Core Moves

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CHAPTER 5
CORE MOVES
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CHAPTER 5
This chapter dives into the main mechanic of the game—moves! It explains how to use moves
and what all the terminology attached to a move means. It also breaks down the moves you’ll
use in game and gives you examples of how to use them. The end of the chapter deals with
combat exchanges, statuses, and techniques and ends with a long example that incorporates
all of the advice here into one coherent experience!
Moves are the core of playing Avatar Legends: The Roleplaying Always Follow the Fiction
Game. Whenever a player takes an action that triggers an appro- As you describe what your character does and says, the GM
priate move, or something happens in the game that triggers responds by describing what NPCs say and do, as well as how the
a move, you pick up the dice, roll, and follow what the move world responds—this is the “conversation” of the game. At some
describes! If something isn’t a move, you don’t roll—either it point, you’ll come to a situation where the outcome of your action
happens or the GM makes their own move. is uncertain or dangerous, or otherwise triggers one of the game’s
Moves are broken up into basic moves that every charac- moves. When that happens, turn to the triggered move, roll the dice
ter can make, playbook moves unique to each playbook, and (or not, depending on the move), and do what the move says.
moves related to specific parts of the game that need their own If you describe an action that doesn’t trigger a move, there’s no
categories, like combat moves. This chapter describes how need to roll any dice—it wasn’t a move, and there’s no uncertain-
and when to make the moves most central to the game—ba- ty! The GM might say that you do it outright, or they might make
sic moves and balance moves—as well as how to run combat a GM move of their own in response, according to their agendas,
exchanges with techniques. For information on individual play- guidelines, and baselines (see page 224 for more). In this way,
book moves, see Chapter 6: Playbooks. you’re always following the fiction by focusing on what’s happening
in the story and turning to the game mechanics as they come up.
Using Moves in Play To Do It, Do It

If you want to make a specific move, you can—you just need
A move is an action with a trigger and one or more outcomes that to describe what you’re doing and how you’re doing it. Make
“move” the game forward. The trigger tells you how and when to sure you actually hit the trigger of a move before reaching for
make that move, like “When you push your luck in a risky situa- the dice! Do you want to try to plead with an NPC to get them
tion…” or “When you assess a situation…” If you meet the crite- to help you? You need to do more than just ask them for a favor,
ria of a move’s trigger, you’re making that move! Follow the rest of and they need to care what you think! Want to rely on your skills
the move to find out if you need to roll the dice or not—and if so, and training to slip a guard’s keys off their belt without being
which stat to add to your roll—as well as what happens next. noticed? Describe how you use your training (like a bending
Some playbook moves give you a bonus instead of having a maneuver) or your skills (like an Outlaw background as a pick-
trigger (like giving you +1 to a stat) or give you access to an in-game pocket) to accomplish your goal!
asset or effect (like having an animal companion)—those moves In some cases, your action might actually trigger a different
functionally say “when you select this playbook move, take +1 to a move than the one you wanted—a sheltered monk who tries
stat” or “gain a clever animal companion.” Most of the moves in the to pick a pocket is probably pushing their luck instead of relying
game, however, follow the format “When you ___, roll with a stat.” on skills and training. Even if you want the results or effects of a
The GM has final say on whether or not you trigger a move, as move, you need to do more than just say “I make this move” and
well as which move you trigger. If you do something in the game roll the dice—you need to do it to do it.
that triggers a move, they should call for you to make it (“That As a player, focus more on describing what your character
sounds like you’re intimidating this NPC, right? Go ahead and roll does first and turn to the moves as you find yourself making
with your Passion!”). If you’re uncertain which move you should them. However, it’s totally fine to try and angle your actions and
be making, or if you think you’re making a different move than what roleplaying towards making certain moves—especially your cool
the GM called for, talk to the GM and make sure your character’s and unique playbook moves! Just remember that you need to do
intent with their actions or words is clear before moving forward. it to do it, so make sure you take actions that trigger those moves
There are two key phrases to keep in mind when playing Av- if you want to use them. Remember, there are no rolls without a
atar Legends: The Roleplaying Game—always follow the fiction, specific trigger or outcome—if your actions haven’t triggered a
and to do it, you need to do it. move, keep playing until you finally trigger one.
126 Avatar Legends: The Roleplaying Game

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Basic Moves “Who or what is the biggest threat?” tells you who or what is the
most dangerous person or thing in the situation. You can specify
if you’re most concerned with threats to yourself or to others. The
Every character in Avatar Legends: The Roleplaying Game can GM then tells you which of the multiple hostile NPCs is the most
use basic moves, each of which move the game’s story forward. dangerous to you and your companions, which of the various
There are seven of them: assess a situation, guide and comfort, hazards in an environment is the most important to avoid, or just
intimidate, plead, push your luck, rely on your skills and training, who is the nastiest, most intimidating person in the room.
and trick. The move to help another companion is also explained “What should I be on the lookout for?” lets you know what dangers
here. This section covers how each of the moves work in more or complications hide here, foreshadowing problems before they
detail with in-game examples. arise; you might find signs of something dangerous on the horizon
or notice a hazard just before it appears. If you’re assessing a situ-
Assess a Situation ation while exploring the Foggy Swamp and ask this question, the
GM might say you notice a wild cat-gator lying in wait. If you ask
When you assess a situation, roll with Creativity. On a 7–9, this question in a tense village after dark, you might notice everyone
ask one question. On a 10+, ask two. Take +1 ongoing when has charms nailed to their homes to ward off dark spirits.
acting on the answers. “What’s my best way out/in/through?” helps you figure out a
• What here can I use to __________? way to get into or out of somewhere. When you ask this ques-
• Who or what is the biggest threat? tion, decide which of the three options you’re focusing on—out,
• What should I be on the lookout for? in, or through. A way out helps you escape the situation, a way
• What’s my best way out/in/through? in helps get you into danger, and a way through helps you bypass
• Who or what is in the greatest danger? obstacles or impediments.
“Who or what is in the greatest danger?” might sound similar to
“Who or what is the biggest threat?” but it’s about finding vulner-
Looking for a way to escape the path of a rampaging boar-q-pine, abilities in your surroundings, not dangers to yourself. When you
scouting ahead for danger in a mysterious cave, sizing up your oppo- ask this question, you’re focusing on the people affected by threats,
sition in a heated negotiation—any time you try to gather specific rather than identifying the threats themselves. This can give you
or useful information during a tense moment, you make the assess insight into impending perils or the plans of an antagonistic NPC.
a situation move. If you’re simply taking in a scene or looking for
surface details about a situation, you don’t trigger this move just yet. Haki the Successor has been thrown into a cell by the Earth
The GM tells you everything you could want to know at the surface Kingdom soldiers! Hector, Haki’s player, says, “I’m wandering
level—even if they tell you, “From a quick glance, you’re not sure, around the cell, examining everything. I need to find a way out!
you can’t tell.” Once you start scrutinizing a situation in more detail, Can I assess the situation?” The GM agrees, and Hector rolls,
look for specific information, or want to find answers to any of the getting an 11. “What’s my best way out?” asks Hector.
questions listed under this move, then you’re assessing a situation. “You can’t really firebend your way out of here—the cell’s too
Crucially, the GM always answers the questions fully and hon- small, you might just roast yourself,” says the GM. “But you can
estly. When you ask, “Who or what is the biggest threat?” their answer try to land pinpoint strikes on the cell’s bars—they’re crumbling,
is the biggest threat. If someone new shows up or the situation and if you apply your chi-blocking techniques just right, you
changes, then the answer might change, but at the moment that you might be able to knock them out. What’s your other question?”
ask the question, you can know the answer is complete and true. Hector thinks for a moment, and then says, “What should I be
Whatever answers you get, you take +1 ongoing when acting on the lookout for? What’s going to get in the way of my escape?”
on that information. This means as long as you take action based “Oh, yeah, well there’s guards in this place, but you think you
on those answers, you add +1 to all moves you make. If the situ- can handle them—the big problem is the water traps you spy in
ation changes significantly—like if a new, bigger threat appears the ceiling. They’re barrels of water that can be dropped with a
or you find your way out of the situation—then this bonus no bit of earthbending, and they’ll douse fires in a moment—clearly,
longer applies. It’s possible to act on multiple answers at once, in this prison has handled Firebenders before. So, what do you do?”
which case you stack the +1 ongoing bonus, as long as you don’t
exceed the limit of +4 to a roll (including your stats). Nokahhak the Bold finds herself in the middle of a fancy-dress
party—one for which she was deeply unprepared—trying to earn
Options for Assessing a Situation the favor of a local business leader named Wing! “I stand to the
“What here can I use to ___?” is the question to ask if you’re side, just kind of taking it all in,” says Nokahhak’s player, Nadja.
looking for something specific to accomplish a goal, whether “Are you assessing the situation?” asks the GM.
it’s an item or environmental feature. If you’re being chased “Well, not originally, but…yeah, that makes sense.” Nadja rolls and
by gangsters through busy city streets, you might ask the GM, gets a 9. “I want to know what can I use here to impress Wing?”
“What here can I use to slow them down?” You can fill in the “Interesting!” says the GM. “You spy Wing out on the dance
blank with anything you like, but sometimes the answer might floor, enjoying herself. The dance is formal, but you can tell Wing
be “nothing,” in which case you have to think on your feet or try has a flair for the dramatic—she keeps dipping and twirling her
a different tactic. partner. Maybe you can impress her with a dance?”
Chapter 5: Core Moves 127

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Guide and Comfort
When you try to honestly guide and comfort another person,

roll with Harmony. On a hit, they choose one:
• They embrace your guidance and comfort. They
may clear a condition or 2-fatigue, and you may
ask one question; they must answer honestly.
• They shut you down. They inflict a condition on
you, and you shift their balance in response.
On a 10+, if they embrace your guidance and comfort, you may
also shift their balance.
Offering life advice to a friend as you brew them a cup of tea,

reaching out to someone in pain to show them they’re not alone,
teaching a peer self-control through a bending exercise—any time
you try to comfort, offer guidance, or steer someone’s course of
action through wisdom, not persuasion, you’re guiding and com-
forting someone. This move allows you to help others clear their
conditions and fatigue, while also learning about their current
feelings…as long as they open up to you. The person you’re trying Options for Guiding and Comforting
to guide and comfort might not want to hear any advice and push The most important part of guiding and comforting someone is
you away instead! That stings, but you still make them think, even that your target needs to either accept you reaching out or shut you
if they don’t accept your words or offers of comfort. down. If you guide and comfort another PC, they need to do more
In order to trigger this move, you need to honestly offer com- than just say, “I embrace your guidance and comfort”—they need to
fort or guidance to someone else. If you’re deceiving someone show everyone how they do that! This looks different depending on
by being nice, you’re tricking them, not guiding and comforting the situation. If you offer a hug and words of reassurance, maybe the
them. If you’re desperately trying to get them to act in a certain other person falls into your arms and sobs out their true feelings. If
way for your sake, then you’re probably pleading. If you’re push- you show someone how they could improve one of their weakness-
ing them to act in accordance with their own values, you’re call- es, they might shut you down and blow up in your face about how
ing them out with their principle. When you guide and comfort, you’re always telling them they’re not good enough!
you’re being genuine and showing the other person you care If “they embrace your guidance and comfort,” your target choos-
about them and how they feel. You might be offering wisdom or es to immediately clear one of their marked conditions or clear
advice, but you’re not getting them to do something right this 2-fatigue. Your offer of comfort helps calm them down or helps
second—you’re just trying to guide them to a better place, to a them find the strength to press on, depending on the situation.
better balance. Asking someone if they’re all right is a start but On a 10+, you can also shift their balance however you want.
you need to offer guidance or comfort to trigger the move (even Your words deeply affect them in this moment and get them to
if you don’t know exactly what’s on their mind when you do). consider things in a new light. In both cases, you can ask one
The most obvious time to guide and comfort someone is question—any one question—and they must answer honestly.
when sharing a quiet moment, like while making camp or after The question is generally best phrased in the fiction, something
a tense situation, but it’s not the only time you can reach out! your character asks their character, but it can include awareness
You might try to guide and comfort an NPC after trading blows that goes slightly beyond the fiction; their “honesty” can take
in a combat exchange, for example. Maybe you’re confronted the form of telling glances or body language. You do not have to
by a fellow sword fighting student who blames you for failing to ask a question if you don’t want to ask one.
protect your shared master’s life. You can see the anger and guilt If “they shut you down,” your target immediately inflicts a
in their eyes as you parry their wild swings, so you sheathe your condition on you instead—it hurts when you try to help and the
sword and say, “I know you’re in pain; I am too. But killing me other person shuts you out! After they inflict a condition on you,
won’t bring Master Yeong back. We all tried to save her; now we you shift their balance. They might not open up to you but your
need to work together to honor her memory.” The GM describes words still stick with them, reinforcing an already-strong belief,
your classmate fighting back tears as they quaveringly point their pushing them back from the brink, or helping them find some
sword at you; to find out if your words get through to them, the kind of balance.
GM says you’re guiding and comforting!

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Lukta the Idealist doesn’t want to keep fighting against Xue, Hold, +1 Forward, & +1 Ongoing
a Southern Water Tribe rebel and someone Lukta sees a lot of
themselves in. “As we’re both panting there after exchanging Some moves refer to hold, taking +1 forward, and
blows, can I guide and comfort Xue?” asks Lex, Lukta’s player. taking +1 ongoing as outcomes—these are bonus-
“Sure!” says the GM. “What exactly do you do?” es! Hold is a temporary resource connected to the
“Hm. I say, ‘We don’t have to do this. We’re more alike than move you got it from—when you receive it, you
not, and we can work together to bring about real change,’” “hold” onto it until you spend it as outlined by that
says Lex. move. If a move tells you to “hold 3,” for example,
“That sounds like a guide, sure, but it’s not quite enough—she you gain three points to spend on that move’s
was just hurling ice spikes at you, after all,” says the GM. options and effects. Moves with hold often tell you
“Fair enough,” says Lex. “I put down my tool belt full of traps.” how to spend it, like “one-for-one,” meaning you
“Oh, nice!” says the GM. “Yeah, that sounds right. Go ahead can spend one point of hold on one of the move’s
and roll!” Lex rolls and gets a 10! The GM takes a look at Xue’s possible effects. Since you’re “holding” onto it, you
drive and balance principle, and decides that Xue embraces don’t need to spend all of your hold at once! You
Lukta’s guidance. might spend hold right away on an effect or save it
“There’s a long pause, with a lot of tension…but then she for later in a scene.
lowers her stance and straightens up. ‘Okay,’ she says. ‘Then
Hold usually has to be spent in the course of the
how do we do that?’”
conversation or scene in which you gain it, unless
The GM has Xue clear her Angry condition. “Do you have a
the move specifies how and when the hold expires.
question you want to ask Xue?”
If you’re unsure if your hold is still available, ask the
“Yeah,” says Lex. “I say it bluntly, ‘As much as possible, we
GM for clarification. If you have hold from multiple
don’t fight. Each other, our foes, anyone. If we can talk to them,
sources, they don’t pool together and you can’t
guide them to a better path, we do that. Do you think you can
spend it between two moves’ options. To keep track
do that?’”
of any hold, you might use a die, tokens, or coins, or
“She looks at you blankly, but then she nods, and you can
just make hatch marks on your playbook—but most
feel the fierceness in her nod. She believes she can,” says
of the time, you spend it fast enough that you don’t
the GM. “Do you want to shift her balance? You know her
have to keep close track.
principle is Justice.”
“Yeah, I think so—I’m reshaping her idea of how to get jus- When a move tells you to take +1 forward, you gain
tice, but I’m also supporting it, so I say shift it up,” says Lex. +1 on your next roll that applies. These effects often
state “take +1 forward to/when ___,” meaning the
Shihan the Pillar has sought out a distraught Teru Jinno after bonus is added to the action or condition listed.
Teru was berated by his parents, successfully finding him up on Once you’ve used the bonus, it’s gone. Since a +1
a rooftop overlooking Republic City. “I want to guide and com- forward applies to the next roll you make that fits
fort Teru—I approach and put one hand on his shoulder and the conditions, you can’t hang onto it for later—
say, ‘They don’t have to define you, you know. You pick who you it’s not hold! When a move tells you to take +1
want to be,’” says Shihan’s player, Seiji. ongoing instead, that bonus applies to all applicable
“Yeah, that sounds like trying to guide and comfort. Roll for rolls as described by the move. Moves that give +1
it!” Seiji rolls and gets an 8. ongoing tell you how long the bonus lasts for, but if
“Okay, Teru, do you open up to Shihan?” asks the GM. need be, the GM is the final arbiter of when the bo-
“No,” says Tyrelle. “I’m Angry, so I’m lashing out at a friend to nus ceases to apply—usually when much time has
clear it. ‘What do you know about it?! You’re just a pro-bender, passed or the situation has substantially changed.
and you don’t even know who your parents are!’”
“Goodness,” says the GM. “All right, so that means Shihan, you
mark a condition, but you also get to shift Teru’s balance.”
“I’m still shifting it toward Progress,” says Seiji. “I think my
words at least partially got through. And I’m marking Troubled.”

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Intimidate If “they give in with a few stipulations,” they do what you want
(back off or give in) but they’ve demands of their own. If you
When you intimidate an NPC into backing off or giving in, roll go back on these, things are likely to get messy. They might only
with Passion . On a hit, they choose one. On a 10+, first, you back off if you promise to back off as well or want something
pick one they cannot choose. from you in exchange.
• They run to escape or get backup. If “they attack you, but off-balance,” they lash out (and likely
• They back down but keep watch. trigger a combat exchange) but they’re struck by your words in
• They give in with a few stipulations. some way—the GM also marks an appropriate condition on
• They attack you, but off-balance; the them. This reflects you getting under their skin, which gives you
GM marks a condition on them. a slight advantage as the interaction comes to blows.
Quartz the Guardian wants to get into the Spirit Shrine, but
Demanding surrender from a daofei society leader at spearpoint it’s guarded by Fire Nation soldiers. Quinn, Quartz’s player,
after taking out their minions, using your family’s dangerous describes Quartz stomping up to the guards. “I’m getting close
reputation to pressure a smuggler into giving you a stolen item, and telling them I’m an undercover Fire Nation operative—I’m
threatening a bouncer to let you into an exclusive gambling doing my best to look all impressive and cow them into letting
house—any time you threaten an NPC into retreat or surrender me through. Is that an intimidate?”
with words or fists, you are intimidating them. You might intim- “No, I don’t think so,” says the GM. “It’s more of a trick—it
idate an NPC with physical threats and harsh words but you can depends upon them believing you’re an undercover Fire Nation
just as easily intimidate them with displays of power, blackmail, operative, right?”
or other more subtle tactics. As long as you’re trying to scare “Ah, I get it,” says Quinn. “Okay, well, I still want to say that, but
them off or pressuring them to give up/in, you make the move. it’s pure pretense—I don’t care if they buy it or not. I just stand
If you roll a hit to intimidate, your target (not you) chooses there, glaring at them, flexing my muscles, picking at scars.”
one of the four options based on their goals and the fiction. If The GM considers—in another situation, it might not be quite
you roll a 10+, you limit the NPC’s actions by removing one enough to be intimidating just to stare and flex, but here, these
option before they choose, pushing them further in the direc- are only regular guards. “Perfect, that’s an intimidate. Roll!”
tion you want. If you want to force an NPC to surrender without Quinn rolls and gets a 12! “I kind of want to say that they can’t
fleeing, remove their option to “run to escape or get backup.” If run and get backup…but I think I’m more worried about them
you don’t care if they flee but you don’t want to come to blows attacking me and slowing me down, so I pick that. They can’t
(again), say they can’t “attack you off-balance.” attack me.”
Note that you can only target NPCs with this move—if you “Great!” says the GM. “They look at each other, and it’s clear
want to push your companions to do (or not do) something, they both don’t want a fight. ‘Ah, yes, uh, sir,’ says one. ‘Feel
you need to try a different tactic (like calling them out, see free to make your way inside.’ As soon as you do, you look
page 138). Although you might argue with each other about behind and you see they’ve run off, presumably to go get help.
the right thing to do at the moment, PCs in Avatar Legends: What do you do?”
The Roleplaying Game find other ways to resolve differences and
have more agency than NPCs. Teru Jinno the Successor has just been apprehended by Republic
City’s police force. He’s wrapped up in metal wire as they’re
Options for Intimidating carting him off. “One officer sneers at you,” says the GM. “‘Any-
When you roll a hit to intimidate an NPC, remember that the thing to say for yourself?’ she asks.”
GM chooses how your target responds. This depends on their “I look back up at her and sneer right back,” says Tyrelle, Teru’s
goals, feelings (and marked conditions), and the fiction of the player. “‘Yeah,’ I say. ‘Wait until my mother hears about this.
game, but they might just give you what you want even if you Aiko Jinno isn’t known to be kind to those who interfere with
don’t roll a 10+. her plans…or her family.’”
If “they run to escape or get backup,” they immediately try to “Is that an intimidate? Invoking the name of your great and
flee the scene. If you want to stop the NPC, you need to try terrible mother?” asks the GM.
something fast or even drop into a combat exchange to keep “Oh for sure,” says Tyrelle, and he rolls. He gets a 7.
them here. Once they leave, they either stay gone if they’re try- The GM considers what the guards will do—the GM could
ing to escape or alert others and escalate the situation. pick any option off the list, but in this case they think it’d be
If “they back down but keep watch,” they give in to you for now better if the guards just give in. “Well, immediately as soon as
but they’re still on their guard. They won’t make a move against they hear your mother’s name, the officers all share a glance,
you just yet but if you give them a reason or push them further, and then they begin to rapidly unwind you from the metal wire.
the situation gets worse. Hostile NPCs give you leeway but with ‘Apologies, sir,’ says one through gritted teeth. ‘We had no idea
hands on their weapons, while others keep a stern eye on any who you were. Please give the Lady Jinno our best wishes.’ They
potential troublemaking. clearly are angry with you, Teru, but there’s no way they want
to cross Aiko Jinno.”

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Plead
When you plead with an NPC who cares what you think for
help, support, or action, roll with Harmony. On a 7–9, they
need something more—evidence that this is the right course,
guidance in making the right choices, or resources to aid
them—before they act; the GM tells you what they need. On a
10+, they act now and do their best until the situation changes.
Begging a friendly innkeeper to hide you from the Fire Nation

soldiers pursuing you, asking a grateful prisoner you’ve just
freed to stay and help instead of escaping, asking a mentor to
teach you a bending technique they don’t think you’re ready to
learn—any time you try to get help or a favor from an NPC, you
are pleading with an NPC. This move is for more than just calling
in a favor or asking for them to back you up. If you ask an NPC
for something small (especially something that doesn’t cost
them anything), or request help that they’re already willing to
give, you don’t trigger this move. If they’re reluctant to assist, the
request could cost them or put them in danger, or other things
at play might cause them to resist, then you need to plead with
them to get their help.
The other important thing about triggering this move is that
the NPC needs to care what you think. If you try to convince
an utterly hostile NPC, an NPC who doesn’t take you serious-
ly, or an NPC whose life and wellbeing isn’t affected by you in
any significant way, you can’t plead with them. To get an NPC
to care about what you think, you need to have an established Beryl the Icon is trying to get the people of the local town to
relationship or do something to make a good impression—you band together to resist the approaching Fire Nation soldiers.
might be their mentor or family member or demonstrate your “‘Please, everyone,’” says Bei, Beryl’s player. “‘They’re going
competence through action or by helping them. to ruin your homes unless we stand together, united, against
In general, this move covers persuasion that isn’t rooted in them!’ Can I plead with them?”
wisdom or philosophy, and instead focuses on immediate action. “Well, I’m not sure they care what you think,” says the GM.
If you’re trying to guide someone to (or away from) balance, “But I’m the last of the Chitin Warriors!” says Bei. “I climb
then you’re guiding and comforting them (page 128); if you’re on top of the back of my stag-beetle when I say all this. They
trying to get them to act in a specific way right now, you’re plead- should care because I’m a legendary warrior! I’m the Icon!”
ing with them. “Fair enough,” says the GM. The GM also thinks it’s fine here
to treat the whole group as a single NPC—at this moment, the
Options for Pleading whole group functionally has the same drive and principle.
When you roll a hit to plead with an NPC, they’ll do or give you Bei rolls to plead and gets a 7. “The townsfolk look at you,
what you ask for, but they may need a little push before spring- standing on the stag, then at each other, then back at you. Then
ing into action. On a 7–9, they need reassurance or something one of them says, ‘Maybe we have a chance with the Chitin War-
extra before helping. An NPC might agree to help you travel rior leading us.’ A bunch of others echo that sentiment, and soon
through a dangerous area but only if you bring them some the whole crowd is revving itself up. They’re ready to fight the
supplies they lack for the journey. Another NPC might agree to Fire Nation, but only if you’re right at the front, leading them.”
teach you a dangerous combat technique on the condition you
can prove you’ll use it responsibly first. Either way, they won’t Iris the Adamant wants Captain Dai of the United Republic
commit to helping you until you give them what they need first. Military to give her and her team a ride on his zeppelin. “‘Pretty
On a 10+, however, they don’t need any reassurances—they please?’” says Izzy, Iris’s player. “‘You won’t even know we’re on
do what you ask right away to the best of their abilities. Re- board, and we don’t even need to stay for long, just until we get
member, if the situation changes, their response might change to the mountains.’ Can I plead with him? I did do him that favor
as well! If things become dangerous or don’t work out, they before, when the New Equalists attacked.”
may revoke that support. If you plead with a village elder to The GM nods in agreement—Iris did help Dai, and he does
change an old tradition and you get a 10+, you might convince care what she thinks—and Izzy rolls. She gets a 10! “Dai looks
them to try it for now but they’ll go back on the agreement if it around, and then says, ‘All right, come on, now. Just keep your
goes badly for any reason. heads low and stay quiet so you don’t get me in trouble.’”

(Order #33527257)
Push Your Luck
When you push your luck in a risky situation, say what you
want to do and roll with Passion . On a hit, you do it, but it
costs you to scrape by; the GM tells you what it costs you. On
a 10+, your boldness pays off despite the cost; the GM tells
you what other lucky opportunity falls in your lap.
Swimming through rapids after a pirate ship, convincing some-

one you weren’t stealing from them after being caught red-hand-
ed, leaping to catch a priceless artifact before it shatters on the
floor while your hands and feet are bound—any time you rely
on fate and luck to carry you through instead of skills or train-
ing, you’re pushing your luck. If you’re attempting something
complicated or risky outside the scope of your training (bend-
ing, weapons, or technology), or one of your backgrounds, you
trigger this move. A character who’s never sailed before has to
push their luck to steer a boat through a heavy storm, while a PC
who served on a pirate ship’s crew could rely on their skills and Kirilaq the Rogue is in a bit of a sticky situation and wants to
training (page 133) to do the same thing. escape. She’s currently locked in a tower overlooking the sea
This acts as a catch-all move for doing anything risky that below, awaiting the return of the local tyrannical Earth King-
doesn’t neatly translate to any of the other basic moves. If the dom governor, who will not look fondly upon her. “Okay…but I
outcome of your dangerous action is uncertain or you’re relying have a window, right?” asks Kayla, Kirilaq’s player. The GM nods.
on fortune itself to carry you through a risky action, you need “Then…I dive out the window to the sea below! They didn’t
to push your luck. The stakes don’t have to be incredibly high for know I was a Waterbender when they locked me in here, did
you to make this move—there just has to be interesting uncer- they? Yeah, it’ll be perfect! I’ll just waterbend the sea to catch
tainty about outcomes! me! So that’s rely on my skills and training, right?”
In some cases, you might try to do something simply beyond “Hold on,” says the GM. “You are very, very, very high. Sure,
both your skills and training, or you might be hoping for a lucky you can try this—your waterbending abilities give you the
break. The GM may either say you outright can’t do that given slimmest of chances. But it’s definitely pushing your luck, not
the circumstances or just tell you what happens when you try. relying on your skills and training.”
Kayla decides to do it anyway, and rolls. She gets an 11! “Okay,
Options for Pushing Your Luck so the cost you pay is that this still hurts a bunch, like getting
When you roll a hit to push your luck, you always pay a cost for punched in your whole body at once as you hit the water. Mark
your audacity. The exact cost of succeeding by the skin of your 3-fatigue. But the opportunity—as you fall, you see a boat out
teeth is the GM’s call, and it depends on the situation. The most there. You’re certain it’s not flying Earth Kingdom colors, but
common cost is marking one or more fatigue or a condition you’re not certain of much else. If you want, you can use your
(mostly for physical actions), but costs can include anything: momentum to bend yourself in an arc through the water and fly
using up supplies, shifting your balance, or more abstract costs. up onto the deck of the ship. That’ll only cost 1-fatigue more.
You might claw your way out of a quick-flowing river but ruin So, what do you do?”
your rations or lose a personal item in the water. You might
survive a tense social situation with your lies intact, but lose the Ren Tsuji the Prodigy has wound up in the cockpit of a hum-
trust of an involved NPC or expose others to danger. mingbird mecha suit, trying to flee from a squadron of biplanes
Despite the cost, pushing your luck can pay off in the form flown by Triad members! “I gun it!” shouts Ruhan, Ren’s player.
of an unforeseen opportunity when you roll a 10+. This oppor- “Hold up,” says the GM. “No way you know how to fly this
tunity is either caused by your boldness or you noticing something. You’re a master martial artist, the greatest archer in the
thing in the process of pushing your luck. As such, it’s usually a world and deadly with any weapon invented…but you’re not
time-sensitive opening that must be capitalized on quickly (by at all trained in Technology, are you?” Ruhan shakes their head.
you or your companions). The GM describes the opportunity. “That’s what I thought. This is pushing your luck, my friend.”
Remember that getting the opportunity never means that you Ruhan rolls and gets a 9. “Excellent,” says the GM. “So you
avoid paying the cost inherent in the move—you always pay a blast through the air, doing your best to make this thing fly and
cost when you push your luck! dodge at the same time—and it works! But not before the mech
takes a few hits from the biplanes’ new lightning guns. You
pull away from the other biplanes, which turn back to the city
as you hurtle into the mountains…where you are DEFINITELY
going to crash.”

(Order #33527257)
Rely on Your Skills and Training What’s important is to make note of what these skills and
training are as they come up, and to keep in mind what’s outside
When you rely on your skills and training to overcome an ob- your areas of expertise. As you play, you’ll gain more skills and
stacle, gain new insight, or perform a familiar custom, roll with learn about what things your character can do with their train-
Focus. On a hit, you do it. On a 7–9, you do it imperfectly— ing. Your character might eventually gain mastery over a wide
the GM tells you how your approach might lead to unexpected array of skills and talents but at the start of the game, there’s only
consequences; accept those consequences or mark 1-fatigue. so much you can rely on your skills and training to do.
The actual effects of this move cover a lot of ground, as well.
First, you can try to overcome obstacles. Most commonly this
Using wilderness survival skills to pacify an angry armadillo-bear, means physical obstacles, like barriers or hazards, but it can
invoking courtly etiquette to blend into a Fire Nation noble’s party, mean social obstacles as well. Your firebending can help you
creating handholds in a stone wall to infiltrate a compound—any blast the door into ashes, but your upbringing as a servant in the
time you use your expertise and knowledge to overcome a signifi- high court of the Fire Nation can help you get into the servants’
cant complication or risk, you’re relying on your skills and training. quarters of the local manor without any suspicion. You can even
When you try to do something risky that isn’t covered by any of the “overcome an obstacle” to quickly dispatch low-threat foes, if
other moves and involves your training, one of your backgrounds, appropriate—clocking two clueless guards on the back of the
or other skills, you use this move. Like pushing your luck, this catch- head might knock them out with a single rely on your skills and
all move covers a lot of things but requires more specificity. training move, bypassing combat altogether. “Overcome obsta-
To know whether or not you can rely on your skills and training, cles” is a fairly open-ended idea that almost always means, “solve
you need to know what your skills and training are. At the start of a problem with your training or skills.”
the game, the clearest indicators of these are your training (bending, You can also try to gain new insights. When you rely on
weapons, technology) and your backgrounds. If your character your skills and training to do so, you’re using your expertise or
used to work at City Hall in Republic City (using the Urban and specific abilities to look for more specific information than what
Privileged backgrounds), it stands to reason that you can rely on you might find just by examining a scene or even assessing a
your skills and training to play politics and navigate bureaucracy, situation. You might use your training to improve or extend your
know your way around the city, and fit into high society. If you’re an senses—like earthbending to locate a hidden attacker through
Airbender, you might rely on your airbending to cushion your fall seismic sense—or give you specialized insights that others with-
off a rooftop, deflect incoming projectiles with a burst of wind, or out your skills might miss, like a Technologist figuring out how
even—with enough training—sense danger by air vibrations alone. to shut down an experimental device gone haywire.
Your playbook can also point to things that you can rely on, like the
Icon’s Burden & Tradition or the Successor’s A Tainted Past.

(Order #33527257)
Where’s the Bending Move? Options for Relying on Your Skills & Training
Unlike when you push your luck, the consequences for rolling a
There is no one “bending” move—bending (or an 7–9 (and even a miss) on this move aren’t as harsh. You have more
action using non-bending training) happens with control over your approach because of your experience, and you’re
a move, not because of it. Moves instead focus on capable of dealing with complications as they arise. On a 7–9,
your character’s intent. In game terms, whether you accomplish your goal but not quite in the way you wanted
you sling a rock near a guard to get them to leave or intended—the GM tells you how your action might lead to
their post or use airbending to throw your voice and unexpected consequences. This information is for you, the player,
taunt them away, you’re tricking them. You might so you can decide if you want to let this happen or not.
guide and comfort someone by saying kind things If you choose to accept those consequences, your character
to them, or you might create a gentle fire that might know what’s coming or they could be totally caught off-
warms the two of you as you huddle in the night air. guard. By choosing to mark fatigue instead, your character sees
If you use bending in some way that doesn’t match that complication as or just before it happens and manages to
up easily with any of the other moves, it’s most straighten themselves out before it makes things worse. When
likely relying on your skills and training, but even you mark fatigue, describe how you compensate for your less-
then you might end up pushing your luck if it’s than-perfect attempt or otherwise push through.
particularly risky or uncertain.
Quartz the Guardian wants to warn the local Earth Kingdom
military forces about an impending Fire Nation ambush, but
Quartz has a Military background—he knows that it’s not going
to be the easiest thing in the world to reach the right ears. “Can
I use my knowledge of the military to find someone at the right
Your background also determines what kinds of informa- rank and position who’d listen to me, and who can actually do
tion you can obtain—an Outlaw PC can identify and decipher something with that advice?” asks Quinn.
thieves’ signature graffiti, a Monastic PC can identify the signif- “Sure,” the GM says. “But first you have to find the officer;
icance of religious iconography, and so on. Whenever you want you’ll have to figure out a way to persuade them once you’ve
to learn something beyond the scope of assessing a situation, found them. Roll to rely on your skills and training.”
you can rely on your skills and training if it’s in your wheelhouse. Quinn nods and rolls, getting a 9. “So I think that this means
Finally, you can try to perform a familiar custom. This aspect you’re going to be noticed as you go around the camp,” says the
of relying on your skills and training is most often about social ac- GM. “You are drawing the attention of people in the military
tions (like fitting in somewhere) but it also covers specific rites, camp who think you’re suspicious—they won’t intervene before
rituals, and practices based on your training or background. A you talk to someone, but they might make it tough to get out
Privileged PC from a noble family can try to infiltrate an illicit of here. Unless you mark fatigue to avoid notice.”
auction by knowing the right things to say, while another PC “Oof, I don’t have much fatigue to mark,” says Quinn. “I’ll just
with a reclusive Monastic background might need to push their let them spy me.”
luck to blend in. A PC with the Wilderness background from “Great,” says the GM. “So you find a lieutenant, her uniform
the Southern Water Tribe could rely on their skills and training is just the right degree of muddy and torn, her face just the
to undertake the ice-dodging rite of passage, steering their boat right amount of hardened but open, that you think she’s one of
through danger to prove they’ve come of age. If you’re attempt- those officers who’s reasonable, and who’s well-liked enough to
ing to bypass an obstacle or navigate a situation that you’ve command respect. What do you do?”
experienced before as part of your background or training, it’s
probably a familiar custom. Ren Tsuji the Prodigy is trying to fire an arrow into the conduc-
Because this move covers so many different things, it can be tor’s compartment of a train to break the controls. “Okay, this is
tempting to use it for everything, so make sure you’re not trig- definitely pushing your luck,” says the GM. “It’s a ridiculous shot.”
gering a different move instead. Generally, if any other move fits “I’m the Prodigy!" says Ruhan. "I’m the best archer in the world!”
better, use that one. If you’re generally looking over a besieged The GM considers the situation—Ruhan has a point. “That’s fair.
area to see what’s useful, what’s in danger, and so on, you’re Because this is your jam—archery—and the train is stationary, and
assessing a situation even if you have a background as a siege you’re not in any dire condition right now, just standing firmly on a
engineer. But if you use that Military background as a siege engi- rooftop, let’s just make it a rely on your skills and training.”
neer to specifically locate structural weak points for demolition Ruhan rolls and gets an 8. “I think this is about how much
(gaining new insight), you’re relying on your skills and training control you have over exactly what you hit with your arrow—
rather than assessing a situation. The GM makes the final call on whether you just smash the controls so no one can even start
which move is appropriate. the train, or whether you break the controls so no one can oper-
ate them, but wind up locking them into full throttle.”
“Oh, man, I definitely don’t want to make this into a rocket
train. I mark the fatigue,” says Ruhan.
“Excellent! So you break the controls!”

(Order #33527257)
Trick
When you trick an NPC, roll with Creativity. On a hit, they

fall for it and do what you want for the moment. On a 7–9,
pick one. On a 10+, pick two.
• They stumble; take +1 forward to acting against them.
• They act foolishly; the GM tells you what
additional opportunity they give you.
• They overcommit; they are deceived for some time.
Faking illness to draw a guard into your prison cell, dressing up

as a dark spirit to scare intruders away, convincing a ship captain
to give you passage with forged papers—any time you use your
wits and skills to fool, confuse, or deceive NPCs, you’re tricking
an NPC. This move covers all sorts of deception, from bald-faced
lies to creating diversions. Whether you’re bluffing your way Kirilaq the Rogue is at a local watering hole, and she settles in
into or out of somewhere, fooling or distracting someone, or playing games of dice with some Fire Nation guards. “I kind of
otherwise convincing an NPC of a falsehood for some reason, want to play with them, keeping them talking and losing inten-
it’s a trick. If you just lie without any intent to push the NPC to tionally long enough that they let slip something important—I
action, though, you’re not tricking. And if you lie in a particularly really want to know what’s in the crates we saw the guards
ridiculous, completely incredible way—the NPC has to be a fool carting into town. Is that a rely on skills and training with my
to fall for it—then you’re probably pushing your luck. Criminal background? Playing dice games, playing someone?”
When you trigger this move, first tell the GM what you’re asks Kirilaq’s player, Kayla.
trying to get the NPC to do. If you’re not trying to get them to “No, I think it’s a trick,” says the GM. “Your skills and training
do something right this second, then you’re not tricking them let you trick like this, but trick is more specific and more direct,
yet. On a hit, they take the bait and do what you want, but only and it matches the whole thing that you’re doing.”
for a short while. You then get to choose how they fall for your Kayla agrees and rolls, getting a 10! “I definitely want them to
trickery—they might be briefly thrown off or flustered, make a overcommit—I don’t want them to figure this out for a while—
mistake you can capitalize on, or buy it hook, line, and sinker. A and…I think I want them to act foolishly, too.”
roll of 7–9 lets you choose one of these options, while a particu- “Excellent,” says the GM. “So they’re really into this, enjoying
larly effective trick on a 10+ lets you choose two instead. beating you—but of course, only by the skin of their teeth, you
Missing on a trick attempt can result in a lot of different results. make sure, to keep the tension—and they start openly talking
The most obvious outcome is that your target catches you in your about all manner of things, including the crates and how they
lie or discovers your deception. They might just as easily go along think dragon eggs are inside, and where exactly the eggs are
with it but reveal a new complication about the situation in the going to be stored. They even imply the lock is special, how no
process. They might even believe your trickery in a way that brings one can get in without a special tool, and one guard shows you
too much attention to you—not only do you convince the opera a weird flute in his tunic.”
house staff that you’re filling in for a sick performer, but they tell
you you’re about to miss your cue and shove you on stage! Nokahhak the Bold wants to save her friends from being cap-
tured by some Triad toughs! “I rush out toward them, shrieking
Options for Tricking and screaming and looking behind me,” says Nadja. “‘SPIRIT!
If “they stumble,” the NPC believes your deception and it catches SPIRIT ON THE LOOSE! RUN! RUUUN!’ I want them to bolt!”
them off guard. When you next make a move against them based on “Hm,” says the GM. “That seems a little unlikely to fool
your trickery, you take +1 to the roll. If you don’t choose this option, them—yeah, there are spirits around Republic City now, but
they buy your trick but you can’t continue to use it as leverage. one random stranger yelling isn’t that convincing. I’d say you’re
If “they act foolishly,” they fall for your trick in a way that also pushing your luck right now.”
creates another opening for you to take advantage of. They might “Can I make some subtle airbending motions, create a whis-
reveal something hidden, falsely assume something else that tling, groaning wind that blasts out from the alley to help sell
benefits you, or otherwise give you a chance to act. Whatever it it?” asks Nadja.
is, it’s only a momentary opening and you still need to act quick- “Oh, absolutely, that’s perfect. Roll to trick these NPCs!”
ly to seize it. If you don’t choose this option, your trick grants Nadja rolls and gets a 7. “I just want them to stumble—that
the original opportunity without any extra openings. way, if they do figure out what’s up, I’ll get a +1 forward against
If “they overcommit,” not only do they take the bait but you them,” says Nadja.
sell it so well that it takes a long time for them to realize they’ve “Excellent,” says the GM. “So the Triad toughs start running
been fleeced. If you don’t choose this option, your trick deceives away from the weird wind pouring out of the alley, and that gives
them but they catch on sooner rather than later to your trickery. you and your friends a chance to flee in the other direction!”

(Order #33527257)
Help Lukta the Idealist, played by Lex, is trying to plead with Uhakka, a
Northern Water Tribe ship captain, to stop Uhakka and her crew of
When you take appropriate action to help a companion, mark Waterbenders from launching a tsunami at a nearby village with a
1-fatigue to give them a +1 to their roll (after the roll). You Fire Nation production facility.
cannot help in a combat exchange in this way. "Please, there are innocent people in that village. They don't de-
serve what you're about to do to them—you're going to take their
homes away, the way the Fire Nation has taken away the homes of
Airbending wind into the sails as your companion steers your so many," says Lex, speaking directly as Lukta. The GM nods, and
ship through jagged rocks, splitting up to look for clues in an Lex rolls with Harmony and gets a 6 total—a miss!
abandoned temple, putting on a dramatic performance to help "I want to help!" says Hector, the player of Haki the Successor. "I
sell your companion’s con—any time you step in and assist can mark fatigue to make that a 7, right?"
another PC’s actions, you are helping a companion. This can help "You can, if you can do something to actually help," says the GM.
them succeed by either improving their roll from a 6 (a miss) to "What do you do or say?"
a 7, or a 9 to 10! "I say, 'I'm from the Fire Nation, and my family has done a
In order to help a companion, you must provide assistance lot of harm to innocent people—I know what it costs. Don't
somehow, and you must mark fatigue. It’s not enough to say, become like them!'" says Hector.
“I’m helping” and mark fatigue—you need to explain how "Hm…I don't think that works. Uhakka has a lot of anger
you’re helping your companion succeed! If they’re repairing a towards the Fire Nation, so identifying as a Fire Nation citizen
sabotaged Satomobile mid-race, for example, yelling advice at isn't going to help get her to listen," says the GM.
them from across the crowded racetrack isn’t going to cut it. If "Can I help?" asks Kayla, the player of Kirilaq the Rogue. "I'm
you can’t think of a way to help or you can’t mark fatigue, your from the Southern Water Tribe, maybe he'll listen to me."
character is either out of ideas at the moment or tapped out and "You might have been able to help, but aren't you already
can’t help another PC. trying to waterbend the giant wave away, even as they raise it?
As mentioned before, helping a companion can only increase You're a bit busy, so you probably can't help now, not without
their roll by 1. If your help doesn’t bring your companion up losing concentration on what you're doing," says the GM. "So it
a range of success (i.e. helping on a roll of 6 or 9), there’s no stands as a miss, and here's what happens next…"
need to help—it won’t change the outcome of their move. You
also can’t help more than once for the same ally’s move, even if
you have the fatigue to burn. However, you can still count on
the rest of your companions—multiple allies can help with the
same move! To do so, everyone providing aid to that PC’s roll
must describe how they assist in the moment and must spend
1-fatigue each.
You can help a companion on most moves except the stance
move in combat exchanges. (For more on the stance move,
see page 148.) This is because the speed and chaos of combat
emphasizes your individual actions. When fights break out, it’s
assumed that you are generally doing the best you can to defend
yourself and others involved. Instead of helping on individual
approaches themselves, you can still use techniques like Ready or
Bolster to apply useful status effects to your allies or the environ-
ment, and you can coordinate your strategy in each exchange.
Iris the Adamant, played by Izzy, rolls to rely on her skills and
training to try to earthbend a massive chunk of dirt and stone to
flip it on top of the nearby charging mecha suit. Izzy rolls and
gets a total of a 9—a hit, but it will still cost Iris something.
"Can I help?" asks Seiji, the player of Shihan the Pillar
and another Earthbender.
"Sure!" says the GM. "What do you actually do?"
"Hm. Iris and I bend pretty differently, but I use
my style to make the earth flow like water in a big
circle, creating a ditch so it's easier for Iris to lift
the whole chunk of earth," says Seiji.
"Cool! Mark 1-fatigue. That'll give Iris a +1 and
make that roll a 10!" says the GM.

(Order #33527257)
Balance Moves Teru Jinno the Hammer, played by Tyrelle, is trying to keep a squad
of metalbending police away from local street rat Ping, who's been
framed for a crime he didn't commit. The police are ready to knock
In addition to the basic moves, every character can make any Teru Jinno out, but he doesn't exactly want to harm them—he
of the balance moves too. These moves affect your character’s just wants to hold them off long enough for Ping to escape. The
balance track, their principles, and the balance of others. The exchange begins, and Tyrelle chooses that Teru Jinno defends
five balance moves are live up to your principle, call someone and maneuvers—he thinks that's the best way to try to divert the
out, deny a callout, resist shifting your balance, and lose your police without really harming them that much.
balance. Your character’s balance is their heart, what guides their "Great! Roll with Focus, then, for the stance move!" says the GM.
story, and their long-term development all in one. This section "I have Focus -1, but I want to live up to my principle instead—
explains how each of these crucial systems and moves work in this is Care, right?"
detail. For more on the general systems of your principles and "Is it? Still seems like you're forcefully trying to keep the police at
balance, see page 102. bay," says the GM.
"Sure, but I'm not just thrashing them, and I'm not relying on
Live Up to Your Principle intimidating them with my sheer strength or anything," says Tyrelle.
"I'm keeping them busy, and I'm taking care not to actually hurt
When you take action in accordance with the values of a them too much. In addition to the fact that I'm doing all of this
principle, mark 1-fatigue to roll with that principle instead of because I care about Ping."
whatever stat you would normally roll. "The second thing seems a little iffy to me," says the GM. "You
get into fights all the time because you care about people, so that's
not really how I understood Care to work for you. But the fact that
The Hammer wants to punch an antagonistic NPC that they you're being cautious and careful in the fight, not just slamming
blame for a bad situation, but realizes their target isn’t some evil them, makes sense. It kind of suggests to me that you're not about
mastermind…they’re scared and being manipulated by others. to pick techniques that wildly rip up the area or anything, right?"
Rather than give in to their instincts, the Hammer offers a hand "Yeah, for sure," says Tyrelle. "I'll see what I roll before I pick, but
to the other person and declares that they understand what I'm aiming toward stuff like Seize a Position to move my humming-
they’re going through and want to help, not hurt them—the bird mecha into the way, or Ready to try to fire one of my foam
Hammer is guiding and comforting that NPC, but also living up canisters and make it hard for them to keep coming at us."
to their principle of Care! "Randomly throwing sticky, hardening foam into an alley is about
Any time you take action that aligns with one of your play- as careful as it gets for the Hammer," says the GM, smiling. "Sounds
book’s two principles on your balance track, you can live up to good! Mark 1-fatigue and roll with Care!"
your principle before you make your move. Rather than roll with
the stat that move normally tells you to, you roll with the prin-
ciple’s value on your balance track. This means as your balance
track shifts hard to one side, you roll with an increasingly high
bonus when living up to your principle in that direction. In this
way, you can offset a low or negative stat by living up to your
principle if that principle matches your action. However, this
isn’t something you can do all the time—pushing yourself to
embody a principle in this way always costs 1-fatigue!
To trigger this move, your action needs to meet two condi-
tions. First, it has to be an action that triggers a move with a stat
roll (basic, playbook, even the stance move)—if a move tells
you to roll without any modifiers, you can’t live up to your prin-
ciple, just like how you can’t if a move’s outcome doesn’t require
you to roll dice. Second, it has to fit the values of one of your
principles. When the Icon intimidates someone into backing
down, it’s not enough for them to say they’re living up to their
principle of Role—they need to describe and show how they’re
using their belief in their position and their status as the Icon in
this moment, in order to use their Role instead of their Passion .
If you want to live up to your principle but you’re not sure
how, talk to the GM or the group about how you can make your
actions align with the principle you’re trying to live up to. The
GM might tell you that you need to do a little more to truly live
up to that principle, or that you might need to pursue another
course of action to live up to the principle.

(Order #33527257)
Call Someone Out On a miss, you still call your target out—but they not only
deflect your words, they turn the moment to focus on you
When you openly call on someone to live up to their princi- instead, pressuring you to act in accordance with one of your
ple, shift your balance away from center, then name and roll principles! Your words either don’t connect with them or they
with their principle. On a hit, they are called to act as you say; redirect your attempt to pressure them. This doesn’t have to be
they must either do it or mark a condition. On a 7–9, they hostile or aggressive but just like when you call someone out,
challenge your view of the world in turn; mark 1-fatigue or their response has weight to it. When the Hammer misses calling
they shift your balance as they choose. On a miss, they can out a community leader to stand up to some local gangs, the
demand you act in accordance with one of your principles community leader responds that attacking the gang will only
instead; mark a condition or act as they request. make them angrier; she’ll take help resolving the situation but
they demand the Hammer live up to their principle of Care,
making them promise to negotiate with the gang instead of
When you make this move, you remind someone (a PC or NPC) escalating to violence. The Hammer needs to either accept the
of one of their principles and call on them to take immediate action NPC’s terms or mark a condition and keep their own counsel.
related to that ideal. You might be reminding them of their respon- Note that on a miss, you’re pushed to act in accordance with one
sibilities, begging them to live up to their ideals, or calling them on of your principles but you aren’t being called out. The decision to
how their actions are inconsistent with their beliefs. You can’t trigger either do as you’re requested or mark a condition is built into this
this move by being subtle—you must openly call on them to do move’s outcome. This means if you roll a miss to call someone out,
so. When characters in Avatar: The Last Airbender or The Legend of you can’t deny a callout to refuse the demand they make as a result.
Korra tell people to their face or in front of others that they need
to step up or act a certain way by appealing to their beliefs or using Beryl the Icon, played by Bei, wants to attack the group of Fire Na-
their own words against them, they’re calling someone out! tion mercenaries who have just abducted the glowing snakesquid
When you make this move, you need to shift your own balance spirit of the nearby swamp. "We can free her!" says Bei, speaking
away from center first—this represents your character taking a directly as Beryl. "I have to free her! It's one of my duties!"
strong position and standing up for what they believe in. You then "We can't," says Quinn, speaking directly as Quartz the Guardian.
name the principle you’re calling on your target to live up to, and "You saw those mercenaries in action! They have a guy who shoots
roll with the value of that principle—meaning you roll with their lightning from his mouth! And there's that lady whose hands just
balance, not your own. Someone with a strong belief in their prin- melted a sword as she blocked it! They're too dangerous. We need
ciple is easier to push in this way, while someone whose worldview to be careful, take our time, not charge in."
has shifted away from a belief is much harder to reach. "If we wait, they might get away! They might find refuge at a
Remember, you need to name your target’s principle to make fortress or something!" says Bei. "We have to act now!"
this move—you need to know exactly how to appeal to their beliefs. "It's way too dangerous, and I won't let you do it," says Quinn
If you already know someone’s principle (like another PC or an "Ugh! I wish I could plead with you!" says Bei.
NPC whose principle you’ve learned through another move), "You can't plead with Quartz because he's a PC," says the GM.
you’re good to go. If you think you know an NPC’s principle and "But you can call on him to live up to his principle."
call them out, you can still try to name their principle. If you’re close "Oh, great idea! Yeah! Your principles are Self-Reliance and
enough that you essentially name the same idea, you can still make Trust, right?" asks Bei. Quinn nods. "So…I think I'm asking you
this move even if you’re not exactly correct about the phrasing. The to trust me. I want to call on you to live up to Trust!"
GM is the final arbiter of whether or not you are close enough. For "What exactly do you say that really cinches you calling out
example, if an NPC’s principle is Justice and you call on them to live Quartz?" asks the GM.
up to their principle of Law, the GM may decide it’s close enough. "I say, 'Look. I'm the Chitin Warrior. I'm not just your little
On a hit, your words land and your target is called to act as you sister anymore. I was chosen by our elders, by the forest, and
say—but they still don’t have to do it, and you have not mind-con- by Ochin'—I give my stag-beetle a little pat when I say her
trolled them somehow! Your target still has the agency to choose name—'and I need you to trust in me the way they did. I know
to do or not do what you called on them to do, even as they feel we have to do this. Can you trust me that I know what I'm
the pull of their principles. If they don’t choose to do what you doing?'" says Bei.
call them to do, they must mark a condition as they feel internal "Excellent!" says the GM as Quinn groans and nods—he
conflict between what they want and their obligation. On a roll agrees that what Beryl is saying would call on his Trust principle!
of 10+, that’s where things end, but on a 7–9, your target gets a "Okay then, Beryl, go ahead and shift your balance away from
dig at you as well that forces you to let them shift your balance in center—sounds clearly like you're shifting toward Role—and
turn however they want (unless you mark a fatigue). If you mark a then roll with Quartz's Trust." Bei rolls and gets an 8!
fatigue, you’re exerting yourself to rebut or ignore their push. "Grr. I don't want to mark a condition, so I guess I will go
along with this," says Quinn. "But I'm shifting your balance to-
ward Role—'Alright, Chitin Warrior,' I say to Beryl. I don't think
I've ever called you that before, out loud."
"I'd love to shift my balance toward Role, but that's getting a
little high then…I mark 1-fatigue instead!" says Bei.

(Order #33527257)
Deny a Callout If you choose to shift your balance, you might shift away from
the called-on principle to show them what you truly believe in
When you deny an NPC calling on you to live up to your or to outright reject their demands. You might shift towards the
principle, roll with that principle. On a hit, act as they say or called-on principle instead, showing that while you chose not
mark 1-fatigue. On a 10+, their words hit hard; you must also to follow their demands or their interpretation of the principle,
shift your balance towards the called-on principle. On a miss, your commitment to that core idea remains strong.
you stand strong; clear a condition, clear 1-fatigue, or shift your If you roll a hit when denying a callout, they make you stop in
balance, your choice. your tracks; maybe you know deep down that they’re right, or
maybe they hit a sore spot. You have a choice: either act as they
say or mark 1-fatigue. On a 10+, you need to choose and you
NPCs can, and will, call on you to live up to one of your principles also shift your balance towards the called-on principle.
just as you can call them out. When they do, you must choose:
accept their words and do what they demand (whether you like it Ren Tsuji the Prodigy, played by Ruhan, is having a heated conver-
or not), or reject them and make this move. The NPC doesn’t have sation with Yonsang, their former teacher in the Yuyan archers.
to know your principle; it’s up to the GM to tell you when their "'You don't belong here, Ren,' Yonsang says, and he puts one hand
demand for action lines up with your internal struggles. on your shoulder. 'You're the greatest student I have ever known,
When an NPC calls on you to live up to one of your principles and you belong back with the people who can help you rise still
and you deny them, you must roll with the called-on principle. If further. Come back to the Yuyan Archers with me.' He's definitely
you’re the Idealist and have +2 Forgiveness and -2 Action, you roll calling out your Excellence principle, Ren," says the GM.
with +2 if you reject a call to Forgiveness or -2 to reject a call to "I want to deny him calling me out! 'I have friends here, people
Action. But this move is reversed from most—if you deny a callout, who care about me, and who've already helped me become better.
then you want to roll low, not high. This means that it’s easier to I'm not leaving.' Do I roll with my Excellence?" asks Ruhan. The GM
reject NPCs calling on you to live up to the principle you’re neglect- nods, and Ruhan rolls—and gets a 12!
ing…and much harder to resist living up to what you believe in. "On this move, rolling high means his words really got to you,"
Unlike almost every other move, you have the most control the GM says. "You've got to agree to go with him right now—and
when you roll a miss to deny a callout—a miss means that you you've got to mean it, even if things change down the line—or
hold your ground in the face of the NPC’s influence. In fact, your you've got to mark 1-fatigue. And either way, your balance is shift-
resilience allows you to either clear a condition, clear 1-fatigue, ing towards Excellence."
or shift your balance however you choose. "I'm definitely not going, so I mark 1-fatigue!" says Ruhan.

(Order #33527257)
Resist Shifting Your Balance If you try to resist shifting your balance and roll a miss,
however, the NPC’s words hit you extra hard. Maybe they know
When you resist an NPC shifting your balance, roll. On a hit, how to push your buttons, use your fears or insecurities against
you maintain your current balance in spite of their words or you, or just say the right thing at the right time. To reflect being
deeds. On a 10+, choose two. On a 7–9, choose one. struck in an emotional pressure point, you must mark a condi-
• Clear a condition or mark growth by tion and shift your balance twice in the direction of the GM’s
immediately acting to prove them wrong choice. Almost always, that lines up with the NPC’s chosen di-
• Shift your balance towards the opposite principle rection—their words needled you and changed you, after all—
• Learn what their principle is (if they have one); if but it’s possible the GM might shift you twice in the opposite
you already know, take +1 forward against them direction if the fiction fits. It’s also possible that this causes you
On a miss, they know just what to say to throw you off bal- to lose your balance!
ance. Mark a condition, and the GM shifts your balance twice. Remember that you can only resist shifting your balance
when an NPC tries to shift your balance. Usually this only hap-
pens during regular play, when they say something to you—not
Most NPCs are complex characters with their own beliefs, goals, as the result of another move. If another PC counsels you or
and feelings—just like your characters! As you interact with them, challenges your thinking, they can try to guide and comfort you
they may try to get you to see the world the way they do, shift- but you only shift your balance if they roll a 10+, or if you reject
ing your balance as they provide mentorship, stand up for their them in response. If an NPC shifts your balance during a combat
beliefs, try to manipulate you, or tell you how things really are. In exchange by Testing Your Balance (page 156), you can’t resist
these moments they want to change your mind or challenge your shifting your balance. The rapid pace of an exchange means there
beliefs, rather than call on you to act immediately a certain way (as isn’t enough time to reject or process the shift caused by any
with calling someone out). It’s more than just offering a different given technique.
opinion—shifting your balance represents actively changing what
you think (well-intentioned or not). You can either let them shape Haki the Successor, played by Hector, has just finished fighting an
you and move your balance track in the direction of their choice… impromptu Agni Kai against his childhood best friend turned rebel
or push back against them and resist shifting your balance. leader, Zo Jian.
When you resist shifting your balance, you’re not just choos- "Zo looks up at you, hurt in her eyes," says the GM. "'You
ing to ignore an NPC’s words—you’re rejecting any shift to your always told me how you wanted to be someone different,' she
balance, the current state of your principles and beliefs. If you says as she gets to her knees. 'But you're just like the rest of
accept their words, you’re open to changing your perspective at your family.' And then she hangs her head low in submission.
this moment; if you resist them, you’re sticking to your guns. She's definitely shifting your balance, toward Tradition, making
To resist, you roll without a modifier—no stat applies. On yourself see how much like your family you really are."
a hit, you hold strong despite their actions and words, which "Wait, isn't she saying it's a bad thing, though?" asks Hector.
means that your balance stays where it is, and you choose one "Shouldn't she be shifting my balance away from Tradition?"
response from the list of options (or two if you rolled a 10+). "I see your point," says the GM. "But if you want to play that
If you choose to "clear a condition or mark growth," you must you have a stunned reaction, horrified by the revelation, then
immediately act to prove the NPC wrong. For example, if they that's probably you resisting her shifting your balance, not just
try to shift your Guardian towards Self-Reliance by asserting accepting it."
that your friends will always let you down, and you successfully "Then I do that, I resist her shifting my balance! Do I add one
resist them, you need to show that NPC they’re wrong—per- of my principles to the roll?" asks Hector.
haps by demonstrating your Trust in your companions. Doing so "Nope, just roll," says the GM. Hector rolls and gets a 10. "I
either reinvigorates you (by clearing a condition) or represents a want to clear a condition by immediately acting to prove her
moment of introspection that helps you learn about yourself or wrong, and I'll shift my balance toward the opposite principle."
change (by marking growth). "What do you do to prove her wrong?" asks the GM.
If you choose to "shift your balance towards the opposite princi- "I reach out and carefully, kindly, gently lift her up. 'I'm not like
ple," you’re not just denying the NPC’s attempt to change your them,' I say. 'I never wanted to fight you like this. I just wanted
beliefs; you’re actively asserting beliefs opposed to what they you to stop taking dangerous actions that might hurt other
have said. You don’t have to do anything special in the fiction, people. You can't let your rage define you as a leader; you have
but it’s usually good to tell your group how they can tell you’ve to seek peace, in all things.'"
steeled yourself in the face of the NPC’s influence. "Oh, excellent! So you're proving you're different by guiding
If you choose to "learn what their principle is," you gain insight and comforting Zo Jian!" says the GM.
into the NPC as they try to push you towards (or away from) "I didn't think of that, but yeah!" says Hector.
one of your principles. Their attempt to shift your balance "Alright, clear your condition and shift your balance toward
reveals their own underlying philosophy, or (if you already know Progress, and then go ahead and roll with Harmony to guide
it) deepens your understanding of it. Once you know an NPC’s and comfort!"
principle, you can start to make moves that require knowing it,
like calling out the NPC (page 138).

(Order #33527257)
Lose Your Balance
If your balance shifts past the end of the track, you lose your
balance. You obsess over that principle to a degree that’s not
healthy for you or anyone around you. Choose one of the
following:
• Give in or submit to your opposition
• Lose control of yourself in a destructive and harmful way
• Take an extreme action in line with the principle, then flee
Afterward, when you’ve had some time to recover and recen-
ter yourself, shift your center one step towards the principle
you exceeded and clear all your conditions and fatigue. Reset
your balance to your new center.
As you become more set in your ways and beliefs, you may find
yourself leaning towards one principle more than another. This
can be a good thing! Your firm belief in one of your principles
makes it beneficial to live up to your principle when it really
matters. However, you’re teetering on the edge of danger—you’ll
have a hard time denying a callout on that strong principle, and if
you shift your balance further, you lose your balance. When you
do, you become so obsessed with that principle that you end up
causing problems for yourself and others. You lose your balance.
You can only lose your balance on-screen. In all cases, when
you lose your balance, you are in some way removed from the
action afterward. Sometimes you might flee. Sometimes you
might fall unconscious. You might still be in the scene, but you’re
not an active participant—you can’t respond to someone if they
try to guide and comfort you, and you can’t trigger most moves or
be proactive, at least not yet. It’s a bit like being taken out—you’re Nokkahak the Bold, played by Nadja, is in an exchange, fighting
not an active agent until you’ve had some time to recover. with the dangerous "King" Kezhu, when King uses the Test Balance
If you choose to “give in or submit to your opposition,” you’re so technique on Nokkahak!
overcome by the principle that you’re overwhelmed and resign to "King looks at you with scorn in his eyes. The ground beneath
giving up rather than resist further. If your opposition wants you him keeps shooting up little pebbles that enter orbit around him
to do something—instead of just surrendering—then choosing with each step—it's kind of intimidating. 'Not bad so far, kid, but
this option means you follow through on whatever they want you I've been taking it easy on you,' he says. 'Run home to your friends
to do. In order to choose this option, you need opposition to give before I actually start trying. You don't have what it takes to face
in to; you can’t give up or give in without any opposing force. me alone.' He's shifting your balance away from center, which in
If you “lose control of yourself in a destructive and harmful way,” your case means away from Confidence and towards Friendship."
your obsession with that principle causes you to lash out at the "My balance goes off the edge," says Nadja. "I lose my balance!"
people and world around you. You might lose control of your fire- "That only happens at the end of the exchange, but since it's just
bending and erupt a burst of flame as you vent your frustration, or you and King and both of you have gone, it's the end of the ex-
become so overcome with your belief in Progress that you destroy a change right now! So you lose your balance, Nokkahak—in some
priceless heirloom of your lineage. Whatever happens, something is way, you are out of the fight because what he says throws you off.
destroyed or someone gets hurt (physically or emotionally). Which of the options from the move do you pick?" asks the GM.
If you “take an extreme action in line with the principle and flee,” "I'm not sure," says Nadja. "I don't want to give in to him—he
your temporary fixation on that principle means you do something might just kill me! He's a pretty scary guy…"
drastic in pursuit of that belief. This is a catch-all for other kinds of "In this case, he's actually telling you to run back to your friends,"
extreme, intense actions you might take that show your overcom- says the GM. "I'm fine if giving in here means you run away."
mitment to your principle. Whatever you do has to be costly and "What would 'losing control of myself in a destructive or harmful
consequential—it’s not extreme if you come out in more or less the way' mean here? I'm already trying to use my training to fight him
same place on the other side. After you take the action, you flee the and it's not going very well" asks Nadja.
scene, and you can’t return—you’re out until the scene changes. "It might not make a ton of sense for this situation," says the GM.
If your center shifts past +3 or -3, then it might be time to "If it doesn't, you should pick something else."
change your playbook or retire your character. See page 219 for "Okay," says Nadja. "Then I give in and flee! I run away to go find
more on the ways your character’s story might shift dramatically. my friends!"

(Order #33527257)
Advancement Moves
These moves provide ways for your character to change and
grow, while tying back to the central themes of the game itself.
Both of these moves are explained in much greater depth in
Chapter 7: Advancement.
Growth Questions
At the end of each session, each player answers the following

questions:
• Did you learn something challenging, exciting,
or complicated about the world?
• Did you stop a dangerous threat or
solve a community problem?
• Did you guide a companion towards balance
Advancement Beyond Growth or end the session at your center?
Each player also answers their playbook’s unique personal
In many tabletop roleplaying games, characters become growth question. For each “yes”, mark growth. When you have
stronger and more straightforwardly powerful over the marked four growth, you take a growth advancement.
course of the campaign. That’s true to some extent of
Avatar Legends: The Roleplaying Game as well—PCs earn
growth, which eventually becomes advancements that Growth questions point at core lessons the PCs can learn about
improve the character. So it can be easy for everyone in themselves and the world, pushing them to be open-minded he-
the game to focus on accumulating growth as the primary roes. The core three questions can be answered collectively as a
form of advancement in the whole campaign. But growth group, while each PC’s individual playbook question is answered
is just one method of “advancement,” and the others are individually. For more on growth questions, see page 209.
just as crucial—both players and GMs should keep these
other forms of advancement in mind!
Training Move
PCs grow in their trainings by acquiring new techniques,
first and foremost. The best way to easily differentiate
When you spend time with a teacher learning and training in a
between a novice Firebender and a trained master is by
new technique, roll with modifiers from the following questions:
how many and which techniques they have. PCs can find
• Is your balance in line with your center or are
new masters to teach them techniques—often, a PC will
you free of conditions? If yes, take +1.
identify a technique that a foe just used against them, and
• Do you and your teacher share at least
then set out to learn that technique, perhaps even from
one background? If yes, take +1.
that very foe! Both players and the GM should keep an
• Does your teacher agree with your reasons
eye out for opportunities for the PCs to learn new tech-
for training and learning? If no, take -1.
niques, especially because fulfilling mastery conditions
• Is the technique easy to grasp based on your current
is one of the best ways for PCs to be faced with hard
training, experience, and skills? If no, take -1.
lessons (see page 214 for more on mastery conditions).
On a hit, you learn the technique, and your master shifts your
The way the PCs struggle with their balance principles is balance. On a 10+, you learn it with ease, and it takes as little
another kind of development and advancement. As a PC time as possible. On a 7–9, it either takes more time than
pushes their center ever closer to one principle, they both normal, or you must mark two conditions. On a miss, you
become stronger in some respects—better able to live up can’t learn the technique yet because you need another lesson
to their principle—and closer to losing their balance! And before you can grasp its full use. Your master will tell you what
at some point, a PC will resolve the tension between their additional task you must undertake to put yourself into the
principles, genuinely choosing one over the other. That correct state of mind; do it, and you learn the technique.
kind of advancement can lead a PC to changing playbooks
entirely, or even retiring from play!
The training move is all about acquiring new techniques by
As you play Avatar Legends: The Roleplaying Game, be sure
studying with a master. It almost always requires you to have a
to keep these other forms of advancement in mind—and
teacher, and it requires you to have the appropriate training to
read more about them in Chapter 7: Advancement!
learn the technique. For more on the training move, see page
212. For more on techniques you might learn, see Appendix A.

(Order #33527257)
Custom Moves
Now that you’ve seen how moves work, and have a sense of what
the basic, playbook, and balance moves do, you might be inter-
ested in creating moves of your own, especially if you're the GM!
All of the existing moves are designed to tie Avatar Legends: The
Roleplaying Game together and reinforce the kinds of stories told
about the Four Nations and its young heroes. When you make a
custom move, you can refine those tools into moves specific to
the kind of story you and your group want to tell. Whether it’s
adding a move unique to a location or a move suited to specific
kinds of social interactions, creating custom moves can add
specificity to your game. This section helps explain how to do all
that. Primarily, this section is for GMs—players will very rarely,
if ever, invent their own custom moves.
When to use Custom Moves

The core moves of this game can see you through a vast array of
situations—you won’t need a custom move to resolve something
like a fight or a negotiation because the basic moves already do
a lot of that work. Custom moves, then, are for when you want
something more suited to an individual situation. They’re for
times when the situation is specific enough, different enough,
and interesting enough to warrant a more focused move to
resolve some uncertainty.
Maybe there’s a bending exam you want to make more interest-
ing than just seeing how players rely on their skills and training—a
custom move can make that moment more dynamic and specific, If you can’t identify both the uncertainty that the custom
allowing you to even differentiate between a bending exam at a move is meant to resolve and the interesting situation that makes
Firebender Academy and a traditional coming-of-age test in the the custom move fun and compelling then you probably don’t
Air Nation. Sometimes you want moves to represent important need a custom move. Either one of the core moves of the game
locations in your game as well, like a move that triggers when can resolve the situation, or the GM can just say what happens
players travel through the Foggy Swamp and encounter its natural in the fiction. But if the situation is interesting, and there is some
hazards or spiritual whispers reflecting their psyches. In all these key uncertainty, and the core moves don’t quite resolve the
cases, your custom move is bringing something particular to life uncertainty clearly, then the GM might want to invent a custom
with new and interesting consequences all its own. move for the situation.
But just as important as having an interesting situation for Finally, think of custom moves as adding an exclamation
the move is having a fundamental uncertainty for the move to point to a moment in the game, really drawing attention to it
resolve. Each custom move needs to move the story forward and making every player sit up and take notice. Adding a custom
in an interesting way and resolve some real uncertainty—if it’s move for a particular element highlights it! The idea should
not interesting or the outcome doesn’t push the story forward already be interesting enough to support that attention. The key
by resolving uncertainty, it probably doesn’t need to be a move here is that if something is happening that you really want to
and can just happen in the fiction. When something becomes draw attention to, to make a significant moment of impact, and it
a move, it’s important to the game because it has rules attached has the appropriate interesting qualities and uncertainty—then
to it and the outcome of the move changes the fiction and the a custom move is perfect!
stakes of play in a new, challenging, or exciting way. For example, imagine that an Airbender PC is trying to earn
For example, if there are no interesting outcomes of those their tattoos, and they face one final test. That test could proba-
bending tests, or if the results are guaranteed, then there’s no bly be resolved by the results of rely on skills and training. But it’s
uncertainty—you wouldn’t use a basic move to resolve the also the perfect moment for a custom move! The test is certainly
situation and you certainly don’t need a custom move. If the PCs interesting and exciting, a real moment of focus for that charac-
are being guided safely through the Foggy Swamp by locals, then ter and that culture. There is definitely uncertainty—not simply
maybe there is no uncertainty about navigating the dangers of whether or not the character passes, but why the character might
the Swamp…but there might still be uncertainty about whatever pass or fail, and what they might have to do next as a result. So
spiritual connections or messages the PCs receive while jour- when the GM creates a custom move to resolve the test, it fits
neying through the swamp. the needs of the game perfectly!

(Order #33527257)
Building Custom Moves Outcome
Generally speaking, a move has the following components: In addition to the trigger for the move, you need to know what
happens as a result of the move—what are the PCs trying to
• A trigger: “When ____ happens…”
accomplish and what are the action’s results and effects? The
• An outcome: “…____ happens.” This could involve
outcome(s) of a move can be a singular effect or come from a
rolling the dice but it can also just give hold or
list of options, but however it’s decided, it needs to change the
involve choosing options from a list instead.
situation or open up an avenue for new challenges and storytell-
• Stakes: If the move does require rolling the dice,
ing. If a move’s outcome doesn’t change the game world or the
you need to define what happens on each of the
story in some way, it needs to be stronger. A move’s outcomes
possible outcomes—a 10+, a 7–9, and a 6-.
should always provide a way forward or lead to further action. If
For that last part, remember that a 10+ means things go pretty it doesn’t, then the move isn’t a move or it doesn’t need to exist.
well (sometimes flawlessly), a 7–9 means it generally works but Let’s say that Pai Sho has become an important part of your
with some kind of cost or complication, and a 6- means things game and you want to make a custom move around it.
get worse or even more complicated. A 6- doesn’t always mean You start with the move:
failure—it could mean you do what you wanted, but you overdo
it or make things worse in the process!
Aside from the mechanics listed above, remember once more When you play an opponent in Pai Sho, roll with Focus. On a
that any custom move needs to fit these criteria in order to be a 10+, you win handily. On a 7–9, it’s a close game but you win;
move at all: mark a condition. On a miss, you lose.
• The move needs to trigger when attempting

an interesting, risky, or uncertain action.
This move doesn’t really change the state of the game with its
• The move needs to create or lead to outcomes
outcomes, unless winning or losing the game has some truly
that push the game’s fiction forward.
serious stakes that come with it. It’s also not particularly interest-
ing! All that happens is you win or lose the game, possibly at the
Trigger cost of a condition. This move might be resolved by relying on
The trigger of a move determines when you turn to it; it’s what your skills and training if you know Pai Sho well enough and it’s
happens in the game that activates the game mechanics. A trigger important to know if you win or not; the outcome of the game
needs to be clear and explicit about when it happens—if it’s too could also be resolved metaphorically, like winning an argument
generic, it’ll either be triggered constantly (which can slow the and making a winning move in the fiction at the same time.
game down or lead to chaos, depending on its outcomes) or the Maybe what’s really important about Pai Sho in your game
game will fall apart as people argue when that move is or isn’t is its social aspect and the use of the game as a vehicle for social
triggered. “When you airbend…” isn’t good because it triggers dueling and reading others. With that in mind, here’s an alternate
constantly every time you use your airbending to do anything. trigger: “When you study an NPC opponent during a game of Pai
The action that triggers the move also has to be interesting too! Sho, roll with Harmony.” The effects also need to change to match
“When you airbend…” isn’t particularly exciting because you can the new intent—studying an opponent through play by observing
already perform simple airbending tasks if you’re an Airbender! not just their tactics but their behaviors and mannerisms.
The trigger also needs to involve some kind of uncertainty—if So the outcome becomes:
we know what will happen when you do something, or there isn’t
any kind of ambiguity about an action’s outcome, it either happens
outright or the GM makes a move to reflect that obvious outcome. When you study an NPC opponent during a game of Pai
“When you airbend…” doesn’t have any stakes, and it’s too generic Sho, roll with Harmony. On a 10+, hold 3. On a 7–9, hold
so it could cover both simple actions and extremely complex ones. 1. While playing this game, spend hold—1-for-1—on one of
The more specific you can be about when and how a move these options:
triggers, under exciting or interesting circumstances with unknown • Exchange banter over simple plays. Ask them a question
outcomes, the stronger your custom move will be. “When you air- about what’s on their mind; they must answer honestly
bend…” is too open-ended, but refining it to something like “When or mark 1-fatigue. Then they ask you a question and you
you use airbending alone to fly with your glider through danger or must answer honestly or mark 1-fatigue as before.
avoid obstacles…” makes it much clearer about what needs to hap- • Ask a leading question and lay a trap for them in the
pen in the fiction (airbending flight), when it happens (flying with game. Their response to your guile reveals something
the glider), and notes the uncertainty (danger or obstacles). about their personality or reveals their principle.
The trigger is especially important to a custom move because • Pressure them with words and make an aggressive
it tells everyone something very specific is now important to play. If you know their principle, mark 1-fatigue to
the scope and focus of your particular game. Its existence means shift their balance away from center by questioning
those fictional circumstances will come up much more often or challenging their beliefs or perspective.
than if the move didn’t exist, and the players will come to care
about resolving their outcomes in this specific way.

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What makes this revision stronger is how it affects the frame- • Inflict or clear fatigue: Your move can inflict fatigue if
work of your game. The move is no longer about just winning it involves some kind of harm, exhaustion, or strain as an
or losing; it’s about understanding your opponent. It makes the outcome. Your move can clear fatigue instead if it involves
winning or losing more metaphorical by connecting gameplay rest, recuperation, or some other form of relief. A move might
to the ebb and flow of bantering and throwing barbs as you place inflict fatigue or affect how much fatigue is marked to represent
game tiles. Each outcome also changes the flow of the game environmental conditions (whenever you mark fatigue in
somehow—you trade information and states of mind with the extreme desert heat, mark an additional fatigue), or it could
NPC, learn what they believe in, or make a power play in the be a cost paid when making a move (mark 1-fatigue and roll
moment, each of which leads to new situations and challenges. with a stat). A move that inflicts or clears fatigue should
There are several common types of outcomes: be explicit about why and how a PC becomes more or less
physically, mentally, or emotionally drained or worn down.
• Direct, instant effects: When this move triggers, something
happens that changes the game’s fiction without involving • Choose options: Your move can allow players to
other mechanics in its resolution. These effects might most choose one or more results from a list of options. The
often be purely fictional but they could determine how the number of choices might be static or they might be
rules are used in certain situations as well. Even if the move determined by the results of a roll (“On a 7–9, choose
doesn’t explicitly set things up with game mechanics, it can one; on a 10+, choose two,” etc.). When a move provides
still imply those situations with its fiction. For example, a options, the player making the move has more agency
move that gives or takes away an NPC’s trust sets up how in where the story goes next or how things shake out.
PCs might be able to plead with them later (or not).
• Gain and spend hold: Your move can give players
• Shift balance: Your move can result in shifting a target’s access to hold, which they can spend within a certain
balance or shifting your own balance, depending on the timeframe or situation on various benefits or fictional
situation (voluntarily or not). When a move results in effects. This is similar to choosing from a list of
shifting balance, it means that move is about reinforcing or options, except that it allows the player to parcel out
challenging the target’s beliefs somehow. A move might offer the effects based on the context of the game (rather
flexibility or choice in how that person’s balance shifts in than making a more sweeping choice all at once).
either direction, or in who decides how balance shifts. This
move could instead only shift one’s balance away from or only Stakes
towards their center. Either way, it needs to be clear which A custom move needs to have stakes, especially if it involves rolling
way balance shifts and what happens that causes the shift. the dice. If the move doesn’t have any consequences or risks in-
Is the person making the move strengthening the target’s volved, why are we rolling instead of just narrating what happens or
beliefs or trying to convince them of an opposing viewpoint? asking the GM to make a move? If a move doesn’t involve rolling the
dice, how do things change or progress after the move resolves?
• Inflict or remove conditions: Your move can inflict a When thinking about the stakes of a move that involves rolling
condition on another PC or another target, depending the dice, consider what it means to get a hit or a miss. As a general
on the format and intention of the move. If a move rule, a 10+ means that you get everything that you want or more
involves conditions, it should indicate and reflect the than you set out to do; a 7–9 means you get some of what you want
emotional stakes and situations in which the move applies. or have to deal with a complication or cost; and a miss means things
Moves that inflict conditions imply “harm,” although go badly or the situation changes dramatically. When you create
it isn’t physical—you’re taking an emotional blow or a move with these kinds of results, use the outcomes to shape the
having your confidence shaken. On the other hand, a move’s results. If a move gives a player hold, a 10+ could give several
move that clears a condition implies comfort or rest. hold while a 7–9 might only give one. That same move might in-
stead only give one or two hold but a 10+ result might have an extra
• Apply status effects: Similar to a move that inflicts effect that a 7–9 result doesn’t. A move that lets a player choose from
conditions, your move can result in applying one or more a list of options could give more than one choice on a hit with a
status effects to a PC or NPC. These moves should clearly fixed result on a miss, or it could let the player choose on a hit while
outline the conditions in which these status effects apply the target of the move (or the GM) chooses the outcome on a miss.
and when or how they might be cleared (if the status doesn’t If your move just happens without rolling dice, stakes are also
already specify an endpoint). For example, a move about important to consider—instead of finding out what happens
falling into an ancient ruin’s trap could apply the Doomed with dice, you know what happens in the moment and you play
status until the PC escapes. A location-based move for a to find out what happens after that. The move still needs to
region with a heavy rainy season could grant Empowered on make a change to the world, either by affecting the people, the
Waterbenders and Airbenders for as long as the storm lasts. environment, or the narrative itself, to be a move. If a move’s
outcome doesn’t change the game or do something interesting
in the story, it either doesn’t need to be a move and can just
happen through roleplay, or it needs to be stronger.

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Using Moves in Play To Do It, Do It

126 Avatar Legends: The Roleplaying Game

Chapter 5: Core Moves 127

When you try to honestly guide and comfort another person,

Offering life advice to a friend as you brew them a cup of tea,

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Begging a friendly innkeeper to hide you from the Fire Nation

Chapter 5: Core Moves 131

Swimming through rapids after a pirate ship, convincing some-

132 Avatar Legends: The Roleplaying Game

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134 Avatar Legends: The Roleplaying Game

When you trick an NPC, roll with Creativity. On a hit, they

Faking illness to draw a guard into your prison cell, dressing up

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At the end of each session, each player answers the following

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When to use Custom Moves

Chapter 5: Core Moves 143

• The move needs to trigger when attempting

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Chapter 5: Core Moves 145

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