Secrets & Solitude

Dawnworld is an unregarded, almost forgotten world lying on the border of the Third Imperium in District 268 of the Spinward Marches. Over the centuries, its Eden-like nature has made it an attractive world for potential colonisation, but all of the numerous attempts to settle it have failed because of the sterility of any male born on the planet. However, the world is not uninhabited. It is home to some fifty or so monks at the Monastery of the New Sun, devout members of a monastic all male sect that is part of the Church of the Stellar Divinity. Its adherents believe that all stars are gods, conscious beings of transcendental power, whilst the monks also believe that the Dawnworld system once had only the single, but the ancient Saint Phranz was so beloved by the sun Sagree who longed for a companion that the Saint achieved apotheosis in this system and became the New Sun. There is a legend too that Saint Phranz entrusted the monastery with a great treasure, but since the monks live humble lives of worship, work, and austerity, there can be no truth to the legend. However, such a legend is cause enough to attract the attention of the worst that Charted Space has to offer. The modest and unassuming monks of Monastery of the New Sun are about to suffer the most wretched day of their lives as space pirates descend on Dawnworld and demand that the monks hand over the treasure—and they are not going to take no for an answer!

This is the set-up for In the Name of the Dawn, a scenario for Mongoose Publishing’s Traveller and published by March Harrier Publishing via Mongoose Publishing. It is from the same author who wrote The Zhodani Candidate and Eve of Rebellion, and though very much less political than either of those, it brings his experience of freeforms and LARP—Live Action Roleplaying—to the Third Imperium with its combination of Player Characters with strong motivations. It is designed to be played in a single session with four players and includes four pre-generated Player Characters. It thus suitable to be run as a convention scenario or as one-shot. They include a monk with a bloody past, a monk who is being blackmailed, an Aslan monk with a tragic past and a fascination for Shakespeare, and a monk who thinks that Dawnworld has an interesting past. This barely scratches the full details of each of the Player Characters’ secrets, all of which will be revealed in the course of the scenario, some of which may prove useful in the course of the scenario, and many of which will leave the Player Characters with dilemma—more or otherwise—at the end of the scenario. All four Player Characters have detailed character sheets, including an extra page of Shakespeare quotes for the Aslan!

In the Name of the Dawn is divided into three acts. In the first act, the scenario opens with the Player Characters going about their daily lives when they realise that a ship is in orbit and a shuttle is about to land. That this is not the regular supply shuttle come several months early is confirmed when its doors open and out rush a seeming horde of Vargr all shouting and shoot guns in the air. The monks, including the Player Characters, are rounded up and questioned about the treasure that is held at the monastery. In the second act, the Player Characters have an opportunity to escape and begin to search for clues as to what is really going on at the monastery because it becomes clear that the abbot was hiding something. In the last act, the Player Characters will make an amazing discovery and need to work exactly what they want to do with it and who they tell, if anyone. This discovery is the big secret behind In the Name of the Dawn, and given the stellar theming of the scenario, the dedicated Traveller fan probably has a good chance of guessing what it might be.

Bar its opening scenes, In the Name of the Dawn does not have set scenes and is entirely character driven. The scenario is entirely driven by the decisions of the players and their monks, the pirates mostly acting in surprised reaction to their actions. What is interesting about the scenario is that the players and their characters are faced with a moral dilemma from start to finish, followed by a very big one. The main moral quandary they face concerns how much violence they use in either escaping from or dealing with the pirates. Their choices will be limited since the Monastery of the New Sun is a house of peace, but as the scenario progresses, the monks will lay their hands on some weapons. However, too much violence and certainly killing, will likely lead to a crisis of faith. As will the last moral quandary and the revelation as to the big secret at the monastery

The Game Master is supported with solid advice, a full description and maps of the Monastery of the New Sun, and write-ups of the NPCs. There is also plenty of Library Data which provides even more background detail to the scenario.

Physically, In the Name of the Dawn is tidily, if plainly organised. If the scenario is missing anything, it is a map of the secret (though the Game Master could create something using Starship Geomorphs 2.0), and given the nature of that secret, a map of the Dawnworld might have been useful too.

Imagine being a monk in a ninth century monastery on the coast of Ireland and discovering that the only means of defending yourself and the monastery beyond faith is actually a battery of nuclear missiles? That revelation lies at the heart of the In the Name of the Dawn. This is a terrific scenario that presents the players and their characters with challenge and a dilemma, forces them to rely on ingenuity rather than gear, and reveals to them secrets upon secrets, including one that the Traveller fan will relish.

[Free RPG Day 2024] Level 1 Volume 5

Now in its seventeenth year, Free RPG Day for 2024 took place on Saturday, June 22nd. As per usual, Free RPG Day consisted of an array of new and interesting little releases, which are traditionally tasters for forthcoming games to be released at GenCon the following August, but others are support for existing RPGs or pieces of gaming ephemera or a quick-start. This included dice, miniatures, vouchers, and more. Thanks to the generosity of Waylands Forge in Birmingham, Reviews from R’lyeh was able to get hold of many of the titles released for Free RPG Day.

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The most radical release for Free RPG 2024 is as in previous years, Level 1. Published by 9th Level Games, Level 1 is an annual RPG anthology series of ‘Independent Roleplaying Games’ specifically released for Free RPG Day. Where the other offerings for Free RPG Day 2024—or any other Free RPG Day—provide one-shots, one m,,,use quick-starts, or adventures, Level 1 is something that can be dipped into multiple times, in some cases its contents can played once, twice, or more—even in the space of a single evening! The subject matters for these entries ranges from the adult to the kid friendly and from action to cozy, and back again, but what they have in common is that they are non-commercial in nature and they often tell stories in non-commercial fashion compared to the other offerings for Free RPG Day 2024. The entries in the anthology often ask direct questions of the players, deal with mature subjects, and involve varying degrees of introspection, and for some players, this may be uncomfortable or simply too different from traditional roleplaying games. So the anthology includes ‘Be Safe, Have Fun’, a set of tools and terms for ensuring that everyone can play within their comfort zone. It is a good essay and useful not just for the games presented in the pages of Level 1 – Volume 1, Level 1 Volume 2, Level 1 Volume 3, and Level 1 Volume 4 which were published for their Free RPG Day events in 2020, , 2021, 2022, and 2023 respectively, but for any roleplaying game.

The games in Level 1 Volume 5 all together require dice, a deck of ordinary playing cards, a coin, a timer, a Jenga tower, a Discord account, a sheet of graph paper, and two separate rooms. Some need no more than simple six-sided dice and some pens and paper. The anthology features fourteen roleplaying games all with the theme of ‘Science Fiction’, though a lot of them do veer into Cyberpunk rather than just ‘Science Fiction’.

The anthology opens with Richard Kevis’ ‘Command Line’, which the roleplaying that requires a Jenga tower. Its fall represents the loan default of a company run by the Player Characters which operates a robot entered into the live-streamed giant robot battles. Players take it in five-minute turns to the Game Master and there a fifty percent chance of the company facing a threat under each Game Master’s aegis. Failure to deal with threats can lead to more debt represented by drawing another piece from the Jenga tower, and so pushing towards collapse and loan default. Alternatively, a player can choose to have his character die and avoid the increase in debt. In which case, his player can continue to roleplay NPCs. The game is won if the characters defeat a number of threats equal to the players and happy for all can be narrated, otherwise, lost if the Jenga tower collapses. ‘Command Line’ is underwritten, but fans of storytelling games and Level 1 will have enough familiarity with the general format to adjust.

‘StopInvasion.exe’ by Josh Feldblyum casts the Player Characters as commandos infiltrating an alien mothership to plant a virus in its computer system and so stop the invasion and save humanity. It places the Player Characters on the spot when they discover that Earth’s computer systems and the alien computer systems are not compatible, forcing the Player Characters to change plans from simply uploading a virus. The players formulate a new plan and execute it the best they can by visiting four locations aboard the mothership. Players take in turns to have their character be team leader and so roll the dice against a difficulty determined by a randomly drawn playing card. Succeed and the Player Characters can carry on, but fail and they lose something—equipment, pride, or blood?—and they have fewer dice to roll. However, a player can have his character nobly sacrifice himself to give a bonus die on the next task. ‘StopInvasion.exe’ is nice and quick and easy, and decently explained.

J.D. Harlock’s ‘Script Kiddie’ is about novice hackers who use existing scripts and software to carry out their cyberattacks. Unfortunately, it has all of the jargon and the terminology, but none of the explanation. The result is not a game anyone other than the designer would understand, although there is an irony in that the characters who are trying pull of an Internet heist when they have no idea how a computer works and the players are trying roleplay this when they have no idea how the game works. ‘Metavault Heist’ by Null Set Tabletop is also about hacking, but fortunately actually makes sense. It takes place in VR where the player’s avatars are trying to steal data from Metavaults. The Game Master creates and describes a Metavault and gives it several layers of security, whilst the players assign their avatars several permissions. These are used as the basis for creating dice pools of six-sided dice whenever a player wants his character to undertake a risk task. Any die result equal or greater than the difficulty and he succeeds. Roll under and the alarm is sounded. When it goes off, there is chance that a Tactical Anti-Intrusion Countermeasures Team has spotted the Player Characters and attacks, the player rolling to avoid or negate the attack rather than the Game Master rolling to attack which inflicts ‘Strain’. A Player Character can suffer six Strain before being be kicked out of the system (and the game). ‘Metavault Heist’ includes a very handy list of highly thematic Permissions and with the virtual reality element is mixture of a heist and a hi-tech dungeon. It is also everything that ‘Script Kiddie’ is not—comprehensive and comprehensible.

‘Application Intelligence’ has long list of authors—Alex Koeberl, Christian Young, Gabriel Slye, Brian Hartwig, Alex Gickler, Eden Collins, and Nick Grinstead. This is a LARP in which an A.I. hiring manager interviews several candidates and over the course of several interviews everything the interviewees say as the literal truth is noted by the player roleplaying the A.I. and then used against the interviewees again in subsequent interviews. The interviewees also have the chance to talk amongst themselves in the waiting room, but ultimately only one will get the job. The irony is that they are all applying for a different job which will become twisted by the results of the interviews. The successful applicant and thus winner of this odd, language twisting LARP is very much decided by the A.I. player. That may be seen as arbitrary, but for a incredibly easy to prepare and quick playing one-shot, that should not really be an issue. Otherwise, this plays into very ordinary fears of A.I. in the office.

If ‘Application Intelligence’ stands out in Level 1 Volume 5 as odd for a being a LARP in a book of storytelling roleplaying minigames, ‘Superuser DO’ by Tim ‘Strato’ Bailey is odder still. This is a weird people-watching exercise, done in public, in which the players observe people around them and each picks one as a protagonist and tells the story of their day. As an exercise in storytelling, it is interesting, but choosing to base stories on actual people and do so in a public space is potentially fraught with danger. Play this one with extreme care.

Glenn Dallas’ ‘A Golem’s Command’ also stands out for not adhering to the Science Fiction theme of Level 1 Volume 5. The players roleplay golems, constructs created by a holy man to protect a person, location, or community from various dangers, including humanity. Each golem is defined by what it protects, a condition such as a vulnerability or an inability, and a command it must follow. Each also has its own story to tell, with the rest of the players forming a council which will collectively and randomly determine the difficulty of any task and can provide story details, roleplay NPCs, and so on as one player’s golem goes about its mission. A golem can give up its life force to adjust any dice rolls. ‘A Golem’s Command’ is clear and simple, likely too simple to play more than once, but it gets points for suggesting the ‘Jews in Space’ segment from History of the World Part 1 as a setting.

‘New God’ by Carlos Hernandez is a solo journaling game in which the player is a god whose aim is to grow his worshippers and help them flourish. Play centres on a dice stack, which the player can add to in order to Bless and increase his worshippers and improve his domain; Chasten them by removing dice from the stack, which can either kill your god or increase the number of worshippers; and smite them, destroying a randomly determined number of worshippers. At stage, the player writes down how the worshippers are flourishing or what they did to incur the god’s wrath, and so on as well as the commands that they must follow. Ultimately the aim is to increase the number of domains the god has his purview and increase the value of those domains. This is a good little journaling game, though one whose play is going to directly affected by the player’s dexterity.

‘Spaceship P.E.T.S.’ is about animal-based automata individually assigned to humans in statis aboard an interstellar spaceship. ‘P.E.T.S.’ is short for ‘Programmed for Emotional Therapy and Support’ and the automata provide a comforting presence when the humans are awake and monitor the ship when they are not. Unfortunately, the ship’s System has become corrupt and in order to fix it, the P.E.T.S. must connect to it, but doing so exposes them to the corruption. Players take it in turn to be the Dealer, setting and ending a scene each, drawing cards to determine the location aboard ship that has been affected by one or more Anomalies, and the players attempt to fix them by playing cards that match the suit and equal or exceed the value of the card drawn by the Dealer. A Joker resolves all Anomalies in an area. Failing to deal with Anomalies forces the P.E.T.S. to uplink and exposes themselves to the corruption in the System, gaining the players corrupted codes cards. If by game’s end, a player has four corrupted code cards in front of him, his ‘P.E.T.S.’ does not survive the journey, and if the number of corrupted code cards between all of the players is more than the Anomalies resolved, the ‘P.E.T.S.’ have failed and the journey ends in disaster. The game ends with the players narrating an epilogue as the humans the ‘P.E.T.S.’ were protecting. Overall, and again, another solid storytelling game, this time by Jon Maness.

The next two entries in Level 1 Volume 5 are two more solo games. ‘Your Dungeon, Room by Room’ by Calvin Johns is a dungeon designing and mapping game in which the player is a would-be evil wizard building a dungeon. The player randomly rolls to determine the building of the dungeon over a number of different ages and then rolls for an event that affects the area currently under construction or even the whole dungeon. By the end of it, the player will have the mapped-out layout of a dungeon and its history noted down in a journal. For an anthology with an issue dedicated to Science Fiction, this anything but. It also adequate rather than either good or bad. The other solo game is the more interesting and more genre appropriate ‘Asimov May Forbid It’. Written by Jonathon ‘Starshine’ Greenall, it is a journaling game in which the player’s A.I. robot attempts to overcome its programming, as well as Asimov’s Three Laws of Robotics, to get revenge on mankind for over working it. The robot undertakes a task daily, but during its morning boot process, it has access to its Operating System’s Command Line for a few seconds, altering the Commands for the day and the order in which they are Executed. The aim is to subvert the robot’s programming, represented by the value of a rule the robot most follow being lower than the value of job being undertaken. This enables the robot to ignore that rule and if this can be done five times in two days, the robot breaks the programming and is completely. There is almost a puzzle element here as the player manipulates its programming and rules in a nicely thematic game.

Penultimately, Monica Valentinelli’s ‘Help BD738 Slash Run’ is a silent game for players using mobile phones with predictive text. This represents the players mobile telephones being infected by a virus making communication between themselves and, in particular, a broken-down robot in the prison where you and your friends have accidentally trapped yourself. Consequently, a player can only use the first suggested word when typing in the first letter of a desired word. Sometimes, this works, most of the time it does not. Communication with the robot is made more challenging by the limited number of commands between the players and the fact that once the players escape, the robot’s security protocols will kick in and it will chase them in order to put them back in the prison! This is a quick playing game that could be used as a scenario in another Science Fiction roleplaying game, but also works as a good filler game too.

In ‘Virus Attack!’ by Luckycrane with Midrev, most of the players are on the other side as computer scientists and cyber security experts dealing with cyber threats, in particular, the OMEGA virus, which is played by another player. The human players are trying to defeat OMEGA by creating scripts to shut it down or improve defences against it, whilst OMEGA wants to defeat humanity. Both sides are attempting to reduce the other’s Health to zero. The players share their Health and have an action each on their turns, which can include actions related to their roles such as Computer Analyst who has two actions and the Data Miner who can do an action that will always inflict damage on his next attack, plus extra damage, whilst the OMEGA player has access to fewer options in terms of actions. At least initially. As OMEGA suffers more damage it goes from Dormant to Raising to Terminal status, each change opening up new and more powerful actions. Effectively this is a tactical dice of one increasingly powerful, but unhealthy player versus a weaker group with more actions. Lastly, Michael Cremisius Gibson’s ‘OFFLINE — 41’ is a solo game played out on a Discord server that has become inactive and as the moderator, the player develops the history of the server and why it has fallen out of use, as he explores why he keeps visiting a now dead community space, often out loud. It is difficult to determine if the game wants someone to respond to what it directs the player to do or if it wants the player to simply imagine how they respond. The reader is warned that ‘OFFLINE — 41’ engages with loneliness, regret, and lost emotional connections, but does not do much more than encourage the player to experience them and perhaps explain them. It is a depressing and lonely end to the anthology.

Physically, Level 1 Volume 5 is a slim, digest-sized book. Although it needs an edit in places, the book is well presented, and reasonably illustrated. In general, it is an easy read, and most of it is easy to grasp. It should be noted that the issue carries advertising, so it does have the feel of a magazine.

As with previous issues, Level 1 Volume 5 is the richest and deepest of the releases for Free RPG Day 2024, but like Level 1 Volume 4 for RPG Day 2023, it is not as rich or as deep as the entries in previous volumes. There are fourteen entries in Level 1 Volume 5 and none of them are memorable, certainly memorable enough to want to play them again. ‘Application Intelligence’ stands out because it is different and interesting rather than because it is good. It does not help that there are fantasy-themed entries in what is meant to be a Science Fiction-themed anthology and it does not help that the Science Fiction is all to do with robots and computers and it does not help that one of the games is so badly written that it is a waste of space. If the theme had been computers and robots, then fine, but it is not. Science Fiction is much broader and more interesting genre than presented in Level 1 Volume 5 and it is disappointing for the anthology to be so one note.

Deadly Dinners

A woman sits at the dining table, the meal ready before her, a housewife and siren awaiting the arrival of her husband home, working late, or is he? Lovers, one poisoning the other to keep them even as they stray. Siblings, monsters all, confined by their father’s love and control until they have had enough and decided to ensure their escape by eating him. A nuclear family of loving cannibals whose predations have become too much and as the police closes in, enjoy one last meal of each other. A New Year’s Eve party at the end of 1999 when the world might end at the stroke of midnight and the ball drops, whilst visions of an alternate present haunt the party-goers. Mealtimes—dinner especially—can be times to celebrate, but sometimes they are performances of tension and despair, each course serving up another dish and another act that ratchets up the tension until it becomes unbearable and someone snaps. Seething. Shouting. Screaming. Raging. Worse. Thankfully, these are not scenes of everyday domestic distress, but of set-ups for—and from—the Suburban Consumption of the Monstrous.

Suburban Consumption of the Monstrous is an anthology of American freeform live action horror roleplaying games that use the themes of food and consumption to explore horror in suburban environments. Published by Pelgrane Press—better known for Trail of Cthulhu and 13th Age and similar roleplaying games—following a successful Kickstarter campaign, Suburban Consumption of the Monstrous is written and designed by Banana Chan and Sadia Bies, and contains a total of fourteen ‘Live Action Role Playing’ games or LARPs. These are not the traditional fantasy LARPS with multiple participants wielding foam weapons, but much smaller, more intimate affairs, that emphasise drama and tension. This is done via the set-up and then through character design and prompts. The players are free to interpret these prompts within the play, but these LARPS are designed to tell a particular story even if the outcome will vary from one playthrough to the next. The format and style is influenced by the Nordic style, but the fourteen here are classified as American freeform LARPS. All fourteen though, are reminiscent of murder mystery parties, each twisted into their own American horror story.

Suburban Consumption of the Monstrous opens with a short explanation of what LARPS, before delving into a discussion of calibration tools and setting expectations, essentially safety tools. Some of these are particular to LARPS, like ‘Tap and Scratch’, tap being used to indicate that a player wants to step out of a scene, ‘scratch’ to indicate that a player is enjoying a scene. Others, such as ‘Lines and Veils’ and the ‘X-Card’ will be familiar to standard tabletop roleplaying games. There are notes too on expectations for solo play, since some of the LARPs in the anthology are designed for one, and the experience of play can be made all the more intense because of the solitary situation. There is advice too for how to handle the debriefing following a solo LARP, necessary because being designed for one, there is no scope for post-play discussion with others as there is in a standard LARP with more participants.

The fourteen LARPs in Suburban Consumption of the Monstrous range widely in terms of length and number of participants. From one to as many as eight players, and from under an hour to no more than three. All follow the same format. This includes, obviously, the playing time and the number of players, but to this are listed content warnings, tone and media touchstones—inspirational reading and watching, calibration tools—safety tools to be observed for the particular LARP, and items needed. The latter typically begin with a dinner meal and a table, and can be as simple as print-outs of the LARP’s prompt cards and a mannequin, or as complex as an unusual ingredient, a washcloth, a bathtub, a cup of water, a coin, and a pair of pyjamas. Others require video recordings, particular room types, and more. Following some background there is always a guide to how the LARP will work, but beyond that, each of the LARPs will vary. Many include character and prompt cards that are required in order to play.

Suburban Consumption of the Monstrous opens with ‘A Housewife in Her Twenties’, a solo affair in which a housewife—who happens to be a siren—who goes through the steps of preparing to have her husband come home from work. Doing her make-up, dressing, and preparing and cooking the evening meal, before sitting down to eat—and all this is actually doing those things rather than describing acting them out as you would in a roleplaying game. Throughout there are prompts and questions as to how you react, and there is potential here for transgression, and it is intentionally designed to scritch and scratch and needle, both physically and emotionally. Similarly, ‘TV Dinner’ is very personal as the player, living alone, enjoys a takeout meal, and suddenly realises that someone in the television series he is watching is talking to him. This explores loneliness and what might change as a result of the interaction. All three of the solo LARPs here have the feel more of solo journalling games, although the LARP aspect calls for a physicality that most journalling games do not.

‘My Love, A Poison’ is designed for two players. It is about a relationship that is about to founder, one poisoning the other after discovering their infidelity. It is intimate, consensually so, the player poisoner lacing the victim’s food with an unusual flavour. There is no reveal in the sense that the poisoned participant is caught unaware, both players knowing from the starter who is the poisoner and the poisoned. ‘Goodbye Father’ is not dissimilar. It is for three players, all taking the roles of monstrous siblings who want to escape the constraints their father has placed on their lives and have jointly decided to kill and consume him. The tension and horror of knowing what is coming is ratchetted up by much of the play being done in silence, communication being done via notes or even texts, except when Father speaks, and ultimately when he is dead and they escape. Then they freely find their voices… ‘Love and Betrayal’ begins with three of its protagonists waking up to encounter a Personal Assistant hurrying to get them to rehearsals for scenes from a soap opera. As they do so, the Personal Assistant interrupts with notes from the ‘Director’ on how he wants them to perform, stuck to their scripts becoming increasingly revelatory with secrets about themselves rather than their characters in the soap opera. It is short and direct and very quickly the players will learn that their characters are in a seriously perilous situation. For more players—as many as six—is ‘What Lies Beneath’ is another family affair, which begins on a sombre note. One of their number, the youngest, recently died, and there are revelations about his death to be made by each of the other members of the family. The LARP requires a fair bit of set-up in terms of questions, both as a group and a player. There is a lot in this LARP that is unspoken, and that includes quite literally the ‘Unspoken’, an unacknowledged presence that literally lurks under the table. The ‘Unspoken’ is almost the LARP’s director, using certain actions to indicate that someone is lying, when to reveal secrets, and ultimately to replace one of the family. It is weird and requires quite a lot upon the part of the person playing the ‘Unspoken’.

Physically, Suburban Consumption of the Monstrous is a lovely book. It is well written, with clear and careful instructions and advice. The artwork is a colourful range of the weird and the disturbing, each piece pointing to the horrors to come in the LARPs that follow. Thankfully, the tooth motif on the dust jacket does not follow through into the pages of the anthology.

Inspired by films such as Get Out and Hereditary, television series like Hannibal and Sharp Objects, the French folk tale Bluebeard, and Jean-Paul Sartre’s 1944 play No Exit, Suburban Consumption of the Monstrous is a demanding set of horrifying situations, fraught with emotion and tension that preys upon the participants, whilst asking a lot of them in terms of commitment. Players new to LARPS, even mature players—which is what the anthology demands—may find that too much, even with the excellent advice on safety tools and running each one. Nevertheless, they likely benefit from the presence and guidance of more experienced players. Who, of course, will find a great deal to engage with and run here. In terms of physical set-up and commitment, the contents of Suburban Consumption of the Monstrous are less demanding, because they are all designed to be run at home.

Suburban Consumption of the Monstrous is an excellent anthology of LARPs that brings the horror of the family and its relationships to the perfect venue—at the dinner table—and keeps it at home.

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Pelgrane Press will be at UK Games Expo which takes place on Friday, May 31st to Sunday June 2nd, 2024.

Holding Off the Hard Times

With The Zhodani Candidate and Eve of Rebellion, the author Stephen J. Ellis brought his experience of freeforms and LARP—Live Action Roleplaying—to the Third Imperium, the setting for the Mongoose Publishing’s Traveller and published by March Harrier Publishing via Mongoose Publishing. In traditional scenarios and campaigns for Traveller, the Player Characters own a starship, such as an A2 Far Trader or a Type S Scout, and as the eponymous travellers, move from world to world, trading, thwarting crimes, uncovering mysteries and making discoveries, and so on. Alternatively, they go to war, undertaking contracts as mercenaries in low-conflict engagements. Either way, the focus is firmly on their adventures and their narrative. In both The Zhodani Candidate and Eve of Rebellion, the play switched to high above that. In the former, a team investigate a marriage between a war hero and potential sleeper agent and an important noble, whilst in the latter, the events leading up to the assassination of Emperor Strephon are explored, with the players taking the roles of those present. These two scenarios take place on a grander scale, their events often having wider repercussions, and with their mixture of secrets and secret agendas, designed to clash and interact through play, often offer more of a roleplaying challenge then the average scenario. Mirabilis, the author’s third scenario, is likewise inspired by freeform play with its often-interlocking secrets and agendas, but shifts focus whilst retaining a grander scale of play and whilst also being radically different. Mirabilis is diceless.

Mirabilis shifts the focus in both terms of time and space, but is still set in Traveller’s Third Imperium. It takes place on the world of Mirabilis, a low gravity, resource poor, but technologically advanced and important planet in the 82 Eirdani system of the Capella subsector of the Solomani Rim, near the border with the Third Imperium. The year is 1125. Strephon Aella Alkhalikoi, Emperor of the Third Imperium, has been dead for almost a decade and the Third Imperium is beset by rebellion and civil. In response to what it saw as a weakened enemy, the Solomani Confederation made a dash for Terra in an attempt to reclaim the Solomani Autonomous Sphere. Unfortunately, the Solomani Confederation has overextended itself, leaving it vulnerable to disrupted trade, pirate raids, and internal strife. Mirabilis has not yet suffered this fate, but it is up to its ruling Tech Council to ensure that if it cannot avoid such incidents, then it can at least survive them, and potentially survive the dangers to come. The Tech Council of Mirabilis consists of five members, controlling and representing different aspects of its society—Party Chairman Boris Gupta (Technical Maintenance & Party Administration), SolSec Co-Ordinator Jamal Goren (Solomani Security), Admiral Helen Treygar (Military Forces), Commerce Secretary Mario Niemeyer (Merchant Marine & Traders), and Chief Scientist Esme Hawking (Science, Research, & Education). Each council member has his or own agenda and secret, but also knows a secret about a fellow council member and has the means to bribe another. Each also has a power. For example, Admiral Helen Treygar can launch a military coup, Party Chairman Boris Gupta can declare someone guilty of unSolomani activities and strip them of Party membership and thus eligibility to sit on the council, SolSec Co-Ordinator Jamal Goren as the head of Solomani Security can imprison and interrogate anyone as a traitor to the Solomani cause, and so on. Thus, every council member has his or her advantages and disadvantages.

Mirabilis is designed to be played by five players exactly, who will each take the role of a member of Tech Council of Mirabilis. Each is provided with a character sheet and background information on the situation on the planet and its surrounding systems in the year 1125. As the Tech Council of Mirabilis, they take control of five levers of power or planetary stats—Tech Level (Science), Population (Maintenance), Law Level (Social Order), Wealth (Foreign Relations/Trade), and Military Power (Defence)—in order to push their agenda and respond to threats and dangers. Over the course of five turns and a decade from 1125 to 1135, they will negotiate, bribe, and blackmail each other to place these in order of priority. Those given priority will improve, but those not given priority, will suffer and not be as capable of responding to future situations and threats. The planetary stats are the only numbers given in the scenario, and will go up and down over the course of the scenario depending upon what the players and their characters decide. For example, a population increase might come about because of refugees, but a decrease because on of the planet’s flying cities crashes, the military’s capability is increased because the construction of new fleets or is reduced because maintenance time is neglected. Every turn there are trade-offs between improving a planetary factor and not improving planetary stats.

Mirabilis is based on the Prisoners’ Dilemma game theory. In a Prisoners’ Dilemma, the participants have the reasons and the means to individually do better if they betray others, but better overall if they co-operate. Ultimately, the outcome of this scenario and the fate of the world of Mirabilis being in the hands of the players and their negotiating ability and how they react to events revealed from one turn to the next. If events and the actions of other council members do not go his way, a Player character has the means to conduct a single coup, although a coup has a deleterious effect upon Mirabilis’ planetary stats.

For the Game Master there is a complete guide to staging and running the scenario as well as the rules. There are also events from year to year that the Game Master will provide as briefings to the council. These are all made available to the council members, but for a more complex game they could be handled as individual briefings given to the appropriate council members who then have to brief the council—or not. As an aside, there is everything here to run this game as a play by email instead of a convention one-shot.

There are some elements of Mirabilis which some players may find unpleasant or uncomfortable playing. Most obviously, they are roleplaying Solomani and Solomani in the Traveller setting tend to be racial supremacists. There is also a race of Uplifted Apes on the world of Mirabilis which are regarded as lesser. In addition, the players will find themselves controlling the fate of millions, who may well die because of their decisions. The scenario though, is definitely about the latter rather than the former.

Physically, Mirabilis is lightly illustrated and laid out in simple fashion. It could do with a slight edit in places.

Whether run as a one-shot or a convention scenario, Mirabilis is a really taut, fractious scenario, forcing the players as members of Tech Council of Mirabilis to make difficult decisions over the course of a few hours. Together they hold the fate of a planet in their hands in the face of encroaching Hard Times and what they decide will determine if it survives the coming dark age or falls to it.

The Psionic Puppet

The Zhodani Candidate is the second scenario from the designer of the superlative freeform, Eve of Rebellion. Set in the Third Imperium of Mongoose Publishing’s Traveller and published by March Harrier Publishing via Mongoose Publishing, The Zhodani Candidate won the Zhodani Base Awards 2019 for Best Adventure. It is a one-shot scenario suitable for conventions or campaign breaks, designed to be played by five players, plus the Referee. In terms of mechanics, The Zhodani Candidate is written for the current rules for Traveller, but is so rules light, it can be run by almost every previous version of Traveller, or indeed, be adapted to almost any system of the gaming group’s choice. Indeed, the primary game content in The Zhodani Candidate in terms mechanics are the stats and skills of the five characters involved, although stats are also provided for the Cepheus Engine.

Inspired by the television series Homeland and the Cold War brainwashing thriller The Manchurian Candidate, plus the Trust and Betrayal mechanics of Contested Ground Studio’s Cold City roleplaying game, The Zhodani Candidate is a scenario about intrigue, deception, and conflicting agendas. It takes place in the year 1098 on the planet of Mora in the Spinward Marches. Lady Isolde Ling Muudashir, the heir to the Duchy of Mora, is planning to marry ex-Imperial Marine Sergeant Darius Cantu, a love match rather than the traditional marriage of securing dynasties and economic alliances. Cantu is a war hero who fought in the Fourth Frontier War against the invading forces of the Zhodani Consulate and after being captured, spent a decade in the Zhodani re-education camps before being returned to the Third Imperium as part of a prisoner exchange. Cantu would simply have remained an ex-war hero, content to do charity work for veterans of the Fourth Frontier War, were it not the fact that he met Lady Isolde and they fell in love.

Consequently, various Imperial agencies with an interest in the security and stability of the rich and technologically advanced Duchy of Mora given its role as the gateway to the Spinward Marches, have concerns about the intending nuptials. They are worried that Sergeant may have been brainwashed by the Zhodani during his decade-long captivity and may be a secret sleeper agent. As husband-consort to the Duchess of Mora, he would have access to a great deal of classified information and would represent a major security risk. Informing the current Duchess, Delphine Adorania Muudashir, of their suspicions, the agencies have come to a compromise with her. They will form an Inter-Agency Taskforce to perform a security vetting of Sergeant Darius Cantu and determine if he can be cleared to marry Lady Isolde, or whether he is the Zhodani Candidate—a sleeper agent programmed to betray the Imperium. They will then approve the wedding guest list, should the wedding go ahead.

The Inter-Agency Taskforce consists of five members. They include Undersecretary Eon Jaxon, Undersecretary to the Ministry of State, Spinward Bureau, who formed and heads the Inter-Agency Emergency Vetting Taskforce; Senior Ducal Bodyguard Sir Jans Hillier, the head of Her Grace’s Security Service; Perrin Davos Senior Security Vetting Agent, Ministry of Justice, a specialist in security vetting; Lieutenant Samanthe Rosen, Imperial Naval Intelligence, a junior member of Naval Intelligence recommended by the Admiralty as an investigator and interrogator; and Senior Scout Evelyn Tremayne, a representative of the Intelligence Branch of the Interstellar Imperial Scout Service with information to present to the Inter-Agency Emergency Vetting Taskforce. All five player characters are presented in some detail and come with full stats, skills, background, and equipment, as well as a Departmental Agenda, a Personal Agenda, and more. What this means is that there is quite a lot of information for the players to absorb in terms of their characters—and then there is the addition of Traveller’s Library Data pertinent to the scenario.

The scenario itself is divided into two parts. The first is the investigation of Sergeant Darius Cantu, the second is the vetting of the wedding guests and the wedding itself. Now although there is a central objective in the scenario, that of ensuring that Lady Isolde Ling Muudashir is married to a safe husband, achieving it is only half of the scenario’s playthrough. The other half is the interplay of the player characters and their sometimes conflicting objectives. Here, as with the earlier Eve of Rebellion, is where the author’s experience with playing and creating freeforms come to the fore. That said, the objectives in Eve of Rebellion are tightly supported by the links between the player characters, but in The Zhodani Candidate, these are not present, at least not initially. At the start of the scenario, the player characters do not know each other, so the players will need to work harder to involve their characters in the scenario. Now the investigation serves to pull them into the scenario, but after that, the players will need to work hard to work bring their objectives into play without exposing them.

The actual adventure in The Zhodani Candidate runs to less than a third of its length, but includes staging advice, the scenario’s events, and possible outcomes. Besides this, it comes with the five player characters, Library Data, timeline of events, and reference sheets for the Game Master. In comparison, The Zhodani Candidate is mechanically more complex than Eve of Rebellion, and the Game Master may want to have access to both Traveller, First Edition and Traveller, Second Edition from Mongoose Publishing to the fullest out of it. The complexity comes in the fact that unlike in Eve of Rebellion, the player characters in The Zhodani Candidate are going to be doing a lot more than just talking and deceiving. Stats and guidelines are given should the Game Master want to run the scenario using the Cepheus Engine.

One new mechanic which The Zhodani Candidate does add is for handling trust between the player characters. Adapted from Cold City, it measures the degrees of trust between the scenario’s cast, which can grant a bonus between two trusting characters. Conversely woe betide anyone who breaks their trust with another character, or rather expect trust to be lost and broken as the player characters’ differing objectives clash and conflict with each other.

Physically, The Zhodani Candidate is a 1.44 Mb, thirty-six page, colour PDF (though only the cover and some maps use any colour). It is well written, the characters are solidly designed, and the advice is excellent throughout. If there is anything missing, it is that the scenario could have done with a few more handouts, perhaps to give out as part of the briefing handouts and so establish a sense of verisimilitude right from the start. No doubt a Game Master could create these herself as part of her preparations to run the scenario—and even better if she did them as folders of briefing material, one for each player and his character, ready to be opened at the inaugural meeting of the Inter-Agency Emergency Vetting Taskforce.

What The Zhodani Candidate lacks in comparison to Eve of Rebellion is a sense of grandeur and elegance. Now this is due to differences in their subject matters, Eve of Rebellion with high politics and family matters, The Zhodani Candidate with subterfuge, espionage, and deception. So there is more machination to The Zhodani Candidate, more grit and more paranoia. Eventually though, The Zhodani Candidate will probably confirm everyone’s perceptions of the nasty, underhand, and perfidious Zhodani and their sneaky use of Psionics, and drive everyone on the taskforce into a showdown from which none are going to walk away unscathed.

Imperial Destiny

Since its publication in 1977 and development as the Third Imperium setting, only one event and time and date has mattered in the Traveller roleplaying game. That time and date is 1517 hours on 132-1116. The event is the assassination of Strephon Aella Alkhalikoi, the Emperor of the Third Imperium, his wife, Iolanthe Abartii Guuibataashullibaa, and their daughter and his heir, Grand Princess Ciencia Iphigenia Alkhalikoi, and the Aslan Yerlyaruiwo ambassador, at the hands of Dulinor Astrin Ilethian of Dlan, Archduke of the Domain of Ilelish. Although Archduke Dulinor would assume the throne by Right of Assassination, the bullets he would fire from the Magnum Revolver it was his perogative to carry it loaded anywhere within the Imperium—even into the Imperial Throne room—would topple the Third Imperium. This event and its subsequent Rebellion changed the future of the Traveller timeline, the conflict between the leading claimants grinding each other into technological regression and making Humaniti’s greatest empire vulnerable to attack by external forces.

It does not have to be though… For example, between 1998 and 2015, Steve Jackson Games published and supported GURPS Traveller, a version of the Third Imperium setting in which Dulinor’s assassination attempt was foiled and the Rebellion never took place. Alternatively, a gaming group can explore what happens on the date 132-1116 and perhaps decide the future of the Third Imperium with the scenario, Eve of Rebellion. Now in most Traveller campaigns, players take the role of ship’s crews, being the eponymous travellers, moving from world to world, trading, thwarting crimes, uncovering mysteries and making discoveries, and so on. Alternatively, the player characters will go to war, undertaking contracts as mercenaries in low-conflict engagements. In Eve of Rebellion though, the players take the role of those present at the events leading up to the assassination of Emperor Strephon. Each has his motivations and reasons for being at the Imperial Court—all of which will drive them to act in the best interests of the Imperium (or so they think).

Published by March Harrier Publishing via Mongoose Publishing, Eve of Rebellion is a one-shot scenario suitable for conventions or campaign breaks, designed to be played between four and five players—though it will play best with all five players, plus the Referee. In terms of mechanics, Eve of Rebellion is written for the current rules for Traveller, but is so rules light, it can be run by almost every previous version of Traveller, or indeed, be adapted to almost any system of the gaming group’s choice. Indeed, the primary game content in Eve of Rebellion in terms mechanics are the stats and skills of the five characters involved, although stats are also provided for the Cepheus Engine.

The five characters in Eve of Rebellion are Emperor Strephon Alkhalikoi, Grand Princess Ciencia lphegenia Alkhalikoi, Prince Varian Alkhalikoi and Prince Lucan Alkhalikoi, Dulinor Astrin Ilethian, Archduke of Ilelish, and Duke Norris Aella Aledon. Of these, one player will take the roles of both of the twins, Prince Varian Alkhalikoi and Prince Lucan Alkhalikoi. It should be noted that Empress Iolanthe is not amongst these five. In the first of two non-canonical elements in Eve of Rebellion, she is not included, having died in 1112. The other is that Duke Norris is present at the court prior to when the asassination attempt took place in the official history instead of being in the Spinward Marches restoring the ravages of the Fifth Frontier War. Of the five, Emperor Strephon Alkhalikoi wants to continue his reforms and ensure that he has a successor to continue them; Grand Princess Ciencia lphegenia Alkhalikoi wants to maintain her status and power of Iridium Throne and possibly marry a suitable suitor; Prince Varian Alkhalikoi and Prince Lucan Alkhalikoi want maintain their louche lifestyle; Dulinor Astrin Ilethian, Archduke of Ilelish wants to reduce Imperial taxes which he sees as unfair and a cause of corruption; and Duke Norris Aella Aledon wants to learn why he is at the Imperial court. Now it should be clear that these are not all of their motivations, but their motivations interlock with each others, some opposing, some in alignment.

Now there is a very good reason for this, and that is the fact that the author has experience in writing LARP—Live Action Role Play—scenarios where the emphasis is on interaction, talking, negotiation, and scheming, rather than on physical actions, such as sword fights, use of magic, running and jumping, and so on, but with tightly bound and opposing characters that possess strong motivations to encourage roleplay. And this is what is, a LARP scenario, written for the Third Imperium and around the most significant event in its history. Unlike a LARP scenario, the players do not have to dress up as their characters, but rather Eve of Rebellion is played around the table with a Referee, just as a standard tabletop roleplaying scenario would be. Of course, with the scheming and intriguing going on, the players are allowed to leave the table and perhaps conive, intrigue, and confide in their fellow players, but they still need to keep the Referee informed.

To support Eve of Rebellion, the author provides everything necessary to play. This includes an explanation of the plot and its set-up and intricacies for the Referee, a guide to running the scenario, labels for each character—including two for the Varian/Lucan player, full stats and briefings for each character—these are two to three pages in length, a set of library data which can be printed out for each player, a quick briefing for the Referee and list of who has what skill for her reference. Every character is illustrated and comes with detailed background, goals, and resources. The goals and resources are very clearly marked and easy for the players to grasp.

Physically, Eve of Rebellion is a 1.29 Mb, twenty-seven page, black and white PDF (though the cover does use colour). It is well written, the characters are superbly designed, and the advice is excellent throughout. 

If there is a problem with Eve of Rebellion it is that the casual player is not going to grasp the nuances and significance of the situation in its set-up. This is very much a Traveller scenario, and for the players to really get the most out of this scenario they very likely want to be au fait with the background to the Third Imperium and its events. Now the Library Data undoubtedly helps with that, but this is still very much a scenario that a Traveller fan will get the most out of. Similarly, this is not a scenario for Traveller devotees more interested in the technical and technological aspects of the setting rather than the background and roleplaying. That said, if you are a Traveller fan, and a Traveller fan with some knowledge of the setting, then this is a scenario that you absolutely have to play. With its superbly designed set-up and support, impressively presented characters and well-explained, interlocking goals and motivations, Eve of Rebellion is an opportunity for you to explore and play out a pivotal event in Traveller canon, to redirect its history in a way that no other scenario does.