NOT THE END

QUICKSTART GUIDE

A GAME BY CLAUDIO PUSTORINO ILLUSTRATIONS BY PIETRO BASTAS

 Mana Project Studio and Fumble GDR
proudly present Not the End

The content of this Quickstart Guide is released under Creative

Commons BY-NC-SA 3.0. Please share it with everyone who will play it
with you and let us know what you think!

Download game materials and character sheets at:

bit.ly/NTEResources

The Not the End team

Idea and Art Direction: Claudio Pustorino

Game Design: Claudio Pustorino, Fabio Airoldi, Claudio Serena

Illustrations: Pietro Bastas

Layout: Claudio Pustorino

Editing: Claudio Serena

Editorial direction: Michele Paroli

Artistic supervision: Mirko Failoni

The contents of this preview and its graphic elements should be

considered as preliminary material for the final version of the product.
CONTENTS

CONTENTS 3 How and when to take risks 33

How to use successes 34
Welcome to Not the End 4 How to use complications 35
What is an RPG? 5 Lessons and scars, other uses of a 37
The pillars of Not the End 5 Other types of tests 38
The game’s setting 6 Leaving the scene 40
HexSys: the game system 6 When to leave the scene 41
What is a test? 9 How to leave the scene 41
Facing a test 10 How to return to the scene 42

THE HEROES OF NOT THE END 12 EVOLVING THE HERO 44

Creating heroes 14 How to evolve heroes 46
Describe your hero in one sentence 16 Adding or changing a trait 47
List their distinctive traits 17 Marking the hero with a scar 47
List the resources at their disposal 22 Learning a lesson 47

PL AYING THE HERO 24 NARRATING STORIES 48

Facing tests 26 The narrator’s tasks 50
What is a test and how do you face one? 28 How to narrate tests 52
How to describe the goal 30 Narrating complications 54
How to fill the bag 31 Narrating misfortunes 55
How to decide how many a to draw 32 How to describe a challenge 56
Pacing the sessions 58
WELCOME TO NOT THE END
Not the End is a role-playing game that tells the adventures of heroes who are willing to risk everything
for what they consider important, using an original game system called HexSys.

In this game a hero is anyone who can learn from their mistakes. Every hero in this game is defined as
much by their successes as by their failures and each experience, however traumatic, makes them stronger
and more multifaceted than before.

In Not the End every hero is described by keywords placed in a hexagon hive, each of which
represents one of their distinctive traits. The proximity of the hexagons within the hive creates
relationships and bonds that make each hero totally unique. HexSys does not use dice to resolve
conflicts and dangerous situations, but different-colored tokens that represent successes and
complications.

Every test that you face will produce results that add something
to the story and to the game world, making the outcome of
each test unique and different from the previous one. Be
prepared to take risks, triumph, fail and get back on your
feet. This is not the end!
WHAT IS AN RPG?
In a role-playing game, players take
on the role of the characters in a story,
interpreting their motives and deciding their actions. If you have
never role-played before, don’t worry: while it may seem difficult, as
soon as you sit down at the table you will find that it comes as naturally
as telling a story around a campfire.
The playgroup will include a player with a special role, responsible for
describing the world around the heroes, playing all the secondary characters
and helping the game unfold. From now on we will call this player the
narrator.
The game consists of a conversation between the narrator and the
players. The narrator describes the scene, the players respond
by describing their heroes’ actions, the situation evolves and the
cycle restarts.
Sometimes the game will insert a random element to make the
story a little unpredictable. The purpose of a role-playing game is to
have fun while experiencing an adventure together, so remember to allow
everyone at the table to take part and contribute to the story in their own
way, without any pressure.

THE PILL ARS OF NOT THE END

Not the End tells intense stories that leave an indelible mark on
the heroes who experience them. When you play, respect these
three pillars:

• Take risks for what you consider to be important

• Let the story change your hero
• Live every end like a new beginning

5
 THE GAME’S SET TING
Not the End stories can be set anywhere: in distant realms home to dragons and
powerful sorcerers, in futuristic dystopias ruled by merciless AI robots, in the
dark and infinite depths of space, in the real world or in any other context that
you are familiar with or can imagine.

HOW TO CHOOSE THE SETTING

“A long, long time ago, in a galaxy far, far Playing Not the End means first of all choosing a where and a when, namely a
away…”, “Among the dusty streets of Redwater place and time in which the story is set. To begin with, there is no need to go into
Creek, in pioneer-era America” or “In a too much detail; you only need the bare minimum to create a common ground
space colony surrounded by the eternal ice of that stimulates your imagination.
Ganymede, on 15 December 2047” are all good This is a choice that the whole playgroup should make together. Although
examples of where and when. the choice of setting can be delegated to the narrator, it is much more fun
to experience a story set in a context that all the players know, love and wish
to experience and explore. To start off you only need a single sentence, but feel
free to add a few details.
Once you have chosen a where and a when, creating heroes will naturally lead
you to weave them into the game: this will generate narrative hooks necessary for
players to have heroes that are fully integrated into the story from the outset. As
with choosing the setting, creating heroes together is more effective and fun.

HEXSYS: THE GAME SYSTEM

Not the End uses HexSys, an original game system that uses different-colored
tokens, which are inserted and drawn blindly from a bag to resolve important
situations during the story.

6
WHAT YOU NEED TO PL AY

The following are required to play:

• Around twenty different-colored tokens such as checkers pieces, poker chips

or Go stones. Ensure the tokens you choose cannot be distinguished by touch
• An opaque bag used for inserting and drawing tokens that is large enough
to fit your hand in
• A hero sheet for each player. You can download the sheets and all the The game materials include hero sheets and
printable game materials at bit.ly/NTEResources lesson cards.
• A few erasers and pencils

GAME SYMBOLS

This game uses tokens with two different colors that represent successes and
complications. From this point on tokens representing a success will be denoted
by the Z symbol and those representing a complication will be denoted by the b
symbol. Tokens drawn or chosen at random will be denoted by the a symbol. Use
the tokens every time your hero faces a test.

GLOSSARY

The next page contains a brief summary of the most common terms used in this
manual, each accompanied by a brief explanation. Later on you will find more
in-depth explanations, but you can use this list as a reference if you do not intend
to read the manual from start to finish.

7
 Player: Someone in the group who plays a hero;
Narrator: The member of the group who plays the secondary characters, describes
the challenges, and recounts the complications that happen during the story.

Story: An entire narrative arc involving a theme or goal;

Session: When you are playing with your friends, you play a session;
A confrontation, a journey, an investigation, etc. Scene: A segment of the story in which a single moment of play is completed;
Turn: When the situation becomes critical, actions are taken in turns. A turn is
over when all the players have acted. During the turn, the narrator only acts
in response to the actions of the players;
Facing an enemy, navigating in a blizzard, Test: The act of drawing some a from a bag to learn the outcome of an action
questioning a suspect, etc. relevant to the story;
Difficulty: A number between 1 and 6 that indicates how likely it is that the
test will create complications;
Danger: A number between 1 and 4 that indicates how likely it is that the hero
will leave the scene;
Bag: An opaque container in which you place and draw the a required to face
a test;
Drawing: The action of blindly drawing from 1 to 5 a from the bag;
Success: The positive outcome of a test, which corresponds to the Z that the
player has drawn from the bag.
Complication: The negative outcome of a test, which corresponds to the b
that the player has drawn from the bag.

Hero: One of the protagonists of the story;

Trait: Keyword inscribed in a hexagon on the hero sheet which describes one
of their key characteristics;
Lesson: Something that the hero has learned through experience, which allows
them to use successes and complications in a unique way;
Taking a risk: The player’s decision to put the hero in danger in order to draw
other a;
Leaving the scene: A circumstance that prevents the hero from acting in a scene

8
WHAT IS A TEST?
A test is a turning point in the story in which the player puts their hero at risk
in order to achieve a result. Each test is an opportunity to explore the heroes’
motives, to narrate their exploits and to give the narrator ideas to make the
story more engaging.

THE RIGHT TIME TO FACE A TEST

The decision of when to face a test is made by the narrator, who is responsible
for identifying the moments of the session when requesting a test is necessary,
interesting and fun. The narrator asks the players to face a test if:

• It is uncertain whether the hero will succeed in what they are attempting to do Sneaking undetected past palace guards, hacking
• There is a real possibility of resulting complications that are interesting or a security system, convincing a stranger to help
significant for the development of the story you, dueling with an adversary, defusing a bomb,
• There is something at stake etc. are all situations that require a test.

The narrator avoids making players take tests if:

• The action is so obvious that it has no chance of failure or so impracticable Taking an unattended object, learning about a
that it has no chance of success place’s customs or traditions, checking what you
• There is no possibility of resulting complications that are interesting for know about a subject that you have encountered
the development of the story for the first time, etc. are cases which, barring
• The player wants to find out if their hero knows or has realized something: some rare exceptions, do not require a test.
in this case, you answer their question directly based on their traits

The next page contains a summary of how to face tests.

9
 FACING A TEST
When a player faces a test, they add the number of b that corresponds to the difficulty and the number of Z that
corresponds to how many of the hero’straits they can put in play and draw a number of a of their choice ranging from
1 to 5. The Z they have drawn indicate the extent to which things have gone well, while the b describe how complicated
the situation has become. In these pages you will find a summary that outlines what to do, but you should consult the
Playing the hero chapter for a full understanding of how to face tests and the Narrating stories chapter to learn
how to develop the scene based on their outcome.

DESCRIBE YOUR ACTION FILL THE BAG

The player gives a concise description of thehero’s The player adds 1 Z to the bag for each of the hero’s
intention. It is always good practice to state the hero’s traits that they can put in play in the test they are
purpose, but there are no strict formulas that you are facing; it is up to the player to decide which traits to
obliged to follow. Feel free to describe your action in put in play. They then add a number of b to the bag that
the way that comes naturally to you. What you describe corresponds to the difficulty of the test announced
determines the difficulty of the test and the traits by the narrator.
that you can put in play.

Roberto plays Lothar, a bounty hunter. Lothar is The traits that help Lothar are Bounty Hunter, Silent,
crouching in the bushes near a bandits’ camp. Roberto Assassinate and Infiltrate. The narrator states that
declares that he wants to shoot an arrow at the guard the test is difficult. Roberto adds 4 Z and 4 b to the
on patrol to silently kill him and approach the edge of bag.
the camp undetected.

10
 DRAW DESCRIBE THE RESULTS

The player draws from 1 to 4 a from the bag. The The player spends the Z they have drawn to describe the
more a they decide to draw, the greater the risks positive outcomes of the test and spends the b they have
and chances of success. Every Z drawn represents a drawn to ask the narrator to invent complications that
success, while every b corresponds to a complication. make the scene more engaging or create misfortunes
Opposite-colored a never cancel each other out, but, for thehero.
once drawn, all contribute to the outcome of the test.

Roberto decides to draw 3 a in total and takes out 2 Z The first Z drawn guarantees Lothar’s success in
and 1 b. This means that Lothar has had two successes, the test. Roberto spends the second Z to improve
but that his action has caused a complication. the outcome of the test and spends the b by asking
the narrator to subject Lothar to a misfortune.
Lothar’s arrow pierces the throat of the guard, who
falls soundlessly to the ground in an area barely visible
from the camp. But his bowstring breaks: Lothar finds
himself Unarmed.

11
THE HEROES OF
NOT THE END
 CRE ATING HEROES
It just takes a little imagination and a few minutes to create a
hero in Not the End. All you need is a basic idea that you can
build on by following some brief guided steps.

If possible, create your hero together with the other players and the
narrator: the end result will be significantly better.

The following pages offer a detailed description of all the necessary steps
to create your hero, as well as explanations and practical examples
that will help you along the way.
 STEPS TO CREATE A HERO

1. DESCRIBE YOUR HERO IN ONE SENTENCE

This sentence will serve as a starting point for developing the Hero and providing further
details at later stages

2. LIST THEIR DISTINCTIVE TRAITS

The traits are keywords that describe them and are placed in a hexagon hive. Place 1 trait
in the center that defines who they are, surrounded by 3 traits that define how they are and
4 traits in the outer part that describe what they can do

3. LIST THE RESOURCES IN THEIR POSSESSION

The term resource is used to refer to anything that may be useful for the hero (equipment,
contacts, etc). Write down from 3 to 5 resources

4. CHOOSE THEIR NAME

Name your hero and you have completed the creation process!

WHERE CAN I FIND THE HERO SHEET?

You can download the sheet and all game handouts at bit.ly/NTEResources

Gli eroi 15
 DESCRIBE YOUR HERO IN ONE SENTENCE
The player identifies the essence of the hero and concisely describes them
in one or a maximum of two sentences.
A masked vigilante who wants to bring justice This outline will serve as your guideline for subsequent questions. You do not
back to their neighborhood, a court reporter need anything specific, just something that will allow you to roughly find your
with a penchant for mystery and a freed slave place within the game scenario.
who has seen hell are all good examples. If you wish, start thinking about your hero’s psychology and motives. Why is
your hero the way you imagine them to be? What are they willing to take risks
for? You do not have to decide now, but starting to think about it will help you
create a multi-faceted character.

ARE THERE ANY CONSTRAINTS?

You could be an animal that has become sentient In Not the End there is no constraint on the type of hero you can play. The
due to a spell, a host organism that controls important thing is that the hero you choose to play is appropriate to the context
someone’s actions, a wandering spirit, a cyborg of the game you have chosen for your adventure and can harmoniously fit into
or anything you can imagine. the group.

WHERE SHOULD I WRITE THIS DESCRIPTION?

There is no need to write what you have decided on the Hero Sheet; this initial
idea will help you answer subsequent questions.
If you would like to write down what your hero is willing to take risks for, we
have allocated a space on the sheet where you can add this information. Remember
that this concept can freely evolve and change over time.
During the story, your hero will learn what they consider truly important
and you may be surprised to discover how different it is from what you had first
expected.

16 Gli eroi
LIST THEIR DISTINCTIVE TRAITS
The player describes the hero by writing an archetype, 3 qualities and 4
abilities in the corresponding hexagons on the sheet.
Unlike other games, Not the End does not use a predetermined list of
characteristics or abilities to score, but allows you to freely define keywords
representing how you view your hero.
These keywords are called traits and should be placed in a hexagon hive
located in the center of the hero sheet, some examples of which are given in
the following pages.

WHAT ARE TRAITS FOR? Being Beautiful is no better than being Horrific:
the first trait could be used to seduce someone
When you face a test, every trait you put in play allows you to add 1 Z to the and the second to intimidate them. Traits that
bag. The more traits you put in play in a test, the greater the chances of success. are not compatible with the tests you face do
There are no negative traits in an absolute sense and under no circumstances not make the situation worse, but simply do not
will a trait force you to add 1 b to the bag. give you any advantage.

HOW SHOULD I DEFINE MY HERO’S TRAITS? Hacker, Samurai, Swindler, Merchant, Elf, Pilot
and Occultist are all excellent examples. You can
To define their traits, answer the following three questions in order: be more specific, for example by writing Dwarf
Warrior instead of Warrior. This archetype will
WHAT IS MY HERO’S ARCHETYPE? not come into play if you are trying to use a bow,
The player writes a trait that identifies their hero’s archetype in the but it will help you during a drinking contest or
hexagon at the center of the hive. while exploring a mine.
You can choose the name of a profession, race, species or a mixture of any of Iconic words such as Chosen One, Vampire,
them. Or you can choose an established word within the framework of the setting. Werewolf or Jedi Knight are good examples of
It is important that what you write in the central hexagon is the concept your archetypes since the setting to which they refer
hero identifies with and that this concept is clear to you and the rest of the group. clearly defines them.

Gli eroi 17
 WHAT ARE MY HERO’S QUALITIES?
Qualities are normally described with adjectives: Write 3 traits that describe your hero’s characteristic qualities in 3 hexagons
Intelligent, Powerful, Agile, Inquisitive, of your choice from the 6 surrounding the archetype.
Cunning, Warlike, Terrifying, Intrepid, Icy, When you answer this question, consider which of your hero’s characteristics
Attractive, Cultured, Friendly, etc. are most significant. While the archetype defines who your hero is, the qualities
describe how your hero is.
You can write Artificial Intelligence as an Even if the qualities are adjacent to the archetype, the terms do not have to
archetype and Sentimental as a quality or be related to each other. Similarly, qualities adjacent to each other do not have
juxtapose the Sentimental and Logical qualities. to be related unless you wish them to be.

WHAT HAS MY HERO LEARNED?

Abilities are defined with verbs such as Hide, Write 4 traits that describe what your hero has learned or trained themselves
Hack, Interrogate, Meditate and Haggle or to do in 4 hexagons in the outer crown of the hive.
areas of expertise such as Light weapons, Dirty Your abilities describe areas of specialization in which your hero is well-trained.
fighting, Folklore, etc. Each hero has a maximum of 12 abilities.
A Doctor who is Intelligent and Precise Unlike other traits, abilities must correlate with their adjacent qualities. This
could have abilities such as Surgery, while an will be easy to do because the archetype and qualities will help you envision abilities
Intelligent and Precise Gunslinger could have in line with who you are in the game. The following pages provide examples that
Ballistics among their abilities. enable you to quickly understand how the correlation between hexagons can
help your decision.

WHO DECIDES WHAT TRAITS ARE ALLOWED

DURING HERO CREATION?

The player, in collaboration with the rest of the playgroup. The most important
thing when choosing a trait is that it is relevant to the game setting and has a
clear meaning to everyone at the table.
Any room for interpretation will be further clarified during the sessions. It is
not the narrator’s task to moderate players’ choices: everyone at the table is
responsible for making the game enjoyable.

18 Gli eroi
WHAT TRAITS SHOULD IDEALLY BE AVOIDED?

Avoid choosing traits that are too broad and generic. Wording keywords in a Traits such as Infallible, Reduce margin of
way that allows them to always be put in play may seem convenient, but it ends error, Perfect, Always ready, Succeed, etc.
up making the game less fun for everyone. should be avoided.

WHAT SHOULD I DO IF I AM UNDECIDED

ABOUT WHICH TRAITS TO CHOOSE?

Ask yourself how you would like to see your hero act in the scene. What are the
most typical things they would do? How would they act to resolve a situation?
When do they feel in their element?
If you get stuck, another great way to overcome this is to get help from other
players and the narrator with suggestions or to consult lists of recommended
traits in the Settings chapter.
In any case, if at this stage you cannot think of all the traits or you are
undecided, move on: you can gradually complete them as you continue to create
the hero or even during the first game sessions.

WHO DECIDES WHAT TRAITS CAN BE PUT IN PL AY

DURING A TEST?

It is always up to the player to decide which traits to put in play during

a test.
Other players and the narrator are free to make suggestions or ask for
clarifications to enrich the game narrative, however the final choice always lies with
the player facing the test. They are responsible for consistently putting traits
in play and, if necessary, helping other players and the narrator to understand
how to interpret the words describing the hero.

Gli eroi 19
 LOTHAR: EX AMPLE OF TRAITS
Roberto wants to play Lothar, a bounty hunter with a deep sense of justice. Roberto
imagines Lothar as a man hardened by many battles and ruthless towards criminals and
anyone who flouts the law. He would like to play a character who is unsettling at times,
but has his own moral code from which he never deviates. During creation he writes
his archetype, 3 qualities, 3 abilities and 1 iconic item. He chooses Bounty Hunter as
an archetype and Veteran, Cunning and Frightening as qualities. He connects Veteran
to Archery and Cunning to Investigate. He also decides that since Lothar is a Veteran
and Cunning, he definitely knows how to Pass Unnoticed, and since he is Cunning and
Frightening, he can Interrogate very effectively.

LOTHAR: GAME EX AMPLE

Lothar has infiltrated the Baron’s prisons to find Geralt, a commoner imprisoned by
corrupt guards. Roberto declares that Lothar wants to sneak up on a guard on patrol to
get him to talk by holding a dagger to his throat. The narrator decides that this test
is normal difficulty and Roberto adds 3 b to the bag. Pass Unnoticed, Interrogate and
Frightening are certainly traits related to the test. After a brief discussion the group
decides that Cunning and Bounty hunter also apply. The other traits are not relevant to
the test so Roberto adds 5 Z to the bag.

20 Gli eroi
 ABILITY

INVESTIGATE
ABILITY ABILITY

PASS
INTERROGATE
UNNOTICED
ABILITY QUALITY ABILITY

ARCHERY CUNNING
QUALITY QUALITY

VETERAN FRIGHTENING
ABILITY ARCHETYPE ABILITY

BOUNTY
HUNTER
QUALITY QUALITY

ABILITY QUALITY ABILITY

ABILITY ABILITY

ABILITY

Gli eroi 21
 A magic wand is a legendary resource at King LIST THE RESOURCES AT THEIR DISPOSAL
Arthur’s court, as well as being common if you
are playing magic students at Hogwarts school. The term resources broadly refers to anything useful that your hero has at
their disposal: equipment, money, documents, etc. Depending on the setting,
For a soldier, hitting a target at 200 yards is a resources could include familiars, robotic assistants, artificial intelligence,
test with normal difficulty using a sniper rifle, trained animals and so on.
but is almost impossible with a bow. It simply
cannot be achieved by throwing a stone.
HOW SHOULD I USE THE RESOURCES IN PL AY?

Possessing a resource could influence the difficulty of the tests or their

feasibility. Resources never influence the bag.

A rifle is a rare resource in the real world, but it HOW DO I DECIDE WHAT RESOURCES I POSSESS?
could be a legendary item in a post-apocalyptic
setting. The player writes down a maximum of 5 resources on the hero sheet, one
of which can be rare for the context in which the story takes place.
The situation in which the heroes start certainly affects their available
resources, so discuss this with the playgroup.
Remember to only write down resources that are relevant to your hero and
distinguish them. The fact that you own everyday items is something that can
be improvised; only write down resources that are important for you or the
development of the story.

For Indiana Jones My trusty whip could be ALTERNATIVE: RESOURCES AS TRAITS

considered a trait, as could Keeper of Excalibur
for King Arthur. Ring Bearer could be the Sometimes resources are such an integral part of a hero that they can be
archetype for Frodo. considered a pillar of their identity. In this case, by mutual agreement with the
narrator, we recommend writing the object as one of the hero’s traits.

22 Gli eroi
 EX AMPLES OF RESOURCES
Lothar is an experienced bounty hunter who is Lilian is a member of the clergy and, although Etienne is an undead who has dragged himself
somewhat renowned in his field. After a brief long estranged from the court, has noble out of the grave. The objects to which he is most
discussion with the game table, Roberto writes ancestry. For Alice, it is important to note that attached are those that his wife Igritte left in his
down the following in his list of resources: she is an experienced healer: coffin:

• Metal handcuffs • Cassock • Lumberjack hatchet

• Bow and arrows • Silver symbol of Saint Galen • Worn clothes
• Sturdy clothes • Healer’s bag • Letter from Igritte
• Bounty hunter license • Medicinal herbs • Bloodstained handkerchief
• 50 coins • Fine paper and ink • Wedding ring

Lothar wants to prove that he has executed a Lilian is trying to heal Lothar from a nasty injury Etienne enters a village to get information about
criminal for just cause and guards are threatening that he has sustained during a conflict with his wife’s killers. The locals do not trust outsiders
him with pikes. criminals. and his threadbare clothes and unsettling
Lothar asks the guards if he can take something He has a deep cut and the blade seems to have appearance do not help matters. The test to
out of his pocket and slowly shows them his scraped the bone. Lilian fears the blade was convince someone to share information with
bounty hunter’s license. poisoned because Lothar is beginning to show him would be difficult. Etienne does not want to
Now that the guards have seen his authorization, strange symptoms. threaten the villagers and persuades them to talk
convincing them will be an easy, rather than Lilian uses her medicinal herbs to create an by showing his wedding ring and bloodstained
difficult test. ointment that she applies to the wound and the handkerchief. Now his appearance is less
tools in her healer’s bag to suture it. The test threatening: a person who has lost everything
has a normal difficulty. It would have been does not care about appearance. The difficulty
impossible to treat Lothar without equipment of the test drops from difficult to normal.
unless you settled for a temporary solution.

Gli eroi 23
PL AYING THE
HERO
The first step when playing Not the End is creating the Hero serve as a starting point for developing the Hero and providing
that you will play during the Story. To make things easier you further details.
will be guided through a series of five questions; each answer
will serve to characterize and define your Hero.
Each question explores the game rules required to play your 2. WHAT ARE THEIR DISTINCTIVE TRAITS?
Hero. So during the creation process you will learn some rules
needed to play the game. Write your answers on the Hero Sheet. The Hero’s Traits are keywords that describe them. You will
Go through the steps of creating your Hero with the other write them in a hexagon hive and they will help you in the Tests
players and the Narrator: the result will be significantly better you face. During the creation process you choose 8 traits that
both for the balance of the game and for resulting narrative describe your Hero.
hooks.

1. WHO IS MY HERO?

Identify a Hero concept and give a brief description. This will

 FACING TESTS
To play Not the End you have to understand the spirit with which
the tests should be faced. Every test is an opportunity to explore your
hero’s motives, to narrate their exploits and to give the narrator ideas
to liven up the story.

The following pages provide an in-depth look at all the necessary

steps to face the tests and how to use them as key moments to
enrich the narrative.
 WHEN FACING A TEST, AS THE PLAYER YOU:

1. STATE THE HERO’S GOAL

You only need to state a goal or intention; the outcomes of the test will be described at
the end of the test

2. FILL THE BAG

You must insert as many Z as the traits that the hero puts in play and as many b as the
difficulty specified by the narrator

3. DRAW FROM 1 TO 4 a AS YOU WISH

The a must be drawn blind and all at once. The more a you draw, the more likely it is you
obtain successes and complications

4. DECIDE WHETHER TO TAKE A RISK

If you are not satisfied with the a you have drawn, you can take a risk and draw others,
putting the hero in danger

5. SPEND THE a DRAWN AND RECOUNT THE OUTCOME

Spend Z to pass the test or to improve the traits and b to ask the narrator to subject
the hero to misfortunes or to complicate the scene. If you have decided to take a risk,
the narrator spends the b on your behalf

Gli eroi 27
 WHAT IS A TEST AND HOW DO YOU FACE ONE?
When the player has a goal whose outcome is uncertain or important for
the story, the narrator asks them to face a test. When they request a test,
the narrator tells the player how difficult and dangerous it is.

WHEN A TEST IS NECESSARY

Every test is a turning point in the story that could result in successes and
complications. Each test is an opportunity to explore the heroes’ motives, to
narrate their exploits and to give the narrator ideas to make the story more
engaging. A test is normally faced when:

Sneaking undetected past palace guards, hacking • It is uncertain whether the hero will succeed in what they are attempting to do
a security system, convincing a stranger to help • There is a real possibility of resulting complications that are interesting or
you, dueling with an adversary, defusing a bomb, significant for the development of the story
etc. are all situations that require a test. • There is something at stake, or a physical or social conflict is taking place

It is better to avoid facing a test if:

Taking an unattended object, learning about a • The action is so obvious that it has no chance of failure or so impracticable
place’s customs or traditions, checking what you that it has no chance of success
know about a subject that you have encountered • There is no possibility of resulting complications that are interesting for
for the first time, etc. These are cases which, the development of the story
barring some rare exceptions, do not require a • The player wants to check if their hero knows someone or something or
test. has noticed something: in this case it is best that the narrator replies to
the player by referring to the hero’s traits.

28 Gli eroi
THE DIFFICULTIES AND DANGERS OF A TEST Difficulty and danger are distinct values.
Decoding an encrypted message is difficult
Every test is designated a specific difficulty. Moreover, some tests can make but not dangerous, while defusing a simple
you leave the scene. If you are the narrator, consult the Narrating stories explosive is not particularly difficult, but very
chapter for a detailed explanation of how to manage these two numbers. dangerous.

• The difficulty is a number between 1 and 6 that describes how likely it is Lothar tries to convince some guards to give
that the test will result in complications. When the player faces a test, him information. The narrator states that
they must insert a number of b that corresponds to the difficulty. the difficulty of the test is 4 and there is no
• The danger is a number between 1 and 4 that describes how likely it is that danger. Lothar adds 4 b to the bag.
the hero will exit the scene during the test. When the player draws
a number of b equal or greater than the danger level, their hero leaves Lothar wishes to defuse a pressure trap that
the scene. The more dangerous the test, the lower the number of drawn he has just placed a foot on. The narrator
b required to make the hero leave the scene. All tests have a specific states that the difficulty of the test is 3 and
difficulty, but not all are dangerous. the danger is 2. Lothar adds 3 b to the bag and
knows that if he draws 2 or more b he will
You can find all the information about leaving the scene further on in this leave the scene.
chapter. For now you only need to know that when the hero has left the scene
something has happened to them that has prevented them from directly acting
on the scene.

HOW TO FACE A TEST

Each time you face a test, you must follow these steps, which are described and
explained in detail in the next pages of this section:

1. State the hero’s goal

2. Fill the bag
3. Draw from 1 to 4 a
4. Decide whether to take a risk
5. Spend the Z and the b that you have drawn and recount the outcome of
the test

Gli eroi 29
 1 2 3 4 5

HOW TO DESCRIBE THE GOAL

“My intention is to sneak into the Castle unseen. When the player faces a test, they describe the goal of the hero and the
I slip past the enemy ranks, constantly looking actions by which they are seeking to achieve it, clarifying which traits they
around to keep an eye on the position of the will put in play.
guards on patrol and jumping from rooftop to Although it is best to describe the action from the outset in a way that involves
rooftop when it is not possible for me to safely the traits that the player wishes to use, subsequently justifying the use of a
pass through the alleyways” is a great description trait is still allowed.
for putting traits such as Furtive, Wary, Agile Trying to put as many traits as possible in play is a permitted and fun exercise,
and Infiltrator in play. but it is best to avoid far-fetched descriptions just to have an extra Z in the bag.
It is much better to imagine what the hero is doing and to describe it so that the
traits put in play naturally fit into the narrative.

WHAT SHOULD I DO IF I AM STRUGGLING TO

DESCRIBE THE TESTS I AM FACING?

A less flowing, but equally functional way to Although listing the traits that you use during the test without a description is
play is to simply say “I get past the guards”. less engaging, there is no point in laboring to come up with lofty descriptions or
The narrator will ask you how you do this and adjusting to the narrative style of the more verbose players.
you will then explain how you are putting your Forget any performance anxiety and narrate in the way that comes most
traits in play. naturally to you; there is no need to feel bound to a specific format and you are
not obliged to follow any particular style.
If necessary, use your hero’s traits as inspiration to describe what you are
doing. Remember not to force other players to adapt to your style.
Be supportive of other players by asking questions and showing interest in
what they are recounting. You do not have to be professional storytellers to have
fun together; the important thing is to respect and listen to each other.

30 Gli eroi
 1 2 3 4 5

HOW TO FILL THE BAG

The player inserts 1 Z in the bag for every trait that they put in play and a
number of b equal to the difficulty decided by the narrator.

HOW DO YOU PUT A TRAIT IN PL AY?

Describe how your hero intends to act and the traits that you can put in play will
become clear. List them while you insert the Z in the bag so that the playgroup
knows what they are and you can check that you have not forgotten any.

IF I DO NOT HAVE ANY TRAITS TO PUT IN PL AY,

HOW DO I FACE A TEST?

If you face a test and you do not have any traits to put in play, you cannot succeed. It is difficult for a Priest who is Charitable, Kind
The traits describe not only who your hero is, but also how they usually act. and Pacifist to find themself in a position of
If you realize that your hero lacks traits that you think they should have, wanting to hurt someone. Should this happen,
you can try to develop them in that direction. The Evolving the hero chapter they would not know how to act. It will be up
explains how to do this. to them to consider their inability and decide
Noticing a shortcoming in your hero is a good prompt to ask yourself whether whether or not to learn how to fight.
the hero wishes to become something different from what they are at the moment Not having Athletic among your traits does
or prefers to remain how they are, focusing on their strengths. not mean that you cannot run 500 feet. Only
Obviously this reasoning applies to actual tests, which have a difficulty the most difficult tests, for which you are truly
and are therefore actions that are not accessible to everyone. The lack of a trait risking something, will be impossible.
in the hive does not mean that you are completely incapable of facing even the
simplest tasks relating to that area.

Gli eroi 31
 1 2 3 4 5

HOW TO DECIDE HOW MANY a TO DRAW

Let’s take the most extreme case in which The player decides how many a to draw, between 1 and 4. The more a they
you have 1 Z and 3 b in the bag. Drawing 4 draw the more things will happen. Whether they are positive or negative
a will give you a mathematical certainly of depends on the a that make up the bag.
succeeding in the test, at the cost of facing Most of the bags will have a good balance of Z and b. Often the desire to
many complications. succeed will lead you to endure complications to ensure you succeed in the
If the test you are facing is very important to you, test you are facing.
you may be willing to pay this price to succeed. It is not easy to have successes without complications, but you will also
Sustaining a wound that will leave a scar in order find you are often in a position where you can draw enough to ensure you have
to destroy an evil artifact will make your hero’s at least 1 Z in your hand.
endeavor more interesting and will give you You will find that you have a high level of control when it comes to handling
roleplaying ideas as you watch them develop and complications, to the extent that using the b that you draw will be as much
change over time. fun as spending the Z.
In Not the End how much you are willing to risk to get what you want
matters more than determining how likely you are to succeed at what you are
attempting to do.

WHEN IS IT BEST TO DRAW MANY OR FEW?

In a duel to the death, with a bag consisting of
3 Z and 3 b, drawing 4 a means looking for It is best to draw many a when your hero is willing to deal with many
trouble so you will be certain to strike your complications in order to achieve the success they desire. Alternatively, you
opponent. You could even have reasons to want can draw many a when you want lots of things to happen that liven up and
your hero to be scarred. develop the scene.
Now let’s consider the case of a hero who It is best to draw just a few a when your hero is prepared to fail in order
is trying to defuse a bomb. There is a 1-hour to avoid excessive risk for themself or the scene; the fewer a drawn, the less
countdown and the bag contains 2 Z and 2 positive and negative consequences there will be for the scene.
b. Drawing 1 a could result in a success or Ultimately, drawing just 1 a means both tempting fate and risking very little,
complicate the scene, but it will not detonate since the test will either turn out entirely well or entirely badly. In other words,
the bomb. drawing 1 a is a way of saying “Do or die” and now and then it is a good way of
adding a little tension to the game.

32 Gli eroi
 1 2 3 4 5

HOW AND WHEN TO TAKE RISKS

The player can take a risk in order to draw other a in addition Lothar wants to capture a key witness who might testify
to those that they have already drawn during a test. against the Baron’s son. The fugitive tries to escape by
running wildly through a crowd. Lothar’s bag contains
4 Z and 4 b.
WHEN CAN I TAKE A RISK? Roberto decides to draw 3 a and discovers to his
disappointment that he has drawn 3 b.
The player can decide whether to take a risk during any test
immediately after drawing and before spending the a to describe the
outcome of a test.

WHAT PRICE DO YOU PAY FOR TAKING A RISK? Lothar cannot accept that the fugitive has got away
and therefore decides to take a risk. Roberto draws
When the player takes a risk they must respect these two constraints: another 2 a, which is exactly what he needs to reach a
total of 5 a drawn.
• When they draw for the second time they must always reach a Roberto draws 1 Z and 1 b so he holds a total of 1 Z
total of 5 a drawn. and 4 b.
• All the b drawn must be handed to the narrator, who will spend With the Z he is guaranteed success in the test, but
them on behalf of the player as they wish. The next page explains the narrator now has 4 b to spend as they wish and
how to spend the b. decides to do so by subjecting Lothar to 1 misfortune,
confusion and adrenaline, as well as complicating
Every time you decide to take a risk, you essentially end up drawing the scene.
the maximum number of a and allow the narrator to spend the b The narrator recounts how Lothar, in order to catch
on your behalf. the fugitive, knocks over a passer-by who turns out to
On the one hand taking a risk gives you a chance to reverse the be the leader of the guards.
fortunes of a test that has not gone your way, while on the other hand Lothar suffers the misfortune Hated by the authorities
you will have to put everything at stake and pay the price of not being and now the guards get involved. Lothar’s heart is
able to control the resulting negative outcomes. Only take a risk for racing and getting out of this situation will not be easy.
what your hero considers truly important!

Gli eroi 33
 1 2 3 4 5

HOW TO USE SUCCESSES

The player must use all the Z that they draw. They can spend them as they
wish to succeed in a test or to strengthen a trait.

SUCCEEDING IN A TEST

Roberto wants to shoot an arrow through the The first Z spent ensures success in a test. For every Z spent in addition to the
rope tied around the neck of a poor man about to first you can improve the result obtained by facing a test.
be hanged. He draws 3 Z. He discards the first, The way in which the effect of the test is improved is up to the player, although
which guarantees him success and then he can the other players and the narrator can contribute by suggesting ideas or asking
spend the other 2 as he wishes. questions. Here is a list of positive effects that could happen for every Z spent
in addition to the first:
• The executioner lets out a cry and one of the
guards’ horses rears up. • The action has an unexpected positive consequence. This benefit must be
• The arrow bounces off a torch that falls on secondary to the effect of the action;
other ropes. • The obtained result will last longer;
• The condemned man takes the initiative • The obtained result affects more than one subject.
and removes the noose from the neck of the
convict beside him. This list is merely indicative; use your imagination and keep the narration
coherent. The player is responsible for ensuring that the narration is plausible
and in line with what is happening in the scene.

STRENGTHENING A TRAIT

Lothar smiles and muses that he has not lost his The player places 1 Z on one of the traits that they have used during a test. The
good aim with age. He places a Z on Archery. next time they put it in play, they will add this Z in addition to the first. Every
trait can hold a maximum of 1 Z at a time.

34 Gli eroi
 1 2 3 4 5

HOW TO USE COMPLICATIONS

The player must use all the b that they draw. They can spend them as Roberto wants to shoot an arrow through the
they wish to complicate the scene, endure a misfortune or accumulate rope tied around the neck of a poor man about to
adrenaline or confusion. be hanged. He draws 3 b. He must decide how
to spend them.

COMPLICATING THE SCENE

The player hands over 1 or more b and asks the narrator to complicate the He hands 1 b to the narrator, asking them to
scene. Spending b in this way avoids direct consequences for the Hero, but complicate the scene. The crowd shrieks as the
complicates things for everyone. The scene will become more dangerous or the arrow lands in the deck of the gallows, but the
tests within it will become more difficult. It is up to the narrator to decide executioner and guards seem more alert than
how to complicate the scene, although the players can suggest any good ideas astonished. Everyone understands what is going
that come to mind. on: an ambush!

ENDURING A MISFORTUNE
The player puts 1 or more b on the sheet, in the misfortunes section and asks Shaken, Sore shoulder, Spurned, Sense of guilt,
the narrator to subject them to one. Misfortunes are negative conditions that Scared, Cracked rib, Exhausted, Head injury,
afflict thehero. They can include physical, psychological and emotional factors etc. are all good examples of misfortunes.
of any kind and are always temporary. The narrator recounts what is happening You place 1 b on a misfortune and a farmer in
to the hero and states the misfortune, after which the player writes it down in the crowd points at you and says “Hey, isn’t that
one of the dedicated hexagons. the bounty hunter?”. The guards turn towards
you. You are Hunted.
WHAT EFFECTS DO MISFORTUNES HAVE?
Every time a misfortune is put in play in a test, add the b associated with it to Being Hunted will add 1 b to your bag when
your bag. Once the test has been taken, if the misfortune is still present, place you face tests such as hiding, evading guards,
the b near it again. Every misfortune should affect the narrative and how you convincing someone to divert your pursuers, etc.
play the hero.

Gli eroi 35
 Fleeing the country and lying low for a few HOW LONG DO MISFORTUNES LAST?
days or, paradoxically, being caught would be A misfortune afflicts the hero until it is remedied or its consequences wear
sufficient conditions to remove the Hunted off. Something must happen during the story that warrants the removal of the
misfortune. misfortune.
During his escape, Lothar kills several guards to
gain his freedom. He gains various misfortunes WHAT HAPPENS IF I RUN OUT OF SPACES ON THE SHEET?
until a second b is placed on Hunted. The You cannot suffer new misfortunes, but the narrator can make an existing one
narrator tells him that he has gone too far. worse by describing how it gets worse. When a worsened misfortune is put in
Hunted becomes Public enemy and when it is play, add 2 b to the bag. Every misfortune can be made worse by up to 3 b and
put in play it will subject Lothar to 2 b in the can only grow by 1 b each turn.
bag.

ACCUMUL ATING ADRENALINE OR CONFUSION

Adrenaline and confusion are conditions that influence your hero’s self-
control in the next test they face. You can impose them if you do not want to
hand the b to the narrator.

Roberto places 1 b on the adrenaline hexagon HOW DOES ADRENALINE WORK?

and describes how Lothar’s heart is starting to The player places 1 b on the adrenaline hexagon if they think the outcome of
race. If he wants to salvage the situation he only the test that they have just faced may have excited the hero. In the next test
has a short time to act. In the next test he faces they will be obliged to draw 4 a. After doing so, they remove the b placed on the
he will have to draw 4 a. adrenaline hexagon in the sheet.

HOW DOES CONFUSION WORK?

Roberto places 1 b on the confusion hexagon. The player places 1 b on the confusion hexagon if they think that the outcome
Lothar will not be able to control himself during of the test has dazed or confused the hero. In the next test they will be obliged
the next test. If he puts 4 traits in play, rather to add randomly drawn a to the bag instead of the Z that they would have added
than adding 4 Z to the bag he will add 4 a, which by putting their traits in play. After doing so, they remove the b placed on the
will be randomly chosen. For example, with eyes confusion hexagon on the sheet. If the hero receives any help, it is up to the player
closed. to decide whether or not they are affected by the confusion afflicting the hero.

36 Gli eroi
WHEN IS IT APPROPRIATE TO ALLOW
THE NARRATOR TO CREATE COMPLICATIONS
AND MISFORTUNES?

Whenever it is fun to do so. In Not the End the narrator uses the b to respond
to the players’ actions. This means that the b are a tool that ensures that scenes
remain interesting and that the story continues to progress in the direction
desired by the players.
The more players face tests, the more successes and complications they
generate. It is complications that liven up the story, allowing it to develop in
unexpected directions.
A completely harmonious situation can be quickly resolved, while a complicated
one is interesting to experience and explore. Enduring misfortunes and
complications is not a punishment, but a way of having memorable adventures.
In Not the End it is the players who ask the narrator to create complications
and their job is to ensure that these requests are always met in an original and
unexpected way. Through this game economy you will often find yourself more
involved and entertained by tests that have gone very wrong than tests that
have gone perfectly. Lothar knows the lesson There’s a rebel lying
deep in every soul and can place 1 Z on the
card that describes the lesson. Later he can
LESSONS AND SCARS, OTHER USES OF a spend it in order to recount how the news of the
liberation of a poor soul will motivate a person
The complete Not the End manual explains how your hero can learn lessons or a small group not to bow their heads, but to
in the course of the story or be marked by scars. Lessons allow the player to rebel against injustice.
use Z or b in a unique way, while scars are traumatic experiences that make the Etienne is marked by the scar I watched my wife
hero tougher when it comes to tolerating the b that they draw. die. When he decides to put it in play he will add
Lessons and scars are optional forms of character development that you can 1 b to the bag, but he can ignore one of the b
decide to use as you see fit in order to give your hero greater depth and structure. that he draws during the test.

Gli eroi 37
 GROUP TESTS
A group test is when more than one hero takes part and contributes to the
outcome of a test, influencing its chances of success while exposing themselves
to possible complications.
When facing a group test, choose a hero who will lead the action: they will
have to fill their bag as normal and then each hero involved in the action describes
how they act and what trait they are putting in play to contribute.
Roberto and his group want to sneak into the Every hero who has at least one supporting trait guarantees a maximum of
enemy camp unseen. The group decides to let 1 Z for the bag, even if they have more than one trait to put in play. If a hero
Lothar act and he adds 2 Z to the bag for his takes part in the test but does not have any trait to put in play, their presence
traits and 3 b for the difficulty. Lilian does is a hindrance and they add 1 b to the bag.
not have appropriate traits, while Etienne has If the hero acting as leader draws 1 or more b during a group test, every other
the Furtive trait. Roberto therefore adds 1 Z hero who has participated must take 1 b in addition to those already drawn and
and 1 b to the pool. instantly spend it. At the same time, if the hero who is acting as leader draws at
least 1 Z, the group test has succeeded for all the heroes involved.

HELPING OR HINDERING OTHER HEROES

Lothar is interrogating a bandit. Etienne stands Helping or hindering another hero in a test works in a very similar way to
beside him and smiles sardonically, putting the performing a group test, except that you are trying to contribute to the outcome
Intimidate trait in play. Lothar adds 1 Z to the that they will obtain without sharing the effects.
bag. During the test, you will expose yourself to possible complications by aiming
Roberto draws 1 Z and 2 b. The bandit talks, to help them with a trait that will add 1 Z to their bag or to hinder them by
but Lothar will have to decide how to spend 2 putting a spanner in the works and adding 1 b.
b and Etienne must choose how to spend 1 b. Describe what actions you are taking to help or hinder them, but remember
Helping Lothar has led Etienne to share the risk that if they draw 1 or more b you will also have to take another one, in addition
associated with the test. to the b they have drawn, and instantly spend it. Helping or hindering a test
does not prevent another hero from facing it.

38 Gli eroi
COMPETITIONS BETWEEN HEROES Lothar and Etienne want to find out which of
them is the best archer. The narrator makes
Heroes compete when they are trying to outdo each other in the same test. In both of them face a test with a difficulty of 3
this case, both the players perform the same test and the player with more Z to hit a target from a distance. Lothar obtains
to invest in the result wins the contest. 3 successes and Etienne obtains 2. The test
concludes with Lothar’s victory.

CONFLICTING GOALS Lilian wants to destroy an evil artefact before

Lothar can bend it to his will and absorb
Situations in which a hero intends to obtain a result before another hero to its power. Lilian and Lothar face the tests
thwart their action can be resolved in a similar way to competitions. separately, but in game terms they do so at the
In this case, both players perform a test separately after agreeing that the same time. Lilian draws 3 Z and spends all of
test is held at the same time. The player who spends more Z on the outcome them on the outcome of the test, while Lothar
prevents the other from getting what they wanted. draws 2 Z and knowing that he cannot match
Lilian’s result, decides to spend 1 Z to improve
one of the traits that he has put in play.
CONFLICTS BETWEEN HEROES
Performing tests intended to harm other heroes is particularly destructive. The Lothar wants to attack Etienne. Roberto declares
acting hero states what they are doing and the targeted hero states how they that Lothar is coming at him armed with sword
are defending themself. The acting hero adds the number of Z to their bag that and dagger. Fabio states that Etienne is defending
corresponds to the number of traits that they can put in play and the number himself by trying to deflect his attacks using his
of b that corresponds to the number of traits that the target can put in play to axe and pushing him back.
defend themself. Lothar adds 2 Z for Bounty hunter and Veteran,
All the Z drawn count as misfortunes that afflict the target, while all the while Etienne adds 2 b for his traits: Powerful
b drawn count as misfortunes that afflict the hero taking the action. When and Axe.
players act against each other there is no need for the narrator to intervene Roberto draws 2 a and successfully obtains
by describing the misfortunes. The narration is up to the players, who can 1 Z and 1 b. Both Etienne and Lothar suffer a
independently narrate the misfortunes. misfortune.

Gli eroi 39
 LE AVING THE SCENE
When the hero faces tests that have a danger value, they run the
risk of leaving the scene. Leaving and returning to the scene are
moments of play enhanced by special rules that highlight their narrative
opportunities. This section contains useful insights into how to play
and narrate these moments.
WHEN TO LEAVE THE SCENE
The hero leaves the scene if the player draws a number of b equal to After countless adventures, Etienne has found
or greater than the danger of the test. If a test has a danger value, the his wife’s murderer. Facing his enemy is fairly
narrator must explicitly state this before the player draws. dangerous, which means that Etienne must
Normally leaving the scene implies that something bad has happened to your leave the scene if he draws 3 or more b.
hero, but what actually happened depends on the game situation, the elements
involved and what you were trying to achieve.

HOW TO LEAVE THE SCENE

When the hero leaves the scene, the player must discard a number of b Etienne, mad with rage, attacks him head-on,
equal to the danger of the test. The narrator will use them to recount how risking everything and drawing 5 a. The result
the hero has left the scene and to subject them to a misfortune related of the test is 1 Z and 4 b.
to what has just happened. He immediately discards 3 b and spends the
After discarding the b that will make them leave the scene, the player spends Z to succeed in the test and the remaining b
all the remaining a as they wish to describe the outcome of the test. The player to complicate the scene. Etienne strikes the
and narrator will often find themselves working together to agree on a narrative assassin, but ends up on the ground from an
of how things turned out. impact blow that subjects him to a misfortune
from 3 b, Head injury.
Additionally, the narrator spends the b that
IF I LEAVE THE SCENE HAVE I FAILED THE TEST? he has been handed and recounts how Etienne,
half-conscious, senses that the killer appears to
Not necessarily. Like every other test, its outcome depends on the a you have be faintly moving. He seems not to be dead yet.
drawn. If you have drawn at least 1 Z it means that the hero has succeeded, but
at the same time something has happened that has made them leave the scene.

Gli eroi 41
 HOW TO RETURN TO THE SCENE
Etienne is confusedly aware that his wife’s murderer A player whose hero has left the scene has two options: to skip
is creeping away from him. The bastard is still alive and their turn and wait for the situation to improve or to try to return
Etienne is not willing to let him escape. Etienne summons to the scene, which may require them to face a test.
up all his remaining energy and tries to return to the
scene. Etienne is practically unconscious and will have
to use his willpower to return to consciousness. The test HOW SHOULD I FACE A TEST
is very difficult (5 b) and Etienne can put Revenant, TO RETURN TO THE SCENE?
Relentless and Those murderous bastards (3 Z) in play.
Fabio recounts how his wife’s Wedding ring sparkles in When you try to return to the scene by facing a test, you can put
his peripheral vision. The narrator appreciates this and traits in play by describing what you are doing in practice and how
decides to lower the difficulty of the test to 4 b. Fabio you are drawing on your inner strength, harnessing what spurs you on.
adds 3 Z and 4 b to the bag and decides to draw 4 a. The test takes place normally, but its purpose is always to return to
Unfortunately he draws 4 b, so Etienne cannot return to the game and every test to return to the scene never involves danger.
the scene and must spend the drawn b complicating the As with every other test, drawing 1 Z is enough to succeed and not
scene or being subjected to misfortunes, adrenaline or drawing any is tantamount to remaining out of the scene.
confusion.

IS IT ALWAYS NECESSARY TO FACE A TEST

IN ORDER TO RETURN TO THE SCENE?

If Etienne had left the scene because he had been kicked As with every other test, if there is no difficulty involved in returning
out of a bookstore after snooping around in a forbidden to the scene or no possibility of the situation getting worse in any way,
area, waiting for the scene to end would have been enough facing a test is completely unnecessary and risks creating situations in
in order to return to the scene without the need to face which the player and narrator find it difficult to spend the drawn a.
tests. You have to face a test in cases in which the hero has a real possibility
of not being able to return to the scene or when facing the test could
worsen the hero’s condition or the situation of those around them.

42 Gli eroi
WHEN IS IT DIFFICULT
TO RETURN TO THE SCENE?

The difficulty of the test to return to the scene depends on the

situation that you find yourself in and what you are trying to do.
Remember to consider the misfortunes afflicting the hero when you
face a test to return to the scene.

CAN I HELP A HERO RETURN TO THE SCENE? In the next turn, Lilian rushes to Etienne’s aid. Lilian
uses her Healer’s bag and puts the Medicinal herbs under
If you use your turn to help an ally who has left the scene to return, Etienne’s nose to restore him to consciousness with their
you can face a group test alongside them. The choice of which hero smell. The narrator states that the test, given the resources
leads the test depends on what is described in the game; it could be put in play, is normal (3 b).
the hero who has left the scene who faces the test assisted by you, The group decides that Lilian should face the test and
or it could be the other way around. Etienne should support her. Lilian puts Educated, Heal
and Kind in play and Etienne helps her with Relentless. The
bag contains 4 Z and 3 b. Lilian draws 4 a that turn out
CAN I RETURN TO THE SCENE to be 2 Z and 2 b. With Lilian’s help, Etienne returns to
AGAINST MY WILL? the scene and Lilian spends the second Z to eliminate the
Bleeding misfortune that Etienne gained in the previous
Yes, a successful test by another player could bring your hero back to test.
the scene even without your cooperation. However, no one can force Lilian hands 1 b to the narrator and puts the other on
you to keep your hero in the story if you no longer intend to play them. adrenaline. Since he has helped Lilian, Etienne must
A hero’s ultimate destiny should lie in their hands and it is up to the immediately spend 1 b and he asks the narrator to subject
other players to respect their wishes. The end of a hero is a delicate him to a misfortune.
moment in the game and should be treated in a way that respects the The narrator recounts that the murderer has disappeared,
harmony of the table. letting the group know that finding him will be very difficult
and he inflicts the Furious misfortune on Etienne.

Gli eroi 43
EVOLVING
THE HERO
 HOW TO EVOLVE
HEROES
This Quickstart Guide contains a very brief overview of the way in which
the heroes develop over the course of the story. The way heroes evolve
is one of the distinctive features of Not the End, to the extent that it
constitutes one of its pillars and is designed to eliminate the barriers
between what happens to the hero and what they become.

In Not the End the hero changes when they have experiences that
are so significant that they mark them in some way. These moments are
referred to as crucial tests. It is the players who decide which tests
are crucial for their heroes and recount how facing these tests changes
the heroes.

The player can state that any test they are facing is crucial for the development of their hero, but
must do so before knowing what its outcome will be. Only after facing it, based on how things have
turned out, the player will decide how the test changes the hero by choosing between three development
methods, which are summarized on the next page.
 TO EVOLVE THE HERO, THE PLAYER:

1. STATES WHAT TEST IS CRUCIAL FOR THE HERO

They may do so at any time they wish and whenever they see fit, provided it is before they
draw. In other words, the player can decide what tests will change the hero, but they have
to do so before learning the final outcome.

2. FACES THE TEST

The test is faced like all the others by following the rules of the Playing the hero chapter.
The outcome of the test will provide the necessary elements to understand how the hero
changes.

3. DESCRIBES HOW THE OUTCOME CHANGES THE HERO

After facing the crucial test, the player can evolve the hero in one of the following ways:

• The hero acquires a new trait or changes an existing trait

The chosen trait must be related to the outcome of the test. So the same crucial test could make
you Disillusioned as a former Idealist and a Pariah as a former People’s Hero.
• The hero is marked by a scar
You can write a scar rather than a trait in one of the free hexagons on the sheet. When you put
a scar in play, you add a b to the bag, but you can ignore a b that you draw by placing it on the
scar, where it will remain until it is appropriate for the narration. This way you can describe how
even traumatic experiences make you stronger.
• The hero learns a lesson
Lessons are special skills that allow the hero to spend Z and b in ways that would otherwise
be impossible.

Evolvere gli eroi 47

NARR ATING
STORIES
 THE NARR ATOR’S
TASKS
Unlike other games, Not the End does not burden the narrator
with the responsibility of refereeing the game or deciding what is
right and wrong.

Free from any refereeing responsibilities, the narrator can

actively listen to the players’ input and effectively use it.

Once you’ve laid out the initial premise of the story, you are free to
listen to your players’ input and to play non-player characters just
like a player.
THE NARRATOR’S MAIN TASKS ARE:

KICKING OFF THE STORY

By starting the story in a rapidly evolving situation, you create favorable conditions for the
heroes to make a difference with their actions.

DESCRIBING CHARACTERS AND CHALLENGES

Rather than focusing on the heroes’ motives, the narrator must concentrate on the
desires and aspirations of the characters that the heroes will meet during the story. The
players’ tests will create complications that naturally lead the story to revolve around
the heroes. The narrator must focus on providing an interesting, compelling context to
which they can relate.

DECIDING THE DIFFICULT Y AND DANGER OF TESTS

Knowing how to choose when to ask for a test is one of the skills of a good narrator. This
chapter provides the necessary tools to determine the difficulty and danger of the tests
on the spot.

RESPONDING TO OTHER PL AYERS’ INPUT

Narrating a story in Not the End means above all letting the heroes’ actions influence
the game context through the successes and complications that they generate.

Narrare le Storie 51
 HOW TO NARRATE TESTS
When the narrator asks a player to face a test, after describing the situation
as they please, they list the difficulty and possible danger of the test using
the following formula: This test is difficult, corresponding to (from 1 to
6) b so leave the scene if you draw (from 1 to 4) b

DETERMINING THE DIFFICULT Y OF THE TEST

Striking a person who is walking in a square 150 The question to answer in order to determine the difficulty of a test is as
feet away is an easy test (2 b) with a good sniper follows: How difficult is it to face this test with the resources available
rifle, difficult (4 b) with a pistol and almost to the hero?
impossible (6 b) with a slingshot.
• Elementary: Automatic success
If the square is crowded and you want to • Very easy: 1 b
avoid hitting anyone who is not the target, the • Easy: 2 b
difficulty may increase by 1. If the target is • Normal: 3 b
stationary and the hero is in a favorable position, • Difficult: 4 b
it may decrease by 1, and so on. • Very difficult: 5 b
• Almost impossible: 6 b
• Impossible: Automatic failure

For a Surrounded character it could be almost When you ask yourself this question, you should exclude the hero’s abilities
impossible to signal to their companion without from the equation. The extent to which the hero is skilled or capable will determine
being seen. The b that would normally be added which and how many traits they put in play, so their skills should not be considered
to the bag may not be sufficient to represent the when determining difficulty.
difficulty of their condition. Misfortunes, which subject the hero to the addition of 1 b to their bag, should
be ignored along with traits. In principle, you should exclude misfortunes when
calculating difficulty unless the condition that they contribute to illustrating
dictates otherwise.

52 Narrare le Storie
DETERMINING THE DANGER OF A TEST

The question that must be answered to determine the danger of a test is:
how dangerous is the test for the hero’s safety?

• Not at all: It is not possible to leave the scene Assuming you are playing in a realistic context:
• Slightly: You leave the scene by drawing 4 b Doing heraldry research on ancient texts
• Fairly: You leave the scene by drawing 3 b in a dusty library is a test that is in no way
• Very: You leave the scene by drawing 2 b dangerous, while defusing an explosive is a very
• Extremely: You leave the scene by drawing 1 b dangerous test and jumping off a cliff trying to
grab a rope is extremely dangerous.

NARRATING DIFFICULTIES AND DANGERS In a situation like this, drawing some b may
result in Lothar being Wounded or Surrounded.
If you want to make the narration even more tense, use descriptions that let the
player sense how difficult and dangerous the situation is for the hero in order
to set the scene. In any case, be sure to explicitly state the level of difficulty
and danger. If there is no danger, you must explicitly state this.

TO WHAT EXTENT IS IT APPROPRIATE

TO PUT HEROES IN DIFFICULT Y AND DANGER?

Do not be afraid to make heroes face dangerous situations. The rules are
structured to make leaving the scene an interesting event that provides the
players with many opportunities.
Be realistic in how you use difficulty and danger and do not try to be too
lenient towards the players. Not the End allows the story to proceed in a
non-punitive way, while giving the narrator the freedom to heighten the tension.

Narrare le Storie 53
 The narrator acts in response to the players’ NARRATING COMPLICATIONS
actions. Complicating the scene allows you to
let your opponents take the initiative and liven Every time a player hands them some b, the narrator describes a
up the situation. complication within the scene or story.

SUGGESTIONS FOR COMPLICATIONS

Every time a player asks you to complicate a scene, they are giving you a great
gift. First consider what elements you already have and then ask yourself what
you could add. Here are some examples:

• A secret weapon, an important ally • An adversary has an ace up their sleeve

• A secret ability, an innate talent • Someone or something is more dangerous than expected
• Reinforcements, an old enemy • A new threat arrives on the scene
• A bomb, an alarm, an ultimatum • A countdown is triggered
• Poisonous gas, a sandstorm • The context is, or will be, more hostile than expected
• The ceiling collapses, a door shuts • The heroes are divided
• Someone to defend, a betrayal • An unexpected variable is put in play
• A snag, a favor called in • Something else requires the heroes’ attention
• A secret revealed, a weakness exposed • The enemy discovers something
• An ally has been kidnapped • Bad news arrives

A hero has taken out a bad guy and during the Complications do not have to affect one hero in particular. The effects must
test the player has drawn 1 b and spends it embrace the whole scene or story and make it more interesting and exciting for
as a complication. The narrator wanted to everyone. When you consider it necessary, raise the danger of the tests faced in
include a criminal gang in the story and uses the scene to give the players a sense of the significance of what has just happened.
the complication as an excuse to do so: there Another way to use complications is to insert elements of the story that
is a tattoo on the thug’s neck that is well known were not known to the players until that moment, but which as the narrator
to the heroes, revealing that it is one of Caio’s you knew would appear sooner or later as an integral part of the plot.
men, probably recently arrived in the town.

54 Narrare le Storie
NARRATING MISFORTUNES Striking a swordsman without him having a
chance to react will engage the players less than
Every time a player places the b on a misfortune space, the narrator striking a swordsman who during the scene has
recounts something bad that happens to the hero. Wounded, Humiliated and Disarmed them.
Misfortunes are a tool to make players reflect about their hero’s situation. Similarly, being Shocked by a newly discovered
A misfortune is not a punishment, but the element that creates a link between piece of information will give the player a clear
the potential success of a test and the consequence that the hero suffers. perception of how important this information is.

SUGGESTIONS FOR MISFORTUNES

Feel free to experiment and imagine not only what could happen to the hero in
relation to the test they have faced, but also what could happen to them given
the context and situation in which they find themself. Here are some examples:

• Limits the hero’s ability to act • Broken arm, blurred vision

• Affects the hero’s emotional sphere • Despondent, embarrassed, angry
• Affects the hero’s social sphere • Spurned, outcast, humiliated
• Affects the hero’s self-perception • Sense of guilt, crisis of faith
• Affects the hero’s physical condition • Frozen, hungry, sleep-deprived
• Limits the time available to the hero • Hours are numbered, compromised, hunted
• Limits the resources available to the hero • Unarmed, robbed, unkempt
• Puts a constraint on the hero • Blackmailed, cursed, poisoned
• Insinuates a doubt in the hero’s mind • Paranoid, suspicious, edgy

Remember that misfortunes must always be temporary effects. Their severity In a science fiction context a Broken arm is a
depends on the setting in which the story is taking place. The presence of magic misfortune that can be easily remedied, while in
or the level of technology heavily influences what is possible or impossible, and the Late Middle Ages it is something much more
misfortunes should correspond to the tone of the setting. serious.

Narrare le Storie 55
 HOW TO DESCRIBE A CHALLENGE
The narrator answers a list of questions, further elaborating at will on the
information they deem appropriate to effectively describe the challenge.

Melchor is a combat android. His muscles glisten 1. What is their name? Who or what are they? What do they look like?
under his subdermal armor and a single-edged These questions are used to create a concise description of the challenge.
katana gleams in his hand.
Facing Melchor is difficult (4 b) and very 2. In general, how difficult and dangerous are they to deal with?
dangerous (you leave the scene if you draw 2 Attribute a difficulty and a general danger to the challenge, which can
b) be applied to most tests

Melchor is impossible to bribe, but persuading 3. What are the main exceptions to the previous question?
him using logic is easy (2 b) and not at all List the main tests that characterize the strengths and weaknesses of the
dangerous. challenge

Melchor is lethal in close combat and can also 4. What misfortunes and complications is the challenge most likely
control buildings’ safety and critical support to cause?
systems (doors, ventilation, etc.). Briefly list the main misfortunes and complications related to the challenge
so that you can quickly access them as a reference during the narration

Melchor’s consciousness consists of the 5. Choose from these follow-up questions:

digitalized memories of the father of Markus What are their secrets?
Finnigan, the engineer responsible for the project What are their weaknesses?
that created him. Melchor’s prime directive is to What is their raison d’être?
protect Cronotech’s mainframe, but awakening Who knows everything about them?
Markus’s father’s memories could awaken his Where are they found?
latent consciousness. Extremely high voltages What is their story?
slow Melchor down, overloading his systems, What are their origins?
but also making him mad with rage. What moments have defined who they are?
What do they hold dear?
Who would do anything for their sake / for their ruin?

56 Narrare le Storie
WHEN AND TO WHAT EXTENT IT IS APPROPRIATE
TO PROVIDE DETAILS OF A CHALLENGE

Provide details of challenges to the extent that you and the other players There will just be a single description of all the
consider them interesting or important for the story. You can also offer only partial Baron’s guards, but if one of them becomes
details of the challenges, answering just some questions and not answering the relevant to the story during the narration then
following ones. The questions are listed in order of importance, so if you only you can elaborate further.
want to answer some of them, then you should choose the first ones.

WHAT T YPE OF CHALLENGES CAN I DESCRIBE?

You can describe any kind of challenge! Supporting questions are formulated In terms of gameplay, there is no difference
to serve as a prompt for any kind of subject, whether it be an individual, a group, between describing a swordsman, dungeon or
a place, a situation, a faction, an object, etc. military vehicle. You can use the same creation
rules to describe any subject that the players
interact with.
HOW DO I USE THE DESCRIPTION OF THE CHALLENGE?
Make sure that what you write when providing details of a challenge acts as
a support without overly constraining you. The answer to the first question is
the most important because it gives you a general idea of how to improvise the
difficulty and danger of any test concerning the challenge.
All subsequent questions are prompts, but should never hold back the narrative.
The tests, like the resulting misfortunes and complications, depend as much
on the challenge as on the context in which they take place and on the scene.

HOW DO I DETERMINE DIFFICULT Y AND DANGER?

Consider the narrative context in which the challenge is taking place. The same A pack of wolves is a tough challenge for peasants
subject could vary in difficulty and danger in different narrative strands. When in the late Middle Ages, while it is merely a
you provide details of a challenge, always consider the type of story that you nuisance for the demigods of ancient Greece.
are weaving.

Narrare le Storie 57
 PACING THE SESSIONS
The final fight between a hero and his sworn As in a film, every session consists of a series of scenes in which the heroes
enemy could last much longer than a montage attempt to pursue one or more goals. Each scene can obviously include a different
in which the hero forces his way through the number of subjects or places that the heroes must deal with or visit, and can last
enemy ranks, mowing down dozens of soldiers for a varying length of time. A scene’s duration does not depend on the number
who are nothing more than extras. of elements that it includes, but on the importance that it has within the story
and on how entertaining and interesting it is.
During the story a deadly duel could last a few The narrator must develop a sensitivity to the importance of a scene to
seconds, while a journey from one city to another ensure that it is allocated the right space in a story. There is no point in forcing
might take several weeks. Yet both scenes could players to devote hours of time to trivial goals, only to hastily conclude crucial
take up the same amount of time at the game or particularly interesting moments of the game. To manage the length of the
table. session, the narrator has goals at their disposal, namely achievements that are
important for the story, to which they can attribute varying degrees of depth.

WHAT IS A GOAL AND WHAT IS ITS PURPOSE?

A journey to a faraway region could be a minor When the narrator decides to create space for a particular moment in the
transitional phase, but it could also be full of game, they declare a goal to the players. A goal is a target that the heroes
dangers and significant events. Depending on have to work towards. A goal may relate to a scene, a challenge or more
how much importance you want to give to the generally a game situation.
scene, the heroes have to obtain a different A player may declare an intention which in the narrator’s view constitutes
number of significant successes to achieve their a goal, or the narrator can define a goal in order to place the right emphasis
goal. on the situation that the heroes are experiencing.
The goals should not be understood as vague or long-term intentions, but
should always be related to the moments of play that the heroes experience
during the session. You can assign a depth to each goal, which will determine
the number of successes that the heroes must achieve to reach it.
The greater the depth of a goal, the greater the number of tests required to
reach it and the more time you dedicate to it during the session.

58 Narrare le Storie
ASSIGNING DEPTH TO GOALS

When the narrator describes a goal, they decide and state the depth to The heroes have decided to wade through some
the players. The greater the depth of a goal, the greater the number of dangerous swamps that will lead them closer to
successes needed to reach it. the Baron’s prisons unseen. During the journey
To choose the depth of a goal, base it on the game context and on the space they are surrounded by a group of ex-convicts
that you want to devote to the goal during the session who intend to rob them.
The narrator wants to ensure that the scene
• Low depth: from 1 to 3 successes, the goal will be reached in 1 or 2 tests with the ex-convicts does not take up too much
• Medium depth: from 4 to 6 successes, the goal will be reached in 2 to 5 tests time and decides on a goal with a low depth
• High depth: from 6 to 9 successes, the goal will be reached in 5 to 8 tests (2 successes). Given the hostile environment
and unexpected situation they choose to
If you prefer not to purely rely on your sensitivity to determine the depth of mark 4 successes as the resolution threshold.
a goal, you can check for certain indicators that could influence it. Successes that are significant to the goal could
include:
• Hostile environment: +1 success
• Unexpected situation: +1 success • Climbing a tree and gaining an advantageous
• Important challenge in a scene: +1 success position with the bow;
• High stakes for the story: +1 success • Injuring, killing, or terrorizing the bandits;
• High stakes for the heroes: +1 success • Making a deal with the ex-convicts in order
to be guided to the prisons.

HOW CAN I KEEP TRACK OF THE RESULTS? When the heroes achieve 4 successes relevant
to the goal, the narrator will recount how the
When you state a goal, write down the number of successes necessary to achieve bandits disperse, are defeated or help the group.
it, and every time the players achieve a success that you consider relevant write it
in your notes. When the number of successes achieved is equal to those requested, If the group later attempts to break into the
describe how the heroes achieve the goal. The more heroes face tests used prisons, successes to count could include
to achieve a goal, the less they accumulate complications that place them in locating a disused entrance, bribing guards or
difficulty or risk making them leave the scene. sneaking behind them undetected.

Narrare le Storie 59
THIS IS NOT THE END!
We hope you enjoyed this Quickstart Guide! The full Not the End manual contains:

• Over 240 pages of content, examples and game insights

• In-depth examples and alternative rules for creating heroes and choosing traits
• An entire chapter dedicated to the heroes’ development, which includes examples, detailed
explanations, 54 lesson cards and alternative ways of growing
• A chapter dedicated to the narrator with tips on how to tell stories, conduct scenes and make
challenges and conflicts even more interesting
• A chapter dedicated to settings with 5 setting examples that include lists of traits, examples of
heroes and a long list of challenges to inspire you
 WELCOME TO NOT THE END
Not the End is a role-playing game based on HexSys,
an original game system that uses different-colored tokens
representing successes and obstacles, along with a hexagon
hive in which you describe your Hero’s distinctive traits.

Whether you want to play a steely-eyed gunslinger, an

awakened AI robot or a dragon cursed by the gods, all these
options are possible in Not the End.

Choose your Hero’s distinctive traits and arrange them

in a hive of interlinked hexagons that make each Hero
completely unique. These traits turn every action into
a test that puts your Hero in the spotlight, leading to
consequences that continually change the story and the
game world.

Your Hero will have to face extremely demanding tests

that will permanently affect them. They will be motivated
by their successes and learn from their failures. No matter
how traumatic their experiences, they will always find the
strength to pick themselves up and fight for what they
believe in.

Play, take risks, argue, fight, explore, triumph… Fail. Then

pull yourself together.

This is not the end!