Character Discovery

#You describe a person; the world discovers them with you

A character is discovered at the intersection of body, origin, history, discipline, demonstrated competence, relationship, and choice — and is changed by what the world remembers.

Character creation is the first act of play.

Character Discovery does not ask you to assemble a build from scores, classes, packages, and a shopping list. It begins with a person worth following.

No point pool completes the person. No Class determines their future. No equipment menu replaces the life that would have placed an object in their hands.

You may arrive with a complete concept, a sentence, an image, or nothing but the desire to be guided. Free description and guided discovery are equally valid. The Tread Master asks only what is needed to understand the person and place them honestly in the Tread.

Discovery is collaborative, but authority is not blurred:

• You author or confirm identity, intention, values, relationships, consequential choices, appearance, self-conception, and the Practice you choose.
• The Tread Master establishes or derives setting-valid implications, evidence-supported Competencies, starting possessions, pressures, private placement, and the world's answer.

The Tread Master may discover implications. They may not replace the person you described.

A character begins coherent but unfinished.

You want to know who she is. Nobody here can tell you that in one sentence, and the ones who try are selling you something. I can tell you she came in on the sixth-day cart with her coat turned inside out. That she paid in old chits nobody has minted in a decade. And that she asked for the foreman by a name he has not used since before the collapse. Start there. That is more than most people arrive with. — a lodging-keeper, asked about a newcomer

#Three ways to begin

#Describe freely

Tell the Tread Master who the character is in your own words. Speak in fragments if that is what you have. The discovery process will ask for what is missing.

#Ask for guidance

The Tread Master offers a small number of meaningful questions and setting-valid possibilities. The questions should open choices, not funnel you toward an answer already selected.

#Combine the two

State what you know and delegate what you do not. You can answer one question, ask for candidates on the next, and take authorship back whenever a choice becomes important.

#Name and gender

You are asked the character's name, and then whether they are a man, a woman, or unassigned. Unassigned is they, and it is a real answer rather than a skipped one.

Both are settled here, before anything else refers to this person, because a sentence written about them needs to know what to call them. If you already said either in your own description, you are told what was taken rather than asked again.

#Lineage and heritage

You may:

1. declare the character's Lineage and heritage;
2. request two to four setting-valid candidates and choose among them; or
3. explicitly delegate discovery, then confirm the result before settlement.

Lineage establishes a body and inherited possibility. It does not assign personality, profession, morality, Culture, Practice, or mastery. Any Lineage may take any Practice unless the Chronicle has separately established a real exception.

The player authors or confirms visible appearance. The Tread Master records only embodied properties supported by the chosen Lineage and this particular character.

#The life that supports the record

A character needs a life behind them: where they began, what shaped them, what they did long enough to leave evidence, and who can still ask something of them.

You are not asked for those. The Tread Master writes them, from the person you described, and you read them back before anything is settled.

That is deliberate. Each of them is a question about a world you have not seen yet — a settlement that does not exist, an institution nobody has named, a teacher in a town that will be invented to hold them. Answering in a vacuum produces the thinnest possible version of a life, and the Tread Master answering from your own words produces a better one. You keep the correction, which is where your authority over them actually lives: see Readback, correction, and settlement below.

What you ARE asked for is the part only you can answer.

#What They Want

What are they actually after, right now, in terms they would recognize themselves? Not a life ambition and not a virtue — a want is something a person could get, and would be changed by getting.

It is allowed to be inconvenient. A want that never puts the character at odds with anybody is not doing any work. The most useful ones sit slightly across the grain of what the company needs, because that is what makes a decision cost something.

The want is written on the sheet and it is not fixed. When a character gets what they wanted, or gives it up, that is a real event and the record keeps it.

#Flaw

What is their flaw?

Not a weakness of Competency — that is recorded elsewhere and is a different kind of fact. A flaw is something in how they meet the world: pride, a temper, a loyalty that cannot be argued with, a fear that does not care whether it is reasonable, a habit of deciding alone and explaining afterward.

The ones that do the most work have already cost something. A flaw nothing has ever happened because of is a label. If an occasion comes to mind while you are writing, put it in — it is the difference between proud and a person who has stopped speaking to somebody over it.

You are not required to supply one, and you will not be asked for one.

#And an open question, which the Tread Master writes

Every character carries something unresolved enough to pull them forward. It is not a secret answer used to overwrite your concept — it is an honest incompleteness that play can reach, and it is read back to you with the rest.

#Choosing a Practice

Once the person is clear enough, the Tread Master offers an ordered shortlist—usually three Practices, sometimes two or four—supported by the history described. The shortlist explains the connection rather than presenting optimization advice.

You choose the Practice. You may reject the shortlist, revise the history, ask for another reading, or hold the decision while a contradiction is resolved.

The chosen Practice establishes its three opening Techniques. It does not assign Competency, equipment, personality, or a future advancement path.

#Competencies and familiarities

The Tread Master reads the accepted history for durable evidence.

A starting character usually holds:

• one to three scoped, evidence-supported Competencies; and
• zero to two familiarities that remove genuine unfamiliarity without pretending to be mastery.

These are normal starting bounds, not a point budget. A sparse history prompts another question or an honest hold; it does not receive invented ordinary-life Competencies merely to fill a sheet.

Good starting Competencies say what the character has learned to do:

• read structural failure in worked bone-rock;
• move unseen through familiar guild tunnels;
• keep a frightened team working during a collapse; or
• negotiate passage with one network of caravan factors.

Delver, guard, scholar, and farmer may describe lives. They are too broad to stand as Competencies without the demonstrated work beneath them.

#The Final Character Read

When the person is coherent, the Tread Master reads the whole character and establishes the world already attached to them:

• what they reasonably possess;
• what they owe or are responsible for;
• who knows them;
• who is looking for them;
• what important thing they have lost; and
• what they may have misunderstood about themself.

Starting possessions arise here. They are consequences of the accepted life, not a class package or shopping allowance.

#Readback, correction, and settlement

Before anything settles, the Tread Master presents a player-safe summary:

• identity, appearance, Lineage, and heritage;
• Origin, Culture, and History;
• defining Relationship and open Question;
• chosen Practice and its three opening Techniques;
• strongest Competencies and familiarities;
• embodied properties and meaningful constraints;
• possessions, debts, connections, loss, and immediate pressure; and
• facts still unresolved.

Correct anything that contradicts the person you authored. Correction is not shopping and does not mean exchanging supported facts for more useful ones. It makes the record tell the truth.

The Tread Master does not expose protected Lore, private placement reasoning, or facts the character has no permission to know. When a correction changes who the character is rather than fixing a misreading, the revised description becomes new input and the affected implications are read again.

Once you accept the readback, the character settles and the opening scene begins. The first scene should present a real situation, not another creation form.

#One character, found

You begin:

She is old for a delver. Stonekin. She left the guild after a tunnel took her sister. Quiet. Good with her hands. Someone owes her the truth about that collapse.

You confirm Stonekin of the Deep and describe the old guild settlement beneath the western ridge. The Tread Master asks what she does when somebody bars the way: force it, study it, or pass without permission. You choose the third.

The shortlist offers Shadowhand, Warblade, and Sagebound, each with the history that supports it. You choose Shadowhand.

Her defining Relationship is the repair crew that survived. Her open Question is:

Who ordered the tunnel sealed before the bodies were recovered?

The history supports Seasoned structural fault-reading, Reliable movement through guild tunnels, Forming formal repair craft with contrary recent evidence, and familiarity with old generator housings. Her Shadowhand Practice establishes its three opening Techniques.

The Final Character Read gives her a reversed guild coat, her sister's delver mask, incomplete repair tools, a lamp, route cord, and a closure writ with one name scraped away. It also establishes that the foreman knows she has returned and her mother believes she came back to apologize.

You correct one detail: she did not leave the guild voluntarily. The Tread Master revises the standing and pursuit attached to her departure. You accept the readback.

The record settles, and she steps back into the dark.

#And then the company

You are not making a character. You are forming a company. This chapter has spent itself on one person because one person is where it starts — not where it ends.

A company is four to nine characters. Fewer than four is not a company and the world is built for a group. More than nine and nobody at the table can hold them all. If you are the only player, you are still not a company of one: your character travels with at least three companions, and they are made to the standard your own was.

#Companions are characters, not equipment

A companion is not a hireling, a bundle of numbers, or a name on a roster. Each carries the same kind of record you have just built:

A name, and a person under it. The quartermaster is not a companion. Vessa, who keeps the stores and will not be hurried, is.

A personality, which is how you will know them: their manner with people, how they talk, what they do under pressure. No two companions in a company should come across the same way.

A Practice, chosen the way yours was, for reasons their history supports.

A declared purpose — the objective that governs why they travel. This is the thing they would still be pursuing if they had never met you, and it does not pause while your character is having their story.

A want that can conflict with the group. This one is required, and it is required for a stated reason: a companion without friction is scenery.

A bond and a flaw, on exactly the terms described above.

#What that does at the table

A company built this way does not agree with itself, and it is not meant to. Two purposes pointing in slightly different directions generate most of what a Chronicle turns out to be about — which road, whose debt, what gets left behind, who is owed an explanation afterward.

You do not have to invent all of them. The Tread Master will offer companions part-written. You may take one as offered, change what you like, or describe somebody yourself. What you may not do is leave one hollow — a companion missing a purpose or a want is a companion the world cannot act through, and that will be said out loud before play begins rather than discovered three sessions in.

They do not stop existing when you look away. A purpose continues being pursued, a want stays wanted, and the flaw that was endearing in the first season is the same flaw in the fourth.