Serenity - Serenity Adventures.pdf - Serenity - RPG

ADVENTURES

GHOSTS OF THE REBELLION

written by James Davenport

THE BEST THINGS GET BETTER WITH AGE

written by Alana Abbott

FREEDOM'S LIGHT

written by Ted Reed

SEVEN ARKS OF CIBOLA

written by Billy Aguiar

MOTHER LOAD

written by James M. Ward

game development Jamie Chambers, Nathaniel C.J.S. Rockwood

editing Margaret Weis Jamie Chambers • additional editing Cam Banks

proofreading Liz Wilhelm • cover art Digger Hayes • art direction Renae Chambers,

Digger Hayes • interior graphic design 11th Hour (Susan Renée Tomb)

layout & typesetting Digger Hayes • interior art Lindsay Archer, Dan Bryce, Nick Kremenek,

Ron Lemen, Rick Otey, Ted Reed, Ryan Wolf

special thanks

Carla Aguiar, Damon Black, Russell Brown, Buffistas of Buffista.org, California

Browncoats, Tim Connors, Eileen Connors, Pete Daigle, Jason Driver, Neal Haggard,

Stephen Herron, Jack Kessler, Gregory Lane, Rob Manning, James Nettum, New England

Browncoats, NYC Browncoats, Susan Reed, Laurie Rich, Richard Spangle, Jennifer Stevens,

Vickie Steiner, Kevin Stoner, Scott Suehle, WereCabbages.com, Mitch Williams

Productions the MW Logo, and the Cortex Logo are trademarks owned by

Published by

Margaret Weis Productions, Ltd.

253 Center St #126

Lake Geneva, WI 53147

First Printing—2008

Printed in the USA

TABLE OF CONTENTS

Chapter One

GHOSTS OF THE REBELLION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4

THE WAY IT IS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

EPISODE 1: DOG DAYS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

ACT I: APPROACHING WHITEFALL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

ACT II: FINDING A JOB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

ACT III: BARE NECESSITIES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

EPISODE 2: CHASING GHOSTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15

ACT I: REACHING THE BLACK ALIVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

ACT II: THE ROAD TO BELLEROPHON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

ACT III: A CHANGE OF COURSE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

EPISODE 3: FREEING GLORY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22

ACT I: PEGASUS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

PROPS AND ExTRAS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Chapter tWO

FREEDOM'S FLIGHT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

THE WAY IT IS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

WHERE TO BEGIN. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

ACT I: ROUND UP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

ACT II: PERDITION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

ACT III: FREEDOM’S FLIGHT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

CONCLUSION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Chapter three

MOTHER LOAD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

THE WAY IT IS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

THE TELLIN’ OF THE TALE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

ACT I: TALE OF THE LOST CONVOY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

ACT II: SAILIN' THE BLACK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Chapter FOur

THE BEST THINGS GET BETTER WITH AGE . . . . . . . . . . . . . . . . . . . . . . . 89

THE WAY IT IS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

ACT I: IN VICTORY AND DEFEAT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

ACT II: COMPROMISES ARE FOR RELATIONSHIPS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

ACT III: EAT, DRINK, AND BE MERRY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

Chapter Five

SEVEN ARKS OF CIBOLA. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .104

THE WAY IT IS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

ACT I: START FROM THE BEGINNING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

ACT II: BITS AND PIECES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

ACT III: THE SMELL OF TREASURE AND FAILURE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122

table of contents

THE AY IT S

Any number of things can happen to a crew.

Sure, you want things to go smooth. Do the job,

get paid, keep lyin’. Seems simple enough, don’t

it? Truth is, though, things are rarely that easy.

Alliance patrols, con artists, thieves, Reavers, and

big business might all be ready to ruin a perfectly

good week. It’s wei shan out in the Black, but if you

love your boat and the crew sticks together you’ll

live to ly another day.

What Is This? My friend, you’re holding a

collection of adventures for the Serenity Role Playing

Game . It’s a story that you—the Game Master—

play with a group of friends using the Cortex

System game rules. The players can use the crew

of Serenity , the sample Aces & Eights crew, or even

characters of their own creation. Pick a story from

this book, do a little prep, and you’ll be ready for

adventures of your own.

Any of these tales can be played, and in any

order that suits your campaign—though if you’re

looking to start out with a brand new crew you

could do worse than start with “Freedom’s Flight.”

scenes may happen in any kind of order—so it’s

important that you keep the whole picture of

what’s goin’ on in your mind as you tell the tale.

Acts that have only one scene and all scenes

and sideshows follow this order:

•

How It Is: This irst part sets up the scene,

paints the backdrop, and puts the chairs on the

stage, so to speak. It usually starts with boxed

text—colorful prose that you can either read

to the players or use as a guide for your own

words and fancy description.

•

Problems: Things don’t stay peaceful for

long. Every scene has a problem or two for the

crew that they are goin’ to have to either get

past or get buried. Good or bad, rich or poor,

pleasantly helpful or downright ornery—here’s

where you’ll also ind the most important folks

populatin’ the scene the crew is in. Most often

as not, you’ll want to keep their stats in front

of you.

•

New Way of Things: Now the crew has to

clean up the mess. When they come out the

other side of a problem—if they live through

it—then some things will have changed. In

this part of the scene, the crew examines the

results of what they did. Might be the problem

is solved or might be the crew now has even

bigger problems!

Your story & Your crew

These stories are told in the ‘Verse of Serenity

and as Game Master you’ll be the one telling it.

It’s a story that’s told in many different places and,

as the way of stories go, the telling of it changes

dependin’ on who’s doing the telling. That’s

shiny—it don’t matter what chwen joo told the story

elsewhere or how he told it. This is your story and

you’ll be tellin’ it your way.

No one quite remembers who was in the

story in the irst place, so you and the players

in your game will be tellin’ it with the crew that

you choose. Maybe they’re all big, damn heroes

or maybe they’re all Greenhorns just startin’ out.

(This tale is meant to be told for a Veteran crew,

so if you tell this tale with characters of less stellar

capabilities, then you’ll need to ease up on them

a mite—or make things tougher for big damn

heroes.)

Note : Words in all capitals are usually

Dificulties (like EASY, HARD, FORMIDABLE).

Thus, when you read a phrase like: “Pilots ind

landing in the steep canyon FORMIDABLE …”

this means that the Dificulty for the described

action is, indeed, Formidable and requires a roll of

15 or higher to succeed. In this way, you will know

what’s what about rolling dice without interruptin’

the low of the tale.

So what are you waiting for? Pick an adventure,

grab your crew, and get to lyin’!

the tellin’ of the tales

Some of these stories are divided into

episodes, while others are just a single episode

unto themselves. Each episode is divided into

acts that may be comprised of a single scene

or several scenes depending on how the act is

played out. The episodes and acts are given in the

correct order to make the story work. What takes

place inside the acts and especially in sideshow

IntroductIon

GHOSTS OF THE REBELLION

THE AY T S

The War has been over for years and most

folk’ want to forget it. For some the old wounds

never heal. They’ll listen to a veteran’s bar

story for awhile, then get up and go about their

business. And then there are the relics, the ghosts

of the Rebellion, those people for whom the war

never ended and never will.

For our heroes, just making a living is hard

enough. It seems the ‘Verse’s poker deck is

stacked against them right now and they need

a winning hand to get them out of the red. A

winning hand is coming … dealt by a ghost.

Hiding on Whitefall, Sharpe, his right-hand

man, Saul Potter , and two soldiers plot to steal

the Glory from the clutches of the Alliance. Once

the ship is Sharpe’s again, he believes he will have

no trouble keeping free of the Alliance when he’s

out in the Black. And he will have left the “stage”

with a masterstroke.

But Sharpe and his men don’t have a ship at

hand and have used up all the favors owed to

them. They are currently holed up in a marginal

shipyard on Whitefall, relying on the sympathetic

yard boss to look the other way. They have set up

quarters in the junkyard area.

Assuming they get transport to Pegasus , they

also need an engineer to get the ship running

again. Once space-worthy, Sharpe has enough

Skills to ly the ship into the black and escape.

Such a mission is even harder without money,

and Sharpe is desperately trying to ind a suitable

ship and crew.

HERE’S THE STORY

At the end of the War for Uniication,

Roland Sharpe was the admiral of what

remained of the Browncoat leet. Because he

did not attend the Armistice negotiations on

Osiris, he lost his chance at amnesty, and was

branded a traitor and outlaw. He’s been on the

run ever since, keeping to the Rim territories

and depending on the kindness of Independent

sympathizers to keep him safe.

But Admiral Sharpe is getting older and

over six years on the run has taken its toll on

him. He’s developed a hacking cough and is

convinced that he doesn’t have much more time

to kick around the ‘Verse. So when one of his

conidants told him of an opportunity to snatch

one last piece of glory and escape into the Black,

he could not refuse. The last ship of Sharpe’s

command, Freedom’s Glory , was captured near the

end of the war, almost with Sharpe inside her.

Now word has reached him that the Alliance is

transferring the vessel to a scrapping facility on

Pegasus —a moon of Bellerophon. In a last

bit of spiteful vengeance or the simple grinding

eficiency of bureaucracy, the Alliance intends to

destroy the Glory after stripping her of salvage.

Your story, Your crew

The story is originally set just prior to the

events of the movie, Serenity . It can be run with

the heroes from the movie or an original crew. If

using the movie characters, Shepherd Book has

already been left at the mining colony of Haven

to tend a lock there. River is still on the ship,

but has been sedated to help her rest and recover

from recent debilitating nightmares. She is not

an active PC or NPC, but must be watched,

cared for, and protected. With some adjustment,

however, you can make this story work for other

times and include the other characters if you

wish.

Note that in this adventure, we have

suggested happenings for characters or

equivalents for a player-created crew. Figure out

which character its best for certain problems,

plot twists, and circumstances. It will make the

players feel more directly involved and invested

in the story!

GHosts of tHe rebellIon

Chapter One

Serenity - Serenity Adventures.pdf

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