Wrapping up 2023

 

Buckling swashes and shivering timbers.

Well, it's once again around the sun and time for me to take stock of the happenings of this past year. Suffice to say, it's been kind of rough.

A lot of my writing this year has been ghostwriting commissions, including a novelette, a couple of flash fictions, and a full-length novel. But I've paused my gig on Fiverr in response to the platform facing boycotts over Palestine. It's been a while since I've taken projects through UpWork, but I think it's time to jump on that again.

Furthermore, I expanded into writing for roleplaying games, serving as a co-writer for a 5e-compatible adventure based on Calke Abbey. This is part of a project to write a series of adventures set in National Trust sites, and I hope it takes off because I'm interesting in seeing where else I can take it. I'm actually going to be running a workshop on the subject at next year's Swanwick.

Of course, I didn't just do gig projects. I published another Kestrel and Scar story, The Homecoming at the end of October. I'm now looking at other story ideas for my favourite troublemakers, while also looking at compiling the three stories I've written so far into a single book for a physical release.

There has been some trouble too. I left Twitter at the end of November, which has become too much of a mess. Most of the likes my posts were getting ended up being from bots, and most of my friends already jumped ship. Fortunately, you can find me on Bluesky now.

Well, that’s about it. I’m still alive, and I’ll see you in the New Year.

Happy writing.

Book Review - Topaz

 
Spying for this government is not a job I'd want to take, especially right out of Sixth Form.

Nonetheless, that is the situation for our protagonist in Topaz, a spy thriller by Richard Robinson. This review was done as part of a Reading Between the Lines blog tour organised by Lynsey Adams.

Blurb

It’s the summer of 1995. The US Peace Envoy, Fred Martinson, begins to broker a peace deal for Northern Ireland. The world holds its breath as the first tentative steps are taken. 

Jones, an 18-year-old from suburban England, has stumbled through education and yearns to be a football reporter. He is offered a place at Milton College, a former secretarial school with a clandestine partnership with GCHQ in seeking the communication stars of the future.

Before he knows it, Jones has been recruited, paired with Jenny Richmond, who is every bit his equal, and sent to Northern Ireland to undertake skills development and resilience testing with the Young Communicators Unit (YCU).

Training becomes a matter of life and death when a group of trainee spies learning on the job are betrayed to their death, and their most promising member, Isadora Brown, is taken hostage. MI5 and YCU are sent a video of her reading demands by a mysterious organisation called Red Line.

What if a group of young trainees were forced onto the frontline to deal with one of the most sensitive issues in UK history? What if political relations were so sensitive at the end of The Cold War, that only a group of deniable students could change history and keep super powers from ruining the first steps of a peace deal in Northern Ireland?

It’s a race against the clock to find and free Isadora, and make sure the US peace talks aren’t sent up in flames.

But who, exactly, is betraying who?

Review

Topaz was a gripping read which I couldn't put down.

Jones makes for an interesting protagonist who was recruited for his tendency to make friends in pubs and doesn't seem to know what he wants to do with his life. The first chapter has him working a summer job as a labourer after finishing his A Levels, which also reveals that he's afraid of heights. It's mentioned that he barely revised and was pressured by his parents into applying to university, only for his grades to dash that.  As someone who had a rough time with A Levels (to the point that it put me off going to uni for six years), I can relate to that situation, and it made me want to follow his journey. His uncanny ability to stumble through things seems reminiscent of Richard Hannay.

The other characters are great too: Jenny Richmond is introduced as a consummate professional in stark contrast to the more laid-back Jones, but they quickly develop a strong working relationship. Isadora also gets some moments to shine as she thinks on her feet. We also have Orla Massey, the local police inspector who is often at odds with the intelligence services (especially Jones' handler Virginia Curry).

While there are some aspects of mass surveillance which really do not sit well with me, this is nonetheless a great story with a sense of mystery and intrigue that drew me in.

Topaz is available from Amazon here.

About the Author

Richard lives in East Anglia with his wife and two daughters. He is a trained journalist and spent his early years freelancing or in agency positions across the UK, including a stint in Northern Ireland in the mid-1990s. He then transferred to the third sector, working in charities focusing on issues as diverse as international development (in India and Bangladesh), air ambulance operations, music and the creative industries, mental health and homelessness. He also acted as Chief Executive of the Olympic Park charity during London 2012.

He is currently the CEO of Hourglass, the UK’s only charity focused on ending the abuse and neglect of older people, a job he applied for after a family experience of neglect. 

Richard wrote his first novel in the early 2000s but this has yet to see the light of day. Instead, he started with a new idea in 2020 and Topaz was born. He has written two more in the Topaz Files series, Wild Flowers and The Mainstay, which are expected to be published in 2024. 

He is also happily in the dugout for Boxford Rovers F.C. on a Saturday, a committed cratedigger (vinyl collector) and can occasionally be seen in the stands at Loftus Road and Windsor Park.

• Website
• Twitter
• Instagram

Happy writing.

The Homecoming and Future Plans

Well, it's Bonfire Night. And I'm disappointed that V for Vendetta isn't on Netflix UK at the time of writing (although that's getting scarily more real by the day). Anyway, while dealing with the existential dread of my 30s, I was able to publish Kestrel and Scar's next adventure.

The Homecoming follows my wandering rogues as they travel to England with Rosanna Barclay, so they can part ways with them and start a new life. Unfortunately, they have an encounter with some old enemies, Scar is seriously wounded, and they have to take him to a doctor. Said doctor happens to be Kestrel's father, who disowned him ten years ago. As his mate recovers, Kestrel is forced to deal with the mistakes he made so long ago.

I originally started this story in 2019 for one of my second year university modules, and it kind of sat unfinished after the initial submission. After I finished The Pirate King last year, I decided to blow the dust off this story and have it serve as a conclusion to the so-called "Rosanna Barclay Trilogy" (alongside Gentlemen of Fortune and The Pirate King).

What's next? Well, one thing I will do is re-work those three stories and make them into a single book for a physical release (my last two stories were e-book only, since Amazon's paperback cover formatting was such a pain to wrangle). I hope to have that ready for the book shop at Swanwick next year.

As for other stories? I'll think of something. I want to do more stories with Kestrel and Scar, and I have some ideas for a couple that take place before this particular trilogy. Only time will tell.

For now, I'm going to have a rest. Meanwhile, The Homecoming is available from Amazon as an e-book here.

Happy writin' me hearties!

Western Weekends: The Quick and the Dead

It's been a while since I've done a Western Weekend, but I've been running Deadlands and kind of have it on the mind. Also, there's some déjà vu in this. Anyway, The Quick and the Dead is a Western film released in 1995, directed by Sam Raimi and featuring an ensemble cast (including Russell Crowe in his first American film role).

Sharon Stone plays a mysterious drifter known only as "The Lady", who travels to the frontier town of Redemption to take part in a quick draw tournament with a substantial cash prize. The tournament is organised by John Herod, the town's self-appointed mayor and a ruthless extortionist, played by Gene Hackman. Of course, they're not the only people competing in the tournament:

• Leonardo DiCaprio plays Fee "The Kid" Herod, a local gunsmith who's quick on the draw and popular with the townsfolk. Believing that Herod is his father, he joins the tournament in order to win his respect.
• Russell Crowe plays Cort, a former member of Herod's gang who has since renounced violence and become a preacher. He's been kidnapped by Herod and forced to compete, almost getting lynched when he initially refuses. He nonetheless provides some helpful advice to The Lady.
• Lance Henrikson plays Ace Hanlon, a talented trick-shooter known far and wide as "The Terror of Tucson". He carries a special deck of cards with an ace for each person he's killed.
• Keith David plays Sergeant Clay Cantrell, a gentleman adventurer with his own hidden purpose in Redemption. It's later revealed he's been hired by the townspeople to kill Herod.
• Other gunfighters include Spotted Horse, a Native American gunfighter who claims he can't be killed; Gutzen, the "Swedish champion" whom nobody takes seriously; Scars, a convict with a talent for escaping from prison; and Eugene Dred, a local tough who has an unhealthy obsession (this does result in an off-screen incident of SA, so viewer discretion is advised).

Yeah, there's an eclectic mix of characters. Some of them, like Cantrell and Spotted Horse, made me want to know more about them. Others, like Eugene, made me want to see them get their comeuppance. 

Of course, we can't lose focus on The Lady. She insists that she's in it for the money, but it's clear that she has a history with Herod. She gets some badass moments, including shooting the noose when Herod's men attempt to lynch Cort, right after she signs up for the contest and is ridiculed for it. At the same time, she is genuinely afraid of Herod. She overcomes her fear, yet she still shows that there's fear to overcome. She soon finds allies in a blind shoe-shine boy and the town doctor who seems to recognise her.

One notable scene involves Herod's first duel against Ace Hanlon, in which he reveals that the Terror of Tucson might be a talented trick-shooter, but his famous gunfights are not exaggerations but outright fabrications. I've been drawing parallels to Unforgiven, which also starred Gene Hackman, where he exposed another fake gunfighter played by Richard Harris. In Unforgiven, he tells a biographer that his subject's most famous gunfight was not a showdown at high noon, but occurred because his rival slept with someone he was sweet on, and he tried to shoot him in the back in a fit of drunken jealousy. The Quick and the Dead builds on this scenario, but takes it a step further: Ace had been claiming credit for killing somebody who had actually been killed by Herod. I wonder if there's a third film in which Gene Hackman exposes a fake gunfighter. It would be a cool hat trick.

The showdown between Herod and Ace also helps paint how bleak and cruel the world is presented in the film. As soon as Herod kills Ace, several townspeople go to loot his body. This also occurs when Herod kills Cantrell. In fact, I noticed in my recent viewing that Scars is wearing Cantrell's vest when he duels The Kid. Speaking of cruelty, Herod's henchmen subject Cort to all manner of abuse, with one even inviting his children to beat him up before his duel. Most of the townsfolk jeer him, but the argument could be made that it's to avoid losing face with Herod (who is actually afraid of Cort).

I must admit that the cinematography looks kind of silly at times. Especially a lot of shots that involve the camera suddenly zooming in on people's faces. I don't know if this is the actual term, but I call this the "extreme close up" based on its use in Wayne's World. I hear the term being said by Mike Myers, and just can't take it seriously. 

One notably over-the-top moment I can't help but laugh at is Cort's duel against Spotted Horse. Cort beats his opponent to the draw, but his shot doesn't kill. His rival gets back up and tries to shoot at him. As Herod had only given him one bullet (so he couldn't shoot his way out of town), he has to beg for another. The shoe-shine boy throws him a bullet, with Cort jumping up to catch it. I couldn't help but draw a parallel with a similar shot in Raimi's earlier film, Army of Darkness, with Ash leaping up to catch his chainsaw. In fact, the shots of Bruce Campbell and Russell Crowe leaping up are almost identical.

All-in-all, The Quick and the Dead was an enjoyable film which doesn't take itself too seriously. I found it on Netflix, and it's still on there at the time of writing. There's a great cast of characters, with some truly poignant moments.

Happy writing.

Hunter's Secret: A Q&A with Val Penny

Once again, I am delighted to be joined on the Writer's Block by author and fellow Swanwicker Val Penny. I'll be doing a Q&A, discussing writing while helping promote Val's latest book in her DI Hunter Wilson series.

Thank you for inviting me to your blog today, Andy. I am happy to have a chance to chat with your readers about writing, books and particularly my new crime thriller book, Hunter’s Secret.

1) Please introduce yourself and what you write. 

I have been writing and telling stories all my life. When I was a child, I used to make up stories for my little sister after our Mum put the light out and told us to go to sleep. Later, I wrote documents, contracts, and courses as part of my job, but my time was well accounted for, so I did not create any fiction.

However, I started writing as a career after I was treated for breast cancer and took early retirement. Who would have thought that something so devastating would lead to such an exciting new job? 

2) Please tell us about your latest book. 

My new book, is Hunter’s Secret. This is the fifth novel in my series of DI Hunter Wilson Crime Thrillers (although all my books can be read independently).

In this book, DI Hunter Wilson has a personal secret that he is trying to keep from his partner, Dr Meera Sharma as well as a professional secret he is trying to prevent his team learning about. Needless to say, the two clash and both Meera and members of his team get the wrong end of the stick.

3) What is your writing routine like? Do you have a set time or particular rituals?

I like to attend to ‘business’ such as replying to emails, updating my social media and promoting my work in the mornings and evenings. This leaves the afternoons for writing new work and editing pieces I have written. I have never been a morning person and writing is a wonderful job in that it allows me to use my schedule to suit my body clock.

 4) Are you more of a plotter or a pantser when it comes to writing?

Probably half and half! I draft the outlines of my stories, plots and sub plots but then sometimes my characters take off in unexpected directions and my books follow in a ‘seat of your pants’ kind of way!

 5) What's one piece of writing advice that has stuck with you? 

The most profound pieces of advice I was given was by fellow authors, Allison Symes and the late Peter Robinson. Allison said to me, ‘You better like the first book because you’ll be promoting it for the rest of your life.’ While Peter’s advice was, ‘Never give in to writer’s block. This is your job. Turn up for work and write gibberish if you must, until the story flows again.’

6) If your books were ever adapted to screen, who would you pick to play the main character(s)? 

I think about this a lot, probably when I should be writing and I can see James McAvoy being a convincing Hunter with the beautiful Sonam Kapoor as his Meera. Most clearly I see Chris Hemsworth as Tim Myerscough. I’ll let you know when this happens. 

7) Who is your favourite character to write?

I know parents aren’t meant to have favourites amongst their children and authors shouldn’t have amongst their characters, however, my favourite character must be Jamie Thomson. He is a would be big time criminal who is the worst thief in the world because he keeps getting caught. I use Jamie and his cousin Frankie to inject humour into my stories.

Thank you for joining us, Val. And I wish you all the best with Hunter's Secret.

The Blurb 

Detective Inspector Hunter Wilson is called to the scene of a murder. DCs Tim Myerscough and Bear Zewedu found a corpse, but when Hunter arrives it has disappeared, and all is not as it seems.

Hunter recalls the disappearance of a dead body thirty years earlier. The Major Incident Team is called in but sees no connection – it is too long ago. Hunter is determined to investigate the past and the present with the benefit of modern DNA testing.

Tim has other problems in his life. His father, Sir Peter Myerscough, is released from jail. He, too, remembers the earlier murder. There is no love lost between Hunter and Sir Peter. Will Hunter accept help from his nemesis to catch a killer?

Hunter’s own secret is exciting and crucial to his future. Will it change his life? And can he keep Edinburgh safe?

The Author

Val Penny has an Llb degree from the University of Edinburgh and her MSc from Napier University. She has had many jobs including hairdresser, waitress, banker, azalea farmer and lecturer but has not yet achieved either of her childhood dreams of being a ballerina or owning a candy store. 

Until those dreams come true, she has turned her hand to writing poetry, short stories, nonfiction books, and novels. Her novels are published by SpellBound Books Ltd. 

Val is an American author living in SW Scotland. She has two adult daughters of whom she is justly proud and lives with her husband and their cat. 

Contact Details 

• Website
• Facebook Author Page
• The DI Hunter Wilson & Jane Renwick Thrillers Facebook Group
• Val's Book Bundle Facebook Group
• Xitter
• Goodreads
• Amazon
• Bookbub

Buy Links

• Hunter’s Chase
• Hunter’s Revenge
• Hunter’s Force
• The First Cut
• Hunter’s Blood
• Hunter’s Secret

Happy writing.

Book Review: A Gentle Nudge

It sometimes seems that short story collections don't always get the same fanfare as novels, which is a shame, because they're a lot easier to dip into and out of. This was the certainly the experience I got from Mason Bushell's A Gentle Nudge. This review was made as part of a Reading Between the Lines blog tour, organised by Lynsey Adams.

A Gentle Nudge is a collection of 34 short stories which revolve around small moments of kindness that end up changing the lives of the characters. Some of the stories involve a fantastical tone, while others are more down-to-earth, and they depict a variety of protagonists and situations.

With this being a collection, I don't have time to talk about all of the stories, but I'll talk about five of my favourites within the collection (in no particular order):

1. "Benny and the New Years' Fireworks" centres around the eponymous German Shepherd being spooked by fireworks around New Years' Day, but finds himself having to overcome his fears to rescue his neighbour from a house fire. The action is tense and atmospheric as Benny escapes from his house to reach the neighbour.
2. "Honestly Deceiving" takes an unusual turn on such tales of kindness, in which we follow a pickpocket called Old Edgar who poses as a pavement artist. The story largely follows him working marks, but the final portion delves into why he does it. I've often said that the Loveable Rogue is one of my favourite character tropes, and Old Edgar is a classic example.
3. "Serendipity Mews" features an unsatisfied office worker named Indy who stumbles across a car crash on her way to work, and is tasked with rescuing a number of cats from the wreckage. While I've never been in any job that involved working with animals, I've been in many soulless office jobs and found the outcome of this story to be quite cathartic.
4. "Callisto's Celestial Plan" is one of the more poignant stories, which follows an avid stargazer named Callisto as she runs away from home to escape her abusive father. While some readers might find it hard to sit through, it does highlight the importance of finding things which bring comfort or solace during hard times.
5. "The Gift of Giving" utilises a Victorian or Edwardian setting, and follows a street urchin named Rupert who is given food by a nobleman and pays it forward. It's a common type of story you'd expect in a collection like this, but it's nonetheless a wholesome piece. I especially liked Rupert giving a toff a verbal beatdown.

All the stories will have something of interest, and they're worth a read when you have some downtime. They provide glimmers of light and hope in a bleak world.

A Gentle Nudge was published by Bridgehouse Publishers on the 18/04/2023, and is available from the following vendors:

• Bridgetown Café
• Amazon
• Hive
• Barnes and Noble
• Booktopia

About the Author

Author Mason Bushell, is a naturalist, chef and writer from Norfolk in the UK. He loves nothing more than to write among the trees, near his home. He is an avid short story writer and is always working with his characters unless Lucy Dog steals his laptop for a walkies!

• Website
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Blurb

Stories to soothe your soul.

In a world drowning in negativity and dark events, we all need a little light and hope. With a little adventure, romance and even music, these short stories will give your hopes and dreams a nudge as they draw a smile.

A Gentle Nudge by Mason Bushell wraps you in calm.

Happy writing.

The Seventh Swanwick

 

It's that most wonderful time of year, and I'm not talking about Christmas. One of my favourite times of year is my annual visit to the Hayes Conference Centre for the Writers' Summer School at Swanwick. This was my seventh year attending the School, and my second year serving on the committee. In addition to co-ordinating the TopWrite scheme, which offers subsidised places to young writers starting out, I also assumed the role of co-ordinating the tech team.

One thing which made this school different was a reduced day, which meant having to shift things around and take things out of the programme. It also meant the course structure was slightly different: "Specialist Courses", which consist of four hour-long sessions, were taught on the Sunday and Tuesday mornings, with single-session "Workshops" in the afternoon sessions. The Monday sessions and Wednesday morning sessions were dedicated to the two-part "Short Courses".

There was an interesting array of courses this year, but being on the tech team meant I wasn't always able to attend everything. I tried to ensure that my volunteers were on hand for the courses they wanted to attend, which sometimes meant having to cover the gaps. Looking back, I think I'll need a tech team of at least six (including myself). Of course, facilitating courses could often mean not getting much out the courses due to being preoccupied with making sure the mics and screens work (sometimes in two rooms at once), or having to briefly dip to obtain cables or missing flipchart pens.

Anyway, the specialist course I facilitated this year was "How to Write Your First Novel" with Della Galton. The course included discussions on writing blurbs and synopses, coming up with titles, the first page, and where to publish. I don't write many novel-length stories myself, but I tried to apply what I picked up in that workshop.

Short courses I attended included:

• "The Path to Publication" with Simon Hall, which included some similar pointers about opening sentences, along with how to pitch manuscripts. There was also a good refresher on Simon's "Iceberg" model of planning out characters.
• "Writing Historical Fiction" with Samantha Ridgeway, which talked about where to find research, and what to consider about the chosen era.
• "Creating Characters Through Dialogue" with Neil Zoladkiewicz, which discussed how to give variety to characters through their verbal communication, including excerpts from several plays.

Workshops I attended included:

• "Promoting Your Work" with Angela Lansbury, who had attendees partner up to rehearse interview techniques.
• "Writing a Synopsis" with Sumaira Wilson and Nikki East of Spellbound Books, who provided pointers on writing a synopsis and applying it to a story conceived in a short course they ran the previous day (but one I was unable to attend).
• "Editing: Both Sides of the Fence" with Allison Symes, which discussed the finer points of editing (including where to find them and what not to do).
• "Competition Tips & Tricks" with Val Penny, which provided some sound advice on submitting stories to competitions.

Of course, there were plenty of evening events too. The first night had the "Meet and Greet", a musical chairs situation in which attendees were askes to sit in two circles. The inner circle asked questions, while the outer circle moved to different seats to answer them. It's the second time the School has held that event, but the first time I attended myself.

There was also a poetry open mic, a prose open mic, and a buskers' night. I missed the buskers (I'd been on hand for the prose open mic which took place before, and decided I needed a break), but heard one of the attendees sang an operatic aria which resulted in a standing ovation. That said, I did read out a pantoum at the Poetry Open Mic (which is published on my other blog here), which even got special mention at the end of the night.

Of course, there's also the fancy dress disco. The theme this year was "Fairy Tales", but I didn't dress up this time. Also, my Macarena still needs work. The final night had pre-dinner drinks on the lawn, an award ceremony for the numerous contests held during the week, and a singalong at the firepits outside.

All in all, I didn't do much writing while I was there, and my committee duties did get hectic at times. But it was worth it. I'm on next year's committee, and I'm definitely going to aim for a bigger tech team (that way people get a chance to attend courses or get some free time to write).

I'm already counting the days to the 2024 Writers' Summer School, which serves as their diamond jubilee. I'm sure it will be great.

Happy writing.

RPG Review: Wiseguys (and others)

It's been a while since I've posted anything on here. I've been prepping for my annual conference, while also working on The Homecoming, along with some other gigs. To procrastinate these, I've been looking at some RPG settings to run, particularly those which use my Favoured System, Savage Worlds.

One such setting I found was Wiseguys by Eric Lamoureux, which a player once described as "Grand Theft Auto in table-top RPG form". It's heavily influenced by a lot of mob films, including Goodfellas, Casino, Carlito's Way, and Scarface. 

Taking place in Las Vegas during the 1990s, the players are a crew of mob associates who have been left to fend for themselves as their bosses in the Mid West or on the East Coast are being incarcerated. Meanwhile, corporations are moving in to take over the casinos previously run by the mob, while other syndicates are muscling in on the street-level rackets.

I ran this setting back in October for a local gaming group, using two published adventures in the setting book, and it went quite well. I had an eclectic assortment of characters, working for a displaced mobster looking to start up his own crime family in Las Vegas. Rules as written, the setting assumes your characters are working for the Italian-American Mafia, but it can be easily tweaked to accommodate other syndicates. Does that mean the characters all have to be Italian? Not at all! They're "associates" who can come from any background, but there is an Edge which allows characters to be an official member of the mob. I had two players out of six take that Edge, and basically set up a special channel on the campaign Discord which only they could see, making them privy to information the other players wouldn't be. It's a way of creating some interesting unease as those characters who are made have to determine what they need to share with the others.

This setting is particularly "mundane", in that all player characters are humans, and there's no magic involved. To be honest, in a hobby where everything is dominated by Dungeons and Dragons, that's kind of refreshing. Of course, Savage Worlds is a system that doesn't use classes, but the book comes with plenty of useful archetypes to help you build one. They've even got some random generators to aid the process.

One thing I especially like about Wiseguys is that it's a good source of stat-blocks that are of use in any  game with a modern-day setting. A lot of people I've talked to about it have said they've picked up the books for that reason.

In addition to that main setting Wiseguys also spawned two spin-offs/expansions (since you need the games to play them), so I figured I'd talk about them here.

The first of these is Tuffguys by Harrison Hunt, which shifts the setting from Las Vegas to London, for some games inspired by Guy Ritchie's gangster films. I took part in a session of this at a virtual convention three years ago, and later ran the adventure which came with the setting book myself. One big thing is that you'll probably want characters geared more towards melee combat, since guns are hard to come by: all firearms listed in the core rules cost ten times as much, or you have to take certain Edges in order to gain access to guns. My Cockney accent probably needs work though.

The other spin-off is The Gobfather by Richard Woolcock, which acts as a crossover between Wiseguys and Woolcock's comic fantasy setting Saga of the Goblin Horde. This mini-setting takes place in a version of our world in which different fantasy species exist and live in a modern society, and has the characters assume the role of high-ranking members of a goblin mafia.

Unlike Wiseguys, this setting does have magic, along with the black comedy of its parent setting. All characters have a crew of goblins who ride with them, but their main purpose is cannon fodder. You can choose to redirect damage to an adjacent goblin, and it doesn't have to be one of yours. But be careful; they may get up to no-good, and their shenangans may hinder or help them.

There's one adventure, a few random encounters, and some pre-gens, but the mini-setting largely assumes you have the two parent settings. I've been a player in the setting before, and looking to run it myself at some point; I've been doing some homebrew tweaks (since Saga of the Goblin Horde utilises the previous edition of Savage Worlds, I've had to update some of the Edges in Hindrances from that book), and developing a city to serve as a locale (called Brightwater). I've also been procrastinating my other projects by making a ton of minis on Hero Forge, which you can view on my exhibition page on Facebook here.

Wiseguys, Tuffguys, and The Gobfather are all available for sale on DriveThruRPG, and you will require the Savage Worlds core rules to play them. You'll need Wiseguys to play Tuffguys, but The Gobfather does have adjustments for running it without that book. You'll also want to pick up Saga of the Goblin Horde, but that's currently free at the moment due to a licensing issue.

Anyway, happy writing.

This game references the Savage Worlds game system, available from Pinnacle Entertainment Group at www.peginc.com. It is unofficial Media Content permitted under the Media Network Content Agreement. This content is not managed, approved, or endorsed by Pinnacle Entertainment Group. Certain portions of the materials used are the intellectual property of Pinnacle, and all rights are reserved. Savage Worlds, all related settings, and unique characters, locations, and characters, logos and trademarks are copyrights of Pinnacle Entertainment Group.”

Five and Twenty Ponies #5 Letters for a Spy

 

“It’ll be dawn soon.” Kestrel watched the night sky as they left the plantation. “Just one more delivery: This sealed envelope for Mr McGuire at the King’s Head Inn. Paid in full. Await instructions if necessary. I hope we’re not waiting too long. I want to get back to Port Royal, and maybe spend some hard-earned coin there.”

“Aye.” Scar nodded.

Kestrel’s legs ached as they reached a house on the wide dirt trail running from the bastion. A hanging sign above the door depicted King Charles II, illuminated by the lamps outside.

“God rest the Merry Monarch.” Kestrel gave a mock curtsy to the sign. “I may have no love for royalty, but he was supposed to be good for a laugh. And at least he wasn't a Puritan.”

“Come on.” Scar ushered him inside.

The interior of the King’s Head smelled of wood smoke. Kestrel ignored the stares of the patrons as he strode over to the bar.

“What do you want?” The innkeeper spat into a tankard and polished it with a once-white rag.

“Ale,” Kestrel leaned closer. “And I’m looking for Mr McGuire.”

The innkeeper fell silent at the mention of the name. He filled a tankards from the cask and placed it on the bar. Kestrel raised it in a toast when he heard Scar clear his throat. His companion gestured for the tankard.

“Greedy bastard.” Kestrel handed it over.

Scar pulled out a scrap of paper wedged in the bottom of the tankard and unfolded it. He handed them both back. Kestrel squinted at the note.

I am being watched. Up to you to make the delivery.

Kestrel pocketed the note and looked around the bar. Three men in mud-caked clothes sat at one table, conversing over ale and bowls of soup. Three men in uniform sat at another. A lone man sat at the table between them. He made eye contact with Kestrel, nodding at the occupied tables.

“That must be our man.” Kestrel murmured to Scar, “Any thoughts?”

“Oi, what are you looking at?” One of the men from the first table lumbered towards the bar. “What’s with that sword? It looks Spanish. Are you Spanish?”

“This will make an interesting diversion.” Kestrel turned back to the bar and took a long drink from his ale.

“Didn’t you hear me?” the man grabbed Kestrel’s shoulder. “Don’t you speak English, Spaniard?”

“I speak it just fine, mate." He replied. "And I’m telling you to unhand me.”

“Or what?”

Kestrel elbowed the man in the stomach.

Scar grabbed the man and threw him into the second table. Tankards and bowls spilled their contents. Stools scraped. Conversations ceased. The other five patrons stood up and advanced. The lone man stood up and then walked to the door.

“Do you want to fight us one at a time or altogether?” Kestrel stepped forwards and grinned.

One man grabbed him. Another punched him in the torso.

“Fair enough.” He kicked the attacker below the belt. The second man swung at his face. He lurched sideways. The punch struck the man holding him.

“Everything alright?” He said to Scar. 

His companion knocked two heads together. He gave him a thumbs up.

“I’ll leave you to it.” Kestrel sent another man flying with an uppercut. He shoved his way to the door.

Kestrel breathed in the night air as he stepped outside.

“You have a strange way of being discreet.” An Irish-accented voice said.

Kestrel saw the lone patron emerge from around the corner of the inn.

“Well, you left it in our hands.” Kestrel produced the letter.

“Do you have a vessel? I fear your heavy-handedness has compromised me.”

“No need to shoot the messenger.” Kestrel said. “And Scar and I have finesse. We’re not heavy-handed.”

A man flew out of the window.

“That’s some finesse.” Mr McGuire said. “But I need passage.”

“We have a boat at the dock." Kestrel said. "And a vessel waiting at the mouth of the river. We must be back before the morning tide.”

“Take me with you." Mr McGuire handed over five shillings. "I’ll hang if I stay here. They’re on to me.”

“How will we get past the bastion?” Kestrel asked.

“I know a secret way.” Mr McGuire tapped his nose. “Now, we must move.”

Kestrel stuck his head through the broken window.

“Scar, are you finished in there?”

His companion opened the door and stepped out, brushing the dust off his shoulders.

*

 

The sky grew lighter as the pair followed Mr McGuire back towards the bastion.

“This way.” He gestured to a patch of grass at the foot of the wall, pulling it up to reveal a trapdoor. He grabbed the lantern from Kestrel and led them down a narrow tunnel, ending at a door. “We’re in the cellar of my townhouse. It’s how I get past the bastion without being noticed.”

“Thanks for the tour.” Kestrel said, “Now can we get to the dock?”

McGuire led the pair through the back streets and back alleys, watching for the glow of the militia’s lanterns. Kestrel pointed him towards the dock.

“That’s them!” A voice called out. “Halt, smugglers!”

Kestrel noticed the two guards they had encountered on the docks, accompanied by five more soldiers. He leaped off the jetty into the rowboat as muskets cracked, enveloping the dock with powder smoke.

“Scar! Cut it!” He drew his pistol and fired back. One of the guards fell back.

Scar drew his cutlass and hacked at the mooring line.

Kestrel grabbed one of the pistols from his companion’s belt and fired at another guard. They scattered and ran for cover.

“We’re moving!” McGuire shouted when another shot rang out. He clutched his stomach and fell back into the river.

Kestrel sat back and grabbed an oar, rowing back towards the mouth of the river. He felt the shots fly past his head as they rowed further away from the jetty.

“Scar, I have the feeling we’ve outstayed our welcome in this place.” He watched the sun rise over the coast. He looked around at where De Groot’s sloop had anchored the previous night. The vessel was not present.

“We must have missed the tide.” He scratched his head.

“They’ll be back.” Scar said.

“You’re right there, mate,” Kestrel nodded, “We’re carrying De Groot’s money. He’ll want his pay day. We’ll hide for now. Let him find us. He’ll be lucky we’ve got nowhere to spend it.”

*

Kestrel mopped the sweat off his brow as he felt his shirt sticking to his back. He beached the boat on a small island in the swamp, listening to the nasal whine of mosquitos.

“I hope we’re not waiting for long.” He lay down on the driest part.

Scar shook his head and pointed. Kestrel looked up to see The Nord and four other men from De Groot’s sloop wading towards them.

“Thanks for waiting.” He said to the newcomers.

“You didn’t make the rendezvous.” The Nord tightened his grip around a boarding axe. “De Groot asked me to wait and collect the money. He didn’t say anything about you.”

“So, we’re off the payroll?” Kestrel rested his hand on his rapier. “After all the work we put in.”

“The penalty for disobedience…is death.”

“Well, I’ve never paid attention to anybody who wants me to obey them.” Kestrel drew his sword and slashed the Nord’s shoulder. The larger man screamed in anger. He swung the axe.

“Scar! I’ve made him angry!” Kestrel sidestepped the blow and kicked the Nord in the head. Two of the crewmen drew cutlasses and charged. Kestrel dodged and parried, keeping his distance.

Scar drew his cutlass and drove it through his attacker. The fourth man dropped his blade and fled in the opposite direction. Scar stomped the Nord and aimed a pistol at the brute’s head.

Kestrel led his opponents towards the swamp, noticing a large bump surface in the water.

“Alligators!” One of the men fled.

“You’re on your own.” He grinned at the final opponent. The man stepped. Kestrel beat his blade aside and lunged. The man stumbled back. 

Catching his breath, Kestrel walked over to The Nord. He produced the bulging purse and rattled it.

“You can’t buy your life.” The Nord snarled. “Captain De Groot does not want you serving under him.”

“Our sentiments exactly.” Kestrel squatted down next to him, “I’m not buying our lives, but yours. Take the money, go back to De Groot, and tell him we’re even.”

“He will not forget or forgive.” The Nord spat at Kestrel’s feet. “You’re just delaying the inevitable. I may not kill you here, but you will die by my hand. You thieving…”

The crack of pistol cut his words short. Scar blew smoke from his pistol and then made his way back to the boat.

“Well, something’s going to feast on them." Kestrel sheathed his blade. "I’m glad to be out of that mess.”

“We’re lost.” Scar picked up the oars.

“Yes, that is an issue.” Kestrel rattled his purse. “But look on the bright side. This is the most money we’ve made in a while.”

Five and Twenty Ponies #4 Laces for a Lady

 

The river fog had dissipated as Kestrel left the Old Royal and led Scar into the back alley.

“Let’s hope the gate’s open,” he said, “We’ve got three French gowns for Lady Priscilla Wentworth, and she owes us three guineas. I don’t know about you, but I’d sooner spend that kind of coin than pay off that press-ganging pikestaff De Groot.”

Scar replied with an affirmative grunt.

*

More torches lay ahead. Kestrel squinted to see two soldiers with muskets standing guard by the city gates.

“Well, our gambling friend said the plantations were outside the bastion.” He said. “Scale the walls?”

Scar shook his head.

“You’re right. Not with the cargo we still have. How about some kind of diversion?”

Scar shrugged.

“My arse upon this,” Kestrel drew his rapier. “Let’s just fight our way out.”

Scar grabbed his arm.

“Then come up with something. It’s not like we have authority…”

Kestrel’s voice trailed off. He reached into pockets and pulled out Cuthbert’s letters.

“Alright, we might as well try and bluff our way past.” He sheathed his sword. “But if it doesn’t work, previous plan?”

Scar sighed, and then nodded.

Kestrel marched towards the gates. The first guard cocked a musket. The second one raised a lantern while resting a hand on a sword.

“It’s past curfew!” The man with the lantern said. “State your business or I’ll be forced to arrest you.”

“We’re on official business from the East India Company!” Kestrel held up the letters. “We must get past.”

The guard took the letter and held it to the lantern.

“Why do you have company business at this time of night?” He asked.

“Making up for lost time.” Kestrel replied. “Now can we please hurry it rapidly along? We must relay our messages to Lady Wentworth before sunrise.”

“There’s something about this which don’t sound right,” The guard with the musket said. “I’d be truthful with us if I was you. What’s that giant of yours carrying?”

Kestrel felt his heart beat faster.

“I’ll truthfully kick your teeth in if you don’t let us through." He said. "Doesn’t the East India Company pay your wage? I think Mr Wilkinson will be angry that you’ve interfered with us.”

“He’s a gambler who neglects his missus.” The first guard said. “I don’t care what he feels. He has no clout.”

“And you do?” Kestrel said. “Mr Scar, if you’d please?”

Scar loomed over them and growled. The two guards slunk back and opened the gates.

“Thank you, gentlemen.” Kestrel bowed to them and turned to Scar. “I hate dealing with customs. They have a habit of making things intentionally difficult.”

Scar grunted and nodded.

“Oh, may I?” Kestrel snatched away the guard’s lantern.

*

Kestrel listened to the chirp of cicadas as they trudged down the dirt roads outside the bastion. Fewer lights showed in the distance.

“I don’t know how anybody sleeps with those bloody things having a party.” Kestrel held the lantern ahead. He saw a mansion silhouetted in the moonlight, surrounded by cotton fields.

Scar cleared his throat and pointed. More faint orange glows moved around the fields.

“We’ll have to stumble in the dark then.” Kestrel put down the lantern.

He made his way towards the house. As he drew closer, he sighted the lantern in the hands of a man patrolling the fields on horseback. He felt a large hand pull him into the field. Scar crouched beneath the cotton and put his finger to his lips.

*

Sneaking across the fields, the pair arrived at the manor house. Kestrel led Scar around the property to a servant’s entrance at the back of the house.

“I hope this is the right place…” He knocked on the door. No answer. He knocked again, louder. The sound of a bolt being withdrawn emanated from within.

“Yes?” A servant peered out, yawning.

“Is this the residence of Lady Priscilla Wentworth?” Kestrel asked.

“Yes. What is your business here?”

“We have an order for her.” Kestrel gestured to the chest in Scar’s arms.

The servant opened the door.

“Bring it in.” He said.

Scar set the chest on the floor and opened it, revealing the gowns inside.

“Very good,” the servant said. “You may go now.”

He held the door open.

“Not so fast, mate.” Kestrel folded his arms. “Her ladyship owes us money.”

“I was not informed as such.”

Scar loomed over the servant.

“Perhaps we could seek an audience.” Kestrel said.

The servant led Kestrel and Scar to the foyer. With no lights, the ticking of the nearby grandfather clock seemed louder.

“I have the feeling she’s not going to be happy with us waking her at an ungodly hour,” Kestrel said.

Scar said nothing.

“How about a game while we wait? Blind Man’s Buff?”

Scar slapped him across the head, almost knocking him to the floor.

“Your turn.” The burly Antiguan laughed.

*

As the clock ticked, Kestrel sat on the chest and fidgeted.

“I understand that you wish to speak to me.” A blond-haired woman in a nightgown appeared on the landing. The servant accompanied her, holding a lit candelabra.

Kestrel said nothing as she walked down the stairs. In the candlelight, he saw her scowling at them, yet felt warm as he looked at her.

“Have you not the courtesy to answer me?” She said. “I asked you a question.”

“Forgive me, my lady.” Kestrel grinned, “My companion here is usually the silent type. I merely required a moment to compose my thoughts.”

“Well compose them, so you can leave and I can return to bed.” She held a perfumed handkerchief to her nose as she approached them.

Kestrel knelt down and opened the chest. He pulled out a blue mantua and showed it to Lady Wentworth.

“I’m told that this is the latest in Parisian fashions, my lady.” He said.

“Beautiful,” She felt the fabric and nodded. “These will be fine additions to my wardrobe. I am prepared to offer a guinea for the three dresses.”

“They’re a guinea each,” Kestrel said, “That’s our asking price.”

“I’d pay that when buying from a respectable merchant." She replied. "These haven’t been transported well.”

“That cannot be helped, my lady. But there is no shame in buying from smugglers if it’s something you genuinely need. Like to upstage the other ladies in your circle of friends. I’m sure one of them will make a better offer.”

Wentworth’s eyes widened.

“Very well, two guineas for the three.” She said.

Kestrel looked back at Scar, who shook his head.

“Two guineas and ten shillings.” Kestrel stroked his goatee. “One may need some mending, but I’m sure the others are fine.”

“As I am dealing with an educated man, I accept.” She turned to the servant. “Get these men their money and show them out.”

She turned and ascended the stairs with elegance and grace.

“Educated?” Scar murmured.

“Probably because I said ‘my lady’ instead of ‘m’lady’,” Kestrel grinned.

"Know any Latin?" Scar nudged him.

"Coitus interruptus." Kestrel smirked.

He watched the servant return with the coin.

“Thank you." He pocketed the coins. "Now, perhaps you’d be able to direct us to the King’s Head Inn? We have one more delivery to make.”

Five and Twenty Ponies #3 Baccy for the Clerk

 

“That was some good brandy,” Kestrel straightened his trousers as he emerged from an alleyway. “Anyway, our next delivery is this sack of tobacco for Cuthbert Wilkinson of Suffolk Street, and he owes four shillings. Let’s hope our minister friend hadn’t impaired his own sense of direction.”

Scar hushed him. Kestrel looked ahead to see a set of five orange lights moving through the fog at the end of the street. He ducked back into the alleyway, with Scar following. Hearing footsteps, he placed the sack down and reached for his rapier. Scar grabbed his arm and shook his head.

Looking out of the alleyway, Kestrel saw the faces of the militiamen illuminated by their lanterns. He held his breath as they passed, listening to the footsteps fade away.

“Must be a routine patrol.” He whispered.

*

Reaching the house on Suffolk Street, Kestrel knocked on the door. A shuttered window flew open above him.

“Clear off! It’s the middle of the night!” A woman leaned out of the open window. Her voice echoed through the empty street.

Kestrel noticed Scar looking over both shoulders.

“Thousand pardons, miss.” He replied. “I’m looking for Mr Wilkinson. We have a delivery for him.”

“He’s playing Hazard at the Old Royal tavern down the road." She said. "Tell him to come home. Drag him back if you have to.” 

She slammed the shutters.

Kestrel looked at his companion, and they both laughed.

“That’s why I never married.” He led Scar down the street towards the tavern.

*

The interior of the Old Royal smelled of stale beer. The only light came from a single candle on one of the tables, and the darkness amplified the sound of the four men rattling dice and exchanging coin. Kestrel approached the table, prompting the men to stare.

“I’m looking for Mr Wilkinson,” he said, “I was told I could find him here.”

A small bespectacled man stood inched his chair back from the table. Kestrel noticed him, and held up the sack of tobacco.

“My tobacco!” The man said with a grin. “The plantations around here are struggling to grow it. You’re a godsend, sir.”

Kestrel pulled the sack out of Cuthbert’s reach.

“I’ll accept such a title,” he said, “for four shillings.”

“If only you had arrived sooner.” Cuthbert sank back into his chair. “I’ve wagered the last of my coin.”

“Then I’ll offer it to your friends.” Kestrel placed the sack on the table. “Maybe they can bid on it. Anybody else have four shillings?”

The other three men shook their heads and murmured.

“Well, somebody’s managed to get the coin Mr Wilkinson was supposed to pay us with,” Kestrel grabbed a vacant stool and sat at the table. “I refuse to believe that none of you gentlemen smoke. And my companion and I will not be leaving until we’re paid what we’re owed.”

Scar punctuated the statement with a low growl.

“Wait!” Cuthbert slammed his hand on the table, “Why don’t I play you for it?”

“With what?” Kestrel said. “You’re skint.”

“If you wager that tobacco, my friends can stake the value between them.”

“That doesn’t answer my question." Kestrel said. "What can you wager?”

“This letter of transit issued by the East India Company." Cuthbert reached into his jacket and pulled out a folded letter. "The militia here don’t take kindly to smugglers, but they’re well-paid not to interfere with the Company’s affairs.”

“Very well,” Kestrel scooped up the dice. “I’ll serve as the caster.”

He rolled the dice. A four and a three.

“The main is seven. Place your bets.”

“I’d say you lose.” Cuthbert placed the letters on the table. The other three gamblers stayed put.

Kestrel rolled again. A six and one.

“You thought wrong.” He snatched the letters away.

“Beginner’s luck.” Cuthbert replied. “Keep rolling.”

Two fours. Cuthbert’s friends placed their bets.

Two sixes.

“With a main of eight, I believe I’ve thrown in with twelve. I’d say our business is concluded.” Kestrel passed the dice and scooped up his winnings.

“What about my tobacco?” Cuthbert stood up.

“You’ve lost,” Kestrel replied. “You’re a gambling man who neglects his wife. She told you where to find you, and perhaps you should go home.”

Cuthbert dropped back into his chair.

“Fine. I suppose I can’t hide from her forever.”

“Go home,” Scar picked up the sack. “And it’s yours.”

Kestrel raised his eyebrows. Cuthbert nodded. Scar handed him the tobacco and ruffled his wig, causing it to slip off. The clerk picked it up and trudged towards the door.

“One more thing,” Kestrel said. “We’re looking for Wentworth Manor.”

Five and Twenty Ponies #2 Brandy for the Parson

 

Kestrel gritted his teeth as he felt the boat’s seat bite into his legs. He braced himself against the violent rocking as Scar climbed aboard.

“Remember, get the right coin and not a penny less,” De Groot’s voice said through the thick fog which enveloped them. “Stay clear of the militia, and be back before the morning tide.”

“That man is insufferable." Kestrel said as they rowed towards the mouth of the Cooper River. Scar nodded in agreement.

Kestrel lit a small lantern and unfolded the list.

“First delivery is two casks of French Brandy for the Reverend Graham Howell of Saint Augustine’s Church,” he read. “He owes us ten shillings.”

Scar reached over and extinguished the lantern.

“What are you doing?” Kestrel’s eyes widened.

His burly companion put his finger to his lips and then pointed to the orange lights in the distance, standing high above the fog in the cloudy night.

“Good thinking,” Kestrel relaxed. “That looks like it could be a bastion. I think our town’s on the other side. I’ve got an idea!”

Scar hushed him.

“Sorry.” He lowered his voice.

*

Following the walls of the bastion, Kestrel spotted a light ahead at their level.

“That must be the way in.” He put his finger to his lips. “I’ll whistle.”

He slid into the river and swam towards the light. Feeling around, he made out the supports of a jetty and climbed up. Ahead, he saw a guard sitting near a door with a musket. He whistled.

“Who’s there?” The guard stood up and cocked the musket. 

Kestrel swam beneath the jetty to the opposite end, noticing Scar approaching with the boat.

“State your business here!” The guard called towards Scar.

Kestrel drew his dagger and emerged behind the guard.

“If you value your life, you’ll remain at ease.” He clamped his hand over the guard’s mouth and held the dagger to his throat.

“If you value yours, you’ll let him go.” A voice said, accompanied by another musket being cocked.

Kestrel turned around. A second guard approached with his musket raised.

“I don’t, so I’m inclined to refuse.” Kestrel replied, nodding to the boat.

Scar grabbed the second guard and pulled. He fell off the pier with a loud splash. The first guard uncocked his musket and dropped it to the floor.

“I have the feeling we’re not very welcome here,” Kestrel said, “Find us a cart so we don’t have to haul these wares on our own. I’ll tie up this fellow and get the boat unloaded.”

*

The low trundle of the cart seemed louder in the darkness. Kestrel pointed to a church spire in the distance. Hiding the cart in the alleyway, they unloaded and made their way to an adjoining house. Kestrel tapped the door with his foot. A man in a nightgown greeted him, a single candle in his hand.

“What business do you have at this hour?” The man squinted at them.

“Are you Reverend Graham Howell?” Kestrel said.

The man nodded.

“We have your order.” Kestrel nodded to the casks under his arms.

The priest grinned and beckoned them inside.

“God bless you,” He took one of the casks and placed it on the table, “French brandy is hard to find around here.”

“You owe us ten shillings.” Kestrel put the other cask down on the table.

“Of course.” Howell reached into a cabinet and pulled out three glasses. “But before I pay anything, I would like to sample what you have bought. Please, join me.”

“If you insist.” Kestrel sat down. “We probably weren’t going to get much opportunity to have a drink while we’re here.”

Howell filled the glasses from the cask’s tap and handed them out. Kestrel’s glass almost reached his lips when Scar grabbed his arm. His companion held up one finger.

“Alright.” Kestrel said. “Just one glass.”

“Bless you. I’ll pray for your immortal souls.”

*

As he finished his second glass, Kestrel noticed that the candle had burned halfway down. He gave polite murmurs to Howell’s sermon. Scar cleared his throat.

“Sorry to interrupt your flow,” Kestrel said, “but is the brandy to your liking?”

“Of course.” Howell raised his glass in a toast.

“Then we’ll collect the coin and be on our way.”

“There is still time for you to repent.” Howell stood up and made his way to a nearby desk.

“Says a man of God who clearly has no problems doing business with us sinners.” Kestrel leaned back,. “What would your flock say to such an association?”

“I’m sure they’ll allow one small indulgence.” Howell returned with a purse and counted out the coin. “I’m paying for it, so I’m not breaking the Ten Commandments.”

“I suppose not.” Kestrel scooped up the money and got to his feet. “Thank you for sharing the brandy. And while praying won’t do much for my immortal soul or very mortal body, I nonetheless appreciate the words.”

He made his way to the door when Scar cleared his throat again.

“Right.” Kestrel pulled the list out and held it to the candlelight. “Would you be able to point us in the direction of Suffolk Street? That’s our next port of call.”

Five and Twenty Ponies #1 Trotting Through the Dark

 

Kestrel sat against the railing and fidgeted as he listened to the creak of the sloop. He watched the smart-dressed Captain De Groot pace up and down the deck, looking him and Scar over.

“I’m not one to pry in the personal affairs of others,” the captain spoke with a thick Dutch accent. “But how is it that two men are out sailing on open sea in a leaky boat that barely holds one?”

“Budget travel.” Kestrel grinned.

“On the open seas? You must be a fool.”

Kestrel shrugged, as he noticed Scar nod in agreement.

“And I suppose your giant is an ever greater fool for travelling with you.”

“Captain, take my word for it.” Kestrel leaned back in his chair. “Scar is a reliable man, especially when you need a certain degree of…menace.”

“Thank you, but I have little need for that.” De Groot pointed behind them.

Kestrel turned, seeing a man with braided hair loom over them.

“This is The Nord,” De Groot said. “If you cause me trouble, you’ll have to deal with him. Now, since I’ve saved your lives, you owe me a debt.”

“You may have gathered from our former vessel that we don’t have any money.” Kestrel folded his arms.

“Then you’ll have to work.” De Groot loomed over him, “I wouldn’t advice taking that tone with your new captain.”

“What kind of work?” Kestrel asked.

“Smuggling.” Scar said.

“So, he does have a tongue?” De Groot said. “Yes. I’m ferrying a consignment of goods to Charlestown. Things people want quickly, and things I don’t want to pay import duty on. Understand?”

“Business you want to keep clandestine.” Kestrel said.

“Precisely. And because you know this, you have a choice: remain on this ship and work for me until I say otherwise; or you can leave right now, and join that little tub we found you in.”

Kestrel felt The Nord's hard stare.

“He’ll make it quick.” De Groot leaned against the mast. “What’s it to be?”

“Very well.” Kestrel nodded. “I’ll join your crew. But I don’t wish to stay. How much will we owe you?”

“You’ll sail with me until I say otherwise." De Groot wagged a finger. "This is not a negotiation. And if you think of trying to abandon the mission, I will find you. I have contacts in most of the ports around here.”

*

Kestrel stood at the bow and viewed the Carolina coastline in the late afternoon sun.

“Seven days cooped up on this bloody boat.” He said as Scar stepped behind him. “I hope there’s a decent night life in town.”

Scar remained stone-faced.

"You two get over here!" De Groot barked at them. "Time for you to earn your keep."

"You mean we haven't earned our keep from swabbing your decks?" Kestrel said. 

"Everyone pulls their weight on this vessel." De Groot pointed over the railing. "Now, check the boat."

Kestrel looked overboard to see a small boat with some cargo: two small casks, a medium-sized sack, and a large box. 

“Here’s where you deliver and what’s owed.” De Groot handed him a list and a sealed envelope. “The people who gave me that letter paid good coin to see it delivered and threatened dire consequences if I failed. If that happens, I’ll give them your heads. Now get some rest. You leave tonight.”

He strode back to the cabin.

“I’ll let them have my head if it means I don’t have to listen to his bluster.” Kestrel mumbled to Scar.

Five and Twenty Ponies - A Kestrel and Scar Serial

It's Camp NaNoWriMo, and I've recently finished a major ghostwriting project. With this in mind, I've decided to spend some time on The Homecoming, the next story in my Kestrel and Scar series, and the third and final story in the so-called "Rosanna Barclay Trilogy" which includes Gentlemen of Fortune and The Pirate King.

In this story, Kestrel and Scar have been blown off course while taking Rosanna Barclay to England. Finding themselves at the Cornish coast near Kestrel's birthplace of St Ives, they tangle with a smuggler gang whom the two wandering scoundrels once sailed with. After Scar is shot and requires treatment, they discover that the local physician is Kestrel's father, and he's forced to confront the past he ran away from ten years earlier.

Anyway, I've decided to tell the story of Kestrel and Scar's brief time with the smugglers in a serial titled Five and Twenty Ponies. Based on a poem by Rudyard Kipling, this serial was originally published on a website called The Free Pen Collective, established by one of my coursemates. I've decided to re-work the stories and share them on this blog. I'll be posting every Sunday, with the first one going out tomorrow.

Until then, happy writing.

A Beginner's Guide to Savage Worlds (Chapter 7: Chases and Dramatic Tasks)

 

Welcome back to my Beginner's Guide to Savage Worlds. For today's post, I'll be discussing some mechanics that are used for situations beyond combat, mainly Chases and Dramatic Tasks.

Dramatic Tasks

The Dramatic Task mechanics can be used in or out of combat, and represent anything that has some kind of time limit. This could involve diffusing a bomb, trying to hack a computer while being hunted or under fire, or completing some kind of ritual.

The aim of the Dramatic Task is to obtain a number of Task Tokens within a number of rounds (combat or otherwise), such as four Task Tokens within three rounds. To do this, you have to roll a Trait appropriate to the task. This may be limited to certain Traits, depending on the task. You earn one Task Token on a success, plus one additional token for each raise. If you fail the roll, you don't get any Task Tokens, and on a Critical Failure, you lose one Task Token.

For some tasks, only one person can lead but everyone else can Support. Other times, each member of the party has to earn their own tokens. In these situations, the tokens might represent something. For example, if the players are rescuing horses from a burning barn, each Task Token represents a horse. There might be a certain number of horses within the barn, and each player can roll Riding or Intimidation to lead them out before the barn collapses.

Players are still dealt Action Cards for Dramatic Tasks, and Jokers work as normal, but turn order isn't important unless the task takes place during combat. After all, the person who is leading might roll last to accommodate any Support rolls. However, if a character's Action Card is a Club, they encounter a Complication. This could represent a booby-trap on a bomb or a firewall on a hacking job. Complications impose a -2 penalty on any Trait roll made to earn Task Tokens. Furthermore, if you fail the roll, you fail the Dramatic Task. The penalty also applies when Supporting a roll made to earn Task Tokens, but failing the Support does not fail the task.

A chase can be an example of a Dramatic Task, but Chases have their own set of rules.

Chases

I often favour these rules for in-person games, when I don't have the table space for a battle map. Chases can work just like regular combat, but with a few differences:

First of all, the GM sets out a number of Chase Cards (regular playing cards), either nine cards in a row or 16 cards in a 4x4 grid (to represent tank battles, dogfights, or demolition derbies). Each character or vehicle is given a marker that's placed on one of the chase cards, which represents their position in the chase. The Chase Cards are abstract, and represent the relative distance between characters. 

Some actions unique to Chases involve rolling a Manoeuvring Trait. This is Athletics if you're on foot or using a muscle-powered conveyance (such as a bicycle), Boating for any kind of watercraft, Driving for powered ground vehicles (such as cars or motorcycles), Piloting for aircraft, and Riding for mounts or animal-drawn conveyances (such as a wagon). All vehicles have a Handling from -4 to 4, which is applied to all Manoeuvring rolls. A Critical Failure on one of these rolls can have consequences dependent on the type of Chase. If you're on foot or mounted, you can either lose your turn, or you or your mount can suffer Fatigue (if a Mount suffers Fatigue, that applies to your Riding rolls). If you're in a vehicle, you go Out of Control, and must roll on a special table to determine the effect.

Initiative works as normal, except Action Cards are dealt to vehicles rather than individual characters, and all occupants of the same vehicle act on the same card. Like Dramatic Tasks, Chases have Complications which occur if your Action Card is a Club. When this happens, the character or driver/pilot must make an immediate Manoeuvring roll (this is a free action). The suit of their current Chase Card determines any modifiers, along with consequences for failure. On a black Chase Card, this is treated as a Critical Failure on a Manoeuvring roll. On a red card, the character or vehicle is Bumped. This means they move one Chase Card (typically towards the opposition if they're being pursued, or away if they're the ones pursuing).

Movement is handled via Changing Position. This is a Manoeuvring roll, which can be done either as a limited action or a limited free action (meaning whichever one you do, you cannot do anything else listed as such). You get a +2 bonus on the roll if you make it as an action, and you get a +1 bonus if your Pace or Top Speed is faster than the fastest opponent's (+2 if twice as fast). A success lets you move one card (horizontally or vertically on a grid), and a raise lets you move two. In linear chases, you can also drop back two cards without needing to roll. If you're at least four cards away from your nearest opponent, you can Flee as an action by making a Manoeuvring roll with a -4 penalty (-2 if you're five cards away, and no penalty if you're six or more cards away). If this roll is successful, you're out of the Chase (this might be the objective in some chases).

Attacking largely works as normal. You can only make melee attacks if you're on the same Chase Card as your opponent, and if made against a vehicle (assuming that's permitted), the Parry is 2 plus half the operator's Driving die, plus the vehicle's Handling. A vehicle's operator can also Ram an opponent on the same card, which requires an opposed Manoeuvring roll and deals damage to both vehicles based on their Scale, Top Speed, and Toughness. Alternatively, you can Force a vehicle away. This also requires an opposed Manoeuvring roll, in which your opponent is Bumped on a success and goes Out of Control on a raise.

For ranged attacks, the distance is determined by multiplying the number of cards between the attacker and the target by a Range Increment determined by the GM. This is typically 5" (10 yards). Ranged attacks will often incur a-2 penalty for Unstable Platform, but a driver may choose to Hold Steady as a free action on their turn. This negates the penalty, but it also grants a +2 bonus to all attacks directed at that vehicle and any of its occupants until the beginning of their next turn (this does not stack with being Vulnerable). On the flip side, a driver can choose to Evade, as a free action or an action, imposing a respective -2 or -4 penalty to all attacks directed at that vehicle until the beginning of their next turn. However, it also applies to attacks made by the occupants.

Damage in Chases is resolved normally, but characters are Bumped in addition to being Shaken or Wounded. This also applies to vehicles, but they can't be Shaken. Instead, success on the damage roll requires the operator to make a Manoeuvring roll to avoid going Out of Control. Each raise on the damage roll causes one Wound (most vehicles can take at least three Wounds, but this is modified by their Scale). Each Wound reduces the vehicle's Handling by 1 (to a minimum of -4). Additionally an attack which causes at least one Wound results in a Critical Hit, which results in another table roll to determine what part of the vehicle was hit and the effect. You can choose to make Called Shots against specific parts of a vehicle, in which case the Critical Hit is decided there.

If a vehicle takes enough Wounds, it's Wrecked, and all occupants take damage based on the speed. A vehicle's Wounds can be treated using the Repair skill. Each attempt takes two hours per Wound, and each success and raise removes one Wound. There may be modifiers based on where the repairs are made (-2 for field repairs, no penalty for a standard garage, and +2 for a dedicated facility), and repairs may not be permitted without a tool kit. If the vehicle was Wrecked, it takes a full day's work with spare parts and a dedicated facility before any repairs can be made.

Anyway, I'll wrap things up there. The system has plenty of other special rules for various situations, but I wanted to talk about the ones I encounter most often. Anyway, it's Camp NaNoWriMo this month, and I need to dedicate some time to my next Kestrel and Scar story.

Happy writing.

This game references the Savage Worlds game system, available from Pinnacle Entertainment Group at www.peginc.com. It is unofficial Media Content permitted under the Media Network Content Agreement. This content is not managed, approved, or endorsed by Pinnacle Entertainment Group. Certain portions of the materials used are the intellectual property of Pinnacle, and all rights are reserved. Savage Worlds, all related settings, and unique characters, locations, and characters, logos and trademarks are copyrights of Pinnacle Entertainment Group

A Beginner's Guide to Savage Worlds (Chapter 6: Advanced Character Creation - Deadlands)

Welcome back to my "Beginner's Guide to Savage Worlds". Last week I looked at advanced combat mechanics. This week, I'll provide another character creation walkthrough to demonstrate how a setting can affect character creation.

For this exercise, I'm going to make a character for one of Pinnacle's flagship titles; Deadlands: The Weird West. This is a dark fantasy set in the American West.

Concept

For my concept, I'll make a bounty hunter called Emmett "Gravedigger" McCloud. A wandering drifter, Emmett had a tendency to attract trouble through no fault of his own. He was shot in the back by an unknown assailant, but seemed to make a miraculous recovery. Eager to find out who it was, he's become a bounty hunter with a reputation for being hard to put down.

Ancestry

In Deadlands, humans are the only playable ancestry. Arthur starts with a free Novice Rank Edge of his choosing.

Hindrances

Since I'm using a specific setting, that gives me more Hindrance options unique to that setting.

• For Emmet's first Hindrance, I'll say he didn't grow up around much water, and has the Can't Swim Hindrance. This is a Minor Hindrance from the Core rules, and imposes a -2 penalty to any Athletics rolls made to swim. And even if the conditions don't require a roll, each inch moved in water uses 3" of Pace.
• My next Hindrance will be Thin Skinned (also from the Core Rules), which represents how Emmett doesn't take kindly to insults. I'll take it as a Minor Hindrance, which imposes a -2 penalty on Smarts rolls made to resist Taunt Tests. There's a Major version too, which imposes a -4 penalty, but I'll stick with the Minor version.
• Finally, I'm going to take Grim Servant o' Death, a Major Hindrance from the Deadlands rulebook. Emmett's talent as a killer means he gets a +1 bonus to all damage rolls. However, any time he rolls a Critical Failure on an attack roll, he hits the nearest ally with a raise.

That's one Major Hindrance and two Minor Hindrances, which gives me a total of four Hindrance Points.

Traits

Attributes

Since Emmett is a human, he starts with the usual d4 in all five Attributes, and the usual five Attribute Points. I'm going to distribute them evenly to raise everything to d6, and then spend two of my Hindrance Points to raise Agility to a d8.

Skills

Emmet has the usual 12 skill points, and a d4 in the five core skills. This setting may also utilise the Language skill, but that's your call. Linked to Smarts, this skill represents your fluency in one specific language of your choosing. You can take it more than once, choosing a different language each time. There may be occasions where you roll your Language skill if it's lower than another skill. For example, if someone with a d8 in Research but only a d6 in Language (Spanish) is studying a Spanish text, then they roll the d6. You start with a free d8 in one language of  your choice, which represents your mother tongue, and this doesn't cap rolls.

Anyway, let's buy some skills:

• Core Skills: Emmett will raise his Athletics and Notice to a d6. His Common Knowledge, Persuasion, and Stealth will remain at d4. He also has a free d8 in Language (English).
• Shooting d8: Emmett's a gunhand, after all.
• Fighting d6
• Intimidation d6
• Riding d6: Since this is a Western, it's often a good idea to have this skill.
• Survival d4: This skill is linked to Smarts, and used to navigate the wilderness, find sources of food or water, and track people or animals.

Edges

As a Human, Emmett starts with one free Edge. I'm going to spend my other two Hindrance Points to get a second one.

• I'm going to build Emmett as a two-gun shooter, so his first Edge will be Ambidextrous, which requires a d8 in Agility. This allows Emmett to ignore Off-Hand penalties, but he still suffers Multi-Action penalties if he makes attacks with different weapons. If he fires two guns in the same turn, there'll be a -2 penalty on both (without the Edge, it would be -2 on one and -4 on another due to the Off-Hand penalty).
• For the other Edge, I'm going to look at how Emmett survived getting shot in the back, because in reality he didn't. He has the Harrowed Edge, which is unique to Deadlands. This means that he died and came back to life thanks to a malevolent entity, which comes with a variety of perks but just as many drawbacks:
• First of all, being undead makes Emmet fairly tough (since he's not using his vital organs). He has +2 Toughness, a +2 bonus to Spirit rolls made to recover from being Shaken, ignores one point of Wound penalties, doesn't breathe, and is immune to poison or disease. Furthermore, he can only be permanently killed by a headshot (anything else Incapacitates him for 1d6 days). However, he suffers a -2 penalty to Riding rolls (since horses can pick up the smell of rot), along with Persuasion rolls due to his pallid appearance.
• He also has the ability to Let the Devil Out, which involves letting the spirit that reanimated him take control in exchange for power. This lets him add an Ace-able d6 to all Trait and damage rolls for five rounds, but may result in him causing some chaos while under the spirit's control.
• There are a myriad of other special rules, but I don't have time to discuss everything. But one final one is that he gains access to special Harrowed Edges, and he can take a free one:
• For his Harrowed Edge, I'll take Supernatural Attribute (Vigour). This boosts Emmet's Vigour by two die types up to a d10. It also lets him Advance it to a maximum of d12+2.

Derived Statistics

Because Emmett is Harrowed, he has an additional Derived Statistic known as Dominion. This represents how in control he is of his reanimated body. Dominion is equal to his Spirit, and there's a chance that it goes down whenever he Lets the Devil Out. If Emmett ever runs out of Dominion, the spirit takes over permanently, and he'll be controlled by the GM.

• Since Emmett's Spirit is a d6, he starts with a Dominion of 6
• Pace is the standard 6, with a d6 running die
• Emmett's d6 in Fighting gives him a Parry of 5
• Emmett's Size is 0 by default
• Emmett's d10 in Vigour gives him a base Toughness of 7, and the +2 bonus from being undead increases it to 9

Gear

In Deadlands, you start with $250 to buy equipment, and you can invest Hindrance Points for an additional $500 per point.

• I'll buy a pair of Colt Peacemakers for $15 each. These have a Range of 12/24/48, deal 2d6+1 damage, have AP 1 (meaning they negate one point of Armour on the target), a Rate of Fire of 1, and hold six rounds.
• I'll also spend $4 on a Bowie Knife. This deals Strength+d4+1 damage, and also has AP 1. If he throws it, the Range is 2/4/8.
• I'll buy a horse for $150 and a saddle for $25.
• That covers the important stuff. Remember to save some money for the campaign.

Advances

Let's give Emmett four Advances to bump him up to Seasoned, and spend them all on Edges

1. For his first Advance, I'm going to give Emmett Two Gun Kid. This means that he ignores the Multi Action penalty if he makes an additional ranged attack using a weapon wielded in a different hand to the first one. Combined with Ambidextrous, that lets him fire both his guns in the same turn without the Multi-Action or the Off-Hand penalty (there'll still be a Multi-Action penalty if he performs a third action though). Both attacks have to be ranged though; melee attacks are covered by a different Edge.
2. The second Advance will be the Menacing Edge, which grants a +2 to all Intimidation rolls. Normally, you need particular Hindrances to take this, but being Harrowed serves as a requirement too.
3. The third Advance will be one from the Deadlands book; Quick Draw. This has two effects:
1. Whenever Emmett spends a Benny for a different Action Card, he draws two Action Cards and chooses which one he uses.
2. Additionally, he gets a +2 bonus to Athletics rolls made to interrupt actions. This includes opposing attempts to interrupt his actions.
4. His Seasoned advance will be Marksman, so he can draw a bead quickly and gains a lesser version of Aiming if he doesn't move on his turn (one ranged attack on which he either gains a +1 bonus or ignores two points of penalties from Called Shots, Cover, Range, Scale, or Speed). And before you ask; no, this does not stack with Aiming, and it only applies on one of his attacks if he's firing twice.

Anyway, that's about it. There are plenty of other rules out there (which may or may not come into play), and I may discuss them in future posts if there's sufficient interest.

This game references the Savage Worlds game system, available from Pinnacle Entertainment Group at www.peginc.com. It is unofficial Media Content permitted under the Media Network Content Agreement. This content is not managed, approved, or endorsed by Pinnacle Entertainment Group. Certain portions of the materials used are the intellectual property of Pinnacle, and all rights are reserved. Savage Worlds, all related settings, and unique characters, locations, and characters, logos and trademarks are copyrights of Pinnacle Entertainment Group