Tales of the Arabian Nights
Tales of the Arabian Nights Rulebook
Table of Contents
Table of Contents
- 1. Introduction
- 2. Components
- 3. Arabian Nights Is Four Different Games
- The Standard Game
- 4. Setting Up
- 5. Winning
- 6. Last Turn of the Game?
- 7. Game Sequence
- 8. The Book of Tales
- 9. Movement
- 10. The Cards
- 11. Encounters
- 12. Skills
- 13. Statuses
- 14. Treasures
- 15. Story and Destiny Points
- 16. Wealth
- The Storytelling Game
- 17. Rules Changes
- 18. Telling Your Story
- 19. Judging and Voting for Additional Awards
- 20. Storytelling Tips
- 21. An Example of Storytelling
- The Adventure Rules
- 22. Quests
- 23. Merchants
- 24. Interactive Card Play
- 25. No Status Limit
- 26. Using Skills on Other Players
- The Solitaire Game
- 27. Setting Up
- 28. Winning
- 29. Playing
- The End of the Tale
- A Note to Western Readers
1. Introduction
In Arabian Nights, you become a hero or heroine in the tales Sheherezad told to the spellbound sultan. You can enjoy these tales by yourself, or with a group of two to six players.
You and your friends will enter the world of the seven voyages of Sindbad, of Ali Baba and the forty thieves, and of Aladdin and the magic lamp. You will discover this exotic and fabulous world, then become an important part of it, and ultimately tell tales to rival those of Sheherezad herself.
You begin with the standard game, upon which the three other versions are based. Here your character becomes a hero in the unfolding of several stories. Once you have an understanding of the ancient Arabian culture, you can then add richness and sophistication to the tales with the adventure rules. You may wish to play alone with the solitaire rules. Then there is the storytelling concept, which is new to games but not to your experience. You and your friends will vie to entertain each other by telling tall tales.
Once you have read pages 3 to 7, you are ready to play this game. That's it — 5 pages. The rest of this booklet (and the Book of Tales) consists of background material and elaborations upon the standard game.
The Thousand and One Arabian Nights await you. Come, be our honored guest!
How Arabian Nights Is Played
Arabian Nights is a paragraph-system boardgame. During the game, you will encounter all sorts of strange beings and creatures. You will then refer to one of the lettered reaction matrices, which will offer several options. You must choose one of those options. A paragraph in the Book of Tales will describe the results of your decision.
A paragraph-system game is based on the same idea as the "choose your own ending" books which you can buy in any bookstore. The books, however, contain a single "adventure," which you can only play through one or two times. In contrast, this game is highly replayable because:
- over 1001 adventures are included;
- you must compete against the underlying game system and the other players; and
- the system gives you greater control over events — you decide which cities to visit, which skills to begin with, and so on.
Because of all these features, we may not be exaggerating when we say that the game will be played as long as the tales of Sindbad and Aladdin are remembered.
The Easiest Way to Learn the Rules
Have someone else teach them to you. Failing that, you'll have to read them yourself.
Don't worry if you don't retain all the rules on the first read-through. You're not studying for a test; you're picking up the outline of how the game works. When you play the game for the first time, expect to refer back to the rules to refresh your understanding of how the game works. The table of contents at the beginning of the rules should help you find a particular rule when you need to refer to it.
If, however, you simply can't find the answer to a question, you may write us, and we'll try to provide one. See the box below for instructions.
2. Components
Each copy of Arabian Nights includes:
- One 22" by 17" mounted game map
- One sheet of 160 cardboard counters
- One rules booklet
- One Book of Tales
- Six 8½" by 5½" player displays
- One 8½" by 11" reaction matrix display
- One 8½" by 11" component summary
- One 8½" by 11" merchant display
- One deck of 64 cards
- Two dice
- Two plastic bags
- One game box
If any of these are missing or damaged, see the box below for instructions on how to get replacements.
The components are described more fully in the "Component Summary."
Copyright ©1985 West End Games, Inc. "Tales of the Arabian Nights" is West End's name for its game of fantasy adventure. Trademark applied for.
If any of the game's components are damaged or missing, please write:
West End Games, Inc. 251 West 30th Street New York, NY 10001
Indicate which components are missing or damaged. Include a stamped, self-addressed envelope for speedy reply. As a result of the delicate registration requirements for game counters, counters will sometimes be misprinted, with small portions not being wholly contained within the counter area. West End cannot replace such counters unless they are wholly illegible or otherwise unusable. West End will answer questions about the game's rules: write to the above address. Enclose a stamped, self-addressed envelope or international reply coupon with your questions. Questions must be typed or legibly printed. Format your questions so they can be answered "yes" or "no" or with short responses. Although we welcome comments and suggestions about the game background and the system itself, we cannot promise to respond to such questions, because of the press of work.
3. Arabian Nights Is Four Different Games
The rules are divided into four sections. The first section is for the Standard game, the second for the Storytelling game, the third for the Adventure rules, and the fourth for the Solitaire game.
(3.1) The Standard Game
The Standard game is the simplest version of Arabian Nights. It should be used when there are new players, more than 4 players, or when you want to complete a game in less than 2 hours.
(3.2) Storytelling Game
This is a unique game, allowing players to spin tales in the true tradition of the Arabian Nights. It is simple to play, but presents its own challenges.
(3.3) Adventure Rules
The Adventure rules make the game more rewarding and challenging — but add about an hour-and-a-half to playing time.
(3.4) Solitaire Game
Arabian Nights can also be played alone. This game requires knowledge of the Adventure rules.
The Standard Game
4. Setting Up
(4.1) Sort and Place the Deck and Counters
Up to six people can play Arabian Nights at once.
Before beginning, each player takes a player display and one of the six colored sets of player counters. There are six counters in each set. Place:
- The character counter on the map in Baghdad.
- The "Destiny Points" and "Story Points" markers on the player display on the Destiny and Story Tracks; each marker goes in the "1" box of its track.
- The "Wealth" marker on the player display in the "Poor" box.
Keep the Origin and Destination markers for later use.
Place the Treasure counters in the box top or a cup.
Sort the skill counters by type.
Shuffle the deck of cards and place it to one side. Place the "1st Deck" marker next to the deck. Exception: In a two-player game, place the "2nd Deck" marker there.
Each player rolls two dice. High roller will go first; other players follow in clockwise order.
(4.2) Choose Your Character's Gender
Each player decides whether he will play a male or female character. (Note that the back of each character counter is printed with a female character; use whichever side is appropriate.)
You may wish to read the Note to Western Readers at the end of these rules if you choose to play a female character.
(4.3) Record Victory Formula
Each player must decide how many Destiny points and how many Story points he will need to win. He writes the numbers on a piece of scrap paper — but the two numbers must add up to 20. (For example, you could decide you needed 12 Destiny points and 8 Story points.) You may keep the numbers you choose secret from the other players. (See Winning, section 5.)
(4.4) Choose Your Skills
Each player in turn chooses one skill counter. You may choose any skill, except for Major Magic (which can only be learned in the course of the game). Repeat this step two more times, so that all players have three skills. Place the skill counters ('T' side up) in any box at the top of your display.
5. Winning
There are two ways to win the Standard game of Arabian Nights:
- by fulfilling your formula of Story and Destiny points and returning to Baghdad, or
- by becoming a Sultan and returning to Baghdad (see section 6, Last Turn of the Game).
The usual way to win is through your victory formula, which you choose when setting up. If you have the points necessary to fulfill your victory formula, and return to Baghdad and stay for an entire turn, you win. Note that, during the turn that you remain in Baghdad, the other players can do various things to either keep you from winning or share in the victory with you.
You should keep your victory formula secret from the other players until it is fulfilled, at which time you must announce that you have met your goals. (See section 15, Story and Destiny Points.)
6. Last Turn of the Game?
When a player enters Baghdad with the Sultan status, or after earning the right number of Destiny and Story points, each of the other players has one last turn. The "last turn" of Arabian Nights is very exciting. At the end of the "last turn," one of four things will occur:
- No one wins, and play continues.
- The first player wins.
- More than one player wins. In fact, if all players are in Baghdad and have fulfilled their victory formula or have the Sultan status at the end of the game, they all win.
- The first player loses and another player(s) wins.
Example: You have won by entering Baghdad with the Sultan status. However, in his turn the last player also enters Baghdad and plays a Special card which makes you lose a status. Since there are no longer a Sultan, no one can win at the moment, and the game continues.
7. Game Sequence
Each player takes his turn of Arabian Nights as follows:
(7.1) Pass the Book of Tales
If your turn is just starting, you should be holding the Book of Tales. Give it to the player on your left, who now becomes the reader for your turn.
(7.2) Check Statuses and Treasures
If you have any status or treasure markers on your player display, the reader announces their effects before you move. (See Statuses, section 13 and Treasures, section 14.)
(7.3) Move
You may move as far as your wealth level allows. (See Movement, section 9.)
(7.4) Encounter
When you have ended your move, you must immediately check for an encounter. Do so by drawing the top card from the deck, unless you occupy a Place of Power. (See Encounters, section 11.)
(7.5) Cards and Dice
After your encounter has been resolved, you perform, in order, these special actions:
- Card play: If you have fate cards, play them if you meet the requirements. (See The Cards, section 10.)
- Conditional skills or statuses: If you have conditional statuses or skills, you must make a dice roll to see whether the status or skills are lost.
8. The Book of Tales
The Book of Tales is the heart of Arabian Nights. DO NOT READ THROUGH IT! If you do, you may limit your enjoyment of the game.
During the game, the reader will often be called upon to refer to one of the paragraphs printed in the book. A number in bold type is printed at the beginning of each paragraph. At various times, the reader will be asked to turn to a particular number in the Book of Tales and read the paragraph which follows aloud.
Sections 11, 13 and 14 describe how the Book of Tales is used.
9. Movement
You may move each turn (unless you have a status which prevents movement). You are never required to move. (Exception: see 9.2, Places of Power.) The maximum number of spaces you may move is determined by your wealth.
(9.1) How Far You May Move
Look at the Wealth Track on the player display. A land movement rate is printed above each box on the track, and a sea rate below each box. Your movement rate is determined by the box your Wealth marker occupies.
Your character may move as many spaces on the game map as your movement rate. A move is a land move if it is between two spaces which are connected by a land route, and a sea move if the spaces are connected by a sea route. (Note: The nature of the space does not determine whether a move is by sea or by land; the nature of the route determines it.)
You may combine movement (that is, move by land and sea in the same turn) but you may never exceed either of your limits.
Example: If you have a sea rate of 5 and a land rate of 2, you may move a maximum of five spaces, no more than two of which may be by land.
(9.2) Opportunities to Enter Places of Power
Each of the Places of Power has a one-way arrow leading from it. You may not normally enter Places of Power. During the game, you may receive an 'opportunity to enter' a particular Place; when you are given the right to enter, put your Destination marker in the Place of Power space. You may then enter that Place; if and when you do, remove the marker.
If you begin your turn in a Place of Power you must leave it that turn, unless you have a status which prevents you from moving.
(9.3) Movement and Encounters
At the end of your movement, you must check to see if you have an encounter (even if you did not actually move your character).
An encounter may give you a free move (Example, "free move to any coastal space,") or "magically transport" you to a new space; in this case, you do not check for a second encounter.
10. The Cards
The deck of 64 cards contains both Fate and Encounter cards. Encounter cards cause encounters; up to two Fate cards can be saved and played later.
(10.1) When to Draw Cards
When you finish moving, draw the top card from the deck. (Exception: If you end your move in a Place of Power, you do not draw a card.)
If the card you draw is an Encounter card (the illustrated cards) you have an immediate encounter. (See Encounters, section 11.) If it is a Fate card (with the upside-down text), you keep it and have no encounter.
Two-Player Games: Draw two cards and choose the one you want. Discard the other immediately.
(10.2) Using Fate Cards
There are two types of Fate cards: City cards and Special cards. (The upside-down part of the fate card is only used with the Adventure rules.) City cards contain the name of a city and a series of results numbered from '1' to '6'. If you occupy the city named on a City card, you may play the card after your encounter for the turn is over. When you play the card, roll a die. The roll indicates the number of the result you receive. Apply the result immediately, then discard the card.
The cards use the abbreviations "D pts." for Destiny points and "S pts." for Story points. If the result tells you to gain or lose Destiny points, Story points, or Wealth, move the appropriate markers on your player display. A card may also indicate a gain or loss of a skill or status; place or remove the appropriate skill or status marker (see sections 12 and 13).
Ignore the words 'if merchant' or 'if quest' when they appear on a card result (these are used only in the Adventure game). For example, if the result was "score 2 D pts. if Merchant" you would just gain 2 Destiny points.
If you end movement in a space which is also occupied by another player's character, you may play a Special card after resolving your encounter. Apply the effects of the card, and then discard it.
One Special card allows a player to "use any skill against" the other character. This card is used only with the Adventure rules, and has no effect in the Standard game. If you draw it, discard and draw again.
(10.3) Discarding Fate Cards
You may never have more than two Fate cards at one time. When you receive a third Fate card, you must discard one of them immediately (but not necessarily the one just drawn).
(10.4) Changing the Deck
When there are no more cards in the deck, reshuffle the discards and re-use. Also change the "Deck" marker (to "2nd Deck" when you reshuffle for the first time, to "3rd Deck" when you reshuffle again).
11. Encounters
When you have an encounter, you will face some challenge or opportunity and decide how to react. Your choice, along with your skills and statuses, will determine how you are affected by the encounter.
(11.1) Do You Have an Encounter?
After your move, you must draw a card (whether or not your character moves). If the card is a Fate card, keep it; no encounter occurs this turn. If it is an Encounter card, you must resolve the encounter.
Exception: Do not draw a card if you end movement in a Place of Power; encounters immediately occur in Places (see below).
(11.2) The Encounter Charts
You must now determine what your character has encountered.
- If you drew a Terrain Encounter card, determine what kind of space your character occupies. (The Component Summary shows what the terrain types are.) Look at the bottom of your card, find the number printed next to your terrain type. The reader finds that paragraph number in the Book of Tales.
Example — SAGE (A) card: The card shows the numbers 85 (marked "First Deck"), 90 (marked "Second Deck"), and 99 (marked "Third Deck"). Since the "2nd Deck" marker is being used, the Reader turns to paragraph 90; if the "1st Deck" marker were in use, he would turn to paragraph 85; and if the "3rd Deck" marker were used, to paragraph 99.
Example — MAGNETIC MOUNTAIN* card (Terrain Encounter): The card's terrain table reads: Mountain 1*, Sea 2, Desert 3, Island 4, Forest 5, City 6. Sindbad occupies a sea space; his player draws the "Magnetic Mountain" card, so the Reader would turn to paragraph 2. If Sindbad were in the mountain space, the Reader would instead turn to paragraph 1.
Note: One terrain type on each Terrain Encounter card is asterisked (*); the illustration applies only when the encounter occurs in that terrain type. (This has no effect on play, but we mention it so you won't be confused when you draw the Rhinoceros card and no rhinoceros appears.)
- If you drew a Character Encounter card, refer to the Deck marker. Find one of the three numbers printed on the Encounter Card; which one you use depends on which Deck marker is currently next to the card deck. The reader finds that paragraph number in the Book of Tales.
(11.3) Encounters in Places of Power
If you are in a Place of Power (and therefore drew no card), find the number printed in the Place of Power space. The reader finds that paragraph number in the Book of Tales.
(11.4) Encounters Caused by City Fate Cards
Some City Fate card results produce an encounter. When a player plays a City card and rolls such a result, the reader turns to the paragraph number printed on the City card, or the player goes immediately to the reaction matrix, if no number is given. A City Fate card encounter can occur even if the player has already had a normal encounter in the same turn.
Example — BANTUS character card: The card lists results 1–6:
- Lose 3 Wealth
- Gain 3 D pts. if any status, otherwise gain 1 D pt.
- Gain 1 Treasure if any status
- Become LOST
- Gain ACTING & DISGUISE
- Encounter 1 Efreeteh (134), Thief (97), Old Man (H)
The player goes to Bantus, and plays this card. He rolls a die; on a roll of:
- 1, his wealth level is reduced by one.
- 2, he gains 3 Destiny points if he has any status, 1 point otherwise.
- 3, he gains one random treasure if he has any status (nothing otherwise).
- 4, he gains the "Lost" status.
- 5, he gains the "Acting & Disguise" skill.
- 6, he has an immediate encounter (even if he already had an encounter this turn). He must decide whether he wishes to encounter an 'Efreeteh, a Thief or an Old Man. If he chooses the 'Efreeteh, the Reader turns to paragraph 114 (which will be an encounter chart); if he chooses the Thief, the Reader turns to 97; if he chooses the Old Man, he goes directly to Reaction Matrix H, and chooses an option using the "Old" line of the matrix.
(11.5) Determining What or Who Has Been Encountered
The first paragraph the reader turns to is called an "encounter chart." Each encounter chart contains a list of 6 or 12 numbers. Roll one die and add:
- 2 to the roll if the encounter is in the Wild Area (see Component Summary).
- 1 to the roll if you have between 5 and 8 Destiny points, and 2 if you have 9 or more. (These additions are printed on the Destiny Track on your player display as a reminder.)
- If your character is in a space which has a black number printed next to it, add that number to the roll.
Once you have found the modified roll, the reader reads the description next to that number on the encounter chart.
Example — a typical encounter chart, "4.":
- Lost Merchant (J)
- Wicked Hag (C)
- Mad Slave (D)
- Friendly Merman (H)
- Mild Storm (G)
- Lonely Princess (A)
- Malicious Merman (H)
- Crippling Thirst (G)
- Beautiful Shoals (G)
- Crippling Thirst (G)
- Mad Captain (H)
- Terrible Storm (G)
Suppose you have 9 Destiny points. The encounter occurs in a Wild space which has a black "2" printed next to it. If you rolled a six, it would become a twelve (2 for the Wild space, 2 for your Destiny total, and 2 for the Wilds). The reader, looking at paragraph 4, would tell you that a twelve means you have encountered a Terrible Storm.
(11.6) Choosing Reactions
Next, you must refer to one of the reaction matrices and choose a reaction.
The reaction matrices are printed on a card-stock display; it should be given to the player. There are eleven matrices, labelled with a letter from "A" to "K." When a character encounter occurs, the matrix letter is printed next to the character name at the top of the card. When a terrain encounter occurs, the matrix letter is printed on the encounter chart next to the description. (In the example above, the "G" reaction matrix would be used.)
Find the adjective which you found on the encounter chart on the left-hand column of the reaction matrix. (In the example above, you would find the word "Terrible" [for Terrible Storm].) At the top of the matrix appear a number of options. You must choose one of these options as your reaction to the encounter.
Read along the line next to the adjective. If one of the option columns contains:
- a star (★), you may not choose that option.
- the letters "NE" ("No Encounter"), you may choose that option, but if you do, the encounter is over immediately.
- a number, you may choose that option.
Note: You may only choose the "Court" option if your character is of the opposite sex from the character you are encountering.
Sample portion of a Reaction Matrix:
Pray Avoid Wait Hide Examine Drink Terrible 703 ★ 701 699 ★ ★
(11.7) Finding the Award Paragraph
If the player chose a numbered option, he must roll a die. If he rolls:
- 1 or 2, subtract one from the option number; the reader turns to that paragraph in the Book of Tales.
- 3 or 4, the reader finds the paragraph with the same number as the option in the Book of Tales.
- 5 or 6, add one to the option number; the reader turns to that paragraph in the Book of Tales.
(11.8) Reading the Award Paragraph
The reader reads the award paragraph aloud to the players. At the end of the paragraph, a cryptic code will appear. It will look something like this:
D2/S1/W + 1 (Max: Poor)/Storytelling
The number printed next to the 'D' is the number of Destiny points gained (or lost, if it is a negative number). In the example above, the player would gain two Destiny points.
The number after the 'S' is the number of Story points gained (you can never lose Story points). In this example, the player gains one Story point.
The 'W' refers to the number of wealth levels gained or lost, and the maximum or minimum this award can give. In the example, the player would gain one wealth level, but the wealth could not be increased above "Poor" by the award.
Skills and/or statuses may be named in an award. These skills and/or statuses are gained immediately. The award above gives the player the Storytelling skill. (See sections 12 and 13, Skills and Statuses.)
Sometimes the awards will include a treasure, either a specific one (such as 'Ionian Gems (154)') or a random one ('Trea*'). If you get a specific treasure, look through the cup or box cover and pick it out. Note that Treasure counters are printed with different treasures on the front and back sides. If someone else already has the treasure you are awarded, or has the treasure printed on the other side of the same counter, you are out of luck.
If the award says 'Trea*', pick a treasure counter at random from the cup and place it on the table; then roll a die: On a 1-3, you get the treasure which is showing; on a 4-6, you get the treasure on the back of the counter.
Note: Sometimes an award paragraph will give additional special effects. Simply do what the paragraph tells you to do.
12. Skills
Often a skill will help you get a better award. Keep this in mind when choosing reactions; for instance, if you have the 'Weapon Use' skill, choosing 'attack' is more likely to produce a good award, whereas if you have 'Courtly Graces', you would want to 'converse' or 'question'. During the game, you may receive new skills.
Note: The Bargaining and Evaluation skills are most useful to a Merchant (see the Adventure rules). They are much less useful in the Standard game. You may still take these skills in the Standard game if you wish.
Each skill counter is printed on both sides. At the beginning of the game, all of your skills are at 'T' (talent) level, so they are placed with the red side face-up. During the game, your skills can increase to 'M' (master) level; when they do, flip the counters to the yellow side.
(12.1) Talent Skills
Most award paragraphs are divided into several sections, one of them labelled "NO SKILL," and one or more labelled with skill names. When the reader reads your award paragraph, he should read the first section of the paragraph, then ask you if you have any of the skills listed directly below the first section. (He does not read the awards after the skills, he just names the various applicable skills.)
- If you don't: He reads the "NO SKILL" section and the awards it gives.
- If you do: He reads the section and award printed after the skill name instead.
- If several skills are listed, and you have more than one of them, you may choose to use any one of them.
- Sometimes a heading will be printed with the word 'mandatory.' In that case, you must use that section if you have the skill, even if other choices are available.
Example — award paragraph 328:
328 "Your attentions are fitting and proper, but if you would truly honor me, you must grant me your aid."
NO SKILL: The task is beyond your capacities and you cannot help. S1.
COURTLY GRACES: Your courtly skills assist you in commending your benefactor to the object of his/her desire. In gratitude, a wondrous gift is bestowed on you. S1/D1/Trea*/Q:S.
QUICK THINKING: Your ruse gains your benefactor an audience with the object of his/her desire. Impressed with your wit, your benefactor teaches you a bit of his arcane skill. S1/D1/Minor Magic/Q:S.
Results of paragraph 328: If you have neither Courtly Graces nor Quick Thinking, you gain 1 Story point. If you have Courtly Graces, you gain 1 Story point, 1 Destiny point, and a random treasure. (Ignore the legend "Q:S", which has effect only in the Adventure rules.) If you have Quick Thinking, you gain 1 Story point, 1 Destiny point, and the Minor Magic skill.
If you have both skills, you may choose which of the two skills you wish to use.
Note: Things other than skills sometimes affect paragraph awards. For example, some paragraph sections are headed with Status names, or 'FEMALE' (meaning only female characters use this section).
(12.2) Master Skills
If you have skills at Master level, you can control your own fate to a greater degree. Do not roll immediately for the award paragraph (see 11.5). Instead, the reader checks all three possible paragraphs first, to see whether one or more of your Master skills is listed.
- If they are not listed: Resolve the encounter in the normal way (roll the die, check for applicable skills, etc.).
- If one of your Master skills is listed in one of the three possible paragraphs, you may choose to go to that paragraph without rolling the die. (You may still roll instead, if you prefer.) Note that it is not incumbent upon the reader to inform you if one of those skills has 'mandatory' after it.
Example: Suppose your option choice results in the paragraph number 728, and you have the Minor Magic skill at Master level. The reader would look through paragraphs 727, 728 and 729 to see if the Minor Magic skill is listed in any of them. If it is, you could then choose either to go directly to that paragraph and receive its awards, or to roll the die normally.
(12.3) Receiving Skills
You get new skills whenever an award contains a skill name. For example, 'D1/Piety' would give you one Destiny point and the Piety skill. New skills are received at the Talent level, unless you already have the skill. In this case, if you also have 7 or more Destiny points, your Talent skill becomes a Master skill (just flip the counter over). If you don't have enough Destiny points, or if you already have the skill at Master level, you get nothing.
(12.4) Conditional Skills
Occasionally, you will be granted conditional skills. These are of four types: '7 or less', '6 or less', '1 use', and 'companion skills'. Conditional skills have the same effects as normal skills. When a paragraph awards you a conditional skill, take the appropriate skill counter, but place one of the white condition markers on top of it to remind you that it is a conditional skill. The only difference between conditional skills and normal ones is that you keep normal skills until you are specifically instructed to lose them; conditional skills can be lost as explained below.
- Skill 7 or less and skill 6 or less: during the Cards and Dice part of your turn, roll two dice for each such skill. If your roll is equal to or less than the number listed, you lose that skill. (You can lose a skill that you just gained that turn.)
- 1 Use: when you use the skill to affect the outcome of an encounter, you lose the skill.
- Companion skills: these represent the skills of people travelling with you. They are tied to a status (such as Married or Beloved). Place the companion skills in a pile on top of the status to which they are tied. If you lose the status, you lose the skills.
If you are granted a conditional Talent skill for a skill you already have, ignore the conditional skill. If you are granted a conditional Master skill for a skill you have at Talent level, keep both counters on your display. You are considered a Master until you lose the conditional skill.
It is up to the other players to remind you to roll for your conditional skill. If you forget to do so and no one reminds you, you do not roll for that turn and automatically retain the skill.
(12.5) Losing Skills
Skills may be lost, either permanently or temporarily. Certain paragraphs will instruct you to lose a particular skill. If you have that skill at Talent level, remove it from your display. If you have the skill at Master level, turn it back to its Talent side.
Skills may also be lost due to the effects of a status. Such effects are temporary. Place all such skill markers underneath the appropriate status marker. When you lose the status, you regain the skills.
Note: Remember to place companion skills on top of the status markers they are tied to; place temporarily-lost skills under their status marker.
13. Statuses
When something out of the ordinary happens to your character (such as being turned into an ape or becoming Beloved), he receives a status.
(13.1) Receiving Statuses
You can receive a status in an award, from a Fate card, and sometimes from another player. Refer to the player displays: 28 status boxes are printed at the top of the display, ranging from "Accursed" to "Wounded." When a player receives a status, place one of the white "Status" markers on top of the appropriate status box.
It is up to the other players to remind the reader to do this. Any time a player performs an action which ignores the effect of his status, someone must point this out before the end of his turn, or the action stands.
Example: A player with the 'Insane' status is required to allow another player to choose his reaction in encounters. If the player forgets and chooses his own reaction (and no one points out that he is Insane), the action stands.
Some statuses prevent you from moving. Some lower your movement rate by one space. (This is indicated in the status' box.) Both land or sea rates are lowered. For example, if you have Princely wealth, your movement rate is normally 3 by land or 5 by sea; if your rate was lowered by one you could move 2 by land or 4 by sea.
(13.2) Losing Statuses
If the status is later lost, simply remove the marker and all skill markers on top of it from your display. Return all skill markers that were under the status marker to the top of your display.
You may never have more than one status. If you receive more than one, you lose all but one of them immediately. Remove the extra statuses in the same order in which they were received.
Example: You got the Blessed status last turn, and receive the Scorned and Diseased statuses in a paragraph this turn. You must discard Blessed and Scorned (this was the order you got them) to bring yourself back to one status.
Statuses can also be lost through paragraph awards.
(13.3) Conditional Statuses
Statuses, like skills, can be conditional. The same rules as for conditional skills apply — i.e., you roll for removal during the Cards and Dice part of your turn.
- Statuses are never "1 Use."
- Some statuses apply only for 1 Turn. A '1 turn' status is removed at the end of your next turn (i.e., if you have a '1 turn' status that was not received this turn, you lose it).
(13.4) Effects of Statuses
The number in a status box refers the reader to the paragraph which describes the effects of that particular status. The instructions of that paragraph must be followed in any turn you have a given status, not just on the turn you acquire that status.
It is up to the other players to remind the reader to do this. Any time a player performs an action which ignores the effect of his status, someone must point this out before the end of his turn, or the action stands.
14. Treasures
The treasure counters represent many of the fabulous and magical items found in the Tales of the Arabian Nights. Each treasure is printed with a paragraph number; when you receive a treasure, the reader should read that paragraph aloud to learn the treasure's uses and effects.
15. Story and Destiny Points
Story and Destiny points help you win the game (see section 5); they also have a number of other effects. These are summarized on the Story and Destiny Tracks on the player displays.
(15.1) Story Points
- When you reach 5 Story points, you gain the Storytelling skill at Talent level (if you already have Storytelling and 7 or more Destiny points, increase it to Master level).
- At 7 Story points you gain one wealth level if your current level is less than Respectable.
- At 9 Story points, you may take a new skill at Talent level. If you have 7 or more Destiny points, you may instead raise one of your Talent skills to Master.
Once gained, Story points can never be lost.
(15.2) Destiny Points
- At 5 Destiny points all your encounter rolls have '1' added to them for the duration of the game.
- At 7 Destiny points, you are eligible to receive Master level skills.
- At 9 Destiny points, all your encounter rolls have '2' added to them for the duration of the game.
Destiny points can be lost. If you lose enough Destiny points to drop you below one of the effects on the display, that effect no longer applies. Note that if you drop below 7 Destiny points, you are no longer eligible to receive Master level skills. You still maintain the ones you have.
16. Wealth
Your wealth level represents how rich you are. The curious may wish to know that wealth levels are not an arithmetic progression: it takes less 'actual' money to go from Poor to Respectable than to go from Respectable to Rich.
(16.1) Wealth and Movement
Your wealth level determines how fast you can move (see section 9). Your sea rate increases as you buy better and faster ships; your land rate slows, as you gain a larger and larger entourage.
(16.2) Gaining Wealth
Wealth can be gained as part of an award, from another player (see below), from Fate cards, or by selling treasures. Wealth may never exceed 'Fabulous'. You may not have Fabulous wealth unless you also own a treasure, as indicated on the player display.
(16.3) Losing Wealth
Wealth can be lost in award paragraphs, or by spending when opportunities are given in the Book of Tales.
- Your wealth level may never fall below Beggar. If you are a Beggar, an instruction to lose a wealth level is ignored; of course, you may not spend a wealth level as long as you are a Beggar.
- If you have Fabulous wealth (and therefore a treasure) and you lose the treasure, your wealth level drops to Princely immediately.
(16.4) Giving Wealth to Other Players
Certain statuses can be removed if you give a wealth level to another player. (The status paragraphs say when this is so.) If you give another player a wealth level for this or any other reason, the following rules apply:
You can give a wealth level to another player in your space only during your turn, and you must do so either before or after (but not during) your move.
You always go down one level. The other player only rises if his new level is at least as high as his old level.
Example: If you have Princely wealth, and give a level to a player who is Rich, you go down to Rich and he goes up to Princely.
Example: If you are Rich and give a level to a player who is also Rich, you go down to Respectable, but he does not go up to Princely.
You have just read all you need to read.
You can play the Standard Game immediately. If you prefer, or if you have played several times and wish to add sophistication (and playing time) to the game, you may continue with the Storytelling and/or Adventure rules.
The Storytelling Game
Tales for a Thousand and One Nights
We marvel at Sheherezad's feat — telling one thousand and one tales, one a night for almost three years — but the Book of Tales contains the seeds of that many tales and more. These rules use those seeds to create a true storytelling game — a game true to the spirit of the Tales of the Arabian Nights, combining the pleasures of social gaming and the entertainment of dramatic storytelling.
Try this version of the game after you've played the Standard game several times and have gotten a feel for how that game works and the flavor of the adventures found in the Book of Tales. Warning: Don't be surprised if you feel a little awkward the first time you play this version of the game. YOU HAVE NEVER DONE THIS BEFORE! There aren't any other games like this. However, if you are the adventuresome type of person that will buy this game, you are the kind of person that likes innovation and new experiences.
Note: The Storytelling game can be played with either the Standard or Adventure rules. The Standard game is preferred, since storytelling adds to the game's length. It is best played with at least four players; many players feel uncomfortable telling stories at first, but a large number of players all of whom are cheerfully making fools of themselves makes things more congenial.
17. Rules Changes
All Standard game rules are used in the Storytelling game, with a few modifications:
- Game Sequence: Keep the Book of Tales during your turn. Do not pass it to the player on your left. You act as your own reader.
- The Award Paragraph: When you come to the award paragraph in an encounter, do not read it aloud! This is where the storytelling part of the game begins.
18. Telling Your Story
Your encounter paragraphs are the basis for the story you will tell to the other players. You will dramatize and embellish the story for your listeners, just as if you were Sheherezad telling her stories to the Sultan so he wouldn't put her to death.
You will not be put to death if you fail to tell a story. That doesn't seem appropriate in a family game. Instead, if you tell a good story, and tell it well, you will receive extra points and other awards. Important: You do not have to tell a story! If you decide not to tell a story, you don't lose anything — you just don't receive the extra points or awards.
Storytelling Procedure
When you have an encounter, read the paragraphs quietly to yourself and take one minute to prepare to tell the story. You get two minutes to tell your story, or as much of it as you can tell in two minutes. As you tell your story, the other players may add sound effects, extra dialog, and appreciative noises at your direction. Then you will propose awards and the other players will vote to determine the actual award you receive.
Preparing to Tell the Story
The story you will tell should be based on the being or event you have encountered, your chosen response (Court, Grovel, Attack, etc.), and the outcome as described in the Book of Tales paragraphs. If a secondary paragraph is appropriate (if you have the appropriate skill, status, or possession), you may choose that paragraph as usual and take it into account in your story.
You have one minute to read the paragraphs and get ready to tell your story. Then you have two minutes to tell your story. You must begin your story by the end of the one-minute preparation period. Your story ends after three minutes of preparation and telling, but you may use less than a minute to prepare if you like.
Telling the Story
Your story should follow the basic outline described in the paragraphs, with the same setting, characters, and events. You may invent additional characters and events, embellish the details, even wander from the original paragraphs to a certain extent, but don't abandon them completely, or the other players should deny you the additional awards.
Your basic purpose, other than earning points and awards, is to charm and entertain your fellow players. "The tale is in the telling," and below in section 20 we give you some suggestions on how to tell a good tale.
As you tell your tale, encourage the other players to participate. Prepare them before you start your tale by assigning additional roles or sound effects, or simply point at other players in the middle of your tale, encouraging them to provide a whistling desert wind, crowd noises, the cackle of an evil wizard, or the sigh of a lovesick prince.
Three minutes after you have begun your preparation for the story, the other players should tell you to stop, whether you have completed the tale or not. (The other players always have the right to waive the three-minute limit if they are entertained enough to want you to continue, but it is a practice that should be discouraged, or the game will run to all hours.)
Reading the Paragraphs Aloud
After your time is up, read the paragraphs for your encounter aloud so the other players can compare your story with the one in the Book of Tales. If you have considerably enriched the original paragraphs in your telling, the other players should vote for additional awards. If you have failed to account for the events, characters, and settings given in the paragraphs, they should be less generous in their awards.
Proposing Your Additional Awards
When you've finished reading the paragraphs, announce an award that you think you ought to receive in addition to the awards you would normally receive as listed in the award paragraph. The proposed additional award should be of the following form:
- One point for experience (either Destiny or Story);
PLUS
- An additional award for excellence (either a random treasure, a wealth level, a specific status or skill, an opportunity to enter a Place of Power or another Destiny or Story point).
Note: The act of storytelling should not be confused with the Storytelling skill.
Selecting the Best Supporting Player Award
After you propose your own additional awards, secretly write the name of another player that you feel should receive an award for "Best Actor/Sound Effects/Audience in a Supporting Role." That player will also receive additional awards that you receive.
Voting for Additional Awards
The other players now vote, one at a time, beginning with the player on your left. Each player votes on whether your story was Unremarkable, Satisfactory, or Outstanding. (You yourself may not vote.)
If the majority vote that your story was Unremarkable, you receive only the awards listed in the encounter paragraph — no additional awards. Better luck next time.
If the majority vote that your story was Outstanding, you receive the normal paragraph award (the experience award, a point of some kind) and the excellence award.
In any other case your story is assumed to be Satisfactory, and you receive the normal paragraph awards PLUS the experience award (the one point of either kind you suggested), but not the excellence award (the treasure, wealth level, status, etc., you suggested).
Making the Best Supporting Player Award
You now reveal the name of the player that you selected as best supporting player. That player receives the same experience award that you do. If you didn't get any additional awards, he doesn't either. The best supporting player never receives any of your normal paragraph awards.
After the Tale is Told
Once the story is told and the awards voted on, the "Encounter" part of your turn is over, and you proceed to the "Cards and Dice" part.
19. Judging and Voting for Additional Awards
Three things can improperly influence a player's judgment of another's story: 1) reluctance to give something to an opponent that will help him win; 2) the desire to use votes to influence other players to become allies or enemies; and 3) reluctance to publicly judge another person's creative efforts.
Many other games promote competition and diplomatic maneuvering. This is the only one which promotes storytelling. To appreciate this game at its best, suppress your competitive and diplomatic urges and emphasize your appreciation of a good storyteller. Be objective when you vote on awards, and consider whether the tale was entertaining and well told, not whether your vote will damage or improve your chances of winning.
Making public judgments of others' creative efforts always creates a tough social situation. "My, you made that dress yourself? Err.... Nice." "My, what a wonderful idea for a new casserole — liver and fruit cocktail — how original."
Remember these principles as you prepare your votes:
- Play nice. When in doubt, be generous and supportive.
- Reward improvement as freely as you reward achievement. As folks catch on, they get better and better at this type of game.
- Some of us are natural storytellers. It is our job to inspire and encourage the others by our efforts, not to crush them under the burden of our casual competence. Don't gloat or be scornful. Applaud effort and improvement. Offer suggestions. Make others feel good.
- At least in the beginning, play mainly with good friends, folks you trust. Later you can bring the gospel to the uninitiated.
Section 20 offers objective criteria for judging the quality of stories and the skill of their tellers. Keep this in mind as you vote, and refer to them specifically when you tell the player what your vote is. "Gee Doug, you really had a lot of detail and creative ideas in that one, but you forgot completely about the beggar you were supposed to encounter. I vote Satisfactory."
20. Storytelling Tips
This section serves two purposes: first, to help the player prepare for and tell a good story; and second, to suggest standards to guide the audience/voters in evaluating his tale.
(20.1) Effective Storytelling
Here are five things to look for in good storytelling:
Exploit Your Own Experience
When telling a tale, use your own experiences to help bring the tale to life. By "experiences," we mean both personal experience — events you yourself have participated in — and vicarious experience — experience you have gained through reading, TV, movies, and so on. Use these to lend added depth to your story and to create the illusion that you are telling of something you have seen or done yourself.
Telling a story as if it were your own creates an emotional bond between the storyteller and audience. When the paragraph setting is a crowded city street, think of your own feelings when caught in the crush of human flesh. If the paragraph features a powerful 'Efreet, recall a film or cartoon genie and keep him in mind as you tell your tale.
Creative Imagination
As you tell your story, don't hesitate to improvise, add details, follow impulses, and make up new characters and events. Don't expect to be creative and clever all the time — sometimes your paragraphs just won't inspire you. You can't force yourself to be creative, but you can recognize and exploit creative impulses when they appear.
Develop the Background and Sense of Place
The setting of the Tales of the Arabian Nights is a time and place very different from the modern Western world. Try to capture the atmosphere of Arabic culture — the piety of the dervishes, the power of the sultans, the sordid shrewdness of the beggars, the mystique of distant lands, the marvels of the magical world. As you play the game, you will become more familiar with the customs, beliefs, and settings peculiar to the Tales of the Arabian Nights.
Provide a Dramatic Role for Your Audience
Though it is entertaining to be an audience for a good storyteller, it is even more fun to participate. Whenever possible, give other players the chance to play minor roles, improvising their responses to your characters, or let them provide sound effects — storm winds, crashing thunder, the reserved murmur of the Caliph's viziers, the cruel taunts of the hunchbacked jailor.
Use Voice and Gesture to Dramatize the Action
Stand up. Wave your arms. Climb up on your chair. Shout through cupped hands to simulate the powerful commands of the djinn. Act out a sword fight. Pantomime your stealthy entry into the rich merchant's house, and your shock when you open a chest to discover a magical guardian. Put emotion and emphasis in your voice where necessary — in anger, terror, scorn, and misery. Even when simply narrating facts, exaggerate the rise and fall of your voice, just as if you were reading a story to a child. Overdo it. Be a ham. If you are an adult, forget that you have a responsibility to be restrained and dignified.
(20.2) Elements of a Good Story
The basic elements of the story you tell should come from the paragraphs: the plots, the characters, and the setting. As you read the paragraphs in the one-minute preparation period, go over these basic elements: what happens in the story I'm going to tell; who are the characters; and where does the story take place. You may want to add a few characters or events, but don't forget — you have a limited time to tell your story. If you make it too complicated or invent too many new elements, you will find it hard to deliver the story in the time allotted.
Budget your storytelling time. If the setting is important (for example, if your character is threatened by a storm or whirlpool), spend time describing the setting. If the characters (or creatures) are important (for example, the mermen, the roc, or a wicked vizier), make sure they get described properly. If the story is a comic sequence of increasingly absurd situations, make sure you have time enough to get through them all.
If the story has a moral (and in the Arabian Nights, they often do), emphasize that moral as you tell the story and when you reach the conclusion.
Keep the mood of your story consistent. If it is comic, keep it comic throughout. If you want a pathetic tragedy, start out pathetic and end pathetic.
One distinctive feature of the Tales of the Arabian Nights is its use of 'the-tale-within-the-tale.' Often the narrator will start out telling one tale, then tell another tale to illustrate some point in the original tale. For example:
"My daughter came to me and said she wished to marry this poor ne'er-do-well. I told her the following story about the foolish merchant and the raunchy slave girl:...
***
... and so the merchant was properly chastened for his unwise actions. And through this tale, I demonstrated the folly of marrying beneath your station. Nonetheless, I gave her permission to marry this ne'er-do-well, and it came to pass as I predicted...."
The most important tool of effective storytelling is concrete detail in describing the setting and characters. Visualize them — the echoing darkness of mysterious caverns, the rich ornamentation of the Sultan's audience room, the grotesque warts and wrinkles of the old hag's face, the glittering evil eye of the Magian wizard, the vast and empty silence of the City of Brass. Don't forget the senses other than vision — the sting and stench of the smoky housefire, the tremble and chill of the terrible storm, the roar of the lion.
(20.3) Using Game Elements
Exploit Your Statuses and Skills
Use your statuses and skills as improvisational cues to make your story appropriate for your character. Even if your skills or statuses are not listed in the paragraphs, think of ways that your character's distinctive abilities and limitations will fit into your story. For example, if your character has Piety, Wisdom, Storytelling and the Respected status, and you choose to honor a Friendly Sage:
"... and the venerable wise man was so moved by my tale that he wept and begged me to become his companion, that he might share his wisdom and experience, and achieve enlightenment."
Angling for a Specific Award
Suppose you really want a treasure, and you choose to 'rob' the 'All-Powerful Wizard.' Even if there is no treasure award mentioned in the award paragraphs for your encounter, you can set your story up in such a way that the other players may award you the treasure. Portray the wizard as extremely powerful, and describe in glowing detail the wondrous treasures he has in his cavern. Tell how you used each and every one of your skills just to stay alive, and how at last, through desperation, courage, good fortune, and the will of Allah, you managed to snatch a marvelous sword and flee for your life, bleeding profusely, only steps ahead of the wizard's evil minions. How could they refuse to reward such heroic exploits as these?
Summary: When telling a story or deciding how to vote, keep in mind:
- Exploit your own experience.
- Use your imagination.
- Be true to the background and mood of the Arabian Nights.
- Provide roles for your audience.
- Use voice and gesture to dramatize the action.
- Be consistent.
- Provide concrete detail.
- Exploit your skills and statuses.
21. An Example of Storytelling
You have received an encounter with a 'Destitute Beggar' and, foul cur that you are, you decide to 'rob' him. You find the appropriate paragraphs and learn that none of your skills are mentioned, so you will have to use the 'no skill' paragraph as the basis for your story. Here are the main and 'no skill' paragraphs:
You are so amazed at the wealth of this apparently destitute soul that you cry out in surprise.
NO SKILL: Another hears you, and you are apprehended in the act. Your victim turns out to be a vizier who is sojourning among the people to learn of their condition. D1/Imprisoned.
Here's your preparation:
Setting: Not given, but the streets of the city where you encountered the beggar (Damascus) will do. Figure a big crowd, merchants and vendors hawking their wares like in Raiders of the Lost Ark. Later, when you are judged, you'll be in the Caliph's chambers, surrounded by advisors and sumptuous wealth, and finally in the prison cell, with a taunting hunchback and hours among the cold, clammy stone walls.
Characters: The robber — yourself — and the beggar/vizier are the main characters. The crowd, the citizens or soldiers who arrest you, the court of the Caliph when you are judged, and the hunchback, are minor roles you may assign to other players or play yourself. If you have time, give a thought to visualizing the minor characters.
Plot: 1. You see a seemingly harmless beggar. Slime that you are, desperate for money, and too weak to handle tougher game, you attack the wretch. 2. You open his ragged coat and discover robes of many hues and of the finest silks. You shout in surprise, and others notice you standing over the beggar. You are quickly clubbed to the ground by an angry mob and taken before the Caliph. 3. In his chambers, the Caliph explains why he has sent his vizier among the poor — to see about their welfare. He curses you for your own behavior, and condemns you to prison. 4. You are locked away in a jail cell, with no company but a cruel hunchback. However, the solitude and hardship gives you time to reflect, and you decide to lead a virtuous life henceforth.
You figure that the Wisdom skill would be an appropriate additional award to ask for, and you ask the players to provide the noises of a busy marketplace and the court of a rich Caliph. You assign the role of the beggar-vizier who gets pounded and the unpleasant hunchback jailer, but you reserve the Caliph's role for yourself, because you want him to be completely sympathetic to you.
All this planning takes place in seconds, but you think you have enough to start, so you begin telling your story. You start off with a quick description of the crowded streets, getting the players into the act with crowd noises. You describe the beggar-vizier, encouraging the chosen player to look and act beggar-like. You tell the other player to stand and face away from you. You pantomime sneaking up behind the beggar as you tell your tale, then mime clobbering the beggar, encouraging the other player to slump and moan convincingly.
You continue through the outlined events, encouraging the other players to participate where appropriate, acting out anything dramatic with voice and gesture as you develop your tale.
Suddenly, in the middle of telling your story, you realize that your Beguiling talent might help you with the Caliph, so you improvise a quick twist to the story. (Hail to the Creative Imagination!) When the Caliph chastizes you for abusing the disguised vizier — the condition of the people — is the reason for your attack. You are so hungry and poor, as are the rest of the people, that you are reduced to crime to stay alive. The Caliph is admonished, and decides to alter the terms of your imprisonment to labor in his service, where he may speak to you of the affairs of the common man.
Alas, you have planned a bit too much, for you run out of time just as you are presenting your plea to the Caliph. You give a quick summary of the rest of the story ideas you had intended to develop, then read the paragraph aloud to the others. Then you make your proposal for an award — a Story point for having a dramatic experience, and Courtly Graces skill, for becoming a confidant of a Caliph. You jot down the name of the player who did the beggar-vizier best supporting player, for he was most cooperative and dramatic in his moaning.
The other players consider for a moment. One votes only Satisfactory, because he thinks you tried to twist the intent of the paragraphs too far, but the others vote Outstanding because your tale was full of action, violence, and drama, and they liked the little twist at the end. You get a Story point and the Courtly Graces skill, as does your choice for best supporting player. Don't forget that you get an additional D1 and the Imprisoned status from the paragraph itself.
The Adventure Rules
These are a collection of optional rules which the players may choose to add to the Standard game of Arabian Nights. Each rule can be used separately, or with other adventure rules. Each adventure rule adds rich detail to the game, as well as some time and complexity.
22. Quests
Instead of using the normal victory conditions, you may choose to undertake a quest. (Other players may, if they wish, opt to continue using the normal victory conditions.) When playing the quest, you are assumed to be on a great quest for the Sultan of Baghdad. He seeks an item of wondrous power, or perhaps the hand of a particular maiden in marriage. When you have completed two quests, you win by returning to Baghdad.
(22.1) Starting the Quest
The upside-down part of a Fate card is called a Quest card. If you have no Quest card at the beginning of your turn (either because you are taking your first turn, or because you have just completed a quest), get one by drawing from the deck until you get a Fate card (discard any Encounter cards), then turn it upside-down. The being named is the first person or thing you need to find.
(22.2) Going on a Quest
Each Quest card is printed with a name and a paragraph number. The name is the person or thing which can help you fulfill the quest. The number is that of a paragraph in the Book of Tales which lists other important information. You should look up the paragraph as soon as you get the Quest card.
Each quest paragraph has two parts: a special table for fulfilling the quest, and a list of several spaces on the board. When you reach one of these spaces, you have found the being listed on the card, and can roll on the table.
(22.3) Fulfilling the Quest
You can fulfill the quest in one of two ways:
- Have a successful encounter with the listed being, or
- Arrive at one of the spaces listed in your quest paragraph, and make a successful roll on the table.
It is possible to find the being listed on your Quest card through the normal encounter procedure; if you do, follow the regular procedure in all ways. If the letters 'Q:S' ('Quest Success') appear in the final paragraph, you have successfully completed that quest. If 'Q:S' does not appear, there is no further effect.
If you arrive at one of the spaces listed on the quest card, you may roll one die on the quest table printed in the quest's paragraph to try to complete that quest. (Roll during the Cards and Dice portion of your turn.) You only get one chance to roll.
- Add all the appropriate modifiers listed in the paragraph to your die-roll.
- If the result includes a 'Q:S', you have fulfilled your quest (in addition to the other listed effects). Otherwise you have not completed your quest.
(22.4) Extending a Quest
You will not always be able to complete your quest on the first card. Instead you will be referred to someone else who can help; this is called extending the quest. (This result appears frequently on the quest tables.) When your quest is extended, draw from the deck until you get a Quest card (just as if you were starting a new quest). Put the new card on top of your earlier quest card(s). Now you must find this new being to complete your quest.
You may voluntarily elect to extend your quest but only if you are:
- having an encounter with the object of your quest. (You may wait to see if you get the 'Q:S' first.); or
- in one of the spaces listed in your quest paragraph (you may not roll before deciding to extend the quest).
Note: Most of the quest table modifiers include '+ 1 to the die roll for each additional Quest card in the current quest.' This means that each time you extend your quest, you will get an additional plus one to your next roll. It might be to your advantage to extend a quest rather than roll, both to avoid possible bad consequences of failing a roll, and to get the extra +1 on the next part of your turn.
(22.5) Winning the Quest
Once you have finished your first quest, you draw a new Quest card.
Once you have received Q:S results for two complete quests, you win by entering Baghdad. The other players then get their last turns (See section 6).
(22.6) Rules Changes
Do not ignore the "If Quest" qualifier on the Fate cards.
23. Merchants
Instead of using the normal victory conditions, you may choose to play a Merchant. (Other players may, if they wish, opt to continue using the normal victory conditions.) When playing a merchant, you try to accumulate great wealth and stores of treasures. The easiest way to do this is by trading the products to be found in the cities around the world. If you enter Baghdad with Fabulous wealth (which means you must possess at least one treasure), you win. Only players who announce that they will play a merchant may engage in trade.
If at least one player announces that he will be a merchant, during set-up put all the trade route (yellow arrow) counters in the box bottom or in a cup.
(23.1) Beginning Trade
All cities on the map (except Baghdad) have two or three products listed next to them. These correspond to the products printed on the Merchant Display. Trade consists of connecting products on the display with trade route counters, and travelling to cities with connected products.
If you end your turn in a city, and you had an encounter in that city this turn, you may start a trade route. You are never required to start a route.
To start a trade route, draw a trade route counter from the cup. You must decide how many counters you will draw.
- You may draw one counter for each level by which you reduce your wealth.
- If you have Bargaining at Talent level, you may make one free draw. If you have Bargaining at Master level, you may make two free draws.
Example: You have Bargaining at Talent level, and spend two wealth levels; you may draw a total of three counters.
(23.2) Placing Trade Routes
Once drawn, trade route counters must immediately be placed on the Merchant Display. Counters are placed in the empty boxes, never the product boxes. They may be played in one of the following ways:
- to point away from one of the products available in the city you occupy.
- to continue a chain started by a previous arrow. The point of one arrow must aim at the base of the next. If a trade arrow points into a product box, that box may be counted as an intervening arrow pointing in any direction.
Example diagram (four product boxes: Jade, Carpet [B], C, Perfume [D]; and, below, Salt, Aloe, Hides, with arrow E pointing up from Salt toward Aloe): Arrow B is correctly placed because it leads away from a product box; arrow C is also correct because its base abuts the point of arrow B. Arrow A is incorrect because it does point away from the Jade box, but it points toward the side of arrow B, instead of its base. Arrow D is also incorrect; it points away from an empty box, instead of a product box or another arrow. Arrow E is incorrect also, since it is placed "sideways"; arrows must always be placed squarely in a box.
(23.3) How Trade Routes May Be Placed
- Trade route counters may be placed from or all the products in the city you occupy.
- All counters drawn together must be placed immediately. They may not be 'saved' for later use.
- You may not place a counter in such a way that it points toward another counter, but touches the side or point of that counter instead of its base.
- Important: Only trade counters for which you spent wealth levels may be used to continue a chain. Trade counters drawn because you have Bargaining can only be used to start a chain. Furthermore, a "free Bargaining" counter cannot be used to start a chain if the chain starts in a product box that already has a chain leading away from it. A "free Bargaining" counter can only start a chain from a product box that is not already the beginning of a chain.
Example diagram (Salt / Aloe / B [Hides] top row; A, L-shaped connector, X below): The Merchant player spends one wealth level to obtain one trade counter. He has Bargaining at Talent level, so he obtains a second counter for free. He announces that the first counter he draws will be the one for which he spent wealth, and the second will be the "Free Bargaining" counter. He draws counters A and B. Counter B can only be used to start a chain, so he places it as indicated. Counter A cannot be placed to continue that chain, because its base is along the flat side of the counter, instead of a diagonal. This is unfortunate; if Counter B could have been used to continue a chain, the Merchant could have played it in box X, which would have given him a completed trade route from Aloe to Grain.
When there are no more trade counters in the box bottom or cup, take all the previously used counters and put them back in the bottom or cup. If there are no more counters available, no new trade counters may be placed until some are cashed in (see below).
(23.4) Making Profits
If a chain of arrows leads from one product box to another, you may "cash in" the chain by entering a city where the "destination product" is available. When you cash in, remove all trade counters along the chain from the Merchant Display, and place them to the side.
If two or more separate routes point to the destination product, you may cash in on any or all of them. If you choose to cash in, you may not draw any arrows at that city that turn. You must have an encounter in order to cash in.
No chain may be cashed in if it points from a product back to itself, or if it is between 2 products that are both found in the same city you are currently in.
When you cash in, you gain wealth. The number of wealth levels gained equals the number of arrows and product boxes in the chain, not counting the starting product and the ending product. If you could cash in for three or more wealth levels at one time, you may instead take a treasure from the cup. (If you do this, you gain no wealth levels, regardless of the length of the route.)
Example diagram (Jade / Carpet / Perfume / Textile, with a Salt–Aloe–Hides–Silk row below connected by arrows): The trade route that goes from Salt to Salt cannot be cashed in, because routes which return to their origin are valueless.
If the Merchant is in a city with Perfume, he can cash in the route which goes from Aloe to Perfume. He would gain three wealth levels by doing so, since there are three trade counters in the route. He could also cash in the route from Hides to Perfume, which would give him one more wealth level. Instead, he could go to a city with Textiles; he could then cash in the whole route from Aloe to Perfume to Textiles, which would give him a total of 5 wealth levels, because the route contains four trade counters and one intervening product box (Perfume). He could also trade in the route from Hides to Perfume to Textiles, but this would only give him one more wealth level (because Perfume and the arrow from Perfume to Textiles cannot be counted twice).
(23.5) Evaluation
Certain trade route counters are marked on the back with a wealth symbol. If you have Evaluation at the Talent level, you may use any counter marked '1 Wealth T/M.' If you have Evaluation at Master level, you may also use the counters marked '2 Wealth M.' When drawn, these counters may be used as regular trade arrows, or placed 'Wealth' side up in any product box on the display.
When you cash in a chain which contains such counters, you score one additional wealth level for each '1 wealth' counter, and two additional levels for each '2 wealth' counter.
(23.6) Multiple Merchants
If more than one player is a merchant, one merchant may cash in (i.e., steal) a chain started by other merchants. All other rules apply.
(23.7) Winning as a Merchant
A merchant player wins by accumulating Fabulous wealth (which implies the possession of at least one treasure) and entering Baghdad. He must still have the wealth and treasure after the other players have taken their last turns. (See section 6.)
(23.8) Rules Changes
Do not ignore the "If Merchant" qualifier on the Fate cards.
24. Interactive Card Play
These rules will allow players to have more control over their fates and encounters.
(24.1) Set-up
When using this rule, deal five cards from the deck to each player at the start of the game. Cards that a player holds in his hand never apply to that player; instead, those cards are given to other players, as explained below.
(24.2) Encounter Procedure Change
After moving, do not draw from the deck to see if you have had an encounter. Instead you ask another player for an Encounter card. If he has one or more, he must give you one (his choice).
If he has none, he discards his entire hand and draws five new cards, but you have no encounter this turn.
(24.3) Fate Cards
If you have one or more Fate cards, you must give one to the player who gave you your encounter. If he had no encounter for you this turn, he does not get a Fate card.
If you have no Fate cards, discard your hand and draw five new cards. He does not get a Fate card this time.
Fate cards you receive from other players are kept face up in front of you, and are used as in the Standard game (they may not be given to other players nor do you discard them if you draw a new hand). As before, you may never have more than 2 of these Fate cards.
(24.4) Quests
If you are using this rule in conjunction with the quest rules, a questing player should ask someone for his Quest card. He does not give a Fate card in return. If the asked player has no Quest card, he discards his hand and draws five new cards; he must give the quest player a Quest card from his new hand. If he still has no Quest card, he discards again, and keeps on going until he finally receives one.
25. No Status Limit
In this version, you do not discard statuses when you have more than one. You lose them only when directed by a paragraph or a conditional status roll. Beware: It can become a bit difficult keeping track of the effects of several statuses at once.
26. Using Skills on Other Players
(26.1) How to Use Skills
Any time you end your turn in the same space as another player, you may announce that you are using one of your skills against him at the end of your turn. Using a skill costs you Destiny points: 5 if you are using a Talent skill, or 2 if you are using a Master skill. Skills may only be used once per turn against one other player.
(26.2) Defending Yourself
If you do not have the skill that is being used against you, there is nothing you can do except suffer. If you have the same skill at Talent level, you may pay 5 Destiny points to avoid the outcome. If you have the skill at Master level, you may pay 2 Destiny points to avoid the outcome.
(26.3) The Skills and Their Effects
Given below are the various skills that can be used against other players, and the effects. If a skill is not listed, it cannot be used against another player.
Acting & Disguise: The player you use it against gains 1 Story Point. You may take 1 Treasure from him, or gain 2 Story points.
Appearance: You may give characters of the opposite sex the 'Love-struck' status, or characters of the same sex the 'Envious' status.
Bargaining: You may trade one Wealth level for one Treasure of your choice from your chosen victim.
Beguiling: You may give your victim the 'Enslaved' status, or you may steal one of his statuses (but not 'Sultan.')
Luck: Both roll a die. If you roll equal or higher, you get one Wealth level from him (but see rule 16.4). Otherwise, there is no effect.
Major Magic: You may give the other any status you wish.
Minor Magic: You may give the other the 'Ensorcelled' or 'Under Geas' status.
Piety: You may give the other the 'On Pilgrimage' status, or give him one Destiny point and take three Destiny points for yourself.
Seduction: You may use this only against characters of the opposite sex. You may give the other the 'Enslaved' or 'Lovestruck' status, or take one wealth level (but see rule 16.4).
Stealth & Stealing: You may take one Wealth level (but see rule 16.4) or one treasure. If the other player pays the Destiny points to avoid the effects of this, you get the 'Imprisoned' status.
Storytelling: The other gains one Story point, but may not move during his next turn. He still has his encounter normally.
Weapon Use: You may give the other the 'Wounded' status.
The Solitaire Game
27. Setting Up
When setting up for solitaire play, repeat the set-up for the Standard game plus the Merchant and Quest rules, but do not take a hand of cards.
28. Winning
To win the Solitaire game, you must fulfill all three victory conditions: that is, you must fulfill your formula, gain Fabulous wealth, and complete 2 quests. You must do this before you finish the deck.
If you believe yourself to be an expert game player, increase the number of points in the formula, or start with the Deck marker on the '3rd Deck' side.
29. Playing
- Use the Quest and Merchant Rules (sections 22 and 23).
- When drawing cards from the deck, draw two cards and choose the one you want. Discard the other immediately.
- In all cases where 'another player' is supposed to be designated to make a decision, lose one Story or Destiny point (your choice), and make the decision yourself.
- If you are told to request a card from another player, draw one from the deck instead. (If you are told to request a specific type of card, draw and discard cards until you receive a card of the necessary type.)
- All cards which can be used 'against other players' have no effect.
- Be very careful about the effects of statuses. If you make a mistake and forget to implement a status effect, there is no one to remind you. Penalize yourself a Story or Destiny point (your choice) each time you discover you have made a mistake.
- If you have a Master skill, when you read the three award paragraphs to check for your skills, you may ignore "mandatory" paragraphs.
The End of the Tale
...at the end of the thousand and first night, Sheherezad asked the Sultan Shahriyar for a boon.
"You have but to ask, and it shall be granted," he replied.
She went into the nursery, and brought forth the three sons she had borne Shahriyar during her telling of tales. She kissed the ground before his feet, and asked him to spare her life so that she could live and raise their children.
Shahriyar was overcome with emotion, and declared that Sheherezad had already been pardoned before she presented him with the first of their sons. He embraced her and his three sons, and proclaimed a festival in her honor. Sheherezad kissed his hand, and called down blessings upon him.
The people rejoiced to hear of Sheherezad's salvation. The very next day, Shahriyar summoned all of his nobles to his throne room. He then called upon his vizier, Sheherezad's father, and bestowed upon him a magnificent robe of honor. Shahriyar told his assembled courtiers: "My vizier's daughter has been the salvation of her people, and the instrument of my repentance." So saying, he conferred robes of honor upon all present.
The celebrations continued for months. The Sultan showered alms upon the poor and needy, and all of his subjects banqueted at his expense for ninety days and nights.
Shahriyar became a wise and just ruler, and lived happily with Sheherezad for many years, until they were visited by the Destroyer of all earthly pleasures, the Annihilator of men.
A Note to Western Readers
The Thousand and One Arabian Nights rank among the world's most famous short story collections. These stories are a melding of Arabian and Indian folk tales, with just a sprinkling of Chinese influence. In broad strokes, the tales paint a picture of a world of extraordinary treasure, earthy lusts and uncomplicated ethics. There are fabulous creatures, from enormous roc to powerful sorcerer to evergreat 'efreet (also known as djinn or genie); what distinguishes this from other mythologies is that even the everyday barber, beggar or hunchback is described with a sense of wonder. It is this intimate view into an alien culture that has made these tales the most popular Arabic work in the Western world and raised them to the status of a universal classic.
Westerners who have little previous contact with Arabia or Islam may be confounded by the ethos and culture they will discover in the Book of Tales. For all its fantastic trappings, the world of the Arabian Nights is that of a very real, exotic, vital and sophisticated culture. The societal values are just different: for instance, our heroes thought nothing of casually killing someone to gain some small convenience as long as that someone was an infidel.
The one design liberty taken was in the portrayal of women in the game. The female was definitely the lesser sex in medieval Arabia. Further, it appears that three-quarters of the 'heroines' were busy seducing and betraying the nearest men; the virtuous others often had the distressing habit of dying to prove their essential goodness. We have represented the female characters in the game as the best, bravest and most fortunate of these heroines. Still, we suggest you not forget that you are in a hostile society when you play a female adventurer.
These books were of great use in the preparation of this game, and are recommended to those of you who wish to read the tales:
N.J. Dawood's Tales from the Thousand and One Nights (Penguin Classics) is a condensed version. Dawood, an Arab scholar, has written the modern translation which is at once the most faithful to the source material and the most readable. His narrative style is straightforward in everything from dialogue to earthly lusts, which makes this telling inappropriate for young children.
E.W. Lane's The Arabian Nights' Entertainments or The Thousand and One Nights (Livres de France and East-West Publications) is probably the best-known translation of the tales. Lane and his 19th Century English contemporaries gave the Arabian Nights their place in the popular literature of the Western world, but they were ruthless bowdlerizers of the stories. This version uses much flowery language and is thoroughly sanitized.
By contrast, Richard Burton's The Book of the Thousand Nights and a Night (which is out of print) is both highly salacious and the definitive English-language compilation. Burton, the first non-Moslem to see Mecca and an adventurer par excellence, is as interesting as any Arabian Nights character. His telling is quite, quite bawdy, but the prose is so dense that modern readers will struggle through it.
An Historical Atlas of Islam (E.J. Brill), edited by William Brice, was the starting point for the map. Geography is, at best, incidental to the tales; place locations in the Arabian Nights are more often than not given as so many days' journey by horse in such-and-such a direction from Baghdad. Islands and places of power were generally reached by our heroes after a raging storm or magical beast or what-have-you had tossed them around so much that they had no idea where they were. The final rendering of the map combines appropriate cartography and period flavor.
The reader will undoubtedly agree with us that the Tales of the Arabian Nights are splendid fables. But the tales are more than just pleasing fantasies: they are a faithful reflection of the time and place in which they are conceived. With Arabia and Islam resurgent, the Tales of the Arabian Nights can still teach while they entertain us.
Eric Goldberg