LEAD GAME DESIG

DESIGN:N: GAME DEVELOPMENT

DEVELOPMENT
Spenser Starke and Rowan Hall CONSULTANT: Mike Underwood
WRITTEN BY: 󰁁󰁄󰁄󰁉󰁔󰁉󰁏󰁎󰁁󰁌 󰁅󰁄󰁉󰁔󰁉󰁎󰁇:
Rowan Hall
Hall and Spenser Star
Starke
ke Darcy Ross
EDITOR: 󰁁󰁄󰁄󰁉󰁔󰁉󰁏󰁎󰁁󰁌 󰁗󰁒󰁉󰁔󰁉󰁎󰁇:
Karen Twelves Carlos Cisco, Tracey
Tracey Harrison, Anthony
Joyce-Rivera, Sam Maggs, Mike Underwood
MANAGING EDITOR:
Matthe
Matthew
w Key
Key 󰁇󰁒󰁁󰁐󰁈󰁉󰁃 󰁄󰁅󰁓󰁉󰁇󰁎:
Aaron Monroy,
Monroy, Bryan
Bryan Weiss
PRODUCTION:
Ivan Van Norman and Alex Uboldi ARTISTS:
Shaun Ellis, Jamie Harrison, Allie Irwin,
PROOFREADING:
Amelia Leonards, Lily
Lily McDonnell,
Jacky Leung
ADDITIONAL GAME DESIGN: Justin O’Neal,
Gustavo Sunga
Rodrigues P
Park,
ark, Doug Telford
Pelissari,
Christopher Grey,
Grey, Tr
Tracey
acey Harrison,
󰁍󰁁󰁐 󰁄󰁅󰁓󰁉󰁇
󰁄󰁅󰁓󰁉󰁇󰁎:
󰁎:
and Taliesin Jaffe
Marc Moureau
LAYOUT:
󰁃󰁏󰁖󰁅󰁒 󰁁󰁒󰁔󰁉󰁓󰁔:
De La Rosa Design
John Harper (Deluxe)
CULTURAL CONSULTANTS: De La Rosa Design (Standard)
Basheer Ghouse, Pam Punzalan, Erin
󰁁󰁒󰁔󰁉󰁓󰁔 / 󰁁󰁎󰁃󰁉󰁅󰁎󰁔 󰁌󰁁󰁎󰁇󰁕󰁁󰁇󰁅󰁓 /
Roberts, Christine Sandquist, Liam Stevens
󰁓󰁐󰁅󰁌󰁌 󰁄󰁅󰁓󰁉󰁇󰁎: Stevie Morley
MILITARY & POLITICAL CONSULTANT:
ORIGINAL CO
ORIGINAL CONCEPT
NCEPT CREA
CREATED
TED BY:
Anthony Joyce-Rivera
Taliesin Jaffe and Chris Lockey

PLAYTESTERS:
Trevor Adams, Kat Alysha, Leon Barillaro, Emerson B Boatwright,
oatwright, Kailey Bray
Bray,, Luis Carazo,
Sarah Chaffee, Kenton Chen, Carlos Cisco, Noshir Dalal, Gina DeVivo, Zehra Fazel,
Dani Gage, Omaira Galarza, Janina Gavankar, Christopher Grey, Madigan Hunt,
Dayeanne Hutton, Erika Ishii, Aabria Iyengar, Taliesin
Taliesin Jaffe, JP Karliak, Erica Lindbeck,
Chris Lockey, Surena Marie, Xu Mason
Mason,, Whitney Moore, AnaAnaisis Morgan, Omar Najam,
Christian Navarro, Zackary Ogle, Carolina Ravassa, Eden Riegel, Saige Ryan, Rachel Seeley,
Kyle Shire, Sarah Sommers, Erin Steeby, Alex Ward

ILLUMINA
ILLUMINATED
TED WORLDS
WORLDS
SYSTEM DESIGN: Stras
Stras Acimovic and Layla Adelman
PRELIMINARY DESIGN: Daniel Kwan, Eloy Lasanta, Matthew Mercer

The document
document within
within contains
contains depictions
depictions of abuse of power,
power, body horror,
horror, death, gore,
gore, and other sensitive
sensitive top
topics.
ics.
Reader discretion is advised.

i
 DARRINGT
DARRINGTON
ON PRES
PRESS
S TEAM
HEAD OF DAR
HEAD DARRIN
RINGT
GTON
ON PRE
PRESS
SS:: MARKETING MANAGER:
Ivan Van Norman Darcy
Darcy Ros
Rosss
CREATIVE DIRECTOR: GAME DESIGNER:
Travis Willingham Spenser Starke
CHIEF OPERA
OPERATING
TING OFFIC
OFFICER:
ER: DIRECTOR OF 󰁒󰁅󰁔󰁁󰁉󰁌 󰁐
󰁐󰁁󰁒󰁔󰁎󰁅󰁒󰁓󰁈󰁉󰁐:
󰁁󰁒󰁔󰁎󰁅󰁒󰁓󰁈󰁉󰁐:
Ed Lopez Katie Lowther

SENIOR
SENIO
Rachel R VICE PRE
Romero PRESIDEN
SIDENT
T - MARK
MARKETING
ETING:: 󰁐󰁒󰁏󰁃󰁕󰁒󰁅󰁍󰁅
󰁐󰁒󰁏󰁃
Ally De󰁕󰁒󰁅󰁍󰁅󰁎󰁔
Simone󰁎󰁔 󰁄󰁉󰁒󰁅󰁃
󰁄󰁉󰁒󰁅󰁃󰁔󰁏󰁒:
󰁔󰁏󰁒:

CRITICAL ROLE EMPLOYEES:

Erain Alvarez, Sauol Ambriz, Brittney Austin, Leo Baltierrez, Taylor
Taylor Burke,
Diana Jeanne Calalo, Sarah Marie Campbell, Dani Carr, Niki Chi, Adrienne Cho,
Ally De Simone, Jared Deiro, Shaunette DeTi
DeTie,
e, Nad
Nadiaia Dilbert, Steve FFailows,
ailows, Maria Flores,
Christian Fox, Lana Gotlinskaya, Kyle Hafey, Alex Hill, Bryn Hubbard, Maxwell James,
Megan Karnish, Annie Krueger,
Krueger, Will Lamborn, T Tal
al Levitas, Chris LLott,
ott, Jonathan Lott,
Katie Lowther, Britton McGrath, Ashley Middlebrook, Aaron Monroy,
Monroy, Khoa Nguyen,
Eddie Ochoa, Elia Palacios, Athena Rendon, Jerry Rivas, Rich Romasanta, Max Schapiro,
Eli Schiff, Vinnie Singh, Gustin Smith, Dylan Steppeler, Gary Thomas, Jordyn T Torrenc
orrence,
e,
Ben Van Der Fluit, Jen V
Veloso,
eloso, Brit
Brittany
tany Wa
Walloch-Key
lloch-Key,, Kirby Winslow
Winslow,, Nicole YYonan
onan

SPECIAL THANKS
Laura Bailey, TO:
Anjali Bhimani, Luis Carazo, Robbie Daymond, Steve Failows, Zehra Fazel,
Maxwell James, Ashley
Ashley Johnson, Matt
Matthew
hew Mercer
Mercer,, Brennan Lee Mulligan, Marish
Marishaa Ray,
Vinnie Singh, Tr
Travis
avis Willingham
Thank you, fine reader.
reader. Enjoy your adventures in the Fairelands.

Candela Obscura Core Rulebook

First Printing 2023

Standard Hardcover ISBN: 978-1-7373725-4-7

Deluxe Hardcover ISBN: 978-1-7373725-5-4
Copyright 2023 Darrington Press LLC. All Rights Reserved. Except or personal use, no portion o this work
may be used or reproduced in any orm without the prior,
prior, written, express permission o Darrington Press. This
book contains Adaptive Content as per the Darrington Press Community Gaming License (DPGL).
Printed in China.

ii
 Contents
INTRODUCTION . . . . . . . . . . . . . . . . . . . . . . . . . 1 THE SUP
THE SUPERERNA
NATU
TURA
RAL
L WOR
WORLD
LD . . . . 65
What is a Roleplaying Game? 󰀱 Introduction 󰀶󰀵
Overview
Overv iew of Gameplay
Gameplay 󰀲 Phenomena 󰀶󰀵
The Rules 󰀲 Alchemy 󰀷󰀰
Setting Overview 󰀴
Roles & Specialties 󰀴 CANDEL
CAND ELAA OBSCU
BSCURARA & BEYOND OND. . . 73
Safety Tools 󰀵 Candela Obscura 󰀷󰀳
Touchstones 󰀵 Exoteric
Exoteric Order of New Sciences
Sciences (EONS)
(EONS) 󰀷󰀸
Office of Unexplained Phenomena (OUP) 󰀷󰀹
THE CO CORE SY SYSTEM . . . . . . . . . . . . . . . . . . . 7 Pyre 󰀸󰀰
A Conversation at the Table
Table 󰀷 The Red Hand 󰀸󰀲
Drives & Actions 󰀸 Unabridged 󰀸󰀳
Gilded Dice 󰀸
Setting the Stakes & Expectations 󰀹 THE FAIRELANDS. . . . . . . . . . . . . . . . . . . . . . 87
Making an Action Roll 󰀱󰀰 Setting Introduction 󰀸󰀷
Consequences 󰀱󰀲 The Time Period 󰀸󰀹
Resistances 󰀱󰀳 Timeline of the Fairelands 󰀹󰀰
Gear 󰀱󰀴 Hale & The Fairelands 󰀹󰀲
Marks & Scars 󰀱󰀴 Language 󰀹󰀶
The Legacy of
of Harm in Horror 󰀱󰀶 Technology 󰀹󰀷
Economy 󰀹󰀷
MAKING A CHARACTE CTER . . . . . . . . . . . 19 Transportation 󰀹󰀸
Step 󰀱: Choose a Role & Specialty 󰀱󰀹 The Triumvirate 󰀹󰀸
Step 󰀲: Determine Action Ratings 󰀲󰀵 Life in the Fairelands 󰀱󰀰󰀳
Step 󰀳: Determine Drives 󰀲󰀶 Newfaire Districts 󰀱󰀰󰀷
Step 󰀴: Determine Resistances 󰀲󰀶 Oldfaire Sites 󰀱󰀲󰀷
Step 󰀵: Gild Actions 󰀲󰀶 Fairelands Landmarks 󰀱󰀴 󰀵
Step 󰀶: Choose Abilities 󰀲󰀷
Step 󰀷: Add Character De
Details 󰀳󰀳 RUNNING THE GA GAME . . . . . . . . . . . . . . . . 159
Step 󰀸: Form Relationships 󰀳󰀳 GM Principles 󰀱󰀵󰀹
Making Moves 󰀱󰀶󰀰
CREATING YOUR CIRCLE . . . . . . . . . . . 39 Session Zero 󰀱󰀶󰀲
Step 󰀱: Answer Circle Questions 󰀳󰀹. Preparing for Play 󰀱󰀶󰀳
Step 󰀲: Name Your Circle 󰀴󰀰 Creating a Lightkeeper 󰀱󰀶󰀴
Step 󰀳: Choose a Chapter
Chapter House Location
Location 󰀴󰀰 Combat & Marks 󰀱󰀶󰀵
Step 󰀴: Choose Circle Abilities 󰀴󰀱 Countdown Dice 󰀱󰀶󰀶
Step 󰀵: Assign Resource Points 󰀴󰀱 Adjudicating Stakes
Stakes & Expectations 󰀱󰀶󰀷
Assignment Structure
Structure 󰀱󰀶󰀸
HOW TO PLAY . . . . . . . . . . . . . . . . . . . . . . . . 43 Example Assignments 󰀱󰀶󰀹
Assignments 󰀴󰀳 .

Additional Assignments
Assignments 󰀱󰀸󰀷
Play Structure 󰀴󰀴 GM Resources 󰀱󰀸󰀸
Play Guidance
Guidance 󰀴󰀶
󰀴󰀶 Additional Inspiration
Inspiration 󰀱󰀹󰀷
Character vs. Character Adjudication 󰀴󰀷 Rules & Rolls Reference 󰀱󰀹󰀸
Drives & Resistances 󰀴󰀸
Actions 󰀵󰀰 INDEX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
Gear 󰀵󰀲

FCuhlal rEaxcatemr p&leCoifrcPlelaAy dvancement 󰀵󰀵󰀶󰀴

iii
iv
 INTRODUCTION IN
T
R
O
D
U
You have entered a gilded world
world of terrifying magick. C
T
This is the moment when we could say, we ought to say, “Only you can save us.
us.”” That would be IO
empowering, but it wouldn’t be true. That’s
That’s not the way the world works, and that’s
that’s not how N
real heroes are born. Instead, we invite you to fight, explore, investigate—dare we say, play?—
in this place where arcane forces and human corruption come together like alchemy.
Candela Obscura is a horror tabletop roleplaying game (TTRPG),
(TTRPG ), built on the Illuminated
Worlds
Wor lds System, about occult investigator
investigatorss hunting down the dangerou
dangerouss supernatural fforces
orces
making incursions into a world
world very much like you
yourr own.
Candela Obscura is also the name of the paranormal secret society charged with prot protecting
ecting
the world from deadly magickal phenomena. Though we’ we’ve
ve worked to collect knowledge of
this magick and its creatures over the centuries, oour
ur understanding is still limited. WWee know
they come from
from a realm beyond our
our own, but what thetheyy want and why they’
they’rere here is stil
stilll
a mystery to us.
As a member of this organization, you will trav
traverse
erse the wide landscape of the Faire
Fairelands,
lands, the
capital of which is the sprawling, turn-of-the-century city of Newfaire—a metropolis built
atop the ruins of an ancient, fallen civilization still teeming with the remnants of powerful
magick.
nish,You
Varnish,
Var Yinvestigate
ou will face
investig unfathomable
ate strange horrors
ances within
disappearances
disappear the crowded
in the cornfields downtown
of Tottergrass,streets
Tottergrass, of the
and even delve
into the writhing underground ruins of Oldfaire, to help us stop these powerful supernatural
beings from tearing apart our world.

WHAT
WHAT IS A ROLE
ROLEPLA
PLAYING
YING GAME?
AME?
If you’ve
you’ve never played a TTRPG before, don’t
don’t worry—we’ll teach you ev everything
erything you need to
know. You’re in for a series of sessions, each running anywhere between 2–5 hours, where
you’ll be embodying a person in this ststrange
range and dangerous world.
world. YYou
ou will make choices
about how this character
character acts, what they say
say,, how they feel—all
feel—all while
while inter
interacting
acting wi
with
th your
fellow players to help them tell their own stories. You
You’ll
’ll imagine, or invent, everything you do,
and if you don’t
don’t know if something will succeed or fail, you’ll pick up your dice and roll to see
what direction the story moves in next.
next.
If you have participated in a TTRPG before,
before, this style of play might work somewhat differently
than what you’re
you’re used to. Our game’s primary focuses are investigation and social encounters,
with instances of horror and violence interspersed. This means that all character types are
useful throughout the course of an adventure and it’s
it’s not essential to consider the balance of
your party when building a team of investigators.
The game also functions primarily as a conversation—ideas, information,
information, action, and dialogue
are exchanged between everyone until a situation arises where the outcome is unclear. When
dice are rolled to determine that outcome, the result helps ascertain whether the player will
miss, succe
succeed,
ed, or get a mixed success—me
success—meaning
aning they get what they want but it comes at a cost.
We’llll talk more about this in detail soon.
We’
In the meantime, know that on a miss or a mixed success, the scene should escalate—danger
could make itself known, monsters can attack, gear may break, allies might be thrust into peril, or
any number of complications will
will move the story forward in an exciting and dangerous way
way..
This back-and-forth—between players taking actions and the scene evolving based on those
actions—is the language of play in this game.

1
 OVERVIE
VERVIEW
W OF GAMEPLA
AMEPLAY
Every table will have
have a group of players
players,, known
known as player characters
characters (PCs),
(PCs), aass well as a
gamemaster (GM) who facilitates the world, moves the plot forward, plays non-player
characters (NPCs), and moderates the rules. GMs are not wholly responsible for the fiction
but rather present the reality of the world so that players can make choices, and then they
aid in determining the outcome of the results that come from those decisions. Building the
narrative of Candela Obscura is a collaboration among equals empowered to take charge of
different roles.
To begin, the table should have access to all of the game’s character sheets, available as a
download at darringtonpress.com/candela, and each pplayer layer should have nine 6-sided dice,
called d6 for short. Three of these dice should be of a separate and distinct color from their
counterparts. These will be referred to as gilded dice, and the remaining six will be known
simply
sim ply as standard dice.
Each characte
characterr has a set of actions
actions,, which
which determ
determine
ine how many 6-sid
6-sided
ed dice the player
player rolls
when attempting to do something in the narrative that has an uncertain
uncertain outcome. The GM
will set the stakes and expectations
expectations of the situation, and help the player se
select
lect the action
that best applies to the roll. When determining
the outcome of the roll, the player will most often
tell the GM their single highest result. Then, the
GM will describe how the scene changes
changes as a
result of that roll.
Each characte
characterr also has drives
drives,, expendable
resources that represent their character’
character’ss ability
to push themselves in a given situation. They
provide a means of grouping actions under three
overarching themes: Nerve, Cunning, and Intuition.
But, more importantly, this mechanic provides
a way for players
players to improv
improvee their chance
chancess of
success on any roll.
Additionally, every character has abilities that
Additionally,
provide customized skills specific to each character
type, and allow you to furt
further
her customize
customize your
personal narrative.

This overview
overview represents
represents only
only a small, but
important, fraction of the tools you’ll use to
successfully navigate an investigation.
investigation. As you
explore this book and play
play through the world,
world, you
may rest assured: things will become clearer.

THE RULES
There are only a few core rules within this world tthat
hat should not change.
That is to say, when reading through the rest of this book, remember: this is your game. In
nearlyy every case, you may pick and ch
nearl choose
oose fro
from
m the available
available rules
rules and lore to pro
provide
vide the
best possible
possible experience
experience for everyo
everyone
ne at your table.

That said, there

the following areremain
rules some tenets
intact,toyou
abide
areby in order
playing thetotruth
navigate this str
of Candelastrange
ange place.
Obscura
Obscura.. So long as

2
 IN
Rules
ules of the Worl
World
d T
R
O
7 Candela Obscura takes place in a world that resembles your own. The average D
U
citizen neither knows about, nor would believe in, magick or its effects. C
T
7 There is a barrier, known as the Flare, between this realm and the beyond. IO
N
7 There are places where the Flare is weakened—referred to as thinnings
thinnings..
These thinnings allow metaphysical energy
energy,, know
known
n as magick
magick,, to seep
through the Flare.
7 The myths, legends, and folktales of the Fairelands are stories created by
average citizens to explain real magickal phenomena.

Rules of Magick
7 Magick can become infused in mundane objects, places, or beings,
permanently altering them. If a thinning is opened wide enough, creatures
from beyond may also come through.
through. Anything affected by magick or from
another realm is known as a phenomenon
phenomenon..
7 Bleed is the corruptive force left behind by powerful magick. This bleed also
radiates from the phenomena that have made incursions into the world.
7 When a person is exposed to too much bleed, they may be taken over by these
supernatural forces, become corrupted, or die. The manifestatio
manifestation
n of bleed
varies based on the phenomenon.
7 People with inherent magick are rare in the m
mundane
undane world. Many Candela
Obscura members interact
interact with magick by wielding powerful artifacts. These
items may also reduce, contain, or eliminate bleed.

Rules
ules of Cande
Candela
la Obscur
Obscura
a
7 Members of Candela Obscura are investigators of supernatural phenomena,

attempting tothem.
and studying protect the world from these dang
dangers
ers by securing
7 The organization has a hierarchy
hierarchy that includes a council of Lightkeep
Lightkeepers
ers
who direct the resources of Candela Obscura. A small party sent out by a
Lightkeeper to investigate a phenomenon is known as a circle
circle.. This mission is
known as an assignment.
7 There are Candela Obscura chapters
chapters,, local enclaves of many members,
throughout the world. Each has access, via a thinning, to the organization’s
transdimensional vault, known as the Fourth Pharos.
7 The Fourth Pharos is the fourth iteration of a lighthouse stronghold that
sits within the Flare. Inside, tthere
here are vaults where the most powerful books,
artifacts, and phenomena are keptkept for safety
safety.. The security of these vaults is

maintained by centuries-old, constantly turning magickal astrolabes.

3
 SETTI
SE TTING
NG OVERVI
VERVIEW
EW
In the northern country of Hale lies the fertile
valley known as the Fairelands
Fairelands, a diverse and
prosperou
prosp erouss region currently
currently in recove
recovery
ry from
a brutal six-year war. On its western coast sits
the central hub of politics and progress, the
capital city of Newfaire.
Filled with technology that resembles your
own during the turn of the twentieth century,
this civilization stands upon the ruins of its
ancient, alchemical predecessor known as
Oldfaire. With a blend of ancient and modern
architecture that resembles the integration
found in such cities as Edinburgh, Lima, NewNew
York,
Yor k, Paris,
Paris, and Istanbul, citizens are nestled
within historical Brutalism and thethe recent
evolution from Art Nouveau into Art Deco.
In the Fairelands, mo
modern
dern development
consumes arcane history
history,, and players grapple
with both the horrors from beyond the Flare
and the great forces that rule the mundane
world. More about the FFairelands
airelands can be
found on page 87.

ROLES & SPECIALTIES

As Candela Obscura is a horror game of investigation, we recommend prioritizing a journey
of self-discovery
self-discovery and metamorph
metamorphosis,
osis, rather
rather than ful
fully
ly form
forming
ing every detail of
of your character
character
before the first roll of the dice.
Character creation
Character creation is an opportunity
opportunity to invest
investigate
igate the wor
world
ld of Candela Obscura on two
fronts: What do you wish to explore
explore within your character? What does your table wish to
explore as a team? As long as we make empathetic
empathetic choices and prioritize the needs and health
of our friends at the table, we can use the game as an opportunity
opportunity to explore the aspects of
this world that both excite and scare us.
Characters are made up of a role
role,, the positio
position
n they fill withi
within
n their circl
circle,
e, and a specialty
specialty,, the
unique set of skills and experiences they possess. YYou
ou may choose from the following roles
and specialties:

Face (Journalist & Magician) characters seek mastery of the people.

Muscle (Expl
(Explore
orerr & Soldie
Soldier)
r) characters seek mastery of the body.
Scholar (Do
(Docto
ctorr & Profes
Professor
sor)) characters seek mastery of the mind.
Slink (Cri
(Crimina
minall & Detec
Detective)
tive) characters seek mastery of the unknown.
unknown.
Weird
Weird (Mediu
(Medium
m & Occultist)
Occultist) character
characterss seek mastery of the arcane.

Candela Obscura is a world of monsters, both magickal and human. This provides a
particularly
particular ly keen opportuni
opportunityty to step into the skin of that which scare
scaress you. Cons
Consider
ider playi
playing
ng
someone unlike yourself,
yourself, imagining a new world from a new pperspective.
erspective. Or play someone
exactly like who you wish you could be, would never be, or are.
4
SAFET
AFETY
Y TOOLS
OOLS IN
Because you are about to embark upon missions of unexplainable horror,
horror, you must take T
R
into account the safety of the people at your table. By understanding and resp
respecting
ecting the O
D
boundaries and needs of the friends you are playing with, you can dive deeper into the parts U
of the world that most excite the group. C
T
IO
There are a number of safety tools available shou
shouldld you wish to use them, and you are
N
encourage
encouragedd to explore
explore the TTRPG Safety Toolki
oolkit,
t, curated
curated by Kienna Shaw
Shaw and Lauren
Lauren Bryant-
Bryant-
Monk, available at https://bit.ly/ttrpgsafetytoolkit for more information and resources.

TOUCHSTONES
There are many cultural touchstones from your world
world that you can use to explain the game to
friends and inspire the stories you tell.

Books: The Night Circus by Erin MorgeMorgenstern

nstern;; Faeries by Brian FroudFroud and Al
Alan
an
Lee; Neverwhere by Nei Neill Gaima
Gaiman;
n; The Ballad
Ballad ooff Blac
Blackk TTom
om by Victor
Victor LaVelle;
LaVelle; Scary
Stories to TTell
ell in the Dark by Alvin Schwartz; A Darker
Darker Shad
Shadee of Magic by V.E. Schwab;
Frankenstein; or, The Modern Prometheus by MaryMary Sh Shelelle
ley;
y; the Sherlock Holmes series by
Sir Arthur Conan Doyle
Comics: Hellboy creat created
ed by Mike Mig
Mignola;
nola; Bizenghast by M. Alice LeGrow;
LeGrow; Constantine
created by Alan Moore, Stephen R. Bissette, Rick Veitch, and John Totleben;
Department of Truth by James Tynion IV; The Invisibles by Gra Grant
nt Morriso
Morrisonn
Films & TV: The Prestige by Jonathan
Jonathan Nola
Nolan n and Christophe
Christopherr Nola
Nolan;
n; Lovecraft Country by
Misha Green et al.; As Above,
Above, So Below
Below by John Erick
Erick Dow
Dowdle;
dle; Crimson Peak by Guil
Guillermo
lermo
del Toro; Pen
Penny
ny Drea
Dreadful
dful by John Logan
Logan et al.
al.;; R
Ripper
ipper Stree
Streett by Richard
Richard WWarlo
arlow
w et aal.;
l.;
Arcanee by Christian Linke and Alex YYee
Arcan ee et al.
Video Games: The BioShock series by Ken Levine et al. from 2K Games; Bloodborne and
Elden Ring by Hidetaka Miyazaki from Fr FromSoftware
omSoftware

Candela Obscura stands on the shoulders of giants. If you enjoy

this game,
game, we highly
highly recom
recommend
mend the library
library of magnifice
magnificentnt
tabletop games that influenced its creation. These include:
Apocalypse World
World by Vincen
Vincentt and Meguey Bak
Baker;
er; For the Queen
by Alex Robert
Roberts;
s; Kids on Bikes by Doug Levandow
Levandowskiski and Jo
Jon
n
Gilmour; Kingdom Death: Monster by Adam Po Poots;
ots; and Monster of
the Week by Michae
Michaell Sands.
In particular,
particular, we would like
like to tip our hats to the TTRPG Blades in
the Dark by John Harper from Evil Hat Productions. John’s work is
an incredible inspiration both in mechanics and tone, and it is our
great joy to count them as a friend. Should your investigators
investigators turn
to a life of smuggling and thievery, we encourage you to ta take
ke your
circle to play among the scoundrels
scoundrels of Dusk
Duskvol.
vol.
Additionally, Vaesen by Nils Hintze et al. from Free League
Additionally,
is a game of beautiful Scandinavian lore. Though set within
completely
the Mythic different worlds,
North would findwe hope thatatthe
themselves monsters
home amongofthe
creatures of the Flare.

5
6
 THE CORE SYSTEM T
H
E
C
O
R
E
A CONVERSA
CONVERSATION AT
AT THE TABLE
TABLE S
Y
Your group’
group’s exploration of
of the world will take the fform
orm of a structured conversation between
between S
T
the players and the gamemaster. The GM will present the situation and give players the E
M
opportunity
of a decisionto
is respond,
uncertainand
andwhen
therethe group
is the reaches
reachesof
possibility
possibility a place in the scene
consequences where
to the the dice
action, outcome
are
rolled to determine the result. Remember that there is no one person in charge of the story
you tell—you are all working together to figure out what hap happens
pens next.
Though the GM’s
GM’s role is to facilitate all of the conflicts, enemies, adversaries, m
monsters,
onsters, and
threats you face, this doesn’t
doesn’t mean they are playing against the rest of the table. Instead, the
GM’ss goal is to provide a set of challenges that drive the narrative while, in equal measure,
GM’
providing opportunities
opportunities for
for players to show off their character’
character’ss skills.
Within a “fiction-first”
“fiction-first” TTRPG like Candela Obscura,
Obscura, the narrative drives the action, rather
than the reverse.
reverse. To support
support story development and healthy collaboration, you may hear
people use phrases like, “Yes,
“Yes, and…” Meaning: when someone pitches a concept, says a line,
or takes an action in good faith with the story
story,, you should look for opportunities to support
them and use your creativity to build upon their id ideas.
eas.

ON COLLABOR
COLLABORA
ATIO
TION
N AT THE T
TABLE
ABLE
Utilizing
Utilizing the pra
practi
ctice
ce of “yes
“yes and-ing
and-ing”” one anothe
anotherr should
should not
not be interpre
interpreted
ted as car
carte
te bla
blanc
nche
he
for players to narrate outside the bounds of the fiction you are establis
establishing
hing together; but rather
an opportuni
opportunity ty to foste
fosterr a suppo
supportive
rtive atmosphere
atmosphere aatt the table. We encourage
encourage youyou to relish
relish your
your
collaborat
collaboration
ion by introducin
introducingg ideas ththat
at honor the truth
truth of your shared
shared ficti
fiction.
on. When w wee balance
balance
the equal
equally
ly impor
important
tant moment
momentss of taking
taking the spo
spotligh
tlightt and shinin
shiningg the spo
spotlight
tlight on our friends
friends at
the table, a sstory
tory emerges
emerges that is much richer
richer than any one person
person could
could tell alone.
alone.

The rules, lore, and mechanics in this book are meant to work for you. Anything here may be
adapted, modified, or omitted based on your table’
table’ss needs and desires. Within this text, we’ve
introduced the Fairelands and included our guidelines for play, but the writing of a stranger
should never supersede the needs of your friends.
You may always choose to customize the world, our paranormal society,
society, or
or anything else
you see fit to change. It is our great pleasure to ha
have
ve this text serve as a found
foundation
ation for
your creations.

7
 DRIVES & ACTIONS
In Candela Obscura,
Obscura, three different drives (Nerve,
Cunning, and Intuition) encompass the nine
actions you can use to overcome
overcome the challenges of
an assignment.
Each action has a rating between 0–0–33 that
represents the number of dice you will use when
attempting that action. This reflects how well
your investigator generally performs this typ
typee of
behavior
behav ior under pressure.
pressure. Action
Actionss are covered in
more detail starting on page 50.
Each drive has a number of points between 0–9.
You can spend any of these available points to add
an additional die (+1d
(+1d)) when rolling
rolling with an action
action
within that drive. The collection of dice you use for for
a roll is known as a dice pool. For example, you may
spend Nerve to add +1d to a Move roll, roll, or Intuition
to add +1d to a Sense roll. Drives are covered in
more detail starting on page 48.48.
All drives have a maximum,
maximum, which
which determines the
highest number
in that drive. of also
They points your
have an char
character
actercurrently
amount can have
available, which will decrease as you spend them.
When your drive is empty,
empty, you cannot spend
any more points until
until you refresh that drive,
covered on page 41.
You may also spend drive to assist another
investigato
invest igatorr in your scene. For more on help
helping
ing an
ally, see page 11.

GILD
GILDED
ED DICE
ICE
Some of your actions will be gilded
gilded,, denoted by a filled-in diamond. Utilizing this action can
help you earn back spent drive points, and narratively represents a skill that reinvigorates
your character.
character. When you are rolling with a ggilded
ilded action, you replace one of your standard
dice with a gilded die (a d6 of a different color). If, after you make the roll, you choose
the result of the gilded die, you can refresh a point in the
drive that encompasses that action. For example, if you
take the gilded result on a Survey roll, you earn back 1
point in Intuition.
Why wouldn’t
wouldn’t you always choose the gilded result? You might
roll a 6 on a standard die and a 4 on a gilded die. Instead
of taking the full success, you could choose to take a mixed
success. You may prefer
prefer to recover 1 drive point, sacrificing a
cleaner narrative ou
outcome
tcome for a mechanical benefit.

8
SETTING THE STAKES & EXPECTATIONS T
H
Stakes E
Before a roll is made, the GM may need to set the stakes. This gives
gives the player an idea of the C
O
severity of consequences that might be in store oon
n a mixed su
success
ccess or a miss. R
E
There are three levels of stakes: S
Y
S
T
E
Low stakes
stakes:: The consequences of a miss or a mixed success won’
won’tt result in M
immediate, significant danger. This might occur when you’re searching a room
with plenty of time, or convincing
convincing an innocent civilian to help you.
Standard stakes: The consequences of a miss or mixed success might put you in
immediate, significant danger.
danger. This could occur when you’ you’re
re searching a room
while under the threat of being caught, or trying to make a deal with somebody
important. By default, every roll is standard
standard stakes unless otherwise noted by the GM.
High stakes: The result of a miss or mixed success will put you in immediate,
significant danger or cause major narrative
narrative consequences. This might occur
when you’re
you’re searching a room that contains
contains a dangerous creature, or negotiating
with a powerful adversary.
adversary.

Dani,
She playingscrambling
describes a Soldier,gisbehind
scramblin being threatened
a dumpsterattoknifepoint in an
put distance alleyway
between she and
herself is investigating.
investigating.
her attacker.
The GM tells her to roll Move and explains that the situation is high stakes
stakes..

Expectations
The GM should also ensure that the expectations of a roll align with the player
player’’s. If the
action is something they believe will only yield a limited result even at its most effectiv
effective,e, this
should be communicated to the player before a roll is made—and likewise, if something will
inherently work very well even on a mediocre roll. This helps to align the player’s
player’s expectations
of how a roll will go before
before they decide to move forward with taking the action.
Kat, playing
playing an Occultist, is in the middle of a dangerous encounter with a shadowy
phenomenon. Only moments ago, a member of their circle tried to shoot at at the figure, and the
bullets
bullets passe
passedd right through
through it. Pulling
Pulling out their Ghostblade
Ghostblade,, they describe
describe how they lunge at the
entity
entity.
it will. be
Themore
G
GMMeffective
tel
tells
ls them
them th
this
than iswith
will
willabesta
andard
Strike
Strikehand
standard roll,
roll, and
w becau
because
weapon.
eapon. se they are using the Gh
Ghostbla
ostblade,
de,

The Conversation
PCs should always have the opportunity
opportunity to adjust their approach after receiving this
information. Only once the stakes and expectations have been aligned should an action roll
be made. This conversation allows players to spend their resources, lik
likee drive, appropr
appropriately
iately
for the given situation. They may want to spend more, or less, once they understand
what’ss possible.
what’
Carlos, playing
Carlos, playing a Journalis
Journalist,t, is aattempt
ttempting
ing to
to gain acces
accesss to a government
government building
building in SSilver
ilverslip.
slip.
He approaches the Periphery officers standing out front and asks them to let him through on
“important
“important busin
business.
ess.” The GM asks what what he
he’s
’s llooking
ooking to roll here,
here, and
and he answers,
answers, “Sway.” The
GM agrees,
agrees, but warn
warnss him they won’twon’t be easil
easilyy convinced,
convinced, so th
thee roll won’t
won’t be very effective:
effective:
“They may escort
escort you insid
insidee on a succes
success,
s, but they aren’t
aren’t just go
going
ing to just let you
you pass.
pass.” Carlos
Carlos
thinks
thinks ffor
or a moment
moment,, then deci
decides
des to mar
markk the gear
gear Press
Press Creden
Credentia
tials,
ls, asking
asking the GM if thathatt
will make his argument
argument more
more impactful.
impactful. They agree;
agree; on a success
success,, he will
will be free to go inside.
inside.
Carlos
Carl os decides
decides to spend 2 Cunning
Cunning nnowow that his goal of going in alone
alone is possibl
possible.
e.

9
MAKING AN ACTION ROLL
The core dice mechanic of the Illuminated Wor
Worlds
lds system is known as an action roll. When
there is a question as to whether a move you’
you’re
re making could succeed or fail and the
consequences are important to the narrative, the GM will call for an action roll.

1. The GM tell
tellss you what actio
action
n you
you’ll
’ll need to use, along with the st
stakes
akes and
expectations of the roll. At this time, you may change your approach to adjust
expectations, lower the stakes, or modify the narrative implications.
2. You take a number of d6 equal to your action rating and add them to your
dice pool. If the action you are rolling with is gilded, replace one of your dice
with a gilded die.
3. If you’d like, you may spend 1 or more points from the drive that action falls
within to add additional dice to the roll.
4. Check to se
seee if any of you
yourr abilities
abilities appl
applyy to th
thee sit
situatio
uation—the
n—these
se may let you
you
gild additional dice, add bonus dice, or give you other benefits.
5. Roll the final dice po
pool
ol and te
tellll the GM the highest result. If any of the
dice are gilded, you may take the gilded result, even if it is lower,
lower, to earn
back drive points.

After failing a Move roll to catch up to a suspect, Dani is running running through a crowd searching
for them. The GM tells Dani to ma makeke a Survey roll with high stakes, because failing here would
mean she
she loses the
the target
target for good. DaniDani has a 2 in in Survey,
Survey, and she ddecideecidess to also spend 1 point
point
in Intui
Intuitio
tionn to hel
helpp wit
withh the rroll
oll,, for a total
total of three
three dice
dice in he
herr pool
pool.. Survey
Survey is also
also gil
gilded
ded,, so sh
shee
replaces
repla ces one of these thr
three
ee standard
standard dice with a gilde gildedd die, then rolls
rolls..
She rolls a 3 and 4 on her standard dice and
and a 2 on her gilded die. Decidi
Deciding
ng it’s better to take
the mixed
mixed succ
success,
ess, rathe
ratherr than earn
earn bac
backk her drive on
on a failu
failure,
re, Da
Dani
ni chooses
chooses the 4.
The final result will guide the way the narrative unfolds.

On a 1–3 result, the roll is a failure. Usually, you don’t accomplish what you wanted,
and there are consequences.
On a 4–5 result, the roll is a mixed success. YYou
ou accomplish what you wanted, but
it comes at a cost.
On a 6 resu
result,
lt, the roll is a full success. YYou
ou get what you wanted without
complication.
On multiple 6s, the roll is a critical success. YYou
ou get what you wanted, and
something extra.

For more about consequences, see page 12.

Announcing the result of her roll, Dani asks the GM what happens nnext. ext. With a mixed success
success
on Survey
Survey,, the GGMM say
says,s, “Fi
“Fight
ghting
ing throug
throughh the crowd,
crowd, you fifinalnally
ly spot
spot your
your tar
target
get—th
—they ey are
a ways
ways ahead
ahead of you, pulling
pulling thethemsel
mselves
ves up onto
onto a ca
cable
ble car about to depart.
depart. Now
Now,, you know
where
whe re they
they are
are,, but you
you won
won’t’t be aable
ble to get ther
theree in time.
time. B
Beca
ecaus
usee of the high
high stak
stakes
es here,
here, take
take
a Brain mark
mark from th thee stress of the situ
situation
ation.. What do you do do?”
?”
10

AN ACTI
ACTION
ON RA
RATING
TING OF
OF ZERO T
If you have a rating of zero in the action you need to roll, and you decide not to spend drive to H
E
add dice, you can still attempt the action. In that case, you’ll
you’ll roll two dice and take the lowest C
result. Note that you can’t
can’t get a critical success on this
this (even if you get two 6s). If you are rolling O
this way with a gilded
gilded ac
action
tion ((or
or if any of your dice are
are gilde
gildedd for another
another reason),
reason), you do
don’
n’tt R
E
get the opportunity to choose it as your result—but if it is the lowest ou outcome
tcome on the roll, you S
still earn back drive. Remember that you may always spend drive to add additional dice dice to a Y
S
roll, and this can be very helpful on rolls wher
wheree you have an action rating
rating of zero. T
E
M
Carlos jumps
Carlos jumps iin:
n: “I’
“I’m
m going
going to shou
shoutt to the cable
cable car to convin
convince ce the driver
driver to sstop
top before
before the
target
target can
can get away
away!” !” The G
GM M tells
tells him
him to make
make a Sway
Sway roll,
roll, in which
which he ha
hass an actio
actionn rat
rating
ing
of zero.
zero. He
He als
alsoo has no Cun
Cunnin
ningg lef
leftt to spen
spend,
d, so
so he rroll
ollss two
two dice
dice aand
nd take
takess the
the lower
lower result
result.. It’
It’ss
a 2—he runs towar
towardd the cacarr shouting,
shouting, but the trolley
trolley is too far, and nneither
either the pas
passenge
sengers
rs nor
the driver
driver notice.
notice. Nearby
Nearby people on the streetstreet begin to
to react to thethe commotion
commotion he’she’s causin
causing.
g.

THE RULE OF
OF SIX
There is one rule that always applies when making an action roll: you cannot use more than
six dice at any time. No matter how many bonus dice you get from assistance, abilities, or
drives, you can only ever roll a maximum of six dice in a single action roll.
roll.

HELPIN
HELPING
G AN ALLY
ALLY & MAKIN
MAKING
G A GR
GRO
OUP RO
ROLL
LL

You may
spend inghelp
spending ant ally
1 point
poin fromonyour
a roll by describing
own drive how you
drive that contai
contains aidactio
ns the themnin
action theare
they fiction,
usin g.and
using. T then
This
his will
give them +1d
+1d on the roll. YYou
ou may not spend more than 1 drive point to add additional
dice. By involving your PC in the situation, you are also opening yourself
yourself to the dangers ooff
consequences should the roll go poorly.
When helping an ally,
ally, remember
remember that you are offering aid. Use this as an opportunit
opportunityy to
support their time in the spotlight rather than overshadowing it.
Kat steals a carriage to continue their pursuit and must must roll Control to navigate the cart
effecti
effe ctivel
velyy wit
withh thei
theirr cir
circle
cle insi
inside.
de. They
They have
have an act
action
ion ratin
ratingg of 1 in Con
Contro
trol,l, so th
they
ey have
have one
die in their pool. Dani says that she wants to help, aand nd Kat
Kat agrees. Dani describes
describes how she
stands on the top of the carriage to keep an eye on the fleeing cable car above the crowd, then
she spends 1 point of Nerve. Kat takes the the additional die and
and rolls with two in their pool.

Whenwant
circle moretothan one PC on
collaborate wants
onetoaction,
help someone
help
a ction, with
a group roll cantheir roll, orChoose
be made. multiple members
a PC to lead of
thea
attempt—the
attemp t—theyy will use their actio
actionn rating on the roll, plus any driv
drivee they want to spend.
Then, any others
others who are participat
participating
ing may spend 1 drive popoint
int to add an addit
additional
ional die to
the pool. The roll may not use more than six dice.
Not all PCs who want to be involved in the group roll must spend drive to do so. The
mechanical benefit is only one aspect of their aid—the GM should
should evaluate how the
effectiveness of the action changes based on the contributions of the group, and adjust the
expectations of the roll accordingly.
accordingly.
Having pursued the
the cable car, the circle sees their target hop off and disappear into the
backdoor
backd oor of a warehous
warehouse. e. Approachi
Approachingng the door,
door, Carlos
Carlos find
findss it locked.
locked. He says
says he wants
wants to put
his shoulder
shoulder into it to see if he can ram
ram it open. The
The GM tells
tells him that
that would be a Strike
Strike roll,
roll,
but also sets expectations
expectations,, explaining that this won’
won’tt be very effective—
effective—the door
door is re
reinf
inforc
orced
ed
and designed
designed to pr
prevent
event break-ins.
break-ins. Carlos
Carlos asks Dani and Ka Katt if they will help and they both
agree.. Dani spends 1 Nerve to add an additional
agree additional die, but Kat has none to give. They describe
liningg up in an
linin an att
attempt
empt to hit
hit the door at the ssame
ame time.
time. The GMGM sets
sets new expectation
expectations,
s, ssayin
ayingg
the Strike
Strike aaction
ction will defin
definitely
itely be more
more effective
effective with
with all of them involv
involved.
ed.
 11

CONSEQUENCES
On a miss or mixed success, the GM introduces a consequence. This is called ma maki
king
ng a move
move..
Some GM moves are prescriptive and come from f rom a particular threat (such as a monster or
villain), while
while others are more subtle, or narrative-based. No matter what move they choose,
the fiction will change as a result of the miss or mixed success. For more on making moves,
GMs should see page 160.

MIXED
MIXED SU
SUCCE
CCESS
SS
On a mixed success, you get
get what you want, but it comes with a consequence or cost. This
is the most common dice result in the game and has the benefit of advancing the story
while heightening tension. A mixed success could introduce additional dangers or create
complications. For example: you only achieve a portion of your goal, you take mark
markss while
performing your action, or your behavior alerts enemies to your circle’
circle’ss presence. There
are any number of consequences that could fit within the narrative while propelling
propelling the
adventure forward.
On a mixed success
success,, the GM’s move can include:
Damage: You do what you intended, but take some damage in return. This consequence
works well when the action you are perfo
performing
rming is physically dangerous. You might strike
at an enemy with your brass
brass knuckles, but also take Body marks in return.
return.
Complications: You do what you meant to, but there is a side effect. If you’re trying to
sneak past someone, and you rollroll a mixed success, you may get by them, but you lea
leave
ve a
trail that they notice, or make a sound that raises their suspicion.
Concession: You make it part of the way, but something happens. In a negotiation, you
might convince an NPC of the validity of a portion of your argument, but they bring
up details that need clarification—or points they won’ won’tt budge on. If you’
you’re
re sneaking,
you may make it halfway there before you see an unexp unexpected
ected obstacle. Mixed successes
shouldn’t’t be used when it wou
shouldn would
ld completely negate the premise.
premise. Meaning: a mixed success from
sneaking shouldn’t
shouldn’t mean you get caught. This might also manifest as a tough choice
you’re
you’re forced to mak
make;
e; the GM
GM says you can do one thing or the other thing, but not both.
Cost: You do what you set out to do, but there’s a cost involved. You convince the
guard to let you inside an area, but only for a limited amount of time. You negotiate an
outcome, but the NPC requires a favor frfrom
om your circle in return.
return. YYou
ou successfully pick

the lock, but it takes longer than you expected.

Trouble on the Horizon: This is an announcement of future problems. It might manifest
as noticing footsteps coming around a corner, hearing an approaching creature’s roar, or
spotting something that indicates you’
you’re
re being followed.
An Opportunity Lost: An opportunity
opportunity become
becomess impossi
impossible,
ble, oorr requi
requires
res more of a
commitment than you initially thought you needed to make. You win your your scuffle with a
minion, only to notice that the person you were after is gone.
Higher Stak
Higher Stakes:
es: You accomplish your goal, but find yourself in hot water. YYou’
ou’re
re able to
open the ritual gate and shove the demon in, but it takes you with them.
Remember that you only roll
roll when an action is difficult or dangerous. A Journalist asking
an innocent bystander
bystander what they saw prob
probably
ably doesn’t
doesn’t requir
requiree a roll—the
roll—the poten
potential
tial
consequences are low and the Journalist is inherently skilled at what they do. If they’re
interrogating a suspect they’ve cornered in an alleyway trying to escape, the dice are
likely
likely to com
comee out.
12

MISS T
On a miss, the outcome doesn’t go your way—though the GM may, in some limited cases, H
E
choose to let you achieve your goal along with a significant consequence. Usually,
Usually, you won’
won’tt C
achieve your desired outcome, but this shouldn’t always come from character incompetence. O
Perhaps
Per haps the enemy was prepared
prepared in a way you didn’
didn’tt anticip
anticipate,
ate, oorr the surro
surroundin
undingg R
E
circumstances were too
too difficult fo
forr you to contend with. S
Y
On a miss
miss,, the GM’s move can include: S
T
E
Damage: You don’t
don’t get what you want
want,, and take significant damage because of it. it . This M
consequence works well when the action you are performing
performing is physically dangerous. You
try to dodge out
out of the way of an attack, bu
butt it’s
it’s unsucc
unsuccessfu
essfull and you take a Body mark.
Complications: The goal wasn’t
wasn’t achieved in the way you wanted, and because of that,
something happens to further complicate the scene. While sneaking into a suspect’
suspect’ss
office, you’ve tripped an alarm or dropped the item you’re holding.
Trouble on the Horizon: Failure to accomplish the objective leads to a discovery of
future problems you must face. You
You don’
don’tt get to the door in time to stop the cultist ffrom
rom
escaping, and suddenly the ground starts
starts to crack below you. Their ritual wor
worked—a
ked—a
phenomenon is pulling
pulling its way into
into our world.
An Opportunity Lost: A previous opportunity
opportunity becomes impossible. The escape route
now has a new patrol of guards, or an important negotiation doesn’t
doesn’t end in your favor.

Higher
High er Stak
Stakes:
es: You don’t
don’t succeed, and this causes the stakes in the scene to escalate
further, putting you in a more dangerous position—the next roll you make will have
further,
increasingly dire consequences. Failure
Failure means you’
you’re
re looking down the barrel of a gun.
If you’re
you’re ever facing more powerful opponents, note that the GM might use more than one
consequence. This is often reflected in the stakes the GM set for the roll.

RESISTANCES
For every 3 maximum
maximum driv
drivee point
pointss you hav
have,
e, you
you also ga
gain
in 1 point ooff resistance in that drive.
Resistance is a character’s
character’s way of pushing back against a consequence. Any time you don’
don’tt like
the result of your roll, you may choose to burn 1 resistance point from the drive related to that
action. (Your resistance points are not affected by your drive ex
expenditures,
penditures, as resistance relies
on your maximum drive points, not your current available points.)
For example, if you want to resist the consequences of a Control roll, you would burn a
Nerve resistance. Even if your Nerve only has 1 current drive point aavailable
vailable to spend, if your
maximum is 3, you still have that resistance available to burn.
After burning a resistance, you may reroll a numnumber
ber of dice equal to the rating of of the action.
If you spent drive or were assisted on the previous action roll, those dice are not included in
the resistance roll. If that action is gilded, you still roll with a gilded die. If the action you aare
re
rerolling has a rating of 0, you roll two dice and take the lowest result. You must take the new
result of the resistance roll unless you choose to burn another resistance point to roll again.
Kat ducks
ducks behind a set of wooden crates, hoping to go unseen by the fiery apparition that is
guarding the warehouse. The GM calls for a Hide roll, in which Kat Kat has an action rating of 2.
Theyy decide
The decide to
to spe
spend
nd 1 Cunn
Cunning
ing and rol
rolll three
three dice.
dice. The result
resultss are
are two 3s and
and a 1, all fail
failure
ures.
s.

Fearing
resuthe
The results repercussions
lts are a 3 and a 6,ofm
being
akinggspotted,
makin the newthey
re burn
result
sult a Cunning
a full success.. resistance to reroll two dice.
success
Resistances are automatically restored when you use the Refresh resource between
assignments. For more on Refresh and other Candela Obscura resources, see page 41.
 13

GEAR
Candela Obscura is primarily focused on the narrative aspects of the game; therefore, gear
is not intended to be mechanically complex. It is generally
generally assumed that you
yourr character has
the tools, equipment, and money to do what they need to do. However
However,, ther
theree may be certain
objects that are harder to come by or can give your character a distinct edge.
Gear often changes the effectiveness of a roll—meaning: the result might be more successful
when you are using gear than
than it would be without it. A clear example is the difference between

rolling
This canStrike
applywhile punching
across with
the board a baredifferent
to many hand versus rolling such
situations, Strikeaswhen wielding
handling a knife. al
a supernatur
supernatural
specimen with a Bleed Containment Vial as opposed to without one, or quietly breaking into
a building using Burglary Tools instead of needing to smash a window.
In some cases, gear may even grant you the ability to roll in a situ
situation
ation where yoyouu wouldn’
wouldn’tt
normally be able to; without climbing gear,
gear, you likely couldn’t
couldn’t roll to scale the side of a glass
building, and without a map, you likely couldn’
couldn’tt roll to know the way to a hidden location.
Every PC has access
access to up to three
three piece
piecess of the gear on their chara
character
cter sheet
sheet duri
during
ng an
assignment, but you don’t have to select these items beforehand. Instead, during play, you
may declare that you have a piece
piece of gear that is listed on your character sheet and mark it.
This will keep you from having to plan too far ahead and allows your character to be prepared
for anything that comes their way. See page 52 for more about gear.

MARKS & SCARS

Marks represent the harm you incur during your investigations. There are three different
types of marks
marks you may
may take
take::

Body: Represents physical harm—lacerations from a jagged knife, bites from a

creature, broken
broken bones from a fall.
Brain: Represents mental strain—exhaustion from an intense conversation,
anxiety from the fear of being caught, stress from an onslaught of terrifying beasts.
Bleed: Represents magickal corruption—the chilling touch of a ghost, the venom
of a monster, the harmful energy radiating from an artifact.

A character can sustain 3 marks

marks in each of Body, Brain, and Bleed. WWhenever
henever you would take
a mark in a category
category that alre
already
ady has 3 marks
marks,, you
you drop incap
incapacitat
acitated
ed and take the fourth
fourth
mark as a scar.
Some gear and abilities
abilities allow
allow you to soak a mark. When a mark is soaked, it leaves no damage.
If you must take multiple
multiple marks, you can soak the amount the gear or ability allows, and
still take the rest. You
You can only heal your marks using Candela Obscur
Obscuraa resources between
assignments or by using specific abilities or geargear..
A scar represents a permanent change to to your character,
character, both m
mechanically
echanically and narratively
narratively..
Erase all marks in the category you overfilled, then come up with a scar that best reflects the
lasting effect of the damage and write it in an available scar slot. Lastly
Lastly,, shift a point from one
action rating
rating to anothe
anotherr to reflect how the scar changes
changes the way your character
character inter
interacts
acts with
the world.should
character You will
You be any
take ablemarks
to return to play
beyond thewhen your
fourth in acircle gets you
category, somewhere
those marks are safe.
marks If your
carried over.
Carlos already
Carlos already has 3 marks
marks in
in Body and tatakes
kes 2 more. He clears
clears his current
current Body m
marks,
arks, takes
a scar,
scar, then notes 1 Body
Body as the ccarry-over
arry-over.. Next, he shifts
shifts one aaction
ction point from Read to Strike.
Strike.
14

T
H
E
Exampl
Examplee Body
Body Scars
Scars C
O
EVENT SCAR RESULT R
E
Still learning to move with subtlety
sub tlety,, and quick to S
Phenomenon spit Y
Blinded lash out S
acid in face T
-1 to Hide, +1 to Strike E
M
Less aware of their surroundings, eager to prove
Arm was crushed
Lost Right Arm they’re still capable and strong
by monste
monsterr
-1 Survey,
Survey, +1 Strike
Strike

Back brace causes slower movement, so they

they use charm
Pushed from a
Spinal Injury in times of trouble
docking airship
-1 Strike, +1 Sway

Example Brain Scars

EVENT SCAR RESULT
No longer sure they want to be in Candela Obscura,
Failed to save a
Cannot Sleep will flee dangerous situations
friend from death
-1 Sense, +1 Move

Trapped in a Fear of Not as detail-oriented, they look out for future danger
burning building Enclosed Spaces -1 Focus, +1 Survey

Example Bleed Scars

EVENT SCAR RESULT

New people cannot remember them, and they can use

Pulled into a mirror
Shifting Appearance this characteristic to go undetected
by an apparition
-1 Read, +1 Hide

Hands shake when the mouths are hungry, isolate

Magickal creature Body Covered
themselves among books
burrowed under skin in Mouths
-1 Control, + Focus

Has trouble communicating with this added voice

Possessed by
Ghost Trapped inside their head, can now channel magickal
the spirit of an
within Body phenomena
ancient alchemist
-1 Sway, +1 Sense
 15

THE
THE LEG
LEGACY OF HARM
HARM IN
IN HOR
HORR
ROR
The mechanics of marks and scars within Candela Obscura are straightforward, but the legacy
of mechanizing how people expexperience
erience harm and disability within the ho horror
rror genre is not.
For each mark, but
but especially when taking a scar
scar,, it is of vital importance that players mak
makee
choices that serve a nuanced narrative over basic rules.
Carlos was injured
Carlos injured iinn a fight when a monster
monster attacked.
attacked. This would be his fourt
fourthh ma
mark
rk in
in
Body, so he must take a scar instead. He describes how breaking his leg and gaining
gaining a limp

has affected him.

When a PC takes a scar,
scar, we encourage
encourage the player to look deeply at their character and consider
the way they might change throughout the campaign.
Carlos now walks
Carlos walks wi
with th
a limp, so
so he’s
he’s decided to
transfer
trans fer a point from Move Move
and put it into
into Survey. He has
new mobil
mobility
ity constrain
constraints ts and
experiences pain, so he will
be slo
slower
wer on his fee
feet.t. Carlos
Carlos
will also be more observant
of his surroundi
surroundings
ngs becau
because se
he wants
wants to avoid ddanger
anger
and protect
protect his fellow circ
circle
le
members from harm.
Or:
Carlos now walks
Carlos walks wiwith
th a
limp, so
so he’s
he’s tran
transferring
sferring
a point from
from Surv
Survey
ey and
putting it into Move. His
charac
cha racter
ter is afraid
afraid of bei
being
ng
injured
injur ed again
again,, so he knows
how
how to gegett ou
out of
of the
the wa
wayy of
attacks and is quick on his
feet. Because he he’s
’s experiencing
a new
new fefear
ar as a re
resu
sult
lt of
his injury,
injury, Carl
Carlos
os is more
focused on moving quickly
than staying
staying observant
observant of
his surroundings.
When you make choices
regarding your character’s
character’s
injuries, remember: people are
affected by harm in a myriad ooff ways. Disability and mental ill
illness
ness are facets of the human
experience and are not convenient narrative beats behind evil actions, or “evil people.
people.”” Players
should build their characters
characters with care so they can explore the wor
world
ld of Candela Obscura
to the fullest.
fullest .
Due to the legacy of harmful mental health representation in the horror genre, we wou
would
ld like
to clarify: Brain marks
marks represent mental and emotional stress. In the same way a week of long
workdays, a friend receiving an injury,
injury, or witnessing a death (violent or otherwise)
otherwise) would
weigh on a person in your world, Candela Obscura members face stressors and traumatic
events that impact them beyond the immediate moment.
16

If a character takes a Brain scar, consider how the traumatic or stressful events they’ve T
experienced will affect them long-term. H
E
Kat failed to save a friend ffrom
rom magickal harm.harm. In their state
state of grief, they exhibit outbursts C
O
whenn they feel
whe feel out of con
contro
trol.l. At the sa
same
me time,
time, they’r
they’ree incred
incredibl
iblyy empath
empatheti
etic,
c, and aafte
fterr this
this R
experience, they’re especially good at talking with witnesses. Because Kat Kat is too distracted
distracted after E
their loss to beha
behave
ve su
subtly,
btly, they’re
they’re going
going to move
move a point
point from
from Hid
Hidee to Read,
Read, as th
they
ey can now
now S
Y
connectt more deeply
connec deeply with other
others. s. S
T
E
M
Or:
Dani misused a magickal aartifact
rtifact to devastating effect and is now overwhelmed by high-stakes
decisions.
decisions. Becau
Becausese of this experi
experience,
ence, she is even
even more
more dedicated
dedicated ttoo becom
becoming
ing a mast
master
er of
arcane
arcane artif
artifact
acts,
s, an
andd spends
spends all of her fre
freee time
time trainin
trainingg wit
withh her Lig
Lightk
htkeep
eeper.
er. Dani
Dani is goin
goingg
to move a point ffrom
rom Co
Control
ntrol to Sense
Sense,, because
because now she’
she’ss focusing
focusing her stud
studies
ies on the
the magickal
magickal
ratherr than the mundane.
rathe mundane.
Scars—especially Brain scars—should be understood as both a mechanical and narrative
change to your
your character
character and not an oppo
opportun
rtunity
ity to engag
engagee in ableist stereotyp
stereotypes.
es.
While Bleed scars may seem removed from this discussion,
discussion, you should treat them with
similar care. The addition of magick does not make the experience of harm any less human.
Furthermore, we often analogize what we don’don’tt know—rituals from other cultures, sacr
sacred
ed
rites, and practices from traditions that aren’t our own—to be “strange” or “mystical.
“mystical.””

When crafting
t, andthe
is different,
differen magick
many mayin your
not game,
appreciatewehavin
appreciate ask you
having to design
g deeply sacredwit
with
h empathy
symbempathy.
symbols, .E
Every
very
ols, artifact
artifacts, table
s, and
rituals fictionalized.
Carlos witnessed
Carlos witnessed something
something terrible
terrible and,
and, in rretali
etaliation
ation,, a monster
monster cut the pupil of his eye in
half. Now, he sees my
mysteri
sterious
ous apparition
apparitionss overla
overlaidid on the mumundan
ndanee world
world.. He is afraid
afraid of
this chan
change
ge in hims
himself,
elf, but doesn
doesn’t’t feel ssafe
afe tellin
tellingg anyone
anyone about it, for fear of enda
endangeri
ngering
ng aann
innocent
innoc ent pe
person
rson.. He is going to move
move a point from Focus Focus toto Sense,
Sense, because
because he has a harder
harder time
perceiving details, but can see supernatur
supernatural al phenomena he’ he’ss never noticed before.
In Candela Obscura, scars are, with few exceptions, permanent. The idea of “permanent scars”
does not align with the modern understanding of hea healing
ling trauma. But, just like you, consider
that your character cannot begin the process
process of tending to deep physical, mental, and even
magickal trauma until they are in a safe place for an extended period of time. Over the
course of a campaign, your circle should ex
experience
perience only brief moments of respite—this is a
challenging game of horror
horror..
If you would like to see your
your character heal from scars they’ve taken, you have options. You
may engage
engage with an ally who has taken
taken the Docto
Doctor’
r’ss ability Life
Lifesaver
saver,, the only
only way to heal
scars within the mechanics
mechanics of the game. You might choose to play a different charactercharacter for
some time and return to this one down the road when they’ve had a chance to recover. Wor Workk
with your GM to decide which scars they could have healed dur during
ing this time away.
away.
Above all: make choices that will facilitate the story, while keeping the we
well-being
ll-being of your
fellow players in mind. T
Too best explore this world of magick and monsters, we urge you to
build and play your characters prioritizing specificity
specificity,, humanity
humanity,, and compassion.

They say ere’s noing to worry about, but at’s a wet and
ut from e
eSveercyoonnde LknaowsG
it. IrecaatnW
’t oapr. inking75a0,0b0o0umt iliteafrayocasuaies
35,973 pilots
No more.
17
18

MAKING A CHARACTER M
A
K
I
N
G
During your time within
During within the Faire
Fairelands,
lands, you’ll
you’ll embod
embodyy a member of Candela Obscura
Obscura who A
is aware of supernatural phenomena and seeks to protect the world from deadly, magickal
magickal C
H
incursions. Through
Through this character, you will experience the world, making choices for them A
that will impact the story and the others w
within
ithin it.
A
R
To get started, print out all of the Candela Obscura character sheets,
sheets, then
then follow the steps C
T
in this chapter. E
R

STEP 1: CHOOSE
CHOOSE A ROLE
ROLE & SPECIALTY
SPECIALTY
First, choose your character’s role and specialty. Roles describe the function the character plays
in the group, sometimes known as their “archetype.
“archetype.”” Each role has two specialties to choose
from, which helps further define their focus. A character’
character’ss role and specialty determine their
starting actions and drives, their choice of abilities, and some of the gear they have at their
disposal during an assignment. Each specialty has its own custom character sheet.
 19

ROLE: FACE
The spokesperson, heart, or charismatic
charismatic member of the group, a Face character is generally a
confident individual who is skilled in acting, persuasion, or motivation.
motivation.

Journalist: You are a bold

investigato
invest igatorr who knows how to
get to the bottom of things. Your
primary drive is Cunning,
Cunning , and your
abilities are focused on collecting
and assessing information.

Magician: You are a talented

entertainer who knows how
to deflect attention and create
illusions. Your primary drive
is Intuition, and your abilities
are focused on performing and
detecting tricks.
20

ROLE: MUSCLE
USCL E M
A
The protector,
protector, fighter,
fighter, or daring member of the group, a Muscle character is gener
generally
ally an K
intrepid individual who is skilled in combat,
combat , tactics, or physical activities. I
N
G
A
C
H
A
A
R
C
T
E
R

Explorer: You are a fearless

daredevil
dared evil who knows
knows how to
navigate difficult and dangerous
environments. Your primary
drive is Nerve, and your abilities
are focused on endurance and
confronting danger.
danger.

Soldier: You are a trained warrior

who knows how to fight and make
tactical decisions. Your primary
drive is Intuition, and your abilities
are focused on combat strategy
and discipline.
 21

ROLE: SCHOLAR
The studious, logical, or intellectual member of the group
group,, a Scholar char
character
acter is generally an
educated individual who is skilled in academics,
aca demics, critical thinking, or technical activities.

Doctor: You are a skilled

physician
physician who kno
knows
ws how to
conduct medical procedures.
Your primary drive is Intuition,
and your abilities are focused on
anatomyy and healing.
anatom healing.

Professor: You are a professional

academic who knows a great deal
about your chosen field of study.
study.
Yourr primary drive is Cunning,
You
and your abilities
abilities are focus
focused
ed on
critical thinking and leveraging
your expertise.
22

ROLE: SLINK M
A
The streetsmart, roguish, or nefarious member of the group, a Slink character is generally a K
subversive and clever individual who is skilled in crime, the underworld, or clandestine activities. I
N
G
A
C
H
A
R
A
C
T
E
R

Criminal: You are an accomplished

outlaw
outlaw who knows
knows how to oopera
perate
te
successfully in the underworld.
underworld.
Your primary drive is Cunning,
and your abilities are focused
on street connections and
nefarious activities.

Detective: You are an experienced

investigat
inves tigator
or who has an outside
outside
perspective on the ins and outs of
the criminal world.
world. Your primary
drive is Nerve, and your abilities
are focused on uncovering the
truth and stopping malefactors.
 23

ROLE: WEIRD
The arcane, magickal, or supernatural member of the group, a Weird
Weird character is
generally connected to the occult and skilled in enigmatic lore, psychic abilities, and
understanding thinnings.

Medium: You are an adept psychic

who knows how to commune with
the otherworldly. Your primary
drive is Intuition, and your
abilities are focused on divination
and connecting with spirits.

Occultist: You are a highly studied

practitioner of the myst
mystic
ic arts who
has a fundamental knowledge of
the supernatural.
supernatural. Your primary
drive is Intuition, and your
abilities are focused on ritual and
knowledge of the arcane.
24

STEP 2: DETERMINE
DETERMINE ACTION RATINGS
RATINGS M
A
Next, you’ll
you’ll determine the action ratings for K
your character.
character. I
N
G
Your character starts with 5 points in actions that are A
alreadyy determined
alread determined by
by their role an
andd specialty
specialty.. Th
These
ese C
are represented by the bolded circles on your sheet. Fill H
these in with something erasable (like pencil), as they A
R
A
might shift during play. C
T
E
R
Journalist (Face):
(Face): Read 1, Survey 2, Focus 11,, Sense 1
Magician (Face): Sway 2, Read 1, Hide 1, Focus 1
Explorer (Muscle): Move 1, Strike 2, Survey 1, Focus 1
Soldier
Soldier (Musc
(Muscle):
le): Move 2, Strike 2, Control 1
Doctor (Scholar): Control 1, Read 1, Survey 1, Focus 2
Professor
Professor (Scho
(Scholar):
lar): Sway 1, S
Survey
urvey 2, Focu
Focuss 2
Criminal (Slink): Control 1, Hide 2, Survey 1, Focus 1

Detective (Slink): Control 1, Hide 1, Survey 2, Focus 1

Medium (W( Weird): Read 2, Survey 1, Sense 2
Occultist (W
( Weird): Control 1, Read 1, Focus 1, Sense 2

Then, choose one action with a 0 rating, and raise it to 1.

1.
Finally, distribute 3 points however you’d like, in a way that best reflects the kind of character
you want to play.
play. You may not raise
raise any action rati
rating
ng abov
abovee 2 during
during ch
charac
aracter
ter creat
creation.
ion.
Kailey decides to play a Doctor, who starts with 2 points
points in FFocus,
ocus, 1 in Survey, 1 in Read,
and 1 in Contr
Control.
ol. She choo
chooses
ses to
to rai
raise
se her
her Strike
Strike rating
rating from
from 0 to 1, then
then has
has 3 more
more points
points
to attribute.
attribute. She puts 1 in
in Move
Move,, 1 in Sway,
Sway, and an additio
additional
nal poi
point
nt in Strike
Strike,, rais
raising
ing that
action rating to 2.
Actions are covered in more detail on page 50.

ON CHARAC
CHARACTER
TER C
CREA
REATION
TION
When crafting
crafting you
yourr character
character,, it is crucial to avoid the harmful
harmful ster
stereotypes
eotypes often
often present
present in
the histor
historical
ical and horror genres.
genres. For instance:
instance: if you are
are cr
creatin
eatingg an Ex
Explorer
plorer,, be careful
careful not
to appropriate
appropriate another culture’s
culture’s real-world history.
history. Simi
Similarly,
larly, Mediums should not use other
cultures’’ attire as a costume, and Doctors should not indulge in any historical practices that are
cultures
rooted in racist anandd ableist ideologies. Althou
Although
gh PCs may be ill-disposed, tactless, or even cruel,
you should always
always strive to construct your protagonists with integrity.

Fchirildren
mti. ThngeirwifirNexpigedi
ht Stionidebeweginntswte,omoburrot w,it sfo Ils’ahs avif eIto’vecomsude deupnly
wiadsomopteedinspfouriring
moreworaddsuor
invite em over for tea. Maintaining diance as a means ooff gaining respect is banal.
 25

STEP
STEP 3: DETE
DETERM
RMINE
INE DRIVES
DRIVES
Next, fill in the drives that your charact
character
er starts with. You
Yourr character starts with 3 points in
drives that are already determined by their role and specialty
specialty.. These are represented by the
filled-in notches below each drive point. Fill in the points above those notches in something
erasable (like pencil) to indicate that you currently have this resource available to you.
Drives are covered in more detail on page 48.

Journalist: Cunning 3 Next, distribute 6 additional points in drives

Magician: Cunning 1, Intuition 2 however you’d like, in a way that best reflects
the kind of character you want to play. To
Explorer: Nerve 3 do this, fill in the bottom notches with
Soldier: Nerve 1, Intuition 2 something permanent (like ink) and the
points above them with something erasable
Doctor: Intuition 3 (like pencil). You may
may not start
start with
with an
anyy of your
Professor: Cunning 2, Intuition 1 drives
drives above 6 during
during character
character creat
creation.
ion.
Criminal: Nerve 1, Cunning 2 As a Doctor, Kailey starts with 3 drive
drive
points in Intuition. She has 6 more to
Detective: Nerve 2, Cunning 1
spend, so she puts an additional
additional point
Medium: Cunning 1, Intuition 2 in Intuition
Intuition,, 2 points iinn Cunning,
Cunning, and 4
Occultist: Intuition 3 points in Nerve.

STEP 4: DETERMINE
DETERMINE RESIST
RESISTANC
ANCES
ES
For every block of 3 drive points,
points, you also ta
take
ke a resistance
resistance in that
drive. Fill in any resistance points you have with something erasable (like pencil).
Kailey has a maxim
maximumum of 4 drive points in Intuition
Intuition and Nerve, so she marks 1 resistance point
for each of those drives. She only has a maximum
maximum of 2 drive points in Cunning,
Cunning, so she doesn
doesn’t’t
mark any
any resistance.
resistance.
Remember: Spent drive does not affect your available resistances. This resource is calculated
based on maximum, rather than remaining drive.

STEP 5: GILD ACTI

CTIONS
Your character starts with a gilded
gilded die in one action, determined by their specialty
specialty.. This is
represented by the filled-in diamond to the left of the action on yo your
ur character sheet.
Then, gild an additional action
Journalist: Survey of your choice. Remember:
Magician: Sway this will help you to earn back
drive during the game, so it is
Explorer: Move best to gild an action within
Soldier: Strike a drive where you have points
to spend, so that you can
Doctor: Read earn them back.
Professor: Focus As a Doctor, Ka
Kailey
iley starts
Criminal: Hide with Read gilded. She decides
Detective: Control to also
earn gildIntuition.
back Focus to help her
Medium: Sense
Occultist: Focus
26

STEP
STEP 6: CH
CHOOSE ABILI
ABILITIE
TIES
S M
A
Along with the opportunity
opportunity to make action rolls, each investigator has their own set of K
powerful
power ful abilities
abilities.. Choose
Choose one ab
ability
ility from yo
your
ur role and
and one ability
ability from your
your specialty
specialty at I
N
character creation. If you are having a hard time choosing,
choosing , take the top option in each section. G
A
C
ROLE ABILITIES H
Meticulous Notes: If your curr
current
ent A
Face
R
A
I Know
Know a Guy:
Guy: Once per assig
assignment,
nment, asaskk Cunning resistance is 2 or more, add +1d C
the GM who yo youu know
know nearb
nearbyy that ccould
ould to all Focus rolls. After an assignment, T
increase your
your Illumination track 1 E
help you. The GM
GM will tell you who they R
are, and explain why this NPC might have additional point because of the detailed
insight into the investigation. notes your char
character
acter returns
returns wi
with.
th.

Sweet Talk: You know how to work the Slink

room. After you make small talk with Scout: If you have time to observe a
someone,
someo ne, you may add + +1d
1d on any Read location, you can spend 1 Intuition to ask a
rolls you make
make in which they are the target. question: Wha
Whatt do I notic
noticee here
here that
that ot
other
herss do
If your current Cunning resistance is 2 or not see?
see? What
What in th
this
is pl
place
ace migh
mightt be of use to
to
higher, that die is gilded. us? What path sh
should
ould we follow?
follow?
Cool Under
Under Press
Pressure:
ure: On any high-
high-stak
stakes
es Saw This C Coming
oming:: Three times per
roll, youofmay
instead thealways spend
drive the Cunning
action falls under. assignment, you may add +1d
+1d to a circle
member’ss roll without spending drive by
member’
saying how you prepared for this kind
kind of
Muscle situation together
together..
Behind Me: Spend 1 Nerve to choose an
Death Defy: Once per assignment, when
ally in the same scen
scenee who is about to take
take
you should take 1 or more marks from
a mark from a phenomenon, then describe
an enemy, you instead escape unscathed.
what you do that allows you to take
Describe how your quick thinking keeps
the mark instead.
instead .
you safe from harm.
Adrenaline Rush: For each mark you take,
you may immediately refresh a drive point Weird
Weird
of your choice
choice.. Great Wards: You can inscribe and
Endurance: When you take enough
enough marks maintain a warding symbol on one person
to become incapacitated, instead, roll a at a time. Describe the material they must
number of d6 equal to your cur
current
rent Nerve hold to bind it (salt,
(salt , sand, etc.). They take
resistance. On a 6, you aren’t incapacitated +1d on Move rolls against phenomena.
and don’t take a scar. Let Them In: Whenever you take 1 or more
Bleed marks, you also gain additional
Scholar information about the phenomenon that
Well-Read: You
Well-Read: You’’re highly educated and harmed you. Ask the GM one question
retain knowledge better than most. When about the source of the bleed.
you spend Intuition while making a roll,
Ritual: When you have have a few minutes
minutes to
on a result of 3 or less, earn back any of the
prepare, you may take a Bleed mark mark to
Intuition you spent.
perform a ritual on yourself
yourself or an ally:
Occult Researcher: Take 1 Brain mark Circl
Circlee of Protect
Protection
ion (soak
(soakss 1 Body
Body mark
mark for
to ask that
detail the GM
GM for
you an important
would occult
occultyour
recognize from the person within),
resistance), Reinvigorate
or Remote Viewing (r
(refresh
Viewing (oneefresh 1
moment).
moment).
studies, but has not yet been revealed
in the scene. If there are none, clear
 the Brain mark.
27

SPECIA
SPECIAL
LTY ABILI
ABILITIE
TIES
S
JJournalist
ournalist Abilities Magician Abilities
Insider Access: Your line of work Misdirection: When you use your words
offers you special privileges. Once per or actions to distract a target from what is
assignment, automatically gain access to actually happening here, make a Hide roll.
an important person
person or place by using the The first Cunning you or an ally spends on
Press Credentials gear. this roll is worth +2d instead of +1d.
Open Book: You can get people to open up Escape Artist: Spen
Spendd 1 Nerve
Nerve
to you very quickly.
quickly. W
When
hen you attempt to to automatically escape ropes,
connect with others by sharing something cuffs, manacles, or
or a creature that
deeply personal, add a number
number of dice has grappled you.
equal to your current Cunning resistance Practiced Patter: You’ve long rehearsed
to a Sway roll. On a success, they for a moment like this. When making a
will reciprocate. Sway or Hide ro
roll,
ll, you may sp
spend
end Intuitio
Intuition
n
Lie Detector: When you make a Read Read instead of Cunning.
roll in an attempt to figure out whether Uncanny Eye: You may spend 1 Intuition
Uncanny Intuition
a person is telling the truth, gild an to ask the GM a question: How can I
additional die. The first Cunning leverage
leverage som
something
ething here to my advantage
advantage??
you spend on the roll is worth +2d+2d What here doesn’t
doesn’t work
work the way it appear
appears?
s?
instead of +1d. What is out of place
What place here
here??
Press Conference: You can spend 1 Flourish: YYou
ou know
know how to cov
cover
er you
yourr
Cunning to gather a large group of mistakes with flair. On a roll where you
people together
together to make announcements, could spend Cunning, if you fail or get a
ask questions, or stage a distraction. mixed success, you may spend 2 Cunning
All Cunning rolls you make at this to push the result up one tier—from a
assembly take +1d. miss to mixed success or mixed success
In the Trenches: You’ve done enough to full success.
dangerous journalism
journalism work to know how The Prestige: YYour
our magic is usuall
usuallyy all
to keep yourself safe. Once per assignment,
assignment , smoke and mirrors, but you have one trick
you may burn 1 Cunning resistance to you’ve
you’ ve learned that’
that’ss real. Roll Sense when
soakk a Body mar
soa mark.
k. you perform it, and on a success, take a
Bleed mark. Circle one option when you
W
Well-Researched:
ell-Researched:
Intuition to ask theYou
GMcan spend 1
a specific take this ability: chan
changege appearance,
appearance, levitate,
levitate,
question about a place, group, or
or concept summon mundane
mundane object, teleport a short
that you may have researched before the distan
distance,
ce, or throw
throw your
your voi
voice.
ce.
assignment. They will tell you what you
know from that preparati
preparation.
on.

nist
NAME: Swift (Surname Unknown) OCCUPATION: Illusio
ATTRIBUTES: Cunning, Charismatic
, Slippery, Trusts No One
their mothers in the
Swift is a charlatan, and good at it. Lost both
ding for themselves.
war and ended up on the street at fifteen, fen
ecame an absolute master
Necessity taught them sleight of hand; they b
on the road. Discovered a
of misdirection, developed an act, and took it
phenomenon while performing one of their fake séances live on stage.
rtainly masking. I have no
The most charming person I have ever met. Ce
ays considered those who
choice but to trust them, even though I’ve alw
 of the low.
pretend to speak to the dead to be the lowest

28

NAME: Isadora Álvarez O M

CCUPATION: F
irst Sergeant, Infa A
ATTRIBUTES:
Incredibly Strong, ntry K
Disciplined, Focuse I
N
Izzy comes from a d, Stubborn G
family of soldiers
dropped out, turni . Excelled at milit
ng down the safety ary academy but A
front-line soldier of n epotism in favor o C
. As deadly with h f becoming a
rifle. She could ki er bare hands as sh H
ll me with her pin e is with a loaded A
absolutely ne k y, bu t doubt that s
R
A
during her secrevsiscaer. yL. oExperienced her first phenomenon ohuet w oonutlhdeuVnelregses C
ss of her left arm T
with a mechanical hasn’t slowed her d
construct. I enjoy own; replaced E
imagine why she d her dark humor, th R
eveloped such a co ough I hate to
to her more, but I ping mechanism. I
will avoid discuss would like to talk
ion of the war whe
rever possible.

Explor
Explorer
er Abi
Abilit
lities
ies Soldie
Soldierr Abi
Abilit
lities
ies
Basic Training: You have tactical
Obscure Lexicon: When you encounter
encounter an
experience in high-pressure situations.
ancient or esoteric language, you can spend
When you make a Survey
Survey roll in a
1 Intuition to understand what it says.
dangerous place, also add a nu
number
mber of dice
Field Experience: You’ve traveled the equal to your current Nerve resistance.
world and been in many dangerous Geared Up: You and one
one ally in your circle
circle
positions before. Once per assignment,
assignment ,
may mark an additional gear slot during
describe to the group how a previous
each assignment.
adventure
advent ure is
is similar
similar to your
your curr
current
ent
situation and refresh 1 Nerve for everyone Sharpshooter: When you want to make
in your circle. a ranged attack with a weapon, you may
spend
spe nd 1 Nerve
Nerve to stea
steady
dy your
your aim bbefo
efore
re
Mind Over Matter: When you are told to
shooting, and add +2d to your next shot
use a specific action on a roll,
roll, you may take
at this target.
a Brain mark to utilize an alternative action
instead. You
You may also spend the drive that Tactician: When you are in a dangerous
corresponds with your chosen action. scenario, you may spend 1 Nerve to ask the
Describe how you adapt to your situation. GM a question: How do I get to safety? What
poses the largest immediate
immediate threat to my circle?
Tenacious:
marks, gild When you have
an additional die1 or
onmore
Move,Bleed Where is the target going
going to move
move next?
Strike, and Control rolls while in danger. Compartmentalization: You have
trained to detach yourself from the
Narrow Escape:
Narrow Escape: You’ve been in numerous
horrors of violence. Once per assignment,
hairy situations
situations during
during your fear
fearless
less
you may burn 1 Nerve resistance to
exploits. Add +1d
+1d to your Move roll when
soak a Brain mark.
you attempt to escape a trap or ambush.
V
Volunteer
olunteer Duty: Between assignments,
Not Again: Once per assig
assignment,
nment, you
instead of spending resources, you can
may take a scar to have an automatic full
offer a helping han
handd to your Lightkeep
Lightkeeperer..
success on an action. If you do, it’s
it’s as if
Describe how you aid the oorganization,
rganization,
you’ve
you ’ve had this scar all along—tell your
and refill 1 point in any
a ny Candela Obscura
circlee how got it, and why the lesson
circl
resource on your circle
circle sheet. YYou
ou may not
you learned is helping you succeed here.
Don’tt adjust your action ratings when you
Don’ spend any resources during
during this downtime.
take this scar.
 29

NAME: M
Moorgan Ansari OCCUP CUPATION: Doc octtor
ATTR IBU
TRIB UTES: Dev ote
evot itating
Unhessita
ed, Unhe ng,, S le-Mind
ingle-
Si nded ieving
ed,, Griev
He w
waas to
toppo f his cl
of cla stud
ass st ying bi
udy logy be
biolog bef fore the wa war. Dr
Droopped out
rother was ki
hiss brot
after hi killed to jojoiin th e Nur
the se Co
urse Cor aved cou
rps; ssa ntlless
ount
ldiers who w
soldi ould have other
wo erwwise peris ish fter th
hed. Afte the Morgan got
war,, Mo
e war
his M
MDD and went i nto private p
in pr acttice. I kno
rac noww he sse large number of
ees a la
ital
Hospita
Ho
vete
ter
rans a an
nd ddo
oesn’t ch
char
arge
ge th
theem.hIe als
alsopskn
keep
kee ow
u
ttu rnth
theeG
ing Gra
drannd tth
own Ha
Hal lern offe
heir
ei He’s
ffers. He
would lliike him i n th
in eir ER, but he
the
ion and hot-
quick to action ded. I ca
headed
t-h say th
can’t sa thaat I don ’t adm
on’t ire
dmir him for it.
e him

Docto
Doctorr Abilit
Abilities
ies Profess
Professor
or Abili
Abilities
ties
Patch Up: When you have a few moments Steel Mind: Once per assign
assignment,
ment,
of calm, you can make a Focus roll to heal when you should take
take a Brain mark,
1 Body mark on an ally. On
On a 4–5, spend you may instead burn 1 Intuition
2 Intuition to accomplish this. On a 6, resistance to soak it.
spend 1 Intuition. On a 3 or less, you
Universityy Resources:
Universit Resources: Your university
may take a Brain mark
mark to take the 44–5
–5
has alumni all over
over the world. Once per
result instead.
session, describe a person you know from
Non-Combatant: Your pain spur spurss others your tenure as a professor
professor,, and ask the GM
to action. If you haven’t hurt anyone yet where they can be found locally
locally..
during this assignment, when you take a
Learn from My Mistakes: Any tim timee you
mark, each of your allies in the scene can
get a result of 3 or less on a roll, describe
recover
recov er 1 drive point of
of their cho
choice.
ice.
what lesson you learned from your your failure,
Dissection: When you make a Focus roll and refresh 1 drive point of your choice.
to dissect a piece of organic matter affected
Better Part of Valor: When making a
by bleed, gild an additional die. You cannot
Control or Move roll to flee danger, gil
gildd a
take Bleed marks from this inspection.
die. On this roll, the first Nerve you spend
Resuscitation: When a nearby ally takes is worth +2d instead of +1d.
a scar, you can make a Focus roll in an
V
Verbose:
erbose: When you make
make a speech or hold
attempt to immediately
immediately revive them. On
a conversation to assist an ally, the die you
a 6, it works. Though they still receive the
scar, they’re back on their feet. On a 4–5
4–5,, give them is gilded.
it will cost 3 drive points of your choosing. Chemical Concoction: You know how
This cannot be used when a PC takes to mix chemicals together to achieve
their fourth
fourth scar.
scar. particular effects. When you take
Laboratory Equipment as gear gear,, you may
Lifesaver: Between assignments, you can
spend a few
few minutes concocting a mixture
spend 1 Stitch to work on healing an ally’s
ally’s
that is: acidic, explosive, flammable, loud,
scar. When you do, make a Focus roll. On
sleep-inducing, sticky, or toxic.
a critical success, fill three. On a 6, fill
two. On a 4–5, fill one. When the track is
full, the scar is healed and
and 1 action ppoint
oint
Particularly hit it offe wwiire.
Morgan—a real liv
may be shifte
shifted.
d.

Anatomical Strike: You know where

the body is most vulnerable. When
attacking an enemy,
enemy, you may roll Focus
SSuppaosleotofamt ycsoeulfdinbehgim.d or bad.
 instead of Strike.

30

Criminal Abilities Detective Abilities M

Street Smarts: Yo
Youu kn
know
ow how to kkeep
eep aan
n Mind Palace: When you want to figure A
eye on your surroundings. Whenever you out how two clues might relate or what K
I
N
make a Survey
Survey roll, you may spend aany
ny path they should point you toward, burn 1 G
drive instead
instead of only Intui
Intuition.
tion. Intuition resistance. The GM will give you A
the information you’ve deduced. C
Leverage: On a successful Read roll, you
H
may ask th
thee GM what
what yo
your
ur targ
target
et tru
truly
ly Interrogation: When you are questioning A
wants. On any Sway rolls you make uusing
sing someone about
about information
information they are R
A
this information, also add a number of dice resistant
resistant to reveali
revealing,
ng, add a number of dice C
equal to your current Cunning resistance. equal to your current Cunning resistance T
E
to your Read rol
roll.l. R
Hardened: When you take a scar,
scar, yo
youu
may choos
choosee not to shift any action
action Back Against the Wall: When you are
points as a result. making a high-stakes roll, you may take a
Brain mark to make any Nerve you spend
Born in the Shadows: When attempting
worth +2d
+2d instead of +
+1d.
1d.
to avoid
avoid secur
security
ity or detection,
detection, gild an
additional Hide die. Inspection: You have experience
examining crime scenes. When you make a
Tricks of the Trade: YouYou’ve
’ve learned how
Survey roll to gather evidence about what
to navigate
navigate trick
trickyy or dangerous
dangerous situa
situations
tions
might have happened in this location, gild
to keep yourself out of harm’s way. On any
an additional die on the roll.
Hide or Sway
Sway roll you
you make, you may spend
1 Nerve to lower the stakes befbefore
ore rolling. Stakeout: You are good at collecting
If this is already a low-stakes roll, you may information while remaining undetected.
not use this ability. When you are tailing a suspect
suspect or
conducting surveillance,
surveillance, you may use
Sticky Fingers: After a success
successful
ful melee
melee
Survey instead of Hide.
attack, you can spend 1 Cunning to ppilferilfer
an item from your target undetected.
undetected. One Step Ahead: Once per assignment,
This could be ttheir
heir wallet,
wallet, a weapon they’
they’re
re you can produce a useful
useful mundane object
carrying, an important
important document, etc. you’ve
you’ve had with you all along. When you
do, fill in the em
empty
pty gear slot and write
write the
object in this space. This does not count
towardd your gear limit.
towar

NAME: Lim Dae OCCUPATION: Thief

ATTRIBUTES: Empathetic, Fluent in Sign, Unassuming, Shy
Where to start with Dae. She’s been to prison m
ore times than I can count,
and yet somehow always manages to wheedle he
r way right back out again.
She is a thief by trade. Her parents were prom
inent archeologists before
the war, and though I’v ’vee never met them, I read some of their work. S
he
came in contact with her first phenomenon in
an ancient mausoleum
when she was quite young. As a child growing
up in crypts filled with
traps, she mastered the defenses of Oldfairen t
ombs. After that, standard-
issue breaking and entering was incredibly s
imple for her, I’m sure.
But Dae has a real steal-from-the-rich, give-to
-the-poor ethos that I
find, frankl
force me to syt, obpotphutmtoirnagl oafnfdlappealing. Working with her will finally
earning Halen Sign Language. She uses an
intriguing hearing device that she’s agreed t
o teach me more about.
 31

Medium Abilities Occultist Abilities

Miasma: You can spend 1 Intuition to tell Ghostblade: You can attune a ritual knife
if and how a person
person or object has
has been to yourself. If you coat it in your blood
affected
affect ed by bleed. (take a Body mark), it is particul
particularly
arly
effective against magickal beings and can
Bending Spoons: You can make a Sense
strike invisible or ethereal enemies.
roll to control an object in the room with
your mind: flip a switch, knock something Blood of the Covenant: The first time a

over,
On amove
mmixed
ove a sma
small
ll object
object,
success, you, put
mayouttake
a light,
light, etc.
a Bleed dangerous phenomenon
anyone in your circle, youinflicts
refreshaamark on
number
mark to make it a full success instead. of points, in any drive, equal to your
current Intuition resistance.
Cold Read: On a successful Sense roll,
you know what ailment, stress, or loss Speak Their
Their Language:
Language: You can speak the
a person has in their life, even if they’re supernatural language of any phenomenon
trying to hide it. you encounter.
encounter. D
Describe
escribe what strange
or terrifying
terrifying way you commu
communicate
nicate
Premonitions: You have visions of the
with each other.
other.
future.
future. When an aally
lly is about
about to take
take 1 or
more marks, burn an Intuition resistance Play the Bait: Yo
Youu know
know ho
howw to ddra
raw
w the
the
to warn them about the coming danger. attention of a phenomenon—you just
Then, soak one of these marks. have to play the bait. Make a Sense roll to
bring a nearby phenomenon
phenomenon towar
towardd you.
Last Moments: While touching a corpse,
you can burn an Intuition resistance to Extend Your Senses: When you make a
hear, smell, and feel that creature’s last few Sense roll to understand more about a
moments of life. By taking a Bleed mark, phenomenon you’ve encountered, also
you can push yourself
yourself to see a still image of add a number of dice equal to your
your current
the last thing they
they saw befor
beforee death. Intuition resistance to the roll.
Commune: You can make a connection Forbidden Ritual: You know a highly
with a nearby sentient phenomenon in complex and extremely dangerous rritual
itual
order to communicate with it. Take a Brain that will achieve a desired outcome.
mark and make a Sense roll to open an When you use this ritual, immediately
empathetic or telepathic connection to take a Bleed scar. Determine what the
ask a question. On a success, you get an ritual is and what its effects are: change the
answer. On a 4–5 result, the phenomenon environment, conjure a phenomenon, or save
will ask a question in return.
return. a dying person.

en’ t a e mp te d to c on ta c t he r  r oug h a 
Does Swift reay einIk hIahvea. vA g a in an d a ga i n , in  e be g i  ing .
ese years? Of cours gh. Am I supposed to believe she simply doesn’t
She never came rourefuse. The far more compeing explanation is
want to speak to me? I ism has its limits, and contacting a specific
simply at Spiritual of em. Morgan agrs wi me; Izzy refuses to
deceased person is one n’t get in e way
eofngaegweoirnk. e discuion at a. Fine, so long as it does
32

STEP
TEP 7: AD
ADD CHAR
CHARA
ACTER
CTER DET
DETAI
AILS
LS M
A
Next, think about how your chosen action ratings, drives, and abilities impact the kind K
of character you want to play
play.. Use the choices you’
you’ve
ve made to inform more of their I
N
personality and worldview.
worldview. G
A
For example: C
H
Kailey is playing a Doctor with a high action rating in Strike. She may have honed this skill A
R
A
through years
punch. Or she stuck in one
may use one bad
this skillsituation
situationher
to force after
wayanother—she knows how to throw
out of bad situations—she and take
can break downa a C
door, but w
would
ould never lay hands on an innoc
innocent.
ent. T
E
R
In both instances, the action points are distributed equally. It’s up to you to decide on your
character’ss personal ethos and past experiences.
character’
Use the following character
character sheet prompts to he
help
lp you flesh out you
yourr PC:
Catalyst: Briefly describe w
why
hy your character joined Cande
Candela
la Obscura—what
Obscura—what happened
to make them devote their life to this cause?
Question: Explain what your character hopes to find out over the cour
course
se of their
investigations—what knowledge are they pursuing that motivates them to charge into
danger?
dange r? (This may align with your
your Catalys
Catalystt or represent
represent a completely
completely different
different desire
desire.)
.)
Style: What is your character’s
character’s overall feel and aesthetic?
Name and Pronouns: What does your character
character call themselves, and what are
their pronouns?
pronouns?
Also, review your Illumination Keys
Keys at the bottom of the character sheet. These are goals
for you to play toward during
during each investigation and will be used to evaluate char
character
acter
advancement. If any don’
don’tt fit what you’
you’re
re hoping to explore with your character, feel free to
replace them with others from a different character sheet or something you come up up with in
collaboration with the GM. More on Illumination Keys can be found on page 54.

STEP
STEP 8: FORM
FORM RELA
RELATIO
TIONSHIPS
NSHIPS
This is a game
game about magick and investigation, but the story lives entirely in the players at
the table. We encourage you to invest in deep, complicated, nuanced relationships from the
onset, then build the horror of your sessions around the emotional journeys players have
chosen to explore.
At this stage, the table should share their char
characters
acters with one another
another.. R
Record
ecord their names
on the left side of your character sheet in the ReRelationships
lationships section. Then, cchoose
hoose one type of
relationship and an accompanying question from the options listed in this section to assign
to each. If you’d like, you can roll a d6 to help select the question, or make up your own.
The relationships here are one-sided. Meaning: it is not necessary for two characters to feel
the same way about one another,
another, or even know how the other feels. Sometimes the most
impactful relationships are based on holding one another in different regard. In any case,
have a conversation with the other players about what relatio
relationships
nships you are interested
in your characters
characters navigating, and get their co
consent
nsent for any of the choices you make
make
before proceeding.
Each relationship is a guide, each question a suggestion. They are designed to create a
conversation between players
players to enhance both characters’ story arcs. We encourage you to
always choose the most impactful option, and explore ideas outside of this book that might
facilitate your particular group.

33

RELATIO
RELATIONSHIP
NSHIP QUESTIO
UESTIONS
NS
They are your
your…
…
Bully Confidant
1. This person does something
somethi ng that 1. This person keeps your dark secret.
secret .
makes your life more difficult. What What is it?
do they do, and why do you think they
treat you this way? 2. but
Youthis
are very cautious
person. Why?around everyone
2. What do you admire about this person,
3. What does this person do that lets you
but would never say?
know you can tr
trust
ust them?
them?
3. You stand in the way of something this
4. You two are planning
planni ng somethi
something
ng in
person wants. How has this chang
changed
ed
the future. What is it, and why does it
their behavior
behavior toward you?
you?
make you nervous?
4. Despite the antagonism,
antagon ism, your
5. To the outside eye, you two have a very
relationship with this person is the most
different relationship. How do people
constant of any connection in your life.
assume you’re connected?
What do they do that feels reliable?
reliable?
6. You two once got away with something
5. Despite the nature of your relationship,
illicit. What was it, and how did it
youthis
for onceperson.
did something very kind
What happened, change your lives?
and do they
they know?
Coworker
6. This person knows your weakness and 1. You’ve
You’ve employe
employedd this person for years.
how to manipulate it.
it. What is it, and Why did you hire them?
how does this change
change your
your beha
behavior?
vior?
2. You both hate your outside job and
Champion find Candela Obscura a welcome
distraction. What about your day job
1. This person protects you from
would you change?
something. What is the threat, and
how
how do the
theyy help
help?? 3. You both stole money from your
employer.. Ho
employer How
w did you do it, and why?
2. This person once spoke out on your
behalf at great personal risk.
risk . What was 4. Through the work you do together,
togethe r,
the situation, and how did it affect you? you’ve
you’ve discovered something
wonderful about this person
person few
3. This person has told you that
people ever see. What is it, and do they
you are in danger.
danger. What
What are they
know
know ho
howw yo
youu feel?
feel?
protecting you from?
5. You had a new job opportunit
opportunity,y, but
4. This person does something to help you
didn’tt want to leave this person
didn’
in your everyday life. What is it, and how
behind. What was the other job, and
do you thank them?
why did you stay?
5. You once did something very cruel to
6. You owe this person more loyalty
this person. Why do you believ
believee they
than others would expect. What did
continue to protect you anyway?
they do for
for you?
you?
6. This person makes you a better person.
In what way are you different
different whe
when
n
they are with
with you?
you? Swift haosppbortnunciotmyp. aArinfgewtryaedaerseacrgeots, IwiwouD
ld ae
at every ere swindling.
 have bn e person ey w
34

Enemy Lover M
1. You disagree on a fundamental
fundame ntal 1. You two met in an unexpected
unexpect ed way. A
belief. What is it? Where were you, and what happened? K
I
N
2. Despite being enemies, you and this 2. What personal difficulty have you two G
person share a secret. What is it, and recently
recently navigated
navigated together? A
how does it bring you together
together?? C
3. You love this person but they don’t H
3. This person harmed someone you love you back. How
How has this aff
affected
ected A
R
love. What did they do, and what your relationship? A
retribution do you seek? C
4. You keep your love a secret. Why? T
E
4. You were once allies.
allies . What R
5. You once did something terrible to
tore you apart?
protect this person. What did you do,
5. You two share a common enemy. Who and do they know?
is it, and why have you both reluctantly
6. Your family doesn’t
doesn’t approve of your
teamed up against them?
relationship with this person. Why?
6. You
You’’re in love with your enemy. What
caused these feelings to develop, and Mentor
why do you keep it a secret? 1. You admire this person above all others.
What makes you feel
feel this way?
Family
1. You
You’’re related by blood, but don’t like 2. This person
lesson. How once taught
did they youand
do it, a valuable
why?
each other. Why?
3. This person brought you into
2. This person has always been your
Candela Obscura.
Obscura. How did they
closest family member. What do you
convince you to join?
rely on them
them for?
for?
4. You resent your membership in Candela
3. This person has chosen you to carry on
Obscura. What does this person hold
a family legacy
legacy.. What is it, and do you
over you to keep you co
coming
ming back?
believe you are worthy?
5. This person once saved your
4. You identify with your chosen family
life. What happened?
rather
rather than your
your blood. What does
does this
person do that affirms that belief? 6. What lie did this person teach you
about
about the world?
world? Do the
theyy know
know you
you’v
’vee
5. You
Yourr other
person. Whyfamily doesn’
doesn’t
is this, and tdo
trust
youthis
agree? uncovered the truth?
6. This person was a large part of yo
your
ur
a re g e in g o n lik e a ho us e o n f ire .
upbringing. What was their role in your Izzy and Seyw’ifbt e forming what Candela Obscura
life, and how did it make you into the I expect an “unheahy aachment betwn circle
person you are today? would ca le an a mon. If it ends badly, we’
members” inhed. Sti, i’m happy for em. Mu be
I have succefuy learned Halen a be pinc is delightfuy intimidating, which wi be
Language, ough Dae uses so m Sign nice. Izzy wift.
slang at I’m i lo speaking wi uch modern gd for S
spends e majority of her time in M  her. She
work organ’s offic
It’s iqnugitensewxt to. him. They rarely converse. e,
 35

“Intimidating” isn’t exacy e right

firmly dedicated to her belief at warword to describe how I fl about Izzy. She’s
major disagrments betwn nation-a is not only a neceity, but e only way to end
ones making decisions about our ships tes. To know people who ink as she does are e
woman herself at I find daunting. Iand our soldiers—at is terrifying. It’s not e
t’s what her belief syem means for e
re of us.
Muse
1. What about this person drives you Rival
1. You’ve
You’ve been in competit
competition
ion for
to pursue
pursue your
your dream?
dream? years now.
now. What
What drives you to
best one another?
2. This person lights up every room they
walk into. What do they do that draws 2. There is something you secretly admire
the attention of others? about your
your rival
rival.. Wh
What
at is it, aand
nd why will
you never tell them?
3. You would do anything
anythi ng for this person.
What history do you share that makes
makes 3. You both share an ally that seems in
you so devoted? conflict with your rivalry. Who is it, and
why are you tied to them?
4. This person has inspired you to
change something specific about your 4. Your rival is much better at a particular
life. What was it? skill than you are. What is it, and how
5. Something about this person fascinates does this change your behavior?
you. What is it, and have yo
youu told them? 5. If your rivalry ended, you would
still want this person in your life.
6. This person fuels an obsession of yours
Why is that, and what do you do to
that you find dangerous. What is it, and
stay tied to them?
them?
why do you still keep them in your life?
6. You once grievously harmed each other.
Old Friend What harm did you inflict, and how did
1. Growing up together,
together, what did you two it change your relationship?
always get in trouble for?
Sibling
2. You
You’ve
’ve seen this person change over the
1. You’
You’re so close that you’
you’re
re practica
practically
lly
years. How
How are they different from the
of one mind.
mind . Still, what do you
person
perso n they once were?
were?
hide from them?
3. You once had a terrible
terrib le fight with
2. You two couldn’t be more different.
different .
this person. What from that fight still
What’ss one thing you never agr
What’ agree
ee on?
weighs on you today?
3. Yo
Youu two have another
another siblin
sibling.
g. Why are
4. There once was a third person in your
you estranged from them?
them?
friendship. What happened to them?
4. You two share a number of secrets, but
5. You come from the same home or
you protect one above all others.
others. W
What
hat
background. What drove you both away
are you hiding?
from that shared history?
5. This person once asked you to do
6. There was a long period during which
something against your morals. What
you two did not speak. What happened,
was it, and did you fulfill their request?
and why are you interacting
interacting ag
again?
ain?
6. You call yourselve
yourselvess siblings,
siblin gs, but you’
you’re
re
not related by blood. What is the
true nature of your relationship, and
 why do you lie?

36

Soulmate Ward
Ward M
1. What do you see in this person that they 1. Why did you decide to financially A
don’tt see in themselves?
don’ support this person? K
I
N
2. What characteristic of this person do 2. You fundamentally disagree about G
you find endearing, but others
others find odd? something important. What is it,
it , and A
why do you care for them anyway? C
3. Because of your closeness with H
this person, you’ve lost someone 3. You feel the need to protect this person. A
R
else you love. How has this affected What is the threat, and what actions do A
your relationship? you take to ensure their safety? C
T
E
4. You believe this person is your soulmat
soulmatee 4. You once had a different ward. What R
but they don’t
don’t know. What keeps you happened to them, and what does this
from being open with them? person do that reminds you of them?
5. You and this person belong together,
togethe r, but 5. You can no longer support this person
something in your lives drives you apart. in the way you once did. What changed,
What is the cause of this opposition?
opposition? and how have you
you reacted?
reacted?
6. Time with this person feels like coming 6. For all you provide, this person does
home. What about them makes something particularly wonderful
you feel this way? for you. What is it, and how has it
affected
affect ed your
your life?
Stranger
1. You have no histor
history,
y, but feel you can IMPLEMENTING
trust this person. Why?
QUESTIONS
2. A characteristic about this person seems Use the answers to these questions to inspire
so familiar. Who
Who from your past do they richer details in your
your relationships. As you
remind you of? explore the facets of each connection, be as
3. What about this person feels specific as possible while still leaving room
magnetic to you? for exploration and spontaneity
spontaneity..
4. Though you’ve never met, you share Kailey says to Kat: “You are are my ward. I
something with this person. What financially support you in secret because I
is the connection, and how do was in the
the same circl
circlee as your mother,
mother, and
you feel about it? I believe she died during an an investigation
5. You have a secret this person must due
due to my neneglglig
igen
ence
ce.. If yo
youu kne
knew
w th
thee
truth behind her death, you might seek
not learn. What is it, and what do you vengeance,
vengea nce, so
so I purposeful
purposefully ly keep you in
do to protect it? the dark.
dark. I’v
I’vee come
come to love
love you very muc
muchh
6. This person has something you and will
will risk my life to improv
improvee yours.”
want. What is it, and how do you Kat says to Kailey: “You’ve
“You’ve become
plan to acquire it? my muse.
muse. YYou
ou inspired
inspired me to leave ththee
religious cult known as Pyre, where I felt
like a tool
tool of destructio
destruction.n. You’ve shown
an a d mi ri n g I zz y w hil e
I kp catchrionugghMheorrdgaily exercises. But
me a better
better way to live
live,, and for tha
thatt I aam
m
grateful. You lost your soulmate, and I
she goesterrible news for him vis-a-vis her o have a small
small amount
amount of real magickal
magickal
have have n ability. So, I’m dedicated
dedicated to learning
moree about
mor about death
death dur
during
ing m
myy wor
workk with
Ipdrooucblitv. iTtihees.bHoyel’fkisndasohmienognewnhiecne,hIe tries. Candela Obscura,
Obscura, because I hope that
connecting
connec ting you with
with the spirit
spirit of your
lover will make you smile
smile again.”

37
38

CREATING YOUR CIRCLE C

R
E
A
T
I
N
G
Candela Obscura is an organization founded upon centuries of tradition, and therefore
Y
holds loyalty among their core
core values. There are many chap
chapters,
ters, composed of many circles, O
all over the world.
world. These cha
chapters
pters ma
mayy work cl
closel
oselyy with one ano
another
ther or oper
operate
ate in relat
relative
ive U
R
isolation. C
the detailsYou
Yourr characters
of your areupmembers
circle are of
orthe
to you. FFor Fairelands
more chapter of Candela
on the organizational Obscura,
structu
structure and
re of Candela IR
Obscura, see page 74. C
L
E
It is up to your
your group to decid
decidee how your circle operates. Are you so tightly knit that you
live, eat, and work together every day? Do you all treat Candela Obscura like a job that
must remain separate from daily life? Building off what you established with indivindividual
idual
relationships, answer one or more Circle Questions, or create your own. Establishing
Establishing the
shared history behind your group of investigators will facilitate circle creation, and provide
additional seeds for storytelling throug
throughout
hout the campaig
campaign.n.
Remember: you don’t
don’t need to know every detail right now, and it’
it’ss often better that you don’t.
Make the choices that seem obvious now, lea
leave
ve open what doesn’
doesn’tt suit you, and always feel
free to make changes down the line.

STEP
STEP 1: ANSWER
ANSWER CIRCLE
CIRCLE QUES
QUESTIO
TIONS
NS
Choose one of the following questions (or create your own) to help determine some
shared information about your circle. Optionally,
Optionally, you can roll a d6 and select the question
from the result of your roll. Discuss the answer as a group and decide how it might affect
your character.
character.

d6 QUESTION
1 You have
have all
all kkno
nown
wn on
onee aano
noth
therer fo
forr a long
long time
time,, bu
butt yo
your
ur circ
circle
le wa
wass rec
recen
entl
tlyy fo
form
rmed.
ed.
Why were you brought together,
together, and how do you each feel abou aboutt it?
2 You aall
ll sha
share
re a ccom
ommo
monn goal
goal ttha
hat’
t’ss se
secr
cret
et to
to th
thee Li
Ligh
ghtk
tkee
eepe
pers
rs of
of Can
Candedela
la

3 YObscura.
ou
ou’’ve nnev What
ever meis
er met, it? t m
t, bu
but mem
ember
berss ooff your
your circ
circle
le are
are infam
infamou ous.
s. Wh
Whatat di
didd the
theyy do,
do, and
how do you each feel feel about it?it?
4 You
ourr circ
circle
le was
was rret
etir
ired,
ed, bu
butt Ca
Candndelelaa Ob
Obscscur
uraa rece
recent
ntly
ly brou
brough
ghtt yo
youu back.
back. Wh
Whyy wewere
re
you all dismissed, and why did they call you in again?
5 You
ourr circ
circle
le onc
oncee di
didd so
somemeth
thiningg in
incrcred
edibl
iblyy hero
heroic.
ic. Wh
Whatat ddid
id you
you do,
do, and do othother
er
people
peop le know about it it??
6 You
ourr ccir
ircl
clee onc
oncee di
didd ssom
omet
ethi
hing
ng ho
horr rrib
ibly
ly evil
evil.. Wh
Whatat ddid
id yo
youu do,
do, an
andd how
how do yo youu
seek absolution?

Now that you’ve

you’ve created a shared history,
history, use your circle sheet to continue building your
team. You
Youover
progress willthe
all utilize
coursethis sheet togame
of multiple chartsessions.
your starting position and track your circle’s
 39

STEP
STEP 2: NAME YOU
YOUR
R CIRCLE
CIRCLE
Naming something is very powerful. You may imbue something with intent or recognition—
you could even transform
transform something you fear into something you love with the right name.
When you choose your circle’s name, you
you should consider how your team feels about their
place within Candela Obscura, or how Candela Obscura as a whole governs their circles. The
name might serve as an invitation, an oath, or a shackle.

Though
Perhaps you could
it refers tochoose anything
anything,
your purpose, , theapproach
your name should, in some way,your
to investigations, define yourwithin
scope group.the
organization, your location, etc. For example: the Circle of Quiet Commons, the Circle of Vim
& Vigor, the Circle of Squares.

STEP 3: CHOOSE A CHAPTER

CHAPTER HOUSE
HOUSE LOCA
LOCATION
TION
Your circle is one of many investigative teams in Candela Obscura
Your Obscura’’s chapter within the
Fairelands. There are chapter houses scattered through the various districts of Newfaire and
across the many regions of the valley, where members of Candela Obscura can come together
to discuss their investigations in private and recover safely between assignments. Decide
where your circle’s chapter house is located, and what that looks lik
like.
e.
The Circl
Circlee of Skull & Sover
Sovereign
eign maint
maintains
ains a sm
small
all to
townhou
wnhouse
se on the
the Eaves.
Eaves. Thr
Three
ee out of
of the
four members are highly educated and exceedingly
exceedingly wealthy. The townhouse is richly
richly appointed
and they hire a live-in
live-in nurse
nurse to ccare
are for the frail
frail Lightke
Lightkeeper
eper who lives within.
within. Th
They
ey never want
for material resources,
resources, but must rely on their member born in South Soffit for any reliable
information about
about the more nefarious activities in Newfaire.
Newfaire. No one would believe it, but this
circle
circle loves to loosen
loosen the
their
ir ties and
and host a ni
night
ght of drinking
drinking an
andd cards.
cards.
Or:
The Circle of Loyal Malefactors has a hideaway
hideaway in the Brid
Bridleborne
leborne Mountains. All five
members
memb ers are als
alsoo redrun
redrunners,
ners, who smuggle
smuggle illegal
illegal scarlet
scarlet liquor into Newfa
Newfaire.ire. They ne
never
ver
have trouble
trouble procur
procuringing weapons
weapons or trans
transportat
portation,
ion, but they all stick
stick out
out like sore
sore thumbs
thumbs when
they inves
investigat
tigatee ma
magicka
gickall phenomen
phenomenaa in the ritzy
ritzy portio
portions
ns of the ccapita
apital.l. They often joke about
being “too bad
bad ttoo do good,”
good,” but everyone
everyone in this
this circle
circle would take a bullet
bullet for one aanother
nother,, and
they alwa
alwaysys prioritize
prioritize the protection
protection of innocents.
innocents.
Or:
The Circle
Circle of Congr
Congruence
uence has existed
existed within
within Bria
Briarban
rbankk College for decades.
decades. Its current
current
membershi
memb ershipp boasts
boasts on
only
ly three professors,
professors, who each specialize
specialize in a differ
different
ent area of study
study.. With
access to both Candela
Candela Obscura
Obscura’s’s archives aand
nd the college’s
college’s library, there’s
there’s no information
theyy can
the cannot
not uncov
uncover—
er—tho
though
ugh this
this group
group is cer
certai
tainly
nly not kno
knownwn for ch
charg
arging
ing in
into
to dan
danger
ger.. This
This
group keeps a terrible secret from their Lightkeeper that, if uncovered, might cause them to be
kicked
kicked out
out of Can
Candel
delaa Obsc
Obscura
ura,, or worse.
worse.

Example
Example Chapter
Chapter Hou
Houses
ses
The Empt
Emptyy Office: On the fourth floor of a medical building in Silverslip is an office that
belongs to a Doctor Lygon, though
though no such person is known to work there.
The Boot and Saddle: In the backrooms of a run-down bar in South Soffit, there is a small
but functional space for Candela Obscura members to meet.
 The Rust Warren: An underground bunker in the Haven Hills left ov
over
er from the war
war,, it has
been utilized by members of Candela Obscura when needed.

40

STEP
STEP 4: CHOOSE
CHOOSE CIR
CIRCLE A
AB
BILITIES
ILITIES C
R
Like your own role and specialty abilities, your circle has abilities tthat
hat your grou
groupp can utilize E
A
during an assignment. During circle creation, select one ability. Every time you advance, you’ll T
I
N
choose another.
G
Stamina Training: Your
Your circle has three
three gilded dice at the beginning of every assignment that Y
O
anyone may add as +1d to any roll. Once a die has been rolled, it is expended. U
R
Nobody Left Behind:
Nobody Behind: When a member of your circle drops incapacitated from taking C
too many marks, any roll a player makes in the scene to protect them, or get them out of IR
C
danger, has +1d. L
E
In This Together: When you spend drive to help an ally on a roll, on a result of 3 or less, you
both earn back 1 drive point of your choice.
Interdisciplinary: When choosing
choosing a new abilit
abilityy durin
duringg char
character
acter advancement,
advancement, once
per campaign,
campaign, each char
character
acter may choos
choosee an ability from
from a char
character
acter role
role or speci
specialty
alty
outside
outside their
their own.
Resource Management: When your circle hits a milestone on the Il
Illumination
lumination T
Track,
rack, earn
back 1 Stitch, Refresh, or Tr
Train
ain resource.
One Last Run: When you select this ability,
ability, the nex
nextt assignment is your last. Everyone gets to
take all four options during
during this character
character advancement instead of only two.

STEP
STEP 5: ASSIG
ASSIGN
N RESOUR
RESOURCE
CE POINTS
POINTS
As a group, your circle has a number of pooled resources available that allows
allows them to recover
and train between assignments.

Stitch: Cle
Clear
ar all mark
markss for one PC.
PC.
Refresh: Recoup all used
used drives and resistances for one PC.
Train: Take a d6 that may be used on any roll iin
n the next
next assig
assignment.
nment.

At circle creation, assign a number of resource points equal to 1 plus the number of circle
members. Between assignments, each player may spend up to two resources of their
choosing. While
While their use can be played out in-game, they can also be utilized ““off-screen.
off-screen.””
Resources are not replenished until the Illumination Track is completely filled. That makes
them especially valuable, and means they should be used wisely
wisely.. This encourages
encourages you to be
courageous during investigations and clever during downtime.
41
42

HOW
HOW TO PLAY H
O
W
T
O
P
L
A
ASSIGNMENTS Y

Assignments
An assignment aremight
the individual
arise frommysteries
myster ies Candela
a strange death orObscura asks a circle
highly unusual to investigate.
situation that rrequires
equires
the group’s expertise in the occult. Each assignment will generally last a single session of
gameplay,, thou
gameplay though
gh it could last longer
longer if you and your table decide to take a break and pick it
up at another
another time.
Though you may enjoy Candela Obscura in a stand-alone session (known as a one-shot), the
Though
game is designed for you to play over the cou
course
rse of many interconnected sessions, known as a
campaign.. In a campaign, your circle will embark on a number of different assignments in an
campaign
effort to protect the Fairelands from terrifying supernatural dangers.
 43

PLAY STR
STRUCTURE
The Opening
A GM will begin most assignments
assignments by setting
the stage for the investigation you’
you’re about
to undertake. This may take the shape of an
opening narration, presenting players with
details about the event that led to Candela
Obscura’s involvement. Think of this like the
cold opening of a television show that prepares
the audience for the rest of the episode’s
investigation, and serves as a dramatic means
to express the knowledge that Candela Obscura
provides to its investigators.
At any point, but especially
especially at the beginning
of your assignment,
assignment, you may consu
consultlt you
yourr
Lightkeeper.. This NPC is in charge of overseeing
Lightkeeper
your circle in the Fairelands
Fairelands and decides what
investigations to send you out on. The GM
will integrate them into the story at their
discretion, but they should serve as a resource
for your
your team and
and a ga
gateway
teway to ththee wider
organization. Remember:
Remember: the cold open provides
a wealth of information, and the Lighkeeper’s
Lighkeeper’s
purpose is not to repeat this tale—only to
facilitate further exploration.
exploration. For more on
Lightkeepers, see page 74.

The Investigation
The investigation is the main portion of an
assignment, where you will search for clues,
follow
follow the path
pathss they reveal
reveal,, fa
face
ce off against
against
nefarious forces, identify the phenomenon,
and—hopefully—put an end to it before it
consumes you. This is where
where the mystery of
the assignment unravels and you have the
opportuni
oppo rtunity
ty to show off what makes you a
worthy member of Candela Obscura. Take
risks, put yourself in danger,
danger, and relentlessly
pursue the truth.
Remember that the storytelling
storytelling in this game is
the responsibi
responsibility
lity of every perso
person
n at the table
table..
If you want to see a specific scene during an
assignment
assign ment or have a goal
goal for your charact
character
er in a
campaign, don’t
don’t be afraid to communicate what
you’re
you’ re looking for with
with your GM. When you’ you’re
not sure what to do next,
next , you can lean on your
Catalyst and Question
Question to drive your character
toward their personal objective, and use your
 Illumination Keys to guide your roleplay. This is
your opportunity to bring your character to life.

44

H
O
W
T
O
P
L
A
Y

Closing an Assignment
Once your circle has captured or killed a creature from beyond the Flare, discovered a
thinning,
thinni ng, or contained
contained a source
source of magick, it’s likely
likely time fo
forr the assig
assignment
nment to draw
draw to a
close. In most cases, Candela Obscura has the resources to clean up the scene, transport
creatures discreetly,
discreetly, and get investigators
investigators back to their chapter house. If your table is
interested in taking artifacts or creatures back to the Fourth Pharos yourself, you are welcome
to play out those scenes, but it is important
important to know that your circle is not alo
alone
ne in handling
the aftermath of an assignment.
In this phase, you’ll
you’ll also check for any earned Illumination, discussed in detail on page 55.

Between Assignments
Once your circle has finished an assignment,
assignment, you may take some time to rest before setting
off again. During this phase of the game, youyou’ll
’ll clear all used gear slots aand
nd spend Candela
Obscura resources to help you recover
recover and prepare for the journey ahead. YYou ou may each
choose up to two resources to use for yourself:
yourself : Stitch (heal all of your marks), Refresh (refresh
all of your drives),
drives), or
or Train (take a bonus die for the next assignment).
When you spend these resources,
resources, you
you are encouraged to play out a scene with your other
investigators (or with the GM) that showcases what your character is doing in their
downtime. If you choose to spend Stitch, you may have a scene with one of your circle
memberss where they tell you ab
member about
out their
their family while they
they patch you
you up at the chapter
chapter
house. If you choose Refresh, you might describe the way your character blows off steam in
a casino in Red Lamp or by piloting a dirigible high above the city.
city. If you choose Train,
Train, your
your
character may attend classes at Briarbank College, or hit the bag at the local boxing club.
45

PLAY GUIDANC
UIDANCE
E
Play
Play to Find
ind Ou
Outt
As storytellers, you should always play to
find out what happens next. This means
that everyone at
a t the table, including the GM,
organically discovers the story together
together.. The
decisions
make duringyouanand the rest of combined
assignment, the investigators
with
the random results of the dice, create the
opportuni
oppo rtunity
ty for you to change
change ththee sstory
tory at
any moment. Don’t
Don’t be afraid to make bold
choices, try something dangerous, and embrace
the consequences. The story will always
be better for it.

Fiction-First Storytelling
Candela Obscura is a fiction-first game, meaning
you should always prioritize
prioritize leading with what
your character is doing rather than what kind
of roll you want to make. For instance, if you’
you’re
looking to bust through a locked door, it’s best
practice
prac tice to say
say “I lower my shoul
shoulder
der and run
at the door so I can try to break through it, it,””
instead of “I roll Strike to break down the door.
door.””
This approach grounds the conversation in the
fiction of the world, allowing you to focus on
the action of the scene rather than worrying
about how
how to mechanical
mechanically ly accomp
accomplish
lish it.
It is only after you say what you are ddoing
oing that we rrefer
efer to the game mechanics in order to see
what applies. While playing, you say what you do, and the GM narrates what hap happens
pens next.
Conversations between a PC and an NPC are a great example of this. The discussio discussion n may go
back and forth until there is a point where the outcome is unclear.
unclear. FFor
or example, yoyouu could ask
an NPC to act against their best interests, reveal hidden information, or back down from a
fight. This is when the mechanics are engaged in order to continue the story story..

Make Choice
Choices,
s, Leave Openi
Openings
ngs
You don’t
don’t need to know everything about your character at creation—in fact, it’s often
better to make a few bold choices to give yourself something to jump off from. This leaves
an opening for discovery during play
play.. You
Yourr action ratings and drive points will give you an
idea of where your character excels, but sometimes the most profound and intricate personal
details will develop
develop over the course of you
yourr campaign.
When you leave openings in your backstory,
backstory, you provide the GM opportunities
opportunities to integr
integrate
ate
personal details into future assignments. You mig
might
ht establish that your father was an
investigator with Candela Obscura who went missing when you were a child. The only thing
he left behind was writing about
a bout a large spider-like creature that was stalking innocent
victims. Down the road, the GM can introduce familiar elements to your story—more
journals your father kept, a colleague from his past, or the reprise of the spider-monster
 now stalking somebody new. By providing strong choices with open ends, you give yourse
yourself
lf
and your GM the opportunity to integrate your
your character into the plot in exciting and
deeplyy personal
deepl personal ways.
ways.

46

Play in Good
Good Faith
Faith H
When engaging with the mechanics, it is the expectation that you approach them in good O
W
faith. For example, don’t
don’t repeatedly use an action simply because it provides you with more
dice, don’t
don’t keep the scene focused solely on you to the detriment of the story, and don’ don’tt T
O
make decisions
decisions for other player
playerss at your table. This game system
system gives the players
players prof
profound
ound P
influence over the narrative—that means the players must use this power for good and L
A
in a way that aligns with the goals of the rest of the table. TToo put it simply: play nice and Y
be consid
considera
erate
te of oth
others
ers..

Pitfalls of the Genre

This game is designed to provide a thrilling and, at times, unsettling experience for players.
While there are moments where it may elicit fear and unease, ultimately,
ultimately, it is meant to be
enjoyed. Remember that the goal is not to traumatize players, but to provide a safe and
controlled environment in which to explore darker
darker themes and narratives. The intention is
to create a sense of anticipation and excitement, while also allowing players to feel a sense
of agency in the face of danger. Ultimately
Ultimately,, this game is meant to be a fun and engaging
experience, and it is up to both the GM and the players to balance the intensity of the game
with the enjoyment of the players at their table.

Communicate
Sometimes, things just aren’t working. Your character’s mechanics aren’t operating the way
you want them to, you feel that somebody
somebody is hogging the spotl
spotlight,
ight, or you don’
don’tt think your
play style meshes with the rest of the table. Whenever an issue arises, communicate with you
yourr
fellow players. You can always pull the GM aside and ask them for what you need, even if that
means reworking your character or adjusting the established narrative.
Additionally, ask the other players how you can best support them in play
Additionally, play.. The G
GM
M is not the
only one in charge of making sure all players have a good time—that responsibility falls on
the shoulders of everyone at the table.

CHARACTER
CHARACTER VS. CHARACTER
CHARACTER ADJUDICA
ADJUDICATION
TION
It’s
It’s possible a player character will find themselves in a situation where they want to make a
roll against another player character. This kind of play is not built into the system, so when

this happens,
outcome haveparties.
for both a discussion at the, atable
Sometimes,
Sometimes about hope
PC might the purpose of the roll
to accomplish andthe
a goal theother
desired
player
has no plans to impede, in which case the fiction can move forward without the need for
one or more rolls. Whatever the situation, resist the urge to immediately utilize dice. Slow
down and have a conversation, ensuring that the conflict is truly truly between the characters
involved in the scene, and not the players at the table. If it is possible to make a ruling that
doesn’tt involve a randomized resolution method, like dice, we recommend you take that
doesn’
course instead.
If both players and the GM agree there is a narrative reason to adjudicate a PC vs. PC conflict,
it is up to everyone involved to collaborate and agree on a method of resolution. Once a
decision has been reached and the table understands the method, stakes, and consequences,
only then should
should play proc
proceed.
eed.

Morgan is exceing as of late, but I worry about his headfir aitude. Not at
I don’t a p p r eci ate it, b ut I ’ d b y a n d la rg e p re fer to h a ve a liv in g in ve  ig a to r ov e r
a de ad o n e . I m a g in e  e p a p e rw o r k. I ’ tr y to fi gu re ou t  e g eo m a nc y for p r o te ctiv e
sigils at might suit him…
47

DRIVES & RESISTANCES

Drives are an expendable resource that you can use and replenish during a session. They
represent your character’
character’ss ability to push themselves past their standard capacity
capacity.. If the
roll goes poorly,
poorly, resistances are your way to push back on the potential consequences,
and represent how
how well a character can make split-second adjustments under pressure
pressure to
help them succeed.

Nerve
When you spend Nerve on a roll, you you’’re physically exerting yourself beyond your usual
capacity. If you’
you’re
re rolling with Move, you might push your body to its maximum speed during
an escape. If you’re
you’re rolling with Strike, you might take the extra moment to pull back your
swing for increased power on a punch. If you’you’re
re rolling with Contro
Control,
l, you m
might
ight pay extra
attention to the movement
movement of your fingers while picking a lock.
Carlos
Carlos is at
attem
tempt
ptin
ingg to pu
purs
rsue
ue a mys
myste
teri
riou
ouss figu
figure
re uupp a fir
firee esc
escap
ape.
e. He has
has an ac
acti
tion
on ra
rati
ting
ng of 1
in Move,
Move, bbut
ut de
decides
cides this is an import
important
ant roll, so he pushes himself by sp spending
ending 2 Ne
Nerve
rve to add
+2d to the acti
action
on roll
roll..

When you burn a Nerve resistance, you’

you’rere relying on your physical aptitude to help you
push back on the consequences of a roll. Ask yourself what you do with your physical body to
propel yourself through the moment.
moment .
Carlos makes the ac
Carlos action
tion rroll
oll w
with
ith th
three
ree ddice
ice and they all lland
and on 3 or below. That’
That’ss bad lluck,
uck,
especially
especia lly on a high-s
high-stakes
takes roll like this. The myster
mysterious
ious figure is likely going to escape here, so
he deci
decides
des ttoo bur
burnn hi
hiss Ne
Nerve
rve res
resist
istance
ance to ttry
ry aga
again.
in. He oonly
nly has 1 poin
pointt in Mov
Move,e, so hhee ca
cann onl
onlyy
reroll
reroll one ooff his dice
dice—but
—but it llands
ands on a 6, a fulfulll su
succes
ccess!
s! He asks the GM wha whatt hap
happens
pens next
next..

Cunning
When you spend Cunning on a roll, you’ you’re
re paying particular attention to the way in which
you are interacting with others. If you’
you’re rolling with Sway, you might turn on extra charm
to convince a bouncer to unlock a door. If you’
you’re
re rolling with Read, you might hone in on
somebody’ss tells or inflections. If you’
somebody’ you’re
re rolling with Hide, you might move carefully to
avoid detection.

Dani is attempting to convince a bouncer into letting her circle enter a private party they were
not invited
invited to. She has an action rrating
ating of 1 in Sway, aand
nd decides ttoo spend 1 Cu
Cunning
nning to add aann
additional +1d to the roll.

When you burn a Cunning resistance, you’ you’re

re relying on your social skills and acuity to push
back on the
the conse
consequence
quencess of a roll
roll.. A
Ask
sk yours
yourself
elf what yyou
ou say or how you adj
adjust
ust your presen
presence
ce
to better your
your chances of succ
success.
ess.

Dani makes the action roll with three dice, and her highest result is a 5. She knows a
consequ
cons equence
ence her
heree cou
could
ld mea
meann they are ffollollowe
owedd or gra
grantentedd only a lilimit
mited
ed amoamount
unt of tim
timee
inside.
inside. Dani deci
decides
des to ris
riskk iitt and bur
burnn he
herr Cun
Cunnin
ningg res
resist
istance
ance to rrero
erollll one of her dice
dice.. Sh
Shee
gets a 3, so her attempt to push back on the co consequences
nsequences was unsuccessful and she must accept
this new result
result.. She asks th
thee GM what hhappens
appens nex
next.t.

Stele translates to: “Thrice sn, rice spoken, open e drs, ca e words, turn e whl.”
48

Intuition H
O
When you spend Intuition on a roll, you’re W
using your
your natur
natural
al instin
instincts
cts to bette
betterr perce
perceive
ive T
the world around you. If you’re rolling with O
Survey,, you might close your eyes and listen
Survey P
L
intently to find the source of a mysterious A
sound. If you’re rolling with Focus, you might Y

take an extra
examining tomoment
study itswith the object
fine details. you’
you’re
If you
you’ re
’re
rolling with Sense, you might open yourself
more fully
fully to the supe
supernatu
rnatural
ral wor
world
ld by burying
burying
your hands in the soil.

Kat is trapped
trapped in a collapsing m mineshaft
ineshaft
withinn the Bridleborn
withi Bridlebornee Mountains
Mountains.. With a
cave-inn immi
cave-i imminent,
nent, ththey
ey are trying
trying to find the
the
be
best
st es
esca
capepe ro
rout
utee for
for th
thei
eirr circ
circle
le.. Th
They
ey ha
have
ve
an action
action ooff zero iinn Surv
Survey,
ey, bu
butt know how
important this roll will be, so they spend 2
Intuition for a total of two dice in their pool.

When you burn an Intuition resistance, you’re

relying on your innate senses to help you push
back on the consequences of a roll. Ask yourself
what you tap into within yourself
yourself to defy the
negative outcome.

Kat makes an action roll and the results are

both 1—on a high-stakes
high-stakes roll
roll like
like this, they
know a failure
failure could result
result in body marks
from the large rocks falling around
around them.
They decide
decide to burn aann Intuition
Intuition res
resista
istance
nce
and attempt
attempt anoth
another
er roll. Kat
Kat doesn
doesn’t’t have
any poi
points
nts in Surve
Survey,
y, so they
they will
will have
have to
roll ctwo
omesdice
die come s upand takethe
a 4 and tthe lower
lower
he other aresult.
other resul
givt.ing
5, givingOne
them
them a mixed
mixed susucce
ccess.
ss. They
They ask the
the GM
what happens next.
 49

ACTIONS
Move: Run, Dodge, Navigate
Navigate
This action is all about your physical movement and how it aids you in accomplishing your go
goal.
al.
You might use Move when climbing a rope, avoiding a foe, sprinting for your
your life, leaping
across a chasm, or leading the charge.

Kat watches
watc
sprint to hes as theside
the other ropebefore
bridgethe
they are on
whole begins
thing to snap
snaunder
collapses p andthem.
crumble.
TheThey wantthem
GM tells to to
make a Move roll.

Strike: Punch, Break,

Break, Grapple
This action is all about your strength and how you apply it to the ssituation.
ituation.
You might use Strike when
when punching an enemy,
enemy, lifting a heavy object, wrestling someone
someone to
the ground, busting down
down a door, or breaking an artifact.
Carlos has found the
Carlos the hidden do
door,
or, but the keyhole
keyhole has been filled
filled in with molten
molten steel—
steel—
somebody didn
didn’t’t want people going inside. Carlos decides to ram the door with his shoulder in
an attempt
attempt to break th through
rough,, so the GM tells him
him to make a Strike
Strike roll.
roll.

Control: Drive, Shoot, Finesse

Finesse
This action is all about your dexterity
dexterity and hand-eye coord
coordinatio
ination.
n.
You might use Control when picking a lock, throwing a knife, firing a weapon, forging a
signature, or handling a vehicle.
Dani makes it to the cockpit of the plummeting dirigible, where the pilot sits motionless
motionless and
blue. She ppushes
ushes his dead body to the sside
ide and
and gr
grabs
abs hold
hold of the wheel
wheel in
in an attem
attempt
pt to keep the
flying machine from
from crashing into the ground. The GM tells her to make a Control roll.

Sway: Convince, Command, Consort

This action is all about your charisma and presence.
You might use Sway when intimidating an enemy
enemy,, charm
charming
ing a stranger
stranger,, or
ordering
dering a crowd to
disperse, impressing someone, or convincing a person to do what you want.
Kailey is held at gunpoint; her adversary has a look of fear in his eyes. “I’m not here to hurt
you!” she says, trying to convince the terrified man that she
she isn
isn’t’t an enemy. The GM tells her to
make a Sway roll.

Read: Interpret Body Language,

Language, Spot Lies, Gather Motives
This action is all about your insight into people and discov
discovering
ering their intentions.
You might use Read when questioning
questioning a witness, identifying who in the room is ssuspicious,
uspicious,
analyzing the behavior of a group, deciphering
deciphering a spoken code, or communicating across a
language barrier.
Carlos is having
Carlos having a con
convers
versation
ation with tthe
he wom
woman
an who
who owns the
the flower shop where
where a missing
missing
person was last seen. “He came in to order hydrangeas, paid up front.”
front.” Carlos wants to know
 if she is
is wit
withho
hholdi
lding
ng an
anyy inform
informati
ation,
on, ssoo the GM tells
tells him to
to make
make a Read
Read roll.
roll.

50

Hide: Sne
Sneak,
ak, De
Decei
ceive,
ve, Sle
Sleigh
ightt of Han
Handd H
This action is all about your ability to blend in with your surroundings and mislead others. O
W
You might use Hide when sneaking past a monster
monster,, disg
disguising
uising yourself as someone else,
else, T
creating a distraction, pickpocketing a target, or veiling the truth. O
P
Dani is in a gallery trying to swap the Ancient FFairen
airen artifact for the forgery she constructed L
A
while going
going uunnoti
nnoticed
ced by the security
security patrol.
patrol. The GM tells hher
er to make a Hide roll. Y

Survey: Search, Track

rack,, Spot
This action is all about your situational awareness and how well you can recognize important
detailss in your environment.
detail environment.
You might use Survey when following
following footprints, looking for the best exit, trying to sp
spot
ot a
person in a crowd, searching your surroundings
surroundings for a clue, or nav
navigating
igating a tomb.
Carlos enters a poli
Carlos politician
tician’s’s ooffice,
ffice, looking
looking for the place
place this person
person would
would hide
hide impor
important
tant
docume
documents
nts.. The GM tel
tells
ls him to make
make a Sur
Survey
vey roll.
roll.

Focus: Inspect, Analyze, Remember

This action
action is all
all about
about your mental aacuity
cuity and abil
ability
ity to ide
identify
ntify the det
details
ails of an object.
object.
You might use Focus when inspecting an artifact, translating a text, recalling a phenomenon’s
weakness, interpreting
interpreting a grimoire, or creating a written cod
code.
e.
Kailey finds alchem
alchemical
ical symbols on the wall
wall of a chamber in Oldfaire and wants to know if
she can deduce what they mean. The GM tells her to make a Focus
Focus roll.

Sense: Attune, Channel, Reveal

This action is all about your connection to magick and how well you can utilize it or
recognize its effects.
You might use Sense when examining bleed, channeling an arcane ability,
ability, perceiving
perceiving a
phenomenon, communicating with the supernatural, oorr performing a ritual.
Kat is talking
talking with a ghostly phenomenon that haunts a sepulcher within the Nekropolis of
Oldfair
Oldfaire.
e. The
Theyy want
want to aask,
sk, “Why do you contin
continue
ue to inhabi
inhabitt this
this la
land?”
nd?” The GM tel
tells
ls them
them to
make a Sense roll.

CHOOSING AN ACTION
CTI ON
You will discover over the course of your campaign tthat
hat there are numerous interp
interpretations
retations
for each action, and they can be utilized differently depending on your approach. On any
given roll, you could make a case for one action over another,
another, especially if the action roll the
GM calls for doesn’t
doesn’t align with how you imagine your character behaving in the situation.
Equally,, two characters might accomplish the same goal utilizing very different actions.
Equally
Kailey is playing a Doctor. She needs to get into a party hosted by the Premier, so she pretends
to be a foreign dignita
dignitary
ry and makes
makes small talk with security while stand
standing
ing in line to get in. She
descri
describes
bes the
the ext
extrav
ravaga
agant
nt com
compli
plimen
ments
ts she
she giv
gives
es the NPC,
NPC, and
and makes
makes a Sway
Sway rol
roll.l.
 Dani is playing a Soldier. She also needs to get into the Premier’s party. She pretends to be
a foreign dignita
dignitary
ry and makes
makes small tal talkk with securi
security
ty while standin
standingg in line to get in. She
describes
describes the
the elabor
elaborate
ate liliee she tells the NPC about herher recen
recentt travels,
travels, and makes
makes a Hide roll.
roll.

51

GEAR
Due to the nature of investigation, it can be difficu
difficultlt for players to prep
prepare
are for any given
situation to the same degree as their characters would be able to. This means that players
should only select the gear
gear their character uses in the mmoment
oment that they need it, rrather
ather than
trying to plan ahead and finding themselves lacking.
Carlos
Carlos is playing
playing a Journalis
Journalist.t. In th
thee midst
midst of
of a high society
society party,
party, he finds that his ccircl
irclee nee
needs
ds
athat
distr
distraction
heaction
he’s in
inng
’s sselecti order
electing to evade
evad
the Camera
Came rae gear
a dangero
dangerous
on hisuscharac
chagent
aracterof sheet
ter the Red Han
Hand.
e asd.aCarlos
to use
us Carl os tells
distraction.the
distraction. thHe
e group
describes
describes
gathering a large crowd crowd of partygoers together to take a group photo for the newspaper,
lookin
lookingg to use this
this di
distr
stract
action
ion to aallo
llow
w his gro
group
up to slip
slip out the back
back door.
door. The GM tel tells
ls him
him
this adjustm
adjustment ent wil
willl make his action
action more effective
effective and asks
asks Carlos
Carlos to make
make a Sway roll to kee keepp
focus off of his circle while this happens.
PCs have the capacity
capacity for three pieces of gear on their person. They may select all three in one
moment of dire need,
need , or make each decision over the course of an assignment. Gear slots
only reset once an assignment is complete.
Whenever possible, you should tailor your gear to your character
character.. Thou
Though
gh all members of
Candela
Cande la Obscura
Obscura can carry a hand weapo
weapon,
n, a wea
wealthy
lthy Professor
Professor might ccarry
arry an ornate revolv
revolver
er
and never leave home without it. Meanwhile, a CCriminal
riminal might swipe anything readily

available, changing out blades and guns based on need rather than personal attachment.
Certain pieces of gear have descriptio
descriptions
ns of the m
mechanical
echanical effects that come int
intoo play when
the item is used:

7 Soak Body/Brain/Bleed: When taking this kind of of mark, you may expend one
gear slot to say you have the item instead, keeping your
yourself
self from taking the
relevant
relevant number
number of marks.
7 +1d on rolls: T
Take
ake an additional die on specific rolls when using this gear.
7 Gild rolls: Gild an additional die on specific rolls when using this gear.
7 # of uses
uses:: You may
may only use the ititem
em a numbe
numberr of times bef
before
ore it is gone.
gone. When
you expend a gear slot
slot to use it, reduce this number by 1.

Candela Obscura Gear

Certain gear is standard issue for
for members of Candela Obscura—
Obscura—anyany player could have one
or all of these items. We
We’ve
’ve provided basic descriptions in this section, but you should work
with your GM to make each selection
selection specific to your campaign, character
character,, or investigation.
Bleed Containment Vial: A small container that can hold the remnants of magickal
phenomena. Traditionally, investigators will gather samples, like a pearlescent black ichor,
from a crime scene to use or examine later. This item protects the user from taking Bleed
markss from anything withi
mark within,
n, though
though they now carry a dangerous
dangerous substance
substance on their person.
person.
Hand Weapon: A handgun, knife, brass knuckles, or other dangerous item item that’
that’ss easily
concealed. Candela
Candela Obscura iinvestigators
nvestigators are not
not always brawler
brawlers,
s, but they usually know
better than to charge
charge into danger empty-handed.
Bleed Detector: A small flashlight, a spyglass, a music box, or other mechanism that allows
 investigators to perceive the evidence of phenomena. You
You might decide to use a lamp to view
bleed like luminol, or carry a pipe with smoke
smoke that drifts toward magick
magickal
al residuum. Wor
Workk
with your GM to invent a fascinating arcane object
object that works for your character
character..

52

H
O
W
T
O
P
L
A
Y

Special
Specialty
ty Gear
Gear
Each specialty also has their own personalized gear that can be utilized during an
assignment.
assign ment. If
If you have any ques
questions
tions abou
aboutt how a piece of gear works,
works, wha
whatt its limitati
limitations
ons
are, or how you could implement it in a scene, have
have a discussion with the GM so they
can make a ruling.

Circle Gear
Circle gear is a collection of gear that is available to the entire circle of investigators. Just
like the gear on an individual character sheet, you should only select it as needed. W When
hen you
expend the slot next to the blank gear line on your character sheet,
sheet , you can record this item
and declare that you have it with you. If you select a piece of circle gear, then it is no longer
available for another player to choose during this assignment (unless it is narratively
narratively passed
along to that player).
You can find additional gear you might
might acquire as an individual investigator
investigator or as a
circle on page 190.

53

CHARA
CHA RAC
C TER & CIR
C IRCLE
CLE ADV
ADVANCEMEN
ANCEM ENT
T
As your circle takes on more assignments, the characters become more capable and skilled,
therefore the circle becomes more powerful and influential. These advancements are tracked
both individual
individuallyly and as a group.
group.

Illumination Keys
Illumination Keys
Keys are the narrative objectives that each specialty is trying to achieve by the end
of an assignment. These keys contribute to the circle’s Illumination Track,
Track, which is responsible
for activating circle and character advancement. You
You can fulfill as many of these Illumination
Keys as you’d like in a session, but you only need to accomplish one to contribute to the
Illumination Track.
If you’
you’re ever unsure
unsure how your chara
character
cter might
might behav
behavee in a scene, look
look for ways to embr
embrace
ace
your Illumination Keys.
Keys. They serve as a guiding light fo
forr the specialty you
you’’re playing.
The Illumination Keys are listed on each specialty’
specialty’ss character sheet.

Journalist (Face):
(Face): Gather Statements, Hunt Down a Lead, Speak Truth to Power
Magician (Face): Perform a Trick, Spot a Ruse, Seek Out Real Magick
Explorer (Muscle): Study an Artifact, Discuss History
History,, Run into Dang
Danger
er
Soldier (Muscle): Use Violence of Action, Protect Someone, Act Tactically
Tactically
Doctor (Scholar): Avoid a Fight, Aid an Ally, Comfort Someone
Professor (Scholar): Mentor an Ally, Reference Research, Make a Plan
Criminal (Slink): Do Something Illegal, Make a Deal, Stand Up to Authority
Detective (Slink): Probe a Witness, Track a Target, Reveal a Clue
Medium (W
( Weird): Connect with Someone, Sense Phenomena, Make a Scene
Occultist (Weird): Consult Arcane Texts, Collect Oddities, Act Bizarre

Illumination Questions
Evaluate the Illumination you’ve
you’ve earned at the end of an assignment.

Did you contain or destroy a source of bleed?

Did you provide comfort or support
support for those affected by a phenomenon?
Did you bring something of importance back for Candela Obscura to
protect or study?

Please note: “something

“something of importance” includes valuable information as much as it refers to
artifacts or creatures. While it might seem flashy to contain an all-consuming shadow beast,
the organization would find it equally vital to learn tthat
hat a member of their ranks secretly
works with the Red Hand. Consider
Consider every way your circle can aid the org
organization’
anization’ss efforts.