QUICKSTART V1.

5
Changes: Character sheet art added for Dowager, Dependant and New Arrival

THIS GAME IS STILL IN DEVELOPMENT

NOT ALL INSIDE IS FINAL
W elcome  Good Society
“The person, be it gentleman or lady,
who has not the pleasure in a good rpg,
must be intolerably stupid.”
– Jane Austen, as recorded by Kevin L.
I
t is a truth universally acknowledged that a person
in possession of a love for Austen novels, must be in
want of the means to create such stories for themselves.
In pursuit of that very end, we created Good Society,
a collaborative roleplaying game that captures the heart,
and the countenance, of Jane Austen’s work.
Good Society is a game of balls, estates, sly glances,
and turns about the garden. At least, on the surface.
Underneath this, just as Austen’s own work, it is a game
of social ambition, family obligation and breathtaking,
heart-stopping and deeply repressed longing.
Most importantly, Good Society is built to tell the story
you’ve always wanted to tell. It’s a deeply customisable
game, and while the setting and structure remain the same,
its tone and content are sculpted by the group before and
during play, so that every game is different.
This is a Quickstart version of the game. It contains only
one recommended playset, and only a small fraction of
the character roles, family backgrounds, and secret desires
available in the full game. It is designed for play over
1 or 2 sessions. Rules for extended play, and character arcs
and development, have not been included. Similarly, while
we have playtested extensively, not all the rules you will
find here are final, and we hope to improve the game even
further (and include a lot more examples in the final text).
Do I need to be
familiar with
GETTING STARTED THE PLAYERS Austen to play
To play this game you’ll need between four and six people, Each player will take on the role of a maJor CHaraCter – this game?
including a FaCilitator. The role of Facilitator is best the regency women and men who are the main characters
No, you don’t. However,
taken by a person with some roleplaying experience. of the story to come. On top of this, players in Good Society
you will need to have an
We’d recommend they also have at least a vague familiarity wield a lot of broad narrative power – and this game works
idea of what it means for a
with Austen’s style. Watch the BBC Pride and Prejudice. best when they use it.
story to be “like Austen.”
It’s good.
As a player your job is to: If you’re very time poor,
the best way to get this
THE FACILITATOR ◊ Be respectful of collaboration.
at pace is to watch all or
◊ Take action to pursue the desires and objectives of
If you are reading this Quickstart, it is no great conjecture part of an Austen movie.
your character.
to suppose you will also be the game’s Facilitator. Unlike However, for those with
◊ Be willing to accept (or even orchestrate) your
many traditional games, the Facilitator in Good Society more time, the books are
character’s own misfortunes to create a more
does not have unlimited narrative control. Instead, they rather good.
interesting story.
share creative power with the players. The Facilitator
plays a vital role in bringing the best out of the players,
◊ Contribute to the story and support other players Collaboration?
even when your character is not involved.
and making sure the game feels like an Austen novel. Good Society is a highly
WHY MUST I SUFFER? collaborative game. If you
As Facilitator, your primary function is to help everyone
think of a great idea for
Collaborate to build a shared story. In Austen novels, characters suffer setbacks, misfortunes,
a plot twist, setting, or
and uncertainty before they can achieve their objectives.
This means you will: even a humorous moment,
These setbacks are often what makes the story interesting!
share it. It will only make
◊ Be respectful of collaboration. The same principle applies to the story you are creating in
the story better!
◊ Ask questions and build on the answers. Good Society. Let bad things happen to your character –
◊ Be responsible for structure and pacing. you can reverse their fortunes later and it will be a thing
◊ Play (some of) the supporting characters. far sweeter.
◊ Bring home the consequences of character actions.
◊ Add drama and complication – but only if needed.
If you read this Quickstart, and you have any
We’ll expand on how to do each of these in the Facilitator questions or comments about the game you’d
section on page 15. like to share, please get in touch via email at
storybrewers@gmail.com or through Twitter
In Good Society, the Facilitator can also choose to play a @storybrewers. We’d love to hear your thoughts
maJor CHaraCter, and harbour a secret desire of their own.
and experiences. ♥ Vee & Hayley
Good Society is copyright ©2018
In fact, if you only have four people in your gaming group,
by Storybrewers Roleplaying.
we’d highly recommended it. However, even if the
All rights reserved.
Facilitator is playing a major character, they’ll still need
to follow the Facilitator rules.
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Overview
Good Society is designed to capture the essence and experience of a
Jane Austen novel. To accomplish this, the game makes use of five
different phases. The length and frequency of these phases will differ,
but each is designed to capture a different element of Austen’s work.
Collaboration: Decide as a group what kind of story you
would like to tell. Will this be a drama, or a light-hearted
farce? Will you play with gender norms, or should you get
rid of, or reverse them?
Backstory: Create the cast of your Austen novel and
explore their past. Who are your family, rivals, and friends?
Which cousin will inherit your estate if you fail to marry?
Which eligible Captain has recently arrived in town?
Novel: In-character play. Pursue your secret desire,
exploiting relationships, estates, and connections to make
engagements, secure an inheritance, and disgrace enemies.
All while keeping your reputation in check!
Rumour and Scandal: Players collaboratively determine
what rumours and scandal are flying around the town.
Which are merely gossip mongering and which will be
confirmed?
Epistolary: A phase for the writing of letters. This phase
provides the opportunity to capture small moments, and
convey inner thoughts and feelings. And also to spread
rumour and scandal.
WHAT YOU’LL NEED TO PLAY
PLAYING IN PERSON
If you’re playing Good Society in the flesh, you’ll
need the following (available in the Appendix):
◊ Character sheets
◊ Family backgrounds
◊ Secret desire cards
◊ Relationship cards
◊ Several pieces of blank paper
You’ll also need tokens in two different colours –
at least 30 of one, and 5 of the other.
PLAYING ONLINE
To play this game online, we recommend you use
a shared virtual space such as roll20.
For best results, the facilitator should:
◊ Share the character sheets and family
backgrounds with all players.
◊ Send secret desire and relationship cards
directly (and only) to the player that will
use them.
◊ Use a shared virtual space to document,
in a way that’s easy for everyone to see:
collaboration outcomes, character names,
titles and age, connections, rumour and
scandals, and a virtual count of resolve
tokens.
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Collaborat ion
T he collaboration phase lets the players and Facilitator make
important decisions about the tone and content of the story
they would like to create. It gives all participants equal control over
the game, and helps make sure everyone feels comfortable during play.
It’s a simple and quick process, but an essential one.
Before you start making decisions in the collaboration phase, it is
worth discussing, and noting down, what Austen means to your group.
What things do they expect to happen in the game? What do they
expect to do and see? You can use this material to help steer the game
towards the players’ interests.
After this discussion, everyone should work together to answer the
questions on the right. Read the descriptions of each option before
deciding, to make sure all players have the same understanding of the
choice ahead. If your group can’t agree, call for a vote, or go with the
default option which is underlined.
USING COLLABORATION IN GAME
The collaboration phase creates a shared understanding of the kind of
story the group is aiming to create. It’s important to refer back to your
decisions during the game, to make sure they are respected.
Collaboration is an agreement between all players, and everyone
should feel comfortable speaking up if they feel something in play
conflicts with that agreement. When a conflict is identified, the group
should generally rewind the mismatch, and replay the moment in a
way more respectful of collaboration. Rare exceptions to collaboration
are allowed, but only if they are unanimously agreed to.
WHAT TONE SHOULD THE STORY HAVE?
⬜  Drama: Things are difficult and actions have serious
consequences. Tensions are quick to inflame. Supporting characters
viciously pursue their own ends. Society is harsh and judgemental.
⬜  Romantic Comedy: Actions have consequences, but past
misdemeanours can be recovered from. Fortunate and humorous
coincidences can occur, and triumphant moments are possible.
Supporting characters respect their own interests but can be swayed.
Society is quick to judge, but also quick to forget.
⬜  Farce: Actions have few consequences outside the current
scene. Improbable coincidences and circumstances are manifold.
Supporting characters may change their mind rapidly. Society is prone
to excessive silliness.
HOW IMPORTANT IS HISTORICAL
ACCURACY?
⬜  Not at all: We’ll do the best job we can, but story is much more
important than history.
⬜  A little: We’ll try to get it right where it counts, and call
on other players with more knowledge where something seems
particularly important. But we’ll never stop the game, and if we’re not
sure we’ll make the best guess we can.
⬜  A lot: We commit to arming ourselves ahead of time where
possible to enable more historical accuracy. We will call on the
knowledge of players to help us get it right. We will avoid stopping
the game but we can look things up during breaks and in between
sessions to help with further play.
WHAT ABOUT RACE?
Gender is a central theme in Austen’s work, so it’s important to discuss the gender power balance and make a decision on how your
group will approach it. Race is not. Austen’s work is not about race, and doesn’t grapple with racial prejudice. For this reason, we take the
approach that in the world of Good Society racial prejudice does not exist, and characters may be of whatever race they choose without incident.
HOW WILL WE TREAT THE GENDER
POWER BALANCE?
The answer to this question need not change anything aesthetic about
the world - unless of course you’d like it to. Unless agreed otherwise,
men will still wear the literal pants, if not the figurative ones.
It’s worth taking a moment to check what your group prefers.
⬜  Historical: Standard regency patriarchy.
⬜  Off: It is normal and acceptable for people of all genders to:
◊ Have significant and respectable careers
◊ Make the first move
◊ Inherit entailed estates
◊ Have marital relationships with both genders
⬜  In Reverse: It is normal and acceptable that only women may:
◊ Have significant and respectable careers
◊ Make the first move
◊ Inherit entailed estates
IS THERE ANYTHING YOU’D LIKE OUR
GAME TO AVOID?
This question gives the players a chance to suggest anything which
they believe is outside the tone of the game, for example murder and
serious crime, non-consensual sex, or even estate management and
advances in agricultural techniques. This is after all Austen, and not
every regency truth has a place in the genre.
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Backstory
2 3
T he backstory phase has two parts. In the first part, players
develop a major character for play throughout the game. In the
second, players will create their character’s connections – supporting
characters that will play a vital role in the story to unfold.
MAJOR CHARACTERS
Characters in Good Society are created from four components:
1
roles: 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 call on, and what advantages they can use to
shape the world in their favour.
Each character sheet contains four important parts.
◊ Character creation options, such as name, age and
countenance. Players should circle one option in each
category.
◊ Connections, such as father, sister, tutor. Players should
circle three, these will be expanded into supporting
characters later in the backstory phase.
◊ Advantages, unique abilities or connections a character characters who share it. Sometimes,
role can call upon as a result of who they are. They can be
used once per session each.
◊ Reputation. All characters begin with three points of
reputation, unless their secret desire card says otherwise.
Yes, this means rumours and glances. After all, nobody’s
reputation is spotless. We talk more about reputation and its
importance on page 13 of the Quickstart.
Family baCkgrounds: More important than who one
is in regency society, is of course who one’s family is.
Every major character has a family background, ranging
from Old Money to Humble Origins. Family backgrounds
provide an additional advantage for a character to call upon,
up to once per session.
If two characters are part of the same immediate family
(for example siblings, or parent and child), they will usually
share the same background. However this need not be so.
Where characters are related, their players should discuss
whether they would like to share a background or create a
narrative reason why they should be separate.
4 r elationsHips: Each Desire Card has a corresponding
3 4
2 1
seCret desires: In the deepest heart of every character in
Good Society is a secret desire, a burning passion or hope that
they wish to accomplish. These desires are essential in driving
the drama forward, particularly as the game begins. However,
they may also shift or be abandoned over time as characters
change and develop.
The secret desires at work in the game are written on the
desire Cards. Each card has an Austen quote on its back, to
give players an idea of its content without revealing too much.
Players can use these quotes to help select which desire they
would like to pursue.
Relationship Card, which may change depending on the playset
used. Relationship Cards detail a relationship that existed before
play begins, and is given by one player to another to establish a
bond between their characters.
relationsHip Cards have two sides. The front side is the
“public” side. This contains information widely known in
society about the relationship. The second is the “private” side,
indicated by exclamation marks next to the relationship title.
This side contains information about
the relationship only known by the two
it may be the same as the public side -
other times there are secrets or scandals
to hide, and the two sides may be different.
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PLAYSETS
Playsets are groupings of roles, desires and
relationships designed to create a satisfying play role: Socialite role: Socialite role: Socialite
experience that explores a certain theme. Family: Military Family: Military Family: Military
desire: A large income is the desire: A large income is the desire: A large income is the
FIRST GAME PLAYSET best recipe for happiness best recipe for happiness best recipe for happiness
For your first game, we’d recommend you use r elationsHip: Old Flame r elationsHip: Old Flame r elationsHip: Old Flame
the following playset, depending on the number
of players in your group. We’ve picked roles,
background, desires and relationships that blend role: Heir role: Dowager role: Heir
well together, and will naturally create plenty of Family: Peerage Family: Old Money Family: Peerage
Austenesque drama. desire: What is right to be desire: Our scars let us know desire: What is right to be
If you’re using this suggested playset, players done cannot be done too soon that our past was real done cannot be done too soon
should choose a character option before the game r elationsHip: Former Friend r elationsHip: Rivals r elationsHip: Former Friend
begins and get acquainted with the appropriate
materials. If the Facilitator is taking on the
role: New Arrival role: New Arrival role: New Arrival
role of a major character, they will also need
to make a selection. Players can use the quotes Family: Old Money Family: Peerage Family: N/A, share with sibling
on the back of the Desire Cards, as well as the desire: Selfishness must desire: Selfishness must desire: Selfishness must
character role and background, to help make always be forgiven always be forgiven always be forgiven
their selection. However, they should not look r elationsHip: Best of Friends r elationsHip: Best of Friends r elationsHip: Elder sibling
at the Relationship Card or the secret desire
itself until they have chosen.
role: Dependent role: Dependent
Once each major character has been taken,
complete steps 2, 4, and 5 of the character
Family: Humble Origins Family: Humble Origins
creation process described in the next section. desire: They were as desire: They were as
strangers strangers
r elationsHip: Parent r elationsHip: Parent

role: Dowager
Family: Old Money
desire: Our scars let us know
that our past was real
r elationsHip: Rivals

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CHARACTER CREATION 4
Next, each player should create their character
by circling the options on their character sheet.
If you decide not to use the playset above, follow the full
They should also think about their character’s
character creation process below. If the Facilitator is
personality, past, and position. What kind of
playing a major character, they will also need to complete
family do they come from? Do they have a
each step of this process along with the group.
profession? Are they married, unmarried, or
1
Each player selects a secret desire by picking a perhaps (secretly) engaged? Encourage players
quote and taking the corresponding card. They to work together, especially if they have a shared
should then take the associated relationship card relationship.
as indicated by the table below.
Players will also need to determine the meaning
OBJECTIVE RELATIONSHIP of, and the events surrounding their relationship
card. How did Edward wrong Charles? What
Strangers Old Family Friend
happened between John and Charlotte all those
Best of friends / Elder
years ago?
Selfishness Sibling (optional in 4-5
player game) 5 Time for introductions. Ask lots of questions
Large income Friend to encourage players to elaborate on their
character’s personality and relationships.
What is right to be done Former friend
You may wish to have each player write the
Our scars Rivals
name, title and age of their character on a paper
stand for easy reference during the game.

In the order listed in the table above, players Once these steps are complete, players should
2
take turns giving their relationship card to have a good understanding of the story’s main
another player, to form a relationship between characters.
their characters. As they give the card, they
should read the public side of the relationship
card out loud. The private side of the card may
only be read by the person receiving it. Each
player should give and receive exactly one card.

3 Players should now select a character role

and family background they feel accords with
their relationship and secret desire. There can
only be one of each character role and family
background in the game – with the exception of
related characters who have chosen to share the
same background.

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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 their connections, or they may hate them, but their
influence cannot be denied.
In this section of the backstory phase, each major character
will create tHree connections using the steps below.
Document these connections in large writing on a piece of
paper that the entire group can see.
control during the game. Note this next to
the connection. It’s best for players to choose
connections that have no initial relationship
with their major character.
4 Two resolve tokens are placed on each connection
for use during the game. The significance of
these tokens is explained on page 10.
SINGLE SESSION GAMES
If your game is just one session, and has four or
FRANCES SINCLAIR
A sweet but mousy daughter who seems
destined for spinsterhood. Secretly, she
helps her father with his business mat-
ters and publishes articles on business
under a male penname. She is anxious
someone will reveal her secret and her
meagre writing stipend will dry up.
+ DECLINING FORTUNES
+ WHISPERS AND GLANCES

1 Select three connection options from your more major characters, create two connections + UNMARRIED
character sheet. instead of three. + SWEET AND DUTIFUL
+ CLEVER AND WORRISOME
Detail, as briefly as possible, each connection’s:
2
◊ Name
◊ Relationship to the major character WEALTH MARITAL STATUS (IF UNKNOWN)
◊ Primary feelings towards or thoughts on the Heir to more than 1 Unmarried
major character 1 Comfortable or
£5000 a year 2 Unmarried
◊ Wealth
2 Recently Rich or Hidden debts 3 Unmarried
◊ Reputation
3 Disinherited or Married into money 4 Engaged or secretly engaged
◊ Marital status
◊ Key personality traits 4 Appearances only or An honest living 5 Married
5 Declining fortunes or Concealed fortunes 6 Widowed or divorced
It’s worth noting that these details are the
Unexpected
truth of the connection – they may not be 6 or Reliant on a patron
inheritance PERSONALIT Y (ROLL TWICE)
known generally in society, or even to the major
character they are connected with. Headstrong
REPUTATION 1 Sweet and dutiful or Clever and worrisome or
and insistent
In the final version of the game, players will Whispers
1-2 Famous respectability or 2 Awkwardly familiar or Strikingly handsome or Unrepentant flirt
be able to choose cards from a deck of non- and glances
player gentry to quickly and easily create vivid Black sheep Dearest hope
Upholds the Rumours of past 3 or or Leader of the family
connections. For now, players wishing for 3-4 or of the family of the family
family name misdemeanours 4 Friendly and cordial or Aloof and proud or Unstoppable gossip
some assistance in creating their supporting
characters can roll on the tables on the right. Extremely Authoritative and Two-faced and
5-6 Socially embarrassing or 5 or or Silly and free
well connected intimidating scheming
3 Each player (excluding the Facilitator) selects
one of another player’s connections to play and Virtuous and
6 Earnest and naive or or Bitter and resentful
confrontational

8
Play
O nce the backstory phase is complete, it’s time for the story to
begin in earnest. In Good Society, narrative play consists of three
phases, each with a different focus.
The novel phase makes up the bulk of the game, and consists of
in-character play and interactions. This phase is divided into a series
of scenes, called chapters. Each chapter is centred on a single event
such as a ball, a birthday party, or a funeral. As it comes to a close,
reputations will rise or fall depending on the events which occurred.
As well as the novel phase, there are two shorter, intermediary phases.
First, the rumour and scandal phase which allows players to
control the gossip circulating town and introduce new plot twists.
Second, the epistolary phase, where characters may, at their option,
write letters.
Once narrative play begins, each session consists of one or two cycles
of the following:
PHASES OF PLAY CYCLE
1 Novel Chapter
2 Rumour and Scandal
3 Epistolary
4 Novel Chapter
5 Epistolary
The first session generally consists of only one cycle, as collaboration
and backstory can take a bit of time.
The final epistolary phase in the game is also the epilogue. When you
reach this phase, it is compulsory for every major character to write a
letter detailing their fate over the years that follow.
When play begins, each player should have the following:
◊ A character sheet
◊ A family background sheet
◊ A desire card
◊ A relationship card (received)
◊ Two resolve tokens
◊ One monologue token
◊ Three connections
THE NATURE OF PLAY
Good Society is a highly collaborative game.
The Facilitator in this game is not the traditional Game Master.
They have no special narrative abilities. Their role is to help everyone
work together and keep the game progressing. Responsibility for
creating story and drama is shared equally among everyone at
the table.
The Facilitator may have to step in a bit more to help new or uncertain
players, but with experienced roleplayers the game will move almost
by itself.
Players are responsible for taking action to achieve their character’s
goals, whether they derive from their secret desire, relationships,
or circumstances. But they are also the force that creates the story.
This means they get to make plot twists happen, events occur, and
people marry just because they think it will be an awesome part of
someone else’s story.
The Facilitator is there to provide drama and push the game forward
if it starts to stall, but also to help players feel empowered to shape
their own destiny.
SHAPING THE STORY
Every player has the ability to shape the story. However, they must
do so according to the rules of play. There are three ways a player can
affect the story in Good Society.
First, players have complete control over what their major characters
do, their advantages, and the description and use of anything that would
reasonably belong to them. They may also create inconsequential
details about the world for their character to interact with, such as a
punch fountain, or the conversation of a few polite, but unimportant,
gentlemen.
Second, the Facilitator may ask players any questions they choose.
In fact, they should ask rather a lot of questions. As well as asking
questions about the feelings and intentions of their characters
(e.g. How do you react? What did you feel after that?), the Facilitator
can also ask questions that call on a player to actively shape the story
(e.g. Does your brother approach him? Does the carriage make it
before the storm?)
Story shaping questions give players additional control over the
narrative in small ways. It’s best to share these questions around
between the players so they all have input into the story. Nothing truly
important should be decided by a story shaping question. Leave that
for the third method of shaping the story, resolve tokens.
We discuss resolve tokens in full in the rules of play on page 10.
CONSENT
Since this game is authored by all the players, consent is important.
Where resolve tokens are involved, there is a specific mechanic
for dealing with consent. However it’s important that players are
respectful of each other, even if their characters aren’t! On a similar
vein, it’s best for players to accept and build on the changes their
fellow roleplayers are trying to create to the story rather than refuse
them - as long as they fit in with collaboration.
9
The Rules of Play What about the
Facilitator?
RESOLVE TOKENS EXCEPTION: MAJOR CHARACTERS WHEN IS A TOKEN USED IN A WAY THAT The rules governing resolve

R esolve tokens allow the players and Facilitator to Resolve tokens can be used to influence the story, even if IS HARMFUL TO A MAJOR CHARACTER’S tokens apply to player and
change narrative details about the world, and twist that use affects other major characters. However, there are INTERESTS? Facilitator in exactly the
events in their character’s favour. They are named for, and two cases where special rules apply: same way. Well, almost.
There is no precise list of when this occurs. Instead,
reflect, a character’s determination to pursue their goals. There are a couple of
◊ Where a resolve token is used in a way that is it should be interpreted broadly to allow for consent as
minor differences – but
Each person starts with two resolve tokens. The Facilitator harmful to another major character’s interests. appropriate. Examples include:
don’t worry, your new
receives two additional tokens at the start of each chapter. ◊ Where a resolve token is used to compel another ◊ Breaking down a carriage on its way to somewhere acquaintance, the
major character to do or feel something. important. congenial sidebar, is here
Players can use resolve tokens to shape the story in
absolutely any way they would like, including but not If these circumstances apply, then the player using the ◊ Making a character’s brother fall in love with a to help! We’ll detail all the
limited to: resolve token does not place it back in the pool. Instead, woman of ill repute. differences for you as
the following process occurs: ◊ Causing a character to accidentally trip the Duke’s they arise.
◊ Causing an event, conversation, or circumstance wife at the ball.
to occur. 1
The player offers their resolve token to the Resolve tokens
◊ Manipulating or changing the feelings of a affected major character, stating exactly what A token is not harmful to a major character’s interest
simply because it is helpful to another character’s interests
can always be
supporting character. they want to happen, or what they want the
◊ Procuring favours from major or supporting other character to feel. that opposes their own. For example, say Emma and used on the
characters. Charlotte both had designs on the same gentleman, Facilitator’s
The player of the affected major character may Fitzwilliam. If Charlotte used her resolve token to secure
◊ Creating details about the past. 2
respond in one of three ways:
characters
◊ Initiating flashbacks. some alone time with Fitzwilliam, that is not considered
harmful to Emma’s interests, even if it means that Emma The Facilitator does not
◊ Creating new background events occurring outside ◊ Accept the token
is less likely to win his love. have the same stake
the scene. ◊ Accept with conditions
in the characters they
◊ Refuse the token Further examples of play surrounding resolve tokens are
To do so, they simply surrender their resolve token to the are controlling as other
pool, and state what they would like. It happens. If the token is accepted, the desired effect takes presented on the next page. players do. Their goal
3
place. If the token is refused, the effect does not is to help create an
There are three exceptions to the unlimited power of
take place. However, the offering player may still interesting story for all.
resolve tokens:
propose a different option. For this reason, Facilitator
◊ Other major characters. characters must always
If the player chooses to accept with conditions,
◊ Connections controlled by other players. 4 accept resolve tokens
they must say “yes but only if ”, and then state
◊ Collaboration. (within the bounds of
a narrative condition under which they will
collaboration).
accept the resolve token. The player offering
their token may either agree to their condition,
or withdraw their token and play continues
unaffected.

10
ACCEPTING THE TOKEN
Charlotte’s player Edwin wishes to compel Emma to set up a meeting between
Charlotte and Emma’s brother. Charlotte asks Emma in play whether
she will do so, but Edwin wants to make sure it will happen exactly the
way he wants.
Edwin offers up his resolve token to Emma’s player, Shani, saying “I want
Emma to arrange a meeting between Charlotte and her cousin, and I don’t
want anyone else to know of it.” Shani agrees, and takes the resolve token.
Later in the scene, Emma talks to her brother and convinces him to meet
Charlotte alone in the estate gardens.
ACCEPTING WITH CONDITIONS SUCCESSFULLY
Edwin wishes for Emma’s sick father to suddenly pass away, leaving her
entailed estate to pass to her cousin. Edwin offers his resolve token to Shani,
and says “I want your father, in his sick old age, to suddenly pass away.”
Shani replies with “Yes, but only if Charlotte is mysteriously absent from
the funeral. That way she can’t get in my way while I woo Fitzwilliam.”
“At a funeral?”
“Time is of the essence! He’s about to propose.”
“Well, that’s fine with me,” says Edwin, “Charlotte has other plans.”
Edwin hands his resolve token to Shani. Emma’s cousin arrives at the manor
mid-chapter with the shocking news of her father’s death.
ACCEPTING WITH CONDITIONS UNSUCCESSFULLY
Edwin wishes for Emma’s sick father to suddenly pass away, leaving her
entailed estate to pass to her cousin. Edwin offers his resolve token to Shani,
and says “I want your father, in his sick old age, to suddenly pass away.”
Shani replies with “Yes, but only if Charlotte publically invites Emma’s
cousin over for tea.” “No,” says Edwin, “that doesn’t suit Charlotte’s purposes
at all.” Edwin keeps his resolve token, and Emma’s father lives… for now.
EXCEPTION: CONNECTIONS
CONTROLLED BY OTHER PLAYERS
Resolve tokens can be used to change the fate, actions, and feelings
of connections. When a resolve token is used to compel a connection
controlled by another player to do or feel something, the special
rules apply as above. There is one difference – if the resolve token
is accepted, instead of a player keeping the token, it is placed on the
connection for later use.
There is no restriction on harming the interests of connections and
supporting characters – after all, without the shield of the protagonist
who knows what will befall you?
USING RESOLVE TOKENS ON CONNECTIONS
Edwin controls a connection named Henry Lucas, a rich young bachelor.
Shani offers her resolve token to Edwin and says “I want Henry to invite
Emma to see the beautiful nature walks of his estate.”
Edwin replies “Yes, but only if Henry insists on also bringing his sisters.”
Shani agrees, and places the token in Henry Lucas’ pool. She’s already
thinking about Emma’s plans to get rid of them during the walk.
EXCEPTION: COLLABORATION
The collaboration phase lays the definitive parameters of the story
your group will tell. Resolve tokens can never be used to move the
game outside of these parameters.
ENFORCING COLLABORATION
Edwin puts his resolve token in the pool saying, “I want John’s servant to
poison him.”
“Are you sure that fits in with collaboration?” asks Tammy.
“Yes,” says Shani, “we did agree on a romantic comedy, and I don’t think this
really fits the tone.” The other players agree.
“Good point, you’re right,” says Edwin. “What if his parents arrange his
engagement to Jane’s sister instead?” Shani and Tammy agree. Edwin puts
his resolve token back in the pool and the engagement is duly announced.
11
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.

During the backstory phase, each player will select a connection of

another major character to play during the game. The remaining
connections are played by the Facilitator. The Facilitator can
also step in and play connections controlled by other players as
needed – no one wants to talk to themselves!

At the beginning of the game, each connection has two resolve

tokens in their pool. These are free tokens available to the person
playing that connection, to use in order to have the connection
change the story. Go forth and complicate the lives of the major
characters.

Rules for playing connections are similar to the rules for general
play. A person playing a connection may always give voice to
that character, and describe details about how they look, their
mannerisms, etc. However if a player or the Facilitator wishes
to use a connection they control to make a substantial change to
the story, they must use one of the resolve tokens stored on that
character. The rules for using these resolve tokens are the same
as those outlined in the previous section.

INNER MONOLOGUE
Internal monologue is a ubiquitious and entertaining feature of
Austen’s work, so we couldn’t resist capturing it in Good Society.

At the beginning of each session, each major character is given

one monologue token. At any time during the game, they
may give their token to another player. When a player receives
a monologue token they must immediately reveal the inner
monologue of their major character. This should include what
their character is thinking, feeling, and planning on doing next.

Each person can only be called upon to monologue once per

session. Monologue tokens cannot be kept from session to
session, so be sure to expend them at a crucial moment!

12
Phases of Play
PHASES OF PLAY CYCLE
1 Novel Chapter
2 Rumour and Scandal
3 Epistolary
4 Novel Chapter
5 Epistolary
NOVEL
T he Novel phase consists of in-character play, broken
into a series of chapters. At the end of each chapter,
character reputation is adjusted, and reputation boons and
misfortunes are decided.
CHAPTERS
A session of Good Society should generally contain two or
three chapters. A game may consist of several sessions.
Each chapter is a scene, centred around a particular event,
such as a birthday, funeral, long walk through nature, or,
of course, the much anticipated ball. In each scene, players
will take action to pursue the ambitions and desire of their
major characters, as well as playing, where appropriate,
the connections that complicate their lives.
It is the Facilitator’s job to decide, with the help of the
players, which event should be at the centre of each
chapter. When a new chapter begins, the group should
work together to set the scene, including describing
surroundings, deciding who is in attendance, and starting
the action.
During each chapter play proceeds in an unstructured
manner (except of course for the rules), with players
calling for the action they would like to occur, and the
Facilitator asking questions and guiding the action.
The Facilitator may also introduce further drama as
appropriate (or even better, tempt someone else to
introduce more drama with a well-timed resolve token.)
The Facilitator will also decide when the chapter has come
to a close.
REPUTATION
Success in regency society demands an impeccable
reputation – but drama in regency society demands an
imperilled one.
R eputation in Good Society represents society’s opinion
of a character. A character with poor reputation can expect
to be excluded or ostracised, while a character held in high
esteem will be respected and heard.
In Good Society, players track their reputation on their
character sheet. After every chapter, players and Facilitator
collectively decide which major character most advanced
their reputation, and which most injured it. They should
base their decision solely on the events of the chapter
which just occurred.
The character whose reputation grew advances one tier
upward on their sheet. The character whose reputation
was most endangered drops one tier, but is recompensed
with a resolve token.
Once this has been decided, both players take turns to
resolve an event from the reputation table (which can be
found in the Appendix). The process for doing so is as
follows:
1
The Facilitator selects three options from the Ready for Drama
corresponding section of the reputation table –
increase or decrease – and reads these to the player. At the beginning of each
chapter, the facilitator
The player selects one option.
2 receives two more resolve
tokens, so they can keep
3 The player and Facilitator jointly decide whether
the drama flowing!
the event comes to pass:
◊ Immediately
◊ In the upcoming epistolary phase
◊ In the next chapter
Reputation Tiers
△ No Ill Can Be Said
If it occurs immediately, the player narrates a short
vignette, or initiates a short scene in which either △ Well Respected
the event occurs, or evidence of its occurrence can
be clearly seen.
○ Whispers and Glances
▽ Rumour and Scandal
If the event will occur later, then the Facilitator
and player must decide who will be responsible for ▽ Total Disrepute
initating the event.
4
The Facilitator strikes the selected option off the
reputation table – it cannot be used again this game.
EXAMPLE OF A REPUTATION EVENT
Shani selects for Emma to receive a gift from an anonymous benefactor. She narrates how Emma woke
one morning to find a beautifully bound book by her favourite poet mysteriously by her bedside.
Edwin selects to have a relative arrive to reprimand Charlotte for her recent behaviour. Edwin and
Tammy agree this should occur in the epistolary phase. Edwin takes responsibility for initiating the
event, and in his letter describes Charlotte’s father travelling back from London to put his foot down
about her recent behaviour.
Shani selects for Emma to attract the attention of another of ill repute. Tammy has a great idea
exactly who that might be, and asks to take responsibility for initiating the event during the
next chapter. When the chapter begins, she gleefully narrates how Emma’s half brother arrives at the
Duke’s birthday party without an invitation.
13
RUMOUR AND SCANDAL
Once every cycle is a rumour and sCandal pHase. In this phase,
players determine what juicy gossip is circulating through good
society – and which of it is true.
The rumour and scandal phase takes place in turns, starting from
the Facilitator. It is two rounds. Turn order is clockwise for the
first round, and counterclockwise for the second round.
During their turn, a person can either Create a rumour, or
ConFirm a rumour. If there are no uncomfirmed rumours, then they
must create a rumour.
A rumour is a piece of gossip flying around town, such as “Henry is
planning to propose to Emma – but only if she’ll keep their engagement
secret!” or “Thomas may not seem eligible – but he’s about to inherit
the Oakridge estate.”
Unconfirmed rumours represent the baseless talk passing from sitting
room to sitting room. Although not (yet) true, these rumours can
still be influential in shaping the opinions of connections and
noteworthy influencers.
When a rumour is confirmed, then it has the potential to become true.
A resolve token is placed upon it from the general pool. This resolve
token can be used by any person, during a chapter or epistolary phase,
to declare the truth of this rumour and use it to change the story.
As always, the rules governing the use of resolve tokens apply.
The rumour and scandal phase continues until each player has had
two turns. On their first turn, players must create or confirm a
rumour about the present situation, for example “Emma and Henry
are secretly engaged,” or “Lucy’s father is not really related to her.”
On their second turn, they must create or confirm a rumour about
something that will happen, for example “Henry is planning to
propose to Emma – but only if she’ll keep their engagement secret!,”
“War will break out with Spain and the navy will be called back,”
or “The Duke is planning a visit with his unmarried son.”
All rumours are recorded and should be placed so that all players can
reference them easily.
EPISTOLARY We recommend not ending the final chapter until all players are ready.
Once the allocated sessions and chapters have finished, the game is
Between each chapter is an epistolary pHase for the writing
over, and the Jane Austen novel the players have written is complete.
of letters. In this phase, each person including the Facilitator may write
up to one letter, either from the perspective of their major character, The final epistolary phase is an epilogue, where characters comment
or a connection that they control. on the progression of their lives since the events of the final chapter
came to their close. After this players can reveal their desires, and may
Chapters take place at one location, at one point in time - and although
also choose to title the novel they created together.
flashbacks during a chapter are possible they cannot capture small
moments and discreet visitations characters may wish to make between
major scenes. Nor can they reflect dilemmas or relationships which
form over time. The purpose of the epistolary phase is to provide the
opportunity for such things to occur. And of course, the writing of
letters is just so Austen.
To Write a letter, a player must first state who the letter is from (their
major character, or a connection they play), and who it is addressed to.
They then dictate the contents of the letter.
There are no limits as to what can be included in a letter, but the
normal rules for collaboration, and the use of resolve tokens apply.
They may communicate a message, describe a past event or series
of events, or document a change in feelings or intentions.
When players create a letter that describes past events, they may
either flashback to a brief vignette or scene where those events take
place, or simply describe what happened.
If a letter describes a past event which includes another player’s
major character, then the player writing the letter must flash back to
the events which occured, to give other players with a stake a chance
to influence the outcome.
Once each player has had a chance to compose a letter (or has declined
to do so), the epistolary phase is over.
TIMING AND ENDING THE GAME
We mentioned above that a game of of Good Society should include 2- 3
chapters per session. Players should either be told upfront how many
chapters will take place in the entire game, or given ample warning
before the last chapter so they have time to enact their schemes and
achieve their objectives.
14
Rules for Longer Games
T his Quickstart is geared towards 1 or 2 session
games. But just in case you’re hankering for more
regency roleplaying, we’ve included extra rules to make
longer games more dynamic and interesting.
The world of Austen’s novels is never constant. Desires
change, secrets are discovered, and new eligible suitors
appear out of nowhere.
To reflect this, we’ve created a start of session process
for you to use at the beginning of every session from
three onwards. It has two steps.
1. REVIEW COLLABORATION
As a group, review the collaboration decisions you made
at the beginning of the game. Are there any you need to
change? Is there anything in the game you would like to
see more of? Or less?
2. EXPAND BACKSTORY
Each person playing a major character choses one of the
following options:
◊ Change secret desire
◊ Create a new character
◊ Create a new connection
◊ Play an extra connection
◊ Change a connection’s fortune
◊ Establish a relationship
◊ Recharge resolve tokens
If a character’s secret desire has been fulfilled, or can no
longer be accomplished, they must choose to either change
secret desire, or create a new character.
If your game has three or less major characters, and you
feel more drama is required, players may want to choose
two options rather than one.
CHANGE SECRET DESIRE
Collaborate with the Facilitator to create a new
secret desire for your character. Keep it secret
from the other players!
Your new desire must be:
◊ Suitably dramatic
◊ Hard to accomplish, but not impossible
◊ Related to yourself, or at least one of the
other major characters at the table. It can
also include connections
◊ Something over which your major character
has substantial influence
◊ Within the boundaries of collaboration
You can use the table to the right to help you –
but don’t feel constrained by it. You may think of
something perfect for your game that isn’t listed!
If you’re not sure, go for marry, break up, bring
substantial wealth to, or ruin.
CREATE A NEW CHARACTER
Sometimes you’ll find that the story of your
character is, well, over – or just doesn’t interest
you any further. That’s ok, this gives you the
opportunity to create an entirely new character,
with new desires and new drama.
Create a new character using the rules in the
backstory phase. You may also need to create a
new desire using the rules in the section above.
Your old character doesn’t disappear! Instead
they become controlled by the Facilitator.
Your old character’s connections continue to
exist without change.
SECRET DESIRE GENERATOR
marry, ruin, expose, humiliate, and
myself myself
restore or increase the reputation to
of, bring substantial wealth to, A major A major
arrange a secret engagement for
character character
I want to...
between, exile from the family, (name them) with (name them)
prove myself to, win the trust of,
A connection in front of A connection
break up, get the blessing of, hide,
(name them) (name them)
cover up or erase, repay from
CREATE A NEW CONNECTION ◊ Reverse a connection’s marital status –
from single to married, or perhaps engaged
Create a new connection for any major character,
to single. Say why.
using the same processes as usual. Place two
◊ Give the connection a strong desire. Write it
resolve tokens on the new connection.
on a blank piece of paper and place it on top
of the connection with a resolve token on it.
PLAY AN EXTRA CONNECTION
Take over the role of a connection (other than ESTABLISH A RELATIONSHIP
your own) currently played by the Facilitator.
Establish an unexpected relationship between
You’ll play this connection in addition to any
a major character or connection you play, and
you play already. Add two resolve tokens to that
another major character or connection in the
character.
game. It can be anything that interests you as
long as it does not conflict with collaboration or
CHANGE A CONNECTION’S FORTUNE
the story so far.
Something dramatic has happened off-screen to
If the relationship is with a major character
a connection between this session and the last.
or connection that is not controlled by the
Pick one of the following:
Facilitator you must have the appropriate
◊ Reveal a shocking secret about the player’s permission first.
connection. Add it as a confirmed rumour
to the rumour and scandal sheet, and assign RECHARGE RESOLVE TOKENS
a resolve token to it. Take two resolve tokens and place them on
◊ Reverse a connection’s wealth – from rags confirmed rumours, or connections (other than
to riches or perhaps riches to rags. Say why. those played by you), of your choice.
15
The Facilitator
FACILITATING THE GAME
A s the Facilitator, your primary function is to help everyone
collaborate to build a shared story. You’re not the story master,
but rather the story enabler, teasing out the narrative creativity of the
players around you. To help you do this, your task is to:
◊ Be respectful of collaboration.
◊ Ask questions and build on the answers.
◊ Be responsible for structure and pacing.
◊ Play (some of) the supporting characters.
◊ Bring home the consequences of character actions.
◊ Add drama and complication – but only if you need to.
We’ll talk a bit more about each of these goals in this section. During
the game if you’re not sure how to respond, it can be useful to refer
to the above. And remember – it’s always ok to stop and think about
what to do next!
BE RESPECTFUL OF COLLABORATION
We’ve already talked about the importance of collaboration to create
a storytelling experience that all the players can enjoy. Collaboration
is everyone’s responsibility. However as the Facilitator, if you notice
players who are uncomfortable, but not willing to raise their concerns,
you may need to start the conversation.
ASK QUESTIONS AND BUILD ON THE ANSWERS
As Facilitator, questions are the best tool you have to bring the story
to life. Ask the players lots of questions – and not just about their
characters. Kinds of questions you can ask include:
Action focused questions: What do you do? How do you respond?
Internal questions: What are you thinking? How do you feel
hearing that?
Description questions: What does the ballroom look like?
How does Lady June work the floor?
Story shaping questions: Does your brother approach him?
Does the carriage make it before the storm?
Backstory questions:
your parents pass away?
Where did you meet Frederick? When did
Editorial questions: Do you want to flashback to that conversation?
Once you’ve found out the answers, use them!
BE RESPONSIBLE FOR STRUCTURE AND PACING
Each player will no doubt be full of grand plans and ambitions for
what their character, and the connection they play, will achieve in each
chapter. As the Facilitator, it is your job to keep the story moving,
and make sure each character gets an equal share of the spotlight.
Think about it like being the novel’s editor.
PLAY (SOME OF) THE SUPPORTING CHARACTERS
As the Facilitator, you take responsibility for any connection not
controlled by a player. As usual, you can use the resolve tokens on these
connections to have that character influence the story. You may also
be called upon to give voice to the connections which are controlled
by another player, if that player’s major character is also in the scene.
Connections should always have their own feelings and agenda.
Sometimes this agenda will provide obstacles and opposition for
the major characters, and sometimes it will need to buckle to the
major character’s desires. Pick whichever option best suits the story.
Often, opposition earlier in the game and capitulation towards its
end will provide a more satisfying narrative arc. But not always –
sometimes it can be quite the reverse!
BRING HOME THE CONSEQUENCES OF CHARACTER ACTIONS
All actions have consequences – but in the world of an Austen novel,
even the slightest actions can be of the greatest consequence. A stray
glance, an improper familiarity, a well-timed introduction and even a
simple acknowledgement can all be of tremendous importance.
As characters take actions, your job as Facilitator is to make the ripple
of these activities reflected in the world. Sometimes, other players will
naturally react and respond to what has occurred. But other times,
a character may take an action that is particularly tremendous, or
particularly untoward – and nothing might happen. If so, it’s your role
to step in and change that. This is particularly the case for reputation,
which should continue to be reflected as the game progresses.
ADD DRAMA AND COMPLICATION – BUT ONLY IF YOU NEED TO
As Facilitator, you are equipped with the tools to create drama and
complicate the story – but it may not always be necessary. Judge by
how the game is going so far. If the game is full of tension and players
are desperate for their character’s scenes to come round, then hold onto
your resolve tokens. If the story is flagging, players are uncertain,
or there is no real opposition or obstacles, then it’s time to act.
When you feel the story needs more drama, use your resolve tokens
to introduce an additional obstacle or complication. Here’s some ideas:
◊ Threaten their reputation.
◊ Mar their name.
◊ Get their family members into trouble.
◊ Reveal a secret arrangement or connection.
◊ Create an unexpected suitor or advance.
◊ Bring the weight of parental or high ranking authority against
their actions.
◊ Make a rash offer or give an ultimatum.
◊ Ask them for a favour.
◊ Threaten them or warn them off.
◊ Thrust them into an unwanted acquaintance.
◊ Create an accident.
◊ Reveal the possibility for a change of fortune or status.
◊ Offer an unexpected alliance.
◊ Reveal a betrayal or plans for betrayal.
◊ Expose a dangerous secret, or ask a character to reveal a
dangerous secret about themselves.
16
PLAYING A MAJOR CHARACTER AS
Thank you for
THE FACILITATOR
reading.
In Good Society, the Facilitator may also choose to take on the role
of a major character. If your game has three or fewer players, this is This Quickstart has been
highly recommended. made available as a
limited pre-release.
When the Facilitator takes on the role of a major character, they
will go through the usual character and connection creation process The game will be
detailed on page 7. They will also receive a monologue token. Kickstarted on the
4 February 2018.
However, they will continue to use the Facilitator rules for gaining,
using, and being affected by resolve tokens, rather than the Art Credits
player rules.
Aviv Or
If you are the Facilitator, and you do take on a major character, www.avivor.com
you should of course act to pursue that character’s interests. pg 8.
However, it is important to remember that your role as Facilitator
Raven Warner
comes first. The objectives of your character must always come
www.ravenwarner.com
second to your goal of helping the players work together to create a
pg 5, 6, 10, 11, 13, 15.
satisfying narrative experience for the table.
Storybrewers
Roleplaying

Fin. www.storybrewersroleplaying.com

Good Society is brought

to you by Storybrewers,
Hayley Gordon and Vee
Hendro.

Find us on Facebook,
Twitter and G+!
@storybrewers

Email your questions

and comments to
storybrewers@gmail.com

17
PL AY M AT E RI A L S

• Character sheets
• Family backgrounds
• Secret desire cards
• Relationship cards
• Reputation tables
Though it is often said a pheasant in the hand
is worth two in the 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 in
order that your real life may begin.
Advantages
Once each per session:
Oh Yes, Many – But None Truly Love Me
A throng of suitors surround you, numbering
not less than five. While they are only after
your wealth and family name, they may
nevertheless do in a pinch. Or perhaps you have
some other purpose in mind?

Daddy! Mummy!
Character You may solicit the interference of Daddy and
Mummy to get yourself out of whatever trouble
First Name: you’ve gotten in to. They come, of course, but
Susan, Rebecca, Arthur, Edgar. you may face their displeasure later.
Family Name:
Knightley, Morland, Brandon.
Reputation
Age:
19, 25, 29. △ No Ill Can Be Said
Countenance: △ Well Respected
Awkward, inviting, gentle.
○ Whispers and Glances
Temperament:
▽ Rumour and Scandal
Shy, excitable, pompous.
▽ Total Disrepute

Connections
Pick 3:
Mummy, daddy, younger sibling, suitor, less
fortunate cousin, least favourite uncle/aunt,
governess, close friend.

The Heir
Complex theologies and scientific theories have
always a tendency to bore you. Not, as other think,
Advantages
because you do not grasp them - but rather because
Once each per session:
you cannot grasp them. It is not ideas or ideals that
change a person’s fortune, but the petty predilections Oh Darling, What a Surprise
of men. Those of your particular skill set have no Appear in a situation suddenly and with no
need for promise or bargain. Instead, lengthy looks explanation. It’s almost as if you’d planned it
and half smiles are all you need to turn a room of ahead of time. Almost.
cold observers into desperate admirers. The Local Scandal
Spread a secret or rumour not widely known
Character to instantly gain the trust and confidence of
another. The secret or rumour must be true.
First Name:
Sophia, Isabella, Peter, John.

Family Name:
Reputation
Crawford, Lucas, Thorpe. △ No Ill Can Be Said
Age: △ Well Respected
22, 27, 42.
○ Whispers and Glances
Countenance:
▽ Rumour and Scandal
Childish, elegant, joyous.
▽ Total Disrepute
Temperament:
Shy, excitable, pompous.

Connections
Pick 3:
Mother, father, sibling, frenemy, commanding
officer, militia/naval friend, rival, favourite
aunt/uncle.

The Socialite
It is your ill fortune to rely on the kindness of another
for the necessities of existence. Tragedy struck your
Advantages
parents or spouse, and as its consequence you live
Once each per session:
your life in a household not your own. Whether you
stay with your relative, guardian, or benefactor, to My True Family
be at the whim of another at all times is a capricious You find, carefully hidden among old
situation. You find yourself in constant fear of belongings, a secret about either: the family
failing to please those on whom you rely. Though a you came from, or your deceased spouse (if you
fine roof is above your head, yet you have no home. have one).
Never You Mind Me

Character Your years of dependence on good will have

made you an expert at using modesty and self-
First Name: effacement to manipulate feelings. Once per
Julia, Louisa, Edward, Charles. session use this tactic to change the feelings of
a supporting character towards you.
Family Name:
Allen, Croft, Russell.

Age: Reputation
18, 24, 36.
△ No Ill Can Be Said
Countenance:
Gaunt, captivating, prim. △ Well Respected

Temperament: ○ Whispers and Glances

Sunny, sullen, rational. ▽ Rumour and Scandal
Who are you dependent upon? ▽ Total Disrepute
(pick a connection or another major character)

Connections
Pick 3:
Foster father/mother, foster sibling, sibling,
cousin, local vicar, estranged aunt/uncle,
brother/sister in-law, child

The Dependent
It was but a few years ago now your most recent
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 are finally able to play the field on your own
terms. Your children and nephews wait anxiously
for their large inheritance, daily expectant of news
of your death. Unfortunately for them, you have
much better plans in mind.
Character
First Name:
Caroline, Elinor, William, Thomas.
Advantages
Once each per session:
My Favourite Nephew
Convince a close relative to perform a favour of
your choosing, by offering to bequeath on them
part of your estate. You won’t need it when
you’re dead.
The Wisdom of Elders
Use the authority of age and wealth to succeed
at publically censuring another character.
The extent of this reproach and the level
humiliation it may cause is up to you.

Family Name:
Bertrum, Tilney, Elton.
Reputation
Age: △ No Ill Can Be Said
40, 48, 62. △ Well Respected
Countenance: ○ Whispers and Glances
Tasteful, commanding, honeyed.
▽ Rumour and Scandal
Temperament:
▽ Total Disrepute
Polite, scornful, cheerful.

Connections
Pick 3:
Oldest child, youngest child, nephew/niece,
son/daughter in-law, sibling, old flame,
protégé, oldest friend.

The Dowager
Wherever it is you were in these past years, it was
certainly nothing like here. These people are strange
Advantages
to you; their habits, manners and views as if lifted
Once each per session:
from a theatre play. Still, to the outsider comes the
gift of objective observation. You view their dramas Before your arrival you either:
as a spectator, able to see what the characters • saved a supporting character from shame
cannot. A skill you will need if you are to prove your and embarrassment,
own ambitions among them. • rescued them from poverty or financial
ruin,

Character • exerted your influence to successfully

marry one of their family members.
First Name: Quite Indebted
Lydia, Clara, Jack, Frederick. The supporting character you helped is deeply
Family Name: indebted to you though they will never explain
Gardiner, de Bourgh, Hurst. why to those who surround them, and will
try to hide their gratitude and attempts to
Age:
repay you.
24, 30, 50.
Who me?
Countenance:
You hadn’t meant to make your good
Graceful, modest, foreign.
deeds known about town, but of course,
Temperament: scandals travel faster than news. Create a
Amiable, aloof, mercenary. confirmed rumour about your actions. You may
use this ability even if it is not the Rumour and
Scandal phase.
Connections
Pick 3: Reputation
Uncle/aunt, sibling, cousin, childhood friend,
childhood rival, militia/naval friend, friend △ No Ill Can Be Said
from abroad, business partner.
△ Well Respected

○ Whispers and Glances

▽ Rumour and Scandal

▽ Total Disrepute

The New Arrival

 Humble Origins
Jesus, they say, was born within a stable – and
though few know it, your place of emergence was
little better. Hard times hit 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.
Advantage
Commoner Courtesy
During the game, you may become firm friends
with a servant of your choice. Once per session,
this servant will be happy to do you a favour of
your choosing. If the servant has not yet been
mentioned, you may manufacture them for this
purpose.
Peerage
Whatever ancestor replaced the dull grunt of “Mr”
with the pleasant tones of “Lord”, 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.
If appropriate, add the title Lord or Lady to
your character sheet.
Advantage
Of Course I’ll Introduce You
Once per session, a household of your choosing
will perform a logistical favour of your choice,
such as accommodating you, hosting a party,
or arranging a meeting. All you need say is
that you’ll put a good word in with your uncle,
the Duke.
Military
Though looks may be deceiving, your family has no
qualms in identifying 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.
Advantage
Conspicuous Gallantry Cross
During the game, at a time of your choosing,
you or a family member will be awarded a
military cross for conspicuous gallantry in
battle. You will be asked to make a speech
which will be printed in the newspaper.
 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 y our hands.
Advantage
My Other House Is A Country Estate
Your family owns an estate deep in the English
country side. Once during the game, you, and
as many others as you should care to invite,
may holiday there undisturbed. While there,
the servants listen only to your instructions
and cater to your peculiarities.
Peerage
Whatever ancestor replaced the dull grunt of “Mr”
with the pleasant tones of “Lord”, 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.
If appropriate, add the title Lord or Lady to
your character sheet.
Advantage
Of Course I’ll Introduce You
Once per session, a household of your choosing
will perform a logistical favour of your choice,
such as accommodating you, hosting a party,
or arranging a meeting. All you need say is
that you’ll put a good word in with your uncle,
the Duke.
Military
Though looks may be deceiving, your family has no
qualms in identifying 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.
Advantage
Conspicuous Gallantry Cross
During the game, at a time of your choosing,
you or a family member will be awarded a
military cross for conspicuous gallantry in
battle. You will be asked to make a speech
which will be printed in the newspaper.
 Restore your reputation  Convince your parent to
and be forgiven by  accept you as their legitimate
your former friend. They were as child, and declare your
relation to all the world.
What is right Once you enjoyed the pleasures of
friendly company and good opinion. strangers; worse Though biology dictates that a child
Until, in a single instant, your mad
to be done passions led you to throw it all away.
than strangers requires two parents, you have never
beheld evidence of more than one.
In one rash act you wronged another
cannot be done deeply and plunged yourself into
interminable disrepute.
for they could Born out of wedlock, your wealthier
and more powerful progenitor refused
to acknowledge from an early age.
too soon. Now all you seek is to bury your past,
regain your good name, and find
never become Now the time has come for a family
reunion. And, be it by charm, favours
forgiveness.
acquainted or less savoury means, you will find a
way to have them acknowledge you as
You start the game on 1 reputation,
and with 2 extra resolve tokens. their own progeny.
Even the most faithful of affections are

there is no hope
People in this world are so unreliable.

You have realized the folly of putting

must always be
discreetly farewell the other.

snares – and only the finest morsel is

Receive proposals from OR

individuals. Marry one and

quickly cast aside when a wealthier

The careful hunter checks all their

know, because
make successful proposals

Selfishness

forgiven you
to at least two eligible

cooked and eaten for dinner.

your hopes in but one place.
target comes into view.

of a cure
 Find the thing your rival Come into substantial wealth,
loves most, and take it while ensuring your
for yourself. reputation stays 
For years, you have lived in the A large absolutely impeccable.
Our scars shadow of another.

Watched as they received the income is the You’ve always had a taste for luxury –
make us know undeserved benefits of wealth, privilege be it large balls, expensive clothing, o r
and connection, while you were coldly
best recipe for the race track.

that our past overlooked. Suffered as the things you

prized were taken from you, 
Now your debts are severe, and the
and given to them. happiness I ever time to pay is approaching. You need

was real No longer.

money fast. You can’t let anyone know
your true situation however, as your

Now is the time to correct the past’s

heard of employment and your inheritance
would both be terminated.
mistakes. You are ready, willing, and
able to turn the tables so emphatically, You have to find a way to fix this
that they can never be turned back. without a stain on your name.
 Best of Friends
Best of Friends The giver of this card is your
most intimate companion and
The person receiving this card is
longstanding friend. You will try
your most intimate companion,
your best to aid their endeavours,
and longstanding friend.
so long as it does not compromise
your plans or good standing.
The person receiving this card is
Former Friend Former Friend
The person receiving this card is The giver of this card was your
your former friend. friend, until they wronged you so
painfully and completely.
However, your cruel actions
towards them ended your Now you can barely stand to be in
relationship abruptly. the same room as them.

You had a romance once, and

a longstanding acquaintance.

feelings has quieted, t he spark

The giver of this card is your

while the raging fire of your

old flame, and you theirs.
Old Flame
on the rare occasion.
You still visit, 

never truly dies.

Friends
 Parent
Old Family Friend
The giver of this card is your
The person receiving this card is illegitimate child. You rejected
an old family friend. Years ago, them from their birth to avoid
your families were quite well scandal and disrepute to your
acquainted, but since your youth family and name.
they have rarely corresponded. You have not laid eyes on
them since their early infancy.
Elder Sibling
Rival
Rival
The person receiving this card
The giver of this card has
is your rival. For countless
always seemed to take an
years, they enjoyed the benefits
unexpected dislike to you.
of what should have been yours.
You cannot imagine why.

Elder Sibling
card is your elder sibling.
The person receiving this

is your younger sibling.

The giver of this card
Reputat ion Tables
The Facilitator selects three options from the
1 △ REPUTATION INCREASE
corresponding section of the reputation table –
increase or decrease – and reads these to the player. ◊ Another comes to you,
The player selects one option. seeking advice
2
◊ Word is carried to you of
The player and Facilitator jointly decide whether those acting against you
3
the event comes to pass: ◊ You are asked to share your
◊ Immediately wisdom at an event
◊ In the upcoming epistolary phase ◊ You receive an invitation
◊ In the next chapter to visit, or are called
upon by, someone of great
If it occurs immediately, the player narrates a short importance
vignette, or initiates a short scene in which either ◊ You receive a gift from an
the event occurs, or evidence of its occurrence can anonymous benefactor
be clearly seen. ◊ You attract the attention of
If the event will occur later, then the Facilitator a connection of your choice
and player must decide who will be responsible for ◊ One of your relations
initating the event. benefits from your good
name
The Facilitator strikes the selected option off the ◊ Your past indiscretions are
4
reputation table – it cannot be used again this game. overlooked
◊ Your past misdeeds are
forgotten or dismissed as
trivial
◊ A false but flattering
rumour spreads about
you in town (add it to the
rumour sheet)
◊ Your word is believed
over the gossip (cross an
unconfirmed rumour off
the rumour sheet)
▽ REPUTATION DECREASE
◊ A connection distances or
dissociates themselves from
you
◊ One of your relations feels
the ill effect of your fall in
reputation
◊ You are accused of lying
◊ You attract the attention of
another of ill repute
◊ Your indecorous act is
mocked to your face
◊ You are given conditions or
restrictions by a connection
of influence
◊ A relative arrives to
reprimand you
◊ You are deliberately not
invited to an event or
engagement
◊ A false and detrimental
rumour spreads about
you in town (add it to the
rumour sheet)
◊ A potential suitor is warned
against you