Welcome to Delta Pavonis

Dom Mooney's Website


Some Notes on Running SCUP

At Furnace XIII this October I decided to run ‘The Sword, the Crown, and the Unspeakable Power’, a ‘Powered by the Apocalypse’ based game that is designed for player-vs-player (PVP) gaming. Clearly, it was promoted as being a way to play ‘Game of Thrones’ style games but it’s much broader than that. I used it to set a game in a city that dominated trade, being based in the middle of fertile plains and on the main navigable river network, rather like a Russ City-state. To be honest, my pitch was pretty simple:

“The defeat was shattering, and your armies were consumed by the advancing hordes. The first riders arrived bearing the grim tidings this morning, and the city is poised, breath held, awaiting word from the court. People are preparing their valuables and families to flee. The court meets tonight. Will you stay and fight, embrace the coming jihad or flee from your ancestral home?”

I stole a line from ‘The End’ by The Doors and called the set-up ’The End of Laughter and Soft Lies’ as it caught my imagination for the feel of the game I wanted. The nobility and the elite playing their petty games as they prepare to be consumed by the approaching threat; a fin-de-siècle feel as everything they know disappears in the churn.

The last element I threw in were some tags, as Furnace has guidelines that require a GM to flag potentially contentious content for the players in advance: PVP, dark fantasy, adult themes. As the game doesn’t shy from sex and violence (indeed, there are moves for both) it needed to be clear at the start.

The scenario was in the second slot, which is three and a half hours long. I reckoned that it needed four, but there was enough of a gap for a small over-run.

I spent a lot of time thinking about the scenario content and also sought some advice from the creators, who shared my question on their Google plus group. I took some of it to heart, and then did my own thing for the rest.

The first area to consider was whether to allow all the playbooks into the game. In the end, I decided not to use ‘The Crown’ or ‘The Gauntlet’, as they are the ruler and their enforcer. I wanted a power vacuum to open up right as the enemy approaches. I did keep the ‘The Hex’ (a witch/outcast magic user), but advised the players that this was a character which was a true outsider and would need to be pushed. I gave the players the option to have ‘The Screw’, the torturer character. They kept it in the selection, but we agreed that any torture would be off-camera. That said, no-one picked that playbook. I was a little worried that ‘The Bloodletter’, a dark Doctor character, would be a bit like the Hex, and perhaps disengaged, and it proved true for the first half of the game.

I decided that the playbook would start with an extra move, and 2 advancement points so it was easy to unlock another move by playing the characters hard into the plot. I also increased the honor rating by one, as this fuels some cool moves. The idea here was to help the players have cool things to do.

The creators had advised me to present a mythology and setting for a convention game, but this is when I decided to go my own way. I’ve run many PVP scenarios (especially with Conspiracy of Shadows, an early indie game) and I think that it is key to get the players bought into the world. Also, I love the co-creative way that many of the Apocalypse Engined games have adopted for world-building. I decided to do world creation at the start of the game; I figured it would take up to an hour, but that we should be able to have some fun if we were really focussed for the rest of the time.

There are some standard questions you ask as you build relationships and factions that the characters are aligned with, but I wanted to go further than that. There’s a great tool for building the mythology of the world (surprisingly not a template in the handouts) which I thought would resonate. I also decided that I wanted the players to flesh out their city so that they owned it and believed in it, so I started to build a list of questions which I went around the table in turn to get answers from.

The first set were all about the city the game would take place in. I wanted the players to be invested in this.
The game is set in a walled city on a rich, fertile plain.
What is the city called?
Is it walled?
Does a river run through it, and if so, how difficult is it to cross?
What do other people say about the city?
Where do the poor live?
What are its neighbours and what relationships are there?
What are the main locations you know and frequent?
Where do the Council of Electors meet?

I went around the table asking the questions to each player in turn. Sometimes the other players suggested builds on the ideas that others had come up with. The answers were captured on some self-adhesive flip charts which we put on the walls around the gaming table. This was surprisingly effective as it acted as a prompt for me and the players during the game.

We ended up with the City of Wheel, a walled city on a critical trade route crossing of a river, which was crossed by many bridges. The city dominated trade between the ’savage nomadic horsemen’ on the plains and the Archipelago downriver and was ruled by an Emperor and Council of Electors. Some key locations like the Palace, the Arena and the towers where the aristocracy lived came out of this.

The next section explored religion and the supernatural.
The City has spires and minarets.
Are the gods active?
What gods are evil?
What gods are good?
What else?
Which god is the city’s patron?
If the gods aren’t active, who cares for the people?
What happens to the religious?
Do the people believe in evil?
What is the Unspeakable Power?
How does it interact with the World?
How are people who interact with it treated?
What festival is it today? How do people celebrate it?

We established that the Emperor was a God-Emperor who protected the ‘People from Evil’ and was worshipped by the official state religion. We also established that the Unspeakable Power came from Demons. Oh, and that it was the Emperor’s Birthday.

The final set of questions explored the city in more detail. This was aimed more at getting flavours and hooks the players could use.
The City is a stronghold?
Is it truly strong? Why?
Does it dominate? If so, what? Trade, crops, transport routes...
What was the most famous defeat?
What was the most famous victory?
Would people care if the city fell?
Where would you go to carouse?
Where would you go for peace?
Where would you go shopping?
Where would you go to sleep?

This worked, as details were drawn on during the game. I’m sure that a longer campaign style game would have used them more.

The mythology was completed giving us:
In the Beginning there was peace with all, but then we meddled with what we should not. This resulted in poverty, famine and plague overtaking us and because of this there was fear, dread and panic until heroes stood mightily and now we must live our lives in constant vigilance.


I was fortunate that the player group I had were all really engaged with the game. Indeed, many of them were quality GMs who I’d happily sign up to play with without sight of the system or scenario before. Everyone shared an interest in the style of play, and the flagging before the game was opened to sign up made sure that we had players who wanted to drive the action.

I’d built myself a checklist for kicking things off with the players at the start.
1) Introduce self, players, tea and toilets.
2) First of all, have you played PbtA games before? Explain if needed.
3) SCUP is a game that embraces PvP, much in the way that Game of Thrones or The Death of Stalin does. Expect to attempt to double cross, betray and even attempt to murder other characters.
4) SCUP is about the characters being in conflict. It is not about the players. You should be working together to make this as messy as possible, to point your characters at each other. This is power politics written in blood.
5) We will use the X-Card (explain).
6) SCUP has Sex Moves, again like Game of Thrones. They give both characters involved benefits. I am assuming that there will be a veil drawn over any use of this. Does anyone have any issues with this?
7) One of the playbooks is a torturer - is everyone cool that this is included as an option?
8) There are a variety of playbooks available for the game
The Adept - effectively the Mage
The Beloved - a prophet, usually from the people, has followers
The Black Hood - a master assassin
The Bloodletter - a doctor with capabilities close to the supernatural
The Hex - a witch (although I would recommend you think twice)
The Lyre - a performer, rabble-rouser, inspiration
The Screw - a torturer
The Spur - a militia leader, horseman and tear-away.
The Voice - a whisperer in the shadows, the power between the throne.
Which playbooks do you fancy?

This led me through it quite efficiently. We ended up with the Adept, the Beloved, the Black Hood, The Bloodletter, the Lyre and the Spur, which was an interesting mix. We did discuss the X-Card but it was never used in play for real.

We finalised patrons, factions and relationships between the players. This worked really well. Again, it was all visible on the wall so we could bypass the slow learning that a more campaign focussed game would work with.

: https://flic.kr/p/R12TZq

: https://flic.kr/p/2anhTZC

: https://flic.kr/p/2bKbpSn

My final step before we started was to add two countdown clocks to the wall, in the style of Apocalypse World1, one for Riot and the other for Revolution. Riot was all about when actions the characters took upset or panicked the people. Revolution was about things that would make the mob want to rise up and throw down the aristocracy.

The whole process took close to an hour. Fortunately, because of the group and the co-creative process it paid dividends. Everyone knew the setting and everyone was empowered and involved in it.

I started the game In-Media-Res, at the celebratory feast for the Emperor’s birthday, with news of a great defeat arriving and the players immediately starting to plot to achieve power and engage with their enemies.

I also had a set of beats that I could draw on, ideas that would allow me to keep things moving. However, these mostly proved unnecessarily, as the players really ran with it2, making my input as the MC mainly constrained to stirring it up and explaining mechanics. I think I could have pushed it harder, but I didn’t feel the need.

The one thing that I’d have done better was to have engaged the Bloodletter character more. I noticed over the first 45 minutes or so that the player, Steve, was struggling for an in. I did try and throw in a few hints to help, but I don’t think the player-led plot was necessarily going the way that was easy for him to engage with. That said, all of a sudden he became the reanimator and it all got very complicated. Steve does suggest in his blog that a more formal scene structure like that used in Hillfolk (a game I have the PDFs for but haven’t read) may have worked better. He may well be right. I did try and move scenes around the players if they weren’t involved but perhaps was too passive. I could have thrown more challenges at individuals to drive this more - and to be fair, the rules do suggest that.

Overall, I really enjoyed the session and would love to try the game again. I think it works very well. I’d definitely be interested in hearing Guy’s thoughts on the preparation and execution here, with his expertise on one-shot games as he was one of the players.

Finally, just a shout out to the creators of this game as I really enjoyed the experience, and I think we all went away satisfied by the experience.

My original prep-notes can be found on Google Drive: https://docs.google.com/document/d/1onB0WcZ8r4rGAu11UO7V7jk8xNPLe9nVHllGyd8CYYY/edit?usp=sharing
24th November 2018


All though I first encounter countdown clocks in The Sprawl
Steve Hatherley blogged about the game and called this out. By nature, I am quite hands off as a GM, so if the players are driving plot I won’t tend to over-ride that as I think driving my vision would lose engagement in this kind of scenario. You can read his take here: http://fourlettersatrandom.blogspot.com/2018/10/furnace-2018.html

The Madcap Laughs

Just found the bound copy of the conversion of The Madcap Laughs, which Graham Spearing and I ran at #Furnace a few years ago. We converted the Stormbringer 2nd scenarios to Wordplay, then ran it over three sessions of the five at the convention. My copy has ripped out pages as Graham misplaced his during the con, and he needed the reference.

It was great fun and foreshadowed the current trend to multi-slot sessions. The only difference is that each slot had the potential for different players so each part was standalone.

It was also interesting, as we co-GMd. One of us led the narrative, the other played the NPCs and helped the players out with any issues.

The characters were developments of the ones played by Duncan, Derrick, Sarah-Jo, Clive, Charles and Andrew in my old home campaign.

Good times.

The Condensed Dracula Dossier


I went to my first Longcon this weekend, kindly organised by John Dodd and held at the Garrison Hotel, which is fast becoming the unofficial gaming capital of the UK (with Furnace, 7 Hills, Longcon and Shacon hosted there). I went to Longcon to defeat Dracula.

I’ve long been a fan of spy fiction (especially John le Carré and latterly I’m appreciating Charles Cumming’s work), I love films like the Bourne movies, and also a wide range of more cerebral espionage flicks like A Most Wanted Man, and I really enjoy vampires done right (for example Ultraviolet or Interview with the Vampire). This made me a natural for the Night’s Black Agent game that Steve proposed exploring the Dracula Dossier.

We started early, at the turn of the year, and between us came up with five individuals who would mesh together as somewhat challenged team; my character was a close-to-retirement SIS/MI6 spy, who had lost his way since the collapse of the Cold War. Alongside him was a former Romanian SRI assassin he’d recruited, played by Guy, a long serving MI6 digital intrusion expert mourning the death of his wife played by Nigel, an ambitious young Doctor working for MI5 (Paul), and a Special Branch pursuit driving infiltration specialist played by Julian. Steve took these characters and meshed their backgrounds into the plot, with Julian’s character being a distant female descendant of Quincy Morris and - likewise - Paul’s character Mark Seward being the descendent of the doctor from Enfield’s asylum.

We had a lot of highs and lows. Stand out moments for me were when I realised that the rest of the team were starting to take my character seriously as he tried to coordinate (he went from pretty much no trust to having the most); the utter terror we had when we visited the tomb (doh) of Lucy Westerna at night (doh) just to see if this vampire theory was right (doh) and found out that it was (doh) when she erupted from her tomb; the slow slide into self destruction that Nigel’s character went through as more and more was revealed; my character bringing Julian’s spy back from the edge when she revealed her treachery; seeing similar lines used by Guy for his hard edged but deeply hurt agent when he met his estranged wife back in Romania; the creeping realisation that we had been sanctioned by our own organisation; a moment of terror on a Bucharest bridge when Dracula killed our contact and we fled and hid in a church until dawn; the pain when Julian’s hard as nails character broke down at the orphanage she had been placed in when she was growing up and at the same time her realisation that Guy’s character had killed her mother, putting her there; and the final showdown where we successfully destroyed Dracula with a rocket launcher, a member of the team embracing damnation to atone and a variety of stakes and other weapons.

We played for around 12 hours the first day and at least another six the next. We used a whiteboard (on two sides, one for the official investigation into terrorism and one for the investigation into vampires), and a cork board with pictures showing the network of conspirators. We used the glass windows around the veranda to show key documents; reports, contacts, cover and key abilities. It felt like and operation room and we found ourselves playing by candlelight at the end of the first day’s play.

It was a fantastic experience, showing what a great GM and a committed group of players can achieve together with time, commitment and effort. This will be a long term gaming memory for me, a big high up there with my Irish Rover Beat to Quarters experience that Neil Gow was instrumental in delivering one Furnace some years ago!

12 July 2016

First Time Experience running Conspiracy of Shadows


I bought Conspiracy of Shadows (CoS) at Dragonmeet in London last December, and it has been like a nagging scab ever since. I keep on picking it up and re-reading it, and asking what-if? This is a good thing, as many modern RPGs I pick up and think 'Yeah, whatever' after I've read them. There have only been a few that gave me the same excitement that I had some twenty-mumble years ago when I started gaming with 2nd Ed CoC, Basic D&D and Starter Traveller.

Anyway, as you know from the posts asking questions about the game, I decided to run Blood Opera at Continuum this weekend. Continuum is one of the UK's best roleplaying focussed cons (you can find out more at http://www.continuum.uk.net/ - it's a two yearly affair and rather excellent). I set off, armed with the new crib-sheet, relationship web and characters. I'd been persuaded to run by First Age, one of the organisers for the con who also happens to frequent one of the BBSes that I am a regular on. He'd also got a copy of the game and wanted to find out how to play it. As he was running a demo of Stormquest (my HeroQuest Stormbringer conversion), I only felt it fair to return the favour.

I'd initially got sign-ups for 6 players for Blood Opera on Sunday night, which was pretty good as it was scheduled against the 25th anniversary CoC party, but one dropped out so I got Grandmother Anna. None of the players had played CoS before, although all had played HQ, and several Burning Wheel. One of the players I didn't know had certainly played Sorceror, and may have read CoS before.

We set off, and it ran pretty slowly at first. The kick off was the end of the funeral which then moved into the wake back at the family manse's great hall. The main point that happened her was a destiny point being spent by one of the players to make Uncle Ivan suddenly comment that he missed Ivana, and had liked her since he slept with her twice! This gave a stunned silence and everyone looked shocked. The group slowly settled to bed. There was some low key conflicts with Wiktor and Gregori trying to spot the servant watchers that Anatoli had set on them, and then Gregori failing against the butler (3D skill goon) when he confronted him about the spies!

The next morning started with breakfast which suddenly erupted into a conflict between Zygmunt, Vladick and Anatoli. Zygmunt was trying to force Vladick to stop pushing the limits and lording it over the players, and the other two opposed. Anatoli absolutely destroyed Zygmunt through a well pushed set of actions resulting in Zygmunt on 0 vitality, which became a new temporary negative descriptor that he felt the whole family was falling apart into self destruction. The conflict system worked well with multiple characters. Doom came into play for the first time.

We struggled a bit at first with players getting used to framing scenes, and also with the question 'can you change the skills/attributes and descriptors that you are using between actions'. We ruled 'yes' to this, and it seemed to make sense.

I then introduced a cut scene with the coffin dug up with a DP, but left it to Gregori (who had left the house for the village during the fight) to decide whether the coffin was opened or empty. He decided open with a body, so I then spent a DP to have Ivana there, healed, but not responsive, with a rose between her hands that hadn't been there. Zygmunt almost came across Gregori with his sword at his dead wife's throat (checking for breath on the polished blade), but a quick decision saved this. Long and short of this was that she was alive but in a coma, Zygmunt in denial, and the two characters heading back to the house with the body following in a cart.

Wiktor, who had confronted (successfully) Anatoli and Vladick over their treatment of Zygmunt, headed back from his hunt and arrived in the stable yard as the cart arrived. The body was taken upstairs, and Anatoli created a healing potion which revived Ivana to consciousness (with the help of a DP). She immediately screamed and accused Gregori of murder. Zygmunt ran her through (saying she wasn't his wife) but she still lived (DP spend by both me and Anatoli on this). Suddenly, Anatoli tried to force Gregori to admit the truth, and Wiktor tried to kill Anatoli before the line of questions continued. Vladick blocked the attack by buying up his attack to first (2D6 penalty!!) and managing a disarm on Wiktor. Doom was in use left, right and centre.

Gregori pointed the finger at Wiktor, and also spent a DP to modify the outcome of the contest and speculate on the motive (an affair?). Wiktor confessed, but pointed the finger at Vladick. Vladick admitted he had handed letters that proved Ivana's duplicity to Wiktor, and suddenly, Zygmunt spent a DP to make them forgeries he had created to entrap Wiktor. We drew a Veil at that point.

Spent the next hour taking the game apart - which was unusual - but still really admitting that we had enjoyed it.

Key points;
1) If players haven't dealt with conflicts and or games where they have more plot control, the start can be slow.
2) Need to work up some better beats/bangs to force action.
3) The traits and skills on the new sheet need a line between them, as players become confused.
4) This scenario would be different if I ran it again with the same people Winking
5) Zygmunt's motivations can be hard to get a good understanding of.

Anyway, we all really enjoyed this.