moment—time for little more than a short
exchange.
• They or someone else view it as a breach of trust or some kind of trick, and will
hold it against you.
• You miss something important while you’re together.
Let Loose
Whenever you gain a peril, exchange blows and strike decisively with advantage
until the end of the Sortie.
Bullheaded
You may take a risk to take advantage on your next roll.
Face To Face
When you leave your Astir in the hopes another will do the same to meet you face to
face, roll +TALK.
On a 10+, NPCs will leave their Astir to face you. PC’s must weather the storm to
refuse.
On a 7-9, NPCs will leave their Astir to face you, but choose one;
• Take the risk (entangled).
• You have disadvantage to moves against the other Channeler.
• You are separated from your Astirs temporarily.
PC’s may choose whether to leave their Astir or not - if they do, they pick one of the
above for you.
Realignment
You undergo deeper alteration and enhancement to your body. Discuss what it is with
your Director, and either choose a move from another playbook to represent its
effects, or work with your Director to create a new one.
 PARADIGM
Adherents of the gods who channel sacred power into their Astir to control them. The
devout know to respect their gods tenets, lest their Astir fail beneath them in the line of duty.
+CHANNEL (+3)
LOOK
You look: serious, haughty, caring, wise or zealous
You wear: pilot jumpsuit, military uniform, dress uniform, religious garb
Your magic is like: angelic choirs, blinding lights, warm embraces, blazing icons
When you launch your Astir, you say: ________________
APPROACH
When fighting on foot, your approach is: divine or profane (choose one)

Paradigms channel their divine power from a deity, and must adhere to its tenets in
order to maintain that power. These tenets, as well as what upholding them looks
like, might vary between members of a faith as well as just between different faiths.
Paradigms have something to uphold outside of the Cause's goals, and naturally
bring a religious element to the game that might not be present otherwise - of course,
there doesn't need to be Paradigms in a world for faith to be important.
While playing a Paradigm, you have lots of moves that let you aid and protect other
players, like safeguard and bless. Your high natural CHANNEL of +3 also gives you
a great chance of success on moves like weave magic and firebrand, but keeping
this +3 will require you do always keep your tenets in mind. Broadly speaking,
playing a Paradigm also means you have an important voice in what the role of faith
and religion is in your setting. Consider;
• Is your deity really divine in the supernatural sense, or just a godlike figure?
• How formal is your religion/connection to your deity?
• How well known is your deity?
• How common are people like yourself? Are they called Paradigms, or something
else?
• What is the Cause’s relationship to faith?
• What is the Authority’s relationship to faith?
• What is your deity like? What do they demand, and what do they request?
• What does giving service or worship to your deity look like?
• What was your life like before the Cause?
• How were you introduced to your deity?
STARTING MOVES
You start with the evangelise and tenets moves as well as one other from your
Additional Moves.
Evangelise
You are in service of a deity or faith and are responsible for the spiritual well-being of
your Carrier’s crew. You gain an additional action during Downtime that can only be
used to give formal service or privately consult with a crew-member, both using the
talk it out move.
Tenets
Instead of Ideals, write three tenets that represent your deity’s will. When you discuss
your faith with someone or learn something about how they personally relate to faith
and religion, advance a GRAVITY clock with them if you have one. If you ever
sacrifice or break a tenet, it is lost forever; replace it with an Ideal instead of crossing
it off and taking an advancement. Your CHANNEL Trait is also reduced by 1 until you
make amends in whatever way is appropriate for your faith.
Example tenets might be:
• Violence is a road taken when all others are closed.
• Share your faith freely, that it might spread.
• Scepticism is an affront to the divine.
• From each according to his ability, to each according to his needs.
ADDITIONAL MOVES
When you take a new move from your playbook as an advancement, choose from
the list below.
Divine Guidance
When you consult your deity for information or guidance, you may dispel
uncertainties with +CHANNEL. If you do so, on a 7-9 the information is still directly
useful, but it is difficult to discern if your answer came from the intended deity.
Inspire Focus
Once per Sortie, you may take a visible position over the battlefield and inspire
confidence and clarity in your allies that see you - they each clear a risk and take
advantage to their next roll.
Bless
When you enter battle with a group of allies, give up to four people (including
yourself) advantage when they next bite the dust.
Safeguard
When you exchange blows and someone helps or hinders you, you can protect
them from any harm they might suffer as a result. When you help or hinder
someone who is exchanging blows, you can suffer any harm taken in their place.
Turn Unearthly
When piloting an Astir you are attuned to, you may project an aura that causes
otherworldly creatures to flee. Roll +CHANNEL: on a 10+, any creature not native to
this plane of existence is sent back to their home plane instantly. If they are powerful
enough to return themselves (or are summoned) during the same Sortie, they are in
peril (turned) as your divine presence sickens them. On a 7-9, they must flee from
your sight, and are in peril (turned).
Firebrand
When you openly and loudly advocate for something related to one of your tenets,
roll the highest of +TALK or +CHANNEL. On a 10+, choose 2. On a 7-9, choose 1.
• Your words reach people far beyond where your voice is heard.
• Even those not of your faith connect to your message.
• You are not targeted immediately for what you preach.
On a 6 or below, your words are misinterpreted, co-opted, or misrepresented in a
terrible way.
Consecrate Ground
When you attempt to imbue an area or building with your divine power and presence,
roll +CHANNEL. On a 10+, choose 2. On a 7-9, choose 1;
• Creatures opposed by your deity cannot enter the consecrated area.
• Creatures within your consecrated area cannot take violent action against each other.
• Creatures within the consecrated area cool off with advantage.
• Creatures within your consecrated area cannot knowingly lie.
THE PARADIGM THE WITCH
 WITCH
Witches seize power through pacts with powerful creatures, knowingly or otherwise. This power
fuels and binds an Astir as well as any other, but its sources can be demanding… and mischievous.
+CHANNEL (+2)
LOOK
You look: dark, mysterious, shrouded, unsure or haunted
You wear: pilot jumpsuit, military uniform, dress uniform, occult robes
Your magic is like: smothering darkness, roiling chaos, striking bolts, withering curses
When you launch your Astir, you say: ________________
APPROACH
When fighting on foot, your approach is: arcane or profane (choose one)

Witches receive their powers directly from a magical benefactor, like a powerful
demon, spirit, or other non-divine entity. That benefactor could be a great many
different things, and their grip on an Impostor might be visible in a lot of different
ways - but they have one thing in common. Patrons trade in Influence.
While playing a Witch, you trade Influence to your patron to activate a variety of
moves, like re-weave reality and borrowed power. These moves let you break the
rules a little: altering weapon tags, automatically succeeding at rolls, and even using
moves from other playbooks. Receive boons gives you two moves at random per
Sortie, but both whims and borrowed power give you some control over what you
end up with. Consider;
• What and who is your patron? Are they supernatural, or just powerful enough to
seem so?
• What is the nature of your relationship with your patron?
• Are there other Witches serving your patron? Are there other Witches at all?
• Do people refer to you as a Witch? Is there another term they or you use?
• Is your bond with your patron forever, or will it expire?
• What other kinds of beings exist that could be patrons?
• Did forming this bond cost you anything now, or will it in the future?
• Is there a recognisable symbol of your patronage? An associated familiar?
• Does your patron have a direct connection to you, or do they act through agents?
• Are your boons an informal collection of helpful magics, or something more
defined? If so, what do you call them?
STARTING MOVES
You start with the receive boons and patron moves.
Patron
You receive your magic from an otherworldly patron or benefactor, whose motivations
are typically not something you can discern. While they are often content to let you
run free with their power, they will sometimes require things of you - and when they
can, they will exert their Influence to make sure their bidding is done. You have a
GRAVITY clock with your patron, representing the tenuous bond between you.
Your patron may spend their Influence like hold in order to do the following;
• Help or hinder you, succeeding as if they had rolled a 10+.
• Attempt to force you to do something; you may weather the storm to resist.
• Re-roll your boons for the day.
Whenever your Patron spends Influence, advance your GRAVITY clock with them.
As long as you Patron has at least 1 Influence, your CHANNEL Trait is set to +3.
Receive Boons
At each dawn, you receive boons from your patron. Roll on the list below two times
to discern what powers you receive. They last until the next dawn.
1 · Channelling Boon - You may give your patron 1 In�uence to make a move with +CHANNEL instead
of the usual trait. When you do so, describe what mark your patron’s power leaves on the situation.
2 · Hexxing Boon - You can curse an Astir, locking it out of some of its systems. When you do so, roll
+CHANNEL. On a 10+, choose 2. On a 7-9, choose 1;
• A Player or Rival cannot spend Mana to activate subsystems.
• A weapon, tool or function stalls, malfunctions, and stops working.
• The Channeler cannot prevent you from communicating with them.
3 · Masking Boon - You can mask yourself or an Astir you are attuned to against detection. When you
do so, roll +CHANNEL. On a 10+, you are disguised or cloaked in a fashion appropriate to your patron.
On a 7-9, the Director will tell you a �aw with your disguise.
4 · Shielding Boon - You may give your patron 1 In�uence to have advantage when facing harm.
5 · Vigorous Boon - You may give your patron 1 In�uence to make the subsystems move for free.
6 · Trickster’s Boon - When you use the subsystems to use an Artifact, instead of taking advantage
you may roll a d6 and replace either or both of your regular dice results with it.
ADDITIONAL MOVES
When you take a new move from your playbook as an advancement, choose from
the list below.
Occult Lore
When you consult your patron for information, you may dispel uncertainties with
+CHANNEL. If you do so, on a 7-9 the information is still directly useful, but using it
would cause some unforeseen complication entertaining or beneficial to your patron.
Whims
Your patron is unfathomable, and their interests obscure. Your GM should, once per
Sortie, give you some minor goal or abstract requirement your patron demands of
you - it should be doable within the session. If you complete it, at the next dawn you
may choose your boons instead of rolling. If you don't, give your patron 1 Influence.
Embrace Chaos
Whenever you roll a 10+, you may opt to instead take a partial success as if you had
rolled a 7-9. If you do so, hold 1, which you may spend at any point before the end of
the Sortie to do one of the following;
• Swap two of your Traits.
• Act with confidence.
Re-Weave Reality
When you use a piece of equipment to make a move, e.g using a weapon to strike
decisively, you can ignore one of it's tags OR act as if it had an additional one of
your choice. When you do so, give your patron 1 Influence.
Relinquish
If a part of your Astir is damaged or destroyed and you take a peril as a result, you
may relinquish your boons; losing them until you receive boons again but fixing
that part and losing the peril. You cannot re-roll relinquished boons.
Share The Burden
When you cool off you may choose to succeed as if you had rolled a 10+. If you do
so, give your patron 1 Influence.
Borrowed Power
When you request help from your patron, roll +CHANNEL and give your patron 1
Influence. On a 10+, hold 3. On a 7-9, hold 1, or be in peril and hold 3. You may
spend your hold at any point during the Sortie 1-for-1 to use any boon you don’t
currently have, or you may spend 2 hold to make any move from another playbook.
 CAPTAIN
Even the best of teams need guidance. Overlooking sorties from the Carrier’s helm,
the Captain commands the crew and ensures those in the field get the help they need.
LOOK
You look: noble, upright, callow, eager or intimidating
You wear: immaculate uniform, casual clothes, armoured clothing, officer’s coat
You lead with: gut feelings, well-informed advice, stoic instruction, tested experience
APPROACH
When fighting on foot, your approach is: mundane
GEAR CARRIER MODULES
• 2 Ornate Gear • Construct Sensors (Can detect &
• 1 Bonus Carrier Module identify II-V magical constructs
• Clothes that match your look approaching the Carrier) ■
• Sending Stones (Can send long-
ORNATE GEAR distance messages quickly) ■
• Gilded Sidearm I (ranged / blitz, distinct) • Construct Bay (Steed Golems for
• Ruinlock I (ranged / profane, reloading, ruin) everyone) ■
• Duelist’s Blade I (melee / bane, distinct) • Cloaking Rituals (Can hide the Carrier
• Arcane Mantle I (ranged / arcane) from sight) ■
Responsible for the crew and their mission, the Captain provides support on missions
by leading the crew and harnessing the Carrier’s equipment and weaponry. Captains
can even provide temporary upgrades and refits for Constructs deployed on a sortie,
or level their tactical know-how into better positioning on the battlefield.
While playing a Captain, you're in command of the group's Carrier and its crew. This
lets you roll several moves with the Carrier's +CREW trait instead of your own when
commanding it - which is either a blessing or a curse, depending on what that
CREW value is. Additionally, while at the helm of your Carrier you can take 4 dangers
rather than 3 before you're defenceless, meaning you're tough to take down in a
straight fight. All those hands on deck add up, after all. Many of your other moves
revolve around supporting other players, like surprise requisition and fire support.
Consider;
• Were you formally schooled as a Captain? How exclusive are such schools?
• Who appointed you Captain of this Carrier?
• Have you served with another crew before?
• Are you used to helming ships this big?
• Have you served with a military before? Are you a commissioned officer?
• What exactly is your place on the Carrier’s bridge?
STARTING MOVES
You start with the coordinator and in command moves, as well as one other from
your Additional Moves.
Coordinator
When you roll a 10+ to help or hinder and choose to help, your ally may act with
confidence instead of advantage.
When you roll a 6 or below while rolling +CREW, advance a GRAVITY clock with
someone who has put their trust in you.
In Command
You are the Carrier’s captain, and naturally have command of its crew. While at the
helm of the Carrier, you may order the crew to;
• Exchange blows and strike decisively with +CREW, using the Carrier’s
weaponry.
• Weather the storm with +CREW to perform evasive actions.
• Read the room with +CREW to assess the battlefield.
Additionally, both Carrier and crew are part of your character as far as risks and perils
are concerned, just like an Astir is an extension of its channeler. To reflect the many
minds and hands at work for you, you are defenceless at 4 dangers while at the helm
of your Carrier, rather than 3.
ADDITIONAL MOVES
When you take a new move from your playbook as an advancement, choose from
the list below.
Tactical Genius
When you're supervising allies from afar during a Sortie, you can lever your tactical
know-how into better positioning. Take 3 hold at the start of a Sortie, and spend it 1-
for-1 to do the following;
• Remove one risk from an ally.
• Give an ally Advantage to their next move, describing how you advise or support them.
• Have an ally appear somehow in a place they are needed.
Force Multiplier
You acquire something—a tool, ship upgrade, a caged malevolent sentience, etc—
that allows the Carrier and it’s staff to operate far better than usual, but it has a
downside. Once per Sortie you may act with confidence, but choose 1;
• It whispers in your ear—change one of your Ideals to represent its demands.
• It’s fragile and needs protecting. It grants no benefit while damaged or destroyed.
• It takes up a lot of resources—spend 1 SUPPLY on it when someone leads a
Sortie, or it stops working until you reawaken it by spending 3.
Surprise Requisition
When you dispatch supplies to another character or reveal something extra you had
them deployed with all along, roll +CREW. On a 10+, choose 1 for free. On a 7-9, you
had to requisition that gear personally - pay 1 SUPPLY, or drop 1 Stake from a
Faction as they spread themselves thin to help you.
• A weapon rendered unusable by damage or lack of ammo is replaced/rearmed.
• A weapon gains the bane tag until the end of the scene.
• A weapon gains the ruin tag for one shot or strike.
• An Astir changes it’s approach until the end of the scene.
Fire Support
When you provide instruction and call shots for the Carrier’s crew, you may
exchange harm and strike decisively using +KNOW and the Carrier’s weaponry.
Information Network
When you have your crew search for information, you may dispel uncertainties with
+CREW.
When you contact your superiors for relevant intel, you may dispel uncertainties
with +TALK.
Resupply Priority
Your Carrier gains 1 SUPPLY whenever you start Downtime.
Human Resources
When you read the room, you may also choose from the following questions;
• What is the crew’s mood like?
• Who is responsible for a problem on-board the Carrier?
• What could be a problem for the crew in the immediate future?
THE CAPTAIN THE DIPLOMAT
 DIPLOMAT
Not every war is fought with weapons. For a Diplomat, the battlefield is a boardroom,
the landmines are a host’s hospitality and the only weapon you need is a winning smile.
LOOK
You look: noble, refined, experienced, naive or slick
You wear: military dress, mostly disguises, luxury fashion, recognisable uniform
You have a reputation for being: fair and trustworthy, sly and wily, unpredictable, bold and pushy
APPROACH
When fighting on foot, your approach is: mundane
GEAR 'DIPLOMACY' TOOLS
• 1 Diplomacy ‘Tool’ • Listenbugs (overhear anyone during Downtime
• 3 ‘Diplomacy’ Tools near a bug you’ve hidden - they’re fragile)
• Clothing that matches • Lockpicks (Useful for picking locks, unsurprisingly)
your look • Silencing Matrix (Removes all noise from a tier I
weapon)
DIPLOMACY ‘TOOLS’ • Shimmershape Clothing (Clothing can magically
• Frost Charms I (ranged / change colour and design)
restraining, elemental) • Agents (take shore leave with advantage when
• Fencing Blade I (melee / searching for info or evidence)
defensive, distinct) • Transport (You have a mount/vehicle that’s fast
• Arcane Dagger I (melee / and quiet - probably a tier II construct)
bane, small, arcane)
Diplomats are the kind of people that bring factions together and negotiate the
impossible. They definitely never ever spy on anybody; instead, they meet with other
important people face to face to achieve with words the kind of things that a legion of
men couldn’t with blades. The pen is their sword, and none of them have ever
knocked a man out before stealing his uniform to pass as a guard.
While playing a Diplomat, you have a lot of power to set the rules of a social situation
with moves like under the table and bureaucrat. You're also very good at
subterfuge, both by manipulating people and by stabbing them when they aren't
looking, with a suite of moves including sharp tongue and sharper knives.
Consider;
• Are you actually a diplomat? Do you hold any official office?
• How long have you been with the Cause? Were you part of it before joining this
crew?
• What’s your stance on violence?
• What is your network of connections like? Do you have one?
• What motivates you during this conflict? What are your goals?
• What’s the most danger you’ve been in before?
• What does diplomacy mean to you? How do you go about it?
• Have you ever negotiated with the Authority before?
STARTING MOVES
You start with the negotiator and under the table moves, as well as one other from
your Additional Moves.
Negotiator
You may read the room with +TALK when mediating or taking part in a conversation/
discussion. When you successfully negotiate or advocate for something important to
you, advance a GRAVITY clock of your choice.
Under The Table
When you set up a clandestine meeting, choose 2;
• There’s no risk of an ambush or interference.
• Third parties aren’t privy to the contents of the meeting.
• All parties are willing to discuss in good faith.
ADDITIONAL MOVES
When you take a new move from your playbook as an advancement, choose from
the list below.
Sharp Tongue
When you exchange blows with +TALK, on a roll of 12+ your opponent is put in
peril.
Sharper Knives
Daggers and other small weapons are your forte; you can always keep at least one
concealed on your person, no matter how well checked, and you strike decisively
with advantage while using one to cause harm. This might extend to improvised
weapons, also. You probably struggle not to show off or toy around with knives in
casual situations. It’s unsettling.
Stir The Crowd
When you attempt to inspire dissent against the Authority, roll +TALK. On a 10+,
choose 1. On a 7-9, choose 2, or let your Director choose 1.
• It takes a tragedy to truly galvanise people.
• In doing so, you become known and targeted.
• You have no control or influence over any acts of protest.
• You are unable to spark wider resistance than the local area.
Bureaucrat
When you would exchange blows with +TALK to slow someone down or distract
them with regulations, bylaws, or whatever piece of red tape you can think of, you
also choose one from the below even on a fail.
• You’re not lying—they’ll really be in trouble if they don’t listen to you.
• You can hold them up for more than a brief moment.
• They won't remember or recognise you.
• You don't need to take a risk.
Irrefutable
When you argue or advocate for something and back up your point of view with hard
evidence or facts, hold 1. When you reach 3 hold, you may spend them to strike
decisively with +TALK against someone who isn’t defenceless.
Connected
When you meet someone of note, roll +TALK. On a 10+, you’re familiar with them,
and you may choose whether their view of you is positive or negative. On a 7-9, as
previous, but the Director decides how they think of you.
Shree Klime
During Downtime, you may also prepare an alias or disguise. Most people will
believe you are who you say you are, unless you're disguised as someone they're
very familiar with, or they are given reason to thoroughly check your person or any
identification. You may take shore leave to secure 2 of the following;
• You have ID that is either legitimate or so well faked it is impossible for anyone
short of an expert to tell the difference.
• There's a reason or expectation for someone fitting your disguise to show up.
• You've had something useful planted ahead of time—select a weapon or piece of
equipment (one you have access to) to be hidden just where you'll need it.
 ARTIFICER
Between necessary repairs and wholly unnecessary tinkering, Artificers do their best
to keep their allies equipped and their Astirs functioning.
LOOK
You look: tough, filthy, punky, weary or wise
You wear: pristine overalls, casual clothes, patched jumpsuits, homemade armour
You handiwork looks: clean and utilitarian, fancy and artistic, like it barely holds
together, unremarkable
APPROACH
When fighting on foot, your approach is: mundane
GEAR ARTIFICER TOOLS
• 2 Artificer Tools • Heavy Wrench I (melee / bane)
• 1 Transport or Service Golem II • Beam Cutter I (melee / reloading,
• Construct Manuals (dispel ruin, decisive)
uncertainties regarding construct & • Steelfuser I (ranged / elemental)
Astir design with advantage) • Alchemical Gel I (Advantage when
• Clothing that matches your look cooling off to repair something)
Artificers ensure that the Carrier and the Constructs it carries are in top condition,
repairing and tinkering with them whenever the chance arises. While talented at
putting new things together, an Artificer's expertise is just as easily applied to taking
something apart. Artificers might be professionals, trained in the construction and
repair of Astirs, or natural tinkerers who grew up making jury-rigged improvements to
their town.
While playing an Artificer, expert repairs lets you give everyone else room to breathe
during Downtime, and also lets you mend something with one of your traits in the
event that the Carrier's CREW isn't very good. Aside from that, you have some very
versatile options: arcane generator and from scratch let you acquire a CHANNEL
trait and give you a powerful new way to use it alongside the norm, and combat
engineer even lets you branch out into the Scout playbook easily. Consider;
• Where and how did you learn your craft?
• Are there others as skilled at working with Astirs as you in the Cause? What about
the Authority?
• How did you get involved with the Cause?
• What was your life like before the Cause?
• Have you always worked on Astirs, or did you hone your craft making something
else?
• Do you have a certain material or style that is considered tell-tale of your work?
STARTING MOVES
You start with the expert repairs and jury-rigger moves, as well as one other from
your Additional Moves.
Expert Repairs
You’re an expert at fixing things, and gain an additional Downtime move which you
can only spend to mend something. Additionally, you may mend something with
+KNOW. When you tend to someone’s body or Astir, advance a GRAVITY clock with
them if you have one.
Jury-Rigger
When you take random parts or objects and attempt to create something useful out of
them, roll +KNOW. On a 10+, choose 3. On a 7-9, choose 2;
• It fits the purpose you had in mind.
• It stops working after hours, not minutes.
• It doesn’t explode when it stops working.
• It doesn’t look like garbage stuck together.
ADDITIONAL MOVES
When you take a new move from your playbook as an advancement, choose from
the list below.
Augmenter
When you work on a project during Downtime, you may fill an additional clock
segment on a result of 10+ or 7-9.
You may work on a project to create and install magical enhancements or
alterations to living creatures.
Arcane Generator
You’ve built a magical device, small enough to be worn on your back or at your hip,
that generates arcane power for you. When you start it up, roll +KNOW. On a 10+,
you are considered to have CHANNEL at +2. On a 7-9, you have CHANNEL at +1
instead. This lasts for the duration of a Sortie.
Should the generator be broken or damaged you lose your CHANNEL trait, and if you
are currently attuned to an Astir the connection is severed (meaning it shuts down). It
has the magic and distinct tags.
From Scratch [Requires: Arcane Generator]
When you tap into magical power to create something long-lasting quickly, roll
+CHANNEL. On a 10+, you can create something as big as a tower or as complex as
a lock, and it takes but a few minutes of work. On a 7-9, choose 1;
• You must overclock your generator to do so—reduce your CHANNEL to -1.
• You are unable to conjure any sturdy materials, and everything you have built has
the fragile tag.
• The work is taxing—take the peril (exhausted).
Field Testing
You’re used to testing out new equipment, and can easily get to grips with new tech.
You have advantage when trying to use, analyse, or figure out something about
unfamiliar equipment, constructs, or similar magical machinery.
It’s A Prototype
Once per Sortie, you may reveal what prototype upgrade you’ve made to a Astir that
you reasonably had access to recently. When you do so, choose 2;
• You didn’t have to disassemble anything else for parts.
• Your invention doesn’t draw unwanted attention to you.
• The upgrade burns out at the end of the Sortie, rather than after one use.
• Using the upgrade isn’t dangerous is any way.
Combat Engineer
You supplement your Artificer training with something more conventional: choose a
move from the Scout list instead and a piece of Scout Equipment.
Counterspell
When you get close and use your expertise in magical machinery to try and break a
construct or magical mechanism, you may exchange blows and strike decisively
with +KNOW using the following profile;
• Counterspell III (melee / slow, ruin)
THE ARTIFICER THE SCOUT
 SCOUT
Scouts are straightforward people. Trained in navigating any terrain and pathfinding
for less mobile troops, scouts are often the eyes and ears for their Astir allies.
LOOK
You look: wild, cold, sharp, cocky or brash
You wear: gleaming plate, well-worn uniform, survivalist’s gear or rugged leathers
You fight with: brute strength, dextrous moves, practised discipline, raw tenacity
APPROACH
When fighting on foot, your approach is: mundane
GEAR SCOUT EQUIPMENT
• 1 Scout Weapon • Maps and Charts (You can
• 2 Scout Equipment always �gure out a route)
• Any tier I weapons that feel appropriate • Gatherer's Tools (You can
• Clothes that match your look always feed your party)
• First Aid Kit (You can tend to
SCOUT WEAPONS basic injuries and wounds)
• Astircleaver II (melee / bane, area, 2H) • Traps and Nets (You can
• Crossbow+ II (ranged / infinite, blitz, 2H) always set up a defence given
• Force Ballista II (sniper / reloading, ruin, 2H) time)
Scouts are more than the rank-and-file soldier. Trained to be fast, strong and
capable, Scouts are the trailblazers and survivors that make it possible for everyone
else to do their job. From sneaking into enemy territory to gather information to
performing patch repairs on Astirs damaged in the field, a good Scout can work
wonders.
While playing a Scout, you have the fairly unique position of being someone who
excels at fighting on foot in a world of Astirs. Thankfully, field scout lets you stand
toe-to-toe with things higher tier than you, and also lets you use bulky, awkward
equipment far more easily. Depending on the moves you take, a Scout can be a
dangerous solo agent, leaning on moves like personal armoury and strong as hell,
or a powerful team player with moves like natural leader and patch job.
Consider;
• Are Scouts common, or are you an exception ?
• Do you have a tool or ability that helps you be mobile, or are you just agile?
• What kind of reputation do Scouts have? Is fighting an Astir considered risky for you?
• Who didn’t want you to fight?
• Who encouraged you to fight?
• How long have you been a soldier?
• Were you trained or are you a natural fighter?
• Where did you get your equipment?
• What drives you to work on foot in a world of mechs?
• Do you have a better relationship with regular soldiers due to not being a pilot?
STARTING MOVES
You start with the field scout move as well as two others from your Additional Moves.
Field Scout
You're an expert at managing operations in the field and supporting your allies. You’re
agile and strong, you tend to notice things those in Astirs don't, and your size allows
you access to spaces too small for them.
You can wield tier II weapons without much difficulty, can reload weapons easily
while on the move or under fire, and don’t need to bite the dust when threatened by
harm from a higher tier than you.
When you hold your own against Astirs or show yourself completely above the rank-
and-file, advance a GRAVITY clock with someone who sees you and is impressed.
ADDITIONAL MOVES
When you take a new move from your playbook as an advancement, choose from
the list below.
Team Player
When you read the room, you may pass the information you gain along and allow an
ally to act with advantage instead of you. This counts as them making a move
involving you, and they may roll with +GRAVITY as appropriate.
Mobility
When you're fighting somewhere with the room to be acrobatic and mobile, roll
+DEFY. On a 10+, hold 3. On a 7-9, hold 1. You can spend 1 hold at any time to do
one of the following;
• Escape from something that binds, traps or impedes you
• Acquire high ground or a defensible position
• Get to somewhere or something before others can
• Avoid an incoming source of physical harm
Improvisation
At the beginning of a Sortie, hold 3. You may spend 1 hold to change your approach
for a single move. Explain to your Director what you did or used to do this.
Natural Leader
When participating in a group move, you can always make the roll in place of
whoever has the lowest relevant trait.
Strong As Hell
You can carry and wield tier III weapons by taking a risk.
Patch Job
When you cool off to remove a risk or the ‘overheating’ tick from an Astir, you can do
it in a few moments rather than minutes, even while the Astir is still moving. Instead
of the usual result, on a 7-9 you attract unwanted attention.
Guerrilla
When you attempt to evade detection or sneak past others, roll +KNOW. On a 10+,
choose 2. On a 7-9, choose 1, or choose 2 and take a risk.
• You avoid detection.
• You find something hidden or forgotten.
• You can set up for an ambush.
• You find a way to allow others to follow you without being detected.
Pathfinding
When you're leading a group that is travelling a long distance, hold 3, and spend it 1-
for-1 on the following options while you travel;
• You lead the group past an area of difficult terrain without issue.
• You find a comfortable, sheltered place to set up camp.
• You're familiar with the area; dispel uncertainties regarding it or the things in it
with Advantage during the journey.
• You find a shortcut, reducing the length of your journey but adding complications.
 ADVANCEMENT
In Armour Astir, characters earn advancements in three ways;
• Completing a GRAVITY clock
• Compromising or sacrificing an Ideal
• Completing your Spotlight clock
Advancements can be spent to;
• Choose a new Move from your playbook (up to 3).
• Increase a Trait by 1, to a max of +3.
• Rewrite as many of your Ideals as you want.
After you have advanced and chosen from the above options 3 times, you may also
choose from the following additional options.
• Choose a Soldier Move or a non-starting Move from any playbook (up to 3).
• Choose a new playbook. Keep what moves you and your Director agree are truly
part of your character, and discard the others. Replace them with the starting
moves for your new playbook. You do not gain its starting equipment.
• Retire from combat without losing sight of your Ideals.
• Take control of a Faction. You may take shore leave to trigger its Faction move.
SOLDIER MOVES
GET OUT OF MY WAY!
When you come to blows with your Rival, see someone you have a GRAVITY clock
with die, or witness the Authority commit a truly terrible act, hold 3.
You may spend this hold 1-for-1 to strike decisively against non-Rival or Main foes,
even if they aren't defenceless, and treat any result of 6 or below as a 7-9.
RED COMET
Any Astir you channel gains a Artifact called 'Uncanny Speed', and its Mana capacity
is increased by 1.
FLASH
You may communicate with other Channelers instantly over great distances in times
of urgent need, sending words or even feelings and sensations to help or hinder
with +CHANNEL.
Additionally, dead characters may still help or hinder you, their spirit able to speak
with you from beyond.
SELFLESS
You may put yourself in peril to completely defend another from one source of
incoming harm, like a blade or a challenging statement.
You may put yourself in peril to attempt something uncanny, superhuman, or
unbelievable.
INDOMITABLE
Whenever you make a move, on a result of 12+ you may clear a risk.
MIDSEASON UPGRADE
If you are a Channeler, an opportunity to acquire a tier IV Astir will appear.
If you are a Support, an opportunity to acquire an upgrade to the Carrier will appear.
WHITE DEVIL
Stories of your talent and your Astir have spread far and wide among your enemies:
anyone other than your Rival who would act against you whilst piloting your Astir
must take the risk (intimidated) to do so. This risk is cleared if they witness your Astir
be seriously damaged, if you flee from fighting, or if they have reason to believe you
aren't piloting it.
NIGHTMARE OF SOLOMON
You have acquired a weapon of horrific potential. When you deploy it to destroy your
enemy with overwhelming force, you succeed. Resolve all your GRAVITY clocks as if
you had filled them, even ones that have been previously committed to and locked.
You don’t gain advancements for clocks resolved in this manner. In the future, no
matter how noble your intent or just the results, your actions will be used to justify
further violence.
THE ARITY METHOD
Once per Sortie, when you would bite the dust, succeed as if you’d rolled a 10+. Act
with confidence the next time you would exchange blows or strike decisively.
ORIGINAL VIDEO EPISODE
During Downtime, you may spend one of your Downtime moves to lead a raid or
operation against the Authority to disrupt their activities. Tell the Director what you set
out to do, and who comes with you. If it’s anyone you have GRAVITY with, advance
it. During the next Conflict Turn, the Authority has disadvantage on any moves they
make.
ONCE THE WAR’S OVER
When you talk about what’s waiting for you after the fighting’s over, hold 3.
You may spend your hold 1-for-1 to automatically succeed on any move as if you had
rolled a 10+.
Whether or not you spend your hold, you will perish before the beginning of your next
Downtime. Don’t roll to bite the dust as usual—instead, let your Director know when
you think it’s time.
 ouple summers ago, a few folks from up at the pass—ones with

C magic of a sort, but not the kind your Channelers use—�gured

out that if you hang enough people from the same tree, it gets
a little twitchy.A little angry, especially at those that are doing the
hanging. It gets the inkling that, a little nudge from mother nature,
and those branches can be arms. But, they also �gured, well, you spin
a little spell to stop it telling one man from another, and it don’t care
too much about who it swings those gnarled �sts at. Now the trees up
at the pass? I reckon you could build yourself a tidy little house out of
one of those.They ain’t, by any means, something you want taking a
shot at you.
A lot of people came through that year, from the city, asking me what
I thought this meant for the war. If what they were doing made up
for them not having Channelers of their own.
Never did have an answer they liked. I’m not one that can speak too
much on if this kind of magic’s better than that kind of magic. But I
always told them what I could.We run caravans that way once a
month, buying and selling, and you know what?
Up at the pass, they always need more rope.

- Excerpt from ‘The Thoughts And Tales Of Albert Jayner’, Albert

Jayner, YA230

ART PLACEHOLDER
 THE AUTHORITY
& THE CAUSE
The Authority and the Cause are the big players in any game of Armour Astir. The
Authority is oppressive, powerful, and domineering, with its sights set on the world -
or at least the slice of it our game takes place in. On the other hand, the Cause is,
hopefully, benevolent and driven—but is just as likely scattered, conflicted, and
scared. While players tend to their wounds and sneak precious moments in
Downtime, these forces develop too, during the Conflict Turn.
THE AUTHORITY
The Authority is a single entity, divided into Divisions each of which have their own
specific goals and interests in service of the Authority. Each of these Divisions has a
name and leader, a resource it generates during the Passive Step, and an Ideal -
something that drives its actions in service of the greater Authority, an idealistic
leader, or something else entirely.
The Authority is split into 3 Divisions;
• A Military Division, which focuses on deploying forces to attack or defend with
violence.
• A Subterfuge Division, which focuses on deploying spies or agents to deal with
things quietly.
• A Resource Division, which focuses on developing new magic or tools,
accumulating wealth, etc.
Each Division generates one of three resources during its Division Step. Military
Divisions generate POWER, Subterfuge Divisions generate INFO, and Resource
Divisions generate SURPLUS. During the Conflict Turn, these are spent to make
moves that allow the Authority to increase its influence over the world, through
whatever means it has. The Authority begins play with 0 of each, meaning they must
spend at least the first turn of the game building up strength.
In mechanical terms, this means spending POWER or INFO to encroach and build
up GRIP on Factions or Regions, then spending that GRIP in an attempt to seize
control. The Authority also gathers SURPLUS to invest in a project that, should it be
completed, would spell doom for the Cause and it’s efforts.
If you want to define your Authority further, with more than 3 Divisions, remember that
more Divisions means more possible Division Moves in a single turn - possibly
allowing them to brute-force actions with more resources than your amount of
Factions can oppose. Keep this in mind when determining how many Factions the
Cause is made up of. Additionally, consider giving these other Divisions a Passive
Step that isn’t resource gathering, since inflating the amount of resources the
Authority also makes it easier for them to exhaust Factions.
For some examples, consider;
• A Research Division, which focuses on developing new enchantments and rituals.
Passive Step: Start or advance a 6 step clock titled ‘Introduce or improve a
construct design.’
• A Curator Division, which focuses on stealing and investigating that which doesn’t
belong to it. Passive Step: Start or advance a 6 step clock titled ‘Take something
that isn’t theirs.’
• An Administrative Division, which focuses on the development and protection of
bureaucracy. Passive Step: All players take disadvantage while operating within
Authority structures or remaining undiscovered among Authority citizens and
personnel.
AUTHORITY FORCES
The Authority, broadly speaking, has far more soldiers and assets than ever worth
individually keeping track of. Instead, we just keep an eye on the things that are likely
to come up in play. Broadly speaking, everything that the Authority makes use of is
either a person, a group, or an asset. A person is a character of specific talent, power
or influence. A group is a number of characters who are, together, an important force.
An asset is an object or place that is useful to the Authority, and might be anything
from a Carrier to simple supplies like food or clothing.
When creating these, keep a hierarchy in mind. Everything should be tied to
something else, indicating who they answer to, or in the case of resources and
places, who they are controlled by. Soldiers are likely tied to their officers, who are
likely tied to a general or other significant figure, who is then likely tied into the
Authority’s military Division at the top. Assets, depending on what they are, might be
tied directly to the people that make use of them, or tied to figures who are
responsible for their use or protection.
As the Director, it's important to think about what happens when these connections
are broken. Does that elite cadre of Astir pilots fall in line behind a different officer
when theirs is killed in battle, or was their loyalty to that officer rather than the
Authority overall, causing them to leave it? When they lose a trio of experimental
Astirs in battle, is the Captain of the Second-Hand Fortune given command over a
new unit, or just demoted underneath one of their peers? Don't feel like you need to
have a grand plan penned for every foe or asset in advance, though. Sometimes
decisions in the moment are the most fun to make.
AUTHORITY PROJECTS
With the invest move, the Authority can gradually start and complete long-term
projects. These projects, if completed, should create a large advantage for the
Authority that threatens to completely turn the war in their favour unless it is dealt
with as quickly as possible.
Projects don’t need to be one big macguffin that’s being slowly constructed. A project
might be developing a plan for one decisive military push, slowly accruing reserve
forces for an unstoppable offensive, or even the inner political turmoil of the Authority
slowly resolving itself into a state where its true might can be properly coordinated.

Unsealing the Sovereign Crypt

Crown-Claimant Goze aims to open the Sovereign
Crypt and use the contents as fuel for another ritual.

The End Of Mourning

Once the mourning period for the last Empress is
over, the remaining heirs are sure to unleash the
forces they have massed in a civil war.
 THE CAUSE
While the Authority is one entity organised into orderly Divisions, the Cause is
disparate Factions united under one banner. Factions represent the smaller groups
and efforts that make up the Cause. For those, we just keep a list of their leader, a
short summary of who they are, and their type, which has a move attached to it.
In the Conflict Turn, the primary role Factions play is opposing the moves made by
the Authority and possibly countering with their own, depending on how the dice turn
out. What that opposition looks like, and what move they might make, is determined
by their type;
Type Opposition Move
GuerrillasOpposes with ambushes and A Division of your choice can’t
scattered force lead a move next turn.
Assassins Opposes with targeted killing An important figure in the
Authority is killed.
Thieves Opposes with robbery Resources shift from the Authority,
reducing SURPLUS by 1.
Agents Opposes with infiltration and Something important is taken or
subterfuge learned, reducing INFO by 1.
Saboteurs Opposes with sabotage and Something important is destroyed,
ingenuity reducing POWER by 1.
Suppliers Opposes with new equipment or Take upto 3 dropped Stake and
supplies distribute it among Factions.
Diplomats Opposes with negotiation and law Remove any GRIP on a Faction.

Military Opposes with direct assaults and Remove any GRIP on a Region.
force
Strange Opposes with the weird and Something unexpected and
unexplained strange happens.
It’s a good idea to have around two Factions per Division in the Authority, to ensure
some balance in the economy of actions during the Conflict Turn.
FACTION STAKE
Factions can’t offer infinite support. When they take action during the Conflict Turn,
expending manpower, supplies, or revolutionary zeal, they lose some of their Stake.
Stake is an abstract representation of both a Factions assets and members (i.e its
ability to oppose the Authority), and its responsibility and metaphorical weight within
the Cause (i.e its ability to direct that opposition). Factions with high Stake are more
invested in the Cause, and as such are more able to push it into action.
Factions may have a maximum Stake of 3, and all Factions begin with 2 except for
those picked out during Cause setup. However much Stake the Cause has in total
when you begin play is all the Stake that exists. Stake can shift between Factions or
be temporarily ‘dropped’, but not destroyed or created. When a Faction loses Stake
by opposing the Authority, other Factions gain that Stake by stepping in to make up
for their losses.
Stake asks you to consider how well those with agency and ability direct the Cause
with consideration and respect to its various Factions, if there are conflicts of formal
hierarchy in the Cause vs who in the Cause have actual agency, and how Factions
choose to view the loss of Stake: as a moment for recovery in which other Factions
must cover for them, as a passing of the torch (their duty now done), or even
something more antagonistic like other Factions capitalising on their spent nature to
take agency from them.
EXAMPLE FACTIONS

The Iron Circus (Suppliers) STAKE

The Iron Circus build and repair magical constructs, operating out of
a steel-clad airship. The Circus aren’t an orderly workforce, but
they’re fast, reliable, and loyal. GRIP

Syl’s Stallers (Saboteurs) STAKE

The Stallers, led by Syl Sarna, specialise in stopping constructs in
their tracks. Using experimental gauntlets that nullify enchantments,
they infiltrate reinforcements in transit and prevent their constructs GRIP
from ever animating.

Allington Merchant’s Association (Suppliers) STAKE

More commonly known as just the Allington Association, they
possess a significant amount of capital and are more than willing to
put it on the line to support more revolutionary-inclined clients. GRIP

The Riverknights (Guerillas) STAKE

A cadre of fighters who use custom-enchanted aquatic Golems to
rapidly navigate rivers and canals, often striking ships or dockside
fortifications before retreating as quickly as they arrived. GRIP

The Barkwrights (Military) STAKE

Though low on resources and stretched thin, the Barkwrights have
long since made a name for themselves protecting against
deforestation. Their secret to success is an ancient transmutative GRIP
magic that bonds flesh with living wood, which they use to recover
from even terrible injuries.

League Lament (Assassins) STAKE

An elderly coven of witches who orchestrate assassinations through
repeatedly hexxing their targets over a period of time, eventually
causing them to die in accidents that, to anyone else, seem GRIP
incredibly unlucky. The superstitious often blame the League
Lament for any misfortune they suffer.

The Door Society (Agents) STAKE

Locksmiths by day and spies by night, the Door Society consider
going where one shouldn’t their area of expertise. All locks can be
picked, and it’s far easier if you’re the person that made it. GRIP
 REGIONS
Regions are places of importance, on
whatever scale is appropriate to that of
your game. In a large campaign spanning
a globe, Regions might be entire countries
and capital cities or bases of importance,
while in a smaller campaign your Regions
might be cities, towns and military
encampments. In either case, make sure
you don’t step into the trap of only
considering Regions that are of military
importance. Places of historical, cultural,
spiritual or ecological importance are
equally as valid: they, after all, represent
the people and the future that the players
and Factions are fighting to protect or free
from the Authority’s clutches.
Regions aren’t just for fighting over, of
course. The people in them will likely call
for the aid of Factions and the players, and
if they want to you should allow your
players to invest themselves in the future
of Regions. Players might help repair the
damage from Authority raids or
occupation, help build houses or
infrastructure for the people that live there,
or might help bring refugees to safe
Regions in order to make a new home
there. All of the above might be things
done in Downtime, or might be the focus of
Sorties and Missions.
Players may have a GRAVITY clock with a
Region if they desire, but Regions
themselves do not have any statistics or
moves attached to them—even small
communities are difficult to codify in a way
that is truly representative. The Director
might connect characters or assets to a
Region instead of a Faction, and a Faction
might call a Region home.
If the Authority seizes a Region, this should
mean something. It is up to you to
determine why Regions are important, and
what the Authority stands to gain by
seizing them.
 THE CONFLICT TURN
During the Conflict Turn, the Authority develops and spends resources to make
moves. In response, the various Factions that make up the Cause mobilise to oppose
these moves, or given the opportunity, make their own.
STEP 1: CHOOSE DIVISION MOVES
Each of the Division moves spends a different resource built up during the Conflict
Turn. When you make a move, you must choose a Division to lead it, and each
Division may only lead one move. This means you may make a maximum of 3
Division moves during any Conflict Turn. Leading confers no benefits, but colours the
action and determines which Division feels the fallout should the move fail. Note that
you can only build up 3 GRIP on any one Faction or Region with encroach, but save
up as much POWER, INFO and SURPLUS as you want.
Invest
When a Division takes extra resources and puts them towards a longer-term plan,
commit +1-3 SURPLUS and roll 2d6. On a 10+, start or advance an 8-step clock
representing a project the Authority is working on. On a 7-9 as above, but an
opposing Faction also triggers their move.
Encroach
When a Division attempts to increase their control of a Region or Faction, commit +1-
3 INFO or POWER and roll 2d6. On a 10+ Gain 1 GRIP on a Region or Faction. On a
7-9 as above, but an opposing Faction also triggers their move.
Seize
When a Division capitalises on their GRIP to take over a Region or Faction, commit
+1-3 GRIP and roll 2d6. On a 10+ seize control of a Region or Faction. On a 7-9 as
above, but an opposing Faction also triggers their move.
STEP 2: RESOLVE DIVISION MOVES
For each move, decide which Factions are opposing it. Opposing Factions must ante
up Stake to do so. If less Stake is wagered than the Authority is spending resources,
the Authority rolls with advantage. If more is put forward, the Authority rolls with
disadvantage. If no Factions oppose, the Authority rolls with confidence.
On a 7-9 result, you may choose one of the opposing Factions and trigger their move
in addition to the one the Division made. What this looks like is up to you, and might
differ much from Faction to Faction. On a result of 6 or below, the move goes badly
for whatever Division is leading it—again, what this looks like and means for the
Authority is up to you—though it should take more than a few bad rolls to really
damage a Division.
Finally, 2 points of the total Stake wagered is given up. 1 is redistributed to a different
Faction and 1 is ‘dropped’, to be recovered through Sorties or Faction moves. If only
1 point had been wagered, it is redistributed.
STEP 3: PASSIVE STEP & FACTION MOVE
Finally, any Division that didn’t lead a move this turn performs its Passive Step
instead, earning a resource for the Authority: Military Divisions earn 1 POWER,
Subterfuge Divisions earn 1 INFO, and Resource Divisions earn 1 SURPLUS.
If all Divisions performed their Passive Step—that is, if you made no Division
moves—you can choose one Faction and trigger its move, as if you rolled a 7-9 on a
Division move. When opportunity presents itself, someone is sure to strike.

CHOOSE DIVISION RESOLVE DIVISION PASSIVE STEP &

MOVES MOVES FACTION MOVE
INVENTORY OF ‘THE BUSY BEETLE’
Port Huginn Authority,YA230, Quartermaster Luis
1 HERCULES-Class Astir, ‘Dire Dismissal’
2 STAG-Class Astirs, ‘Fair Lady’ & ‘Florence’
4 SHIELDBEARER Golems, unnamed
90 javelins (steel-tipped)
10 javelins (steel-tipped, enchanted to pierce armour)
1 dozen spears (iron-tipped)
1 dozen crossbows (wood construction, leather bindings)
180 crossbow bolts, quivers of 15
3 snap-rifles (licensed, unknown artificer)
9 fingers of alchemical ruby (medium quality, fully charged)
50 candles, beeswax
18 lanterns, brass
18 flasks, lantern oil, 1 pint
4 drums, lantern oil, 1 gallon
13lb powdered silver
1lb powdered diamond
3lb elemental fire, salts
7 healing elixirs, 6 fl oz
2 crates, assorted bandages & ointments
6 large drums, water, 10 gallons
6 crates, packaged rations
8 parcels, fresh fruit (sealed)
1 barrel, pickled fish
1 bar of chocolate, 4oz
1 crate, unmarked (sealed, shielded against divination)

- Excerpt from ‘Flight Log Of The Busy Beetle’, several writers,

first entry YA211, final entry YA231, recoveredYA233
 RUNNING THE GAME
As the Director, it’s primarily your job to facilitate play. To that end, you have an
agenda and principles to guide your decisions and help you figure out what is in the
spirit of the game. When it comes to making moves, your director moves give you
clear options for directing the action. There’s also a brief primer on safety tools,
though I encourage you to research these more to find something that suits you,
some example foes and guidelines for creating characters to oppose the players,
and an explanation of rivals.
AGENDA
As a Director running Armour Astir, there are certain things you should strive for.
These are your agendas. Think of these like your tenets, as you perform the sacred
rites of running a fun game for your friends.
• Portray a world entrenched in conflict.
• Let the players make a difference.
• Play to find out what happens.
PRINCIPLES
Additionally, you have your principles. Your principles are things to consider when
deciding what move to make, and can also serve as a reference when you’re unsure
if a move you want to make is appropriate.
• Give Conflict Weight
• Begin And End With The Fiction
• Address The Characters, Not The Players
• Consider Scale
• Fight Wars With Words (Sometimes)
• Ask Questions And Use The Answers
• Let Them Be Victors As Well As Victims
• Make Moves Off-Screen
• Keep Things Magical
GIVE CONFLICT WEIGHT
In Armour Astir, conflict reaches everyone in some way. When you present your world
and the people in it, consider the effects of it on them, and the things they've been
caught up in because of it. Confront your players with the consequences of their
actions, and remind them that marginalised people often suffer the most during times
of struggle: even if it feels like what is being struggled against isn’t something directly
adversarial to marginalised identities.
BEGIN AND END WITH THE FICTION
When you make your moves, establish and ground them in the fiction before you
detail what the mechanical results are. Then, return to the fiction, and show the
fictional consequences of those results. Be a good example for your players: teach
them to make their action clear before resolving it with dice, and then to hook the
consequences back into the fiction.
ADDRESS THE CHARACTERS, NOT THE PLAYERS
As far as you're concerned, once you start the session you're no longer at the table
with your good friends. To your left is Cordelian, the Arcanist, piloting his Lance-Minor
Astir. To your right, the rough-and-rowdy Scout, Rio. Staring daggers at you from
across the table is Mire, the Witch, whose Falcon-class Astir is currently missing an
arm. So when you talk to your players, make sure you're actually addressing those
Paradigms, Artificers and assorted other heroes. Ask Mire what they do, not what
their player thinks they do. This helps everyone focus and keep their minds on the
fiction that you're all creating together.
CONSIDER SCALE
War is a big, bloody thing, stretching continents as easily as it stretches time. Let
your players feel the consequences of their involvement with it on more than one
scale. Just as they involve themselves in the small-scale of conflict, getting in their
Astirs and taking the fight to the enemy as commanded, let them involve themselves
in the overarching systems of war—the politics, the organisation—and let them
become valuable to the cause they fight for. Then, you can involve them in larger
consequences - and if they try to run, they should find these connections they've
made difficult to cut.
FIGHT WARS WITH WORDS (SOMETIMES)
Not all fights are fought with blades. Fight your players with words, spoken or
otherwise, and remind them of the impact influential figures can have without setting
foot on a battlefield when the opportunity arises. If your players are so inclined, let
them wield this power too: let them disarm foes with a scathing insult, or write a
challenging letter that wins over a sympathetic lord. Not all problems are best solved
with force, after all.
ASK QUESTIONS AND USE THEIR ANSWERS
The shared fiction of your world is something you work on together with your players,
so involve them in fleshing it out. Ask them questions about their characters, and the
places and concepts related to them. If you don't know something, if you're short on
interesting ideas, or you just want someone else’s viewpoint, don't hesitate to ask
one of your players instead. Be curious about what they want to contribute to the
fiction, and help them feel invested in it by using the information they give you. This
lightens the narrative load for you, helps keeps things a little varied, and also lets you
have the same curiosity and surprise as the players do when something new
becomes part of the story.
LET THEM BE VICTORS AS WELL AS VICTIMS
At the table, you're all part of the same fiction. Your players are the stars of the
show—so let them feel like it. Let them succeed and fail in the directions they find
interesting, and try not to force them down particular avenues in the grand scheme of
things. Don't gun for them too hard. You're here to create an interesting story about
war and revolution together, not a miserable one about how they spent several
sessions in a narrative gutter before you killed them all. Generally, use your players
risks and perils as a guideline for when to hurt them. Let their Astirs feel powerful
when it matters, but punish them when their guard falls: after all, they're bound to the
same rules when trying to harm your characters.
MAKE MOVES OFF-SCREEN
It’s also important to remember that, while your players and their characters are
important, not everything that happens does so right in front of them. Don't be afraid
to make moves and keep things shifting behind the scenes, then present the results
of those moves to the group when appropriate. There are battles the characters
aren't involved in, and discussions or decisions they don't get to make. Remind them
that the world is bigger than they are.
KEEP THINGS MAGICAL
Finally, Armour Astir isn’t just a game about mechs and pilots. It’s a game about giant
magical constructs, slinging spells at each other through enchanted weapons,
protected by complex rituals and powered by Channelers—powerful magic-users
fueled by innate talent, divine powers, otherworldly influnces and arcane artifacts.
Don’t forget that!
 DIRECTOR MOVES
Just like your players have moves, you as a Director have moves to help guide and
codify what you can do. The players make a move when they want to do something -
you make a move when;
• They roll a 6 or below on one of their moves
• When they look to you for something to happen, or can’t decide what to do
• When the fiction says something should happen
Broadly speaking, the moves you have are to;
• Make an obvious threat • Reveal something new
• Test the forces of GRAVITY • Attack someone who’s defenceless
• Exploit a danger or a tag • Start a (mysterious) clock
• Split them up • Give an option with cost or
• Put them in danger consequence
Typically, after making a move, you should pass the narrative baton back to your
players by asking: what do you do?
MAKE AN OBVIOUS THREAT
Show them the barrel of the gun, tease something to come, etc. Put things on the
table so everyone can see what's in play, and take that into account when making
awful decisions.
"There's an explosion from behind the bay doors, and a blue Astir striped with grey
dashes through the smoke directly towards you, a long blade streaking with white-hot
energy. What do you do?"
"You're out of sight, moving from column to column keeping an eye on the
Ambassador, when one of his guards falls out of step with the others. They reach into
their coat. What do you do?"
"Back on the ship, Hargen, you watch as the construct sensor spikes upwards in two,
no, three spots. Ensign Wren dials in the sensitivity and turns to you. 'Two Wolves
and an unidentified third, closing fast.' What do you do?"
EXPLOIT A DANGER OR A TAG
Use the risks and perils your players have taken, and the tags on their gear, as
vectors for action against them.
"They're faster than you expect, rushing up on the side where your sensors are
disrupted. You dodge just enough to make sure the blade doesn't go through your
cockpit, but they carve your Astir's head off entirely instead - replace that risk
(blinded) with a peril (blinded). What do you do?"
"You took the risk 'embarrassed', right? As you try to walk away, Cress takes your
wrist, and says 'You know, we don't have to do this in front of the others. Come with
me.' She starts to pull you away as the others are leaving—what do you do?"
"June brings her shield up, but she doesn't need it. You run the firing ritual and...
nothing. Your missiles had the limited tag, and that previous salvo was your last.
What do you do?"
PUT THEM IN DANGER
When the players fail a roll or leave themselves exposed to harm, that's a good
opportunity to hurt them by putting them in danger. It's up to you how severe you be
here in a given situation: putting them in peril is a much harder move than asking
them to take a risk, and having them replace a risk with a peril is a slightly kinder
middle ground.
"He dashes out of your reach to safety, and fires a rayrifle shot directly at you. You'll
need to take a risk to avoid it. Ok, now what do you do?"
"You're holding the wreck up for the time being, but your Astir just isn't made for this.
You can hear and feel the grating and grinding of its parts as your arms start to
buckle - take the peril 'crushed'. What do you do?"
"They don't look impressed by what you have to say at all. The guy with the helmet
looks at you, and seeing how scared you look, keeps eye contact as he slowly puts
his blade through the injured guard. Replace your 'scared' risk with the peril 'shaken'.
What do you do?"
ATTACK SOMEONE WHO'S DEFENCELESS
If a character has stacked up enough dangers to become defenceless, they're truly in
the crosshairs and are exposed to consequences that could force them to flee, be
killed, or otherwise taken out of action. When someone is defenceless, there's blood
in the water and everyone can smell it.
"Carryl, you glance leftwards and see Paldry's Astir, smoking and immobile. She's
defenceless, and does nothing but panic as one of the Coursers dashes forward,
sinking its lance right through her iron carapace. What do you do?"
"You try to step away, but Kett isn't going to let you leave even if it costs him his life.
He swings the thermal axe at you, decisively. I need you to bite the dust - what do
you do?"
"The crowd are talking among themselves as they watch you, waiting for you to
respond, but you can't find the words. Second-of-Blades gives you that smug grin
again, and says 'Take your time, channeler. I can wait here all day to see how little
merit your case has.' You're already defenceless, so I need you to bite the dust and
see if you can keep your cool. What do you do?"
GIVE AN OPTION WITH COST OR CONSEQUENCE
When your players ask you how or if they can do something, give them options: and
where appropriate, tell them the cost or consequence attached. This lets them make
more educated choices about the fiction you're all making together.
"Sure, you can try and snatch the sword away from him, but if you mess it up you'd
be putting yourself in a really dangerous spot."
"You catch that red Astir out the corner of your eye, breaking away from the pack.
You could give chase, but with the damage to your mobility enchantments you'd
really have to push your Astir to catch up to them: you'd have to mark 'overheating'."
"You reach out with your magic to the presence you noticed, feeling around in the
ether for it. You can feel your senses dimming as you extend further and further from
your body, and you know that if you keep going you risk losing yourself entirely. Do
you keep going?"
TEST THE FORCES OF GRAVITY
Ask a player to make a decision that calls one of their GRAVITY clocks into question,
like putting someone they love in danger, or giving them a tough request from a
trusted friend. They can't change their clocks until they're filled, but you can always
make moves to sow the seeds of doubt—or reinforce those relationships instead.
"You're taking the time to carefully line up the shot, when you hear Function over the
comms, struggling against someone. You have GRAVITY with them, right? What do
you do?"
"Knight Huller breaks away from the others as he sees you leave, and plants himself
between you and the door. Your clock is 'We can't help but fight when we lock eyes.',
right? You could maybe still get past him if you wanted. What do you do?"
"Mishell takes you by the hand, and comes in close if you let her. She looks
genuinely worried, and actually—she puts one of her hands on your shoulder, and
says 'Jess, I need you to trust me. I know it seems like a lot, but I know you can do
this. You're ready.' What do you do? As a reminder, your clock with Mishell is 'Always
had each-other's backs'."
SPLIT THEM UP
Nice and simple - introduce something that separates the players, requiring them to
deal with trouble without working together.
"Manchester, you fall behind as the three of you are sprinting through the halls. Hold
and Sander make it down to the end of the corridor ahead of you, and you're catching
up when the building shakes. The floor and walls in front of you crumble as an Astir
backs through the building, demolishing a wide portion of it and cutting you off from
the others. What do you do?"
"You watch the others swipe their stolen sigils against the crystal, and the lifts take
them upwards. It goes red when you do yours, though, and instead you start
descending. You know what's on the floor below, right? What do you do?"
"June, you manage to quickly boost your way out, so you're safe. Sear, though,
you're not quite so lucky. That grey Astir didn't just stab you, the spear went through
your armour and it's pinning you to the inside of the chamber. You can hear the hum
of the macrospell charging, and see June rushing to safety in the distance. What do
you do?"
REVEAL SOMETHING NEW
Reveal something new to the players that complicates things for them.
"Ok, ok. That's a six, but you don't fail here actually. There's a hiss of pressure as the
Lovesong's cockpit opens, and the pilot gets out. It's like looking into a mirror, Coln.
It's your brother. What do you do?"
"You dash forwards, bringing your axe down towards Hill as he staggers backwards,
but his guard hasn't fallen. It was a feint, Lottie. He steps under your swing and tugs
the weapon loose from your grip. I'm erasing his 'stunned' risk, and you should take
the risk 'disarmed'. What do you do?"
"There's a huge cracking noise, and all of you—even the people who aren't
channelers—feel the magic in the air around you get stronger instantly. Up in the sky,
the clouds break as the Ophelian Engine tears into your plane of existence. What do
you do?"
START A (MYSTERIOUS) CLOCK
Start a clock to represent a countdown until something happens, progress towards
something, etc. Label it, or leave it a mystery: either way, a ticking clock creates
pressure on the players and leaves them anticipating whatever is to come. Clocks
typically have 4, 6, or 8 segments, but you could make a larger one if you wish, or
divide something into multiple shorter clocks.
You should also decide what advances these clocks: will they fill on their own over
time, are they something that ticks up when the players fail moves or ignore a threat,
or do the players need to take action directly to advance it? Whatever the method,
when a clock is filled, it should be a big deal. Everyone should know about what
happens next.
SAFETY TOOLS
When playing tabletop games, even with people you're intimately acquainted with,
there can be situations in which topics and imagery players aren't comfortable with
can arise. It's important to communicate clearly ahead of time to help keep everyone
at the table safe.
Personally, I recommend at very least having a 'Session 0', where players and the
Director can make characters together and discuss what kinds of play and subjects
they're interested in tackling. However, this alone doesn't provide a framework for the
group to step back in the event that something unexpected and potentially triggering
comes up during play.
To help with that, there are a number of safety tools groups can use to help avoid
these situations that, even if they aren't used, better communicate the boundaries of
everyone at the table. You should discuss as a group what safety tools, if any, you
will be using.
Provided below is info on a few I am personally familiar with, but there are more out
there - I encourage you to talk with your players and look up tools that suit your
needs. There is no end-all be-all of safety tools other than open, honest
communication with the people you play games with. While they can be helpful, they
are no replacement for treating each-other with genuine care.
THE X-CARD
The X-Card is a simple method by which players can veto content during a game,
signalling to everyone that they wish to step back from whatever has been flagged. It
is a card with an X on it, that, should a player be uncomfortable with something that
arises during a session, they can tap or raise to signal their discomfort. The group
steps back or edits out the signalled content.
More information on the X-Card and examples of its use can be found at
tinyurl.com/x-card-rpg.
LINES & VEILS
Lines & Veils is a system where players can designate topics as a boundary for them
at two levels - as either a 'line' or a 'veil'.
• Lines are hard limits. A 'line' is something that should not come up during the
game - it is something that a player has communicated that they do not want
present in their role-play.
• Veils are soft limits. A 'veil' is something a player has communicated they wish to
'fade to black' or 'pan away' from. Unlike a line, they are ok with it being present in
the story—just not with it being a focus.
More information on Lines & Veils and examples of its use can be found at
rpg.stackexchange.com/questions/30906/what-do-the-terms-lines-and-veils-
mean.
 OPTIONAL: NO-DICE DOWNTIME
During No-Dice Downtime, players take turns performing actions to fill the Downtime
Clock: once filled, it’s time for the next Sortie. It is a 6-step clock, and different moves
fill different amount of steps. The last action may overflow the clock if there’s not
enough steps left: if you do so, take disadvantage when you next lead a Sortie.
These moves are quick scenes framed and led by a player, and may be chosen in
whatever order or fashion suits the party. The first move must always be check in,
but aside from that players are free to choose whichever options they think are the
most useful.
Other players can take part in a move to help out or to cause problems. Every player
taking part past the first should flip a coin and call it. On a success, they may either;
• Reduce the move’s step cost by 1, to a minimum of 1.
• Gain the benefit of the move also.
• Advance a GRAVITY clock with another character in the scene.
On a failure, they may either increase the Downtime Clock an additional step, spend
1 SUPPLY, or cause a problem that will put them at risk during the next Sortie. This
could be sudden mechanical problems, a wound re-opening, etc.
CHECK IN 0 STEPS
When you finish a Sortie and return to the Carrier to figure out what’s next, it’s time to
check in with each-other not as your characters, but as players. Is everyone happy
with how the game has gone since the last downtime? Does anyone want to discuss
the safety tools you’re using, and maybe amend any lines/veils etc? Does anyone
have thoughts or comments on how the game is progressing, and what they might
want to see more or less of?
After you’ve checked in, everyone can choose and make their two Downtime moves.
MEND SOMETHING 2 STEPS
When you attempt to repair a damaged Astir, suture wounds, or take the rest you
need to recover from that last Sortie, you’re attempting to mend something.
When you do so, remove one peril of mechanical or physical origin from yourself or
someone else.
WORK ON A PROJECT 2 STEPS
When you take part in long negotiations, start building something from scratch, or
otherwise put effort towards a longer-term endeavour, you’re trying to work on a
project.
When you do so, fill in one empty segment of your progress clock. If you’re starting a
new project, explain it to your Director and they will start a clock to represent it. Other
players may contribute to your clock or their own.
TALK IT OUT 2 STEPS
When you try to ease tensions, make a connection or spend time with other
characters during Downtime, you’re trying to talk it out.
When you do so, you may choose to remove a peril of social or emotional origin from
another character.
SHORE LEAVE 4 STEPS
When you try to purchase something at a market, look for trouble in neutral turf, or
otherwise leave the safety of the ship to do something on foot during Downtime,
you’re taking shore leave.
When you do so, flip and call a coin. If you succeed, you find what you were after.
You may pay 1 SUPPLY to flip the coin again, however many times it takes.
PLAN & PREPARE 4 STEPS
When you review orders for the next Sortie, go over scouting reports and maps, or
otherwise attempt to prepare the crew for what comes next, you’re trying to plan &
prepare.
When you do so, choose 1 of the following;
• During the next Sortie, you will have the opportunity to recover 1 dropped Stake
and give it to a Faction of your choice.
• During the next Sortie, you will have the opportunity to acquire up to 3 SUPPLY.
• The next lead a Sortie roll is made with advantage.
• All players hold 1. You may spend your hold during the next Sortie as if it were
hold gained through one of your basic or playbook moves.
Each choice may only be taken once per move, per Downtime.
PLAYBOOK ALTERNATIVES
Some playbook moves make reference to the Downtime moves: versions of them
alterered to work with No-Dice Downtime can be found below.
Expert Repairs (Artificer)
You’re an expert at fixing broken constructs, and any repair bay runs smoother with
you around. When you mend something, assisting players may try again if they fail
their coin toss. When you tend to someone’s body or Astir, advance a GRAVITY clock
with them if you have one.
Augmenter (Artificer)
When you work on a project during Downtime, you may fill an additional clock
segment. You may work on a project to create and install magical enhancements or
alterations to living creatures.
Shree Klime (Diplomat)
During Downtime, you may also prepare an alias or disguise. Most people will
believe you are who you say you are, unless you're disguised as someone they're
very familiar with, or they are given reason to thoroughly check your person or any
identification. You may take shore leave to secure 2 of the following;
• You have ID that is either legitimate or so well faked it is impossible to tell the
difference.
• There's a reason or expectation for someone fitting your disguise to show up.
• You've had something useful planted ahead of time: select a weapon or piece of
equipment (one you have access to) to be hidden just where you'll need it.
Evangelise (Paradigm)
You are in service of a deity or faith and are responsible for the spiritual well-being of
your Carrier’s crew. When you talk it out, assisting players may try again if they fail
their coin toss. When you give religious service or perform the rites of your faith, you
may advance a GRAVITY clock with someone involved.
 CREATING DIRECTOR CHARACTERS
Director characters (or non-player characters in more common parlance, though the
GM of a game is also a player) are any character other than those created and
owned by the players. When they appear on screen, the Director is typically
responsible for their actions, though where appropriate you could (and should) find
opportunities to let players step into their shoes.
When creating a Director character, you first need to think about how important they
are. Characters are ranked as either extras, side or main characters. Extras are
characters who are only important in their opposition to the player characters: the
rank-and-file, the nameless soldiers, etc. Side characters are those that have some
minor importance to the story: if they’re important enough for a player to know their
name, they’re probably at least a Side character. Finally, Main characters have a
larger role, appearing fairly often and having an impact on the world similar to or
beyond that of the players.
When making a Main character, someone who is important to the story you’re telling
and likely to be on-screen often, come up with three adjectives to describe them. For
a Side character, someone who will appear more than once but isn’t quite so
important, come up with two. For Extras, who are unlikely to appear more than once
(and are likely to end up dead), a focus on one adjective can help their short time on
screen feel nice and sharp. If you know a character might involve themselves with
the players in a more direct manner, you might choose a tag or two instead of some
of your usual adjectives. Saying someone is resolute means something, but saying
someone is decisive has specific mechanical effects.
If you want to come up with additional details or backstory ahead of time for Main or
Side characters, feel free—but putting that degree of effort in for Extras is likely to be
wasted time.
When creating the Authority and Cause, the characters you come up with that lead or
influence those groups are most likely Main or Side characters. That said, characters
can move between these classifications in play wherever appropriate. Sometimes
you bring on an Extra without realising how in love with them the players will become.
CLASHING WITH DIRECTOR CHARACTERS
Naturally, players can and will probably spend a lot of time fighting against and
opposing the actions of Director characters on account of the Authority being made of
them (if a player is a member of the Authority something has gone drastically awry).
In conflict, a character’s status as either an extra, side or main character determines
how many risks and dangers a player needs to inflict on them to make them
defenceless. Extras are defenceless at one danger, meaning they are dealt with
pretty quickly in straightforward conflicts, or even immediately vulnerable when in a
situation where they might be at risk already—a player attacking them when they’re
unaware, etc. Extras are perfect for the rank-and-file or enemies that attack in
massed numbers.
Sides are defenceless at two dangers, making them a little more involved to deal
with. Even in a situation where they’re at risk to begin with, you’d still need to inflict a
second on them to strike decisively, making them less resilient than the players but
still someone they need to confront properly.
Mains are defenceless at three dangers, making them equal to players in this regard.
Main characters should be a challenge the players can’t ignore—someone they might
tangle with on more than one occasion, who feels like a fair match for them (at least
one-on-one).
If you know a character is going to be involved in fighting, there’s some additional
details you might want to come up with for them. You’ll need to decide their tier, as
described above in Conflict & Tiers. This defines broadly what what they are effective
against, and what is effective against them. You will also want to determine what
approach they use in combat, which gives them weaknesses and strengths against
certain opposition.
Finally, give them whatever equipment, attacks or bonuses that feel appropriate for
who they are and what their role is, either from the example lists or made fresh for
your game. For Extra-level monsters, creatures, or other foes that you want to keep
simple, you might forgo giving them this level of detail and just give them a note like
'this foe's attacks have the bane tag' or 'this foe has the armour tag'. Keep a few
things in mind, though;
• Bane and ruin lets foes hit effectively above their tier
• For simplicity’s sake, Director characters who pilot Astirs don’t have Mana or
subsystems unless you decide specifically otherwise.
• Weapons used by foes might be stolen or picked up by players
• You don't need to build the Astirs used by foes using the normal rules
SQUADS
When foes are attacking in large numbers, they fight as a squad (aka a small gang).
When engaged in combat with a squad of your tier or higher while alone, your rolls
against them are made at disadvantage. You can ignore this if using a weapon that
has the area tag. A squad being defeated doesn’t necessarily mean the entire group
has been killed—they might simply scatter or retreat where appropriate—but doing
so removes the disadvantage, as does disengaging from the fight or acquiring
backup.
EXAMPLE FOES
The following pages have
some example foes of various
ranks and tiers, broadly
categorised into;

• Astirs & Golems

• People
• Creatures & Monsters
• Outsiders
 ASTIRS & GOLEMS
Like those piloted by the players, Astirs and Golems are the mainstay of most
Authorities when it comes to warfare. Whether grown from the soil, forged in
foundries, or summoned from another plane, all Astirs have something in common:
they are exceptionally dangerous in the right (or wrong) hands.
UNPREPARED CADET III (EXTRA, MUNDANE)
• Sidearm I (ranged / defensive)
• Omen III
▪ Force Repeater III (ranged / defensive)
“U-uh, reporting for duty, sir! Ready to skirmish.”
MILITIA LABOUR PILOT II (EXTRA, ARCANE)
• Sword, Axe, Mace I (melee)
• Service Golem II
▪ Golem Fists II (melee / messy)
▪ Condenser Stave II (ranged / refresh, magic, 2H)
“Simple bipedal constructs, Service Golems are still capable of doing the work of ten
men. If only we had more of them.”
BANDIT SKIRMISHER PILOT II (SIDE, MUNDANE)
• Sword, Axe, Mace I (melee)
• Skirmisher Golem II
▪ Hefty Blade II (melee / messy, area)
“Quit bragging, Marco. It's not much of a competition when we have to scrap and
fight to pull down one servo, but you can cut down two in one swing.”
MERCENARY ASTIR PILOT III (SIDE, ARCANE)
• Raypistol I (ranged / bane, limited)
• Wolf III
▪ Rayrifle III (ranged / area, 2H)
▪ Forceknife (melee / small, thrown, decisive)
“There’s our print on the steelwork, sure—but everything else is new. The benefit of…
diverse employers.”
AUTHORITY MAIN IV (MAIN, ARCANE)
• Raypistol I (ranged / bane, limited)
• Orca IV
▪ Forceblade IV (melee / bane)
▪ Burstcaster IV (ranged / area, bane, 2H)
“Orca, mark one. Launching.”
MECHANICAL KNIGHT II (MAIN, MUNDANE)
• Shatterlance II (melee / bane, reloading, limited, 2H)
• Sword/Axe/Mace I (melee)
• Warded Plate (ward)
• Steed Golem II
▪ Iron Hooves II (melee)
“Cavalry? Of a sort, I suppose. Just stay out of our way.”
 PEOPLE
People come in all shapes and sizes, from all walks of life, with all kinds of identities.
They're you, and they're me.
ANTI-CONSTRUCT TEAM I (EXTRA, ARCANE)
• Raycaster I (sniper / reloading, ruin, 2H)
• Shortswords I (melee)
• Arcane Generator I (Ignore reloading on weapons)
“Stop complaining, kid. It won’t feel heavy once you see it put a hole in an Astir.”
MILITIA I (EXTRA, MUNDANE)
• Sword, Axe, Mace I (melee)
• Repeater Crossbow I (ranged / 2H)
“People like you or me, ready to fight for what they believe in. Or to keep their
homes, at least.”
RIFLEMAN I (SIDE, MUNDANE)
• Sword, Axe, Mace I (melee)
• Snaprifle I (ranged /, infinite, distinct, 2H)
“Heads down, hold fire. Don't shoot back until you hear the snap.”
KNIGHT I (SIDE, MUNDANE)
• Great Weapon I (melee / bane, area, messy, 2H)
• Warded Plate (ward)
“Clad in steel, bearing blades almost as tall as they are, and carrying the confidence
of a nation. Once upon a time that was all an army needed.”
SCOUT II (MAIN, MUNDANE)
• Scourblade II (melee / bane, distinct, 2H)
• Raypistol I (ranged / bane, limited)
• Grappling Rig I
“So, bad news about the captain. Someone swung out of a tree and stuck a
broadsword through his cockpit.”
PATHFINDER I (MAIN, MUNDANE)
• Blessed Bow I (sniper / decisive, divine, 2H)
• Hatchet I (melee)
• Invisibility Cloak I (limited, fragile, makes you invisible)
“Arrows have to come from somewhere! Spread out. Search the treeline.”
 CREATURES & MONSTERS
All sorts of things lurk in the deep, dark corners of this land. Some of nature, some
not so much.
WOLF I (EXTRA, MUNDANE)
• Tooth & Claw I (melee)
“Hail, adventurer. Prithee bring me ten wolf asses, so that I might fashion you a belt.”
GIANT SPIDER I (EXTRA, MUNDANE)
• Fangs I (melee)
• Spinnerets I (ranged / restraining)
“Scouts say they found an Astir in the northern forest, covered in so much webbing
they couldn’t move it at all. No sign of the pilot. Probably for the best.”
OWLBEAR II (SIDE, PROFANE)
• Rending Claws II (melee)
“Look, I don't care if you believe me or not. I’m not going back in without a golem. Not
while that thing is in there too.”
WYVERN III (SIDE, ELEMENTAL)
• Fireball III (ranged / area)
• Rending Claws III (melee)
• Fireproof Scales III (Cannot be harmed by fire)
“If you can see their shadow pass on the ground, it's too late. Your best bet is to hope
that when they descend, it's not you they're after.”
FROST DRAGON V (MAIN, ELEMENTAL)
• Rimebreath V (ranged / area, reload, restraining)
• Tail Sweep V (melee / area)
• Frostbound Hide V (ward)
“The final count? Two companies of men, their assigned golems, and a full wing of
astirs.”
LANDSHARK MATRIARCH IV (MAIN, MUNDANE)
• Crushing Jaws IV (melee / messy, area)
• Digging Claws IV (Can dig and swim through earth or sand)
• Tremorsense IV (Can detect foes through vibrations in the ground)
“The worms? Oh, no. You can feel them coming from miles away. No, it's the sharks
you want to worry about.”
 OUTSIDERS
Extraplanar creatures, those from worlds beyond ours, are broadly referred to as
'outsiders'. Unbound by natural law, outsiders are often inherently magical.
IMP I (EXTRA, PROFANE)
• Devilish Firebolts I (ranged / bane)
“Among the lowest orders of devils, but dangerous in their own right.”
FROST MOTE I (EXTRA, ELEMENTAL)
• Freezing Touch I (melee / restraining)
• Ice Shard I (ranged / bane, reloading)
“Set a fire burning tonight, have someone keep an eye on it. Mara said she saw
motes blow in on the wind last night.”
LOWLY ANGEL II (SIDE, DIVINE)
• Divine Flame II (ranged)
“The shapes of angels seem strange, but why pretend to understand the work of the
divine?”
VOID GIANT III (SIDE, MUNDANE)
• Obelisk III (melee / messy, 2H)
• Voidborn (Doesn't need to breathe or eat, is immune harm from cold)
“They came from above. Down from the skies, from the deep darkness of night.”
PIT FIEND III (MAIN, PROFANE)
• Abyssal Warmace III (melee / bane, area)
• Hellish Regrowth (Perils from physical harm reduced to risks)
“Leading any gathering of devils will be a pit fiend. Unlike the lesser creatures
beneath them, these fiends have the strength and tenacity to match their cruelty."
TERRA, TITAN ALIVE V (MAIN, ELEMENTAL)
• Erupting Earth V (ranged / area, messy)
• Titanic Punch V (melee / slow, ruin)
• Uncaring Gaze (Doesn't notice things III or lower unless directly interfered with)
“The elemental planes have no king or governor, and they never will. One would
have to wrest power from the waking earth itself. ”
 RIVALS
Rivals are recurring characters who appear again and again to challenge specific
players who have earned their attention. Mechanically speaking, they are Main
characters with a GRAVITY clock with whoever they’re the Rival to. They also have a
Need (what their faction demands of them, what they are obligated to do, etc), and a
Want (what they want from their counterpart), which helps direct their fiction, but also
provides them with leverage the Director may use against their counterpart
(whichever player is involved with a particular Rival).
Leverage
When your counterpart interferes with your Need or indulges you in your Want, hold
1. You may spend this hold whenever 1-for-1 to do the following;
• Raise or lower the result of one of their moves by one level of success.
• Ask a challenging question that must be answered.
• Appear somewhere you aren’t expected.
Rivals don’t need to explicitly be foes that are gunning for a player in an antagonistic
way. They might be an allies with a competitive relationship, someone they are trying
to impress (or vice versa), and so on.
RIVAL

RIVAL
NAME: Corel White NAME: Bromwael
NEED: To follow her orders to the letter NEED: To be rewarded by the Associate
WANT: To learn more about the Ilgard’s music WANT: To fight their rival alone
GRAVITY +2 HOLD 2 GRAVITY +3 HOLD 1

EXAMPLES OF LEVERAGE
Lilette, an Arcanist, is crossing blades with her Rival, Kett. She has forced them into
a corner and made them defenceless. There’s no love lost between the two of them,
so Lilette takes the opportunity and tries to strike decisively, driving her trice-forged
blade right through the chest armour of Kett’s astir. She rolls an 8, netting her a
mixed success, but Kett’s fate isn’t quite sealed: he has hold to spend! The Director
spends 1 hold to lower the result of Lilette’s move by one level of success, reducing it
to a failure. The outcome of Lilette’s move is now out of her hands.
Dani is struggling against Cress, her Rival. Rain is pounding against the rooftop they
are fighting on, and Dani has been knocked over, crawling along the slick rooftiles to
try and grab their dagger. Before she can reach it though, the Director spends one
hold to ask a challenging question that must be answered. Cress calls out through
the storm: “Did what we had mean anything to you?”
SETTING & MISSION HOOKS
The next section of the book is dedicated to Setting & Mission Hooks.
Setting Hooks serve as examples of the settings you might play Armour Astir in: each
containing an example Cause and Authority, some key locations, factions and
characters, and even some variants of example gear and Astirs. Take them whole-
cloth, scavenge from the bones, or simply use them as inspiration.

Similarily, Mission Hooks provide a quick scenario outline with options for
customising it to match the setting and players of your game. If only part of a hook
interests you, cut it out and just use that! You could even take elements from various
hooks and combine them, just like any of the other example content in this book.
[-3H TO INCIDENT]
Chief Machine-seer Aldaine enters Astir Hangar #3, and
proceeds to perform the standard rituals for seraphim-binding.
Divination reveals no deviations or mistakes made in ritual
process.
[-1H TO INCIDENT]
Second-seer Gauld enters Astir Hangar #3 to deliver necessary
tools and implements for seraphim-binding. Divination reveals
minor deviations in binding ritual seals at this time due to a
small lizard smearing the second glyph.
[-.3H TO INCIDENT]
Labourers Hurley,Wright and Lilan enter Astir Hangar #3 and
begin preparations on a Siege-walker Class Astir to receive the
modified, binded core. Seer-adepts Lucah and Chess enter Astir
hangar #3 and assist Chief Machine-seer Aldaine and Second-
seer Gauld as they begin the seraphim-binding process.
[-.1H TO INCIDENT]
Labourers Hurley andWright install the binded core
containing LOSANTHES (outsider, divine source, classification
#47) into the prepared Siege-walker Class Astir. Astir is at this
time re-classified as Radiant, and titled ‘PRIDE OF
LOSANTHES’.
[INCIDENT]
Binded core containing LOSANTHES (outsider, divine source,
classification #47) malfunctions due to earlier deviations in
seraphim-binding rituals. Manifestation is immediate (flames:
class A, eyes: class D, chorus: class undetermined). ‘PRIDE OF
LOSANTHES’ is rapidly liquified from the inside out due to
extreme heat. Damage to Astir Hangar #3 is considerable. Chief
Machine-seer Aldaine, Second-seer Gauld, Seer-adepts Lucah
and Chess all evacuate via standard teleportation. Labourers
Hurley,Wright and Lilan are subject to divine incineration.

- Excerpt from ‘The Seraphim Files’, author unknown,

discovered C3/Y73.3, divine-dated to C2/Y93.8-9
 THE GHOST REACHES
OVERVIEW
The Ghost Reaches are a bustling, dense archipelago, that stretch from the many
temperate southern islands up to the frigid Isle of Repose. Named for an old local
legend, which described how wayward spirits would make a pilgrimage from island to
island, eventually coming to a final rest at Repose.
The Reaches, while once divided by fierce rivalries, have long since been united
under a ruling council consisting of democratically elected delegates from each
island. How many delegates an island may elect is based on a number of factors, like
population, how much trade value their ports provide to the Reaches, and so on.
While in their warring days many of the islands struggled to be self-sufficient, co-
operation has allowed them to find new identities and niches in regards to what they
provide those that live there and the Reaches at large. These transformations in
infrastructure and industry have left the Reaches a prosperous but lightly defended
place, much of its military returning to civilian life in the post-unification period.
In recent years, this attracted the attention of the Faces Of Progress, an industrial-
militaristic faction from the continent to the west. Seeking access to the Reaches’
resources and workforce, the Faces Of Progress made a rapid, unexpected move to
capture the Isle of Repose and re-purpose it as a staging point from which to move
on the entire region. Opposing them (and their now-frequent raids on nearby islands)
is The New Hunt, a loose militia that cobbles together Astirs from what local
craftsmen can spare and parts taken from creatures on the Isle of Kings.
AUTHORITY: THE FACES OF PROGRESS
The Faces Of Progress, having recently grown from ‘vampiric cohort’, to ‘cabal of
industrial magnates’, to ‘sovereign state’, is quickly becoming the production centre
of the known world. Their factories produce everything from cutlery to armed Astirs, in
dizzying quantities. To keep this up and expand even further, they find themselves in
need of new sources for raw materials, a need they see fit to address by force. The
Ghost Reaches is merely first on their list: once it has been strip mined and levelled
to make room for factories, Progress will be made somewhere else.
Leader: The invasion of the Reaches is led by Galinn Juriss, a former mine foreman
who proved himself as a natural military leader during the Faces’ violent transition
from business to nation. Rumour has it the Faces’ true leadership has shared a
certain sanguine gift with him.
Aesthetic: Porcelain, damage repaired with gold lacquer. Leather padding and
patterned silks. Golden trims and ornamentation. Exposed tubing and scarlet liquids.

CAUSE: THE NEW HUNT

Formed in reaction to the Faces Of Progress seizing the Isle of Repose, The New
Hunt is a loose militia of a few dozen resistance cells, doing what they can to prevent
their foes gaining any more of a foothold in the archipelago.
Leader: The New Hunt has no overall leader, with cells acting largely independently.
Aesthetic: Monster bones, horns and teeth. Recycled driftwood, iron chains and
bolts. Colourful paintwork, kill tallies and trophies.
 THE NEW HUNT
OVERVIEW
Formed in reaction to the Faces Of Progress seizing the Isle of Repose, The New
Hunt is a loose militia of a few dozen resistance cells, doing what they can to prevent
their foes gaining any more of a foothold in the archipelago.
Leader: The New Hunt has no overall leader, with cells acting largely independently.
Aesthetic: Monster bones, horns and teeth. Recycled driftwood, iron chains and
bolts. Colourful paintwork, kill tallies and trophies.

EXAMPLE FACTIONS OF THE NEW HUNT

King’s Isle Couriers (Guerillas) STAKE

Once upon a time, the KIC were your best bet for getting packages
quickly and safely across the Isle of Kings. With the Faces of
Progress on the scene, they’ve turned their pathfinding skills and GRIP
secret routes to slightly different ends.

The Beached (Military) STAKE

An offshoot of a mercenary company, The Beached washed up on
shore after getting caught in crossfire during the Faces’ initial
invasion. In following with their company’s code, they quickly set GRIP
about converting their wrecked ship to a local HQ and scheming
against their accidental attackers.

Sif’s Sleepers (Strange) STAKE

Many were displaced when the Isle of Repose was seized, including
the many priests that tended to its restful temples. Those young and
angry enough to turn their sorcery against the Faces banded GRIP
together as Sif’s Sleepers.

The Reaches Unity Fund (Suppliers) STAKE

With the Reaches’ actual military slow to mobilise, many influential
and resourceful individuals collected together to form the Unity
Fund, a thinly-veiled operation to financially back the various GRIP
resistance cells of The New Hunt.

Calistone (Thieves) STAKE

Calistone were a small-time band of thieves who just happened to
have a very well-hidden route in and out of Repose at the time of
the invasion. Though the route was only good for one heist, the GRIP
spoils of Progress were enough to take them from an amateur group
to a well-tooled organisation.

Loreth Tidal Guild (Saboteurs) STAKE

The Tidal Guild is reponsible for maintaining a system of dams and
locks that keep Loreth Island inhabitable following an magical
accident that sunk it a few meters below sea level. Their GRIP
engineering expertise also made them naturals at disrupting arcane
fortifications and Astirs belonging to the Faces Of Progress.
BREAKING: MERCENARIES MAKE LANDFALL ON
MERMAID’S ISLE - FRIENDS OR FOE?
Onlookers were stunned today as armed swords-for-hire made
landfall on the northern shore of Mermaid’s Isle, commonly known by
locals asWatcher Beach. Bringing a number of constructs with them
including a large Astir, these sellswords quickly set about making a
camp and raising a small stake wall.Their ship, which seemed to this
scholar to be damaged quite heavily, was brought high on the beach
and stripped for wood.
It is unknown from what company these mercenaries hail, but those
of Mermaid’s Isle are hopeful they will not cause trouble in the
coming days of the Progress’s occupation.

- Excerpt from ‘The Reach Gazette’, Silt-town Publishing,

YA212.M3.D13

ART PLACEHOLDER
 THE FACES OF PROGRESS
OVERVIEW
The Faces Of Progress, having recently grown from ‘vampiric cohort’, to ‘cabal of
industrial magnates’, to ‘sovereign state’, is quickly becoming the production centre
of the known world. Their factories produce everything from cutlery to armed Astirs, in
dizzying quantities. To keep this up and expand even further, they find themselves in
need of new sources for raw materials, a need they see fit to address by force. The
Ghost Reaches is merely first on their list: once it has been strip mined and levelled
to make room for factories, Progress will be made somewhere else.
Leader: The invasion of the Reaches is led by Galinn Juriss, a former mine foreman
who proved himself as a natural military leader during the Faces’ violent transition
from business to nation. Rumour has it the Faces’ true leadership has shared a
certain sanguine gift with him.
Aesthetic: Porcelain, damage repaired with gold lacquer. Leather padding and
patterned silks. Golden trims and ornamentation. Exposed tubing and scarlet liquids.
EXAMPLE DIVISIONS OF THE FACES OF PROGRESS

The Juriss Company (Military)

Galinn Juriss’s personal expeditionary force, sent to claim the Ghost Reaches for
his vampiric masters. Galinn is eager to improve his position: there are few within
the Faces of Progress who have their own armed Companies, but there are fewer
with their own lordships.

The Veiled Order (Subterfuge)

The Veiled Order is a small organisation that spreads itself out within the many
operations of the Faces Of Progress, doing behind the scenes what it cannot do
on the stage. Spies and saboteurs, the Veiled Order rely on disguises cast from
blood magic in order to pass unnoticed among their enemies.

Artery #23 (Resource)

The many Arteries of the Faces Of Progress transport goods, weapons, and that
sweet sweet sanguine wherever they are needed. #23 is tasked with aiding and
abetting the Juriss Company in their many endeavours.

EXAMPLE PROJECTS OF THE FACES OF PROGRESS

Pacifying The Isle Of Kings

Sinnh Renere, an agent of Artery #23, thinks something
can be done to make the Isle Of Kings’s wildlife ignore
Juriss Company troops.

A Watchful Eye
An extensive checkpoint system between islands
would be tough to install, but would heavily restrict
movement of The New Hunt.
 EXAMPLE ASTIRS OF THE GHOST REACHES
CORE MANA 2
CLIPPERIII MUNDANE ANCIENT OVERHEATING
WARDING SPELL ROUTINES
RUGGED BUILD (+ward) Choose to take a result of 7-9 on a
weather the storm
Clippers are large, rugged Astirs originally designed for MV: CUTTING ARMS
patrols over the Isle of Kings, keeping the roads clear of You may use the
overgrown fauna. The New Hunt has re-purposed an entire subsystems move to
fleet of them for war, a task they are more than fit for. remove a environmental
hazard of your choice.
CARRIED Hewer III (melee / bane)
CARRIED Force Repeater III (ranged / defensive)

CORE MANA 2
PUNCTUREIII PROFANE OCCULT OVERHEATING
MANA-FORGE RESISTANCE CHARM
You may cool off to resupply an CLARITY COVENANT
expended weapon (Lowers dangers from stunning/dazing)
Punctures are the rapier of any Faces Of Progress squad, MV: FOE EYE
designed to be let loose on particularly dangerous foes. You can always assess
Carrying large blood-fed spellcannons, Punctures are best which foe before you is
dealt with harshly: focusing rituals mean middling blows will the most dangerous.
do little to sway their aim.
CARRIED Spellcannon III (ranged / ruin, limited, 2H)
SHEATHED Forceknife III (melee / small, decisive)
EXAMPLE GEAR OF THE GHOST REACHES
Bloodletter I (melee / distinct)
The rank-and-file of the Faces Of Progress carry these sinister spears, mundane in
nature but by design capable of drawing the blood of their victims. Those not of the
rank-and-file, it turns out, have an unquenchable thirst.
Ashmaker Bow I (ranged / ruin, dangerous, 2H)
Ashmakers were just a theory until the invasion began: one the New Hunt have
taken pleasure in putting into practice. Immensely dangerous alchemical arrows
paired with a bow ritually treated with the protections needed to withstand them,
Ashmakers are the prized possesion of any resistance cell.
Little Shark II (melee / small, freezing)
When the first mariner’s golem team was dispatched to interfere with Progress
reinforcements, they found their equipment lacking for undersea use. Dubbed Little
Sharks, these golem-fit wands stacked with short-range frost magic provided an
easy way of ruining ship hulls.
Decanting Staff III (ranged / bane, 2H)
A long staff, held in both hands of an Astir. A series of alchemical processes purify
and extract magical energy from stolen blood, before turning it to violent ends.
Hewer III (melee / bane)
A circular saw, spun at lightning speeds by the volatile reaction between distilled
alchemical fire and permafrost from the deep heart of Repose.
 MISSION HOOKS
THE GRAND MELEE
The Authority has arranged a grand tournament between Channelers. It has invited
would-be challengers from [around the country/within its military/around the world] to
fight in their Astirs [one-on-one/in teams] and compete for [glory/a grand prize/a
blessing/an important role]. Little do the challengers know, however, the Grand
Melee is simply an opportunity for the Authority to [show off a new Astir/kill off skilled
channelers/steal custom Astirs/recruit channelers].
PLACES
An Astir workshop, where:
• Artificers are dismantling a heavily damaged Astir
• Trainee Artificers are being taught the basics by the workshop chief
• Everyone is working together on an emergency/large repair job
• An injured channeler is being freed from their destroyed Astir
A lounge where;
• Channelers are waiting between tournament bouts
• Rich spectators are watching the tournament from safety
• Authority officials are debriefing their plans for the tournament
• The players can relax, whilst secretly being observed
The tournament grounds, where;
• Some challengers are being a little too secretive about their Astirs
• A boisterous Channeler is looking for a fight to tide him over
• The Authority is openly recruiting channelers
• Someone is itching to cause trouble
PEOPLE
An ace Authority channeler who is;
• Waiting for the perfect opportunity to betray their masters
• Desperate to prove their true worth
• Taking part in the tournament as penance
An artificer who is;
• A double agent
• Sabotaging any Astirs they work on
• Looking for a promising channeler to give an experimental upgrade
A Cause agent who is;
• Here on completely unrelated business
• Way in over their head
• Looking for help getting somewhere they shouldn’t be
THINGS
• Ruined banners • A vandalised altar
• A lost badge of office • Books full of odd rituals
• A malfunctioning weapon • A storm in a teacup
• A rare magical focus • A trapped storeroom
• Crates of alchemical supplies • A mythical sword
 NEUTRAL GROUND
The Cause has learned of a secret Authority project set up in a supposedly neutral
city. It has sent the players to [scout out/steal/destroy] the project, which is [an
experimental Astir/a dangerous magical experiment/a secret arms depot].
Complicating this is the fact that the Cause [has no intel on the nature of the
project/is hiding something from the players/has been fed false information].
PLACES
An entry checkpoint, where:
• Overworked employees aren’t checking anyone’s papers
• A recent event has extra attention being paid to inbound parties
• Someone is trying to smuggle goods into the city
• Some Authority soldiers are making a scene
A warehouse where;
• Authority personnel can enter their secret base
• Rich spectators are watching the tournament from safety
• Authority officials are debriefing their plans for the tournament
• The players can relax, whilst secretly being observed
The forest nearby, where;
• The Authority is secretly testing something
• The magically enhanced trees are being directed to Authority lumberyards
• A large clearing makes for a perfect ambush spot
• Someone is itching to cause trouble
PEOPLE
A rookie Authority channeler who is;
• Far, far too naïve
• Personally invested in the success of the project
• An old friend of one of the players
An artificer who is;
• Helping cover up the project, since it might lead to other advancements
• Posing as a civilian while spying for the Authority
• Sheltering smuggled Cause resources
A Cause agent who is;
• Here on completely unrelated business
• Way in over their head
• Looking for help getting somewhere they shouldn’t be
THINGS
• Stolen alchemical supplies • A broken chain
• An abandoned Astir • Forged documents
• A hidden weapons cache • A trail of blood, still wet
• An unfinished ritual • A seeing orb
• Strange remains • Smuggled luxuries
 ELEVENTH HOUR
The Cause has learned that the Authority has developed [a macrospell/an Astir/a
magical weapon/something strange and arcane] capable of ending the war in one
fell swoop—in their favour, of course. It falls to the players to [discover it’s secret
location/destroy it/seize it for the Cause] before the Authority can use it to [force
Cause leadership to expose themselves at a ‘peace’ meeting/destroy the Cause’s
primary base or holding/kill an absurd amount of dissenters].
PLACES
A grand hall, where:
• The Cause’s bureaucracy is crumbling
• An official is about to overplay their hand
• A performance with unforeseen consequences is about to begin
• A betrayal is about to be revealed
A Carrier’s command deck, where;
• A terrifying order is about to be given
• A mistake is about to be made
• A coup attempt is made
• Someone has a moment of clarity
A secret location, where;
• The players aren’t welcome
• The players are, suspiciously, very welcome
• Something is revealed to have been vastly misunderstood
• Something equally as bad is happening far more quietly
PEOPLE
An ace Authority channeler who is;
• Aghast at the lengths the Authority is going to
• A Cause agent in deep cover
• Responsible for pulling the trigger, whatever that looks like
A diplomat who is;
• Moving resources in a very unhelpful way
• Moving resources in a very unhelpful way, intentionally
• Trying to cajole a reticent group into action
A chief Artificer who is;
• In charge of the Authority’s team working on the [macrospell/Astir/etc]
• Looking for a weakness in the Authority’s plan
• On the verge of a magical breakthrough
THINGS
• Something unrecognisable • A dropped key
• A door that shouldn’t be open • Files meant to be burned
• An immense magical gemstone • A bribe
• Forgotten bones • Something you think is yours
• A construct of vast size • A volatile potion
 AUTHORITY ATTACK!
The Authority is raiding [a small town/a Cause stronghold/an off-planet colony/a
major city] in order to [search for something/capture and occupy it/destroy Cause
morale]. It falls to the players to fend off the assault and save the day, even though
[one of the players calls this place home/a grand Cause secret is sequestered
here/this place was once sacred to the Authority].
PLACES
A warehouse, where:
• A prototype Astir is waiting
• The Authority have found a way in
• Evacuees have found shelter
• Something isn’t right
A street, where;
• Drastic action is about to be taken
• Something hidden is being uncovered
• A stand-off occurs
• Innocents are left vulnerable
The outskirts, where;
• A heated skirmish is building
• Something is amiss
• A declaration is made
• An escape route is being protected
PEOPLE
A civilian leader who is;
• Held hostage by the Authority
• Hiding out with something important
• Leading evacuation efforts
An Authority channeler who is;
• In no way ready to lead this mission
• Out for revenge
• Trying to prove themselves to their superiors
A civilian who is;
• In the wrong place at the wrong time
• One of the players (better find yourself an Astir)
• Taking matters into their own hands
THINGS
• A childhood home • A hoisted flag
• An unfinished miracle • A missing shipment
• A stockpile of arms • A hole in the wall
• A broken gate • A number of gold bars
• A system of canals • A delicate alchemical process
 APPENDIX
RISK & PERIL EXAMPLES
RISKS
Risk (distracted) - Something has caught your eye, and it's very distracting. Maybe
you could make some space and collect your thoughts?
Risk (targeted) - Missile lock! Evade, evade! Could you counterspell the targeting
systems, or put something between you and the missiles?
Risk (suppressed) - You're being held at bay by suppressing fire. Maybe you could
take them out, or find some cover.
Risk (on fire) - Your Astir is on fire. It's really hot all of a sudden. You could find some
water, or do something else to extinguish the flames.
Risk (bleeding) - That's a nasty cut you've got - you could bandage it up, or try to
close the wound with magic...
Risk (chilled) - Brrr! You or your Astir are all frosty. Find a way to turn up the heat, or
chip away that building ice.
Risk (flirty) - Can love bloom on the battlefield? You're hoping, but maybe you just
need a minute to cool off.
Risk (scared) - Getting in an Astir can be pretty frightening. Maybe someone could
talk you down, or maybe you just need to face your fear.
Risk (disrupted) - Your Astir's systems have been messed up, knocked out of
alignment, etc. You could magically re-align them, or manually open things up and fix
the problem.
Risk (angry) - That was too damn close! You're real mad about it! You could get rid of
the target of your frustrations, or just try to get some space from them.
PERILS
Peril (exhausted) - You're running on empty. Little short of a real rest will fix that.
Peril (wounded) - That's more than a little bruise or cut - you need real medical
attention for this one.
Peril (broken limb) - Whether it belongs to you or your Astir, this needs proper
treatment - and for your Astir, maybe replacement.
Peril (impaled) - You'd better leave that where it is. It's going to get in the way, but it'd
get worse if you took it out...
Peril (furious) - Something REALLY got to you, huh? You're mad in a way that sticks
even when the fire dies down, and need some real time to work things out.
Peril (bad rep) - Your reputation with someone or something has taken a real hit. It's
going to be trouble until you do the work to fix things.
Peril (in love) - It turns out love can bloom on the battlefield, and it's got you good.
There's a few ways you could resolve this one.
Peril (burnout) - Overheating has seared the inside of your Astir, destroying parts.
This calls for some real internal repairs.
 GLOSSARY & SHORTHANDS
Sortie: A period of time in which the players have left their Carrier to fight, scout or
otherwise act with an objective in mind.
Mission: A larger goal that would take multiple Sorties to achieve.
Campaign: A full game of Armour Astir, consisting of several Missions and ending in
resolution in some way of the core conflict.

Trait: The 6 stats that cover your characters abilities and are used to make moves.
GRAVITY: A measure of one characters admiration and understanding of another.
Cause: The group that you and yours represent in your fight against an Authority.
Authority: The primary antagonistic group of your game.
Dangers: Dangers are effects that make you vulnerable to harm, physical or
otherwise. Dangers are split between minor ‘risks’ and more serious ‘perils’.
Defenceless: Being defenceless means that you must bite the dust when
threatened by harm, physical or otherwise.
Approach: The five approaches: mundane, arcane, divine, profane and elemental.
Approaches offer confidence or desperation when using exchange blows and
strike decisively and are determined by your playbook or by an Astir or Golem.
Some weapons have their own approach, which overrides your usual if you choose
to use it.

Tag: A tag is a small note that provides some narrative or mechanical information that
can be easily added to an object or character to provide detail or customisation.
Weapon: Something used to inflict harm on someone else (by design or otherwise).
Gear: Any piece of useful equipment that isn’t used to hit someone over the head.
SUPPLY: An abstract representation of trade goods, tools and parts stored on board
your Carrier.
Construct: A magically-powered machine or vehicle. Constructs typically require a
Channeler to pilot and fuel them, though some are automatons. Golems, familiars,
and Armour Astirs are all constructs.
Armour Astir: Astirs are powerful enchanted constructs, typically between 30 and 60
feet tall, that must be piloted by a Channeler who provides the magic required for
them to function. They’re mechs. You know what these are.
Golem: A magically-powered vehicle, usually smaller than an Astir. Golems fill a role
that can be loosely considered cavalry. Simple enough for a conventional magical
power source, meaning anyone can pilot them if they aren’t autonomous.
Familiar: Familiars are small, autonomous Constructs that assist their master with a
narrow field of tasks. Like a drone, or funnels/bits.
Artifact: A part of your Astir that can be activated with the subsystems move to give
you Advantage on a roll, before or after you make it.

Advantage: To roll an additional die and take the highest two.

Disadvantage: To roll an additional die and take the lowest two.
Confidence: To roll with two additional dice and take the highest two, ignoring any
disadvantage.
Desperation: To roll with two additional dice and take the lowest two, ignoring any
advantage.
 MAGICAL OBJECTS
2d6 Object
11 A set of cooking utensils that are always spotlessly clean.
12 An orb that floats by the head of its owner, providing them with wisdom.
13 A coin that always lands as it is called.
14 A basket of porcelain spheres that move to form a model of the solar
system when laid on black cloth.
15 An ornamental sword that any onlooker views as tailor made for them.
16 A jar of sand that wards the bearer against fear.
21 A clay tablet that can capture a perfect rendering of any scene it is held
up against.
22 A map that may be temporarily written on with your fingers.
23 A thin crystalline needle that constantly points at the closest source of
invisibility magic.
24 A hammer that will drive nails through anything.
23 A silver token that prevents the holder from knowingly lying.
26 A small vial of liquid that burns through everything except glass.
31 A gold-painted ring that alters divination magic cast by the wearer to show
more hopeful or lucky futures and outcomes.
32 An iron rose that sprouts thorns in the hands of someone who has broken
a vow or promise.
33 A gem that can capture words from the bearer’s target.
34 A shield that can hold back any flood.
35 A feathered cloak that projects a waterproof barrier around the wearer.
36 A box that only opens during an eclipse.
41 A knife and fork that vibrate gently in the presence of poison.
42 A set of hand-made dice that only ever roll 3’s.
43 An adhesive that will bond any two things.
44 A solvent that will separate any two things.
45 A mask with jewelled lenses that feeds false information about the wearer
to anyone who would use mind-reading magic on them.
46 A lock that merges with any surface it is pushed into, until unlocked.
51 A wax strawberry that becomes poison once a trigger word is spoken.
52 A flag that slowly ruins the soil wherever it is planted.
53 A never-ending ball of string.
54 A fake paper Astir that folds up to fit in your pocket.
55 A thin stone disc that floats freely wherever it is left, and can support a
few kilograms of weight.
56 A keyring that guides the holder to lost keys.
61 A leather collar that hides the wearer from magic that detects living
creatures.
62 A crown that repairs itself and reshapes itself to fit any head.
63 A short knife that is capable of cutting through any non-magical rope, cord
or chain.
64 A gauntlet fitted with a jewel that can conjure a storm overheard.
65 A pair of gloves that can touch in the intangible.
66 A pair of picture frames that act as a portal to each-other.
 MAGICAL WEAPONS
2d6 Object
11 A spear that binds those injured by casting chains from their blood.
12 A sheathe from which a blade of any length can be drawn.
13 A long Astir’s cannon that fires shells full of magically contained magma.
14 A launcher filled with wands that cast blighting spells upon impact.
15 A javelin that trails flame behind it when thrown.
16 A wand that allows the bearer to draw down bolts of lightning.
21 A flintlock pistol with rounds guided by bound spirits.
22 An ornamented halberd that lets forth a terrifying roar when it takes a life.
23 Paired swords that unerringly track wounds left by the other.
24 An Astir-sized staff capable of spraying beams of frost.
23 A crossbow adorned with elemental crystals that charge its bolts with
thunderous energy.
26 A bow, made from the wood of a tree grown in blessed grove.
31 A set of perfectly balanced bronze orbs.
32 Three silver arrows, each with a small plaque for a target’s name.
33 A pair of alchemical mortars, designed to flood the world with toxin.
34 A rifle loaded with thick pieces of magical crystal.
35 A hollow mace, from which sticky tar oozes.
36 A ballista that trails a path of solid, tangible light behind its bolts.
41 A multi-chambered firearm designed to fire lead-encased scrolls.
42 A flat-tipped executioner’s sword that leaves only closed wounds.
43 A brace of flintlocks that briefly crack open thin portals to a much more
incendiary realm than ours.
44 An axe carved wholly from one huge, serrated fang.
45 A pouch of small gems that explode dramatically when shattered.
46 A blade that is magically incapable of leaving wounds.
51 A long whip embedded with venomous, weeping thorns.
52 A catapult that conjures a new payload into existence after every shot.
53 A ring of keys which can magically merge into a small blade.
54 A lightweight lance, embellished with golden seals that attempt to deflect
any magic that would harm their bearer.
55 A thin glass orb filled with acid, that slowly repairs and refills itself after
smashing against its holders target.
56 A silver dagger that can be safely hidden in the flesh of its bound owner.
61 A heavy mace that emits a dispelling field, designed to stop Astirs without
causing damage that would make them unsalvageable.
62 A winged spear that grants the bearer limited flight in pursuit of their foe.
63 A contraption that fires searing javelins accurately in trios.
64 A matched pair of long-clawed gauntlets, which harbour a charge of frosty
magical energy.
65 A crystalline wand, charged with spells that brand those struck.
66 A long-handled axe, enchanted to whip up heavy winds whenever it is
swung in anger.
 You are a coven of MAGE-ARTIFICERS, brought together to enchant an ASTIR - a
magical construct that will, alongside its CHANNELER, push back the ENEMY.
One of you is RADICAL, and sees the ASTIR could be more than the others understand.
One of you is BELOVED, and knows everything about their CHANNELER.
One of you is DILIGENT, and understands well what threats the ENEMY poses.

Take turns describing a spell, enchantment or magical artifact that could be

implemented into the ASTIR's design to the other ARTIFICERS. One ARTIFICER
will support your pitch, and tell you why - the other will dispute it. Then, you roll to see
how your magic turns out.
Alone, you roll a single d6, but;
If the RADICAL describes a potential transgression or misuse, good or bad, they add a d6.
If the BELOVED describes how the CHANNELER will feel about this and why, they add a d6.
If the DILIGENT describes how this counters a threat presented by the ENEMY, they add a d6.

Roll these dice, and check what the highest result is;
If it is a 1 or 2, it is �awed: whoever disputed the feature may narrate a scene in the future describing
how it failed or caused someone harm once.
If it is a 3 or 4, it is acceptable: whoever designed the feature may narrate a scene in the future
describing it being used to successful ends.
If it is a 5 or 6, it is perfect: whoever supported the feature may narrate a scene in the future describing
how it was used to achieve something beyond what you thought possible.

When the three of you decide that the ASTIR is finished, give it a name. Finally,
check how many designs were flawed, how many were acceptable, and how many
were perfect. Finally, you will narrate how the ASTIR and its CHANNELER are
remembered, far in the future:
If most were �awed, you are scavengers stood around the recent wreck. The DILIGENT narrates �rst,
the BELOVED second, and �nally, the RADICAL.
If most were acceptable, you are soldiers watching a parade of arms. The BELOVED narrates �rst, the
RADICAL second, and �nally, the DILIGENT.
If most were perfect, you are students touring an exhibit. The RADICAL narrates �rst, the DILIGENT
second, and �nally, the BELOVED.

If you have more than three players and want to add extra roles, consider; the HAUNTED, who will not
see the same MISTAKE made twice, the ARTIST, who has a VISION for the future, the
PRAGMATIST, who will not let us build beyond our MEANS, or the IDYLLIST, who knows swords
must one day be PLOWSHARES.
 RELEASE NOTES
06/20:
• Additional art added! Dropped some placeholder stuff where there’s still incoming
art.
• GRAVITY clocks reduced to 6-step.
• Spotlight introduced to give dripfeed xp on failures! This has been a common
complaint, so hopefully this should make failure feel a little more exciting.
• First Setting Hook added! Possibly more to come: please let me know if you find
this useful and if it’d be worth my time to add more!
• Reworked Astir parts a little so that all ‘usable’ parts under the previous system
are now 1-per Sortie but can be reused by spending mana with subsystems. It
seemed a little inconsistent that most things were single-use for free but Artifacts
were infinite use at cost.

CREDITS
WRITING & DESIGN BY:
Briar Sovereign
ARTWORK BY:
S. Malachi Peters (pg. 32, 35, 36, 46, 47, 53, 60, 103, 105, 122, 123, 135)
Simon Sweetman (pg. 16, 48, 106)
Jolyne ‘Jojo’ Gremory (pg. 70, 74)
Zack Morrison (Cover, pg. 63, 71, 78, 83, 88, 93)
Henry Guerra (pg. 6, 116)
@juangeedraws (pg. 69)
Terrence Hector (pg. 73)
Florian Walraven (pg. 65)
Viktor Engholm (pg.66)
Peyton Gee (pg.67)
ADDITIONAL WRITING BY:
S. Malachi Peters (pg. 32, 46, 60)
riar Sovereign is a nonbinary games designer and writer

B
based in the UK.They love mechs, magic, and Kamen Rider:
only two of which feature in this book, unfortunately.