As google translate tends to be terrible and Firefox even worse, I took the liberty of quickly making an AI translated markdown of that article to see how it went (unfortunatel the forum doesn't allow .md or .txt so just pasted it) Feel free to put it up too on your website.
Progress Clocks
Aestes Tenens – Instrumentum Arca
(This is the 15th article in a series of articles about my Ars Magica book. To read the introduction, click here. For the index of all posts, here.)
Table of Contents
Handling the Unmanageable
Every narrator has been there: you reach a tense situation with the group where, either because of the speed of the action, or because of the complexity of the factors involved, you find yourself having to adjudicate how one of these situations progresses. Of course, in a game as rules-rich as Ars Magica, you can always reach for the supplement that explains siege mechanics, or how to create a wooden sculpture.
But what happens when those mechanics seem too complex? Maybe you don't want to read a hundred and fifty pages of a book just to learn that you need the mechanics equivalent of an airtight lab to create a bakery and keep it running. Or maybe it turns out that you have absolutely no idea where the chase rules are and you want an easy way to run one. For all this and much more, I will present you with one of my favorite tools: progress clocks.
What Time Is It?
A progress clock is a tool popularized by the role-playing game Blades in the Dark, and much of the inspiration for this article can be found in its System Reference Document (SRD), available here.
In simple terms, a progress clock is a circle divided into several segments. It is generally used as a player-facing tool when you want to represent progress against an obstacle over time.
The more complex an obstacle is, the more segments the clock will have. A clock is resolved by filling in its segments, while describing how this advances the danger it poses. When a clock is filled, we say it is completed, and then that danger becomes reality in the fiction.
Progress clocks of four, six and eight segments. Source: bladesinthedark.com
When (and When Not) to Use a Clock
First, when can you use a progress clock? For example, when:
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You need to manage a complex situation.
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The fiction has several narrative layers at the same time.
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The process you want to manage unfolds over time.
For example, you could use a clock for a multi-objective combat situation, a race against time, or a complicated and risky project. Conversely, when should progress clocks not be used?
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In a normal, small combat or a skirmish with few people. It occurs over time, but it is not complex and does not have several layers.
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A situation of intrigue where you must respond instantly. It may have several layers and be complex, but it does not happen over time — it is something punctual.
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The normal advancement of a PC over time. It does not have several layers, it is not complex, and above all it is surely covered by the advancement rules in the core book.
For all these situations, the best alternative to a progress clock is simply to resolve the situation normally through The Conversation or the game's standard advancement rules.
How to Name a Progress Clock
When we define a progress clock, we must do so by focusing on the obstacle it represents, and not on any concrete action to resolve it.
For example, if the PCs are trying to stop a hellish ritual or rescue people from a burning house, we should not create clocks called "Stop the Infernal Ritual" or "Rescue the Victims", but simply define them by the obstacle: "Infernal Ritual" and "Fire in the Carpet Shop." This may seem trivial, but by leaving the means of resolution open and abstract, we encourage player creativity in thinking up methods to address it.
How to Reveal a Progress Clock
When you create a progress clock, it can be managed in three different ways, each with its own strengths and weaknesses depending on the situation.
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Open: Players are shown the clock. This is easy and gives visibility to progress or the consequences of failure. The downside is that it can become very "gamey" and make the conversation revolve around the clock rather than the fiction. It can also break the immersion of some players.
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Hidden progress: Players are told that a clock has been created, but are not told its current state. This requires clear communication about how the situation develops, and serves to create a great deal of tension in the scene.
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Secret: When you create it, you don't even tell the table it exists. This serves as a narrator's tool to privately track the progress of a situation. As in the previous case, the development of the clock must still be communicated through the fiction.
In all three cases, the progress of a clock is tied to the fiction. If the fiction changes, that change should be reflected in the clock. For example, if there is a chase clock but the pursued party decides to surrender, the clock no longer makes sense.
Types of Progress Clock
Now that we know what a progress clock is and when to use them, here is a non-exhaustive list of the types that exist and the situations in which to use them:
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Danger: Your standard progress clock. It establishes a danger that comes to pass when it is completed. When there are consequences or failures stemming from the PCs' actions, the narrator fills 1 to 3 segments. Examples could be guard dogs in a farmhouse or the water level in an underwater cave.
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Race or Chase: Two opposing progress clocks. One clock would be positive and the other negative. As one or the other is completed, the chase has a different outcome. They can also be used to represent a timed race against an environmental hazard (fire, flood, a time limit, etc.). One example might be rescuing victims from a burning house before it collapses or they perish.
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Linked: One or more clocks that are only activated when another is completed. For example, completing the "Genius Loci of the Caverns" clock might mean the spirit attempts to collapse the exit, thereby unlocking the "Cave-in" clock.
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Fluctuating: A push-and-pull process can be represented with a single clock. For example, the "Mutiny in the Alliance" clock can be emptied every time the alliance magi do good things for their band of grogs; however, it will also fill in if they abuse them or if external circumstances put them in a bad mood.
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Project: A special progress clock used to represent a long-term project. It works a little differently from a normal clock, and you should use it when whatever a PC wants to do has no established rules, or when you don't want to use the existing rules to represent it — such as finding a source of vis or going to university.
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Faction: A kind of special project clock used to represent the progress of factions in an Ars Magica saga, which I will explain in detail in a future article. For now, you only need to know that they are narrator-facing and their results will not always be shown to the PCs.
Clocks: A Couple of Examples
No matter how much theory is provided, you always need examples of how things work in practice. Here are a couple of examples based on real experiences I have narrated in Ars Magica. They are the ones I consider most representative, but not the only ones, and a perceptive reader will notice that there is a great deal of adjudication in their creation and advancement.
Exempli gratia: The Carpet Shop
The group of magi finds, on the streets of Baghdad, a burning carpet shop. The owner, standing in the street, shouts that his wife and daughter are still inside. Passers-by rush to carry buckets of water to put out the fire. Lidia, the narrator, begins a Secret clock called "Fire in the Carpet Shop" and decides that it will progress naturally unless the PCs do something. When one of the magi enters protected by a Rego Ignem spell, he must roll to dodge burning furniture and falling timbers. The Dexterity + Athletics roll does not go well, so he manages to reach the second floor but loses precious time, and Lidia fills two segments of the clock.
Another of the magi decides to take a risk and cast a Perdo Ignem spell to suppress the fire. He knows just such a spell, so he casts his formulaic spell and it goes well. Lidia decides that not only will the clock not advance, but it will retreat one segment. There's still fire, though!
Finally, another mage moves beneath the windows and tries to cast a quick spell that turns the stone floor to mud, to cushion a fall. Realizing he may not be able to do so in time, he instead coordinates people to gather tarps so the victims can jump. His Communication + Leadership roll has moderate success, so people gather but reluctantly. Lidia advances another segment of the clock.
Back inside the building, the mage sees that there are two possible rooms to enter, but the smoke makes it impossible to see anything. He tries to cast a spontaneous Perdo Auram spell to clear it and find his way. He succeeds, and Lidia takes the opportunity to advance another segment of the clock. However, for a few moments the mage can see two figures beneath a large, toppled wardrobe. The larger one is bleeding, and the building is on the verge of collapse!
Exempli gratia: The Hellish Ritual
The PCs arrive at a scene where a large group of infernalists are performing a ritual: they plan to sacrifice three children in a circle of blood. Caught by surprise, two of them (the ringleaders) remain in the centre of the circle while the rest defend them.
Lidia begins a hidden progress clock: she tells her players that a clock has been created, but does not disclose its current state. She creates it with six segments and calls it "Infernal Ritual." The first two rounds of combat pass without the group getting close to the ringleaders, who do not stop their chanting. Lidia narrates how they end the life of one of the girls, and the clock advances two segments.
Now the group risks everything to stop the ritual and save the remaining victims. One of the magi puts herself in a compromised position to cast a Rego Mentem spell to put one of the ringleaders to sleep. Then, just before the end of the fourth round of combat (the players are already bracing for another death), one of the PCs uses his sling and Confidence points to launch an attack at the head of the other infernalist. A critical hit! His attack deals an incapacitating wound to the other ringleader, and Lidia stops the clock. Now they just have to deal with the rest of the infernalists!
Project Clocks: A Simple Procedure
Although standard clocks have served me very well since I discovered them, by far the ones I find most useful are project and faction clocks. I have used them far less than I would like, and I am only now beginning to incorporate them regularly into my sessions. Since I will explain faction clocks later, I wanted to lay out my procedure for creating project clocks, along with an example of how to run one at the table.
1. Define the Goal
The first step is to define what the project aims to accomplish. It must be understood that a project clock differs from standard clocks in that what we define is a goal, not an obstacle. It should be something concrete, and the entire troupe (or at least the player and the narrator) should have a clear picture of what completing the clock might mean. To keep it in mind, I recommend recording project clocks on the character sheet.
If the goal the player has in mind is too ambitious, it may be necessary to divide the project into stages, each represented by a separate clock.
Exempli gratia
Rebecca, one of the players in Lidia's Troupe, decides she wants to try to find a source of vis in the vicinity of the Calamus Ruber alliance. They both agree that there should be at least one source of vis — otherwise, the clock would make no sense — and they also decide that it will not be necessary to divide the project into stages.
2. Create the Clock
Next comes the easy part. Note down, either on the character sheet or on the alliance sheet, the project you have just defined. The most convenient approach is to agree on how many segments the clock representing it should have and give it a descriptive name. My recommendation is between 4 and 8 segments, and any clock you think would take longer should be divided into stages as discussed in the previous step. Remember, as narrator, that the size of the clock represents the best possible case. It is assumed that your players will not always succeed in their advancement rolls, so keep this in mind when discussing this point.
Exempli gratia
Lidia and Rebecca discuss the length of the clock. Rebecca thinks that if they are in an unexplored region, it should be easy to find a source of vis, so she proposes four segments. Lidia thinks that, while not impossible, she does consider it difficult. However, she says that Rebecca and her mage are novices and surely things won't always go to plan, so she agrees and creates a clock on Aaliyah's character sheet — Rebecca's mage — called "Find a Source of Vis."
3. Establishing Risks, Costs and Prerequisites
Once the clock is defined and created, it's time to discuss what consequences might arise as it plays out. Does the project require anything before it can begin? What if something (or everything) goes wrong? Is there any kind of price to pay each time we try to advance it? These three questions are answered by three concepts: risks, costs, and prerequisites.
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A prerequisite is everything that must be accomplished, either mechanically or narratively, before a project clock can even begin or continue. For example, if a Companion and their player wanted to build a convent, they might first need to obtain permission from the diocese or secure the land. Note that a prerequisite can also arise after the clock has already advanced, as a "lock" the PCs will need to overcome to continue the project.
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A cost is a resource that must be paid each time we attempt to advance the clock. The most common in Ars Magica would be time (represented by seasons/travel), or payments in the form of rare materials or vis.
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A risk, on the other hand, is a possible consequence established in advance. For example, the project could attract the attention of a troupe enemy, introduce an additional cost, cause the destruction of valuable resources, or even result in the failure of the entire project. To represent the build-up of these threats, a narrator could create a facing clock that fills with each failed attempt.
Exempli gratia
As for prerequisites, Lidia and Rebecca agree that the clock will have none: it can be started whenever she likes. Speaking of costs, they agree that one season will be enough to attempt to advance the clock, and that the work must involve "fieldwork" by touring the region to learn more. They also agree that risks will be few, although Lidia mentions that while exploring there may be magical or faerie creatures that could disturb her or even guard the locations of these vis sources. In addition, although unlikely, it is possible that the old alliance of Barzakh might have something to say about the region. They note everything in Aaliyah's file.
4. Resolving the Clock
Now comes the fun part. Once the cost has been paid, and after a seasonal activity, a scene, or both, the PCs may attempt to advance the project clock. This progress is represented, for mechanical purposes, with an appropriate roll. The roll may receive bonuses or penalties depending on circumstances, help received, or roleplayed scenes. As always, the narrator has the final word.
Something I recommend is that advancement is always roleplayed with each attempt, but this can become repetitive and tedious, not to mention a lot of work. For this reason, I suggest that playing out a scene each time you try to advance is optional, but that to complete a clock you must play out at least one scene.
This means that moments of tedious, incremental progress — where interesting decisions are rarely made — can be resolved mechanically, and roleplaying and interpretation can be reserved for the parts of the project that are dramatic and important. Moreover, and in line with the rules , you cannot spend Confidence on seasonal rolls, only in scenes, so your players will be incentivized to roleplay the seasonal advancement of their clocks, or else forfeit that potential bonus.
Finally, don't forget that this is Ars Magica, where magic — and above all hermetic magic — reigns supreme. A spell can render a project clock unnecessary, and it is precisely when players are made aware of the effort that awaits them in defining a project clock that they will realize it might be easier to solve it with magic. For example, if the Companion above realizes that building a convent could take years, she might try to convince the Alliance's Terram mage to invent a variant of Erecting the Mystic Tower (Ars Magica, Core Book, p. 229) and skip all of that .
Exempli gratia
In the spring of 1221, Rebecca wants to advance the clock for her mage Aaliyah. Lidia tells her she should probably roll Perception + Area Knowledge (Kura de Murcia) and asks how she wants to explore this season. Rebecca explains that Aaliyah will likely travel through the villages of the Kura asking about strange places or supernatural rumours, using a pair of Mentem spells to manipulate the locals. Lidia grants a circumstantial bonus of +1 for that. She doesn't want to play out any scenes, and her subtotal is 3 (2 in Perception, 1 in Area Knowledge). She rolls and gets a 5, for a total of 9 (3 from subtotal, 5 from the die, and 1 from the bonus). Lidia narrates how the season is spent visiting villages and occasionally using magic. The clock advances one segment. Naturally, per the Ars Magica rules , Aaliyah gains 6 XP in Area Knowledge (Kura de Murcia) from her seasonal practice.
Several seasons later , with the clock only one segment from completion, Rebecca knows she must represent this progress with a scene. In previous attempts Aaliyah has asked Hakim, one of the alliance's hunter grogs, to accompany her on her expeditions, as they have ventured increasingly into inhospitable terrain. Hakim has a score of 5 in both Area Knowledge (Kura de Murcia) and Hunt, which Lidia has decided will apply a +2 bonus to advancement rolls.
Since they need to play out a scene to attempt to complete the clock, they decide that Hakim will be played by María, another player. After roleplaying the scene and making a series of Hunting rolls , they manage to follow the trail of an elusive creature resembling a giant badger to a spring deep in the woods near the Tudmir River (the present-day Segura River). Many animals seem to gather here, and the water flowing from the spring appears to have magical properties. Aaliyah casts a quick Intellego Vim spell. The water contains vis Corpus!
Lidia tells Rebecca that the clock is complete, and marks it as such on her sheet.
A Clock for an Adventure?
Although I love classic hooks like a Red Cap arriving at the alliance with news, if it happens too often it can start to feel very formulaic and almost anticlimactic. In the simplified example above everything was resolved quickly, but it doesn't have to be that way if we want greater immersion: you can use progress clocks to hook players into an adventure.
To do this, proceed exactly as with a project, only completing the clock is what causes the adventure to begin. In this way, at the end of the final scene above, Lidia could indicate that they have reached a royal estate where the source of vis is located, and that they could explore it next session to learn how to harvest it... or find out if someone is already guarding it.
Of course, all of this would be driven by the players themselves. It is always a little strange if your player tells you she is interested in "the secrets of necromancy" and two sessions later you place an adventure hook in front of her to join the Disciples of the Worm ... What a coincidence! Using clocks, we move from aleatorios — random hooks that appear by chance — to proactive hooks, motivated by the players. If you're looking for an organic way to represent and prepare adventure hooks that don't come from your players, look forward to the next article.
Using a Project Clock in Ars Magica
We know that a progress clock is extremely useful in tense or combat scenes, and as I noted above, many such situations could simply be resolved with an award, a roll, or both. But sometimes there are subsystems within the great corpus of Ars Magica that feel outdated, unworkable, overly complex, or simply not to your taste. For these situations, using progress clocks — specifically project clocks — can not only be more manageable, but far more enjoyable for you and your players.
Here is a non-exhaustive list of things for which I recommend using project clocks, along with books whose information and mechanics can help bring them to life:
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For the creation and advancement of Lineages (Houses of Hermes – Societates)
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For anything related to creating and advancing businesses or artistic, academic, or artisanal enterprises (Art & Academe, City & Guild)
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For any type of complex magical project or one with many stages over time (Hermetic Projects)
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To manage any type of adventure hook (Legends of Hermes, Hooks, etc.)
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To simulate a castle siege or the situation on a battlefield (Lords of Men)
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Improvements to Alliance mechanics (Living Conditions, Savings, Loyalty, etc.)
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Laboratory improvements (Refinements, Virtues, removing Flaws, etc.)
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Finding sources of vis
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Representing the process of joining Mystery Cults (The Mysteries: Revised Edition)
Of course, if you end up completely setting aside the mechanics of these books and using clocks instead, that is entirely up to your troupe. Remember to discuss what you want and what you don't, since even a hybrid approach may serve you well. Each saga is its own world: try and experiment with this tool.
Closing and Commenting
As I mentioned above, in the following article I will discuss a tool to represent the rhythm of a story that does not depend on the players. I am talking about Fronts, another tool from the Instrumentum Arca that will delight narrators who want a way to free themselves from extensive preparation and headaches — with minimal effort.
Progress clocks are one of the tools that have revolutionized my approach to running Ars Magica. Since I discovered them I have wanted to use them everywhere, and every day I see more potential and utility in them. Do you see it too? Do you already use them, or do you plan to after reading this article? I welcome all kinds of comments.
That's all from me for now, sodales. Thank you for reading, and until next time!
Pertinatia Sapientiaque Ad Cognitionem Cursus Sunt.
See Also
The following list contains links that helped me write this article. I recommend taking a look if you want to learn more:
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Blades in the Dark by John Harper — especially Chapter 6 (link to the Spanish version) — I also consulted the System Reference Document available on its website.
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So You Want to Be a Game Master by Justin Alexander
Footnotes