1

II TABLE OF CONTENTS
Introduction..............................................................................3
Weaving the Tapestry...............................................................4
1. A Strange World...............................................................6
2. The Rotten Apples.............................................................8
3. The Rent in the Sky.........................................................12
4. History of Venice.............................................................14
5. The sestieres of Venice..................................................18
6. Masks and Carnival.........................................................22
7. Magic...............................................................................24
8. The Gifted........................................................................28
9. Shards of the World........................................................32
The Rules.................................................................................36
10. Basic concepts..............................................................38
Game components......................................................38
Basic game concepts..................................................40
Basic rules...................................................................42
11. Movement.....................................................................46
Basic Movement..........................................................46
Advanced Movement...................................................47
12. Combat..........................................................................48
Combat essentials......................................................48
Advanced combat........................................................49
13. Shooting........................................................................52
14. Wounds.........................................................................56
15. Universal ablilities........................................................58
16. Weapons and equipment.............................................64
17. Terrain...........................................................................68
Water and canals........................................................69
18. Magic.............................................................................70
Spells............................................................................72
19. Playing Carnevale.........................................................76
Adventures..................................................................76
Events...........................................................................78
Campaigns...................................................................79
20. Adventures and Campaign...........................................84
The fragment of the Black Statue.............................84
Adventures..................................................................86
The Squads..............................................................................90
21. Squad creation..............................................................92
22. Doctors of the Ospedale..............................................94
Plague doctors............................................................96
Madmen of the Ospedale...........................................98
Pets of the Ospedale............................................... 100
Doctors of the Arsenale.......................................... 102
Alchemist Doctors.................................................... 103
Morgue Doctor and the Being................................. 104
Nurses....................................................................... 106
Wardens.................................................................... 107
23. The Patricians............................................................ 108
Nobles....................................................................... 110
Venice City Guard...................................................... 112
Barnabotis................................................................ 114
Gambling Nobles...................................................... 115
Syphilitic Nobles....................................................... 116
White-Collar Thieves................................................ 117
The Black Specter..................................................... 119
Butlers....................................................................... 120
Maids......................................................................... 121
24. The Rashaar............................................................... 122
Magi-Rashaar............................................................ 124
Cult of Dagon............................................................ 126
Ugdru-Rashaar......................................................... 128
Hybrids...................................................................... 130
Citizens of Venice..................................................... 131
Morgraur-Rashaar.................................................... 132
Aglope-Rashaar...................................................... 134
Radru-Rashaar.......................................................... 135
25. The Guild.................................................................... 136
Capodecimes............................................................. 138
Pulcinellas................................................................. 140
Butchers.................................................................... 142
Barbers...................................................................... 143
Harlots....................................................................... 144
Dog Keepers.............................................................. 145
Citizens of Venice..................................................... 146
Baba-Yaga.................................................................. 149
26. Independent Characters........................................... 150
The Duke................................................................... 152
White Dove................................................................ 153
Rialto Assassin......................................................... 154
The Aberration.......................................................... 155
Harlequin................................................................... 156
Fadhila-Bint-Dahab................................................... 157
Appendix............................................................................. 158

Designed by David Esbr.

Background: David Esbr, David Llop. Additional rules: David Llop, Chema Pamundi, Stephen Radney-Macfarland. Proofreading: Vanessa Carballo,
Marta Lpez. Cover art: David Esbr, Alex Gallego. Layout: David Esbr. Web: Satori Produccions. English translation: Jaume Muoz, Sinead Kelly.
English proofreading: Jean Brown, Andy Frazer, Stephen Radney-Macfarland. Art: Lus Czerniawski, David Esbr, Joan Guardiet. Miniature sculptors: Thomas David,
Jacques-Alexandre Gillois, Patrick Masson, ngel Terol, Rmy Tremblay, Lee-Sang-Wook, Ivn Santurio, Drew Williams. Miniature painters: David Esbr, Ral Len, Jorge Noriega,
Fernando Ruiz. Terrain: WorldWorks Games, La Mazmorra del Androide. Playtesting: Josue Acevedo, Miguel Reverendo Arnaiz, Alejandro Benitez, David Caldentey,
Vanessa Wed Carballo, Adolfo Castellano, Juanjo Cumplido, Sergio De la Fe, Sergio Sethelan Gonzlez, Pere Maci, Jonathan Marrero, Adrin Montaa, Jordi Ribas, Ayose Viera.
Special thanks to: Keith Baker, Massimiliano Berchioni, Beasts of War, Club Krtik, Jordi Caellas, Ricard Ibez, Jon Hart, Chema Pamundi, Stephen Radney-Macfarland, Jordi Ramrez
Bov, Alessio Cavatore, and Alberto Martnez Ruiz & Rafael Vidal Altabert from La Mazmorra del Androide for the amazing Carnevale gaming board.
Vesper-On Games are: David Llop, Jordi Ribas.

Carnevale, the miniature game is Vesper-on Games. VESPER-ON GAMES
C/ Roger de Flor, n 320, 5-2 
Depsito legal: 08025 - Barcelona, Spain
ISBN: 978-84-615-3207-0 www.vesper-on.com info@vesper-on.com
2
INTRODUCTION
1792
A group of adventurers and treasure hunters return to Venice from Tripoli with a mysterious artefact. A medium-sized
sculpture of a bizarre creature, carved in a dark and unknown material. They take it to Laccademia di Belle Arti di Venezia,
but in the following days, both professors and students from the newly created art restoration department start to feel
ill and end up suffering nightmarish visions, or in the worst cases insanity. Two months later they decide to get rid of the
ghoulish trinket, but it is nowhere to be found; it seems like it has melted and leaked into the very founding stones of the
city state of Venice itself.
1793
A mysterious man appears and presents himself simultaneously in the political centres of the different world religions.
He carries dark news of cosmic entities ready to invade our world; he says he comes in peace and asks for help in this
upcoming hour of dire need. His words represent a threat to each organized religion, so none have a positive reaction. He is
ignored in Tibet. He is cast away from Jerusalem. But in Vatican City, fear of his ideas, mean he is stabbed and killed. Rome,
along with a good part of Italy are destroyed and fall submerged in the waters of the Mediterranean.

1795
The city state of Venice is located on the edge of the Rent in the Sky. These are times of turmoil and angst. Some individuals
have developed supernatural abilities. The decadent elites of the city enjoy these times of chaos, dedicating themselves to
violence and murder. Aquatic alien creatures emerge from the depths of the Mediterranean to mate and gorge themselves on
the human cults built up to worship them. Madmen and lunatics draw mystical energies from the Wound and some scientists
without qualms take advantage of them to fuel vile experiments. Meanwhile, the underdogs and commoners do their best to
simply survive. The water in the canals of Venice runs red with the blood of the fallen. The time for artists and dilettantes has
passed, now it is time for survival.

The thing is to dazzle - Giacomo Casanova

These are the words of Giacomo Casanova, writer, adventurer, mystic and celebrity of Venice in the Baroque period. His words
will accompany some passages of this book. Casanovas aim was to dazzle, a mission he shared with the city of his birth. Venice
remains a place that arouses the imagination of travellers, poets and painters. Its streets, churches, canals and masks have
fascinated everyone who has ever set foot in the Serenissima.

Carnevale is a miniature game set in late eighteenth-century Venice. It has a simple yet complex system of rules, which
allows you to play exciting combats following a game system you will learn in no time. But the more important thing is the
background that features in the game itself; each roll of the dice is a reflection of this magical and mysterious city of Venice.

The book you hold in your hands is a game, and it is the first step on an exciting journey of adventure that unfolds before
your eyes. Join us, please.

3
BASIC CONCEPTS 10
Welcome my friend to the city of Venice. I take it youre aware of the many pleasures this place has to offer? More pleasures
than you can imagine! Trade, vice, gambling, and the best parties in Europetheyre all here. Maybe, though, youre here
searching for something you cant find anywhere else but in the Serenissima. Maybe youre searching for the thrill of adventure?
Dont be fooled by its posh and decadent disguise, Venice is a town where death lurks like a hunter, and its been worse since the
Rend in the Sky. You can choose to listen to me and survive the most wondrous and most awful city in the world or you can ignore
me and die. In any case, I suggest that you confess your sins, and scribble your last will and testament, just in case

C
arnevale is a thrilling game where squads of
warriors fight in desperate battles and participate
in dangerous adventure within and around the city
of Venice. In order to play with your gorgeous Carnevale
and are set in round plastic bases with three different
size categories: Medium size (e.g. Venetian Citizen),
Large size (e.g. Ugdru-Rashaar) and Huge size (e.g. the
Rhinoceros).

II
models (which, of course, you have painted) it is
necessary for you to become familiar with a few simple
game concepts. DICE AND HOW TO READ THEM

II Game Components
Carnevale is a miniatures skirmish game, and as such
uses some components that are not included with the
game, or that you may not be used to. The following is an
overview of the various components of this game.
During the course of a game, your characters perform
many actions. Often the success or failure actions is
determined by the roll of a number of 10-sided dice,
called a dice pool. The rolls of such dice pools determine
if a character is able to jump from one roof to another,
if an attack hits home, or if a character can resist the
compulsions and energies of magic. Each of the dice in a

II
THE MODELS
Carnevale requires each participant to build a small
armyor squadof miniatures that represent your
Venetian forces. These miniatures, sometimes called
characters or models in the game rules, are 30 mm scale,
pool has sides numbered from 1 to 0 or 10 (the 0 is read
as 10), and are often referred to as d10, where the d
stands for die or dice.
Sometimes the rules will ask you to roll a 5-sided die
or a d5. You determine the results of a d5 by rolling a d10
and divide the result in half, rounding up.
The number of dice within a dice pool is noted directly
before the die type, so that if a pool has one 10-sided

II EXAMPLES OF BASE SIZE CATEGORIES

Huge Size Large Size Medium Size

38
dice, the rules will ask you to roll 1d10, if a dice pool has
five dice, the you will be asked to roll 5d10, and so on.
II THE DESTINY DIE
Each time you roll a dice pool consisting of d10s, one
die within that pool is special. This special die is called
the Destiny Die. The Destiny die triggers different special
effects in the game, and can produce extraordinary levels
of success or failure. The specifics on how particular
instances of Destiny Die work depend on the situation
and are covered within that situations relevant rules
entry.
When a die pool only consists of one d10, that one die
will also be a Destiny Die. Each time you roll a dice pool,
one die should be different than the others. This different
die is the Destiny Die.
II Measuring distances
You measure movement and range of effects (both
mundane and magical) in inches. Furthermore, the rules
use the double apostrophe as a symbol for inches, so
when a model is capable of moving four inches, we will
express that like this: 4. We will learn the details of the
Movement process and any other rule that deals with
measurements in the relevant chapter.
It is worth mentioning at this moment that in Carnevale
you are allowed to measure distances within any element
of the game at any time. ALWAYS. For measurements
during the game, we suggest using a measuring tape
with inches, though you could also use a ruler. You can
find measuring tape in any game or hobby store, in DIY
stores, or even larger supermarkets.
READING THROUGH
We are going to try to unravel the rules of Carnevale
following a logical path of growing complexity, in a
gradual and coherent way, but since this is a quite
complex set of rules we will eventually have to make
reference to some rules which we havent talked about
yet. For example, in the Universal Abilities section we
will talk about Magicians, but we wont go deeply on the
ways of the Magic until its own chapter. We advise you
to continue reading, and learn about those rules when
the moment comes. Youll find yourself reaching a state
of epiphany in which suddenly everything makes sense.
II
TEMPLATES
Some effects within Carnevale, like explosions or the
strange effects of magic, can affect large areas of play
instead of single character. To determine these areas of
effect, Carnevale use one of two different templates: the
circular template and the cone template. You can find
them both at the end of this book and at www.vesper-on.
com. You have permission to reproduce them for your
personal use. It is a good idea to print them on sturdy
transparent material (like the plastic used with overhead
projectors), so you can overlay these templates and
clearly see which characters are affected by the area of
effect they represent.
39
II COUNTERS
Carnevale uses four types of counters: Activation
counters, Hidden counters, Stunned counters, and At
the Ready counters. You use Activation counters to show
which characters have already gone during a Round. You
use Hidden counters, Stunned counters and At the Ready
counters to mark temporary states within the game.
You can use coloured crystal tokens as counters or print
the official counters at the end of this book or at www.
vesper-on.com . You can reproduce the official counters
for your personal use. If you use the official counters, we
recommend that you print them or stick them on sturdy
material (like card stock), so they will last for many games.
II
TERRAIN
Terrain is a key element of this game. Especially that
scenery detailing streets of Venicebuildings, canals,
bridges, gondolas, barrels or crates that clutter that
cityscape. You can obviously play your games on flat
surface without any scenery at all, but Carnevale is a
dynamic game, set in a dynamic city, and scenery makes
the game more exciting and the city more evocative.
II Basic Game Concepts
Before getting into too much detail with heavier
rules, we would like to go over a few conventions and
agreements all players should have in mind while playing.
40
II MINIATURES AND SQUADS
Miniatures group together in squads. Squads are
composed by characters of the same affiliation and,
occasionally, can incorporate other independent
characters willing to sell themselves to the best bid.
When preparing for your games of Carnevale, you and
your partner will have to agree up to the points limit
that you both will be able to spend in your squads. Those
points will include the cost of models and their equipment
options, and other elements that you might want to
include in your squads, such as Events for example.
As you can see, models are worth an amount of points
indicated in their profiles. Also, in some cases there will be
a few equipment options for you to buy, like alternate
weapons or magic items. These options will have a cost
in points that youll have to pay for when building your
squad and that will add up to the final cost of your model.
You will have to nominate one of the models in your
squad as the Leader, and tell your opponent about that.
Leaders will have the Command Universal Ability (as we
will see in the Universal Abilities chapter).
I
ROUNDS, TURNS
AND ACTIVATIONS
The game of Carnevale is divided in Rounds, in which the
characters will be playing their Turns. The group of actions
done by a character during his Turn is called activations,
and once hes used up all his actions allowance, that
model will count as activated. An activated model will not
activate again until the next Round.
A Round begins with all the models ready to act, and
it ends when all the models have been activated. The
first player will activate one of his characters, starting
that characters Turn in doing so, and when hes done
with all his actions the player will set an Activation
counter next to the model to mark that as an activated
model. Afterwards the adversary will activate one of his
characters, starting this new characters Turn and placing
another Activation counter next to it when hes done. And
this you-go-I-go will continue until all the models have
been activated. It will be at this point when the End of
Round Turn takes place, and players will solve the game
effects ending at this moment, check if Victory conditions
are met, clean the table of Activation counters, reset
Action Points and officially close the Round. Immediately
afterwards a new Round begins.
As long as one player has less un-activated models than
his opponent, he will be able to decline playing his Turn,
forcing the other player to play another Turn right after the
one hes just played. This can be repeated always as long as
a player has less activated models than his opponent.
II ACTION
We will define as action any activity done by a model
with a cost in Action Points linked to it (AP to make
that short, as well see in a few pages in the Basic rules
section). An action ends at the moment when the next
action is announced. For example, a character with 3
AP that jumps, shoots and moves will have carried out
three actions. We will go in depth with Action Points in a
minute, but it is worth noting that there are 0 AP, 1 AP or
2 AP actions, or actions involving even more than 2 AP, but
any of them will still count as one single action.
Characters in Carnevale have an Action Points (AP) value
in their profiles, which indicates the number of AP he can
invest in his actions each time the model is activated. We
will learn the mechanics of this value very soon, but at
this stage we can establish that this defines the reflexes
and capability of carrying out actions in a short lapse of
time. There will be characters able to Jump from one roof
to the other, hit an enemy and get the price in the same
amount of time that other characters will barely be able
to cross the street. All these actions have a cost in Action
Points, and the player will invest them on the go until the
character runs out of them, o decides to stop acting with
that character for the time being.
II BASE CONTACT
One model will be in Base Contact with another model
when both bases are touching each other. In order to have
one model attacking in close combat another model, they
must be in Base Contact with one another.
When a model is standing on top of an obstacle, an
element of terrain or similar, being up to 1 above the
ground, it will still be considered to be in base contact
with any model in base contact with such obstacle.
II
FREQUENCY
Some characters have a limited Frequency, which
means that you will only be able to deploy a limited
amount of copies of some particular models in your
Squad. The most obvious case are the Independent
Characters, all of them have a Unique Frequency: there
is only one White Dove, so you will only be able to
deploy just one of her in your Squad. Nevertheless,
your opponent could deploy his own White Dove, which
would mean that there would be two of her on the table
at the same time (thats probably a magic reflection of
that character generated by the inscrutable ways of the
Rent in the Sky). Other characters can have different
Frequency values depending on the total points cost of
the squad, as we will see in the Factions chapter.
II
ADVENTURES
The games of Carnevale are played within adventures.
Adventures suggest scenarios with a story line and some
objectives, which will mainly determine the motives by
which characters in both squads will be risking their lives.
Adventures can be self contained or link with one another
creating Campaigns. We will see about this in the Playing
Carnevale chapter.
I
THE CHARACTER SHEET
AND THE SQUAD SHEET
For your convenience, throughout the game, a copy of
your squad sheet will come handy. The squad sheet is
made up with the character sheets of all the characters in
the squad. Now we will introduce the different elements
of the character sheet, which will be developed in depth
in their corresponding chapters, especially in the Factions
section. At the end of this book, as well as on our website,
you will find a template to create your own squad sheet,
with empty sheets for you to complete.
Action Points (APs). Here you must indicate the amount
of Action Points the character possesses in order to
act every Turn.
Name. You should create and a name for your character.
Class. Here you must write down your character class,
for instance Independent Character, Magi-Rashaar,
Pulcinella, etc.
Descriptors. Here you will write down the aspects that
define the character, such as Human, Soldier, Mage, etc.
41
 Command Points. Characters with the Universal Ability
Command will indicate here the amount of Command
Points they have. Since it is a dynamic value which is
spent during the game, write down the current value on
the other side of the slash.
Cost. Write down this characters total cost.
Karma. Karma Points are used to boost characters
actions during the game. Cross out the Karma Points
your character uses during the game.
Life Points. In this section you will find your characters
current health; every time the character is hurt, tick
the corresponding boxes. Every time you tick the last
box before the new modifier, the character crosses a Pain
Threshold. As you will see in the Factions chapter, every
character has a different amount of Life Points.
Attributes. The following six concepts are known
generally as Attributes..
Movement. This value indicates the basic distance
in inches the character can Move.
Combat. This value indicates the amount of dice in
the characters basic Combat dice pool.
Dexterity. This value indicates the basic difficulty
the opponents will face to hit this character in
Combat. It also applies to some other aspects of the
game, such as Jumping.
Shooting. This value indicates the amount of dice in
the characters basic Shooting dice pool.
Mind. This value sums up the characters will,
intelligence, perception and spirit. Among other
ACTION NAME
POINTS
CLASS Plague Doctor
3 45
DESCRIPTORS Human, Leader, Scientist, Mage
KARMA MOVEMENT COMBAT DEXTERITY
4 2 5 5
UNIVERSAL ABILITIES
Command (4), Healing (3), Cautious, Mind control, Mage (3)
SPECIAL ABILITIES Channel
EQUIPMENT Unarmed
SPELLS NOTES
42
uses, it is applied to the use of Magic, the Initiative
or Morale.
Protection. The Protection indicates the characters
ability to endure pain, as well as the protection
bestowed by the equipment he may be carrying. By
default, all Carnevale characters have a Protection
value of 2, but this value may vary due to Universal
Abilities (mainly Extra Protection), in which case the
modifier will already appear in the character sheet.
Universal Abilities. Here you can write down the
characters Universal Abilities. Universal Abilities are
common concepts found in several characters. You will
find an explanation in the corresponding chapter.
Special Abilities. Here you will find the rules and
abilities unique to this character, such as the
Harlequins Multiple Presence.
Equipment. Here you will find the characters basic
equipment. In case you modify the characters
equipment, write down the changes in the Notes section.
Spells. If your character can use Magic, write down his
Spells (and their cost) in this section.
Notes. Write down here any detail about the character
you need to bear in mind during the game.
II
BASIC RULES
FRom now one, we will present the rules which are
common to all the games phases, and which are applied to
all the elements that take part in the game.
COMMAND COST
POINTS
4/
SHOOTING MIND PROTECTION LIFE POINTS
6 2 -1
-1 -1 -2
II Priority of rules
In this section and in the following chapters you will
find the rules that apply over a game of Carnevale. These
rules govern all characters, weapons and every other
aspect in the game. However, some elements such as
Magic, Universal Abilities or other rules that will appear
in future expansions may contradict the basic rules.
When this happens, specific rules (Universal Abilities and
Special Rules) will have priority over general rules (Basic
Rules).
Example: The Swimming rules indicate that models may
move in water at half their Movement value. On the other
hand, a model with the Universal Ability Expert Swimmer
can move using his full Movement value. The rule Expert
Swimmer contradicts the Swimming rule, but since it is a
Universal Ability, it overrides the Basic Rule.
II
DICE ROLLS
On the first pages, we have explained to you the type
of dice used in Carnevale and how to interpret them.
Now we will learn how they work within the mechanics
of the game. Throughout the rules, youll see that we
use concepts such as dice pool, Dexterity pool, Mind
roll or Combat dice. This means you must gather in
your hand as many d10s as the value indicated. For
example, if a rule asks you to make a Dexterity roll, and
your models Dexterity is 4, you must take 4d10 in your
hand. Remember that one of them will always have to be
the Destiny Die, so in your Dexterity pool you will have
3 normal d10 plus the Destiny Die. Bear in mind that
under no circumstance can a dice pool exceed the limit
of 10 dice.
To know whether a roll was successful, you will always
compare the result of the roll with a level of difficulty.
After rolling the corresponding amount of dice, for every
die equal or higher than the difficulty, you will obtain one
Ace. In any case, remember that a 1 will always be a fail
and a 10 will always be an ace.
II
REROLLING
Some rules allow you to reroll. You must always bear
this in mind: a die can never be rerolled more than once;
after rerolling, you will accept the second result, even
if it is worse than the first one. You can never reroll the
Destiny Die unless you reroll the whole set of rules, and a
result of 1 in the Destiny Die prevents any rerolling at all.
II Types of rolls
There are three kinds of rolls: basic rolls, attack rolls
and opposed rolls. The standard difficulty of basic rolls
and opposed rolls will be 7, unless otherwise noted,
KEEPING PEACE AND SANITY
Carnevale is a complex game, which uses a combination
of many Basic Rules, Special Rules, Magic, Powers and other
elements which intersperse, collide and combine with
each other. Our wish is that they all coexist, flow and work
coherently in a dynamic and amusing game atmosphere.
However, the complications derived from all of this
interaction may give rise to situations which seem unclear,
contradictory or which arent covered by the rules at all.
In this case, we advice all players to try to reach an agree-
ment and; if that wont happen, just roll a die and whoever
gets the highest result will have it his way. This will do until
you have time to find a more solid solution.
If you are in a tournament, ask a judge or a referee for
advice.
In any case, you should focus on resuming the game and
keep enjoying!
If you have doubts, please visit our website and let us
now, so that we can clarify them for you and, if necessary,
include them on our FAQs.
whereas the difficulty of attack rolls will depend on the
opponents corresponding Attribute.
Basic rolls are based on Attributes, and are used
to solve concrete situations where only one model is
involved.
For example, in a basic Dexterity roll, the character rolls
as many dice as his Dexterity value; for every result of 7
or higher, he gets an Ace.
When the character makes a close Combat attack, he
must make an Attack roll. In this case, the character rolls
as many dice as his Combat Attribute, against a difficulty
equal to his opponents Dexterity value (for more details,
see the Combat chapter). The more Aces he obtains, the
more damage he will inflict in his opponent.
For example, a character with Combat 5 trying to hit an
enemy with Dexterity 6 rolls 5 dice; for every result of 6
or more, the attacker obtains an Ace.
Finally, in opposed rolls two or more characters make
a basic roll using the same Attribute, which may vary
according to the situation, and which will be specified in
every case. Whoever obtains the more Aces wins the roll.
For example, two characters make an opposed Mind roll;
each must roll as many dice as his Mind value. Whoever
obtains the more Aces in his roll (with a difficulty of 7 or
more of all basic rolls) will win the opposed roll.
I
Destiny Die,
Critical rolls and fumbles
In all dice rolls, the Destiny Die will work as one more
die in the dice pool, except when you obtain a result of
10 or 1. If you roll a 10 in the Destiny Die (which is still
counted normally as an Ace), it is treated as a Critical roll.
On the other hand, rolling a 1 in the Destiny Die discards
43
one of the Aces obtained in the roll. If you didnt get any
Ace in your roll and you rolled a 1 in the Destiny Die, you
just got a Fumble.
The effects of Critical rolls and Fumbles in basic rolls
and attack rolls are explained in their corresponding
chapters. In an opposed roll, a Critical roll eliminates one
of your opponents Aces, and a Fumble adds an extra Ace
to your opponents roll.
Rolling a Critical roll means you have achieved
something remarkable. In Combat, this usually means
striking your opponent particularly effective way,
therefore dealing more damage. In the rest of situations,
Critical rolls entail all kind of benefits, such as adding
extra Aces to your roll, Jumping longer, Holding breath for
longer, etc. These effects are described in further detail in
the corresponding sections.
Fumbles are especially catastrophic fails. Not only you
didnt get any Ace, but also youve really messed up big
time! In Combat, the opponents may make free attacks
against the model which just got a Fumble, a falling model
who fumbles may receive more damage, etc. You will find
Fumbles explained in further detail in their corresponding
sections.
In cases of basic, attack and opposed rolls where
there isnt any specified effect for Critical roll or a
Fumble, you should use the following general rule.
Critical roll.- The character who just rolled the Critical
recovers a Karma point lost previously during the game.
Fumble.- The character who fumbled loses an additional
Karma Point.
II
Roll Modifiers
In some circumstances, the difficulty of a roll may
vary due to several causes. For example, running across
a square in a perfect weather is not the same as running
through a blizzard. In these cases, we will add or deduct
dice from our pool according to the situation. Remember
that you can never roll more than 10 dice, so if for any
reason you gather more than 10 dice in your pool, all
dice above 10 will be lost. You must also bear in mind
that any modifier that deducts dice from your pool will
always take out conventional dice first: the Destiny Die
must always be present in your pool. The only situation
where you can deduct the Destiny Die from your pool is
when it is the only remaining die, which means you will
have no dice to roll!
Throughout this book you will find situations where you
must apply these modifiers to your rolls; these modifiers
will indicate how many dice you may add or deduct.
One of the most common modifiers is the Pain
Threshold. As a character loses Life Points, he crosses
different Pain Thresholds; you cross a Pain Threshold when
you tick the last Life Points box containing a modifier
which is different to the next one (the last box with a -1,
the last box with a -2, etc). This modifier indicates the
amount of dice you must deduct from your dice pool in
every roll. The amount of dice to deduct in every moment
44
is indicated in the every characters sheet, according to
the Pain Thresholds the character has crossed so far.
II
Rounding off
Whenever you must divide your dice pool, the result of
a roll or any other value, you will always round up.
Example: If your dice pool of 7 dice is divided in half for
any reason, it will become a dice pool of 4 dice.
II
Initiative
To determine which squad begins to play at the start
of every Round, we must make an opposed Initiative roll.
All players will roll as many dice as their squad leaders
current Command value. Whoever obtains the more Aces
will decide the order of action of the squads. In case of a
tie, the player whose leader has the highest Mind value
will win; in case of a new tie, just reroll the dice! As you
will find in the Universal Abilities chapter, Command is a
dynamic value which is spent throughout the game; when
a character runs out of Command Points, he will always
roll at least 1d10 for Initiative. If you get a Fumble in this
roll, your opponent will automatically obtain the Initiative.
If you get a Critical roll, you will automatically get the
Initiative. If both players get a Critical roll, they will
compare their results as per the usual procedure. If both
of them get a Fumble, they must reroll (after all, someone
must start playing!)
II Action Points (AP)
All of Carnevales models have an Action Points
(from now on, AP) value in their character sheet. This
value indicates the amount of actions the model can
make during the Turn in which it is active. Every action
undertook by a model will have an assigned cost in APs.
For example: Moving the models Movement distance costs
1 AP, Shooting a gun costs 1 AP, Jumping over a canal
costs 1 AP.
The characters may receive extra Action Points
during their Turn if their leader transfers them using his
Command Universal Ability. A model which hasnt been
activated yet or one that has already been activated in
this round cant get extra APs by means of Command. Well
see the way Command Points work in further detail in the
Universal Abilities chapter.
The player must announce the use of APs as he spends
them, deducting them from the total amount of APs, until
he runs out of APs or he declares that the model stops
acting. When a model has finished acting, place a counter
next to the model to indicate it has already been activated
and cant activate again until the next Round.
All of the characters which are still in the game at the
End of Round will automatically recover the APs indicated
in their character sheet.
II karma
The Karma value represents the characters willpower
and spirit. It has two different applications in the game:
it is the matter that fuels magic and the supernatural, its
the indispensable fuel to cast spells and activate powers;
well see this aspect in further detail in the Magic chapter.
Besides, it is used to modify some of the characters rolls.
The most interesting aspect at this stage is the
capacity of all characters to modify their dice pools
using Karma. Before making a roll that seems especially
complicated or important, any character may decide to
invest up to 2 Karma Points to add up to 2 dice to his pool
(never exceeding the maximum of 10 dice); the cost is 1
Karma Point per dice.
Example: The Aberration wants to hit the Pulcinella
whos blocking the way and crush him once and for all.
His Combat value is 5, but since the Pulcinella has quite a
high Dexterity (6), he wants to make sure he wont miss.
Before making his roll, the Aberration will invest 2 Karma
Points in order to add two dice to his Combat pool; in total
he will roll seven dice.
Characters may also invest Karma Points to protect
themselves from attacks. After declaring an attack, but
before the attacker makes the attack roll, the target
may announce that he will spend up to 2 Karma Points
to improve his Protection. Every Karma Point equals +1
Protection.
II
Recovering Karma Points
Throughout the game, characters may recover Karma
Points by different means (up to their starting Karma
Points value, which can never be exceeded).
When a character deals a blow that makes his foe fall
in combat, he will recover 1 Karma Point.
Both the Harlot and the Capodecime
suffer the effects of the blast. The
Pulcinella has better luck and he is safe
from harm.
When a character deals a blow that kills the leader of
the enemy squad, he will recover 3 Karma Points.
A character may also recover Karma Points due to
specific scenario rules, Spells or Events.
II
Running out of karma
When for any reason a characters Karma Points are
reduced to 0, he will suffer an additional modifier of -1 to
all of his rolls, cumulative with any other modifier.
II
Templates
In Carnevale there are certain game effects, such as
Powers, Spells or unconventional weapons which can
cause explosions, volleys of shrapnel, blasts of fire or gas
clouds. One of the main differences between a bullet shot
with a pistol or a blast of flames is its effect area; this is
represented in the game using a template.
When you place the circular template, you must centre
it on the detonation point. The cone template emerges
from a weapons cannon, from the caster of a Spell or from
the model responsible for a Universal Ability; in this case,
place the narrow side in Base contact with the model,
facing the direction the model is shooting. In both cases,
you must hold the template over the models to determine
which models are affected.
All the models whose bases are partly or completely
under the template will suffer the effects of the
weapon, Spell or ability. These models must make a
basic Dexterity roll; for every Ace they obtain in this roll,
they will deduct -1 to the total damage inflicted by the
attack. Template effects that dont inflict direct damage
on models (such as smoke bombs) cant be avoided
using the Dexterity roll; the models touched by the
template will be completely affected.
45
MOVEMENT 11
I
n an environment as dynamic as Carnevales, the way
characters move across the board is a key tactical ele-
ment in the unfolding of the adventure. Characters live
in and move across the city of Venice, a three-dimension-
al space full of challenges for Combat, such as bridges,
balconies, water ways and other Obstacles.

II BASIC movement
We will now detail the different Movement manoeuvres
available to Carnevale characters. Unless otherwise
stated, all of them have an activation cost of 1 AP.

II Walking
1 AP. The character moves calmly, paying attention to 5 Movement

his surroundings. A character carrying out this action
will able to move as many inches as his Movement At-
tribute at the most, in any direction or combination of
directions. This movement will be carried out horizontally
on Open Terrain, but other types of Terrain may confer
several modifiers, as described in the Scenery chapter.
When moving in water, the Swimming rules apply.
II
Swimming
1 AP. We assume that all characters can swim, at least
on a basic level. Unless otherwise stated by some skill
in their profile, a character may move in water as many

II
Running
1 AP. A character that runs can try to move faster than
walking. Before resolving his Move action, the character
must make a basic Dexterity roll; for every Ace he gets,
hell add +1 to his Movement value for this action. A Criti-
cal roll, apart from the Ace on the Destiny Dice, will allow
him to add up to an extra 3 to the distance. A Fumble
will cause an inopportune stumble and will prevent all
Movement (including basic movement). The running will
be carried out horizontally on Open Terrain; any other
inches as half his Movement Attribute. If a character in
the water is immobilized for any reason and cant swim,
he will drown (see Drowning rules on page 57).
In mixed Movements that combine moving on the
ground and in the water, every part of the movement is
calculated separately. A model which is Swimming
can not use its movement for any game effect that
requires a previous movement (such as Running Jump,
Charging, etc.)
For example, a character with Movement 7 that would
walk 3 on open ground and continue swimming, he could
use up to half of his remaining movement allowance: in
this case 4, therefore he would swim up to 2 more.

II
type of Terrain may confer a series of modifiers, as
described in the Scenery chapter. When moving in water,
the Swimming rules apply. NO ROOM FOR MODELS

II Jumping
1 AP. The character moves jumping as many inches as
half his Movement Attribute. Measure from the mini-
atures location to the landing location (bearing in mind
the variation in height).
In the narrow lanes of Venice, it can sometimes happen
that two or three people stash up in a corner (not to
speak of monsters!), so it is impossible to make way. If
a model cant walk or run on the ground without its base
knocking some other characters base (both ally and
enemy), an obstacle, wall, etc., then he wont be able to
make his way through that narrow spot. In this case, he
can resort to more creative manoeuvres, such as Jump or
Run on Walls.

46
II ADVANCED movement
Once you feel at ease with basic movement actions,
try these advanced movement actions.
II
Hiding
1 AP. The character moves in a slower and more careful
way than with the Move action, because he is moving
crouched down to avoid being seen, trying to be a more
Difficult target against ranged attacks. If the character
ends his movement 3 or less close to a scenery item
behind which to hide, the player can declare that the
model is making a Hide action. Place a Hide counter next
to the model.
A character will be considered Hidden with regard to
another one if you cant trace a Line of Sight towards
him (see the Shooting chapter) without bumping into a
scenery item and if he has declared a Hiding action. He
wont be able to be seen and he wont be able to be shot
at. In turn, a hidden character cant fight, shoot or cast
Spells without revealing his position and immediately
lose his Hidden status. Any character will automatically
detect any Hidden model if he is 3 or closer to the Hid-
den model.
II
Running Jump
1 AP. If the characters action previous to a Jump was
a Move or Run action and he has moved at least 5 in a
straight line, he can make a Running Jump. In order to
make the Running Jump, the character will make a basic
Dexterity roll; for every Ace he obtains, he will add +1
to the distance of his Jump. A Critical roll, apart from
the Ace on the Destiny Dice, will allow him to add up to
3 to the distance jumped, to his choice. A Fumble will
mean the character stays in the location from where he
wanted to Jump, losing his action.
II
Jumping Down
1 AP. The character lowers himself from an elevated
position, jumping deliberately and Jumping Down. You
will have to check the Fall rules (see page. 57), but in
this case it is a controlled fall. The character must make
a basic Dexterity roll. For every Ace he obtains, he will
lower the fall category one level. A critical roll will lower
the category of the Fall to 0. A Fumble will raise in 1 the
overall Fall category. This manoeuvre can be made at any
time during a Move or Run action, temporarily interrupt-
ing the action, which can be resumed after resolving this
manoeuvre.
For example, a character with Movement 6 could
declare that he is moving for a cost of 1 AP, move 4 up
to the edge of a building, Jump Down (paying 1 AP), and
once on the floor move the remaining 2.
II Climbing
1 AP. Some gallant heroes used to climb to the balco-
nies of their lovers to bring them flowers. Nowadays,
they are more likely to do it to escape from a horde of
raging monsters. A character can climb a wall or steep
surface making a basic Dexterity roll. If he has climbing
tools (see the Weapons and Equipment chapter), he can
add one dice to his pool. Every Ace equals to climbing 1.
The character must have arrived in a location where the
model can be placed steadily at the end of his activa-
tion and before the end of his Turn; otherwise, he wont
be able to climb and he will stay at the point where he
started to climb. A Critical roll will allow him to add up to
3 to the distance climbed, to his choice. A Fumble will
mean the character stays at the point where he started
to climb, losing 1 extra AP.
II
Rappel
1 AP. The Rappel allows characters to descend more
safely from heights, but its slower than Jumping Down.
The character must have climbing tools to Rappel; with-
out them, he wont be able to make this manoeuvre. He
must make a basic Dexterity roll; every Ace represents
a 3 progress. If the character making a Rappel doesnt
reach steady ground at the end of his activation, he will
fall from his last location. A Critical roll will allow him to
add up to an extra 3 to the distance. A Fumble will mean
the character loses foot and falls from where he was
when made the roll (check the Falling rules, page 57) and
he will get a Stunned counter.
II
RunNING on Walls
1 AP. The character can gather momentum and run on
a vertical surface. This spectacular manoeuvre can be
useful to Run from one balcony to another, or to Run ver-
tically across a wall in order to get up speed for a special
attack. If the characters previous action was a Move or
Run action and he has moved at least 3 in a straight line
before touching the wall, he can try to Run on this wall
starting from here, both vertically and horizontally. It is
then necessary to invest 1 AP and make a basic Dexterity
roll; every Ace equals 1 of Movement on the wall. This
Movement must be made always on the same surface
(never around a corner). A Critical roll will allow adding up
to 3 to the result of the movement on the wall. A Fumble
will mean the character falls from the point where he was
when he started to Run on the wall, getting a Stunned
counter. Upon reaching the point of maximum advance,
the character can decide to keep running on the wall (+1
AP), Jump Down, or make a Running Jump (+1 AP, the
last Movement counts as Running). The character must
finish his activation with the model located on a steady
surface.
47
COMBAT
II COMbat essentials
C
lose combat is one of Carnevales key aspects. In fact,
we could say that most of the game evolves around
Combat. In order for a model to attack another, it
must be in Base Contact with its opponent, so either of
them must have used its movement to place itself in that
location. They are considered to be locked in Combat.
II
CLOSE Combat
1 AP. The characters Combat value will indicate his
fighting skill. Pick as many die as the value indicated in
the characters Combat Attribute. A character can never
deliberately attack a friendly model in close Combat. Now
we will see the difficulty he must reach in his attack roll.
II
APPLYING MODIFIERS
Allies can aid a character in close combat. In combat
where there are three or more models in contact, an
attack gains or removes dice from its Combat dice pool
based on the relationship of the models in combat. Here
are the basic rules governing such dice pool modifiers.
The attacker gains one die to their Combat dice pool for
every ally not in base contact with another enemy, but
in base contact with the target of the attack (+2 dice
maximum).
The Barnaboti have a +1 Combat modifier while
attaking the Venetian Citizen, who is engaged with
the other Barnaboti at the same time.
48
12
The attacker loses one die to their Combat dice pool for
each enemy other than the target not in base contact
another of the attackers allies, but in base contact
with the attacker (-2 dice maximum).
II
DIE ROLL
The difficulty of the attack roll is the targets Dexterity
value. The attacker rolls the die he has in his hand. For
every result equal or higher than the targets Dexterity
value (taking into account the corresponding Universal
Abilities), the attacker will get an Ace.
II
ResoluTION
The Aces obtained in the roll will indicate the damage
inflicted to the foe.
After the roll, the attacker sees how many Aces he
has obtained in his roll. He will add to the Aces any
modifiers from the weapon used in the attack or any
other intervening rules, and he will deduct the targets
Protection value. The final number is the amount of Life
Points the target loses.
Example: Roberto Mirigliano is a Barnaboti of the
Patricians faction, and he is locked in combat with two
Ugdru-Rashaar. Robertos Combat value is 3; there are
two Ugdru-Rashaar in Base contact, so he must deduct a
dice from his Combat pool. The situation looks dangerous,
so he decides to invest two Karma Points in his roll to
improve his odds; so he boosts his Combat pool to 4 dice.
The Venetian Citizen has a -1 Combat modifier
because he is engaged with a second foe, who is not
engaged with anyone else at that time.
The Ugdru-Rashaars Dexterity is 5. Roberto makes his
attack roll to hit one of them and he gets 7, 7, 8 and 8
(a very good roll: he got four Aces); since he is using a
sword, he adds an extra Ace to his roll. Roberto gets a
total of 5 Aces with his Combat roll; we the then deduct
3 due to the Ugdru-Rashaars Protection value, meaning
the Ugdru-Rashaar has lost 2 Life Points from Robertos
attack.

II Critical rolls and fumbles

If you Critical during close combat, the target of the
attack gains a Stun counter.
If you Fumble, the attacking character suffer an Attack
of opportunity from the target of the attack (see below).

II Advanced combat
The basics of close combat are easy, but there is more
to learn. The following are a series of new and more
complex manoeuvres that serve to create combats that
are more dynamic. Weapons and other equipment can also
affect combat. You can find those rules in the Universal
Abilities chapter, on page 58.

II Two-weapon Combat
1 AP. Some characters have the ability to fight
using two weapons at the same time. Models with the
Ambidextrous Universal ability can wield two weapons at
the same time as longs as neither weapon has the Two-
Handed Weapon ability. Bear in mind that this state does not disappear at the
When a character is fighting with two weapons, you End of Round.
must always make clear which is the primary weapon While in At the Ready, a character cannot do anything
when the character makes a close combat attack. Fighting else until a foe attacks it with a close combat attack.
with two weapons allows a character to reroll one missed When this happens, the attacking foe does not make
dice in its Combat roll, as if it had the Reroll Dice [1] the Combat roll normally. Instead, each combatantthe
ability, but without having to spend 1 Karma Point. attacking foe and the character in At the Readymake

II
AT THE READY
1 AP. While in Combat, characters are looking around
them at all times in search of imminent dangers. The
characters can enter the temporary state of At the Ready;
to do so, place an At the Ready counter next to the model.
A character can go into At the Ready at a cost of 1 AP;
doing so will end his activation: going into At the Ready
will be the last action in his Turn. He must place an At
the Ready counter next to his model. This model cant do
anything else during the rest of the Round, until (and
if ) it is attacked by a foe. The model will leave the At
the Ready state if: 1) it is forced to move more than 3
by any reason (due to the effect of a Spell, or because it
is pushed from the top of a building, for example), 2) it
crosses a Pain Threshold or 3) it is activated again.
an Opposed combat roll. The difficulty of the roll is
determined by the foes Dexterity. Whichever character
gains more Aces deals as much damage as the difference
in Aces between the rolls. Like the normal close combat
attack, Aces for the weapon are then added to this
damage, and that total damage can be soaked by the
targets Protection. Here is an example of using At the
Ready during play:
A soldier is in base contact with the Duke, who is in
At the Ready. The soldier invests 1 AP to make a close
combat attack against the Duke with his muskets
bayonet. Both players take their respective Combat
dice pools and make an opposed roll. The Soldier gets a
result of 3, 6, 6, 7 (against The Dukes Dexterity of 6so,
three Aces); the Duke gets a result of 1, 2, 4, 6, 6 7, 7, 8
(against the Soldiers Dexterity of 5five Aces). Therefore,
the Duke is up two more Aces, is using a dagger so adds
no Aces due to weapon, so the Soldier is dealt 2 Life
Points, which, luckily, are soaked by his Protection.
49
 A model in base contact with one or more enemy
models cant go into At the Ready.
The At the Ready state also takes effect in the Shooting
phase; see more details on the Shooting chapter.
II Attacks of Opportunity
0 AP. Sometimes, a character makes a mistake or takes
an action that leaves them exposed to a foe. Their foes
take advantage of that opportunity, typically with an
attack. Attacks of opportunity are typically triggered in
three waysbecause a character Fumbled on an attack, a
character is trying to disengage from another character
it is in base contact with, or a character is casting a spell.
When an attack of opportunity is triggered, it costs no
AP to make an attack against the triggering character.
Attacks of opportunity are always close combat attacks,
and in order to make an attack of opportunity, a character
must be wielding a close combat weapon. Attacks of
opportunity are resolved during the turn of the character
triggering the opportunity, and immediately after the
triggering action, but before resolving the triggering
actions effects.
50
I Engaging and disEngaging
From Combat
In order for two characters to fight in close Combat,
they must be Engaged in Base contact. For this to happen,
one of them must have invested part of his Movement
to be in Base contact with his foe. Later on, if one of the
characters can and wishes to step away from his foe (and
he still has remaining APs for this Movement), he must
make an Unengage manoeuvre, simply announcing his
intention to Move. The abandoned fighter can react in
two ways. 1: letting his foe go, and getting an Attack of
Opportunity against the foe whos leaving the Combat. 2:
Trying to block his foes escape; lets see how.
Attack of Opportunity. The model that is abandoned
can make an Attack of Opportunity on the character
that is trying to escape from the Combat. He can
hit his foe with a cost of 0 APs before his foe steps
away (regardless of whether the abandoned model
has been previously activated or is in At the Ready).
Once this attack is resolved, the character leaving the
Combat can move freely.
 Relocating. On the second case, the character wishing
to escape must invest the necessary APs for the
Movement he wants to do; then, they both make
a Dexterity opposition roll. If the Character trying
to escape wins (or draws), he can move freely and
continue his Turn normally. If the character that
wanted to keep fighting wins, he can relocate at no
cost anywhere in Base contact with the model that
tried to escape; they are still Engaged in Combat and
the model that tried to escape cant move at all.
In case the escaping character is Engaged to multiple
foes, the character must declare a single Unengage from
Combat action. In this case, his foes must declare their
reactions separately, and he will have to resolve every roll
separately before he can step away.
In case the character that wanted to keep fighting is
also Engaged with another foe, the only reaction he can
declare to the escape of one of his foes is an Attack of
Opportunity.
II
COMBAT MANOEUVRES
Sometimes, a character may want to do dramatic
things in close combat other than just make a simple
close combat attack against a foe within base combat.
These things are combat manoeuvres. What follows are
the most common optional Combat manoeuvres. Some
are very simple, some more elaborated, but all of them
cause very interesting effects and add more dynamic and
cinematic combats. All of these manoeuvres can be made
in place of a close combat attack.
All manoeuvres labelled as Unarmed Attack you can
not apply the effects of any weapon the character is
equipped with. To make these manoeuvres.
Charge (1 AP). The character can make this attack if
it moved at least 5 or made a run action directly
previous to this attack. It gains +1 die to its die pool
with this attack.
Drown (2 AP; Unarmed Attack). If both characters are
in the water and in Base contact, a character may try
to drown his foe. The character trying to drown his
foe must win a Dexterity or Combat opposition roll
(attackers choice) to Drown the foe.
If the target of the drown attack wins the opposition
roll, it is released, can move up to 1 away from the
character who made the drown attack (ignoring the
Disengage from combat rules).
If the attacker wins, the effects of the Drowning rule
apply immediately; the victim deducts as many die to
his Hold Breath roll as the difference in Aces obtained
in the opposition roll (see Drowning rules, page 57).
The attacker may continue making Drown manoeuvres
as long as he has available APs. The drown manoeuvre
ignores the rule that limits the number of Stun
counters a character may get in a Turn.
If the attackers last action was a successful drown
manoeuvre, the defender hasnt been activated ever
since and both models are still in Base contact at the
end of round, the defender will be considered as still
drowning and he will have to make a new Hold Breath
roll during the End of the round turn.
Low Blow (2 AP). A low blow is an attack to a specific
weak spot. You must announce that you want a
character to make a low blow before making the
Combat roll. When you make the roll, reduce the
combat Dice pool by 1, as the characters accuracy is
reduced because it is trying to hit a specific spot. If
the attack gets to cause any damage at all (applying
the targets Protection), the target only loses 1 Life
Point but receives a Stunned counter.
Push (2 AP; Unarmed Attack). When you make a push
attack, you move a foe instead of dealing damage.
Make the attack roll as normal, for each Ace obtained
(before applying the target characters Protection)
the character pushes its foe 1 away from it. If the
push causes the target to come into contact with
impassable scenery (such as a building or the tables
edge), the target suffers 1 damage for every inch
of movement beyond the point where he stopped
(Protection is applied to this damage). A Push can
cause the target to fall into the water, off a building
or elevated scenery, in which case the Falling rules
apply. A model that has been pushed is automatically
disengaged (ignoring the Disengage from combat
rules). If the push causes the target to come into base
contact with another foe, it is then engaged with that
new foe.
Round-House Attack (2 AP). The character can make an
attack against each of the models with which he is in
Base contact. Each attack will be resolved separately
in the direction (clockwise or counter clockwise)
determined by the attacker, starting by the model he
chooses. If any of these Attacks doesnt cause the loss
of at least 1 Life Point, he cant make any other attack
Strike from Above (1 AP). The character can make this
attack if it made a running jump or a jump down action
during the action previous The character gets a +1 to
damage when it makes this attack.
Trample (1 AP; Unarmed Attack). The models with a size
category of Large or larger may trample smaller models.
The character obtains a +1 die to his Attack pool for each
size category it is larger than targets size.
51
SHOOTING
T VOLUME PROFILE
his chapter explores the power and effect of weapons
that cause damage from a distance. Often these
weapons are propelled by gunpowder, but they can
also be thrown, or the effects of spells empowered by the
strange occurrence called the Rent in the Sky. No matter
how a character shoots a ranged attack, it uses the
following rules.
II
BASIC SHOT
1AP. When a character wants to make a basic shot
with a ranged weapon, the character must spend 1 AP,
announce the target, check for cover and line of sight, and
them gather its Shooting pool and make a Shooting roll.
The difficulty number is typically 7, unless the targets
Dexterity is greater than 7, in which case that characters
Dexterity value determines the difficulty. For each Ace
the shooter gains, it has the chance to deal 1 damage to
the target. This number of Aces is then modified by the
weapons damage modifier, and the targets Protection value
is then subtracted from that total. Any remaining Aces are
converted to Life Point damage against the character. A
character can never deliberately shoot a friendly character.
This Harlequin model is jumping over a bollard,
which might lead to some confussion about the
actual size of the model. In this case well use the
Volume Profile template to figure out the real Line of
Sight towards this model.
52
13
Models represent combatants who are in constant
Movement, not inert and immovable metal pieces.
Besides, we expect that the most talented players will
play with customized models, which will have capes fly-
ing in the wind or spectacular bases on which models
will stand, or even models half-submerged! This can
distort in some way the some models game mechanics
concerning what they can actually see or how exposed
they are behind a scenery item. Thus, we have designed
the concept of models Volume Profile in order to dispel
doubts on Lines of Sight.
In 90% of the cases, it will be obvious if a model
can see another model, even if it is behind Cover, and
the amount of Protection offered by the Cover. In the
remaining 10% of cases, you can dispel all doubts by
using the Volume Profile templates. There are different
profile sizes, corresponding to the three different bases
sizes and to the special cases such as dogs (if ever we
create models with different sizes or special cases, well
provide their corresponding Volume Profiles).
When doubts arise concerning Line of Sight, place
the Volume Profile in base contact with the target
model, perpendicular to the attacking model. If you
can trace a line from any point of the attacking models
Volume Profile up to any point of the targets Volume
Profile, it means a Line of Sight exists. In some cases,
you need to place the profiles both next to the attacker
and next to the target to make sure that theres Line
of Sight.
Moreover, you can see that these profiles have a
cross-shaped division. If a scenery item covers the
profile in some way, the model will gain Cover.
Note. The strip on the top side of the template is not
part of the Volume Profile. It is there so you can hold it
with your fingers comfortably.
II CrITICALS & FUMBLES
When shooting, on a Critical, place a Stun counter on
the victim, regardless of whether or not the shot deals
damage.
On a Fumble, roll a 1d10 and consult the following
table. If the weapon is not a firearm or magic, treat a 1 as
a backfire.
weapons range, the character suffers a one die penalty to
its Shooting roll for every 5 increment beyond the range
(i.e., if the target is beyond the range but less than 5
beyond range, you reduce the Shooting pool by one die,
if it is 5 but less than 10 beyond range you reduce the
Shooting pool by 2 dice, and so on). You can never shoot
a target that is beyond twice the weapons range away.
Weapon rangers are found in Chapter 6.

6-10 Jam. The weapon is jammed or otherwise broken

and cant be fired. To fix the weapon, the shooting
character must pay 2 AP. Once the weapon is fixed, it
must be loaded again (see the Reload (X) Universal
Ability).
2-5 Backfire. The weapon backfires and the wielder
II Darkness
Darkness affects a shooters ability to hit its target.
Some Adventures or some characters special abilities
create zones of darkness. When a shooter is within a zone
of darkness, its weapons range is reduced to half.

suffers as much life point damage as the weapons
damage modifier. The weapons wielders Protection is
applied, as well as the weapons Universal Abilities. The
weapon is also jammed (see above).
1 Explosion. The weapon explodes. Place the round
template centred on the attacker. All models touched
by the template suffer as much Life Point damage as
the weapons damage modifier. Any of the weapons
abilities are applied to this attack. Characters within
the explosion gain the use of the Protection value
against this attack. The weapon is useless for the rest
of the game.
II
Different Heights
A character may shoot over a target which is on high
ground, for example on the roof of a building; the mere
fact of being on high ground may offer a good Cover or
make it impossible for the attacker to shoot. If the target
model is beyond the shooters Volume Profile height and
can place its Volume Profile horizontally in contact with
its base so that it doesnt stand out from the scenery
item on which it stands, the shooter wont be able to trace
a Line of Sight towards the target. In case the template

II
sticks out the item, the target gets the corresponding
Cover (see diagram).
LINE OF SIGHT However, if it is the shooter whos in high ground and
hes able to trace a Line of Sight on his target, he may
When a model wants to shoot on a target, you must shoot normally.
be able to trace a Line of Sight between the attacker
and the target. Models have a visual angle of 360 (so it
doesnt matter where they are facing). The first thing to
bear in mind is whether the model can see the target;
in order to know that, you must lean over the table until
you are at eye level with the model. You need to trace
at least one line from any point of the attackers Volume
Profile until any point of the targets Volume Profile. If this
line cant help but cross any scenery item, the target can
obtain a certain Cover (see below), or can be completely
out of the Line of Sight if the target is Hidden (see page
47). The only exception is when the shooting model is in
Base contact with such Cover; this means the attacker
can shoot over the obstacle or through the obstacle,
without being affected by it.

II Range
In Carnevale, you can measure distances, including
range, at any time. To calculate range, measure the
distance from the closest edge of the shooters base to
the closest edge of the targets base.
The further a target is, the most difficult it is to shoot.
Shooting a target that is within the weapons range
doesnt suffers no penalties. When shooting beyond the

53
II Cover
A character benefits from Cover when hes position way
that a pieces of scenery stands between it and the its
attacker. In terms of game: if the attackers Line of Sight
crosses some scenery item on the way to the target,
the target benefits from Cover. In the case of explosions
and similar effects, Cover will only have effect if it stands
between the center of the explosion (that is, the center
of the circular template) and the target. Scenery items
often have certain theses modify the shooters roll. These
characteristics are grouped into two categories. Modifiers
from the two categories stack.
Size:
Medium. covers up to half
the models Volume Profile. -1
Big. Covers more than half
the models Volume Profile. -2
Hardness:
Light. (e.g. bushes) -1
Blunt. (e.g. boxes or barrels) -2
Heavy. (e.g. walls or rocks) -3
II
target ENGAGED IN COMBAT
When a shooter designates a target in base contact
with at least one enemy, he must deduct a die from his
shooting pool for every model (friend or foe) in base
contact with the target (applying all other corresponding
modifiers normally). If the attack roll is successful, the
Shot is resolved normally. If the roll fails, it means the
attacker didnt have the nerve to shoot putting an allys life
in danger, or simply that the shot missed the target.
II
SHOOTER Engaged in combat
A character may make a ranged attack even when it is
in base contact with an enemy. The shot is more difficult,
meaning that the shooter must reduce its Shooting pool by
1 for each enemy in base contact with it. While the shot is
more difficult, it can often be devastating if made against a
target the shooter is currently in base contact with.
If the shooter makes this attack against such a creature,
it is considered to have Penetration (3) for such a shot.
54
II Aiming
A character may try to aim to make a more accurate
shot. Aiming costs 1 or 2 extra AP. For every additional
AP spent on the aimed shot, the character ignores one
negative modifier to the shot or one point of the targets
Protection. It must chose which option it will ignore before
making the roll. It is not possible to aim while engaged in
Combat or Shooting in movement.
II
Shooting in movement
A character may momentarily interrupt its movement
to shoot, even if it is Running, Running on a Wall, Running,
making a Running Jump. It can even do so while Climbing
if the weapon has the Short Weapon ability. Its weapons
must be loaded and ready to shoot; Ambidextrous
characters can shoot up to two Short Weapons, one
with each hand. The process works as follows: the player
must declare his character will shoot in movement and
the type of movement he wants to make. The player
must calculate the maximum distance the character may
Move, pay the cost in APs and then move the model. At
any stage during the Movement, the character can stop
temporarily, position the and shoot from there (paying
the corresponding APs). After resolving the shots, the
character may resume the characters move normally.
In case the character is shooting while Jumping or
Jumping Down, you must determine the jumps trajectory
and the point from where the character shoots (to do
so, you can use a tape measure or some string). The
trajectory will be in a straight line from the location of the
model at the beginning of the Jump (a point in his base)
until the location where he wants to land. Mark a point
along this trajectory; from here, trace the Line of Sight
until the target and shoot applying all corresponding
modifiers.
Shots in Movement reduce the Shooting pool by 1 or by
2 if the character is Jumping or Jumping down.
II
Throwing things and Scatter
Characters may throw objects using a mechanics
similar to Shooting. Objects that may be thrown will
have the Throwable (X) Universal ability; the number in
brackets is the modifier to the attackers Shooting value.
The objects damage value and any special rules are also
specified.
Example:
Weapon Damage Abilities Range
Grenade 1d10 Throwable (-2), 6
Explosion, Flames
 The Thrower places the object to throw on the intended
landing spot; he may also mark a target point, such as
the model representing a character. Then, he makes the
basic roll using his Shooting value. If he obtains at least
one Ace, the object will land on the chosen landing spot.
Otherwise, the object will disperse from the chosen
landing spot as per the Scatter rule.
his next activation. Models bearing weapons with Multiple
Shot or more than a ranged weapon ready to shoot may
make more than one Shot, but never more than one Shot
for every action taken by the target enemy model.
The model will leave the At the Ready state if: 1) it is
forced to move more than 3 by any reason (due to the
effect of a Spell, or because it is pushed from the top of a

II
building, for example), 2) it exceeds a Pain Threshold or
3) it is activated again (for example, to reload again).
SCATTER A model in base contact with one or more enemy
models cant become At the Ready.
Roll a d10 near the chosen landing spot. The dies This temporary state can also be applied in Combat; see
upward facing tip indicates the direction of the scatter the Combat chapter.

from the chosen landing spot. The result of the die,
reduced by a number equal to the throwing characters
Shooting value, indicates the distance in inches the
throw scatters from the chosen landing spot. Wherever
the object scatters to, is where its effect are resolved.
For more details on this rule, see the diagram and the
example.
II
Reloading weapons
Firearms must be reloaded between shots; this is a
slow and cumbersome process, and often difficult to do
in the middle of close combat. If the weapon is a firearm,

II
it is process that involves shoving the ammunition and
gunpowder down the barrels, and weapon sometimes
At the Ready checking the state of the spark that detonates the
gunpowder. Weapons that require reloading have the
1AP. For the cost of one AP, a character can kneel down Reload (X) Universal ability.
and be At the Ready. This will be that characters last
action during his activation. Place an At the Ready counter Reload (X). A weapon with this ability must be reloaded
next to the model. Being on At the Ready allows the after each shot. The number in the brackets is the
character to interrupt any enemy characters activation number of AP it takes to reload the weapon. At the
when the enemys movement ends an action within Line start of an adventure, all weapons are considered
of Sight of the character on At the Ready, which will then loaded
shoot. You dont need to invest APs on this Shot. All of
the corresponding modifiers are applied, except that a
character on At the Ready cant Aim. The character on At
the Ready must have a loaded weapon; after shooting,
the character cant reload until more APs are invested in

A
B 1
The Magi-Rashaar throws a grenade at the White Dove, but fails.
Using point A as the original landing point, he then uses the Scatter
rules. He rolls a d10 and gets a 3. Following the vector indicated by
the tip of the dice, the grenade scatters 3 minus the Shooting value
of the Magi-Rashaar (2). The grenade scatters 1 from point A in the
indicated direction, finally exploding on point B.

55
WOUNDS
C
ombat is a key element of Carnevale, as are its
consequences are a key element in Carnevale.
Through the course of the game, character will suffer
wounds from attacks and other calamities. This chapter
looks at what happens when they do.
II
Life Points and FALLEN IN COMBAT
Close combat, shooting, and other effects in the game
deal damage to a characters Life Points. Life Points
measure a characters health and resistance to damage.
Each character has a set number of Life Points. The more
points a character has, more difficult it is to kill. For each
point of damage a character takes, you cross out a Life
Points box. When you cross out the last Life Points box,
the character Falls in Combat. Remove it from the game.
If you are using the campaign rules, Falling in combat can
have a number of outcomes.
II
Pain Thresholds
As you cross out Life Points boxes, some boxes contain
negative values (-1, -2, -3, etc.). Every time you cross out
the last Life Points box containing one of these negative
values, the character has crossed a Pain Threshold. First,
place a Stun counter next to the model. Second, the
negative number indicates the amount of dice deducted
from all of the characters Dice Pools from that point
forward during the Adventure.
For example, if a character has a Combat ability of 5, it
will usually have a Combat pool of 5d10, not counting any
other modifiers based on the action it is performing or
any equipment it has. When that character crosses the
first Pain Threshold (the Life Point box with the -1), when
you gather the dice for its Combat pool, you will grab
4d10 instead of 5d10 to make the Combat roll. When the
character reaches the -2 Pain Threshold, its Combat pool
will be 3d10, and so on.
The Pain Threshold modifier stacks with any other
modifiers that may affect the wounded characters rolls. If,
by means of healing, a character recovers his health and
steps back into a less harmful Pain Threshold, he wont
get any Stun counter for this.
56
14
II Death
This section is short. As soon as you cross out the last
Life Point of a character, he is considered to have Fallen in
Combat and you must remove it from the game. If youre
playing with the Campaign rules, youll see what happens
with the character by following the Fallen in Combat rules.
II HEaling / Regeneration
Models with the Healing or Regeneration abilities,
or models bearing objects that confer such Universal
Abilities, can restore some of their Life Points. The
Universal Abilities Healing and Regeneration are followed
by a number in brackets; this number indicates the dice
pool needed to make a basic roll. The Aces obtained will
indicate the Life Points healed. If you obtain a Critical roll
when healing, recover the model to his starting health
level; if you obtain a Fumble, not only the model wont
heal, but it will lose one extra Life Point. A model may
never be healed above its starting Life Points value.
II Protection
Most of the reckless characters that get involved in
fights every night in the streets of Venice are not SO
reckless as to do it without protection. The metal amours
used all around Europe may be a deathtrap in Venice when
you are a slip away from falling into a canal, so the most
common protections in town are lighter options such as
leather or padded clothes; besides, of course, the thick
hide of the Ugdu-Rashaar is as protective as any boiled
leather armour.
Every time a model suffers physical damage from a
Shot, a close Combat attack or any kind of source, you can
deduct the models Protection level from the final amount
of Aces obtained in the Attack roll, before determining
the damage inflicted. The remaining amount of Aces
in the attack roll after applying Protection will indicate
the amount of damage levels inflicted on the target. By
default, all characters have a Protection value of 2, which
can be modified by the characters gear or Universal
Abilities.
II
Stunned
Combat is not only wears on the body; it can also wear
on the senses. A powerful blow can make a character
temporarily loses its senses. When this happens, the
character is Stunned. Place a Stun counter next to that
characters model.
 A model is Stunned when: 1) it crosses one Pain victims of the combat manoeuvre Drowning). Drowning
Threshold, 2) it suffers damage from a fall in inches equal characters must pass a basic Dexterity roll in order to
or higher to its Dexterity value, or 3) it is the target of an Hold Breath. If they fail, they get a Stun counter.

attack, Spell or game effect that indicates specifically that
the victim is Stunned.
While a character is stunned, it reduces all Dice rolls it
makes by 1. A character is stunned until it spends 1 AP
to clear its head.
If a Stunned character is in the situation of receiving a
second Stun counter, he will suffer 1 automatic damage
level (ignoring Protection) instead.
A model may only get one Stun counter per Turn.
II
Morale
Keeping a cool head in the most extreme situations
may be quite difficult. Characters in Carnevale must often
resort to courage; the success of the mission will usually
depend on their ability to keep calm. Otherwise, they
might as well flee in panic.
There are two types of Morale rolls: single rolls and
group rolls. The single roll works just as a basic Mind roll
(applying all necessary modifiers) and the result only
affects the model which made the roll. The group roll
works just as the single roll, with the exception that the
result of the roll affects all of the squads models; the
model in the squad with the highest current Mind value
will be responsible for making the roll.
There are two Universal Abilities that may affect Morale
rolls: Fear and Command. Youll find more details on their

II
mechanics in the Universal Abilities chapter.
After making a successful Morale roll (either single
FallING or group), the model(s) involved in the roll may keep on
acting normally.
When a character is pushed off high ground or he falls After a failed group Morale roll, all of the squads models
down for some other reason, you must check the must make single Morale rolls using each models Mind
following table. This table describes the height categories value (with all corresponding modifiers) and resolving the
and the damage received when falling from such height. resulting effects.
The falling character can make a basic Dexterity roll to If a model fails a single Morale roll, place a Stun counter
lower one level the category of the fall. next to the model. If you obtain a Fumble on a Morale roll,
the model obtains a Stun counter and must use all of
Fall its AP in his next activation to remove the Stun counter
and move as fast as possible through the shortest route
Category Distance Damage towards the closest edge of the table. Bear in mind that
if the character that must flee is Engaged in Combat, he
must try to Unengage, applying all of the corresponding
0 >1 0 rules (see page 50). If the character hasnt still left the
table, he can make a single Morale roll in the next End
1 1-4 1 of Round: if he succeeds, he will recover control over his
actions; if he fails, he may roll again in his next activation
2 4-6 2, to see if he keeps running or recovers control over his
Penetration (1) actions. If the character reaches the tables edge, treat it
as Fallen in Combat.
3 6-8 4, Every time you find yourself in one of the following
Penetration (2) circumstances, characters must make a Morale roll. When
some of the following circumstances happen at the same
4 9-10 8, time (for example, an ally falls within 5 and the model
Penetration (5) becomes the only survivor of the squad), you only need to
make one Morale roll.
5 10+ Fallen in Combat

* Check the rules for Penetration (X) in page 61. Single Rolls

II
When an ally Falls in Combat within 5 from the model.
Drowning When the model is the last survivor of the squad.

At the End of Round, you must check if there are Group Rolls
characters drowning (immobilized for some reason or When the squad Leader falls in Combat.

57
UNIVERSAL ABILITIES
U
niversal Abilities are a series of rules that serves
The X
as exceptions to the basic rules of the game.
Therefore, if there is a conflict between a Universal
Ability and the general rules of the game, the Universal
Ability prevails. These rules may apply to characters,
weapons, objects, powers, or events. The effects to
two or more different Universal Abilities are cumulative.
For example, the flamethrower is a weapon with both
the Fear and the Flame Universal Ability. However, if
a character obtains the same Universal Ability twice
from different sources, it can only benefit from one
application of the Universal Ability at a time, and always
the best of all versions of that Universal Ability it has.
For instance, a character has Extra Protection (1) and
gets an equipment item that grants it Extra Protection
(3), the character will have Extra Protection (3).
II
Universal Abilities
Ambidextrous. A character with this ability can wield a
weapon in each hand and use them at the same time.
See the rules for two-weapon combat in the Combat
chapter.
Berserk. When a character with this ability crosses its
last Pain Threshold, it gains a +3 bonus to its Combat
value, and ignores any and all negative modifiers from
Life Point loss (including Pain Threshold). This effect
lasts until the character Falls in combat or is healed to a
point where it is no longer within its last Pain Threshold.
Blast (X). Some weapons let lose blasts of different
materials (such as fire, gas, acid, etc.). Since they are
very imprecise shots, the attackers shooting skill is not
applied. These weapons use the cone template; when a
character shoots a weapon with this ability, place the
narrow end of the template in Base contact with the
shooter. Then, the controlling player faces the template
in the shooting direction and he rolls 1d10, applying
the weapons Blast value (the number in the brackets).
This roll is made with the Destiny Die; you must treat
Critical rolls and Fumbles (before applying the Blast
modifier) as described in the Shooting chapter. The final
number obtained is the amount of inches the template
moves in that direction. In case of obtaining a negative
number result, the template stays in Base contact with
the shooter, not moving at all. All the models other than
the shooter whose bases are touched (even partly) by
the template at some point of its movement suffer the
effects of the blast.
Brave. A character with this ability can always use its
unmodified Mind value on both single and group morale
rolls.
58
15
When you see an X in brackets after a Universal
Ability, this means that applications of the universal
ability granted by its source will always have a value
associated with the ability. Have a quick lookt at the
Factions chapter to see how the X is applied.
For example, the Extra Protection (X) ability could be
an Extra Protection (1), Extra Protection (2) or an even
higher value based on the equipment or the character
it comes from.
Bodyguard. When a character with this ability is in base
contact with a foe that successfully attacks one of the
bodyguards allies, the bodyguard can choose to take
the effects of the attack itself, deflecting the attack
away from its fellow squad member. The bodyguard
applies its Protection against the damage normally
instead of the Protection of the original target.
Cautious. A character with this ability knows how to
make the most from cover. When it benefits from cover,
it is always considered to be one higher cover level than
it actually is.
Companion (character, X). A character with this ability
gains a bonus equal to the number in the brackets to its
Combat pool when engaged in the same Combat as the
character indicated in the brackets.
Defensive Combat (X). When a character with this ability
is about to be the target of a close combat attack (but
before the attacker makes the Combat roll),it can spend
a number of Karma Points up to the number equal to the
number in brackets to raise its Dexterity value. It raises
its Dexterity value by a number equal to the Karma
Points spent to use this ability for the rest of this turn.
Elusive. A character with this ability can disengage from
base combat by making an opposed Dexterity roll with
the model/s he is in base contact with. If the character
with this ability wins the opposed roll his opponent
cannot make an attack of opportunity or try to block the
disengaging characters move.
Engage. When an opponent in base contact with a
character with this ability wishes to disengage from
close combat, he must first win an opposed Dexterity
roll. If the opponent loses the opposed roll, the character
cannot disengage during this action; otherwise, the
normal disengage from combat rules apply. A character
 with this ability is not forced to apply it if he does not
want to. The Universal abilities Engage and Slippery
counter each other.
Erratic Movement (X). A character with this ability moves
in such an erratic way that it is hard to shoot at it. It
gains a Cover value equal to the number in the brackets
even with its on open ground. This cover affects ranged
attacks targeting it. If the character is actually behind
cover, it benefits only from the best of the two sources
of cover.
Ethereal. A character may ignore obstacles while moving,
but can never move through an impassable terrain item.
Having this universal ability also grants the Spiritual
protection (1) Universal ability.
Explosion. A weapon with this ability uses the round
template with its effect.
Expert Marksman. A character with this ability may aim
using Karma Points instead of Action Points.
Expert Swimmer. A character with this ability can move
using his full Movement Attribute when in the water, but
can be Drowned as normal.
Extra Protection (X). A character with this Universal
ability adds X to the base Protection value (which is 2).
This Extra protection cant be used to prevent damage
from Falling or Drowning. If the character has different
sources of Extra protection, he will always use the
best available one, but they will not stack. Bear in mind
that the characters you will see in the Factions chapter
already have the Extra protection values included in
their profiles.
Fascination (X). Each time a foe attacks or makes an
action that affects a model with this universal ability, he
reduces its dice pool by a number equal to the number
in the brackets. Characters with the mindless ability are
immune to this ability.
Fear (X). When a character or a weapon with this ability
attacks an enemy, the target of the attack must also
make a Morale roll. The roll is modified by the number in
the brackets.
Fireproof (X). A character or item with this ability is
protected from flames. It reduces the damage by a
number equal to the one in the brackets when he is the
target of an attack with the Flames Universal ability.
First Strike (X). A character with this ability gets a
bonus to the first close combat attack it makes each
Round equal to the number in the brackets.
Flames. A character or weapon with this ability makes
attacks with flame. Flame ignores a targets cover and
Command (X)
We highlight this Universal Ability because we
consider it especially important, given that at least one
model in every squad will possess this ability. On the
character sheet of a character with this Universal Ability
there is a box divided by a slash; on the left-hand side
you must write down the characters absolute Command
value; on the right-hand you must write down the
current Command value, which keeps dropping as you
spend Command points. Command points spent during
the game cant be recovered, unless a special rule says
otherwise. All characters which possess the Universal
Ability Command (or who obtain this ability through
Experience) will have the descriptor Leader. This Universal
Ability has several different uses:
A character with this Universal Ability may hand
over Command Points to other characters (but not to
himself ); these Command Points turn into APs. This
action has no cost at all in APs, and is made during the
activation of the target character who receives these
extra APs. For each Command Point spent, the target
character obtains 1 extra AP. A single character may
only receive a maximum of 2 Command Points per Turn.
The squad Leader may hand over Command Points to as
many different models in his squad as he wishes, until
he runs out of Command Points.
Moreover, once per Round the Leader may spend one
Command Point to make a character from his squad
act immediately after another character of his squad,
before the other player starts his Turn. The leader of
an enemy squad with the same Universal Ability may
invest one of his Command Points to cancel this effect.
When a player makes a group Morale roll, the squad
Leader may add his current Command value to his Mind
dice pool.
If there are two characters with this Universal Ability
in the same squad, the player must specify which
of them is the main Leader; the main Leader is the
only character who can carry out all the actions just
described; if the main Leader Falls in Combat, the second
character with Command becomes the main Leader.
Protection, except for characters with the Universal
abilities Flameproof and Universal protection.
Fly. A character with this ability can fly. It ignores all
scenery items during its movement, but cant end its
movement within impassable scenery. This character
doesnt take into account vertical movements; for
example, if the character is in Base contact with a
three-story building, it can move onto the buildings roof
spending only 1 of its movement.
Grow Through Adversity. A character with this ability adds
+1 to its Combat value if it is in base contact with two
enemy characters. It adds a +2 to its Combat value if it
is in base contact with three or more enemy characters.
59
 He also ignores all normal negative modifiers for fighting
multiple foes at the same time.
Hand Weapon. A weapon with this ability can be used
to make close combat attack that does not modify the
Combat roll.
Healing (X). A character with this ability can spend 2 AP
to heal a character that it is in base contact with (not
himself ). When it does so, the character with healing
makes a basic roll with a number of dice equal to the
number in the bracket. For every Ace, it heals the target
creature 1 Life Point. On a Critical, it heals the creature
up to its starting Life Points. On a Fumble, it deals 1
point of Life Point Damage to the character. See Healing/
Regeneration on page 57. Natural Weapon. A weapon
with this ability is part of the characters body and is
consider a hand weapon.
Heavy Armor (X). Armour with this ability is so heavy
that it takes a penalty to its Dexterity rolls equal to the
number in the brackets. Furthermore, if a This characters Movement is limited for some reason.
character wearing heavy armour falls into the water,
he must succeed a basic Dexterity roll or he will be
immobilized until the end of the Round
Heavy Weapon (X). A weapon with this ability is so heavy
and hard to manoeuvre that the wielder takes a penalty
60
to its Combat or Shooting skill equal to the number in
the bracket
High Jump. A character with this ability can make a
Dexterity roll before making a Jump. For every Ace
obtained, it can add +1 inch to its Jump. This ability
cannot be combined with Running Jump.
Incorporeal. A character with this ability may ignore all
scenery while moving, however it can never end its move
within a piece of scenery. A creature with this ability
also gains the Spiritual protection (3) Universal ability.
Infiltration. A character with this ability who is part of
a squads reinforcements, may roll 2d10 when making
his deployment rolls (see page 77) and keep the best
result.
Limited Movement (movement type). A character with
this ability cant use some form of movement. They
type of movement is given between the brackets.
The kind of Movement this character cant make is in
brackets, such as Swimming or Jumping; besides, the
character cant have access to any of the advanced
Movements.
 Life Drain. When a character with this Universal Ability
causes damage in close Combat, he immediately recover
as many Life Points equal to the number of Life Point
damage the target creature took with the attack.
Long Reach (X). Some close combat weapons have a
greater reach than conventional weapons. The number
in brackets indicates the distance in inches a model
equipped with this weapon can attack from. It is not
necessary to be in base contact when making an attack
with a weapon with this ability as long as the distance
separating both models is not higher than the number
in brackets.
Mage (X). A character with this ability is well versed
in the world of magic. He can buy and can know a
maximum number of spells equal to the number in the
brackets, which he chooses and pays for while building
his force.
Ointment. Items with this ability must be applied on
swords, axes, halberds, bayonets or hand weapons.
The Ointments other Universal Abilities will add to the
weapons Universal Abilities. A weapon can only benefit
from the effects of a single Ointment at the same time.
Partners (character). If a character with this ability and
the character named in brackets are within 5 from each
other at the beginning of the character with this abilitys
activation, they can both activate at the same time,
using both their AP pools at any time during this shared
turn. When all AP are spent, mark both characters as
activated.

Mighty Blow (X). When a character with this ability deals

any damage in close combat, it deals extra damage
equal to the number in brackets.

Mind Control. A character with this ability may control

the actions of friendly models that have the mindless
ability. These models act normally during play using
their own APs and they appear to act autonomously.
When a Mindless creature Falls in Combat, the character
that controls it must pass a basic Mind roll or receive a
Stun marker. If there is more than one character with
Mind Control in the same squad, write down on a piece of
paper which Mindless models each character controls. If
the character with this universal ability falls in combat,
all of the models he controlled must success on a basic
Mind roll every time they are to be activated; if they fail
the roll, these models will count as activated but their Penetration (X). The damage caused by a weapon or
Action Points will be reduced to 0 until the next End of character with this ability ignores as much of the
Round turn targets Protection value as the value in brackets.

Mindless. A character with this ability is immune to the Rebellious. A character with this ability cannot receive
effects of the Fear and Fascination Universal abilities. any benefit from his squad leaders Command ability.

Multiple Shot (X). A weapon with this ability can be shot
a number of times equal to the number in the bracket
before it has to be reloaded.
Multiple Targets (X). When a character with this ability
makes a Shot, it can designate as many targets as the
number in the brackets. When it makes its Shooting
roll it uses 7 or the highest Dexterity value among the
various targets as the difficulty. The shooter can then
divide any Aces (modified by the weapon type) obtained
from its roll freely among the targets. If a weapon
deals Aces + a number (Aces+3, for example), the total
number obtained will then be distributed among the
targets.
Night Vision. A character with this ability ignores the
restrictions of Darkness.
Reckless. A character with this ability doubles its Mind
value without applying other modifiers- when making
a single Morale rolls during an adventure. This character
doesnt apply any kind of positive or negative modifiers
to its Morale rolls.
Regeneration (X). A character with this ability may spend
2 AP and make a basic roll with a number of dice equal
to the number in the bracket. With each Ace, it regains
1 Life Point. On a Critical it regains all its Life Points. On
a Fumble, it takes 1 Life Point damage. See Healing/
Regeneration on page 57.
Reload (X). A weapon with this ability must be reloaded
after each shot. The number in the brackets is the
number of AP it takes to reload the weapon. At the start
of an adventure, all weapons are considered loaded.

61

Reroll All Dice. A character with this ability can spend 1
Karma Point may force an enemy, ally, or himself to reroll
and entire roll, including the Destiny Die. This ability can
only be used once per roll.
Reroll Dice (X). A character with this ability may spend 1
Karma Point and make an opponent (or himself ) reroll
a number of dice in a roll equal to the number in the
bracket brackets. The Destiny Die cannot be rerolled
with this ability. When using this ability, the player must
declare how many die is he going to reroll, and it can
only be used once per roll.
Rickety (X). A character with this ability reduces its
Protection value by a number equal to the one in the
brackets.
Save (X). When an opponent makes a close attack
against a character with this ability, it must reduce its
dice pool by a number of dice equal to the number in the
bracket.
Savage. When a character with this ability crosses its
last Pain Threshold, it gains 1d5 extra APs each round.
Make this roll when activating the character. These
effects will apply until the character Falls in combat or is
healed above its last pain threshold.
62
Slippery. This character is never engaged in close combat,
even though he can attack and be attacked in Combat if
in base contact with other models. He can just leave the
combat freely at any time. The Universal abilities Engage
and Slippery counter each other.
Slow. A character with this ability cannot activate until
everyone in its squad has activated. If there is more
than one character with this ability in a squad, once the
other models have been activated, the controlling player
decides the order of activation of the characters with
the slow ability.
Sniper (X). A character with this ability excels at
shooting characters that have not yet activated. When
it does, it gains a bonus to the Shoot roll equal to the
number in brackets.
Short Weapon. A ranged weapon with this ability only
requires one hand to use, so a character with the
Ambidextrous Universal ability can carry a short weapon
in one hand and another one-handed weapon in the
other.
Spiritual Damage. An attack with this Universal Ability
ignores the Protection value of the target.
Spiritual Protection (X). A character with this ability has
a level of protection equal to the number in brackets
against weapons, characters or effects that cause
Spiritual damage.
Spiritual spill (X). When a character with this ability
loses Life Points as a result of a close combat attack, the
attacker also suffers as much Life Points damage as the
number in brackets; this damage is Spiritual Damage.
Stun. A character with this ability Stuns a creature when
it deals at least one Life Point in damage to it.
Swift. A character with this ability can spend 1 Karma
Point. The character can then double its Movement
attribute for the next Action he makes.
Sworn Enemy (character or descriptor, X). A character with
this ability has a bonus to its Combat and Shooting
values equal to the number in brackets when attacking
a character with its name in the brackets, or, in the
cases where a descriptor is given, any character with a
descriptor given within the brackets.
Throwable (X). A weapon of this ability is thrown rather
than shot. When using this weapon, you use the
shooting rules, and apply a modifier to the Shooting
roll equal to the number in the brackets. Throwable
weapons can be used quickly and opportunistically, so
a character can use a throwable weapon while wielding
other weapons
 Trifling. A character with this ability is not counted when
determining Victory Points. They can never be taken
into account while checking an adventures victory
II descriptors
Descriptors dont have any rule on their own, but they
conditions, and they cannot receive improvements by talk to some abilities. For example, due to the Spell They
way of experience. Sleep Underwater, all creatures with the Rashaar descriptor
on the table recover one Life Point. Individual characters can
Two-Handed Weapon. A weapon with this ability requires have several different descriptors. The following are a list of
a character to use both hands to wield this weapon, so descriptors is the game.
he can no longer wield other weapons at the same time.
Human Priest
Vampiric Attack (X). A character with this ability recovers
X life points each time it deals at least one Life Point Monster Animal
in damage in close combat. This Universal ability does
not work against models with the Ghost or Undead Rashaar Nexus
descriptors.
Soldier Crazy
Universal Protection (X). The character has a level of
Protection equal to the number in brackets against Leader Scientist
Physical Damage, Spiritual Damage or Flames.
Noble Gifted
Water Creature. A character with this universal ability
moves full speed when it swims, can use the Run Mage Undead
rules to swim faster, and can make a Running jump
while being in the water. Furthermore, water creatures Catholic Ghost
breathe water, so they cannot drown. Lastly, a water
creature can make the drown manoeuvre by spending Muslim Thief
1AP instead of 2 AP, gain a +2 bonus to their dice pool
for the manoeuvre, and can always choose the Attribute
to use in the roll.

63
WEAPONS AND EQUIPMENT 16
T
his chapter describes the various weapons and
items you can equip your Carnevale characters with.
In the Factions chapter you can see the weapons
each model starts with, already counted on the models
basic cost. In basic adventures (not in a campaign), you
can only buy elements from the Basic Equipment and
Magical Items table. However, squads can also access the
rest of items by means of the special rules included in
some Adventures and in campaigns.
For weapons that require some sort of ammunition,
this is included in the basic cost. It is understood that
a character equipped with a ranged weapon will have
enough gunpowder and bullets to last them for the
whole adventure.
These tables show the modifier applied to the damage
roll (in the case of weapons) and the Universal Abilities
or other abilities conferred to the character that uses
them. For complete information on the use of Universal
Abilities, see the corresponding chapter.
When a character is equipped with a weapon or an
equipment item, the player must display it somehow on
the model. The player must always make sure that his
opponent is aware of the characters equipment, with the
exception of magical items. Bear in mind that there can
only be one magical item in a squad, and that its effects
are only valid during one Adventure (not during the
whole campaign), although you can buy the item again
before your next Adventure.

Close Combat Weapons

Cost Weapons Damage Abilities
10 Halberd Aces +1 Long Reach (2),
Two handed weapon

5 Hand Weapon Aces -

5 Bayonet -1 Aces Long Reach (2),

Must be attached to a musket

10 Sword Aces +1 Save (1)

N/A Claws Aces Penetration (1), Natural Weapon

8 Axe Aces +1 Penetration (1), Hand Weapon

8 Whip Aces Long Reach (4)

7 Club Aces Stun

N/A Unarmed Aces -1 Natural Weapon,

64
 Shooting Weapons

Cost Weapons Damage Abilities Range

12 Bow Aces Reload (1) 12

15 Crossbow Aces +1 Reload (3) 10

10 Smoke bombs N/A Throwable (-2), Explosion, Extra* 6

7 Throwing daggers Aces-1 - 5

15 Grenade 1d10 Throwable (-2), Explosion, Flames 6

20 Flamethrower 1d10 +2 Fear (-2), Blast (-5), Cone

Flames template

20 Musket Aces +3 Reload (3) 10

15 Pistol Aces +2 Reload (2), Hand Weapon, 8

Short Weapon

* The smoke bomb generates a terrain item of the size of the round template; the smoke blocks Line of Sight but
characters can walk through the cloud without problems (it is intangible).

Armor Basic Equipment

Cost Armor Abilities Cost Item Abilities
7 Armbands Extra Protection (1) 10 First-aid kit +1 dice in Healing rolls.

10 Shield Save (2), 8 Climbing tools See Climbing and

Hand Weapon Rappel rules.

15 Leather Extra Protection (2), 8 Lantern Ignores

breastplate Heavy Armor (-1) Darkness.

18 Metal Extra Protection (3), 12 Narcotics Ointment, Stun

breastplate Heavy armor (-3)
18 Venom Ointment,
Penetration (2)

65
 Magical items

Cost Item Abilities

10 Cagliostros Diamond Once per game the bearer can cast a Spell without
investing Karma Points.

15 Devils Mask The bearer has the Fear (-2) Universal Ability

15 Newt Gill Potion The bearer can breathe under water and is immune to
the effects of Drowning.

20 Mother Hidras Tiara The bearer obtains the Universal Ability Water Creature

20 Infusion of the Rent in the Sky The bearer may drink the infusion once per game at a cost of 1
AP. He can make a roll on the Powers table; he will have the power
obtained until the next End of Round Turn.

20 Pope Clement XIIIs ring The bearer has Spiritual Protection (2)

20 The Errand Jews life elixir The bearer can make a Regeneration (6)
roll once per Adventure.

II Devils Mask
The origins of this sinister mask are unknown. What is
II Newt Gill Potion
Only the most powerful witches are able to distill this
known is that the mask arrived in Venice from the heart bitter syrup. Only they know the components needed to
of Africa more than a century ago, and was kept -like the prepare it, but it is widely known that whoever drinks it
rest of other military trophies- at the home of the Clausis, a develops the ability to breath under water for a few hours.
wealthy noble family whose home was a few streets away
from St Marks Square. A few weeks after the appearance
of the Rend in the Sky, Maximiliano Clausi, the familys
patriarch, was imprisoned after going mad and murdering
his whole family. When the mask was eventually removed
from him, Clausi kept repeating that the Black God that lived
in the mask had made him do it.

66
II Mother Hidras Tiara
At first sight, this ivory tiara doesnt look special at all.
However, the delicate figures carved all along its surface
tell stories of death and seawater: sinister underwater
creatures and human beings worshipping nightmarish
monsters. The bearer of Mother Hidras Tiara will be in

II
communion with sea creatures and will become one of
them for a while, maybe sacrificing his own mortal soul in
the process. Cagliostros Diamond
Count Alessandro di Cagliostro is a mystic well versed
in several disciplines. A friend of Casanova, his knowledge
of dark matters could rival those of the Supreme Sorcerer,
but his fondness of hyperboles has earned him fame as a
chatterbox. His reputation as a thief and a counterfeiter
has led him to end up behind bars on many occasions. His
implication -about a decade ago- on the sordid affair of the
diamond necklace (which involved Marie Antoinette, wife of
Louis XVI, king of France) allowed him to lay his hands on
the first white diamond ever brought from the Americas,

II
which he substituted for a worthless piece of glass. Those
who have been able to examine this piece closely say that it
Infusion of the Rent in the Sky can filter the energy poured from the Rent in the Sky.
Among the people that perceive the energy poured from
the Rent in the Sky, some can collect and concentrate a
tiny amount of the magic matter. By means of complex and
expensive rituals, they are able to distill a concoction of
uncertain effects.

II The Errand Jews life elixir

The Count of St. Germain, son of the last king of
Transylvania (Francis II Rkczi), allegedly died in 1784.
Those who had met him knew he was a great adventurer,
alchemist, musician, inventor and a member of the
Rosicrucians. Some attribute to him the credit for having
developed an elixir of eternal youth, and they say that in
fact- St. Germain, is not dead. Instead, he is an immortal
being, known among the mystics as The Errand Jew or
The Transcended Master. In any case, those who are lucky

II
enough to taste this elixir regain their forces and feel they
are able to perform all kind of feats.
Pope Clement XIIIs ring
Clement XIII was the last Pope born to a Venetian family.
Son of the influential senators Giovanni Battista Rezzonico
and Vittoria Barbarigo, a stroke killed him in 1769. Some of
his earthly possessions were returned to the Serenissima,
among which was the ring he used to seal the canonization
of Saint Joseph of Cupertino. Some say whoever bears this
precious item is protected from evil.

67
TERRAIN
T
hroughout this rulebook, we have commented on
the importance of terrain in the game. Terrain may
be as important as the models themselves. Apart
from being an attractive aesthetic element, the layout of
Terrain on the game table will have an effect on the games
strategy. Here well see how it works on a gaming level.
The players should agree the amount of Terrain to
use. Each player rolls a die; the player with the highest
roll will set the first Terrain element. The next player will
set another element, and so on and so forth until all the
elements are set. Other possible options are to agree
in advance the display of Terrain, or to ask someone
impartial to do it for you.
II
Terrain
The ground where characters walk in Carnevale, called
the terrain, can be of three different types: open, difficult
or impassable. The Terrain affects the characters capacity
to move. The first thing you must do before you start
playing is to agree with your opponent what kind of
terrain every sector of the game table is, besides deciding
Obstacles, Obstructions, etc. This little conversation will
prevent you from stopping in the middle of the game to
solve doubts concerning Terrain.
Open Terrain. Streets, flat rooftops or balconies. This
type of Terrain doesnt have any obstructions and
doesnt affect the characters actions.
Difficult Terrain. Unstable roofs, waterweed-covered
streets or slippery bridges. When a character moves
through Difficult Terrain, his Movement Attribute is
divided by 2.
Impassable Terrain. This is usually the inside of build-
ings, ground covered in flame, and solid objects.
Characters cant cross this kind of terrain; they will
stop or change direction when their movement makes
them be in base contact with this terrain.
II
Obstacles
Obstacles are all those Terrain elements that are
scattered around the game table, such as barrels,
fences, carriages, mountains of fish, ship ropes, etc.
Characters can use these elements as Cover or even
Jump and stand on them (as long as the model can
stand on the element with stability). All Obstacles are
considered to be Difficult Terrain as far as Movement is
concerned. The Cover rules weve seen in the Shooting
chapter apply to Obstacles.
68
17
Heres a brief list of the most common obstacles
and their special characteristics. These objects have a
standard size, but this can change if you pile them; in
case of doubt, use the Volume Profiles to determine their
effects on Cover. In some scenarios you will find special
Obstacles; and, of course, you can create your own
Obstacles for your games. You may want to review at this
point the Cover rules from the Shooting chapter.
Pile of Barrels. Medium Size, Hardness: Blunt.
Ship Ropes. Medium Size, Hardness: Blunt.
Crates. Medium Size, Hardness: Blunt.
Piles of Food/Straw/Cloth. Medium/Big size, Hardness:
Blunt.
Carts. Big Size, Hardness: Heavy.
Fountains. Medium/Big size, Hardness: Heavy.
Bushes. Medium/Big size, Hardness: Light.
II
Obstructions
Obstructions are solid, unmovable Obstacles, such as
statues or stone blocks. They are treated as Impassable
Ground, Medium/Big size and Hardness: Heavy.
HOW MUCH Terrain DO I NEED?
This will depend on the scope of the game and
the way you like to play; this is something youll
learn as you play. Some Adventures will indicate
specifically the Terrain youll need; otherwise, you
should use at least two buildings and a canal. In any
case, Carnevale is a game that grows in complexity
and fun the more Terrain you use. Once again, the
table size will depend on the scope of the game and
the amount of Open ground you need. However, the
gaming surface should be at least approximately
30 by 30 in a small or medium-sized game. As for
the maximum, its up to you!
II Buildings
In Carnevale buildings are considered Obstructions.
Unless otherwise noted in the Adventure, you can not
enter inside the buildings. You can, however, climb
their walls, stand on their balconies and roofs, walk
underneath their porches, etc. You just need to apply the
corresponding Climb, Jump or Run on Walls rules.
Buildings can be several stories or levels tall. In
fact, the more variety you wish to incorporate in your
buildings, the more dynamic your Adventures will be.
II
StairS
Stairs are Open Terrain, and characters dont have any
penalties when moving through them.
II
Water and canals
If there is something that defines the city of Venice
and makes it stand out among other cities in the world
it is the t that it was built on a lagoon. This peculiarity
makes it a unique place, cut through by waterways, full of
bridges and inevitably defined by water.
In Carnevale it is indispensable to find water, in
some way or other, in all games. As you will see in the
Adventures chapter, all of the Adventures will require you
to include at least a canal in your set of Terrain elements.
In the game, water can appear in two different ways:
water from the canals and Aqua Alta. If a character falls
into the water of a canal, he must observe the Swimming
rules (see page 46). On the other hand, if a character
is immobilized in the water or a foe tries to Drown him
deliberately, the Drowning rules apply instead (see page
57). If a model has at least half its base in between water
and firm ground, the model will be on the ground to all
intents and purposes.
II Aqua Alta
Venice experiences a very curious effect due to the
tides of the lagoon on which the city was founded. It is
very common to find water on the ground, temporarily
flooding the streets and making it difficult to walk.
Aqua Alta can happen as a result of the Event Aqua Alta
(see page 78), or due to the Adventures own rules (in
which case, the scenario rules will specify the conditions
for its effects to cease). In any case, the rules that apply
are the same:
All the models on the battlefield will get a -1 to their
Movement value for all of their movements on the ground.
II gOndolas
Given the peculiarities of Venice, its inhabitants dont
ride horses; instead, they ride boats or gondolas (the
typical Venetian boat). Gondolas are a voluntary Terrain
item (unless otherwise noted by the adventures rules).
Gondolas should be able to fit at least two small-
sized models, or one medium-sized model. A character
riding a gondola can Move on it in the water as if he had
a Movement value of 4. If the character makes any kind
of action ( jumping, close combat, shooting, casting
spells, and so on) while on the gondola, he must pass a
basic Dexterity roll before resolving the action If it gets
a Fumble on that roll it falls into the water; a Critical hit
doesnt have any special effect.
II
Bridges
As you know, bridges are physical byways that allow
characters to cross canals without getting wet. We
are mentioning it to remind you that bridges are a very
interesting Terrain item that you can include in your
games. Bear in mind that characters can swim underneath
bridges.
69
MAGIC
S
ince the appearance of the Rent in the Sky, the people
and creatures of Venice have gained the ability to
manipulate reality. Some can create flames from
nothing, while others can drain a living beings vital fluids
from a distance. Others manifest more terrifying abilities.
In Carnevale there are two ways of altering reality:
spells and powers. While each create similar effects, their
underlying structure and philosophy is different.
Some see the manipulation of magic as an activity similar
to weaving a tapestry: you manipulate the threads of
reality by means of a pattern called a spell. The magician (a
creature with the Magician ability, see Chapter 5) uses his
own essence to carry out to fuel his art, and that essence is
consumed a little at a time each time he casts a spell. While
most spells are imitations of patterns created by others,
some powerful and crafty magicians mange to discern
the secret patterns of the fabric of reality, and find new
ways to manipulates its threads, inventing new spells, and
creating new magical effects. There are different kinds of
magic that men can docreation, invocation, manipulation.
There are far older beings that have been toying with the
threads of reality for centuries, and they can create more
primeval and deadly form of magic that often defy category.
Scholars have also found that the insane have a special
connection with the Rent in the Sky, which allows them to
fuel spellcasting with startling ease.
Powers are simpler tricks, much more limited, but
powerful nonetheless. Some people have spontaneously
developed unique capabilities since the appearance of
the Rent in the Sky. These people called the Gifted. No one
knows why some people develop powers and others do
not. The Gifted are usually able to use one or two Powers
at best, and they rarely manifest new powers over time.
Most powers are unique to the creature they manifest in,
so they are detailed within the description of the character
possessing them.
70
18
MAGE (X)
Characters able to cast spells have the Mage (X)
Universal Ability, as detailes in the Universal Abilities
Chapter.
II
Casting spells
Each spell has its own mechanics, described in its spell
description. When a magician casts a spell, he must spend
Karma Points to do so. The first spell a magician casts
during a round costs 1 Karma Point (assuming its base
Karma Points cost to cast is 1). When the same magician
casts a second spell during the same round, he spends
an extra Karma Point over the normal Karma Point casting
cost to do so. When the same magician cast the third spell
during the same round, he spends 2 extra Karma Points. In
other words, the cost of casting a spell equals the Karma
cost of the spell, plus a number of additional Karma Points
equal to the number of spells already cast by the magician
already that round.
For example, if a magician wants to cast four spells
during his Turn, at the end he usually spends 10 Karma
Points: 1 for the first spell, 2 for the second spell, 3 for the
third spell and 4 for the fourth spell (1+2+3+4=10).
In order to cast a spell, a magician must spend 1 AP and
then the Karma Points cost of the spell to make a Magic
roll. A Magic roll is a basic Mind roll used to cast a spell. If a
magician fails its Magic roll, it cannot cast any more spells
until the end of the round. If a magician casts a spell while
he is in base contact with one or more opponents, the act
of casting provokes attacks of opportunity from them after
the AP and Karma Points are spent, but before the Magic roll
is made. In other words, the magician resolves the effects
of the spell after suffering the effects of the attacks of
opportunity.
Spells with effects that modify a characters attributes
(except for Life Points) are not cumulative. A character
gains the best modification of all spells or effects that
modify those attributes. For example, if a spell improves
a characters Protection value, another spell that improves
the same characters Protection value will not be affective
unless it provides a greater increase to the Protection value
or if it has a greater duration.
Spells are described using the following characteristics:
Cost, Difficulty, Reach, Duration, Effect, Critical roll and
Fumble. Each is describe below.
Cost. The number of Squad Points a player must spend
so that one character with the Magician ability can take
that spell.
Difficulty. This is the difficulty modifier applied to the
Magic roll to activate the Spell; it may range between -3
dice and +3 dice. You either add or subtract these dice
from the roll when casting the spell.
Range. This indicates the maximum distance, typically
in inches but sometimes with a word or term, that the
spell can be cast. Usually the spells range is in inches,
but range can also be one of the following: Caster: A
magician can only cast this spell on himself. Line of
Sight: A magician can cast this spell on a character
within line of sight, no matter how many inches away
the character is from the magician. Touch: A magician
can target a character with this spell only if it is in
base contact with the magician. A magician cannot
cast a touch spell on itself. Unlimited: A magician can
cast this spell on any character or point on the play
area of the adventure, regardless of range or line
of sight.
Duration. This indicates how long the spells effect
remains active. Normally, this value is a number of
rounds, which can be either fix or variable. When a
spells duration is given in rounds, its effect ends at the
end of the round , so that a spell with a duration of 1
round ends at the very next end of round; a spell with
a duration of 2 rounds end on the second end of the
round after it was cast, and so on. A spell with without a
duration in rounds has one or the other of the following
durations: Immediate: The spells effect is resolved
immediately and then terminated. Permanent: The spells
effect is active for the rest of the game.
Effect. This is a description of what the spell does once
it is cast until the end of its duration. Some spells
have fixed effects, whereas others have a variable
effect depending on the amount of Aces scored with
the Magic roll
Critical. This describes any additional effects if you roll a
Critical on the Magic roll. If the description is Standard,
the Caster recovers the AP spent when casting the
spell. Also, when a Mage scores a Critical on a Magic
roll, its spell is immune to the effects of a Naach-Tith
Annulment.
Fumble. This describes the effects if the magician
Fumbles the Magic roll. If the description is Standard,
the Caster receives a Stun counter.

Magic has always been part of my life. My conjuring tricks were often useful to convince some reluctant lady to
succumb to my charms or to free some patrician of the weight of his purse. My main occupation in life has always
been to cultivate everything which is pleasant to my senses. I felt that my life made sense when in company of the
opposite sex. I always adored women and I did all that was in my hands to be loved by them.
However, years and experience made me come into contact with other worlds. Clergymen, Cabalists, Mystics,
Occultists, Masons, Rosicrucians, Sufis... I knew all of them. I read the works of Mirandolla, I can recite the Fama
Fraternitatis by heart, I am a member of honor of more lodges than I can remember, I possess the manuscript of
Athanasius Kirchers Oedipus Aegyptiacus... They all searched to know the mysteries of the universe. Stupid. They
knew as much of the world surrounding us as a little kid peeping through a lock to see whats on the other side. As
it often happens, reality revealed itself at its most glorious some years ago, and no one measured up. The wound in
the skies appeared and finally gave sense to my life.
When you see real magic first hand for the first time, you know immediately its not a trick of smoke and mirrors,
its not an illusion. You feel a lump in your throat, your testicles are stiff and reality around you stops making sense.
Beyond the most obvious and showy effects, like lightings or the blood poured, every type of magic has its own
particular smell. You learn to distinguish them if you want to live another day. The kind of magic practiced by the
lords of Bedlam smells like hot metal, that of the Magi from the Cult of Dagon smells like burned sugar and urine,
that of the spirits smells like ice. The coarsest kind of magic can tear your leg apart or pierce your chest with a bolt
of lightning; the most exquisite magic destroys your soul and turns your mind upside down like a sock.
Its not surprising that, in the twilight of my dissolute existence, I have finally found the reason why the name
Giacomo Casanova will be written in the pages of history. I am the only man who has walked on the other side, who
has known the reality of the Ancient Ones. The only one who knows real magic in its whole spectrum. I have gone
beyond the physical world. I am the supreme Sorcerer.
From the book Weaving the tapestry, by Giacomo Casanova.
Published undergound in December, 1794.

71
II SPELLS
This is the basic list of Spells. Before each Adventure,
Spell, any new attempt to cast Blessing on the model
will be considered an automatic failure, without even
making a Magic roll.
Magicians may buy those Spells they want to be able to Critical. Standard
use paying the cost indicated in each Spell. Fumble. Standard.

II Blessing
Either if the Magician believes all souls are good, or if
he is a sadistic bloodthirsty killer, he can make his allies
improve their abilities in battle.
Cost. 5 points.
Difficulty. +0d10
Range. 6
Duration. 1 Round
Effect. The target of this Spell will gain +1 to one of his
Attributes; bear in mind that an Attribute can never raise
above 10. The Caster of the Spell chooses the Attribute,
and he must do so before he makes his Magic roll. A
model cant be affected by more than one Blessing spell
at the same time. If a model is under the effects of this
II Curse
Anger flows out of the mages body in the shape of a
cloud of the blackest smoke, wrapping around his foes,
clouding their senses and foiling their skill.
Cost. 5 points.
Difficulty. +0d10
Range. 6
Duration. 1 Round
Effect. For each Ace scored by the mage, this spells
target suffers a -1 penalty to one of his attributes (the
attribute cant end up below 1) of the mages choice.
The caster chooses the attribute to be affected before
making the Magic roll. A character cant be affected
by more than one curse spell at the same time. If a
character is under the effects of this spell, any new
attempt to cast curse on it fails, no matter the Magic roll.
Critical. Standard
Fumble. Standard.

II Dispel Magic
The mage bites his own lip until blood runs down his
chin. Then he raises a single hand, holding his fingers in
an awkward and arcane position, and the spell that was
plaguing him ends with a sound that some say resembles
the popping of a cork.
Cost. 5 points.
Difficulty. Special
Range. 12
Duration. Immediate
Effect. When this spell is successfully cast, it
immediately cancels another active spell chosen by the
caster. The difficulty of the Magic roll is a penalty equal
to half the Mind attribute of the target spells caster.
Critical. Standard
Fumble. Standard.

II Immediate healing
The mages hands glow with green and orange hues. A
soon as he lays his hands on his friends body, that friends
wounds seem to close.
Cost. 5 points.
Difficulty. +0d10
Range. Touch
Duration. Immediate

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 Effect. The Caster chooses a target that has lost Life
Points but is still in the game. He applies the Universal
Ability Healing (X), where X equals the amount of Aces
obtained by the Caster in the Magic roll.
Critical. Standard
Fumble. The target suffers 1 Life Point damage.
II
Infernal Images
The victims mind is clouded by visions from beyond
impossible monsters with hundreds of tentacles, non-
euclidean buildings, unholy temples in the heart of dead stars
and promises of eternal nightmares.
Cost. 5 points.
Difficulty. -2d10
Range. 6
Duration. Immediate
Effect. The Caster chooses a single target. That target is
stunned. Place a stun counter next to the model.
Critical. The Caster may choose as many different targets
as Aces scored with the Magic roll.
Fumble. Standard.
II
Krakens breath
After pronouncing a series of hideous sounds, that only
a madman would dare to call words, the magician points at
the sky. Immediately after this, a brown whirlwind of dust,
rocks, and steam hits and drowns all of those within the
magicians sphere of influence.
Cost. 20 points.
Difficulty. -2d10
Range. 18
Duration. Immediate
Effect. This Spell uses the circular Template. First, the
Caster must place the template in a point of the board
where he wishes to cast the Krakens breath. Next, he
must make the Magic roll. If he succeeds, the Krakens
breath is activated on the chosen location. If he fails,
the template moves as per the Scatter rules (see p.
55) and the spell activates in the new location. In any
case, the Krakens breath makes a close Combat attack
roll with 5d10 against all characters touched by the
template (make a single roll and compare the result with
all targets).
Critical. The Krakens breath has the Flames Universal
Ability.
Fumble. The Krakens breath is activated centered on the
Casters head.
II
Mist from the Abyss
An oily smoke oozes from the ground, blinding friends
and foes alike.
Cost. 5 points.
Difficulty. +0d10
Range. Unlimited
Duration. 1 Round per Ace.
Effect. Designate a point on the game table and the
caster makes a Magic roll. If the spell is successful, the
player places the round template centered on that point.
All models whose bases are touched by the template
suffer the effects of darkness (seepage 53) during as
many rounds as Aces scored with the Magic roll.
Critical. The caster may designate one of the models
touched by the template; this model is affected by
darkness for the rest of the game.
Fumble. The casters opponent may place the template
wherever he wishes.
II
Mother Hidras Claws
The mage crosses his arms on his chest, his eyes blank,
and he starts screaming in agony. Suddenly, he throws his
arms towards the enemy and shoots his own fingernails,
which pierce the flesh of whomever they hit.
Cost. 10 points.
Difficulty. -2d10
Range. 24
Duration. Immediate
Effect. The Caster may choose a one target within Line
of Sight for each Ace obtained in his Magic roll. Every
target will be hit by a missile made from magic energy;
the victim will suffer as many levels of Spiritual Damage
as Aces obtained in the Magic roll. The Caster cant pick
the same target more than once. Besides, each chosen
target beyond the first must be at most within 6 from
the other targets; all missiles which are not assigned to
a target are lost.
Critical. The Caster can choose the same target more
than once.
Fumble. The Caster generates a single claw, but the
opposite player chooses the target, who automatically
suffers 3 levels of Spiritual Damage.
II
Naach-Tith annulment
The temperature suddenly droops. The Magician has
stopped time in a whisper, has analyzed his opponents spell
and has summoned all the right powers to cancel it.
Cost. 5 points.
Difficulty. -1d10 per opponents Mind point. Example:
when trying to cancel as from an opponent who has
Mind 3, the Mind roll for the Naach-Tith annulment has a
-3d10 penalty.
Range. Unlimited.
Duration. Immediate.
Effect. Unlike most other spells, the mage casts this
spell on his opponents turn, after his opponent has
spent the Karma Points and AP for the spell, and has
73
 Cost. 10 points.
Difficulty. -3d10
Range. 12
Duration. 1 Round
Effect. The Caster chooses a target; the targets Action
Points go down to zero until the next End of Round Turn.
Critical. The Caster may choose an extra target within
range of the spell. That target also suffers the spells
effect.
Fumble. Until the end of the adventure, when the mage
activates, it gains only half its normal APs (round down).

II Protection of the Eye

The influence from the Rent in the Sky pours from the
mages hands, creating an invisible film that protects him of
all evil.
Cost. 5 points.
Difficulty. +1d10
Range. Touch or Caster
Duration. 1 Round per Ace.
Effect. This spell creates a magic barrier around the
target, granting it the Universal Protection [2] ability.
Critical. The spells duration is Permanent; the spell
finishes if Dispel Magic is cast upon it.
Fumble. Standard.

II SpiritUAL bond
Other peoples minds are just clay in the hands of those
who know the secrets of this spell. It can make spirits
dance.
Cost. 20 points (Plague Doctors pay 10 points)
Difficulty. 1d10 times the Mind value of the target.
Example: When trying to establish a link with an
made the Magic roll, but before resolving the effects of opponent with Mind 3, the Magic roll for the Spirit Bond
the Spell. The mage spends no AP for casting this spell. will be done with -3d10.
When casting this spell, the mage does not follow the Range. 8
normal rules for spending Karma Points, but spends the Duration. Permanent
number of Karma Points as his opponent spent on the Effect. The caster chooses a single target that does
triggering spell, plus one extra Karma Point. The mage not have either the Undead or Animal descriptor. If
then makes a Magic roll. Every Ace of this roll cancels the caster gains at least one Ace, the target becomes
an Ace of the triggering spell. If the opponents roll is controlled by the casting mage. This means the
reduced to 0 Aces, the opponents spell is cancelled. affected character is now part of the casting mages
Critical. The opponents spell is cancelled and the squad. As long as this spell as active, the mage cannot
opponent gets a stun counter. perform any actions apart from the Walking action.
Fumble. Standard. If it performs any other action, it loses control of the

II
Petrify
The mage points at his foe and yells insults in a dead
language. A casual observer may deem it a nonsensical
or ridiculous action, but the recipient of all those insults
starts to feel his muscles stiff until hes temporarily
paralysed.
target. Furthermore, if the casting mage crosses a Pain
Threshold or Falls in combat, he loses control of the
target.
Besides, every time the target model is activated
to act, the models original controller (in other words,
the player that owned it at the beginning of the game)
can spend one of the controlled models Karma Points
to try and free it from the enchantment. If he does so,
the Caster of the spell that binds him must immediately

74
 make a new Magic roll for this Spell (without having to
spend APs to do it); if he fails, this spell disappears. If
either the Caster or the victim get a Stun counter while
the Spell is active, the Caster must make a new Magic
roll for this Spell (without having to spend APs to do it)
to keep the Spell active.
Bear in mind that every time the Caster rolls his Magic
roll to keep the Spirit Bond active, he must spend 1
Karma Point before making the roll. Whenever this Spell
stops being active for any reason, the controlled model
gets a Stun counter.
Critical. Standard
Fumble. Standard.
will disappear. A character under the effects of this Spell
cant control areas or targets in an Adventure. You cant
place any area effect to affect this model, unless the
area effect affects another model of his squad at the
same time.
The character affected by this Spell may voluntarily
cancel the effect of the Spell in order to be the target of
Spells or Universal Abilities that can be beneficial (such
as healing, etc). After this, the character needs to cast
the Spell again with a new Magic roll if he wants to be
affected by the Spell again.
Critical. Standard
Fumble. Standard.

II They Sleep Underwater

The canticle intoned in honour of dark and ancient
entities sleeping in oceanic abysses, causes the air smell
like rancid excrement. It is said that this foul change in
atmosphere pleases the monstrous creatures known as
Rashaar.
Cost. 18 points.
Difficulty. -2d10
Range. 8
Duration. Immediate
Effect. When this Spell is casted successfully, all
characters with the descriptor Rashaar within range
(except for the caster) immediately recover as many
Life Points as Aces obtained during this spells magic roll
Magic roll.
Critical. Standard
Fumble. Standard.

II Walk between worlds

The mage raises his arms while he chants a mantra with
a deep voice. Little by little, his shape begins to flicker,
and his blurry contour blends with the city of Venice. His
observers see him relax and smile gladly, before they lose
sight of him.
Cost. 10 points.
Difficulty. -2d10
Range. Caster
Duration. 1 Round
Effect. The Caster becomes practically transparent.
Although enemies may vaguely guess his contour, they
find it very hard to attack him. To begin with, once the
Spell has been successfully casted, the Caster wont
provoke Attacks of Opportunity of any kind. Besides, all
the enemies will get a -4 penalty in their close Combat
or Range attack rolls to hit the Magician, as well as a -4
penalty to all Magic rolls to cast Spells targeting him.
IF a character affected by this Spell makes any action
which entails interacting with another character (friend
or foe) -such as making a close Combat attack, Shooting,
casting a Spell, etc.- the effects of Walk between worlds

75
PLAYING CARNEVALE
I
n this chapter, you will find out how a typical game
of Carnevale is played. You will learn the basic
characteristics of adventures, events and agendas, as
well as the necessary rules to tie these together into your
first campaign.
II ADVENTURES
When playing a Carnevale game, you could just
place your models on the game table and attack your
opponents until they are all dead. You can also play a
scenario, which is called an adventure. An adventure can
often be a straight-up brawl, but often an adventure
has a background, plot, and specific objectives. The five
adventures you will find in the next chapter of this book
can be played independently as single game or you can
link them, playing adventure after adventure as part of a
Campaign. If you do, you should check the campaign rules
later in this chapter.
76
19
Once you get the hang of how adventures work, you
can make your own, and string them together into a
campaign of your own, but first you need to understand
Carnevales adventure structure. Adventures have some
key elements, they are:
Introduction. This is descriptive text setting up the
adventures story. It allows the players to understand
the adventures background.
Duration. The duration of the adventure is the number
of full rounds that must be played to complete the
adventure.
Objective. This describes the things that squads are
trying to accomplish within an adventure point. It also
describes how the different sides gain Victory Points.
It will also describe any special rules.
Scenery Requirements. This section details any minimum
scenery requirements the adventure has. There is
never any limit on the maximum amount of scenery
you can use.
Deployment Zones. This describes the areas where each
side sets up at the beginning of the adventure.
Campaign Rules. If you are playing the adventure as
part of a Campaign, this describes any special rules or
other campaign considerations that you must use.
II deployment of the squads
Before starting an adventure, players must place their
models on the game table in a certain way, according to
the deployment zone requirements of the adventure they
are about to play. All players must place at least half their
models within the deployment zonethis is the advance
party. There is no limit to the number of models in your
advance party; you may even deploy all the models in your
squad at this moment, if you wish to. Before each player
starts placing models within their deployment zone, they
roll a d10. The player with the highest roll (reroll ties)
decides which player places a model in their deployment
zone first. After that first model is places, the player to
the staring players right places a model, and so on until
all advance party models are places. Once the advance
parties have been deployed, players proceed to making
the Initiative roll for the first round.
All models that are not on the game table when the
initial deployment are the reinforcement party. A player
may deploy his reinforcements anytime from second
round on, on any of his turns, instead of activating the
models he already has on the table. Please note that,
since the reinforcements are not on the table, they
must always spend their first AP action, which allows
them to enter the table. They start this movement at
the tables edge of their deployment zone. A character
in reinforcement cannot make actions until it enters the
play area. When a model enters the game, it is no longer
considered to be part of the reinforcements; from that
moment on, the model can act normally. When the player
decides to add a model from his reinforcements to the
game, he has three options:
Assault Order. The model may enter the game from the
tables edge within the players Deployment zone. To do
so, the player must just activate the model normally.
Flanking. The model may enter the game from any
of the tables edges (outside the opposing players
Deployment zone), 5 away from any enemy model. To
do so, the player must roll 1D10 and obtain a result
of 7 or more. If he succeeds, the model enters the
game normally. If he fails, the model cannot enter
the game now, but the player may activate any other
model in his squad that is already on the game table;
he cannot try to deploy any more Reinforcements
until his next Turn.
Sneak Attack. The model may enter the game from any
point of the game table, 5 away from any enemy
model. To do so, the player must roll 1D10 and obtain
a result of 9 or more. If he succeeds, the model enters
the game normally. If he fails, the model cannot enter
the game now, but the player may activate any other
model in his squad that is already on the game table;
he cannot try to deploy any more Reinforcements until
his next Turn.
II
Basic Victory Points
The following list offers all the general ways that
characters can gain Victory Points in Carnevale games.
These Victory Points measure the success of a squad
during an adventure, and they allow players to gain
benefits when they play campaigns. If the players decide
to use agendas, they can gain extra Victory Points using
those special rules.
Achieving the adventures main objective. 5 pts.
Each enemy model killed. 2pts.
Each character in your squad still alive
at the end of the Adventure 1pt.
Apart from this, if players decide to use the Agendas
system, they can obtain extra Victory Points.
77
II Events
When building a squad, you can spend some of your
Squad Points on Events. Events are random fortuitous
occurrences that can affect the game. You can buy the
chance to make a single roll on the Event chart at some
point in the game for the cost of 10 Squad Points. You
can purchase up to two Events per adventure. You can
attempt to play an Event at any time during one your
characters turns. To do so, roll 2d10 and consults the
following table. Then apply the event generate. If it is not
possible to apply the Event, it is lost.
2d10 Event
2 Aqua Alta. The water from the lagoon rises,
oozing out of the ground, preventing combatants to move
freely on the ground. All the models on the battlefield will
take a -1 penalty to their Movement value when the walk
or run over the ground. At each end of turn, the player
who played this event rolls 1d10. On a result of 7 or more,
this event ends.
3 Bad Coordination. The enemy squad Leader gives
his orders in a confusing, unclear way, causing one of his
combatants to react ahead of time and in an ineffective
way. You can place an activation counter on a single
enemy model that has not been activated yet.
4 Combat Stress. A single enemy feels the stress
of combat at an inopportune time. Chose a single enemy
character that is not stunned. That character is stunned.
5 Adrenaline Boost. Stress makes one of your
combatants fly into a frenzy. Remove an Activation
counter from one of your models; treat this model as if it
has not acted in this round.
78
6 Wake Up! The closest ally shouts at his friend,
snapping him out of confusion. Remove the Stunned
condition from one of your characters.
7 Reload Weapons! Skill and practice with firearms
bear fruits on the battlefield. You can automatically reload
a single firearm wielded by a character in your squad
without spending APs.
8 Good Cover. Its time to duck your head and pray
all those shots wont hit you. Designate a piece of scenery
on the game table that grants cover. It grants one better
step of hardness in cover, or +4 cover if it is already heavy
in cover hardness.
9 Anxiety. Our ferocity even in the face of
adversity makes your opponent nervous. The opposing
squad must make a group Morale roll.
10 Battle Shock. An enemy combatant starts to ask
himself what he is doing in a place like this, and why he
has to risk his life. Choose a single enemy character that
is not a leader or an independent character. This character
makes a Morale roll.
11 The Geyser. In occasions, the magical effects
from the Rent in the Sky cause boiling water blasts to
come out in several places around the city, surprising
those unfortunate enough to be around for such an
event. Place a Medium base counter (30 mm) on a spot
on the battlefield, and make a scatter roll. Once you have
placed the counter, the Geyser will immediately attack
all the models from both sides within 5, with a Combat
4 attack (Penetration (4)). The Geyser makes this attack
automatically in every subsequent End of the round Turn
until the end of the game.
 12 Miraculous Recovery. Drawing power from a
divine blessing or from a dark god, your combatant draws
strength from nowhere and manages to recover. Choose
a single character in your squad and make a roll with the
Healing (6) ability without spending APs.
13 Evil Eye. For no apparent reason, one of your
enemies starts to writhe in pain. Choose a character from
an enemy squad and make a Shooting attack (4) roll against
it. Every Ace does a point of Life Point damage. On a Critical the
target is stunned. On a Fumble, your opponent can end a single
instance of Stun on any one of his characters, removing the
Stun counter from that characters model.
14 A Matter of Honor. Honor drives you to win this
combat. Choose a single character in your squad and
make a basic Mind roll with it. This model recovers as many
Karma Points as Aces obtained (up to its starting Karma
Points). On a Critical, the character recovers enough Karma
Points to bring it back up to its starting value. On a Fumble,
the character loses 1 Karma Point.
15 We Will Never Beat Them. An enemy character
loses its cool. Chose a single character from the enemy
squad. That model must make a basic Mind roll; if he does
not get at least one Ace, the model loses half his current
Karma Points.
16 Mad Minute. To the cry of, open fire! all the
shooters in your squad let loose a volley. All the models
in your squad equipped with loaded firearms may make
a Shooting attack immediately, without spending APs or
activating the models. These weapons must be loaded before
they can fire again.
17 Hes Alive! Everyone thought he was dead after
that brutal attack, but no one noticed his body isnt
where it was a few moments ago. Choose one of the
characters in your squad that was fallen in battle from
your squad and make a roll with the Healing (4) ability
without spending APs. If the character manages to recover
some Life Points, it can enter the game on the next turn as a
reinforcement.
18 Blend with Shadows. Right while his opponents
are distracted, a combatant escapes amid the confusion.
Choose a character from your squad that is more than 3
from all enemy characters and remove it from the game
table; that character becomes a reinforcement.
19 Charismatic Leader. The right words uttered on
the right moment may reinforce your forces resolve. Your
squad leader immediately recovers 1 Command Point (up
to its starting Command Points).
20 Prestige Loss. The enemy leader seems
confused, overwhelmed by circumstances. The enemy
squad leader loses immediately 1 Command Point.
II
Campaigns
The following campaign system allows you to take
individual adventures and make each of them a serial
within a longer-running story. Players must agree to
the limit in Squad Points while playing a campaign, and
can then build their squads according to the normal
squad creation rules. A players squad is are composed
of the same group of characters throughout the entire
campaign. Characters gain experience after each
adventure, which allows them to improve their Attributes
and they can even gain new abilities.
Furthermore, your squad earns Campaign Points
between adventures, which you can use to purchase
new characters for your squad, buy new equipment
and events or pay the maintenance cost of independent
characters, as per the normal Squad point rules. A squad
obtains as many extra Campaign Points as the Victory
Points you gain in the previous adventure and the winner
of the adventure gains 5 extra Campaign Points. You
cannot discard squad characters voluntarily during a
campaign.
Players must spend their Campaign Points before they
start their next Adventure, or they can keep them to
spend them after subsequent Adventures (note this on
your squad Leader character sheet).
Basic Carnevale campaigns are designed to span five
adventures, but you can also apply the optional Legacy
rules for longer-term games. Anyway, you can create your
own longer campaigns if you wish to, or wait for us to
publish ours in the future.
MAINTENANCE COST
Independent Characters are mercenaries that join
your squad for money. At the beginning of a campaign,
you must pay their cost as with any other character,
and include them on your squad characters sheet.
These characters also have a Maintenance Cost you
need to pay before each subsequent adventure after
the first, according to the characters description.
If a player does not want to pay or cannot pay an
Independent Characters Maintenance Cost before an
adventure, that Independent Character can no longer
be part of the squad. If, in a subsequent Adventure, the
player pays the corresponding Maintenance Cost, the
Independent Character rejoins the squad.
79
II Agendas
When the groups of adventurers fight in the dangerous
streets of Venice, sometimes their objectives extend
beyond their immediate adventure. Squads have their
own motivations, which make them fight with greater
determination when facing their enemies. When you
play a Carnevale campaign, you may use the optional
Agendas rule. Each player rolls 1d10 and keeps secret the
Agenda obtained. At the end of the game, if the player
has completed his Agenda, he must reveal it; he gains as
many extra Victory Points as indicated by the Agenda.
d10 Agenda
1 Something Between You and Me. This battle is a
personal matter between the Leaders on the opposing
sides of the adventure. Your Leader must personally
eliminate a sing enemy Leader. +4 Victory Points.
2 No One Survives. There can be no witnesses.
Destroy all enemy characters. +4 Victory Points
3 A Beating Theyll Never Forget. Its necessary
to set things straight. Half of the characters of the
enemy squad must be fallen in battle at the end of the
adventure. +3 Victory Points.
4 Protect the Position. There is a key spot on the
battlefield that you must protect at all costs. Designate
secretly a scenery item located 15 or farther from the
edge of your Deployment zone and write it down on a
piece of paper. At the end of the game you must have at
least one model in contact with this scenery item, and
there can be no enemy model within 5 of it. +3 Victory
Points
80
5 Recon Deployment. You must explore the terrain
for future battles. At the end of the game, you must have
at least one model in each quadrant of the board. +3
Victory Points.
6 Bring War to the Land. Reaching the enemys
homeland is the best symbol of superiority. At the end of
the game, you must have at least two models from your
squad in the enemy Deployment zone. +3 Victory Points.
7 Make it to the End of the Day. The squad Leaders
survival is of the utmost importance for the success of
the mission. Your leader must be alive at the end of the
game. +2 Victory Points.
8 Overcome at All Costs. The survival of the squad
is crucial success of this mission. At the end of the game,
at least half your squads models must be alive. +2 Victory
Points.
9 Dont Look Weak. Appearances are very
important in the streets of Venice. You must end the
game with more living models than your opponent. +1
Victory Points.
10 They Cant Beat Us!. Caution is not at odds with
the success of a mission. At the end of the game, all of
your models must be alive. +4 Victory Points.
You may use this list of agendas or create your own, as
long as your opponent agrees to use your list before you
use them. You may also use the printable cards that you
can find at www.vesper-on.com. Draw one of these cards
at the beginning of the adventure and keep it in your
pocket and reveal it at the end of the game.
II ExperiencE
The characters in your squad may evolve, improve their
Attributes and even obtain new Powers after a while.
After surviving a battle in the city of Venice, warriors are
hardened, become aware of the dangers and learn to react
in the best possible way.
Experience works in two different ways, depending
on the quality of the combatant. It is necessary to
differentiate those members of the squad who have the
Leader descriptor and those who dont. Apart from this,
each character may only obtain a maximum of three
improvements during a Campaign; when a character has
obtained his third improvement, he cant roll again in the
Experience tables
Characters with the Leader descriptor who survive
an Adventure can make a roll on the Leaders
improvements table if they get a 9+ in 1d10.
The rest of characters who survive an Adventure can
make a roll on the Basic improvements table if
they get a 8+ in 1d10. Roll a die for every
character separately to see which
obtain an improvement and which
dont.
Basic Improvements table
1d10 Effect
1 +1 Combat
2 +1 Dexterity
3 +1 Mind
4 +1 Movement
5 +1 Protection
6 The character gets the Command (3) ability
and the Leader descriptor.
7 The character gets the Penetration (1)
ability on all attacks.
8 The character gains the Spiritual Protection
(1) ability.
9 The character gains the Swift ability.
10 The character gains Power. Make a roll on
the Powers Table.
Independent Characters and characters that have
already obtained a Power previously may not obtain
any more Experience improvements.
Moreover, a player may try to obtain an improvement
with a model of his choice making an extra roll with
1d10 for every 5 Victory Points obtained. The player
must determine a character in his squad without
the Leader descriptor and which hasnt obtained
any improvement in this Adventure. If he rolls a 9 or
higher, that character can make a roll on the Basic
improvements table.
Lets see the tables. All characters that get the
possibility to obtain improvements must roll 1d10 on the
corresponding table and apply the effects obtained. In
case a character obtains an improvement he already has
(results 6 to 9 in any of the tables), he must reroll on the
same table deducting 1 from the result obtained; if he
gets a 1 in the new roll (thus obtaining a zero; 1-1= 0),
the character will obtain no benefits.
Leaders improvements table
1d10 Effect
1 +2 Combat
2 +2 Dexterity
3 +2 Mind
4 +2 Movement
5 +2 Protection
6 The character gains a +2 bonus to his
Command Universal ability
7 The character gains Penetration (2) ability
on all attacks.
8 The character gains the Elusive ability.
9 The character gains the Mighty Blow (2)
ability.
10 The character gains a Power. Make a roll on
the Powers Table.
81
II Powers
Your characters may obtain Powers by means of
Experience. This means that the Rent in the Sky has
awakened something inside of them, something which
was latent and now reveals, conferring the character a
power other men can only dream of.
Sometimes these Powers take the form of Universal
Abilities, in other cases, Powers have completely different
effects. Make a roll on the following table to know which
Power your character obtains. In case a character obtains
an Power which confers a Universal Ability he already
has, he must reroll on the same table deducting 1 from
the result obtained; if he gets a 1 in the new roll (thus
obtaining a zero; 1-1= 0), the character will obtain no
Powers.
Powers table
1d10 Effect
1 The character obtains the Fly Universal
ability.
2 The character obtains the Vampiric Attack
(1) Universal ability.
3 The character gains fire breath. This special
attack with the following rules: Shot
(3d10), Blast (-9), Flames, Damage: 1d10.
4 The character gains the Spiritual Protection
(3) Universal ability.
5 The character gains the Spiritual Damage
ability to all close combat attacks.
6 The character gains the Healing (3)
Universal ability.
7 The character gains the Mighty Blow (2)
Universal ability.
8 The character gains a lightning bolt attack.
It is treated as a ranged weapon with the
following rules: Reload (3), Multiple Shot
(2), Stun, Multiple Objectives (2), Damage:
Aces +2.
9 The character gains the Stun
Universal ability.
10 Roll twice again in this table, and apply
both results. Ignore any other result of 10
that you roll.
82
II Fallen in Combat
When one of your characters is removed from the
game, the character may suffer from some aftereffect,
even death. Any character that falls in combat while
playing a campaign must roll 1d10 at the end of the
adventure. If he rolls a 5+, the character recovers and is
available for the next adventure; otherwise, make a roll on
the following table and apply the result on the characters
sheet.
Fallen in Combat table
1d10 Effect
1 The character dies and is removed from the
campaign forever.
2 -1 Combat
3 -1 Dexterity
4 -1 Mind
5 -1 Movement
6 -1 Protection
7 The character loses one ability or power at
random. In the case of a Universal Ability
with a (X)value, apply a -1 to that value. If
that value is reduced to (0) the character
loses that ability.
8 The character loses an equipment item
(magical or not) at random.
9 From now on, this character has a
compulsory Maintenance Cost of 10
Campaign Points. This cost is the first thing
you must spend Campaign Points on. If this
is not possible, the character will not take
part in your next adventure.
10 Just like the result 9 from this table, only
with a Maintenance Cost of 15.
I Campaign optional rule:
Legacy rules
In a game like Carnevale, with a limited set of skills
and game attributes, experience can make certain
characters become unstoppable weapons of destruction
in a relatively short amount of time, with the risk
of unbalancing the game. For this reason, our game
Campaigns span a maximum of five Adventures. Of
course, this is just our recommendation, which you can
easily ignore in the games you play at home.
However, players often identify with their squads and
enjoy certain continuity from one Campaign to the next.
To this end, you may apply these optional Legacy rules,
as long as the majority of the players in the campaign
agree to them. In any case, players are not forced to
keep their previous squads, even if other players in the
same Campaign have decided to use the Legacy rules.
If a players squad has been so harmed in the previous
campaign that the player isnt motivated to play with
it again, or if the player decides to create a completely
different squad, he can design a new squad from scratch
using the amount of points agreed.
The players must decide how many points the next
campaign will have; it is advisable to play with slightly
more points per squad in every campaign so that the
games complexity rises. If they use the Legacy rules,
the first thing they must do is to pay the Leaders cost.
With the remaining points, they must create the squad,
using the members from the previous squad as much as
possible, as explained later on. Otherwise, the process to
make the next squad follows the normal squad creation
rules, buying characters one by one, then equipment,
events, etc. The only differences are the following.
When you finish playing a Campaign, the old leader
from your squad must abandon his command position
to devote himself to other matters, giving way to other
squad members. In the next campaign, your squad needs
a new leader; the player must pay any new leader as he
would for any new model. However, the player may also
decide to promote any of his previous squad members as
a successor, who becomes the new Leader.
If the successor has already obtained the Command
ability (thus, the Leader descriptor) during the previous
campaign, the character adds +2 to his Command
value and may opt to the three normal improvements
throughout the following Campaign.
If the successor did not have the Command ability
when he is promoted, he automatically gains Command
(3) and the Leader descriptor. This, however, counts
already as one improvement, so he can only gain 2 more
improvements throughout the rest of the campaign.
Once a new leader has been chosen, the player needs
to check what happens with the rest of the squad
members. The player may try to retire as many squad
members as he wants. The player must roll 1d10 for
each member he is trying to retire; on a result of 5+, the
character goes home (or is found floating on a canal at
dawn). Otherwise, the character insists on accompanying
the new leader in his adventures; the character must be
part of the new squad, paying his cost normally.
The player keeps in his squad all the members from the
previous squad he didnt want or manage to retire, paying
an extra 10 points for every Experience improvement
the model obtained in the previous Campaign (if the new
Leader didnt possess the Command Universal Ability, his
cost will automatically increase in 10 points when he gets
this Universal Ability). The equipment items carried by the
characters must be paid again as per the normal rules,
except for all special objects obtained without paying for
them, because of reaching an Adventures objectives, or
some similar effect.
The player may use the rest of points to spend them
on new squad members, equipment items, or events.
83
Adventures and Campaign 20
II the fragment of the black statue
T
hree years ago, a group of adventurers brought to
Venice a weird statue from distant lands. It represented
a being that couldnt be from this world. This being
had many tentacles and a disquieting appearance. The
professors at LAccademia di Belle Arti studied it. During
the course of their research, many of them were driven
insane. One man persisted, one professor Guido de Lucca,
a specialist in ancient sculpture and expert. What drew his
interest was not the statues form, but its material.
A certain Friday, late at night, de Lucca fought the
fatigue of a long day to analyze the material composition
of the statue. It was almost four in the morning when
he accidentally dropped the black statue from his desk.
Panicked at the thought of damaging the relic, he stood
up too quickly, stumbled on his chair, then fell down and
hit his head on the floor. In the moment before he lost
consciousness, his eyes locked on the statue standing
84
upright on the on the floor, unscathed by the fall. That
statue was looking at him with flaming eyes.
When de Lucca regained consciousness, the statue
was lying beside him on the floor. It did not stand upright,
its eyes were not ablaze, and it did not survive its fall
unscatheda little, one-inch chip had come off the side of
the base. As beams of sunlight illuminated the work area,
and his head began to clear, de Lucca dismissed what he
saw just before losing consciousness a delusion. He packed
up the statue, slid the stone sliver into a pocket, and
decided that on the following week he would use the sliver
for alchemical experimentation, and see if he could not
discover more about the statues mysterious stone.
He got home as boatfuls of fishermen casted off for their
daily labor. He went to bed holding the stone chip in his
hand, looking at it under the morning light filtered through
the curtains. His wife slept placidly at his side.
 He did not rest for long and it was not restful. His wife
woke him up a couple hours later. The Academy had sent
a student to fetch him; something was amiss with the
statue. De Lucca washed his face with cold water, trying
to forget the eerie images of starscapes that had flooded
him during his short rest, and followed the student. As he
followed the student, the world was strange. The streets
were waterlogged, but the sun shone as bright as it had
during the whole of the month of April.
When professor and student crossed the bridge on
Capuzzi Street, de Lucca was struck by an idea that filled
him with dread. For some days, many professors have been
toying with the possibility of getting rid of the black statue.
They feared the power it had to warp minds and bend sanity.
De Lucca fought against it; he would not let such a thing
happen, no matter the price he would have to pay. When he
reached the Academy, the dean of the recently formed Art
Restoration Department welcomed him and walked him to
the room where the statue was kept. The box was open and
the sculpture was not there, even though that box and that
place were exactly where de Lucca left it only hours before.
Furthermore, there was a big oily stain on the floor, which
seemed to be inexplicably soaking through the floor, and
down to the lower floor and the cellar. As de Lucca considered
whether to mention his clumsy accident of the previous
night, the stain started to vanish before his very eyes, and
in a matter of a few seconds, there was no trace of it on the
floor tiles. Silently de Lucca began to wonder about the state
of his own sanity.
After a discussion with the citys guard and seeing most
professors ill-concealed relief about the lost of the hideous
artifact, Guido returned home. It was on the walk home
that he first felt the piercing pain in his back. By the time
he arrived at home, the pain was so bad that he deiced that
bed rest was the best thing for him. He undressed, lied
down on his bed, and began to replay the recent events
in his mind. He took a glance of his bedside table and he
strangely surprised to see the sliver was still there. And
while it was right where he left it Guido half expected it to
inexplicably vanish, like the statue it was once a part of. He
picked to put it in a drawer, lest someone threw it away by
mistake, but he must have slipped, the sliver cut the palm
of his hand. After the momentary rage of his stupid action
fled his mind, he threw the chip inside the drawer, cleaned
his wound with water from the washbowl and he lay down
to an restless sleep. The first night of many.
From that fateful day on, Guido de Luccas life was never
the same. He became obsessed with the sliver, though
he was never able to identify its material mineral. His
sleep became clouded by nightmares. His wife fell into
an inexplicable depression that resisted all remedies,
and committed suicide exactly one year to the day the
statue disappeared. None of this stopped Guidos intense
investigation. With the appearance of the Rent in the Sky,
his nightmares stopped being blurred images of cosmic
landscapes, only to become real trips to other worlds,
where he discussed fascinating concepts with beings from
other planes of existence.
He decided to document these impossible experiences,
getting them on paper as to not go entirely mad. But the
The Sliver
Some scholars believe there is a relationship
between the strange disappearance of the statue in
1793 and the appearance of the Rent in the Sky some
years later. The stone slier kept by Professor Guido de
Lucca, which eventually destroyed his mind, is a tiny
fragment of a world that is not ours. Theres no doubt
an artifact like this one is a component of inestimable
value for any practitioner of magic. Guidos bizarre
excuses and his wifes feverish ravings before her death
made it to the ears of those who wanted to listen
carefully. Whenever an adventurer finds the fragment
of the black statue, he will be able to recognize it
immediately and has no choice as to try to possess it.
knowledge from the planes beyond was so vast, so arcane,
he soon ran out of paper, and then money, and then credit
with the papermakers. When the papers were filled with
crammed text, he began writing on the walls of his house.
We he ran out of ink, he wrote with his own blood
Some days ago, a group of ashen-faced men showed
up at house, asking for the fragment from the statue.
Surprised and frightened, Guido sent them away and barred
his door. Two days later, a group of robed men knocked on
his door in the middle of the night; Guido saw them through
the shutters of his bedroom window and did not answer.
Last night, the wood and glass from his window were
shattered, and through the ingress monstrous creatures
crawled into his bedroom. Creatures he had seen in his
bizarre journeys to worlds beyond. Creatures known there
as the Ugdru-Rashaar.
Guido ran out into the streets, carrying the stone chip
with him, wandering aimlessly around the labyrinthine
streets of Venice. He crossed bridges and canals in his
insane race, soon becoming lost in his home city, it had
become less real that the strange worlds beyond the pale.
Upon reaching a certain square, he has suddenly stopped
cold. Guido dropped dead on the spot, with just that
strange sliver made of the stone he could never identify
piercing the centre of his hand.
85
II Adventures
The following section details five sample adventures
for Carnevale, which you can play one after the other in
the Campaign of the Statues Sliver. Each adventure has
a narrative introduction that sets the action within the
campaign.
II Fight for the fragment
The screams draw you to a nearby square. In the
middle of the square, you find the body of a man,
apparently dead. He has one arm reached out, the hand
covered in blood. Theres a tiny object imbedded in his
hand, which hard to make out. Could it be the last piece

II
of the black statue?
Unexpected clash
One squad is approaching rendezvous point when,
all of a sudden, it come across a group of opponents.
However, a cry rings out for help some streets further
away which draws both groups attention. The best thing
for each side to do is dispatch their rivals as soon as
possible and investigate what is happening beyond the
battleground.
Duration. Five Rounds.
Objective. Have more points of surviving characters
than the enemy, and your leader must still be alive.
Special Rules. None.
Minimum Terrain. Two buildings, two obstacles and one Duration. Five Rounds.
canal. Objective. Both squads are looking for the last
Deployment Zones. Divide the game table into four fragment of the black statue. At the end of the
quadrants and trace a circle with a 6 radius from the adventure, the side that has the fragment within
centre of the table. Players must make an Initiative their deployment zone wins the adventure.
roll. Whoever wins the roll can choose the quadrant Special Rules. Controlling the fragment of the black
to deploy in and place the first model of his advance statue: Use some kind of counter to represent the
party in that quadrant, outside the circle traced at fragment of the black statue (a coin or a little black
the centre of the table. Then his opponent places one stone will do), and place it at the centre of the game
of his models from his advance party in the opposite area. For a character to control the fragment of the
quadrant, and so on until both advance parties are black statue it must be in base contact with the
on the table. The first player to deploy a model starts counter and spend 1 AP. When it does, the fragment
playing. counter moves along with the characters model,
Campaign rules. This is the first adventure in the always in base contact. This sinister object makes
campaign. There are no special rules. its bearer dizzy, so the bearer will suffer a penalty

86
 of -1 in all of its rolls while it possesses the. If the
fragment bearer falls in battle, the counter is placed
in the space occupied by the fallen model. Otherwise
an character can attempt to steal the fragment from
an enemy model. To steal it a character must be in
base contact with the bearer; pay 1 AP, and make an
opposed Dexterity roll. The winner of the opposed roll
is the fragment bearer.
Minimum Terrain. Two buildings, two obstacles, and one
canal.
Deployment Zones. Players make an Initiative roll; the
winner chooses an edge of the game table. He can
deploy his models in any spot within 5 of this edge;
this area is his Deployment zone. His opponent can do
the same within 5 of the opposite table edge.
Campaign rules. The squad that won the Unexpected
Clash adventure arrived first at the location of the
fragment of the black statue, so they are in a more
favourable position. Therefore, this squad can place
the fragment counter at any point of the game table,
on Open Terrain and more than 12 from any table
edge before any model is deployed on the table.
II The fountains of life
As soon as the connoisseurs of magic in your squad
find out about the last fragment of the black statue,
they tell you about a ritual to establish contact with
beings from other planes of existence. The potential
benefit from this contact can be crucial to prevail in the
battle over the control of Venice. In order to complete the
ritual, its necessary to collect the water that oozes from
the ground in some key points of the city.
Duration. Five Rounds.
Objective. Besides the fragment of the black statue,
you need to fill some vials with water from some
water sources scattered in key spots around Venice.
The objective of this adventure is to get more of this
water than the opponent
Special Rules. The fountains of life: Place four key
fountains to fill the vials, marked by counters (coins
or stones will do) on the game table. Each must be 5
or more from each other. Then each player may try to
place an extra counter; to do so, each must roll 1d10.
On a result of 7 or more (with an extra +1 for every
Magician in his squad), the player may place an extra
counter more than 6 from any Deployment zone. In
order to fill a vial, a player must place a model next
to the counter and spend 1 AP. Once the vial is full,
remove the counter. The vial will be in possession of
the player who claimed it. Every counter gives the
squad that possesses it an extra Victory Point.
At every end of round, the players must roll 1d10
for every counter still in play. On a result of 1, the
fountain counter is removed from the game and no
one can claim it.
Minimum Terrain. Three buildings, two obstacles and
one canal.
Deployment Zones. Divide the game table into four
quadrants and trace a circle with a 6 radius from the
centre of the table. Players must make an Initiative
roll. Whoever wins the roll can choose the quadrant
to deploy in and place the first model of his advance
party in that quadrant, outside the circle traced at
the centre of the table. Then his opponent places one
of his models from his advance party in the opposite
quadrant, and so on until both advance parties are
on the table. The first player to deploy a model starts
playing.
Campaign rules. The squad that won the previous
adventure can place an extra fountain counter (apart
from the one each player may obtain by means of the
die roll). This counter must be placed following the
restrictions described above.
87
II Nighttime Ambush
The enemy squad has managed to get hold of the
fragment of the black statue and the water from
the fountains of life, and is heading towards its
headquarters. If they manage to complete the ritual,
their supremacy over Venice may become insuperable. It
is time to ambush them before it is too late.
THE STORY GOES ON
As far as the campaign is concerned, it is important
to define which story elements each side possesses
in order to weave the story and justify why they are
fighting in the last adventure. In this case, we will use
as a reference point the squad that plays as a defender
(that is to say, the squad that obtained more vials from
the fountains of life in the previous game), which may
be in two different situations:
1.- The squad controls many vials of water from the
fountains of life but doesnt have the fragment of the
black statue. In the moment of the ambush, the squad
was heading towards the opponents headquarters to
steal the fragment of the black statue to use it in their
ritual.
2.- The squad controls both the fragment and the vials.
In the moment of the ambush, the squad was heading
towards their headquarters to secure all the components
and start the preparations for the invocation.
Duration. Ten rounds or until the defender manages to
evacuate at least half his models.
Objective. The defender must get to touch the
opposite edge of the table with at least half his
models. Whenever one of the defenders models
touches that edge of the table, it is evacuated (this
is, removed from the table). The attacker must
prevent this from happening.
Special Rules. One squad will be the defending squad, the
other will be the attacking squad (players must decide
which is which). The Initiative in this Adventure is decided
in advance: the defender deploys his squad first and
starts playing all of the rounds. The table is divided in two
by a central axis, as indicated in the diagram, forming a
street that goes from edge to edge of the table.
Minimum Terrain. Four buildings, two obstacles, and
two canals. Buildings must be placed at least 5
at each side of the central street of the battlefield,
two at each side, enclosing the central path that the
defender must cross.
Deployment Zones. The defender must deploy all of
his squad first in one of the edges of the table, 5
from that edge of the table and the central axis. The
defender cannot apply the Reinforcements rules. The
attacker can deploy his Advance party at any point
more than 10 from the edge of the table chosen by
the defender, and more than 10 of the central axis.
88
Campaign rules. The player that won the adventure
called the Fountain of Life is the defender; his
opponent is the attacker.
II
Rescue of the prisoner
The decisive moment has arrived. The ritual is ready.
The enemy has all the necessary components and a
victim ready for sacrifice. Once done, all that left is to
communicate with the Hereafter.
Duration. Seven rounds
Objective. The attacking squad must rescue the
hostage before he is sacrificed. The defending side
must hold ground at the hostages location at all
costs and prevent the attacking squad from rescuing
him. If at the end of the seventh round the hostage is
still in the central building, the defending squad has
obtained the adventures main objective; otherwise,
the victory is for the attacking squad.
Special Rules. One squad will be the defending squad,
the other will be the attacking squad (players must
decide which is which). The defender places a hostage
model in the centre of the table, of a building of
at least two height levels (see scenery chapter),
accompanied by a model from his squad. If there is
any character with the Magician ability in the squad,
this model must be a magician; otherwise, any other
model will do. In case the guardian is a magician,
every round this character is within 5 of the hostage,
it can drain 1 Karma Point from the hostage and use
it as if it were his own, as long as the hostage is still
a prisoner. The attacking squad will try to free the
hostage. To do so, one of the squads models must
be in base contact with the hostage and invest 1 AP
to free him. From this moment on, the attacker will
control the hostage. Use the Venice Citizen character
(without any equipment) for the hostage statistics
Minimum Terrain. You need to play with at least four
Buildings, two Obstacles and two Canals. One of the
Buildings must be placed in the centre of the table;
this building must have at least two height levels.
Deployment Zones. The defending squad may deploy in
any location of the central building, or within 5 from
that building. The hostage and his guardian are placed
on this buildings highest point. The attacking squad
may deploy at any point of the game table, more than
12 from the central building.
Campaign rules. The player who won the Nighttime
Ambush Adventure has managed to obtain the
components to carry out the ritual, so this player is the
defender. If a model of the squad that lost the previous
Adventure happened to die (as per the Fallen in Combat
Table), the model actually survived and was captured.
This model will be the hostage. If more than one model
from the squad that lost the previous Adventure died,
use the model with the lowest total Cost as a hostage.
Place this model in the location of the hostage, and
consider it the hostage. You must apply the models own
rules, but the model has no equipment.