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01 Good Society PDF October 2018 PDF
01 Good Society PDF October 2018 PDF
ISBN 978-0-6481505-2-7
Printed in PRC
Storybrewers Roleplaying
www.storybrewersroleplaying.com
Playtesting: Caillin McKay, Alex Robinson, Claude Ying, Tess Gordon, Derek Proud, Lauren McManamon,
Sidney of Yon Icarus Manor, Lu Quade, Shayna Cook Brooke Wiegman (thtrnerd221), Tracy O’Brien, Yoshi
Creelman, Angel Garcia "Hijos del Rol", Megan Burgess, Moe Lane, Kelsey Rose, Hannah Gravius, Mikael Tysvær,
Clare Eastwood, Shannon Lee, Rob Nadeau, Christo Meid, Caitlyn B, Steven desJardins, Amanda Eisenberg,
Howard Brody, Bridge Geene, Nika Romanov, Emily Buza, Meghan Dornbrock, Scott Brown, Richard Kreutz-
Landry, Elf Vesala, Matt Lagemann, Carol Perry Lagemann, Aaron Elkiss, Rupert Dragonstone, Marie Welsh
Becker, Ellie Harstad, Sam, Rachel, Hauke, Jo, Julia, Lou Dorogi, Barbara Kciuk, Carolyn Noe, Ashley Power,
Nekochi, Violet Flohr, Jacque, Thursday, Randi, Matthew Barrowcliffe, Edith Barrowcliffe, Erin Hardee, Morag
Hannah, Derek Macloed, Cameron Ingram, Hannah Taylor, Romain Darmon, Jonathan Postillec, Fabrice Vicente,
Nicolas Béal, Fabrissou, Eleanor, Amanda, Kristen, Ben, Alex, Eli, Amanda Arute, Eli Seitz, Kristen Dabney, Eleanor
Tursman, Alex Trott, Ben Drabkin, Katrina Rue, Frank Super, Kate Kirby, Tiara Agresta, Adrian Agresta, Veronica
Leonard, Aaron Rusak, Michael Kidd, Lauren Saunders, Amy Kulchar, Nickolas Kulchar, Chantal Laumonnier,
Yves Laumonnier, Catherine Heinrich, Benoit Heinrich, Julia Page, Whitney Kaibel, Emory Cook, Megan Pressley,
Penny Sullivan, Jason Chappel, Isa Leira, HC, Bea CP, Elizabeth Brueggemann, Victoria Deal, John Westerfield,
Caity Logan, Julia Woodward, Miranda "MimosaVendetta" Rhys-Jones, Alexa Chipman, Megan Tomsky, Monique
Berger, Michael Cole, Lev Lafayette, Adam Daborn, Celeste DeAngelis, Joseph Unfried, Jay Novella, Cortney
Novella, Brian Trent, Douglas Sobon, Lee Thompson, Nicky Thompson, Willow Thompson, Kelsie Cleboski, Calvin
Chan, Nora Hill, Meaghen Krebsbach, Karen Poon, Wayne Peacock, Amanda McPherson, Buck Marchinton, Dee
McKinney, Ashlyn Cooper, Erin Cooper, Jasmin Faisal, James Waryga, Virginia Khavin, Matt Ainsworth, Emmy
Madrigal, Benjamin Chee, Helena Chee, Miranda Chee, Carlos Martín, Klaus, Michelle, Eden Lee Lackner, Colin
and Regina, Joan Barylski, Megan Smith, Deborah Bein, Beverly Tan, Mandy Petersen, Xa Lor, Oskari Pullinen,
Sisko Turunen, Kaisa Arminen, Miku Pesola, Barbara Lucas, Helen Davidge, Graham Woodhouse, Alex Barrett,
Heather Garrett, Anna Parikka, Bev Fortune, Ben Fortune, Jean-David Bodenan.
Deck of Connection characters created by: Alana Mancuso, Murray Dahm, Christine Ann Kneeland, Justina
Clayburn, Eric Williamson, Marc Miller, Richard Kreutz-Landry, Denis Ryan and Matthew Wallace, Daniel and
Joy Geaslen, Jonathan Villalobos, Mathew Sforcina, Gregory Hammond, Dorian Kelley, Elizabeth Bolden, Mike
Shema, David Tveraas, Joanna Kucharska, Stacie Arellano, Kel Cecil, Stephanie Mason, Marianya, Jonathan
Nease, Jessica Merizan, Karolyn Blake, Amanda Hamon Kunz, Elizabeth Corrigan, Alia Bigio, Grant Chapman.
HAYLEY GORDON
Game Design and Writing
VEE HENDRO
Game Design and Layout
ALEX ROBINSON
Additional Writing
LAUREN McMANAMON
Editing and Proofreading
RAVEN WARNER
Cover Illustration and Interior Art
AVIV OR
Connection Art
03
BACK-
resolve tokens
p.69
resolve token
negotations
p.82
novel chapter
phase
p.116
reputation phase
02
p.125
STORY reputation
p.37 rumour and
01
p.89 scandal phase
creating major p.126
characters inner conflicts
p.98 epistolary phase
COLLABO- p.38
p.130
RATION creating inner
OVERVIEW p.31 connections monologues
p.103
upkeep
p.3 p.48 phase
p.133
new major playing
characters connections play example
p.63 p.105 p.142
CONTENTS
06 07
09
FACILITA-
TOR PLAY-
p.149
SETS
facilitator tasks p.177
08
p.150 CHARAC-
using a playset
playing a major p.178 TERS
character p.213
10
p.166 creating a
playset character roles
first session p.179 p.214
advice ROLE-
p.167 tonal playsets PLAYING family
p.182 backgrounds
playing without
IN JANE p.240 KNOW-
a facilitator thematic AUSTEN'S ING
p.174 playsets WORLD AUSTEN
p.188 p.202 p.247
2
Chapter 1: Overview
Overview 01
Dearest friend,
3
Good Society
In this game, you and your fellow players will work together
to create your very own Jane Austen novel. You will take
on the role of a major character, similar to those found in
Austen's books—from a wealthy heir who falls in love with
the aloof new arrival, to a charming socialite bent on ruining
the reputation of their rivals.
But your influence over the story does not end with your
major character. Players in Good Society hold the power to
control the story itself, and change it to produce more drama,
romance, and scandal. Take the role of influential connections,
spread rumours, and orchestrate balls, carriage accidents, and
even marriages.
This book contains all of the rules you will need to play
Good Society. But you'll also find helpful tips for customising
your game, playsets for different themes and tones, and a
wealth of information about the characters and setting of
Austen's works. We have provided the author's tools—but the
fate of the characters and town that you create is entirely up
to you and your friends.
4
Chapter 1: Overview
5
Good Society
6
Chapter 1: Overview
EXAMPLES OF PLAY
As you read through this book, you'll find lots of
examples that look like this to help you understand
how to play the game. All of our examples centre on
one single game group, so we thought we'd share a
little bit about the players and characters you'll meet.
7
Good Society
8
Chapter 1: Overview
THE PLAYERS
Each player will take on the role of a major character—
the Regency gentry at the centre of your story. Players in
Good Society also wield broad narrative power—and will have
more fun if they use it!
9
Good Society
THE FACILITATOR
In most games of Good Society, one person will take the role
of Facilitator. Unlike many traditional roleplaying games,
the Facilitator in Good Society does not have unlimited
narrative control. They do not plan how the story will go,
or determine the actions of all the supporting characters.
Instead, the Facilitator shares creative power equally with
the players. They play a vital role in bringing the best out
of the players, and making the game feel like an Austen novel.
10
Chapter 1: Overview
FLOW OF PLAY
Good Society has a structured flow of play to make the game
more like an Austen novel.
Every time you start a new game of Good Society, you will
begin by completing Collaboration and Backstory. During
these steps, you will decide what kind of story you wish to tell,
and create the characters that will feature within it.
COLLABORATION BACKSTORY
Decide what kind of story Create major characters,
you would like to tell. and their connections.
Make decisions about Explore their histories,
the tone and content of relationships, reputation,
your novel so everyone is and family backgrounds.
on the same page.
11
Good Society
CYCLE OF PLAY
After that, your game of Good Society will take place in a series
of phases, arranged into the cycle of play. A game of Good
Society will usually consist of three to eight cycles. Each cycle
of play will take most groups two to three and half hours to
complete, making one cycle perfect for a single session.
CYCLE OF PLAY
1 Novel Chapter
2 Reputation
3 Rumour and Scandal
4 Epistolary
5 Novel Chapter
6 Reputation
7 Epistolary
8 Upkeep
We recommend you use the cycle of play sheet, included with the
PDF play materials, to help you move through the phases.
12
Chapter 1: Overview
MAJOR CHARACTERS
In Good Society, each player takes on the role of a major
character. Major characters, along with their desires,
DESIRES
In the deepest heart of every major character is a secret desire
—a burning hope or passion they wish to accomplish.
13
Good Society
DESIRE CARD
❶
❽
❸
❷ ❹
14
Chapter 1: Overview
Basic desires are great for first time players, or faster set-up.
They may also suit players in longer games who want less
specificity in their initial desire and relationship—allowing
greater freedom and control over their character.
15
Good Society
RELATIONSHIP CARD
❶
❷ ❸
16
Chapter 1: Overview
RELATIONSHIPS
Each desire card has one or more corresponding relationship
cards, which may change depending on which playset you
are using. Relationship cards detail relationships that exist
before play begins. Players will take relationship cards from
each other, establishing bonds between their characters.
17
Good Society
CHARACTER ROLE
While a proper lady or gentleman has a great many
characteristics, society reduces them to but one. A character's
role defines who they are, which connections they have to
Only one of each character role can appear in the game at any
one time. In a community as constantly watchful, gossiping,
and judgmental as that of H abershire, every person is
defined both by who they are, and who they're not. There is
but one Socialite, one Dowager, and one Heir of note—and all
of society is talking about them.
❶ ❸
18
Chapter 1: Overview
)
❷ Role Attributes: Role attributes are the typical hallmarks
of characters in Austen's fiction. It's up to you whether you
would like to incorporate them into your story or not. If you Role
Attributes
need inspiration for your character, role attributes are a great p.214
place to look.
>
❸ Inner Conflict: A major character's inner conflict is the
internal struggle they face within themselves. They may be
torn between love and duty, or their need for acceptance and Inner
desire for revenge. At the end of every cycle, players reflect Conflict
p.98
on their character's behaviour, and mark off where they have
taken action on one side of the conflict or the other.
19
Good Society
FAMILY BACKGROUND
More important than who one is in Regency society is
*
the family one comes from. Every major character has a
family background, ranging from Peerage to Humble Origins.
20
Chapter 1: Overview
RESOLVE TOKENS
Resolve tokens allow you to
change narrative details about the
world, and twist events in your
character's favour.
MONOLOGUE TOKENS
Internal monologue is a ubiquitous
and highly entertaining feature of
Austen's work that also appears in
Good Society.
>
You may play your monologue
token on another player at any time
during the game. When you do so, Monologue
Tokens
the other player must immediately p.103
reveal their major character's
inner monologue, disclosing their
thoughts, feelings, and plans.
21
Good Society
CONNECTION CARDS
❶
❷
❹
❺
22
Chapter 1: Overview
CONNECTIONS
>
Connections are supporting characters that hold tremendous
influence over the lives, situations, or hearts of the major
character they are attached to. Characters may love or hate Connections
p.48
their connections, but their influence cannot be denied.
If you are playing without the Deck of Connections, you will still be able to
create connections using the alternate rules on p.59.
23
PUBLIC
INFORMATION Good ❶
Society
SHEET
The public information sheet is where
you will store important details about
your game and its major characters.
Place this sheet in a location easily
viewable by all players. ❸
1. COLLABORATION
DECISIONS
Record the decisions made by your
group during Collaboration. You can
refer back to these throughout the
game. You can update this section as
needed when reviewing Collaboration
in the upkeep phase.
2. MAJOR CHARACTER
INFORMATION
This section records information
about each major character in a way
easily viewable by all players. It has
three sections.
Each player will take the role of one major character. If you
are playing with a Facilitator, they may choose to play a major
character as well as facilitate the game.
26
Chapter 1: Overview
Which playset will you use to set up your game, and will
you use it in part, or in full?
27
Good Society
28
Chapter 1: Overview
Playing in person
Playing online
ßß Collaboration decisions
ßß Character information
ßß Connections
ßß Rumours and scandal
ßß Monologue tokens
ßß Resolve tokens
29
Good Society
30
Chapter 2: Collaboration
Collaborat ion 02
Liza,
This year let you, myself, Kitty, and May make our
preparations together. Let us all stride into the ballroom
with unprecedented confidence in our attire.
31
Good Society
PERFORMING COLLABORATION
Before you start making decisions, discuss and note down what
Austen means to your group. What things does your group
expect to happen in the game? What do they want to do and see?
You can use this material to steer the game towards the
players' interests.
32
Chapter 2: Collaboration
COLLABORATION QUESTIONS
33
Good Society
34
Chapter 2: Collaboration
36
Chapter 3: Backstory
Backstory 03
>
you will need to know which playset you are using,
and whether you are using it in part, or in full.
Make sure you have all the playset's desire and Playsets
relationship cards on hand, as well as one of each p.177
character role sheet, and a couple of each family
background. For playset options, see p.177.
37
Good Society
Arthur,
There is no man in this world who can claim his life absent
from mistakes, and none who takes to the next life without
some regrets. As the estate and its care are shortly to
be yours, it is now time to reveal to you mine.
38
Chapter 3: Backstory
39
Good Society
<
Playsets
cards from your playset. If you are playing with some hidden
information, place the desire cards with the quote face-up
p.177 and don't let players look at the other ‘secret’ side. If you are
playing with no hidden information, place the desire cards
with the desire text face-up so that all players can read them.
If you are using a playset in full, lay out the desire cards,
relationship cards, character role sheets, and family background
sheets in sets as indicated. However, tell players not to fill out
their character role sheets just yet. This will be done in step 5.
40
Chapter 3: Backstory
If any player does not like the desire they have picked up,
they now have the opportunity to switch their desire and
relationship cards for the spare in the playset.
41
Good Society
42
Chapter 3: Backstory
43
Good Society
This step does not apply if you are using a playset in full.
“I'd like to take the Socialite,” says Nadia, “if nobody else
wants it. From Old Money. Oh, no, wait the Peerage.”
44
Chapter 3: Backstory
45
Good Society
STEP 6: INTRODUCTIONS
Time for introductions. Ask lots of questions to encourage
players to elaborate on their major character's personality
and relationships. We recommend each player write the name,
title, and age of their character on a paper stand for easy
reference during the game.
CHARACTER AGE
The presence of generational gaps between major characters has
the capacity to affect the interpersonal dynamics of a game of Good
Society significantly. For this reason, it's best to discuss ahead of time
whether any of the players in your game would like to play an older
character (40+).
46
Chapter 3: Backstory
47
Good Society
Lynette,
I hope the preparations for the picnic are coming along well?
It was so noble of you to take on such a weighty undertaking
without my assistance—such self-sacrifice.
<
Playing
influence over the lives, situations, or hearts of the major
character they are attached to. Characters may love their
connections, or they may hate them, but their influence cannot
Connections
p.105 be denied.
48
Chapter 3: Backstory
49
Good Society
50
Chapter 3: Backstory
51
Good Society
52
Chapter 3: Backstory
CREATING CONNECTIONS
Creating connections is a six step process. Players can complete
these steps at their own pace, but should discuss ideas with each
other as needed.
53
Good Society
Since this is a five cycle game, each major character will create
two connections, plus one mid-play. Edwin draws connection
cards equal to the number of connections he is creating during
Backstory plus two. Edwin draws four cards, and adds them to the
card he selected for his mandatory connection.
For his second connection, Edwin selects the sibling option from
the connection section of his character role sheet. He chooses to
create the sister of his major character Charlotte. Edwin selects
connection card #47, Isabel, for Charlotte's sister, choosing side ‘b’
of the card as he believes it describes her personality. He writes
sibling in the relationship field on Isabel's connection sheet.
54
Chapter 3: Backstory
MAKING CONNECTION
CARDS YOUR OWN
The card you select from the Deck of Connections is simply the
starting point for your connection. Feel free to add additional
information, attributes, or opinions of this connection on their sheet.
55
Good Society
❶
❷
❺
❸
❹ ❼
56
Chapter 3: Backstory
57
Good Society
<
EACH CONNECTION
Place two resolve tokens on each connection for use during the
Resolve
game. These tokens will be used by the person controlling the
Tokens
p.69 connection. We'll explain how these tokens work on p.69.
58
Chapter 3: Backstory
59
Good Society
❶
❶
❷❷
❺
❸❸
❹ ❼
60
Chapter 3: Backstory
WEALTH
Heir to more than
1 Comfortable or
£5000 a year
2 Recently rich or Hidden debts
3 Disinherited or Married into money
4 Appearances only or An honest living
5 Declining fortunes or Concealed fortunes
Unexpected
6 or Reliant on a patron
inheritance
REPUTATION
Whispers
1-2 Famous respectability or
and glances
Upholds the Rumours of past
3-4 or
family name misdemeanours
Extremely
5-6 Socially embarrassing or
well-connected
61
Good Society
62
Chapter 3: Backstory
>
Place two resolve tokens on each connection for use during the
game. These tokens will be used by the person controlling the
connection. We'll explain how these tokens work on p.69. Resolve
Tokens
Once connections have been created, and all players are p.69
comfortable with who is who, then it's time to start play!
63
Good Society
64
Chapter 3: Backstory
CHECKPOINT:
BEFORE YOU START
THE FIRST CYCLE
Before you begin the first cycle, each person playing a
major character should have the following:
͠͠ A desire card
͠͠ A relationship card (taken)
͠͠ A character role sheet
͠͠ A family background
͠͠ The connection sheet of the connection they will
play during the game
͠͠ Two resolve tokens
͠͠ One monologue token
65
Good Society
66
Chapter 4: Rules of Play
Rules
of Play 04
67
Good Society
CONSENT
AND PLAYER COMFORT
<
Consent is important, since players have the power
to take the story in any direction they wish (within
the bounds of Collaboration decisions). There is a
X-Card specific mechanic for managing consent where resolve
p.35 tokens are involved. However, players should always be
respectful of each other, even if their characters aren't!
68
Chapter 4: Rules of Play
RULES OF PLAY
ßß Resolve Tokens, p.69 ßß Inner Conflict, p.98
ßß Negotiations, p.82 ßß Inner Monologue, p.103
ßß Reputation, p.89 ßß Playing Connections, p.105
RESOLVE TOKENS
Hatty,
In Good Society, every player has the ability to shape the story.
However, they must do so according to the game's rules.
These rules determine when you are allowed to shape the
story simply by saying what happens, and when you will need
to use a resolve token.
69
Good Society
In general, you will need to use a resolve token when you want
to change or shape the narrative in a way that is significant
to the story, and beyond the actions of your major character.
You will not need to use a resolve token for minor narrative
changes or details.
Each player starts the game with two resolve tokens unless
their desire card states otherwise. The Facilitator starts
with three. Each connection starts with their own pool of
two resolve tokens. Rumours and reputation tags can also
provide additional resolve tokens to use during the game,
allowing players an opportunity to bring them into play.
<
Negotiations
When you use a resolve token, discard it—unless the rules
direct you to negotiate with another player. In that case, give
the token to that player or a connection they control upon
p.82
successful negotiation.
70
Chapter 4: Rules of Play
RESPECTING COLLABORATION
Players may not shape the story outside of the boundaries agreed
during Collaboration, whether they spend a resolve token or not.
If a player tries to take the game outside of those boundaries,
stop play and point it out. You may also wish to suggest an
alternative that fits the boundaries of the game.
71
Good Society
8 ‘Difficult
ßß If you want your major character or a connection you
control to do or know something difficult or unlikely,
or Unlikely’
which is of significance to the story.
p.80 ßß If you want a connection you control to do something
‘Significant harmful to the interests of a major character or connection,
to the Story’ which is of significance to the story.
p.78
ßß If you want to create, contribute to, or change narrative
‘Harmful to events or details that are significant to the story, and are
the Interests’
p.86 beyond the actions of your major character or a connection
you control.
‘Compel’
p.76 ßß If you want to compel a major character or connection
to do, or feel something.
72
Chapter 4: Rules of Play
73
Good Society
<
Negotiations
major character or connection, which is of significance to the
story. Doing so will always engage the negotiation process.
Give your resolve token to the character or connection that
p.82
has had their interests harmed for later use.
74
Chapter 4: Rules of Play
75
Good Society
<
or connection to do or feel something. Compelling other
characters always engages the negotiation process. The resolve
Negotiations token is given to the compelled major character or connection
p.82 for their later use.
76
Chapter 4: Rules of Play
77
Good Society
78
Chapter 4: Rules of Play
79
Good Society
80
Chapter 4: Rules of Play
81
Good Society
RESOLVE TOKEN
NEGOTIATIONS
In the game, there are three
situations when a player wishing
to spend a resolve token must
first enter into a negotiation with
another player.
condition, p.87.
If any of these circumstances
apply, the player using the resolve
token cannot simply spend it for its
intended effect. Instead, they enter
the negotiation process.
82
Chapter 4: Rules of Play
83
Good Society
Examples opposite ➤
84
Chapter 4: Rules of Play
“At a funeral?”
“Well, that's fine with me,” says Edwin. “Charlotte has other plans.”
Edwin hands his resolve token to Shani, and she adds it to her personal
resolve token pool. Emma's cousin arrives at the manor mid-chapter
with the shocking news of her father's death.
Shani replies, “Yes, but only if his last request was that Fitzwilliam
marry Emma.”
Tammy replies, “Yes, but only if Geoff insists on also bringing his
sisters.” Edwin agrees, and gives his token to Tammy, who places it
in Geoff's pool. He's already thinking about Charlotte's plans to get
rid of them during the walk.
85
Good Society
86
Chapter 4: Rules of Play
Nadia accepts Shani's token, and Henry decides it's not yet time
to confess. Other connections will continue to follow Fitzwilliam's
romantic advice as usual.
87
Good Society
88
Chapter 4: Rules of Play
REPUTATION
89
Good Society
REPUTATION CRITERIA
Each major character in Good Society has four standard
reputation criteria and two unique criteria on their family
background sheet. Three of these criteria will determine
whether a character's reputation falls, while the remaining
three determine whether a character's reputation rises.
During each reputation phase, you will assess your major
character's behaviour against the reputation criteria to
determine whether your character's reputation has risen,
fallen, or remained neutral. Only evaluate your character's
actions since the last reputation phase.
90
Chapter 4: Rules of Play
PRIVATE BEHAVIOUR
Major characters will still meet reputation criteria even if their
actions occurred ‘in private’. Reputation represents the weight
of society's expectations which are ever constant, rather than
rumour or gossip spread by particular characters. Besides, in
Austen's world, the very walls have ears, and there is little done in
confidence which is not reported to the world at large.
91
Good Society
REPUTATION TAGS
R eputation tags are descriptive words that show how wider
society perceives a major character. Each major character
begins with two reputation tags selected from their family
background sheet.
Helpful Disrespectful
Brave
Gentlemanlike
92
Chapter 4: Rules of Play
Shani then trades that tag for a resolve token, and offers it to compel
Lady Thorn to change her mind. Lady Thorn's player accepts, and
Shani erases ‘selfless’ from the public information sheet.
93
Good Society
During the next chapter, Tammy, who plays Charlotte's mother (a connection),
decides to introduce some extra drama for Charlotte (Edwin's major
character). Tammy would like Charlotte's mother to ban Charlotte from
attending the upcoming ball, on the grounds that her disrespectful acts will
put the family name in jeopardy. Banning Charlotte from the ball would harm
the interests of a major character, so Tammy must spend a resolve token.
In the next cycle during an epistolary phase, Shani has a great idea of how
‘hostile’ can be used against Emma.
“What if Henry is too afraid to tell Emma the truth because of her hostile
reputation, so he tells Charlotte instead? Will you take a resolve token from
‘hostile’ to compel Henry to do that?” asks Shani.
Shani trades the ‘hostile’ tag for a resolve token and offers it to Nadia.
Nadia accepts the resolve token, and Shani erases ‘hostile’ from the public
information sheet. At least now it won't count towards reputation conditions!
94
Chapter 4: Rules of Play
REPUTATION CONDITIONS
R eputation conditions reflect the impact of a character's
ongoing rise or fall in reputation. They are different for each
character role, and are found in the reputation section of your
character role sheet.
95
Good Society
96
Chapter 4: Rules of Play
97
Good Society
INNER CONFLICT
ßß Love vs Wealth
ßß Family vs Independence
ßß Acceptance vs Revenge
98
Chapter 4: Rules of Play
Love Status
99
Good Society
You may mark off multiple boxes for a single action if it meets
more than one criteria on the table. If your character took
action on both sides of their inner conflict, you may also mark
off the same criteria on both sides of the table.
Then, take one resolve token for each box you marked, up to a
<
maximum of two tokens.
OUTDATED CONFLICTS
On rare occasions, unexpected events or plot twists
will render a character’s inner conflict irrelevant or
outdated. A player who believes their inner conflict is
no longer relevant may choose, instead of progressing
their inner conflict, to clear it off and create a new one.
This does not count as completing the conflict, so the
player does not receive an expanded backstory action.
100
Chapter 4: Rules of Play
Love Status
Nadia also marks the progress of her inner conflict on the public
information sheet so that all other players can easily reference it.
As Nadia marked off three boxes, she receives the maximum of two
resolve tokens. She's going to need them if Fitzwilliam is going to
have any chance with Emma.
101
Good Society
102
Chapter 4: Rules of Play
INNER MONOLOGUE
Wouldn't you love to know what your suitors and rivals are
truly thinking?
103
Good Society
example, while they look over old letters, or after spying their
old flame in the hustle and bustle of the town square.
104
Chapter 4: Rules of Play
PLAYING CONNECTIONS
Connections are an instrumental part of the drama in
Good Society and add more interest and intrigue to the game.
They can provide a pathway to both a character's ambitions,
and their ruin.
105
Good Society
If you're not sure what your connection should do, or how they
would react in any particular circumstance, remember these
two goals and use them to help direct your play.
106
Chapter 4: Rules of Play
107
Good Society
108
Chapter 4: Rules of Play
Remember, you can always ask for a resolve token for your
acquiescence if they try to compel your connection. Use the
token to complicate their lives later.
109
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110
Chapter 5: Cycles of Play
Cycles of
Play 05
If only you were here, my dear Lydia, that our days may rise
and fall together, like our chests as breath flies from our lips.
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CYCLE OF PLAY
1 Novel Chapter
2 Reputation
3 Rumour and Scandal
4 Epistolary
5 Novel Chapter
6 Reputation
7 Epistolary
8 Upkeep
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Depending on the time one cycle takes your group, the end of
a session and the end of a cycle might not align. That's fine,
simply pause the cycle at a phase of your choice when your
session is over, and return to that point next time you play.
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During the middle of the story, some story arcs may wrap
up completely. If they do, players can change their major
character's desire in the upkeep phase, and start unfolding
new drama.
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STARTING A CHAPTER
When you start a new novel chapter, you will need to do
three things:
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Take us straight to the shy Heir asking for the first dance,
the unexpected entrance of the old flame, or the Socialite
making a move on their rival's suitor.
Event chapter
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͠͠ Birthday ͠͠ Wedding
͠͠ Funeral ͠͠ Hunting
͠͠ Picnic ͠͠ Army regiment parade
͠͠ Ball ͠͠ Sale of the family manor
͠͠ Masked ball ͠͠ A birth
͠͠ Engagement party ͠͠ Christmas
͠͠ Country fair ͠͠ Ghost watching
͠͠ Dinner party ͠͠ Court
͠͠ Long nature walks ͠͠ The deathbed of a
͠͠ Theatre connection
͠͠ Amateur dramatics ͠͠ Garden party, ft. hedge
͠͠ Church maze of love
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SPOTLIGHTS
During event chapters, you can also make use of spotlights.
A spotlight is where play follows one major character for an
entire novel chapter, or a substantial section of it.
Visitation chapter
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Once the initiating player sets the scene, it then plays out.
Each visitation should capture one continuous moment of
action or conversation, and last only around 7 to 10 minutes
of play time. If necessary, players can establish what happens
before and after the conversation takes place.
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Split chapter
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While most scenes will play themselves out until they cease
to be interesting, you also have the power to start, end,
or pause scenes containing your major character or a
connection you control. You should use this to help the story
progress, and to make sure every player gets their moment.
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REPUTATION PHASE
>
The reputation phase takes place after each novel chapter.
Throughout the game, a major character's reputation will rise
and fall, and the effects of this change will be felt in their Reputation
daily life. During this phase, new reputations are formed, and p.89
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This means the last player to have their first turn will be the
first player to have their second turn.
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At the end of each rumour and scandal phase, cross off any
rumours not yet spread that have been previously marked
with the fade out symbol (📉).
Then, mark all remaining rumours that have not yet been
spread with the fade out symbol (📉). If these rumours are
not spread in the next rumour and scandal phase, they too
will be crossed off.
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EPISTOLARY PHASE
Between each chapter is an epistolary phase, for the writing
of letters. In this phase, each person may write up to two
letters from either their major character or a connection that
they control. The Facilitator may write as many letters as
required from a major character or connection they control,
or any other person necessary (for example, a records office,
a court official, or the Duke's chief of staff).
WRITING A LETTER
To write a letter, a player must first state who the letter is
from (their major character, or a connection they play),
and who will receive it. They then dictate the contents of the
letter out loud.
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If you're not sure who (if anyone) should pay a resolve token to
receive a letter, ask, “Who gets to decide the letter's content?”
If the character sending the letter gets to decide its content
and significance, then no resolve token needs to be spent.
However, if the player of the recipient decides the letter's
content and significance, they will need to use a resolve token.
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EPISTOLARY EXAMPLES
Edwin decides that Charlotte will write Emma a letter about the
events of the ball. Edwin dictates Charlotte's letter out loud,
repeating in exacting detail every embarrassing thing Emma did
to remind her of the perilous state of her reputation.
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UPKEEP PHASE
Between each cycle is an upkeep phase, which refreshes the
game for the next cycle.
UPKEEP STEPS
Upkeep consists of seven steps. In the upkeep phase, you will:
>
also receives one additional resolve token.
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<
Progressing
conflict table on their character role sheet to show how their
internal struggle has evolved.
an Inner Look at the criteria listed in the inner conflict table. Did your
Conflict
p.100
character's actions over the last cycle fit any of these options?
If they did, mark the box on the side of the conflict that
motivated them.
Next, take one resolve token for each box you marked, up to a
maximum of two tokens.
If any player has filled six boxes in total, or all five boxes on
one side, their inner conflict is complete. See p.102 for what
happens when a player completes their inner conflict.
5. Review Collaboration.
As a group, review the Collaboration decisions you made at
the beginning of the game. Is there anything you'd like to
change? Is there anything in the game you would like to see
more of? Or less?
4
Expanded
Any player who completed their inner conflict in this upkeep
phase must take an expanded backstory action.
Backstory
p.140
Note that if players wish to avoid slowing down the game,
they can also hold this action for the end of the session,
or even in-between sessions.
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REPLACING DESIRES
Our desires do not remain stagnant forever—they fluctuate
and change with our circumstances, and as we learn more
about the world and ourselves. So too, do the desires held by
characters in Good Society.
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Chapter 5: Cycles of Play
͠͠ Suitably dramatic.
͠͠ Hard to accomplish, but not impossible.
͠͠ Connected to at least one major character (your own
character counts).
͠͠ Something you can achieve through the actions of your
major character.
͠͠ Within the boundaries of Collaboration.
The two best sources for your new secret desire are the inner
conflict of your major character, and any other wants they
may have.
Your new desire should generally feed into, or at least relate to,
your character's inner conflict. It may push your character in
favour of one side of the conflict or another, or it may simply
make your character more conflicted.
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Once you know the idea behind the desire, write it out in full,
making sure it meets the requirements above. You might also
want to add the reason why your character holds that desire.
For example, “I want to ruin Emma and Fitzwilliam because
I seek revenge for Fitzwilliam's callous treatment of me.”
DESIRE TABLE
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“Frankly, it's to get out of her parents' house and start a new
life. But she's also worried about what will happen to the
rest of the family if she leaves,” replies Edwin.
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Place two resolve tokens on the new connection. For now, the
Facilitator will play this connection.
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Establish a relationship
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Shani: Yes.
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Nadia takes the token and puts it in Henry's resolve token pool.
Shani: YES!
Nadia: “Charmed.”
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R eputation phase
Shani: Popular?
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Epistolary phase
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Tammy: Absolutely.
Tammy takes the token and puts it in the resolve token pool
of Charlotte's mother.
Tammy (Geoff): “Um, uh, oh, good day Miss Taylor ah!”
He jumps up.
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We’ll leave our extended play example there. But our group
will then proceed to a reputation phase, followed by epistolary
and upkeep, then onward to the beginning of the next cycle.
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Facilitator 06
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FACILITATOR TASKS
͠͠ Respect the decisions made in Collaboration and foster a
collaborative environment, p.152.
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Players who have never played a story game before may also
benefit from understanding the ‘meta’ nature of Good Society.
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Action-focused Questions
͠͠ What do you do?
͠͠ How do you respond?
͠͠ Do you run after them?
Internal Questions
͠͠ What are you thinking?
͠͠ How do you feel hearing that?
͠͠ What are you hoping for in this conversation?
Description Questions
͠͠ What does the ballroom look like?
͠͠ How does Lady Thorn work the floor?
͠͠ How does your family prepare for the party?
Story- shaping Questions
͠͠ Does your brother approach him?
͠͠ Does the carriage make it before the storm?
͠͠ Do they reply to your letter?
Backstory Questions
͠͠ Where did you first meet Fitzwilliam?
͠͠ When did your parents pass away?
͠͠ Did you know her before she left for London?
Editorial Questions
͠͠ Do you want to flashback to that conversation?
͠͠ Did you want to use your monologue token now?
͠͠ Can we see how that plays out?
Once you've found out the answers, use them! They should
provide plenty of opportunities for story fodder, or for creating
obstacles to a player's desires (or ways to tempt them with a
resolve token).
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You will also work with the players to weave their narrative
contributions and character actions into a memorable story.
It will be your job to keep the narrative moving, focus on
the action, and make sure each major character gets an equal
share of the limelight.
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MEDIATE INTERRUPTIONS
There are a number of reasons why players may want to
interrupt a scene or letter which is playing out. They may
wish to suggest a direction for the story, play a resolve token
or monologue token, or ask questions about the unfolding
action. Players can hold up a resolve token or make a hand
gesture to show they would like to interrupt, or you may like
to house rule your own method.
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<
Spotlights
a particular major character into focus if they haven't been at
the centre of play for a little while.
p.120 Remember, connections don't need equal, or even any, play
time. Simply use them as the story dictates.
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them decide how it plays out. For example, “You don't like
Charlotte's family do you Emma? How does that play itself
out in your conversation with Charlotte's mother?”
Third, you can ask players to think about how the connections
they control might complicate the lives of the major characters.
Take a good look at the connections, their attitudes and
attributes, and their relationship to the major characters
and their desires. Then ask a question to help the player
controlling them to frame a conflict.
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>
When you use a connection to complicate the life of a major
character, consider the ideas outlined on p.106:
Complicating
͠͠ What is this major character's desire, and how can this with a
connection get in the way? Connection
p.106
͠͠ What is this character's inner conflict, and how can I add
fuel to the fire?
͠͠ Does this character need more romance in their lives?
Examples of how a connection may create complications:
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You will often end up with more resolve tokens than other
players—don't just use these to tell the story of your major
character. Instead, use these tokens to make the stories of all
the major characters intriguing and exciting.
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3. Complete Backstory.
When the players first receive their character role and
family background sheets, take a moment to walk through
them and explain the game's basic concepts.
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͠͠ A desire card
͠͠ A relationship card (taken)
͠͠ A character role sheet
͠͠ A family background sheet
͠͠ The connection sheet of the connection they control
͠͠ Two resolve tokens
͠͠ One monologue token
In the middle of the table, place:
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<
Playsets
hour usually dedicated to Backstory. Instead, choose a
playset ahead of time, and use it in full so you can dive into
p.177
play as quickly as possible. We'd recommend you choose a
playset marked as appropriate for a short game. When in
doubt, the romantic comedy playset is geared towards a
standard play experience.
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From there, it's time to start the first chapter. Try to start
the first chapter in the middle of the action to get the story
underway. Usually, you'll enter the game with a great deal
of pre-existing tension between characters—starting the
first chapter with that tension can be a great way to begin
your story.
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RULES CHANGES
There are four rule changes when playing without a Facilitator:
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They should:
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Chapter 7: Playsets
Playsets 07
But here there are hundreds of people just like us, each the
main character of a hundred different stories told a hundred
different ways.
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<
Preparing
1. Choose a playset with your fellow players.
Decide on a playset with your fellow players. You can pick
your Game from either a theme based playset or a tone based playset.
p.26 If you pick a tone based playset, the tone should reflect the
tone you selected during Collaboration.
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SELECT
In this step, select the desires and relationships you will use.
If you're using your custom playset in full, you will also need
to choose a character role and family background to go with
each desire. Remember to select one or two spare desires with
matching relationships to provide alternatives in case players
wish to change.
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# OF PLAYERS ● ● ● ● ● ● ● ● ● ● ● ●
<
Character
to be old enough to have a child. Older characters are a
great addition to the game, but they do require player
Age
willingness to take on such a character. Raise this concern
p.46 with players before including desires that demand a
generational gap. See the note on age on p.46.
MODIFYING, OR CREATING
YOUR OWN DESIRES
What if there is a theme or concept your group would
love to explore, but none of the existing desire cards
quite fit the bill? You can easily make secret desires to
fit new themes by modifying existing cards, or creating
new ones using the guidelines on p.137.
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TROUBLESHOOT
Once you've selected the desires, the next step is to
troubleshoot your custom playset. When you do this, think
about the four questions below:
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TONAL PLAYSETS
Tone is very important to a game of Good Society. As a group,
you will pick the tone during Collaboration, choosing from
farce, romantic comedy, or drama. However, maintaining the
desired tone can be difficult if the subject matter does not
accord with the level of seriousness.
FARCE
“Which of all my important nothings shall I tell you first?”
Suitable for...
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FARCE
● ● ● ● ● ● ● ● ● ● ● ●
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ROMANTIC COMEDY
“When any two young people take it into their heads to marry,
they are pretty sure by perseverance to carry their point,
be they ever so poor, or ever so imprudent, or ever so little
likely to be necessary to each other's ultimate comfort.”
Suitable for...
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ROMANTIC COMEDY
● ● ● ● ● ● ● ● ● ● ● ●
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DRAMA
“You pierce my soul. I am half agony, half hope.”
Suitable for...
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DRAMA
● ● ● ● ● ● ● ● ● ● ● ●
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THEMATIC PLAYSETS
These playsets centre on Austen's most prevalent themes.
Pick the one that captures you most.
Suitable for...
͠͠ Any tone
͠͠ Games of three cycles or more
͠͠ Groups seeking a lot of Regency flirting, heartbreak, and
romantic conversations and letters
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Suitable for...
͠͠ Any tone
͠͠ Games of three cycles or more
͠͠ Groups willing to have their major characters scheme and
act with and against each other
͠͠ Groups ready for intense moments and drama—or even,
if playing with the farce tone, melodrama
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Suitable for...
͠͠ Any tone
͠͠ Games of three cycles or more
͠͠ Groups willing to have their major characters scheme and
act with and against each other
͠͠ Groups ready to explore dramatic, meaningful and
complex relationships
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FAMILY MATTERS
“Nobody, who has not been in the interior of a family,
can say what the difficulties of any individual of that family
may be.”
Suitable for...
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FAMILY MATTERS
● ● ● ● ● ● ● ● ● ● ● ●
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Suitable for...
͠͠ Any tone
͠͠ Games of any length
͠͠ New players
͠͠ Groups ready to play a younger generation struggling
with the demands, prejudices, and predilections of those
who control their allowance and inheritance
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OBLIGATION
“Always resignation and acceptance. Always prudence and
honour and duty. Elinor, where is your heart?”
Suitable for...
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OBLIGATION
● ● ● ● ● ● ● ● ● ● ● ●
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08
Dear Percy,
I have little fear for you Percy. You are still a curate, and
what does a single man need with more than £50 a year?
But not so for a daughter, a wife, and indeed one day a
mother—if our children shall not have new dresses and
trousers in the spring, what shall our joys in this life be?
Agatha.
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Even if your family was rich, if you were not possessed of your
fortune in your own right (which few women or young people
were), your financial situation was likely to be capricious.
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But what of those with no title? How can one know what
social status they hold? Never fear, social stratification of
those beneath the peerage was equally entrenched.
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There was good reason to keep your family in line. The bad
manners or etiquette of one family member could reflect very
poorly on the rest—as in Pride and Prejudice, where Mrs
Bennet's behaviour and Lydia's elopement threw the family's
reputation into jeopardy.
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Characters 09
Lucia,
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CHARACTER ROLES
Players should read through both their own character role
and family background, along with those of their fellow
players. The Facilitator can also consider role attributes when
stepping in with problems or complications for particular
major characters.
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THE HEIR
͠͠ Emma Woodhouse
Though it is often said a pheasant
͠͠ Reginald De Courcy
in the hand is worth two in the
͠͠ William Elliot
woods, when you have two thousand
pheasants in the woods of your estate, the situation is rather different.
Your pocket may be empty at the present time, but your future is
full of carriages, country manors, and only the most opulent of
London fashion. Yes, mummy and daddy provide you with enough
to get by. But the truth is, since your birth you've been awaiting a
death so your real life can begin.
The Heir does not have much money yet, but is defined by
the large inheritance they will receive when their parent or
relative passes away. They are generally a young person, living
their life in preparation to take up the mantle required of them
as the sole inheritor. For now, they have a large allowance
to spend, and large family expectations to fulfil.
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The Heir has to carry forth the family name and estate into
the next generation. As such, they're likely to experience
a lot of pressure to act or behave in a certain way
from the person controlling their inheritance.
They may even be tasked to do a certain thing,
such as help their younger siblings, or marry
appropriately. Either way, their relatives have
a close eye on them, and there is a standard of
behaviour they must always meet.
CONNECTIONS
The Heir will benefit from
having the person they
will inherit from appear
as a connection or a major
character in the game.
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THE SOCIALITE
͠͠ Mary Crawford
Complex theologies and scientific
͠͠ Caroline Bingley
theories always have a tendency to
͠͠ George Wickham
bore you. Not, as others think, because
you do not grasp them—but rather, they cannot be grasped. It is
not ideas or ideals that change a person's fortune, but the petty
predilections of mankind. For those of your particular skill set,
lengthy looks and half smiles are all that is needed to turn a room
full of cold observers into desperate admirers.
Until they are secure (for example, until they finally marry
that Earl or Countess), the Socialite is vulnerable to rapid
changes of fortune. Their attachment to, and success with,
important and wealthy individuals can quickly elevate their
social status. But they are especially vulnerable to gossip,
ostracisation, and slander on their good name.
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CONNECTIONS
The Socialite may have a range of
connections. However, it is most interesting
if the Socialite has at least one connection
who knows their true motives and character.
This connection may be a confidant, or
the reverse—someone the
Socialite has betrayed
who knows their true
inner nature.
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THE DOWAGER
͠͠ Lady de Bourgh
It was but a few years ago now your
͠͠ Lady Russell
spouse passed away, leaving their
considerable fortune in your hands. And fortune is the very word
you would use to describe it. Free from the loathsome restrictions
and predilections of another, you can finally play the field on your
own terms. Your children and nephews wait anxiously for their
large inheritance, and daily expectant of news of your death.
Unfortunately for them, you have much better plans in mind.
The Dowager has lost their far wealthier spouse, but received
new independence in the form of the family estate. They are
an older character—old enough to have children, nieces,
or nephews desperately struggling for a place in their will.
But they are also well placed to wield the power they've
earned through wealth, status, and age, to achieve… well,
whatever they wish really.
The Dowager has the power to act much more freely and with
much less regard to social convention than the other roles.
They have insulated themselves from society's opinion with
the trinity of money, social status, and age. They are often
among the most outspoken and strong-willed in society,
engaged in a constant fight to have things their own way.
Depending on the character, they may also wield a lot of social
authority and clout, holding the power to advise and support
those they like, and humiliate and insult those they don't.
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Chapter 9: Characters
CONNECTIONS
A Dowager might have all kinds of
connections, but giving them at least
one expectant relative, and one
connection from their scandalous
past works well for their drama.
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THE DEPENDANT
͠͠ Fanny Price
It is your ill fortune to rely on the
͠͠ Lady Susan
kindness of another for the necessities
of existence. Tragedy struck your parents or spouse, and as its
consequence you live your life in a household not your own.
Whether you stay with your relative, guardian, or benefactor,
to be at the whim of another at all times is a capricious situation.
A fine roof is above your head, yet you have no home.
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Seeking permanence
CONNECTIONS
The Dependant should choose to
include the person who houses them
as one of their connections, unless
it is another major character.
Further good choices include
others they live with who
may dislike or have a rivalry
with them, as well as people
who may appear from their past to
haunt them.
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Chapter 9: Characters
A novelty
CONNECTIONS
The New Arrival's connections will
differ depending on whether they left and
returned to the town, or whether they have
come here for the first time. For those who
are returning, childhood friends and rivals
create an instant connection to the town
and its people. For those arriving for
the first time, all options are open,
but the connections
may be the reason
they've come.
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THE MEDDLER
͠͠ Mrs Bennet
Some look down upon the spread
͠͠ Emma Woodhouse
of vexatious gossip, but is it not the
duty of every person to be informed? Not only that, it seems the
majority of people are quite unable to handle their own affairs to
any degree, constantly doing the wrong thing—and worse, being
overly reluctant to do anything at all. Fortunately for them, you are
ready, able, and oh so very willing to help them out.
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Chapter 9: Characters
CONNECTIONS
The Meddler is highly involved in
the lives of perfect strangers, and
can therefore hold more interesting
relationships with connections that
may be too distant for others—
such as the local vicar or town
mayor. They are more likely to be
connected to local figures than
other character roles, as they are
very involved in town life.
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THE CORNERSTONE
͠͠ Elinor Dashwood
From an outside view, many would
͠͠ Catherine Vernon
say your family is doomed to be a
disreputable failure. And in truth, you might well agree with
them—if it wasn't your family. There's debts and entailed
estates to worry about, socially embarrassing cousins and uncles,
failing engagements to save, not to mention several relatives
approaching twenty four and yet unmarried! Fortunately, they
have you, the Cornerstone, the only thing keeping your family name
from falling into absolute, crumbling ruin.
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Self-effacing
CONNECTIONS
Naturally, a Cornerstone needs family
connections to operate—but not just any
family, a family in trouble. Naive younger
siblings, wastrel cousins, and
socially embarrassing parents
are perfect fodder for the
Cornerstone to tell their story.
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THE HEDONIST
͠͠ Lydia Bennet
It is the thirst for pleasure that coaxes
͠͠ Sir Walter Elliot
us from our beds each morning, and
you consider it your duty to provide it. Your life is a beautifully
orchestrated succession of parlour parties, partridge hunting, and
drunken picnics. When the happiness of others is at stake, you are
quick to act in its preservation. The results of your endeavours speak
for themselves—your friends are many, and your only enemy is
boredom itself.
A squanderer of wealth
Extremely popular
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Chapter 9: Characters
CONNECTIONS
The Hedonist's most important relationship is the
person who suffers for their recklessness. If this isn't a
major character, a connection should be created to
fill this role.
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THE TUTOR
Every child of means is in need of an ͠͠ Mrs Anne Weston
education, and it just so happens that
you are in need of a child of means. Though much of your learning
derives from books, your dashing manner and acerbic wit has been
sharpened well against the greatest cynics pastoral England has to
offer. An introduction of circumstance is all that is required—and
one of these little brats whose silver spoon you hold is sure to oblige.
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The Tutor's role parallels the Dependant, but the two are
also very different. The Dependant enjoys a higher standard
of living than the Tutor, and most often higher social status.
However, the Tutor has the security and independence of
an employment relationship, and can earn and save money
(if only a small amount). They are less dependent on any
one family, and more removed from those they live with.
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THE CAREERIST
͠͠ Capt. Frederick Wentworth
Good, hard work is the backbone of
͠͠ William Price
the English nature, and you cannot
help but despise anyone who has never attempted it. Yours may
not be a manual labour, but it is nevertheless a tireless dedication.
An endless devotion, christened in sweat, to a noble and honest
vocation. You cannot help but feel sorry for those that consider
themselves to hold the privilege of leisure, as in your view it cannot
be anything but a curse.
WHICH CAREER?
The clergy
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into a living, but others could wait ten or twenty years for
the opportunity. Clergymen who had not yet received a
living served as curates, assisting a vicar for a paltry wage.
They generally could not marry at this stage, as their income
was not sufficient. The most unfortunate clergymen found
themselves curates for life.
Service in the military or navy was one of the oldest and most
prestigious choices for younger sons, especially if such service
ran in the family. Such service was entered into through
purchase of a commission.
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Barrister
Physician
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CONNECTIONS
Since the Careerist's individuality stems from their career,
consider creating connections that bring this part of their
life into focus, such as demanding superiors, upstart juniors,
or hard-to-please clients.
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FAMILY BACKGROUNDS
OLD MONEY
Since your distant ancestor hired his first historian, history has told
of your family's superiority in station and economy. On occasion,
you pay visit to the family vault, and imagine your progenitors
admiring the same golden trinkets as you now cradle in your hands.
PEERAGE
Whichever ancestor replaced the dull grunt of “Mrs” with the
pleasant tones of “Lady”, you cannot help but be daily grateful.
For in being so elevated they gave you and yours a gift which
withstands the infidelities of wealth and reputation. Those four
letters which appear before your name grant you access to situations
and circles, which in truth, you have little business entering.
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NEW MONEY
England's industrial age charges but forward, and yours was
the family that grabbed it by the horns and rode it bareback to
substantial wealth. Though your parents are not genteel in manners,
their considerable influence in economic matters has convinced
most that they are still worthy of association.
During the Regency period, and the years that preceded it,
industry and trade grew rapidly. Developments in mining,
automation, and transport meant that raw materials were
substantially cheaper and getting products to market ever
easier. With these developments came a new class of nouveau
rich—those who made their money in industry or trade.
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HUMBLE ORIGINS
Jesus, they say, was born in a stable—and though few know it,
your place of emergence was little better. Hard times hit your
family without notice, and have made you humble and resourceful.
Your circumstances have won you the trust of poorer people even as
your wealthier relations strive to teach you to rise above them.
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CLERGY
There is nothing more worthy of the expended effort of the
generations before you than knowledge of the divine. Your coffers
have grown but modestly from your family's labour, but you are
unconcerned. For your true inheritance came in a different form—
your substantial moral capital.
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MILITARY
Though in reality looks may be deceiving, your family has no
qualms in equating sound body with honourable character. As those
before you, you were born to stare in the eye the worst humanity has
to offer, and yet remain genteel. Your family may be strict, but their
unwavering discipline has driven them only to vast accomplishment.
Joining the military or the navy was one of the few genteel
professions—but only with a purchased commission as
an officer. A character from a military family might expect
their father and brothers to be often away at sea or in the
field—and, if their parents saw their future in the armed
forces, be involved in naval or army activities from a young
age. They may even be sent to a military or naval academy,
specialised boarding schools where students learn the basics
of being an officer.
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ILL-REPUTED
There is little more tedious than being born to a family constantly
plagued by scandal. Always finding yourself having to move from
place to place, constantly finding out that some uncle or another
has offended fashionable society, and thus excluding you from the
latest ball. Not to mention the questions you have to field at church
on a weekly basis. If only everybody would conduct themselves
sensibly—society that is, you love your family dearly.
FOREIGN
It isn't simply that your family is “not from here”, though indeed
none of your family had lived nearby until recent times. Rather, it is
where you are from that you find fills your life with both prejudice,
and delight. On one hand, you will always retain the burden of an
outsider. On the other hand, it is surprising how often “outlandish
customs” prove themselves useful.
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Knowing
Austen 10
By Alex Robinson
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ESTATES
Most of Austen's heroes and heroines live in the countryside on
large parcels of land known as estates. The wealthier gentry
lived in manors or large houses on these estates, which they
often owned. Less fortunate families, such as the Dashwoods
in Sense and Sensibility, lived in attached cottages.
Not all families had the luxury of separate dining rooms and
drawing rooms for entertaining guests, so these would be
family spaces as well. Dining rooms were, as suggested by the
name, where the meals of the day were taken (though some
very large houses may have had a different dining room for
breakfast). Drawing rooms were the precursor to modern-day
living rooms, where all manner of entertainments took place.
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TOWN
Life was different in town. In town, friends were close by and
constant social activities were expected. Gentry often rented
lodgings for several weeks or a season away in Bath or London.
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PRIVATE PURSUITS
Very few of Austen's main characters worked, and those that
did often laboured in a gentlemanly profession such as naval
officer or clergyman. For the gentry, there were plenty of
other tasks that required doing. Landowners ran their estates
and managed their businesses. Married women raised their
children and helped organise the household.
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COUNTRY ACTIVITIES
On nice days, people might enjoy a walk through the
countryside or a horse-ride. For families with curricles or
horse-pulled buggies, this was another fun and fast way to
get around. Getting fresh country air was considered good for
the constitution, and exercise was recommended at least a few
times a week. Walks might be taken to the nearest village, to
visit nearby friends, or merely to take in nature.
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TOWN ACTIVITIES
In town, residences tended to be smaller, less fancy, and were
often rented for a season rather than owned by a family,
making them less interesting targets for inspection. While
there, people visited their friends and extended family to pay
their respects, cement relationships, and generally enjoy each
other's company.
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DINING
Dinner was the most important meal of the day in Regency
society. Dinners of the gentry could be extravagant and take
several hours. It was usual to have friends and family over
for a simple dinner, but when guests were due, the lady of
the house and her housekeeper might pull out all the stops.
Dinner parties weren't expected to be an every night affair.
However, when there was a party, the gentry would go all out.
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BALLS
One of the best and most popular ways for young people to enjoy
each other's company was, of course, at balls. As mentioned
above, dancing was a good way to pass the evening, and a ball
expanded that pastime to a large-scale public event.
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FIRST IMPRESSIONS
Austen's heroines always seem to end up in love triangles
between two different gentlemen, usually with vastly
different personalities. In these stories, our leading lady
often forms a strong first impression of the newcomers which
ends up a poor reflection of their true nature and motives.
The classic example comes from Pride and Prejudice; Wickham,
who initially appears a most charming young man, is truly
a knave; while Darcy's prideful exterior leaves a bad first
impression, he reveals his true nature in assisting the Bennet
family at their time of greatest need.
SCANDALS
With all the rules governing society, it was easy to make a
mistake and a fool of oneself. When someone really broke the
rules, their actions were considered scandalous, potentially
destroying their good reputation once and for all. For women,
a scandal could also mean ending life single and destitute,
estranged from all friends and family. A gentleman's fall from
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INHERITANCE
All gentry families would have some money to pass on as
an inheritance, even if their wealth was not particularly
large. For families that owned estates, these too would be
passed on. Therefore, inheritance might include both a lump
sum of money and an income drawn from the estate, as well as
the house and all the furniture in it.
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FAMILY MATTERS
Family was incredibly important to the gentry in determining
a person's identity and thus their social status. A good name
or good estate allowed access to society at large and granted
invitations to places and occasions that they would not have
otherwise had. Sir Walter in Persuasion has a book of his title
and lineage, such is the importance of a family that many
would write a book of their history with a family tree included.
Preserving the lineage with good marriages was vital.
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GLOSSARY
Background Character: Connection Options:
A character of no importance The options a particular character
that appears in a single scene to role has to choose from when
serve a specific function—such creating connections. These are
as a doctor, servant or lawyer. found on the character role sheets.
The Facilitator players these
Connection Sheet: A small sheet
characters.
which stores details about one
Character Role: Archetypes single connection.
players can choose from when
Controlling a Connection:
creating their major character
Playing a connection, but also
(Heir, Socialite, Dowager etc.)
making decisions about how they
Each character role has a
act, when they appear, and what
corresponding character role sheet.
they want.
Character Role Sheet:
Cycle: A series of eight phases
A sheet each player will use
played in a defined order.
to detail information about their
Play consists of cycles played
major character. Each character
one after another.
role has a different associated
character sheet. Cycle of Play Sheet: A sheet
used to keep track of your
Connection: A supporting
position in the cycle of play.
character with a relationship
to a particular major character. Desire: A major character's
A connection may be controlled ambition or objective that
by a player or by the Facilitator. drives their actions.
R eputation Criteria:
The criteria determining whether
a major character's reputation
rises or falls, and whether they
gain a new reputation tag.
Reputation criteria are detailed
on your family background sheet.
SHORT FICTION
Lady Susan
UNFINISHED FICTION
The Watsons
Sanditon