Introduction

Welcome To Season Four

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What This Game Is

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Table Of Contents

INTRODUCTION

Welcome To Season Four!

What You’ll Need To Play

How To Read This Book

The RiM: S4E Team

Who Is Best Pony?


CHARACTER CREATION

D.A.S.H.

Design

Aspects

Statistics

Headway

D.A.S.H. Example


PLAYING AN EPISODE

Structure Of Gameplay

Making Checks

Advantages & Drawbacks

Acting In Harmony

Damage, Recovery, & Sidelining

Using & Restoring Valor

Ending An Episode


CHARACTER ADVANCEMENT

Learning Lessons

Experience Points

Purchasing Edges

Edge List

Library Of Edges


MAGIC & SPELLCASTING

Magic Is As Magic Does

Creating Spells

Casting Spells

The Canterlot Archives

Items & Artifacts

RUNNING AN EPISODE

Being The Game Master

Collaborative Storytelling

Getting Things Started

Checks & Difficulty Targets

Damage & Sidelining

Lessons & Experience


VARIANT RULES

Plot Points

Equestria Girls

Paragon Ponies

Wide, Wide World

Epic Experience


FRIENDS & FOES

Curious Creatures

Nobles & Notables

Heroes & Legends

Tartarus Bestiary

Rogues’ Gallery


PREMADE EPISODES

The House Of Enchanted Comics

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MISCELLANEOUS

Character Sheet

Pre-Made Characters

Premise Generator

Development License

Letter From The Team


Book Content Begins Below This Line

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Front Cover

Roleplaying is Magic &huge

Season Four Edition &large

Front Matter &NoImage &NoSplitSections

Production Info

Legal Disclaimer

Roleplaying is Magic: Season Four Edition is a derivative work of art; My Little Pony, My Little Pony: Friendship is Magic, and all established content and characters therein are the creation and property of Lauren Faust, Hasbro Inc., and DHX Media. No copyright infringement, explicit or implied, is intended. Roleplaying is Magic: Season Four Edition is presented for public use and enjoyment on a not-for-profit basis and may not be used for profit without the express consent of Roan Arts LLC and the above-named parties as required by law.

Roleplaying is Magic: Season Four Edition

Copyright © 2014 Roan Arts LLC

All rights reserved.

Production Credits

James Weimer / Tall Tail

Project Lead, Lead Designer, Author

Samuel Hanson / Know-It-All

Concept Development, Design Assistance

Daniel Oakley / Artsy Heartsy

Layout Artist, Web Designer, Technical Lead

Caytlin Vilbrandt / Pixel Prism

Art Direction Lead, Lead Illustrator

Michael Simpson / Sketchbook

Illustrator, Graphic Design Assistance

Shannon McMurtry / Kindle Bright

Community Manager, Illustration Assistance

Casey Hayes / Emerald Dusk

Lead Content Creator

Dominik Makowski / Serious Business

Content Creation Assistance

Matthew Hollatz / Blue Bolt

Vector Artist

Alexis Baker / Silver Lining

Editor, Graphic Design Assistance

Eugene Elzinga IV / Baker’s Dozen

Senior Playtester


S4E Original Character Stable

Lavender, Goggles, Excelsior, Asana, Winter Solstice, Kludge, Plot Twist, Mbaya Ndoto, Sky Sparkler, Stormdancer, Nocturne, Stormsailor, Rising Chaos, Sodium Fizz, Scarlet O’Mare, Skyflower, Magpie, Rumble Riot, Windrose, Snowfield, Mwai, Muzaji, Sadaka, Jacquelin, Gustaff, Rocket, Shiroyuki Hanako, Jellybean, Dream Daze, Lily Heart, Starchild, Crescent, Whistletop, Sugar Dart, Fire Bright, Hemlock, Mad Mare, Dragonheart, Bosstone, Ginger Spice, Pumpkin, Aliella, Zypher, Spindrift, Queen Pegasus, Ruby Blossom, Toybox, Dream Daze, Swift Wind, Baron Von Cirrus, Chaco, Typhoon Wave, Emerald Isle, Gravity, Willow Grove, Hoarfrost, Carronade, Maple Walnut, Barnstormer, Rookwood, Spearmint, Gamble, The Contact, Snapdragon, Thistle Fair, Samantha, Siyana, Tale Chaser, Whirligig, Quintessent Rune


Playtesting Credits

Elena Brutti, Christopher Cifani, Cody Cushenberry, Kyle “Smiley Nimbus” DeTar, Erin Honour, Jeffrey Ly, Anders Mejstrick, Scott Muir, Emmett “Blue Print” Raymond, Felix Shepherd, Hannah Shepherd, Daniel Simpson, Matt Stimac, Dalken Starbyne, Shaun Jacobson, Dennis Venner, Brad Ward, Kestrel Ward, BLame, Colt Flick, Shocklight, Rizae, Cold Snap, Prismatic Flux


Special Thanks

Lauren Faust, Hasbro Inc, DHX Media, Rodger Phillips Marsh (Giftkrieg23), Scott Muir, Kaylin Norman-Slack, Matt Stimac, Ryan Vilbrandt, the whole crew of Everfree Northwest, Equestria Daily, Equestria Gaming, Almafeta, Bronyville, the Bluescreen Bronies, Voice of Equestria, and all our fans, friends, and family over the years. /)*(\


Want More Roleplaying is Magic?

Visit RiM online at RoleplayingIsMagic.com


Introduction

Welcome To Season Four!

Fillies and gentlecolts, Equestrians of all ages: Welcome to the Season Four Edition of Roleplaying is Magic!

If you’re one of the many returning players who have been with us since the beginning of this project, we’d like to begin by saying thank you. Your love and support over the last several years has been essential in turning this from a humble collection of notes and ideas into one of the Brony community’s most popular and longest-running game projects. We couldn’t have done any of this without you.

And if you’re new to Roleplaying is Magic, we’d like to begin by saying welcome! Sit back and relax; we think you’ll enjoy reading this book and playing this game as much as we’ve enjoyed creating them.

You may be wondering, "Just what is Roleplaying is Magic, anyway?" In a nutshell, Roleplaying is Magic (or "RiM" for short) is a fan-created tabletop roleplaying game and storytelling system based on the My Little Pony: Friendship is Magic cartoon series created by Lauren Faust and owned by Hasbro Inc. With it, up to six players and one Game Master (or "GM") can have adventures in the magical land of Equestria, creating their own stories together and exploring the magic of friendship.

RiM is suitable for a wide variety of gamers, striving for mechanical simplicity to appeal to beginners and immersion-oriented roleplayers, as well as enough depth and complexity to satisfy veteran gamers. It emphasizes positive themes of cooperation, courage, integrity, and self-expression, to provide a meaningful experience in line with the themes and aesthetics of the original cartoon series.

Apples To The Core

RiM is not just for grown-up gamers, or hardcore tabletop players; we’ve done our best to create a roleplaying game that parents, children, and siblings can all enjoy, with old friends or making new ones!

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The guiding phrase of Roleplaying is Magic is, "Canon focused, fanon friendly." This means that while we’ve tried to stay as true to the original cartoon series as possible, we’ve also left plenty of wiggle room for game groups to make their experiences unique; to make their Equestria truly their own.

A new edition of RiM has been produced after each season of the original cartoon series, to incorporate revised information presented by the series, as well as improve the design of the game in an effort to make it the best it can be. With this final 'official' version, the Season Four Edition (or "S4E" for short), RiM has never been better. Now even more streamlined and customizable than ever before, S4E blends previous attempts at simplification with robust gameplay mechanics and a focus on positive ethics and morality.

New and returning players alike are encouraged to read through this Introduction chapter to become familiar with the tone and style of the S4E book; however, veteran players (or those who just want to jump right in) can skip ahead to get to the heart of the game’s content.

However you choose to proceed, we hope you enjoy Roleplaying is Magic: Season Four Edition!

What You’ll Need To Play

In comparison to many other roleplaying games, S4E is relatively light in terms of the materials necessary for a group to play. Ideally, a group of players should be able to play an Episode (an adventure) with things you could find in an average home. To play an Episode of S4E, you will need the following:

Some Friends!

S4E is designed to be played with up to six players, who each create a character and control their individual characters’ actions, and one GM, who runs the Episode and brings it to life around the players’ characters, as well as playing the role of any other characters in the Episode.

Four Six-Sided Dice

Each player, as well as the GM, should have four six-sided dice (or "d6’s") to use for attempting character actions and determining the outcome of certain situations. The size and coloring of these d6’s doesn’t matter, and if enough dice aren’t available, S4E can be played with one set for the GM and one for all of the players to share.

Pencils (Or Pens) & Paper

Like any pen and paper tabletop game, there is a certain amount of note-taking and bookkeeping involved in playing S4E; players will need to keep track of their characters’ amount of various types of points and attributes during gameplay.

Character Sheets

Any player who will be controlling a character (everyone except the GM) will need a character sheet to record their character's information on, as well as to keep track of changes and improvements.

This Rulebook

Finally, the group will need this online rulebook for reference and to guide them through certain parts of gameplay.

How To Read This Book

This rulebook is organized into chapters covering major topics, and sections within those chapters which break down each topic into its main points. This allows for easy reference navigation, and intuitive guidance through learning S4E’s mechanics and gameplay concepts.

The best way to read this rulebook is to do so straight through from start to finish; the information within is organized so that each chapter builds upon the chapters before it. After learning the basics of S4E, referencing specific rules and sections can be done during gameplay by using the table of contents in the beginning of the book. This is especially important for Game Masters (GMs), as the Running An Episode chapter of this book relies on knowledge of everything preceding it.

A Little Help From Our Friends

This rulebook, due to its online format,  also includes the Encyclopedia Equestria chapter, which is meant to help game groups in creating ideas for characters and Episodes, and playing them out. The Encyclopedia Equestria chapter is not original S4E material; it consists entirely of links to select pages of the My Little Pony: Friendship is Magic Wiki, the best fan-created and fan-maintained repository of information on the original cartoon series. This was done to ensure that the canon information available to S4E players is kept up-to-date and accurate.

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The RiM: S4E Team

At this point, we’d like to take a few moments to introduce the team of crazy ponies behind Roleplaying is Magic: Season Four Edition.

Tall Tail, aka James Weimer, is the project lead and lead designer of Roleplaying is Magic. As an independent game designer, he has been at the helm of the game’s core design and vision throughout each edition, refining and improving it each time as he has acquired and expanded his own skills.

Know-It-All, aka Samuel Hanson, is the co-creator of Roleplaying is Magic. He has served to focus and distill the design of the game for each edition, lending invaluable assistance in helping to develop rough ideas into working core gameplay systems and features.

Artsy Heartsy, aka Daniel Oakley, is the technical lead and web guru for Roleplaying is Magic. Joining the team in the final days of the first edition, he has lent his experience and expertise with programming and scripting to give the game a place on the internet to call home.

Pixel Prism, aka Caytlin Vilbrandt, is the artistic director and lead illustrator for Roleplaying is Magic. Having joined for the game’s second edition, she has been responsible for the beautiful art and layout design which breathes life into the pages of each edition of the game.

Sketchbook, aka Michael Simpson, is an illustrator for Roleplaying is Magic. Joining the team for the game’s second edition, he has used his fine art and animation background to assist in the layout and graphic design of the game’s various materials.

Emerald Dusk, aka Casey Hayes, is the lead content creator for Roleplaying is Magic. Joining the roster for the third edition of the game, he has spearheaded the content creation team in producing a wealth of valuable content; from Spells, to creature information, even to pre-made Episodes.

Serious Business, aka Dominik Makowski, is a content creator for Roleplaying is Magic. Coming aboard for the game’s third edition after being a playtester, he has played an important part in the content creation team’s efforts to convert canon information into usable gameplay resources.

Kindle Bright, aka Shannon McMurtry, is the community manager and general assistant for Roleplaying is Magic. Originally joining for the third edition as an illustrator, she became vital in interacting with the game’s growing community of players.

Blue Bolt, aka Silentmatten (Matthew Hollatz), is the lead vector artist for Roleplaying is Magic. Stepping in for the third edition of the game, he has been instrumental in supplementing the artwork found throughout each edition with clean and well-constructed vector graphics.

Silver Lining, aka Alexis Baker, is the editor for Roleplaying is Magic. Joining the crew for the game’s third edition, she has lent her keen eye and attention to detail to ensure that the ideas and gameplay mechanics of each edition are clearly expressed and articulated.

Baker's Dozen, aka Eugene Elzinga IV, is the senior playtester for Roleplaying is Magic. A long-time player and contributor to the project, he was officially added to the team for the fourth edition of the game, and has been the players’ voice in ensuring it is the best it can be.

Character Creation

D.A.S.H.

Creating a character in S4E can be a detailed process, depending on the type of game you are playing, the level of play your group is starting at, and the amount of experience you and your group have with pen and paper RPG’s. There are many aspects about a character to consider and define during character creation, from the basics of their race and concept, to their attributes and skills, to the unique edges they may choose.

For this reason, character creation follows the acronym "D.A.S.H." to make the whole process linear, easy to follow, and easy to learn for new players. The following sections will walk you through character creation according to this process; but first, a quick explanation of what the letters of the D.A.S.H. acronym stand for.

Design establishes the basic foundation of a character; their Race, physical description, and overall character concept. This serves to inform all subsequent sections of character creation.

Aspects establishes the initial unique parts of a character; the Guiding Element which serves as their core moral principle, and the Fatal Flaw which they may be forced to overcome.

Statistics establishes the major inherent capabilities of a character; their core Attributes, their Fortitude and Willpower to resist harm, and their pool of Valor points.

Headway establishes the capabilities of a character which are gained over time; their set of Skills, the Edges they enjoy the benefits of, and their level of experience.

Ten Seconds Flat

For veteran players, and those who just need a quick reference of character creation, here’s a rapid run-down of the most important parts of the process:

Design: Pick your character’s Race (Earth Pony, Pegasus, or Unicorn by default). Create your character’s physical description. Define your character’s concept (Background, Perspective, and Direction).

Aspects: Pick your character’s Guiding Element (Kindness, Laughter, Generosity, Honesty, Loyalty, or Magic). Define your character’s Fatal Flaw with your GM.

Statistics: Your character starts with the three Attributes (Mind, Body, and Heart) each at 1. Calculate your character’s Fortitude (Body x 10) + (Heart x 5) and Willpower (Mind x 10) + (Heart x 5). Your character has a starting and maximum Valor pool equal to their Heart score.

Headway: Check with your GM to find out what amount of Experience Points the characters in your group begin with, and spend these Experience Points to purchase Edges.

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Design

Race

The first step of character creation is to decide which of the playable Races your character will be.

In S4E, a character’s Race does not grant them any special advantages or restrict their capabilities; all Races have the same basic potential in terms of their Attributes and Skills. A character’s Race does, however, restrict which Edges they are allowed to purchase. Because characters advance solely by purchasing Edges, this can be an important long-term consideration to keep in mind during character creation.

Blank Flank, Blank Flank!

It is important to note that the selection of a character’s Race does not automatically grant the character any ability or advantage, even those which would seem to be inherent to the Race; simply being a Pegasus does not mean a character can fly, and not all Unicorns can use magic right out of the gate. In addition, none of the core Races automatically begin play with their Special Purpose (and thus their Cutie Mark). All of these aspects are gained by purchasing the appropriate Edge(s).

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In S4E, there are three core playable Races to choose from. This list can be dramatically expanded (with GM approval) by including all or part of the Wide, Wide World variant found in the Variant Rules chapter of this book. The three core playable Races are Earth Ponies, Pegasi, and Unicorns.

Earth Ponies are one of the three races which migrated from the pony homelands of old and founded modern-day Equestria. They are hard-working and multi-talented, used to cooperating and finding clever ways of solving their problems. Earth Ponies, by and large, are hard-working, forthright individuals who are no strangers to overcoming difficulty with their wits and determination; without the wondrous abilities of the other races, it is important for many Earth Ponies to make the most of their skills, their circumstances, and the tools around them.

Pegasi are a winged pony race descended from a proud warrior society; from their capital in Cloudsdale, many (but not all) Pegasi serve as the guardians of the sky and the shepherds of the weather all across Equestria. Pegasi are gifted with feathered wings, allowing them to develop the ability to fly and to interact with clouds as if they were solid objects--walking on them, and even swimming in them! From their proud heritage, even the most timid Pegasus often has a courageous spirit hiding deep down, waiting to spring to the surface.

Unicorns are a horned pony race hailing from their capital of Canterlot, who are the guardians and practitioners of arcane magic and spellcasting. In days of old, Unicorns were aristocratic and responsible for raising the sun and the moon, but over time they have become just as diverse as any other race. Unicorns are born with a magical horn which allows them to utilize magic and cast Spells if they study and work hard at it; while most Unicorns develop some level of magical ability, it is most often limited to their interests or passions in life.

Description

The next step of character creation is to develop your character’s appearance and physical description.

This can include a variety of things, such as mane and tail color and style, coat / feather color, facial hair (if any), eye color, height and weight, body shape, age, Cutie Mark (if they have one), outfits they typically wear, accessories they keep with them, and any distinguishing marks.

Concept

The next step of character creation is to develop your character’s core concept.

All well-defined characters have three areas in which their concept should be developed: their Background, their Perspective, and their Direction. These three areas have the most influence on how a character is roleplayed, as well as how they develop and grow over time. This informs their advancement and how they view things which are important to the story, such as morality and ideology.

Background: A character’s Background is their personal history; the important events and elements of their life which have made them who they are today. A character’s Background doesn’t need to be completely comprehensive; it is often best to leave a little ‘wiggle room’ to allow new things to be ‘discovered’ about their history as the story progresses.

Perspective: A character’s Perspective is their current outlook on life, usually in general but also specific where the character has specific views and convictions. Often, a character’s Perspective evolves from their Background--how their life has shaped their outlook to the present day.

Direction: A character’s Direction is their aims and goals, both in the long term and the short term. In general, all characters have goals, and these goals often evolve out of their Background and Perspective. A character’s Direction can be widely varied between aspirations (things to achieve) and passions (things to spend time doing).

Aspects

Guiding Element

The next step of character creation is to choose your character’s Guiding Element from the six Elements of Harmony.

Each of the Elements of Harmony embodies a number of concepts and ideals which can inform a character’s personality and outlook on life, helping them to make decisions and react appropriately to situations. However, it is important to note that a character’s Guiding Element does not restrict their behavior in any way; a character has aspects of each Element of Harmony within them, to varying degrees. The one they choose as their Guiding Element is simply the one which they best exemplify, and most strive to uphold.

The most important mechanical reason for a character to strive to embody their Guiding Element is that it provides an avenue for earning points of Valor, which serve many valuable purposes to help characters and groups during an Episode. The six Elements of Harmony are:

Kindness: The Element of Kindness is found in characters who have a deep compassion for others, and an acceptance of others for who they are. A kind character seeks not only to do no harm, but also to heal hurts in others, and nurture them. While they aren’t necessarily as generous, encouraging, or devoted as others might be, a character who embodies Kindness has a deep compassion and empathy for others which most do not. They are more aware of someone’s feelings and well-being, and how their actions--and the actions of others--might affect them. For this reason, a kind character tends to be reluctant to engage in confrontation and might try to stop it before it starts, and would be the first to make peace afterward and take care of those who were harmed.

Laughter: The Element of Laughter is found in characters who are optimistic at their core, and seek to use their positivity and energetic good cheer to make the world a better place. A cheerful character tends to be upbeat and rarely discouraged or fearful; even when things are at their worst, they can find the silver lining in the dark clouds. While they can tend to be odd or appear to not take things seriously, this is often not the case; a cheerful character generally understands the gravity of a situation, but chooses to focus on the positive and fun aspects of it instead of dwelling on the grim and negative. For this reason, a cheerful character tends to be more apt to encourage others than to oppose them; they are more likely to throw a party to try to change someone’s attitude than to argue with them.

Generosity: The Element of Generosity is found in characters who readily make sacrifices for others, giving of their time, effort, possessions, and even opportunity. While Generosity is similar to Kindness, it differs in that while a kind character might nurture someone by making sure that they get the medical care they need, a generous character would absolutely insist on taking care of the person themselves. It’s not enough for a generous character to make sure someone gets something nice or something they need; a generous character has a deep need to make, give, or deliver it themselves, personally. This can get them into trouble by causing them to try to take on too many responsibilities and thus suffer from the ‘weight of the world,’ but it is this theme of personal and dedicated self-sacrifice which is the mark of a generous character.

Honesty: The Element of Honesty is found in characters who focus on personal integrity, responsibility, and straightforward morality. An honest character is more than simply someone who doesn’t tell lies (in fact, they may lie if it serves a higher sense of responsibility); they have an ‘honest heart,’ and try to be dependable in all aspects of their life. An honest character usually has very strong self-discipline, and firm convictions in what they think is right or wrong; they rarely (if ever) cheat, even against their enemies. To an honest character, a commitment they have made is a sacred duty--an oath or vow that they must fulfill at any cost and by any means necessary. This can lead to an honest character being blind to the assistance others can offer, as they focus on their own personal responsibility and how important it is to their ‘honest heart’ that they make good on their promises. But it is this dependability and firm moral core of steadfast integrity which defines an honest character.

Loyalty: The Element of Loyalty is found in characters who place immense value on those who they consider important, and choose those friends over others--and even themselves. A loyal character desires value and acceptance from their friends, and regularly does things in service to their friends which they do not--or cannot--do in service to others. While a loyal character shows aspects of the other Elements in the things they do, they usually show them more when serving their friends. While they might help others and reap the glory for themselves, when helping friends they are likely to do so even to their own detriment. This is the difference between a loyal character and anyone else: a loyal character will push themselves far beyond the lengths they would normally go to when they do so out of loyalty to those they care about.

Magic: The Element of Magic is found in characters who approach the world with an outlook of idealism, faith, and wonder, and strive to see what makes all things special. A wondrous character focuses on the unique and the important, looking for what makes each pony, each situation, each experience, ‘magical.’ Often, a wondrous character tends to have an innocent, even naive, outlook on life; they have an optimism which is similar to (but more restrained than) a cheerful character’s. A wondrous character approaches situations with a unifying faith in the world around them and their friends, and more often than not, it is they who more readily see the ‘magic’ of friendship for what it truly is.

Fatal Flaw

The next step of character creation is to work with your GM to develop your character's Fatal Flaw.

All characters have a Fatal Flaw. A Fatal Flaw is a personal weakness; a mental, emotional, or moral trait that they struggle to cope with, or (if the GM allows) a physical handicap which reasonably hinders the character in their daily life. For example, a good Fatal Flaw for a character might be that they are a perfectionist, or are afraid of danger, or are a little too controlling. Another might be having weak wings, or poor eyesight. Whatever your character's Fatal Flaw is, it must be approved by your GM, to ensure that it fits the tone and theme of the Episode your game group is playing.

The mechanical impact of your character's Fatal Flaw is that whenever your character's Fatal Flaw reasonably and meaningfully applies to a task they are attempting, they must perform that check without the benefit of their Attributes (this is explained in greater detail in the Playing An Episode chapter of this book). In addition, when a character succeeds at accomplishing a goal despite being meaningfully hindered by their Fatal Flaw, or when a character takes on a meaningful challenge which forces them to confront their Fatal Flaw, the GM may choose to restore a point of Valor to that character (Valor is explained in more detail later in this chapter).

Statistics

Attributes

The next step of character creation is to familiarize yourself with the three Attributes which will form the basis of checks and tasks your character attempts to perform, as well as determining their ability to resist harm, and the degree of their inner courage which they can summon for a variety of purposes.

There are three Attributes in S4E: Mind, Body, and Heart. A new character is created with all three Attributes beginning with a score of 1.

Attributes can be improved by spending Experience Points to purchase certain Edges (Experience Points and Edges are explained in more detail in the Character Advancement chapter of this book).

Mind: The Mind Attribute represents a character’s intellect, reasoning, problem-solving ability, logic and analytical ability. It also represents their memory and knowledge: how much they can remember and how much sheer information they have access to. Finally, it represents their perception and senses: how well they see, hear, smell, taste, feel, and notice about those senses. Characters with a high Mind score tend to be all-around clever, intellectual, and perceptive characters. They approach situations intelligently and rationally, and notice things others do not. They are likely to find solutions nopony else has thought of, and remember important facts no one else did. They are often natural leaders, but can also be some of the best advisors and educational characters in any group of friends. Mind is an important Attribute for characters who cast Spells and use magic, as well as characters who want to focus on having a high pool of Willpower to resist mental and emotional harm.

Body: The Body Attribute represents a character’s muscular strength and power, as well their toughness, stamina, and ability to resist injury and fatigue. It also represents their speed, quickness, reaction time, and overall swiftness. Finally, it represents their agility, dexterity, flexibility, and bodily coordination--their ability to maneuver and move gracefully. Characters with a high Body score tend to be stout, strong, athletic, and fast characters. They approach situations with a mentality of being ready for hard work, and are undaunted by difficulty. They are likely to succeed in a clinch, and can usually be depended upon to accomplish any physical task set before them. They are often the go-to characters in many situations, and can be some of the most relied-upon characters in any group of friends. Body is an important Attribute for characters who are athletic or adventurous, as well as characters who want to focus on having a high pool of Fortitude to resist physical harm.

Heart: The Heart Attribute represents a character’s charm and force of presence: their charisma, determination, and bearing. It also represents their sensitivity, empathy, compassion, care, and ability to connect with other creatures. Finally, it represents their creativity and artistic expression. Characters with a high Heart score tend to be strong-willed, compassionate, charismatic characters. They approach situations from their own perspective, and often help avert disaster with their personalities. They are likely to make friends and allies with the most unexpected creatures and characters. They are often supporting characters in most situations, though when they see what must be done, they can become a rallying force in any group of friends. Heart is an important Attribute for characters who are social or artistic, as well as characters who want to focus on having a high pool of Valor points to spend on a variety of unique abilities.

Fortitude & Willpower

The next step of character creation is to calculate your character’s Fortitude and Willpower scores, as well as familiarize yourself with how Fortitude and Willpower are important to a character.

Whenever a character is exposed to a source of harm, whether physical or mental / emotional, they lose points of Fortitude, Willpower, or both. If they run out of points of either, they become Sidelined, or temporarily defeated (damage, recovery, and Sidelining are explained in more detail in the Playing An Episode chapter of this book).

Fortitude represents a character’s fitness and endurance, as well as their resistance to physical harm, wounds, and injuries. Whenever they are physically injured, a character takes damage by losing points of Fortitude.

Fortitude is calculated from a character's Attributes as: (Body x 10) + (Heart x 5). As a character’s Body or Heart scores change, their Fortitude changes as well.

Willpower represents a character’s self-esteem and determination, as well as their resistance to fatigue and mental / emotional harm. Whenever they are discouraged or scared, a character takes damage by losing points of Willpower.

Willpower is calculated from a character's Attributes as: (Mind x 10) + (Heart x 5). As a character’s Mind or Heart scores change, their Willpower changes as well.

Valor

The next step of character creation is to determine your character’s starting and maximum Valor score, as well as familiarize yourself with what Valor is and why it is important to a character.

In Equestria, the genuine integrity, compassion, selflessness, and courage of an ordinary pony can turn them into a hero, allowing them to face down even the greatest dangers. Those who strive to make the world a better place and do the best they can to do the right thing often find that they have a great inner strength to draw from. Characters in S4E have a pool of Valor points to represent this effect.

Characters begin each play session, and each Episode, with an amount of Valor equal to their Heart score, regardless of the amount they had remaining at the end of any previous play session or Episode; in effect, Valor resets to the character’s maximum each time the player group sits down to play, as well as each time they begin a new Episode.

Characters may spend a point of Valor at any time during gameplay to restore 1d6 points of lost Fortitude and Willpower to themselves or any one of their friends. In addition, Valor may have other uses and effects based on the Edges a character has purchased.

As they play, characters may restore points of Valor they have spent (up to a maximum equal to their Heart score) by carrying out heroic, courageous, and / or virtuous actions or decisions at the GM's discretion. Characters don’t even necessarily have to succeed at these moral actions; often enough, making the decision to do what’s right as opposed to what might be easier is enough. In fact, one of the most reliable ways for a character to restore points of spent Valor is to act in a way which embodies their Guiding Element whenever possible.

At the GM's discretion, characters who show apathy or disregard toward those they might reasonably help, or who take advantage of others, or who act unfairly or with cruelty, or who otherwise behave in a knowingly immoral or unjust way, may have points of Valor taken away from them during gameplay to reflect the inner toll such actions take on a character.

Headway

Skills

The next step of character creation is to familiarize yourself with Skills.

All characters have a set of Skills; knowledge they learn and training they pick up over time. Like all aspects of character advancement, gaining and improving Skills is handled through spending Experience Points to purchase the appropriate Edges, but it is important to first understand the general importance of Skills to a character.

Whenever a character attempts an action and the GM asks them to make a check, the check is always based on one of the character’s Attributes. However, there is a limit to how well a character can do without some kind of training, even if they have very good Attributes. Having appropriate Skills to apply to a check a character is attempting helps the character improve their chances of success.

There is no pre-set list of Skills in S4E; instead, Skills are created by players and the GM as they are purchased for a character. In this way, each character's list of Skills may be unique, based on the Skills their player purchases and works with the GM to create and define. A general rule-of-thumb for creating a Skill is that it should pertain roughly to the same amount and scope of knowledge as an introductory high school or college class (for example, "Biology," "Chemistry," and / or "Physics" instead of just "Science").

Edges

The next step of character creation is to familiarize yourself with Edges.

Edges are unique features and special qualities which help to set characters apart from one another and make them special; whether by establishing some narrative or personal aspect of the character, improving some quality about them (such as Attributes), awarding and improving Skills, applying bonuses to certain kinds of checks they make, or by altering the rules as they apply to the character.

It is important to note that characters' basic Racial powers (such as flight or magic) are represented by Edges which they have access to because of their Race, but characters do not automatically gain these Edges; they must be purchased like any other Edge in order to gain their benefits.

Some Edges are restricted to certain Races, or require having other Edges first, before they can be taken. Additionally, a few Edges can be purchased multiple times; otherwise each Edge can only be taken once. All Edges cost a certain amount of Experience Points to purchase.

Edges are the primary method of character advancement; simply put, characters in S4E advance by gaining Experience Points and spending them to purchase Edges.

Experience

The final step of character creation is to check with your GM to find out how many Experience Points the characters in your group have to spend on purchasing Edges, and then to purchase Edges by spending those Experience Points. More detailed information on spending Experience Points and purchasing Edges, as well as the complete list and library of Edges in S4E, can be found in the Character Advancement chapter of this book.

Your GM may decide not to make up their own amount of Experience Points the characters in your group begin with, and may instead use one of S4E’s pre-set totals, reflecting a general starting point (or “tier”) for the characters in your group. S4E’s pre-set Experience Point tiers by no means reflect all possible heights a character can achieve, only a few suitable starting points for characters being played in various types of games. These tiers, and their pre-set Experience Point totals, are:

Youth (30 Experience Points) - The Youth tier is suitable for characters who are meant to encounter fairly easy challenges with low stakes. This tier is best for helping children and beginners to become familiarized with the game.

Adult (60 Experience Points) - The Adult tier is suitable for characters who are meant to be established in the world, but are not anything special yet. This tier is best for a humble starting point, and for playing slice-of-life games.

Veteran (90 Experience Points) - The Veteran tier is suitable for characters who are meant to be somepony special, with adventures under their belt. This tier is best for playing games with a theme of adventure and some heroic action.

Heroic (120 Experience Points) - The Heroic tier is suitable for characters who are meant to be heroes of Equestria, counted on by others. This tier is best for playing high-stakes games with thrilling, ‘saving the world’ heroics.

D.A.S.H. Example

Here you will find a step-by-step example of character creation, using S4E's D.A.S.H. process, to help new players understand how it works. In this example, our player 'Tom' will create his S4E character, 'Thrifty' – a humble and simple pony who just might have the makings of a hero.

D - Design

Race: The first step of character creation is for Tom to decide what Race his character Thrifty will be. He decides that Thrifty will be an Earth Pony, as their hard-working, hooves-on nature best suits his idea for Thrifty.

Description: The next step is for Tom to describe Thrifty. Tom decides that, like himself, Thrifty is pretty average; average height, a generally average build, unremarkable tan coat, short brown mane and tail, and hazel eyes--an everyday citizen of Equestria. He also decides that Thrifty is a quintessential tinkerer, always fixing up old things; because of this, Thrifty is always a little covered in dust, and also always carries a saddle bag full of 'tinkering tools' and small spare parts around with him. Tom decides Thrifty is usually friendly and relaxed, with a 'can-do' attitude.

Concept: The next step is for Tom to define Thrifty's core concept, with his Background, Perspective, and Direction. Tom decides to keep Thrifty's Background simple; the youngest of a big family, he had an interest in repairing old things from an early age, so he eventually moved to his new home to open a general repair shop. This feeds into his Perspective; Thrifty hasn't gotten enough money together to start his shop yet, so he is always on the lookout for work that needs to be done. This gives him his friendly, can-do attitude; he's always willing to help out and mend what's been broken. This, in turn, feeds into his Direction; Thrifty wants to help ponies with the simple things in their lives which need fixing. He has no grand aspirations of being a hero and saving Equestria, he's simply willing to work hard to help make everypony's life a little better in his own small way. (Of course, it is this quiet and humble virtue which might one day make Thrifty into one of Equestria's heroes…)

A - Aspects

Guiding Element: The next step is for Tom to decide which Guiding Element is the one which best matches who Thrifty is. This, thanks to the previous section of character creation, is an easy task for Tom; Thrifty obviously best matches the Element of Generosity. He could also match Kindness, as the two are similar in some ways; but after talking with his GM, Tom decides that Generosity is better because Thrifty wants to have an active part in doing good work--he wants to be 'hooves-on,' so to speak. Following this ideal and striving to embody it, especially when it is difficult to do so, will help Thrifty regain spent Valor during gameplay.

Fatal Flaw: The next step is for Tom to determine what Thrifty's Fatal Flaw is. After taking some time to consider who Thrifty is as an individual, reviewing the past sections of character creation for reference, and talking with his GM, Tom decides that because Thrifty works on mending broken things and fixing up old things which have worn out, his Fatal Flaw is that Thrifty has a hard time letting go of things, whether material things, situations, problems, or other ponies. This makes Thrifty hesitant to change or give up on something, and that can lead him into trouble. During gameplay, whenever Thrifty is faced with a dilemma which plays on his Fatal Flaw, he will make checks without the aid of his Attributes.

S - Statistics

Attributes: The next step is for Tom to read and learn Thrifty's three Attributes: Mind, Body, and Heart. Each of these Attributes will begin with a score of 1 for now, and Tom will have the opportunity later on in character creation to improve them through purchasing the appropriate Edges.

Fortitude & Willpower: The next step is for Tom to understand Thrifty's Fortitude and Willpower scores, and calculate their initial values. His Fortitude is calculated as (Body x 10) + (Heart x 5), and his Willpower is (Mind x 10) + (Heart x 5). Because all of his Attributes are currently at a score of 1, both his Fortitude and Willpower scores are currently 15. This may increase later in character creation depending on the choices Tom makes for Thrifty.

Valor: The next step is for Tom to learn about Valor, and to determine Thrifty's starting and maximum Valor score. Thrifty's Valor score is equal to his Heart Attribute, which is currently 1, meaning Thrifty's Valor is also currently 1. This may increase later as character creation continues.

H - Headway

Skills: The next step is for Tom to learn about Skills. While Thrifty does not begin with any Skills by default, he may acquire them depending on the choices Tom makes later on as character creation continues.

Edges: The next step is for Tom to learn about Edges. Like Skills, Thrifty does not begin with any Edges by default, but he may purchase them later in character creation by spending Experience Points (XP). Edges are the primary way in which Thrifty will gain power, ability, and knowledge.

Experience: The final step is for Tom to put all of his knowledge and conceptualizing of Thrifty to use by spending Experience Points (XP) to purchase Edges to improve Thrifty's capabilities. He finds out from his GM that Thrifty (like all of the characters in Tom's game group) starts in the Adult tier of experience, which gives him 60 XP to spend on Edges to advance his character. The following is how Tom spends Thrifty's starting XP:

  1. Gifted (5 XP): Thrifty purchases this Edge to increase his Mind score from 1 to 2, and subsequently increases his Willpower from 15 to 25 (+10).
  2. Gifted (5 XP): Thrifty purchases this Edge to increase his Body score from 1 to 2, and subsequently increases his Fortitude from 15 to 25 (+10).
  3. Gifted (5 XP): Thrifty purchases this Edge to increase his Heart score from 1 to 2, and subsequently increases both his Fortitude and Willpower from 25 to 30 (+5 each). The Heart increase also increases his Valor from 1 to 2.
  4. Improved Gifted (10 XP): Thrifty purchases this Edge to increase his Mind score from 2 to 3, and subsequently increases his Willpower from 30 to 40 (+10).
  5. Improved Gifted (10 XP): Thrifty purchases this Edge to increase his Heart score from 2 to 3, and subsequently increases his Fortitude from 30 to 35, and his Willpower from 40 to 45 (+5 each).  The Heart increase also increases his Valor from 2 to 3.
  6. Skill Training (5 XP): Thrifty purchases this Edge to reflect his training and skill in repairing things. Tom works with his GM to describe and define the details of this Skill, and they call it "Repair." Thrifty will roll an extra 1d6 when he makes a check to which Repair would apply, and he will choose the best two d6 results to add to the check.
  7. Improved Skill Training (10 XP): Thrifty purchases this Edge to reflect his more advanced training and skill in repairing things. He chooses his "Repair" Skill, and applies this Edge to it. Thrifty will now roll an additional extra 1d6 (for a total of 2d6 extra) when he makes a check to which Repair would apply, and he will choose the best two d6 results to add to the check.
  8. Special Purpose (5 XP): Thrifty purchases this Edge to reflect that he has gotten his Cutie Mark. Tom works with his GM to define Thrifty's special purpose as, "To mend the broken." They also determine that his Cutie Mark is a wrench and a screwdriver, crossed over each other. Whenever Thrifty's special purpose applies to a check he is making, he will ignore any and all Drawbacks he might otherwise suffer for that check.
  9. Talented (5 XP): Thrifty purchases this Edge to reflect his inherent talent with using the materials available, instead of having to rely on specialized tools, to get the job done. Tom works with his GM to describe and define this Talent, and they call it "Resourceful." Whenever Thrifty makes a check to which this Talent applies, he gains a +1 bonus to his check result.

With the final step of character creation complete, Tom has finished creating Thrifty, and the handy-pony is ready for his first Episode!

Playing An Episode

Structure Of Gameplay

S4E is designed to be easy to play, with a loose structure of rules meant to appeal to beginner and ‘freeform’ roleplayers and to encourage collaborative storytelling. There are six important terms to learn and remember, and these are: Theater of the Mind, Scenes, Narrative Mode, Cinematic Mode, Rounds, and the “P.I.E.” acronym. In this chapter, each of these terms and how they govern gameplay will be explained.

Theater Of The Mind

S4E falls within the genre of ‘collaborative storytelling’ games, which is more loosely-governed than other game types in terms of exactly what a character can and cannot do. This means that S4E is played primarily with the group’s imagination and interpretation, and with secondary materials (such as grids, maps, tables, charts, and exact measurements of range, damage, movement speed, etc) having less of an impact on moment-to-moment gameplay. This style of play is relatively subjective and fluid when compared to other games in the RPG genre, and is best described with the term Theater of the Mind.

Scenes

Individual parts of an Episode of S4E can be separated into Scenes, which are distinct sequences of action and narrative revolving around a central plot point. Scenes can be identified by considering an Episode of S4E as if it were an episode of the original cartoon: they could be anything from “talking to ponies around town to find information,” to “confronting the hydra,” to “traveling through the forest.” Many parts of S4E revolve around the concept of Scenes, and it is thus important to approach gameplay with Scenes in mind.

Narrative Mode

Scenes in S4E are separated into two types: Narrative Mode and Cinematic Mode. A Narrative Mode Scene is a Scene in which timing isn’t necessarily important. It is the ‘exploration’ mode of the game. For example, when going around town looking for clues, or searching a cave for a secret door, or traveling through the forest, the moment-to-moment timing of the game isn’t very important. Thus, those are all Narrative Mode Scenes. Narrative Mode is fast and loose, with the GM and the players working together to tell the story, and the GM keeping things organized without needing to take gameplay into the more ordered Cinematic Mode.

Cinematic Mode

The other type of Scene in S4E is Cinematic Mode. A Cinematic Mode Scene is a Scene in which timing and bookkeeping of numbers are more important, and often one in which when danger or threat is a focal point of gameplay. For instance, Cinematic Mode comes into play when the players’ characters are facing an adversary or handling a tense or difficult situation like a sporting competition or escaping from Ahuizotl’s latest series of traps. A Cinematic Mode Scene is played out in a sequence of Rounds, with a uniform order of action and reaction that is repeated from Round to Round.

Rounds

Rounds are the most organized gameplay structure in S4E, and are meant to be used when a lot of action is taking place – often in response to danger, difficulty, or threat. Rounds are useful in that they allow the GM and the players to keep track of everything going on in the correct order by making the potentially chaotic narrative of the story adhere to a linear progression of action and reaction each Round. This progression is abbreviated into the acronym “P.I.E.”

P.I.E.

P.I.E. stands for “Presentation, Initiative, Effects.” It is the formula of steps for resolving each Round of a Cinematic Mode Scene. The following will describe each step in detail, and give examples of P.I.E. in action.

Presentation: First, the GM will present the scene (or continue the scene from the previous round), with a brief piece of narration, and, if necessary, will present a challenge. For example:

“You enter the dark banquet hall, moonlight hidden by old, heavy curtains. Cobwebs and dust lie heavily over the long table and old chairs. However, after taking a few steps, the candles and the fireplace suddenly spring to life, flame flaring to life and illuminating the hall--and the cloaked figure seated at the head of the table. “I am pleased you could join me for dinner,” he says, “I have been hungry for so long, and you look so delicious...” From the rafters, a swarm of bats come screeching down toward you, flapping their leathery wings as they attack!”

Initiative: Next, the GM will call for reactions from selected characters, followed by actions from everyone. First, those characters who the GM decides are entitled to reactions get to take a short, often defensive, action (for example, a reaction may be to dodge out of the way of a falling tree, or to make a reply to an insult directed at them). The reacting characters may act in any order they choose, sharing one group ‘turn’, and all of the characters’ reactions are resolved at once, with the results being interpreted by the GM accordingly. If they can’t cooperate to decide on their own action order, the GM may decide they’ve lost their chance to react due to bickering. Usually, only characters who are directly affected by some part of the scene presentation are entitled to a reaction, though this is left up to GM discretion. For example:

The GM decides that only three members of the group are in direct danger of attack from the bat swarm, and so calls for reactions from them. Two characters try to dodge out of the way, and one tries to blind the bats with a flash of magical light. The GM resolves all of the reactions, and decides how the combined reaction plays out. One of the dodging characters succeeded, but the other failed – but the character who tried to blind the bats succeeded! The GM decides that the blinding light prevents the bats from harming anyone for the moment, and thus the light-wielding character’s reaction ‘saved’ the failed dodging character as well.

After reactions have been resolved, the GM will call for everyone to make a single action. This action can be more complex than a reaction, but still usually only takes a few seconds; the GM and the players should work together to make sure that a given action is neither too short, nor too long, based on the scene at hand. Actions are taken in any order the players choose, and are resolved individually (not as a group, as reactions are). Just as with reactions, if the players cannot work together to decide action order, the GM may rule that they’ve lost their opportunity. Characters who choose to act in Harmony with a fellow character are counted as acting at the same time as the character they are acting in Harmony with (acting in Harmony is explained in more detail later in this chapter). For example:

The characters, with a brief reprieve from the bat swarm, decide to take the offensive. A Pegasus tries flying in a circle to summon a small tornado to trap the bats while the others confront their mysterious adversary. It works, and the bats are kept busy in the cyclone. The other characters confront the cloaked figure. One steps forward, and all the others act in Harmony with the group leader, backing them up as they demand that he tells them his name, and where he’s taken Princess Luna!

Effects: Finally, the GM will narrate any extra effects that either occur as a result of the characters’ actions over the course of the round or that should be highlighted for the players’ benefit. This is a ‘clean-up’ step, and may be skipped if the GM decides to move on to the next round instead. For example:

As the characters confront their mysterious adversary, the bats, confused by the tornado, seem to break out of a magical trance they’ve been kept under and no longer seem hostile.

With the Effects step complete, this Round ends and a new Round begins with its Presentation step.

Making Checks

Checks are the backbone of character actions in S4E. Any time a character attempts a task, the GM may require that they make a check to determine if they were successful or not. In general, easy tasks, or tasks with little-to-no narrative significance, can be resolved without requiring a check; however, most tasks a character attempts which impact the story are good candidates for checks. Checks are also used to determine the victor in a directly opposed action or a competition between characters.

This section will explain how to perform the three types of checks: Standard, Opposed, and Competitive.

Standard Checks

When making a check, a higher result is desirable, as the total of a check is compared to a target difficulty number to determine the check's outcome. To make a standard check, perform the following steps.

  1. Step One: Describe the action your character is taking, and work with your GM to decide which Attribute is being used for the check. Add that Attribute's score to the check total. If the GM decides that your Fatal Flaw applies to the check, however, skip this step. When your Fatal Flaw applies to a check, you perform that check without the benefit of your Attributes.
  2. Step Two: Roll 2d6, plus a number of additional d6's if you have an applicable Skill, according to the Edges you have purchased for that Skill. Take the highest two results as the roll for the next step.
  3. Step Three: Apply the effects of any Advantages and Drawbacks to the roll (Advantages and Drawbacks are explained in more detail later in this chapter), and add the adjusted roll result to the check total.
  4. Step Four: Add any bonuses awarded by Edges to the check total, make use of any Edges you can use and decide to use, and give the check total to the GM to find out what happened.

For example, Royal Blue, a young Pegasus, is crossing a rope bridge over a deep ravine and is attempting to leap across a section where the old wooden planks have fallen away.

  1. Step One: She determines with the GM that the leap will be a Body check. Having a Body score of 2, she thus gains +2 to the check total. If her Fatal Flaw "social anxiety" had applied, she would skip this step; because it doesn't, however, she gains the +2 as normal.
  2. Step Two: She has the Skill "Gymnastics" which the GM agrees applies to the check. She is entitled to roll 2d6, as everyone is when making a check. Because of the Edges she has which pertain to her "Gymnastics" Skill ("Skill Training" as well as "Improved Skill Training"), she is entitled to two additional d6's (one from each Edge). She rolls the total (4d6), and gets results of 2, 3, 4, and 5. She takes the 4 and the 5 (total 9), being the two highest results.
  3. Step Three: The GM decides that the swaying of the rope bridge adds one Drawback to this check, which will reduce the check's total roll by one step. In this case, the roll--determined by the previous step--was a 9. The Drawback reduces this by one step, making the 9 into an 8. She thus gains +8 to the check total, bringing it up to 10 total.
  4. Step Four: Royal Blue is a Pegasus, and has previously purchased the "Wing Power" and "Improved Wing Power" Edges (each granting a +1 bonus when her wings are used to aid in a check). She is, of course, using her wings to aid her jump; because of these two Edges, she thus gains a +2 to the check total accordingly. This brings the check total up to 12. She gives this result to the GM to find out what happens.

Opposed Checks

Sometimes, characters may attempt tasks which are directly opposed to one another; for example, playing tug-of-war, having a race, or hoof-wrestling would all be opposed checks. In those cases, simply follow the steps for a standard check, except that in Step Four, whichever character has the highest check total succeeds at the opposed check (i.e. winning the tug-of-war, race, hoof-wrestling match, or whatever else was at stake, as interpreted by the GM). The other character fails at the opposed check.

Competitive Checks

Sometimes, characters may attempt tasks with the intent to outperform one another; for example, two teams each trying to produce more cider than the other would be a competitive check. In these cases, it becomes important not just to see who performed better, but also to make sure that the involved characters both succeeded in the first place.

This kind of competitive check is a combination of a standard check and an opposed check, in that the characters involved must first succeed at the Difficulty Target set by the GM, and then their results are compared to decide who performed the best. Only the character who succeeds against the Difficulty Target of the task and outperforms their opponent(s) is counted as having succeeded at the competitive check; all others fail the competitive check.

Advantages & Drawbacks

All positive and negative modifiers to checks (such as using an appropriate tool, or conversely, suffering from a disadvantageous condition) are represented by the GM applying Advantages and Drawbacks to the check's 2d6 roll result. A check may have any number of Advantages and Drawbacks.

Advantages and Drawbacks first cancel each other out. For example, if a character has two Advantages and one Drawback on a particular check, they effectively have one Advantage (as one Advantage and one Drawback cancel each other out, leaving one Advantage remaining).

Advantages increase the 2d6 result by one step, up to the maximum possible 2d6 result (12).

Drawbacks decrease the result of the 2d6 result by one step, down to the minimum possible 2d6 result (2).

For example, if a character has a 2d6 roll of 10 with three Advantages, they can only increase the result by two, up to 12 (effectively 'wasting' the third Advantage; it would have increased the result to 13, which is above the highest possible 2d6 result, and is thus disregarded). By the same token, if a character has a 2d6 roll of 3 with two Drawbacks, they can only decrease the result by one, to 2 (effectively 'negating' the second Drawback; it would have decreased the result to 1, which is below the lowest possible 2d6 result, and is thus disregarded).

It is important to consider the approach characters take to each individual Scene, as past actions in a Scene can add Advantages and / or Drawbacks to future checks. In this way, the tactics and strategy employed by a group of characters can help or hinder them as a Scene progresses.

Acting In Harmony

When characters work together on the same check, they are acting in Harmony. Acting in Harmony can allow a group working together to accomplish something that no single member of that group could accomplish on their own.

Characters acting in Harmony are considered to be a single character for the purposes of the check, and use the best possible elements of each involved character to try to achieve success. For example, a group of characters acting in Harmony might use one character's Attribute score, another character's Skill, and an Edge possessed by a third character.

Characters acting in Harmony do not 'stack' any aspects of their characters; they instead choose the best available options for making the check.

For example, if two characters acting in Harmony have the same Edge granting a +2 to the check, they do not get a total of +4; they only get the single +2 bonus. In addition, any abilities which override or upgrade a certain benefit (such as one Edge awarding a +1, and its "Improved" version upgrading that bonus to a +2) only award the highest benefit (instead of gaining +1 and +2, the characters acting in Harmony only gain the +2 for the "Improved" Edge).

When a group of characters attempts a check and are acting in Harmony, they designate one character to be the leader for the purposes of the check. This character is the one who actually makes the check (rolling the d6's). However, when this leader rolls the d6's of the check, they add a +1 bonus to the check result for each character acting in Harmony, including themselves.

For example, four characters are acting in Harmony for a check. They decide on a leader for the check. The leader makes the check as the 'combined character' of all four participants, and also adds +4 to the check result (+1 for each character acting in Harmony; four participants yields a +4 bonus) above and beyond what the 'combined character' would normally be entitled to.

If, for any reason, characters acting in Harmony are dealt damage, they may split up the damage as they choose amongst themselves. In addition, if they spend Valor, any character who is acting in Harmony may spend the Valor (for example, if an Edge one character has requires Valor to use, another character acting in Harmony with them may spend their Valor to allow the use of that Edge).

Damage, Recovery, & Sidelining

Danger to characters in Equestria can come from all angles, be it from a monster attacking from the Everfree Forest, to a bully in Ponyville who just won’t leave them alone. Because of this, characters may take damage to both their physical and emotional state, and damaging either one may be enough to ‘Sideline,’ or temporarily defeat, a character. The toughest soldier may be emotionally sensitive, and the strongest will may come in a physically frail body. This section will explain how characters are harmed, what happens to them as a result of being harmed, and how they recover.

Taking Damage

Dangerous situations can lead to characters taking damage to their Fortitude and Willpower, through physical harm (for Fortitude) or mental / emotional harm (for Willpower). The GM determines the type and severity of the harm being inflicted, which yields a formula for calculating the inflicted damage.

For example, a character doesn’t manage to get out of the way of a charging buffalo. The GM determines that the buffalo hitting the character inflicts ‘Heavy’ physical harm, which is (2d6 + 8) damage to Fortitude. When it is rolled, the results are 3 and 5, plus 8, for a total of 16.

Recovering With Valor

As long as a character’s Fortitude and Willpower totals are above zero, they can spend Valor to recover lost Fortitude and Willpower, up to their maximum. This may be done as either a reaction or an action during a round of Cinematic Mode gameplay, or at any time during Narrative Mode gameplay. In addition, multiple points of Valor may be spent at a time. For every point of Valor a character spends, they recover 1d6 of their own Fortitude and Willpower, or allow a friend to recover 1d6 Fortitude and Willpower. In this way, characters may use Valor to maintain their own levels of Fortitude and Willpower, or may help a friend in need avoid dropping to zero.

For example, a character who has dropped to 5 Fortitude out of their maximum may, by spending 3 points of Valor, recover 3d6 Fortitude and Willpower. They might also have spent 3 points of Valor to recover 3d6 of a friend’s Fortitude and Willpower, or may split the expenditure as 2 points for 2d6 Fortitude and Willpower for themselves and 1 point for 1d6 Fortitude and Willpower for their friend.

Being Sidelined

When either of a character’s Fortitude or Willpower totals reach zero, the character becomes Sidelined, and cannot recover from being Sidelined unless an effect is used which specifically says that they recover from being Sidelined. A Sidelined character cannot take normal actions, and is effectively ‘out of action’ for the duration of a Scene. The only actions a Sidelined character can take are ones granted via Edges (for example, the "Second Wind" Edge allows a character to recover from being Sidelined once per Scene) – otherwise, the GM controls the character until they decide to return control to the player, or until the Scene is over. A character becomes Sidelined according to the situation at hand and whether Fortitude or Willpower was reduced to zero.

For example, a character participating in a joust who runs out of Fortitude might be knocked out or exhausted, whereas a character who is facing a scary monster and runs out of Willpower might be forced to run away in fear. Either are appropriate examples of being Sidelined.

If all characters are Sidelined, the GM may declare that the game is over, or may take the story in a different direction. Being Sidelined isn’t always the end; it may allow for characters to be captured, or for other events to occur in the story while everypony is temporarily incapacitated.

After-Action Recovery

The GM may, after a dangerous Scene is over, restore all Sidelined characters to being actively playable, as well as restoring them to 1 Fortitude and Willpower and get them ‘back on their feet,’ so to speak. In addition, a character may have all (or some, at the GM’s discretion) of their lost Fortitude and Willpower restored by resting, relaxing, or otherwise engaging in ‘focused recovery’ between dangerous Scenes or as a result of other events, at the GM’s discretion.

For example, after the dragon has been sent on its way from Equestria, the GM rules that the Scene is over, and the four characters who were Sidelined are restored to 1 Fortitude and Willpower and recover from being Sidelined. After returning to town, the group takes the opportunity to relax together from their adventure, and the GM rules that this ‘focused recovery’ restores everyone to full Fortitude and Willpower.

Using & Restoring Valor

Valor is a unique resource which characters gain and lose based on their moral behavior and ethical actions, and which they can spend for various purposes. It gives characters who strive to be the ‘good guys’ a tangible benefit for doing so, and helps to promote the central positive themes from the original cartoon series in gameplay. Valor is not an alignment mechanic; characters can be from any and all walks of life, with any kind of view on morality and philosophy, and still make use of the Valor system.

Using Valor

Valor can be spent during gameplay to restore a character’s lost Fortitude and Willpower. This restoration can be used on the character spending the Valor, or on any other character present in the Scene, and multiple points of Valor may be spent at the same time by a character. For every point of Valor a character spends, they may recover 1d6 of their own Fortitude and Willpower (up to their maximum), or allow a friend to recover that amount – and each point, even when spent all at the same time, may be applied to a different character.

Additionally, several Edges give characters other ways to use their Valor points to make use of unique powers and abilities.

Restoring Valor

Whenever a character does (or earnestly attempts) something especially moral or ethical, usually going out of their way or accepting a burden of some kind to do it, or embodying their Guiding Element particularly well, the GM should restore one or more points of spent Valor to that character, up to their maximum.

Whenever a play session or Episode ends, all characters will begin the next play session or Episode with all of their Valor restored.

Ending An Episode

After the action of an Episode is over, there is a final phase of the Episode in which characters earn Experience Points. This Experience Point gain is based on the character growth the character experienced through the lessons that they learned from the Episode, and takes the form of a ‘Letter To The Princess’ (or, alternatively, an entry in a group diary). This phase of an Episode, as well as Experience Points and how characters advance through purchasing Edges with them, is covered in detail in the Character Advancement chapter of this book.

Character Advancement

Learning Lessons

Once the action of an Episode ends, the problem is solved, and the story is finished, there is still one phase left: the ‘Letter To The Princess’ (or, alternatively, an entry in a group diary). Just as in the original cartoon series, it’s not only important that a problem is solved--it’s also important how it was solved and what the characters learned from the experience. To that end, the basis of character advancement and the accumulation of Experience Points in S4E is based not simply on the completion of the Episode itself, but upon the Lessons the characters learned from an Episode. Additionally, just as in the original cartoon, the method of identifying these Lessons and earning Experience Points from them in S4E is for the players to compose their characters’ own Letter To The Princess.

The characters’ Letter To The Princess doesn’t have to be poetic or written in the narrative format of the letters or diary entries from the original cartoon series (although there’s nothing wrong with doing so); it’s perfectly acceptable for a Letter To The Princess to simply be a list of the Lessons the characters learned from playing the Episode, and a short explanation of each one. Once they are satisfied with their Letter To The Princess, the players present it to the GM, who then awards the group Experience Points for the Lessons the GM feels are representative of meaningful character growth.

The first step in composing the Letter To The Princess is to identify the Lessons the characters learned over the course of the Episode. Lessons should be meaningful and represent character growth and change as a result of their experiences during the Episode. In addition, Lessons should be phrased as a statement, in a complete sentence. For example, if a character spent a considerable portion of time during an Episode taking care of children who seemed to get into all kinds of trouble by showing up trying to help, they might learn the Lesson, “It’s important to know your limits so you don’t do more harm than good.” Each character’s individual Lessons are added to the list which makes up the Letter To The Princess, and any duplicates are removed; for example, if more than one character learned “It’s better to make peace than to get even,” that Lesson would still only be added to the Letter To The Princess once.

As a character progresses through Episodes, accumulating Experience Points and increasing their power and capability, it’s only natural for the scope of the Episodes they are participating in to expand and change; in their youth, a character might deal with the challenges of being a foal-sitter, where later in their life, they might face the responsibilities of ruling an entire kingdom. Because characters gain Experience Points from the Lessons they learn during an Episode, it’s important to understand that the nature of the Lessons a character learns changes and matures over time along with them. No character is ever finished learning Lessons about life and the world around them: it’s just their perspective that shifts as they progress, and even a princess learns and grows--though the Lessons they learn may be different than the ones learned by their subjects.

Experience Points

Once the players have composed the list of Lessons which comprises their characters’ Letter To The Princess, they present it to the GM, and each Lesson is discussed: who learned each Lesson, what they learned it from, why it’s meaningful, and how the character(s) changed as a result of learning it. For each Lesson the GM feels is well-established and meaningful to character growth and development, the group of characters earns one Experience Point.

Experience Points are earned and awarded as a group, not individually; each character’s number of total earned Experience Points is the same as their group’s total. While players decide how to spend their character's Experience Points individually, the Experience Points themselves are gained equally and simultaneously by all characters who participated in an Episode.

Purchasing Edges

All character advancement is achieved through spending Experience Points to purchase Edges, and applying the effects of those Edges to the character. Everything from acquiring spellcasting ability, to improving Attributes, to attaining new Skills and improving existing Skills, to gaining new special powers and talents, is all performed by purchasing Edges – there is no other method of character advancement in S4E.

Many of the Edges found in this chapter have prerequisite limitations (Edges which must be purchased prior to purchasing them) as well as Race limitations (preventing all but certain Races from purchasing them). These limitations take into account all content found throughout this rulebook, including the variant rules found in the Variant Rules chapter. Because of this, many Edges will have Race limitations which apply to Races which can only be played by using the Wide, Wide World variant.

Edge List

Below is the list of the 116 Edges in S4E, listed alphabetically and grouped as applicable. Detailed information on each Edge can be found in the Library of Edges section.

Library Of Edges

Below is the full text for all 116 Edges in S4E, listed alphabetically and grouped as applicable, with Race restrictions (including the Wide, Wide World variant Races), XP costs, purchase restrictions / prerequisites, the full rules for each Edge, and a special note for any Edges which may be purchased more than once.


































































Magic & Spellcasting

Magic Is As Magic Does

Magic in Equestria is a powerful and personal force; those who can wield it are a breed apart from others, and a character who truly understands the intricacies of magic and spellcasting is a rare individual indeed. Mechanically, casting a Spell is a potent ability, though it draws upon a character’s inner strength and stamina and can rapidly drain them of their Fortitude and Willpower.

Spellcasters beware!

The use of spells and magic is one of the most complex and potentially time-consuming parts of S4E to use; if you plan to play a character who wields magic, make sure you take the time to learn this chapter well and prepare yourself accordingly. Doing so will save you and the rest of your game group a considerable amount of time and confusion, and will help to keep the game moving at a fun pace.

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Creating Spells

The ability to create Spells is what makes magic such a versatile asset; characters who can harness magic are often able to do so not just by learning Spells, but by creating their own and thus tailoring their use of magic to their personal strengths, preferences, and the situation at hand. Creating Spells, however, can be a complex process for players who are new to it.

Every Spell requires a few components to be created; the first of these is the list of the Magical Aspects which are involved in the Spell. There are five Magical Aspects every Spell needs: Target, Range, Duration, Effect(s), and Subject(s). Each Magical Aspect is chosen from a list, to best describe the Spell. Each Magical Aspect also carries its own Spell Level value (found in each Magical Aspect's entry), which are added together to calculate the Spell Level of the Spell being created. The Spell Level of a Spell will determine the cost to cast that Spell, as well as the minimum Difficulty Target a character must meet with a check to cast it successfully (which may limit what Spells can be cast by a character according to their spellcasting capabilities).

In addition to these mechanical necessities, a Spell also needs a brief description of what it does, any limitations it has, details on how it carries out its effects, and / or any other information which is important to the Spell for the purposes of gameplay. This description allows the GM to interpret the effects of the Spell, and apply those effects to the action of the Episode.

All Magical Aspects used to create Spells are found below, as well as their Spell Level value.

Target

Range

Duration

Effect(s)

Subject(s)

Casting Spells

The spellcasting character must pay an amount of Fortitude and / or Willpower (split as they choose) equal to the Difficulty Target in order to make the attempt. If the character cannot spend enough Fortitude and / or Willpower to meet the cost of the Spell, they cannot even make the attempt to cast the Spell.

Finally, the character then attempts to meet or exceed the Difficulty Target with a Mind-based check to succeed at casting the Spell. This check is subject to all other rules of making a check, including rules for Partial and Dramatic Successes. At the GM’s discretion, they may increase or decrease the Difficulty Target for the purposes of successfully casting the Spell (for situations in which the task the spell is attempting to accomplish is more or less difficult than is casting the Spell itself). This increase or decrease may or may not also affect the cost to cast the Spell, allowing the GM to override the spellcasting rules when necessary.

The Canterlot Archives

Below, you will find over a hundred pre-made spells taken from the Friendship Is Magic cartoon, which are ready for spellcasting characters to use. These spells are separated by season, and in alphabetical order.

Season One Spells


Season Two Spells


Season Three Spells

Season Four Spells

Running An Episode

Being The Game Master

Brave GM, we salute you.

The GM easily has the most difficult job at the game table, from acting out all the non-player characters, to handling all the checks and damage for the player characters, to setting the scene and making things interesting and engaging, to establishing the story and helping to bring it to a satisfying conclusion; the GM has a dozen things to think about and consider from moment to moment during a game session (and often outside of one, too). This is true of any pen and paper tabletop roleplaying game, and the more complicated a particular game system is, the more difficult it is to GM. S4E is designed to be relatively simple in terms of its systems and mechanics, to allow a GM to focus on what we believe is the most important part of a GM’s job: working with the players to tell a fun, engaging, and meaningful story.

There is a long-standing debate among GMs as to what the role of a GM should be; whether a GM should be more ‘hands-off’ and reactive to what the players do (a more ‘sandbox’ approach) or more ‘hands-on’ and active in directing the players through the experience (a more ‘railroad’ approach). Most GMs find their own balance somewhere between those two ideals, and S4E is designed to work for either style and anywhere in-between. But there is a second debate which often arises in the middle of gameplay about whether the rules take precedence over the story, or the story takes precedence over the rules--and it is here that S4E takes a firm stance: the story takes precedence over the rules.

This all serves to sum up the GM’s role in S4E: The GM is somewhere between a director, a referee, and a supporting actor, guiding the players whenever necessary and letting them have the spotlight whenever possible. The GM’s most important concern is ensuring that the story is engaging, meaningful, and fun – and to that end they are fully empowered (and even expected) to bend or break the rules, if doing so helps to make the story better.

The most important part of playing S4E is to have fun; if your game group (yourself included) is having fun, then whatever you as the GM did to make that happen was the right thing to do.

Collaborative Storytelling

It’s important for the GM to keep in mind that S4E is not just a roleplaying game, but is also a vehicle for collaborative storytelling; and to understand what that means as it applies to the gameplay experience. When players start to pull a story away from its originally-intended progression with unique ideas, it’s a natural tendency of many new (and sometimes experienced) GMs to take a firm stance with their players of “that’s not how it works in my world.” While this usually comes from a noble intention of preserving the integrity of the story, it’s important to also remember that the players are crafting the narrative along with the GM; it is the very nature of characters in a story to alter the direction of that story to make it personal to themselves – and S4E is certainly focused on the personal journey of the characters.

By the same token, as any veteran GM can attest, it’s entirely possible for things to get chaotic and out of hand--and it’s part of the GM’s job to keep a rein on things and prevent that kind of discord by guiding some of the players’ actions without overtly controlling them (and consequently removing the point of having players at all). One of the best ways to do this is to use players’ (and characters’) emotional attachment to parts of the story in order to appeal to them and guide them toward (or away from) a particular course of action. For example, the advice of a trusted non-player character can often turn a group of players toward a particular path or train of thought; likewise, if doing something would risk the well-being of a beloved place or character, players will often avoid it as an option.

The GM’s role should ideally shift fluidly between giving the players direction and focus and then letting them take the spotlight and lead themselves once they’ve gotten a handle on where they’re going in the story. Take cues from your players as their characters’ dynamics emerge; for example, if one character seems to be naturally taking on a leadership role, shift the interactions of the story to help reinforce that leadership role. Similarly, if two characters seem to be locking horns over different ways they think situations should be handled, adjust the choices the group comes across during the Episode so that it plays on that dynamic.

Good players will create their own fun and make the story personal, and it’s an important part of the GM’s job to help create opportunities for them to do so. While you may have conceived of the original premise and plot of the Episode, you’re the only one who knows how it was originally intended to be played; letting your players take the spotlight can help to make for an even better and more memorable story in the long run – a fun, meaningful, and rewarding experience which your players will credit you for providing when they reflect on it later.

It’s an ideal, win-win scenario – and the greatest strength of truly collaborative storytelling.

Getting Things Started

So, you’ve gotten a group of players together to play an Episode of S4E, you’ve helped guide them through character creation, and you’re prepared to GM the game. How do you get things off to a good and interesting start?

In television and film, there’s a common technique called a “cold open” which is used to great effect to involve the audience immediately and concisely set up the plot. Chances are good that you’ve seen this effect yourself as it’s used extensively in the original Friendship is Magic cartoon series: the episode begins, some initial plot hook, punchline, or inciting incident gets your attention, and then the opening credits roll. In literary terms, this is sometimes called a “hook.” Whatever term is used, there’s a simple idea behind it--get the attention and interest of the audience and get them emotionally invested so they’ll stay with the show/film/book to its conclusion.

Ideally, the opening moments of your Episode should achieve a similar effect. Consider the type of Episode you’re running and try to construct an opening that establishes the style and atmosphere you want for the rest of the game. If your Episode is comedic, open with a funny situation and end your opening with a punchline or silly outcome. If your Episode is dramatic, mysterious, or scary, consider opening by setting up the mystery or ending the opening with a cliffhanger. There are many techniques for establishing an Episode, and every GM and group of players develops their own style, but for new GMs (or those who are new to S4E, at least), the original cartoon series can serve as a helpful guide.

Checks & Difficulty Targets

As the Episode progresses, you will inevitably need to call for, and handle, checks. These are the backbone of S4E, and knowing how to handle checks effectively can be the difference between being a good GM and a great GM. This section will discuss some of the principles of checks in S4E, and give some insight into how to handle them effectively.

Essentially, there are two schools of thought when it comes to checks. The first is the ‘technical’ method, and the second is the ‘dramatic’ method. Either one is valid (though S4E was designed based on the ‘dramatic’ method), and both have their advantages and disadvantages; more often than not, GMs end up using a combination of the two.

The ‘technical’ method is based on context and technical detail; if building a barn is X difficulty, it should always be X difficulty, unless technical factors, which should modify the X difficulty by Y amount, come into play. This method is usually math-intensive and can break the immersion many roleplayers seek to preserve, but it is also consistent, which many players highly value because it gives them a firm understanding of their character’s capabilities in any given situation.

The ‘dramatic’ method is based on narrative impact and action significance; if it is very important that a character fly fast enough to escape a collapsing cave, the GM may make that task less difficult (or make the check itself an automatic success despite its actual result). This method requires implicit trust on the part of the players in the GM’s fairness (not to mention some bluffing on the part of the GM), but it also has the possibility to create a more dynamic story in the long run.

Most GMs use both methods in combination, but tend to lean more toward one or the other. Whichever method you favor, S4E can accommodate. When a character attempts a task which has enough narrative significance for you to call for a check, that check will be based on a Difficulty Target number. Players are not required to know the Difficulty Target; only the GM is required to know it so as to relate the success or failure of the attempted task (based on the check result as compared to the Difficulty Target).

This can allow for considerable ‘wiggle room’ at any time; if the story needs a check to succeed, you can use the check result as it would translate to a Difficulty Target to determine the degree of success. For example, if a character needs to escape a collapsing cave, you may determine that the check will succeed no matter what its result is. If its result is high, you might relate that the character escaped with time to spare; if the result is low, you might relate instead that they just barely made it out (and maybe only then due to a lucky break or after taking some minor damage). The player never needs to know (and shouldn’t be told!) that they couldn’t have failed the check in the first place.

If the GM chooses to include the option for 'Partial Success' and / or 'Dramatic Success' Difficulty Targets as well as the normal Difficulty Target, doing so concerns adding or subtracting a d6 result from the normal Difficulty Target, as follows:

The Partial Success Difficulty Target is determined by subtracting 1d6 from the normal Difficulty Target. If a character meets or exceeds this number but falls short of the normal Difficulty Target, they may succeed--but at a cost or penalty the GM is free to invent on the spot. For example, on an "Average" Difficulty Target (10), subtract 1d6 to get a Partial Success Difficulty Target somewhere between 4 and 9.

The Dramatic Success Difficulty Target is determined by adding 1d6 to the normal Difficulty Target. If a character meets or exceeds this number, they succeed at the check above and beyond normal, and the GM is free to invent a bonus or reward on the spot for doing so. For example, on an "Average" Difficulty Target (10), add 1d6 to get a Dramatic Success Difficulty Target somewhere between 11 and 16.

Any result below the Partial Success Difficulty Target (or the normal Difficulty Target if Partial Success isn't allowed) means that the character has failed the check, and thus, the task they were attempting to perform. It is possible for a "Simple" Difficulty Target to have a Partial Success Difficulty Target which cannot be failed.

A Practical Example

The GM decides that a particular check being attempted is a Difficult check, and sets the normal Difficulty Target at 15. The Partial Success Difficulty Target subtracts 1d6 from the base number (in this example, the GM rolls a 4), and is thus 11. The Dramatic Success Difficulty Target adds 1d6 to the base number (in this example, the GM rolls a 3), and is thus 18. The Difficulty Target range for this example check could thus be thought of as "11 / 15 / 18."

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Damage & Sidelining

Equestria can be a dangerous place, and eventually, characters will suffer harm. Whether this harm is physical or emotional in nature, it’s an important component of challenge which serves to make an Episode more meaningful--as long as it’s not excessive or unfair. Just as with checks, there is a ‘technical,’ consistent method and a ‘dramatic,’ contextual method of handling how much damage to deal to a character when the inevitable occurs. Just as with checks, both methods are viable and can be accommodated by S4E, though S4E was designed with the ‘dramatic’ method in mind.

Luckily, there’s an element of chance involved in dealing damage to a character, which keeps things unpredictable. This means that two of the same effects, set at the same damage level, may not (and probably won’t) deal the same amount of damage to a character. Because of this, it frees you to set damage amounts without worrying about being unfair; as the saying goes, “let the dice fall as they may.” Damage is measured in dynamically-generated totals deducted from a character's Fortitude and / or Willpower total as appropriate to the situation, as follows:

"Light" Damage: 2d6

"Average" Damage: 2d6 + 4

"Heavy" Damage: 2d6 + 8

"Severe" Damage: 2d6 + 12

Any amount of damage which the GM determines to be significantly above this threshold ('massive damage') can be done in two ways: either the character(s) affected are reduced immediately to 1 Fortitude or Willpower (or both), or they are immediately Sidelined (or worse).

When a character becomes Sidelined from damage – even when the entire group becomes Sidelined--it’s not necessarily the end of the game, and it can even be a way to reinforce a plot point. For example, say the characters tried to storm a dragon’s cave, and were Sidelined when facing the dragon itself. There’s no mechanically-enforced narrative consequences of being Sidelined, so you are free to say that the dragon merely kicked the group out of its cave and was content with leaving them alone after that. This not only means that the Episode can keep going, it also means that the players have the direct experience that they can’t take on the dragon face-to-face, and it may prompt them to look for another solution. In this way, failure can be a teaching tool.

It is important to remember that damage can also be used as a teaching tool, even when no overt source of harm is threatening a character. For example, if a character bakes a cake for a celebration, and their cake turns out to be a mess, they might suffer Willpower damage due to the discouragement and embarrassment. This might be used to teach the character to work together next time instead of trying to do it on their own. Likewise, if a character is attempting to break a door down by kicking it and fails to do so, they might suffer Fortitude damage from having stubbed a hoof. This might be used to teach the character that the door is too solid for them to kick down, and they must find another route.

Lessons & Experience

The basis for how a group of characters earns Experience Points is the identification of Lessons those characters learned, and listing these Lessons in the ‘Letter To The Princess’ phase at the end of an Episode. As the GM, ultimately the decision of whether or not to award XP for a given Lesson is up to you, so it’s important to have an understanding of how to fairly award XP for Lessons.

In essence, the GM should consider each Lesson in the light of the character’s actions during the Episode itself. Any Lesson which has a basis in the character’s actions has most likely had a meaningful impact on that character (and hopefully the player, too), and is a good candidate for awarding XP. There are two scenarios, however, which you should look out for during the Letter To The Princess.

Firstly, a group of characters who have very few Lessons at the end of the Episode; for example, a group of six with only one or two Lessons between them. This can be remedied by having a discussion with the players about the Episode, and bringing up Lessons which you may have seen reflected in their characters. There’s no reason you can’t help your players (after all, the GM isn’t the enemy), and not all players are good at (or comfortable with) discussing personal character growth.

Conversely, a group of characters who have a very large number of Lessons at the end of the Episode; for example, a group of three with six or seven Lessons between them. This is often a sign of overly-intricate analysis, and can be remedied by consolidating similar Lessons.

Normally, a group of characters should have one or two Lessons per character; five Lessons is a significant increase, although the pace of character advancement is ultimately up to you as the GM.

Variant Rules

Plot Points

This variant allows characters to have a number of Plot Points from the following list of 24 Plot Points; the GM decides how many Plot Points a character may have. At the GM's discretion, players may freely choose all of their character's Plot Points, may randomly determine them by rolling a number of d6's, or may randomly determine some of them and freely choose the rest. This variant is intended for characters who are meant to be established within the world, but have not been played before.

By and large, Plot Points are for narrative purposes only; Plot Points do not convey a mechanical bonus to a character, though they can add nuance and flavor, can influence how a character is roleplayed, and may have an impact on situations or the story as a whole. Characters may acquire certain Plot Points after character creation if the GM awards them. In addition, GMs are allowed to make up new Plot Points as they see fit, using this list for reference.

If the GM calls for Plot Points to be determined randomly, each player rolls 1d6 per Plot Point they are entitled to. These d6's are rolled in order, not all at once. After each d6 has been rolled, the player moves down the Plot Point list below by a number of steps equal to the amount shown on the d6. Whichever Plot Point they stop on, they gain. The next d6 proceeds further down the list from the last Plot Point gained. If a roll's result carries it beyond the upper limit of the list (above 24), that Plot Point and any remaining Plot Points may be freely chosen. This 'proceed down the list' method is used instead of complete randomization, as the Plot Point list grows more 'powerful' and 'epic' the further down the list one goes; by proceeding down the list to gain Plot Points, a character is more likely to gain 'mundane' Plot Points first. This helps to prevent a character from being unreasonably a 'Mary Sue.'

If the GM calls for Plot Points to be freely chosen, this free choice must be done after any random rolling of Plot Points takes place. Each player may choose any remaining Plot Points, but may not (without GM permission) choose any Plot Points they have already gained (some Plot Points may be appropriate for being chosen more than once, such as Perfectest Pet, where other Plot Points are not appropriate for being chosen more than once, such as Fantastic Family).

All Plot Points gained should be developed along with the GM, to work out the details and any questions about them.

For example, Jelly Belly is entitled to five Plot Points by their GM; four rolled randomly, and one they may freely choose. Their player will thus first roll four d6's, one at a time. The first d6 result is a 6. Moving down the list of Plot Points from the beginning, the sixth Plot Point is #6, "Masterful Mentor." The second d6 result is 1. Moving down the list from Masterful Mentor, the first Plot Point is #7, "Da Magics." The third d6 result is 6. Moving down the list from Da Magics, the sixth Plot Point is #13, "Home Sweet Home." The fourth d6 result is 3. Moving down the list from Home Sweet Home, the third Plot Point is #16, "Mare Of Mystery." Thus, from the four Plot Point rolls, Jelly Belly has Masterful Mentor, Da Magics, Home Sweet Home, and Mare Of Mystery; he has a teacher or mentor, some kind of artistic talent, a unique home or residence, and a secret identity. Finally, as his one freely chosen Plot Point, he chooses #14, "Fan Club." His player works with the GM to determine the details of each of his Plot Points and how they may impact the story.

Plot Points List

  1. Fantastic Family: You have a large extended family; how this plays into a story is up to the GM, from anything from the premise of an Episode being that you're visiting relatives in a distant city, to having a relative visit you, or anything between.
  2. Perfectest Pet: You have a unique pet; your pet's uniqueness can be in its type (such as an exotic animal), or its unique behavior. Alternatively, your pet could be generally normal, but be a paragon of its type (such as being 'merely' a dog, but being the best dog a dog can be).
  3. Kooky: You have largely harmless eccentricities; strange mannerisms, superstitions, convictions, or traditions which often strike those who don't know you (and some who do) as being odd and incomprehensible.
  4. Big Sibling, Best Friend: You have either a younger or older sibling, and the two of you are close; though you may not always be nearby, and though you may fight or argue, you do care for each other. At the GM's discretion, your sibling may have an impact on the story.
  5. Half-Pint: You appear to be noticeably younger than you actually are, or are smaller or appear more delicate than what is normal for others of your race. This doesn't necessarily restrict your capabilities, but it often makes others view you as weaker or less of a threat than they might otherwise.
  6. Masterful Mentor: You have a teacher or mentor who cares about you and has your best interests at heart – even though they may not always directly help you. How your mentor influences your story is up to the GM.
  7. Da Magics: You have some kind of inherent artistic talent, from taking photos to painting, from singing to sewing. While you may not actually be skilled at it, your work has some inherent charm or quality to it which generally makes it turn out all right.
  8. In A Big Tasty Stew: Those who meet you for the first time often feel unsettled or intimidated by you for some reason. This can work to your advantage in that foes tend to be afraid of you to begin with, but can make social situations difficult. Those who get to know you, even a little bit, quickly get over this initial apprehension.
  9. Friends With Everypony: After knowing someone for even a relatively short time, you tend to know a great deal about them whether through memorization or intuition; and you typically keep up with people you know and like, being always kept aware of details about their lives.
  10. Fortune's Favor: You are notably wealthy, whether through assets and goods, or through direct monetary wealth. The degree of wealth you have, and how much of it you have access to, is up to the GM; as well as how this may impact the story.
  11. Just A Hunch: You get 'hunches' sometimes, inexplicable bits of information which may or may not be correct. At the GM's discretion, they may give you the information which makes up one of these 'hunches.'
  12. Diamond In The Rough: You are especially attractive, or endearing. This can take the form of physical attractiveness and beauty, or cute / adorable mannerisms. Not everyone will react the same way to you, however, as beauty is in the eye of the beholder.
  13. Home Sweet Home: You have a unique home or residence; anything from a tree house to a cloud, or more exotic – such as an airship. Alternatively, your home might be relatively normal on its surface, but have unique features inside; such as basement laboratories or the like. The GM has final say over the details of your residence.
  14. Fan Club: You have either a group of fans, or one truly die-hard fan. While you can't control these fans directly (and they may get into, or start, trouble through their active fandom), they tend to hang on your every word almost to the point of obsession.
  15. Special Somepony: You have a love interest, a special somepony you are romantically attracted to; however, this may be an unrequited or one-sided attraction as easily as it may be a mutual romantic interest. How this may play into a given story is left up to the GM.
  16. Mare Of Mystery: You have a secret identity, which includes anything from being a costumed hero, to writing for the local newspaper under a pseudonym. This affords you some leeway in your activities in the form of anonymity, as long as you maintain and protect your alter-ego.
  17. Wide, Wide World: You have been on long travels across Equestria (or beyond, if the GM allows). This may provide you with some insight into things which are exotic or unknown to others, at the GM's discretion.
  18. Jester, Sailor, Soldier, Spy: You have an important job, whether it's being the mayor of a small town, a royal guard, a rodeo judge, or something else. Typically, your job gives you some kind of authority in certain situations, at the GM's discretion.
  19. Best In Show: You have won awards or honors in the past; this can take the form of competition trophies, medals of military service, even good grades in school. While this gives you a certain degree of prestige, it can also increase the expectations of others about you.
  20. Studious Student: You have a student or apprentice, who looks to you for guidance and assistance, and who you can give instructions and assignments within reason--without controlling them directly. The nature and extent of your relationship with your apprentice is up to the GM.
  21. Far And Wide: You are famous in one way or another, viewed as a celebrity or an individual of note for some reason. Typically, those who have heard of you have a pre-conceived opinion about you one way or another; those who approve of you like you immediately, those who disapprove can be hostile toward you without considering your actions and behavior.
  22. Daring Is As Daring Does: Danger, adventure, and thrilling heroics tend to follow you wherever you go, even into the minutiae of your daily life in one way or another. This tends to make your life more interesting than others, but can also make it more hazardous from day to day.
  23. Derpy Ex Machina: From time to time, but always rarely, something (often silly or ridiculous) will happen to you or happen around you, seemingly without cause or precedent. Sometimes, this works out in your favor, saving you from something terrible; sometimes, however, this can cause things to become much harder on you.
  24. Fulfill Your Destiny: It seems that fate has conspired to bring about your existence, and you are a living nexus of important events. Whatever is occurring in the world at large, from the ancient plans and machinations of powerful entities, to rare and strange occurrences in the natural world, you are often at the center of it. How this may play into a given story is left up to the GM.

Equestria Girls

This variant contains rules for playing adventures and Episodes in the human world as seen in the Equestria Girls movie.

The first step in using this variant is for each player to define their character's 'alternate form' in the human world. Once chosen, this alternate form cannot be changed. A character’s alternate form may be either human, or an animal appropriate to the human world. Moving between the worlds automatically changes a character’s form as appropriate to the world they are entering. The rules for establishing a character’s alternate form for the human world are as follows.

Being Human

At the player's option, and the GM's discretion, a character’s alternate form may be that of a human. This can change a character's basic anatomy in certain ways (such as gaining fingers or losing wings and tails), which can remove some of a character's capabilities (for example, without wings, a character cannot fly). The player and the GM must work together to define precisely what has changed about a character in terms of their capabilities (such as losing the ability to fly or use magic) due to their physical changes.

While this can lead to a certain degree of problems with physical coordination, such as learning to walk upright instead of on all fours (potentially adding Drawbacks to applicable checks), and makes the character subject to human society and cultural norms, the benefit of having an alternate human form is being able to easily blend in with human society; even the strangest and most awkward character is typically assumed to simply be a weird human, and would not be altogether too conspicuous. Characters with an alternate human form can communicate with other humans naturally.

Man’s Best Friend

Any player who does not wish to be a human as their alternate form, may have an alternate animal form. This animal form must be appropriate to the human world, as well as being appropriate for the character's primary form; for instance, ground-based races (such as Earth Ponies, Unicorns, etc) might have similarly ground-based alternate forms such as dogs, cats, or the like – whereas airborne races (such as Pegasi) might have the option to have similarly airborne alternate forms such as birds.

A character's alternate animal form cannot add significant new capabilities to the character (though it may add minor capabilities within reason, such as a dog gaining the ability to hear high-frequency sounds, or pick up scents), though it may grant the character Advantages in certain circumstances according to the natural advantages of the chosen form (such as a cat gaining an Advantage to checks involving trying to land on its feet), and it may remove their normal capabilities; for instance, an Earth Pony cannot be a bird (gaining wings), but a Pegasus could be a dog (losing their wings), if the player chooses. In any case, whatever animal form is chosen, the character retains the ability to speak (and may be understood by humans), and has the ability to communicate with others of its new type (such as mice being able to communicate with other mice).

The advantages of having an alternate animal form include the ability to avoid the pressures of human society and cultural norms, as well as being much more free in what form can be chosen. However, characters with an alternate animal form must be careful not to draw too much attention to themselves; while a talking animal in Equestria is the norm, in the human world it is not. Additionally, they must be careful about how they interact with human society; a rat might be a cute pet to one person, and disgusting vermin to another.

Limited Abilities

While in their alternate form, a character's Attributes and other qualities do not change (though they may incur Advantages or Drawbacks if there are significant differences, such as a strong character having a weak alternate form or vice-versa); they are, generally speaking, the same character – merely in a different form.

However, most magic items (at the GM's discretion), and many magic-oriented Edges and abilities (such as spellcasting) do not function in the human world due to its lack of inherent magic. The GM may allow these Edges to function if a sufficient source of magic is present or if special circumstances allow, and certain Edges may still function for certain characters based on their chosen alternate form if the GM allows (such as a character whose alternate form is a bird retaining their previously purchased wing-based Edges due to still having wings with which to fly). In addition, if the GM allows, certain characters in certain alternate forms may retain a limited use of certain Edges, or may have a unique ability in their alternate form which is thematically or functionally related to one of their restricted Edges (for example, a Changeling character whose alternate form is a chameleon might have the natural chameleon ability to blend in with their surroundings as a thematic compensation for no longer having the ability to shapeshift).

Common sense and reason should prevail in dealing with these matters, and while the GM has the final authority, everyone at the game table should work together to use interpretation and improvisation to make sure things are fair and fun.

Paragon Ponies

This variant contains rules for players to play "Paragon" versions of the standard Races, who gain special abilities in line with their Race's unique and inherent nature. Paragon Ponies are intended to be more heroic, being played in more high-power settings and Episodes, facing more dire threats, and having more high-stakes adventures. This makes them unsuitable to be played alongside standard, non-Paragon Pony characters.

In addition to the above, each Paragon Pony gains a unique special ability according to their Race:

Paragon Earth Ponies

Paragon Pegasi

Paragon Unicorns

Wide, Wide World

This variant includes Racial variant rules and multiple variant Races which may be added to S4E's playable Races at the GM's discretion. These variant Races can be played alongside standard characters seamlessly, though they do not all entirely follow the same strict adherence to canon and are not all balanced due to the nature of the limited information available about them.

Variant Races

Crystal Races

The GM may also choose to include the Crystal Race variant rule. This rule does not create an entirely new Race for 'Crystal Ponies,' but instead allows characters to be created as the 'Crystal' version of another Race (for example, Crystal Earth Ponies instead of standard Earth Ponies, or Crystal Pegasi instead of standard Pegasi). This is intended to be used to play as Crystal versions of Earth Ponies, Pegasi, and Unicorns--but the GM may allow Crystal versions of other Races as well (such as Crystal Alicorns, or Crystal Dragons). The GM has final approval on any Crystal character being created.

Being the Crystal version of a Race grants a character the ability to purchase Edges which are restricted to 'Crystal Races,' in addition to the Edges they can purchase due to their normal Race. However, this carries a unique cost. Whenever a character purchases an Edge they are only able to purchase due to being a Crystal Race, they must choose one Edge they have not yet purchased which they are only able to purchase due to being a member of their normal Race, and permanently give up the ability to purchase it. If there are no such Edges available to a character (if they have already purchased all of the Edges which are restricted to their normal Race), they cannot purchase any Crystal Race Edges.

For example, a Crystal Earth Pony might purchase the "Improved Artifice" Edge, which they would only be able to purchase due to being a Crystal Race. But in exchange, they would have to permanently give up the ability to purchase one of the (not yet purchased) Edges they are entitled to due to being an Earth Pony, such as "Improved Courage." They would then be permanently barred from purchasing that Edge in the future.

Ascended Alicorns

The GM may also choose to include the Ascended Alicorns variant rule. This rule allows players who are playing Alicorn characters to choose which of the core races (Earth Pony, Pegasus, or Unicorn) their character was before becoming an Alicorn. At the GM's discretion, reasonable non-core Races may also be chosen as a character's original Race (such as Bat Ponies or Zebras). Doing so means that a character is effectively counted as two Races simultaneously; their original Race, as well as an Alicorn--allowing the character to purchase Edges restricted to both their original Race and to Alicorns.

This carries a cost, however. Because an 'Ascended' Alicorn grew up as a member of another Race, they have less experience at being an Alicorn. When an Ascended Alicorn character is created, they may not purchase more than one Edge which they are only able to purchase due to being an Alicorn. After the character completes their first Episode after character creation, however, they are free to purchase any Edges they wish, enjoying their dual Race membership accordingly.

For example, Nightlight's player decides to play her as an Alicorn, but (with their GM's approval) decides to make her an Ascended Alicorn. They decide that Nightlight was originally an Earth Pony; this allows Nightlight to qualify to purchase Edges which are restricted to both Earth Ponies as well as those which are restricted to Alicorns. However, during initial character creation, she may only purchase one Edge which she is only able to purchase due to being an Alicorn; she grew up as an Earth Pony, and accordingly, most of her knowledge and experience is in being an Earth Pony. Once she has completed her first Episode, however, she can continue to purchase any Alicorn-only Edges she wishes without this limitation.

Vampire Bat Ponies

The GM may also choose to include the Vampire Bat Ponies variant rule. This rule grants Bat Pony characters certain classically vampiric abilities, while also imposing certain vampiric weaknesses. At the GM's discretion, during character creation, any player playing a Bat Pony character may choose to have their character be a Vampire Bat Pony instead. At the GM's discretion, Bat Pony characters who have already been created may become a Vampire Bat Pony, though the process is typically magical and unknown to most (the GM should make up how it is done). They are still counted as a Bat Pony for the purposes of purchasing Edges, but they gain the following special abilities and weaknesses:

Epic Experience

This variant dramatically simplifies character advancement, for groups which are more casual or adventure-oriented, and don't want to use the default Lesson-based Experience Point system.

Using this method, the GM first makes the decision after the end of an Episode as to whether or not the group of characters satisfactorily completed the Episode, and if they did so in a positive moral or ethical way (or at least made an earnest attempt to do so).

For example, if a group of characters is supposed to obtain an old map from a museum, they might do so by negotiating with the museum and doing a favor for the curator, or they might do so by simply stealing the map. It is left up to the GM as to what impact this has one way or the other on whether or not the group's completion of the Episode was positive or not.

If the GM decides that the characters completed the Episode and did so in a positive way, rather than awarding Experience Points to the characters, each character simply chooses one new Edge, purchasing it as if they had used Experience Points to do so.

If the GM decides that the characters did not meet the requirements to advance in this way, they are free to award Experience Points instead, for Lessons the group may have learned along the way. In this way, the two systems can be used interchangeably.

Encyclopedia Equestria

Premade Episodes

The House Of Enchanted Comics

An Original Three-Part Episode By Emerald Dusk


What follows is a three-part Episode (three Episodes, played back-to-back), to get your game group started with S4E, and to show you how to write Episodes for S4E. Most Episodes don't need complex charts and tables, just a well-thought-out story to follow along with and play out together! This section contains the prologue, epilogue, and opening sequences, with each distinct Episode itself in the subsequent sections of this chapter.


Prologue: The Enchanted Comic Shop

After hearing rumors about the great selection for weeks, you’ve finally managed to make it. All in all, the place seemed a lot more impressive in people’s wild descriptions. And yet, here you stand, in front of a quiet, unassuming comic shop in Canterlot’s shopping district. From the outside, you’d be forgiven for believing that the place was closed, with windows completely blocked by massive stacks of precariously balanced comic books, and blinds drawn tightly over the door. Only the occasional exit of a group of excited patrons and a small sign reading “Open: Limit 6 customers” betray the fact that the shop is open. The few guests in line before you had gone in a short while ago, leaving you some time to chat with the others in line to get in.


During this time, the PCs should get to know each other a little better. After all, they are about to embark on an adventure through several worlds which will test and strengthen their friendship, so give the group time to chat, get to know each other, or strengthen inter-character relationships. When things begin to slow down, a group of six excited ponies step out of the shop.


“That was great, you guys. We should totally come back next week!”

“I know! No wonder the place only allows six at a time.”

“It was like I was there!”


Once the group leaves, the PCs are free to enter the shop. Inside are massive stacks and piles of comic books, filling boxes, filling shelves, and threatening to overwhelm anyone who enters with the sheer volume of books. After the PCs look around a little bit, mention that the door is no longer where they thought it was, and the only path through the maze of books leads deeper into the shop.

After a bit of wandering, the PCs will invariably run across the front desk of the shop, helmed by a young Unicorn named Page Turner.


“Ah!” the Unicorn says as you shuffle into view. “The next group of customers is here already! Welcome, welcome, to the Comic Shop of Wonders! I’m Page Turner, your guide. Is there any sort of specific genre you’re looking for today? Of course, we have the classic cape capers, including this great new volume of “Mutants and Maresterminds” in just last week.” At this, she points to the wall behind you, lined with superhero comics stacked around the new feature book. “Of course, if you’re looking for something a little more grounded in reality, we have the newest “Ars Unicornia” available over here in the Magic Section. Finally, if you’re looking for something with a little more, *ahem* bite, we’ve got a great new “Whinnystrad” book here in the horror section. Is there anything you’d like to give a look?”


Once the players have decided on a book to try out, Paige leads them to the book of their choice, and sets it on a lectern. Once the book is opened, the party is pulled into the pages, to begin their first adventure.


WAIT! &large

 

Don't proceed to the Epilogue below until your game group has completed all three sections of the adventure in this chapter:

  1. Ars Unicornia
  2. Mutants And Maresterminds
  3. Whinnystrad

Only after all of these sections are completed, come back here and proceed to the Epilogue to finish this three-part Episode.

---


Epilogue: Comings and Goings

Once the party has returned from all three adventures, Page is once again waiting for them at her counter.


"I certainly hope you’ve enjoyed your stay at my little shop. Unfortunately, I’m going to have to ask you to let the next group of ponies in now. Books can, of course,  be purchased for 5 bits each, with a current 3-for-10 deal. We get new books in each week, so feel free to come back soon, and tell all your friends!"


Page remains as tight-lipped as ever when it comes to her trade secrets, but will at least offer a bit of advice. She works her way around the group, should they ask her about the magic of the books, poking and prodding them towards any lessons of friendship they might have learned while working together on their adventures. By the end of any questions, the party should know exactly what they want to write when they make their final letters to the princess, and should be close knit as a group, prepared to seek out adventures of their own.

As a special reward for completing all of the stories in this three-part Episode, the group gains an additional 15 XP.

Ars Unicornia

The House Of Enchanted Comics, Part One

Ars Unicornia

As the light from the book fades, you find yourselves in a small classroom filled with unicorn foals, each dressed in classy, yet, slightly archaic, robes. At the head of the class stands an older Unicorn, finishing up a lecture.

“And that, students, should cover all the basics of rudimentary teleportation. I hope you’ve all been paying attention, as your practical exam, worth 50% of your final grade, will be tomorrow. Class dismissed, and study hard!

---

Once the class is over, the group will have the opportunity to explore Scholioprance, the magical academy. Their first priority should be to figure out one major dilemna; how the hay any non-magical character is going to pass their magical test tomorrow!

The school grounds of Scholioprance are massive and labyrinthian, and students practicing spells and charms in the halls, as well as the swooping in and out of countless familiars only add to the chaos. The magic test on teleportation for Professor Starlight is in 24 hours, and getting from one location at Scholioprance takes an hour.

The Classrooms

Students sit in rapt attention as an elderly Zebra professor prattles on about the basics of magical theory. Sprinkled throughout the lecture are useful notes about basic applications of magical power.

---

The school of Scholioprance offers classes and lectures on almost any type of magical learning. As a special rule, a character who sits in on one of these hour long lectures may gain the Magic Trick Edge for free by making a Mind check (GM's discretion).

The Cloudspell Field

Ponies of all kinds play in this large field, playing a strange game. Unicorns jump from cloud to cloud, telekinetically holding and throwing a ball back and forth. Pegasi guard goals on either end of the field, while other ponies launch other balls from the ground in an attempt to knock the cloudwalkers off their clouds, or dissipate the clouds underneath them.

---

The ponies here are playing a magical game known as Cloudspell, which the players can certainly join in on if they have the proper skills to play. If any ask, a young, buff unicorn named Falling Star offers to explain the game.

The group is free to play a game or two of Cloudspell, and each game takes about half an hour to play. The group can come here to unwind, or to practice any teleportation magic they may have learned, putting it to good use on the field.

The Dueling Grounds

The ponies here are engrossed in one on one magical dueing matches, testing their prowess against one another. Spells of all kinds fly through the air as opponents constantly try and outdo each other with flashy spells.

---

The players are free to practice their new-found magic here, as well as get into duels with each other and other students. Duels are typically friendly affairs, with students often asking each other afterwards about different spell combinations. Feel free to play around with any sort of magic you want here.

The Library

The school library at Scolioprance puts any other library you have ever seen to shame. Books on every magical subject you could possibly imagine line the walls. Students and staff weave carefully through the aisles in a delicate dance of picking books from the shelves and returning them to their places. Many students rest at tables situated around the library, studying for upcoming exams.

---

Scholioprance’s library is huge, to the point where finding any one book, even with the assistance of a librarian, takes at least 15 minutes. The party would probably be most interested in a book on teleportation magic, or a book on finding a way to have non-magical beings teleport. Should they look for such a book, they eventually stumble upon Starswirl’s Treatise of Teleportation, an older book detailing the hows and whys of unicorn teleportation. One passage of the book stands out particularly well:

“Teleportation is the manifested will of the caster to be somewhere else. Sometimes, this takes the form of something of great importance at the target location. Other times, it is the overwhelming desire to be anywhere else than where the magician currently is. All that is known is that any attempt to nail down exactly what that unique catalyst is for teleportation is as fleeting and immaterial as an idea.”

If the party can work this out, and find something worth teleporting to (or away from,) their spell will be successful tomorrow. But don’t let them know that just yet.

The Dorms

The dorm rooms, separated by stallions and fillies rooms, care little for who is actually in them. Students come and go, occasionally catching quick naps between classes and study sessions.

---

The dorms are less bedrooms and more hostels where students can rest and store their things. The group can come and go as they please, catching sleep and chatting by the fireplaces.

The Exam

After 24 hours of the party exploring the Scholioprance campus, time comes again for Professor Starlight’s exam. The party reconvenes in Starlight’s classroom, and one by one, the students are called up to perform an act of teleportation.

---

At this point, give the PCs a bit of time to really describe what they want to do in order to do their teleportation before making the jump. As each one makes a leap of faith, picturing something special to them on the other side (friends, family, really any motivation in their hearts to move will work) that character winks out of existence, and appears back in the Enchanted Comic Shop.

Back In The Shop

Once the party returns from their trip, Page is waiting at her desk, reading a signed copy of "Harry Trotter And The Alicorn's Stone."

“Ah, you’re back! What did you think? Would you like to try something else?”

---

Page remains silent on petty issues such as “What the hay was that?” and “How does that work?”, simply switching the direction of the conversation to the other two featured books if they have not yet been completed.

Mutants And Maresterminds

The House Of Enchanted Comics, Part Two

Mutants And Maresterminds

As the light fades from your eyes, you find yourselves in a massive city on a bright summer’s day. Ponies of all kinds stroll along, enjoying the fine weather. Almost immediately as you get your bearings, two things stand out immediately. First, is your remarkable change of clothes. Whatever you were wearing before has been replaced with a fancy new outfit, straight from the pages of your favorite superhero comic!

---

At this point, offer each player a chance to name their new superhero, and define their super power. Super powers work effectively like spells, allowing the character to freely use a special ability (for example, Matterhorn’s ice powers or Saddle Rager’s strength).

Secondly, it’s difficult to miss the booming sound of a disembodied voice somewhere in the skies above:

"The City of Mettrotpolis! Home to the legendary League of Heroes! Including…"

---

Here, take a moment to let the announcer formally introduce the party’s hero personas. Feel free to play up the narrator angle of this bit, and really any bit you want to narrate during this segment. The more you sound like a Saturday morning Supers show narrator, the better.

Windigo!

Suddenly, a chill wind overtakes the city. There, in the sky! It can only be the maniacal airship of Windigo, the master of ice!

“Ice to see you again, foalish citizens of Mettrotpolis! I, Windigo, will soon rule this city in my icy grip! Feel free to bring your offerings, tributes, and other assorted grovelling to my lair at the Mettrotpolis Skating Rink, or risk getting left out in the cold! Mwahahahahahahahahaha!

---

At this point, the PCs should have a pretty good idea of what to do. After all, it’s kind of difficult to ignore the insane ramblings of a supervillain broadcasting his evil scheme and location from a blimp in the middle of the city. That said, should the party not head towards Windigo’s lair, let them gallivant around the city, seeing more and more of Mettrotpolis become covered in ice and snow. When they’ve finally had enough, let them make their way to the Skating Rink to confront Windigo.

Skating Rink

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Mettrotpolis Skating Rink has been converted to house a twisted, icy palace. In the center of the skating rink sits a massive machine with an antenna resembling a massive unicorn horn, glowing with an icy blue aura. Surrounding and maintaining the machine are a panoply of parka’d ponies, attending to the machine while the unicorn inside barks orders through a series of television screens.

As you enter the rink, the unicorn in the machine looks up to you and grins. “Ah, if you’re here to deliver tribute, it’s the second door to the left. If you’re another set of interlopers, feel free to strike the  pose you want to be frozen in when you join the others in my collection of new ice sculptures. Actually, just stick with that second one. Henchponies, seize them!”

---

At this point, let the PCs get into a good, old-fashioned superhero vs. minions action sequence against the six henchponies. The minions will try to incapacitate the heroes with ice rays, while Windigo will spend each of his turns inside the machine taunting the heroes with ice puns. Terrible ice puns. Batman and Robin-level terrible ice puns. Ice puns so terrible that they deal damage to the PC they target unless the PC can make a check to resist the awful attempt at humor.

Feel free to make up the worst puns you can possibly think of during the fight with Windigo. After all, these are meant to be awful, damage-inducing puns. For a bit of help, here’s a few suggestions to get you started:

And any other awful, cringe-worthy pun you can come up with. Just remember, they don’t have to be good – they just have to make your players groan.

Once Windigo’s minions have been defeated, Windigo shrieks with anger from inside the machine.

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No! You foals will not be allowed to ruin my glorious winter! I’ll freeze this city! I’ll freeze the world! As long as my Ice-Scream machine still functions, I cannot lose!

---

At this point, the machine pushes into overdrive, sending out a massive cold wave and redirecting some of the energy inward, slowly encasing Windigo in a block of ice. At this point, the PCs are free to do anything in their power to stop the machine, from teaming up to stop the ice using their powers combined, to using electrical engineering skills to just stop the machine from functioning. Whatever the group decides to do, give each member of the team a chance to contribute to fixing the problem.

Stopped Cold

The machine grinds to a halt as the ice encasing Windigo completely covers him, trapping the villain in his own invention. As the ice begins to melt and the summer sun begins to stream in through the roof, the Mettrotpolis police arrive to cart Windigo off to jail to cool his hooves for a while.

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And so, once again, the day is saved! Thanks to the League of Heroes!

---

Back In The Shop

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Once the party returns from their trip, Page is waiting at her desk, reading a vintage copy of "Supermare: The Mare Of Steel."

“Ah, you’re back! What did you think? Would you like to try something else?”

---

Page remains silent on petty issues such as “What the hay was that?” and “How does that work?”, simply switching the direction of the conversation to the other two featured books if they have not yet been completed.

Whinnystrad

The House Of Enchanted Comics, Part Three

Whinnystrad

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As the light settles, you find yourselves in a dark and sinister forest. A pale moon peeks just through the trees and overcast skies. In the distance, a small castle sits on a mountainside, a single light gleaming from the upper floor window. As you look down, you find yourselves bedecked in gear taken straight out of Van Hoofsing, including wooden stakes, a wreath of garlic, a few bottles of celestial water,a lantern, a bullwhip, a crossbow with 10 bolts, and a cord of braided rope.

As you take in your surroundings, a sense of uncanny dread fills the air. Wherever you are in this forest, you do not seem to be alone…

---

Give the party a bit of time to gather their wits and decide what they want to do. As the party travels through the forest, make a few calls for checks reflecting the characters' awareness, in order to really let the party know that something is following them. Once things begin to cool down, the Headless Horse appears from the shadows, ready to chase down the PCs.

The Headless Horse is meant primarily as a chase scene, in order to drive the characters into Castle Blucher. Each turn, the Headless Horse chases after the PCs. The group can use any method they choose to try and escape, and together must accumulate 10 total successful checks to get away from the Headless Horse. On a failed roll, the Headless Horse deals Health or Willpower damage to the character whose roll failed, depending on which is more appropriate. (For example, a character who fails in an attempt to run away from the Headless Horse might trip over a loose root or rock and take Health damage, while a character who fails to hide might take Willpower damage from the fright of being found.)

After the party has accumulated a total of 10 successful checks, they cross a bridge to Castle Blucher, and the Headless Horse gets left behind, waiting at the bridge, unable to cross it. The only way forward is into the castle…

Castle Blucher

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As you enter through the door, the light of the moon illuminates the dark castle hall. Cobwebs and dust cover almost every surface of the hall, while long unlit torches decay in sconces along the walls. At the far end of the hall is a grand staircase ascending to the castle’s second floor, flanked by two doors on the left and right walls.

---

Once inside Castle Blucher, the party is free to explore the castle as they wish. Excepting the main hall and the upstairs hallway which connect the rooms together, there are five total rooms in the castle. These rooms will be elaborated on in further detail below.

The First Floor, Left Door

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The left door squeaks open softly to reveal a massive library. Shelves line the walls, stuffed to bursting with enough books to fill two floors. At the far corner a massive fireplace holds a flame, surrounded by exceptionally comfy looking seats and couches. In the other two corners, small manually cranked elevators serve to ferry visitors up to the second floor. A chandelier hangs from the middle cross of the second floor catwalks, which are suspended by massive pillars circling the room. At the center of the room, on the second floor, a strange looking device sits.

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The library is easily the largest room in the castle, taking up the entire north wing of the castle, both the first and second floors. The library contains not much in the way of help, but it does contain one important clue for defeating the Vampony Queen: the large device in the center of the second floor is an orrery, a device for observing and recording astrological data. The orrery points out the layout of the castle; namely that the library is located in the north wing, and that the castle entrance, as well as the windows in the Vampony Queen’s lair, face to the east.

Otherwise, the library is relatively unremarkable, at least from a plot perspective. The books lining the walls cover nearly any subject the party can imagine, and the room provides a bit of a safe haven from the dangers of the rest of the castle. Finally, the elevators in the library can be used to quickly move between the first and second floors of the castle (although they haven’t seen too much use of late. After all, the Vampony Queen and her minions can all fly!)

The First Floor, Right Door

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Beyond the door is a huge banquet hall, with a long table dominating the center of the room. The table is piled high with food, all topped with blood-red apples. Around the table, a group of six Vampony thralls sit and bicker amongst themselves as to whether they should start the feast without the Queen. Upon your arrival, the six thralls turn, peering at you through the darkness with hungry eyes…

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Inside the banquet hall are six Vampony thralls, who will immediately pounce upon any intruders to the room in a feeding frenzy. The thralls are easily dispatched minions, but serve as a warning to the party to travel carefully through the haunted castle.

The Second Floor Hallway

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Climbing the stairs, you are met with a long hallway, lined with four doors. At the far end of the hallway sits a large door, from which an ominous organ tune echos through the darkness.

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The Second Floor, Right Doors

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The door opens up into the library’s second floor, a series of catwalks dividing the room below into four squares. More bookshelves line the walls, and at the center of the catwalks stands a massive orrery, a model of the stars in the sky and their relation to the Earth. The small dots of light in the stars mirror those in the sky above, visible through great glass windows in the ceiling.

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These two doors merely continue the library, and are connected via the elevators to the library room below.

The Second Floor, First Door On The Left

This door is stuck, and if the party wishes to get through it, they need to make a check to push open the door. However, the only thing on the other side of the door is a slide down to the banquet hall below. If the party hasn’t cleared out the vampony thralls in the banquet hall already, the poor pony who opens the door will crash right down into the table, right in the middle of the thralls.

The Second Floor, Second Door On The Left

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In the center of this large room is a large casket, carefully decorated to look like an ornate canopy bed. The room is littered with books, trinkets, and other personal effects.

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This room is the Vampony Queen’s bedroom. In the room, the party will find several personal objects of the Vampony Queen, including a small, ragged, plush dog with a collar reading “Sprinkles.” On one wall hangs a magnificent painting of Cloudsdale, with a scenic vista below. Finally, if the party searches underneath the casket, they discover a small book; the Vampony Queen’s diary. The diary is sealed with a lock, but can be opened with a check. Inside the diary is an account spanning almost a hundred years, from the Vampony Queen’s childhood in Cloudsdale as a pegasus named Rain Blossom, to her days spent traveling with a handsome young stallion named Aluclop, to his eventual betrayal and the Vampony Queen’s conversion to undeath. The information in the diary aids the party greatly in any attempts to talk down the Vampony Queen, acting as an appropriate tool for any such check.

The Second Floor, The Final Door At The End Of The Hallway

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The imposing doors swing open to the harmonies of the organ music from the room beyond. At the far end of the room, stationed in front of a massive wall of windows, is a huge pipe organ. Sitting at the organ is a deceptively young looking pegasus, batlike wings wrapped around her back like a cloak. As you enter, her music stops, and the pegasus turns to face you.

“Ah, I see my visitors have finally arrived.” she croaks, with a voice as old as dust, yet somehow still strangely compelling. “It’s a good thing too. All this music can make a mare thirsty.”

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The Vampony Queen is a difficult opponent, fighting off any attempt to pin her. Typically, she will fly into the air, out of reach of anypony in the party who cannot fly, and attempt to use her compelling voice to turn the party against one another. This attack requires a check to resist, and deals Willpower damage on a failed check. If the target is Sidelined, they are stunned, torn between loyalty to their friends and the Vampony Queen’s compelling voice. As a special rule, characters with Loyalty as their Guiding Element gain a +2 bonus against the Vampony Queen's voice.

The group is transported back to the Enchanted Comic Shop the moment they leave the castle, or as soon as the Vampony Queen is defeated.

Back In The Shop

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Once the party returns from their trip, Page is waiting at her desk, reading an ornate copy of "Interview With The Vampony."

“Ah, you’re back! What did you think? Would you like to try something else?”

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Page remains silent on petty issues such as “What the hay was that?” and “How does that work?”, simply switching the direction of the conversation to the other two featured books if they have not yet been completed.

Miscellaneous

Character Sheet

Here is the official S4E Character Sheet, available as a PDF.

A Note For Developers

Just before he died in 1991, Gene Roddenberry (the creator of Star Trek) was asked in an interview what was to become of Star Trek in the future. He replied that he hoped "some bright young thing would come along and do it again, bigger and better."

It is our fondest wish that, though the official Roleplaying is Magic project is over, that some other Brony out there in the community with a passion for game design and storytelling, and a love for the themes and messages of Friendship is Magic, will pick up the reins we've left behind and carry on – learning and teaching themselves, helping others to become friends through the unique fun of roleplaying and storytelling.

Our greatest success was that Roleplaying is Magic helped people grow closer together, whether in the form of making friends with new people, or connecting with their children and siblings, just by playing together. We set out to learn how to make games and to try to create our own opportunities – and help those around us get the chance to do what they love, gaining experience and skills along the way. What we learned was not just how to make games, but also why to make games.

Games are important. How we play helps us understand who we are, what we believe in, and who we are striving to become. Games matter.

So, we hope with all our hearts that some bright young thing will come along and do Roleplaying is Magic again, bigger and better. Developers, aspiring designers, interested hobbyists, you have our permission to use Roleplaying is Magic, either wholly or in parts, to create your own My Little Pony tabletop RPG's and modules, with only a few conditions:

  1. Attribution: First, we ask that you credit Roan Arts LLC and Roleplaying is Magic in any works you create, and that in your credits, you also provide a link to RoleplayingIsMagic.com so that others can find this site and have the same opportunity to make use of its content which you've enjoyed.
  2. Non-Profit: Second, we ask that you only use Roleplaying is Magic content in free projects you create; we created this project to be free and available to anyone and everyone who wanted it, and to be used as a stepping stone, not a vehicle for profit. (But if you get hired by Hasbro, tell us!)
  3. Good Faith: Finally, we ask that you keep in mind, and strive to keep intact, the message and the themes of Roleplaying is Magic in any work you use its content for: friendship, self-exploration, doing the right thing, learning about the world, communities coming together, and upholding virtue.

We've designed S4E in such a way as to make modding S4E as easy as possible. Edges are the only method of character advancement and the acquisition of even basic character abilities, meaning that expanding S4E with additional types of powers and abilities is as easy as making new Edges, using the 100+ we've made for reference. Races are defined solely by the Edges they qualify for, making altering existing playable Races and creating new Races as easy as changing a Race's available Edges, or determining what Edges are available to a new Race you're creating. We've even designed several variant rule sets to help illuminate some of the ways in which S4E can be augmented through modular 'plug-in' variant rules, in order to make creating your own variant rules easier.

We've done everything we can to put the creative power in your hands, and we hope you'll use it to help bring fun and friendship to everypony.

We thank you all, friends and fans and family, for the love, support, and kindness you've showed us over the years; we wish you the absolute best of luck in making your noblest dreams for the future into a reality.

~ The Roleplaying is Magic Team &big &kaushan

Updates & Resources

Last Update: 07/01/14

This section is reserved as a resource to keep track of any changes, corrections, expansions, or updates which are made to S4E post-launch, as well as links to any unofficial or supplemental resources we support. Although the Roleplaying is Magic project has officially shut down, and no further full editions of the game are planned, as more media comes out over time, it may compel future updates to S4E in the form of revisions, variant rules, or additional content. We also want to encourage fans and aspiring creative individuals to make supplemental resources and mods, and this site can be used as a central reference point for what we believe are the supplemental resources which further enrich S4E as a whole.

If you would like your supplemental content considered for inclusion, contact us at TallTailTellsTales@gmail.com and send it over to us! Whenever this compilation is updated, its date will be updated as well.

Updates

(Last: 07/01/14)

There are no post-launch updates at this time.

Resources

(Last: 07/01/14)

There are no supplemental resources at this time.