WEST END u iJlGAMES GAMEMASTER HANDBOOK FOR SECOND EDITION Paul Daly

Trautmann, Chuck Truett • Development and Editing: Bill Smith Graphics: Cathleen Hunter • Cover Art: Lucasfilm Ltd. Interior Art: Paul Daly, Mike Jackson, David Plunkett

Publisher: Daniel Scott Palter • Associate Publisher/Treasurer: Denise Palter Associate Publisher/Sales Manager: Richard Hawran Senior Editor: Greg Farshtey • Editors: Bill Smith, Ed Stark • Art Director: Stephen Crane Graphic Artists: Cathleen Hunter, John Paul Lona • Sales Assistant: Bill Olmesdahl Licensing Manager: Ron Seiden • Warehouse Manager: Ed Hill V ______/

Published by WXJWEST \ * ^ G A M E 5 RR 3 Box 2345 Honesdale PA 18431 40065

® .,M and © 1993 Lucaslilm. Ltd. (LFL). All Rights Reserved. Trademarks of LFL used by West End Games under authorization. TABLE OF CONTENTS

Introduction...... Bill Smith- Beginning Adventures...... Chuck Truett • The Star Wars Adventure..... Chuck Truett Settings...... v...... Chuck TruettV y GaniemasteiyCharacters...... -. Steven fd. Lorenz . V Encounters ...... Chuck Truett \ Equipment An d Artifacts...... Eric Trautmann Props...... t...... \ \ S t $ v e n H. Lorenz Improvisation...... Steven H. Lorenz / . \ ' Campaigns ...... • John Terra Tales of the Smoking Blaster Adventure by Bill Smith Star Wars Rules Questions .... 'The Star Wars Questionnaire __ STAR. Introduction "WAW

Introduction

Welcome to the Star Wars Gamemaster Hand­ Experienced Gamemasters book! This book is a compendium of ideas, sug­ This book has a chapter covering each impor­ gestions, hints and information to help novice tant facet of game design: creating adventures, and experienced gamemasters run their own Star settings, gamemaster characters, encounters, and Wars adventures and campaigns. equipment and artifacts. It also has chapters This book is a primary supplement to the dealing with using props in your game, how to basic rulebookStar Wars: The Roleplaying Game, learn how to improvise adventures and how to Second Edition. While that book’s prime focus turn those isolated game sessions into an excit­ was on rules, this book is a reference for the ing campaign. storytelling aspects of roleplaying games. The This book is a sharing of ideas and hints that chapters in this book focus on the creation of have helped countless gamemasters over the interesting Star Wars stories and their compo­ years. By using the information in these pages, nent elements. This book gives you detailed sug­ you will find yourself inventing more creative gestions and ideas for creating adventures, settings and characters faster than ever before. It gamemaster characters, settings, equipment and is intended to cut through the rules and allow all of the other factors that are part of a Star Wars gamemasters to concentrate on the most impor­ adventure. tant aspects of game design: creation! Hopefully, this book will inspire you to write This book also contains a complete Star Wars fantastic Star Wars adventures that will keep you adventure, Tales of the Smoking Blaster. This and your friends gaming over the course of many adventure is written so that you can prepare and years. It provides many suggestions for creating play it with a minimum of preparation — it puts entertaining and exciting elements of your own the suggestions into practical use. Star Wars universe one piece at a time. This book also includes a section of correc­ tions and answers to questions raised by the Beginning Gamemasters release of Star Wars: The Roleplaying Game, Sec­ Beginning gamemasters are often over­ ond Edition. Finally, the back of this book has whelmed by the sheer amount of information West End’s first Star Wars questionnaire. This is presented in a roleplaying game. This chapter your chance to tell West End exactly what you helps beginning gamemasters relax and explains want to see in future Star Wars products. West techniques for designing an adventure that of­ End wants to produce theStar Wars sourcebooks, fers maximum enjoyment without relying too adventures and supplements that you want to much on rules. The first chapter of this book is see — your feedback is vitally important to us! specifically geared to creating, writing and run­ ning your first adventure. It tells you what is The Fun Begins important in beginning adventures and which With these ideas in mind, pull up a comfort­ rules can be left out without damaging the game. able chair and a soda, get some scratch paper It helps gamemasters devises a plot, organize and a pen, pop a Star Wars movie into the VCR, their thoughts and scenes in a story, and then and prepare to start creating your own Star Wars structure it for maximum dramatic impact. universe ...

Gamemaster Handbook 3 Cha^ter^OnejJteginm JTAI

Chapter One Beginning Adventures

Adventures are the core of any roleplaying 2. Develop A Plot Around The Idea. With a game. All of the preparations that go into gaming, basic story created, you should break the story from creating characters, to devising settings, to into a series of episodes, which are major portions buying the evening’s snack food, all revolve of a story, and scenes, which are the individual around adventure sessions. scenes within each episode and contain major This chapter is devoted to explaining and events, encounters and challenges that drive the simplifying the adventure creation process for story along to its conclusion. In brief, consider beginning gamemasters and is intended to supple­ “episodes” to be like acts in a play or chapters in a ment the information in Chapter Two, “Game- book, while scenes are each individual scene that mastering” on pages 21 to 51 of Star Wars: The will take place during an act or adventure. Roleplaying Game, Second Edition. 3. Translate These Episodes Into Game Terms. With the story broken down into manageable Beginning Adventures chunks, you can then decide how to use the rules Your first games should be short and uncom­ in your game. Rather than concentrate on the plicated. The best advice is simple: Only do what rules at this time, remember this maxim: only use you want to! the rules you want to! 1. Come Up With A Good Story Idea. When The Star Wars game works on a simple prin­ you run your first adventures, you should con­ ciple: everything, from shooting weapons, to fly­ centrate on coming up with an interesting story. ing starships, to trying to use medicine to heal someone, works in the same way. Pick a difficulty Try to devise a story that is interesting to your­ self and your players — whether you want to tell level and a difficulty number that corresponds to that difficulty (see the chart below). Then have stories about Rebels fighting the Empire, smug­ the character roll the relevant skill or attribute glers trying to make an honest (?) living, traders against that difficulty. If they beat the difficulty trying to build up trade routes, bounty hunters they have succeeded at the task. looking for dangerous criminals or scouts search­ While there are many rules that add more detail ing out new cultures, Star Wars: The Roleplaying and take into consideration all kinds of special Game, Second Edition can handle these types of stories. circumstances, all of the rules boil down to this standard mechanic for accomplishing tasks. In other words, if you just pickdifficulty numbers and f _ \ have the characters roll their skills against tasks, Basic Difficulties you are using the core of the game system without The core of the Star Wars rules boils getting bogged down with a lot of rules. down to picking a difficulty level and a 4. Make Final Preparations. After you have corresponding difficulty level within the mapped out how you will use the game rules, it is range for that level. time to make final preparations: make more de­ Very Easy 1-5 tailed notes on any gamemaster characters you Easy 6-10 want to use, prepare scripts and other handouts Moderate 11-15 for the characters, draw maps and prepare min­ Difficult 16-20 iatures if you are going to use them. Very Difficult 21-30 5. Create Player Characters. Next, get to­ Heroic 31+ gether with the players and help them choose ______/ and prepare their characters.

4 Gamemaster Handbook ___STAR. Chapter One: Beginning Adventures —WART

6. Create An Improvised Star Wars Movie. equipment will spring to mind. Write down all of After that, you are ready to play Star Wars. When these ideas in note form so you can flesh them you are running your first adventure, the basic out in later stages of adventure preparation. key is to have fun no matter what happens. Try to keep the adventure’s pace fast and exciting so Develop A Plot the players are interested, ham it up when play­ Around The Idea ing gamemaster characters, and play the game as fast as possible, even if it means taking short-cuts When you design your first few adventures, with the rules. Above all else, make sure the you should use the Star Wars movies as a pattern players are having fun and get a sense of accom­ and stay close to the style of the movies in regard plishment, and there’s nothing to assure that like to plotting and drama. having the characters be heroes and overcome The easiest way to do this is to break your incredible odds. basic idea down into a series of episodes and scenes. Often, this will require adding a lot more If you skim the rest of this chapter and this information to the story. entire book, you will find that each chapter is For example, if your basic plot involves the devoted to a specific facet of adventure creation characters having to retrieve a piece of equip­ and play. You should feel free to look over the ment, this is a fine idea, but it needs to be fleshed rest of this book at your leisure and incorporate out. the ideas and suggestions as you see fit. First, you’ll want to know how the characters For now, however, it’s time to get your first find out about the part. This should be the first adventure ready. Read on ... scene of the adventure, and if it involves a lot of action, so much the better. This scene must also Come Up With A drop some hints to the players — rather than Good Story Idea telling them exactly where the part is, the charac­ ters will have to find someone who knows where A good adventure rests upon a good story. the ship crashed. This first scene also allows the Unfortunately, this is one of the most difficult characters to get to know each other. areas for beginning gamemasters. If you want Next, the characters will have to find out where suggestions on some interesting plots, purchase the part is. This allows the characters to do some the Star which has a 48 Wars Gamemaster Screen, investigative work — they will have to find the page booklet with over thirty fully fleshed out person who knows where the ship crashed, or adventures. break into a computer system to find out this When creating your own story ideas, there are information. This next episode is a great time to a few simple techniques: introduce the main villain, which is most likely Keep It Simple the Empire or one of its minions. The characters should be racing against someone else to get the Star Wars uses the word “epic” a lot to de­ part so they can’t be leisurely. This adds an scribe the setting. Fortunately, while some great element of pressure to the adventure. Star Wars adventures have their foundation in The next episode involves the characters rac­ complex, intricate plots, a lot of great adventures ing to the crash site. This can be as simple as are built from the most simple of plots. jumping into hyperspace and coming out in the Your first adventures should be relatively right system ... but that isn’t Star Wars. Instead, straightforward: the characters are hired to de­ the characters may have to take part in a raging liver a cargo of spice to a certain location, or they space battle, duking it out with the forces of the are asked by Rebel Alliance high command to Empire as well as the people they are chasing. rescue someone who has been captured by the Likewise, when they emerge in the system, they Empire, or the characters are mistaken for wanted will still be racing against time. criminals and find themselves on the run from The next episode involves the characters hav­ bounty hunters and the Empire, or the charac­ ing to find the wreck. Typically, the characters ters learn that there is some valuable piece of should face some natural or man-made hazards, equipment that was lost when a ship crashed on like dangerous animals, hostile natives, compet­ a distant alien world and there is a valuable ing scavengers, earthquakes or storms. If you reward for whoever retrieves the part. want to wrap up the adventure in one session, Remember, there are no “bad” plots; some are you can have the characters find the part then simply turned into better stories than others. and there ... or the part could be missing, with You should feel free to use your favorite plots the only clue being strange tracks in the ground from other stories or today’s headlines. leading off into unknown territory. When you first think of a story idea, chances are that some scenes, characters, settings and

Gamemaster Handbook 5 Chapter One: Beginning Adventures -STAI WAR

Getting The Right Tone ter planet similar to Tatooine (or even on Tatooine The experience of actually being in one of the itself) and occurring in a setting similar to the Star Wars movies is what you want to recreate Mos Eisley cantina. during your game sessions, and the easiest way With the possible exception of some minor to do this is to incorporate some of the things excitement, such as a barroom brawl, or an en­ that you enjoyed most about the movies into counter similar to Luke’s encounter with Ponda your adventure. Baba and Dr. Evazan, this episode should center For example, you can set parts of your adven­ around roleplaying, not combat or skill use. Very ture in locations drawn from the movies, such as little die rolling should be necessary. Yavin (refer to Galaxy Guide 2: Yavin and Bespin) This type of episode will give you and the or the forest moon of Endor, and you can have players a chance to become comfortable with the the characters using equipment that they will game without having to worry about the techni­ recognize from the movies. You can also have cal aspects of the rules. characters from the movies, such as Han Solo An episode such as this type will allow the and Chewbacca, make “guest” appearances in players to start playing immediately, because your adventure. they can skip the final stages of character design You have to realize when you begin preparing — personality development — and, instead, use an adventure that you will never be able to ac­ the first episode of the adventure to develop the count for every possibility. The players will al­ personalities of their characters. ways find ways to take courses of action that you As the characters attem pt to learn about each did not predict. other —swapping stories, boasts and lies — the The best way to look at your preparations for players will learn more about the personalities of a game is as a sketch on which to base the their own characters. adventure, not as a full illustration. Your end You might also use this time to allow the product is the game session, not the maps and players to make a few final adjustments to the diagrams, the gamemaster character stats, or skill levels of their characters. However, after the the starship designs. What is most important is plot of the adventure has begun, you shouldn’t that the game session and the interaction be­ allow them to make any skill changes. tween you and the players is successful. You don’t want to put so much energy into preparing Episode Two the adventure that you have none left for the As soon as possible, the adventure should game. have the characters in a starship and traveling to another planet. Space travel is intrinsic to the Plot Structure feel of the Star Wars universe. Think about the list The point of breaking down Star Wars adven­ of locations that were visited in the movies: tures into episodes and scenes is to emphasize Tatooine, the Alderaan system, Yavin, Hoth, the fact that the story is more important than Dagobah, the Anoat asteroid field, Bespin and mere dice rolling. Each episode is a major por­ Endor. How long does Luke or Han or Leia stay on tion of the plot, such as retrieving a vital piece of any one planet? Not very long. And your players information, or confronting a major villain. Each — who want to be just like Luke, Han and Leia — scene is something within an episode that pro­ won’t want to stay in any one place very long, pels the characters to the major plot point of that either. episode, and each scene gives the characters The travel episode should introduce the char­ something to do. acters to some of the oddities of the Star Wars Once you have broken down your story into universe, perhaps by meeting some unusual aliens episodes and scenes, you will realize that there in the starport, or involving the characters in are certain locations, events and characters that some sort of conflict, such as having to blast their you will have to detail. For anything the charac­ way out of the starport. ters will meet, you will have to have at least a few This episode can also give the players more ideas written down so you can use the item or information about the plot. If the characters found character in your game. Imperials chasing them, at this point they may get one or two clues that explain why they are in Episode One danger. To parallel Star Wars: A New Hope, this The first episode in your first adventure should second episode, where Luke meets Obi-Wan explain how the player characters meet. Such an Kenobi, he learns that his aunt and uncle have episode would parallel the introductions of Luke been murdered by the Empire, and then begins to Skywalker to Ben Kenobi and to Han Solo and find out that the droids he and his uncle bought Chewbacca, possibly taking place on a backwa­ are really valuable.

6 Gamemaster Handbook —STAR. Chapter One: Beginning Adventures "WART Paul Daly

Episode Three Normally, the final two or three episodes will Action! The players aren’t going to want to involve the most intense confrontations and the spend all of their time seeing the sights — they most dangerous battles. The first episode should want to be heroes! Once they’ve arrived at some have minimal danger, then the second episode exotic location, you need to give them something should have a little more danger or tension fol­ exciting to do. lowed by a few scenes where the tension level is The action should be straightforward: a res­ reduced. The third episode should involve greater cue mission (Luke’s rescue of Leia on the Death tension and danger, followed by a briefer break. Star), a search and destroy mission (Luke’s de­ Each episode after should have higher stakes, struction of the Death Star) or simply having to more danger and more action, with briefer rest blast one’s way through an obstacle (the Rebels breaks. Then, the final episode should contain trying to evacuate Hoth with the Imperial fleet in the “pay-off”:'the characters are thrust into the orbit above them) will get the players involved. final confrontation and the finish of the adven­ The characters will be exposed to some personal ture, where for good or bad, the story is resolved danger and will have to act without hesitation. Of ... for now. This kind of build-up and let down will course, in this type of episode, the actions the get the players involved and excited about the characters will have to take will be obvious. story. There shouldn’t be too many surprises in your Beyond first adventures. The lines between good and The next few episodes should alternate be­ evil, and right and wrong, should be very clear, tween action, space battles, interaction and prob­ and the players should have many choices that lem solving. The characters should be given a will lead them to success. test of their abilities — each adventure should Locations have at least one episode where the characters get involved in a ground battle, one chase, one Don’t worry about detailing locations that you space battle, one episode involving problem solv­ don’t expect the player characters to go to. You ing (such as hacking into a computer) and one don’t need a map for Anchorhead when the char­ episode involving interacting with other inhabit­ acters will most likely go straight to Mos Eisley. ants of the Star Wars universe (this can range There is always a chance that the characters will from swapping stories, to having the characters — for reasons plausible only to themselves — go learn background information on the story, to to Anchorhead instead, and that you will have to gambling, to haggling over the price of goods). improvise an episode in Anchorhead, but there is

Gamemaster Handbook 7 Chapter One: Beginning Adventures -STAR- WARS—

also just as likely a chance that the characters ing skill, or his beast riding skill. All you need to will do something totally unpredictable — such worry about are his combat skills — melee com­ as go hunting for Krayt dragons — which you bat and melee parry, and his Strength. If it be­ would have had to make up anyway. comes necessary during the game session for the It helps to have a map drawn out for the Gamorrean to ride a beast, then you can give him important locations in an adventure, but you a beast riding skill at that time. should always remember that often no one but As usual, there are exceptions to this. For you will see that map. It doesn’t have to be characters that are very important to the plot perfect — in most cases, a ragged sketch, com­ and with whom the player characters will inter­ bined with a short paragraph that captures the act extensively, or for characters who will be­ feel of the setting, will be sufficient to keep you come recurring characters in your campaign, it is from forgetting any of the necessary information. usually worth the effort to develop a detailed Remember that you don’t need a detailed de­ character description, as this will allow you to scription of every location on a planet—just the more thoroughly develop the personality of the ones that are important to the adventure. For gamemaster character and allow your portrayal example, you’ve designed an adventure set on of that character to be more realistic. Endor. Just because the player characters are You should also remember that some going to travel from Bright Tree Village to Blue gamemaster characters will not need to be de­ Star Lake doesn’t mean that you have to prepare tailed at all. There will be many times when the a map of the entire forest of Endor. If there is no player characters will interact with gamemaster reason for anything exciting to happen during characters in situations that will not require skill their journey, then you can simply cut from the rolls. For example, the player characters come characters’ departure from Bright Tree Village across a crowd of Humans standing around the directly to their arrival at Blue Star Lake. The “in- corpse of an Imperial officer. The player charac­ between” sections of your adventure do not have ters might start asking questions of the bystand­ to be detailed. ers in order to attempt to find out what hap­ pened. You don’t need to know any of the skills of Gamemaster Characters the people in this crowd — all you need to know When you are preparing gamemaster charac­ is what they might answer. ters, you shouldn’t worry about determining all It might also be possible for you to “cheat,” so of their statistics. The only statistics that are to speak. When you need a background charac­ important are the ones which the gamemaster ter —to add color to a scene, or to give the player character is likely to use during the encounter. characters a prod in the right direction — you If the Gamorrean guard is only going to whack might be able to pull a character directly from at the player characters with his vibroaxe, then one of the Star Wars movies or another piece of there is no need for you to determine his bargain­ source material. For example, you decide that r Assignments

It will help both you and the players if, for characters, you may have to motivate them the first few adventures, the characters are to accept it. Some suggestions on motiva­ given some sort of assignment. A setting tion would include: appealing to their sense such as the Mos Eisley cantina is a perfect of honor or duty (if the characters are mem­ place for a messenger to deliver instruc­ bers of the Rebellion or New Republic), tions to the characters. For example, a Rebel appealing to the character’s greed (particu­ leader, such as Luke Skywalker or Wedge larly useful if the characters are debt-rid­ Antilles, could appear with a mission that den smugglers), or having a gamemaster only these characters can accomplish, or character blackmail the characters or the characters could be approached by a threaten them with physical violence. wealthy individual who wants to hire them Once the characters have received their or an alien who needs them to correct wrong­ assignment, and have chosen or been forced doing. Or, the characters could be forced to accept it, then the rest of the adventure into taking a job for a crimelord (such as can focus on completing that assignment. Jabba the Hutt) to whom they owe a debt, or Since the characters now have a goal, the an Imperial officer who holds the family of players won’t have to stand around asking, one of the characters hostage. “What do we do now?” After the assignment is presented to the

8 Gamemaster Handbook __ STAR. Chapter One: Beginning Adventures "WART

the player characters have become too relaxed while sitting in a restaurant on Berrol’s Donn, and you want to shake them up a bit, but you have nothing prepared. You might try saying some­ thing like this, “A Rodian bounty hunter — just like Greedo from the first movie— walks into the restaurant. He doesn’t take a table; he just stares at you for a moment, checks something on his datapad, then slowly backs out of the restaurant, never taking his eyes off of you.” The characters may never see the Rodian again, but they will spend the rest of the adven­ ture wondering when he is going to pop up out of the bushes and start shooting at them. Translate These Episodes Into Game Terms When thinking about the Star Wars rules, re­ member the most important rule: this is sup­ posed to be fun and ignore whatever gets in the way of having fun. When you are gamemastering at first, the key Paul Daly is to simply set your difficulty numbers and have the characters roll against that number. Don’t worry about all of the modifiers and other factors system runs, you may want to start using the that are pointed out in the rules. You are trying to more detailed Force rules or starship and vehicle run a fast, action-packed adventure, and the best chase rules. They add a layer of complexity to the way to do that is to run the game as simply as game, but also give you more detailed results. possible. The purpose of rules is to help you figure out The Skirmish Method what would happen in the “real” Star Wars uni­ If you want to get a better understanding of the verse. Therefore, make your best guess about rules, you may want to use the “skirmish method.” what you think should happen based on how well Instead of running an entire adventure, you might the characters rolled. Try to make the results as want to get one or two players together just to interesting and dramatic as possible, while still run a detailed combat between characters, a making it possible for the characters to succeed starship battle, a chase, or a battle between and be heroic. Force users. Don’t worry if occasionally you feel that you This gives you the advantage of being able to have to stop the game to look up a rule, or back concentrate on just one aspect of the rules with­ up the game and replay a section where you out having to worry about how it affects the made a mistake. The players will be patient and adventure. Because of this, you can also replay understanding as you learn the rules if it leads to situations that are particularly difficult for you an exciting game (and they should also be thank­ until you become completely comfortable with ful that you’ve volunteered to learn the rules so the rules. that they don’t have to). However, be careful that your desire to “do it Streamlining the Rules right” doesn’t impede the progress of the story. There are several areas where the rules are Always try to keep going forward. more detailed than is necessary for beginning adventures. One of the prominent rules areas are Setting Limits those revolving around the chase and movement After you play several short games with the system. Here is a quick way of showing how you basic rules, and gain a thorough understanding can streamline those rules. of those rules, then you will be able to begin When you run a chase scene, you will usually adding the more complicated and detailed rules. want the feel of game play to reflect the fast and For example, you may want to limit what’s going dangerous feel of the chase itself. To begin with, on in the first few adventures — for example, not you should reduce the situation to its basic ele­ allowing Force users at first. ments. Think to yourself, “What is most impor­ As you gain experience with how the game tant here?” In a chase, these elements are:

Gamemaster Handbook 9

Star is 3D+2. -TTAI WAR repulsorlift repulsorlift op­ skill is and 6D his Gamemaster Handbook vehicle blasters skill is 5D. Riza’s repulsorlift operation is and6D+1 her rules, every time a character acts more 13. Wars • The terrain for the whole chase will be Moder­ • The• gamemaster rules thatcharacter a if misses • Ratherthan make rolls forall four moves every hicles will start at short range. Since a speeder • The gamemaster determines that the bounty “short,” “medium” and “long” ranges. The ve­ makestwo moves, hasRiza made one more move range, she has escaped. vehicle blasters makes one less movemove per tworound times, (if he said he’d he’d only movehe crashesonce). the If the bike. round,each character rollonly will for have movementto makeone each round. However, in is is making four moves rolls in againsta round,the terrain the penalty.character difficulty with of 13 -3D a and goes gamemaster from shortrules that canRiza if go beyond to long medium range. The can make four moves percount round,asrange. a Forexample, each makesRiza if move three will hunter’s ate.That way, there consistentais difficulty level a movement roll bypoints, 1-5 the characterjust charactermisses the rollmoreby than points,five than once, action the from all die character rolls. Therefore, a character if loses -ID per extra moves in a round and the bounty hunter only eration — the gamemaster picks a difficulty number of Both bikes have identical speeds and laser Everything else about the chase, from when The best way to set up a situation where the A A player character named Riza is piloting the • Why is the chase happening and how would it • How fast are the vehicles? • The chase will only be run at “point blank,” be finished? • How far apart are the vehicles? • Have both operators kept control? based on these factors. rules can be participantsstreamlinedthe in chase with vehicles is tothat travel have only two the chase ends to combat during the chase, is lining the rules in the following way. him in some other way. matter of matchingrain driver and skills eachagainst thisother. theexample ter­ As anof a chaseillustration,Nightfalcon between speeder look twoat bikes.Ikas-Adno lead bike. She hunter. is being The “why”bounty pursued of the hunter chase by is a chasingis bounty simple: Riza tohe thecaptures get a bounty;her,or isinjured, orfeels that tooit’s decides to speed up the chase scene by stream­ over she if can get farenough destroy away to escape, his orbike so he can’t chase her, or stop therefore, thebounty hunter will chase Rizauntil dangerous for him to continue chasing her. Riza cannons with identical ranges. The gamemaster wants toget away orstop himthe — chase bewill at the same speed. Then, the chase is simply a

hapter^OnejJ3e2iinnin£^\dventures

C 10 Paul Daly __ STAR. Chapter One: Beginning Adventures —WART Paul Daly

For the first round, Riza declares that she will a failure and the shot misses. fly full speed through the forest (four moves). Riza and the bounty hunter then make their The gamemaster decides that the bounty hunter movement rolls. The bounty hunter is success­ will do the same. Both characters roll against the ful, but Riza misses her roll by 1. The bounty terrain with a penalty of -3D, and if both succeed, hunter gains one rank, and goes from short range the speeder bikes will stay at short range. to point blank range. If Riza succeeds but the pursuer fails, then the For the next round, Riza declares that she will distance between the two vehicles is increased try to evade the bounty hunter by zigzagging by one level (from short to medium). However, if through the trees. The gamemaster decides that Riza fails and the bounty hunter succeeds, the the maneuvers Riza will attem pt will modify the distance is decreased by one level (from short to difficulty of her movement roll from Moderate to point blank). If both characters fail their move­ Difficult, and that, in order for the bounty hunter ment rolls, then the distance doesn’t change. to keep up, he will also have to make a Difficult In this case, both characters succeed, so the movement roll. Like a dodge, Riza also gets to distance doesn’t change. substitute her maneuvering roll as the difficulty For the second round, Riza declares that she to hit her bike in combat. However, since the will make four moves. The gamemaster decides range between the two vehicles is point blank, that the bounty hunter will fire and make four the bounty hunter will also attempt another shot. moves. Since the bounty hunter is now firing Again, the gamemaster decides to resolve the (taking another extra action), his penalty is in­ firing action first. Riza rolls her maneuver. With creased from -3D to -4D. the added difficulty of the maneuver and the -4D The gamemaster resolves the firing action penalty for his multiple actions, the bounty first. The bounty hunter’s roll is at short range, or hunter’s shot fails. an Easy difficulty, but with a -4D penalty for the Now the rolls are made for the movement ac­ five actions being taken in this round. The roll is tions. Riza’s roll is a success—j ust barely, because

Gamemaster Handbook 1 1 Chapter One: Beginning Adventures JTAI

of the increased difficulty level, but a success players arrive and you are calm and prepared, nonetheless. The bounty hunter, however, fails his they will be excited to play (and probably a little movement roll by seven points — crash! fearful too, since a relaxed gamemaster is a dan­ Riza’s speeder bike disappears into the trees gerous gamemaster). as the bounty hunter’s bike explodes into a ball of flame and debris ... Beginning Player Characters While this may seem complicated it is easier In your early games, you might want to limit than using the fully detailed rules because it is the types of characters that the players can “instinctive” — once you’re learned the basic chose to those that both you and the players are rules of Star Wars, this chase is very similar in familiar with and that you feel the players can execution. play proficiently. The rules judgements are based on making You may want to restrict beginning players to “fair judgements” about what would happen and Human characters, because new players often what makes for an exciting chase. You must trust won’t have sufficient roleplaying skills to de­ yourself in these situations since going to the velop an appropriately alien character. rulebook for a reference will slow the chase down Good suggestions for beginning character tem­ and reduce the tension of the scene. plates would be: In this example, instead of stopping the game • Brash Pilot to find out the modifiers for Riza’s maneuvers, the gamemaster estimated that they would raise • Curious Explorer (Human) the difficulty of her movement roll by one level. • Cynical Scout (Human) Instead of rolling for every movement, the gamemaster decided to roll once per turn. • Gambler And, instead of trying to determine when the • Kid bounty hunter fired, and the precise distance • Smuggler between the vehicles at that time, the gamemaster simply decided to resolve the combat actions at • Wookiee First Mate the beginning of the round. • Ewok Warrior This dependence on estimating and guessing The Wookiee First Mate and Ewok Warrior are means that this method of play isn’t as detailed included, despite their being alien templates, as the method in the rules, but streamlining the because most people who are familiar with the rules speeds the game, and if you play fairly, can Star Wars movies will be sufficiently familiar with be just as exciting! the characters of Chewbacca and the Ewoks to develop an appropriate personality. Make Final Preparations When the players arrive, have them select a The final preparations for play include check­ character template they would like to play and ing to make sure that you have mapped all the help them complete the template. Show them locations you need, written up the character how to allocate their skill 7D for dice, give them descriptions you need and making copies of hand­ some suggestions for beginningskills, show them outs and scripts for the characters. how to roll attributes and skills and how Charac­ You should also review your adventure once ter Points and Force Points work. You will also or twice so you can find statistics or information want to explain how the Wild Die works. when you need it, instead of flipping through Before you begin playing, ask the players if pages and pages of notes. Like a dress rehearsal they have any questions, then hand out the ad­ for a play, final preparation is supposed to help venture scripts and get the adventure rolling. If you realize where you think your trouble spots you have the time, you may also want to prepare will be and figure out how to deal with them. a handout that explains the basic mechanics of You should also make sure that everyone has the Star Wars games — it will serve as a reference a character sheet, dice, and pencils. Check to for the rules that you just explained to them. This make sure your players are coming at the right will allow your newest players to concentrate on time and that someone is bringing food (after all, playing and not worrying about the rules. if you’re being kind enough to run the adventure and host, you shouldn’t also be expected to pay Create An Improvised for all of the munchies). Star Wars Movie Final preparations for play should ideally be completed several hours before game play so As stated before, the whole point of an adven­ you don’t spend the final ten minutes before play ture is to get the players to feel like they are frantically copying a character sheet. If your taking part in their own Star Wars movie. There­ fore, you as gamemaster, need to get the adven­

12 Gamemaster Handbook —STAR. Chapter One: Beginning Adventures “WAR S

ture rolling with a bang and keep things exciting Some of you will probably be nervous about and interesting for them. the prospect of acting out another character — As you go through the various scenes and epi­ relax! The people you will be playing with are sodes, let the players dictate the game’s action. If your friends, and they’ll probably appreciate you drop them into a cantina and they are having seeing you act out roles that you’ve never done fun meeting aliens and hearing stories of the space before. Besides, if you show that you’re willing to lanes, let them have fun; if they ask if there is act out a character or two, they will be encour­ gambling, run an impromptu gambling scene. If the aged to act out the roles of their characters. players get bored with your cantina scene, then cut to the next scene in the adventure. In short, give the Troubleshooting players the story they want. Beginning players are often unsure of what to do or may easily lose the path of the adventure Performing they are playing. As gamemaster, it is your job to One of the most important things that you give the players a little help. should remember about any roleplaying game is Players new to roleplaying games seldom real­ that you and the players are all performing during ized how much freedom they have. Without a the game. Encourage the players to stay in char­ board to move pieces around on, they often acter as much as possible. The game is much wonder to themselves, “What can I do?” Tell more exciting if it is experienced in the first them that they can do whatever they want to — person, not the second. tell them to put themselves in their character’s Don’t say, “Your character is hit by the laser shoes and do what he or she would do. bolt.” Instead say, “You are hit by the laser bolt!” Tell them to explain to you what they want to Anytime the players say, “My character does do, whether it is to shoot a storm trooper or rig a something,” you should correct them, asking, starship’s engines to blow out at a certain time. “What are you doing?” Then, you will tell them what skill to use and give It is also helpful to refer to the players by their them an approximation of how hard the task characters’ names. Instead of playing with Rob, should be. Doug, and Paul, for example, you are dealing with Players who are unsure may have plans sug­ Marx, Narse and Grerph the Wookiee. If you refer gested by gamemasters. Maybe a gamemaster to the players in this manner, it will dramatically character provides information on a target or increase the flavor and “realism” of your game. troop strength, or gives them a map. This gives Finally, if you expect your players to act in the players vital information yet still allows them character, then it is important for you to act in to plan their strategy. character. Don’t detach yourself from these roles when you can act out the roles of the gamemaster Relax! characters. All of this may sound like a lot of things to When you have the characters meet a remember, but everything in this chapter, and gamemaster character, think about something the chapters that follow, is geared toward help­ you can do to establish the character’s personal­ ing you run a better game. The key is to relax and ity: perhaps he has a unique voice, or has a habit have fun and let the game take care of itself. With of rubbing his chin while he’s lying, or he has a a little practice, you’ll learn a lot about tendency to point with his pinky, or he always gamemastering and how to create a great Star stands hunched over. If you make notes of these Wars adventure! mannerisms, and use them in your game, it will help add realism to the task of roleplaying a gamemaster character.

Gamemaster Handbook 13 Chapter Two: The Star Wars Adventure -STAI WAR

Chapter Two The Star Wars Adventure

After you have designed and run several simple Scriptwriter adventures, and have become comfortable with You get to create an entire universe. You are the basics of the Star Wars universe, you might allowed to come up with the imaginative set­ want to try using some of the more complex tings, the fascinating characters and stage the storytelling mechanisms that added to the flavor memorable scenes of the adventure. While you of the Star Wars movies. can’t force the player characters to do anything This chapter provides more detailed informa­ they don’t want to (in fact, you should always tion on the Star Wars style, while giving sugges­ leave the characters several options at every tions for providing interesting challenges or new turn), you can move the story along by setting a diversions for your characters. story into motion that guides the characters along an invisible path toward the conclusion. The Star Wars Style As a scriptwriter, it is your job to make the When you are designing an adventure — or story feel “right.” You shouldn’t herd the charac­ gamemastering a session — you need to keep in ters along the path to the end of the adventure mind that Star Wars: The Roleplaying Game, Sec­ and put them in situations where their decisions ond Edition is based on a series of movies. The are irrelevant. You should give the characters feel of the game, the atmosphere that you are several scenes where they can dramatically alter trying to create, should be similar to that of the the flow of the story, whereby if they do the right Star Wars movies. thing, the characters will learn valuable informa­ tion or find the adventure a little bit easier than An Improvised Movie they otherwise would have. When you are trying to develop the feel of Star Actor Wars in your games, it helps to look at the game as an improvised movie — with an unlimited You are an actor. This is not a game of check­ budget! ers, where the most important aspect of the game is the rules. This is a roleplaying game, and Director the most important aspect of it is that you and You are the director. You control the camera, the players play the roles of the different charac­ the sound, the music and the special effects. Try ters. In other words, you perform. to use cinematic terms in your descriptions of Try to spend most of the game session per­ settings and encounters — fade in, fade out, forming other gamemaster characters, not refer­ dissolve, pan, close-up. These words will serve to eeing. For example, during a roleplaying encoun­ remind the players that they are part of a movie. ter, where you are playing the part of a Another great tactic you can use is the cut­ gamemaster character, you should stay in char­ away. This is a scene where the players are acter until the players force you out. You shouldn’t shown a scene that their characters aren’t in­ be the first one out of character; you should be volved with. These scenes are used to show the last. villains plotting their schemes, or to introduce an Always remember that you are in control. If adventure, or to show the players what is going you think that an encounter should be solved on behind the scenes. These type of scenes are through roleplaying, but the players want to roll uniquely cinematic and uniquely suited to Star the dice, then you should simply stay in charac­ Wars. ter. Every time the players say something about the rules, you respond to them in the persona of the gamemaster character. Eventually, the play-

14 Gamemaster Handbook —STAR. Chapter Two. The Star Wars Adventure "WART Paul Daly

Gamemaster Handbook 15 Chapter Two: The Star Wars Adventure JTAI WAR

ers will get the hint, and attempt to roleplay Background material helps define this place with­ through the situation. out slowing the story down for explanation. Back­ For pxample, if a player doesn’t want to bar­ ground material is important to the look and feel gain, but instead wants to roll his skill dice, act of the story, but it is not important to the plot, so the part of the character he is haggling with. Look its details can be left unexplained. the player in the eye and say, “What’re you gonna The cantina scene in Mos Eisley, with its many do, just stand there and look stupid all day? I quick glimpses of aliens, is a good example of named my price — 800 credits for that blaster.” background material in the Star Wars movies. In This kind of tactic will get the players in the this short sequence, the immensity of the Star right mood for roleplaying and if you can get Wars universe is increased one thousandfold. It them to play their parts, you have made the becomes a place that is brimming with intelligent gaming experience that much richer for every­ life in a multitude of different forms; a place one. where Humans and aliens can exist together. These scenes add much to the movie, but Sound Effects Generator mean nothing to the plot. Luke and Ben could You are the sound effects generator and you have easily met Han and Chewbacca in the land­ should be willing to make funny noises when ing bay next to the Millennium Falcon, and the necessary. The players are depending on you for story would have progressed nicely, but the look all of the description of the world around them, and feel of theStar Wars universe would not have and you have to give them as much as possible. been the same. You can’t really show them what most objects You can simulate these scenes by describing look , or smell, or feel, or taste like, but you can to the players what they see, hear, touch, smell provide a close approximation of what many and taste. Make sure to specify little details that things will sound like. It may be necessary to stand out — the alien who seems to have three explain the noise after you make it (as in, “Pshhew nostrils and whose eyes change color depending — a laser bolt whizzes above your head,”) but upon his mood. you should let the players hear the noise first. When describing scenes or acting as a gamemaster character, don’t be afraid to drop Action And Adventure brand names of equipment and vehicles (for The movies were full of action and movement. example, the characters shouldn’t be given The characters in the Star Wars movies do not sit “blaster pistols” when they can be given around and wait for adventure to come to them “SoroSuub 035 blaster pistols, which have a long, — they go out in search of adventure. Their lives thick stock and are a lot heavier than standard are filled with action. For your games to have the models.”). Have the gamemaster characters talk feel of the Star Wars movies, they also must be about their history, or discuss events that hap­ filled with action and adventure. pened elsewhere in the galaxy. In your descrip­ Blaster bolts should fly fast and furious, char­ tions, mention the names of worlds, important acters should have to undertake chases through personalities or important locations. dangerous ice geysers or cave-ins, and charac­ Adding this kind of detail reinforces the real­ ters should have to battle Imperial TIE fighters ism of the Star Wars universe. and pirates in the depths of space. All of these elements are uniquely Star Wars and reinforce Humor the right “feeling” in your adventures. The movies had an element of humor. A story is not aStar Wars story unless it has some humor Wide Scope in it. Think about the Ewoks, and the bickering The movies had a wide scope. None of the between R2-D2 and C-3PO. A large part of their movies were confined to single locations. The importance in the movies comes from the humor characters traveled to many different locations, that they provide. Han Solo’s sarcasm is another both across planets and throughout the galaxy. type of humor that can be injected into an adven­ Similarly, the actions of the characters were ture. Other examples of humor can be sarcasm in widely felt. No m atter how insignificant their narrations, comical aliens trying to beg for “funny actions may have seemed, they were of great light sticks” (blasters), droids pleading with importance and had repercussions throughout Wookiees not to be disassembled and other items the galaxy. of humor that are inherent in a particular situa­ tion. By using humor, you can also help control Background Material the tension level of the game. The movies contained a large amount of back­ For example, after the characters have leveled ground material. Plot is not all that a story needs. an entire Imperial research facility, one of the A story also has to occur in a setting — a place. characters comments, “We’d better get going.

16 Gamemaster Handbook —STAR. Chapter Two: The Star Wars Adventure -WARS

There’s not much more we can do here.” The • Han flying the Millennium Falcon full speed sarcasm is funny, and at the same time points out through an asteroid field. to the characters the consequences of their ac­ Heroes should overcome great odds. For the tions. characters to have a chance to be heroic, they Heroes should always have the deck stacked against them. Their opponents have to be strong, and Another aspect of the Star Wars style is hero­ their obstacles formidable. They should not have ism. The characters in a Star Wars adventure to fight two or three stormtroopers—they should should be heroes! face whole squads of them. Real heroes will have However, while the characters can act heroic sufficient skills and talents to find their way out in any adventure, this is very different from hav­ of these situations. ing the characters actually be heroes. You, the To give the characters the feel of the dangers gamemaster, will have to orchestrate plots to that they face, you should take every available allow the characters to become true heroes. To opportunity to emphasize to the players that do this, you will have to keep in mind several their characters are only millimeters from death. facts about heroes. Heroes may not die, but they should come very Heroes are flamboyant. Not only are heroes close. willing to take significant risks in order to suc­ Some examples: ceed, they are also willing to make those risks • Luke destroying the Death Star. even greater if it will allow them to do something spectacular — in other words, heroes will show • Luke’s duel with Darth Vader on Bespin. off. • Han, Leia and Chewbacca escaping the Imperial It is up to you to make sure that the characters fleet at Hoth. have ample opportunities to take flamboyant Heroes have responsibilities to others. The char­ actions. Don’t simply put them in a situation acters shouldn’t always start the adventure with where they have to shoot at TIE fighters when the fate of the Rebellion or the Republic, or the you can give them the opportunity to stand on galaxy, on their shoulders, but that responsibil­ the bottom of a crippled ship that is madly ca­ ity will often be theirs before the adventure ends. reening — upside down, no less — through the Heroes are responsible for more than just their atmosphere and shoot at TIE fighters with their own lives. The lives of others — of helpless, hand blasters. This is the kind of thing that innocent beings — depend on their successes. heroes will want to do. An immediate way to emphasize this is to have And, if the characters do this, if they take the helpless gamemaster characters tag along be­ flamboyant, heroic path and do something that hind the player characters so that the characters has little chance of success but has a high enter­ have to consider the safety of those around tainment factor, you should give them a break. Anytime a character attempts something cre­ ative and exciting enough to qualify as true hero­ ism, that character should have a better chance at success. A good way to do this is to streamline the rules—instead of having the characters roll every round to see if they can keep their balance on the upsidedown ship as it plummets to the surface, have the characters roll once or twice for several minutes worth of activity. This de­ creases the likelihood of a bad roll that results in tragedy. Other examples of characters being heroic include: • Luke and Han dressing up as stormtroopers and rescuing Leia from the detention block on the Death Star. • Han and Chewbacca swooping down on the Death Star to drive Darth Vader and his wingmen away from Luke’s X-wing. • Luke crawling up a line attached to an AT-AT on Hoth, cutting open a hatch with his lightsaber, Mike Jackson then throwing a land mine in the hatch.

Gamemaster Handbook 17 Chapter Two: The Star Wars Adventure JTAI

them. Using this, you can then project on them ment is to put the characters in a situation where the responsibility of protecting the faceless mil­ heavy duty roleplaying is necessary. Another lions whose lives are depending on the success way to increase development is to put the char­ of the characters. acters in a dangerous situation. While the play­ Examples: ers may not be realizing it, they will be develop­ • Luke’s insistence on rescuing Leia from the ing the personality of their characters based on Death Star. The occupants of the Rebel base on how they react. Yavin would have died had Luke not destroyed For example, you might want to have the char­ the Death Star. acters come upon a roadblock while they are maneuvering through a city. A casual glance • The Rebel Alliance itself. If the Rebellion failed, reveals that if shooting starts, the player charac­ millions, possibly billions, would have been killed ters are doomed. Their only way through is to and enslaved at the hands of the Empire. talk their way out. Heroes are remembered after their deaths. Sur­ You can also encourage roleplaying by having vival is important to everyone, but reputation is the characters deal with a gamemaster charac­ more important to heroes. A glorious death that ter. Talk to the players in that role, and get results in the salvation of millions of innocent players to play their roles. For example, if a beings could be more satisfying than continued character is supposed to be a mercenary, but the existence. player isn’t playing a true mercenary, you might The death of a hero should be a significant have a gamemaster character say, “What, are event, and it should advance the story. It should you a mercenary or some bleeding-heart Rebel? be well-planned and, as much as possible, it Have you gone soft on us?” should be a situation where the character, in an For example, in an adventure, you plan for the effort to save someone else, chooses a course characters to receive an important piece of infor­ that will surely lead to death. mation from Lando Calrissian. To encourage Examples: roleplaying, you could stage the encounters like • Darth Vader/Anakin Skywalker being fatally this: The player characters first have to ask ques­ injured while killing the Emperor in order to save tions of the inhabitants of the city in order to Luke from being killed. locate Lando — who is currently in the middle of • Obi-Wan Kenobi sacrificing himself to allow a big sabacc game in one of the local gambling Han, Luke, Leia, Chewie and the droids to escape houses. from the Death Star. Next, they have to convince the doorman at the gambling house to allow them entrance. After Character Development this, they have to interact with the other beings A roleplaying game and a movie, while similar in the gambling house in order to find out where in many respects, are very different forms of Lando’s game is taking place. storytelling. In a movie, character development Once they find out where Lando is playing, occurs in the mind of the writer, before the movie they will have to talk their way into the game, and is filmed. What is seen on the screen is a repre­ play several hands before they will be able to sentation of a fully formed character. In a draw the information they need out of Lando. roleplaying game, the process of character de­ You can also help foster character develop­ velopment is part of the story — the character is ment by teaming the player characters up with not fully formed when the game begins, instead it gamemaster characters that you can use to pro­ develops as the story progresses. voke emotional responses. For example, Han This means that the roleplaying game, while it Solo alone would not be a very interesting char­ should still be full of action, must devote more acter because he would seem very one-dimen­ time to character development than a movie sional: all ego, no heart. However, Chewbacca, would. However, if you’re trying to replicate the Luke and Leia act as foils that expose the other Star Wars style, it is better to err on the side of too aspects of his character. much action and adventure than to have too much character development. History A large part of your job as gamemaster is to As the player characters gain experience and place the player characters in situations where take part in adventures, they will gain fame and the conflicts that occur can best be resolved notoriety. The actions of their past will influence through roleplaying, because this will encourage their present and future. Characters who suc­ and enhance the development of the player char­ ceed in adventures that harm the Empire might acters. find themselves wanted criminals with bounties A great way to increase character develop­ on their heads — and bounty hunters on their

18 Gamemaster Handbook __ STAR. Chapter Two: The Star Wars Adventure “WART tails. Characters who do something spectacular — destroy a space station or a Star Destroyer, or save the inhabitants of a doomed planet — may encounter gamemaster characters that have been affected in some way by their actions. Maybe the gamemaster character is filled with admiration and wants to buy the player charac­ ters a drink, or a meal, or a new landspeeder, and won’t stop drawing attention to them until they accept his offer. Or maybe the gamemaster char­ acter had a close relative that was killed as a result of the actions of the characters and is out to kill them — no matter what. For example, The Empire Strikes Back and Return oftheJediare in many ways propelled by Han Solo’s history with Jabba the Hutt. One event in Han’s life, the dumping of a crimelord’s cargo, has repercus­ sions that follow him for years, and eventually involve the highest levels of the Rebellion. Creating A Realistic Universe In order to make the universe that you create in your game feel more realistic, you are going to have to include tone-setting scenes in your ad­ ventures. The player characters should always spend part of the adventure experiencing the world around them — not just running from fight to fight. You could give them opportunities to stand around on the street corner, watching the traffic pass by and talking to the locals about the history and culture of the planet. Or you could have them invited to a formal dinner, where they experience the native foods and customs. In these types of encounters, you should con­ centrate on describing what the characters sense — what they see, hear, smell, touch and taste. As

an added touch, you can also drop in the local (or David I’limkett brand) names of equipment that the characters come across (for example, “The thug points his blaster, a long, thin rifle that the locals call a is important is that you give the players a sense ‘lightning wand,’ at your head,” or “The Noghri that the universe continues to exist outside their motions at you with its stokhli spray stick”). You scope of direct experiences — it doesn’t stop at might also try to use phrases from alien lan­ the cantina door. guages in your descriptions (“The natives call this place ghrul ak-al, ‘the demon’s chair’”). Or Breaking The Style you might use exotic words to describe normal objects (for example, a hydrospanner is just a big While the suggestions for the Star Wars style wrench; a hammer might be called a quatdriver, are important for maintaining the feel of the and cutting might be done with a lazsaw). movies, it must be pointed out that not all adven­ Also remember that the universe will seem tures need be heroic and few characters should more realistic if you can keep the player charac­ be lily white or irredeemably dark in their actions ters informed about events that do not directly and thoughts. The Star Wars universe is a real concern them. For example, while they are in a universe, with real three-dimensional people who spaceport cantina in one system, they might hear try to live ordinary lives. It also just happens to a rumor about how a neighboring system was have some characters, like Luke, Han and Leia, destroyed by the Empire, or about a Rebel vic­ who seem to wander or stumble into adventure tory, or hear a mention of a planet that is famous wherever they go and consequently become for its food. The details are not important What larger than life.

Gamemaster Handbook 19 Chapter Two: The Star Wars Adventure -STAR__ W ARS—

If the gamemaster wants to maintain believ- target, and discovers that the target is actually ability and not have to constantly outdo himself, innocent of the charges against him, which then he is encouraged to be careful when using heroic means that she has to go out and clear his name elements. If the characters have to be heroes in — before all the other bounty hunters in the every adventure, and they just barely escape galaxy start chasing them both. death in every adventure, their actions seem less heroic and certainly less dangerous. As a result, Explorer/Scout some of the fun from Star Wars is lost. An explorer or scout character will want to As gamemaster, you should vary your heroic spend most of his time investigating unknown adventures with more personal adventures, and isolated systems. In many cases, these explo­ where the adventures involve a few characters, rations will follow a simple formula: map out an or small time crimelords or other minor factors, unknown planet from space, then land and ex­ instead of forcing the characters to destroy a plore the surface while trying not to get eaten by new super weapon every game. the local carnivores. However, an explorer might discover an un­ Adventurers *— Not Heroes known alien species and have to initiate contact between the species and the rest of the galaxy. The Star Wars: The Roleplaying Game, Second The explorer might discover the ruins of an Edition system was designed to encourage he­ ancient civilization or stumble onto a secret base roic roleplaying. Much of its material assumes (either Imperials, pirates or criminals — your that the players will be interested in playing choice), get captured and have to fight his way off characters, like Luke Skywalker, Leia Organa or the planet. For more information on playing Han Solo, who are involved in saving the universe scouts, see Galaxy Guide 8: Scouts. on a monthly basis. However, there’s more to this universe than heroic individuals. One of the Gambler main appeals of Star Wars is the remarkable A gambler will want to make her fortune with setting. Many players want to play “adventurers” her mind, not her blaster. She will be more inter­ — people who have dangerous, adventure-filled ested in finding the nearest casino or luxury lives, but who are more likely to be fighting off cruiser than in shooting at people. But even this pirates or dodging an Imperial customs frigate carefree life is not without complications. than to be destroying Death Stars. If she is a successful gambler, then everyone Luckily for those players, the expansion of the will assum e that she cheats (whether she does or Star Wars game time line to include adventures not). This means that she will be banned from after the Battle of Endor and the decision to many casinos. In order to enter these casinos — provide more information on the Star Wars uni­ so that she can maintain her livelihood—she will verse not directed at the struggle between the have to plot elaborate schemes and design com­ Empire and the Rebel Alliance makes it easier to plex disguises. She must also live with the unfor­ play characters who are not directly connected tunate fact that sometimes professional gam­ with the galactic conflict. These characters are blers do have to come up with plans that involve true adventurers, not heroes. Instead of worry­ cheating. After all, leaving it all to luck would be ing about the universe, they are more interested distinctly unprofessional. in the events of their own lives. There is also the unpleasant fact that she will Bounty Hunter probably be chased at one time or another. It could be by criminals — the proprietors of most A bounty hunter character will have very nar- illegal gambling enterprises don’t look kindly on ro w goals: get contract; track target; apprehend target; collect credits; get rich. Unfortunately for big winners (legitimate or not) and will often seek her (or him), life won’t always be this simple. to re-acquire their money. There is a lot of danger in this lifestyle. Other Or she could be chased by law enforcement bounty hunters are always ready to muscle in on agents. Gambling is illegal in many systems. Just possessing a deck of sabacc cards could have the her contracts. And, sometimes, the targets them­ selves prove to be more dangerous than the local authorities chasing her through the space­ port. contracts imply, and she ends up running for her life — instead of. happily collecting the reward. And then, there’s the fact that she will have Other times she might find herself betrayed by many old friends who now consider themselves her employer and left stranded in the middle of enemies. It could be an old partner that she deserted who now wants revenge, or a love- an extremely dangerous situation, because, after all, she’s just a bounty hunter. struck male that she seduced with her natural And, of course, there are those embarrassing charm and then left stranded. occasions when she gets too involved with a

20 Gamemaster Handbook __ STAR. Chapter Two: The Star Wars Adventure “WART

Smuggl er/Trader Smugglers and traders will live remarkably simi­ lar lives. The main difference is that the smuggler is usually more willing to carry contraband and more likely to be open about that fact. A legitimate trader may carry contraband on occasion, but he is going to be very quiet about it. Another difference is that the trader will prob­ ably have the loan on his ship arranged through a legitimate banking institution, while the smug­ gler will almost certainly have borrowed his money from a loan shark. This does not mean that the trader’s bank will be above sending out “collection agents” if he becomes delinquent with his payments — it just means that the collection is less painful. Finding work is not an easy task. Maybe Han Solo has people searching him out when they have a special cargo, but everybody else has to hustle to find a load to carry. This means spend­ ing hours on a planet, talking to beings in restau­ rants and bars and knocking on warehouse doors. It might also mean, to some of the less principled traders and smugglers, sabotage and deception. A smuggler might deactivate the repulsors on a competitor’s ship, then offer to carry the load himself when the problem is discovered. A trader might reprogram a loading droid, changing a shipping manifest so that the cargo is loaded onto his ship. Transporting the cargo then becomes an ad­ venture in itself. There are always malfunctions on-board the ship and equipment that has to be repaired or replaced. Or maybe there are block­ ades — Imperial, New Republic, or local — that have to be run. Or the ship could be attacked by pirates. Rebel Soldiers David Plunkett The player characters could still choose to be a part of the galactic conflict, only on a much acts of heroism will be on a much smaller scale. smaller scale. The characters in this case would It could be something as simple as running through be everyday soldiers — part of a squad that is a gunfight to rescue a friend, or maybe as large as only a small part of the Rebel (or New Republic) saving a small village of Ewoks from a maddened army. The assignments for these soldiers would garvin. Either way, heroism is not necessarily mea­ not be on the scale of “Destroy the Death Star.” sured by quantity, but by quality. Instead, they would be more like “Destroy that scout walker” or “Stop that squad of storm- Failure troopers.” Characters always run the risk of failure in These soldiers would concentrate more on their adventures. Most gamemasters assume that the details of their immediate survival than on failure in an adventure automatically equates questions of galactic conquest. They may start with the death of some or all of the characters. In the battle saying, “I feel like I could take on the fact, there are many alternatives to death that whole Empire myself,” but by the end, they will you can use. be glad that they only have to do it one It is a good idea when the characters begin an stormtrooper at a time. encounter for you to consider what is at stake in Even though these characters like to think of this situation. Is it a situation that could dramati­ themselves as just regular people, they may still cally justify the death of a character? Or could it have what it takes to be a hero; it is just that their

Gamemaster Handbook 21 TAI J Gamemaster Handbook Injury Capture Redemption Damaged Or Lost Equipment Characters who fail to fulfil their goals in an For example, Rebel Commander Zeke Rondel The characters, as punishment, are assigned Any event that ends in the capture of the In some encounters, failure could result in a For example, the freighter carrying the char­ Injuries are no real worry when you’ve got adventurecan often be given chancea to redeem themselves. This doesn’tallow the mean players that toyou runshould through thethe adventurefirst time. unresolvedInstead, you plot shouldpoints fromtake the all originalthe adven­ again, correcting the mistakes that they madeture and restructureadventure. them into an entirely new information about asecret Imperial installation. orders the characters to KailorDespite V to search all theirfor efforts, theymander cannot Rondel find empty the handed. The follow-up information and are forced adventure, to returnwhich allows the tocharacters Com­ to regain their stature, could be something like this: to asupply freighter. Whilein loadingone of thethe freighter outer systems, ture the an characters Imperial spy cap­ who acters carries then decide informationto hijack the supplyfreighter about the secret Imperial installation. andThe char­go directly tolect the the secret information installation needed toby thecol­ Rebellion. characters couldencounters be followed thatby process aoffers sequence a chanceescaping—of forof escape.rescue asseen Theinthe of capture Han Solo and — could easily be as long, complicated and exciting as was the adventure lossvaluable of equipment. This loss could then which led to the capture. lead to an adventure in which the characters procedurewouldn’t be as simple as going down attemptto repair or replace the equipment. to This the cornercharacters starshipwill have repairto intravel order to shop.adistant to system Maybelocateperhaps the thethey havewill necessary towork their waythrough materials. Or, a complexa planetary bureaucracy togain permis­ sion to have the repairs performed. acters is damagedsurfaceabarren,of anduninhabited acters forcedthen planet. haveto Theto char­determine landthe whatship, onwrongis withthe how necessaryto fix it, and materials how toon this acquire empty the planet. plentymedpacsof you’reor if minutes away from a bacta tank. But what happens when an injury Failure of Making the Most

Of Of course, stupidity can and should be pun­ Don’t let the playersget cautious—or bored. One of your main jobs is to ensure that the Most players — and gamemasters — assume

onlyjustify injury orlossaproperty? of onlimit whatSeta can be lost in this situation, and unless allow them tomatter suffer what the beyond dice say. that limit — no thecharacters dosomething really stupid, don’t ished.the If charactersinsist aren’t on enteringthinking, ortheyinto if don’t dangerous advancesituations the story, that then you are under no obligationto protect them. theLet dicewhere fall If If you follow theencounter, letter then of the the odds rulesundramatic are in fashion. everythatthe If players characters find that their they may. who act heroically are goingcharacters to die die in heroically a every dangerous,very timethen theythey becomewill trycau­ something story. is to show the players that, although their char­ tious, and cautious players make for a boring chance for survival. gamedoesn’t become dull,and one wayto dothis acterswill comeclose to death, there isalways a thatfailure is an end. Theythink“over” that because thestory is the player characters couldn’t complex. But this is far from the truth. In agood savethe senator timein or they were defeated by thepirates orthey made wrongatheir turn and landspeederparked in the middle of an Imperial The Star Wars Adventure adventure, failure is only the beginning.

Chapter Two: 22 Paul Daly __ STAR. Chapter Two. The Star Wars Adventure "WART occurs in the middle of nowhere or on the surface roleplaying. The characters would spend most of of a low technology planet? The attempt to get a the adventure talking to and questioning character to a location where proper medical care gamemaster characters, or they could be search­ could be provided can become a very exciting ing for something and spend the time exploring a interlude in an adventure, particularly when the new city or planet. character has only a limited amount of time to live. An adventure such as this would not include combat, but it might include encounters that come Complications very close to combat, but are instead resolved The idea of using a failure as a basis for further through bluffs and negotiations. adventure should be kept in mind whenever you To stay interesting, this adventure would have use the complications aspect of the Wild Die. A to be populated by many well designed game- complication is a not simple failure. Instead, it is a master characters, and take place in a detailed failure that has repercussions that extend beyond setting. the current skill use. Whenever you are determining a complication, Lots Of Dice you should consider the ways in which it might Try designing an adventure that is paced like an expand the scope of the adventure; that is, instead action adventure movie. There will be constant of curtailing the actions of the characters, it should action, danger, and big explosions, along with lots ultimately extend them. of humorous asides and dice rolling — and no character development. Surprises An adventure of this type would concentrate on giving the characters opportunities to wreak havoc Sometimes your players will become overconfi­ on an immense scale. Gamemaster characters dent and act as if they’ve got nothing to worry would be simple, two-dimensional beings who are about. After all, they’ve read the rulebook and all only there to get in the way of the massive fire­ the sourcebooks — they know everything there is power being brought to bear by the characters and to know about the Star Wars universe, right? their nemeses. Wrong. There will always be room for surprises in an adventure. If you feel that the players are Scope getting smug, or if they are acting jaded, like they’ve Work with the extremes of the size of the galaxy. seen it all, hit them with something unexpected Try designing an adventure that spans the galaxy (after all, every time Han Solo said something like, and that forces the characters to go from one edge “Don’t worry, I can handle it,” you knew he was in to the other. Or try to design an adventure that big trouble). takes place in one building, or one room, where For instance, those wimpy looking storm- everything that is important can be resolved with­ troopers could actually be high-powered bounty out moving around. hunters in disguise. Or that cute little alien might only be the tail end of a Vanarian Tree Eater. Strategy These types of surprises can help add a sense of realism to the adventure by showing the players Try designing an adventure that feels like a chess game — all strategy and planning. An adven­ that the universe is still larger than they thought. ture like this would be based on intricate puzzles, Remember though, that while it may be fun for the solutions to which would require delicate tim­ all concerned to pull these types of tricks on over­ ing and many extended skill resolutions. confident players, no one is going to enjoy it if you Strategy plots can be worked out by reading take advantage of player characters while they are down. good mystery novels or any intrigue novel with a cunning villain. Here, the characters have to find out what is going on and how to defeat the villain Options before it is too late. You spend most of your time trying to think of challenges for the players, so why don’t you set up Trapped some challenges for yourself? Some of these sug­ If one of the characters owns a starship, then gestions will lead you out of the space opera genre, you can try to design an adventure around the and, because of that, they may not always feel like characters being trapped in the ship and having to Star Wars. However, they could be interesting di­ use the resources of the ship to escape. They could versions for a group of players that is beginning to be trapped in deep space, in an asteroid field, or in tire of the “same old thing.” the hangar of a Star Destroyer. To add some spice to the adventure, you could have a bounty hunter No Dice or a strange, violent, alien creature trapped in Try designing an adventure where all the con­ the ship with the characters. flicts and encounters can be resolved through

Gamemaster Handbook 23 Chapter Two: The Star Wars Adventure JTAI WAR

A Sample Strategy Adventure

You will most often want to begin a strat­ before they could escape into orbit. egy adventure by placing the characters in The characters will then have to decide jeopardy, then limiting their resources so how they can best use this information to that instead of blasting their way out of the help them escape. situation, they will have to use their brains The characters plan to begin their escape and skills to succeed. attempt by using the installation’s computer For example, the adventure begins with system to disarm the electronic locks. After the characters trapped on a planet con­ the locks are disarmed — without any Impe­ trolled by the Imperials. In order to escape, rial knowledge, hopefully — the group will they will have to infiltrate a heavily guarded split up. The most mechanically skilled char­ Imperial installation and steal a starship. acters will go to the cruiser and attempt to fix Unfortunately, the characters have been it so that they can use it to escape. The others stripped of all their weapons and most of will split into two groups and attempt to their other equipment. sabotage the ion cannons — all the while There should then be plenty of time for dodging the Imperial guards. the characters to explore and study the In theory, the three groups will complete situation — much like characters in a spy their missions at approximately the same novel gathering information. time, then rendezvous at the cruiser and The characters study the Imperial instal­ escape into orbit. lation and discover the following: the guards In each of these cases, the characters travel their routes according to a precise will have a different puzzle to solve, and schedule; the electronic locks are controlled different ways in which they can use their from a central location; a non-functioning skills in order to escape. This is not to say customs cruiser is stored in the central that there won’t be surprises in store for courtyard; and, there are two ion cannons the characters — or that their plan will go which could be used to destroy the ship smoothly.

The Chase stories. For example, a crimelord may be trying If you want a real challenge, have someone to get a priceless artifact, an Imperial Moff may be chase the characters— bounty hunters, Imperials, trying to root out Rebel operatives and an alien or some unknown group — and allow the players may be looking for passage to a distant world. to do whatever they want to escape. Don’t give the The characters will continually cross game- players any conditions, or hints— nothing. Let the m aster characters that are involved in each of players decide where to go and what to do, and the stories, and then be pleasantly surprised as then you follow their lead. they see each of the story lines come together. Eventually, the characters are going to want to Alternate Time-Lines find out why they are being chased. You can have some ideas about this, reasons for the charac­ This is a great chance to play “What if?” In this ters to be chased, or you could take all your clues kind of adventure some major event in history from the ideas that they players will toss back occurred differently, and thus the galaxy is an and forth to each other. entirely different place. For example, what if Han This is collective storytelling at its best — and Solo left Hoth before the Empire attacked? Would its most difficult. The players, in effect, decide Princess Leia have been captured at Hoth? Would where they are being chased to, and why they are Luke have confronted Darth Vader and learned being chased, and you implement that. It will be the truth about his father? Alternate time-lines the hardest adventure that you’ve ever run, be­ are great one-shot scenarios that can be a lot of cause you have to develop a story during the fun to explore! session — improvising all the way. Ordinary People Concurrent Stories Player characters start off with certain advan­ In this type of adventure, there are several tages that normal inhabitants of the Star Wars stories going on at once. The characters can universe don’t have. In order to let the players bounce from story to story, character to charac­ get a feel of what it is like to be a “normal” person, ter, getting involved in one, some or all of the have them design characters using only 12D for

2 4 Gamemaster Handbook __ STAR. Chapter Two: The Star Wars Adventure “WART Mike Jackson their attributes and only 3D for skills. Then put tion, discovering interesting objects and interact them into an adventure, and let them see what it with interesting personalities. feels like to face a stormtrooper when you’re so For this type of adventure to work, the loca­ unskilled that you’re not really sure which end of tion that it is based on must be very well detailed, the blaster to point at your target. and it must be truly interesting — there should be something new or unusual about it that sets it Imperials apart from other settings — or it should contain Design an adventure where the players can a wide variety of gamemaster characters, so that portray Imperial soldiers on a mission. There are the player characters have plenty of opportuni­ two different ways that you could approach this. ties for interaction. The characters can be drawn One is the “We’re not so very different, after all,” into any number of stories, meet gamemaster approach, where you focus on the horrors of war characters who will pop up in later adventures that both sides face (the deaths of friends, the and make important contacts or learn valuable suffering, the fear of death). The other approach information for later adventures. is the “The evil leaders of the Empire,” where the player characters are ordered — by the Emperor Comedy or Darth Vader — to do something terribly vile You can also design adventures that encour­ and have to decide whether to follow orders or to age comedy. For example, the characters find risk their lives and careers by refusing. themselves appointed kings of a primitive alien species, or they keep on crossing paths with a One Species really incompetent bounty hunter who is so bad You could also design adventures where all at his job that the characters feel sympathy for the players are members of the same species. For him. Of course, characters can have a great deal example, they could all be Wookiees who have of fun making Imperial officers look like buffoons. recently escaped from slavery, or a group of You could also put the player characters in a Ewoks that have stowed away on tramp freighter. situation where they are somehow forced to do something that is at odds with their personalities Location Based (such as a vicious bounty hunter who finds that An adventure doesn’t always have to have a he must protect and care for the hundred kilo plot; instead it can be based on a location. The baby of a alien diplomat) and watch them squirm. action occurs as the characters explore the loca­

Gamemaster Handbook 25 Chapter Three: Settings -STAR__ W ARS

Chapter Three Settings

One of the major appeals of Star Wars is the Beginning gamemasters often feel obligated to diversity and unique nature of the settings that go into extreme detail when designing a new can be used in an adventure. Instead of having setting, especially if they’ve played other games the characters endlessly tromp through the same where virtually every location is mapped down terrain, or visit cities whose only differences are to the smallest room. Frankly, it’s a lot of work in their names, in Star Wars adventures characters a situation where having a few notes and an idea can visit the desert world of Tatooine, venture to of what the general location is like will almost the awe-inspiring floating cities of Calamari, ma­ always be sufficient. After you have a firm idea of neuver through the Hoth asteroid belt or glide what type of location you are inventing, then you among the clouds of Bespin’s Cloud City. can detail the most important locations in the adventure. The High Concept There are several interesting approaches to The Star Wars movies brought to life land­ the high concept stage of setting creation. scapes and sights beyond anything ever placed on a movie screen. In order to truly be Star Wars, Using Settings your adventures should be filled with the breath­ From the Movies taking vistas that made the movies inspirational When they first begin, your players will prob­ and exciting. ably be most interested in visiting locations that When creating settings, you should first de­ they have seen in the movies. There is no reason vise the “high concept” of the setting. Instead of why you shouldn’t set some of your first adven­ concentrating on generating a detailed location tures in locations that the players are already right from the start, try to come up with your own familiar with. Not only will it satisfy the desires of “stunning visuals” that set the mood and feel of the players and make the story feel more like a the setting. Star Wars adventure, but it will also remove from you the pressure of designing an entirely new / \ setting. Planets And Locations Choosing Tatooine This chapter covers two similar but dis­ tinctly different subjects. The hints in this One of the best settings from the movies is chapter can be applied equally to the cre­ Tatooine because of the extent to which it has ation of planets and the creation of specific been described in the movies. Hoth and Endor locations on a given planet. were both presented almost as thoroughly, but these two planets do not suggest as many inter­ Gamemasters who expect to be creating esting storylines. Tatooine is the setting from the many planets are advised to look at the rules system in Planets of the Galaxy, Vol­ movies where the characters are most likely to ume One. This system gives specific sug­ find adventure. gestions for how to build new planets. How­ Tatooine has much to of/er characters and ever, if you want to build planets that look new players. It has the Mos Eisley spaceport. and feel interesting, without getting into the There is a wide variety of businesses and activi­ finer points like imports and exports, this ties which surround spaceports so the charac­ chapter will more than suffice for your ters would easily be able to find a starship and needs. pilot for hire. Because of the criminal elements on the world, notably Jabba the Hutt, this is a v ______/

26 Gamemaster Handbook __ STAR. Chapter Three: Settings —WART Paul Daly seedy spaceport, with danger and the opportu­ population, with miners, laborers, corporate ex­ nity for gambling, smuggling, bounty hunting or ecutives and the seemingly everpresent influ­ any other activity the characters could desire. ences of the galactic underworld. Of course, Tatooine is also a wilderness world, with plenty Cloud City also features a charismatic and daring of room for exploration. It has wide-ranging administrator, the (in)famous Baron Lando deserts populated by two alien species, Jawas Calrissian, who seems to bring a dose of intrigue and Tusken Raiders (Sand People), and many and excitement everywhere with him. This world strange creatures, including Banthas, Dewbacks, isn’t as isolated as Tatooine and offers more to womp rats, and Krayt dragons. “cultured” characters. For more information on Tatooine is also (or was also, depending upon using Bespin, see Galaxy Guide 2: Yavin and when your adventures are set) the base of Jabba Bespin and the adventure Crisis on Cloud City. the Hutt’s criminal empire, so there is always With both of these settings, the people, places something interesting going on that the charac­ and history of the locations suggest many adven­ ters could get involved with. ture possibilities. On these worlds, the charac­ Finally, Tatooine is a frontier world, far from ters can rub elbows with the likes of Bib Fortuna the influence of galactic culture. It is a part of the or Lobot, have to fight off Sand People, take a tour Empire, but it is safely isolated from the Empire’s of the Cloud City casinos or visit the infamous most oppressive manifestations. Rather than have Mos Eisley cantina. to confront Imperial Star Destroyers, the charac­ ters are much more likely to come across a squad Altering Familiar Settings of local militia members or stormtroopers. Using settings from the movies is a great way For more information on using Tatooine, see the to get an adventure rolling. However, a game adventure Tatooine Manhunt; as well as Galaxy session that is a carbon copy of the movies will Guide 1: A New Hope, Galaxy Guide 5: Return of the be boring. Fortunately, gamemasters can take Jedi and especially Galaxy Guide 7: Mos Eisley. the settings from the movies and subtly alter Choosing Bespin them to provide all new locations for the charac­ ters to visit. Another excellent adventure location is Cloud For example, if the players exhibit an interest City on Bespin. It is a bustling mining town/ in going to Hoth during an adventure, you could vacation spot, offering high-class gambling have them travel to another planet which is houses and hotels and amazing luxury for those similar to Hoth. Hoth itself isn’t a good choice — who can afford it. It has a large and diverse

Gamemaster Handbook 27 but novels, JETAI WAR StarWars, Star Wars universe. ... books, trading cards Wars Gamemaster Handbook materials that provide universe: is based onreala complex Art o f Star Wars Star Wars Star Wars Wars Star Materials Using Exotic Settings Manytheseof books introducenew planets or Aside from the movies, there are a wide vari­ For example, the Rebel outpost on Yavin in You can just as easily base your adventure Movie companies use exotic locations, and Flip through travel guidebooks, encyclope­ but they won’t know much about Anchorhead and what goes on there. ety of other informationonsettings. gameFor products, there much information on them. This gives the are the sourcebooks, galaxy guides and adven­ comic books, the knowledge to choose from. mention new planets by name without giving ize the setting because they are familiar with it. tures. Add to that the various and toys and there is a truly impressive body of gamemasterahuge selection thatas to cannew locations be designedwho are familiarfor an withadventure. theseenjoythechance materials tovisitPlayersthese will locations. reallythey Whetherare going toNkllon, Coruscant,NarShaddaaor Byss, the players will be better ableto visual­ • One,the• temples weren’t familiartomost people. settings on realthem to world fit into the locations Star by modifying of ruins — the Mayan TemplesPark in Guatemala.at Tikal National There were two things about • Two, detailssuch as theguard tower and the X- thesetemples that made tothem fit seeminto alienthe enough Even locations that are real can seem exotic and travelguide could provide youwith descriptiona unfamiliar enough foryou tofor use part it as the of an setting adventure. and pictures of a real location that is exotic and aliento people who have never seen them before. forests of the Pacific Northwest helped make Guatemala to make them seem even more alien. dias and other books filled with exoticunusual images.architecture that can bethe basis foran Star Wars: A New Hope NewA StarWars: A quick glance through an encyclopedia or a Endor seem real. wing flyover were added to the real temples in with a little research so can you. The deserts of You may find pictures of starkadventure landscapes setting. add other or Of course,details to your setting— you droids will and aliens—to want starships, like to make trulyit Tunisia made for a great desert world and the it because To start with, you give this planet a name Now you have a new setting that is reminis­ You can also providemore information about (because a planet or a city with a name almost the Rebel Alliance picked it for a base similar to Hoth. was isolated and there was no one else there. instantlyseems moreplanet realistic than constantly an unnamed referred to as “the planet”). Therefore, you can decide to create a newworld Hoth: it is cold and Forcovered a difference, withyou choosesnow and to haveice. it occupied You then decide how this planet is similarsmallbya group toprospectors of instead havingof cent of Hoth, so the players are already familiar partsetting.aof Forexample, the if players want a Rebel base. with some aspects offor the them world, tomaking visualize. it easier (much more relaxed and with a more tight-knit having them travel toing Anchorhead,and farmingsettlement. a small trad­ Here, thecharacters community than the spaceport). In the adven­ ture, the characterstacksfrom Tusken Raiders. mightThe characters comehave to acrossmight fend off someat­ teenagers who are talking (theImperial propaganda machine has obviously will get a feel for the nature of a farming town to visit Tatooine you can modify the setting by about an guy a few yearsthey thinkolder his name thanis,who supposedly them,family Lukeover killed his a couple of droids and blasted done off its job). The players will be familiar with Tatooine,and nowis supposed to bespace pirate Tatooine, its deserts and the moisture farmers,

ha^te^Three^ettinc^ C 28 Mike Jackson TAR. ChapterllTree^ettin^ fA R T a good setting may have its foundation in Tibetan temples, Australia’s outback or south Asian is­ lands that are exotic and alien in appearance. Using Ordinary Locations You can take any location, even one that is just down the road, and add details to it that will allow you to use it in a Star Wars adventure. Most locations will have Star Wars counterparts be­ cause people will always need some place to buy food or goods, or to go out for a night’s entertain­ ment, or to get their vehicles and appliances (or droids) repaired. By advancing the technology of a given real world location you can create an unique Star Wars location. For example, a movie theater would become a holotheater. A hotel could be a hun­ dred story tall hotel, floating on repulsors with sections that rotate on a huge slow-motion gear mechanism. What would be the Star Wars equivalent of used car lot: A landspeeder lot? A droid lot? A David Plunkett starfighter lot? What kind of salesbeings would work there? Would a droid work as a salesbeing To add that sense of “this is not Earth,” you on a droid lot, or would the droids try to sell might even say that the buildings are constructed themselves? of a smooth plastic or a rough-hewn stone, or What are the equivalents of shopping malls in point out catchy holograph or virtual reality the Star Wars universe? What stores would it con­ displays. To a wilderness location you could add tain? What would be the difference between a mall strange creature flying through the air, unusual on Coruscant and a on a small frontier world? noises, green fog, red suns and dozens of moons. Would a mall on Rodia be filled with weapon stores? Would a Quarren mall be underwater? With some work, even the most mundane of locations has its place in the Star Wars universe. r The Energy Station

Most locations on Earth have unique Star Wars operating landspeeders. However, in order to in­ counterparts. Take a self-service gas station as an crease the range of possible customers, the station example. Think about the parts that constitute one of might have two levels of recharging stations — one at these stations. ground level, to service landspeeders, and one at five In its simplest form, a self-service gas station meters above the ground, to service airspeeders. consists of a number of gasoline pumps — anywhere The attendant could be replaced by a “courteous from four to twenty or more — and a tiny kiosk from and efficient” servant droid. Or each individual re­ which an attendant controls the pumps and takes the charging station could be equipped with a simple money. In addition, most stations will have some sort electronic brain, eliminating the need for an atten­ of identifying sign, and the attendant in the kiosk may dant entirely (of course, it would have a direct line to also sell simple goods, such as soft drinks, candy, law enforcement officials should a customer try to cigarettes or motor oil. leave without paying). Now, think about what would be different about an The station’s sign wouldn’t be a simple neon or establishment that served this same marketing niche fluorescent sign. Instead it might be a large holosign, in the Star Wars universe. constantly projecting holocommercials into the air To begin with, the pumps wouldn’t be pumping above the station. gasoline. Instead, they would be fast-transfer recharg­ The station would sell the local equivalent of soft ing stations that renewed the energy lost by the drinks, candy and cigarettes, but it might also sell power cells of the vehicles. energy packs for equipment, comlinks, or pre-pro­ Few of the vehicles that use the station will be grammed travel modules to use in automated driving wheeled ground vehicles. Most of the clients will be systems.

Gamemaster Handbook 29 Chapter Three: Settings JTAI

Fictional Settings rived names — after all, Star Wars is a long time ago in a galaxy far, far away, so that culture has There are countless works of fiction that pro­ different myths and location names than ours vide suitable ideas for settings. With some tinker­ does. ing, locations from classic myth, modern litera­ When you do use another setting for inspira­ ture, and, of course, other science fiction and tion, you should make some major cosmetic fantasy works, could be converted to the Star changes. Try to change the setting just enough so Wars universe. that players don’t know what your resource was. One of the most obvious sources for inspira­ If your reference is obscure enough or you don’t tion would be other science fiction movies and get too obvious, this might mean simply chang­ novels. However, you should remember that ing a couple of names and introducing some new much of the material contained in other science gamemaster characters. However, if your idea is fiction stories will not fit directly into the Star closely based on a setting or work of fiction that Wars universe because it doesn’t share the Star all of your players are familiar with, this might Wars feel. Material from other science fiction mean adding a completely new culture, or chang­ sources will often have to be heavily modified, ing the look of the architecture, or adding a new but that doesn’t mean that this isn’t a useful plotline, but it will result in a less derivative and source of basic ideas. After all, the Star Wars feel more original world for your adventures. results from the combination of a large variety of sources that influenced George Lucas — every­ thing from Westerns to comic books to Buddhist Original Settings thought to Japanese samurai movies had a part Creating wholly original settings from your in the underlying philosophy and execution of imagination is a lot of work but it is also a great the Star Wars saga. deal of fun. This is the most often used method of Many books about writing science fiction con­ creating new game settings, but it can also be the tain essays on designing planets and star sys­ most difficult for beginning gamemasters. tems or on designing alien beings. While these Often, the gamemaster finds himself (or her­ essays usually deal with the specifics of design­ self) staring at a blank piece of paper, trying to ing scientifically correct planets and aliens, which create worlds. This is entirely the wrong ap­ is less of a concern with Star Wars, the general proach. Instead, the gamemaster should open methods and examples that the writers present himself to all the thoughts and ideas running can provide you with suggestions that you can through the back of his mind. The key to this use when you begin creating your own settings. method is to learn how to put yourself in the Science fiction art books show some other proper mindset for this type of creation. dramatic sights that could be incorporated into Instead of trying to create everything from your Star Wars adventures. The ideas that you thin air, think of a favorite story or visual image will derive from them won’t necessarily be drawn or character and then actively concentrate on from the contents of the pictures themselves, how to convert that idea to Star Wars. Every day but from thoughts that occur to you as you look gamemasters are exposed to thousands of inter­ at and think about the pictures. esting ideas on television, in newspapers, in books, in music and just in ordinary conversa­ Hints On Conversion tion. If you work at converting these ideas, ask When adapting other works of fiction to Star yourself, “What would this thing be like in theStar Wars, instead of trying to adapt a setting element Wars universe?” for element and plot point for plot point, you should try to dissect the setting into its compo­ The Brainstorming Method nent elements and determine why you find it This method is the most wildly creative, and interesting. Examine what makes the world excit­ thus the least structured. Simply pull out a piece ing — the descriptions of the architecture, the of paper and a pencil. Then start thinking about visual image of a palace on a mountain top with gaming and Star Wars in particular. Write down an immense ringed moon in the background, the every idea, image, emotion, scene or other factor technology, the strict culture, or the conflicts of that crosses your mind. Don’t try to explain or different points of view — and try to mold them develop these ideas, but simply write them down. to more closely fit your Star Wars universe. After a few minutes of this, you’ll probably It is suggested that you change the names of have scores of words, phrases and ideas written the new locations so your players don’t immedi­ down. Then, go over the list and pick out the ately recognize the setting. This is especially most interesting ones and try to develop them important when using settings with Earth-de­ into interesting scenes and settings.

30 Gamemaster Handbook __ STAR. Chapter Three: Settings “WART r Converting Avalon

A good example of this process is the conversion of Delicious apples grow on the many trees of Avalon. the mythic land of Avalon to a Star Wars adventure. The Millinar will have many varieties of succulent fruits that theme of the Avalon myth is as appropriate to Star Wars have natural healing properties. The trees themselves as it was to medieval (or modem) storytelling and have huge root systems that reach the deep under­ several aspects of the Avalon myth can be kept intact ground streams. provided you can offer a logical Star Wars rationale for Towards the center of Avalon is a small chapel built them. by Joseph of Arimathea, an ancient holy man. Instead of According to the legends of King Arthur, Avalon is the chapel of Joseph of Arimathea, the focal point of this the island where the king’s body was taken to be buried new planet is a monument built by an ancient Jedi after he was mortally wounded in battle. Avalon has Knight. The gamemaster decides to make this building many mystic properties associated with it: its location a large, triangular building whose outer surface is is unknown and it is reputed to be an area where magic covered with elaborate paintings that seem to move as is naturally strong. sunlight plays across them. To create a Star Wars setting based on Avalon, you The only inhabitants of Avalon are a race of noble would start by making it an entire planet — not just an women who have great knowledge of magic. The inhab­ island. You can keep it isolated by putting the planet in itants of Millinar are a group of hermaphroditic aliens uninviting surroundings, such as a giant dust cloud who have developed skills in using the Force. They that hides it from the rest of the galaxy. Of course, you might even have powers that Luke Skywalker is unfamil­ will probably want to change the name of the planet, so iar with since it is assumed that much Jedi knowledge you might select “Millinar” as the new name. Because was lost during the purges of the Emperor. of its isolation, there are rumors of Millinar, but people Avalon is also reputed to be the source of Arthur’s believe it to be a simple myth passed down through the mighty sword, Excalibur. This aspect of Avalon gives millennia; no one suspects that Millinar is a real place. you the story hook that you would use to work this new The weather on Avalon is always fair. The weather planet into an adventure. There is a legend that tells of on Millinar is very pleasant with minimal rain. This is a powerful weapon hidden on the mythical planet of because there is no axial tilt to cause a cold season, and Millinar. The characters will be familiar with the myths the water/land ratio is such that the level of moisture from their childhood, but they will uncover a clue in the atmosphere never rises high enough to produce (perhaps a lost temple of the Jedi) that leads them to precipitation. The world’s land masses are low lying, search for Millinar in hopes that they can acquire the with many natural springs and underground streams. weapon and use it against the Empire and help bring The world’s natural beauty remains unspoiled and freedom to the galaxy. there is almost no technology on the world.

The Matte Painting Method Wars and other science fiction movies, or try to Rather than trying to instantly come up with a imagine your own ideas. What would the heart of fully realized world, you should concentrate on a nebula look like? Or the reactor core control coming up with one exciting mental image that area of an Imperial Star Destroyer? Or a world sets the tone for the world. Some gamemasters with ammonia oceans and earthquakes that build call this the “matte painting” shot — it is an and destroy mountain ranges literally overnight? establishing image that succinctly gives the feel Then, try to apply these ideas to an adventure and the tone of the world. These kinds of images scene — what could happen in this type of set­ would include the twin suns setting on Tatooine, ting? How could the characters end up here? Ben and Luke overlooking Mos Eisley spaceport, What kind of story could they get involved with? the Millennium Falcon being dragged into the This type of creative visualization is easy and can Death Star’s hangar bay, the first shot of the provide some great ideas for adventure loca­ Tauntaun running on Hoth, and the twin pod tions. cloud cars flying toward Cloud City with the The Word-Association Method brilliant orange and red clouds in the background. All of these shots instantly suggest a world Another method is word association. By using that is visually stunning. They provide enough a categorized thesaurus or dictionary, you can information to be enticing, while still leaving a skim through just looking for interesting words. great deal of mystery about the specific location. Particularly interesting words can be very useful These types of scenes are easy to come up in describing a planned setting or inspiring an with. Simply toss around visual images from Star interesting facet of a new one.

Gamemaster Handbook 31 Chapter Three: Settings W A R 1 “

You can, for example, look up “plants” and find learn more about the setting, the place takes on a large list of adjectives that can be used to a life of its own. For example, when Mos Eisley is describe plants. If you are trying to design a new first mentioned in Ben’s hut, it is simply a name. plant or a plant-like alien and find that you are Then we learn that it is a dangerous spaceport. stuck for ideas, then you can pick several words Finally, when we see “a normal day” in the space­ at random out of the “plants” list in the thesaurus port, the place becomes real to us and takes on a and combine these words into a skeleton de­ history and life of its own. scription of the plant, which you can then flesh out with your imagination. Type The Research Method A “type” is a very succinct description of the location. Those two or three words can give you Books about space and the planets in the solar an excellent feel for the location and what it is system, particularly ones with photographs and like. For example, “posh nightclub” and “seedy, paintings in them, can be a big help when you are criminal cantina” are essentially the same type of designing settings. Photographs taken on the establishment (drinking and socialization), but surface of the moon, Mars, or Venus will help you the type description shows how different they to get an idea about what another planet might are from each other. look like, and the photographs and paintings of The type might describe the clientele the outer planets and stars will give you ideas (starfighter pilot’s bar, Mon Calamari restaurant, about objects to put in the night skies of other Rodian weapons shop), the forces that occupy or planets. Some of these books contain very infor­ own a location (Rebel base, Imperial garrison, mative speculative chapters about planets in TransGalMeg mining station) or the location’s other solar systems and the possibility of intelli­ prime function (trading offices, farm, luxury ho­ gent life on other worlds. tel). There are several other areas that might yield The type might also describe the true function some interesting ideas for settings. For example, of the setting, as opposed to its assumed func­ if you read about a country on Earth that has had tion. A casino, for instance, would be assumed to several violent changes in power, you might be function as a gaming establishment while, in fact, able to get a feel for a world that has known its true primary function could be as a place for similar warfare and changes and power. Pretty gathering information or for contacting under­ soon you’ll be able to form a mental image of city world figures. ruins and whole continents blasted by the ex­ change of weapons. This type of setting, bleak as it is, could offer a fascinating location for a Star Location Wars adventure. Where is the setting? It is important for you to remember that the settings you design do not Preparing Settings For Play exist in a vacuum. Outside every wall is a street, or another building, and through every door — With the high concept decided, you can begin even if the player characters never see it open — working on the details of the setting. Here are is another room. Keep these surroundings in some of the questions that you will need to mind, and add their effects into your design. answer about the settings you design. The location should be relative to a familiar location the characters are familiar with. For Name example, a building may be best described as Give the location a name. Almost every loca­ “next to the cantina,” while a small farming settle­ tion will have a name, ranging from a simple ment called Motesta may be “Two and a half descriptive, such as Ben’s hut, to a more abstract hours north of Anchorhead by landspeeder.” If name, such as Fort Tusken. Giving a location a you want to make a planet seem distant, it’s name makes that setting more realistic, because enough to say, “It’s out in the frontier of space,” it gives the setting a history that is reflected in while most people will assume that a world that the meaning of the name. is “near the Core Worlds” will be civilized and For example, Ben’s hut has a vague name, cultured. because the people who call it that don’t know By being given a comparative location, the exactly where it is — and don’t really care. Fort characters get a sense of how distant this new Tusken is named after a settlement where people location is and you will be able to think about were killed in one of the first raids by Sand how the characters will get there and where they People. will be when they leave. A name won’t instantly make a place seem For example, a holotheater located next to a real, but as the setting is used or the characters planetary criminal detainment center will have a

32 Gamemaster Handbook __ STAR. Chapter Three: Settings " WAM Mike Jackson

different clientele and atmosphere from one lo­ What does it look like? Write up a brief descrip­ cated next to an Imperial officer’s training school. tion of the most important places and objects The theater located next to the detainment cen­ within the setting, trying to add any information ter might have a hidden room where illegal weap­ that the map doesn’t convey. ons are sold. The theater next to the training Use a general look to get the appropriate feel­ school might have, instead, a large concession ing and tone across for settings. Every setting stand that offers expensive liqueurs. that you design should have a pattern into which most, if not all, of the details fit. This look can Set-Up often be reduced to one word, such as grungy, How is the setting laid out? How are the rooms sterile, pastoral, or mechanical. These one word shaped, or where are specific buildings in a mili­ descriptions of settings, while over-simplified, tary complex. If the characters are going to be can be very useful. When you begin designing the doing any significant maneuvering in the area settings of your adventure, you should start with (such as invading a base or getting into a fight), this one word. As you determine the other details they will want a map of the setting. A map, no of the setting, you can then modify them in light matter how crude, will convey much more infor­ of the general look of the setting and ensure that mation about the layout of the location to you all the details fit properly. than will a written description. For example, a messenger droid in a decrepit Maps aren’t necessary for all locations, but starport might be a squeaking, battered, carbon- they are helpful in locations where the difference scored R2 unit with a hastily rigged — and not between hiding behind a door or standing in the very dependable — vocabulator. A messenger middle of the room matters. droid in a flourishing starport would be a top-of- When sketching out a location, make sure that the-line, well-lubricated, shining and polished it is logical and consistent. If a floor has an protocol droid that speaks three million lan­ guages and exudes a pleasant scent from its elevator at one specific spot, there had better be an elevator on the floors above or below it, or a specially constructed aroma-disseminators. good explanation as to why there isn’t. The general look of the Star Wars movies is one of the things that sets them apart from most of the other science fiction movies that came be­ Physical Description fore them. The Star Wars movies appear to take Now that you have an idea for the setting, it is place in a real universe where equipment is actu­ time to provide specific details on the setting. ally used and gets dirty, and the people who use

Gamemaster Handbook 33 ChapterThreej^ettinc^ JTAI

it are too busy to clean it and too poor to be (especially since Rebel bases are likely to be constantly buying new equipment. While the evacuated at extremely short notice). Mainte­ characters in other science fiction movies never nance in a Rebel base will be limited to only what traveled in a starship that was not brand new, the is absolutely necessary — if the grime in the characters in Star Wars travel in decrepit clunkers. corners isn’t affecting any equipment, then it The Star Wars movies brought to the forefront won’t be removed. Carbon scoring on starfighters the idea that the highly advanced technology of will be allowed to build up until it almost threat­ a galactic civilization would see daily use by the ens to interfere with flight operations. Troops common people of the galaxy. The creators of will rarely, if ever, be inspected and most flaws Star Wars drew their inspirations from the streets, short of willful disobedience will be overlooked. from the day-to-day lives of the people who use New Republic installations will be somewhere their cars and refrigerators and microwave ov­ in between these two extremes — neat, perhaps, ens constantly. or tidy. The New Republic is concerned with Adding to this well-used look is the fact that appearances — too concerned, some think — the Star Wars movies are set in the outlying because its leaders want to prove that they are reaches of the galaxy— on the poor side of town. the rightful governors of the galaxy. However, Take Tatooine as an example. Not only are the the new government is too unsettled and fragile inhabitants of Tatooine far from the cutting edge to risk weakening its armed forces by devoting of technology, but they also — because of their too much time to such nonproductive tasks as struggling economy — have to make do with polishing X-wings. what they have for much longer than do the Even so, the maintenance schedule on all ships inhabitants of wealthier systems. will be more routine and more thorough, and Because of this, the settings that will seem the some emphasis will be placed on the personal most appropriate for Star Wars adventures will appearance of the troops, although military lead­ be those that can be best described as seedy, ers will not want to risk alienating any of the grungy, or disheveled. However, there are al­ unconventional but highly talented renegades ways exceptions, and you can use these excep­ who enlisted when the only goal of the Rebellion tions to add life to your adventures. The Mos was to destroy the Empire. Eisley cantina might be considered seedy, and the characters in your adventures might find Using The Senses themselves spending much of their time in simi­ No m atter how well you design your settings, lar settings, but, occasionally, they should find they are not going to feel real to the players until themselves in settings that are extremely differ­ you learn to give realistic descriptions of them. ent. To create realistic descriptions, you will have to For example, if they were to go to the palace of keep in mind the effect of the setting on all five (or the native ruler of a very wealthy planet, they more, in the case of some aliens) senses. would find that setting to be luxurious, while a As you prepare your descriptions of settings, well-equipped Imperial hospital would be anti­ begin by imagining that you are present in that septic. setting. Describe one setting with just your eyes. To get a better understanding of the possible Then, for the next setting, add in the information differences in the general look of settings you that you would collect with your ears. For the should consider the differences between mili­ next setting, go back to just your eyes, and, in the tary installations. next description, add in your sense of smell. Imperial garrisons will be spartan, polished Eventually, add information concerning touch and organized because such surface impressions and taste. are very important to the leaders of the Empire. You might also try beginning a description with Decorations will be uniform and plain in most a sound, or a smell that seems particularly over­ cases, and slightly more lavish in the quarters of bearing (such as the smell of seaweed on the the high ranking officers. The smaller vehicles, Calamari coasts, or the clanging of digging ma­ such as TIE fighters and AT-STs, will be polished chines in the mines of Kessel). This makes the between deployments, and the larger ships — players think more about the setting. After they even Star Destroyers— will be regularly cleaned. have received the first sense, you can detail what The troops will be inspected often, and such a location looks like or fill in any other sensory data. minor violations as a scuffed helmet will be heavily punished. Sight Rebel bases will look disheveled, well-used For most people, sight is the most important and hastily put together because the Rebellion sense, so the bulk of your descriptions will be cannot afford to spend time and money on the visual. To make the most effective use of sight, niceties which one would find in an Imperial base you will have to learn to arrange your descrip­

34 Gamemaster Handbook __ STAR. Chapter Three: Settings “WAR S

tions so that the most important or most unusual Touch visual detail about the setting comes in a spot Characters will usually have to make an effort where it is emphasized (usually near the very to experience the textures of an object, but you beginning of the description). should remember that touch also registers air You might also want to classify what the char­ temperature — an important aspect of any de­ acters see by how hard they look: make notes of scription. what the characters see if they take a quick Touch can be used in a variety of ways, such as glance, then what they see if the stop to look when describing a new artifact. It takes on a around a bit, and then what they see if they make whole new light if it looks smooth but is “slimy” a detailed search. A character taking a quick to the touch. You can also make comparisons glance isn’t going to notice how many tables a when using the sense of touch. For example, cantina has, for example, but a character making “When you grasp the end of the handle, it feels a detailed search will know. Characters who only cold and frigid, like metal left outside in the glance around a location are likely to miss impor­ middle of winter.” These kinds of descriptions tant visual clues unless they make a good Percep­ give the players a true sense of what their char­ tion roll. acters are experiencing. As an interesting diversion, you might want to put the characters in a situation where they Other Senses cannot see— such as a dark cave, a black nebula, Certain alien species will have unique senses. or the inner reaches of a dead alien starship — For example, Gotals use the cones on their heads and force the players, and you, to operate with­ to “see” radiation, the Verpine have a limited out the sense of sight. form of telepathy amongst members of their own Smell species, and the Defel can see ultraviolet radia­ tion. When you have characters who are mem­ Next to sight, smell is probably the most im­ bers of that species, you should carefully think portant sense to consider in your descriptions of about what they will perceive with their limited settings. A smell is something that cannot be senses and work that information into your de­ easily avoided; it will permeate the area. The scriptions. sense of smell also lends itself to some very expressive adjectives — fragrant, ambrosial, Qualities putrid, fetid and rank. There are a number of areas that you may You can also use specific scents that the play­ want to consider in the physical description of a ers are familiar with. For example, describing location. Please remember that anything from a something as “smelling like burning motor oil” is small business to an entire continent (or even a lot more expressive than “it smells bad.” A planet) can be described in these types of terms, planet where the atm osphere “smells faintly like depending upon the scale of the location being cinnamon” will seem instantly more alive. created. Hearing A good place to start is tem perature and “gen­ eral atmosphere.” These qualities might might Sound can also be a powerful part of a descrip­ be mentioned if they aren’t “comfortable.” A bar tion, ranging from the proverbial eerie silence that is described as “hot and sticky, with uncir­ that precedes an ambush, to the annoyingly loud culated air that is thick with smoke” instantly has banging and clanging of an industrial planet. Like a certain character. a smell, a sound is something that is hard to avoid A variable factor is gravity, especially for busi­ and it provides detailed information. nesses that cater to a variety of aliens with a non­ Wherever possible you should try to simulate standard gravity range. Some places will also these sounds by using your own voice, or pre­ have special atmospheres for aliens — if the record sounds for playback during gaming. For characters have to venture here, they may have more information on this technique, see Chapter to don breath masks or even environment suits. Seven, “Props.” Some businesses will have certain cycles — Taste some places will be closed all day and only be open at night (or vice versa). Or a particular Taste is hard to work into most descriptions location might have different kinds of patrons — excluding, of course, food and drink that is depending upon the time of day or even the ingested. However, you should remember that season. For example, some areas are tourist spots the senses of taste and smell are closely con­ at certain times of the year, and thus the location nected, and strong smells often carry with them will be much busier during tourist season. Some the sensations of taste (as in, “The air near the bars will attract certain kinds of clients during ocean tasted salty”). the day (for example business men), and attract

Gamemaster Handbook 35 ChagteMThree^ettings J T i WAI

a completely different crowd at night (perhaps populate a setting, you should make note of any university students and artist types). particular species which are common (such as An example of qualities that affect location on Wookiees, for example) and make sure that this a planetary scale is Ryloth, homeworld of the fact is translated into roleplaying (characters are Twi’leks. The length of day and year are equal: a lot less likely to start a fight in a bar full of one side of Ryloth always faces the planet’s sun Wookiees than in one full of Jawas). while one side is always dark. The dark side of You will also want to make note of any crea­ Ryloth would be uninhabitable were it not warmed tures that are common to a setting, from herds of by the raging winds generated on the bright side. grazing Tauntauns to a pet sun-lizard that is in a This unusual planetary system — where the cage behind the bar. These creatures can often Twi’leks are forced to live in a darkness ravaged be “characters” in their own right. by harsh ‘heat storms’ — accounts for the cun­ ning nature that the Twi’leks have developed. Background On some worlds or in some specific locations, The background section of setting explains you might want to make note of the tech level. “how” the setting got to be the way it is. It is an Some worlds will be fairly primitive, so blasters explanation of the history of the setting, and will be uncommon or even wondrous to the provides detailed information on the location population. Even on civilized worlds, there may that is not readily apparent from the physical be areas where blasters, droids and vehicles are description. uncommon or possibly outlawed, so a portion of For example, you might want to list some of the world effectively has a lower tech level. the past owners or past events of a particular You will also want to make note of any land­ business (for example, if the bar was a past front marks for a given setting. If a planet is famous for house for spice dealing, it might explain why the a particular oddity of nature or a social event, or local constabulary watches the place so closely). if a bar is reputed for a colorful moving hologram From planets to small locations, you may want to of the galaxy, this kind of information should be explain some of the interesting events that molded noted for added color and information in the the past of the location and show how they affect description of the location. the nature of the business to this day. Exceptions You can also disclose information, such as how a business is run, long running feuds that are Now that you’ve established a look for a par­ important to the location, or a listing of the real ticular setting, you may decide to add an excep­ owners of the location (such as, “this business is tion or two. Anachronisms can give character to secretly owned by Hutt gangster syndicates.”). a setting. If the setting is a large scale one, you might Suppose the centerpiece to a disreputable bar also want to describe the local government or was a delicate statue that would be more at home how the law operates (for example, “the police in one of the Core World art museums. What would are very clean and will make things even worse this say about the owner of the bar? It could imply for criminals who attempt to bribe them.”). that, at one time, the owner of the disreputable bar You can describe the local economy, giving a was a wealthy art collector. From this exception to little bit of information about how the local people the general look of the bar, you could develop a earn their living or why the town is so wealthy or history which would give the owner— and the bar poor. This can also help to explain the value of — a unique personality. the resources on the planet or objects in the setting (for example, on desert worlds water will People be a very valuable commodity; on water worlds Who — or what — will the characters meet metals will be very valuable). there? Make a list of the gamemaster characters or Fora wilderness setting, you might want to list creatures that the characters might meet in this facts that aren’t readily apparent, such as a domi­ setting. Your list of inhabitants would include col­ nant predatory creature that doesn’t happen to orful personalities who will almost always be at the be around when the characters visit the location, location—for example, the cheerful owner of the but if the characters wait around it is sure to weapons shop, or a mouthy patron at a bar. You make an appearance. could also list the rare encounters, such as a brawling alien who just happens to be in a location Events at the same time as the characters. What will happen there? Detail the encounters You might also want to note approximately that will occur in this location and how they are how busy the location is — is it crowded to the supposed to unfold, then write out a brief de­ rafters or is there hardly a soul in the location? scription of what will happen if something doesn’t When writing up information on the people that go as planned.

36 Gamemaster Handbook __ s t a r : Chapter Three: Settings ■“WART David Plunkett

Gamemaster Handbook 37 ChapteMjiree^ettin^s JTAI WAR

Preparing this in advance will give you more Your settings need to be consistent with what control over how to resolve situations and unex­ surrounds them, or else they will not seem real. pected actions taken by the characters. The refined formality that might characterize the restaurant on Obroa-skai would not be present Modifying Settings During on Tatooine. If you simply transfer the setting from Obroa-skai, then it will no longer feel realis­ the Game tic. Whenever you are forced to move a setting to One of the first things that you are going to another location, you will want to hide that fact learn while running a roleplaying game is that the from the players. They should never know that players will not always do what you expect them the setting was originally designed for another to. Because of this, you are going to have to be planet. In this case, the restaurant should feel as prepared to modify settings in order to keep the if it were always set on Tatooine. story on track. To effect this, you will have to downgrade the For example, you’ve prepared a restaurant value of the furnishings and the sophistication of setting located on Obroa-skai in which the char­ the clientele. In their place, you should make the acters will learn the location of the bounty hunter/ furnishings very eclectic, to reflect the cluttered war droid IG-88. The players, however, have con­ styles of Tatooine, and you should make the vinced themselves that the information will only customers more exotic and less refined, to re­ be available on Tatooine, and, accordingly, travel flect the mix of species and cultures present on there. Tatooine. You could allow the characters to travel to Tatooine and fail to find the information, but this Final Preparation could easily become a long, frustrating experi­ ence — particularly if you don’t have anything Settings are one of the key parts of Star Wars prepared for Tatooine. Or you could just tell the adventures. Fortunately, with a little creativity, players that Tatooine is a dead end, but this is and by concentrating on look and feel over spe­ unfair to the players, because it limits the choices cific details, you will find scores of settings spring­ that the characters can make, and suggests that ing to mind. the characters don’t really have any free will. Of course, as with gamemaster characters, The quickest — and fairest — way to get this adventure ideas, equipment and all of the factors adventure back on track will be to move the of adventure design, you will find that you never restaurant to Tatooine. This way, the story seem to have enough time to prepare just before progresses as you have planned for it to, but the an adventure. Therefore, use the form on the characters are still able to exercise their free will. following page to write up specific locations. By Unfortunately, the formal, elegant restaurant keeping extra blank forms handy, you can write that you designed for Obroa-skai would not be up locations as they occur to you, well before you appropriate for the rough, pioneer planet of need them for an adventure. As you find yourself Tatooine. Before the setting will feel real under trying to prepare an adventure with no time for the twin suns of Tatooine, you will have to modify planning, you may find just the location you are it so that it fits its new location. looking for all written up.

38 Gamemaster Handbook __ STAR. Chapter Three: Settings “WAR r

LOCATION FORM

High Concept: People:

Type: Background:

Location:

Set-Up:

Events:

Physical Description:

Gamemaster Handbook 39 Chapter Four: Gamemaster Characters ■STAR— . WARS—

Chapter Four Gamemaster Characters

As a gamemaster, the most enjoyable and with the proper techniques this challenge be­ challenging of responsibilities is populating your comes quite easy to handle and very rewarding. adventures. Each adventure will have its own The driving force behind many adventures flavor and its own original cast of characters — and most campaigns are the gamemaster charac­ all of them created by you. ters. These characters can range from the simple For the players, giving life to their character is Rebel soldier intent on doing his duty, to the reasonably simple. With only one or two charac­ master villain plotting the overthrow of the New ters to flesh out and give life to, the players will Republic and dogging the player characters’ heels have their character conceptions well charted from adventure to adventure. rather early. The gamemaster, on the other hand, To give life to these characters and make them has the task of filling out the rest of the universe. memorable is one of the most enjoyable parts of At first, this would seem to be a difficult task, but gamemastering and roleplaying. When designing characters, the first issue is how important the ( \ character will be to the adventure. Gamemaster Character If the character is just going to be an “extra” (someone who is present for atmosphere or scen­ Record-Keeping ery, as opposed to an important personality), the After a few gaming sessions, the number character creation process is very quick. Often, of gamemaster characters you have cre­ it is enough to determine the character’s appear­ ated will make it difficult to keep their indi­ ance, what the character will do in the scene and vidual personalities and abilities straight. what his most important skills are. Their personalities and attitudes will prob­ If the character is going to be important, such ably start to blur in your memory. This is as a major villain, someone that the player char­ where record-keeping comes in — if you acters will interact with throughout an adven­ have a log of each important gamemaster ture, or someone who drives the plot “behind the character and continually update it as the scenes,” then the character requires more work. character is used in an adventure, then When you walk into the cantina, the first thing you’ll find it easy to make sure that you are you notice is the Wookiee. Lurking near the door, properly playing the characters. he is tall, shaggy and smells of a few too many For characters that are relatively unim­ Dentarian Ripples. You’re probably better off giv­ portant, you can use the smaller log pre­ ing the hulking brute a wide berth. A few steps sented at the end of the chapter. Most of the deeper into the bar and you finally spot the man time, you will only have to note significant you are here to see, D’Voras Brin, smuggler skills and a couple of personality traits that extraordinaire. allow you to quickly get into character. Brin’s demeanor gives you chills. The bearded, For more important characters, you can black

40 Gamemaster Handbook __ STAR. Chapter Four: Gamemaster Characters —WAR*

With that small read-aloud two gamemaster characters have already been introduced. The Wookiee at the bar, only barely mentioned, is a gamemaster character that at this point only needs a small amount of work. D’Voras Brin, on the other hand, will prove to be a much more important character and require more prepara­ tion and attention from the gamemaster. The development of D’Voras Brin and the unknown Wookiee will help to illustrate some of the ways to give gamemaster characters more depth and meaning. Character Conception One of the best starting points for gamemaster character creation is in the development of a history and background for the character. There are some important questions that should be answered in order to more readily define a char­ acter and start the creation process. The first of these is the character’s conception and role in the campaign. When you first devise Mike Jackson a character, whether it be a minor character to help the players and advance the storyline or a • are those minor charac­ major villain, it is important to define what the Supporting characters basic conception of the character is and leave ters who contribute to an adventure, and thus need more development, but don’t require com­ enough room to allow the character to grow in future adventures. plete details to be used in an adventure. Sample supporting characters include Grand Moff Tarkin, Will this character be a minor villain showing up occasionally to make life difficult for the he­ Lobot and Bib Fortuna. roes, or will he be the major villain, driving the • Lead characters are those characters who are storyline ever forward in the manner of Darth major contributors to the story, and are almost Vader and Emperor Palpatine? as or as important as the player characters. The gamemaster characters could be set up to These characters need complete game stats, fully aid the players on a short term basis, much like fleshed out personalities and objectives and they Lando Calrissian or Yoda. probably will also need highly detailed back­ In the cases of Lando and Darth Vader, the grounds. Good examples of lead characters in­ characters grow and mature as the storyline clude Darth Vader, Obi-Wan Kenobi, Yoda, Lando progresses. In The Empire Strikes Back, Lando is Calrissian and Jabba the Hutt. a shadowy scoundrel and a friend from Han’s past who can’t be trusted. Lando then is forced to Extras turn over Han to the Empire, and after helping For extras, development simply requires the with Han’s rescue, vows revenge on the Empire use of a character template or the creation of the and actively leads the space assault on the sec­ base attribute and skills and species for the ond Death Star. character. One or two lines on behavior and Of course, Darth Vader goes from being a appearance are enough for roleplaying the char­ menacing, irredeemably evil villain to a truly acter. tragic figure — the fallen Jedi, turned to evil, who An Imperial stormtrooper need not be more at the moment of truth returns to the Light Side than a notation of the appropriate attributes, of the Force, redeeming himself and saving his skills and equipment, and notes of what the son and the Rebel Alliance. character’s actions and objectives will be in the These easiest way to think of the characters adventure. Since these characters are “extras,” are in movie terms: their motives will be straightforward: capturing • Extras are simply gamemaster characters with the Rebel spies, keeping order in Jabba’s palace, only a little development. They range from can­ getting the best price when buying Luke’s non-fodder villains like stormtroopers, to most landspeeder and so forth are likely objectives. of the aliens in the cantina scene, to the Rebel soldiers at the Battle of Hoth.

Gamemaster Handbook 41 Chapter Four: Gamemaster Characters IWARJ"H

Supporting Characters • Lennar is a small-time con man and hired gun. This mangy, scarred Human considers himself a For supporting characters, a more detailed ladies’ man but the truth is that he is repulsive, conception is necessary. These characters are overbearing and generally incompetent. more individualized and have more personalized objectives. These characters will probably take a • Cross a Sullustan smuggler with someone with minor role in an adventure — they might be very the scavenging instincts of a Jawa and you’ll get important to a single scene or they might show Byun Tenab. While he is a skilled pilot and knows up throughout an adventure but don’t do any­ his way around most spaceports, venturing onto thing too significant. his rubbish filled ship will test the tolerance of When devising a supporting character, con­ anyone, except a maybe Squib. His advice not to sider what impact and role this character is going go “exploring” on his ship shouldn’t be taken to play in the adventure. Does the character have lightly. Force skills? Is he a mercenary for hire, or a pilot • Imperial Governor Defaris Muslo is a cunning desperate for someone to fund his way off planet? and cruel manipulator. He hates the Rebel Alli­ These characters are frequently used in adven­ ance, blaming the Rebels for the death of his tures to provide information or equipment or lim­ beautiful daughter Marna. What Defaris doesn’t ited assistance to the characters. These types of know is that she was a Rebel operative who died characters can also be an intermediary foe, some­ at the hands of an Imperial torture droid. Defaris where between standard army troops and the has been known to construct elaborate traps to major villains who will be the focus of an adventure corner Rebel operatives. He is unaware that Im­ — a good example might be a Grand Moff’s assis­ perial Intelligence suspects him of being a secret tant who sets a trap for the characters. Rebel operative because of his daughter’s ac­ tions; he is targeted for assassination. Lead Characters Lead characters are those who will take an Building The Capsule active part in an adventure, either making a Now that you’re familiar with the idea of cap­ major difference in several scenes, or participat­ sule descriptions of your characters, the details ing throughout the adventure and taking at least and information that can be used in this area will one vital action during the adventure. A lead be explained in greater detail. character might be a trusty retainer of another character who sacrifices himself to save his Background friends or a slicer who figures out how to circum­ vent a security code to get the characters into a Where a character came from and what he has top secret Imperial base. Of course, major vil­ experienced gives insight into what the charac­ lains are also lead characters, but so can neutral ter thinks and feels. Was she originally from a characters be “leads.” For example, a smuggler small farming planet or from some populous might be a lead character if he keeps on showing world at the forefront of technology, with all of up in an adventure and makes a major difference the state-of-the-art conveniences? Did the char­ in how the story is resolved — he might not help acter have an easy time growing up or was it filled the characters, but he might hinder the Imperials with crisis upon crisis? These aspects add depth for his own reasons. to the experience and personality of a character. Also very important is the character’s family. The Capsule A strong family life and the character’s experi­ ences as a youth have a strong impact on forming Now that you’ve thought about how impor­ the values and beliefs of the character — some­ tant a character is likely to be in an adventure, it one who has had a close-knit and very honorable is time to conceptualize the character and put family will probably see life differently than some­ down the basic information on paper. The easi­ one who was orphaned as a child and raised in est way to do this is “the capsule” — a verbal the company of pirates. snapshot of the character that allows you as A character’s motivations can often be under­ gamemaster to instantly understand and be able stood if the character’s background is known. to play this character. Someone who’s family was killed by the Empire is The capsule provides whatever information is likely to have revenge as a motive. Someone who necessary to understand the character — their has made a living as a smuggler and is currently motives, objectives, personalities, history, ap­ stuck in a job as a desk clerk at a spaceship yard pearance and distinct mannerisms can all be will probably do just about anything to get back described in the capsule. into space. Here are some examples of capsules: While background can be a very useful tool, it

42 Gamemaster Handbook __ STAR. Chapter Four: Gamemaster Characters ""WART

isn’t necessary to completely detail the history Another important factor in appearance is of every character; it is simply a useful tool for dress. People you meet on the street today have insight. Of course, the background can be painted their own distinctive style of dress. This also in very broad strokes and added to as the need holds true for many of the characters in the Star arises. Wars universe. Anyone of these developments helps add de­ Obi-Wan with his Jedi robes, Han with his tail and depth to the characters. With this issue loose vest and casually worn blaster holster, and in mind, let’s take a look back at D’Voras Brin and Luke with his loose sleeved tunics all give addi­ the unknown Wookiee ... tional flavor and insight to the character. Let The gamemaster has set up the current plot so your gamemaster characters also have a variety that the player character hero, Stannik Nhaa, a of dress and style. young Rebel trooper, needs to get off planet quickly Every culture might have its basic elements of and quietly. Stannik has heard that the smuggler dress but each person will customize them to D ’Voras Brin can get anyth ing or anyone anywhere suit her personality and personal sense of style. in the sector for a price. Weather-beaten, greasy coveralls show a fighter The gamemaster decides that Brin is a Human, mechanic’s devotion to his work, while a career approximately two meters tall, with long dark hair, military man will show his dedication to order an unkempt mustache and beard. He dresses in through his neat and tidy clothing with not a blacks and deep reds and keeps his face hidden stitch out of line. from view most of the time with a hooded cloak. Another personal expression can be effected The most apparent thing about Brin is his heavily with jewelry. Necklaces, earrings and bracelets modified blaster and holster, both specially modi­ of unique or exotic materials can point out a lot fied to provide a quick draw and a nasty punch — about a character’s travels and experiences. a warning to those who would cross him. The Along with dress, equipment and personal gamemaster also decides that Brin is a smuggler possessions reflect a character’s personality. with connections on both sides; he ’ll work for either Every person in their travels will encounter some the Empire or the Rebellion, and it doesn’t matter item or possession that appeals to them and this to him as long as the money’s good. He is slow to item becomes a constant prop for the character. anger but also never forgets a slight. This goes far beyond standard weapons — some The Wookiee, named Gaartatha, is currently characters might have a “lucky charm,” like a looking for help since his last partner was hauled glazed rock that they keep strapped to their away by an Imperial press gang looking for more wrist. Other characters, like Boba Fett, might slaves for a distant work colony. Gaartatha barely choose to display gruesome Wookiee scalps as a escaped. Now he is mourning the loss of his com­ means of intimidating others and proving their panion and looking for some possible lead in fearlessness and skill. rescuing his old companion, while indulging in a lot of drink. He knows he can’t do anything on his own, but is looking for the opportunity to find some aid in rescuing his friend. Physical Description The easiest way to distinguish a new gamemaster character is to give him or her an unusual and distinctive appearance. When try­ ing to create or describe gamemaster charac­ ters, you should try to use detailed adjectives to get across certain qualities. A character who has “smooth, shiny blackish-brown skin with spar­ kling brown eyes” seems more interesting than a character who is described in very plain terms. Putting details into these descriptions helps the players get a good mental image of the character. Some qualities that you need to consider in­ clude species (Human or otherwise); skin, hair and eye color; weight and build; and, body lan­ guage. You should also mention prominent dis­ tinguishing marks (like scars or tattoos), and any Mike Jackson other readily apparent physical qualities.

Gamemaster Handbook 43 __ ARS— -FTAR W Gamemaster Handbook Contacts AndContacts Resources Each planet is unique and should breed its Of course, Of accurately portraying these speech Fewcharacters are isolated individuals. Most Darth Vader had the resources of the Empire Some major villains will be able to draw on a To parallel this concept, Vader had Many beginning gamemasters forget this in This is notto say that all majorvillains should mannerism.character A with aslight lisp, ahigh squeakyvoice or peculiarthanaccent a will stickcharactermore isms. with ordinary vocal manner­ have a very “All-American” accent, so we can own native Imperial accent soldiers and seem vocal to characteristics.have a crisp, British assumethat this theis standard Corellian accent. accent, indicative of their training in the Core Worlds. Han Solo, a cocky Corellian, seems to speaking makes players. him instantly recognizable to patternstakes practice youand intend if on using “in character.” Aliens have uniquespeech accents patterns as well as— for unusualexample, Yoda’s way of this technique, tered make thesure character’s that voiceyou so thathave youmas­ can stay have friends, family, associates and others who can come into play during an adventure. athis command, seemingly answering Emperoronlyto thehimself. could He call upon forwhole hisfleets quest to turn Luke Skywalker to the Dark Sidetheof Force. The hardware Lordranged Vader used from speciallyfighterstoImperial StarDestroyers modified and twoDeath prototype TIE lains are othergamemaster distract characters,or injure the player who cancharacters while the Stars. bounty hunters to do his bidding. An effective sources. A much overlooked tool of major vil­ majorvillain will not revealdirectly his hand involvedor become until the time is lackeys.of goodripe A manager or heknows how is to use his vast quantity of resources from any number of major villains sets his plot into motion. forced into confrontation because of theemployees failure and resources effectively. stormtroopers, army and navy soldiers and have whole starfleetsshrewd major atvillainnot will confront their the command,charac­ but hea has no choice (such as the characters having ters until he is convinced he has final victoryeliminated or all of his other resources). andthen send him directly characters.into battle against the Instead, the characters should be theirearly adventures. They devise greata villain whittled down by lackeys, traps and less impor- Personality For a Jedi, the lightsaber gives a clue to the At thisAt point, havinggiven the characters a bit Then, you might want to consider how the When deciding upon a personality for a char­ One easy way of making a character memo­ insight into his character and motivations. The character’s profession and background. Han outer trappings of a character show a lot more Solo, a man of action, let his blaster be a keen depth thanjust beinguseful tools andgimmicks. of historyof and distincta “look,”becomesit neces­ saryto decidehow they act.should gamemaster, As decideyou eral”:how does thehe have keena wit,characterishe aflirt,does seemhe dour acts and withdrawn “in occupiedgen­ or doeswith otherhe seemdistinct things?pre­ personality Giving a character traits, like telling really bad Gamemaster Characters character be self-centered and complain about everyslight, is a greatway gamemaster of distinguishing character one from another. character actsrespond in well to certain pressurehe getor conditions. doesinto hea panic?fight easily Doesblame Does orothers is he he whencalm? Doesthings he don’t go well? jokes that everyone groans at, or having the acter, look to people you know, real world per­ personalities,and most people are never entirely sonalities andformed characterscharacters have from detailedpredictable. fiction. and Well- complex Youcharacters should interesting strive enough to to make hold the your play­ rable to the players is to add a notable speech ers’ attention. hapter Four: C 4 4 Paul Daly __ STAR. Chapter Four: Gamemaster Characters "WART tant villains so that the major villain has a chance against a group of well armed and resourceful characters. Growth As the players encounter gamemaster charac­ ters over the course of adventures, they should learn that the gamemaster characters grow and change just as their characters do. Gamemaster characters should never stag­ nate; instead, their personalities, ideals, objec­ tives and attitudes grow and change as much as the player characters’ personalities and objec­ tives change. This is easy with sketchy charac­ ters — if the gamemaster has a clean slate to begin with when using a gamemaster character, he can alter and compose the personality over time to fit the adventures. The character’s long term and current goals help to properly delineate how this previously unknown character will fit in with the storyline and interact with the characters. Mike Jackson Is the Rebel trooper fighting for the Rebellion for the purpose of defending his home, personal course, others skills as well) to give the charac­ glory, or perhaps making some money on the ters a challenge; if a character is going to repair side? Is this character volunteering for a danger­ a starship, he must have appropriate repair skills ous assignment just to get away from her unit and for the task. make contact with some black marketeers? A character’s skills should reflect the Perhaps a gamemaster character seemed to character’s background and experiences. Just be an ally when the player characters first en­ because a skill seems attractive to you as countered her. However, she is, in fact, an Impe­ gamemaster does not mean that a character rial spy and is gathering information on the char­ should have it. Look critically and objectively at acters before turning them over to the Empire. the character to determine if the skill is appropri­ Perhaps a character has incurred a huge debt ate and viable. between meetings with the player characters One or two minor out of the ordinary skills can and is willing to do anything, including selling his also add a touch a flavor to the character. Luke friends out, to get the money to eliminate that Skywalker, young Jedi, is also familiar with mois­ debt. Perhaps the gamemaster character has ture farming and droid repair, as well as those heard that the player characters somehow be­ skills that make him a Jedi and an excellent pilot. trayed him and thus, he is avoiding the player His roots add flavor to the character and his skills characters. should reflect those roots. Giving characters high levels in skills that Game Statistics directly oppose the player characters’ skills cre­ This final step in character creation is very ates an opponent that is a true challenge. The important, but the gamemaster must remember players will have to react differently than if they that game statistics must be balanced by the were confronting a group of poorly skilled indi­ character’s background and the abilities of the viduals and perhaps be forced to use other skills player characters. Game statistics are important they normally don’t depend on. to the gamemaster, but the players want to inter­ In the case of D’Voras Brin, the gamemaster act with an interesting person. Having figured has obviously decided that this sly and shady out the character’s background, personality and character will be good with blaster and will per­ physical description, the final piece of the char­ haps even be specialized in heavy blaster pistol. acter creation puzzle is determining the appro­ Other good skills for Brin would include bargain, priate game statistics. con, search, persuasion and sneak, along the lines When designing a character, you must keep in of Perception-based skills, and astrogation and mind both the skills of the player characters and space transports in regards to Mechanical-based the “averages” of the Star Wars universe. Villains skills. Other good skills include streetwise, lan­ should have sufficient combat skills (and, of guages and possibly value.

Gamemaster Handbook 45 Chapter Four: Gamemaster Characters JTAI

Gaartatha, the Wookiee Scout, on the other first, the “universe” standard, is based on how hand would be more suited to Knowledge, Tech­ characters are supposed to stack up against nical and Mechanical skills, including alien spe­ everyone else in the Star Wars universe. The cies, survival, planetary systems and astrogation, second, the “character” standard, is designed to but the gamemaster has decided that a few more allow you to assign skill levels based on how physical skills including brawling, melee combat, much of a challenge the gamemaster characters blaster or bowcaster add depth and flavor to the are supposed to be to the player characters. character. Also taken into consideration is that Gaartatha is intended to function as an ally for Caveat the player’s character for an extended period of Because of the flexibility of the Star Wars skill time. The gamemaster will also take into account system and the number of different special abili­ the characters’ skills and tailor the Wookiee’s ties that are available to characters, no “balanc­ skills to complement them. ing” system is going to be perfect. Characters skills, attributes, special abilities, Force powers Using Templates and Character Points can vary wildly, so this Using character templates can be a great short­ system is only an approximation. cut for creating gamemaster characters. If you Here are some hints: need to create a group of bounty hunters or • Remember that skills must be comparable to smugglers from scratch, the templates can save each other to really make a difference. For ex­ a lot of time. ample, if a character has computer programming/ If using a “player character” level individual, repair 10D, he is really talented at computer use the same attributes and apply as many skill operations, but this skill is useless in a combat dice as you feel are necessary for the adventure scene. If you are planning on characters being (see below). If you are using an “average level” used only for combat, you might want to just character, you can simply subtract one die from check skills that apply in combat; if you are each attribute and assign skill dice as necessary. having characters compete against each other This system is for “quick” characters — with (for example, both are bargaining over the price aliens, subtracting one die may reduce a charac­ of a blaster), then only compare their bargain and ter below his species’ minimum attribute; for other related skills (like con, streetwise or intimi­ quick gaming, this shouldn’t be that much of a dation if you think these skills will come into problem. However, for more important charac­ Play). ters, you will want to use the more detailed approach below. • First, count up the attribute dice. For example, Often, you will find that a tem plate doesn’t a character that had Dexterity 2D, Knowledge 3D, quite get you the character you want for a given Mechanical 2D, Perception 4D, Strength 3D and adventure. Write a new template. Take the num­ Technical 3D would have 17 dice in attributes. ber of attribute dice for the species and allocate • Then, count the skill dice. Only count skill dice them as you see fit as long as they equal to or above the attribute. For example, if a character higher than the species’ minimum levels. had Dexterity 3D and blaster 5D, you would only Given time, you might even want to write up count 2D for the blaster skill. this new template as a player character type for • When adding up “+” pips, remember that a “+3” the use of your players. counts as one die. For example, a character has Assigning Dice Dexterity 3D, blaster 4D+1, dodge 3D+2 and melee combat 3D+2. This would equal 3D attribute dice When distributing skills, pay attention to what and 1D+5 skill dice, which by changing each +3 the character is supposed to be. If the character into ID of skill, becomes 2D+2. is supposed to be a pilot, he should have well developed piloting skills for the ship he flies. The • Only count skill specializations above the basic level of skills should also match the character’s skill. For example, if a character has blaster 5D level (see section below). and the blaster pistol specialization at 8D, the Don’t fall into the trap of having every charac­ blaster pistol specialization would only count as ter type being the same in regards to skills and three dice. attributes. Just as every person you meet is • If a character gets dice or loses dice because of different in one way or another, so should every special abilities, count these dice as dice for gamemaster character be different, whether purposes of play balance. For example, if a char­ they’re pirates, Rebels, smugglers or Imperial acter has a special ability that gives him +2D to Star Destroyer captains. search, count this as two extra dice when balanc­ When assigning attributes and skills, there are ing characters. two types of standards that can be applied. The • Count Force skill dice as double the number of

46 Gamemaster Handbook __ STAR. Chapter Four: Gamemaster Characters “WART Mike Jackson comparable skill dice. This is because characters The Universe Standard have access to so many different Force powers. With the universe standard, you can rate char­ For example, a Jedi character has control 2D, acters based on how they compare to other sense 1D+1 and alter 1D+2. This would normally characters in the Star Wars universe and how add up to 5D in dice, but because they are Force experienced they are. skill dice, this should count as 10D. This is a comparison of skill levels as based on • Count every 5 Character Points as one die. This the die system in Star Wars: The Roleplaying is because while a character will be able to tem­ Game, Second Edition. Use the chart below: porarily boost a skill, the boost only lasts for one round. \ ID Below Human average for an attribute. • Count each Force Point as one die. 2D Human average for an attribute and many skills. • Counting equipment dice as optional: as equip­ 3D Average level of training for a Human. ment can be a deciding factor in an encounter, you may wish to do so. If the equipment is relatively 4D Professional level of training for a Human. permanent (a blaster rifle, which can be fired 5D Above average expertise. multiple times), count the damage as normal dice. 6D Considered about the best in a city or geographic If the equipment is expendable (like grenades), area. 1 in 100,000 people will have training to count 5D worth of damage as ID of dice. this skill level. • Starships and vehicles should not be figured in 7D Among the best on the continent. About 1 in this system. 10,000,000 people will have training to this skill • Player characters get Character Points and level. Force Points for going on adventures. Game- 8D Among the best on a planet. About 1 in 100,000,000 master characters receive the same points as people will have training to this skill level. player characters for the same types of actions. 9D One of the best of several systems in the immediate Please note that characters do get Character area. About 1 in a billion people have a skill at this Points for “doing what they are supposed to do,” level. although if these actions aren’t dangerous, the point totals are correspondingly lower. There­ 10D One of the best in a sector. fore, while a starship engineer isn’t going off on 12D One of the best in a region. adventures too often, he does earn Character 14D+ Among the best in the galaxy. Points to increase his skills just by doing his job.

Gamemaster Handbook 47 Chapter Four: Gamemaster Characters JTAI

Character Levels Master: These characters have achieved an By using the “Universe Standard,” and the die almost unbelievable level of mastery and experi­ ranges below, you can rate characters on relative ence. This kind of ranking is reserved for charac­ levels of experience. Please note that the die ters with the capabilities of Luke Skywalker, Han values listed here are supposed to include all Solo and Darth Vader. These characters have attribute dice, skill dice, and dice equivalents of more than 150 dice. Force Points, Character Points and Special Abili­ ties. The Character Standard Average: This character is truly average, and This system is more geared to balancing has probably only had one or two “adventures” gamemaster characters versus the abilities of in his lifetime, if any. The character has up to 20 the player characters. For best results, the rel­ dice. evant skills in a particular scene, whether they are combat, interaction, knowledge, piloting or Novice: This character is a little bit better than technical skills, should be compared directly average, and is about the maximum reasonable against each other to get the most balanced skill level for characters with average attributes situation. (12D attribute range). Beginning player charac­ If you want to compare the characters as a ters, at 18 attribute dice, 7 skill dice and 1 die for whole, use the “Total Dice” column. If you want to the one Force Point, for a total of 26 dice, are in compare the characters on a skill-for-skill basis, this range. These characters have up to 35 dice. use the “Specific Skill” column. AH numbers are Veteran: This character is more experienced relative to the player characters. than a novice. The character is likely to be very <------good at a few key skills, but is weak in others. This Challenge Total Specific character has 36 to 75 dice. Level Dice Skill Superior: This type of character has had a great deal of experience in his lifetime and will None -15D or more -3D or more -5D-14D probably present a formidable challenge to the Minor -2D characters. This type of character has 76 to 150 Moderate -4D- +4D -1D-+1D dice. Serious +5D+14D +2D Major + 15D or more +3D or more^ / \ Advancing Skills Character Levels And Character Types As a gamemaster character goes through vari­ ous adventures, he should receive Character Are the character types (extras, support­ Points and Force Points in the same way that ing characters and lead characters) directly player characters do. This way, the character related to the number of dice they get? can add new skills and improve existing ones in Sometimes. a fair and equal manner. For example, most extras will qualify as Of course, it is important to point out that “average” or “novice” level characters. How­ most player characters will be involved with ever, there are always those times that a more dangerous situations than gamemaster character is an extra — just a walk-on in an characters, and thus gain more Character Points. adventure — but the character has a lot of experience and a high number of dice. The Roleplaying Gamemaster character is important, but isn’t important in the adventure being run. Characters The paradox comes because the die sys­ Now that the characters have been prepared, tem is a way of ranking experience and it is time to breathe life into these individuals abilities relative to everyone else in theStar during a roleplaying session. The gamemaster is Wars universe. It’s entirely possible that responsible for dozens and perhaps, over the the characters will come across a really span of a lengthy campaign, even hundreds of dangerous bounty hunter in an adventure, personalities, so it is important to keep notes on and thus he would have skills to match, but the characters you portray. he isn’t central to the plot. The gamemaster must take the capsule sum­ Therefore, these guidelines are just that mary and put those attitudes, behaviors and — guidelines. They can be altered and tink­ beliefs into action. While some of this informa­ ered with as you see fit for your games. tion may be contained in the summary, it is up to ______/ the gamemaster to portray it accurately.

48 Gamemaster Handbook "AR Chapter Four: Gamemaster Characters

First, determine a character’s general outlook memorable without your performance. and attitude. Is the character grim and silent, cheer­ To add to your performance, add a variety of ful and talkative, generous to a fault, determined vocal characterizations. Give the characters dis­ yet good-hearted, or hateful and vindictive? tinctive accents, a noticeable stutter, a lisp or some Han Solo as first seen in the Mos Eisley cantina other odd speech pattern. Remember that every seemed to be a slick smuggler out to make a credit. region and every planet will have its own particular By the end of Return of the Jedi, he becomes a accents and speech patterns. crusader for good. Darth Vader is determined and Other usable devices include a lack of contrac­ relentless, not letting any obstacle get in the way of tions. For example, “isn’t” becomes “is not”, his goals. “weren’t” becomes “were not.” This speech style Take the opportunity to act out a character fully. lends a more formal feel to a character’s persona. Using different voices and accents adds more fla­ Also, inverting words and dropping words from vor to character and makes them much more sentences can lead to interesting and memorable memorable. Use body language, actions, specific speech styles. phrases and facial expressions to get the character Another way to make your characters have across to your players. more reality and depth is to add mannerisms and Vary the attitudes of characters in the same repetitive actions. A character might blink exces­ profession, since not every bartender is going to sively, wring his hands, walk with a limp or have agreeable and jolly, especially if he lives in a more some other odd physical abnormality. sinister part of the city. Likewise for any other Some of these can be acted out, others will have character, there are a variety of backgrounds and to rely on your description of the noticeable prob­ attitudes dependent on the surroundings and at­ lems. Other physical differences that can be noted mosphere. are scars, cyber-replacement parts and missing Take the opportunity as gamemaster to take all limbs. These add a bit of flavor to a character that the roles you’ve seen on the big screen and act may give more insight to the character’s back­ them out yourself. This is your big chance to shine ground and personality. and show your friends the depth of your acting talent. And don’t worry about being embarrassed Record-Keeping by any critiques of your performance. And Experience At some point in the future your players will make a comment on some scenario that was memo­ As a character is used more and more in your rable because of a character that you created and adventures, you will want to add more informa­ “hammed up.” This character would not have been tion to the gamemaster character log. While you Mike Jackson

Gamemaster Handbook 4 9 Chapter Four: Gamemaster Characters -STAI WAR

your players liked and disliked. Using Allies Note what actions the character took part in, and how well the succeeded or how badly they Giving the characters allies in an adven­ failed. With villains, it’s very important to note as ture is a double-edged sword. On the one to whom they might have a grudge against and hand, the character can lend aid or extra how their plans were foiled. A smart villain will firepower to the group of characters, or remember who it was that foiled their plans and provide them with a vital contact. On the how they did it — and probably seek revenge. other hand, the gamemaster characters Never commit the same mistake twice. can’t be too good. The players should never You can also make notes of “non-gaming ad­ feel that they are competing with or inferior ventures.” While the player characters were off to these characters. You should give these saving the galaxy, odds are the gamemaster char­ characters skills that complement the player acters were doing something too. This log pro­ characters’ skills and don’t come into di­ vides a perfect place to note these kinds of adven­ rect competition. Gamemaster allies have tures and decide how they affect the character in the capacity to be a great source of enter­ term s of game statistics and how they will be­ tainment for the players and also a bottom­ have in the future (for example, a character on less well of possible adventure ideas. the run from bounty hunters will probably be One of the easiest ways to introduce a much more secretive than he was before the new adventure hook is through information bounty was levied — these kinds of happenings discovered or related by a gamemaster char­ should be integrated into your game). acter. If this character is a familiar and Also, note whatever special equipment or re­ repeating character, the players tend not to sources the character might have at his or her feel as forced into a plotline as when a disposal, whether it’s a specially modified heavy nameless, faceless high ranking Rebel offi­ blaster pistol or an Imperial Star Destroyer. No cial walks up to them and tells them they’re detail is too small to be overlooked and you’ll now on their way to some remote sector of also be surprised how much you can forget with space. If the same idea is put forth by a the passage of time. familiar character overhearing a rumor and Another use for this detailed character log is relaying it to the characters or having dis­ that after the character has been out of a play for covered the information himself, the play­ a while, it might be useful to reintroduce the ers are more likely to go along without character in order to introduce a new plot idea. bristling at the idea. Simply by browsing through your archives of old ______J characters, plotlines and adventures will start to spontaneously generate. are running that character, the log should be in For example, you might not have a good idea front of you for easy reference. You may want to for an adventure, but you then come across the have a piece of scratch paper attached to each character log of a smuggler who got the player character’s log. While you are gaming, note on characters off the planet “fast, with no questions the scratch paper important events, typical say­ asked.” What happened to him? Did the Empire ings (“I’ve got a bad feeling about this,” for ex­ finally catch up with him and throw him in prison? ample), new personality traits and other things Did he finally set up that little shipping company that influence the character and your portrayal he was working on and go legit? Is he still in the of him or her. After the adventure, look at the smuggling business, and will he be willing to help scratch paper and decide what traits and notes the characters out of another bind? Is he in a bind should be transferred to the character’s perma­ and will he ask the characters for help? A lot of nent character log. possibilities will spring to mind as you review For example, you will want to keep track of those old characters and let your mind wander how the character interacts with the different as to the possibilities. player characters (for instance, Han Solo just From any of those ideas listed above, whole doesn’t get along with C-3P0 and treats Luke new adventures could be generated, whether it is Skywalker like a kid brother; these kinds of rela­ a daring raid of an Imperial prison planet or tionships are worth noting). Is the character coming to the aid of the new shipping company friendly with a certain player character or have now troubled by.the greedy claws of the Empire. they been involved in a memorable encounter? A Also, this log can give you a ready cast of shared history with your player’s characters will characters that can be dropped in at a moments keep these characters fresh and real. Take the notice, already prepared for play. With the simple time to reminisce with your players in character. change of a name and a later write-up, gamemaster It also gives you insight into what characters character generation is a snap.

50 Gamemaster Handbook __ STAR. Chapter Four: Gamemaster Characters “WART Paul Daly

Gamemaster Handbook 51 Cha^terFoun^amemas^^ JTAR- WARS—

As gamemaster, your characters should re­ Sulahb is the kind of character who can be ceive the depth and consideration that your used at the beginning or end of every adventure. players give their characters. Take the time to As she crawls out from under that leaking landing develop a feasible and playable background for strut, she can tell the characters what she re­ all your characters. And let your player’s insights paired, hold up the old worn parts she came help mold and shape future characters. They are across while fixing something else, and she can the ones who struggle against and fight with your always caution the characters about how they creations. Your players can give you ideas as to should treat their ship, and themselves, with a character development that you may not have little more care. thought of. The Major Character: The Extra: Republic Senator Gamorrean Guard The player characters may interact with this This is the character that shows up in only one gamemaster character extensively in roleplaying encounter and has a very limited range of actions. encounters or they may become familiar with the Gamorrean guard. All stats are 2D except: personality of this gamemaster character in other Dexterity 3D, melee combat: vibroaxe4D+l, melee ways (such as through rumors and secondhand parry 3D, Strength 4D. Move: 8. Vibroaxe (damage information). STR+3D+1). ■ Kare Fontin Type: Old Senatorial The Supporting Character: DEXTERITY ID Suilustan Mechanic KNOWLEDGE 4D Alien species 9D, bureaucracy 12D, cultures 8D, languages This character may appear in more than one 10D, willpower 10D encounter and will interact with the player char­ MECHANICAL 3D acters more than once. Astrogation 4D+2 PERCEPTION 4D ■ Sulahb Bargain 10D, command 10D, con 12D, hide 7D, persuasion Type: Suilustan Mechanic 8D, search 7D DEXTERITY ID STRENGTH ID Blaster 2D, dodge 3D TECHNICAL ID KNOWLEDGE 2D Droid programming 3D, security 4D Value 3D Force Points: 3 MECHANICAL 2D Character Points: 16 Space transports 2D+2 Move: 8 PERCEPTION 2D Capsule: Kare Fontin is a very old former sena­ Bargain 3D+1 tor who served during the days of the old Republic. STRENGTH 1D+1 He is well over 100 years old, and while his body has TECHNICAL 3D+2 become quite frail over the years and he is a little Droid repair 4D, space transports repair 6D hard of hearing, his mind and his wit are as keen as Special Abilities: Enhanced Senses: Sullustans have excellent vision and ever. hearing. They receive +2D to Perception or search checks This character can be used in a variety of in low-light conditions.* ways. When first introduced to the players, their Location Sense: Once a Suilustan has visited an area, she always remembers how to return to the area. When using characters are charged with escorting him from astrogation to jump to someplace the Suilustan has visited Coruscant to Beta Olikark (he is now acting as a previously, they get a +1D bonus to the die roll.* diplomat for the New Republic). * For more information, see page 136 of Star Wars: The Assuming that Fontin gets along with the char­ Roleplaying Game, Second Edition. acters, he may call upon him for escorts on future Character Points: 3 Move: 10 diplomatic missions. Likewise, the characters Capsule: Sulahb is a Suilustan mechanic who now have a powerful friend in the Republic gov­ repairs the starship of the player characters. She is ernment who may be able to grant them special a quiet, hard-working person who is very meticu­ favors. lous in her work.

52 Gamemaster Handbook __ STAR. Chapter Four: Gamemaster Characters “WART

CHARACTER LOG

Name:______Equipment: Type:------DEXTERITY______D ______

KNOWLEDGE D

MECHANICAL D Force Sensitive: □ Yes □ No Force Points:______PERCEPTION D Dark Side Points:______Character Points:______STRENGTH D Move:______Capsule:______TECHNICAL D

Special Abilities:

CHARACTER LOG

Name:______Equipment: Type:------DEXTERITY______D ______

KNOWLEDGE______D

MECHANICAL_____D Force Sensitive: □ Yes □ No ______Force Points:______PERCEPTION______D Dark Side Points:______Character Points:______STRENGTH______D Move:______Capsule:______TECHNICAL______D ______

Special Abilities:

Gamemaster Handbook 53 Chapter Four: Gamemaster Characters JTAR __

CHARACTER LOG

Name: ____ Type: _____ DEXTERITY D

KNOWLEDGE D

MECHANICAL D

PERCEPTION D

STRENGTH D

TECHNICAL D

Force Sensitive: □ Yes □ No Force Points: ______Dark Side Points: _____ Character Points: _____ Move:______Special Abilities: Background:

Equipment: Physical Description:

Capsule: Personality:

Objectives:

Quotes:

5 4 Gamemaster Handbook —STAR. Chapter Five: Encounters “WART

Chapter Five Encounters

Encounters are the heart and soul of sive group. When you design a group of roleplaying games. From battles with alien crea­ gamemaster characters for a combat encounter, tures, to a round of haggling with a trader or you will want to use a homogeneous group — a weapons merchant, to the final confrontation gang of thugs or a squad of stormtroopers, for with a central villain, encounters are what drive example. By running a cohesive group, you can your Star Wars adventures. determine the same set of priorities for the group and not have to worry about the individual reac­ Your First Encounters tions of each person. Whenever you make a Beginning gamemasters sometimes want to decision for one character, that can serve as a design elaborate, detailed encounters right from decision for the whole group. the start. While this is an admirable goal, it can Don’t use one thug, one bounty hunter, a often lead to frustration instead of fun. As a stormtrooper and a Gamorrean as a group — beginning gamemaster, your first few encoun­ each of these characters would respond to situ­ ters should be simple. The emphasis should be ations in different ways. The thug would run as on developing small scale, exciting and interest­ soon as he met resistance; the bounty hunter ing encounters. With experience, gamemasters would retreat if he sensed too great a danger, but can expand to more elaborate encounters. then he would probably sneak around and attack If the encounter is a roleplaying encounter, from the back; the stormtrooper wouldn’t re­ where the action will be resolved through char­ treat until he was commanded to; and the acter interaction instead of skill use or combat, Gamorrean would attempt to destroy the entire then you should limit yourself to encounters town. You would spend so much time trying to where the player characters are only interacting decide who should do what, that you’d never with one gamemaster character. This will allow finish the encounter. you to concentrate on developing just one per­ sonality at a time, instead of having to switch Recurring Characters among several different characters. With practice, you will be able to easily switch After you have had practice playing different from one gamemaster personality to another, characters over the course of several adven­ but, when you first start, you will probably have tures, then you will be able to start playing mul­ difficulties with this. Using recurring characters tiple characters during encounters, but in the is one way to learn to overcome these difficulties. beginning your gamemaster characters will seem Just as it helps the players to become familiar more realistic if you only play one during each with their characters by playing them again and different encounter. again, it will help you to become more familiar In combat encounters, you do not have to be with gamemaster characters by using some of concerned with limiting yourself to only one them for more than one encounter. Reusing char­ gamemaster character because the personali­ acters will allow you to learn the intricacies of ties of gamemaster characters in combat situa­ developing a fictional personality. tions do not have to be as thoroughly developed Some gamemaster characters are generic char­ as they do in roleplaying situations. There will acters. Generic characters are characters that fit usually be very little interaction during combat into a group and have very little individual iden­ — the participants are too busy shooting at each tity. Stormtroopers are the perfect example of other. this — they always look the same, act the same, Instead, you will want to consider the group of and respond in the same manner. Whenever you gamemaster characters as being a single, cohe­ use a stormtrooper in an encounter, you can

Gamemaster Handbook 55 Chapter Five: Encounters -STAR __ WART“

consider that stormtrooper to be, essentially, the character’s attributes and skills (or at least the same stormtrooper that the characters met the skills which you think will be necessary in the last time. You can build on the nuances of the encounter), and a list of the character’s equip­ character’s personality by using the same per­ ment. sonality as you did in the last encounter. Unless this character is going to be a major, Another example would be a common thug. recurring character in the adventure, this de­ Thugs may come in different shapes, sizes and scription does not have to be very extensive — species, but they have the same “attitude,” and, just enough so that you have a good idea of who each time the characters interact with a common this character is. thug, you can use that as an opportunity to refine You should also ensure that your gamemaster the “attitude” of the common thug. characters are well designed. In all encounters, Many gamemaster characters can be used but in roleplaying encounters especially, detailed, repeatedly. Gamemaster characters are not lim­ realistic gamemaster characters are a necessity. ited to only one appearance per adventure. Some If their opponents are flat, empty and artificial, characters, such as a friendly Ewok, or a lost kid, the player characters will also be lifeless, but could follow the player characters throughout interacting with living, vibrant gamemaster char­ the adventure—turning any lull in the adventure acters will force the players to put more life into into an encounter between themselves and the their own characters. player characters. Other characters, such as an Gamemaster characters can often be helpful Imperial officer who has kidnapped the families in putting the player characters back on track. If of the player characters, or the crime lord to the player characters don’t seem to be having whom the characters owe a large number of the flash of insight that will allow them to solve a credits, may appear in an encounter early in the puzzle, a gamemaster character can drop a hint adventure, then return for the climatic conclu­ to them. However, you don’t want the gamemaster sion. Other characters may only show up once or characters to become the leaders of a party — it twice during any given adventure, but can be should always be the player characters who are used in a series of adventures. The first time a making the major decisions in a game. Rebel officer gives the characters their assign­ Gamemaster characters should primarily pro­ ments, he may seem to be an unremarkable vide support; they should rarely be used to solve individual. By using him several times and intro­ the problems themselves. ducing a few personality traits over time, the This type of process is described more thor­ Rebel officer could become a sympathetic boss, oughly in Chapter Four, “Gamemaster Characters.” a struggling revolutionary, a tough-as-nails task­ master or any of hundreds of other personality Objective types: in time, the Rebel officer becomes a person. What does the main character want to gain from this encounter? Does he want to get money Multiple Characters from the characters? Does he want to hire them After you become proficient at jumping from to do a job? Does he want to betray them to the character to character between encounters, you Empire or a crime lord for a reward? Does the should try playing multiple gamemaster charac­ main character simply want to be left alone? ters simultaneously in order to add complexity There is also the possibility that the main charac­ to your encounters. As an added twist, you can ter will have no set objective regarding the char­ try playing gamemaster characters that are op­ acters — if the main character is out for a night on posed to each other and argue among them­ the town, he probably won’t care too much about selves. A good way to try this would be to bring the player characters and probably won’t have in a well-known pair such as C-3PO and R2-D2 and any objectives until the characters offend him, have them constantly bicker with each other as amuse him, flatter him or otherwise get his atten­ they interact with the player characters. tion. Without knowing what the main character Preparing Encounters wants out of the encounter, there is no way for you to know how he or she will respond to the There are several aspects of an encounter that player characters. you will have to consider before it is ready for When you design a character, part of the cre­ play. ation process is determining the character’s short Main Character and long term objectives. By knowing the character’s personality, attitudes and short and Who is the main character that the players will long term goals, you can often make a reasonable have to deal with? Write up a brief description of guess as to what a character’s objectives will be this character, including a few words about the in an encounter situation. species and appearance of the character, a list of

56 Gamemaster Handbook __ STAR. Chapter Five: Encounters —WARS

Location present successes makes it seem as if fate was Where will this encounter occur? You need to always preparing him for his attack on the Death have a realistic and interesting setting prepared Star. for the encounter. Part of theStar Wars appeal are Roleplaying The Scene the stunning visuals of exotic worlds and loca­ tions, so you must put some effort into creating In some situations, such as combat, it is obvi­ interesting locations. You have to ensure that the ous that the encounter will have to be resolved setting feels “realistic” to the players — they through die rolling — there is no other way to have to get the impression that this location determine the success of a blaster shot, or the could be a real place in the Star Wars universe, outcome of a brawl. However, there are many instead of a movie set. If the setting doesn’t feel other situations that are covered by a skill — realistic, then the players will not act realisti­ such as bargaining, con, investigation, and gam­ cally. Instead of entering fully into the personas bling — that could be resolved through die roll­ of their characters, they will hold back. ing but are more suited to roleplaying. The setting in a combat encounter is impor­ Any time the players attempt to use a skill that tant for a different reason. In a combat encoun­ involves extensive personal interaction between ter, the players aren’t going to be concerned a player character and a gamemaster character, about the feel of a setting; they are going to be you should play out the interaction as thor­ concerned about the layout of it. In combat, the oughly as possible. If you roleplay these encoun­ finer points of strategy become most important, ters, by taking the part of the gamemaster char­ and, because of this, the players are going to acter and actually bargaining with the player want to know every detail of the setting. They characters, or using your wits to con them, in­ hope to be able to find something in the setting stead of simply rolling the dice and declaring a that they can use to their advantage. Whenever winner, then the encounter will feel more realis­ you design a combat encounter, you should pre­ tic — more like a movie, and less like a game of pare a map — even if it is no more than a rough backgammon. sketch— so that you will know precisely how the This does not mean that the skills covering setting is arranged, and you should consider — these situations are useless in game terms. They before the encounter begins — how the different are, in fact, very useful and can be used in several components of the setting can be used to the best ways. advantage by both the player characters and the First, instead of using the skill levels of the gamemaster characters. gamemaster characters to determine their suc­ This process is described more thoroughly in cesses or failures, you can use them to determine Chapter Three, “Settings.” the skill level which you will exhibit while in the guise of that character. For example, the charac­ The Player Characters ters in an adventure need to hire a slicer to help Who is going to be in this encounter? Try to be them get into a computer system. There might be familiar with the player characters who are going two different encounters in which they could to be in the encounter and factor their strengths attempt this. In one, the characters will deal and weaknesses into the design of the encounter. directly with Ghent, a slicer employed by Talon If several of the player characters have unarmed Karrde. In the other, they will have to deal with combat skills, such as brawling, then you should Talon Karrde, himself. try to give them an opportunity to use those When the characters deal with Ghent, whose skills. Or, if a character has a high skill level in an bargain skill is only 4D, you — as Ghent — would uncommon alien language, you could design an not drive a very hard bargain (particularly if the encounter in which the characters are only able player character doing the bargaining had a much to succeed because of that skill. higher bargain skill than Ghent). However, when The idea is that you should tailor the encoun­ the player characters deal with Talon Karrde, ters to make the characters feel that fate has whose bargain skill is 8D, you should make them pushed them into these situations because they, work very hard to get what they want. and no one else, can be successful. These types Second, you can make the skill rolls in secret, of encounters will make the players feel as if they then roleplay the situation, and allow it to con­ are in a heroic story designed just for them. clude as the die roll dictates. By resolving the For example, Luke Skywalker’s success in de­ situation in this manner, you are able to have the stroying the Death Star in Star Wars: A New Hope game proceed according to the rules, yet still is largely because of his experiences hunting preserve the illusion — at least for the players — womp rats in Beggars Canyon on Tatooine. This that the gamemaster characters are acting in connection between his past experiences and his accord with their complex personalities.

Gamemaster Handbook 57 Chapter^ive^Encounters JTAI

Plotting as relaxed as they were at the beginning of the encounter. Every encounter, despite the drop in The plot of your story is the m anner in which tension that accompanies the resolution, should you connect the encounters together. A series of create a net increase in tension as the story well-designed encounters can lose their punch if progresses. they are not arranged in the most effective se­ In the beginning of the story, the characters quence. should be given a chance to “catch their breath” In a traditionally structured story, the dra­ between encounters. This could mean following matic tension builds as the story progresses, a stressful encounter with a humorous one, or until it reaches a peak at the climax of the story, following a quickly moving combat encounter and the tension is released through either the with a more relaxed roleplaying encounter. failure or success of the main characters. In game However, as the adventure approaches its terms, this means that the encounters should conclusion, the breaks between stressful encoun­ become more and more difficult as the story ters should become smaller, until the last few progresses. encounters build on each other without allowing As the dramatic tension of the game increases, for any relief — until the dramatic conclusion. the characters will become more and more fear­ ful for their lives and the lives of others; they will find themselves in increasingly dangerous situa­ Difficulty Levels tions, facing increasingly frustrating problems, The difficulty level of an encounter should and becoming increasingly angry with their op­ depend largely on the plotting of the adventure. ponents and the obstacles before them. Early encounters should be relatively easy, be­ Dramatic tension within the encounter should cause you don’t want the characters to have a follow a pattern that is reflected in the main plot real chance of failure until they know how impor­ of the story. The encounter will begin with a tant their actions are. As the adventure and story relatively low level of tension. As the encounter progress, the encounters should get more and progresses, the tension will rise, as the player more difficult until the dramatic conclusion, characters begin to realize that they are going to which should have the most difficult encounters have to fight or that they are likely to be impris­ in the adventure. oned by stormtroopers, for example. Easy encounters are important because they The characters should then make their deci­ should allow the characters to get into the story. sive moves — they start shooting, or they jump For example, what if Luke Skywalker had not down the garbage chute to escape the been able to find R2-D2 on Tatooine? What if it stormtroopers — and some of the tension is had been too difficult? If that had happened, then released, but not so much that the characters are the story would have ended on Tatooine, with

58 Gamemaster Handbook —STAR. Chapter Five: Encounters —WART

Luke working to pay his uncle for the lost droid their number are knocked unconscious or other­ when Grand Moff Tarkin decides to bring in the wise defeated, they will panic and flee. Death Star and reduce Tatooine to dust. Dramatically, the real flaw in this series of The Skill Level Of Opponents events is that Luke would have never known his A single skilled opponent is usually much more importance. He would have never known that it of a threat than several unskilled opponents. was his failure to find R2-D2 that led to the Because of the die rolling mechanics of Star Wars: destruction of Tatooine and the end of the Rebel The Roleplaying Game, Second Edition, a small Alliance. increase in a skill level translates into a signifi­ When the player characters in an adventure cant increase in a character’s chances of suc­ fail, you want them to know exactly how badly cess. For example, if a character has a blaster skill they have failed, or else the story will have no of 4D and his target has a dodge skill of 3D — only dramatic impact. a skill difference of one die — the shooting char­ Therefore, beginning encounters should be acter has an excellent chance of hitting his tar­ easier, at least until the characters begin to real­ get. If a character has a two die advantage he will ize the importance of what is going on. Once the almost always succeed. While this is certainly characters start to understand the story, you can intuitive (since five or four dice are obviously throw more challenging encounters at them so better than three dice), it makes assigning skill the characters keep on striving for success no levels very important. matter what happens. On the other hand, you For example, twenty stormtroopers might be can make a beginning encounter so hard that the equivalent to only three bounty hunters if the characters are going to fail and by doing so, they bounty hunters have higher skill levels than the are thrust into the story. stormtroopers. Several factors determine the difficulty of an The corollary to this is that an increase in the encounter: number of opponents can be countered by a • The number of opponents. decrease in the skill levels of the opponents, so if you want the characters to achieve a heroic and • The skill level of the opponents. spectacular success in an encounter, you might • Believability consider having them face a large number of • Staging relatively unskilled opponents. Or, if you want the characters to suffer an embarrassing defeat, • Surprises you could have them face one extremely skilled opponent, such as Darth Vader or Boba Fett. The Number Of Opponents Larger numbers of opponents will usually in­ Believability crease the difficulty of an encounter. Two You should keep in mind the question of be­ stormtroopers are more of an opponent than lievability when setting the difficulty level of an one, and twenty stormtroopers are a lot more encounter. dangerous than two. Most characters, as indi­ Believability concerns maintaining an internal viduals, could probably defeat two storm- consistency to the universe. If the characters troopers, but few individuals could defeat twenty. land on a planet that they know is occupied by In many cases, you will want the characters to only forty stormtroopers, then they cannot kill face a large number of opponents to heighten the twenty stormtroopers in one encounter only to tension of the scene. However, if this is a scene meet thirty more in a second encounter. where the characters have to succeed, you will How do you believably make the second en­ need to give them a break in some way. counter more challenging than the first? Simple In order for you to make it possible for the —you make the remaining twenty stormtroopers player characters to defeat these large numbers “expert” stormtroopers and increase their skill of opponents, you will have to lower the skill levels, making the encounter more challenging, levels of the opponents or give the characters a but not disrupting the believability of the uni­ distinct tactical advantage. For example, if the verse. It is easier to believe in “expert” storm- characters have to fight a superior number of troopers, than it is to explain “spontaneous gen­ Gamorreans, you might want to make sure the erations” of additional stormtroopers. characters have better weapons, or give the char­ acters better cover so that they have something Staging to hide behind while the Gamorreans must blindly The difficulty of an encounter can also be charge up the alley. Another way to deal with this influenced by the location in which the encoun­ is to give the Gamorreans a built-in weakness: ter occurs because there are many aspects of since this group is a bunch of cowards, if two of setting which can limit the number of opponents

Gamemaster Handbook 59 JTAI Gamemaster Handbook Surprises Encounter Results However, is, inWeeffil fact, Liff if a memberof Gamemastercharacters may have advantages Or perhaps the stormtroopers that are chas­ A A group of characters being chased through Or maybe the bounty hunters that have been The details of the advantages or disadvan­ In mostcases you will initially conceive the of As the gamemaster, you can either use these entranceinto the business area narrowisa door­ the starport raisebythe aodds localtheir in favorgangster’s by ducking into Liffs thugs squeezecould through the narrow doorway one at a advantagebyentering through backentrances one theof private and attacking the playercharac­ ordisadvantages that are not readily apparent to maneuverable — but,been then super-charged again, maybe andit has equipped with heavy- bolts at them. Trading Center and attacking thetime. men as they that gangster’s thugscriminal might beorganization, able to turn this thensituation theto their of the business area. way cut into one of the blast doors. the player characters.450atransport Thatthat clunky isters’ chasing ship lookingthe might playerYT- beall stock charac­ slow— and not very dutyturbolasers. There is no way forthe players outrunorit find closeit on their tailspitting laser ters from the catwalks that surround the ceiling ingthe characters through Stara Destroyer have bridge who is monitoring the progress of the to know the truth until their characters either chasingthe characters charges have usedin their up blasters mosttheof and arejust wavingthe anunknown ally, such as securitya officer onthe chase and is orderlocking toand force unlockingthe player hatches characters in into a trap. fact that the players will have no way to predictit doesn’t disruptthe internal consistencytheof weapons around for show. tages will change, but what is important is the game. types of advantagesdevices, and disadvantages making them as anplot integral part of the story, oryou can use them as equalizers, giving givingthem an advantageacters when the seem player to char­have everything going for them. what is goingto occur. Anythingis possible —if thegamemaster characters theplayer disadvantagea characters when are having arough time, or adventureasstory—thata seriesais, encoun­of most likely or most dramatic resolutions. This ters that are linked by what you believe are the An Example of Staging For example, a single player character could In In most encounters, you should assume that Weeffil Liffs TradingCenter supplies manyof The Trading Center was constructed inside Thebusiness area is located atthe front theof easily defeat ten stormtroopers if the player character would be doomed if all ten battleone at timea (entering the room through a thatthe characters canattack or be attacked by. oropen areas. However, you shouldber that alsoremem­ gamemaster characters, if their intelli­ advantage of any opportunities for cover and stormtroopersneously. were able to attack simulta­ narrow doorway, for instance). But that same stormtroopers are somehow forced to enterthe attempt to force their opponents into crowded the playercharacters settingwill use the for their features own theof benefit. They will take full genceswarrant it, will attem features ptto use thesefor theirsame benefit. the starships spaceportpassing throughwith thetems foodstuffs thatthe allow and Ordthe recyclingcrew Mantellmembers sys­ to survive the the shell of a hangar.very It largeconsists starship piesof a warehouse,the constructionbulk whichof the occu­ space in the hangar, and abusiness is transacted. hangar, just inside of the heavy, durasteel blast small (15 by contains 15 meters) samples business of Liffs area,goods'and which where all doors that secure the hangar. The only exterior journey through space. Encounters hapter Five: C 6 0 David Plunkett __ STAR. Chapter Five: Encounters "WART

series of encounters will form the skeleton of the counter unknowingly and have the information adventure that you are creating. If the player revealed to them later in the adventure. characters always act as you assume they will, When you first start designing encounters, and make the decisions that you expect, then you have to decide how important each encoun­ they will progress through the encounters just as ter is to the story. Concentrate on the important you expect them to. ones and make sure that they are well developed. However, it is very unlikely that the players Don’t worry as much about the less important will proceed through the adventure in the or­ ones — as long as you have the basic facts of derly fashion that you expect. Because of this, them developed the story can still move for­ after you have decided what encounters should wards. happen, you will have to consider alternate re­ However, it is important that your conclusion, sults and how they will affect the encounters that the climactic encounter, is well developed. If the follow. end of the adventure is well developed and excit­ What is most likely to happen in each encoun­ ing, then the players will forget about any short­ ter? What could go wrong for the player charac­ comings the encounters in the middle of the ters? What could have happened earlier in the adventure might have had. adventure that would make this encounter easier (or harder) on the players? Is this encounter Success And Failure likely to be resolved by combat, negotiation, or How can the characters succeed and what is arguing? their reward? The conditions of success have to In every encounter you design, you have to be well detailed. In an encounter involving com­ have a good idea of what might happen. The bat, success could be victory or simply survival. more possibilities you can consider, the less In an encounter with a door, success could be likely it is that the players will be able to surprise bypassing the security system. In a roleplaying you. encounter, success could be getting the pass­ For each encounter, think about what could word from the bartender. happen differently from the way that you have it In many cases, the main reward for success planned. If it is a combat encounter, can the will be that the characters are able to continue on characters die? Or will they just be captured, or to the next part of the story, but sometimes the wounded? If they can be captured, then you have characters will receive an additional reward that to consider how to continue the story. Do they helps them during later portions of the adven­ escape? Or are they are released by some un­ ture. known benefactor? Additional rewards would include things like If the encounter is one that involves gathering equipment or information, gamemaster charac­ information from a gamemaster character, then ters allies, or extra Character Points. you have to think about what the player charac­ How can the characters fail — and what is ters could do to cause their failure. Could they their punishment? You will also have to deter­ insult the gamemaster character? Could they mine the conditions of failure in an encounter. talk to the wrong gamemaster characters? Or The important thing to remember about failure is could they simply fail to ask the right questions? that you don’t want it to end the story. Instead, it After considering how the player characters should complicate the activities of the charac­ could fail to get the information, you need to ters, giving them more difficult or numerous think about other methods that they could use to obstacles to overcome. For each encounter, you get the information — or ways for the story to have to consider ways in which the characters progress without the information. can turn failure into an eventual success, while Is there another gamemaster character that still punishing the characters for their failure. the player characters could speak to? Or is there For example, if the characters fail in their a Rebel spy in the area who also knows the attempt to bribe a customs official, then that information and receives orders from the Alli­ official may report their activities to the local ance to take the information to the player charac­ government, and the characters would have to ters? Maybe the players can come up with an spend the rest of the adventure avoiding the interesting suggestion, such as plugging their R2 local authorities. More extreme punishments for unit into a data terminal. In this case, you might the character's could include taking away their have to put the information in a different form, starship, dismissing them from the Rebellion, or but you would still be able to give it to the player having loyal gamemaster character companions characters, and they would feel that they discov­ killed. ered it on their own. For more guidelines on dealing with success As a final alternative, you could have the player and failure, see Chapter Two, “The Star Wars characters stumble into the next planned en­ Adventure.”

Gamemaster Handbook 61 JTAI their wayout of talk Gamemaster Handbook Please note that while most of the following Some suggestions for combat encounters: • Stormtroopers who are attempting to capture • Bounty Hunters who are attempting to collect encounterssuggest orlend themselves tocombat, the situation. roleplaying Some encounters of the come combatout scenesof best, where seems mostimminent smart intenseand enough the to avoid characters ashoot-out. are thecharacters may be able to • Commonthugs who are angry atthe characters orthe kill characters, either or forforobvious reasonsreasons, known onlyto the Imperials. of situation where thebounty characters hunters know arewhy afterthe them, this scene could a bounty on the characters. Aside from the type involve abounty that theing about characters or it could know benoth­ a case of mistaken iden­ • Pirates who think that the• Police characters who want to have arrest the characters for tity. • Inscrutable aliens who want to capture, or kill, motivated byego and bravado, oncethe charac­ forbeing strangers. Sincethe thugs are probably breaking an obscure local law. ters start winning the thugs will probably flee. something valuable on their ship. the charactersaliens. for reasons known only to the danger­ movies. However, combat rules, combat can also be Star Wars Combat Combat Encounters Possible Encounters Possible Star Wars to characters.to thecharacters If areherded from Combat encounters are the flashiest type of There are many different kinds of encounters Manybeginning gamemasters write adventures Combatmostis exciting when important.is it In and manyways of resolving them.types Here areof encounters some that can be used: encounters havetheir place, and theyare no sub­ encounter, with flashing blasterand all bolts,of the explosionsother good elements of the combat scenes in the barest of plots kindholding adventureof the is discouraged.story together. This stitute for other types encounters.of thatare simply stringa combatof scenes, with the otherwords, shouldit beused is setfrom sparingly off the restso thatthe of it game, andimportant thus moretothe game. Also,because theof nature of theof ous one fight to another,killed, or odds if their areskills arethat much they higher will thanbe the desirable — the players must believe that when gamemaster characters, the players will start to theircharacters enter intocombat danger,there riskandis but that survivaltheythey if also play shrewdly. have a fair chance of get a feeling of smugtheir superiority,characters are believinginvulnerable. thatNeither result is Encounters hapter Five: C 62 Mike Jackson —STAR. Chapter Five: Encounters “WART

Roleplaying Encounters experience some of the depth of the world that Roleplaying encounters will make up the ma­ you have created but aren’t integral to the story. jority of each adventure. In this type of encoun­ For example, in Star Wars: A New Hope, the ter, the gamemaster has no expectation that scene in the Jawa sandcrawler, where C-3PO combat will erupt, and the characters shouldn’t discovers R2-D2, adds little to the plot, but by be antagonized enough to start a fight. serving as a device to introduce the examples of Roleplaying encounters are scenes where it is other droids it illustrates some of the diversity easy to emphasize the unique nature of the Star that exists in the Star Wars universe. Wars universe. The characters will meet the ex­ Background encounters can be used to prove otic people, aliens and droids who make Star to the players that the universe exists indepen­ Wars different than the real world. The charac­ dently of the activities of their characters. For ters will encounter people, places and things that example, a group of characters working as trad­ are uniquely Star Wars. ers might be so wrapped up in their own eco­ To that end, gamemasters are encouraged to nomic struggles that they forget about the cruel­ add lots of little details to make roleplaying en­ ties of the Empire until they are approached by a counters memorable. From designing a really young child who, while begging for credits, tells interesting and unique gamemaster character, to them that her parents were killed by the Empire. having the characters come across something Or, members of the Rebellion might learn about that is really unusual, these encounters highlight the far away successes or failures of the Empire the unique flavor of the game. through conversations with natives they encoun­ These encounters are also used to pass infor­ ter while riding a maglev commuter train. mation and equipment to characters, as well as Background encounters are also good for to introduce allies, enemies and neutral individu­ comic relief — a necessity for giving a story the als who are important to a story. These encoun­ Star Wars feel — and for causing minor annoy­ ters can also provided need comic relief to re­ ances when you feel that the characters are lease some of the pent up tension of the game or having too easy of a time in an adventure. to change the focus of the adventure for a few Some suggestions for background encounters moments. include: In short, while combat encounters will often • The characters meet a group of mercenaries be the dramatic resolution of an adventure, headed off to a distant world for a “mop up” roleplaying encounters will be the ones that drive operation. These meres might be introduced in a the story by giving the players suggestions, infor­ later adventure, and shows the characters that mation, direction and by introducing them to the “hired guns” are common in the Star Wars uni­ people, places and things that are important to verse. the story and the universe. • The characters are attacked by a group of Some suggestions for roleplaying encounters young teens. During the battle or roleplaying, are: they learn that the teens are trying to get money • Salesbeings who want to sell the characters for food because their parents can’t find jobs. anything from slave girls to battered This illustrates the desperation and bleakness of landspeeders. the world the characters are visiting. • Gamblers who think that the characters look • The characters see riders astride flying ser­ like easy marks. pents. This shows the alienness of the world. • Con artists who think that the characters can be • The characters meet an alien trader. The alien easily fooled. speaks in an unusual accent, has several ten­ • Lunatics who don’t think anything, but can tacles and its skin seems to ripple. Whether or draw unwanted attention to the characters. not the characters buy anything, this scene helps illustrate the diversity of the Star Wars universe. • Street preachers who want to convert the char­ acters to the local religion. Objects • Primitive aliens who want to trade pretty rocks Encounters with inanimate objects are just as to the characters in exchange for the lightning- important as encounters with gamemaster char­ makers (blasters) that the characters are carry­ acters. A security door that stands between the ing. characters and their ultimate objective is as much of an opponent as a squad of guards would be. Background Encounters While encounters with objects normally aren’t as A background encounter is any encounter tense as combat encounters, they still present that does not advance the plot. These encoun­ worthwhile challenges. Tension can be added by ters offer opportunities for the characters to using a time limit, but most of the time encoun-

Gamemaster Handbook 63 com­ skillto JTAIL.WARJ— universe, you sensors repulsorlift opera­ or Star Wars Gamemaster Handbook skill. You can make the encounter more Forthe computer, you should tell the charac­ For example, the characters may have to fig­ When you design these encounters, keep in Some examples of encounters with objects: Anotherexample would bean encounterwith Formore information on using equipment and ortrying to pilotmalfunctioninga vehicle. These rolls — the player rolls on the character’s interesting you if determine how the equipment tion the character’s actions. of outputof itwill providefor the characters. Fora typesencounters of can be resolvedthrough die works so that you will know how it responds to ure out how to canstart escape from a theHoverscoutImperials, or they beforemay have they before they can destroy attacking pirate ships. ters howits inputdevices operateand what sort arranged, so that youters can how explaintheir actionsto the charac­ affectthe operation the of to activate the incredibly strange alien artifact puter programming/repair mind theskills the of characters to takewho youpart expect in the encounter and tailor the en­sidertobe essential (usually anything other than •The characters have to diffuse abomb before it • The characters must use their computerskills vehicle,you tell the players howthe controls are vehicle. counter to makealways use pleased of their when skills. a skill thatPlayers they are don’t con­a combat skill) allows them to solve a problem.a strange alien indecipherable artifact, or someobject.pect otherTheof an most type encounterobject important of be truly alien. as­such Itsoperation uses as and itsshould this methods is not of thatbe readilythe apparent, and, • The characters come across a wide chasm. behave strangely. counterAny time anthe objectcharacters that en­ is not a normal, easily must have a detailedincluding description an of explanation it prepared, of what it looks like, destroyswhatever building pen ortostarship be in. they hap­ •The characters have to use their when the characters do activate it, recognizable it should part theof what it does, and precisely how the characters rope bridge to cross the gap. will be able to make it work. to hack throughand a stealcorporate the data thecomputer Rebel Alliance systemneeds. Since they have no vehicles, they must build a operate portable hand scanners and detect ad­ alien artifacts, see Chapter Six, “EquipmentAnd time to escape to safety. Artifacts.” vancing Imperial troops, giving the characters The most common thing that the characters If it is essentialitis If to the story that the characters Anothertype ofencounter with athing would remember that there are only three methods to barrier—alocked door ordurasteela wall.When terswith things often will bepresented thataspuzzles the characters have to solve. bypassing the lock),security break system,through or the picking barrierthe (blast a hole designingan encounterwith a barrier, you must find some way to get past this barrier, then you around the barrier. defeat it: activate the opening mechanism (by will find opposing them will be some sort of must makesure that odsyou havethatat least theytwo canmeth­ use to get through it through the wall, or force the door open), or go involve a piece of equipment,retrieve informationsuch as tryingfrom ato computer terminal Encounters hapter Five: C 64 Paul Daly David Plunkett

Gamemaster Handbook 65 Cha^ter^ive^Encounters

Animals until they get what they want, their curiosity is sated or the characters actively drive them off. Encounters with animals can often be as danger­ ous as, or even more so than, encounters with Surprise sentients. It is important that you understand the The animals and the characters can mutually animal’s motivations for its actions. surprise each other. The response can vary dra­ Food matically — the animals might instantly attack, stare at the characters in disbelief or misunder­ One reason for an animal to attack would be for standing, run away or casually walk away uncon­ food. A hunting creature, unless it is starving, will cerned. often back away from a fight if it is met with fierce opposition — if the animal thinks it might be Frightened Animals injured or defeated, it will run away. This means Animals, typically herbivores, are easily fright­ that the characters might be able to drive away a ened away. When the characters encounter these well fed Krayt dragon by putting up a fight, even animals, they will probably run away in fear, or pull though they don’t have enough strength to defeat back to what the animals consider a safe location it — the dragon would simply decide that it wasn’t and try to observe the characters. worth the trouble. However, if the Krayt dragon hadn’t eaten in several days, then it would not give Guard Animals up as easily. Occasionally the characters will encounter Animals hunting for food can also be distracted trained guard animals. These animals will be more by bait. If the characters are attacked by hungry dangerous than their wild counterparts because animals, they may be able to distract them by they will be trained in advanced methods of fight­ throwing meat to the animals and fleeing while the ing, and they will be healthier and stronger than animals are eating. any wild animal. They might also fight to the death, Defending Territory Or Young because they have been trained not to fear charac­ ters. A second reason that an animal attacks is to defend its territory or its young. Animals that are Comic Relief put in a defensive position will fight with unex­ Friendly and affectionate animals can also pro­ pected ferocity. A herd ofTauntauns, despite their vide humorous encounters — if a surprise attack is limited combat skills, would severely injure any foiled by the screeching of animals that are follow­ characters who invaded their nesting areas. ing the characters, the scene is at once humorous A creature that is starving has nothing to lose and frustrating. Pack animals and riding animals from a fight— and much to gain; a creature protect­ could refuse to cooperate and throw their riders; ing its young will fight despite the odds. These strange-looking birds could be scared away by a creatures will be extremely dangerous, and the Wookiee’s growl; monkey creatures could dance in characters will either have to run away from them, the trees; or slobbery dog-like creatures could or destroy them. become attached to one or more characters. Any On the other hand, a well fed carnivore, or a of these encounters could add a much needed wandering creature that the characters surprise, break from the tension of an intense adventure. might be driven off by a show of bravado. Balancing Animal Encounters Explorers After you understand the motivations of the Characters may come across animals that are animal, then you will be better able to balance the simply curious and exploring territory. The ani­ encounter. Most animal attacks will be brawling mals may be skittish, friendly, fierce or passive — attacks — few animals have defenses that act as their specific motivations, desires and reactions ranged weapons — so characters with blasters or can vary immensely as the different animals have slugthrowers will have an advantage over most different drives and levels of intelligence and ag­ animals if there is some distance between the gression. These types of encounters may be as characters and the animals when the encounter surprising to the animals as to the characters. begins. Friendly Animals Animals can overcome this disadvantage by using cover and camouflage to sneak up on the Some animals, especially if they have been do­ characters. However, once they get into brawling mesticated in the past, fed by visitors or otherwise range, the animals, in many cases, will gain the had good experiences with beings that resemble advantage. the characters, will approach the characters seek­ In determining the number of animals that the ing companionship, food, and other attention. The characters will encounter, you should consider form of these creatures can be highly variable. In how much danger you want the characters to general, they will probably follow the characters

66 Gamemaster Handbook —STAR Chapter Five: Encounters “WART Mike Jackson face. If you want the encounter to be relatively similar to the scenes in The Empire Strikes Back easy, then you can limit the number of animal that document Luke’s Jedi training on Dagobah opponents, so that the characters can defeat — his practice sessions and his conversations them with ranged weapons and barely break a with Yoda. sweat. If you want the encounter to be more These types of encounters require strong difficult, then you can increase the number of gamemaster characters and settings. As animals, so that the characters are forced into gamemaster, you should plot out several distinct hand to claw combat. events for these encounters that show the per­ sonality of the gamemaster character and en­ Drama courage the player to flesh out his character It will often increase the drama of the encoun­ more thoroughly. ter if the animals have a non-lethal method of Here are some sample character development attack in addition to any lethal attacks they might encounters: have. For example, the Najarkan tree vipers in • Encounters where the characters have to pull the adventure The Abduction of Crying Dawn together to help save a character’s family busi­ Singer are poisonous and can easily kill a charac­ ness. The characters could have to work to­ ter, but very often their first attack is a grasping, gether on mundane tasks, meet other gamemaster constricting attack, where they coil around their characters and see what their lives are like, so target. After they have grasped their target, then the players get a better understanding of how they attempt to bite. difficult life is for the “average” person. This non-lethal method of attack adds drama • A Jedi’s training with his lightsaber and Force to the encounter because it allows the charac­ ters to be attacked once without risking any skills. You could have the Jedi face learn the philosophy behind the use of the Force (play the serious decrease in their health status. Instead, role of the Jedi Master), have the character face they can be penalized in some other fashion, challenges (use dream sequences, like the cave such as — temporarily — losing 2D from their Dexterity. sequence in The Empire Strikes Back), and have the character have to make truly difficult deci­ Character Development sions where good and evil are not clear (should the Jedi continue his training and risk having his You might also try to design a series of en­ friends die, or should he run to their rescue counters that develop the personalities of the knowing that he could easily be swayed to the player characters. These encounters would be Dark Side).

Gamemaster Handbook 67 Chapter Five: Encounters -TTAI WAR

• Encounters where the characters are taught directly precedes the rescue of their friend — how to tear down their ship’s engines and repair should require a heroic effort. them. These scenes would show the characters It is probably more realistic, and more satisfy­ forming 'a bond of trust and friendship with the ing, to develop heroic encounters by increasing mechanic and each other. the strength and skills of the opponent rather than by using sheer numbers. Even a character Heroic Encounters that has single-handedly defeated squads of The characters should be given a chance to storm troopers will think twice about entering act heroic at lease once in a while. Here, the lines battle with Darth Vader in single combat. of good and evil are clearly drawn and the char­ Some examples of heroic encounters include: acters must take great risks and overcome stag­ • The characters must fight their way through gering odds to be successful and save the day. the heart of an Imperial shipyard after saving one Players get a real sense of accomplishment when of their friends from execution at the hands of the they overcome great odds, and heroic encoun­ Empire. ters are a great way to wind up a rousing adven­ ture. • One of the characters has a face to face confron­ Heroic encounters require the characters to tation with the infamous bounty hunter who fight for “good.” For example, it is not heroic to killed his family. In the final battle, the bounty slice five unarmed pirates in half with a lightsaber. hunter is seriously injured and is clinging to the Even though that would be considered a victory edge of an overhang over an ocean of molten in combat, it is clearly cowardly and immoral. lava. The heroic action is to save the bounty However, a great set-up for a heroic encounter is hunter rather than kill him in cold blood or let to have the character protect a child by defeating him die. five heavily armed pirates using only a rusty iron • The character flies a solo attack against a pirate cutlass. base to serve as a distraction so the other char­ Heroism should be used sparingly — it isn’t acters can sneak into the base and save a group appropriate for every encounter. For example, a of Wookiee slaves. The character flying the at­ group of characters have infiltrated a space sta­ tack knows that it is very likely that he will die, tion and must get to the center of the station to but he considers the lives of hundreds of slaves rescue an old friend. Their first encounters should more important than his own. be relatively easy, but the last the one that

68 Gamemaster Handbook __ STAR. Cha£te^ix^qui£men^anc^rtifacts —WART

Chapter Six Equipment and Artifacts

The Star Wars universe is full of interesting, vances in technology and are far beyond the useful and exotic technology. Compared to reach of all but powerful organizations like the present day Earth, the technology available “A Galactic Empire. They will be immensely expen­ long time ago, in a galaxy far, far away...” is sive or not available at any price. Good examples clearly superior. From the elegant lightsaber to of super technology include the superlaser on the astromech droid, nothing is more useful in the Death Star, the World Devastators in the Dark capturing your players’interest than a nifty piece Empire comic book series, or the Imperial cloak­ of hardware. ing devices and Spaarti cloning cylinders used in There are three basic types of items that char­ the trilogy of Timothy Zahn Star Wars novels. acters can come across: equipment, artifacts and Depending upon circumstances, the defini­ super technology. All items are important in that tion of each classification could become blurred. they affect how a character deals with his envi­ Most characters might consider a certain type of ronment. Some items add extra dice to a weapon an artifact, but if they visit a world where character’s skills or special abilities, some make they are hand-forged and are found in common it easier to perform certain actions, and others usage, the characters might find them afford­ allow characters to perform tasks that they oth­ able, readily accessible, or even receive them as erwise couldn’t do. gifts. Equipment is any commonly available item that characters are likely to encounter on a regu­ Creating New lar basis. Common devices in the Star Wars uni­ Artifacts And Devices verse are items such as blasters, macrobi­ noculars, medpacs, comlinks and most of the Since the fantastic devices of the Star Wars items in the equipment section on pages 153-161 universe were part of the essential charm of the of Star Wars: The Roleplaying Game, Second Edi­ movies, gamemasters will want to create new tion. These items can be found virtually every­ equipment, artifacts and possibly super technol­ where in the galaxy, and are easily recognized. ogy items. This chapter can serve as a guide for Artifacts are devices that are uncommon, rare, creating balanced, interesting and exciting items or even unique. In some cases, they are items of for your games. ancient, primitive technology, or historical curi­ Introducing New Items osities that are still in use by some people (ex­ ample: Wookiee bowcasters, which only The Star Wars movies are full of gadgets that are Wookiees use). Often these devices are ancient, mysterious and unique to us, but to the inhabitants possess seemingly “mystic” qualities, have some of the Star Wars universe are very common items. historical significance, or are very powerful. A Just as everybody on Earth knows what a hammer fine example is a Jedi lightsaber: it is an ancient is and what it’s for, in the Star Wars universe, and respected weapon, no longer in common everyone is somewhat familiar with a use, and is normally not for sale at any price. Few “hydrospanner.” The introduction of new equip­ people have ever seen a lightsaber up close. ment should be a relatively mundane affair — the Another artifact would be the Jedi Holocron from characters purchase or find or are given the item the Dark Empire comic book series: it is a unique, and they are told how it operates or have to figure priceless artifact, and contains ancient and pow­ it out for themselves. Any character with a decent erful knowledge. Mechanical or Technical attribute and experience Super technology items are unique and very with “modern” Star Wars technology should be powerful items which represent remarkable ad­ able to figure out common equipment.

Gamemaster Handbook 69

Star Star JTAR-WART- The The Empire galaxy, after until it is cap­ big “feel” in terms of Millennium Falcon Falcon Gamemaster Handbook Star Wars changes the nature of the was that if the So how can a gamemaster combat these universe. The whole plot of Gamemasters have to think about the long­ Another pitfall thisof stage is the potential to If you If do decideto give a device higher statis­ To maintain that Wars Wars. used when absolutely necessary. Possibly, the all). Another option is to setexplain your that adventures theevents ship in thosewas stories.introduced after the Imperialit fleet. becomes If easytohyperspace, track ships in thenpire there can simplyis no escapefollow the — the Em­ term implications of their newtechnological ad­ ship was busyworlds suppressing duringthe movies (itdisorder is a on other after the movies, novels and comics and simply tured. could jump to hyperspace it could escape the over-inflatethe characters’ makesabilities. the themdeviceIf invincible,playing? then what’sIf they the canpointunscathed waltzof through with encounters minimal resistance, the game way of easily tracking shipsfundamentally in hyperspace, this problems? The following are some hints to help vances. theIf gamemaster wants to introduce a equipment is relativelysimple. Chances are, the existing equipment. you. tics or radically new abilities, the device should statistics you createequal for yourto devicesor lowershould thanbe the statistics given for Strikes Back just isn’t very exciting, and therefore isn’t and comic bookseries. Star A NewWars: Hope The Empire’s cloaking device Too Advanced Don't TheMake Devices Beginning gamemasters are often tempted to For example, you are tempted to createa new The introduction of super technology is al­ Artifacts are not familiar to most characters. ous and even awed by some artifacts. mostalways the focus amajor,of dramatic story. Therefore, when such a device is introducedfully explained. toInstead, the gamemaster shouldpowers and abilities to be discovered overtime. prototypes andcentral Spaarti plot cloningelements els, andcylinders inthe theWorld Timothy Devastatorswere Zahn werenov­ essential to the game, it is suggested that the trydevice tonot be create a sense of mystery, allowing its introduce too many devices that arebiggest too power­ question you have to ask yourself is, the plot of the Dark Empire Thesuperlaser technology theof Death Star was The characters should be understandably curi­ prototype that wasn’t widely available, or per­ deadlythan anyother players battle all ask cruiser. the same Then, yourquestion: this “If ship is ful and lack any appropriate play balances.“Why didn’t The we see this in the movies?” vitally important in hapsithas adesignfew flawsthat make vulner­it warship that is bigger, tougher, faster and more Return ofthe Jedi. abletocertain types attacks,of and thus onlyisit so tough, why didn’tthem the in Empirethe havemoviesThis a (orfleetis easilytheof solvedbooks orby comics)?”making the ship a new

Equipment and Artifacts Paul Daly hapter Six: C 70 __ STAR. Chapter Six: Equipment and Artifacts “WART

have a corresponding “play balance” — some­ preciate right away, but will wind up being thank­ thing that makes it less desirable. There are a few ful for later on. easy play balances: Eric is the gamemaster, Bill and Dan are both • The new technology is very expensive. brash pilots, confronted with some opposition. • The new technology is secret. Only by captur­ Eric: “The bounty hunters appear to have the ing plans will people be able to replicate it. This drop on you. They have you pinned down behind is even better if the new technology relies on some shipping crates and are blasting away. experimental parts that aren’t available, and thus Obviously, they don’t want to take you alive. Now anyone attempting to use the new technology what?” will have to spend a long time tracking down new Dan: “I shoot back, using those new blaster parts or trying to duplicate the experimental pistols of ours, the Blastech Eliminator-7’s. They ones. have that new, more efficient power pack, right? That’s what the salesman said.” • The new technology is bulky and unwieldy. Bill: “Hey, yeah, that’s right! Maybe we can • The new technology consumes a lot of energy blast these guys when they exhaust their weap­ (like planetary shields) and therefore is very ons. We should have 5 extra shots that they difficult to move. don’t. Eric, we keep shooting at them and try to • The new technology is unreliable. get them to drain their guns. OK?” Eric: “Sounds like a plan ...” • The new technology is only “better” under very specific kinds of circumstances, but is average or Remember Your Characters' Abilities even below average in most other respects. If you are planning on creating a piece of For example, if you create a hyperdrive even equipment for a specific character, keep in mind faster than the Millennium Falcon’s, a good bal­ that character’s abilities. If you create a device ance is that there is the danger of a reactor core that enhances Force skills for your young Jedi, melt-down with each jump. The negative bal­ who is relatively unskilled, keep in mind that he ances the positive and will make your players or she will probably not be this unskilled for long. think very hard about using, or overusing the Keep the bonuses to the character fairly low, artifact or device. because as they advance in power due to normal When it comes to the hyperspace tracking adventuring, the device can lead to that charac­ system, it could be very expensive, bulky and ter becoming virtually unstoppable. Trying to consume a lot of power. It could be difficult to create opposition for an invincible character is move and have a very limited range. Therefore, it terribly difficult. It is best to avoid this situation would only be useful on a planet or a very large entirely rather than try to “fix” it later on. space station, and would be better for tracking You’re not really being stingy with the ben­ incoming and outgoing ships at close range. This efits; no matter what bonus they receive for using way, it’s not possible to be sure where a ship is this equipment, the characters will still be slightly going, and the idea of being able to escape by better off than they were before they received jumping into hyperspace is still possible. the equipment. Incremental "Leaps'' In Technology "Disposable" Technology Another method of maintaining game balance Finally, a terrific way to alleviate both the prob­ is the use of incremental “leaps” in technology. lem of maintaining a Star IVars feel and keeping the These minor advances in technology are easy to game balanced in terms of equipment is to make believe. For example, instead of a blaster that can the item in question fairly temporary. get 50 shots out of a power pack, how about a A thermal detonator or grenade can only be more efficient blaster that gets 55? Or slightly used once and then it is gone. Why not use the more efficient hyperdrives? same principle for really powerful equipment so These seemingly minor benefits could really its usage will be strongly curtailed? If you create aid the characters in a tight spot. The new blaster a new hyperdrive that moves twice as fast as the could help the characters outlast an enemy in a Millennium Falcon’s, but burns out the control firefight, and a more efficient drive means fewer circuitry and self-destructs when it is used more refueling stops, more available cargo space, and than once, that answers the question of “Why more power for shields, weapons or sensor equip­ isn’t it in widespread use?” ment. The answer is pretty simple: it’s impractical. It Even if the enhancement is by a single “pip” or can bail the characters out of a jam once. After a slight increase in efficiency, it could have far that, you won’t have to worry about the charac­ reaching benefits that the players might not ap­ ters overusing the device.

Gamemaster Handbook 71 JTAI WAR I activate I the thermal Gamemaster Handbook “Good shot! lands It right in victory. As long as the story “Urn... well, how about that last (Rolls dice.) earn (Rollingdice) (To Dan.)(To Nothingcatch will your players’ attention more Eric: “You see four bounty hunters, all wear­ Bill: Dan: “Sure. Eric: Dan: walk “Well, I’ll up to the bodiesEric: “Not ...” so fast. The bounty hunters look some kind of defensecharacters against explosives.have a Mon CalamaritheIf Star Cruiser at if the characters are well-equipped, their en­ theirdisposal, theirgive enemies aStar Destroyer. thanareally tough villain. terms In equipment,of emies should be muchbetter robbingequipped. making the Thisthem isn’t playersso itself is served, of victory and the characters as it are is forced to ing heavy blackleveling their cloaks blaster and rifles at hoods. you and yelling They at are rely on their equipment,wits and then your skillsregarded game rather is asmore a success. thanlikely to be their remains of those black cloaks, revealing the detonator, count to three and heave it!” between the group of themdive for and cover. explodes Now what?” as you you to surrender. What do you do?” prettyannoyed. The are brushing the off burning plasma-hardened fromblast armor head that to covers toe. them The armor itself is glowing thermal detonator?” faintly as it radiates the thermal detonator’s “This is boring ...” “FOOM! Got ’em.”“FOOM! Restricting Access Restricting Villains' Villains' Equipment Don't Skimp On The (Stiflingyawn.) (Rollingdice.) Using and giving out equipment, both new and One problemthat is novice players want every­ Here’s why: Eric: “Ok gang! You see four black-cloaked Bill: “I guess I’ll use that surface-to-orbit Eric: Dan: Give your characters a real they fight! If have The problem with giving the characters too rationed out, equipment can seriously unbalance an adventure. thingexistence.in Your players may request equippedto be with anythingfrom a thermal detonator old, requirescareful consideration. not properly If to a Mon gamemaster, Calamari you mayplayers Star feel everything the they Cruiser. needwant to keep them to happy. give As the a new bountyhunters levelingtheir blaster rifles at you andyelling atyou to surrender. What doyou do?” comlink and call in a turbolaser strike from the muchequipment that is leaves it them withoutchallenges. theany outcomeIf is never in doubt, is nosuspense, there and consequentlyvery little enter­ Don’t give temptation. this in to Don’t star cruiser.” tainment value. a case of thermal detonators, give the bad guys Equipment and Artifacts hapter Six: C 72 Mike Jackson Chapter Six: Equipment and Artifacts "WART

blast heat. A couple of the bounty hunters are ceived his shipment this month. Or that the chuckling evilly and taking steady aim again with Alliance ran out. their rifles. Now what?” In the time of the New Republic, the new Dan: “We could try to shoot our way o u t...” government has not yet established shipping Bill: “I’ve got a bad feeling about this ...” routes and connections, and has gone so far as to As illustrated, the characters are being forced offer cargo runs to smugglers to get the shipping to rely on their brains rather than their hard­ of materials flowing again. The Empire has seri­ ware. Now there is challenge in the game and the ously curtailed shipping, both by confiscating story can proceed. vessels and blowing them right out of space. There are shortages and rationing everywhere, Make The Characters Really Work so this is an easy way for you as gamemaster to For Their Equipment overcome outrageous requests for equipment. If If the characters require (or desire) a particu­ the players still want the equipment, then you larly powerful piece of technology, don’t just let can have the Alliance or New Republic assign the them pop into the Star Wars equivalent of the player characters the task of locating a source for local convenience store and purchase, steal or the equipment as a subplot or even a major otherwise obtain it. Make it difficult for them. portion of your game. The quest to obtain what they want, instead of If, on the other hand, your players are not having it handed to them, can lead to all sorts of allied with the New Republic or Rebel Alliance, interesting encounters. Of course, as gamemaster, and are instead smugglers or bounty hunters, you have to make sure that restricting equip­ specialized equipment will probably be much ment is logical. You can’t arbitrarily refuse the more difficult to come by. Heavy weapons, per­ characters a blaster if everyone else can get one sonal firearms, explosives and such are all heavily easily. But, if the equipment would logically be regulated and licensed by everyone from the difficult to get, then you have every right to make New Republic and the Empire to individual plan­ the characters struggle to get what they want. etary governments. If your players have planned For example, if the characters in your game some kind of mischief with heavy ordnance, they happen to be allied with the Rebel Alliance or may wind up hunted fugitives (if they aren’t New Republic, they may believe that if they req­ already). Of course, your players will probably uisition the equipment from their quartermaster want the stuff anyway ... so how can they get it? they will automatically receive the hardware they There is always an outlet for equipment and want. Right? Wrong. If the characters’ requests other merchandise. The manufacturers, often are too much for you to maintain game balance, large industrial juggernauts like Sienar Fleet Sys­ don’t let them have the equipment! tems or Blastech, all have distribution and retail Fortunately, the Empire restricts the most centers in major spaceports and cities to sell interesting equipment, like weapons, so there is their standard legal equipment. For example, the a logical reason to restrict the characters’ access characters may seek starship engine components to weapons. In fact, many adventures could be at a Sienar outlet, though they would have diffi­ written about characters having to go steal or culty buying a blaster there. secretly purchase restricted equipment. Why Independent merchants can be found virtu­ give the characters thermal detonators when ally everywhere, hawking everything from you can have the Alliance send the characters to comlinks to starship engines, but they some­ steal a bunch of thermal detonators from an times charge impressive mark-ups from the list Imperial ammo dump on a distant world? prices. Also, situations in a specific adventure may If your players are looking for something really allow the gamemaster to restrict equipment. If illegal, there’s always the Black Market (also the characters’ ship crash lands on a frontier known in galactic slang as “the Invisible Mar­ world, it’s entirely believable that some equip­ ket.”) Powerful gangsters and petty thieves alike ment will have been destroyed and the charac­ all need an outlet for their goods and services, ters will probably have to do without until they and more often than not, they cannot just set up reach “civilization” again. shop and start retailing. Instead, a rather exten­ There are a number of ways to get around the sive network of fences, corrupt government offi­ problem of denying the characters equipment cials, and rumors exists. The marketeers use this and still keep the players happy. The Alliance is network to sell whatever is available to whoever in a state of war, so supplies are severely limited. is willing to pay the Invisible Market’s astronomi­ If the characters are asking for major weaponry, cally inflated prices. they should be made aware that ordnance is If your players have their hearts (or other needed elsewhere for another unit or military appropriate internal organs ...) set on finding a mission. Or that the quartermaster hasn’t re­ “hyperwave emissions enhancement filter” and

Gamemaster Handbook 73

JTAI WAR “FIVE THOUSAND?! THOUSAND?! “FIVE Gamemaster Handbook bad feeling about this ...” Work? Equipment (In unison) really “A favor“A you could do for me? Give you The Can Characters Have “Trivial cargospiceof from Kessel. Noth­ “As you wish, “As gentlebeings. Plotyour next The Creation Process Step Step One: What TheDoes give them everything they ask for. If your Dan and Bill: Eric: Eric: Eric: Dan: guess “I so ... what’s Eric: the cargo?” Bill:have “I a It’s common sense: the characters can only Bill: “Uh, wait a minute, can’t we deal here?” There’s no way a Human can carry around a Another method of limiting the devices is to Now that some of the basic concerns with This is the first logical step in developing a If If the device is a piece of equipment it is Limit Limit The Number OfThat Devices Device Device Do And How Does It Our whole computer system didn’t cost that me.” hyperspacejump on an abacus. Good day ...” ing really important.” penalties to the character carrying them. casegrenadesof and still draw and firehis blaster much!” carry so much. danceDon’t give of equipmentthem suchCorellian that anbulk itcruisers wouldabun­ take and a fleeta legion of Wookieesof players askfor acase thermalof detonators, tell “toys” but they will also have to be extremely accurately. youIf give the characters a case of yoursoftware, will, after youdeliver I package for not players’ hunger for new equipment while main­ device creation and use havecreate been newdiscussed, equipment, artifacts and items of thermal detonators, give some major die code to move around. them that there’sThatway, they only will be pleased two to or have some threenew available. taining game balance. particular piece of hardware. When theartifact, charac­ they are going to want to know exactly judicious in their use. You will be satisfying the the following four step process cansuper be technology.used to terscome across newa piece equipment,of or an probablypretty mundane tothe characters. While for droids known interesting, it every day of their their lives. characters have what the device is and how it works. theplayers may find the idea arestrainingof bolt have the you “As you“As can see, -0- “Recommended? who?” By “Ah, “Ah, but of course ... and (As an alien merchant) “Uh “Uh ... look, we’d rathernot go into that. (Suspiciously) Eric: Eric: Eric: Bill: “Well, we need some specialized naviga­ Dan: Eric: Eric: device is to enter into asmuggling contractwith Ploovo Two-For-One, then you’ve got a fantastic point for an entire bycampaign. a solitary And pieceall motivated of equipment... uh ... recommended to us.” noble sentients. Goods and services, manyhave 5,000 credits it will cost, am correct?”I I’m sickof I’m being shot youat. haveDo the software or not?” the only way currently available to obtain thesubplot foryour current game oreven astarting I! WhatI! seek you here, eh?” tion software for our navicomputer. You were, Equipment and Artifacts hapter Six: C 74 Mike Jackson —STAR. Chapter Six: Equipment and Artifacts ""WART

In creating new equipment, you must first fact gives the characters the ability to read minds, know what function the item performs. Most or gives the character instant mental access to pieces of equipment will be a futuristic version of the equivalent of a galactic encyclopedia. an existing Earth device or will be practical ex­ An artifact doesn’t need to be explained. If tensions of the unique technology of the Star technologically based, it might run on power Wars universe. If you want to create new items of cells. However, if the device is truly alien, it might technology, look through an Earth equivalent run on mental power or emanations in the Force. catalog and extrapolate the technology. For ex­ In fact, no one may know “how” it works, it just ample, if you want to run a game with an espio­ does. nage theme, some kinds of equipment you may want to create for your characters could be Sample Artifact: The Codex listening devices, computer probes, remote de­ Eric wants to create a device for a young Jedi tection gear, and stealth-enhancing equipment. named Pann. Eric decides that this artifact will If the piece of equipment is similar to a real play an important role in his next adventure. Eric world piece of equipment, it is normally enough determines that the device is totally alien in to tell the players what it does. If you tell your origin, a mysterious and powerful artifact from a players that they have a jet pack, they will just lost species. He decides to call it “The Codex.” assume they can strap it on and fly. Of course, Since Pann the Jedi must be drawn to the since the technology is Star Wars, it will be more device for storytelling purposes, it stands to advanced, smaller and more easily used than reason that it is somehow linked to the Force. Earth technology. Eric brainstorms a bit and decides that the de­ When using equipment that doesn’t translate vice is extremely powerful, and has a variety of to Earth terms, consider similar fields and think functions in the hands of a Jedi. While he won’t of novel ways of addressing the same problems. determine all of the Codex’s abilities right now, For example droids are a combination of self- he’ll settle on the basic functions a Jedi will be aware computer, industrial machine and servant able to determine immediately: or worker. • The device locates disturbances in the Force, For suggestions on coming up with new types leading (or possibly luring) the characters to of droids, think of a type of job a specific droid trouble spots. could be built to accomplish. For attachments, • The device can increase Force Skill die codes see what types of parts are available in that field substantially, making a Jedi even more powerful. (for example, medical droids have laser scalpels, anesthesia and medicine dispensers and all sorts The unit can be activated with a Very Easy of neat tools). control roll on the part of the user. As previously If the piece of equipment is something that stated, the device has numerous other functions, doesn’t have a real world analogy, it may take a but to make sure Pann doesn’t become too pow­ little more explanation. erful right away, Eric decides that it will take much study for Pann to learn what other abilities Sample Equipment: Fusion Welder the unit has. The gamemaster, Eric, wants to give the player characters a torch for the adventure. Since this is Super Technology a very common type of device in the real world Super technology is simply a really interesting and the Star Wars universe, he thinks of it as an or advanced technological development. The advanced propane torch. However, instead of superlaser and World Devastators show how ignited pressurized gas, the new device will cre­ powerful weapons can be; the Spaarti cloning ate a fusion reaction internally, focusing the en­ cylinders allows the controller to make count­ ergy out of the nozzle. It requires a small bit of less clones. Super technology should provide a blaster gas and uses small power cells only a completely new ability or be a very, very power­ couple of centimeters across. ful version of an existing item. Remember that super technology is not in­ Artifacts tended to fall into the hands of the characters. Artifacts should provide abilities that the char­ More often than not, super technology is more of acters don’t normally have access to or do a a plot device than something that will actually be common task in a unique way. They can have any used. The threat of the Death Star was more than type of function, ranging from those similar to enough to make it effective. tools (such as causing damage like a weapon, or adding a few dice to a certain skill, such as Sample Super Technology: Nanogene Droids macrobinoculars adding to search). They can The gamemaster wants to give the villain of his also provide capabilities and powers that no adventure a powerful and unique weapon. He •technological equivalent can — perhaps an arti­ decides on nanogene droids — highly experi­

Gamemaster Handbook 75 Chapter Six: Equipment and Artifacts JTTAI WAR

mental microscopic machines that affect the cells cylinder, near the emitter nozzle. The top of the of living organisms. When the droids are injected cylinder also has a valve where blaster gas is into a being, they can somehow rewrite the ge­ added to the fuel chamber, as well as a compart­ netic cdde of the being, causing it to change to ment for the very small power cells. Overall, it is whatever pattern was programmed into the about the size of a large blaster pistol. It weighs nanogene droids. With this device the villain about four kilograms: bulky but not heavy. plans on converting the population of a planet into an army of zombie-like mutated warriors. Artifacts This certainly has the horrific punch of other Artifacts are supposed to suggest mystery and super technology weapons. alien qualities, so most artifacts should appear distinctly different from common equipment. Step Two: Lightsabers and Wookiee bowcasters do look What Does The Device something like other forms of equipment, but they don’t quite fit in — they suggest a different Look Like? time or a different society. Visual details are extremely important in the Artifacts that are designed by aliens will clearly Star Wars universe. The items of technology are look alien and novel. They might look more or­ memorable and distinct: X-wings, TIE fighters, ganic, or have ornate, gothic-style curves. The AT-AT Walkers, Star Destroyers, stormtroopers artifacts might have exposed internal parts, so and droids created a lasting impression. In short, the device appears more like a superstructure everything is instantly recognizable. with parts randomly added on. The artifacts When determining what your particular piece might be elaborately decorated or colored in of equipment looks like, not only are you making unusual ways. It might give off an unusual “aura” it easily identifiable to your players, you will so that anyone near it feels inexplicably uncom­ personally have a better “feel” for the device and fortable. what it does. When determining appearance, don’t forget Sample Artifact: The Codex the other senses. Part of the unique charm of a After some thought Eric decides that the de­ lightsaber is the hum its blade gives off. Don’t vice is a small, metallic pyramid, no larger than a forget to make notes regarding sound or touch grapefruit. He adds that the Codex is muted gold (does it pulse, or does it feel warm or cold or in color and covered with strange engravings in slimy?). When the device is used, is there a flowing, alien script. Tiny crystals dot its surface unique odor (for example, when using a plasma in strange patterns. It can easily be held in one torch, the odor of the charred metal should be hand, and glows and hums when in use. prominent). Using all of this sensory data en­ hances the “realness” of the device. Super Technology Super technology is often large and dramatic. Equipment What makes the Death Star intimidating is its The appearance of equipment is important. Ev­ size. Normally, super technology should look eryone knows what a blaster or a comlink looks exotic. Super technology will still clearly be rec­ like. When introducing very common, mass pro­ ognizable as Star Wars, but it still must look duced items of technology, they should fit into the different enough to be distinguishable from ordi­ cohesive “look” of the Star Wars universe. nary items. Also, Star Wars is a lived-in universe, so items Sample Super Technology: Nanogene Droids of technology are often dirty, scratched, banged up and coated in several layers of paint. By Nanogene droids are only visible under a mi­ adding these details, you give every item and croscope. However, how they affect someone is location a sense of “real worldness” because it noticeable: people who are being altered will implies that the device existed before the present seem to become more and more distracted from adventure and probably will exist after the ad­ the world around them. After a few days of carry­ venture is finished. ing the droids, they will slip into a coma and no known medicine will bring them out of it. Anyone Sample Equipment: Fusion Welder who does a medical scan of the victim will be able The fusion welder will look a lot like an Earth to determine that their body functions and ge­ propane torch. He decides that the device is a netic code are changing, but why isn’t known. metal cylinder, with a small curved nozzle at one The final stage of the victim can be whatever is end, where the fusion welder’s energy beam is programmed into the droids, but for horrific emitted. The device has a small “on-off” switch effect we’ll decide that the person slowly changes on its base. An adjustment knob that controls the into a horrible, slobbering monster, hideous to strength of the beam is located at the top of the behold.

76 Gamemaster Handbook __ STAR. Chapter Six: Equipment and Artifacts “WART Step Three: What Is The Device's Background Or History? This is probably the easiest step in the pro­ cess, and in many cases is really very brief. Some devices are going to have very plain histories that aren’t pertinent to the game. For example, chances are your players won’t care who in­ vented bacta tanks. However, if the device’s history is important to the story, then the background does matter. A sense of mystery is good for unfamiliar alien devices and artifacts and will help you keep the players on their toes. If you invent a very power­ ful artifact and describe its history as “No one knows where it came from,” the mystery of the device increases. Equipment Most of the time, the history of equipment won’t really matter to the game. Of course, some items will be of interest. For example, in Dark Force Rising, it is learned that the Katana fleet was slave-rigged (all of the ships were rigged into a single huge computer operating system). This greatly reduced the number of support crew on this vessels, making slave-rigged ships much more practical than non-slave-rigged ships in theory. However, the crew of the Katana, infected with a hive virus, went crazy and the whole fleet jumped into hyperspace, never to be seen again. This explains why droids and large crews are used on starships in the Star Wars universe rather than using super computers. Sample Device: Fusion Welder This can be as simple as “common technol­ ogy, available almost everywhere. It has been Paul Daly around for a long time.”

Artifacts Sample Artifact: The Codex Artifacts are more interesting when they are Eric decides the Codex was created by a long mysterious. The Jedi Holocron is intriguing be­ extinct species called the Cthol. The Cthol were cause we don’t know its history. If the character extremely interested in the sciences, and had doesn’t know all the answers, he might be in­ managed to develop an instrument capable of clined to investigate further and find out the real quantifying and measuring the Force, and even, story. Or, the history of the device might come in the right hands, of manipulating it. It was built back to haunt the character — what if the ances­ mainly out of scientific curiosity, as the Cthol had tor of the creator of the artifact comes looking for few ambitions to use the Force for gain; they the artifact and is willing to kill for it? simply wanted to understand it. Sometimes artifacts are tied into prophecies, Unfortunately, the device’s activation didn’t great myths from history and other lore of the escape the notice of Halbret, a Dark Jedi who Star Wars universe. A lightsaber is interesting in destroyed the Cthol and stole the device, using it its own right, but if the character receives the to enslave a number of worlds. Halbret was him­ lightsaber wielded by one of the original Jedi self destroyed by the Jedi Knights in a fierce Knights during the founding of the Old Republic, space battle, and the device was lost in space, the artifact becomes much more valuable and where the characters will unwittingly stumble interesting. across it.

Gamemaster Handbook 77 Chapter Six: Equipment and Artifacts -STAR__ W ARS"

Super Technology difficult to use?), ammo, any special settings and Super technology is normally “invented” by a all of the other factors the make one piece of person or group of people working in secret. The equipment different from others. background of a piece of super technology can You must also set a price for the equipment. be mysterious and filled with rumor or well docu­ Equipment will normally be priced near compa­ mented, depending upon the needs of the story. rable types of equipment. A new blaster pistol, if For example, we didn’t need to know a lot about it’s better than a standard pistol, will cost more. the history of the Death Star for Star Wars: A New An new type of medpac that is mediocre will Hope. However, as we learned more about the probably cost about the same as the standard Star Wars universe, it was revealed that Admiral ones. Ackbar had served as Grand Moff Tarkin’s slave Of course, the laws of economics will figure while Tarkin was overseeing construction of the into the cost as well. There are millions of differ­ Death Star. Ackbar helped the Rebel Alliance ent factors that can alter the price of a product, learn of this fearsome super weapon and steal such as local supply and demand, whether the the plans to it. These plans, in turn, were given to company is intentionally pricing its products low Princess Leia, who had to stop at Tatooine to get in order to get a share of the market, if the local General Obi-Wan Kenobi... government adds any taxes onto the price of goods and so forth. In other words, “standard” Sample Super Technology: Nanogene Droids prices are mere benchmarks, and can change The nanogene droid concept was first invented dramatically from location to location. long ago, but it had never been used to much Sample Device: Fusion Welder effect. The villain in the adventure, Uris, took an interest in the subject, and gathered a team of Eric must determine basically what the device talented but unscrupulous nanogene droid sci­ can do in game terms. Eric decides that his “fusion entists. Bankrolling experiments, the scientists welder” is powered by an internal power cell that took nearly a year to perfect the nanogene droid can be used for two hours, requiring six hours of technology, and several more years were re­ recharging from a standard power terminal. quired to get the droids to alter genetic codes If used in combat, (which would be highly awk­ with any reasonable amount of control. However ward, as the device is heavy and unwieldy) the by that time, Uris’ delusions of grandeur had fusion welder does 4D damage. Its plasma beam blossomed, and he convinced himself that he can be up to 3 meters long, but since it’s not would be able to assemble an army and carve out supposed to be a weapon, it is Difficult to hit with. his own empire. He is ready to release the first It also is more like a melee weapon, so it would use batch of nanogenes on the unsuspecting popula­ the melee combat skill; if any weapon other than tion of Voorsbain. another fusion welder or lightsaber (or a force field) is used to parry it, the fusion welder auto­ Step Four: matically does damage to the other weapon. Any minor details can be added later or fleshed Determining The Device's out as Eric sees fit in the course of his game, but Game Statistics otherwise, he has created a fairly easy-to-define This is arguably the most difficult and chal­ common device that a character would be likely to lenging part of developing new equipment. The encounter in the course of his game. pitfalls are numerous and difficult to avoid. By Artifacts using the hints presented in the earlier section of this chapter, you should be able to consider the Artifacts normally have elaborate or unusual factors involved in these stats and design bal­ game statistics. Also, a lot of abilities can remain anced devices. undiscovered for a long time, so that the By making a device bigger, more expensive, gamemaster doesn’t have to completely detail the more difficult to use or harder to get, you can still device when it is created. introduce a better piece of technology while not Sample Artifact: The Codex destroying play balance or fundamentally alter­ Eric has decided to assign the device the follow­ ing the technology of the universe. ing special abilities: Equipment • +2D to all Force skills the Jedi character knows Performance should be comparable to other while the Jedi possesses the Codex. The Codex types of equipment. You must also determine strongly enhances the Jedi’s abilities, but the char­ how effective the device is. For weapons, aside acter does not receive extra Force powers. If the from basic damage, you need to determine Jedi isn’t in contact with the Codex, the added skill weapon ranges, weight or size (is it bulky and dice are lost.

78 Gamemaster Handbook Chapter Six: Equipment and Artifacts “WART

• “Force Detection.” The Codex will automati­ Super Technology cally locate galactic-scale disturbances in the Super technology will normally have super Force, such as the destruction of Alderaan or the game attributes. The devices are typically very death of Darth Vader. The possessor of the Codex powerful, but will practically have to have limita­ will know what has happened, but will not know tions. the circumstances of the event. For example, the character would know that Alderaan had been Sample Super Technology: Nanogene Droids destroyed, but not how. The character would When a nanogene droid comes into contact know that Darth Vader had died somewhere near with a person, it tries to inject itself into their Endor, but not how or why or by whom. More internal system. The character must make a Dif­ minor disturbances can be actively sought using ficult stamina roll: if successful, the character’s the adjusted sense Force skill. immune system has eliminated the nanogenes. If Basically, the device has statistics now, but the roll fails, the character is infected. An in­ there is a problem with game balance. The device fected character will infect any other individual makes Pann too powerful, too quickly. Eric de­ he or she is in contact with, or within two meters cides to add some limitations: of, for more than five minutes. For the first three days, the character feels no • Characters who use the Codex more than three effects. After that, the character must make a rounds in a day are far more sensitive to the Moderate willpower roll when asked to perform Force, and are thus more susceptible to the Dark any mental activity that requires a Difficult total. Side of the Force. A Jedi character who commits If the character fails the roll, the character is too any kind of violence while using the Codex be­ distracted to concentrate. The nanogene’s ef­ yond these three rounds gains two Dark Side fects are being felt. If examined by a doctor, the points. In this case, violence is not defined in doctor needs to make a Difficult medicine roll to purely physical terms; mental cruelty and verbal realize that the character’s genetic code is being abuse are also considered “tainted” actions for a rewritten. Jedi using the Codex. The Jedi character must be For the fourth through the tenth day, the very cautious when using the Codex. If his words, character suffers a -2D penalty to all actions thoughts, deeds or emotions are at all negative, except rolling Strength to resist damage in com­ the Jedi is in real danger. bat. The same penalty applies to mental activity. • The device sends large “shock waves” through At the end of the tenth day, the character must the Force when used. When using Codex-en­ make a Moderate stamina roll not to fall into a hanced Force skills, other characters with the coma each day until the character succumbs to sense skill can locate a user of the Codex as far the nanogene. At this time, a doctor needs to only away as 100 light years (possibly more). make an Easy medicine total to realize that the • The device is very old and easily broken. If character’s genetic code is being rewritten. dropped, shot, or otherwise handled roughly, If the nanogene’s effects are detected, a Heroic the Codex has a Strength of ID to resist damage. medicine total is necessary to cure the character If damaged in anyway, the Codex will shatter and unless specially designed medicines are created be beyond repair. (gamemaster will have to determine specific rules). Eric has created a balanced artifact for his Star After 15 days in a coma, the character is trans­ Wars game. The Codex has major advantages, formed into a mindless zombie. At this point, but it also has limitations, allowing the device to there is no known cure for the nanogene. be useful, but not omnipotent. Pann will now have to think twice about using the device fre­ quently.

Gamemaster Handbook 79 Chapter Seven: Props JTAR. WARS—

Chapter Seven Props

Trying to a make adventures more enjoyable ment at the very start of an adventure instead of takes a lot of work and creativity on the part of a having to “trick” the players into stumbling into gamemaster. Constantly keeping your games this situation during the course of the adventure. fresh and fun can be a struggle. Finding new ways Scripts also have their uses during the course to make the Star Wars universe more realistic is of an adventure. Sometimes it becomes neces­ a demanding task and isn’t as easy as it seems it sary to portray characters in a more strictly should be. defined manner and a scripted scene is a way to One of the easiest ways to add this realism is make sure that a particular event happens. This through the use of props. To carry the movie works well for transition periods between scenes. analogy a step farther, since the gamemaster is Of course, you have to be sure not to be too director, special effects technician and acts out heavy-handed — players get very upset when many roles, why not add “set designer” to the list their characters are forced to do something be­ of credits. Adding props gives the game more cause a script says they do. You must make sure depth and realism, adding to the illusion that the that when you direct characters in a script, you Star Wars universe is real. Scripts are highly are loyal to the personality of the characters recommended and are relatively easy to make. involved. Other props, when used sparingly, often add just Scripts can also be used for “cut-away” en­ the right flavor to a scene. However, some counters — scenes that relay important informa­ gamemasters go overboard in the use of props — tion to the players, but don’t involve their charac­ try to provide just enough to add to the enjoy­ ters. If you find yourself sitting and mulling an ment of the game, but don’t use so many props encounter that the players are only minimally that the players are distracted from the game. involved with and you hear a script flowing casu­ The key to finding the appropriate props and ally through your head as you play out the scene, setting the right atm osphere is to be flexible and write it down! let your mind wander to all the trappings sur­ For example, the player characters are attend­ rounding a particular scene. ing a briefing on the goings-on on the planet Cities have traffic and people; jungles have Chateuse VII. There are a number of warring animals and exotic plants; ruins have dampness, factions and Princess Leia is leading a review of creepy things and strange noises. Identify these who the major factions are, who their leaders are traits and then finding the appropriate props is and what the New Republic’s current slant is on easy. Let your imagination be your guide. the situation. Pick out a few major gamemaster characters in the room (including Leia) and fully Scripts script out their lines in the briefing. Don’t forget Scripts are one of the basic props of Star Wars: to include stage direction since how a character The Roleplaying Game, Second Edition, and also moves and his or her reactions give insight into have the advantage of being easy to prepare. their attitudes and feelings. When the time comes for the scene, hand out the scripts to your play­ Scripts are normally used at the beginning of an adventure and present each character with ers and let them play the parts of the other members of the briefing — let them do some set lines. Through the information in the script, the players learn where they are, what they are roleplaying beyond their own characters. They’re supposed to be doing, and why their lives are in sure to enjoy the change of pace. danger again. Scripts are a great way of putting When you use a script, take the time to write it the characters in a difficult and exciting predica­ out, polish it and then make enough copies for

80 Gamemaster Handbook —STAHL Chapter Seven: Props "WART Paul Daly

each player so everyone can be involved. This is you might want to say, “Yesgar’s pirates have a lot easier if you have a home computer or a been spotted in the main spaceports of Durollia, word processor as well. Pegg and Hermos. Of particular interest is Merrk’s Weapons Shop on the concourse of Pegg’s main Handouts starport — several pirates have ventured into the store and never registered their purchases, if Handouts are other paper props that you can any, with the local government.” This kind of clue give to players. They can be used to provide definitely suggests that the characters investi­ information on a number of subjects, including gate the spaceport on Pegg, but it gives them overviews of planets the characters will visit, several options to look into rather than forcing criminal dossiers on villains they are sent to them along one path. apprehend, notes and computer data pirated While all of the following handouts could be from Imperial computers and mission profiles or made very appealing by using graphics and illus­ datafiles on locations they will visit. trations with a home computer, each of these can Gamemasters are often tempted to write all of also be executed with a typewriter or word pro­ their handouts for the beginning of the game as a cessing. For more suggestions on using your supplement to the beginning script. While this is computer, go to “The Computerized Game- useful, it is sometimes more effective to write up m aster.” handouts that will be used in the middle of a Here are several suggestions for subject mat­ gaming session — such as when the characters break into a computer. Rather than read aloud to ter for handouts: the players what the characters have found, the • Planets. When characters are sent to a world, gamemaster gives the players the handout of the players will probably want to know what what the characters recovered. their characters know about the world and what Gamemasters are encouraged to make hand­ they can call up on computer databases. Aside outs challenging. Rather than provide the play­ from listings'of basic planetary data, you can use ers with all of the answers to a particular chal­ scout reports (if the world is on the frontier), lenge, the gamemaster can provide several clues encyclopedia entries, excerpts from galactic in a handout and allow the players to choose travel guides, tourism datajournals, personal dia­ between which path they want to explore. For ries and other data-magazines (like Contempo­ example, rather than have a handout tell the rary Galactic Architecture) to give the characters characters, “Yesgar’s hideout is on Antared III,” a feel for this new world.

Gamemaster Handbook 81 Chapter Seven: Props JTAI

These entries can not only provide basic infor­ Maps mation, but might discuss past events, like When characters are involved in combat situ­ datajournal reports on a revolution that hap­ ations or want to get an understanding of a pened on a planet, biographies of new corporate location they are visiting, maps are a great alter­ officials, or anything else related to the plot, the native to having to verbally describe a location. location or individuals the characters are deal­ Small-scale maps are used in adventures to ing with. show specific locations, like the interior of a This type of handout could also be used for cantina or a warehouse. They are most useful for specific locations on a planet, such as a city or locations where the characters are going to get area (like a mountain range), a factory where into combat— by drawing all of the major terrain starships are built, a spaceport, a particularly pieces on the map (like boxes, computers, power infamous bar or any other noteworthy location. generators and the like), the characters can look • People. If the characters have been sent to cap­ at the map and take advantage of cover or try to ture a wanted criminal or a refugee hiding from the plot an escape route. For example, if the charac­ Empire or some other personality, what better way ters stumble into a room and the scene that is to give them information than to provide a per­ only described to the players, they might forget sonal dossier on the character? Aside from per­ about the back stairwell in the corner; with a sonal biographies, you could use excerpts from map, they are more likely to notice the stairwell. diaries, eyewitness accounts of incidents, a list of Small-scale maps usually are drawn to a de­ known and suspected criminal activities, and a list tailed scale, normally one inch equal to two of suggested contacts and locations where the m eters (this is the scale of Star Wars miniatures). character might be encountered. The gamemaster can also use hand-made or • Organizations. Characters might be sent to published counters for battles on small-scale maps investigate a company, a cult, a group of merce­ — counters are useful for representing characters naries, a crime gang or ring, a trade organization in combat (and it’s a lot easier than marking up a or any number of other groups. These handouts map that you spent hours working on), but can also could give information on the structure and ac­ be used to indicate other objects that might be tivities of the group, important personnel, his­ moved around during a combat. tory of the group or other information that the characters and players will find of interest. • Aliens. If the characters have been sent to Have Someone Else contact a relatively unknown or poorly under­ Do The Work ... stood species, they would probably find Why create all of your maps from scratch xenobiologist or scout reports handy. You might when you can save yourself a lot of time and also provide eyewitness accounts of previous effort by using maps from the real world? meetings, histories and myths, information on a A good source of terrain or topographi­ society’s structure and particular mannerisms cal maps is your local sporting goods store or abilities that the aliens possess. or the U.S. Geological Survey Office. These • Computer Piracy. If the characters manage to maps give you elevation details and physi­ force their way into a computer system, the cal features. If you need a canyon site on a information they retrieve would be more inter­ desert planet, use an actual section of the esting if it were presented in a handout that the Grand Canyon — your players will never players can read. This is especially useful if the know, but they’ll love the detail. If you want characters have to decipher an unusual code or to use a forest setting, get a map of a for­ follow a complex set of directions. ested area in the United States and then mark any adjustments you need on the • Ships. Players love to know what their ship map. looks like and how the interior of their vessel is You can also use state, city and national arranged. Use a handout similar to the deckplans road maps for your locations. They give of the Millennium Falcon in the Star Wars you realistic setups for locations and save a Sourcebook. lot of time. • Puzzles. If you want to present the players with Of course, you can also use maps from a new challenge, the handout could be a visual or other game products. From underground mental puzzle, such as figuring out a pattern in labyrinths to megacities, there are a variety certain crimes to predict where the next crime in of game maps that are readily adapted to the pattern might occur, or determining how to your own Star Wars adventures. break through a security system by falsifying a security code. ______

82 Gamemaster Handbook fAR. Chapter Seven: Props “WART I’nul Daly I’nul

You can also create maps at a larger scale Miniatures (such as one inch equal to 100 meters) for chases Miniatures are a tried and true gaming tradi­ involving speeder bikes or other vehicles. These tion. Any tactical situation can be better de­ kinds of maps give the players more options — picted with miniatures used to represent a maybe the players will want to try ducking down player’s character. Whether painted or unpainted, an alleyway instead of simply fighting it out. these carved pieces of lead or plastic can be a Large-scale maps usually aren’t necessary for helpful aid to any campaign. Of course, West End an adventure, but by being able to show the Games has a complete line of Star Wars minia­ characters a large-scale map of a world, a conti­ tures, and there are many other science fiction nent, or a city area with surrounding terrain, the and fantasy miniature lines that can easily be players get a sense that the place they are visiting converted to your Star Wars adventures. Painting is a location. real miniatures is a fun hobby and some truly amaz­ Maps can also give a great amount of informa­ ing results can be achieved with practice. There tion to the characters as far as layout of an area. are a wide variety of magazines and books that From neighborhood to terrain maps, trade routes illustrate painting techniques. can be seen, hiding places figured out, areas that Beyond miniatures, scenery can add a lot to are more defensible can be spotted and other representations of scenes. Anything from small important facts can be determined. boxes, to plastic model parts, to empty plastic Maps also list the names of cities, terrain bottles can be cut, glued and painted to make features and other factors. These kinds of details buildings, power generators or other Star Wars help make this new “temperate forest world" scenery. Use of posterboard and tape and a bit of different than every other “temperate forest artistic creativity can create buildings, barricades, world" the characters have visited in the past. or hedgerows. Maps of sectors of space can also be great fun. Plastic model kits are a great way to spice up By having a map of the planets of a sector, the a scene. Why describe an AT-AT walker chasing players can play “what world will we visit this the characters when you can put the plastic week?” The players can see trade routes, am­ model on the tabletop and show it looming over bush points along hyperspace routes, and areas the characters’ figures? where they are likely to cross customs inspec­ Gamemasters are encouraged to think about tors. The players will have a lot of fun looking at building dioramas for non-combat scenes as well. the mysterious locations on the maps and going Your players will be surprised and delighted if you to these worlds to explore them. present a detailed cantina complete with minia-

Gamemaster Handbook 83 Chapter Seven: Props JTAI

/ \ a variety of sources to pull from. With all of the Star Miniatures Battle: Endor Wars comics, Art of ... books, trading cards and illustrations in West End’s game products, you’ve The battle for the shield generator on the moon of Endor got countless new characters, locations and is a classic example of what could be easily achieved and starships at your finger tips. visualized with the help of miniatures. A simple pillbox Beyond official Star Wars materials, there are being assaulted in a dense forest takes on a greater depth a wide variety of science fiction and gaming and feel with the players suddenly given the ability to place magazines just teeming with pictures for you to their miniatures behind available cover. put to the proper use. With a little ingenuity, a First is the ground cover on Endor. This is easily solved razor knife or scissors and some tape or glue, you by use of “grass mat,” which is sold at most hobby and can create new scenes for your characters to model railroading stores. The grass mat is a piece of experience. backing (paper or other material) with the textured grass- Other sources include newspapers, television material glued to it. program guides, technical and scientific maga­ For trees, there are several options. The trees can be zines and can yield whole new visualizations and purchased outright from model or hobby stores, or an campaign ideas. A technical diagram of a new enterprising gamer can make the trees from twigs or wire. appliance, photocopied, touched up and rela­ Leaves can be simulated with lichen or even sponge. beled, easily passes for a cross section of a new Next, add the bunker. This could be made by buying a experimental ion engine power damper; a map plastic or resin building kit that approximates the shape, from this week’s news weeklies, with new tags, or the building could be carved from Styrofoam or made makes for a new spaceport in the heart of a out of cardboard. galactic metropolis. You could add a couple of AT-ST walker plastic model kits. For the speeder bikes, you could convert plastic or The Computerized lead models from other science fiction games or try to make your own. Gamemaster The final touch is the addition of the actual miniatures. With the advent of the home computer and the With a few Ewoks, stormtroopers and a squad of Rebel rise of multi-media techniques, a whole new tool guerillas, the players get a whole new dimension added to is now available for gaming. their gaming. Word processing programs give you a conve­ nient way to write and store your adventures, ______/ gamemaster character write-ups, planetary in­ formation and other pertinent data. Databases tures, furniture, painted walls and miniature speak­ allow you to organize your characters, planet ers running off a cassette player that plays the names and any other data that you may want to “Cantina Band” theme. These kinds of dioramas call up if you want to re-use it in an adventure or lead to fun nights of heavy duty roleplaying, where elaborate on it at a later time. the gamemaster characters inside the cantina are Graphics programs allow you to create maps more important than combat. of locations, technical diagrams of starships and Of course, building dioramas takes a lot longer vehicles, and with a little experimentation, you than simply writing adventures, but the resulting could make computer data-screens, or add graph­ prop is often worth the effort. If one of your ics or text on top of other illustrations that you players enjoys this kind of construction, these paste into your program. kinds of dioramas can be built by a him or her If you have access to a good quality printer, instead without giving away too much informa­ you should be able to create a wide range of tion about the adventure. Best of all, after the official looking letterheads and internal corre­ diorama is used, you’ve got a showpiece for your spondence. What better way to introduce some bookshelf or a prop that can be used over and new information or story lines than by showing over again with minor retouches. an intercepted communication between the Em­ peror and some other major villain? Illustrations Give the characters a variety of documents, all If you’re the artistic type, or capable with a supposedly from different sources (conferences, photocopier and scissors, illustrations can give intercepted transmissions, pirated computer data more detail to any location, person, ship, alien and other media), and let them put the pieces species or whatever concept you may need to together for their own solution. The information illustrate. The old aphorism “a picture is worth a may all be there, but not simply laid out in an thousand words” works especially well in gaming. easily digestible format. Make them read the If you can draw, creating what you need is easy. information and do a little research. For those of you without the artistic gift, there are With a hand scanner, you can convert real

84 Gamemaster Handbook —STAR. Chapter Seven: Props —WARS

maps to Star Wars maps by simply changing instrumental pieces, including an album of their some names and geographic features. With hand collected instrumental pieces. There are also a scanners, you can also scan in illustrations from number of “New Age” artists that produce a good comics, game products and other sources, and variety of mood-evoking pieces. Keep your ears then by bringing them into your graphics pro­ open and note down those pieces that interest grams, you can alter the images to your heart’s you and might seem appropriate to gaming. content to create something entirely new for Rather than spending a lot of money on this your players. music, a great place to find and sample new Beyond what you can print out, your personal music is your local library. Take the time to check computer can help you provide with the visuals the record catalogs for titles that might be listed to set a mood. While good quality color printers under “Space” and “Soundtracks.” These usually are probably beyond most gaming budgets, qual­ have a better selection of music with the appro­ ity color monitors aren’t. Again, by using a scan­ priate atmosphere. Don’t be afraid to browse the ner, or by downloading color images from public classical section for likely musical candidates bulletin boards, you can call up images during the game that present whole new worlds and VCRs And The Movies aliens for your players to see in living color. The most obvious way to get a true feel for Star There is a large library of public domain display Wars is to watch the movies. The characters, the files with pictures of space scenes, fantastic new frontier of space, the heart stopping sense of ad­ worlds and creatures, specially designed robots venture and danger, the fantastic images and aliens, and cyber systems and Just about any strange the battle of good versus evil— it’s all there for you idea or concept you’re looking for. and your players to experience and absorb. If you have a modem, check your local bulletin The movies also work in bits and pieces. If boards or some of the major on-line services for you’re going to play a space battle during a gaming what they have along these lines. A warning session, take the time to cue up one of the movies though — some of these on-line services will to a space battle and allow your players a few charge you for connect time and downloading. minutes to absorb the feel of the action and then Check out these details in advance. get right into the gaming. There are also a number of other videos avail­ Music able that give a good feel for what it’s like in Playing music on your stereo while gaming space. From science fiction movies to space docu­ helps lend atmosphere to your adventures. We mentaries, any number of these can show your all know the familiar theme of Star Wars and all players entertaining visual images and help set a the other accompanying themes from the mov­ mood for an encounter or adventure. Head to the ies. Every major idea or character had its own local video store and you’re sure to find some­ signature music — and you know your players thing that will match the tone you want. will react if you play Darth Vader’s march during Don’t overlook the current crop of computer an adventure. animation videos available. There are a lot of Music can play a big role in developing the beautiful and intriguing space scenes in these atmosphere and feel for a situation. There is videos. NASA and the Jet Propulsion Laboratory music out there for almost any mood. The most (JPL) have created a number of computer simu­ obvious place to start are the soundtracks for all lations of space flight and many of these have three of the movies since they are familiar to your made it to videotape. Another good source of players. video footage is documentaries and news re­ Soundtracks from other science fiction, fantasy, ports — keep an eye out for those specials that horror and action-adventure movies and televi­ could lend good footage to your campaign. sion shows can help set the mood for a night’s Another tool you can use is your home video gaming. There is a wealth of classical music to call camera. Creating a small set in your home is an­ on, with a variety of themes from joyous to malevo­ other simple trick to using video in your campaign. lent. Some notables are Holst’s “The Planets,” a A simple black background, with painted stars or beautiful musical exploration of our solar system merely a curtain, can provide a backdrop for a and rife with themes both menacing and haunting simple set. What better way to dramatize an inter­ or Richard Strauss’s “Also Sprach (or Thus Spake’) cepted video'communication — and the beauty is Zarathustra” (the familiar sunrise theme from “2001: you can cut the transmission off whenever you see A Space Odyssey”). fit. Also, you could use the camera as both a Another place to look for good mood music is surveillance camera or spy satellite, setting it up to today’s modern music. There are a variety of record either a group of friends acting out a scene instrumental artists that can set any number of or taking an overhead shot of miniatures set up to moods. The Alan Parsons Project did a number of represent military deployments.

Gamemaster Handbook 85 JFTAI WAR Gamemaster Handbook Other Props Walkie-talkies are more than childhood toys Thetelephone also works thisin regard. Having There are numerous other props available, Up the tem perature a few notches, throw in Another overlooked mood creator is lighting effects from the movies,machine youto replay can themprogram on command, right your softwareorwith the you mayentirely be able to new alter effects. them for friend onthe other end sages, to broadcast orto act out codedthe orrole to mes­be aof menacingsurroundeda villain taunting ally, the heroes as could also use the radios to conversebats with and“dis­ rumors from other sectors. — they can be used as a gaming prop. Set up a theirship is strafed byFighters.TIE The players a friend call at a designated time during endsyourabruptly, withsaywhoblasterknows well fire, gamingsession and working fromscript a can addalso to the feelingdistance.of this If conversation tant allies” and learn the results of current com­ including toy equivalents of equipmentblaster seenin their in hand? Orperhaps alightsaber? A what the situation holds for the players ... themovie. Who wouldn’t enjoy having their own quicktrip to the toyof store models canand yield props. any number There are all sorts addof alien to your play. latedbyusing candlelight instead ing. normalofTurn light­ down the thermostat a few degrees, some animal sound effects and a few plants and bushes.There are several video tapes on hosting ships, model kits and otheraccessories that can andtemperature. darkened A temple cansimu­ be turnthe off lights, add candlesfewa and youinstant have creepy ruins. a haunted house;scribed thesein many tapes of applications havethemood setting techniques asgaming well. de­ you have a ready madewith jungle that setting, large completehulking beast hiding behind the Communications Media Here’s where you can get into some unusual Cassetterecorders could also beused to keep With the aid of a friend or two, a script could Also, the tape recorder could be used as a Props props to add to your adventures. butSome you of if these can get your players to go along, they personal log stolen from a majorvillain, contain be recorded on atape ata later recordergaming session and played to simulate back a conversa­ suggestions might seem a little unusualcan addat first,to your gaming experience. personal notes oncompatriots a Rebel soldier’s (oneviews of of themhis being a possible trai­ tor) orany numberaof thingsof that charactera tion overheard by the player characters. would have occasion to record. a library of themes. soundcourse, Of computers effectshere still come—you if ashandyin can wellrecord as and digitize musical the sound hapter Seven: C Paul Daly 86 —STAR Chapter Eight: Improvisation “ HAfARX

Chapter Eight Improvisation

As a gamemaster, only you have the full knowl­ Try not to let this downtime last more than a half edge on the intended direction of an adventure or hour as you are likely to lose your players’ atten­ campaign. The goals and steps needed to get to the tion to the television, books or other distractions. conclusion are already predetermined and your While you’re figuring out how to get the adven­ task is to get the players to that ultimate destina­ ture moving again, the players can be running out tion. But, players will be players ... to get food, looking up some game information they Sometimes (almost always?) your players will were curious about, or find some other activity to find a way to alter the steps and perhaps even the entertain them for a short while. final goal of the adventure. At these times, when The adventure Steve is currently running calls your players have shown a bit more ingenuity than for the characters to crash on a planet after their you expected, you have to fall back on that old ship has been damaged in a run-in with Imperial gamemaster tradition of improvisation. forces. They are then supposed to make their way While the very word improvisation would sug­ to the nearest spaceport on the planet and make gest that the activity is completely spontaneous contact with a Rebel sympathizer who can get them and unrehearsed, there are many techniques you passage off-planet. The conclusion of the adven­ can use to prepare yourself for the process of ture will be run at the next game session, but it having to improvise an adventure situation. involves having the characters get involved with a When the players do something unexpected, stowaway on the transport they take. jumping in headlong and simply reacting to the The action follows the plot up to the point where players’ actions can lead to some disastrous re­ the ship crashes, but then the players throw Steve sults. Careful thought and planning are what it a curve. Instead of leaving their ship behind, they takes to get an adventure back on course and decide to try to go into town and search out spare flowing smoothly. First though, let’s take a look at parts to repair the ship and then go off on their own. what to do when the plot goes astray. This isn’t that much a change for tonight’s adven­ ture, but it completely destroys the stowaway ad­ Immediate Reaction venture. Also, Steve didn’t write out any encounters If your players have taken an unexpected jump revolving around getting parts for their ship, so he from the planned route of an adventure, your first doesn’t have any suitable locations or personali­ reaction is to steer them directly back to the plot ties for this situation. line. Do not fall prey to the old tenet that the plot as Not quite prepared for this, Steve realizes that he written is absolute! needs a little time to regroup and calls a time-out, Roleplaying is a mutual give-and-take between telling his players that he wasn’t really ready for the players and the gamemaster, and putting up this and needs a few minutes to sort things out. roadblocks in your players way or leading them by the nose back to where they “should be” leads to Regrouping player dissatisfaction. Once you have some time to gather your If some new encounters immediately spring to thoughts and get back to work, what are the next mind that will eventually lead things back toward steps to getting the players back on course? The the original plot, run with them. Make up the details first priority is dealing with whatever actions the as you go along, but write them all down so that you characters want to carry out next. It may be can make sure you are being consistent. necessary to spontaneously generate a few lo­ If the players have really thrown you for a loop, cales and gamemaster characters to flesh out the your best bet is to ask the players if you can take a new scenario. ten or fifteen minute break to think things through.

Gamemaster Handbook 87 Chapter Eight: Improvisation JTAI

In this kind of situation, you’re advised to go contact to a new location. This contact ap­ for stereotypes or cardboard cut-out characters proaches them, advising them of the danger they that are easy to conceptualize and describe. are in and will suggest a safe way for them to get Don’t worry about making this new situation the off the planet. It is a very simple way of slightly best scenario you’ve ever run; instead, try to changing the story and takes minimal effort. make it interesting enough to hold your players’ Steve decides to retrofit the story. Instead of attention and get them to the plot point they meeting their contact in the city, Steve will throw in need to reach. an encounter where the characters overhear that Hopefully, the players haven’t taken a course the Empire is conducting a detailed search for the so wild that a major rethinking of the plot is characters and their ship. They’re scouring the needed. More than likely this won’t be the case, surrounding countryside looking for the wreckage, as the players should have a feel for what the and the bounty for their capture is handsome major goals of an adventure are before they are enough to get everyone looking for them. too far into it. Now, the characters can still visit a spaceship The first step is to take a look at the whole salvage yard or starship parts store. Along the way, overview of the adventure and see how far the they’ll have narrow misses with Imperial search characters have strayed. Every scenario, no patrols and realize that there are a lot of troops in matter how well written, has points where the the city. Whatever establishment they visit for the story can diverge and this is exactly what your parts, a kindly clerk (or even the store owner) will players have done. They have found one of these pull one of the characters over and advise them divergent points and decided to take a route not that they should keep a lower profile since they accounted for. stand out. He will offer to help get them transport off This does not make their new direction im­ the planet for a small fee — a little more than their plausible, just unexpected. You have three op­ parts would have cost, but much safer than risking tions: going back to their ship. • Retrofitting • Branching Branching • Winging It This method is called “branching” because it is a lot more convoluted than retrofitting. No Retrofitting m atter how many smaller branches there are on Direct retrofitting is the process of changing a tree, and no matter the twists and turns on an “old” plot to fit a “new” situation. It involves these “branches,” they all lead back to the “trunk” changing the plot the least amount possible while or the core of the story. Likewise, the players will still getting the players back into the story. in time get back to the story. Most of the time, adventures revolve around a Branching takes a little more effort but has the “who” or a “what,” as opposed to a “where.” If the advantage that it is a less heavy-handed ap­ plot you’ve written calls for the characters to go proach to dealing with these situations. to Cloud City and the players decide that they Take the players’ new idea and develop it as want to tromp off to the Isen Asteroid Belt, they’re much as possible. How many different events can going to go there. However, ask yourself if you happen as a result of their actions and how can can retrofit the “who” or the “what” of the adven­ these results lead back to the plot? ture to that new location. The players have come up with a new plan, Can the major villain have gone there? Can you and if it’s reasonable, it should have an opportu­ have the characters come across that vital infor­ nity to succeed. Take whatever locale the players mation in the new setting? have decided to visit and visualize it in your mind Can you create one or two new encounters in and jot down a few notes. Make sure to note the this new location that gives the characters infor­ general condition of the location: the sights, the mation leading them to the location they were sounds, the people in the area. Is it clean or supposed to visit in the first place — if they dingy? Noisy or quiet? What stands out as your uncover a fraction of that information and learn mind’s eye looks around the place? The furnish­ that they have to go to Cloud City for the rest of ings, the smells, the lighting, noteworthy equip­ the data, the players have been directed to where ment and props all add to the overall feel of a you need them to go. Can you have them meet a specific location. Take the time to sketch out a few traders who give them information that leads general layout of the area if necessary and keep them to Cloud City, maybe on a completely unre­ it handy. lated matter, and then once they go there, have The next step is to take some of the characters them bounce right back into the thick of the visualized in the scene and give them depth and story? personality. If appropriate, use a character tem­ The following retrofit moves the characters’ plate for each of the notable characters and make

88 Gamemaster Handbook 'AR. Chapter Eight: Improvisation “WART

some quick notations as to species, skills, gen­ eral outlook, behavior and quirks. Normally, you will only need one or two “personalities” for such an encounter, and the rest of the people in the scene can be background scenery and unimpor­ tant to the action of the story. If a template doesn’t fit your conception, make a quick list of notable skills and attributes that fit the character’s general conception. Make sure you give every necessary character a name. It is one of the easiest things to overlook, but can also be one of the most difficult things to come up with on the spur of the moment. After the gaming session is over, take the time to further flesh out the characters if the player characters are going to have continuing contact with them in the future. Other things to note are roleplaying notes for the character like accents, physical features, habits, behavior, props and equipment. Easily created on the spot, all of these are easily forgettable after the session is over. With this technique, the gamemaster gives the players an interesting new encounter or story, but they still get back to the plot. Steve has decided to use the branching tech­ nique for this situation. Currently, the characters aren’t the richest folks in the galaxy so he decides to give them a couple of options when it comes to buying parts. The first option is to buy new parts for their ship right at the spaceport. This has an added amount of danger in that the Empire, knowing that the charac­ ters ’ship was damaged in the chase, will more than likely be watching these areas. Another option is for them to steal the parts from some remote dock area in the spaceport. Highly

illegal and highly dangerous, but an option none­ Mike Jackson theless. Steve gives some thought to how they might go about stealing the parts, but he doesn’t want to design a whole starport. He decides that there and it seems that he has scoured every part of this should be a computerized control center where the yard at one time or another, as he is covered with characters would be able to find out about ships in greasy lubricants. He has good Mechanical, Tech­ port. He also decides to make it plainly clear nical and Knowledge attributes (3D each) and through rumors in town that security is very tight at Steve gives him 5D each in bargain, con, search the starport and people think Rebels might be and streetwise. He tends to be a bit talkative at involved. That should deter the characters, but if it times and can detail where every part in his yard doesn ’t, he can probably map out a setting quickly. came from. The best option, and the one Steve has decided Having been squeezed a little by new Imperial to devote his energies to, is that of a salvage yard tariffs on ship parts, he is not too fond of the Empire, located in the seedier area of the spaceport. The but he isn 7 alienated enough to make him a true area is filled with rusting old bulkheads and parts supporter of the Rebellion. Of course, times being and seems to have one (and probably only one) of what they are, if he can find the Rebel spies and everything you could need to repair a ship. The turn them in, he might be able to make a few credits condition of these parts could also be a little on the side. He decides that if anybody unfamiliar suspect and Steve notes this as a possible future comes in, he’ll bait them by talking about how plot complication. awful the Empire is. The owner of this yard is gruff but likeable Alter the characters leave, Nomas notifies the Human by the name of Nomas. He is in his late 50’s authorities of the characters’ visit. The characters

Gamemaster Handbook 89 Chapter Eight: improvisation JTAI

return to the crash site just in time to see several He comes up with Nomas’salvage yard and figures groups of stormtroopers show up to investigate the he ’ll let the characters get their ship repaired and crash site. The numbers now against them, the off-planet without undue hassle. characters will probably decide that leaving their However, just getting back to the ship in one ship behind might not be such a bad idea. Steve piece could be an adventure in itself. Perhaps hopes they’ll try to find their contact for that trans­ they’ll run across a couple of beginning bounty port. hunters, or a stranded protocol droid and his com­ panion astromech, or maybe they’ll encounter a so Winging It far unknown sapient species, or maybe they’ll This can be the hardest option, but sometimes come across some people who desperately want to it turns out to be the most entertaining. Rather get off the planet and are willing to pay a lot for that than trying to get the characters back on the plot, privilege. Of course, when the characters find out an idea will jump up in front of you and demand that these refugees are hunted by the company they to take precedence. Go for it. used to work for, and the company sends a squad­ Take the opportunity to make this new story ron after their newly repaired ship, they'll realize fit properly into the campaign. Since the players that they’ll be earning their money ... won’t know the particulars of an adventure, they’ll never know that you changed things in mid­ Continuing The stream. Improvised Story Line This gives you the freedom to take new sug­ In the previous examples, the players’ new idea gestions from both yourself and the players and leads to a variety of possible resolutions and plot expand on these ideas. This can lead to all kinds lines. All of these options do not necessarily breed of complications if not thoroughly planned out, success, though some may be more attractive than but sometimes the new story is so entertaining others. The players’ success depends on their and exciting that it is worth the added strain and planning and the risks they are willing to take. pressure of making up the new story. Suppose the players’ had decided to try and It helps to go through your collection of old steal the parts from another ship. This also could gamemaster characters and pick one especially lead to a variety of possible outcomes, including suited for the adventure. You might also want to capture by the local authorities and perhaps from use a familiar plot from an earlier adventure and there being turned over to the Imperial forces that update it to the new setting, maybe even making were chasing them at the start of the adventure. the new adventure a sequel to what happened in This should all point out that every plot line is the original adventure. fluid and that no one course of action is the correct This type of approach relies on the fluidity of one. A gamemaster should never flatly reject an roleplaying and that flexibility is a key ingredient idea from the players. If the idea is extremely in any game. Let’s jump back and take a look at unlikely to result in success, give the players the another possibility for Nomas and his salvage possible outcomes up front. Be honest with them yard. as to the situation they face, and be sure to remind We rewind the encounter between Nomas and them of any pieces of information they may be the characters back to the point where the players overlooking. This may get them back on track a mention their crash and the pursuit given by the little quicker than having to improvise a whole Empire. The gamemaster has decided that Nomas series of new encounters. could be a good source of repair parts for the When dealing with actions that are difficult and Rebellion and decides to introduce the idea to the not likely to occur, give the players a realistic characters through Nomas. chance to actually succeed. Let your player play After Nomas asks what kind of ship they charac­ out their plans and let your improvisational skills ters were flying, he suddenly waxes nostalgic about fill the holes. how he flew something similar a number of years As a gamemaster, you should be prepared to back. The Empire eventually took the ship from take any plot and, if necessary, radically modify him for some trumped-up reason and he has re­ it or discard it almost entirely for the sake of a sented that, and the new tariffs, all along. Now good adventure. Sometimes it’s easier to create Nomas has a chance to get his revenge by settingup a whole new story rather than to try to make a a supply line for repair parts to the Rebellion. story fit the actions of the characters — and if the For now this is a minor plot point, but it is one the characters haven’t gotten too far into the adven­ characters could explore now or in later gaming ture, you could change a few facts and spring the sessions once the heat has died down. original adventure on them at some later date. As is the case with all roleplaying, the story Or another variation: and the action should flow smoothly and contrib­ Steve decides to give the characters’ their way. ute to a good adventure. The players shouldn’t

90 Gamemaster Handbook __ STAR. iChapter^Ei^htMmprovisatio^ “WART

feel herded into a set number of actions. They age the characters to do what is expected of them? should feel that they are free to make the deci­ As always, take notes of where you find these sions they feel are best and are in keeping with and detail the possible changes at each of these their characters, and that the gamemaster points. This gives you a good basis on what types handles every situation fairly. Of course, the of encounters you may have to come up with gamemaster is under no obligation to make the during the course of running the adventure. scenario easy on the players. If the players de­ Having identified the possible trouble spots, cide to follow a path which is clearly very danger­ consider as to whether your players would actu­ ous ... well, they were warned. ally take advantage of these jumping off points. Take a look at the movie The Empire Strikes Knowing how your players will react to a situa­ Back. By the end of the movie, Han Solo is put in tion can give you clues as to when and where it suspended animation and sent off to Jabba the will become necessary to improvise and fill in the Hutt; Luke loses his hand and discovers that holes. Once you have made your best determina­ Darth Vader is his father; and the Rebellion is tion as to where your players would deviate from firmly defeated at Hoth, and overall seems to the given plot, look at all the alternatives for that have lost some of its effectiveness in fighting the situation. Choose one or two of the alternatives Empire. that seem most likely and create these as pos­ As in all great heroic fiction, adversity leads to sible encounters if the need arises. greater success. With Return of the Jedi, all of As with improvising on the spot, the same these setbacks lead to greater victory and under­ guidelines apply in the creation of the encounter. standing. The heroes rescue Han, rid themselves Fully detail the aspects of the encounter that you forever of Jabba the Hutt, destroy a new Death are going to need, such as gamemaster charac­ Star, help return Darth Vader to the Light Side of ters, the general area of the setting and all the the Force, and then kill off the Emperor. An noticeable details about the locale and the people adventure where the characters face fierce chal­ around it. It is always better to have a little too lenges should lead to an exciting finale where much detail than not enough, as you can choose there is the possibility of a heroic conclusion. to leave things out much easier than you can create information on the fly. Prepared Improvisation Another advantage you have with preparing Your players, as they adventure and gain Char­ ahead of time is you can also deal with player acter Points and experience, will have the oppor­ variations from the plot by putting up a series of tunity to try things that are more and more out of little roadblocks. These deterrents need not be the realm of the realistic. This is especially true heavy-handed in their execution since they can of those characters who have training in Force be subtly foreshadowed throughout the early skills. You must learn how to deal with these stages of an adventure. situations. Steve wants to make sure that the characters try Though seemingly a contradiction in terms, to get on a certain cruise liner when they reach a prepared improvisation is one of the most useful certain world. Steve can drop several hints in the tools a gamemaster has at his command. A little early episodes to lead into the plot hook he wants preparation can head off a lot of scrambling the characters to follow. For example: around and on-the-spot creation of scenarios • It’s a busy tourist season on the world so most and characters. ships are booked solid. Whenever you get ready to run an adventure, whether you bought it or wrote it yourself, take • Because of the amount of traffic this time of year, the time beforehand to give the adventure a most private ships, especially small freighters, can thorough read. Become totally familiar with all be stuck waiting for landing clearance for days, and the elements of the adventure: the locales, the that’s with a large bribe. Some poor ships, if the gamemaster characters, the overall plot and all captains are patient enough to wait that long, are the scenes that make up the total adventure. left in orbit for weeks. Once you are familiar with the adventure it be­ • Once the characters are on the planet, they will comes much easier to roll with any player changes constantly have to deal with crowds of tourists and identify where these changes might occur. coming and going. They’ll hear lots of people To find the possible divergent points of the complaining that they were left off from their voy­ adventure, sit down and scrutinize where you, as a ages because of over-booking. player, might take actions that change the adven­ • If the characters ask around, they’ll find out that ture. Are the characters expected to do the logical there’s only one ship has a few berths left and is thing? What encounters can you throw in to get leaving before the characters have to leave that them back on to the story, or how can you encour­ world.

Gamemaster Handbook 91 Chapter Eight: Improvisation D avid Plunkett avid o rsi Gamemaster Handbook __ STAR. Chapter Eight: Improvisation "WART

In this situation, giving the characters only yards, ship repair docks, governmental offices one option for leaving the world is justified in the and local law enforcement offices. Take the time context of the story. to detail these and several others ahead of time and prevent a lot of headaches when it comes to Pregenerated Gamemaster having to generate a new encounter from scratch. Characters The easiest way to get a feel for one of these One of the main facets of prepared improvisa­ establishments is to actually visit its modern day tion is to have a cast of characters ready for any counterpart and take notice of what goes on occasion. Players will constantly want to get around that area. For example, a spaceport could involved with characters placed only in a locale easily be created after a trip to a harbor or airport for the purpose of window dressing. However, and observing the general goings-on. You could the players do not know ahead of time that these probably come up with a novel Ithorian herd ship characters are unimportant to the adventure. after spending some time at a trendy shopping As a player, it’s easy to assume that any char­ complex (“trendy” because only the wealthy can acter the gamemaster describes is fair game as afford to visit an Ithorian herd ship). far as plot threads go. With prior preparation, Be sure to take note of the general condition of any character can be instantly given life and the area. If it’s busy, are there maintenance crews relevance. working? Do they work all day or just part of the Take the time between sessions just to create day? How diligent is the security? Are the people background characters that can be set to fill a relaxed or is there a hurried feeling to their variety of situations. Create a number of these activities? Take special note of those people of characters using the standard-quick write-up importance in the area and those that would formats presented in Chapter Four, “Gamemaster make good gamemaster characters. Every locale Characters.” Add a few notes and keep these has its own style and progression of hierarchy. characters on-hand to slip into an encounter Who are the important people and who do they when the time is right. report to? Rather than having to create characters from out of thin air, you can concentrate on getting the Subplots story back on track while having fun playing a Subplots are story threads that keep on show­ character you already have a thorough under­ ing up in adventure after adventure. They nor­ standing of. mally start as a small part of one adventure, and When you do use such a character, keep a note then are reintroduced in later adventures, al­ of this, and mark down any history, personal ways providing a little more information than behaviors or other pertinent data that can be before. used when you play the character in future en­ When you find yourself improvising an adven­ counters. Players will remember familiar charac­ ture or encounter, you may want to drop one of ters and will look for them when they return to a your continuing subplots into the story or create given locale. a new one on the spot. You might also want to create multiple ver­ Subplots are reasonably easy to introduce sions of the same “type” of character. We know through the use of gamemaster characters gen­ that there are thousands of smugglers in the erated to fill these improvised scenarios. Since galaxy, so rather than putting all of your time into every person has there own specific contacts creating one really detailed smuggler, come up and problems, certain subplots could be tagged with five or six unique smugglers that you can onto these characters. One possible way to keep use for different situations and encounters. subplots available is to note with every Pregenerated Encounters pregenerated character or encounter the pos­ sible subplots tied to this character. Another facet of prepared improvisation is Another way is while reading and becoming that every planet will have a certain number of familiar with an adventure, log the possible places shops, businesses and other establishments that to add new plot lines, very much like identifying are common to every other world in the galaxy. the areas for possible player variance from the These businesses will not vary too much from plot. place to place, and therefore can be written up Subplots are what carry a continuing story well in advance of the time they may be needed from adventure to adventure — they are the little to fill out an adventure. segue needed to move the players from one The people who populate an encounter are as adventure to another. Any information the char­ important as the encounter locale itself. Some acter gleans in an adventure from a character is ideas as to possible encounter locations are fair game for another adventure. cantinas and bars, droid repair shops, salvage As gamemaster, if you feel that a certain sub-

Gamemaster Handbook 93 JTAI WAR Gamemaster Handbook Starting From Scratch 1) 1) Workwithyour players towards developing The best way to learn how to improvise is to At this point, try to come up with a basic plot These ad-lib scenarios tend to result in the Startby giving the players asituation forthem practice at it. At some time, you mightthat wantyou want to to run ascenario with no prepara­ exceptionallywell). suggestnighta“impromptu of gaming.”themTell tion — just bring dice, and you’ll make itpart up as of the campaign (unless, of course, it goes line or have one the players suggest a story. Perhaps it will behyperdrive something is asbusted simple as... “theagain.” Try to devise a you go along. Make it clear that this will not be scenario on the andfly, the solicit playerssuggestions about from what they’d like to see. most memorable sessionsgamemasters, for as both everybody’sflowing players freely. creative andjuices are to dealwith. Givethem an openingthemreactscene however and letthey wantthey to.say,If “We scenealib where they spread the wordcantinas inor where they go to a companythat can contact aworkable, cohesiveof story them thanline. There you and areon therefore more their side a lot moreof theoffer ideas andtable. consider Take everything it carefully. they wantto hire mercenaries to protect us” then ad­ themercenaries. The storychallenge thewith here players isto buildinstead a their tryingof actions.tocontrol

until they hear —

When Steve has to ad-lib a scene in a cantina, scenehe a a in Stevead-lib hasWhen to The finalThe resolution thesubplotof whenis Zenn Steve wants to eventually have the characters In In some early adventures, the characters will In a adventure,later the characters learn thata

plot fitswell as an addition into anadventure, or in in action as he apprehended a Zenntarget. may run run up against an infamous bounty hunter by the come across gamemaster survivedbarely characters encounters Zenn, with saw who orhim have hear about him from other gamemasterhimotheraboutfromhear characters. name ofZenn. The best way to make the bounty you notice a good theopportunity spot, take to the create time andone doon so. in the will way He whenin Zenn target. was chasinga havejust visited a world before they did, and the hunter “infamous” to the playershavingthebytothem is hunter “infamous” naries havedidn’t a chance against” him. bounty has been placed on their heads.players placedhasbeenbountytheiron The repeathisstoryofmisery and woe while the other spacertalk is all aboutgrouphow of merce­ “that may not think too much ofthis that Zennthat is on theirtrail. adds a partaddsabouta acharacter who happened to be confrontsthem.Since they’vemuchsoheard about him, Zennintimidating a truly is characterand the spacers start relating their horror stories about confrontation that muchis more dramatic. Here, a subplothas been usedmost effectively. plotdevelopments. Zenn. This is a great ad-lib andforeshadows Zenn.greatad-lib a future Thisis Paul Daly jDte^EightMmgro^ Cha 94 __ STAR. ChapterEic^h^ —WARS'

2) Don’t be afraid to take your time and delib­ find out what your players liked can shed light on erate over important decisions. Snap judgements what things you are doing right and wrong as a can come back to haunt you. If a new weakness gamemaster and also gives you clues on how to has been discovered in a certain type of space­ better handle unforeseen situations in the future. ship, expect the players to exploit that weakness This kind of technique may seem difficult at every time they see it. first, but it will help you to perfect your ability to 3) Take notes during and after the game ses­ improvise during “normal” gaming. sion. Have everyone make comments about what they did and didn’t like. Have them suggest alter­ A Final Note On Improvising native ways of dealing with situations. Improvisation is a technique that takes work, After the game, think about the plot and try to but the rewards are worth it. There are a lot of come up with better ways of handling the situa­ subtle skills that go into becoming proficient at tion. As a whole, free-style improvisation can add “winging it.” The most important aspects are life to a campaign that is going flat and in need of listening to your players and being creative with­ some inspiration. out going outside the bounds of plausibility. Allowingyour players to help in the creation of If you can take the time to discover what your new adventures can re-energize your players’ players’ motives are in a situation and play off interest and add to the liveliness of their them within the scope of the possible results, roleplaying. After completing an adventure, take you’ll find that improvisation can and will work the time to see what situations your players liked consistently. and disliked and what possible plot threads they If you can create scenes that will fit in an would like to follow up. adventure and a setting, and the players feel like It can be quite surprising how many minor you are making an honest effort to play these new gamemaster characters introduced through im­ scenes fairly, everyone’s enjoyment will be provisation can become player favorites. Taking greater. the time to discuss the adventure as a whole and

Gamemaster Handbook 95 Chapter Nine: Cam paigns -STAR- WARI—

Chapter Nine Campaigns

So your group of players had their firstStar Wars common set of characters, possibly common vil­ adventure, and everyone enjoyed themselves. In lains, and often the characters have a base of fact, the group decided that they wanted to play operations and a small number of gamemaster the same characters again next time you all got characters who serve as an extended family. together and start up right where you left off. Beyond that, each adventure is fairly indepen­ Congratulations: a campaign is born! The easiest dent and can vary immensely in style and tone. definition of a campaign is: While there may be some continuing subplots, like A series of linked, consistent adventures played by a burgeoning romance or a continuing villain, most a group of recurring player characters. As play contin­ of the time a new player will be able to come into ues, the player characters affect their environment, the campaign without being at a real disadvantage. and have their personalities developed in the pro­ Each adventure stands alone. cess. Each adventure becomes a part of the overall, This type of campaign is best for the group that continuing story. meets infrequently or is likely to have players joining and leaving on a regular basis. Campaigns can be planned or spontaneous (as in, everyone really has a good time the first time Series: Series campaigns are more like continuing they play Star Wars and decide to keep on playing), comic book series. The adventures can vary in but the process of devising a successf ul continuing style and tone dramatically. Most series campaigns story is the same. have a number of long-term stories, with a couple of episodic “interludes” to allow the player charac­ ters to rest, while foreshadowing the next major The Starting Point story. They are linked by continuing subplots. Whether the campaign is planned or “just hap­ Series campaigns are a good middle ground pens,” the first factor is how the characters got between episodic campaigns and epic campaigns: together in the first place. Often, a first adventure they give the gamemaster the latitude to do what­ will establish the characters, possibly give them a ever he feels is most interesting without requiring ship, and possibly establish them with the Rebel the intricate plotting of epic campaigns. Alliance. Epic: Epic campaigns are the most structured However, if a campaign is going to be estab­ campaigns. Each individual night’s gaming is but lished, the gamemaster should make sure that the one chapter in a long, detailed continuing saga. The players are happy with the situation. They shouldn’t best example of an epic campaign is the Star Wars be forced to play Rebel Alliance operatives if they trilogy. In these types of campaigns, plot threads really want to be smugglers. Therefore, the run through every adventure, such as when Han gamemaster should have a quick discussion with Solo mentions Jabba the Hutt in Star Wars: A New the players about whether or not they want any Hope. Solo’s debt to Jabba becomes a major plot substantial changes to the setting or tone of the point in The Empire Strikes Back and Solo is finally adventures before the true campaign gets going. turned over to Jabba in Return of the Jedi. Epic campaigns are suggested for serious groups Types Of Campaigns that play on a frequent basis and are very involved When establishing a campaign, the gamemaster with their characters. They require intense plot­ has several types of formats to select from: ting, with the gamemaster carefully orchestrating Episode: Episodic campaigns closely resemble the overall story — planning the “fate” of the television shows. The adventures are linked by a characters as it were.

96 Gamemaster Handbook __ STAR. ChapterNine^Cam^aigns "WART

The Campaign s Goal adventures with unique “feels.” Most campaigns have some sort of goal: most of Most campaigns will have a consistent theme the time, it is simply to keep on playing until or tone to them. The gamemaster and players everyone gets bored and wants to move on to together must decide what is most desirable for something else. However, if the gamemaster estab­ the campaign. Will the characters be working lishes clear cut goals, this gives the gamemaster an directly for the Rebellion/New Republic, doing opportunity to structure a campaign and new sto­ amazingly heroic and noble things in the name of ries so that the tone and story change direction freedom? Or will they instead be free agents, before the players get bored. reacting to events in the war and sometimes An important consideration in setting a goal are getting dragged into incidents, but mostly focus­ the desires of the players and characters. If the ing their attention on staying alive and making a players want to be smugglers and con men, it is a profit? Will the tone be action and adventure, or good idea to suggest a tangible goal, such as being will it be dark, gritty and dangerous? able to get enough money to buy their own ship. You might even want to impose a goal on them — / ------\ if they want to be smugglers, you might want to A Base Of Operations assign a debt, like Han’s to Jabba, so the characters Most players will want to have a set base of operations for are motivated to resolve a continuing problem. their characters. The base is a place for the characters to Of course, a goal that goes unfulfilled for too relax and get a break from the struggles of life. However, long is frustrating. In time, the characters should while a base of operations should offer a semblance of be able to fulfill that goal, whether it is to pay off security, it should also be filled with potential for adventure. their ship or topple a particularly troublesome A base where the characters never get dragged into an Moff. When a goal is finished, the characters (and adventure allows the characters to escape too easily. players) should have a little time to relax, and Starships, Rebel bases, specific starports and planets, or then you might present them with a new goal or even the homes or property of friends of the characters serve allow the players to choose their own. For ex­ as suitable bases. For example, Han Solo’s base of operations ample, the characters might be hired to ferry while he was smuggling out of Nar Shaddaa was a small around a group of scouts in Wild Space, or they apartment-in the Corellian Sector of the planet. might decide that they want to start working for Perhaps the characters are from Tatooine and will be the Rebel Alliance. adventuring exclusively in the Outer Rim Territories. Or, are the adventures instead set primarily in the Corporate Sec­ The Campaign's Tone tor? And of course, a Rebel base is always filled with intrigue Star Wars campaigns (and adventures) can and adventure hooks. have a wide variety of tones. It’s a big galaxy, so ______/ there is plenty of room for unusual settings or

Gamemaster Handbook 97 Chapter^Nine^Cam^aic^ns^ JTAI WAR

Another aspect of tone is to define just what of flexibility, the players will be gratified, feeling sort of action the players want to get involved that what they do does make a difference and has with, what kind of goals are they striving for. Will an effect on their surroundings. the campaign focus on exploring new worlds? Or Of course, players get attached to their char­ is smuggling the main occupation, and if it is, is acters. Therefore, the gamemaster is cautioned the smuggling done for profit, or is it a way the not to arbitrarily injure, alter or kill a character. players serve the Rebellion/New Republic? While a character can die if the player does something that he knows is stupid, or the charac­ Player Characters ter can die if committing a heroic sacrifice, it is unfair (and upsetting to the players) to kill char­ When devising a campaign, the player charac­ acters without due justification. ters are central to the events that will unfold. Therefore, the player characters deserve as much Obi-Wan Kenobi died in a dramatic, worthy fashion. So did Darth Vader/Anakin Skywalker. consideration as the other elements of the game. It’s very disappointing to be playing a character In designing player characters, gamemasters for months only to have him killed by being run should work with the players to build a history over by a landspeeder or by falling and breaking for each character. his neck. On the other hand, if the character dies How and why is the character the way he is? while saving an entire planet from some catastro­ Where did he come from? What are his likes and phe, it is still upsetting the players, it is comfort­ dislikes? What does the character look like? What ing to know that the character died a hero. skeletons are hiding in the character’s closet? Smart gamemasters should look into those char­ acter backgrounds for new adventure ideas. How Characters Affect As time goes by in the campaign, characters The Universe will come and go, but some will last for a long Remember, the characters will always affect time. Those that last will eventually exhibit a your campaign in some way. Make sure the play­ personality, something which usually manifests ers get a chance to see the results of some of their itself in the form of reactions to events that the actions, even if those results don’t manifest them­ gamemaster throws at them. Study those charac­ selves until several adventures later. ters that are well-played. They can become walk­ One of the easiest ways of showing characters ing and talking adventure hooks for the how their actions are affecting things is by repu­ gamemaster. tation. Have the player characters done anything Talk with the players who run interesting char­ noteworthy or infamous? What sort of reputa­ acters, and ask them for permission to add your tion have they earned among the Rebellion, the own personal touches to their characters; things Fringe and the Empire? If the characters have that will manifest themselves as adventure hooks. proven themselves to be untrustworthy and For instance, if a player character exhibits a strong double-dealing, they will find few people willing hatred towards Imperial Naval Officers in particu­ to work with them. If the characters are known lar, but has never come up with a reason why, then for being bloodthirsty, they may be attacked by you, as the gamemaster, could suggest that the gamemaster characters without provocation. character’s parents are in the Imperial Navy, and in fact, their vessel has been given new patrol orders: Time And Setting the area of space where the character in question calls home. If the gamemaster and player sit down In Star Wars, deciding when the campaign be­ to discuss the character, some pretty interesting gins is just as important as where. Have your revelations will probably come out of the conver­ players decided that they want to play in the days sation and provide suitable material for many, when Lord Vader was in his prime, smiting Rebels many adventures. Not only does this type of devel­ and intercepting Senate courier ships? Or do the opment flesh out the player character in question, players want to play in a campaign where Vader it also drags the other characters into a rather and the Emperor are dead, and the New Republic dramatic situation. is in power? There are some players out there who have a These two periods are very different in tone tendency not to go through pre-generated adven­ and character roles. In the so-called Classic Star tures in the way they were meant to be run. These Wars time period (during the movies), the Em­ players come up with solutions to problems that pire is in control of almost all of the galaxy. It is a can be best described as unconventional. As the dangerous time to be a Rebel, and the Alliance is gamemaster, you have to be ready for this sort of running from Imperial forces more often than it is behavior, and even look for ways to have the waging war. Smugglers face heavy scrutiny and players’ stranger actions actually shape the fu­ very harsh punishments from the Empire. The ture course of the campaign. If you allow this sort corporations and other competing interests,

98 Gamemaster Handbook rAR. Chapter Nine: Cam paigns “WART while a powerful factor, are always being careful campaign with a good kick guarantees that you not to bring the wrath of the Emperor upon will hook the players quickly, and they will beg themselves. for more. In the time period of the “New Republic,” after Here are a few suggestions for a campaign the death of the Emperor, the galaxy is a dramati­ start: cally different place. The Republic is trying to • The Rebel transport carrying the characters is assert power, but it is a difficult war. The Empire being shot out from underthem by an Imperial Star is slowly disintegrating into countless factions. Destroyer. The characters scramble for the escape The companies, criminal interests and other fac­ pods. An uncharted planet lies within range of the tions are slowly asserting more and more power. pods’ engines. In this type of setting, there is more of a parity of power — the Republic is likely to be as powerful • The characters meet some high-ranking Rebel as the Empire — and there are often several leaders in order to get an assignment, only to find different factions at work on a given world. that the Rebels are out to arrest them. Apparently, Of course, these classifications are generaliza­ someone has framed the characters. The charac­ tions. In the Classic Star Wars era, you can find ters have a limited amount of time to prove their worlds where the Rebel Alliance is strong, al­ innocence. though you have to justify why the Empire’s fleet • A mysterious stranger hires the characters to hasn’t reduced the world to dust. Likewise, dur­ transport several containers to a planet. Once in ing the New Republic era, you will find worlds space, the containers accidentally open up, dis­ that are still staunchly Imperial. charging some disgusting creatures intent on kill­ ing the characters. Who is the stranger? What is his A Campaign Outline agenda? Are the creatures the result of some lab Once the gamemaster decides to get a cam­ work? paign going, a good beginning needs to be imple­ • The characters find a derelict Corellian space­ mented. Remember the opening scene from Star craft, and no trace of the crew. The ship is laden Wars: A New Hope? A small vessel is being pur­ with clues and leads to several different places. sued by a huge Star Destroyer. Before you know The characters need to piece together the circum­ it, the Rebels have been vanquished, the droids stances of the ship’s fate. Where is the crew? have escaped to Tatooine, and we meet several • The characters start off on an Imperial penal of the central figures in the story: C-3P0, R2-D2, colony. They have to get to know the other prison­ Princess Leia and Darth Vader. ers, find out the guard routines, plot an escape, and An fast-paced opening grabs your attention pull it off. Perhaps there is some sort of top secret and places you right into the action. Beginning a experiment goingon, using prisoners as test cases. Mike Jackson

Gamemaster Handbook 99 Chapter Nine: Cam paigns -5TAI WAR

One good way to begin a campaign is to have campaign reaches its third month or so, and the the characters start off not knowing each other, gamemaster gets hard-pressed to brief everyone but are thrown together for some reason, say, on “the story thus far.” Every campaign should they are all being transported in an Imperial have a definite conclusion, something which the prison frigate to some penal colony in the Em­ characters can strive for and then look back at pire. This enables the players to start with clean and say “yes, we did it, we achieved our goals.” slates, and roleplay their introductions and first impressions of each other. Beyond The Main Story In the prison ship example, one bit of back­ In order to keep the players’ interest up, the ground could be how each player character got gamemaster needs to give the players a sense of into this state to begin with. Did someone from achievement. Of course, once a campaign’s goals their own family turn them in? Were they the last have been met, that does not mean the action survivor of a shipfull of smugglers? stops. On the contrary, loose ends and subplots may Flexibility now be expanded upon and used as the basis for Campaigns should be flexible in order to re­ the next campaign. Let’s look at one possible flect the characters’ participation and impact. campaign: Perhaps, whichever path they take, they will The group is on board an Imperial prison ship eventually wind up doing the adventure the (everyone starts out with no equipment). Each gamemaster wanted them to do, but whatever has been arrested for different reasons (offense happens will be flavored by the choice of the chosen at player’s discretion). The ship is at­ players. Are they full-fledged Rebels, or are they tacked by Rebels, who manage to free the charac­ just drifters? When putting a campaign together, ters. The freed characters find out that the Rebels the first adventure should hook the characters were told by their Imperial informant that the into the action, though the overall goals of the ship was carrying some valuable technological campaign need not be made obvious until the equipment. A leak is suspected. second or third adventure. The Rebels commission the characters to fol­ Plotting low up on the informant, and in fact, they have a battered old freighter they can loan the charac­ Keep in mind the “onion” theory of adventure ters. The original crew of the freighter died in the design: the players peel off one layer of the plot, boarding assault against the prison ship. only to find another plot lurking just below it, While going to the planet in question, the then another, and another, until the players, if characters’ “new” ship is attacked by some priva­ they persevere, finally reach the real purpose of teers. Apparently, the characters inherited the the campaign. crew’s enemies as well as the ship! With the first adventure set up, the gamemaster The campaign can now go in two ways. Will the should take the time to plot out where the cam­ characters try and find out why the late crew paign should be headed. Over the course of the were so hated by the local privateers? Or will first few adventures, the characters can meet the they continue to the informant’s planet? Perhaps main villain, hear of him or her by reputation, or both plots are actually connected in some way. have to discover who is messing with their lives. Perhaps the late crew of the ship were actually The characters should also meet some of the working for the Empire. Perhaps the crew of the main support characters, villains and heroes ship informed the Empire about the existence of alike, and the background threads of the main the informant. plot should be revealed. Once on the informant’s planet, the charac­ For example, if the campaign’s finish will re­ ters, after dodging Imperial stormtroopers and volve around running an Imperial blockade to get TIE fighters, find out that the informant has new supplies to a besieged planet, the characters information: the Empire deliberately set up mis­ should hear tales of woe about this planet early information on the ship’s cargo because the ship on, or they may meet smugglers who have tried carrying the real equipment was sent off in a to run this blockade and failed. This type of different direction, to a top secret Imperial re­ foreshadowing will build up the tension of the search planetoid. The prison ship was a decoy. campaign and have the players trying to antici­ The informant manages to give the players a clue pate what will happen. to someone who could provide them with more It is useful to have one or two players be the information, then gets killed in a last-ditch Impe­ “journal keepers” for the group. These people rial attack on the players. The informant is lo­ keep track of the pertinent facts, clues, and game- cated on the same planet as the privateers who master character, that the characters meet and wanted to kill the old crew of the character’s find. This becomes especially helpful when the freighter. On this planet, the characters have to

TOO Gamemaster Handbook —STAR. Chapter Nine: Cam paigns "WART Mike Jackson

deal with nasty underworld types, Imperial infor­ few clues to piece together. In the following mants, and the like. phase, the revenge-filled young folks begin alert­ The last adventure happens on the research ing the Empire to the whereabouts of the charac­ planet, which requires the characters to hike ters, resulting in one or two adventures where through savage wilderness in order to find the the Imperials seem to be one step ahead of the well-hidden base. Once the base is found, the characters. characters find out to their horror that the base • While walking down an alley at some backwater is a war college, and the Empire has managed to spaceport, the characters are drawn into a come up with a nasty experimental weapon that firefight between a group of thugs and a solitary will wipe out the Rebels during the next offen­ figure. The solitary being lies dying by the end of sive. It becomes a race against time for the char­ the fight, but he gives the characters a naviga­ acters to return to the Rebellion’s headquarters tional program. with the new information. Just as they are com­ The program contains the navigational co­ ing in-system, the characters realize that they ordinates to a huge intergalactic junk yard run by have just wandered into the midst of a huge a neutral party that engages in salvage opera­ space battle. tions in the wake of Imperial-Rebel confronta­ A campaign like this could easily take up at tions. This salvager has accidentally managed to least a dozen play sessions, which, if the game is salvage an Imperial prototype of a new TIE fighter. played once a week, would take three months to Now, everyone wants the plans, and it’s up to the finish. As campaigns go, that is a good time characters to take the information and turn it frame. If the campaign’s players do not get to­ over to someone responsible, like a Rebel com­ gether very often, it could take a whole year to mander who happens to live on another planet. complete. Just getting from the alley, to the spaceport, to Here are a few other possible campaigns: space, and to the planet could be one adventure • A grizzled old bounty hunter is shot by the in and of itself. characters in self-defense in a cantina fight. The adult children of the late bounty hunter vow to Continuity hunt down the characters. They begin by doing Continuity and consistency are two of the research on the characters. The characters are most important things for any successful cam­ alerted to this situation when one of their fa­ paign. Continuity involves the gamemaster mak­ vored spaceship mechanics is attacked for not ing sure that the data presented as part of one being co-operative. adventure is successfully carried over into sub­ The next phase of the plan is to attack people sequent adventures. who are closest to the characters, and leaving a For instance, if the characters’ ship lost a laser

Gamemaster Handbook 101 Chapter Nine: Cam paigns JTAI WAR

turret at the end of the last adventure, the next ture to adventure, then he seems to be more time they play, that turret better still be missing realistic to the players. until the characters decide to spend the time and Populating your campaign with an assortment credits to repair it. of such folks will make the campaign believable. In the Star Wars game, the gamemaster is the Prominent gamemaster characters should in­ director, writer, and continuity expert. Keeping clude at least one character who likes the players track of continuity may take a little effort and and is willing to help them with small favors and bookkeeping, but the end result is a believable, advice. This character is a perfect gamemaster accurate campaign. It adds an element of reality mechanism for giving the party a little break, a to the game. nudge in the right direction, or even hauling their Consistency means that the overall tone of the fat out of the fire in a real dangerous situation. game remains the same. For instance, if your Note that the latter function should not be done campaign is a high-action affair, with lots of space­ very often or else the players will get sloppy ship chases and laser battles, and then suddenly, believing that they have a safety net at their beck with no explanation, the players are given slow­ and call. paced, discreet adventures, the consistency has been interrupted. A Suitable Villain In a consistent campaign, a stormtrooper is a Speaking of gamemaster characters, every stormtrooper is a stormtrooper. While there is campaign should have an enemy. Not the Em­ always room for surprises, a consistent cam­ pire, mind you, that’s a given. In this case, an paign keeps a standard, overall Star Wars setting. enemy is a person or persons with an identity, a If the adventures in a campaign are linked tightly, personality, and an agenda. The enemy need not building up to some dramatic climax, continuity be someone who would kill the characters on and consistency are critical, especially when sight, but rather could be someone who enjoys clues and events from one adventure directly matching wits with the players: an arrogant Im­ affect the conclusion. perial Naval officer, a highly professional bounty Continuity and consistency also figure in hunter, or a wealthy crime boss are all good gamemaster characters. If the players angered choices. the customs official on Tatooine to the point When determining the power levels of the where the fellow was ready to shoot them, then campaign’s chief enemy, look at the player char­ the next time the players see the official, the acters. Are they just a bunch of struggling smug­ gamemaster must make sure that the official is glers with a single inept Jedi student in their played correctly. midst and a broken down Corellian Freighter? In Populating Your Universe that case, an Imperial Captain and his Imperial Star Destroyer would be a poor choice. Perhaps Recurring gamemaster characters are a ne­ the arrogant bounty hunter, his scurvy crew, and cessity for campaigns. These characters should their own barely functional vessel may be a bet­ be well-designed and well-thought out by the ter foe. gamemaster. Continuing gamemaster characters One thing about a good enemy is that he give the players the illusion of a “real universe,” should pop up at the most inopportune times. and thus are very important to campaigns. For When the smuggler pilot, desperately trying to more information on constructing gamemaster outrun a TIE fighter squadron, mutters, “What characters, see Chapter Four, “Gamemaster Char­ else could go wrong,” then into the fray comes acters.” the bounty hunter, loudly demanding restitution For instance, say the player characters keep for damages in a bar fight that happened last running into Lenri Darv, a planetary customs adventure. inspection officer. Lenri is essentially corrupt, Also, agood enemy should be difficult to elimi­ and each time the players land their ship at the nate. There can even be situations where the spaceport, they have to pay Lenri a hefty bribe enemy’s death is apparent, but no body is found. for him to look the other way and not report their That is the perfect way of bringing back the activities to the Empire. In addition, Lenri could enemy without violating continuity. This sets the also serve a useful purpose: he may know infor­ stage for further encounters with the being in mation important to the players and the Rebel­ question. lion. Ah, but he won’t divulge anything without Besides having allies and enemies, the the proper... compensation. gamemaster should also include gamemaster What you start to have there is a character characters whose status is uncertain at best: the who the players can hate with relish, but who shadowy figure whose morals, agenda, and loyal­ also serves a purpose. And if the gamemaster ties are never completely known. These sorts of character is portrayed consistently from adven­ people may be a good friend at one point, then

102 Gamemaster Handbook —STAR. Chapter Nine: Cam paigns —WARJ Mike Jackson

Gamemaster Handbook T 03 JTAI WAR

The fate of the galaxy Gamemaster Handbook Keeping The Characters Characters Hungry Return Return ofthe Jedi. Future campaign adventure ideas will come One of the detrimental side effects of a long- In time, this can threaten game balance. theIf Don’t give the players the chance to find a If youIf design campaign adventures that have A good A wayfor gamemasters to keepthis thing Adventuresthatpeople few affectonlyacan still from the actions that the player characters ini­ thingsasthe players begin toaffect ment.their environ­Forexample, anannoying droid mayeven­ playercharacter. ready Be to beflexible, and roll tiate in the presentand adventures. ears openKeep your eyes for possibleadventures unresolved later on. minor running campaign is thatleast any players half-competentwho are at will beginlarge amounts. accumulating tually get its arms torn off by an angry Wookieewiththe unexpected challenges atthe you.players throw players’freighter hasbeen modified andrefitted so manytimes thatit now has theDestroyer, firepowerthenaStarof you mayhave problems. cam­Any paign where the playerssure ofdo risk in their not games have rapidly will someboringintodegeneratea waste time. The thrill,suspensemea­ of and subplots that can be expanded into full-fledged tension vanish. will So will player interest. from happeningis to prevent it from everstarting given to players are not outrageous. devicethat renders their vessel scansinvisible tosensor if there is install a ontheirit chance ship, and run thatroughshod theyEmpire.formonetary As over thewill compensation, keep it, the Rebel- lion/New Republic isn’t exactly wealthy. In many wealth, material possessions, and skills in rather instance,the undying gratitude theandAlliance,of maybe a medal or two, maycharacters be all the thanks get. the bigger and bigger stakes,out bigger and and consequently biggerrewards, yougive find will your­ biggerand grander plots, untilthe campaign outis self on an escalating spiral, forcing you to create control.of yourgiveDon’t players your best shots right away. Instead,adventures. save Give the something players missions for where future the bedramatic and exciting. theatLook rescue Han of — specifically by making sure that the rewards loyaltyand love.Adventures where the stakes are stakes are not so galaxy-shattering. Solo in tional adventure becausethe Solo; rescue waspeopledone personalfor carereasons about like Han personal are prime fodder for character develop­ wasn’t at stake. However, itwas atense and emo­ The Campaign The Develops Campaign universe. The people, places and things that Oncethe game gets rolling, things change. of All These non-aligned gamemaster characters are When running a campaign, be ready to alter Cam paigns Wars betraythe characters at another, usuallydepend­ best portrayed as not being part of either the ing on their own needs at the time. doing something else. over time. As “What gamemaster, happened to you...?” each element must of the consider con­ emy. Empireor the Alliance. Theygoabout their merry tinuing campaign while the characters were off thecharacters arefamiliarwith are goingchangeto thethings that happen happenreal life in theStarin way, considering neither side a friend nor an en­ hapter Nine: C 104 Paul Daly __ STAR. Cha^terNine^Cam^aigns “WART

ment and a developed character will only enhance Putting The Characters a campaign. Every adventure need not be “The In Their Place Republic’s survival hinges on your every move.” No matter how powerful someone is, there is If, despite your best efforts, the players are always someone “out there” who is even more accumulating a bit too much money and fancy powerful. Excessively powerful player charac­ equipment, well, even the good guys have set­ ters and their ultra-souped up ships will either backs. Remember The Empire Strikes Back1? The attract lots of smugglers and pirates anxious to movie ended with the Rebels appearing to get the make a name for themselves by eliminating the worst of it. A few devastating reversals for the characters, or an Empire that does not take too players, such as confiscation of much of their kindly to having excessive firepower in non-Im- property by Imperial customs personnel, destruc­ perial hands. tion of their base of operations, serious danger to As characters gain in power and experience, it a loved gamemaster character, or a solid, costly is ever so important to prove this fact to the pounding on their vessel are all good reversals of players in the occasional adventure. fortune that can fit well in the game as well as prune the over-powerful player characters. In fact, the players’ attempting to recover from Final Words such reversals would make a fine campaign in A Star Wars campaign, at its best, captures all and of itself. Rescuing their beloved gamemaster of the adventure and excitement of the5tar Wars character from the Empire, giving the Imperial movies. These types of campaigns take planning customs officer his comeuppance, and finding an and careful thought, but the rewards of a well- accommodating dockyard to repair their vessel played and thoroughly enjoyed campaign make can all be linked to a series of adventures. all of the long hours of planning worthwhile.

Gamemaster Handbook 105 Tales of the Smoking Blaster JTAI

Tales of the Smoking Blaster

This is a beginning adventure for Star Wars: The There, they are brought before Nilya Fek’ra. She Roleplaying Game, Second Edition. The characters reveals what the characters didn’t yet know, but are assumed to be the owners and crew of a probably suspected — they were set up by their dilapidated freighter called the Smoking Blaster. former employer, Yosger. The characters make a meager living by hauling She also reveals why their employer wanted legitimate cargos, with the occasional smuggling them killed and their ship stolen— the “pocket” in venue. their ship’s computer systems turns out to be a complete readout on Yosger’s entire operation. Plot Summary With the information in that readout, his operation Episode One: The Smoking Blaster is smuggling is vulnerable to outside attack and manipulation. a cargo of security droid logic matrixes to the She proves to them that a huge bounty has planet of Cotellier when they are forced out of been leveled on their heads by their former boss, hyperspace and accosted by pirates. Stripped of and asks for their assistance — if they help her their cargo, and with a disabled hyperdrive, the retrieve the droid matrixes, using the informa­ pirates make off with a fortune, while the charac­ tion from the “pocket,” she will make sure that ters must limp with their backup drive to the Yosger’s bounty is removed through whatever nearby Dravian Starport, an orbiting space sta­ means necessary. tion. Episode Four: In typical Star Wars fashion, the During the trip back, the characters discover characters are thrust into the heart of an epic a mysterious “pocket” inside their computer sys­ battle between rival crime lord factions — and tem — a “lump” of information that can neither the success or failure of the battle falls upon their be identified nor manipulated; it is simply present shoulders. They turn out to be integral parts of in their system. They can’t determine how, when the final, face-to-face confrontation between or why it came to be in their system. Yosger and Nilya. Episode Two: At least several days behind schedule, they realize that they are in serious Preparation For Play trouble with their employer and will be respon­ Have each player pick a character template sible for the 200,000 credits the cargo would have and complete the character sheet by adding the earned. They have the opportunity to explore character’s 7D beginning skills and buying any this rough and tumble space station while trying additional equipment the player wants. to get their main hyperdrive repaired. They also The characters are already familiar with each have the opportunity to ponder their fate. other since they are crewmen on the Smoking During their visit, they are confronted by thugs Blaster. They probably all will be friends, al­ who’ve been hired by their employer, the smug­ though there may be some animosity or constant gling baron Yosger. The thugs have been sent to rivalries. kill the characters and steal their ship. When One player must play a smuggler or brash pilot things are looking desperate, they are “rescued” type character. He is the owner and pilot of the by a second group of mean, heavily armed thugs ship. The Blaster can have a crew of up to six who, it turns out, were hired by Nilya Fek’ra, to people: aside from the pilot, two characters can whom they were supposed to deliver their cargo. be co-pilots and another can be astrogator. The She wants to talk to them. final two crewmen are the gunners, who will be Episode Three: The Smoking Blaster\s repaired, lounging on the bridge/lounge since there’s noth­ and they venture to the desert world of Cotellier. ing better for them to do. Yet.

106 Gamemaster Handbook —STAR. Tales of the Smoking Blaster “WART "Tales Of The Smoking Blaster" Adventure Script

Use the following script to start the adventure. Your gamemaster will tell you what part (or parts) to read.

Gamemaster: Yet another relaxing trip aboard the get boarded by a customs frigate. Smoking Blaster. The ship may not look like much, 4th Character Yeah, aren’t the logic matrixes b ut... well, you know the rest. top contraband? You know, one step below Kessel You are in the middle of a journey to distant spice? desert world of Cotellier (KO-tell-yi-err), and all of you are in the lounge/bridge area of the ship. 5th Character You bet. But, we’ve got that cov­ ered. Cotellier is a desert world that has to im­ 1st Character: Well, by my calculations we should port most of its food. The matrixes are hidden in be reaching Cotellier in about 20 hours. Not bad crates full of weeliu (wheel-you) nuts. consider how late we left Syned (pronunciation: Sigh-ned). 6th Character: Sounds good... I think I’ll go serve myself. Anyone want some? 2nd Character. That gives us an extra four or five hours. Good, I don’t like cutting it too close to 1st Character Stay out of those! You know, there’s deadlines. got to be more to this than just a simple drop load. I can feel this ... it’s a set-up. 3rd Character So who’s the person these things are going to anyway? Gamemaster And so goes a “normal” day aboard the Smoking Blaster. Unfortunately, that premoni­ 4th Character They’re going to a “business per­ tion about this cargo being a set-up may be more son” named Nilya Fek’ra. And I bet you know correct than you first thought because — what kind of business she’s in ... — CRASH! SMASH! THUMP! — 5th Character Security droid logic matrixes. Perfect for turning “Scruffy, the affectionate se­ — you feel the ship buck unexpectedly. You all feel curity droid” into something one step short of an a wave of nausea sweeping over you as your ship assassin unit. Not many legitimate businesses is wrenched out of hyperspace with a sickening need that kind of security. lurch. Alarm klaxons blare alarms of an unex­ pected hyperdrive cut-out, and before the ship, you 6th Character Since we got this run from Yosger see a huge asteroid in the middle of open space. how could you expect it to be legal? 2nd Character An asteroid ... in the middle of 1st Character: What did you expect me to do? I space. This is supposed to be a clear travel lane! owe that slimy crime lord nearly 20,000 credits and that’s before interest. He promised to negate 3rd Character How could this have happened? the loan if I delivered this cargo. I couldn’t pass Asteroids don’t just wander into the middle of a this up. trade route. 2nd Character So, we’re only getting a loan 4th Character Unless ... well this is a long shot... cleared and no cash on this? 5th Character ... unless there are pirates trying 3rd Character No, he’s giving us 2,000 credits for to hijack our ship. the run. It’s barely enough to cover expenses, but 6th Character Oh boy ... not so much that it isn’t worthwhile ... unless we

Gamemaster Handbook 107 Tales of the Smoking Blaster JTAI r ------, The Smoking Blaster - ■ pniwMiPMi s mm

The Interior Of The Smoking Blaster ■ Smoking Blaster Bridge. The bridge contains room for four crew Craft: Loronar Medium Transport members, as well as providingthe readouts on all Type: Modified medium transport of the ship’s systems. From here, the turbolasers Scale: Capital Length: 75 meters can be run on a computer-assisted gunnery pro­ Skill: Space transports: Loronar medium transport gram, but fire control is -2D. Crew: 4, gunners: 2, skeleton 2/+10 Lounge. The lounge has room for up to eight Crew Skill: See player characters Passengers: 10 people. A small hololibrary and encyclopedia is Cargo Capacity: 17,000 metric tons stored on the computer terminal, while a holochess Consumables: 3 months generator is in the opposite comer. There are Cost: 27,000 credits several jacks into feedback exercisers so that pas­ Hyperdrive Multiplier: xl Hyperdrive Backup: xl5 sengers may do “electronic workouts” to stay in Nav Computer: Yes shape. Maneuverability: +1 Private Quarters. The private quarters for the Space: 2 Atmosphere: 225; 650 KMH crew. Each cramped cabin has two bunks, a Hull: 1D+2 closet for clothing and two small trunks for per­ Shields: ID sonal belongings. The computer can be accessed Sensors: from terminals in these rooms, but there is no Passive: 10/0D Scan: 25/ID holoprojector. Search: 35/2D Guest Quarters. The rooms are slightly larger, Focus: 2/3D and were originally equipped with ample closet Weapons: Four twin laser cannon (fire-linked in groups of two) and storage space. Since the Smoking Blaster so Fire Arc: Turret seldom takes on passengers, the rooms are filled Crew: 1 with spare attachments and couplings, computer Scale: Starfighter and droid parts and miscellaneous equipment, Skill: Starship gunnery Fire Control: ID like hydrospanners and fusion torches, that just Space Range: 1-5/10/25 don’t fit anywhere else on the ship. Atmosphere Range: 100-500/1KM/2.5KM A previous owner hollowed out the floor in the Damage: 3D+2 first two guest rooms for a pair of two by two by Capsule: She may be big, awkward and lousy in a one meter deep smuggling compartments. fight, but she’s yours. The Smoking Blaster will never win any beauty contests or races, but this big Airlock. The airlock and hatchway. The airlock’s cruiser has been through a lot. With over 50 years outer door has a Strength of 6D and the airlock of space travel, millions of light years, and more can only be opened or closed from the control jury-rigged repairs and patched hull panels than panel just inside the entry hall. A closet by the you’d care to think, the Blaster has survived it all. control panel contains eight sealed space suits You’ve been the “proud” owner of this ship for a with rocket packs. short time, perhaps a couple of years, but in that time you’ve come to understand why previous Escape Pods. Two pods, each capable of carrying owners cared so much for this vessel. The Blaster four people. There is a week’s worth of emer­ may not be very much for combat, but it has al­ gency rations and water, a single survival shelter, lowed you to earn a living as an independent cargo four comlinks, four sets of survival clothing and hauler. flares. The escape pod has an on-board subspace Of course, you are still in massive debt to that transponder that broadcasts a distress signal shark Yosger, and you may owe as much on the ship when activated. There is a short-range comm as as it’s worth, but it’s still your ship ... well.

108 Gamemaster Handbook __ STAR. Tales of the Smoking Blaster —WART

■______

Crawlway To Cargo Hold. A dirty, dark crawl­ machinery in the interior of the Smoking Blaster. way leading down into the cargo holds. There are The ends of each crawlway also have sealing independent sealing hatches at the top of the hatches that can be opened from either side. The crawlway, leading into the living quarters of the crawlway to the top laser cannon is only 2 meters Blaster, and at the bottom of the crawlway, lead­ long; the crawlway to the bottom cannon is about ing into the cargo hold. Each hatch can be opened 15 meters long since it must wind throughout the from either side. The crawlway is only five meters ship. long. Laser Cannon. These two laser cannon emplace­ Cargo Hold. The cargo is little more than a five- ments are little use against large vessels, but can level, wide-open warehouse. Each level’s tem­ deter a lone starfighter or other small ship. The perature, gravity, atmosphere and lighting is gunnery cocoons are small and cramped, with controlled from the bridge. Temporary self-seal­ machinery and exposed wiring everywhere. A ing dividers (with a Strength of 4D) can be erected targeting computer takes up much of the interior to create many small compartments on each space and it is a snug fit for a normal-sized level. Human. There is an intercom jack for headsets so Crawlway To Laser Cannon. These crawlways gunners can communicate with each other and wind through the maze of circuitry, bulkheads, the Smoking Blaster’s pilot. power generators, climate control units and other

J

Gamemaster Handbook 109

Capi­ should hoping -STAR-WARS— Starfighter, Blaster, unnecessarily total the opera­ sensors SmokingBlaster Gamemaster Handbook roll — if successful, he will be from a distance of 32 units; with a check. If they are using the search Blaster Letthem try; have the astrogator make an theyonce will again hailthe ship and make astrogation Maneuverability ID, space 3, hull 2D+2, capital ship gunnery 4D+2, capital ship pilotingship capital gunnery4D+2, shipcapital If theyIf are onlyusing the scan function of the At thisAt point, the characters maywant tomake Thecharacters are hailed bythe trailing trans­ Attention freighter! Prepare to be boarded. The pirate gangis attackingthe Therefore, after each attack that damages the Assuming that the players want to engage in a Three Z-95 Headhunters. ModifiedCorellian Transport.Action VI After a few rounds of combat, it should be­ sensors can mean only one thing— pirates! a function of the ahead,sensorsby making anEasy and scanning straighton the torwill detect three Headhunters Z-95 closingin Moderate or highermodified total,Corellian Action transport he VI will also followingdetect a the Z-95s 3 units further back. sensors, since its range is unitstheyonlyaway. If are searching 25 units,anotherin theydirec­ 95s until theyrange). come within 10 units (passive port. Read aloud: won’tbe able to detect the until Z-95s they are 25 tion (left, right or back), theywon’t detectthe Z- If youIf cooperate no one will be injured.yourefuseIf tocooperate, we will blast you out ofspace! to get those droid matrixes. The don’tpirateswant todestroy anyone simplyorkill unnecessarily. an offer of surrender,characters resist. threatening They will taunt death the characters, if the 95s: askingthem their if lives are worth simplea cargo. wantto disable the.fi/asterand get the goods; they Maneuverability ID, space hull shields7, 4D, ID. control rangeID, 1-5/10/17, damageconcus­3D), sparring match, use the following stats for the Z- • What if the players want to jump to hyper­ sion missiles (fire control ID, range 1/3/7, dam­ (maybe six or even a dozen this time, instead of Blaster, age 7D). starfighter piloting 4D, starship gunnery 4D+2. Weapons: Two triple blasters (fire-linked, fire come apparent that the onlythree). This should make clearnoit escape.that there’s surrender.the If players are doing well, havethe transport launch another wave of Z-95s at them shields Weapons: 1D+2. controlthree 2D, damage turbolasers 4D+1). Carries Z-95s. 15 (fire tal, Easy 4D+2. space?

Hijacked! Episode Episode One: If you haveIf fewer than six players, youcan trim Then,hand each player copya the of adventure At this time, have each player introduce his Thecharacters have been forced out hyper­of theco-pilot and astrogator positions theof ship— you maywant just a pilot andthere apair gunners. of are more If than sixcharacters, simplyhired hands thewho move extras cargo areablyand goodare prob­friends the of pilot youOr, could wholea otherinvent story about whythese ters extra arecharac­ taking passage tomore Cotellier, than which a miningis littleworld. characterbyname and somegive background and script and begin the adventure. personalityinformation. spaceafter nearly running a sickeninginto an asteroid. realizationWith they figure out that this

ales of the Smoking Blaster

T 110 Paul Daly __ STAR. Tales of the Smoking Blaster —WART

/ ------\ DIAGRAM 1 Corellian Action VI Transport

\ ______/ able to determine from the Nav Computer that stupid and all of us’H live. Now, shut up and the trip will take five minutes to calculate, with a keep your hands in plain sight.” Moderate difficulty. Why? The ship got dropped Play the pirates as shrewd, experienced char­ into the middle of nowhere with a huge asteroid acters. The player characters are supposed to in the way, and has to calculate a never-before- have their cargo stolen. travelled route to jump into hyperspace. 20 Pirates. All stats are 2D except: Dexterity Boarding 3D, blaster 5D+2, dodge 4D+2, grenade 4D+1, Per­ The pirates will fight until the Blaster is se­ ception 3D, bargain 4D, con 5D+1, sneak 4D+2, verely damaged (if it is, consider the hyperdrive Strength 3D. Move: 10. Character Points: 1. Blaster disabled instead of randomly rolling on the dam­ rifle (5D damage), stun grenades (6D stun dam­ age chart) or the crew surrenders. If they surren­ age, 3 meter gas cloud radius), comlink (links der, the transport will come up and extend dock­ with transport and each other). ing tubes to the Blaster. After the pirates have stolen the droid ma­ A group of about 20 pirates will board the trixes they will disable the main hyperdrive (if it Smoking Blaster and steal the cargo (this takes wasn’t damaged in combat). The pirates will about two hours to unload; they only take the explain that they didn’t want to have to kill the matrixes, leaving the nuts strewn all over the cargo hold). The characters will be held in the / ------\ lounge at gunpoint. Troubleshooting While the transport is nestled alongside the Smoking Blaster, the Z-95s’ weapons and the weap­ If the players don’t want to go to Dravian Starport, the ons of the transport are trained on the ship. If the encounters in the next episode can easily be retrofitted to characters seem like they might pull something a new location. (such as trying to open fire on the transport and If they go to Cotellier, they will be accosted by Yosger’s escape) the lead pirate should tell them the thugs while going to meet Nilya Fek’ra. You can also use the following: tone pieces and set encounters aboard Dravian Starport on one of the mining platform/cities of Cotellier. “Look, my friends. There’s no need to get If the characters want to limp back to where they picked desperate. We’re only here to steal the cargo. up the cargo on Syned, you can also move the encounters It’s not worth dying over. You see, our bosses to this new world. It makes it much easier for Yorseg’s are on that ship. goons to capture the characters and drag them in front of “You try anything foolish and they’ll open the smuggling baron. Of course, Nilya’s thugs will come to fire on this ship and destroy it. You’ll die. In a their rescue. way it makes sense — if they’re willing to kill us Likewise, if the characters go somewhere else, most of to stop you, then you know you haven’t got a the encounters in the next episode can easily be trans­ chance to escape. Then you won’t do anything planted to a new location. ______J

Gamemaster Handbook 1 1 1 Tales of the Smoking Blaster JTAI

\ but it will also be the only place in close proxim­ Use this information if the characters decide to go to ity where they can get their hyperdrive fixed. Syned: They can limp there on their backup hyperdrive in about three days. If they insist on going to Syned Cotellier, it will take 15 days on the backup hyperdrive. Type: Urban trade world Temperature: Frigid Atmosphere: Type IV (environmental suit required) A Mystery In The Making Hydrosphere: Saturated Just after they have set out for Dravian, have Gravity: Light each character manning the controls make an Terrain: Domed urban, glaciers Easy computer programming/repair roll. If suc­ Length of Day: 147 standard hours cessful, the character will spot an anomaly in the Length of Year: 15,245 local days (about 256 standard computer system. It’s what’s called a “pocket”— years) a hole in the system. Sapient Species: Duros, Humans, Sluissi, Sullustans This happens when someone dumps self-con­ Starport: Standard class tained files into a computer system. The files are Population: 2 million programmed with special computer spikes, which Planet Function: Trade jorce the files into the computer’s memory, but Government: Imperial governor, city councillors the computer doesn’t recognize the files as being Tech Level: Space there. The data is inaccessible — you know it’s Major Exports: None present because your computer system has lost Major Imports: Foodstuffs, high tech storage space, but you can’t alter or erase the Syned is a cold, dark world on the edge of its system. Its files because the computer can’t see them. star’s proximity to the Duros Space Run made it an excellent If the character rolled well enough for a Mod­ location for a trade center, but the frigid climate required the erate total, he will know that it can’t be accessed, construction of underground and domed cities to support manipulated or changed, or even removed from life. the system; it is simply lying there. The only way Syned is a world where countless tons of goods pass it can be used is with the proper decoding pro­ through its docking bays every day. A popular drop-off point gram, normally custom designed. Fortunately, for independent cargo haulers, millions of credits worth of the pocket looks dormant — for the time being. goods are transferred on the cargo-sleds every hour. Be­ The only other way to remove the pocket is to cause the world lacks a normal day/night cycle, the world is completely erase the ship’s computer system, bustling all of the time with constant work shifts. which would leave them helpless in space. The world is run by an Imperial governor, who keeps a If the characters want to know where it came fairly tight reign and a noticeable military presence. Each city from, point out that their system was scanned is governed by a councillor, who makes sure that the just before their last trip, so somehow it must’ve governor’s wishes are carried out. been dumped onto their computer while they were loading their cargo on the trade world of ______J Syned. The only time someone was on the ship was at Yosger’s — one of his techs needed to use crew, but they did need to slow them down for a th e B laster’s computer to download the safe get-away, so that’s why the hyperdrive is astrogation calculations for the trip to Cotellier. being disabled. What Do We Do Now? Cut To ... Episode Two, “No Safe Place.” With the cargo stolen and the hyperdrive disabled, the pirates reboard their vessel and land theZ-95s in its docking bay and it jumps into Episode Two: hyperspacewith the cargo. No Safe Place If the characters examine the main hyperdrive, The characters have to use their backup they learn there’s no way to fix it here and they’ll hyperdrive to limp the Smoking Blaster to Dravian have to travel to a fully equipped space dock. The Starport; it takes three days. characters will have to fall back on their backup hyperdrive, which is ridiculously slow, to limp to What Do We Know About a starport. There’s no way that they can make their appointment on Cotellier. This Place? However, by checking their their navigation If the players want to know what their charac­ charts or making a Moderate planetary systems ters know about Dravian Starport, have each roll, they know that Dravian Starport is nearby. character make planetary systems rolls; because The starport is rough-and-tumble and lawless, the station is so isolated, add +10 to the difficulty

112 Gamemaster Handbook TAR. Tales of the Smoking Blaster FART

for the roll. Characters can also make streetwise rolls to see what they know, at only +5 to the difficulty. Example: A 6-10 is normally an Easy total, but with that +10, they need to roll a 16-20 to learn the information on an Easy total. If using streetwise, they need to roll only 11-15 to find the information on an Easy total. Very Easy: Dravian Starport is an independent space station where rogues of all sort congre­ gate. It is isolated, far from normally travelled starlanes; in fact, it is in the middle of open space (not even in a system). In short, you have to want to get there to find it. No one seems to know who or what owns the station, but it is well protected from outside forces. However, aside from illegal activities, legitimate cargos from several nearby sectors can normally be found here since there is a lot of starship traffic. Easy: The security forces care little for what is

being brought into or smuggled through the sta­ Paul Daly tion, as long as there isn’t any obvious violence on the station. However, if someone picks a fight publicly, they often ... disappear. harmless enough, they will be given approach Moderate: Starship repairs are made quickly, coordinates. As they get closer, they will see that without any questions, although prices are steep. the space station is nearly a kilometer long, with The place has several gambling casinos and other dozens of long docking protrusions reaching out forms of recreation for spacers. Goods, espe­ from the hull. The space station is lit only by cially illegal ones, are often available, although at spotlights from the hull since it is out in the exorbitant prices (up to 300% over normal pur­ middle of open space. chase costs). Bounty hunters, smugglers, and Upon docking, they will see a small walkway other mercenaries of all types are readily avail­ leading to an airlock. When it slides open, read able here. aloud: Difficult: The law actually doesn’t get involved With a slight hiss, the airlock door slides in personal grudge matches and murders, as long open. Soon, your senses are overwhelmed by a as things don’t go public — if someone gets feeling of decay. It isn’t the air, or the facility robbed in a side corridor, no one cares too much. itself— it is beat up and grubby, but not overly Very Difficult Or Better: It is rumored that the so — but you can sense that this place harbors station gives a huge tariff, up to 20% of the take, greed and vice in all of its most loathsome to the local Imperial Moff, so that the Empire incarnations. doesn’t crack down on this place. The station’s Soon, they will be approached by two security manager, Brefest Torr, was a wealthy business­ guards. The guards are outfitted in brown and man before accepting the position here. It is gold uniforms with Dravian Starport insignia (a believed that the station is owned by a consor­ patch with the outline of the space station). They tium of Hutt gangsters. don’t seem too interested in their duties. The guards will ask the captain of the ship the Dravian Starport basics: who they are, where they’re from, where When they enter the area of the starport, their they’re going, and so forth. They will be issued sensors will detect lots of starship activity — visitors permits for a cost of ten credits per highly modified, illegal starships. Sensors will person. show ships that have been heavily modified, with If the characters ask, their ship will be slotted very powerful weapons, huge shield generators for immediate repair. The cost to fix the ship is and massive hull-plating. This place is a haven for 3,000 credits. They are free to wander the space the galactic underworld! station for the two days while the ship is being As soon as the characters approach, they will fixed. be hailed by starport control and asked what Security Guards. All stats are 2D except: Dex­ their business will be. If their response seems terity 3D, blaster 5D, dodge 4D+2, alien species 4D,

Gamemaster Handbook 113 -STAR— WARJ— Fifty tons of datapad Gamemaster Handbook Gamemaster Twenty tons of clothing to Onehundred tons imitationof Ten tons of plasmaberries to Confrontation Capturing The Mood DravianStarport is an independent spacesta­ There are dirty, banged-up servant droids ev­ The hallways, especially in the bazaar area, This encounterwill happen while the charac­ Jontz Freight. Nar Shaddaa Shipping. Sky path SkyIndustries. TopatzShipping. • • • • •There are casinos, hotels and lounges on many • A number of cargo merchants with indepen­ levels, with costs“day” varying to 1000 from credits 35 credits per per “day,” with varying levels; the characters may want to go try to degreesserviceof and amenities—the cheapest and so forth. dent cargos for haul have hustle offices a cargo. on different If theIf characters couplesearch of possibilities:out a cargo, here are a mon items) and thetypes storesof most charac­ons shops and so forth). Dreffon IV; will takewill Dreffondays IV; 16 at hyperdrivexl pays and 1,600 credits. days at hyperdrive xl and pays 4,500 credits. circuit boards to the pays manufacturing 3,500 credits. world of ers. It is dirty, dark anddors rough-edged.are dark, cramped The corri­discolored affairs with loose ceilingwiring, panels and creaking floors. are likely to have poor water, no free breakfast, erywhere.The people visiting and working at the mindset. Many people openly carry sidearms the primitive industrial world of Vlemothcredits. Port; tersfrequentwill (Droidsales and repairs,weap­ gems to the trade world of Bazaar; will take 23 tion for criminals and brave independent trad­ station also fit theand hide their criminal,faces from prying eyes orwith cloaks,openly best-left-alone display theirparts battle scars in orderor cyborged to intimidateof space and others. no one asks This too many is questions. a will take five days at hyperdrivexl and pays 500 Ather; will take two days at hyperdrive xl and are crowded with poororpassage urchinsto morea lookinghospitable forwork aliens world. There everywhere,are Gamorrean thugs, from to Devaronian Twi’lek con slavers,men. to spacestation where peoplegive each othera lot gested that encountersthe gamemaster leading into it, stagesuch as havinga onecouple of of ters are wandering the space station. It is sug­

The Station Space Rather than give the complete layout of the • There are 45 levels to this place accessible to • There is a huge marketplace on level five, languages 4D, languages streetwise4D, Perception 2D+2, 5D+2, con Strength searchbargain 5D, 3D. 3D+2, 4D+2, to(+2 chest), blast helmet to (+2 head), comlink. Move: Blaster10. pistol (damage 4D), blast vest space station, heretant are facts. some The of the specifics most canimpor­ be ad-libbed. the public (there arecannot more levels, go but the tosecurity public the areas station’sor command powercenter). generators,featuringrestaurants, specialty shops (they stock anything from clothingand toMuzzlian trinketssquills, holonovels, like fezzgemsand other com­ ales of the Smoking Blaster 114 T Paul Daly __ STAR. Tale^)£^he^mokin^J3laster "WAW

the characters meet one of the bad guys, or Defel. Dexterity 2D, blaster 4D, dodge 6D, melee having the characters realize they are being combat 5D, melee parry 6D, Knowledge ID, Me­ trailed. chanical ID, Perception 4D, search 5D, sneak 6D, The encounter will happen in an isolated hall­ Strength 4D, brawling 6D, Technical 1D+2. Move: way free of other visitors. For best effect, it 12. Invisibility *: +3D to sneak. Claws: Strength +2D should be a side corridor where most of the damage. Character Points: 6. Blaster pistol (dam­ lights have burned out and haven’t been re­ age 4D), vibroknife (damage STR +1D), sight vi­ placed. Since the characters don’t know their sor.* way around the station, it is very easy to have * For more information on the Defel, see page them blunder into a “no man’s land” corridor of 86 of the Dark Force Rising Sourcebook. this nature. Once the characters are isolated, a group of Unexpected Help about a dozen thugs approaches them, brandish­ Just as the characters are getting into serious ing vibroaxes and heavy blaster pistols. They trouble, another group of thugs, ten in number, don’t seem interested in talking. In fact, they start shooting at the first group. They will easily have been hired by Yosger to kill them and take eliminate the first group and if the Defel has the Smoking Blaster back to Syned. Yosger wants appeared, he will be eliminated with the first shot to recover that data pocket on their computer. so the endangered player character can escape. The thugs are all Humans or familiar aliens like The new group of thugs will inform the charac­ Gamorreans or Rodians. ters that they work for Nilya Fek’ra, the crime 12 Thugs. All stats are 2D except: Dexterity lord on Cotellier that they were supposed to 2D+2, blaster4D+2, dodge 5D, melee combat3D+1, deliver their cargo to. When the characters were melee parry 3D+2, Strength 3D. Move: 10. Heavy late with their delivery, Fek’ra started investigat­ blaster pistol (damage 5D), vibroaxe (damage ing, and piecing things together, she sent these STR +2D), comlinks. meres here. She wants to speak with them imme­ You might want to encourage the players to do diately; the thugs will pay for having their ship this as a chase, rather than a standard stand-and- fixed, and it will be ready to fly in the next three fight situation — you might run them through hours (yes, they have special connections). The casinos, the marketplace, down hallways, and thugs are to ride on the ship with the characters use airlocks to block off the route of the villains to insure their cooperation. (since the villains know the layout of the station, The thugs’ attitude is simple — they will be they should be able to keep track of the charac­ agreeable as long as the characters cooperate. If ters in the long run). the characters don’t, the thugs will knock the Remember that if the battle goes public, secu­ characters unconscious and bring them to rity guards will show up and try to break things Cotellier by force. up. “Helpful Thugs.” All stats are 2D except: Dex­ The characters should definitely feel some peril terity 4D, blaster 6D+2, dodge 6D, intimidation in this battle. If they’re winning easily, give the bad 4D+2, streetwise 5D, space transports 4D+2, guys a couple of lucky breaks: astrogation3D+l, bargain 6D, command 5D+2, con • A stray shot hits a power converter near the 5D+2, search 4D, sneak 4D+1, Strength 3D. Move: player characters, exploding in a shower of sparks 10. 2 blaster pistols each (damage 4D), grenade and doing damage to a character (suggested 4D or (5D/1-2, 4D/3-4, 2D/5-8), comlink, 1 medpac. 5D damage). • Reinforcements for the bad guys (same stats as Cut To ... the first batch). It is best if the reinforcements Episode Three, “A Traitor Surfaces.” sneak up on the characters, surprising them from behind. Episode Three: • The characters stumble into a trap, such as shock mines that were placed in advance by the thugs. A Traitor Surfaces The characters make the journey to Cotellier. • Use a Defel (or wraith) to sneak up on the The ship is flown down to the planet’s surface characters. Defel look like bipedal shadows and and the characters get their first view of the easily blend into shadows, allowing them to sneak immense mining platforms of the world. about unnoticed. If a wraith were hidden in a Read aloud: comer, he could approach one character from behind, putting a vibroknife to his throat and On your approach to Cotellier, the first thing order his friends to surrender or see their friend you notice is the deep red color of the world, die. even from space. Next to the planet is an im-

Gamemaster Handbook 115 Tales of the Smoking Blaster -STAR— WARS"

mense moon, a rich emerald green hue, with has a series of plasma drills at the base, which three rings around it. burrow into the ground, searching out the crys­ As you dive into the atmosphere, details tals. Then, droids and organic miners take begin to take form. The whole world is that repulsor carts down into the heart of the recently same red color, with no visible bodies of water. drilled area to retrieve the crystals. The unre­ Ever present in the sky is the moon and its rings fined crystals are taken to industrial worlds, and — it hangs ominously close, taking up half of then fashioned and processed for use in jewelry, the sky. Soon, you approach the surface and see droid photoreceptors and sensor arrays. the first mining platform. Each platform is a miniature city, with miners, It is immense, over a kilometer high and at their families and any support crew, for a total of least 100 meters in diameter at its peak. Show­ 10,000 residents, plus droids. ers of light and freely released energies arc out TheSmokingBlasteris hailed and then brought from the metal frame of the platform, for a in for a landing in one of the bays. The landing bay brilliant lightning storm in a clear sky. is stark and run down. The characters are told to Then you spot the other mining platforms by follow the thugs. After a brief encounter with a their tell-tale lightning storms. By counting the customs official (who accepts the thug’s com­ flashes on the horizon and spotting the stark ment that the characters are “with them”), they outlines, you can see perhaps a dozen similar quickly enter the hallways within the mining platforms. platform. The characters are issued visitor ID All over the planet’s surface are huge, wind­ tags which will grant them access to all public ing crags and pits, roughly gouged from the soft levels, including holoparks, shops and markets, red soil. The pits are deep enough that shadows and other common areas. block the view of the bottom. The entire city shakes with the raw power put Off in the distance you can see a dust storm out by the power generators. The red dust seems swirling over the surface. It seems to be wind­ omnipresent, from the floors to the ceilings, to ing around one of the crags, and by compari­ even a light dusting on the clothes of the people. son, it is perhaps five times are large as one of The city is populated by grim-faced, hard work­ the mining platforms. As it bears down on the ing citizens of the Empire. helpless platform, you see the platform’s ener­ The thugs will lead the characters through gies arc out to form a spherical shield. The turbolifts to higher levels in the city. They will storm cloud plows straight into the shield, mak­ notice that each person has an ID badge on their ing yet another spectacular lightning show. clothing, whether they are working or off-duty; Then, most of its energy dispersed, the storm even children have these badges. The badges are shrinks in size and swirls off toward the hori­ used to regulate the presence of personnel on zon, like a defeated, wounded animal. certain floors. The characters are told to fly toward a specific platform. As they get closer, more details be­ Encountering Fek'ra come apparent. The platform is at least 500 meters They are brought to a corporate floor and are wide at its base, and it is currently astride a pit. ushered into a huge suite area. It has a window Crimson energy beams can be seen flashing be­ looking out on the planet. It is actually like a neath the platform, in the pit, and soon after, throne room of sorts — a strikingly beautiful huge clouds of red dust rise from the pit into the Human woman is sitting on an elevated chair; air. The mining is underway. there are cushions in a semi-circle facing the The tower itself has scores of landing bays chair. capable of landing small freighters. There are There are five guard droids looking over things, many support hover flitters and cloud cars buzz­ as well as numerous assistants (a pair of Hu­ ing around the platforms, while a pair of cargo mans, a Twi’lek doorman, and a weasel-like 1.3 barges hover over the top of the platform. Each meter tall alien called a Mostlaa, who seems to be barge bristles with defensive weaponry and seems an executive assistant). On one side of the room to have an escort of no less than a dozen there are numerous computers projecting holo­ starfighters of various types (none of these de­ graphs of various things — a profit projection signs are used by the Rebellion or the Empire). chart, a hologram of a distant planet, as well as Half a dozen small repulsor ore haulers are wait­ the holonews on one of the local broadcast sta­ ing to enter the opening to the barges’ bays, tions. where the result of the mining, unrefined Nova Five Guard Droids. All stats are ID except: Crystals, are prepared for the journey to indus­ Dexterity 2D, blaster 6D+2, dodge 5D+1, Strength trial planets. 2D. Move: 10. Internal body armor (+3D), internal The characters are told that Cotellier’s only blaster pistol (damage 4D). industry is Nova Crystal mining. Each platform

116 Gamemaster Handbook —STAR. Tales of the Smoking Blaster “WART Paul Daly

Clars, Twi’lek Doorman. Dexterity ID, dodge “Since my employer had already paid for 3D, Knowledge 3D, alien species 4D, cultures 5D, these parts, this upset him. However, that is languages 4D+2, streetwise 6D+1, value 5D+1, neither here nor there. I am here to talk about Mechanical ID, Perception 4D, bargain 6D+2, con you. 7D, persuasion 6D, search 6D+1, Strength 2D, Tech­ “You are in a bit of trouble. My men saved nical ID. Move: 10. Character Points: 5. Elegant you from a group of hired thugs on Dravian clothing, personal datapad, comlink, ear receiver Starport. These thugs were hired by Yosger to for comlink. kill you and take your ship — the Smoking Jimmer, Mostlaa Assistant. All stats are 1D+2 Blaster is it?— to his base of operations. Yosger except: Dexterity ID, blaster 3D, dodge 4D, Knowl­ has placed a bounty of 3,000 credits on you. He edge 3D, business 5D, languages 4D+1, value 7D+1, wants you dead and your ship delivered to him. Perception 3D, bargain 4D, investigation 9D. Move: “It seems that a disgruntled employer of 8. Character Points: 3. Datapad. Yosger’s, a computer technician of some sort, dropped a ‘pocket’ onto your computer system. The woman is tall, with long-black hair and That pocket contained the layout and security deep green eyes. She smiles and introduces her­ procedures for all of Yosger’s operations and self as Nilya Fek’ra. She explains the following. bases. Read aloud: “We were going to pay this technician a “My, my, you people have gotten yourselves handsome sum for that information. Unfortu­ into a mess. I don’t suppose you know who I am. nately, he was caught and killed after loading “I am Nilya Fek’ra, executive assistant to a the information onto the Smoking Blaster’s prominent... private businessman who deals in computer system. Fortunately for my employer, controversial industries. I was to receive the he will be able to retrieve that information from cargo of droid matrixes, but as you know, they your vessel’s computer system. were stolen in a well executed pirate attack. “With that information, my boss will be able “If you haven’t figured it out yet, and frankly to topple Yosger’s operations and replace them I would be disappointed in you if you hadn’t, with his own. But, I am short on manpower at you were set-up by the man who hired you to this time, and I need you to help me with a raid deliver the parts in the first place. Yosger stole on Yosger’s prime base. the matrixes because he found a buyer who “If you helped, I’m sure that my boss could would pay a better price for them. convince Yosger to call off the bounty, allowing you to continue your relatively mundane exist-

Gamemaster Handbook 117 Tales of the Smoking Blaster JTTAI WAR

118 Gamemaster Handbook __ STAR. Tales of the Smoking Blaster —WART

■ Nilya Fek'ra Type: Ambitious Subordinate Gangster STR+1D), molecular stiletto hidden in boot (damage DEXTERITY 2D+1 STR+1D+2), fancy clothing, personal datapad, comlink, Blaster 4D, dodge 5D, melee combat 5D, melee parry 5D+1, microtransceiver for comlink and subspace radio hidden pick pocket 4D+2 in ear KNOWLEDGE 3D+2 Capsule: Nilya Fek’ra is an elegant, graceful and Alien species 5D+2, bureaucracy 6D, business 5D, cul­ attractive woman who would cut your heart out if tures 4D, intimidation 5D+2, languages 5D+2, law enforce­ the credits were right. She has worked for “the ment 5D, streetwise 6D+1, value 5D+1 boss” for several years now, trying to piece to­ MECHANICAL 2D+2 gether enough knowledge to run her own criminal Beast riding 3D+2, repulsorlift operation 3D+1, space trans­ ports 4D empire should “fate” ever dictate a change of lead­ PERCEPTION 3D+1 ership. Bargain 4D+2, command 6D+1, con 6D+2, forgery 4D+1, Her personality is smug and self-assured. When investigation 4D+1, persuasion 4D+2, search 3D+2, sneak she believes she has all of the pieces of the puzzle, 4D+1 and is dealing with someone who hasn’t figured out STRENGTH 3D+2 the whole puzzle, her arrogance is very noticeable. Brawling 4D+1 However, she is true to her word, and thus is very TECHNICAL 2D+1 careful about what she promises. She also knows Computer programming/repair 4D, first aid 3D how to use silence as a weapon — what she doesn’t Character Points: 12 Move: 10 say is just as important as what she says. She enjoys Equipment: Blaster pistol (damage 4D), vibroknife (damge the air of mystery and deviousness her actions and mannerisms tend to suggest. ences without fending off bounty hunters at To Yorseg's Base every turn. As well, I can promise your group a The moon Carz orbits a gas giant in a system fee of 5,000 credits for your assistance. so unimportant that it is only known to the galaxy “If you don’t want to help, the bounty will by its a twenty digit number/identification code. remain — perhaps even be increased — and The base is hidden deep in a canyon on the you will have gained a enemy. And powerful moon, burrowed into the thick rock and hidden we wouldn’t want that, would we? from probing sensors by elaborate energy bafflers “Do you accept?” and the thick rock itself. In order to minimize the risk of detection, the base doesn’t even use sensor Cut To ... scans; instead, it depends upon secrecy and low It’s assumed that the characters will want to energy-emissions for survival — its energy damp­ have the bounty eliminated, and will be greedy ers mask it so well that unless you know exactly for the credits. Turn to Episode Four, “Show­ where it is, it will be almost impossible to find. down.” Fortunately, Nilya knows exactly where it is. However, there are several problems. The crags Episode Four: leading to the base are so tight that it would be Showdown nearly impossible to pilot a Corellian Gunship in to attack the base. Also, even though the base is The characters have been politely asked to “lightly defended,” there are still more than enough help in a raid on Yorseg’s base of operations. In troops and ships to cause problems in a direct return, Nilya Fek’ra’s mysterious boss has prom­ assault — if Yorseg knows the assault is coming. ised to remove the bounty on them and the Secrecy is also important because if Yorseg knows Smoking Blaster. that Nilya is coming, he will destroy the security This is the big battle scene, and as such, run it droid matrixes rather than let her steal them. like the example of the Battle of Korseg IV on page The tortuous path to the base is difficult even 32 of Star Wars: The Roleplaying Game, Second for the Smoking Blaster. Hidden deep in the crags, Edition. it is nearly three kilometers down from the sur­ The players will be charged with flying the face, and the only way to the base is through the Smoking Blaster into combat against Yorseg’s canyon itself, since outcroppings block a path forces on a moon in the Carz system. Nilya, the straight from the surface to the base. Once near squad of thugs (who are her best operatives) and the base, some of the characters will have to the player characters will directly infiltrate the approach the base in space suits, cut through an base, while a Corellian Gunship of Nilya’s covers airlock and invade the base, steal the droid ma­ the base and prevents evacuation. trixes, and then summon the Blaster to evacuate

Gamemaster Handbook 119

__ roll Perception WARJ““ -STAR sensors roll,explosives could Gamemaster HandbookGamemaster and describe how it bounced Scene TwoScene roll is successful, the sensor demolitions Encounter Two roll. Blaster sensors totals; thesecond co-pilot can make an sensors This takes place about 6,000 meters from the This scene covers about ten more minutes of Whoeversucceeds atthe rolls notices, nearly If If the The players, or Nilya, will probablyfigure out search against the off the rocks, scraping the hull plating. base (important for the final battle). Have the travel, but can describebe quicklyhow the summarized.channel gets tighter, Simply with fewa close calls and so forth. or pilot and the co-pilot make Moderate Easy three kilometers rockstraight outcropping. up, a It seemsverycanyon. precarious toThe hang outcroppingout over the is the only thing pre­ from this location. venting a pathstraight up and outthe of canyon that this outcroppingcausewouldit make the wasbase much nevereasier to find removed be­ operator can find a structural weakness and with sensors and provide too easy access. successfulEasy beset to destroy the escapeoutcropping, instead givingaquick the of flyingoutcropping through the is spottedcanyon. If but the suggests thatwith fivecharges detoniteof and a

roll dives sensors Blaster space transports having to wind through and a Corellian Gunship justthe in nicktime,of and Scene OneScene Blaster Blaster Encounter One Smoking Blaster The Nilya will smile and say, “There it is. Yorseg’s the charactersIf want, they can make a The ships zoom in on the base. While the Describe the If If the second roll is failed, roll 2D damage hem, all before Yorseg discovers what is hap­ t pening and destroysinvaders. the matrixes or kills the comeouthyperspace of thein Carzsystem. ing Loom­ before them is a huge fluorescent blue and white gas giant, and asmall orbiting moon. base.” roll (sensors actlyset whereon focus; to scan)Nilya tells — if theythem makeex­ a Difficult Gunshipis leftin orbit to guard, the total, they will detect the base at the end of a pected outcroppings and such. Have the pilot into the crags.navigation The must canyons be madeand purelyspotlights. areby instruments so dark that winding canyon, deep in the moon. the complex path through the rocks, with unex­ character make a Moderate fails,but rolls wellenough foran Easy total, allow himto stop the he can attempt the roll again. to navigate safely through the rocks; theif pilot

ales of the Smoking Blaster

T 120 Paul Daly __ STAR. Tales^o^heJ^mokingJ^last^ “WART failed, the demolitions difficulty should be raised energy attacks and +2D to physical ones, but to Moderate. Nilya has a remote detonator on the reduce all Dexterity based actions by-ID. ship, so the detonite can be set off at any time. Since there is very light gravity on this world, Have the pilot make a Moderate space trans­ one blast will keep the characters moving at the ports total to safely navigate the canyon. same rate — because of this, at the halfway point the characters will have to fire a burst in reverse Scene Three to slow themselves down or smash into the rock, This is about 500 meters from the base. Nilya doing 6D damage. Nilya will warn the characters says the Blaster should be left here while she, her if they don’t think of this. thugs and the characters infiltrate the base. The As they approach the base, there isn’t a lot to pilot and co-pilot will need to stay on the Blaster, look at. Simple landing lights lead to a hangar but the rest can suit up in space suits with rocket bay; there is an airlock nearby. Other than that, packs to invade the base. nothing is visible from the surface. The rocket packs’ Move is 100 (remember Cutting through the outer airlock (this takes they can move 4 times per turn) and they have two minutes with the fusion torch), the troops eight bursts. Characters use their Mechanical enter the base. Nilya’s thugs quickly reseal the skill to control the rocket packs, but maneuver­ outer airlock door (so as to not raise a security ing in open space only requires Very Easy rolls. alarm when the inner airlock door is opened). Nilya will give each character a blaster rifle (dam­ The characters should take off their suits. If age 5D) and the suits provide armor of +1D to they try running around in their suits, their Move

DIAGRAM 2 The Pirate Base

Gamemaster Handbook 121 Tales of the Smoking Blaster JTAI

------\ to put the entire base on alert. If an alert is placed, ■ Yorseg five more pirates will show up in three rounds, Type: Petty Crime Boss and they will start trailing the pathway of the DEXTERITY 4D characters to the cargo rooms. In addition, cut to Blaster 6D, dodge 6D+2 Scene Four. KNOWLEDGE 2D+1 Alien species 4D, languages 5D, intimidation 5D+2, streetwise 7D Pirates. All stats are 2D except: Dexterity 3D, MECHANICAL 2D blaster 5D+2, dodge 4D+2, grenade 4D+1, Percep­ PERCEPTION 3D+2 tion 3D, bargain 4D, con 5D+1, sneak 4D+2, Strength Bargain 5D, command 6D, con 5D+2 3D. Move: 10. Character Points: 1. Blaster rifle STRENGTH 4D TECHNICAL 2D (5D damage), stun grenades (6D stun damage, 3 Force Points: 2 meter gas cloud radius), comlink. Character Points: 15 Move: 10 Scene Four Equipment: Blaster rifle (damage 5D), vibroblade (damage STR+2D), comlink This is a cut-away. Nilya and her thugs are Capsule: Yorseg is a petty crime lord who has recently sneaking around the landing bay. There are three ventured into the high profit field of illegal weapons and Z-95s (identical stats as in the first episode), and accessories. Unfortunately, he isn’t smart enough to know perhaps half a dozen technicians wandering that the customers he deals with now expect him to keep his around. Nilya and the gang are hiding behind word. some large crates. Yorseg’s personality is remarkably bland. He seems to do little more than plot his actions and sneer with anger when She directs them to an access tunnel, and they he is proven wrong. When the blaster bolts start flying, he cut it open with a small vibroblade. She tells them will consider himself lucky if he survives to sneer again. that they can safely crawl to the main power generator and life support system and tells them V______/ to set the explosives near there. She has the remote detonator. is reduced by 5. They can use the rocket packs in If the player characters caused an alert, sirens the hall, but each blast only takes them 20 meters and klaxons go blaring off, and ten pirates enter and requires a Difficult Mechanical or rocket pack the bay. operation roll. If the character fails the roll by 1- 5 points, he smashes into the floor, walls or Encounter Four ceiling, doing 3D damage. If the roll is missed by The characters break into the cargo room 6-10 points, the collision causes 5D damage. If the marked “X” (where the matrixes are stored). roll is missed by 11 or more points, the collision There are three laborers (same stats as the pi­ causes 7D damage. rates), but only with blaster pistols lying on a The players should be given a map of the base table near the door; the laborers are scattered since they have Nilya’s data readouts. Since they throughout the room. know the security procedures, this should be a The characters must prevent the laborers from simple sneak and grab ... hitting the alarm near the door. However, these As they are sneaking down the hallway, Nilya laborers aren’t particularly disciplined or moti­ has the characters split off from her and the thugs. vated, so they won’t sacrifice themselves just for Nilya’s group is going to plant explosives to de­ the sake of raising an alarm — they’d rather live stroy the base and try to disable the starfighters in to fight another day. The matrixes are piled in the hangar bay, while the characters are charged three small crates (each can be carried by a with going to the cargo room marked on the map person with both hands). and retrieving the droid matrixes. If there is no alarm, the characters should be If the characters insist on exploring, they will able to sneak to the hangar bay without any quickly be discovered and appropriate alarms will hassle. However, if the alarm is raised, they will be set off if the pirates survive long enough to reach have to fight a group of five more pirates. their comlinks. Most of the details of each room will have to be ad-libbed, but it should be enough for Encounter Five the characters to have to face countless streams of If no alarm was raised, Nilya’s thugs return to pirates if they make a major mistake. the hanger bay without any problems; the char­ Encounter Three acters can join here. When they return, though, a new group of people enter the hangar bay. The characters can sneak to the cargo room. Yorseg enters with a dozen pirates. He is talk­ Have them make Easy sneak rolls to get by a ing about how he will make millions of credits group of three pirates. If they fail, they should from the droids, and then he can begin muscling have no problem taking out the pirates, but if the in on other criminal syndicates. Nilya decides pirates get a chance, they will use their comlinks that capturing Yorseg is a really good idea. The

122 Gamemaster Handbook —^ T A R . Tates of the Smoking Blaster "WART call is sent out for the Smoking Blaster to land in If Using The Shortcut the hangar bay for a quick rescue. Remember that it’s only 6,000 meters to the If the alarm has been raised, the same situa­ short-cut and another 3,000 up to the surface. tion happens, except Yorseg is ready for combat, The terrain through this whole area is Easy. and the pirates are scouring the bay looking for If there are no pursuing Z-95s, this can be Nilya and the player characters. summarized with one simple roll. However, if the Yorseg’s objective will be to capture and kill Blaster is facing combat, this can be run as a Nilya and the player characters and save those round-by-round combat, with descriptions of the droid matrixes. He will try cons, armed combat Blaster and the Z-95s winding and diving around or anything else that seems likely to work. rocks. Meanwhile the pilot and co-pilot of the Smok­ ing Blaster will get the call to bring theil/as/erinto If Going The Long Way the hangar bay to pick up everyone. The diffi­ culty to land the Blaster depends upon how many Do five terrain rolls at Moderate to Difficult moves they are making in the turn that they are difficulties to simulate the chase through the trying to land (simply because the more times rocks, with the Z-95s also having to make those you move, the faster you are going): totals. These are representative of the most chal­ lenging portions of the chase (kind of like when 1 move Very Easy the Millennium Falcon is flying in the interior of 2 moves Easy the Death Star). 3 moves Moderate 4 moves Difficult Rewards The pilot or co-pilot may also choose to strafe Emerging (presumably) victorious, the jump those pesky Z-95s in the hangar bay (they are at back to Cotellier is quick and safe. Nilya rewards point-blank range after all). After the Smoking the characters as promised, and they will be Blaster goes zooming out of the hangar bay, it can ready for yet another installment oiTales of the wind itself through the rocks. Smoking Blaster. Award Force Points normally The distance of the escape depends upon and award each character 5-10 Character Points whether or not they blasted the ledge and take based on how well the characters did and how the short-cut, or take the long, original path. well the players acted out their rolls. Whatever the case, any remaining Z-95s will come in for hot pursuit two rounds after the Blaster leaves.

Gamemaster Handbook 123 Rules Questions -STAI WAR

Star Wars Rules Questions

Here are questions, clarifications and com­ Droid Player Characters mentary based on your responses to Star Wars: Here is a revision and clarification of the sys­ The Roleplaying Game, Second Edition. tem for creating droid player characters. If you have questions or comments on any of Types of droids as listed in the various other Star Wars products, send your letters (with sourcebooks are “stock” droids: all new droids of a SASE so we can reply to you) to: this make and specific model will automatically West End Games come with those specific skills, attributes and RR 3 Box 2345 equipment. Honesdale, PA 18431 Human and alien player characters begin with Attn: Star Wars 25 dice (18D in attributes and 7D in skills). Total up the dice of the stock droid, including at­ Corrections tributes, skills, weapons, armor and special at­ • The Young Jedi template (page 175 of Star Wars: tachm ents that add extra skill dice. For informa­ The Roleplaying Game, Second Edition) is sup­ tion on how to add dice, see Chapter Four, “Gamemaster Characters.” Do not included any posed to have attributes of Dexterity 3D and Perception 4D. dice from special abilites that grant droids extra dice at the time of the character’s creation only. • The Heir to the Empire Sourcebook used the For example, if a droid has a special ability that term “Fate Points.” This term was changed to gives him 4D bonus skill dice for Technical skills, “Character Points” in the final stages of develop­ this doesn’t count toward the total when gener­ ment of Second Edition to avoid confusion with ating characters since these are bonus dice. “Force Points.” If the totcil of the dice is less than 25D, the • The Wookiee berserker rage special ability player may put the rest in skills and attachments should be ammended as follows: (not attributes), with a limit of placing up to 4D in any single skill (instead of the limit of 2D for When trying to calm down from a berserker Humans and aliens). The player may add these rage while enemies are still present, the Wookiee skill dice to “pre-programmed” skills, but the must make a Moderate total. The Perception starting extra dice may not total more than 4D Wookiee suffers a -ID penalty to their Perception above the attribute. and rolls a minimum of ID for the check (there­ Droids may later improve skills and attributes fore, while most Wookiees are enraged, they will in the same way that characters do, although the normally have to roll a 6 with their Wild Die to be gamemaster may choose to rule that certain able to calm down). Please note that this penalty special attachments will have to be purchased applies to enemies. with credits. After all enemies have been eliminated, the character must only make an Easy Perception Example: John decides that he wants to total (with no penalty) to calm down. play a DeepSpace 9G Explorer Droid. The Wookiee player character must be careful when droid has 6D attribute dice, 3D skill dice, and using Force Points while in a berserker rage. Since 7D in attachments (the grasping arm adds the rage is clearly based on anger and aggres­ +3D to lifting the long-range sensor adds +2D sion, using Force Points will almost always lead to to search, and the movement sensor adds the character getting a Dark Side Point. The use +2D to search^, for a total of 16 dice. This of the Force Point must be wholly justified not to leaves John 9D to allocate to other skills and incur a Dark Side Point. attachments.

124 Gamemaster Handbook __ STAR. Rules Questions “WART

John can add any new skills he wants, putting 2) In the movies, the heroes got to merrily up to 4D in them. The only skill John’s character blast away at stormtroopers. It was felt that the has at this time is search, and the droid already game should allow the player characters to do has three extra dice in the skill. Therefore, John the same. could only add one more die to the search skill for However, that doesn’t mean that all his beginning character. stormtroopers have to be push-overs. Just as As a gamemaster, you can design “stock” droid characters are exceptional individuals, so there types that have many more attribute, skill and can and should be units of stormtroopers or attachment dice than a standard player charac­ individual troops who are exceptional and can ter would have. This can be balanced by making give the characters a run for their money. They the droid impractical to play, illegal in most would have comparable skills and amounts of places, very expensive to own, or by simply Force Points and Character Points. declaring that players may not play these droids. Q. What can a lightsaber cut through in If a player wants to play this type of droid, as regards to other melee weapons and walls? gamemaster you should warn the player that you will assign appropriate “story factor” balances to A lightsaber, given enough time, can cut keep the character from overpowering a game. through just about anyting. Consider melee weap­ ons, like vibroaxes, to have a Strength of 2D — in Questions other words, a lightsaber will cut through them most of the time. Q. If declaring first and you declare a dodge You can use the following guidelines from and later you find out that no one is shooting at Second Edition for walls and such: you, can you drop your dodge? Flimsy wooden door ID Strength No. If you declare a dodge, this counts as an Standard wooden door 2D Strength action (with appropriate multiple action penal­ Standard metal door 3D Strength ties) even if no one is shooting at you. Reinforced door 4D Strength Q. When parrying with a lightsaber, do you Blast door 6D Strength use your lightsaber skill? Yes. The lightsaber skill is used for attacks and New Formatting parries. You will notice a new, standardized format for Q. Can a Jedi’s sense skill influence initia­ the presentation of game statistics and related tive and/or declaring reactions? information in all future-Star Wars products. Here is an explanation of some new categories: No. However, the danger sense Jedi power on page 35 of the Dark Force Rising Sourcebook Characters allows Jedi to learn about attacks before they • Special categories, like Force-sensitive, Force occur. Points, Dark Side Points, Character Points and Q. Star Wars, Second Edition is a lot more Special Abilities will only be listed when pertinent. deadly. Why? • All of the various categories used to describe a In the Star Wars movies, very seldom do you character, from background, to quotes, to per­ see a character get hit by a blaster bolt and walk sonality, will be listed together in either a “cap­ away unscathed. We changed the game to more sule” or an essay (the format used in the various closely reflect the movies: not getting hit is more Star Wars sourcebooks). important. Starships Q. Stormtroopers are too weak to challenge • Crew: The first listing is the total crew for the my characters. What should I do? ship under normal conditions. Stormtroopers are supposed to be the “elite The second listing is for extra crew who can fighting forces of the Empire,” yet their game “coordinate” when doing actions. Each ship has stats seem lower than a lot of player characters. one prime person responsible for keeping con­ 1) Stormtroopers are very talented for “nor­ trol, running .sensors, calculating jumps to hy­ mal” people. Player characters in Star Wars are perspace and the like (on small ships, one person much more capable than normal people. There­ may do all of these duties, while on larger ships fore, an average stormtrooper is an elite trooper one person may be in charge of each operation). by comparison to average troop types in the Star While there might be hundreds of support crew Wars universe, but not much of a challenge for manning the machinery, whether the action suc­ many player characters. ceeds comes down to one character’s skill roll (hence the crew skill listing). However, under

Gamemaster Handbook 125 Rules Questions WARJ—

certain circumstances, extra crew members may when in an atmosphere. Some larger capital ships be able to add extra assistance (for example, Chewie cannot enter an atmosphere, and their atmosphere lends assistance as co-pilot on the Millennium ranges are used when the ship fires at a target in an Falcon). If a ship has a listing for “coordinate,” this atmosphere from orbit. To see if the ship can enter is the maximum number of people who can lend an atmosphere, see if it has an “Atmosphere” entry aid, and uses the “Combined Action” rules on under its “Space” entry. If not, the ship cannot pages 68-70 to determine difficulties to coordinate enter an atmosphere. and the die bonuses that result from coordinating. The next number is the number of gunners (for Vehicles example, “gunners: 15”) — gunners are in addition Altitude Range: Vehicles with only a ground to any normal crew members. listing (includes “Ground level”) are limited to that The final number is the “skeleton crew” listing: maximum range (for example, landspeeders can­ the first part of the listing is the absolute minimum not exceed their maximum height). number of crewmembers necessary to fly the ship, Some air vehicles have multiple listings. The while the number behind the slash is the increase first listing is the optimal altitude range for the in difficulty for any actions with a skeleton crew. vehicle. Subsequent ranges may be higher or lower For example, if a listing is “skeleton: 130/+10,” that and list any penalties associated with travelling in means there must be a minimum of 130 crew that range. A vehicle may not travel higher than the members to fly the ship, and while on a skeleton maximum listing for the vehicle. crew, add +10 to the difficulty number for all ma­ neuvering, movement and shielding actions. This Example: An airspeeder with a listing of modifier doesn’t apply to gunnery difficulties. “100-500 meters; 99 or less, -ID maneuver­ ability; 501-750 meters, -ID maneuverability" Cost: For stock models of ships, the cost will list means the following: When the airspeeder is “new” and “used” prices for ships. For specific at an altitude 100 to 500 meters, is suffers no individual ships, like the Millennium Falcon, the penalities. When it is travelling 99 meters or cost listing is what the owner would reasonably less in altitude, it suffers a penalty of-ID to expect to sell the ship for. maneuverability. When it is flying 501 to 750 Space/Atmosphere: By using the charts in Sec­ meters, it is suffers a penalty of-ID to maneu­ ond Edition and in the Star Wars GamemasterScreen, verability. It cannot exceed an altitude of 750 you can figure out close approximations for con­ meters. verting ships from space speeds to atmosphere speeds and vice versa. These are averages—since Weapons some ships are more streamlined or bulky than Damage: Some weapons lose damage value others, their atmosphere and space stats might over range or blast radius. If a weapon listing is not match the chart. something like “5D/4D/3D/2D” then that means it Weapons: If a weapon has no “crew” listing, then causes less damage over the blast radius. Com­ that means the weapon is fired by the pilot. Some pare the ranges of the blast radius to see what weapons have “fire linking” — that means that damage it should cause. groups of guns fire as one weapon. For example, if If a weapon has listings for damage and meters, a ship had “20 Quad Lasers (fire-linked in groups of that means the weapon loses damage over range. four),” that would mean that there are actually only For example, a listing of “5D: 10m/4D:50m/3D: 100m/ five individual turrets that could be fired. The stats 2D” means that the weapon causes 5D damage to for a weapon list the values for the weapon includ­ targets 10 meters away or less, 4D damage to ing the effects of fire-linking. targets 11 to 50 meters away, 3D damage to targets Atmosphere Range: Ships that can enter an at­ 51 to 100 meters away, and 2D damage 101 meters mosphere use the atmosphere range for weapons up to the weapon’s maximum range.

126 Gamemaster Handbook r The Star Wars Questionnaire We want your help! West End Games wants to produce the Star Wars materials you want to see . Please fill out this questionnaire and return it to us. If you need more space to write down your answers or ideas, go ahead and attach additional sheets! Go ahead and make copies for your friends too — we want as much information as you can give us!

Name: Address: City, State, Zip:

General Questions: How old are you?______With how many people do you play Star W ars?______How often?______Do you use any computer bulletin boards (BBS)? Which ones?______Did/do you buy: ______The Dark Horse Comics Dark Empire comic series? ______The Timothy Zahn Star Wars novels (Heir to the Empire, Dark Force Rising, or The Last Command)? ______The Dark Horse Comics Classic Star Wars comic series?

General Gaming Questions: What other roleplaying games do you play, how often, and what do you like most about them?

What are your favorite game products (for any game line) and why?

How many game conventions do you go to each year and which ones? Which game magazines do you buy and how often?

Check any of the following that apply: ______1 am interested in playtesting future West End Games products (please list games you are interested in):

______1 want to be added to your mailing list. ______If you have any contests (for example: creating new starships for Star Wars), please send me rules and entry forms.

If you would like any of the following, please check them below and enclose a self-addressed stamped envelope: ______Current West End Catalog ______Writers’ Guidelines and Release Forms ______Writing Guidelines for the Star Wars Journal

Star Wars Questions: How many other West End Games Star Wars products do you own?

/ \ W hat is the Star Wars Journal? We know that a lot of you have great ideas for starships, aliens, short adventures, character templates and other things, but you don’t want to write an entire magazine article or a whole product. The Star Wars Journal, if there seems to be interest in the book, would be a collection of reader submitted Star Wars “stuff” that you could use in your game: ships, characters, character templates, droids, short essays, adventures, adventure hooks, essays on the5far Wars universe and anything else relating to the game. It would be published in a Galaxy Guide or Adventure format whenever West End Games received enough quality submissions to make a worthwhile product. Sound like a good idea? V______J ______J r What do you like most about Star Wars: The Roleplaying Game?

What do you like least about Star Wars: The Roleplaying Game?

What are your favorite Star Wars game products and why?

What are your least favorite Star Wars game products and why?

How can West End improve its Sta r Wars products?

Future Products: Which of the following products would you like to see most (rank each one in order 1-23, 1-most, 23-least): .Imperial City/Coruscant Sourcebook .Galaxy Guide on Rebel/lmperial Special Forces Lando Calrissian Novels Sourcebook .Galaxy Guide on Vehicles New Republic Sourcebook .Galaxy Guide on new Aliens Sourcebooks on new Bantam S tar Wars Adult Novels .Galaxy Guide on Creatures Sourcebooks on Bantam Sta r Wars Juvenile Novels .Galaxy Guide on one or two systems or locations Classic Star Wars Sourcebook (like Galaxy Guide 2: Yavin and Bespin or (Dark Horse Comics newspaper series) Galaxy Guide 7: Mos Eisley) Sourcebook on the new Tales of the Jedi .A single sourcebook on each movie: A New Hope, Dark Horse Comics series (set in the days The Empire Strikes Back and Return of the Jedi. of the Old Republic) .Galaxy Guide on planets in Timothy Zahn novels: Galaxy Guide on Jedi Sluis Van, Wayland, etc. Galaxy Guide on Wookiees .Galaxy Guide on planets in Dark Empire comic Galaxy Guide on The Fringe (Crime lords, bounty series: Byss, Nar Shaddaa, etc. hunters, etc.) .More Star Wars Rules Companion type books, Galaxy Guide on Starships (with starship construction with advanced rules, new skills and similar system) material. Galaxy Guide on Droids (with more advanced _Star Wars Players’ Guide: How to create interesting droid rules) characters, with lots of new templates. Star Wars Journal

What format for Star Wars adventures do you prefer? Rank in order 1-5: 1-best, 5-worst. ______One adventure per book ______Several short adventures per book ______Two or three moderate length adventures per book ______Long, epic adventures with lots of material on the setting ______Combinations of short adventures and lots of material on the setting

What products would you like to see and what Star Wars subjects would you like to know more about?

Please mail your responses to: West End Games, RR 3 Box 2345, Honesdale, PA 18431, Attn: Star Wars Questionnaire I

I I I

I i

GAMEMASTER HANDBOOK FOR SECOND EDITION

“Kid, I’ve been from one side of this galaxy to the other...”

Bring all the excitement of the S ta r W ars universe to your games with the Star Wars Gamemaster Handbook. This book is a collection of inspirational and entertaining essays on all aspects of game design, from encounters, to creating gamemaster charac­ ters, to how to re a lly start a fun campaign. A complete guidebook on how to bring the S ta r W ars universe to life.

Complete chapters on each of these subjects: • Beginning Adventures • How To Improvise — And • The S ta r W ars Adventure — Make It Work The Universe And The Rules • Designing Equipment • Exciting Locations • Running Campaigns • How To Run Exciting Encounters • A Bonus Adventure — • Gamemaster Characters Tales of the Smoking Blaster.

Compatible with Star Wars: The Roleplaying Game, Second Edition.

W V tW E ST \*JI gAMES S U P P L E M E N T 40065

For ages 12 and up. ®, ™ & © 1993 Lucasfilm, Ltd. (LFL). All Rights Reserved. 0 9 Trademarks of LFL used by West End Games under authorization.