T A B L E OF C O N T E N T S

Introduction 4To The Point 5

PLAYER SECTION

Chapter One: Creating a Character 7Chapter Two: The Basics 12Chapter Three: The Drama Deck 21Chapter Four: The Lizard and the Lightning 27

GAMEMASTER SECTION

Chapter One: On Being a Gamemaster 37Chapter Two: The Game System and How to Bend It 38Chapter Three: Attributes and Skills 48Chapter Four: Using the Drama Deck 59Chapter Five: Character Interaction 70Chapter Six: Combat and Chases 75Chapter Seven: The Possibility Wars and the High Lords 82Chapter Eight: Everlaws and Axioms 91Chapter Nine: Storm Knights 103Chapter Ten: Magic 111Chapter Eleven: Miracles of Faith 123Chapter Twelve: Equipment 132Chapter Thirteen: Creating Templates 141

2

The Torg Design Team

Greg GordenMythos and Game Design

Douglas Kaufman, Bill SlavicsekMythos and System Development

Christopher Kubasik,Ray Winninger, Paul Murphy

Additional Mythos and System Work

Jonatha Ariadne Caspian, Michael Stern, Richard Hawran,Daniel Scott Palter, Denise Palter, C.J. Tramontana,Martin Wixted

Concepts and Testing

Dr. Michael A. Fortner, Dr. George ExnerTechnical Assistance

The Game Box

Greg GordenRule Book Design World Book Design

World Book Development

Douglas KaufmanRule Book Development and Editing

Bill SlavicsekAdventure Book Designand Editing

Paul MurphyAdventure Book Development, Editing and AdditionalDesign • Additional World Book Material

Jonatha Ariadne Caspian, Michael SternAdditional World Book Material

Rosaria J. Baldari, Bernadette G. Cahill, Stephen Crane,Richard Hawran, Cathleen Hunter, Sharon Wyckoff

Graphics

Daniel HomeCover Illustration

Timothy Bradstreet, Bob Dvorak, Rick Harris, Francis Mao,Alan Jude Summa, Valerie Valusek, Tim Wright

Interior Illustrations

Tom TomitaLogo Design

Paul JaquaysStorm Illustration

Eric Aldrich, Paul Balsamo, Jeff Brown, Laura Brown,Tim Brown, Gary Corbin, Troy Faraone, Dr. Michael Fortner,Mike Landsdaal, Letha Owens, Barbara Schlichting, John White

Playtesting and Advice

Published by

RR 3 Box 2345Honesdale, PA 18431

Second Printing: January 1992Version 1.1

Publisher: Daniel Scott Palter • Associate Publisher: Richard Hawran • Assistant Publisher: Denise D. PalterEditorial Director: Bill Slavicsek • Associate Editors: Greg Gorden, Douglas Kaufman, Paul Murphy

Editors: Jonatha Ariadne Caspian, Michael Stern • Art Director: Stephen CraneGraphic Artists: Rosaria J. Baldari, Bernadette G. Cahill, Jacqueline M. Evans, Cathleen Hunter, Sharon Wyckoff

Sales Director: Martin Wixted • Sales Manager: Fitzroy Bonterre • Sales Assistants: Tony DeCosmo, Maria KammeierSpecial Projects Manager: Ron Seiden • Treasurer: Janet Riccio

, TM and © 1992 West End Games. All Rights Reserved. 3

TORG: Rulebook scan&ocr: dafek

Introductionow it is three months afterthe initial invasion ofEarth, and the invaders'boundaries have stabi-lized. The Gaunt Man's

land of horror extends across Indone-sia and Malaysia, though he is nolonger there to maintain it. Kanawacontrols Japan and parts of the FarEast; Mobius holds northern Africaand the Middle East under the sway ofthe New Empire of the Nile. France,dark and grim, is united by the God-Net of the Cyberpapacy, and theUnited States and Canada struggleagainst the shamanistic powers ofBaruk Kaah's Living Land. Only inBritain and Scandinavia is there a glim-mer of hope, as the Lady Ardinay hasarisen to replace the evil Lord Uthorion— though there are rumors thatUthorion still walks the Earth.

And the High Lords are in turmoil;without the Gaunt Man to lead them,they scrabble for power, for the ulti-mate power of immortality that ac-companies the title of Torg.

The rules and background in thisbox, and the campaign you create withthem, describe one of the many Earthsnow reflected throughout the In-finiverse ... what happens on yourEarth, what direction the PossibilityWars take on your world, will be verydifferent from what happens else-where — but what you and your play-ers create can and will effect the entireInfiniverse.

What Is Roleplaying?Roleplaying is simply another way

of playing games. Most familiar boardgames have controlled rules. At theother end of the spectrum are gameslike Cowboys and Indians, otherwiseknown as "Let's Pretend." Let's Pre-tend can be fun, because we get to takeon the role of a hero, and we control theaction and make the game play theway we want it to. The trouble withLet's Pretend is the "I-got-you-no-I-

got-you-first" arguments — becauseLet's Pretend has no rules.

Consider roleplaying as Let's Pre-tend with rules. There is a referee, alsocalled a gamemaster, who judges dis-putes. The gamemaster also sets thescenes and creates the story lines thatthe players experience through theircharacters. The characters are really theheart of the roleplaying game.

Each player takes the role of onecharacter, a participant in the greatstory being woven by the gamemas-ter, who plays the roles of all the othercharacters in the story, called game-master characters. The player charac-ters' actions will directly affect thatstory, often changing the course ofevents in significant ways. The back-and-forth storytelling aspects, theplaying of new and unfamiliar roles,and the freewheeling format of theaction are what make roleplayinggames so challenging and exciting.

Torg: Roleplaying thePossibility Wars

Torg is a multi-genre game systemthat does what no other game before ithas done. It combines the action of thepulps, the heroic adventure of fan-tasy, and the grim situations of futuretechnology into one all-encompassinggame system with one coherent, com-pelling story!

There are a lot of roleplaying gameson the market, and most use similarmechanics to achieve interactive story-telling. In Torg, we introduce two brandnew concepts.

The first is evident when you openthe box: the Torg interactive dramacards. These are more than just charac-ter cards or equipment cards — theyactually help the gamemaster andplayers control the flow of action, andadd to the dramatic storytelling bycreating plots and subplots that reallyfit into an adventure.

The second innovation concerns thenature of interactive storytelling itself.

In other roleplaying games, the play-ers interact with the world created bythe gamemaster — and that's it. InTorg, West End Games has created thecomputer-moderated Infiniverse Inter-active Campaign Game, a newsletter thatallows your entire gaming group tointeract with other gaming groupsacross the country, and with West Enditself, to make the Possibility Warsprogress the way you want!

Getting StartedIn this box you will find the Rule

Book (which you're reading now), theWorld Book, the Adventure Book, theDrama Cards, the Infiniverse Interac-tive Campaign Game, and a 20-sideddie.

After reading this introduction andthe "To the Point" section that follows,the next thing to do is read the PlayerSection of this book. Imagine yourselfas a Storm Knight in the world of Torg,opposed to the High Lords of the in-vading realms, dedicated to freeingEarth and its many reflections fromtyranny.

After that, if you're planning onjust being a player, stop reading. Thegame and the world of Torg will bemore exciting for you if you don'tknow all the secrets of what's goingon.

If you want to be a gamemaster,read the World Book next, to get a feelfor the background of Torg. Then youcan come back and read the rules inthe Gamemaster Section of this book.When you're ready to run an adven-ture, read the Adventure Book.

Infiniverse: The Interactive CampaignGame is a newsletter full of useful andinteresting information, but can be readlast, after you're comfortable with thesystem.

So, get started with "To the Point,"and keep reading the Player Sectionafter that. You'll be ready to play in notime!

4

To the Point

To the Pointhere are a lot of pages inthis box, but you don'tneed to read all of them tohave fun. The mechanicsof the Torg game are not

very difficult at all.This page explains the essential

systems of Torg; reading it will makelearning the game much easier.

Values and MeasuresTorg uses a unique system of "val-

ues" and "measures" to translate backand forth between the game and thereal world. A value is a quantity meas-ured in a way that can be used in thegame (such as a weight value of 11). Ameasure is a measurement from thereal world (such as "160 pounds").Measures can be translated into val-ues and vice versa, but that is a task forthe gamemaster.

Attributes and SkillsAll characters have the same attrib-

utes, though not in the same quanti-ties. All characters have skills, but typesof skills vary from character to charac-ter. Skills are rated by adds, which isthe number you add to your character'sbase attribute to get the value for thatskill. So, a character with a base attrib-ute of 10 and a running skill add of 3would have a running value of 13.

The Die RollThe die included with the Torg game

is printed with the numbers from 1 to20. You roll the die each time yourcharacter tries to use a skill value orattribute value to accomplish a task.

Whenever a player rolls a 10 or a 20on the die, he may roll the die again,adding the next roll to the first 10 or 20.The player may keep rolling andadding, until a number which isn't a10 or 20 appears. He adds in this finalnumber to obtain the final die roll.

Generating a TotalCompare the final die roll to the

bonus chart printed at the bottom ofyour character template. Beneath eachrange of final die rolls is a correspond-ing bonus number. The sum of yourskill value and the bonus number iscalled the action total.

Some actions require you to obtaintwo totals, the first to determine if yousucceeded at the action, the second totell you how well you did. You get asecond total by adding the same bonus(the die is not rolled again) to a differ-ent value after your action succeeds.The second total is called an effect total.

Beating a Difficulty NumberSome actions are harder than oth-

ers. Whenever the gamemaster callsfor an action total, she also sets a diffi-culty number for the deed. Your char-acter succeeds if your action total isequal to or greater than the difficultynumber. If your total is lower, you fail.

Possibility EnergyStorm Knights (player character

heroes) can store possibility energy,energy which can temporarily alterthe world around them in a variety ofways to allow characters to performamazing feats.

The AxiomsEach of the invading realms has its

own reality. The key to what can andcannot exist, what does and does notwork, are the axioms. The axioms de-scribe the levels of four basic traits of aworld: magical, social, spiritual, andtechnological.

If an axiom is not high enough tosupport an activity, performing thatactivity creates a contradiction in thatrealm. The possibility energy of therealm is organized so as to enforce theaxiom levels, eliminating contradic-

tions. The immediate effect of the ax-iom laws is that equipment spells andcertain creatures foreign to a realmwill not work as well in that realm.

CombatA combat round represents 10 sec-

onds of "game time." In each round,one side gets to perform all its actions;then the other side performs its ac-tions. Initiative is determined by flip-ping the top card of the drama deck.The side that has the initiative goesfirst.

DamageOnce a character is hit, a second

total (the effect total) determines dam-age. The attacker's damage value ishis Strength, possibly modified by amelee or missile weapon, or the dam-age value of the weapon itself (forfirearms and other weapons that pro-vide their own energy). The difficultyis the target's Toughness (or armorvalue). The more the difficulty num-ber is exceeded, the more the target isdamaged.

Stormers and Storm KnightsAs a result of the Possibility Wars,

certain people on Earth reach what iscalled a moment of crisis. At that mo-ment, the person gains the ability tomanipulate possibility energy, forgood or for evil.

The Raiders call these beings Storm-ers. Those that oppose the Raidersprefer to call themselves Storm Knights.

Your character is a Storm Knight,opposed to the High Lords of the in-vading realms. Your goal is to free theEarth from the varying realities andstop the Raiders before they consumethe living power of the planet. If theysucceed, the world dies.

Those are the basics. Now you'reready to get to the details ...

5

TORG: Rulebook

6

Player Section

Player Chapter One

Chapter One

Creating a Character" There may be some people who

are born heroes ... but the rest are justfolks in a desperate situation who dowhat most folks wouldn't—they win."

— Colonel Robert Blanchard,Philadelphia Defense Force

org: Roleplaying the Possi-bility Wars is a game thattells of the great strugglesbetween the PossibilityRaiders and the heroes of

Earth. To take part in these storiesyou'll need a character. A character is arepresentation, in game terms, of ahero in the world of Torg. Here's howyou create your own character.

Selecting aTemplate

There are 24 character templatesprinted in the World Book. The tem-plates describe the types of characterscentral to the stories of the PossibilityWars. Some are from Core Earth, theportion of Earth not yet conquered bythe Possibility Raiders. Others arerenegades from the realms of the raid-ers. Each template has basic gameinformation for the character, as wellas background material about thecharacter's motives, and what sort ofworld he comes from.

Choose a template that appeals toyou. You should realize that a charac-ter template is only an outline, a char-acter sketch; you provide the imagina-tion and detail that brings the charac-ter to life. Not all Soldiers of Fortune,National Heroes, or Doubting Clericsare alike.

However, a group should be bal-anced. Each character has differentabilities — some can fly aircraft, andothers are good at medicine. Some

come from the invading realms, andhave skills not available to charactersfrom Core Earth. Characters from otherrealms are limited, though, when itcomes to Core Earth skills; your Curi-ous Mage may be really hot with magic,but driving a Toyota south on 1-71may be beyond her. Try to get togetherwith the other players and choose yourcharacters with balance in mind.

Copying TemplatesThe templates are bound in the

World Book; photocopying them is agood idea. Each page is divided intotwo templates, and they are printedfront and back. The front of each tem-plate has all of the numbers and datanecessary for playing the game, whilethe back has the character's back-ground. Cut the photocopies apart,making sure you have both the frontand back parts of your template. If youdon't have access to a photocopier,write down the necessary informationon a blank sheet of paper. You canrefer back to the book to jog yourmemory about the background; youdon't have to copy all of it onto yoursheet.

Your character template is yourplaying piece for Torg. You'll want tohave your template in front of youwhen you play, penciling in changesas the game progresses.

CustomizingTemplates

Next you customize your template,making the character more like whatyou want him to be. To do this, you'llneed to know something about attrib-utes, skills and action values.

7

TORG: Rulebook

Attributes and SkillsAll characters have attributes. An

attribute is defined as an ability thatall living beings have. One charactermay have more of an attribute, such asstrength, than another, but all charac-ters have a Strength attribute.

There are seven attributes in thegame—Dexterity, Strength, Toughness,Perception, Mind, Charisma and Spirit.We sometimes abbreviate them asDEX, STR, TOU, PER, MIN, CHA, andSPI. The first three are broad measuresof physical ability, the next two gaugeyour character's mental prowess, whilethe last two measure his spiritual abil-ity. The number listed next to each isthe attribute value. An attribute of six ispoor, eight is average, an attribute of10 is quite good, and 13 is the normalmaximum for Core Earth humans.

Skills are abilities that not everycharacter has. They are usually abili-ties that can be taught, although somehave to be acquired in peculiar ways— in the pulp realm, for example,some skills can be acquired onlythrough a "freak scientific accidentwhich altered the character forever."

Your character template lists all ofthe skills initially available to yourcharacter. One of the skills already hasa number (3) filled in on the template.This is your character's best skill, orcharacter tag skill. All characters basedon the same template — the Soldier ofFortune, for instance — have the sameattribute values and tag skills. But youchoose the rest.

Choosing Skill AddsYou get to choose which of the

available skills your character has, andhow good he is at each skill. You have13 points to distribute among the skillslisted on your template. The points arecalled adds (short for 'additions'), andyou write down the number of addsallocated to each skill in the "Adds"column. Follow these rules when dis-tributing adds:

1. You must distribute all 13 adds(and no more than 13).

2. You may not allocate more thanthree adds to any one skill. The tag skill

At the top of the template enter your name, your character's name, "10"in the "Possibilities" box, an age, a height, a weight, and a sex. Decide howyou want your character to look, and write a brief description in the "Ap-pearance" section. Other details, such as clothing, posture, and manner-isms, are yours to make up. The more detail you put into a character, themore interesting he will be to play.

In this example Paul Murphy has decided to play a Soldier of Fortune;he names the character Quin Sebastian. The numbers in the attribute boxesare Quin's attribute values, while the skill adds are written next to the skillnames. The 3 next to fire combat was already printed on the template: firecombat is Quin's tag skill. After thinking about Quin for a bit, Paul decidesnot to take climbing or running as skills, and then distributes his 13 adds asshown on the sheet.

8

Suppose you choose to be a Soldier of Fortune. This is what the charactertemplate looks like:

nter a Soldier

Player Chapter One

9

TORG: Rulebook

Mitaya Corporation Low Orbital:The Low Orbital filled a need for reli-able transportation between NipponTech's early Lagrange industrial sta-tions and the Earth. The turnaroundtime, from landing to takeoff, can beless than 90 minutes.

Water Vehicles

Surface Vessels

Trireme: Named for the three rowsof oars which provide most of theship's power (although a square-sailprovides some additional mobility),the trireme is a mobile combat plat-form as much as a seafaring vessel.Triremes are equipped with reinforcedrams, their principal method for de-stroying enemy ships.

Galleon: Galleons are a compro-mise between a merchant ship and awarship. They are better merchanters.Galleons are bulky and not too ma-neuverable, but can haul a good dealof cargo, pack several dozen cannon,and take considerable damage beforegoing under.

Clipper Ship: The clipper ships arethe ultimate tall ships. Complicatedand sophisticated rigging can, in thehands of skilled crews, be used to drawevery ounce of power from the winds.Only moderately armed, the ships

SUBMARINE SPECIFICATION CHART

Craft Tech

Type 209class 21

Los Angelesclass 22

Speedkmh/mph/value Pass. Tough

40/ 25/ 10 33 28

55/ 35/ 11 140 33

Price(Value)

30 m (38)

2 b (47)

count on escape rather than confron-tation.

Coal Steamer: Early steamers re-tained their sails, in part to take ad-vantage of the wind, in part due to adistrust of the machinery which movedthe vessel. As the efficiency of theengines — and people's acceptance ofthe technology — grew, the sails wereabandoned. Coal steamers can sailthroughout the year as dictated by theneeds of trade rather than the prevail-ing wind patterns.

Diesel Steamer: Oil-fired enginesalso went through a transitional techperiod; oil-soaked coal was first used,then pure oil-fired engines replacedthe coal burners. Oil brings great gainsin efficiency; ships can remain at seafor months, rather than three weeks orso for a coal burner.

Luxury Liner: Diesel powers thesegreat behemoths, which require morethan three times the space of militaryvessels carrying a similar number of

people. They are remarkably seawor-thy. Many have been pressed intomilitary service as a result of the Pos-sibility Wars, ferrying troops equal totwice the normal passenger limits, plushundreds of tons of gear.

SubmarinesType 209 class: Designed by West

Germany, this diesel-powered subma-rine is in service throughout the world.Their sensors are more modern (Tech22 or 23) than the rest of the vessel. The209 is meant for patrols of 50 days orless.

Los Angeles class: The Los Ange-les class submarine is a nuclear pow-ered attack submarine, using ex-tremely sophisticated sensing gear(Tech 23) to hunt other submarines.While equipped with torpedoes, thesesubmarines hunt with missiles whichhit the water only as they near thetarget.

140

Gamemaster Chapter Thirteen

Chapter Thirteen

CreatingTemplatesIthough we give you anumber of templates tochoose from (located inthe World Book), yourplayers may at some

point want to build their own. Theprocedure for creating a new playercharacter template follows. If you wanthints about creating gamemaster char-acters, look in the Adventure Book.

Attributes andSkills

• A character has 66 attribute pointsto assign; the total of all the character'sattributes must be 66. On Core Earth,no attribute may exceed 13. The source-books about each cosm may containrules giving characters a way aroundthis limit; check the character genera-tion sections in those sourcebooks fordetails.

• Add skills to the template thatyou think would be appropriate forthat character, and that that characterwould have access to. A characterbegins with 16 skill points to assignamong all the skills listed. At least oneskill must be assigned three points(the tag skill), and no skill may beassigned more than three. Every char-acter must have at least one add in thereality skill.

• Every character starts with 10Possibilities.

• Running, swimming and otherlimit values are listed in GamemasterChapter Two. To determine thecharacter's movement rates, comparehis Dexterity and Strength as modifiedby the Character Limit chart (page 42)to the Torg Value chart. If the Dexterityor Strength attribute exceeds the limit,use the limit value instead.

Example: A character template hasa Dexterity of 11 and a Strength of 9.

The character runs 100 meters perround (limit value for running is 10)and lifts 60 kilos — though this couldgo up to 100 kilos if the characterchooses lifting as a skill.

MagiciansWhen designing magicians, an

additional step is required. If thetemplate has at least one add in any ofthe magical skills (apportation, divina-tion, conjuration or alteration) then thecharacter gets 12 additional points withwhich to buy arcane knowledges andspells. Each spell costs one of thesepoints; arcane knowledges are pur-chased like skill adds. The charactermay also spend any or all of his start-ing Possibilities in order to purchaseadditional spells (one Possibility perspell).

BackgroundNext think up a background for the

character. Try to think of where shecomes from, how she fits into thePossibility Wars. Then think of howothers would see her ... how shedresses, how she talks, how she reactsto other types of characters. Come upwith a name for the character's "tem-plate type," a quick hook as to the typeof character she is.

Next, think up connections thecharacter could have which would tieher in to other characters. See theprinted templates and Player ChapterOne for hints on connections.

Equip the character from the list ofequipment in Chapter Twelve. As thecharacter is just starting out duringthe chaos of the Possibility Wars, as-sume she begins with enough mate-riel to have survived this far. She willhave weapons, perhaps, and some

141

TORG: Rulebook

general equipment, and not much else.Two rules of thumb to follow whenpicking equipment: 1) if the charactercannot carry it, she probably does nothave it, and 2) working hardware ishard to come by on Core Earth sincethe Possibility Wars have started. Theplayer must always clear any equip-ment with the gamemaster.

If the player wants possessionswhich do not appear on the equip-ment list, she is responsible for pro-viding you with enough informationabout the item so you can make upyour mind. For example, if the item in

question is a weapon, the player wouldhave to describe, in game terms, howeffective the weapon is, and what sortof ammunition or maintenance is re-quired, how she came across theweapon, etc. A picture would be use-ful.

If the player wanted a mansion, shewould have to draw the floor plans ofthe mansion, a map of the grounds,delineate the caretakers, and give youenough written description so that themansion can fit into the campaign.

In short, if a player wants lots ofequipment or material possessions, shemust pay for it. The payment is notonly in game money, but in imagina-tion; she must work the equipment inso that it contributes to the story, andis fun for you and the other players, aswell as herself.

142

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