The Consilium

Magica

Del Webb
1 Title
The Consilium Magica
Second Edition

Compiled by: Del Webb

Additional Writing: Jasyn Jones
Commentary: Ks. Jim Ogle
Editing, Layout, & Graphic Design: Jasyn Jones

Copyright © 1995 by Del Webb. All rights reserved.

These are original rules, intended for use with TORG: Roleplaying the Possibility Wars.
The most recent version of these rules (and other TORG resources) can be found on the
STORM KNIGHTS website:

http://darleyconsulting.com/games/stormknights/

TORG is ®, TM, & © 2007 by Purgatory Publishing, Inc. (See the copyright section for
more information.)

Updated: May 28, 2007

Introduction
Of the four axioms of TORG, the Magic ax-
iom is at once the most familiar and the
most obscure. Spells and magic have been
part of roleplaying games since the
hobby’s creation. Similarly, much of folk-
lore and popular entertainment features
magic of one form or another.
Yet TORG’s magic system is unlike that
of any other roleplaying game. Its fluid
design allows mages to learn- or design- a
variety of spells, each unique yet each
sharing similar components to every other
spell.
This article deals not with specific
spells, nor rules for their use, but with the
spell design system. It is not intended to
be an introduction or a primer on TORG
spell design. Familiarity with the spell de-
1 C o n s i l i um M ag i c a
sign rules in the Aysle Fantasy Sourcebook
and Pixaud’s Practical Grimoire is neces-
sary.
The Consilium is intended for use as a
quick reference during spell design. As
you fill out the ovals on the spell design
worksheet, you can refer to this article for
a concise explanation of the mechanics
involved.
This article also incorporates clarifica-
tions published in the Infiniverse newslet-
ter, where appropriate. One thing not in-
cluded are any house rules- the rules here
are strictly canon TORG (within the limita-
tions of the editor’s knowledge). They
should be acceptable for any TORG cam-
paign.
The Building Blocks
Magic Types
There are four types of magic in TORG:
divination, alteration, apportation, and
conjuration.
Divination
Used to produce a pattern which gives
information. Divination is used for spells
of detection, clairvoyance, and telepathy;
spells which sense or communicate use
divination. When used as a information
spell, the pattern is the type of information
you are discovering, and the result is the
target of inquiry (The detect folk evil spell
has a pattern of divination/darkness and a
Storm Knights
result of folk; it detects darkness in folk).
When used as a communication spell, the
pattern is the source or medium of the in-
formation conveyed, and the result is the
recipient of the information (Vorgal’s metal
tale is divination/metal with a result of
folk; it gives information to folk through
the metal).
The divination component of a spell
(like that used in wards) can only be set up
to detect the full range of its pattern
knowledge. A spell can detect anger
(darkness), or a dwarf (folk), but not angry
dwarves. In fact, these spells would detect
all darkness or folk, respectively. Note,
2
however, that an entire spell to detect an-
gry dwarves is possible (divination/
darkness, with a result of folk, with an Ex-
clusion of dwarves).
Apportation
Used to produce a pattern which allows
the mage to move something. Spells in-
volving the attraction or repulsion of the
target are also apportation. Any physical
mass or energy can be apported. Essences
may not be apported. Nature will con-
cede the apportation of physical mass. In
other words, any object moved by a spell
remains moved even after the duration ex-
pires, unless another force moves it.
Attributes moved by apportation magic
return to their original object or kindred
once the spell’s duration expires. Other
intangible properties, such as skill values,
also return if they cannot naturally be
gained or lost in a short period of time.
Things such as spells and shock points,
since they can be gained and lost quickly,
do not return if moved by an apportation
spell.
Alteration
Used to produce a pattern which al-
lows the mage to increase, decrease, or
change something. An alteration spell
must begin its work on something which
already exists in the natural world. There
are two types of alteration spells: modifica-
tion and transformation.
Modification changes a target by de-
gree. Modifications may use any knowl-
edge as a mechanism and produce real
(not illusory) effects. A modification spell
may only affect a quality the target pos-
sesses naturally (i.e., all humans have a
Strength score, so that can be modified;
but no human is naturally transparent, so a
spell to make someone transparent is not a
3 C o n s i l i um M ag i c a
modification spell).
Modification spells cannot push the
attributes of kindred past the larger of
these two values:
A. The Ayslish cosm limit of that attrib-
ute (see Charts and Tables, pg. 23).
B. The attribute plus the maximum gain
possible from the Speed Push (+2) or
Power Push (+6) table, whichever is ap-
propriate.
A transformation spell changes the tar-
get into a different kind of element, kin-
dred, or knowledge. A transformation is
also necessary to increase or decrease an
attribute beyond the range of a modifica-
tion. Transformations must have an Es-
sence as the mechanism to produce real
effects; otherwise they are illusory.
The final result points of a transforma-
tion spell must equal or exceed the great-
est attribute difference between the origi-
nal and the transform. For example, a
spell to transform a giant (Toughness 19)
into a frog (Toughness 1), would need at
least 18 result points. If magic is the
mechanism, an Effect Value of 37 is neces-
sary (37 - 19 = 18), but this makes the
spell illusory. Any other mechanism re-
quires an Effect Value of 70 or more! (70 -
19 = 51, read through the Power Push Ta-
ble gives 18).
Conjuration
Used to create or destroy a pattern.
The mage can either bring a supernatural
pattern into the natural world, or reduce a
part of the natural world to its supernatural
pattern, then undo the pattern. All conju-
rations are transformations, involving the
creation of something out of nothing.
Conjurations with real effects must have an
Essence knowledge as the pattern or
mechanism; otherwise they are illusory.
Arcane Knowledges
Essences
True transformation requires Essences
as either result or mechanism. Conjuring
or transforming something real requires
Essences as pattern and/or mechanism. A
spell with an Essence pattern may have an
Essence mechanism, but not an Essence
result. There are no Apportation/Essence
spells known to exist.
Death: Corruption, non-existence,
death, the Void
Pattern: Manipulate the death knowl-
edge within a being or object or bring de-
struction into existence.
Conjuration: Create death to inflict on
other knowledge
Alteration: Reanimate the dead
Apportation: None known
Divination: Find corruption or source
of destruction
Mechanism: Allows a pattern to be al-
tered through death. Can corrupt, kill, or
diminish its target. May be used to create
real effects only for results consistent with
its nature.
Result: Complete destruction of pattern
knowledge. Makes death, corruption, or
destruction continual.
Life: Creation, renewal, life, honor,
growth, steady change, ideas
Pattern: Find life or the honorable; en-
hance life, honor, creativity; create living
beings
Conjuration: Create life
Alteration: Accelerate healing or
growth
Apportation: None known
Divination: Detect life, honor, one of
Seven Kindred
Mechanism: Imbues the result with life,
Storm Knights
honor, etc. Can transform one Kindred to
another. May be used to create real effects
only for results consistent with its nature.
Result: Makes renewal or creation con-
tinual for duration. Can tell the nature of
Kindred, Living forces, Light or Magic on a
Kindred.
Time: Change in being or nature, time,
radical or random change
Pattern: Manipulation of change and
time
Conjuration: Bring element of change
or time
Alteration: Accelerate or decelerate
time
Apportation: None known
Divination: Determine when an event
occurred
Mechanism: Transform one Inanimate
Force into another. Make conjurations
with magic or inanimate forces real. Mak-
ing effects real must be consistent with the
nature of time.
Result: Fix a process in time. Gain in-
formation about nature of Magic or Inani-
mate Forces on an Element.
True Knowledge: Knowledge of physi-
cal substances and their properties, loca-
tion, distance, mass
Pattern: Changing or creating an Ele-
ment, travel between and within dimen-
sions
Conjuration: Extradimensional gates,
create Element
Alteration: Change an Element, telepor-
tation
Apportation: None known
Divination: Seeing far away places or
other dimensions
Mechanism: Allows an Element to be
transformed into another. Make conjura-
4
tions involving light, darkness, inanimate
forces real, if result is consistent with prin-
ciples of true knowledge.
Result: Give information about nature
of an Element; information may be gained
about Element, Light, Darkness, or Inani-
mate Forces.
Principles
The Principles are pure forces of a high
order, derived from the Essences. All con-
jurations using Principles are illusory un-
less an Essence is used as the mechanism.
The most effective illusions use the Princi-
ples as their patterns, requiring a Mind to-
tal of 15 to disbelieve.
Darkness: Physical darkness, spiritual
darkness, evil, confusion, doubt, negative
emotions
Pattern: Used to create, change, con-
vert, detect, or move the aspects of Dark-
ness
Conjuration: Create darkness, illusion
of Kindred or Living Forces with an ele-
ment of evil
Alteration: Increase/decrease darkness,
convert darkness
Apportation: Moving darkness, moving
dark emotions
Divination: Detecting hostility or nega-
tive feelings
Mechanism: Detecting darkness in liv-
ing beings. Cause negative emotions.
Manipulate living energies to have nega-
tive effect.
Result: Create physical darkness, emo-
tional turmoil, confusion.
Light: Physical light, positive emotions,
insight, intellect
Pattern: Used to create, change, con-
vert, detect, or move light
Conjuration: Create light, illusions of
Kindred or Living Forces with an element
5 C o n s i l i um M ag i c a
of good, illusions of Elements or Inanimate
Forces
Alteration: Increase/decrease light,
convert light
Apportation: Moving light, moving
good emotions
Divination: Detecting good will, posi-
tive feelings
Mechanism: Detecting goodness in be-
ings. Cause positive emotions. Manipu-
late living energies to have positive effect.
Result: Create physical light or emo-
tional harmony.
Magic: Knowledge of change, the su-
pernatural; the most ideal mechanism
Pattern: Creation, detection, or ma-
nipulation of magical forces
Conjuration: Illusions of Inanimate
Forces or Elements
Alteration: The changing or dispelling
of magic
Apportation: Removal of magic from an
area
Divination: Detection of magical en-
ergy
Mechanism: The most effective mecha-
nism, can be used for any pattern, espe-
cially those of Element and Inanimate
Forces.
Result: Controlling magic in a being,
object, or area.
Mixed Forces
There are only two Mixed Forces. They
are combinations of the opposed Essences,
and thus are as difficult as Principles to
control. Illusions using Mixed Forces as a
pattern are disbelieved with a Mind total
of 12.
Inanimate Forces: Link to the Elements.
Can affect Kindred, but not change them.
The forces which affect and are associated
with Elements, such as heat, electricity,
gravity, magnetism, atomic bonds, etc.
Pattern: Converting one Inanimate
Force to another, or using Inanimate Forces
on objects.
Conjuration: Creating a force
Alteration: Changing one force to an-
other, or changing the degree of a force
Apportation: Using forces to move ob-
jects
Divination: Detection of objects or
hidden forces
Mechanism: Used to apport any physi-
cal object (including Kindred). Used as
mechanism for results of Light, Magic,
Mixed Forces, Elements.
Result: Creates any effect not covered
by another knowledge. Needed when re-
sult is to apply to all Elements equally.
Living Forces: Link to the Kindred. Can
only apport Elements. Covers the attrib-
utes of living things (Strength, Mind, etc.)
as well as vitality.
Pattern: Used for spells which will
work on any Kindred
Conjuration: Create health, charm and
persuasion spells
Alteration: Change the attributes of a
being
Apportation: Transfer health or attrib-
utes between creatures
Divination: Detect presence and/or
level of Living Forces
Mechanism: Can be used for results of
Mixed Forces, Kindred, Elements, Light,
and Darkness.
Result: Needed when result is to apply
equally to all Kindred.
Seven Kindred
Covers all living things. Kindred can
be used as a pattern if the result is a Kin-
dred, Living Forces, Darkness, or Light.
Kindred cannot be mechanisms. A Kin-
dred must be the result if the spell alters or
Storm Knights
transforms a Kindred.
Aquatic: Covers all creature which live
in the ocean or other water bodies; fish,
whales, crabs, frogs, sea snakes, mollusks,
even bacteria.
Avian: All flying creatures; birds, in-
sects, bats, flying reptiles. Dragons are not
included.
Earthly: All ground-based creatures
which are still influenced primarily by in-
stinct. Humans and other Folk are not in-
cluded.
Elemental: Beings made directly of the
Elements.
Enchanted: Creatures which rely on
magic for their existence, often the crea-
tures of myth and legend; dragons, manti-
cores, unicorns, fairies.
Entity: Creatures which are alive un-
naturally, which do not exist naturally in
the real world; demons, undead, golems,
ghosts.
Folk: Intelligent beings who relate
closer to their own kind than any Element
or the supernatural; humans, elves,
dwarves, trolls, harpies.
Elements
The Elements represent all unliving or
spiritless things. The Elements described
here do not necessarily correspond to Core
Earth definitions. Often an Element is de-
scribed as having an intellectual aspect.
Elements are used as patterns for spells
with results of Element, Inanimate Forces,
Magic, or Light. Elements cannot be used
as mechanisms. Changing an Element re-
quires a result of Element.
Air: All substances which are gases at
room temperature. Often a cooling influ-
ence. Intelligence is impatient and quick
tempered.
Earth: All materials made from earthen
6
components. Intelligence is slow, patient,
and thick-headed.
Fire: Any form of natural combustion.
A nuclear blast is Inanimate Forces, not
Fire. Intelligence is destructive and hun-
gry.
Metal: All earthly substances which are
pliable when flame is applied. Intelli-
gence is strong willed and loyal if well-
treated.
Plant: That which grows on earth, sun
7 C o n s i l i um M ag i c a
and water alone, or which is derived from
such elements. Includes petroleum prod-
ucts. Intelligence is patient and pleasure
seeking.
Water: Considered to be water only.
All other liquids are either mixtures or
elements with a proclivity to Water. Intel-
ligence is playful and gentle unless en-
raged, when it becomes violent and vin-
dictive.
Step by Step Design
This section details the design of a spell
from beginning to end. There will be sev-
eral references to the Spell Laboratory
Sheet, as well as several other tables and
figures. All of these can be found in
State
1. Decide what spell you want to design.
This is an obvious step, yet many aspects
of it are overlooked by mages. There are
certain things to remember when you
come up with an idea for a spell. First of
all, remember; one spell produces one ef-
fect. When you get an idea for a new
spell, ask yourself; are all of the effects of
this spell necessarily consequences of the
Storm Knights
Charts and Tables, pg. 23. In order to de-
sign a spell, a mage must know all four
magic skills, and have at least one add in
the pattern knowledge he or she is using.
basic effect? For example, suppose a mage
was trying to design a spell to summon a
demon. However, he wants the demon to
be loyal to him. This would require two
spells; one to summon the demon and one
to make it loyal. A spell designed to sum-
mon a charmed demon would fail; since it
is possible to summon an unfriendly de-
mon, the charming is a secondary effect.
8
 At this point you should have a fairly
good idea which of the three available as-
pects (duration, Effect Value, or range) you
will be adding the bonus number to. With
damaging spells or enhancement spells,
effect is usually the best choice. For a dis-
guise spell (or most spells with an effect of
zero) duration is a good choice. For most
divination spells, range will allow you to
view things further away while duration
will allow you to view them longer. You
can choose whichever you wish at no cost.
2. Decide upon the state path of the
spell. The state path consists of the magic
skill used, the pattern, the mechanism, and
the result. The pattern knowledge is what
you are starting with, the result knowledge
is what you end up with, and the mecha-
nism is what causes the pattern to become
the result.
Use the information in The Building
Blocks to decide which knowledges to use.
There is often more than one way to build
a state path; use the path you feel is most
appropriate for the effect you want. Re-
cord the skill and knowledges used on the
Spell Laboratory Sheet, at the upper left.
Once you have decided on a state
path, consult the Magic State Paths dia-
gram. Find the pattern knowledge of the
spell and record the enclosed value on the
Spell Laboratory Sheet under “Pattern
Knowledge” (box at upper left). Trace the
path from the pattern to the mechanism,
adding together the values on the arrows.
You do not add the values of the mecha-
nism or any intermediary knowledges. If
your path takes you against an arrow, the
cost is two. If you are looping back on the
same knowledge, however, you cannot go
against the arrow. Record the sum in the
box labeled “Mechanism Knowledge”.
The use of the box labeled “Additional”
will be covered in a later section. Trace
the path from the mechanism to the result
knowledge, using the same rules as before.
9 C o n s i l i um M ag i c a
Record the sum under “Result Knowl-
edge”.
3. Decide upon a casting method for
the spell. There are four ways to cast a
spell; direct, focused, impressed, and
ward. Direct means that the spell is linked
to the caster, and is released as soon as it
is cast. Choosing direct as a casting
method adds nothing to the state path, so
record a zero in the Casting Method box.
Focused spells are linked to another object
or person; they add two to the state path.
Impressed spells are linked to the caster,
but can be held in the mind until released.
Impressing a spell adds three to the cost.
A mage may impress a number of spells
equal to the sum of his adds in conjuration
and the state knowledge. A spell can be
impressed and focused at the same time;
this spell is held in the caster’s mind until
released, causing it to focus on the chosen
object. Impressing a spell into another be-
ing or an object is covered in Advanced
Spellcraft.
Wards are guardian spells, designed to
activate when they detect a certain condi-
tion. Wards are, in effect, impressed and
focused spells that can release themselves
without the caster being present. Casting a
ward adds five to the cost of the spell, plus
an additional amount for the divination
component (discussed later).
4. Add together the costs for the
knowledges and casting method. record
this value under “State Total”. Record the
same value in the oval to the right, labeled
State. This is the cost of the State Path.
Take your skill value in conjuration magic,
and add the number of adds you possess
in the pattern knowledge. Generate a bo-
nus number to this value (using the Bonus
Chart). Record this under the box labeled
Conjuration.
Example: a mage designing an
alteration/water spell has a conjuration
magic value of 17, and 3 adds in water.
He generates a +2 on the Bonus Chart,
and records 22 in the appropriate box (17
+ 3 + 2 = 22).
Pattern
5. Decide on the area and/or volume the
spell will affect. The area value is the ra-
dius for the two-dimensional area the spell
affects. An area may be horizontal or ver-
tical. Consult the Value Chart to deter-
mine the value. The area will be a circle,
unless otherwise stated (in Aspects, be-
low). The volume is the radius of the third
dimension of the spell. If volume is pur-
chased, area must also be purchased. The
volume is assumed to be a sphere unless
changed in Aspects. The values of volume
and area should be equal; if not, the area
affected equals the smaller of the two val-
ues (which wastes the extra points of the
larger value).
6. Decide on an Effect Value. This is
how powerful the spell will be. This value
is usually compared to some quality of the
target (its weight, Dexterity, Toughness,
etc.). A spell’s Effect Value may have more
than one game effect; the sum of these ef-
fects is the Effect Value.
Example: Floater lifts up to 100 kilos
(value 10) at a speed of four meters per
round (value 3). The Effect Value is 13.
If magic is used as the mechanism, the
Effect Value is translated directly into game
effects; if not, the Effect Value is read
through the Power Push table. Note, how-
ever, that a spell using magic as a mecha-
nism is an illusion and can be disbelieved.
Example: A human (Strength 8) has a
strength spell cast on him. The spell’s base
Storm Knights
A Possibility may be used on this roll,
but no card play is allowed. Subtract the
Conjuration total from the State total; the
difference is recorded in the oval to the
right of this row. If the difference is -5 or
less, record -5 in the oval.
Effect Value is 10, and the mage rolled a
bonus of +2 for a final Effect Value of 12.
If magic is the mechanism, the target adds
4 to his Strength (12 - 8 = 4). If another
mechanism is used, he adds 2 to his
Strength (12 - 8 = 4, 4 on the Power Push
table yields +2). Note that if the human’s
Strength was 13, no result points would be
generated; the spell would have no effect.
7. A result modifier can be added to
any spell which does not use magic as its
mechanism. The result modifier is added
to the final result points of a spell. In the
example of the second strength spell
above, if the mage had added a result
modifier of 4 to the spell, the human
would have added 6 points to his Strength
(2 points from the Effect Value, plus 4 from
the result modifier). The maximum result
modifier that can be bought is equal to the
Effect Value of the spell read through the
Power Push table (for the second strength
spell above, the maximum result modifier
is 4).
8. Add together area, volume, effect,
and result modifier. Record the value un-
der Pattern. Add together your value in the
magic skill used for the spell, your adds in
the pattern knowledge, and a bonus num-
ber. Record these in the oval labeled Pat-
tern Skill.
Example: For the alteration/water spell
example used earlier, the mage has altera-
tion magic 15, water +3, and gets a -1 bo-
nus. His value is 17 (15 + 3 - 1 = 17).
10

A Possibility can be used, but no cards.
Subtract Pattern Skill from Pattern; record
Control
9. There are two aspects to control: multi-
attributes and multi-target.
a. If the spell will affect the attributes
or skills of the target, the caster must in-
clude multi-attributes. A spell will affect
one attribute for free; after that, they must
be purchased. Decide how many attrib-
utes or skills you wish to affect; this num-
ber is read on the Multi-Attributes and As-
pects chart (see the Appendix, below).
Example: If the spell affects just Dexter-
ity, there is no cost; for Dexterity, Strength,
and Toughness, the cost is 6; for those
three attributes, plus the dodge and fire
combat skills, the cost is 8.)
If an attribute is affected, the attribute
and all skills under it are raised or lowered
by the result points.
Example: A woman with Dexterity 9
and fire combat 11 that has her Dexterity
raised by three will have a Dexterity of 12
and a fire combat of 14).
If an individual skill is purchased with
multi-attributes (called derived effects),
only that skill’s value is raised. Derived
effects are raised by the value of the Effect
Value read through the Power Push. It is
possible to raise both an attribute (for all
purposes) and a derived effect with the
same spell; the spell that affects Dexterity,
Strength, Toughness and the dodge and
fire combat skills is one such spell. First
the attributes are raised (or lowered) by the
result points of the spell; then the result
points are read through the Power Push
table, and this value is added to the de-
11
this total to the right. If the difference is -5
or less, record -5 in the oval.
rived effects. Note that if magic is not
used as the mechanism, the result points
will be filtered through the Power Push for
the attributes, and Pushed again for the
derived effects. Examples of both cases
are given below.
Example 1: The spell affecting the
Strength, Dexterity, Toughness, dodge, and
fire combat skills of the target is designed
using magic as the mechanism. The target
has Dexterity 9, Strength 10, Toughness 8,
dodge 10, and fire combat 11. The spell
generates an Effect Value of 16; this gives 6
result points to all three attributes (Effect
Values are compared to the largest attrib-
ute; in this case, Strength). The target now
has Dexterity 15, Strength 16, Toughness
14, dodge 16, and fire combat 17. Now
the result points are read on the Power
Push table; a 6 yields a +3. The 3 is added
to the skill values, giving the target these
values: Dexterity 15, Strength 16, Tough-
ness 14, dodge 19, fire combat 20.
Example 2: The same spell is designed
using living forces as the mechanism. Cast
on the same target, it also generates an Ef-
fect Value of 16. Read the result points (6)
on the Power Push; this gives a +3. The
target now has Dexterity 12, Strength 13,
Toughness 11, dodge 13, and fire combat
14. Now the 3 result points are read
through the Power Push table again; this
gives a +2. This is added to the derived
effects, for a final result of: Dexterity 12,
Strength 13, Toughness 11, dodge 15, fire
combat 16.
b. Multi-target may also be purchased
C o n s i l i um M ag i c a
under multi-attributes. The caster may de-
cide how many people to target in any
area spell.
Take the number of people you wish to
target, and read it through the Multi-
Attributes and Aspects chart (If the mage
chooses 5 people, the cost is 6; if he
chooses 20, the cost is 12). If the number
of people in the area of the spell is equal
to or less than the multi-target number, the
caster may choose who is affected by the
spell. If the number in the area is greater,
all are affected.
Example: A mage designs a spell to de-
liver an electric shock to anyone in a 10-
meter radius circle. He wants to design it
so he can shock only his enemies when
his Storm Knight team is also in the area.
He builds in a Multi-Target of 13 (cost 12).
As long as there are 13 or fewer beings in
the affected area, the mage may choose
who is affected by the spell. If more than
13 are in the affected area, all are
shocked.
Note that a spell can have multi-
attributes and multi-target built in. In such
cases, compute the value of each aspect
separately, then add them together. This
can get expensive
Example: A mage designs a spell which
raises the Spirit, Charisma, and faith skill of
all creatures in an area, where the mage
may select the targets when there are 10 or
fewer beings in the area. The cost of af-
fecting two attributes and one skill is four
(remember, the first multi-attribute is free)
and the cost for a multi-target of 10 is 10,
for a total cost of 14.
In addition, any gate or teleport spells
must have a Multi-Attribute for all seven
attributes built in; otherwise the attributes
are not carried across.
Storm Knights
c. Record all Multi-Attributes and
Multi-Targets, add up their costs, and re-
cord it under “Multi-Attributes”.
10. a. Decide on any Aspects you want
to use. There are several Aspects that can
be built into a spell: Change Target, Effect,
Form, Area, Volume, Apportation, Dura-
tion, Accuracy, and Divination. To deter-
mine the cost, read the number of Aspects
used through the Multi-Attribute and As-
pects table. Unlike Multi-Attributes, the
first Aspect is not free. Do not add in Ac-
curacy or Divination if they are used; their
cost is figured separately. An explanation
of each Aspect follows.
Change Target: The spell’s effect can
change targets. If a new target is chosen,
the original target is no longer affected.
When designing the spell, decide who can
change targets; the caster or the recipient.
Effect: The effect of the spell can be
turned on and off if the spell is permanent
(permanent magic is discussed in the next
section). The effect can also be lessened in
any spell with this Aspect, but it cannot be
increased.
Form, Area, Volume: These Aspects can
only be used on elements, Mixed Forces,
or Principles. Controlling Form allows the
caster to change the shape of the spell
within the bounds of the spell’s area or
volume (a circle or sphere). Manipulating
Area allows a mage to shape the effect be-
yond the confines of the original circle, as
long as the value of the area is maintained.
Volume lets the mage shape the effect out-
side the bounds of the original sphere, as
long as the value of the volume is pre-
served.
The chart tells you what must be in-
cluded in order to produce some common
shapes.
Included in the Appendix are equations
for the areas and volumes of these shapes,
so that a mage will know how large a
shape will be.
12
 Apportation: If the apportation is not
controlled, the spell travels in a straight
line to the target. If Apportation is pur-
chased, the spell will travel in any path the
caster wishes.
Duration: The spell may be turned off
before the full duration. Otherwise, it con-
tinues for the entire duration.
Accuracy: Any spell which targets an
unwilling creature (such as combat spells)
needs to hit to succeed. The mage casting
a spell generates an apportation magic to-
tal, which is compared to the relevant de-
fensive skill (dodge, Dexterity, etc.). Add-
ing Accuracy to the spell gives a bonus to
this roll. The cost of Accuracy equals the
bonus given; a +3 to-hit modifier costs 3.
Divination: This Aspect is usually
added only to ward spells. A ward must
be able to detect something in order to set
it off; this is where that ability is built in.
The cost of Divination is 8 (for the skill)
plus the number of adds the spell’s de-
signer has in the knowledge to be de-
tected. The spell will then have a value to
detect the knowledge equal to the de-
signer’s skill and knowledge total.
Example: A mage designs a ward to set
off in the presence of undead. He has
divination magic 16, entity +5. The cost of
the Aspect is 13 (8 + 5 = 13). The spell
now has a divination/entity total of 21 to
detect undead.
Apportation
14. Decide on a speed for the spell. Use
the Value Chart to determine the value,
and record it in the oval marked “Speed”.
The speed must be high enough so that the
spell can reach its maximum range within
the duration. The formula to use for this is:
Minimum Speed = Range - Duration + 5
13
The divination component of a spell
has limits; these are discussed in The
Building Blocks under “Divination”.
b. Add up the costs for Aspects, and
record it in the oval marked “Aspects”.
11. Transformations or conjurations
which do not use an Essence as the pattern
or mechanism are illusory and can be dis-
believed. The difficulty of disbelieving is
based on the pattern knowledge; for Kin-
dred and Elements, it is 8; for Mixed
Forces, it is 12; for Principles, the difficulty
is 15. Buying a Disbelief modifier in-
creases the difficulty of disbelieving the
spell. Record how many points you want
to increase the difficulty by in the oval la-
beled “Disbelief”.
12. Consult the table Pattern Skill Val-
ues under the heading “Control Cost”.
Find the value listed for the type of magic
you are using in the spell, and record this
number in the oval labeled “Pattern Skill
Cost”.
13. Add together Multi-Attributes, As-
pects, Disbelief, and Pattern Skill Cost. Put
the sum in the oval labeled Control. In the
oval labeled Divination, put your divina-
tion magic total, plus the adds you have in
the pattern knowledge, plus a bonus num-
ber (You can use a Possibility, but not
cards). Subtract Divination from Control,
and put the difference in the oval to the
right. Again, if the difference is -5 or less,
put -5 in the oval.
Examples: A spell with a range of 1000
meters (value 15) which lasts 15 seconds
(value 6), must have a minimum speed of
14 (15 - 6 + 5), which translates to 600
meters per round. A spell with a range of
40 meters (value 8) which lasts 2.5 min-
utes (value 11) has a minimum speed of 2
C o n s i l i um M ag i c a
(8 - 11 + 5), which is 2.5 meters per
round.)
15. Decide on the spell’s range. Use
the Value Chart to determine the value,
and place it in the “Range” oval. Be care-
ful when assigning the range. If a mage
designs a fireball with a volume of 5 and a
range of 5, he will be blasted by the edge
of his own fireball!
16. Add together Speed and Range,
Duration
17. Decide on a duration for the spell, us-
ing the Value Chart to get a value. Try and
select the lowest duration possible, for two
reasons:
a. A character cannot be affected by a
two spells of the same pattern knowledge
at the same time. In order to affect some-
one with the second spell, the caster must
beat the Effect Value of the first spell.
Example: A character has enhanced
aura cast on himself, which is an
alteration/living forces spell with a base
Effect Value of 21 and a duration of one
week. The character is wounded in battle.
A mage has a heal spell, but cannot use it;
heal is also alteration/living forces. The
character can either wait for the enhanced
Basic Complexity
19. Consult Pattern Skill Values under the
heading “Complexity”. Find the value for
the magic skill used in the spell, and re-
cord it in the oval marked “Magic Type”.
20. Take the highest number from
among these totals: State, Pattern, Control,
Apportation, and “Duration”. Record this
number in the oval labeled “Process
Maximum”.
21. Add together all of the totals ob-
tained in the far right column (Conjuration
- State, Pattern Skill - Pattern, etc.). Record
Storm Knights
and record the sum in the oval labeled
Apportation. In the oval to the right, also
labeled Apportation, record your apporta-
tion magic skill, plus the adds in the pat-
tern knowledge and a bonus (Possibilities
but no cards). Subtract the Apportation on
the right from the Apportation on the left;
record the difference in the oval to the far
right. As before, if the difference is -5 or
less, put -5 in the oval.
aura to end (a week), or the mage can at-
tempt to beat the Effect Value of the spell
(heal has a base Effect Value of 15; good
luck!).
b. A low duration can help offset a
high state total or Effect Value.
18. In the oval labeled Alteration, put
your alteration magic total, plus your adds
in the pattern knowledge and the bonus
number (As before, Possibilities but no
cards). Subtract this from the duration.
Record the difference in the oval to the far
right. But this time, if the difference is -5
or less, record the actual value (If the dif-
ference is -8, write -8 in the oval). This is
why a low duration can help offset the
higher costs.
this sum in the oval marked “Spell Sum”.
If the Spell Sum is less than zero, write
zero in the oval.
22. Decide on a Cast Time for the spell.
Some things to remember:
a. Since an impressed spell is stored in
the mind until released, mages often assign
long cast times to impressed spells.
b. A combat round is 10 seconds
(value 5). Therefore, any spell that has a
cast time less than 5 will take effect in the
round the casting is begun; otherwise, the
14
spell is released in the next round.
Example: A spell with a cast time of 4
seconds (value 3) will release in the same
round it is started; a cast time of 10 sec-
onds (value 5) will release on the second
round, requiring the mage to cast the spell
for the entire round). Note that this ex-
tends to longer cast times as well; a spell
with a cast time of 40 seconds will take
four full combat rounds to cast, releasing
Theorems
Theorems are applied to make a spell eas-
ier to cast. Theorems are the most time-
consuming part of spell design; each theo-
rem takes at least a week to observe. The
mage may apply as many or as few theo-
rems as he or she wishes. The theorems
are applied one at a time, and the mage
may stop at any time (i.e., if the mage puts
six theorems into a spell, and stops apply-
ing them after the third, the spell is fin-
ished with three theorems; the other three
are lost).
When applying a theorem, the value is
determined as follows; the value of the
number of weeks the theorem is studied
(on the Value Chart), plus the skill adds
(process theorems only), plus a bonus
number. When generating a bonus num-
ber for theorems, no Possibilities or cards
can be used to augment the roll. The to-
tal(s) are subtracted from the Basic Com-
plexity.
There are two types of theorems; proc-
ess theorems and pattern theorems. Each
is detailed below.
Process Theorems
Process theorems are learned just like
Arcane Knowledges. They are used for
two purposes; making a spell easier to cast
and manipulating a spell (manipulation is
15
on the fifth round.
23. Add together the Magic Type,
Process Maximum, and Spell Sum. Sub-
tract from this the Cast Time. Record this
number under “Basic Complexity”. The
time required to observe this much of the
spell is one hour; if less time is spent, the
value of the time cut short is added to Pat-
tern. This becomes a factor in casting on
the fly, discussed later.
discussed in Advanced Spellcraft). There
are six process theorems: Cast Time, Con-
trol, Duration, Range, Speed, and State.
The adds in these theorems are figured in
with the value of weeks studied and the
bonus number to determine the theorem
total. Note that using a process theorem
does not affect the part of the spell it is
named after; using the Duration theorem
does not affect the duration of the spell in
any way.
Pattern Theorems
Pattern theorems can be applied to any
spell; they do not need to be learned. Pat-
tern theorems not only reduce complexity,
but also affect how the spell operates.
There are nine pattern theorems, and their
effects are described below.
Concentration: As the mage casts the
spell, his or her mind mirrors the pattern.
If the mage continues to concentrate on
the pattern after it is cast, the pattern is
easier to maintain in the natural world. If
Concentration is applied, the mage must
concentrate on the spell, doing nothing
else until the effect is ended.
Contagion: A part is always linked with
its whole. Therefore, having a part of the
affected material will make it easier to af-
C o n s i l i um M ag i c a
fect the whole. If Contagion is applied,
the mage must have a physical object
which represents either the pattern knowl-
edge or the result knowledge.
Specific Contagion: This may be ap-
plied when the object used comes from
the target of the spell itself. Thus, a human
hair can be used as a Contagion for a spell
affecting folk, but if Specific Contagion is
used, the hair must come from the target of
the spell. If Specific Contagion is applied,
Contagion may be applied automatically.
Exclusion: The less of a knowledge
which is necessary for a pattern or result,
the easier the spell. A spell which affects
only a sub-group of a knowledge uses Ex-
clusion. Exclusion can be applied only
once to the pattern and the result.
Thus, you can use Exclusion to affect
only dwarves, but you can’t use it again to
affect left-handed dwarves. However, if
you had a spell that turned dwarves into
dragons, you can use Exclusion twice;
once on the pattern of folk to Exclude
dwarves, and once on the result of en-
chanted to Exclude dragons.
Emotional states are beyond the
bounds of Exclusion. You cannot use Ex-
clusion to affect only friendly folk, or an-
gry entities, etc.
The Exclusion must be a sub-group that
already exists naturally in the knowledge.
You cannot design a fireball that only
burns dwarves; the pattern and result of
fireball is fire; there is no such thing natu-
Final Complexity
In the lower right-hand corner of the Spell
Laboratory Sheet, record the Basic Com-
plexity in the oval just below the oval with
the same label. Add up all totals from
theorems, and place the total in the oval
marked “Theorem Sum”. Subtract the
Theorem Sum from the Basic Complexity,
Storm Knights
rally as fire that only burns dwarves.
Uniqueness: Uniqueness may be ap-
plied when the spell affects only one par-
ticular individual. When Uniqueness is
applied, Exclusion may be applied as well.
Uniqueness follows the same rules as Ex-
clusion in its use.
Similarity: Whenever the mage mimics
the process or result of a spell while cast-
ing it, Similarity is applied. The mage
mimes what the spell will do when cast.
Touch: Direct contact between the
caster and the target of a spell makes the
transfer of the result easier. Touch is ap-
plied when the caster is required to touch
the recipient of the spell (which may re-
quire an unarmed combat total against an
unwilling target).
Self: Since the observer of the pattern
(the mage) is closest to the pattern of the
spell, he or she is most easily affected by
it. Using Self means that the spell will
only affect the caster. Since a being whose
spirit is in their physical form is touching
their physical form, the theorem of Touch
can be applied, too. This also implies that
any spell using Self will end if a person’s
spirit is separated from their body.
Voice: The path from supernatural pat-
tern to natural world is similar to the path
from thought to voice. Thus, if the caster
speaks or vocalizes sounds while casting,
Voice may be applied. The spoken part
must have some relation to the spell’s ef-
fect, and these spells cannot be cast while
under any form of silence.
and record it under “Final Complexity”.
Reference this number with the magic skill
listed in Pattern Skill Values under “Final
Complexity”. If the number in Pattern Skill
Values is greater than the Final Complexity
determined, use the number from the table
instead. This number will be divided be-
16
tween the backlash and difficulty of the
Recording the Spell
In the box at the top right of the Spell
Laboratory Sheet labeled “SPELL LOG”,
record the following data:
Spell: The name of the spell.
Axiom Level: The Magic axiom neces-
sary to produce the effect of the spell. This
is determined by referencing the Magic
axiom. A spell with an axiom higher than
the region it is cast in and/or the caster will
cause a contradiction. Impressed spells
will have two axioms; the first is the axiom
level of the spell’s effect, the second is a
parenthetical value of 17, the axiom level
at which impressing is possible.
Skill: Record the magic skill used, the
pattern knowledge, and the sum of the de-
signer’s skill value and knowledge adds.
In order to cast this spell, a mage must
have a skill + knowledge total that equals
or exceeds this number.
Example: A mage designs a divination/
metal spell. He has a divination magic
skill of 16, and 7 adds in metal. He re-
cords the Skill as “divination/metal 23”.
Another mage must have a total of 23 or
greater in divination/metal to cast this
spell.
It is possible to design a spell without
using your full skill. This is covered in Ad-
vanced Spellcraft.
Backlash and Difficulty: Divide the Fi-
nal Complexity between these two values.
It does not have to be equally divided.
Difficulty is the number that a caster needs
to beat to cast the spell; backlash is the
measure of the spell’s resistance to the
natural world. When a mage generates a
spell total (his skill plus a bonus), he or she
checks it against both of these numbers. If
the spell total equals or exceeds the diffi-
17
spell.
culty, the spell is cast. Whether or not the
difficulty is overcome, the mage also
checks backlash. Compare the backlash to
the character’s Mind or the spell total,
whichever is higher. Read the result points
on the damage chart as mental stun dam-
age (i.e., the first wound becomes a
knockdown).
It is important to know when the char-
acter “knows” the spell, that is, has spent a
Possibility to learn it. It is possible for
characters to cast an “unknown” spell di-
rectly from a grimoire, however, in this
case backlash is compared to the spell to-
tal, never to the caster’s Mind.
Example: If a mage casts a “known”
spell poorly and gets a spell total of 2, he
will compare the backlash (16, let us sup-
pose) to his Mind (10), causing 6 result
points, or O 2 damage. If cast from a gri-
moire, rather than comparing backlash to
his Mind, he must compare it to the spell
total of 2, for 14 result points (2 Wnd K/O
5).
A mage must remain conscious after
backlash for the spell to work. There are
exceptions to the rules on backlash, which
are noted.
Effect Value: Record the Effect Value
here.
Bonus Number To: A mage generates a
bonus number when casting a spell. The
bonus may be applied to one of three ar-
eas; effect, range, or duration. Write down
where the bonus will go.
Range: Write down the range of the
spell. It is usually a good idea to write the
range as a measurement and as a value,
like this: Range: 100 m (10).
Duration: Write down the spell’s dura-
C o n s i l i um M ag i c a
tion. Again, it is good to record it as a
measure and a value, such as: Duration: 5
min (4).
Cast Time: The Cast Time of the spell.
Record it as a measure and a value: Cast
Time: 1 hour (18).
Manipulation: Write down any process
theorems used in the spell. These are used
to determine whether or not a mage can
manipulate a spell (discussed in Advanced
Spellcraft).
Storm Knights
Once this information is recorded, the
spell is complete. On a blank paper, re-
cord all of the information in the Spell Log,
and include a description of what the spell
does. Be sure to mention the casting
method used, the effects of any pattern
theorems used, whether or not the Power
Push table is used, any result, disbelief, or
accuracy modifiers, Multi-Target numbers,
the divination skill of a ward, the effects of
Aspects, and so on.
18
Advanced Spellcraft
Permanent Magic
There are several ways in which a mage
can make a spell permanent. In all cases,
a permanent spell is cast with a -15 modi-
fier to the spell total. The mage must beat
the difficulty with a -15 bonus modifier to
cause a spell to exist permanently.
Example: A mage (alteration magic 16)
wants to make haste permanent (difficulty
15). The mage would have to roll at least a
51 to be successful (51 gives a bonus of
14; 16 + 14 - 15 = 15, the spell’s diffi-
culty).
One other disadvantage to permanent
19
magic is that backlash is always compared
to the skill total, never the Mind of the
caster.
In the example above, the backlash of
haste is 18; if the mage had only rolled a
17 (for a bonus of +4), he would have a
skill total of 5 (16 + 4 - 15 = 5). Not only
does the spell fail, but the mage takes 13
result points of mental stun damage.
The -15 modifier is based on the fol-
lowing formula: (Magic axiom of the
Cosm) - 33. Thus, for Aysle, the modifier is
18-33, or -15. Modifiers for other cosms
C o n s i l i um M ag i c a
do vary.
Making the Process Permanent: Mak-
ing the process permanent causes the ef-
fect of a spell to last forever (or until dis-
pelled). A fireball will burn forever, a man
will stay a frog, a mage will be forever
hasted, etc.
Making the Pattern Permanent: Making
the pattern permanent means that the po-
tential of the spell is always there. Since
the pattern exists, the spell can be cast
without knowing the pattern knowledge
(the magic skill is still necessary, however).
Any theorem restrictions required by the
Enchanted Items
There are four types of enchanted items:
1. An item with a permanent focused
spell. The spell is cast at -15, and the
process is declared permanent. The effect
can be illustrated with the spell Command
Obedience. If this impressed and focused
spell is cast with a permanent process,
then the spell will affect the target forever
(as long as it is within range of the focused
object; if the creature exits the range and
then returns, it will be under the command
of the mage again). This type of enchant-
ment would not be useful for a spell such
as Withering Touch, which would keep the
withering glove of darkness on the caster’s
hand forever; this makes shaking hands
uncomfortable, to say the least.
2. Placing a permanent pattern into an
object. This is discussed above.
3. An item that holds impressed spells
to be released by the caster. The item must
be prepared with a spell, with a state path
like this:
a. Conjuration
b. Pattern Knowledge (material of ob-
ject)
c. Mechanism (life)
d. to living forces
e. to folk (allows a folk to cast the spell)
Storm Knights
spell are still necessary to use the spell.
Example: A mage has an altered fireball
spell. Normally, the spell would be cast,
and the mage would then light the ball of
pitch required by altered fireball to activate
the spell. The spell would then have to be
recast. If the pattern were made perma-
nent and cast on a gem, the pattern of fire
would be in the gem forever; anyone with
an alteration magic skill could use the gem
to make fireballs. The burning pitch is still
necessary, however.
f. Result (the pattern knowledge of the
spells to be impressed)
The number of spells that may be im-
pressed equals the result points of the spell
(through Power Push) plus any result
modifier. For the duration of this spell, the
object will hold impressed spells of the
specified knowledge (Note that these im-
pressed spells do not have to be designed
to be impressed into an object; the spell
allows the object to hold normal im-
pressed spells through the use of Life as a
mechanism). The preparation spell can be
cast permanently; cast it at -15 and make
the process permanent. This creates an
permanent item that holds the specified
number of impressed spells.
4. A spell designed to be impressed
into an object may be cast as permanent
magic. This requires two castings; one
makes the process permanent, the other
makes the pattern permanent. If either
casting fails, the item is not enchanted.
This causes the spell to cast itself over the
cast time, then sit until released by the
user of the item. The spell then recasts it-
self. A ward may be made permanent in
this way; the ward will sit until activated,
then recast itself.
20
Options for Impressed Spells
A spell may be impressed into another be-
ing or object. Doing this requires the
mage to alter the state path to include the
being or object. To impress a spell into
another creature, start at the pattern
knowledge as before. But before going to
the mechanism, the mage traces a path to
the knowledge representing the recipient
of the impressed spell (folk for humans,
enchanted for dragons, etc.). The cost of
this is recorded under “Additional” on the
Spell Laboratory Sheet. The path proceeds
from this knowledge to the mechanism
and result, as normal. The spell, when
Casting on the Fly
Casting on the fly is the term used to de-
scribe the casting of spells a mage has not
learned for himself. Casting on the fly is
dangerous, since backlash is always com-
pared to the spell total, never the Mind of
the caster. The mage creates the spell as
normal, using the Spell Laboratory Sheet.
There are two differences; first, the mage
must determine the time spent designing
the spell (as a time value), and subtract this
value from 18 (1 hour). The result is added
to the Pattern. Second, no theorems may
be applied to the spell, so the basic com-
plexity is the final complexity. The mage
divides the final complexity into difficulty
Spell Manipulation
Under certain conditions, a mage can ma-
nipulate a spell to vary the effects.
If a mage has at least one add in all of
the process theorems listed under Manipu-
lation, he or she can manipulate the spell.
The process theorems known do not affect
how the spell can be manipulated (i.e., if a
mage knows Duration and Cast Time, he
can still fully manipulate the spell; he is
21
complete, will be impressed into the mind
of the recipient, who can release it even if
they have no magic skills.
Impressing a spell into an object is
even more difficult. After determining the
pattern knowledge, the mage traces a path
to living forces, then to folk (assuming that
the caster is a folk), then to the Element
knowledge that best describes the object.
Record this cost under “Additional”, and
then follow the path to mechanism and
result as normal. This spell can be im-
pressed into the specified object, and re-
leased from it by the caster.
and backlash, and then must either cast
the spell the next round or lose the pattern.
The mage cannot be interrupted while ob-
serving the pattern.
Invitation to Madness: When creating
a spell on the fly, a mage can make use of
a dangerous option; the invitation to mad-
ness. Using this option, a mage gets a bo-
nus of +3 to all six generated totals (Conju-
ration, Pattern Skill, Divination, Apporta-
tion, Alteration, and the spell skill total).
The drawback is that the spell must be cast
regardless of the complexity, and the back-
lash must be equal to or greater than the
difficulty.
not limited to altering the duration and
cast time only).
A mage can manipulate a spell in one
of four ways:
1. They can re-allocate the final com-
plexity between difficulty and backlash, as
long as the total is the same. This takes
one round.
2. They can re-allocate points from ef-
C o n s i l i um M ag i c a
fect to either range or duration, points
from range to either effect or duration, or
points from duration to effect or range.
Effect and duration points are transferred
on a point-for-point basis. Range has a
speed component, so one range point is
worth two effect or duration points, and
vice versa. Each such manipulation takes
one round.
3. They can increase the cast time of a
spell, adding these points on a one-for-one
basis to either effect or duration, or a two-
for-one basis to range. They may also de-
crease the cast time, decreasing the effect
Designing Simpler Spells
There are times when a mage may want to
design a spell without using their full skill,
such as when designing a spell intended
for students or lesser mages. This is espe-
cially true if the designer’s skill in a par-
ticular area is high; if a mage has a
conjuration/folk total of 37, it will be diffi-
cult for other mages to cast his
conjuration/folk spells!
A mage may reduce his skill in two
ways:
1. He may reduce the number of Ar-
cane Knowledge adds used in the Pattern
Skill.
Storm Knights
or duration on a point-for-point basis, or
decreasing two points of cast time for one
point of range. Each such manipulation
takes one round.
4. They may increase backlash in order
to increase effect, range, or duration. They
can also increase backlash to decrease
cast time. The backlash increase is read
on the Power Push table, and the push
amount is added (to effect, range, or dura-
tion) or subtracted (from cast time) as ap-
propriate. This can be done as the spell is
being cast, but before the die is rolled.
If he does so, he must also use this re-
duced number for the Pattern, Conjuration,
Divination, Apportation, and Alteration
totals.
2. He may reduce the number of skill
adds used in the Pattern Skill. He must use
this reduced skill value for the Pattern total
and the other skill total (Conjuration, Divi-
nation, etc.)
One advantage the mage has in design-
ing simple spells is that the theory knowl-
edges are applied at full adds. This is an-
other case in which process theorems are
useful.
22
Charts and Tables
Skill Control Cost Complexity Final Complexity Casting Method
Divination 8 17 14 Direct: +0 to State Path
Focused: +2 to State Path
Apportation 10 19 16
Impressed: +3 to State Path
Alteration 13 22 19 Ward: +5 to State Path
Conjuration 16 25 22
Pattern Skill Values

Attribute Limit Aspects Cost Area and Volume

Dexterity 14 1 2 Circle (Area): A = !r2
Square (Area): A = s2
Strength 15 2 4
Rectangle (Area): A = lw
Toughness 15 3-4 6 Sphere (Volume): V = 4/3(!r3)
Perception 14 5-6 8 Cube (Volume): V = s3
Box (Volume): V = lwh
Mind 14 7-10 10 Cone (Volume): V = 1/3(!r2h)
Charisma 13 11-15 12 Cylinder (Volume): V = !r2h
Pyramid (Volume): V = 1/3 (lwh)
Spirit 13 16-20 14
Abbrev.: != pi (3.14) h = height l = length s =
Aysle Attribute Limits Multi-Attributes & Aspects side w = width r = radius

23 C o n s i l i um M ag i c a
 Jasyn Jones’ STORM KNIGHTS

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Copyright
This electronic document is copyright © 1995 by Del Webb. All Rights Reserved.

All other content of the STORM KNIGHTS website is copyright © 2001-2007 by Jasyn
Jones. All Rights Reserved (except as noted below).

These rules are based (in part) on material published in the following TORG rulebook(s):

TORG Boxed Set

Original Mythos and Game Design: Greg Gorden
Mythos/System Development: Douglas Kaufman, Bill Slavicek
Additional Mythos/System Work: Christopher Kubasik, Ray Winninger, Paul Murphy

The Revised and Expanded TORG Rulebook, v. 1.5

Rule Book Design: Jim Ogle
Editing: Gareth Michael Skarka and Steven Marsh

Cloud tile, eternium pattern, and stone tablet background produced by Garrett Taylor,
http://www.db.erau.edu/~taylorg/torg/

TORG is ®, TM, & © 2007 by Purgatory Publishing, Inc.

Angar Uthorion, Aysle, Baruk Kaah, Core Earth, Cosm, Cosmverse, Cyberpapacy,
Darkness Device, Dr. Mobius, Gaunt Man, Gospog, Heart of the Coyote, High Lord, In-
finiverse, Kanawa, Living Land, Maelstrom, Maelstrom Bridge, Nile Empire, Nippon Tech,
Orrorsh, Occultech, Pella Ardinay, Possibility Raiders, Possibility Storm, Possibility Wars,
Ravagon, Stormers, Storm Knights, Tharkold, TORG and the TORG Logo are trademarks of
Purgatory Publishing, Inc.