Nomads - Core Book

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N O M A D S


N O M A D S


N O M A D S
Copyright © 2020 AGUAVIVA Experiências Narrativas
All rights reserved. This book or any part of it may not be reproduced or used in any way
with the author's prior permission.
ISBN 978-65-902252-0-7
Written by Marcelo Collar

Illustrations by Grandfailure
English version by Newton Rocha Nitro
Playtesters
Bruno Dietrich Schmitz, Alexandre "Tata" Klein, Jonny Garcia, Alexandre Selliach, Klos
Cunha, João Ricardo Bittencourt, Tarcisio Lucas Hernandes Pereira, Yuseiji Brant Rocha Kudo,
Thiffany Montovani, Giovanni Nogueira and Daniel Ritta.
Thanks to
Bruna Soster Cemim, Tiago Junges, Klos Cunha, Edh Müller, Athos Beuren, Tarcísio Lucas
Hernandes Pereira, Bruno Dietrich Schmitz, Alexandre Klein, Raquel Reckziegel, Carlos
Risotto, Douglas Cypriano, Paloma Betina, Caio Kolling, Matheus Weyh, Luiz Paulo "Bills"
and so many others. You know who you are!

MARCELO COLLAR
NO
MA
DS
LINK ONE
2020

N O M A D S
ZERO
THE NEED TO TELL STORIES
BUILDING NARRATIVES 18
FOR BEGINNERS 18
15
14
FOR VETERANS 19
NECESSARY MATERIALS 21
NO DECK OF CARDS? 21

1ST
INTERVAL
DUCANN'S DIARY 25
ENDLESS REALITIES 28
VIEWS FROM OTHER WORLDS 35
24
THE VOID 37
OTHERS LIKE YOU, OR NOT SO MUCH 39
UNBELIEF 46
COGITO, ERGO SUM 49
BODIES & MINDS 50
IN THE VEINS OF THE CITY 54
DISTRICTS & INHABITANTS 54
CENTER 55
NORTH 55
EAST 56
WEST 58
SOUTH 59
PLACES OF POWER 60
SANCTITY AND PEACE 61

N O M A D S
2ND
INTERVAL
THE CHARACTER DIARY 65
LOGIC, CONTEXT AND CREATION
SCENES, EPISODES AND SEASONS
70
72
64
CHARACTERS AND NPCS 73
DEVELOPING A SCENE 74
ANSWERING QUESTIONS 76
ACTIONS 79
COMBAT 80
COMBAT MOVEMENT 84
TAKING HITS 84
SURPRISE ATTACKS 85
VULNERABILITIES AND RESISTANCES 86
I SURRENDER! 87
PROTECTION, INJURIES & HEALING 88
WEAPONS & EQUIPMENT 88
TALENTS 92
THE BASIC TALENTS 95
STRANGE THINGS HAPPEN 96
FATE & RUIN 100
EXTRAORDINARY THINGS ALSO HAPPEN 102
TRUTHS & CLUES 104
ALLIES & ENEMIES 106
VIEWING THE SCENE 108
PLAYING WITH REALITIES 109
COMMANDING NPCS 112
THE SPICE MUST FLOW! 112
CHANGE OF PERSPECTIVE 113
I DIED AND I DO NOT RECOMMEND IT! 114
I SWEAR IT WAS WELL AS IT HAPPENED ... 115
EVOLVING 116
SCENE EXAMPLE 123
10

3RD
INTERVAL
A SEASON 131
INTRODUCTION 137
EPISODE 1 – A NIGHT LIKE ANY OTHER 139
130
MAIN OBJECTIVE 139
IMPORTANT CLUES 140
HOW TO PROCEED? 140
WHEN THE OBJECTIVE IS ACHIEVED ... 143
EPISODE 2 - AN UNEXPECTED PARTY 145
FINAL OBJECTIVE 146
IMPORTANT CLUES 147
HOW TO PROCEED? 147
TRIGGERS 147
EPISODE 3 - HOLY PLACE 151
FINAL OBJECTIVE 155
IMPORTANT CLUES 155
HOW TO PROCEED? 155
EPISODE 4 - OUT OF CONTROL 159
FINAL OBJECTIVE 160
IMPORTANT CLUES 160
HOW TO PROCEED? 160
TRIGGERS 162
EPISODE 5 - MEDUSA 165
FINAL OBJECTIVE 166
IMPORTANT CLUES 166
HOW TO PROCEED 167
TRIGGERS 167
11

N O M A D S
4TH
INTERVAL
CREATING CHARACTERS 175
WHERE DOES THE STORY TAKES PLACE?
BASE OF OPERATIONS 179
174
178
STARTING A SEASON 180

REVELATIONS 182
CREATING EPISODES 183
CREATING SCENES 185
CLOSING AN EPISODE 186
ENDING THE SEASON 186
SO, TO START THE GAME ... 187
PAYING BILLS & HAVING A CUP OF COFFEE 188
LEAVING THE RAILS 189
12

5TH
INTERVAL
IT STARTED LIKE THIS
HUMANS & CREATURES 196
HOW TO USE THE TABLES?
192 193
198
LIST OF TABLES 198
ANTAGONISTS 200
ANTAGONIST & THEIR MOTIVATIONS. 201
COMMON WEAPONS 202
RARE WEAPONS 203
EXOTIC WEAPONS 205
STRANGE THINGS 206
EXTRAORDINARY THINGS 207
CLIMATE CONDITIONS 208
STRANGE CREATURES 209
CHARACTER CONFLICTS 210
CONSEQUENCES 211
CRITICAL HITS 212
INJURIES & HEALING 213
COMMON EQUIPMENT 214
RARE EQUIPMENT 215
EXOTIC EQUIPMENT 216
IMPORTANT EVENTS 217
PLACES IN THE CITY 218
STRANGE PLACES 219
THINGS DIDN’T WORK OUT SO WELL... 220
HUMAN NPCS 221
FINAL OBJECTIVES 222
IMMEDIATE OBJECTIVES 223
PROBLEMS 225
RELATIONSHIP BETWEEN CHARACTERS 226
REVELATIONS - Adventure 227
REVELATIONS - Action 228
REVELATIONS - Horror 229
REVELATIONS - Mystery 230
PLOT TWISTS 231
SEARCHING A HUMAN 232
TACTICS - Aggressive 233
TACTICS - Cautious / Inexperienced 234
VULNERABILITIES & RESISTANCE 235
13

0
N O M A D S
ZE
RO
14

THE NEED TO
TELL STORIES
T here are stories that I need to tell. I was like this

from a very young age. I vividly remember the
sunny Saturday on which I received - the exact
date eludes me, perhaps in the late 1980s or early 90s - a
great friend calling. In a few minutes he tried to explain the
details of the book The Citadel of Chaos.
Tim Maia, in his classic song Bom Senso, did not say as
convincingly as my friend did. "Read the book," said Tim in a
song. "You need to buy now, buy today and come over here
and I'll teach you how to play," demanded my friend on the
phone. Even without understanding exactly what it was all
about - and having no idea of i ts implications in the following
decades - I did what every child would do in the face of that
oh-so-convincing speech: I asked my parents for the book.
After some negotiation - and here I would be more like Tim
Maia - they took me to the only mall in town.
I walked through the corridors, anxiety always making
me go in front of my parents, until I saw the bookstore
15

N O M A D S
indicated by my friend. I quickened

my pace, attracted by a magnetism
that I would not understand until
later. I entered. On a glass table,
immaculate in their plastic packa-
ging, were The Citadel of Chaos,
The Warlock of Firetop Mountain
and The Forest of Doom. The mo-
vie that runs in my head when I
recall these memories has many
frames lost, but in it I can see my
hands snooping around the piles of
books, reading the back covers, the
doubt of the choice.
“You can only take one,” said
my mother.
16

I kept The Warlock of Firetop

Mountain for many years. In time,
it ended, dissolved into pieces by
so much reading, rereading, being
thrown and borrowed. Later I bou-
ght a newer edition, without the
charm of the eighties cover and the
green back-page. To me, The Warlock
of Firetop Mountain is a vivid remin-
der of my entry into infinite fantastic
worlds of epic stories and strange re-
alities. A place I have never left.
Going back to the beginning,
the story I need to tell; it is not
mine, but the one that justifies the
existence of this book. “Art exists
because life is not enough”, said
Ferreira Gullar, a brazilian poet.
That's why I tell my story. It
came to me at random, I don't know
the exact date, but I saw a metropo-
lis at night, dirty and glowing. The
woman stumbled along the sidewa-
lk. He carried the weight of the Void
with her.
17

N O M A D S
BUILDING NARRATIVES
T he passivity of a complete script is not enough

for me. Maybe that's why you're here with me.
Perhaps you have arrived by accident or by an
alleged chance. Nomads is an incomplete script. There are
gaps that must be filled by readers / players. We'll call them
players. Readers do not usually have an influence on the di-
rection of the story they read, and the voice of the other - of
the player and not of the reader - is essential here. There is a
type of game that does just that: role-playing games, or RPGs.
In them, each player plays a character who interacts and par-
ticipates in the story told by a narrator or game master.
"An RPG, then?", you will ask. "I believe so," I will
reply. There are players, there is interpretation, characters,
combats, equipment, skills and various elements common to
role-playing games. But the narrator, game master, dungeon
master, in short, the figure who pulls the strings and makes
things happen, is not here. In Nomads, each player takes
some of that responsibility for himself.
It is still an RPG? I believe so, but that is beside the
point now. Nomads is what it is. A game of narratives in whi-
ch players cooperate both to build a story and to overcome
their adversities. The difference is that the answers are not in
a narrator's mind or worksheet, but in a future that is revea-
led by drawing cards in a deck.
The players - or the player, because it is possible to
play alone - will play the role of Nomads, characters who
have the ability to travel between different realities. During
their journey, they will be faced with a scenario and one or
more objectives. Let's say that the characters need to rescue
a person from the clutches of a bizarre creature. From there,
players must work together to tell the story and solve the
problem. In a conventional RPG they would ask the narrator
questions about the situation, obtaining answers to guide
the actions of their characters.
18

FOR BEGINNERS
This book contains all the necessary rules for the
game. It is recommended that you, who have little or no ex-
perience with RPGs, read the first and second Intervals and
then play the “Incognito” campaign in the third Interval. In
addition to reporting important events in the universe, it
contains important tips for inexperienced players.
FOR VETERANS
For more experienced players, it is recommended that
you read the first and second intervals, which contain the
atmosphere of the universe and the rules of the game. The
introductory campaign “Incognito”, in the third Interval, is
not necessary, but reports important events from the univer-
se of . When you're ready to tell your own stories, read the
fourth Interval.
19

N O M A D S
In Nomads, players ask the same questions, but the

answer is the game. In this process, logic and interpretation
are fundamental principles.
For example: is it logical that the security guard at the
entrance to a party is armed? Certainly. And is it logical that
he knows your name? No. Is it possible that he is a scare-
crow? In the real world, impossible. However, we are not in
the real world, and what is logical may not materialize, what
is illogical can happen and what seems impossible it may be
possible in certain situations. The answers to these questions
will be revealed by the cards, and from there the players will
continue the narrative. It is destiny - which is already written
- unfolding.
And nothing is random. If the security guard is not
armed - and if he is not a scarecrow - can I try to immobilize
him? Can I consider it logical that my character, a specialist in
fights, can do this? No doubt. Is it possible that someone sees
the security guard unconscious, or that he hears some noise
and calls the police? It depends on the care that was taken
when immobilizing it. Perhaps, if someone is passing by at
the time of the attack, it is so logical that it becomes trivial.
All these questions and answers gradually weave a narrative
fabric that leads to the conclusion of the Scene. What was the
purpose of the characters? Join the party? They did it? Did
you use violence? What if the police show up?
The circumstance in which one Scene was completed
is the starting point for the next. A handful of Scenes form
an Episode, which can be played individually or as part of a
longer Season.
That said, this book can be used in two ways: by explo-
ring a ready-made story, called "Incognito", which equates to
a Season, or with players creating their narratives and unra-
veling their own mysteries within the universes of Nomads.
20

NECESSARY MATERIALS
People - three is ideal, but the game works well with
two, and it can be also played alone - a deck of cards, some
sheets of paper, pencils and eraser. These are the materials
needed to play Nomads. If players want to increase their nar-
rative possibilities, it is also possible to use markers, such as
meeples or miniatures, to represent the characters on the sce-
ne. This makes it easier to know where each one is and it is
especially useful during action sequences.
If “Incognito”, the story of this book is played, the two
main characters, the Girl and the Crow, will be present, even if
there is only one player. In that case, she must interpret both.
NO DECK OF CARDS?
Don't you have a deck of cards? No problem! There are
free apps for iOS and Android that simulate one, such as Just
Cards and 52Cards. Just download and start playing.
21

N O M A D S
22

23

1
N O M A D S
1ST
INTER
VAL
I have seen confusion
about my wanderings, the
nomads and everything they
represent. That is why I am
writing to try to clarify some
questions about Unreality
and its implications.
24

DUCANN'S
DIARY
A fter World War II, a company called Boeing

developed a luxury aircraft, naming it the 377
Stratocruiser. The name is the result of a cre-
ative combination of the words “stratosphere” – the layer of
the Earth's atmosphere that is more than 16 miles high - and
cruiser.
One of the characteristics of the 377 was the larger
and longer body, which made comfortable accommodations
for flights that would cross oceans. The cabins were spacious,
and there was a circular staircase that led to a compartment
for drinks, a kitchen – the meals could be prepared in flight
- and other luxuries.
The 377's four radial piston engines allowed it to re-
ach a top speed in excess of 310 miles per hour. I know that
these units are sometimes lost, but I believe it is enough to
say that it was a fast plane for the time. During the time of
operation, 76 of these aircraft were produced.
I have lived in a 377 carcass for some twenty years.
25

N O M A D S
I know all this because I have managed to translate some

kind of instruction book that I found in the wreckage. One
day, some men came by and helped me make sense of those
words.
Around the house there is a great desert, the most
vast of all deserts of the world, they say. Few still walk this
land, and perhaps to help those who persist is why I write
this diary. If you help someone, good. If not, life goes on. I
cannot say that I am full of activities here.
My name is Ducann. It is not my first name, but one
that was given to me later. It sounds better with the people
here. For many years I worked as an accountant, leading a
normal life after endless spreadsheets and calculations. The
home-work-home routine became part of me, so that the per-
ception of time started to get lost. The days were too fast and
life ran like water in the gutter.
I used to walk to the office on foot, despite having a
car and knowing how to press the pedals in the right order.
I kept walking the streets even on rainy days, observing the
city routine and the people. Gradually, I had a strange habit
of observing the presence of geometric patterns wherever I
went. I must have been about thirty at the time.
A pole aligned with the wall, forming a triangle with
the light wire or closing a polygon at the bus stop. A door
that made a rectangle with the sidewalk. It was a habit born
on the streets that soon began to manifest itself inside the
house, whether in the way I would put the clothes in the
closet, the cutlery on the table or take off my shoes when I
arrived.
This constant observation exercise became addictive.
In the office, sheets and sheets were scribbled with triangles,
squares, trapezoids and other shapes. “He's going crazy,”
26

said some colleagues, laughing to sound less concerned.

My ability to design shapes in the least obvious sce-
narios has improved, to the point where I started to imagine
what was not there. If a line was missing to close a triangle, I
would still see it. It was like a vibration in the air, a reflection
in the water. Flickering forms that contradicted my concep-
tion of reality.
One day I really saw something. I was in the corridor
of the building where the office was, a long trail of moss-gre-
en walls, grimy white floors and dim yellow lights. I noticed
a triangle suspended in the air, bigger than me. I found no
references in the architecture to justify the presence of that
form there. It hovered just inches from the floor, the base
smaller than the sides; and it vibrated, sending small waves
through the air. I approached it slowly, fearing my madness
while fascinating myself with the discovery.
Life was revealing something to me.
I reached out and trespassed the form with my hand. I
walked towards the triangle and let it cross my body. I turned
to touch it again, and I could not see it anymore. I stayed
there for a few moments, trying to understand that manifes-
tation. My first reaction was to think about seeing a doctor,
a psychiatrist or something. Perhaps I had reached the limit.
Distracted by thoughts and questions, I moved on, took the
elevator down, passed the lobby, and left the building.
I was in a different city. Other people, other buildings
and other streets. Today, I know how these things work, but
at the time I couldn't believe what I was seeing. I wandered
for hours, amazed by all that. The church on the corner of
the office was pretty much the same, but some details had
changed. I found more trees, different trees. The cars were
models and brands that I had never seen before. It was like
another world.
27

N O M A D S
ENDLESS REALITIES
T hat was the first universe I went to. My first

crossing. Almost everything was the same, but
small changes made that world a very different
place. Of course I thought I was crazy. I tried to sleep, to wait
to see if it would pass. Did not pass. What would you do in
a situation like this, when you have a routine so calculated
that even the taste of life can't feel? Go ahead. Pretend it's
not up to you.
I kept working and talked to psychiatrists about it,
never revealing everything. I was ashamed. I tried to live
normally, but little by little other forms began to appear, sus-
pended in the air like that triangle. The main question now,
among thousands of other questions, was, could I return to
my original world? Was I actually going to other places physi-
cally or was it the reality that was shaping me around? Maybe
at the time, I didn't think with those details, but that's the
feeling I remember. I was afraid to stay there, but I didn't
know if I wanted to go back.
28

29

N O M A D S
I kept looking for geometric patterns; I learned to

identify them more easily. I could see them in unexpected
places: a garbage can, a car window, a television program. I
decided that I would contact them, and I did. Reality chan-
ged a little each time. At the time I didn't have the same
insight as I do today, maybe it was all more complicated than
I am telling here.
I remember it was difficult to recognize even prime
time celebrities. Few were still there. It was like life was a
TV channel and you were tuning in to another channel. The
structure was similar, but the programs were very different.
Luckily, I still lived in the same place and had the same job.
However, people changed their names, their faces. Over time
I lost the ability to navigate the complexities of my job. I just
got fired.
The more I distanced myself and the more I passed to
the other side, the more difficult life became. I lost my job
in one month, my house in another, and yet I couldn't stop
myself from looking for patterns, touching them, discovering
what had changed, exploring each new reality. Everything
seemed possible. Gradually I untied myself with worldly
30

concerns. What bother with clean clothes, a bath, given the

magnitude of what I had been involved in? I lived on the stre-
et for a long time, still amazed by everything, with the feeling
of being a tourist in my own place. Until I found the man.
That strange man who changed my story forever.
It was night. I was in a forgotten spot in the city. At the
time, I lived in a small community on an abandoned lot of an
old carrier. There were seven or eight other people with me.
Most lived in containers, on the street, or anywhere. I was
heating up a food I had gotten from a good man a few hours
earlier. He used a can as a pot on a small fire surrounded
by bricks. Around them, people talked, protected themselves
from the wind, hung clothes on improvised clotheslines.
So, he arrived. He was young, with a shaved head,
very thin; he was shirtless and in dirty pants. He approa-
ched, breathless, oblivious, sat on the floor and started to
cry. He screamed and sobbed. "They won't get me," he said.
Embraced in his own body, he watched us with wide eyes.
We were scared and tried to communicate, but the
boy kept away from anyone who came close. Then he got
up. He looked each of us in the eye. He shouted profanities.
31

N O M A D S
I got out of there. I walked quickly away, and then I ran, the
man's screams lower and lower in the distance. A crash broke
the silence of the night. I turned around and saw a big ball
of fire, like the biggest bonfire ever. From where I was, it was
possible to feel the burning heat.
I ran more than my legs could handle. I left the ter-
rain, crossed the road beyond it and went into a thicket.
Lying in a corner, I waited. I heard police sirens, saw the
orange lights in the distance. I fell asleep.
I woke up with a kick in the leg. I opened my eyes and
saw two men dressed in black, with white masks, without
features. They carried weapons. I showed my empty hands.
A third man, who must have been just under forty, approa-
ched. Tanned skin, black hair, short beard. A red scarf around
his neck contrasted with his worn jeans and jacket.
“Friend,” he said, “we have a lot to talk about. My
name is Suri”, and he held out his hand.
32

33

N O M A D S
34

VIEWS FROM OTHER WORLDS
D o you believe that what you see out the win-

dow is all there is? That life ends beyond the
horizon? Do you believe that a trip around the
world will show you everything? I used to believe it all these
things. My routine hardly took me on more mysterious paths
than the straight line between home and work. Work and food.
Home and work. I had a family, yes. I had a father, a mother,
a brother. I saw little of them. Like an expanding universe,
people distance themselves imperceptibly, until that distance
becomes greater than the arm, greater than the sound of a voi-
ce. Life then becomes a hamster wheel, a run without knowing
the destiny, without moving. Home and work.
This repetition was my reality when I had my first cros-
sing through a mirror in the corridor of that building. It was
not a regular mirror, not like the ones you know. Mirrors are
places where different realities touch. Imagine a clothesline,
the clothes spread on the street. Imagine a sunny day, the
blue sky, the wind. Imagine white sheets hanging on two pa-
rallel lines. Moved by the breeze, they eventually touch. This
point in time and space is what I call a mirror. Two universes
touching, creating a thin, transposed layer between them.
Not everyone sees the mirrors, not everyone can cross them.
The nomads can.
35

N O M A D S
It takes time, but we can see the mirrors, touch them,

cross them. There is no rational explanation, we can only do
it. And so we travel, from place to place, unraveling myste-
ries, knowing infinities. The parallel universes accessed by
mirrors are often very similar to ours. Details change, co-
lors, names, people. Sometimes it feels like home after a
long vacation: there is a strangeness, but everything remains
familiar.
There are also distant universes. If the mirrors take us
across the street, the medusae transport us to other coun-
tries. The first time I saw one, it's hard to forget. It was at an
abandoned train station, far from the city, close to anyone.
It started out as a bluish glow in an empty spot in the air. It
opened up like a flower in bloom, pouring out luminous and
wavy threads, opening and closing like… well, like a medusa
in the air. And the smell was familiar, the aroma of tea, like
lemongrass.
At the time I knew a little about the mysteries of
Unreality, and yet I spent minutes watching the beauty of
the portal in its silent waltz. A curious detail: It released a
strong lemongrass odor. Going through the medusa would
mean leaving my existence behind and embarking on a new
one, full of discoveries and truths. As with mirrors, we don't
know if there's a reason to travel that way, we just can. Life
gives us an opportunity to know something far beyond the
reach of the majority. It is a gift, a gift, but it comes at a cost,
for some, very expensive.
36

THE VOID
T here is something that permeates all realities,

something that fills the space between the uni-
verses and accommodates them in the infinite.
The Void cannot be accessed by us. It is a greater power, so-
mething that we do not yet understand, that travels through
spaces that we do not know. That is known. Nomads come
closer to the truth than the rest, but not close enough to
know it. The Void does not manifest itself physically, but
through the hearts and minds of men. It can intoxicate the
spirit, cloud the soul, cause unexplained reactions, inconcei-
vable actions.
Let-me explain.
Once upon a time there was a man, a successful busi-
nessman, with money and a beautiful family. He had every-
thing an ambitious person could want. Wealth, power, be-
auty. The world was his and he was the world. After a long
vacation, he realized that his only son had changed, his soul
had died and he lost the will to live. The worried man took
the teenager to the best doctors, to the best psychologists.
Weeks passed. Nothing seemed to work. The boy did not le-
ave the house, he could not enjoy everything that his father
had fought so hard to achieve.
The man also started to change. His son, is his opi-
nion, was disdaining all his paternal efforts.
37
N O M A D S
“He is an ungrateful son. I gave him everything”, he

used to say to himself.
This went on until one day, when the man came home
from work. It was already late, and both his son and his wife
were sleeping.
He went to the bedroom closet, took the gun he was
hiding on the last shelf and killed the boy.
Later, at the police station, he said he didn't remem-
ber anything. The boy was a nomad but he didn't know it yet.
The man was manipulated by the Void.
Suri told me this story. He had met the boy during the
trip and planned to meet him in a few months.
The Void has a strange way of acting on the realities.
It does not allow the rules to be broken, it does not allow
the balance to be changed. Nomads unbalance that line, and
Void hates them. As far as we know, it is not a god, entity or
power, but a kind of rule, of natural law. Some argue that the
Void is the collective unconscious of everything that is alive
in all universes, but no one knows the truth.
Whatever it is, Void is the main threat to nomads. He
makes us lightning rods for inexplicable hostility. Maybe
that's why we leave life behind, abandoning family, friends,
work, everything we consider dear. The more we travel, the
more the Void sees us through the universes. The truth,
however, is seductive, and the magnetism of Unreality is irre-
sistible. We travel to see, to know, to find. This is priceless.
Priceless.
38

OTHERS LIKE YOU,

OR NOT SO MUCH
"Y ou haven't been home in a long time,"

said Suri as we walked through the woods.
There he would explain all about parallel
universes, about mirrors and medusae, about the Guild.
"We are nomads," he said. “We don't know the rea-
son, but we can see fragile spaces in the division between
the plans, we managed to get through them. Normal people
don't have that ability. We are an anomaly. ”
We walked a few hours on trails and forgotten roads.
Sometimes I would be silent for several minutes, digesting
what Suri had told me.
He looked at me, pursed his lips. With his eyes, he
said:
"I understand." I understand.
We reached a clearing in the woods. Suri signaled to
the soldiers who accompanied us. They put their weapons
on the floor and took off their masks. They were two young
men, black, with shaved heads.
"We can rest here," said Suri. With men, he spoke a
strange language.
39

N O M A D S
"What language is that?"

"Hindi," he replied. "I think you should know it by
that name too."
"Same? Are you Indian? ”
"No. It's a little more complicated than that”, replied
Suri, smiling. "We have come from much further."
He sat on the floor and signaled me to do the same.
I obeyed.
Suri took a deep breath and started to speak.
“This is our conversation. The most important conver-
sation we will have in a long time. ”
Suri looked at the sky and back to me.
“You left your reality and came to a different one,
from which it is very difficult to return. You've seen images,
haven't you? As if the air itself was creating a distortion in
space, isn't it? ”
“These triangles, squares? What's that?"
“They are portals. We call it mirrors. When you cross
one of them, you enter a parallel reality. Your reality, then,
becomes this new one. A new timeline, a new possibility in
the universe, is created from it. ”
"Didn't that exist before I crossed the mirror?", I said
looking around.
“It existed, but I was waiting for you to cross it. It is
like an absurd coincidence. You go through the mirror and
enter yourself. This new body is exactly the way it was before,
but recreated in another reality. ”
“Has the new reality already predicted my arrival? Was
I supposed to be there? ”
40

41

N O M A D S
“It's more or less that. Mirror are cracks between two

universes so close that they appear to be the same. The diffe-
rences are minimal. Many cross through and take time to re-
alize that something is wrong. You may have taken too long.
Maybe I did a few crossings before I even realized that the
mirrors existed. ”
"This is crazy." I stopped for a while, trying to find
something real with my eyes, something that would put me
back in the world. I took a little dirt with my hand and dro-
pped it between my fingers.
“And what do I do now? What is that for? ”
“We have no purpose, we are nomads. We walk throu-
gh universes seeking the truth, so that each one of us can ful-
fill his journey. Would you refuse to see other worlds? Would
you refuse the offer to reveal a little more about the truth of
existence? ”
"I don't know. So far I haven't been able to find much.
The city changes, but I don't know what to do with it. ”
"You haven't seen the medusa yet."
"What?"
Suri's eyes shone.
“If mirrors are points where the boundary between
two universes is traversable, a medusa is a tunnel to another
very distant universe. They are anomalies that allow us to
travel to worlds really different from ours. ”
"I don't understand, other planets?"
"Perhaps. Perhaps this planet, but in absolutely dif-
ferent conditions. Perhaps another planet, a billion years
42

older. ”
"Why have I never seen such a thing?"
“They are very rare. Difficult to find. Medusa follow a
slightly different logic. They pull us out of this reality. We are
transported to another reality, where we do not exist in any
way. Our primordial strength leaves one reality and enters
another. ”
“Wow what? Primordial what? ”
“Every macroverse”, Suri paused, as if searching for
knowledge in the mind. He looked at the floor, then at me.
“Each set of universes is governed by a Strength. Call it what
you want. We call it the Primordial Strength. We all came from
her and came back to her when we died. Traveling through
the Medusae, our strength is taken from here and placed in
another world, where it is not welcome. Imagine your soul,
if you want to call it that, in a place where you cannot return
to the force that created it. If you die after crossing a medusa,
it will probably be lost forever. ”
"Most likely?"
"Most likely. It is something we believe in. A very old
belief, nothing we can prove or demonstrate. There are those
who believe that even so far from home, in other macrover-
ses, our Primordial Strength can find another home, another
host. In such cases, the relationship with the host would be
troubled. ”
“And these others… macroverses? Have you been to
them? ”
"Yes. I came from one, different from this one.
43

N O M A D S
Medusa, unlike mirrors, are two-way passages. It is possible

to return.”
“I feel weird. It is as if none of this is happening. It
looks kind of surreal. ”
My hands were damp, cold. My legs, crossed on the
floor, numb. I spent minutes digesting the information. Suri
explained the logic behind the multiple macroverses, drawing
circles on the ground with a stick. He said that in each circle
there are a multitude of similar realities. Permeating all of
them, like the connective tissue of the infinite, there is the
Void.
"Do you understand what you are now?", he asked.
"I understand a little."
“In time, everything will become clearer. For now,
you need to come with us. ”
“Go with you? Why? Where?"
"You must have heard the explosion yesterday, didn't
you?"
"I was there. It was there when that guy arrived. A
strange guy, talking nonsense. I was scared and left. ”
"So did you see him?" Suri approached me. He looked
surprised.
"I saw. Who was?"
“There are things that we understand about ourselves.
We know that the universe, or rather, the universes perceive
us as an anomaly. It is as if life itself tries to eliminate us.
We call it Void, as I told you. When it manifests, it is usually
through people or events close to the nomads. ”
"Yes, that part I understand ..."
“There is a possibility, and it is very rare, but it exists,
that the Void manifests itself in a nomad. He uses one of us
to find and eliminate the rest of the nomads. We still don't
understand how and why it happens. ”
44

"So the guy I saw is a nomad?"

"He is."
"And the explosion ... What was that about?"
“When acting in a nomad, Void makes him become
something else, something bigger, more unstable and dange-
rous. We call them Incognitos because it is almost impossible
to predict the appearance of one. The Void, however, can act
for years within us, and stay there, waiting for the opportu-
nity to surface. ”
I remembered my reaction to seeing that man. I
left there as fast as I could, without knowing why, without
knowing the story that Suri was unfolding before me now.
In my mind came the image of that thin face, the deep dark
circles, the hopeless eyes.
"Incognitos are the biggest threat to our existence,"
continued Suri. “They can hunt us down through the reali-
ties, and it is very difficult to escape, even through a medusa.
So we need to eliminate them. ”
“That is why you are here? With them?"
I pointed to the soldiers, who were now away from us,
watching the clearing.
"No." Suri watched the clearing. “We are here for you.
We came to get you. We cannot leave you at his mercy. We are
the Guild, a group of nomads who care about each other and
fight the Void. ”
"And where are you going to take me?"
For the first time I felt terrified. I looked at the sol-
diers, they were carrying dark rifles.
"Do I have a choice?"
"Yes, you do." Suri smiled. "You can stay here and be
found by him or you can come with us."
"And what are we going to do about the Void guy ?"
"We have others taking care of this problem."
45

N O M A D S
UNBELIEF
Weeks later I was introduced to someone who looked
like a crow-headed man. Very cordial and polite, he explai-
ned to me that he came from another universe, far from this
one.
"How do you walk the streets like that?"
"Like what?" He replied.
I felt the skin on my face getting hot. Did he unders-
tand human shame?
"Mr. Ducann, we can walk the planes with some tran-
quility, you know."
He put a finger out.
“People, those who are more normal than us, don't
believe in these things. Imagine you, a year ago, seeing a
crow bigger than you in the middle of the street. Do you
know what would happen? You wouldn't believe your eyes.
And I would go my way smoothly. Another of the great myste-
ries of the universe. We, visitors from distant places, are seen
by you humans as normal people. Or almost so. ”
"You don't look normal to me."
"Perhaps the fact that you have just traveled through a
portal to another universe will lighten things up a bit."
"Can nomads see other nomads for what they really are?"
"Yes, they can. That’s why I take some precautions. A
46

mask every now and then, a heavier coat ... ”

“Why I have seen someone like you? Are there others
like yourself around here? ”
“It is a very rare thing, Mr. Ducann. It is not common
for us nomads to spend a lot of time outside of our original
macroverses. My problem is different, I have nowhere to re-
turn to. ”
“Nor do I at this point. I never had much, but things
seem to be worth more when we leave, right? ”
"It is a choice that we all need to make, Mr. Ducann."
At this point, a young woman approached us. We were
in an apartment in the South Zone of the City, and Suri had
taken me there just to meet some people.
"So, is this the new guy?", she asked.
She must have been in her early twenties, with dark,
short hair, freckles and a nose ring. She had a sharp look, as
if facing a female Clint Eastwood in person, always ready for
a duel.
“The new boy is called Ducann, Girl. Have manners.
I was even explaining to him some peculiarities of our envi-
ronment ”, said the Crow.
"So, my little friend …", she said to me.
I noticed that she had an improvised cigarette betwe-
en her fingers.
"What have you been learning?"
"Things... Some, I wish I hadn't learned", I said and
then asked for a drag.
47
N O M A D S
48

COGITO, ERGO SUM
F or nomads, especially for the Guild, human per-

ception is not a reliable means of collecting in-
formation about universes. For this reason, the
guild's traditions - always transmitted orally - assume that
if a non-nomadic person has in his perception of the world
his own idea of reality, this idea is incomplete and flawed.
Nomads know that reality is much greater than what an ordi-
nary person is capable of perceiving. Thus, the Guild consi-
ders that reality is beyond perception, and that even nomads
cannot be sure of what it is.
This idea of an unattainable reality has been given the
name of Unreality, a concept where the definition of the real
does not exist. It is a scenario in which any hypothesis is
possible, in view of the infinite existing universes. In short, if
everything can exist - and much of it, beyond our perception
- no concept can define precisely what reality is.
49

N O M A D S
BODIES & MINDS
A few days before my meeting with Crow and

Girl, I talked to Suri about the Guild and what
he did in it. He told me that he was not a lea-
der, but a part within the organization.
“Well, to call it an organization is to be a little too op-
timistic. Let's say it is another principle by which we come to-
gether, that of protecting one another. A nomad's life is alrea-
dy fraught with risk, and the Void is always a threat. Teaching
you about the Guild and introducing you to its principles is
something we can do so that one day, perhaps, you will help
others like us. ”
"The Void seems to me, from what I have understood
so far, something rare", I considered. “Is it such a real dan-
ger? I don’t know, hearing you speak about it seems that the
risk is really great. ”
“You need to learn in parts. Perhaps the time has
come for me to teach you a few more things, my boy. ” Suri
shifted in his chair. We were in an apartment., which, in some
realities, it was my home. In this one, it had been placed for
rent, but the key I kept with me still fit the lock.
I took a deep breath.
“So come on. It's not like my head is totally healthy
after everything that has happened recently. ”
"There is another problem, more real, more immedia-
te than the Void."
From one of the pockets of his jacket Suri took out a
pendant in the shape of an asymmetrical rhombus. It was a
clean, transparent stone. He held the object up to the light,
as if looking through it.
“There is an organization dedicated to studying us in
50

an attempt to unlock our capabilities. They want to unders-

tand and reproduce the journey between realities. It is the
Cult of Glass. It is a secret society, quite old and with few
members, but with many resources. ”
"And what's wrong with that?"
“They want our bodies. Alive or dead. If they catch
you, they lock you in a cell and test you until you die or they
discover something. And so far they have found very little. ”
Suri handed me the pendant.
“They all use this. They say that looking through the
glass helps to recognize a nomad. Try it."
I took the pendant. I saw that on a small plaque on
the cord was written Doctrina Perpetua Crescente Luce.
It was beautiful, made of very transparent, polished glass.
Through it I saw Suri. At first glance he looked normal, but
little by little I noticed an aura, something bright, bluish. As
if it were lit from the inside out.
“Eternal learning, growing light. Did you see it?"
"Yes. Where did you get that?"
“I stole it from one of them. They are our enemies,
Ducann. ”
Suri put the pendant in his jacket pocket.
“Couldn't they help us? Help us to better understand
all of this? ”
“They have been trying for centuries. They never did
anything good. Our skills are not to be understood, Ducann.
I know it's normal for us to look for a justification for every-
thing in life, but we don't have it. We take care of each other,
that's all. There is only one truth about us. ”
"What truth?"
“The Void's. It defines us as the anomalies. ”
51

N O M A D S
52

53

N O M A D S
IN THE VEINS OF THE CITY

Optimistic minds can - sometimes with some effort
- see beauty in the City, but most people have a hard time
admiring the cold daily life of violence and pollution. It is
in the veins of this metropolis that the stories of Nomads
flow. A city like mine or yours, with all its peculiarities, pains
and delights. A space where cultures, behaviors, beliefs and
visions clash.
A pressure cooker ready to explode.
Most of the inhabitants of the City have common li-
ves, alien to the truths of the nomads. Some, however, know
a little about Unreality and those who can walk through it.
During their stories, the characters will need Allies - and will
be able to make Enemies - in the City. Knowing how to navi-
gate this network of contacts and intrigue is one of the most
precious skills that a nomad can acquire.
DISTRICTS & INHABITANTS

The City is the main setting of the stories of Nomads.
It works not only as the backdrop for these narratives, but
also as a starting point for the characters to travel to other re-
alities. Superficially, it is a city like any other, violent, pollu-
ted and with flashes of humanity visible to the most attentive
eyes. Deeper layers hide a supernatural underworld of extra-
-planar creatures, secret sects and strange rituals. Nomads
circulate through all these spaces.
CENTER
The central part of the City concentrates most of the
commerce, basic services, shopping malls and banks. Busy,
it remains active for 24 hours a day, with nightclubs, bars
54

and restaurants open during the night. Some neighborhoods

close to the central region concentrate a greater number of
commercial buildings, and therefore tend to be less busy at
night. Metro lines connect several points in the central area
to other districts of the city.
NORTH
Most industries are located in the North Zone.
Residential areas are occupied mainly by workers in the sec-
tor. A striking feature of the North Zone is the number of
abandoned buildings. In some places, the phenomenon ex-
tends over entire blocks. Industries of yore - when everyone
was so much happier and life so much easier - ended up
closing the doors, leaving concrete shells under the bure-
aucratic control of Justice and at the mercy of invaders and
gangs. This region of the city, therefore, is a breeding ground
for those who need to negotiate under cover or disappear
from the map for some time.
It is in the North Zone the territory of the gang the
Fucked Ups, which does dirty jobs for those who pay more. A
curious question about the Fucked Ups is that they know no-
mads, and it is known that some creatures from other reali-
ties find shelter among them. The group - which has about 50
members - usually comic small crimes in other more affluent
regions. And a peculiar detail: practically all Fucked Ups are
children and adolescents.
The Fucked Ups are just one of the groups on Marduk
the Lord of the Flies' contact list. Tall, thin, androgynous in
appearance, he owns The Lady of the Lake, an underground
nightclub in the North Zone. Marduk achieved power throu-
gh a large network of allies, mostly criminals, which he calls
Flies. Currently, despite being only 26, he already runs a
small drug trafficking network and provides services to other
55
N N ÔO MM A A D D E S S
organizations. In addition, it provides information for those

who can pay more, and it is not uncommon for it to also
require small favors in return.
EAST
In the East of the City are the wealthiest neighborhoods.
Tall buildings and luxurious houses dominate the landscape.
As in the North Zone, in the East there are also points aimed
at commercial buildings, but most of the space is residential.
The movement of people is low, and at night the presence
of private security services is constant, almost always close to
the most exclusive condominiums. Some of the most powerful
people in the City live in this region.
One of them is Samir Delgado, who owns a large trans-
portation company. Responsible for transporting a good part
of the production of the industrial district, his company en-
ded up growing and dominating other sectors as well. Today
it has a large network of gas stations. Samir is a rare example
of a nomad who has decided to continue living normally - or
at least to give the impression that he is still living a normal
life. He lives alone in a mansion and has a habit of collecting
artifacts from other universes.
The Guild believes that Samir may have learned, on
his medusa trips, secrets that allowed him to influence and
control people, and that he has used it to succeed in the
business world. A recluse, he hardly accepts to meet other
nomads. It is known that he has great influence on the po-
litics of the City, and he usually exercises it through third
parties. In the Guild, there are those who say that the Samir
who is sometimes seen in public is nothing more than an
impostor, and that the real man has never left the mansion
in the East Zone.
56

57

N O M A D S
WEST
The poorest neighborhoods are on the west side of
the city. The region is home to many of the workers in the
industries in the north or the commerce in the central area.
The West Zone is a microcosm: it has its own central area,
schools, a public hospital, residential spaces and a small in-
dustrial park where smaller companies have settled. Crime is
high in the West Zone, and rival gangs compete for territory
and drug outlets.
The law and the State do not have the capacity to re-
ach everywhere, either due to unwillingness or impossibility
in the face of gangs. For this reason, it is crime that dictates
the rules and provides assistance to residents when neces-
sary. It is common, however, for authorities - mainly police
and politicians - to be involved, either as facilitators of illegal
businesses or as commanders of entire factions.
One of the main personalities of the West Zone is the
drug dealer Saba, the commander of the Good Men, the city's
oldest faction and the dominant gang in the drug trade and
cargo theft in the metropolitan region. Saba, born Samuel
Batista de Almeida, now 36, entered the crime at 19. Without
money to pay for the treatment of his sick mother, he went to
ask for a loan for the only person who would help an unem-
ployed person like him: the head of the local drug trade. .
When his debt was due, he had to work for the crime
lord. With no prospects, Saba stayed with the gang and, over
time, gained the trust of faction leaders. With the death of
Isaiah 157, leader of the Good Men, he eventually came to
the helm. Today, Saba tries to keep its territory limited to the
peaceful West Zone, avoiding attracting the attention of the
press and the police. "Noise," he says, "disturbs the family."
58

SOUTH
To the south, as the center of the balance between
West and East, lies the middle class area of the city. The lar-
gest region also concentrates the majority of the population.
The South Zone is formed predominantly by residential nei-
ghborhoods, commercial spaces and few industries, usually
in the periphery. The region also concentrates a good part
of the city's entertainment options, with a lively nightlife in
some places. A curiosity is the ancient architecture - the city
grew from the South Zone.
A striking personality from the South Zone is Lady
Zina. At the age of 82, she lives in a very well-kept house in a
remote area, where she frequently receives nomads in search
of information. Zina herself neither confirms nor denies the
fact that she has traveled to other realities.
Since retiring from her job as a City postal worker,
Zina has developed a curious affection for cats. It is common
to find dozens of them around the house in search of food
and attention. She claims that they are many, and that they
come and go like the wind. "I know what they know, and I
see what they see," he says. It is difficult to know how far the
truth goes in the lady's statements, but the fact is that she
always has information about people, places and plots that
run in the bowels of the city; and perhaps a dish of fried chi-
cken hearts to feed her hundreds of pussies and her visitors.
59
N N OO MM A A D D E S S
PLACES OF POWER
The mundane surface of the city falls like a veil over
a series of mysterious places of power. From medusae to se-
cret cults, the City hides much more than an inexperienced
eye can see. Nomads manage to break through this veil, dis-
covering layers of reality about which ordinary people only
dream.
The North Zone, for example, with its abandoned
buildings, is a perfect setting for shady activities. Rumors talk
about strange creatures that live in forgotten, underground
places, and about their followers. Stories speak of a five-le-
gged figure, his cult of fanatics and the sacrifices that would
be made in his name on silent nights.
The Cult of Glass, in its constant performance in the
City, would have research laboratories dedicated to the study
of Unreality. Places usually hidden under a luxurious faca-
de, where captured nomads would be taken and where they
would never leave alive. The very rare meetings of this so-
ciety are also known in ostentatious hotels. The Cult would
also be involved in other fields of occult research, such as
demonology.
Medusae, although rare, are also an occurrence in the
City. Appearing in isolated locations, these portals for other
macroverses arouse the interest of both nomads and the Cult
of Glass - although the latter are still unable to accurately
detect their presence.
60

SANCTITY AND PEACE
T he search for the truth will take nomads to uni-

maginable places. Many will face dangers and
some will die during their journey of discovery.
Those who survive, at any given time, may decide to stop, to
give up. It is not uncommon for a nomad to abandon a life of
learning to return to the world that he once - long ago - un-
derstood as real. When that happens they prefer simple lives
in quiet, secluded places.
There is, just over an hour's drive from the City, one
of these places. The town of Sanctity is home to many elderly
nomads, who dedicate themselves to tasks such as raising
animals and planting, finding in a peaceful life a way to abs-
tract everything they have seen and discovered. Sometimes,
Unreality can be too much to bear.
Sanctity is a small town, with a church, an inn, a cen-
tral square, one or two restaurants and some shops. Few
young people live there. Most leave for better conditions in
more populated places.
The nomads of Sanctity, it is important to stress, hardly
talk about what they know. They deny their nature and never
share this truth with strangers. Outsiders will find it even
more difficult to get any information related to Unreality. In
addition, few nomads even know the truth about Sanctity.
Those who visit it find only a small city, with an elderly po-
pulation and without much interesting things to do.
The inactivity of nomads in the city and their great
experience manages to keep the Void at bay. In addition to
not doing anything that can attract him - they don't even go
through mirrors inside Sanctity – as they manage to detect
the presence of the Void early enough to prevent it from ma-
nifesting itself.
61

N O M A D S
62

63

2
N O M A D S
2ND
INTER
VAL
This chapter will explain
the rules of the game.
After learning them, it is
recommended that players
explore at least a few
Episodes of “Incognito”, the
story of the Third Interval, to
familiarize themselves with
the mechanics. From there
they can create their own
narratives and characters.
64

THE CHARACTER
DIARY
T here is a certainty in : during the narrative the

characters change. They learn new talents, find
weapons and equipment that can be useful
throughout history. This information must be noted in the
Character Diary. Each character must have his own diary,
and each player is responsible for the diaries of the cha-
racters he plays. Next, we'll see what makes up a Character
Diary. Information on character creation will be explained
later.
The first information is the character's name and age.
In , characters can be of any age, from children to the elderly.
In the next field is the conflict, that which moves the charac-
ter, his life objective or fundamental problem to be solved.
A character may be seeking justice for the death of a relative,
or be lost in a universe that is not his, wanting to return.
Whatever it is, the conflict will keep the character moving du-
ring the narrative, and can be considered the most important
detail of a character.
65

N O M A D S
CHARACTER DIARY N O M A D S
Dante, 30 yo Want to find his brother

NAME & AGE CONFLICT
Intelligent Journalist that knows the streets

DESCRIPTION, TYPE & SPECIALTY
LIFE
x x x x x
STRENGTH PROTECTION
Revolver 15 Leather Jacket 2
TALENTS BELONGINGS
Agile $120
Investigator+ Leather Jacket (2)
Revolver (15)
EXPERIENCE
66

Then there is the Character's Description, Type and

Specialty. These characteristics define what the character
is and what he is capable of doing. Description, Type and
Specialty always appear as an adjective, a noun and a verb.
A character, at its most basic level, therefore, will always
be “noun adjective than verb”, or “a certain style of so-
meone who does something”. For example, a character
may be a wise warrior who understands the occult. We
have the Description (wise), the Type (warrior) and the
Specialty (understands the occult). All of these characte-
ristics have an impact during the game, functioning as the
equivalent of the character class of classic RPGs.
In the space below are the character's Life points.
When a character suffers injuries he loses Life points.
When these points reach zero, the character is conside-
red unconscious or dead (p.114). Player characters always
have a maximum of 20 Life points, other characters may
have more or less points.
Strength and Protection values w ill be used in com-
bat, defining the characters' ability to injure their enemies
and protect themselves from attacks. These values are de-
fined according to the equipment used. For now, all you
need to know is that an unarmed character's Strength is 5,
and everyone's initial Protection is zero.
67

N N ÔO MM A A D D E S S
Finally, the Character Diary brings spaces for Talents

and Belongings. Talents are knowledge that the character has
and that can help him perform certain tasks. For example: a
character with a Gunner Talent will have an easier time trying
to hit a target with a shot. Talents are divided into Basic, whi-
ch is broader and represents a lesser advantage for the cha-
racter, and Enhanced Talents, which are more specific skills
and give a greater advantage to the character who performs
the action. Enhanced Talents are marked with a “+” in the
Character Diary. During the story, characters will be able to
acquire new Talents, whether Basic or Enhanced.
In the Belongings space, the player must list all the
equipment, money and items that the character takes with
him. In , life is hard, and the characters usually begin the
story without any Belonging or Talent.
68

69

N O M A D S
LOGIC, CONTEXT AND CREATION
E ach one of us carries a wealth of knowledge

about the world. We know a little about the laws
of physics, about the history of the world and the
human mind. We were able to foresee, even if roughly spe-
aking, the reaction of some people to everyday events. This
knowledge, the logical knowledge of things, is valuable in
Nomads. During the story, players will ask questions to better
understand the situation, and the rules system will provide the
answers, which will be used to develop the Scene.
Common sense will be used as the basis for categori-
zing each question as Trivial, Logical, Illogical or Impossible.
Is the presence of a gun at the waist of a police officer trivial,
logical, illogical or impossible? And the same weapon under
a priest's cassock? This division allows the game system to
confirm or not the statements made by the players, with di-
fferent degrees of probability. The less logical a statement
is, the more difficult - but by no means impossible - that it is
confirmed within history.
The context of the narrative is also important in this
scenario. What is logical in one context may not be in ano-
ther. Therefore, players must always take into account the
whole situation to define when something is trivial, logical,
illogical and impossible. Nothing is cast. An example: the
players are in the North Zone of the City, at dawn, and one of
70

them needs to know if there are many people around. In the

context - the North Zone at dawn - it is not logical that many
people are on the street. If the situation occurred during the
day, for example, the answer could be different.
Categorized the question, the game will always give it
a yes or no answer. It is up to the players to interpret these
responses and, from them, develop the narrative and create
other questions. Another example: it is night, a few roam the
streets and players have to break into a building. They ask if
the building has a doorman or guard that the characters can
see. It is logical to think that a building at night has a door-
man, right? This classification, that this situation is logical,
will be used to establish the chances that the building will, in
fact, have a doorman or guard.
And now comes creation. If the guard is there, players
may want to know if the characters can see him from outside
the building. It is logical that this is possible. A player may
want to know if the man is suspicious of them or if he called
the police. It may not be a logical reaction on the part of the
watchman, given that the characters have had no suspicious
attitude at the moment, but what if he called the police?
From then on, it is up to the players, each in turn, to propo-
se actions and situations that move Scene forward. It is from
these questions and the answers given by the game that they
create new threads to plot the Scene.
71

N O M A D S
SCENES, EPISODES
AND SEASONS
N omads is divided into Scenes, Episodes and

Seasons. A story with a beginning, middle and
end is called Episode, and is usually narra-
ted in a single game session. Episodes are fragmented into
Scenes. As in a film, a Scene is a sequence of actions set in the
same place on the same timeline. When the characters leave
a place or the story portrays the rapid passage of time, the
Scene changes. The Season is a sequence of - usually - five
Episodes unified by a bigger goal. Each Episode continues to
have its beginning, middle and end, but the characters will
be confronted with a complex objective that must be gradu-
ally unraveled.
It is important that players keep these divisions in
mind. They work not only to assist in creating stories, but to
define the duration of certain events and skills in the game.
It is possible, for example, that some character is poisoned
by a weapon that will leave him weakened by an Episode or
some Scenes. The creation of Seasons, Episodes, Scenes will
be described in more detail later.
72

CHARACTERS AND NPCS

The world of Nomads is inhabited by all kinds of pe-
ople, animals and creatures. During the narrative, the game
will refer to them as NPCs or PCs. All characters that are not
controlled by players will be considered NPCs (non-player
characters). The characters controlled by the players will be
called PCs (player characters), or simply characters.
NPCs can assume three types of behavior, depending
on how they see the players' characters. Neutral NPCs have
no opinion of the PCs and can be friendly or hostile de-
pending on the situation. Hostile NPCs have identified PCs
as threats and will attack and / or harm them as they can.
Friendly NPCs will assist the characters whenever they can,
to a greater or lesser extent, depending on the narrative.
73

N O M A D S
DEVELOPING A SCENE
O kay. Your players have their Character Diaries

filled and already know what the objective of
the Episode or Season will be. The next step is
to decide where your characters are and talk a little about the
objective. For example, the characters need to find a Medusa,
a portal to another macroverse. After a conversation, they de-
cide that they start the Episode at one of their apartments, and
that they will try to get more information about the portal.
One of the players must quickly describe the situation
to the others and establish a goal, if applicable. This descrip-
tion must be purely visual, without many details that influence
the story. Then, the player to his left must take the initiative by
asking a question and / or describing an action with his charac-
ter. If he asks a question, he should ask about something that
adds information to the Scene, something that will gradually
clarify the players' view of the proposed reality. The only limi-
tation is that the answer must always be a yes or no.
Continuing the previous example, players start sear-
ching for information about the portal. The first player, who-
se character is a former police officer, may decide to call one
74

of his contacts in search of data about strange events around

the city. Does the contact answer the phone? Does he have
any relevant information or not? These are some of the many
questions that can be asked at this point. Remember that the
answer must always be a yes or no.
When the question is answered, the player must narra-
te the results of the answer, if necessary. In the example above,
let's say that the contact did, in fact, have some relevant infor-
mation. Let's say he revealed that a contact, who frequently
visits a local bar, was seen talking about people disappearing
near the place where the players believe to be such a portal. At
this point, if the player has not yet performed an action with
his character – actions rules will be seen later - he can do so
before passing the turn to the player on his left. The Scene is
developed in this way, one player at a time, until players deci-
de that the characters can move on. In the example above, the
Scene can end when players decide to leave the apartment and
go after that contact.
Some Scenes are short, like this example, others may
be longer. Anyway, whenever there is a sudden cut in time - the
characters fall asleep or spent a few hours waiting for some-
thing to happen - and whenever the characters go elsewhere,
the Scene changes.
75

N O M A D S
ANSWERING QUESTIONS
D uring the development of a Scene, players will

ask questions whose answers must be yes or
no. The door is locked? Is the room large? Is
the creature with the mouse head and wings friendly? And so
on. These questions should then be classified according to
the possibility of an affirmative answer. Is it trivial, logical,
illogical or impossible for the door to be locked? In this case,
it is up to the players to analyze the circumstances of the
statement. Is it the door to a house at night? So it is logical
- that is, it is very possible - that it is locked. Is it the door of
a restaurant at noon? So it is illogical - there is no reason for
it - that it is locked.
Impossible claims usually happen in the supernatural
or very rare field of things. Is there an elephant in the room?
Well, technically it is not impossible, but it is very, very unli-
kely to exist. Is the man standing alone at the bar table able to
read minds? Can the dog that the players found on the street
speak? Is there a gun hidden inside the trash can? The impos-
sible in Nomads can be both an obstacle for players and an
excellent opportunity to delve deeper into the story and take it
in strange directions. The trivial category is used only in cases
where there is virtually no doubt about the answer. The door
to a safe would obviously be locked, for example.
This categorization must be suggested by the player
who asked the question, and others - if any - can intervene
and give their opinion on it. It is not necessary to debate
much about the topic, and the important thing is that they
reach a consensus without wasting time. The final word is
from the player who proposed the classification.
Once the question has been categorized, it is up to
76
the player who asked it to get the answer. Here comes the
deck of cards. He must draw a number of cards according to
the category of the question: one for logic, two for illogical
and three for impossible. If there is at least one red suit be-
tween the cards drawn, the answer is no. If all suits are black,
the answer is yes. Questions categorized as trivial need not
go through this process, the answer will always be yes.
When players want and it is necessary for the story,
the intensity of the answer, yes or no, can be calculated by
the value of the last card drawn. The higher the value, the
more intense the response. An ace will be a light yes or no,
something defined by a detail. For example, the door is lo-
cked, but the padlock is old and rusty, easy to break. At the
same time, a K will be an answer without a doubt. If you
want to know only the intensity of something already de-
fined in the Scene, draw a card and interpret the value.
For example, players prepare to make an assault.
They are in front of a bank. In turn, one of them asks if poli-
ce cars are parked nearby. The players define the statement
as illogical, as there is no reason for police cars to be parked
right in front of the bank at that moment. The player must
draw two cards. He pulls out the first - the suit is black - and
then pulls out the second - also black! Despite contradicting
the logic established by the players, yes, there are police cars
parked in front of the bank! How many? The last card was a
5, so the players played an average, logical amount of a car.
In another situation, players roam the desert in a sur-
real world. One asks if there is water there. Technically it
is possible, but very unlikely, that there is. Players define
the question as impossible. Drawing three cards, the player
obtains a red suit, the last card being a 9. In fact, the thirst
will continue to bother and there is no sign of water in sight.
77
N O M A D S
78

ACTIONS
T he questions reveal the world around the cha-

racters, but they interact with this world throu-
gh actions. In turn, before or after asking a
question, a player can perform an action with his character.
This action should describe an interaction with an element
already revealed in the world. Picking up an object on the
floor, breaking down a door, making a phone call, or going
to that corner bar, are all actions referring to elements of the
narrative already known by the players.
Actions, as well as questions, must be classified as tri-
vial, logical, illogical and impossible. The definition must be
made according to the character's chance of succeeding in
his action. For example, gathering a weapon from the ground
is trivial. Putting the same weapon together during a race is
logical - that is, quite possible that it will work. Doing this in
the middle of the crossfire is illogical. It would be impossible
to gather a gun during a shooting, running and blindfolded.
But can it happen, or not?
The classification of actions - trivial, logical, illogical
and impossible - can be modified by Talents. If a character
has a Talent related to the action he wants to perform, he
can classify it as being in a category below. A character with
Agile Talent would find it easier to gather a weapon from
the ground during a shootout, for example. However, the
relationship between the action performed and the Talent
must be clear. An example: a character wants to break open
a locked door with a kick. Players define the door as sturdy,
but despite that it is logical that he can do it. “In movies they
always do,” says one. The character has the Strong Talent.
Breaking down the door becomes trivial, and he succeeds
without drawing cards.
79

N O M A D S
COMBAT
R eal is the possibility that the characters need to

solve their problems by using force. Sometimes
violence can prove to be the only way out for
simple minds, and players need to defend themselves accor-
dingly. In addition, when dealing with extra-planar creatu-
res, there are times when dialogue and negotiation are not
plausible options.
That's where the combat rules come in.
A fight begins when a character takes action to attack
an opponent or when an opponent attacks him. Actions that
have the specific intention of injuring enemies in combat
follow rules slightly different from the others.
The first is that, in combat, nothing is trivial. As easy as
an attack or defense seems, however skillful the character is,
the action can never be considered totally certain. Therefore,
attacks or defenses can never be classified as trivial.
Second, each weapon - or object that can be used as
a weapon - has a Strength value, which defines the ability
to damage opponents. All NPCs and PCs have a Protection
value, which defines the ability to withstand damage from
attacks. If someone is hit by an attack, they will lose a total
of Life points equal to the attack's Strength value minus their
Protection value. However, there is no fully secure defense,
and even if the protection is greater than their Strength, so-
meone hit by an attack will always lose at least 1 Life.
80
Let's take the example. The characters are ambushing

a warehouse terrace at night. The weather is clear and cold,
and the place is dark, lit by the moon. The attack has been
in preparation for a long time and the time has come to act.
Two cars pass by on the street. In one, a goat-headed man
needs to be eliminated.
One of the characters pulls out a rifle and points at the
car. He will try to hit the creature through the vehicle's win-
dow. In a first analysis, it is impossible for him to succeed,
because the chances are really very small (the darkness, the
car in motion, the small window ...). The character, however,
has the Gunner Talent. By training in the handling of firear-
ms, the impossible becomes illogical. The player draws two
cards and obtains two black suits, hitting straight. The rifle
has Strength 20, and the goat-headed man has Protection 3.
He loses 17 Life points.
Attacks can generate unpredictable results. An attack
that contains an Ace or K on one of the cards drawn is consi-
dered a Critical Hit, and can have other effects. Players must
draw a new card and consult the Critical Hit chart (p.212) to
find out which part of the body the opponent was hit. Each
of them will have an additional effect, which is defined by the
color of a second card.
The effects of critical attacks must be resolved accor-
ding to the logic of the combat. For example, a character who
drops his weapon may lose the opportunity to attack, or be
forced to attack with clean hands. Likewise, someone who
81
N O M A D S
is knocked down, depending on the weapon they are using,

will need to get up to make a new attack. Nomad’s rules
system allows free interpretation of the results found on the
Critical Chart.
After an action that initiates a combat (either by
players or by NPCs), all other characters on the same side
will have the opportunity to act as well. After everyone has
acted or asked questions, the opponents must fight back. It's
simple: first one side performs all of its actions, then the
other side does the same. Repeat until the end of the fight.
Hostile NPCs will always do their best to hurt players
according to their combat tactics. Each NPC has a type of
Behavior in combat: Aggressive, Cautious or Inexperienced.
Aggressive enemies usually advance and attack whoever is
closest. Cautious enemies will, in a shootout, protect them-
selves first and then attack. In hand-to-hand combat, they will
always try to face one opponent at a time and attack whoever
is most injured or vulnerable. Inexperienced enemies behave
like the Cautious, but will have difficulty attacking, so only
half of those in combat (rounded up) can make an attack.
If players want a greater degree of unpredictability,
they can draw a card and consult the Combat Tactics table
corresponding to the type of Enemy in question. All enemies
of that type who are in combat will perform the actions des-
cribed in the table.
82

83

N O M A D S
COMBAT MOVEMENT
D uring combat, characters and NPCs will move

around the battle scene seeking positions of
advantage over their Enemies. The movement
is free, and it is up to the players to define who can move to
where during an action and how difficult it is to do so.
The standard rule is: when someone - character or
NPC - wants to approach an opponent, they will not be able
to complete the movement in just one action, unless they
have a Talent that facilitates their movement, such as Agile, or
if the distance between the two is small, somewhere around
six to nine feet.
Characters who want to run in the middle of the cros-
sfire, or need to climb objects, jump over walls and jump
over buildings, should use the cards to determine whether
they can carry out their action as planned. Remember that
during combat, attacks and defenses are not trivial, and even
actions that would be simple to perform - such as opening a
door or climbing a ladder - can become complicated in life
and death situations.
TAKING HITS
Players do not need to draw cards to find out if the
Enemies are successful in their attacks. Instead, they must
take action to try to avoid these attacks or mitigate them in
some way. It is important that players narrate their actions
and define the likelihood of success. It is up to them to use
84
their creativity to defend against attacks in a way that makes

sense in the narrative. When all of the opponents' attacks are
resolved, players will again have a chance to act.
In the previous example, after the goat-headed man
was hit, the other players fired, but missed their shots. On
the opponents' turn, the cars stop and six security guards
with cautious behavior descend. The Enemies seek cover and
shoot the characters.
The three players decide that each of them will be
the target of two Enemies. One of the characters will try to
throw himself to the ground, leaving the enemy's line of fire.
Players define the action as logical and the card drawn is
black: a success. After dodging the first attack and leaving the
line of fire, it is certain that the second shot will not be able
to reach the character. The bullets hit the warehouse sill,
tearing shards from the plaster of the building. The other
two players make their defenses and then it's their turn to
act again.
SURPRISE ATTACKS
In some cases, an attack made against a distracted tar-
get can cause more serious damage. Someone who has his
back to the attacker, or who has no idea that the attacker
is there, when hit, will suffer damage as if the Strength of
the attack were twice more powerful than usual. Protection
continues to apply in the same way. Talents like Stealth can
help a character approach the target without being noticed.
85
N O M A D S
VULNERABILITIES AND
RESISTANCES
T he characters will be able to encounter, during

their adventures, a series of creatures. These cre-
atures can be resistant or vulnerable to various
types of attacks and elements. A character who has some Talent
that allows him to know a certain creature - because he is an
occultist or someone who knows the plans - can try to identify
a weakness or resistance of an extra-planar opponent.
For that, he can ask a question. "Can I identify any
vulnerability of this creature?", Normally impossible, but il-
logical for the learned, the answer can reveal information
that brings an advantage to the characters. Players can use
the Vulnerabilities & Resistances table (p.235) if they run
out of ideas. When a creature is hit by a weapon that affects
one of its vulnerabilities, the Strength of the attack must be
doubled. Likewise, when a resistance comes into play, the
Strength must be reduced by half, rounded up.
86

I SURRENDER!
It is possible that, during a fight, one or more NPCs will
give up fighting and try to escape or surrender. Players can, at
the end of the characters' action and before the attacks of the
Enemies, ask if any of the opponents will try to escape.
An NPC who has already lost more than half his Health
points is at risk of abandoning combat or surrendering to
save his skin. The behavior of the NPC influences this deci-
sion: rational beings who have something to lose may escape
or surrender more easily. Aggressive and irrational creatures
tend to fight to the death.
The question must be asked for each NPC, and it
works in the same way as a Scene development question.
"Will this NPC try to escape?" Players define whether the
statement is logical, illogical or impossible and decide on
the cards. If the NPC wants to escape the fight, he will try
to move to safety as quickly as possible. Distracted by other
Enemies, it is not uncommon for players to lose sight of him.
If there is no escape, they can surrender.
NPCs fleeing combat can open up important narrative
possibilities, as players may want to chase or capture them.
An opponent who manages to escape from combat can even
become an Enemy (see Allies & Enemies, p. 106) - the players
decide - and could come back later for revenge!
87

N O M A D S
PROTECTION, INJURIES &

HEALING
C haracters may be injured for different reasons.

Perhaps they are victims of a fall, shock, fire,
shot, explosion, arrow, smashing, being run
over, stabbed, kicked, stamped, acid spray, or are stepped on
by elephants – why not? Some injuries that occurred during the
story may not bring an exact number of Strength. In such cases,
it is up to the players, based on the table below, to deduce which
Strength is applied in each situation. Wounds sustained in this
way are reduced by the character's Protection in the same way as
Enemy attacks in combat.
Very injured PCs and NPCs - with 5 or less Life points
- will find it difficult to move and perform actions that involve
physical effort. In such cases, players should always consider that
it is more difficult for an injured character, for example, to run
or fight. Finally: hurting is easy. Healing is difficult. Characters
will be able to recover Life points through bandages, quick dres-
sings, hospitals and clinics. The amount of stitches recovered
depends on the intensity of the treatment.
WEAPONS & EQUIPMENT

Characters will sometimes need weapons and equipment
to face the challenges ahead. Players are free to create their own
weapons and armor, with their Strength and Protection levels.
To facilitate this process, in the Fifth Interval there are tables
that list Common Weapons (p.202), Rare Weapons (p.203) and
Exotic Weapons (p.205). With an increasing level of rarity, these
tables bring several examples of weapons available to the cha-
racters. Based on them, it is simple to elaborate other possibili-
ties. Likewise, there are tables for Common Equipment (p.214),
Rare Equipment (p.215) and Exotic Equipment (p.216).
88

INJURIES & HEALING

Fall from one floor building: - 15
Punch : - 5
Stab: - 10
Sword Strike: - 15
Pistol shot: - 20
High caliber shot: - 25 to 35
Slight burn: - 5
Severe burn: - 15
Running over: - 20
Human-sized creature strength : - 7
Large creature strength : - 12
Colossal creature strength : - 20 to 30
Quick bandage: +3 to 5
Sleep night: +5
Three-day hospital stay: +15 to +20
Painkillers: +2 to 5
89

N O M A D S
90

91

N O M A D S
TALENTS
L ife is learning. In Nomads, this experience is re-

presented by Talents. Talents are adjectives given
to the character that define his knowledge and
specialties. During the development of a Scene - especially
during actions - these adjectives must be taken into account.
A strong character, for example, will be more likely
to break down a door than a character without this Talent.
A technology expert will find it easier to extract information
from a computer than someone who does not have a speci-
fic Talent related to it. Likewise, the character's Description,
Type and Specialty should also be considered as Talents: a
character who is wise in his Description may have a greater
chance of unraveling an ancient artifact.
The use of a Talent or specific characteristic for a si-
tuation can reduce the rating of an action or question asked
by the player. For example, a character wants to talk to the
witness of a crime to try to extract some information from it.
The witness is very shaken, so the players define as illogical
the possibility of her being able to say something useful. The
92

character, however, has the charismatic Talent, who can help

you in situations like this. Thus, the classification goes from
illogical to logical, making it easier to obtain information.
Likewise, during combat, Talent as a Gunner, fighter, attenti-
ve and agile can help when it comes to attacking the Enemies
or defending themselves.
Enhanced Talents - marked with a “+” in the Character
Diary - offer an extra benefit when used. In addition to re-
ducing the rating, the player can, when using an Enhanced
Talent, ignore the result of one of the cards drawn and draw
another. For example, a character wants to convince a po-
lice officer to provide him with information about a crime.
The policeman is determined not to reveal anything, and the
players decide that this is a case in which it is impossible to
extract any information. The character has the Manipulator
Talent +, an Enhanced Talent. As a Talent, it reduces the
rating of the action from impossible to illogical. Because it is
Enhanced, it allows the player, when drawing the two cards
to resolve the action, to ignore the result of one of them and
draw another.
93

N O M A D S
94

THE BASIC TALENTS
T here are ten Basic Talents that define the ca-

pabilities of each character. These entry-level
Talents do not give anyone complete mastery of
a skill, they just make it better than average in that situation.
The following is a list of Basic Talents and some situations in
which they are applied.
Agile: The character can run, climb, fight and move
more easily.
Attentive: With a keen perception, the character can
hear sounds, perceive ambushes, anticipate the movements
of his opponents and find clues.
Gunner: Trained in the use of firearms. You can hit
targets with ease.
Charismatic: Good at talking, the character has a ta-
lent for relating to other people.
Strong: The character has a higher physical strength
than most people. Gain +2 Strength when fighting unarmed
or with a melee weapon.
Intelligent: The character has an above average level
of intelligence. He is able to make quick deductions and col-
lect information by analyzing the environment.
Fighter: The character is good at fighting. In a close-
-distance combat, with or without weapons, he can face most
opponents.
Occultism: Versed in the mysteries of the infinite pla-
nes of realities, the character has the ability to recognize some
of the creatures - discovering their vulnerabilities and streng-
ths - organizations and worlds throughout the universe.
Resistant: The character has a physical strength abo-
ve normal. Can better resist injuries and illnesses. A Resistant
character gains +2 Protection.
Technolog y: The character is easy to deal with tech-
nology and knows advanced software and gadgets.
For a complete list of Talents, whether Basic or
Enhanced, see the section on Evolving (p.116).
95

N O M A D S
STRANGE THINGS HAPPEN
T he world of Nomads is full of inexplicable

events and curious facts. To represent this the-
re is the Strange Things rule. During an action
or a Scene development question, when a J, Q or K card is
revealed, the player who revealed it must draw another card
and consult the Strange Things table (p.206). The suit and
value of the card have an influence on what will happen, ge-
nerating two fictional contents: the type of event and the ele-
ment of the narrative through which it manifests itself. Cards
drawn at this time do not generate new Strange Things.
When an event is generated in this way, players must
interpret it in the most logical way possible, observing the
situation, who is present, what has happened so far and what
can happen. When something good happens, the event will
take place for the benefit of something or someone; like-
wise, something bad means that something or someone has
been harmed. Curious or strange events do not have such
an apparent positive or negative impact, but they can chan-
ge history in other ways. When interpreting the result, one
can understand something curious as a great coincidence,
for example, while something strange can be an inexplicable,
supernatural event.
96

97

N O M A D S
STRANGE THINGS
TABLE
Spades (♠) - Something good

happens...
Clubs (♣) - Something curio
us happens...
Hearts (♥) - Something stran
ge happens...
Diamonds (◊) - Something ba
d happens...
A - With all NPCs.
2 - With a hostile NPC.
3 - With a neutral NPC.
4 - With a scene object.
5 - With an Enemy that ap
pears.
6 - With an NPC already on
the scene .
7 - With the climate of the en
vironment.
8 - With an Ally that appea
rs in the Scene .
9 - With the environment.
10 - With a character.
J - With all the characters.
Q - With a scene object.
K - With everyone present.
98

When the table refers to Enemies, players should con-

sider the Enemies noted in the Truths & Clues form (more
in Allies & Enemies, p.106). Some of them may appear on
the scene, for example. When talking about Scene Objects, it
refers to any object that is present in the Scene in question,
be it a car, a door or a glass on a table. The table can also
generate results by mentioning the environment or the cli-
mate of the environment. This can determine from turning
off the lights - or turning them on - at opportune moments,
or simply a momentary lack of energy, to the beginning of
a rain or storm. Results that mention the environment can
also reveal secret doors and landslides, for example. It is up
to the players to use their creativity to elaborate strange and
unexpected events. The world is full of them.
Let's say the characters are in a bar looking for someo-
ne. One of them approaches the counter and asks the barten-
der if he knows the person. The players define the situation as
logical, given that the characters know that this person attends
the place with a certain frequency. The player draws a card to
get the answer to the question - in this case, "does the barten-
der have any information about that person?" - and you get a
red K. The bartender says he doesn't know anything.
A K Result defines that something strange is going
to happen. The player draws a new card, a J of diamonds.
Something bad happens to all the characters. The player de-
cides that the bartender felt threatened by the question - or
he must know more than he appears - and ran out the back
door, alerting some people at the bar. Three men surround
the characters. “What do you want here?”, asks one of them.
99

N O M A D S
FATE & RUIN
T he fate is written and sometimes manifests itself

in front of the players. At some points during the
narrative, it is possible that the characters really
need to succeed in some action or want the universe to reve-
al itself in a specific way. For this there are Fate Points. Fate
Points can be used to discard a revealed card at any time du-
ring the game, ignoring the result, and drawing another one.
All characters share the same points, and they are only recove-
red at the beginning of a new Episode. Initially, players have 5
Destiny points. Throughout history, some situations - such as
rare artifacts - can increase or decrease this total.
For example, a character is exchanging shots with ri-
vals in an abandoned pavilion. He hides behind a container
and fires. The Enemies strike back and the character tries to
100
protect himself. The players decide to be logical that he, a

trained police officer, can lower his head and protect himself
from the shots. The player reveals a card and gets a red re-
sult. With that, he would be hit. The player decides to spend
1 Fate point to discard the red card and draw another one.
Fortunately, the new card is black and the character manages
to bend down in time.
All Fate points used by players become Ruin points.
The more Ruin points, the greater the likelihood that so-
mething negative will happen during the narrative. When a
Strange Thing happens and players have at least 1 Ruin point,
they must draw two cards instead of one when looking at the
Strange Things table, and discard 1 Ruin point. If one of these
cards is red, it must be used as a result of the table. If both are
of the same color, the highest value card must be used.
101
N O M A D S
EXTRAORDINARY THINGS
ALSO HAPPEN
S ometimes, strange facts escape so much from our

conception of reality that they become extraordi-
nary. In Nomads, weirdness is constant around
the characters. This is represented by the Extraordinary
Things rule. Whenever the deck is finished and needs to
be reshuffled, an Extraordinary Thing will happen. Players
should use the table (p.207), which is similar to the Strange
Things table – but a little more intense - which brings the
possibility of a very blunt plot twist. In this case, players
must use the Turnaround table (p.231) to know the new di-
rection of the story.
Extraordinary things can also be summoned by players
freely when they run out of ideas to continue the story. Thus,
they can use 1 Destiny point to play on the Extraordinary Things
table. If they don't have enough Destiny points, they can still
play, but, as a consequence, they will earn 2 Ruin points!
102

INGS TABLE
EXTRAORDINARY TH ppens ...
thing very good ha
Spades (♠) - Some ppens ...
( ♣ ) - So me th in g supernatural ha
Clubs ppens ...
thing very bad ha
Hearts (♥) - Some s! (Use the
turnaround happen
Diamonds (♦) - A
table.)
Turnaround (p.231)
.
A - With all NPCs
ho st ile NPC.
2 - With a
ne ut ra l NPC.
3 - With a
sc en e ob ject.
4 - With a e Scene.
En em y that appears in th
5 - With an ene.
already on the sc
6 - With an NPC th e en vi ro nment.
te of
7 - With the clima e Scene.
that appears in th
8 - With an Ally
ronment.
9 - With the envi
ter.
10 - With a charac
l th e ch aracters.
J - With al
object.
Q - With a scene
present.
K - With everyone
103

N O M A D S
TRUTHS & CLUES
A s the Scenes progress, players will need to re-

member all the important information that may
have repercussions at a future point in history.
These are the Truths and Clues, noted on a separate sheet
for common use by the group. The Clues are any informa-
tion that players deem important to remember later, such as
the names of characters or locations that appeared during
the story, information about the objectives of the Episode or
about opponents faced.
Truths can assist in the development of the world and
history, since they are rules of the universe that players learn
and must be followed during the narrative. For example, if in
the course of their investigations players discover that extra-
-planar raven-men are wounded just by fire, they may decide
to establish this information as a Truth in their history. In the
future, other raven-men will also be vulnerable to fire, as a
way of maintaining cohesion within the reality in which the
story takes place.
104

L I N K O N E : M E D
TRUTH & CLUES NU O
S A
M A D S
-The Cult of the Glass has dominated the Industrial

Zone .
-Ramon , the ganster, is allied with the Cult.
ALLIES & ENEMIES

Neptune (Ally) a gang member (S12/P2/L20).
FATE RUIN
X X X 105

N O M A D S
ALLIES & ENEMIES
T he characters encounter, throughout history,

people and creatures with the most different
motivations. Whenever a Wild Card is drawn
and an NPC is on the Scene, there is a possibility that he has
an unusual affinity or anger towards the protagonists. If the-
re is a logical reason for this in the story, one of these NPCs
can become an Ally or an Enemy. It is up to the players to
analyze the situation to decide how the relationship between
this NPC and the characters was impacted to the point that
they became Allies or Enemies.
Allies & Enemies must be noted on the Truths & Clues
form. It is recommended that players write down the name
of the NPC and give a brief description of the character to aid
in their future appearances. In addition, they must record -
creating, if necessary – the NPC Strength, Protection and Life
values. The Fifth Interval provides examples that can be used.
Allies and Enemies can appear when Strange Things
happen (p.206) mentioning Allies or Enemies. An Ally may,
106
for example, appear during combat to assist players in fa-

cing opponents, or they may call on the nick of time, saying
that they have obtained important information and that they
can help players unravel a mystery. Allies can also manifest
themselves in other ways: they can send someone to help,
or sabotage - even without the characters knowing it - some
enemy plan.
On the other hand, Enemies will try to harm the cha-
racters whenever they have the opportunity, either by sen-
ding cronies to fight them, or causing chaos throughout the
city, or harming someone for whom the characters have an
appreciation - an Ally, for example.
Allies and Enemies can also be summoned during the
game, without relying on the cards. Do players need a con-
tact who knows where to find nomads around the city? Do
you need brute force to invade enemy territory or a good
hacker? Perhaps an Ally is the ideal person for the job. The
recommendation remains the same - if the story asks, create
and adapt to keep the narrative flowing!
107
N O M A D S
VIEWING THE SCENE
T he development of the narrative - especially in

moments of action - becomes easier and faster
when players can visualize the space in which it
occurs. Being able to judge the distance between each cha-
racter and the Enemy, or the size of the room they are in, can
help players in the process of creating the Scene.
Since Nomads does not place the domain of the nar-
rative under the responsibility of one person, it may be that
each player imagines the story in a different way. To solve
the problem, it is recommended to use drawings on sheets
of paper. Players can draw a blueprint of their location and
use pieces - such as miniatures, dice or meeples - to repre-
sent each character on the scene. This makes it easy to know
where everyone is and what the environment is like. This is
especially valuable in combat sequences, where players need
to visualize what is happening more accurately.
Drawings on a page can also help players unders-
tand and remember the relationships between characters,
Antagonists, Allies and Enemies. Players can draw circles with
the names of their characters and squares with the names
of the NPCs, by drawing arrows and writing on them what
their character's relationship is with each one. This allows,
in more elaborate stories and with more characters, that the
players to understand and simplify all the complexities of the
plot, avoiding the risk of leaving any character behind!
108
PLAYING WITH REALITIES
T he journey between different realities is one of

the main elements of Nomads. This ability may
be at the center of the narrative - when charac-
ters explore other planes of reality and live adventures in
exotic locations - or have a secondary role - when players,
for example, play investigators looking for clues to expose
a serial killer, but, to get their answers, they will have to
travel to other realities. The way nomadic skills are used in
an adventure can also be explored as a pretext for players
to tell stories set in totally different places. Science fiction?
Medieval fantasy? A post-apocalyptic future? Unreality con-
templates everyone.
The creation of other worlds, different from ours, re-
quires greater attention to the Truths & Clues, considering
that one of the main characteristics of a well-built universe
is a clear system of rules, from the gravity that operates on
the planet to creatures, people and environments that the
characters may encounter ahead.
What if players want to travel to other planes of reality
during their adventures? It is possible that at some point they
will find portals to other universes, in the form of mirrors or
Medusae. Medusa-shaped portals are very rare and should be
inserted in the context of the story, perhaps as an objective
or climax. They take the characters to exotic worlds, very
different from ours.
109

N O M A D S
Mirrors are less rare, and can appear in the narrative

more often. Players can search for them whenever they want,
and it is illogical for them to find one. Characters who know
other planes of reality or are initiated into the occult can find
them more easily. If they find it, they can go through it. To
pass through a mirror, players must spend any Destiny points
they still have, with a minimum of one.
In the other reality, information about the story can
be reevaluated. Right away, an Extraordinary Thing (p.207)
happens. In addition, for each Destiny point spent, players
can question one aspect of the story. Is the shooting still
going on? Is the antagonist really in the scene? Is it really rai-
ning? If desired, players can instead use all the points spent
to apply a Plot Twist (p.231) to the narrative.
The questions must be decided together and resolved
the usual way. The more radical a change, the more difficult
it is to occur. Small changes in the scenario are logical, but
changes in the plot - such as the appearance or disappea-
rance of characters and facts - can be considered illogical or
even impossible.
The trip to other universes can completely alter the
plot's course, and even attract characters from other worl-
ds controlled by the Void. Once the crossing is resolved,
players must draw a card. If the result is red, they must note
a Void Creature among their Enemies. Its appearance and
intentions will only be known when - and if - it appears in
the story. When this happens, players can use the Strange
Creature creation tables (p.209) to reveal it.
110

111

N O M A D S
COMMANDING NPCS
T here is a possibility that players will be accom-

panied by an NPC during the story. An Ally who
decides to help them or an Enemy captured by
them, for example. In such cases, players must narrate the
actions of this NPC as if he were another character.
When an NPC joins the group, one of the players will
have the duty to define his actions, and will, after his turn,
describe what the NPC is doing or talking about. Whenever
a Strange Thing happens, NPC control passes to the player
who drew the Strange Things card. This card can remain with
him to remind him of the responsibility.
THE SPICE MUST FLOW!

Players develop the story by interpreting the respon-
ses given by the game and the results from the Strange or
Extraordinary Things tables. It is possible, however, that at
some point the group will stall or run out of ideas. This can
be resolved in two ways. If the creative block occurs during
the creation of a Strange or Extraordinary Thing that has
been revealed by a card, players can ignore that it happened
and move on. The fluidity of the Scene is the most important
element for the progress of the narrative.
Another way to resolve this issue is to use the tables at
the end of this book. They generate places, items, creatures
and other elements. Just draw one or more cards and con-
sult the appropriate table; there is a list of them on p.198.
The Strange Things (p.206) or Extraordinary (p.207) tables
112

are a good incentive to follow the narrative. The Immediate

Objectives table (p.223) can also help, establishing a mo-
mentary obstacle to be overcome.
Furthermore, and this is very important, is that every-
thing that is said at the table, and that makes some sense in
the story, is valid. The first suitable idea that comes up or
the first action that is described for a character is what ha-
ppened. Players must not go back. This increases the tension
of the game and can put the characters in really unexpected
places and situations.
CHANGE OF PERSPECTIVE
The construction of Truths and the collection of Clues
are some of the changes that will occur during history. After
going through countless adventures and surreal situations,
the characters - and certainly the players - will have a so-
mewhat malleable idea about the concept of reality. What
could initially be seen as illogical or impossible - where has a
man with an ant's head ever been seen? - can become logical
or even trivial over a long journey.
That's how it works.
As the characters immerse themselves in Unreality,
the more it shows and the greater their ability to see throu-
gh the veil that hides it. Consequently, more strange things
happen around them and their relationship with the occult
will grow. In addition, as the stories get grander and the risks
greater, the characters will tend to draw more attention from
authorities - like the Cult of Glass - to supernatural events.
113

N O M A D S
I DIED AND I DO NOT

RECOMMEND IT!
U nreality can be dangerous. During their jour-

ney, the characters may suffer injuries and
even die. When the number of Life points rea-
ches zero, a character will be considered unconscious. He's
not dead, but, say, he's already forwarded the papers.
If this occurs during a fight, the remaining characters
must try to complete the fight. If the Enemies win and there
are no other threats around, the unconscious character wa-
kes up and has 1 Life point. The rest can stabilize his wounds
so that he can survive the dangers to come. If possible in
the context of the story, players can still return to a base of
operations and recover before continuing the adventure. It
all depends on the plot that is at stake.
If the characters are all unconscious, the Episode will
be considered a failure. The story can start over from the be-
ginning of the session - like a game saved in a video game - or
follow some other possibility: were the characters captured
by the Enemies? Woke up in some strange place? Were they
saved by any Allies? The choice is up to the players. If they
are really tough, they can end their characters' career around
there. Turn the back of the Character Diaries into a headsto-
ne and save them for posterity.
Now other characters - The children? The friends? -
may arise to continue the story. Is the villain still on the loo-
se? Did the plot involve an apocalyptic ending that ended up
happening? There are many possibilities to be explored, and
death can serve as an excellent device to spice up a story.
After all, the narrative cannot stop.
114

I SWEAR IT WAS WELL

AS IT HAPPENED ...
There are some moments in our lives when it seems
that we have lost control. Confusion takes over and we be-
come sailors being carried away by the whim of a rough sea.
This can also happen in Nomads. Players can build a plot so
absurd or full of complications that it is difficult to follow a
safe path. The police can come up with reinforcements to
end it all, creatures may want the characters' heads or entire
worlds can be destroyed by extra-planar beings.
Do not worry. Life is like that, sometimes.
If something like this happens - even during the
“Incognito” narrative, in the Third Interval - players can feel
free to separate from the planned story and do their own
thing, taking the plot wherever they want. They are always
free to build their own narratives. Unique details of the story
may even preclude a coherent continuation of the narrative
in “Incognito”, and if that is the case, players can ignore the
existence of these details or abandon the structure proposed
in the book and move on with their own version of the facts.
Some events can have consequences that will radically
change the story, forcing players to adapt to a new reality.
Do the characters have an apartment they use as a base of
operations that was destroyed by the Enemy? Was the entire
city devastated by an unexpected nuclear war? Are the cha-
racters stuck in an unknown plane? Is one of the characters
turned around and playing alongside an Enemy? It's all right.
Unreality embraces everyone. Have a good time.
115

N O M A D S
EVOLVING
K nowledge is priceless. During the story, the

characters will go through different experiences
and learn from them, as in real life. At the end
of each Episode, players will earn 3 Experience points, plus
1 for each Fate point they have not used during the Episode.
With these points, they will be able to buy new Talents for
their characters.
Buying a Talent that the character does not have costs
15 Experience points. The purchase must be justified by
the player, explaining why the character has access to that
type of ability. Characters can also purchase enhanced ver-
sions of the Talents they already have. Each Basic Talent has
up to three Enhancement options. To acquire an Enhanced
Talent, the character must pay 25 Experience Points. If the
character has the Strong Talent, for example, he can buy the
Very Strong Talent for 25 points. If the player already has an
enhanced version of an initial Talent and wants to purchase
other enhanced versions of the same Talent, he must pay 20
Experience points instead of 25. When a character acquires
an Enhanced Talent, the Basic Talent that originated it is not
lost. Thus, a character who has acquired Strong Talent (15
points) and then Very Strong Talent (25 points) can acqui-
re Resistant Talent - an enhanced version of Strong - for 20
points. A character can never have more than twelve Talents,
either in their basic or enhanced versions. It is not possible
to remove Talents from your character to make room for new
Talents.
If a Description, Type or Specialty has the same mea-
ning as a Talent, the character is considered to have the Talent
in question. For example, a character who is a strong fighter
who knows how to shoot already has the Strong, Fighter and
Gunner Talents, and can purchase enhanced versions of the-
se. See the list of Basic Talents and the Enhancement possibi-
lities for each one:
116

BASIC AND ENHANCED TALENTS

STRONG
Very Strong / Resistant / Sexy
AGILE
Acrobat / Runner
INTELLIGENT
Investigator / First Aid / Manipulator
CHARISMATIC
Manipulator / Contacts / Sexy
SHOOTER
Pistols / Rifles / Shotguns
FIGHTER
Unarmed / Melee Weapons / Immobili
zation
ATTENTIVE
Researcher / Reflexes / Stealth
RESISTANT
Strong / Runner
COMPUTER
Hacker / Hardware / Search
OCCULTISM
Plans / Creatures / Artifacts
117

N N OO MM A A D D E S S
E ach Talent can be used in different situations, and

it is up to the players to use their creativity to jus-
tify the application. The following is a list - which
does not claim to cover all possibilities - with suggestions for
use for each Talent, both Basic and Enhanced.
Acrobat: The character is very agile, being able to
jump, climb and move with great skill.
Agile: The character is agile and can run, climb and
move without much difficulty.
Artifacts: Knowledge of artifacts and extra-planar ob-
jects is natural to the character. He can identify with some
chance of correctness the origin of artifacts and discover what
they are.
Attentive: With a keen perception, the character can
hear sounds, perceive ambushes and find clues.
Charismatic: The character is easy to relate to socially.
Computer: The character knows how to use a compu-
ter with an above average skill.
Contacts: The character's agenda is packed with peo-
ple from the most diverse areas.
Creatures: The character knows a little about extra-
-planar creatures, knowing how to identify them and, perhaps,
knowing their weaknesses.
Disarmed: With a history of fights, the character is skil-
led with his hands free.
Fighter: The character is good at fighting. In a hand-to-
-hand fight, with or without weapons, he manages to defend
himself against most opponents.
118

Gunner: Trained in the use of firearms. It can hit tar-

gets more easily. He does not have great skill with any specific
weapon, but he can understand the use of different types.
Hacker: The character can break into and circumvent
electronic security systems.
Hardware: The character knows a computer and other
electronic devices inside, being able to assemble or disassem-
ble a unit, identify parts and solve problems.
Immobilization: Skilled in hand-to-hand combat, this
character knows how to immobilize his opponents more easily.
Intelligent: The character has an above average level of
intelligence. He can make deductions faster and collect infor-
mation by analyzing the environment.
Investigator: The character has basic training in inves-
tigating crimes.
Manipulator: You would probably be fooled by this
character without realizing it.
Melee Weapons: The character is good at using melee
weapons. This ability applies both to attacking with knives,
swords, hammers and other types of melee weapons, and to
defending using these weapons or when facing an opponent
who is using one.
Occultism: The character knows a little more about
Unreality and its implications.
Pistols: This character is adept at using and maintai-
ning various types of pistols and revolvers.
Plans: The character has greater knowledge about
119

N O M A D S
plans, portals and nomads.

Reflexes: The character has refined reflexes, which in-
creases his ability to survive in combat.
Resistant: The character has great physical vigor. He
gains +2 Protection automatically.
Rifles: This character knows how to use and maintain
any type of rifle or rifle.
Runner: The character can run very fast and with great
resistance.
Search: The character is skilled in searching for infor-
mation online.
Sexy: The character can use his physical or social skills
to attract other people based on their sexual desire for him.
Shotguns: The character knows how to shoot, load,
repair and maintain shotguns.
Stealth: The character is skilled at moving without
being seen or heard.
Strong: The character has a higher physical strength
than most people. Gain +2 Strength when fighting unarmed
or with a melee weapon.
Technolog y: The character knows advanced software
and gadgets.
Very Strong: The character's strength is well above the
human average. Gain +4 Strength when fighting unarmed or
with a melee weapon.
120

121

N O M A D S
122

SCENE EXAMPLE
P erhaps the best way to explain the game flow is to

show how it works. Next, three players - Bruna,
Alexandre and Renata - need to enter a nightclub
to confront someone important. In previous Scenes they dis-
covered that a receiver would have information about the theft
of a valuable artifact from the home of a big shot in the city.
The big guy hired them to resolve the pending issue. Bruna is
Aretha, an intelligent investigator who knows how to shoot.
Alexandre is Pita, a charismatic biker who knows the streets
and Renata is Maria, an insightful scientist who understands
the occult.
Bruna: Well, we are in front of the nightclub. The name
of the place is Siberia. It is in a cul-de-sac, in a place that is a bit
hardcore in the city. We need to get in there, find this guy and
get some information from him.
Renata: Are there a lot of people over there?
Bruna: Look, it's a nightclub, but it's in a more desolate
place. I think it is illogical that the place is full of people now.
Alexandre: I agree. Illogical.
[Renata draws two cards. One is red, the last card is an
8. The answer is no with an intensity of 8.]
Renata: There really aren't that many people in front,
but maybe our man can be there? It's Alexandre's turn now.
Alexandre: Pita will approach and see if the guy can be
found. I think at least illogical. If he's inside the nightclub, he
would have no reason to leave, would he?
Bruna: Maybe smoking?
Alexandre: Really. Well, is the guy over there? I think
123

N O M A D S
it is illogical.
[Alexandre draws two cards. Red, the second, a 9. The
answer is no.]
Alexandre: It really isn't. Your turn, Bruna.
Bruna: Well, if he's not there ... Shall we go in? Is anyo-
ne armed?
Alexandre: I am, I have a pistol. Better to leave it in
the car?
Renata: I think so. It will create problems in the
entrance.
Alexandre: Right. Pita goes to the car and leaves the
pistol in the trunk.
[Renata erases the pistol in her Diary].
Renata: We can note in Truths & Clues that the pistol
is in the trunk of the car, right?
Bruna: Yes. I will write it down here. Maria has acted,
has Pita done anything? It's Aretha's turn. Let's go in, then.
Renata: Right. Do we have any difficulties to enter? I
think it is illogical. We have nothing to fear. Let's go to the
cards. Okay, a “no” with intensity 3. The security guy scowls,
but we entered without problems.
Alexandre: My turn. Can Pita see the guy? By the way,
do we have this guy's name?
Bruna: We don't have his name. But we should know,
right?
Renata: Yes. Our contact said his name. Let's put it, I
don't know, Rafael.
Alexandre: Okay, I wrote it down here at the Clues.
Well, back to the question, can Pita see Rafael? I think it is logi-
cal, just a walk around the nightclub and we could see who is
124

there, and we know he is.

[Alexandre takes out a card. The answer is “yes”, but
the card is a Q. Something strange happens. A 9 of clubs reve-
als that something curious happens to one of the characters.]
Alexandre: Pita saw the receiver, but got distracted,
bumped into someone and spilled the person's drink. That
sucks. Did the guy get angry? I think it is logical, considering
the place we are in.
[Alexandre draws a card and gets a “no”.]
Alexandre: Phew! Can you imagine starting a fight
now? Well, did we get to Rafael directly or do we plan some-
thing? Pita is charismatic. I could come and talk to the guy.
Bruna: I think so. Aretha and Maria could watch the
exits if he wants to escape.
Renata: Let's do this. Maria is in the back. Aretha at the
front. It’s ok? Right. Let's draw. It will get easier.
[On a sheet, Renata draws a plan of the place, accor-
ding to what she had imagined, and places meeples for Maria,
Aretha, Pita and Rafael.]
Alexandre: Ok. Pita will address the guy in a straigh-
tforward way. “Rafael, I need some information, a guy was ro-
bbed and we need to know who it was. We can pay you for the
information. ”. We can pay, can't we?
Renata: That's what you say. Well, I think it's impossi-
ble for him to help us. But as Pita is charismatic, it is illogical.
Bruna: Really? The guy is a receiver, for money he may
be more inclined to talk.
Renata: Yes, but working with thieves is his profession.
He wouldn't hand the information of one of his clients easily,
it would tarnish his reputation with other thieves.
125

N O M A D S
Bruna: I agree. It’s illogical.

[Alexandre draws two cards, one black and one red.]
Alexandre: I need this to work. I will use 1 Fate point.
[Alexander subtracts 1 Destiny point and adds 1 Ruin
point. He discards the red card and draws another card, this
time black.]
Alexandre: It seems that the guy, despite being upset,
agreed to help us.
Bruna: Aretha is still standing at the exit so as not to let
him run away, just in case.
Renata: Maria too.
Alexandre: The question is, does he know who sto-
le the guy who hired us? I think it is logical that you know.
The guy works with that, right? Okay, let's see the cards ... He
knows! Another question. Can he give us the guy's address?
Well, I think this is much more difficult for him to do. I think it
is illogical, even with Pita's charisma.
[Alexandre draws two cards. The answer is “yes”, but
something strange happens. He draws another card and looks
at the Strange Things chart.]
Alexandre: “Something strange ho happens to any
NPC ”, says the table. The guy tries to escape! Damn it! He let
it out that he knows who stole it, but it doesn't want to say
who did it!
126

Bruna: Is he coming towards Aretha? I think it's logical,

I'm at the entrance to the bar.
[Bruna takes out a letter. The answer is “no”.]
Renata: He's coming for Maria. Do I try to stop him in
here? Fighting here can be a problem. I'll try to trip him up,
can he fall? I think it's logical. Can I try to trip him?
[Renata draws a letter. The answer is “yes”.]
Alexandre: Well, he fell, but soon after, he gets up.
However, it gave Pita enough time to get closer to him. We
will follow him and try to catch him on the street. Pita runs
after him.
Bruna: He went out the back. Let's get him!
Renata: Maria will try to run after him. I think it is illo-
gical that she will be able to catch him. She is a scientist, not
an athlete. Let's see the cards. Nothing.
Alexandre: Pita left the bar. Shall we get the car and go
after him? What do you think? Do we all run to the car?
Bruna: I think it's great. Come on.
Renata: Right. We can get Pita's gun from the trunk.
Alexandre: Right. Pita took the gun. Did Rafael keep
running down the street or does he have a vehicle? I think it is
logical that he has a vehicle. Let’s check the cards. He has a car!
Bruna: Aretha takes the wheel. Let's go after this guy!
Renata: Right. A new Scene begins. It’s a car chase!
127

N O M A D S
128

129

3
N O M A D S
3RD
INTER
VAL
Once everyone understands
the rules of Nomads, players
must decide whether to
create characters and tell
their own stories or play
the Season proposed in this
chapter. Here we will have
fixed characters and a limit
of two players.
130

A SEASON
T he following story, “Incognitos”, includes a

Season of Nomads. There are five Episodes,
each with a description of the situation in whi-
ch the characters find themselves, objectives and other de-
tails to facilitate the development of the narrative.
Because there are scenes and descriptions ready,
much of the players' work in building the story will be spa-
red, speeding up the narrative. Therefore, this chapter is re-
commended for those who have no experience with RPGs or
storytelling games.
This Season, “Incognito”, is divided into Scenes and
Episodes in the same way as a normal game of Nomads, but
often the Scenes require specific results in order for the nar-
rative to move forward. This, at times, may not be possible.
If the players, at any point, irrevocably deviate from the pro-
posed narrative, they must take their own flights and conti-
nue with their stories. This means that they are ready to play
Nomads by themselves.
131

N O M A D S
When starting, one of the players must read the

Episode introduction out loud. It contains important infor-
mation about the environment, the characters and condi-
tions of the story. Then he must read the final objectives.
These objectives must be met to activate the ending of an
Episode and the beginning of the next. In addition, there
are also triggers: situations that, if confirmed, reveal extra
information. Triggers always start with “… if ”. For example,
a trigger “… if the characters enter the bar”, means that the
paragraph can only be read if the characters enter the bar.
In “Incognitos”, one or two players will represent
Girl and Crow, a pair of nomads with some experience. After
going through some adventures together, they decided to
stay in the current reality for some time, living in "19", an
apartment on the nineteenth floor in the South Zone of the
City. Here are their Character Diaries.
Girl is an independent artist who participated in the
city's underground scene before discovering herself a no-
mad. After her father's death, she decided to isolate himself,
finding Crow again, with whom she had already encountered
in a foray into another reality. He, a creature from another
macroverse, remains in this reality in disguise, wearing he-
avy coats and a leather mask that hides his face. The Crow
sometimes fears being discovered - something that even he
knows to be very difficult in Unreality - and being harassed
by humans.
132

133

N O M A D S
Girl, 23 Failed to save a loved one

NAME & AGE CONFLICT
Impatient artist that knows the streets

LIFE
STRENGTH PROTECTION
Unarmed 5 Leather Jacket 2
TALENTS BELONGINGS
Atentive
Technology
Agile
1 3 4 EXPERIENCE

CHARACTER DIARY NU O
S A
M A D S
Crow, unknown Being accepted by humans

NAME & AGE CONFLICT
Wise investigator that knows the plans

LIFE
STRENGTH PROTECTION
Unarmed 5 Layers of old coats 3
TALENTS BELONGINGS
Fighter
Intelligent
Occultism
1 3EXPERIENCE
5

N O M A D S
136

INTRODUCTION
T he key turned in the lock and the door slid in-

side. The smell of home was comforting. Girl
turned on the light in the room and locked the
door. It was a small apartment, with not much more than
necessary. And that was enough. She walked to the kitchen.
“Where have you been? It's late", came a ragged voice
from the corridor that led to the rooms.
"I know, leave me alone", she replied, opening the
refrigerator and pulling out a bottle of wine.
She pulled out the cork and threw it in the sink. She
took a glass, but it was so dirty that she gave up drinking
from it.
“I tried to pick up a few things here and there, but it
came to nothing. I think this guy is gone”, she said.
She drank the wine from the neck. She went into the
living room, turned on the television and settled on the sofa.
“We need to be patient. He may still be around. And,
if he isn’t, that's not our problem anymore. Then everything
is fine ”, the voice replied, still distant.
The television aired the eleven o'clock news.
137
N O M A D S
Something about economics, about how life had gotten wor-

se. The Girl took a few more sips of wine. She enjoyed the
numbness, the feeling of peace, the loosening of the tight-
ness in her throat.
“A major fire hits an abandoned building in the North
Zone of the city right now. Six charred bodies have already
been found by firefighters. Authorities believe a leak in the
gas pipeline caused the fire. Images posted on a social ne-
twork show the exact moment of the explosion. The bodies
have not yet been identified, but according to the police, the
victims are said to be homeless people who lived there. ”
"Holy shit, it's him," she said as she dropped the bott-
le of wine on the floor and straightened up on the couch.
"Maybe. It could be him”, replied Crow.
The two exchanged looks.
Girl felt a hand rest on her shoulder, heard the cre-
aking of the leather glove. She turned off the TV and took
a deep breath. She got up from the sofa and walked to the
balcony, watching the night.
The Crow stopped beside her.
"I don't think we have much choice now, do we?",
she said.
"No. It's us or him. ”
With her hands on her face, the Girl cried. She took a
deep breath and wiped her eyes with her coat cuffs, staring
at the off TV.
"So , let’s do this!", she said.
138
EPISODE 1
A NIGHT LIKE ANY OTHER
T he orders were clear. Find the Incognito and

eliminate it. Threatened by Void, a nomad is ca-
pable of terrible things. The Girl and the Crow
leave the apartment in search of clues that can take them to
the Incognito.
A few days earlier, the Guild representative in the city,
Suri, had given them the task. "He's a threat to us all," he
said. “You must deal with this. Otherwise, the Guild may not
be so benevolent to you next time. ”
Suri did not give much information about the nomad
in question, but described him as a thin man in his late twen-
ties, white and with a shaved head. He gave no name or any
other information that could lead them to him. The sugges-
tion was that the Girl and the Crow would wait for some
demonstration, something that would not be long in coming.
Days passed and nothing happened, giving them a little hope
that they would not need to put their lives at risk. The news
on television was the turning point, and the Girl knew - even
without wanting to accept - that it was her target.
MAIN OBJECTIVE
Girl and the Crow must confirm the identity of
Incognito as the one responsible for causing the fire. To do
this, they must locate a witness who can at least describe
him or link him to the location and time of the explosion in
the North Zone. The Episode ends as soon as they get this
confirmation.
139

N O M A D S
IMPORTANT CLUES
The explosion occurred in the North Zone of the City,
an industrial region, known for the large number of abando-
ned buildings. In these places it is common for communities
of people to appear who have nowhere else to live. They
may have more information about the accident or possible
witnesses.
The North Zone is also home to Marduk, the Lord of
the Flies. He owns and lives in a nightclub called The Lady
of the Lake, and has a gang under his command - formed
mostly by criminals he calls Flies - which, in addition to col-
lecting information, also commands drug trafficking throu-
ghout the region. Marduk may be an important contact, but
he will certainly ask for something in return - a good way
to find out what he wants is to consult the Final Objectives
table (p.222). Always remember that Marduk is a dangerous
individual, and probably the favor to be done will not be
very simple.
HOW TO PROCEED?
Girl and Crow are outside the apartment in the South
Zone of the City. It is night and hardly anyone walks the
streets. The most likely action would be to go to the North
Zone and find the location of the explosion. The Girl has
a car that can be used for this. The TV report did not give
many clues, but perhaps following the police trail, or trig-
gering any contact that she or Crow may have, place them
closer to the exact place. From there, they can search for any
survivors or witnesses to the explosion. Or maybe the idea
is different: look for contacts in some bar or place that was
busy at the beginning of the night - the moment when the
explosion occurred.
140

141

N O M A D S
142

WHEN THE OBJECTIVE IS

ACHIEVED ...
“I saw everything, yes! I saw everything! ”Said

the witness. “He was a thin guy, with a sha-
ved head, very crazy. He was screaming there,
cursing us. Then he screamed louder, and I just saw him ex-
plode. Get it? It exploded! The guy was a suicide bomber or
something. ”
Suri had mentioned this, had said that Void could
awaken strange things in a nomad, make him more than hu-
man. The most surprising fact came from another testimony:
“He didn't look like an adult, you know? It was a child. He
kept crying. And there was someone with him, someone who
was not there, someone that nobody saw but everyone felt
his presence. ”
143

N O M A D S
EPISODE 2
AN UNEXPECTED PARTY
B ack to the 19. Back home. "I think ... I think

I'm scared," the Girl said. "I couldn't be, but I
think I am."
"Me too, Miss," the Crow said. "I am also afraid."
"I'm not like that! I never was!”, she protested, hitting
her fist on her leg.
“Everyone is afraid, cowards and brave. Cowards
don't know how to deal with him. The brave, on the other
hand, know him very well, invite him to come in, sit at the
table, share breakfast... ”
“I was hoping that he would disappear, that he would
leave, that we wouldn't have to get involved in this. What do
I do now? I do not know what to do!" , her eyes floated.
“We are about to go to war, my dear. There is no sal-
vation that you can find in me. I'll do the best I can, and you
already know that. Each of us must find our own tools to
overcome what is to come. It may be that the two of us are
still here to watch the moon set again, it may be that fate
takes us both away, or it may be that it will separates us. ”
"Wish me good luck, then."
"You know I don't believe in luck."
“And what do you believe in? God? Elvis? ”, the Girl
smiled.
She was looking out the window. The city's yellow li-
ghts pulsed like golden veins. Only the noise of a train - one
of the last at night - distracted her. She felt a vibration in her
pocket and took out her cell phone.
A message from Suri.
144

145

N O M A D S
“Delgado is having a party now. It might be a good

opportunity to find him. The guy has means that we don't
have to go after Incognito. You just need to find a way to get
in and find him there. ”
The Girl had sent Suri the news of fire a few minutes
earlier.
She had to contact Samir Delgado. One of the most
outstanding nomads in the city. Owner of an empire, he lived
in a mansion on the East Side.
"Samir, what do you think of him?", asked the Girl,
finding Crow lost in thought.
He shook his head and looked at her.
"Slender. Interesting”, he said. “Charismatic, yet mys-
terious, recluse, slight traces of psychopathy. A born leader,
I would say. What about him?"
“Suri wants us to talk to him. I said there might be
some way to find the guy. ”
"Perhaps. With this habit of collecting rare objects
from other realities, from other macroverses. Who knows?
Or you will find that the fact that he is absurdly rich puts
you at an advantage when it comes to finding someone. Or
anything else."
"He is like Batman, then?", said the Girl.
"Like Batman," replied the Crow.
FINAL OBJECTIVE
Samir Delgado is having a party. Girl and the Crow
must enter and find him. Samir will be in a closed room. The
Episode ends as soon as the Girl and the Crow open the door
to the room.
146

IMPORTANT CLUES
Delgado is a secretive individual. Even at the events
he organizes, the entrepreneur is rarely seen. After arranging
to enter the party, the characters must explore the mansion
until they find him. The house is large with hedges, extensi-
ve walls, big lawns and lots of trees. On its three floors, the
mansion has more than fifteen rooms. Samir usually stays in
his quarters, on the third floor. Security guards armed with
pistols (Strength 10 / Protection 2 / Life 10 / Cautious) patrol
the mansion, and can take action if the characters are seen in
restricted locations.
HOW TO PROCEED?
The Girl and the Crow are ready for the party.
Incredulity makes other guests see Crow as a tall, thin and
weird man. Since neither was invited, entering the party can
be a problem.
TRIGGERS
… If the characters enter the main hall. The party
took place in a large hall in the central part of the house. The
gloom hid masked people in colorful clothes. Overhead, a
huge manta ray made of light flew over the unwary visitors.
Creatures posing as waiters, bright and strange birds flying
free, and Indian-themed music echoed through the space. In
the midst of this, guests drank and ate, many of them obli-
vious to the sights and sounds that surrounded them.
"So much glamour, but most don't even see it," said
Crow, pointing to a group of birds with four wings. “Whoever
sees it, will find a rational explanation. Did I ever tell you
about the time they asked to take a picture with me? They
thought my crow’s head was a costume. ”
147

N O M A D S
148

WHEN THE OBJECTIVE

IS ACHIEVED ...
"I
get my help."
t looks like we have visitors," a deep voice
echoed through the room. "On the night of
an unusual day, the children of Suri came to
The night light coming in through the windows was the

only source of light in the long room. The voice came from the
background, from a dark corner, difficult to identify.
Girl walked slowly, with Crow close behind, before
being interrupted by a strong man, with short hair, military
style. In his late forties, he wore a gray suit and a white shirt
without a tie.
“This is me, but maybe you already know that,” conti-
nued the voice. The man took a step to the side and held out
his hand towards the dark corner.
"You need to keep up appearances, don't you think?"
“Suri sent us”, the Girl said without even seeing her
interlocutor.
"I know. That snake never leaves me alone. ”
Walking towards the voice, she could identify what lied
in the darkness. Around a double bed, tubes and wires co-
ming out of an expensive hospital equipment were connec-
ted to boy's body. He appeared to be just over ten years old.
Around the boy there were three men and three women wea-
ring colorful, extravagant clothes.
“So, guys. You have come here. What can I do now? ”,
asked Samir, his deep voice giving way to a childlike tone.
“Should I send you away? No. That would ruin the par-
ty. What do you want? ”, said the inert boy, slowly, while the
people around him gestured in his place, as if they were his
organic extensions.
“We need to find a nomad. Suri said you would know
how, ”, said Raven.
"He said? Maybe I'm right. ”
149

N O M A D S
"It's an Incognito," the Girl said. "He is a danger to

us all."
"Really?”, said the boy. “He is no danger to me. You see,
I tend to keep the Void away. Maybe it's some of those artifacts
I keep in this mansion, maybe it's me. I'll never know. ”
“Mr. Delgado, we need to find this man. The Guild has
placed this responsibility on us. ”
"And do you put it on me?", the people around Samir
tried to hid their laughter.
"Fuck, will you help us or not, huh?", Girl protested.
Crow looked at her suddenly, reprehension and fear
in his eyes.
"What?", she whispered to him.
“Fortunately, ”, said the boy. “I am in a position that
allows me to help you, even if that does not bring me any
advantage. I want you to understand this favor as a courtesy
to the Guild. And that I will also ask a small favor in return. ”
"Thank you, Mr. Delgado.", Crow bowed briefly.
“I have something. I call it Anima Mundi. I baptized it
myself. It´s an herb from a very distant place that allows me
to feel other nomads, to see them. Do you understand? That's
why I knew you were coming, that's why I know that the per-
son you are looking for is no longer in this city. ”
"Where is he?" asked Girl.
“In Sanctity”, replied Samir.
“Why would he go there? It is such a small city, an end
of the world! ”, said Crow.
“I don't have that answer,, Mr. Crow, but I know you
will find out. Now, please, if you can excuse me. ”
"Thank you, sir," said the Crow. "I thank you on behalf
of the Guild."
Samir did not react, and the Girl and the Crow walked
to the door.
“One more thing!”, said Samir, again in a low voice. "He
is not alone."
150

EPISODE 3
HOLY PLACE
"L et's get this over with," said the Girl to the
Crow. They left for Sanctity early in the mor-
ning. They would arrive early and have se-
veral hours to explore the surroundings and ask questions.
They both knew that Sanctity was not the kind of place that
would welcome strangers with open arms. It would be good
to have some free time bang their head against a brick wall
until they bleed.
They would meet simple people, averse to modern
life, attached to traditions and absolutely conservative.
Sanctity was small, unattractive, banal.
"What is the reason? Why Holiness? ”, asked Girl.
“We don't know very well how the Void works, Girl.
Perhaps he has a plan yet to be revealed, or he is in Sanctity
by chance. ”
Crow straightened up, holding the handle beside the
passenger seat.
"Do you really trust Samir?", The Girl asked.
“I do. We have a good intel. It looks like he's really
there, ”said Crow, looking at the road. The landscape was
beautiful, uneven and very green. Hills rose around it and
trees formed tunnels of leaves and branches over the track.
“What about the thing about him not being alone?
That's what Samir said ... What do you think?
“I can't say. Suri told us it was just one agent of the
Void. If there were two he would know, wouldn't he? ”
"Did you bring a piece?", The Girl asked.
"Yes. This one."
Crow opened the glove compartment, revealing a re-
volver. Girl looked away from the road for a moment. Months
ago, long before the rumors of a nomad possessed by the
151

N O M A D S
Void, Suri had given Crow that weapon.

"You two have to defend yourselves”, he said then. At
the time, the two saw him as a mentor, someone who could
teach and protect them.
Gradually they realized that there was no room for
courtesies within the Guild. The organization proved to be
cold, systematic. It was only interested in keeping the Void
away and nothing else. The breaking point came when Girl
needed help.
"That's not my business. I deal with matters that con-
cern nomads, this is your problem and yours alone”, Suri said.
With Suri's help, things could have been different.
Very different.
"Water under the bridge," said Crow. "Don't give in to
those bad memories."
"How did you know what I was thinking?", The Girl
replied in surprise.
“The weapon, it has that power over you. It makes you
think of him. ”
“Actually, I was thinking that… That gun there. Suri
didn't give it for us to defend ourselves, did he? ”
"I do not think so." The Crow turned to the Girl.
"He gave it to you, not to me."
"Yes, he did."
"So that you can kill me if the Voids possess me, right?"
"Yes. That's what he told me. ”
"And do you think you will need it?"
She looked at the Crow.
"No. I believe in you, not in him."
The Girl turned her attention back to the road. They
did not talk more during the trip, and soon they were ente-
ring Sanctity.
152

153

N O M A D S
154

FINAL OBJECTIVE
T he Final Objective of this Episode is to loca-

te Incognito. For this, Girl and Crow must find
Clues that lead to him. The Episode ends when
the characters manage to get to the Void-possessed nomad.
IMPORTANT CLUES
Girl and Crow know that Incognito is in the city, but
that it certainly will not be in a busy place. Sanctity has some
main points to be explored, such as a church, a police station
- where only two policemen work -, an inn and some commer-
cial establishments.
HOW TO PROCEED?
Girl and Crow leave the car near the central square of
the city. From there, they will start exploring. Sanctity people
are curious, and any abnormal activity hardly escapes the sus-
picious eyes of the locals.
155

N O M A D S

ACHIEVED ...
G irl and Crow approached a hooded figure.

Crouched with his back to them, he examined
something on the floor. He wore a black coat
and trousers cut straight to the shins. His feet were not hu-
man. "I'm looking for him too," the creature said, with the
voice of a throat that looked like it had smoked a million
cigarettes.
"Who are you?", asked the Crow, the Girl just behind
him.
Slowly, the figure stood up and took off his hood. The
head and pointed ears were covered with gray fluff. In the
face, a long snout ended in two sharp teeth. One of the red
eyes was covered by a monocle with a thin chain that was lost
inside the coat.
"I'm looking for him too," said the creature.
The Crow drew his gun. The Girl held out her hand
to him.
"Low it!" she said.
The creature took two steps back.
“Your friend looks… aggressive. There is no reason
for hostilities. ”
"Who are you?", Girl asked, with a shaky voice.
Even living with someone from another reality, she
had difficulty understanding the appearance of that thing.
"I'm looking for him too," repeated the creature, tur-
ning its head toward the sound of an approaching car. Girl
turned and saw a speeding black van.
“What's going on?”, asked Crow, revolver in hand.
156

"It looks like your friends want to participate in our

confabulation," said the creature, "but no, they won't be able
to participate."
The van stopped and three men got out. Two wore
white masks. Girl recognized the third as Suri.
"You," the creature pointed a bony finger at Girl. The
skin of the hand was pink and a short hair sprouted from the
coat sleeve. "You can come with us."
“Stop!”, shouted Suri as he ran towards them. "Don't
let him get away."
“It looks like your friend insists on getting in the way.
See you soon, ”, said the creature before taking a step back
and disappearing.
Suri approached, snorting. He looked around, sear-
ching for something that was no longer there. He put his
hands on his head and turned to the Girl and the Crow, his
eyes wide.
“Do you guys have shit in your heads? Why did you let
him escape? ”, he shouted.
"He disappeared! What did you want us to do? ”, Girl
retaliated. Suri looked at her and held up a hand, preparing
a slap. Before he could hit her, he was stopped by Crow’s
robust hand.
"Control yourself, Suri," he said.
The two masked men approached, guns drawn.
Crow walked away.
"You should have told me he was in Sanctity," said
Suri, his voice still altered.
"You guys have no idea what's going on, do you?"
Before Girl and Crow could react, they were stunned
by the deafening sound of an explosion.
"It's him," said a pale Suri.
157

N O M A D S
158

EPISODE 4
OUT OF CONTROL
I t was difficult to understand what was happening

in Sanctity at that time. The first explosion blas-
ted at least two houses, and what followed was
a storm of death and destruction. Girl and Raven tried to
protect themselves behind some piles of firewood, but the
security they afforded was minimal in the face of such chaos.
In the distance, they could see a figure floating over the buil-
dings. He struggled and, with each spasm, sent blasts of fire
down the city. People ran, desperate and aimless, but with a
gesture they were sprayed in a shower of guts.
"He's having a crisis!" Shouted Suri.
He ran towards the van, Girl and Crow behind, along
with the two soldiers who came with him. As they approa-
ched the vehicle, a young man came out of it with his hands
up.
"It doesn't work!", he said. Girl recognized him from
a meeting a few weeks earlier, when Suri had explained the
situation of the unknown. Crow ran ahead and approached
him.
"Mr Ducann, am I right?" He asked.
"Yes..." said the man, confused. "I am Ducann..."
“On our way here we passed a church, it seemed like
a very robust building. Perhaps it is prudent to take shelter
there ”, recommended Crow, speaking loudly to overcome
the sound of explosions. Suri looked at him and then gestu-
red to his men to follow Crow.
“Come on!”, shouted Suri, irritated.
159

N O M A D S
FINAL OBJECTIVE
T he Final Objective of this Episode is to reach

the church of Sanctity alive. The characters
have a complicated path ahead of them. They
will need to find their way, avoiding explosions and fires.
Sanctity has many wooden houses that can burn and collap-
se. In addition, people are scared, running through the stre-
ets, and can hinder the characters during the escape.
IMPORTANT CLUES
The Church is in the city center, not far from the main
square, where Girl and Crow left the car parked. The cha-
racters will be able to guide themselves through the tower
to reach it.
HOW TO PROCEED?
This Episode asks for a special rule: a different table
of Strange Things (the table beside this text) that must be
used every time the characters follow the path. The table will
tell you what's ahead. Each result can occur a maximum of
two times during the Episode; if a repeated card is drawn,
consider a higher, if possible, or lower result that has not yet
appeared. Some results show a Strength value and require
characters to take action to avoid damage. When this occurs,
each player must describe the action that his character will
perform - he can ask a question before that - to avoid the
damage, and the move is made in the same way as during
combat (p.80).
160

MORE STRANGE THINGS...

A - An explosion! (Strength
5).
1 - An abandoned shed is
on the way,
characters must cross it.
2 - A burning bus blocks the
way ahead .
3 - A house on fire collapses
! (Strength 3).
4 - Frightened people ask the
characters
for help.
5 - A blast of flame! (Force
4).
6 - The characters find dead
people on the
floor. There is a possibility
that this will
affect them in some negative
way.
7 - Near the bodies, characte
rs find two
Common Equipment (p. 21
4).
8 - A person (p.221) out of
control (Stren-
gth 5 / Protection 0 / Life
12) tries to at-
tack the characters!
9 - A blast of flame! (Stren
gth 6).
10 - Characters can pass th
rough a buil-
ding to cut a path .
J - A burning truck blocks
the way ahead .
Q - An abandoned buildin
g is on the way,
characters must cross it.
K - A big explosion! (Stren
gth 7).
161

N O M A D S
TRIGGERS
… If the characters arrive in the central square
of the city: Horrified by the chaos that surrounded her, Girl
staggered to the central square, looking in her pockets for
the car keys. She touched her trousers and, before reaching
into her pocket, saw her car on fire.
"Come on!", screamed Crow. "We need to move
on!"

ACHIEVED ...
The pain in the body made the climb of the last steps
of the staircase a penance for Girl. She felt strange, as if the
hangover from the wine of the previous night had decided
to come into full effect. Crow pulled her by the arm so that
they reached the last few feet to the church door, and had -
something she wouldn't have - reflexes fast enough to throw
her to the ground at the moment when an explosion killed
the two masked men who accompanied Suri .
The front door of the church was ajar. Shortly after
Suri and Ducann entered, Crow passed the threshold with
the Girl. He helped her sit on one of the benches in the back
162

row while Suri slammed the door.

"We can wait here until all this is over," said the Crow.
“I don't know what's going on with me, big guy. I am
feeling a strange dizziness”, she replied.
Suri searched the church nave and shouted for
Ducann to come to him. Crow followed him. Near the altar,
lying on a bench, there was a wounded man. He must have
been about seventy, and was with his hands closing over his
bloody chest.
Suri bent down, rested a hand on his and said some-
thing in a strange language. The man seemed surprised and
began to speak in a way that neither Crow nor Girl - much
less Ducann, who observed everything from a distance -
would understand.
Bruised, the old man had difficulty articulating words
and sometimes stopped, moments when the unknown sou-
nds of that conversation became universal moans of pain.
Suri looked him in the eye and spoke in a comforting
tone; there was something very different about him from the
man they knew.
They talked for a few minutes, until Girl approached.
"Better?" Asked the Crow.
"A little. Is it over? Does…"
"Not yet," Suri interrupted. “We need to finish this. I
have a plan. ”
163

N O M A D S
164

EPISODE 5
MEDUSA
“T his is a special man. He's like us ”, said Suri,

pointing to the injured old man. “You have
no idea what this city means to us. It is in
places like this that many nomads decide to spend their last
days. Therefore, Sanctity must be protected. Or at least it
should. ”
"All these people out there ... are they nomads?", said
Girl, surprised.
"Most of them…”, said Suri, raising his head. “Do you
understand now why I needed you to inform me about it? I
never thought the Void-possessed nomad would come here."
"What will we do with this man?", Ducann asked.
“Stay here with him, Ducann. I've lost enough people.
This one will not die today”, Suri said. "The three of us are
going ahead."
There was no tear, no gesture, nothing to divert Suri
from his goal. Outside the church, the two men who accom-
panied him were dead, destroyed by an explosion in that
corner of the universes, and would stay there.
"And now? What's the plan? ”, Girl asked.
“The Incognito was called Jonas. He lived here, in this
city. According to this man, he had mental problems and was
always cared for by a younger sister. He assured me that if we
find this woman, Jonas will come to us, ”said Suri. “But he
doesn't know anything about that creature that accompanies
165

N O M A D S
him. We need to be careful. ”

“If we find this woman, then what? It's just the three
of us, if Ducann stays. What will we do?", said Crow, sitting
on one of the benches, looking at the cross on the altar. Suri
stood between him and the crucified one.
“This is the second part of the plan. In this city, in a
more distant place, there is a Medusa. It is only one way, and
whoever entered there did not return. We don't know why,
but that's what happens, ”explained Suri. "If we can get Jonas
there, we can banish him through the portal."
“And how are we going to do that? Shall we kindly ask
him to throw himself into the Medusa? ”, The Girl asked.
“We will use his sister. It is decided. ”
FINAL OBJECTIVE
The Final Objective of this Episode is to reach the
Medusa after capturing Jonas's sister. The Season ends when
that happens.
IMPORTANT CLUES
Suri knows that Jonas's sister lives in a big house at
the end of Sanctity main street, but she doesn't know the
exact address. The characters - Suri, Girl and Crow will go
there, while Ducann stays in the Church - must go there and
convince her or compel her to accompany them. The medu-
sa is located in an abandoned train station about two miles
from the city center.
166

HOW TO PROCEED
Leaving the church, the characters are faced with a
scenario of destruction. In the streets, people try to help the
wounded, put out fires and contain chaos. The characters
can get Clues from the townspeople to find out where Jonas'
house is - as it's a small town, people know him - and the
train station. When a Strange Thing happens, players must -
if the characters are in the downtown area - use the table in
Episode 4 (p.123). During the Episode, Jonas is a rare sight,
flying over the city and still causing destruction. Players must
take turns controlling Suri's actions (p.112).
TRIGGERS
…if the characters arrive at Jonah's house: The house
was on a large, grassy land without bars. Approaching her,
the Girl and the Crow noticed a door ajar.
"Let's go slow," said Suri. The trio entered in silen-
ce and found a large room. A sofa covered with a crochet
blanket, a central table with a flower pot, a bookcase, pictu-
res and a colorful rug filled the space. Ahead, in a dimly lit
corridor, there was a young woman. Sitting on the floor and
hugging her knees, she was crying.
"Alice," said Suri, "we came for your brother."
The girl turned to him, her eyes moist. "I couldn't
help him," he whined.
167

N O M A D S
168


ACHIEVED ...
T he station, which was at a higher point in the

city, seemed abandoned for decades. There was
no sign of wagons, and most of the tracks had
already been covered with vegetation. Two large buildings -
where trains were once loaded - lay decomposed. Graffiti was
on the walls; on metal, rust. Between the two main buildings,
the ripple a Medusa was visible against the horizon and the city
below. Tall as the walls that surrounded it, it crackled like fire,
with strands of bluish light dancing out the portal.
“She is beautiful, isn't she? Do you smell it? Cider, ”said
Crow, turning to Girl. “Now I believe that we can only wait.
How are you?"
Girl was curled up, grabbing the sleeves of her coat,
with a hood over her head. Her anxiety was visible, and she
seemed to be struggling to keep herself in check.
"I'm ok. We need to stay tuned”, she said, gesturing
towards the city.
The wind whipped around the trees and that whistle
was the only audible sound there. The city had been silent a
few minutes ago, save for the occasional siren or horn. Alice,
Jonas's sister, was beside Suri, looking scared.
"Please don't hurt my brother, he doesn't know very
well what he does", she said.
"Don't worry," Suri replied.
Crow looked at him. A stronger gust of wind brought
the rustle of dry leaves across the floor.
"It's him," said Suri.
In the emptiness, something took shape, dark, as if
stealing the light from the room. Gradually they recognized
the rat-headed creature. Jonas appeared behind him. Shirtless,
thin and hunched, he was staggering.
Suri was quick. He took a pistol out of his jacket, gave
Alice a tie, and aimed the gun at her head.
169

N O M A D S
“Stop right there! ”, he shouted.

"This is ... rude," said the rat-headed creature.
"Mickey, what are they doing?", Jonas spoke for the first
time. The voice was that of a man, but the tone was childlike.
He was standing beside Mickey, holding the rat-headed crea-
ture by the hand.
“They want to destroy you, child.”, said Mickey.
“Remember what I told you? Many will try to stop us, but they
will not succeed, they will not stand a chance.”
"Jonas!", shouted Suri. “Enter the Medusa portal or I
will kill this girl. You have no choice. Your place is not here! ”
Crow drew his revolver, keeping it low at his side.
Mickey pointed to Girl, standing beside him.
“Ah, look at her, Jonas. She surrendered. ”, said Mickey,
showing his sharp teeth.
The creature pointed towards Girl.
“You, come with us. What they call Void we call
Freedom. And Freedom has already laid her hands on you. ”
"No!", shouted Crow, pointing the gun at Mickey.
“Girl, get away! Don't listen to them! ”
Girl took two steps towards Jonas and fell to the floor.
She put her hands on her head and screamed. An indescribab-
le pain exploded in her head.
"That's how it starts," said Mickey.
"Crow! Shoot her! It's the Void! Shoot her now!”, shou-
ted Suri, tightening his arm around Alice's neck, the tip of the
pistol pressing on the young woman's temple.
Crow hesitated, lowered the gun, pointed it at Mickey
again, and lowered it again.
"Let go of my sister!", shouted Jonas. A strong heat
170

wave emanated from him, and a gust of wind sent leaves and
debris flying across the station.
Mickey opened his arms and raised his head.
“That is it, Jonas! Let it flow, let it all come out, do not
spare anything or anyone!”, he shouted.
"Let her go!"
“Shoot, fuck! Shoot now or you will go with him! ”, Suri
ordered.
Girl heard everything, but could not understand what
she was listening. It was as if the space around her was domi-
nated by a cacophony of noises and voices.
"Let's make things easier here," said Mickey, smiling.
From inside the black coat he pulled out a long knife and hur-
led it at Alice. The gun went deep into the young woman's eye,
which softened in Suri's arms until she fell to the floor.
"No!", shouted Jonas.
“Crow! I told you to shoot her!”, shouted Suri, shooting
at Girl.
Before he could fire a second time, he was knocked
down by Jonas' punch and let the pistol fly away. Crow ran,
crouching beside the Girl. He saw the blood pouring through
her coat.
"No, no, no, no!"
"Leave her. Leave it her to me, said Mickey.
"No!", Crow shouted. "Never!"
Gathering Girl in his arms, Crow looked at the Medusa
billowing a few feet away. He also saw Jonas, screaming, exa-
mining Alice's body, oblivious to Suri, unconscious on his side.
In a last effort, the Crow ran to the Medusa and, pressing the
Girl against his own body, threw himself through the portal.
171

N O M A D S
172

173

4
N O M A D S
4TH
INTER
VAL
The infinite universes
of Nomads are full of
possibilities for stories and
characters. In this chapter
we will look at how to create
these people and situations.
174

CREATING
CHARACTERS
T he first step in telling a story is to create a cha-

racter. Good stories require good characters.
Good characters are those who experience hu-
man conflicts and dramas. In Nomads, it is possible for a
player to control more than one character or for a group of
three players, for example, to follow the story of five charac-
ters. The ideal, however, is for each player to role-play just
one character. Players can follow the same character over a
series of Episodes or create one for each game session. The
choice is theirs.
The first step is to define the character's name and
age. Here, players are free to create anyone, of any age
group. Then, a conflict must be chosen. The conflict must be
some personal problem that the character seeks to solve and
that is his main motivation. A middle-aged man, for exam-
ple, may want to find a lost child, escape the police, or even
want forgiveness for something wrong he did when he was
younger. During the narrative, players must be aware of their
175

N O M A D S
character's conflict and interpret it as the main motivation of

the character, one that can even deviate from the objective
of an Episode or Season. That's because this conflict is the
main goal of the character, and that possibly will have a con-
nection with all the stories told about him. It is the impulse
that motivates you to move forward. The resolution of this
conflict can be considered, a way to "win" the game and give
it an end. At the same time, a character's conflict may never
be resolved.
Players can use the Character Conflict table (p.210) to
work out their conflicts. The table is wide, allowing several
interpretations for each result. If the game is in a group, it is
recommended that players talk to each order and then create
conflict ideas that are interesting for each character and also
for the group.
The third step is to define the character's Description,
Type and Specialty. For this, the player must choose one item
from each list: a Description, a Type and a Specialty. It is
important to follow the logic in the choice. The player must
first think about the character profile he wants to create and
then search for the items that best describe him. The lists are
not exhaustive, and players can create Descriptions, Types
and Specialties that make sense with their characters and
conflicts.
Description: Strong, Agile, Intelligent, Wise, Honest,
Courageous, Crazy, Stubborn, Curious, Charismatic,
Irritated, Patient, Attentive ...
Type: Investigator, Hooligan, Cheater, Student,
Journalist, Murderer, Doctor, Lawyer, Policeman, Artist,
Criminal, Psychologist, Fighter…
176

Specialty: knows how to shoot, knows research te-

chniques, knows how to fight, has a way with animals, is a
hacker, kills people, knows the streets, knows the univer-
ses, knows the occult, good at talking , knows society, has
contacts ...
He may be an intelligent investigator who knows how
to shoot, for example, or a stubborn journalist who knows
the streets. Each player should look for a combination that
best describes the character he wants to bring to the game.
The characters start without Talents or Belongings;
they will be acquired throughout history. For now, everyo-
ne must place Unarmed (5) in the Strength space of the
Character Diary. This means that they can attack with pun-
ches and kicks, having a Strength of 5. Everyone's initial
Protection is 0.
Finally, players must decide what kind of relationship
their characters have to each other and how they found them-
selves nomads. Are they related? Coworkers? Did you meet in
a difficult or dangerous situation? Is this situation the story
of the game itself? Was it chance that led them to be toge-
ther or was it something bigger? They can use the Character
Relationships table (p.226) to make their choice easier.
During this process, players should be aware of the
Truths & Clues, Allies & Enemies that may arise. This infor-
mation should be noted on the Truths & Clues form. This is
also a good time for the characters to gain some Belongings.
Is there a photographer in the group? Why not give him a
camera? Are any of the characters a cop? Maybe he has a gun,
and so on. This conversation will help and enrich the plot
and can be the trigger for the beginning of a great story.
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N O M A D S
WHERE DOES THE STORY

TAKES PLACE?
T he characters will be different from each other,

but one characteristic they all have in common:
the fact that they are nomads, people with the
ability to travel between realities. As we have seen, players
determine how relevant this skill will be to their adventures.
Does the story take place in the City or elsewhere? Will the
characters live in a world close to the real or in a very diffe-
rent place? Or in a mix of the two? Is the technology the same
as ours, more advanced or more primitive? Having decided
the environment of the story, it is up to the players to talk
about the place where their characters live. Where do they
live? How is the group routine? Answers to questions like
these will help to establish important details for a Season.
178

LL II N
N KK O N
O N EE :: M EE D
M D U
U SS A
A
BASE OF OPERATIONS
Depending on the relationship established between
the characters, players can decide that they have a base of
operations, a place to meet. It can be an apartment, an office,
the basement in a lady's house, or any other place where they
can keep their supplies, weapons, clues and whatever else
they want. Players can use the Places in the City (p.218) or
Strange Places (p.219) table to define where it will be.
The base of operations can open up narrative oppor-
tunities for both the benefit of the characters and their down-
fall. What if the Antagonist finds out the location of the base?
What if she is attacked by her soldiers? Establishing a place
that represents the union of the characters helps in develo-
ping the connection between them and provides a safe envi-
ronment - until proven otherwise - for them to make plans
and interact with each other. If players decide that their cha-
racters have a base of operations, note this information on
the Truths & Clues card.
179

N O M A D S
STARTING A SEASON
A Season is a sequence of five Episodes. The

next step in starting one is to establish its
Main Objective, the one that will be pursued
throughout these five Episodes. Players should talk about the
characters' intentions as a group. What is their purpose? Is
it recovering a relic of power that can save someone from
death? Find the murderer of a loved one? Rescuing a child
trapped in another reality? Defeat a creature that threatens
the City? What can happen if they fail? If in doubt, players can
use the Final Objectives (p. 222), Antagonists (p. 200) and
their Motivations (p.201) tables, Strange Creatures (p.209),
Problems (p.225) and Consequences (p.211), for example,
to assist in the generation of villains, objectives and compli-
cations for the story.
Let's say that players use the Final Objectives table,
drawing two cards, and get a 6 and an 8, "Find a Creature".
They must locate a magical being who can cure a disease
shared by the players, according to the Problems table. Using
the Strange Creatures table they obtain an Ace of Spades and
- after drinking a drink in honor of Lemmy Kilmister - consult
the result and discover that the creature is a rat-man. They
then decide that he is an ancient alchemist, and so he can
have such a cure. Finally, the Antagonists table shows, with
a J of Diamonds, that there is an intelligent Strange Creature
trying to stop them. A move on the Antagonist's Motivation
chart shows that he “needs to prevent the characters from
achieving their goal”. Maybe he wants the alchemist's secrets
for himself.
180

181

N O M A D S
Returning to the Strange Creatures table, players dis-

cover - after a 9 of Hearts - it is a flying humanoid. They deci-
de to call it Zebub, and write it down in the Allies & Enemies
section of the Truths & Clues form. Over the course of five
Episodes, Zebub will try to prevent players from reaching
the alchemist, who must be found and protected by the cha-
racters. If players want to increase the risk of the story, they
can use the Consequences table (p.211) to find out what can
happen if the characters fail to meet their objectives.
REVELATIONS
Revelations are conditions - one for each Episode -
that will give a Season a particular atmosphere. Before star-
ting, players can choose to use one of the four Reveal ta-
bles: Adventure (p.227), Action (p.228), Horror (p.229) and
Mystery (p.230). Each table will influence the mood of the
narratives in a different way, and it is recommended that the
same table be used throughout the Season.
Before the first Episode - and at the end of each one
- players must draw a Revelation. Revelations add particu-
lar elements to the plot, and may or may not be followed
by players. If they, for example, choose the Adventure table
(p.227), at the end of the first episode they must draw a card.
Let's say the result was a 4 of Clubs. In the next Episode, an
NPC or his allies will return seeking revenge. If a statement
from the table does not make sense in the context of the
story being narrated, players can go ahead and ignore it.
182

CREATING EPISODES
A Season in Nomads is divided into five Episodes.
Each Episode is divided into an indefinite number of Scenes.
It is recommended that an Episode be played from beginning
to end in the same game session.
Each Episode must have its own Final Objective.
Players can create these details on their own or using the
Final Objectives table (p.222) to define what the charac-
ters will need to do to complete the Episode. Continuing
the previous example, players use the Final Objectives table
and obtain "Steal / Kidnap a person." Without ideas, they
use the Human NPCs table (p.221) to know who should be
kidnapped. The result is "an adult criminal".
They decide that there is a dealer known for selling
potions and formulas to the alchemist, but that he will not
cooperate with the investigations. So they must kidnap him.
Then they use the Places in the City table (p.218) to know
where to look. A J of Hearts indicates that the criminal may
be in an isolated location. Finally, the players consult the
table of Climatic Conditions and define that the story begins
on a clean night, thanks to an 8 of Hearts.
If players are unsure of where to start or lock in the
narrative during the Episode, they can use the Immediate
Objectives table (p.223) to create an obstacle that must be
overcome immediately. In this example, players draw a 9 of
Diamonds: "understand / interrogate an enemy". They deci-
de that there is a gang member of the drug dealer who must
know where the place is.
183

N O M A D S
184

CREATING SCENES
The action starts after the Season and Episode details
are defined. Players must decide where their characters begin
the Episode. Are they on an operations basis? In the street?
In any difficult situation after the previous episode? Having
defined this, they create the design of the first Scene, esta-
blishing one or more goals. Then, choose one of the players
to start, developing the Scene or taking an action. Players
continue until the Scene’s goal is completed and / or a new
Scene begins.
If we take the previous situation as an example, let's
say that the players decided that the characters start the
Episode together in a cafeteria, adjusting the details of the
kidnapping. They define that they need to find a way to find
out where is the gang member who can have more informa-
tion about the site. One of the characters is a former police
officer, and the player states that he will try to call one of his
contacts to get more Clues.
The player asks, "Does my contact know more infor-
mation about that member?" The group decides that it is il-
logical for a contact to know such specific information. They
draw cards and the answer is no. The next player says, "Ask
if he knows anyone who might know more." This time - in a
question that players define as logic - the answer is yes; the
card drawn is a 6, a yes with an average degree of certainty.
Thus, players decide that this new contact will not meet a
stranger over the phone, and players must go to him. Using
the Places in Town table, players discover that he is in an
abandoned building. The scene ends when the group leaves
the cafeteria and decides to investigate the building.
185

N O M A D S
CLOSING AN EPISODE
Each Episode has a Final Objective that must be ful-
filled by the characters. When this objective is achieved, the
Episode must be closed and any player can declare this clo-
sing. Of course, it is always recommended that the ending
take place in a bombastic way, or that you leave a hook for
the next Episode. To facilitate this process, players can, when
reaching the Final Objective, consult the Revelations table
(p.227-230) for the next Episode. Together, they must inter-
pret the result and establish a beginning for the next part of
the story, ending the current Episode.
ENDING THE SEASON

When the Antagonist is defeated, the Final Objective
is reached, the planet is saved, in short, when the narrative
is played from the beginning to its end, the players end the
Season. This should normally occur in the fifth Episode. If
the narrative asks, nothing prevents you from adding a few
Episodes or ending the Season before the fifth. The end of
the Season marks the end of a narrative arc for the charac-
ters, but not necessarily the end of their story. Players can
decide to go ahead with their characters and generate a new
Season - perhaps using some of the themes and NPCs from
the previous Season - or retire them and create other charac-
ters, in another universe, and restart the game.
If the players want to move forward, they can use the
table Things didn’t work out so well ... (p.220) to generate a
hook for the next Season. The players consult the table and
talk about its interpretation, structuring the story that will
serve as the basis for a new Season.
186

SO,
TO START THE GAME...
175)
Who are the characters? (p.
ween them?
What is the relationship bet
(p.226)
tions?
Do they have a base of opera
(p.179)
(p.222)
What is the final objective?
What if they fail? (p. 211)
0)
Who is the Antagonist? (p. 20
201)
What is his motivation? (p.
be? (p.227-
What kind of Season will it
230)
(p.227-
What will the revelation be?
230)
first Episo-
What is the objective of the
de? (p.222)
rt? (p. 218)
Where do the characters sta
tive? (p.223)
Is there an immediate objec
187

N O M A D S
PAYING BILLS & HAVING A CUP OF

COFFEE
A fter an Episode or Season is over, players await

a new session. Except in very well organized
groups - congratulations to you! - there is a risk
of staying in that, “let's schedule a new game”, and the game
may never come out. Everyone has their responsibilities as
the complexity of life tends to increase, never to decrease.
It can be productive for players to describe what their
characters do when they are not having their lives told in a
conventional gaming session. For that, it is a good idea to
create an online group to exchange ideas. It is healthy for
players to stay engaged even when they are not in a session.
Of course, the end of some Episodes doesn't allow much
to happen: a character can't go around the city, go to the
market or do a search in the local library if he has finished
the last session with a human-fly monster drooling at his feet
saying “kill me!".
188

Did a character have to go to the neighboring city to

find a clue that was left behind in the previous episode? Did
he go shooting or study the occult? Players can share this
information - and even flashbacks, information about their
characters' past lives - between sessions. This enriches the
narrative and can have repercussions during the game itself.
LEAVING THE RAILS

The soul of Nomads is history and its characters. The
rest is accessory. If at any time players feel they need to dis-
tance themselves from any rules in order for the story to pro-
ceed in a more fluid way, they should do so. Did the Season
end in the third Episode? No problem!
Didn't the result of the Revelations table make sense
for that Episode? Ignore it. The most important thing is that
the story moves forward and that the players are taken to
interesting and unexpected places.
The rest is just details.
189

N O M A D S
190

191

5
N O M A D S
5TH
INTER
VAL
Sometimes the most difficult
thing is to take the first step.
This chapter provides some
starting suggestions for your
stories, as well as the profile
of several characters for you
to use in your narratives and
a list of tables to generate
details during the game.
192

IT STARTED
LIKE THIS
S ometimes players run out of ideas to develop at

the start of a Season or Episode. When that ha-
ppens - we all have less inspired days - they can
use the following information to create a simple narrative
and start their Season.
These hooks can be customized as players want, and
developing them can be an interesting idea for starting a
game session. Combined with the tables in this chapter, the-
se narrative fragments can become Seasons rich in intrigue
and mystery.
ALIEN
The characters must confront a Strange Creature
(p.209). Possessed by the Void, the creature will try to find
nomads and destroy them. However, the Cult of Glass may
also be interested in it, using it as a way to find unsuspec-
ting nomads. A representative of the Guild gathered the cha-
racters at a location in the City (p.218) and ordered them
193

N O M A D S
to destroy the creature. This is where they start the adven-

ture, otherwise something can happen (p.211). The Final
Objective of the first Episode is to find Clues about the cre-
ature's whereabouts, which would have already killed some
people in the North Zone of the City. There, it is rumored
that she slaughtered members of a gang of children and tee-
nagers known as The Fucked Ups.
RAIDERS OF THE LOST ARK

An Antagonist (p.200) holds an object of power. The
characters are contacted by Samir Delgado (p.56), a well-k-
nown nomad, to steal it. It is up to the players to decide the
reason for the rescue: the characters may owe Samir favors or
receive money to do the job. An aide to Samir finds them at
a location in the City (p.218) and reveals that the Antagonist
is having a party in a detached house in the North Zone. The
characters must invade the party - as guests or as burglars -
and recover the artifact. The problem is that there is a possi-
bility that another group may have had the same idea.
THE SEVEN SAMURAI

The characters, for some reason – they were hired or
have other motivations - (p.211) need to defend a location
from an attack. Maybe they need to protect someone or so-
mething, or maybe the space is of great importance to the
194

story. The fact is that they must set up a defense and repel
the attack of a large number of Enemies. In the first episode
they need to spy on opponents to know how many are fa-
cing. In the second, they decide to try to shoot down an im-
portant Enemy, hidden at night, to weaken the attackers. In
the third - possibly the end of the Season - they must arm the
defense and repel the attack. For this Episode, it is important
that players draw a detailed plan of the place to be defended,
identifying access points, locked doors and other relevant
information. The Antagonist (p.200), in this case, can be the
leader of the attackers.
THE THING
A strange plague is turning people into monsters.
Those infected become hostile homicidal creatures and, in
a second moment, they begin to develop animal characte-
ristics, such as sharp teeth and claws, losing hair and skin
color. The final stage of transformation causes rationality to
disappear altogether. An ally, friend, or person important
to a character has been infected with the disease, and the
characters must find a cure. There are reports of an ancient
and nomadic recluse - perhaps a Strange Creature (p.209) -
who deals with all types of alchemy. He may have answers. In
the first Episode, players must track it. The story can revolve
around healing, finding the cause of the anomaly or elimina-
ting whoever is spreading the disease.
195

N O M A D S
HUMANS
During the narrative, players will encounter different
people with varying degrees of combat skills. So that you don't
have to interrupt the story with the creation of character profi-
les, we list a series of generic characteristics that can be adap-
ted to the most diverse NPCs.
COPS
Strength 12 (Revolver) / Protection 0 / Life 12
Talents: Agile
Behavior: Cautious
ELITE POLICE
Strength 16 (Rifle) / Protection 5 (Vest) / Life 15
Talents: Gunner / Agile
Behavior: Cautious
CIVILIAN
Strength 5 (Unarmed) / Protection 0 / Life 10
Talents: None.
Behavior: Inexperienced
ARMED CRIMINALS
Strength 15 (Pistol) / Protection 0 or 5 (Vest) / Life 12
Talents: Gunner / Agile
GANG MEMBERS
Strength 7 (Knife) / Protection 2 (Leather Jacket) / Life 10
Talents: Fighter
196

CREATURES
Unreality brings creatures of innumerable forms and
types, from humanoids to those that challenge our unders-
tanding. The following profiles are generic definitions, and
players can use them to determine the abilities of different
types of creatures.
ÁGILE HUMANOID
Strength 6 (Claws) / Protection 3 (Chest-guard) / Life 12
Talents: Agile
Behavior: Aggressive
STRONG HUMANOID
Talents: Strong
LARGE CREATURE
Talents: Slow (negatively affects the action)
LARGE AND STRONG CREATURE

Talents: Slow (negatively affects the action) / Strong
GIANT CREATURE
Talents: Slow (negatively affects the action) / Strong
197

N O M A D S
HOW TO USE THE TABLES?
T he following tables can be used to generate elements during the

narrative. Even when the players run out of ideas, they can use
the tables to ensure the fluidity of the game. Some, such as that
of Character Conflicts (p.210), must be resolved with more than one card, but
only the suit will be considered on the second card.
Some tables, such as the Immediate Objectives table (p.223), assist
players in the flow of the narrative, creating obstacles to be overcome imme-
diately. The Twists (p.231) and Revelations (p.227-230) tables can also be used
to keep the story moving.
LIST OF TABLES
ANTAGONIST & THEIR MOTIVATIONS (p.201)
ANTAGONISTS (p.200)
CHARACTER CONFLICTS (p.210)
CLIMATE CONDITIONS (p.208)
COMMON EQUIPMENT (p.214)
COMMON WEAPONS (p.202)
CONSEQUENCES (p.211)
CRITICAL HITS (p.212)
EXOTIC EQUIPMENT (p.216)
EXOTIC WEAPONS (p.205)
EXTRAORDINARY THINGS (p.207)
HUMAN NPCS (p.221)
IMPORTANT EVENTS (p.217)
INJURIES & HEALING (p.213)
NOT WHAT HAPPENED… (p.220)
OBJECTIVES – FINAL (p.222)
OBJECTIVES – IMMEDIAT (p.223)
PLACES IN THE CITY (p.218)
PLOT TWIST (p.231)
PROBLEMS (p.225)
RARE EQUIPMENT (p.215)
RARE WEAPONS (p.203)
RELATIONSHIP BETWEEN CHARACTERS (p.226)
REVELATIONS - Action (p.228)
REVELATIONS - Adventure (p.227)
REVELATIONS - Horror (p.229)
REVELATIONS - Mystery (p.230)
SEARCHING A HUMAN (p.232)
STRANGE CREATURES (p.209)
STRANGE THINGS (p.206)
TACTICS - Aggressive (p.233)
TACTICS - Cautious / Inexperienced (p.234)
VULNERABILITIES & RESISTANCES (p.235)
WEIRD PLACES (p.219)
198

199

N O M A D S
ANTAGONISTS
Spades (♠) - A group of…
Clubs (♣) - One or more…
Hearts (♥) - A powerful…
Diamonds (♦) - An intelligent…
A - Cultist (s).
2 - Entrepreneur (s).
3 - Police officer (s).
4 - Punk (s).
5 - Strange creature (s).
6 - Scholar (s).
7 - Criminal (s).
8 - Dealer (s).
9 - Militiaman (s).
10 - Psychopath (s).
J - Strange creature (s).
Q - Politician (s).
K - An Incognito.
200

ANTAGONIST & THEIR MOTIVATIONS.

Spades (♠) - The Antagonist wants…
Clubs (♣) - The Antagonist needs ...
Hearts (♥) - The Antagonist lives for ...
Diamonds (♦) - The Antagonist was assigned to…
A - Destroy a character.
2 - Destroy all the characters.
3 - Steal something that the characters have.
4 - Capture a character with life.
5 - Capture a loved one from a character.
6 - Find an important location for the characters.
7 - Prevent characters from completing an Objective.
8 - Spread chaos, just.
9 - Destroy an important ally.
10 - Seduce a character to go to your side.
J - Cause a disaster in the City.
Q - Ban the characters from this plan.
K - Kill indiscriminately.
201

N O M A D S
COMMON WEAPONS
Spades (♠) - A precarious… (-2 Strength)
Clubs (♣) - A reasonable …
Hearts (♥) - A good (good)… (+1 Strength)
Diamonds (♦) - An excellent… (+2
Strength)
A - Knife (7)
2 - Machete (9)
3 - Hammer (6)
4 - Construction hammer (10)
5 - Iron bar (8)
6 - A 2 by 4 (7)
7 - Chain (6)
8 - Pocket knife (6)
9 - Razor (7)
10 - Revolver (15)
J - Shotgun (20)
Q - Dagger (9)
K - Sword (12)
202

RARE WEAPONS
ength)
Spades (♠) - Precarious… (-3 Str
Clubs (♣) - Ok …
ength)
Hearts (♥) - Good (good)… (+1 Str
Strength)
Diamonds (♦) - Excellent… (+3
A - Dagger (9)
2 - Sword (12)
3 - Construction hammer (10)
4 - Brass knuckles (9)
5 - Baseball bat (10)
6 - Pistol (20)
7 - Shotgun (22)
8 - Revolver (15)
9 - Machete (9)
10 - Revolver (15)
J - Hunting Rifle (20)
Q - Dagger (9)
K - Katana (16)
203

N O M A D S
Exotic Weapons are very rare, and usually

found in possession of very powerful NPCs.
Certainly, such a weapon will be very well
guarded.
204

E XOTIC WEAPONS
Spades (♠) - A prec
arious… (-3 Streng
Clubs (♣) - A reason th)
able …
Hearts (♥) - A good
(good)… (+1 Streng
Diamonds (♦) - A th)
n excellent… (+3
Strength)
A - Ritualistic Dag
ger (12)
2 - Katana (16)
3 - Crossbow (17)
4 - Pistol (18)
5 - Medieval Swor
d (18)
6 - Ancestral Dagge
r (20)
7 - Sniper rifle (2
2)
8 - Military Rifle
(25)
9 - Remote explos
ive (25)
10 - Grenade (20)
J - Battle Axe (25)
Q - Spear (20)
K - Ancestral Swor
d (30)
205

N O M A D S
STRANGE THINGS
Spades (♠) - Something
good happens ...
Clubs (♣) - Something cu
rious happens ...
Hearts (♥) - Something str
ange happens ...
Diamonds (♦) - Someth
ing bad happens ...
A - With all NPCs.
2 - With a hostile NPC.
3 - With a neutral NPC.
4 - With a scene object.
5 - With an Enemy that
appears.
6 - With an NPC already
on the scene .
7 - With the climate of th
e environment.
8 - With an Ally that ap
pears in the Scene .
9 - With the environmen
t.
10 - With a character.
J - With all the character
s.
Q - With a scene object.
K - With everyone prese
nt.
206

EXTRAORDINÁRIAS_
TABELA DE COISAS ppens ...
thing very good ha
Spades (♠) - Some ur al ha ppens ...
bs (♣ ) - So me thing supernat
Clu ppens ...
thing very bad ha
Hearts (♥) - Some pp en s! (Use the
on ds (♦ ) - A plo t twist ha
Diam
31.)
Plot Twist table p.2
.
A - With all NPCs
ile NPC.
2 - With a host
ra l NPC.
3 - With a neut
e ob ject.
4 - With a scen e Scene.
W ith an En em y that appears in th
5 - ene.
already on the sc
6 - With an NPC vi ro nment.
te of the en
7 - With the clima s in th e Scene.
that appear
8 - With an Ally
ronment.
9 - With the envi
ar ac ter.
10 - With a ch
e ch aracters.
J - With all th
e ob ject.
Q - With a scen
ne pr esent.
K - With everyo
207

N O M A D S
CLIMATE CONDITIONS
Spades (♠) - During the morning ...
Clubs (♣) - During the afternoon ...
Hearts (♥) - At dusk ...
Diamonds (♦) - At dawn…
A - Mild climate, clear skies.

2 - It rains lightly.
3 - Gale and light rain.
4 - Warm and clean climate.
5 - Strong wind.
6 - Light wind.
7 - Clouds charged.
8 - Clear sky.
9 - Heavy and constant rain.
10 - Clouds, heavy rain.
J - Rain and strong wind.
Q - Heavy rain and lightning.
K - Clear sky.
208

STRANGE CREATURES
Spades (♠) - A human with a head like a…
Clubs (♣) - A creature that resembles a…
Hearts (♥) - A humanoid that looks like a…
Diamonds (♦) - A human with a head like a…
A - Mouse.
2 - Spider.
3 - Crow.
4 - Goat.
5 - Dog.
6 - Eagle.
7 - Bat.
8 - Fish.
9 - Fly.
10 - Wolf.
J - Snake.
Q - Lizard.
K - Octopus.
Spades (♠) - The size of a person.

Clubs (♣) - Greater than one person. (+3 Strength)
Hearts (♥) - Smaller than one person. (-2 Strength)
Diamonds (♦) - Little bigger than a person. (+1 Strength)
Spades (♠) - Intelligent and with extrasensory perception.

Clubs (♣) - Superior intelligence.
Hearts (♥) - Human intelligence.
Diamonds (♦) - Lower or irrational intelligence.
A creature with extrasensory perception will be able to see, feel and

hear events and scenes beyond its reach, at supernatural levels of
proficiency. It will know where the characters are, it will be able to
anticipate their actions and, if it contact the players, the creature
will be able to read their minds.
209

N O M A D S
CHARACTER CONFLICTS
Spades (♠) - The character is motivated by…

Clubs (♣) - Someone / something prevents the character from having ...
Hearts (♥) - The character has had it, but not enough ...
Diamonds (♦) - The character failed to have it, and needs to try again ...
A - Revenge.
2 - Escape.
3 - Relationship.
4 - Money.
5 - Political power.
6 - Love.
7 - Family.
8 - Justice.
9 - Wisdom.
10 - Freedom.
J - Truth.
Q - Escape.
K - Revenge.
Spades (♠) - The character pursues his goal with sadness.

Clubs (♣) - The character pursues his goal with determination.
Hearts (♥) - The character pursues his goal with guilt.
Diamonds (♦) - The character pursues his goal with fear.
210

CONSEQUENCES
Spades (♠) - If the characters fail ...

Clubs (♣) - If the characters are not fast ...
Hearts (♥) - If the characters are discovered ...
Diamonds (♦) - If the characters fail ...
A - An Ally will die.

2 - An Enemy will gain power.
3 - Innocents will die.
4 - A loved one will be threatened.
5 - The Cult can locate the characters.
6 - An Ally will be in danger.
7 - A Void creature will find the characters.
8 - A character can be possessed by the Void.
9 - Innocents will die.
10 - An Ally will be captured.
J - A character's family member may die.
Q - Many innocents will die.
K - An Ally will die.
211

N O M A D S
CRITICAL HITS
Spades (♠) - Head
Red (♥♦) - Dead!
Black (♠♣) - +7 damag
e
Hearts (♥) - Torso
Red (♥♦) - +5 damage
Black (♠♣) - Falls!
Clubs (♣) - Arms
Red (♥♦) - Drops the
gun .
Black (♠♣) - Can't attac
k in the next round .
Diamonds (♦) - Legs
Red (♥♦) - Falls!
Black (♠♣) - +3 damag
e.
2 1221 2

INJURIES & HEALING

Fall from one floor: - 15
Punch : - 5
Stab: - 10
Sword strike: - 15
Pistol shot: - 20
High caliber shot: - 25 to 35
Slight burn: - 5
Severe burn: - 15
Running over: - 20
Human-sized creature: - 7
Large creature: - 12
Colossal creature: - 20 to 30
Painkillers: +2 to 5
Quick bandage: +3 to 5
A night ’s sleep: +5 to 10
Hospitalization: +15 to 20
213

N O M A D S
COMMON EQUIPMENT
Spades (♠) - A precarious… (-2)
Hearts (♥) - A good (good)… (+1)
Diamonds (♦) - An excellent… (+2)
Life).
A - First aid kit (+5
fe).
2 - Painkillers (+3 Li
or.
3 - Key to a locked do
ord .
4 - Access card / passw
(p.123).
5 - Common Weapon
ection 2).
6 - Heavy jacket (Prot
ant tracks.
7 - Mobile with relev
8 - Notebook .
9 - $ 100 in cash .
10 - $ 50 in cash .
(p.123).
J - Common Weapon
an Immediate
Q - Object related to
Objective , if any.
forms a Clue
K - An object that in
tive .
about the Final Objec
214

RARE EQUIPMENT
Diamonds (♦) - An excellent… (+2
)
A - First aid kit (+5 Life).
2 - Common Weapon (p.202).
3 - $ 150 in cash .
4 - A cell phone with important
tracks.
5 - An object of power.
6 - Notes related to the Final Ob
jective .
7 - $ 150 in cash .
8 - Key / password / access to an
important
place .
9 - Rare Weapon (p.203).
10 - Strong painkillers (+6 Life).
J - Object that reveals informati
on about the
Antagonist.
Q - Object related to an Immedi
ate Objective ,
if any.
K - Object relevant to the Final
Objective .
215

N O M A D S
EXOCTIC EQUIPMENT
Diamonds (♦) –An excellent… (+2
)
A - First aid kit (+8 Life).
3 - $ 200 in cash .
4 - $ 150 in cash .
5 - Key / password / access belong
ing to
the Antagonist.
7 - Two Rare Equipment.
8 - Restricted analgesics (+10 Lif
e).
9 - Collect bulletproof (Protecti
on 5).
10 - $ 150 in cash .
J - Object that reveals a weakne
ss of the
Antagonist.
Q - Object that can resolve an Imm
ediate
Objective , if any.
K - Object very relevant to the
Final Objective .
216

IMPORTANT EVENTS
Spades (♠) - A month ago there was a…

Clubs (♣) - A week ago there was a…
Hearts (♥) - A day ago there was a…
Diamonds (♦) - One… just happened!
A - An air accident.
2 - Robbery of great proportions.
3 - Murder of an important person.
4 - Accident / explosion that left many dead.
5 - A ritualistic murder.
6 - The announcement of a major event in the city.
7 - The beginning of a war between criminal factions.
8 - A kidnapping, still to be concluded.
9 - The mysterious disappearance of a known nomad.
10 - The arrival of members of the Cult of Glass.
J - The arrival of Guild agents to the City.
Q - The appearance of a new nomad in the City.
K - The appearance of a Strange Creature in the City.
217

N O M A D S
PLACES IN THE CITY
Spades (♠) - An inhabited…

Clubs (♣) - A luxurious…
Hearts (♥) - One inhabited…
Diamonds (♦) - One abandoned…
A - Apartment on the periphery.

2 - Apartment in the center.
3 - House in an isolated location.
4 - Garage building.
5 - Bar on the periphery.
6 - Nightclub.
7 - Supermarket.
8 - Square.
9 - Street.
10 - Shopping center.
J - Isolated site.
Q - A commercial building.
K - A house.
Spades (♠) - On the spot.

Clubs (♣) - Near the site.
Hearts (♥) - Maybe in this place.
Diamonds (♦) - On site.
218

STRANGE PLACES
A - An abandoned slaughterhouse.
2 - A container depot.
3 - A disabled hospice.
4 - A destroyed plantation.
5 - A large dead tree.
6 - A deserted crossroads.
7 - An abandoned house.
8 - An abandoned hospital.
9 - A lake.
10 - A mysterious hut.
J - The terrace of a building under construction.
Q - The abandoned carcass of a large vehicle.
K - A house in the forest.
Spades (♠) - On the spot.

Clubs (♣) - Near the site.
Hearts (♥) - Maybe in this place.
Diamonds (♦) - On site.
219

N O M A D S
THINGS DIDN’T WORK

OUT SO WELL...
A - The Objective was not what the characters
expected .
2 - The Antagonist was not really defeated .
3 - A new Antagonist appears.
4 - An NPC has information that leads to a new
problem.
5 - Compliance with the Final Objective puts the
characters in danger.
6 - An accident puts a character in danger.
7 - A character's past comes back to torment
him.
8 - The characters find a portal to a distant
universe .
9 - An Ally proves to be a traitor and puts the
characters in danger.
10 - The characters discover that an Ally has
been killed .
J - An Enemy appears and takes the characters
by surprise .
Q - The characters accidentally go to a parallel
universe .
K - The character with less Life , as long as he
has less than 5, dies or goes into a coma.
222200

HUMAN NPCs
Spades (♠) - A teenager…
Clubs (♣) - An old man …
Hearts (♥) - One adult…
Diamonds (♦) - A young adult…
A - Homeless person .
2 - Garbage collector.
3 - Police .
4 - Criminal .
5 - Public official .
6 - Drunk .
7 - Entrepreneur.
8 - Driver.
9 - Student.
10 - Victim.
J - Worker.
Q - Visibly armed person .
K - Maybe a nomad .
Red - Woman
Black - Man
Spades (♠) - Quiet (a).

Clubs (♣) - In danger.
Hearts (♥) - Annoyed .
Diamonds (♦) - In a hurry.
221

N O M A D S
FINAL OBJECTIVES
A - Rescue / Recover ...
2 - Destroy / Kill ...
3 - Escort / Explore / Get ...
4 - Steal / Kidnap ...
5 - Protect ...
6 - Redeem / Find ...
7 - Track ...
8 - Convince / Understand ...
9 - Investigate / Find ...
10 - Recruit / Get / Dominate ...
J - Destroy / Kill ...
Q - Steal / Kidnap ...
K - Dig up / Free ...
A - One person.
2 - An artifact.
3 - A place of power.
4 - A nomad.
5 - An object of great value.
6 - Secret information.
7 - A secret cult.
8 - A creature.
9 - A city location.
10 - An Enemy or Ally.
J - A new NPC (p.123)
Q - One person.
K - A Medusa.
Spades (♠) - The Final Objective is linked to the conflict of some

character.
Clubs (♣) - The Final Objective has no connection with any charac-
ter's conflict.
Hearts (♥) - The Final Objective is linked to an Enemy, if any.
Diamonds (♦) - The Final Objective is linked to an Ally, if any.
222

M E D IAT E OBJECTIVES
IM
Face
(♠ ) - U n b lo ck / Unlock /
Spades Con-
se s (♣ ) - A ct ivate / Call /
Pau
vince
et / Find
Hearts (♥) - G Unveil
o n d s (♦ ) - Understand /
Diam
/ Interrogate
n.
A - A locatio
.
2 - A vehicle
r passage .
3 - A door o lp hone / System
.
u te r / C el
4 - Comp
ergy.
5 - Electric en
ant object.
6 - An import .
known or not
7 - An NPC,
8 - An Ally.
y.
9 - An Enem
o r passage .
10 - A door
systems.
J - Security
ore
Q - One or m
Enemies.
of
K - A group
Enemies.
223

N O M A D S
In the Final Objectives table, a person can

be any NPC who is currently part of the narra-
tive, and does not need to be a new character.
Artifacts / objects can be any important items,
from this reality or another, that have a decisive
role in history. Likewise, Locations of Power can
be any locations relevant to the plot, to Allies
& Enemies, or to characters. A place where there
is a portal, an important research laboratory, a
bank with a large sum of money, an apartment
used as a captivity by the Antagonist, an aban-
doned house where a Strange Creature hides and
so on. Players can use the Places in Town (p.218)
or Strange Places (p.219) table to determine the
location of these points.
The Problem Table can be used both in the
creation of the character and in the elaboration
of an Episode or Season. It establishes an obstacle
that a character must overcome. The story will
be richer if the problems generated by this table
are complex, so that the character needs to go
through several situations before solving it.
224

PROBLEMS
Spades (♠) - The character…
Clubs (♣) - A family member ...
Hearts (♥) - An Ally / friend ...
Diamonds (♦) - The character…
A - ... has (has) a rare disease and nee

ds (m)
a cure .
2 -… was (were) kidnapped .
3 -… was (were) sworn in to death .
4 -… has (has) something that the An
tago-
nist wants.
5 -… hindered (hindered) the Antago
nist in
the past.
6 -… is (are) running away from som
eone .
7 -… owes money to someone dangero
us.
8 -… is (are) hunted (s) by a Strang
e Crea-
ture .
9 -… you need to settle the score wit
h an
NPC.
10 -… you need to recover something
that
was stolen from you.
J -… you need to protect someone imp
ortant.
Q -… is (are) wrongly sought by the
police .
K - ... is (are) wanted (s) by the Cult
of Glass.
225

N O M A D S
RELATIONSHIP BETWEEN CHARACTERS
Spades (♠) - The characters are…

Clubs (♣) - The characters have been, recently ...
Hearts (♥) - The characters were, a long time ago ...
Diamonds (♦) - The characters have recently become…
A - Friends.
2 - Lovers.
3 - Criminals.
4 - Classmates / faculty.
5 - Co-workers.
6 - Accomplices to a crime.
7 - Fugitives.
8 - Prisoners in the same place.
9 - Neighbors.
10 - Debtors of someone dangerous.
J - Enemies united for a common cause.
Q - Attendants from the same place.
K - Witnesses to a supernatural phenomenon.
226

REVELATIONS - ADVENTURE
Episode 1 - Introduction
Spades (♠) - A new NPC appears with some connection to the Final Objective.
Clubs (♣) - Characters are looking for a Clue that points to the Final Goal.
Hearts (♥) - The characters have contact with the Objective,
but without fulfilling it.
Diamonds (♦) - An old Enemy of the characters appears.
Episode 2 - A new situation

Spades (♠) - The clue obtained in Episode 1 leads to another clearer clue.
Clubs (♣) - An NPC or his allies in Episode 1 wants revenge.
Hearts (♥) - The clue obtained was not what the players thought.
Diamonds (♦) - One of the characters acquires a problem and must solve it.
Episode 3 - Counterattack
Spades (♠) - The Antagonist appears to try to beat the characters.
Clubs (♣) - The Antagonist sends someone to stop the characters.
Hearts (♥) - A new clue appears, but the antagonist is protecting it.
Diamonds (♦) - The Antagonist tries to change the situation
to invalidate a clue.
Episode 4 - Discovery
Spades (♠) - Characters will be able to find a Clue to take them to the Final Goal.
Clubs (♣) - The Antagonist makes a mistake and reveals the location of a Track.
Hearts (♥) - The Final Objective changes and the characters must adapt.
Diamonds (♦) - The Final Goal or a Clue that leads to it is under threat.
Episode 5 - The End

Spades (♠) - The Antagonist is as close to the Objective as the characters.
Clubs (♣) - The Antagonist tries to stop the characters.
Hearts (♥) - The Antagonist attacks / dominates something valuable for the
characters.
Diamonds (♦) - The Antagonist tries to destroy / capture the Objective of the
characters.
227

N O M A D S
REVELATIONS - ACTION
Episode 1 - Inciting a fight
Spades (♠) - Soldiers of the Antagonist attack the characters.
Clubs (♣) - An important NPC tries to escape from the characters.
Hearts (♥) - Characters must flee from the Antagonist or an Enemy.
Diamonds (♦) - The characters are ambushed by soldiers of the Antagonist.
Episode 2 - More action!

Spades (♠) - The Enemies left an important clue behind.
Clubs (♣) - An Enemy returns to harm the characters.
Hearts (♥) - An Ally is captured by the Antagonist.
Diamonds (♦) - An Ally has Clues that lead closer to the Final Goal.
Episode 3 - Complications
Spades (♠) - Soldiers of the Antagonist appear.
Clubs (♣) - The characters encounter the Antagonist, but he manages to
escape.
Hearts (♥) - The characters' base of operations is attacked.
Diamonds (♦) - The Antagonist finds the characters, tries to kill them and
escapes.
Episode 4 - Almost there

Spades (♠) - Characters discover a clue to the final objective.
Clubs (♣) - The Antagonist made a mistake, revealing a clue.
Hearts (♥) - The Final Goal (p.123) changes.
Diamonds (♦) - The Final Objective is under threat from an Enemy or the
Antagonist.
Episode 5 - The Final Battle

Spades (♠) - The Antagonist and his soldiers reach the Final Objective.
Clubs (♣) - The Antagonist tries to stop the characters before they reach the
Objective.
Hearts (♥) - Characters need to make one last attack to reach Objective.
Diamonds (♦) - The Antagonist tries to destroy / capture the Objective of the
characters.
228

TABELA DE REVELAÇÕES – HORROR
Episode 1 - The beginning

Spades (♠) - A new problem arises.
Clubs (♣) - Characters are isolated.
Hearts (♥) - The characters find a victim of the Antagonist.
Diamonds (♦) - Characters find Clues on the Final Goal.
Episode 2 - Downhill
Spades (♠) - The Antagonist captures / kills an Ally.
Clubs (♣) - Characters lose their means of communication.
Hearts (♥) - An Enemy ambushes him.
Diamonds (♦) - An Ally is captured and asks for help.
Episode 3 - Despair
Spades (♠) - The Antagonist appears, but characters cannot kill him.
Clubs (♣) - The Antagonist kills an Ally.
Hearts (♥) - Characters encounter a hostile Strange Creature.
Diamonds (♦) - Characters are captured.
Episode 4 - A thread of hope

Spades (♠) - Characters find a clue to the final objective.
Clubs (♣) - Characters find a way to destroy the Antagonist.
Hearts (♥) - A clue leads the characters to a strange place (p.219)
Diamonds (♦) - The Final Objective (p.222) changes.
Episode 5 – End of the Line

Spades (♠) - Characters must confront the Antagonist.
Clubs (♣) - The Antagonist appears and tries to destroy the characters.
Hearts (♥) - The Antagonist captures an Ally.
Diamonds (♦) - The Antagonist is very close to the Final Objective.
229

N O M A D S
REVELATIONS - MYSTERY
Episode 1 - The beginning
Spades (♠) - An NPC appears with information about the Final Objective.
Clubs (♣) - An Ally is missing.
Hearts (♥) - An Enemy was seen in the City asking about a character.
Diamonds (♦) - The clue that the characters are looking for is in an isolated
place.
Episode 2 - Complications
Spades (♠) - The clue found was not what the characters thought.
Clubs (♣) - An Ally comes up with new information.
Hearts (♥) - An Enemy tries to hinder the characters.
Diamonds (♦) - The characters were tricked in the first Episode.
Episode 3 - New Clues

Spades (♠) - Characters find something or someone who may have Clues.
Clubs (♣) - A clue found leads to another possibility of discovery.
Hearts (♥) - An Ally discovers new information.
Diamonds (♦) - An Enemy appears to destroy the characters.
Episode 4 - Problems
Spades (♠) - The characters come face to face with the Antagonist, but he
escapes.
Clubs (♣) - A Plot Twist (p.231) occurs!
Hearts (♥) - An Ally proves to be an Enemy.
Diamonds (♦) - An Enemy proves to be an Ally.
Episode 5 - The Reckoning

Spades (♠) - The Antagonist reaches the Final Objective along with the
characters.
Clubs (♣) - An Enemy makes one last attempt to stop the characters.
Hearts (♥) - An Ally is at risk of being eliminated by an Enemy.
Diamonds (♦) - The Antagonist is more influential than he seemed.
230

PLOT TWISTS
A - An Ally proves to be a traitor.
2 - An Enemy reveals himself to be an Ally.
3 - A clue collected by the characters is actually false.
4 - The Antagonist was present in the Scene without
the characters knowing it.
5 - If the characters are on the run, someone comes up
to attack them.
6 - An Enemy left a trap for the characters in this place.
7 - A hostile Strange Creature appears!
8 - The Antagonist's motivations are not what the
characters think they are.
9 - An NPC is dominated by the Void and becomes
hostile to the characters.
10 - The characters accidentally go to another universe
through a mirror.
J - An Enemy harms an Ally.
Q - An Ally is killed / captured in mysterious
circumstances.
K - An Ally proves to be a traitor.
231

N O M A D S
SEARCHING A HUMAN
Spades (♠) - Only one …
Clubs (♣) - One (a) ... and something else .
Hearts (♥) - One (a) ... and money.
Diamonds (♥) - Only money and nothing
more .
A - Key.
2 - Common weapon (p.202).
3 - Important clue .
4 - Cell phone .
5 - Documents of a deceased person .
6 - Key.
7 - Common equipment (p.214).
8 - Secondary track .
9 - Nothing useful .
10 - Cigarettes / Candy / Drugs.
J - Key.
Q - Rare weapon (p.203).
K - Rare equipment. (p.215)
232

COMBAT TACTICS
AGGRESSIVE!
Spades (♠) - Enemies advanc
e…
Clubs (♣) - Enemies await
...
Hearts (♥) - Enemies await
...
Diamonds (♦) - Enemies ad
vance …
A - And they attack with fire
arms.
2 - And attack with +2 Stren
gth .
3 - They attack and try to sur
round the cha-
racters.
4 - They attack the most inj
ured of the group.
5 - They attack whoever is
closest.
6 - Try to surround the player
s.
7 - They try to protect thems
elves if they have
fewer.
8 - Try to escape if you are
alone and with less
than 10 Life.
9 - They attack and try to prot
ect themselves.
10 - They try to immobilize
the characters.
J - They use some special tal
ent, if they have
one, or attack .
Q - They use some special tal
ent, if they have
one, or attack .
K - They use some special tal
ent, if they have
one, or attack .
233

N O M A D S
COMBAT TACTICS
CAUTIOUS / INEXPERIENCED
Spades (♠) - Enemies advance…
Clubs (♣) - Enemies await ...
Hearts (♥) - Enemies retreat…
Diamonds (♦) - Enemies advance…
A - And they attack with firearms.

2 - They attack and try to protect themselves.
3 - One attacks, the others protect themselves.
4 - They attack the most injured of the group.
5 - They try to help their injured allies.
6 - Try to surround the players.
7 - They attack with whatever weapons they have.
8 - Attack whoever is closest.
9 - They attack and try to protect themselves.
10 - They seek cover and attack.
J - They use some special talent, if they have one, or attack.
Q - They use some special talent, if they have one, or attack.
K - They use some special talent, if they have one, or attack.
234
VULNERABILITIES &
RESISTANCES
Spades (♠) - The creature is afraid of…
Clubs (♣) - The creature is vulnerable to ...
Hearts (♥) - The creature is resistant to…
Diamonds (♦) - The creature is attracted to…
A - Fire.
2 - Light.
3 - Water.
4 - Acid.
5 - Electricity.
6 - Rare metals.
7 - Any metal.
8 - Silver.
9 - Gold.
10 - Symbols of power.
J - Some specific artifact.
Q - Break up.
K - Beheading.
235
N O M A D S
NAME & AGE CONFLICT
LIFE
STRENGTH PROTECTION
TALENTS BELONGINGS
2 3 6 EXPERIENCE

TRUTH & CLUES NU O
S A
M A D S
ALLIES & ENEMIES
FATE RUIN
237

N O M A D S
INDEX
Actions 79
Allies 106
Antagonist 180, 200
Attacks 80, 84
Base 179
Basic Talents 95, 118
Character Diary 65–68, 237
Characters 116, 175–177
City 54–59
Creatures 119, 209, 197
Critics 81, 212
Damage 80, 85, 86, 212
Death 67, 114
Empty 37
Enemies 196, 200
Enhanced Talents 116, 117, 118
Episodes 72, 180
Equipment 88, 214–216
Experience 116, 185
Fate 100
Healing 88, 213
Hooks 185
Incognitos 44–45, 131
Incredulity 46
Intensity 77
Life Points 67, 80, 81, 88, 114, 213
Logic 20, 70
Medusa 36, 39, 42
Mirrors 40,
Movement 84, 108
Narrative 18
NPCs 73, 112, 221
Objectives 182, 185, 186, 222, 223, 224
Plot Twists 102, 231
Questions 20, 70, 74, 76
Realities 28, 109
Relations 108, 226
Resistors 86, 235
Revelations 185, 227–230
Ruin 100, 102
Scene 74, 76, 108
Seasons 72, 180
Starting 180, 187
Strange Things 96, 100, 206
Surprise attacks 85
Tables 198
Tactics 82, 84, 233, 234
Talents 68, 79, 92, 118
Triggers 132
Truths & Clues 99, 104–107
Vulnerabilities 86, 95, 235
Weapons 80, 88, 202, 203, 205
Wildcard 106
Wounds 88, 213
238

239

N O M A D S
240

241

N O M A D S
242

243

N O M A D S
THE FIRST LINK, WHEN THE UNIVERSE IS SHAPED BY THE DANCE OF THE MEDUSAE.
244

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What is the significance of Medusae in shaping the universe?

What is the significance of Medusae in shaping the universe?

What are the different realities and worlds described in the text?

What are the different realities and worlds described in the text?

L I N K O N E : M E D U S A

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Copyright © 2020 AGUAVIVA Experiências Narrativas

Written by Marcelo Collar

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STARTING A SEASON 180

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T here are stories that I need to tell. I was like this

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indicated by my friend. I quickened

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I kept The Warlock of Firetop

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T he passivity of a complete script is not enough

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In Nomads, players ask the same questions, but the

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A fter World War II, a company called Boeing

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I know all this because I have managed to translate some

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said some colleagues, laughing to sound less concerned.

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T hat was the first universe I went to. My first

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I kept looking for geometric patterns; I learned to

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concerns. What bother with clean clothes, a bath, given the

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VIEWS FROM OTHER WORLDS

D o you believe that what you see out the win-

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It takes time, but we can see the mirrors, touch them,

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T here is something that permeates all realities,

“He is an ungrateful son. I gave him everything”, he