Derby Day - Ghosts of Albion Quickstart

RULES
Credits
1
About the Creators 1
Introduction
2
Background 2
Image of Queen Victoria 3
Characters 4
Tamara Swift 5
William Swift 7
Nigel Townsend 9
Queen Bodicea 11
Lord Byron 13
Lord Nelson 15
The Rules of Play
17
The Basic Roll 17
Resisted Actions 17
Modifers 17
Base Modifers Table 17
Success Level (SL) 17
Success Level Table 17
Penny Dreadfuls 18
Fear Table 18
Combat 18
Close Combat 18
Ranged Combat 19
Ranged Modifers Table 19
Damage 19
Effects of Injury 19
Getting Better 19
Drama Points 19
Uses for Drama Points 20
Magic
20
Spellcasting 20
Spell Backfre Table 20
Repeat Casting 20
Dispelling 21
Spell Defense 21
Defensive Magics 21
Defensive Magic Types 21
Lesser Sensing 21
Blank Character Sheet
40
Director Quick Sheet
II
DERBY DAY ADVENTURE
Introduction
22
Image of Derby Day 22
Plot Synopsis 22
Derby Day 22
The Cast 23
Act One: Set-up
24
Rundown 24
Joining the Festivities 24
Class Information 24
Aristocracy 24
Middle Class 25
Working Class 25
The Peoples Charter 25
The Cane Gentlemen 26
Gypsy Visions 26
The Chase Is On! 27
Act Two: Complications
28
Rundown 28
Mystic Battle 28
Cane Gentleman 29
The Urchins 30
A Finnegan 30
Act Three: Revelations
31
Rundown 31
Coachhouse Fight 31
Brulshar Demon 32
The Coin 33
Act Four: Climax
34
Image of Derby Day Race 34
Rundown 34
Lording Over 34
Angus MacTaggert 36
A Grand Brouhaha 36
Viscount Duncannon 37
William Atherton 38
Act Five: Resolution
39
Rundown 39
The Aftermath 39
More Skulduggery? 39
I
Table of Contents
CREDITS
Producers: M. Alexander Jurkat, George Vasilakos
Director: George A Matzen
Writers: Timothy S. Brannan (game rules) and Gar-
ner Johnson (adventure and rules)
Unisystem Game Designer: CJ Carella
Editor: M. Alexander Jurkat
Editing Assistance: David Chapman, Laura J. Lexan-
der
ABOUT THE CREATORS
Amber Benson was born in Birmingham, Alabama
where she enjoyed an imaginative childhood before
moving to California to pursue a career as an actor,
writer, and director for flm and television. Though
best known for her three seasons portraying the
white witch Tara on the television series Buffy the
Vampire Slayer, she also appeared on television as
Brian Dennehys daughter in a trio of Jack Reed tele-
flms. Amongst her flm credits are The Crush, Bye
Bye Love, Imaginary Crimes, Latter Days, and Steven
Soderberghs King of the Hill. In addition to her act-
ing roles, Ms. Benson wrote, directed and produced
the romantic comedy Chance, in which she also stars,
and is the co-writer and director of Ghosts of Albion:
Legacy, an hour-long animated BBC serial. Ms. Ben-
son lives in Los Angeles with her family.
Christopher Golden is a Bram Stoker Award-win-
ning writer best known for his novels The Boys Are
Back in Town, The Ferryman, Strangewood, Of Saints and
Shadows, the Body of Evidence series of teen thrillers,
and co-author of the youth fantasy series Out Cast.
He has written or co-written a great many books,
comic books, and video games related to the televi-
sion series Buffy the Vampire Slayer and Angel. In the
comic book feld, he has written tales of Batman,
Spider-Man, Doctor Fate, and Hellboy.
Timothy S. Brannan has worked for universities,
the Navy, dot coms, and mental institutions. Oddly
enough, less than imagined separates these places.
He has graduate degrees in education and psychol-
ogy, but pushed aside the loving arms of academia,
where he is a professor of statistics, to draft the Ghosts
of Albion role playing game. Amongst other writings,
he is the author of three (soon to be four!) books on
roleplaying witches in various game systems. When
not writing, Tim can be found somewhere in the
northwest suburbs of Chicago with his beautiful wife
and two wonderful sons.
Garner Johnson is a life long gamer who has been
associated with Task Force Games, TimeLine Ltd.,
and Eden Studios and is assistant manager of a local
game and comic store. He earned degrees in econom-
ics and history, specialized in military history and
has written or edited a number of adventures or rules
books for Buffy the Vampire Slayer, City of Heroes, and
Ghosts of Albion. Although a Chicago native, he cur-
rently resides in Nebraska, when not found running
events at various gaming conventions.
Ghosts of Albion created by Amber Benson and
Christopher Golden
Ghosts of Albion & 2004 Amber Benson and Christopher
Golden.
All rights reserved. Used under license from Amber Benson and
Christopher Golden.
The Unisystem Game System 2004 CJ Carella. The Unisys-
tem is used under exclusive license. Eden Studios, Inc. All
rights reserved.
1
TAMARA SWIFT: Well, something foul is afoot.
Lets have a look!
EMBERS, ACT I
INTRODUCTION
Welcome to the Ghosts of Albion RPG introductory
demo pack!
T
hese pages provide all thats needed to begin
telling tales and battles evil forces in the uni-
verse of Ghosts of Albion. Gather a few friends
and a 10-sided die or two and get ready to
play. If that kind of dice cannot be found (look in any
good adventure game store), a deck of cards (face or
suit cards removed and shuffed) will do in a pinch.
One amongst you should take on the role of Direc-
torthe one that actually runs the game, keeps the
story moving, and embodies everyone who is not
a Cast Member. This person should read all the
rules laid out here and the specifcs of the adven-
ture Derby Day (see p. 22). The others play the Cast
Membersthe characters actually participating in the
events of the game. They can read the rules portion
of this pack and should be provided with copies of
the Original Cast (see pp. 5-15). They should not
read the adventure (that will spoil the excitement of
the game).
For more information on the Ghosts of Albion RPG,
kindly visit http://www.edenstudios.net. For more
information on the Ghosts of Albion universe, please
visit the Ghosts of Albion website at http://www.
ghostsofalbion.net
BACKGROUND
G
hosts of Albion takes place in a version of
1839 England, a year after Queen Victorias
coronation, where magic, the supernatural,
and various monsters all exist. Supernatu-
ral evil is real and very deadly. Demons, undead,
cold-hearted Faeries, werewolves (called ferals), and
many other creatures stalk the wilds or fringes of
humanity. Fortunately, the soul of each land empow-
ers a human or two with great magical abilities to
fght against these forces of darkness. These people
are called Protectors, and they wield powerful spells.
Although it is a time when many people still believe
in superstitions, the Protectors role is still a secret
one, not widely recognised, acknowledged, or ap-
preciated.
The Protectors are not alone in their fght, however.
They are aided by the ghosts of fallen individuals,
be they famous or obscure, who have the power
to come when called and affect other supernatural
beings even while most of humanity cant see them.
2
Some faeries can also be counted on for aid. These
supernaturals are more benign, or at least realise that
our world and theirs are connected and if mankind
becomes corrupted or falls into darkness they are
likely to follow. Human magicians, poets with occult
skills, or simply ordinary people with a sense of duty
towards Jolly Old
England also assist.
One may even fnd
an unusual vampire
whose conscience
and ethics are stron-
ger than normal for
their race.
The setting itself
is a time of transi-
tion and turmoil.
The Industrial
Revolution began
in England around
forty years ago,
but has not run its
course yet. Over
half of the popula-
tion is still living in
rural areas. There
are only around 200
miles of railways.
Steam power has
been harnessed for
some textiles facto-
ries and a limited
number of steam
ships, but has gen-
erally not become
common place yet.
London is lit mostly
by oil lampsgas
light is reserved
for the main streets
and theatre district,
and is not widely
accepted. This is
not the time of Jules
Verne, H.G. Wells, Sherlock Holmes, or Jack the Rip-
per, but that of Charles Dickens. The English Empire
is nowhere near as extensive as it will become later,
and the urge to colonise and explore is in abeyance
till the home situation can be stabilised.
Life is changing for every class in England. The
upper class faces challenges to its privileged posi-
tion. While deference still exists, wealth can now be
acquired through business and various trades, not
just land.
The middle class is just forming. Black jacketed
work like that of clerks, bookkeepers, and other mid-
dle managers, along with a demand for specialists
in engineering, management, chemistry, and many
other industries has pushed the need for education
and granted a higher income than most ever hoped
to see. The middle class is searching for identity and
has turned to the idea of propriety, doing what is
expected in terms of religion, marriage, and personal
actions. The middle class also desires the right to
vote and to infuence the nations future.
The working class is in a
miserable position. They
toil up to 14 hours a day
for six days a week. Wages
are low and the cost of food
high due to tariffs on im-
ported grain. Many are on
the brink of starvation. Life
is short, brutal, dirty, and
overcrowding in ramshackle
buildings or tenements is
typical. There is a tax on
windows so quarters are
small, lightless, and flthy.
Open air dunghills exist in
many of the courtyards in
poor sectors and the sewers
are woefully inadequate.
Whether the working classes
will revolt as they did in
France in 1830, ally with the
middle class to take power
from the aristocracy, or wal-
low in their own misery is
yet to be determined.
This miasma is thickened
further by the various
machinations of evil powers.
Demon Lords like Balberith
seek to enter into mans
world to spread evil and
chaos. Powerful vampires
pass amongst humanity
with goals of their own,
feeding off the mortals, yet
maintaining the secrecy of
their existence and actions.
Evil magicians abound, some serving the Demon
Lords, others form their own orders trying to increase
their wealth, power, and control over human affairs.
Mix in random packs of feralssavage werewolf
creatures that kill and rampage, dark-oriented ghosts
that feed off the living, evil faeries such as goblins,
and all manner of legendary creature that would do
mankind harm.
At this point in time, perhaps more than any other,
the Protectors and their allies are hard pressed to
keep evil at bay. Beset by change within society, by
supernatural and mundane plots, and by conspiracies
and crises, the course of humanity itself hangs in the
balance.
Queen Victoria
3
CHARACTERS
I
n a role playing game the players, except the Di-
rector, take on the roles of various characters like
the original cast in Ghosts of Albion. In the full
game players will be able to make up their own
characters to play, but to test the waters the original
cast will do nicely.
All characters have Attributesbasic physical and
mental abilities. They are Strength, Dexterity, Con-
stitution, Intelligence, Perception, and Willpower.
Human Attributes range from one to six, with two
being average.
Life Points (LPs) represent the amount of damage a
character can absorb. When a characters Life Points
are exhausted she is at or near death.
Drama Points are the extra storytelling edge that al-
lows a character to succeed when it is vital or dramat-
ically appropriate. Starting Drama Points are based
on the Character Type, but go up and down through-
out an adventure as they are spent and earned by the
characters actions.
Additional actions are allowed to those with high
Intelligence or Dexterity. They can be either mental
(spellcasting mostly) or physical actions.
Qualities and Drawbacks are positive and negative
traits that help round out a character and fesh out
their personality. The game effects of a characters
Qualities and Drawbacks are explained under each
entry, and bonuses to other Attributes are already
applied.
Skills are learned abilities and are counted in levels.
Where skills may overlap (such as the ability to sneak
around in the case of Athletics and Crime), the Direc-
tor decides which applies in any given situation.
Manoeuvres are a list of a characters most used
actions, broken down between mundane actions on
top and magical ones on the bottom. Their associated
scores are already calculated.
Some characters know spells that they can use with
a spellcasting roll. Some of their effects are based on
the Success Levels (SL) of that roll.
The following Original Cast Members are provided
to get the group playing as quickly as possible. The
Director should hand them around to the players or
have each one select which Cast Member they wish to
play. There are notes for each, describing the starting
situations and personalities of each for the included
adventure.
4
Life Points 39
Drama Points 20
Experience Points
Additional Actions 1 Mental
Character Name Tamara Swift
Character Type Protector of Albion
Description See next page
Attributes
Strength 2
Dexterity 3
Constitution 3
Intelligence 5
Perception 3
Willpower 6
Skills
Armed Mayhem 4
Art 3
Athletics 2
Crime 0
Drive / Ride 0
Engineering 0
Fisticuffs 0
Infuence 3
Knowledge 3
Languages 3
Marksmanship 0
Notice 4
Occultism 6
Physician 1
Science 0
Wild Card 0
Monetary Conversion
4 Farthings / Pence
12 Pence / Shilling
20 Shillings / Pound
Success Level Table
ROLL
TOTAL
SUCCESS
LEVELS DESCRIPTION
9-10 1 Modest
11-12 2 First Rate
13-14 3 Jolly Good
15-16 4 Topping
17-20 5 Brilliant
21-23 6 Extraordinary
24-26 7 Magnifcent
27-29 8 Outstanding
30-32 9 Smashing
33-35 10 Ripping
+3 +1
Qualities
Attractiveness2 Quick Refexes
Bookish Resourses (Well Off)
Hard to Kill3 Status3
Magic4
Nerves of Steel
Occult Library (Impressive)
ProtectorAlbion
Drawbacks
Adversary3 Mental Problems
Honourable (Serious) (MildObsession)
Love (PlatonicWilliam) Mental Problems
Minority (Woman) (MildRecklesness)
Useful Information
OBSERVATION: d10 + 7 Languages: English, French,
INITIATIVE: d10 + 5 Latin
APPEARANCE: +1
ARMOUR:
FEAR: +4
SURVIVAL / KO 12 / 9
Combat Maneuvers
NAME
TO HIT
BONUS DAMAGE DESCRIPTION
Dodge / Parry +7 Defence Action
Grapple +5 Resisted by Dodge
Punch +3 4 Bash
Sword +7 8 Slash / Stab
Spellcasting +16 Varies By Spell (see next page)
Counterspell +13 Magic defence action; dispels spell
Defect +16 Magic defence action; defects spell 45
Hold +15 Magic defence action; delays spell SL turns
Lesser Sensing +11 Notice magical effects, nature, or possession
Volley +10 Magic defence action; returns spell to caster
5
More about Tamara...
PERSONALITY
Feisty, smart and not afraid to voice her opinions, nineteen year-old Tamara Swift is way ahead of her time.
She is the youngest of the two Swift children and, like her brother, inheritor of their familys business, fortune,
estate and legacythe legacy of the Protectors of Albion. Called Tam by her brother William, Tamara chafes
under the society perception that she should be a second class citizen.
QUALITIES EXPLANATION
Attractiveness 2: +2 on all social tasks due to her good looks
Bookish: mental benefts but 1 on all social tasks
Hard to Kill 3: +3 on Survival Tests
Magic 4: +4 to spellcasting and Lesser Sensing; can quick cast
Nerves of Steel: +4 on Fear Tests; only necessary under very unusual circumstances
Occult Library (Impressive): Ludlows old library, shares with William
Protector: of Albion
Quick Refexes: +2 initiative
Resources (Well Off): decreased to 30 shillings weekly disposable income because shes a woman
Status 3: upper middle class, 1 because shes a woman
DRAWBACKS EXPLANATION
Adversary 3: occupational hazard; Protectors have enemies
Honourable (Serious): always keeps word and does best to fulfl any promises
Love (PlatonicWilliam): Willpower (not doubled) 3 roll to follow head not heart when William is involved
Minority (Woman) - 2nd class citizen
Mental Problems (Mild Obsessionunderstand magic): trying to fgure out some magical problem dominates her life to
the exclusion of most other things
Mental Problems (Mild Recklessness) says whats on her mind with little consideration for diplomacy or courtesy, rushes
into dangerous situations, and rarely wastes time on second thoughts
Nave: +2 to others Infuence rolls against her, 1 to Knowledge rolls on city and crime
Obligation (Total, Albion): Protectors duties to their land
Arcanum
Spell Casting Bonus +16 Casting Actions 2
Current Repeat
Casting Mod Magic Threshold PL 2 Magic/Quick Cast Level 4
R
e
p
e
a
t

C
a
s
t
i
n
g
Spell Name P
o
w
e
r
L
e
v
e
l
A
c
t
i
o
n
s

t
o

C
a
s
t
Range Damage Effects
yes Exorcism 5 5 10 --
If SLs greater than possessing entitys Willpower, posses-
sion is ended
yes
Eldritch Ball of
Flame
5 1 100 24 + (SL x 2)
Small green freball hits one target; will set fammable
objects on fre
yes Healing Touch 3 3 touch -- SLs x 2 Life Points healed; once per target per day
no Shield 2 1 self -- SLs x 2 AV; protects caster only for SL number of strikes
no Sleep 2 1 50 --
Targets Willpower (doubled) vs. spellcasting roll to avoid
falling asleep for half hour per SL
yes Solid Air 4 1 100 --
Targets Strength (doubled) vs spellcasting roll to move
(can be attempted once per Turn); lasts for SL Turns (or
until Strength roll succeeds)
yes
Poseidons
Trident
3 1 100 6 + (SL x 3) Spear of water hits one target
6
Life Points 42
Drama Points 20
Experience Points
Additional Actions 1 Mental
Character Name William Swift
Character Type Protector of Albion
Attributes
Strength 3
Dexterity 4
Constitution 4
Intelligence 5
Perception 3
Willpower 5
Skills
Armed Mayhem 5
Art 0
Athletics 3
Crime 0
Drive / Ride 1
Engineering 3
Fisticuffs 1
Infuence 3
Knowledge 3
Languages 3
Marksmanship 0
Notice 2
Occultism 6
Physician 0
Science 3
Wild Card 0
Monetary Conversion
4 Farthings / Pence
12 Pence / Shilling
Success Level Table
ROLL
TOTAL
SUCCESS
LEVELS DESCRIPTION
9-10 1 Modest
11-12 2 First Rate
13-14 3 Jolly Good
15-16 4 Topping
17-20 5 Brilliant
24-26 7 Magnifcent
27-29 8 Outstanding
30-32 9 Smashing
33-35 10 Ripping
+3 +1
Qualities
Magic3 Well Educated2
Nerves of Steel
Occult Library (Impressive)
ProtectorAlbion
Quick Refexes
Resources (Well Off)
Drawbacks
Adversary3 Obligation (Major
Honourable (Serious) Edinbourgh University)
Love (PlatonicTamara)
Love (RomanticSophia)
Obligation (TotalAlbion)
Useful Information
INITIATIVE: d10 + 6 Latin
APPEARANCE:
ARMOUR: William has a Science
FEAR: +4 specialization in Architecture
Combat Maneuvers
NAME
TO HIT
Punch +5 6 Bash
7
More about William...
PERSONALITY
The twenty-one year old scion of a wealthy London banking family, William is apprenticed to one of the
most reputable architects in England. William is the more skeptical than his sister Tamara, and has diffculty
accepting his legacy, even when faced with incontrovertible physical and visual evidence. Despite any bicker-
ing, however, he loves his sister dearly and is quietly proud of her independence and her accomplishments.
Magic 3: +3 to spellcasting and Lesser Sensing; can quick cast
Nerves of Steel: +4 on Fear Tests; only necessary under very unusual circumstances
Occult Library (Impressive): Ludlows old library, shares with Tamara
Protector: of Albion
Resources (Well Off): three pounds weekly disposable income
Status 4: upper middle class
Well Educated 2: extra skills
Adversary 3: occupational hazard; Protectors have enemies
Love (PlatonicTamara): Willpower (not doubled) 3 roll to follow head not heart when Tamara is involved
Love (RomanticSophia Winchell): Willpower (not doubled) 3 roll to follow head not heart when Sophia is involved
Obligation (Total - Albion): Protectors duties to their land
Obligation (Major - Alma Mater, Edinbourgh University)
8
Arcanum
Current Repeat
R
e
p
e
a
t

C
a
s
t
i
n
g
Spell Name P
o
w
e
r
L
e
v
e
l
A
c
t
i
o
n
s

t
o

C
a
s
t
Azure Wave 2 1 50 12 + (SL x 2)
If SLs greater than possessing entitys Willpower,
possession is ended
Barrier
Reduction
Bolt
3 3 10
If bolt spellcasting roll is greater than barrier spellcasting
roll when erected, barrier drops; will allow a vampire to
enter a private dwelling
Exorcism 5 5 10 --
If SLs greater than possessing entitys Willpower,
possession is ended
Eldritch Ball
of Flame
5 1 100 24 + (SL x 2) SLs x 2 AV; protects caster only for SL number of strikes
Healing
Touch
3 3 SLs x 2 Life Points healed; once per target per day
Shield 2 1 self SLs x 2 AV; protects caster only for SL number of strikes
Sleep 2 1 50 --
Targets Willpower (doubled) vs. spellcasting roll to avoid
falling asleep for half hour per SL
Life Points 88
Drama Points 10
Experience Points
Additional Actions 2 Physical
Character Name Nigel Townsend
Character Type Vampire
Attributes
Strength 7
Dexterity 7
Constitution 6
Intelligence 3
Perception 4
Willpower 6
Skills
Armed Mayhem 3
Art 2
Athletics 4
Crime 2
Drive / Ride 0
Engineering 0
Fisticuffs 7
Infuence 5
Knowledge 3
Languages 4
Marksmanship 0
Notice 4
Occultism 5
Physician 0
Science 0
(WC) Gambling 2
Monetary Conversion
4 Farthings / Pence
12 Pence / Shilling
Success Level Table
ROLL
TOTAL
SUCCESS
LEVELS DESCRIPTION
9-10 1 Modest
11-12 2 First Rate
13-14 3 Jolly Good
15-16 4 Topping
17-20 5 Brilliant
24-26 7 Magnifcent
27-29 8 Outstanding
30-32 9 Smashing
33-35 10 Ripping
+3 +1
Qualities
Age Mesmerize (Charming Voice)
Attractiveness2 Natural Weapon (Claws)
Fast Reaction Time Resources (Well Off)
Increased Life Points2 Vampire
Innate Magic
Magic1
Drawbacks
Adversary3 Mental Problems
Archaic1 (MildCruelty)
Covetous (SeriousLechery) Mental Problems
Honourable (Minimal) (MildLaziness)
Love (TragicLouise) Secret4
Useful Information
INITIATIVE: d10 + 12 Latin, Spanish
APPEARANCE:
ARMOUR:
FEAR:
Combat Maneuvers
NAME
TO HIT
Bite +16 21 Slash / Stab
Claws +14 21 Slash / Stab
Punch +14 14 Bash

9
More about Nigel...
PERSONALITY
Sir Ludlows greatest friend, the almost amusingly pessimistic Nigel loves the night life. He should. He
has been a vampire longer than he cares to mention. Hes quite the gentleman dandy, always on the town.
Still, Nigel lives alone with more than his share of secrets. In a past shrouded in mystery, he has travelled the
world and had a great many adventures. Note that Nigel can move about during the day with his Obscure
Sunlight spell, though he does not like using it.
Age: Nigel has not revealed his true age
Attractiveness 2: +2 on all social tasks due to his good looks
Fast Reaction Time: +1 on Fear Tests; +5 initiative
Increased Life Points: +20 Life Points
Innate Magic: +3 to Defect, Lesser Sensing, and Mesmerise
Magic 1: +1 to spellcasting; can quick cast
Mesmerise (Charming Voice): if Mesmerise manoeuvre succeeds target is helpless for one Turn; target must hear, but not
necessarily understand, Nigels voice
Natural Weapon: concealable clawed hands
Resources (Well Off): three pounds weekly disposable income
Status 2: middle class
Vampire: 1/5 damage from bullets; able to heal 5 Life Points per day from fre damage, 5 per hour otherwise; cannot
enter private dwellings without being invited;2 to all physical activities during the day; casts no refection or shadow;
stake through the heart immobilizes
Adversary 3: various enemies, both personal and due to his vampire status
Archaic 1: has trouble with some modern items or ideas
Covetous (Serious Lechery): resisting this compulsion requires a Willpower (doubled) roll at a penalty of 1 to 3 if the
temptation and possible rewards are great
Honourable (Minimal): does not lie or betray friends, loved ones, or people he respects
Love (TragicLouise): Louise died due to his nature
Mental Problems (Mild Cruelty): seldom allows the problem to control him during times of crisis especially when
friends and loved ones are involved
Mental Problems (Mild Laziness): seldom allows the problem to control him during times of crisis especially when
friends and loved ones are involved
Secret 4: many different secrets, including being a vampire
10
Arcanum
Current Repeat
R
e
p
e
a
t

C
a
s
t
i
n
g
Spell Name P
o
w
e
r
A
c
t
i
o
n
s

Obscure
Sunlight
2 1 --
Allows target vampire to travel during daylight for one
hour per SL
Life Points 90
Drama Points 10
Experience Points
Character Name Queen Bodicea Queen of the Iceni Celts
Character Type Ghost
Attributes
Strength 0 (6)
Dexterity 0 (7)
Constitution 0 (6)
Intelligence 3
Perception 3
Willpower 7
Skills
Armed Mayhem 8
Art 0
Athletics 6
Crime 2
Drive / Ride 5
Engineering 0
Fisticuffs 4
Infuence 4
Knowledge 3
Languages 6
Marksmanship 4
Notice 4
Occultism 2
Physician 2
Science 0
Wild Card 0
Monetary Conversion
4 Farthings / Pence
12 Pence / Shilling
Success Level Table
ROLL
TOTAL
SUCCESS
LEVELS DESCRIPTION
9-10 1 Modest
11-12 2 First Rate
13-14 3 Jolly Good
15-16 4 Topping
17-20 5 Brilliant
24-26 7 Magnifcent
27-29 8 Outstanding
30-32 9 Smashing
33-35 10 Ripping
+3 +1
Qualities
Age Increased Life Points2
Athletic Innate Magic
Attractiveness3 Situational Awareness
Daredevil
Fast Reaction Time
Ghost
Hard to Kill4
Drawbacks
Adversary7 Humorlesss Mental Problems
Antisocial Impulses Love (TragicHusband and (MildRecklessness)
(SevereViolence) Daughters) Mental Problems
Archaic3 Mental Problems (DerangedZealot)
Honourable (Rigid) (MildCruelty)
Useful Information
OBSERVATION: d10 + 7 (9) Languages: English, French,
INITIATIVE: d10 + 14 Gaelic, Latin, Manx, Norman
APPEARANCE: +3 (can only speak, not write)
ARMOUR:
FEAR:
Combat Maneuvers
NAME
TO HIT
Punch +11 12 Bash
Spear +15 21 Slash / Stab
Spear (Thrown) +12 18 Slash / Stab
11
12
More about Queen Bodicea...
PERSONALITY
Bodicea is very tall with long red hair. She is completely naked, covered in Gaelic woad swirls, and carry-
ing only a spectral spear.
Note that as with all ghosts, purely physical attacks by non-supernatural being cannot affect Bodicea. She
cannot affect purely non-supernatural opponents. Bodicea is invisible to mortal eyes unless she chooses to be
visible (this does not take an action and requires no roll). All supernatural creatures (vampires, faeries, de-
mons, etc.) can see ghosts whether they are visible to humans or not.
Age: seriously old
Athletic: 1 to all mental tasks
Attractiveness 3: +3 on all social tasks
Daredevil: likes to take risks
Fast Reaction Time: +1 on Fear Tests; +5 initiative
Ghost: can move through barriers and even other living humans; can physically attack and be attacked only by super-
natural beings and means
Innate Magic: +3 to Defect and Lesser Sensing rolls
Situational Awareness: +2 initiative, +2 to Observation rolls vs. surprise or danger
Adversary 7: Assorted
Antisocial Impulses (Severe Violence): Bodicea tends to rush in swinging her spear
Archaic 3: born in the 1st Century, Bodicea has trouble with most of the items and concepts of the 19th Century. This
includes modern weaponry restricting her marksmanship to use with archaic weapons only.
Honourable (Rigid): refuses to ambush, strike a helpless or unsuspecting foe, cheat or lie
Humourless: lacks the ability to laugh at life and takes everything with the utmost seriousness
Love (Tragichusband and daughters): Everyone she loved is dead
Mental Problems (Mild Cruelty): seldom allows the problem to control her during times of crisis especially when friends
and loved ones are involved
Mental Problems (Mild Recklessness): says whats on her mind with little consideration for diplomacy or courtesy,
rushes into dangerous situations, and rarely wastes time on second thoughts
Mental Problems (Deranged Zealot): may control herself out of fear of being stopped, or discovered by the law, or other
major threat, but when no such fear exists, watch out
Life Points 60
Drama Points 10
Experience Points
Character Name Lord George Gordon Byron
Attributes
Strength 0 (4)
Dexterity 0 (5)
Constitution 0 (3)
Intelligence 4
Perception 4
Willpower 6
Skills
Armed Mayhem 2
Art 6
Athletics 3
Crime 1
Drive / Ride 0
Engineering 0
Fisticuffs 5
Infuence 4
Knowledge 4
Languages 5
Marksmanship 2
Notice 3
Occultism 5
Physician 0
Science 0
Wild Card 0
Monetary Conversion
4 Farthings / Pence
12 Pence / Shilling
Success Level Table
ROLL
TOTAL
SUCCESS
LEVELS DESCRIPTION
9-10 1 Modest
11-12 2 First Rate
13-14 3 Jolly Good
15-16 4 Topping
17-20 5 Brilliant
24-26 7 Magnifcent
27-29 8 Outstanding
30-32 9 Smashing
33-35 10 Ripping
+3 +1
Qualities
Artist Occult Poet
Charisma2 Quick Refexes
Explorer Reputation / Renown
Ghost Worldly
Hard to Kill4
Increased Life Points1
Innate Magic
Drawbacks
Addiction (MildAlchohol) Honourable (Minimal)
Adversary3 Love (TragicWives, Lovers)
Clown Mental Problems
Covetous (SevereObsession)
(DesperateLechery)
Useful Information
INITIATIVE: d10 + 7 German, Greek, Latin
APPEARANCE: +2
ARMOUR: William has a Science
FEAR: specialization in Architecture
Combat Maneuvers
NAME
TO HIT
Counter +8 / +8 8 Parry, if successful also punch as one action
Jab +10 6 Bash; +2 Initiative
Punch +10 8 Bash
Uppercut +8 10 Bash
Poetic Suggestion +14 Magic defence action; returns spell to caster
13
More about Lord Byron...
PERSONALITY
Byron lives on not only in his poetry, but also in his creation of the Byronic herothe persona of a brood-
ing melancholy young man, forever pondering a dark mysterious past. How much of this brooding person-
ality was due to the darker forces Byron no doubt knew existed is debatable. Still, in death he still fghts for
liberation of a greater kind, as one of the defenders of Albion.
Note that as with all ghosts, purely physical attacks by non-supernatural being cannot affect Byron. He
too cannot affect purely non-supernatural opponents. Byron is invisible to mortal eyes unless he chooses to
be visible (this does not take an action and requires no roll). All supernatural creatures (vampires, faeries,
demons, etc.) can see ghosts whether they are visible to humans or not.
Artist: has a creative soul
Charisma 2: +2 on social tasks
Explorer: loves to experience new things
Innate Magic: +3 to Defect, Lesser Sensing, and Occult Poet rolls
Occult Poet: can recite a poem and implant a simple suggestion in a person; cannot be done in combat
Reputation/Renown: Little recognized (1-2 on D10), Good reputation (+2 Infuence if recognized)
Worldly: has experienced many things
Addiction: Mild Alcohol
Adversary 3: Demon Lord
Clown: fnds humour in all situations, even inappropriate ones
Covetous (Desperate Lechery): makes lewd comments in most situations
Honorable (Minimal): does not lie or betray friends, loved ones, or people he respects
Love (Tragic): wives, lovers
Mental Problems (Severe - Obsession): fascinated with new things
14
Life Points 53
Drama Points 10
Experience Points
Character Name Lord Admiral Horatio Nelson
Attributes
Strength 0 (3)
Dexterity 0 (5)
Constitution 0 (3)
Intelligence 4
Perception 3
Willpower 5
Skills
Armed Mayhem 5
Art 0
Athletics 3
Crime 0
Drive / Ride 0
Engineering 2
Fisticuffs 2
Infuence 5
Knowledge 4
Languages 4
Marksmanship 3
Notice 4
Occultism 2
Physician 0
Science 2
(WC) Naval Tactics 5
Monetary Conversion
4 Farthings / Pence
12 Pence / Shilling
Success Level Table
ROLL
TOTAL
SUCCESS
LEVELS DESCRIPTION
9-10 1 Modest
11-12 2 First Rate
13-14 3 Jolly Good
15-16 4 Topping
17-20 5 Brilliant
24-26 7 Magnifcent
27-29 8 Outstanding
30-32 9 Smashing
33-35 10 Ripping
+3 +1
Qualities
Ghost Soldier (Offcer)
Hard to Kill3 Status4 (Admiral)
Increased Life Points1 Well Educated
Innate Magic
Quick Refexes
Reputation / Renown
Situational Awareness
Drawbacks
Adversary2 Love (Tragic Mental Problems
Honourable (Serious) Emma, daughter) (MildWeak Constitution)
Humorless Mental Problems Physical Disability
Impaired Senses (Vision) (SevereCruelty) (Missing Arm))
Useful Information
OBSERVATION: d10 + 7 (4) Languages: English, French,
INITIATIVE: d10 + 9 Latin, Spanish
APPEARANCE:
ARMOUR:
FEAR:
Combat Maneuvers
NAME
TO HIT
Pistol +10 12 Bullet
Punch +9 6 Bash
15
More about Lord Nelson...
PERSONALITY
Horatio Nelson was born a sickly youth with a profound limp. He began his legendary naval career as
sailor at age 12. Regal, refned, and the perfect picture of British Military might, Vice Admiral Horatio Lord
Nelson continues to wage war in the name of Albion and England.
Note that as with all ghosts, purely physical attacks by non-supernatural being cannot affect Lord Nelson.
He too cannot affect purely non-supernatural opponents. Lord Nelson is invisible to mortal eyes unless he
chooses to be visible (this does not take an action and requires no roll). All supernatural creatures (vampires,
faeries, demons, etc.) can see ghosts whether they are visible to humans or not.
Increased Life: +10 Life Points
Innate Magic: +3 to Defect and Lesser Sensing rolls
Reputation/Renown: Well known (1-6 on D10), Stellar reputation (+4 to Infuence rolls if recognized)
Situational Awareness: +2 initiative, +2 to Observation rolls vs. surprise or danger
Soldier: Offcer
Status 4: Admiral
Well Educated: extensive training
Adversary 2: Minor
Humourless: lacks the ability to laugh at life and takes everything with the utmost seriousness
Impaired Senses (Vision): missing one eye, 3 to vision Observation rolls
Love (TragicEmma, daughter)
Mental Problems (Severe Cruelty): likes to infict pain and suffering on those who have angered or attacked him
Mental Problems (Mild Weak Constitution): 1 to any Constitution-based roll
Physical Disability (Missing Arm): any task requiring two hands is at a disadvantage (3 or worse) or simply impossible
16
THE RULES OF PLAY
R
oleplaying games, like all other games, have
rules. The main rule for the Director and the
players is to have fun.
Rules are not necessary for many aspects
of the game. Simple things like talking or picking
up an object do not require rules or rolls. Only if the
outcome of an action is in doubt and the results of
that action are important, do the rules come into play.
Thats when its time to start rolling dice.
THE BASIC ROLL
All tested actions are resolved with a ten-sided die
(D10). A player rolls a D10 and adds the appropriate
Attribute and/or skill to the number rolled. If the
result is nine or higher, the action was successful. If
the result is less than nine, the action failed. Some
actions may be more diffcult than others (see Modi-
fers below). The higher the fnal total result the more
spectacular the success (see Success Levels below).
Most actions add the values of one Attribute and
one skill to a D10. The Director always determines
which Attribute and skill should be used for a par-
ticular action. When no skill is appropriate, the At-
tribute is usually doubled and added to a D10. Some
tough actions dont get the doubling. The Director
makes the call on which Attribute is used and wheth-
er it is doubled or not.
Example: George is playing Bernard St. John, an
apprentice magician. George wants Bernard to climb
from a balcony up to the roof of a building. The
Director decides that this should be resolved using
Bernards Strength 4 and Athletics 2. The player rolls
a four on a D10, and adds six (the sum of Attribute
4 and skill 2). The result is 10. Since this is higher
than nine, Bernard succeeds in making his way to the
rooftop.
George then decides that Bernard will attempt to
jump down to a ledge on the neighbouring build-
ing. The Director decides that due to the precarious
footing, once the jump is successful (using a Dexterity
and Athletics roll), the player must roll a Dexterity
(doubled) action for Bernard to keep his balance. Ber-
nards Dexterity is three, so this is doubled to six. A
D10 is rolled and comes up six, for a total of 12. The
Director informs the player that Bernard wobbles, but
is able to keep from falling from the narrow ledge.
RESISTED ACTIONS
Sometimes a character attempts something and
another character tries to stop her or avoid the action.
This is resolved as a normal action, but both sides get
to roll. If both rolls fail, neither side gets the desired
effect. If one fails and one succeeds, the successful
character wins. If both rolls are successful, the better
result wins. In the case of a tie, the defender (if there
is a defender) wins; otherwise it is just a tie.
Resisted actions occur most often in combat. The
attack rolls his attack; the defender rolls his defence.
However, the basic roll usually applies only to Cast
Members and (if the Director chooses) important
Guest Stars and Adversaries. Whenever Cast Mem-
bers need to fght or outwit other characters, they
need only beat the appropriate Ability Score number
for the Supporting Cast Member in question. No dice
for them! There are three Ability Scores: Muscle (for
Strength contests), Combat (for attacks and defences),
and Brains (for perception and feats of intellect).
MODIFIERS
Sometimes cir-
cumstances make
an attempted task
easier or more dif-
fcult. In such a
case, a positive or
negative modifer
may be added to
the attempt. The
Base Modifers Table
gives some modi-
fers and provides
guidance on when
to use them.
SUCCESS LEVEL (SL)
In some situa-
tions, how well
a character
succeeded is im-
portant. In that
case, check the
result against the
Success Level
Chart.
When a char-
acter attacks
someone, how
well she struck
infuences how
much she hurt
the target. Add
the Success Lev-
els of the attack
roll to the base
damage of the attack (for Supporting Cast Members
with Ability Scores, the damage listed in their Com-
bat Manoeuvres already includes the bonus for Suc-
cess Levels). Alternatively, for uses of the Physician
skill, each Success Level heals one point of damage.
17
BASE MODIFIERS TABLE
Childs Play +5
Moderate +3 to +4
Average +1 to +2
Challenging No Modifer
Diffcult -1 to -2
Very Diffcult -3 to -5
Herculean -6 to -9
Promethean -10 or worse
SUCCESS LEVEL TABLE
Roll
Total
Success
Levels Decription
9 - 10 1 Modest
11 - 12 2 First Rate
13 - 14 3 Jolly Good
15 - 16 4 Topping
17 - 20 5 Brilliant
21 - 23 6 Extraordinary
24 - 26 7 Magnifcent
27 - 29 8 Outstanding
30 - 32 9 Smashing
33 - 35 10 Ripping
+3 +1
PENNY DREADFULS
When something fearful happens, the characters
must roll Willpower (doubled). This is known as the
Fear Test. Modifers may be called for. Thats up to
the Director.
If the result of the roll is nine or higher, the character
may be afraid or apprehensive, but she can act nor-
mally. If the result is eight or less then things start to
happen. Use the Fear Table below for inspiration.
COMBAT
To make things go a bit easier when the rough stuff
starts, tense situations (such as combat) are divided
into segments, known as Turns. A game Turn repre-
sents a short bit of timefve seconds or soduring
which characters can attack and defend.
At the beginning of each Turn, the players declare
the intentions of their Cast Member. This is where
they say, I want to aim my crossbow, or I cast a
spell. The Director decides if that action is possible
in one Turn. Most simple actions are, but if a charac-
ter wants to knock a large hole in a wall with an axe,
she is going to need more than fve seconds.
Then the Director determines who has the initia-
tivewho acts frst. The simplest way is to have
each character roll and add their Dexterity (and any
Quality or manoeuvre bonuses).
Once initiative is determined, the intended tasks are
rolled. Usually a character may only take one attack
and one defence action per Turn. Exception charac-
ters gain extra actions, which may be physical (in the
case of high Dexterity) or mental/spell casting (in the
case of high Intelligence).
As it is diffcult to do more than two things at once,
additional actions suffer cumulative penalties of 2.
The player only rolls oncesuccessive attacks or
defences each reduce the total by two. If the target
defends against any of those attacks, the character
can no longer continue attacking on that Turn.
CLOSE COMBAT
In close combat, attacking uses Dexterity and the
appropriate skill (Fisticuffs for bare handed or Armed
Mayhem with a weapon) or the Combat Score. In a
pinch, Athletics might be substituted for swinging at-
tacks with a stick (cricket bat, croquet mallet). When
two or more attackers gang up against a single target,
they get a +1 bonus to all actions for each attacker, to
a maximum of +4 for four or more attackers.
Weapons may only be parried by weapons. A
hand-to-hand attack may be parried by a weapon
and thats going to cause half normal damage for that
weapon to the bonehead who rushed in unarmed.
Thrown weapons can be parried at a 2 penalty. Ar-
rows and crossbow bolts are parried at a 6 penalty.
No character can parry bullets.
Anyone may attempt to dodge an attack. Dodg-
ing hand-to-hand attacks can be done once per Turn
without penalty; dodging missile attacks (bullets,
arrows, harpoons) suffers a 2 penalty on top of any
other modifers.
Engaging in Full Offence means the character
foregoes any defence against attacks that turn, in
exchange for a +2 bonus on all attacks. The fip side
is Full Defence, which allows the character to defend
against two attacks at no penalty (and against others
if extra actions are available), and gives him a +3 bo-
nus to all defence actions. No attacks are allowed on
any Turn the character is in Full Defence mode.
Sometimes a character just wants to grab someone.
That requires a Grapple (Dexterity and Fisticuffs or
the Combat Score). The victim resists with a Dodge
action. When grappled, the target suffers a 2 pen-
alty to actions that involve the grappled limb (Direc-
tors decision), or 1 to all actions if grappled around
the body. If two attackers grapple both arms, the
penalty is 4 and no Dodges are possible. The victim
can try to break free with a Strength (doubled) roll, or
the Muscle Score versus another Grapple action.
18
FEAR TABLE
ROLL
RESULT
EFFECT
9+
Okay: The character is doing fne and while
perhaps afraid, hes mastered his fear and
can act normally.
7 - 8
Startled: The character is startled, but not
paralysed, and can act normally. Initiative
is lost, however; the creature wins initiative
automatically on that Turn. Set the charac-
ters initiative to one less than the being that
caused the Fear Check.
5 - 6
Unnerved: The character screams and/or
finches away. Only defence actions can be
attempted on that Turn and the character
cannot go on Full Defence. She is at 2 pen-
alty for all actions for the next Turn.
3 - 4
Scared: The character embarrasses himself
and backs away slowly. He suffers a 3 pen-
alty to all rolls for the next three Turns.
1 - 2
Terrifed: The character takes off running
for a full Turn, unless cornered, in which
case she cowers in terror. No attacks are
possible, and defensive actions suffer a 2
penalty. After the frst Turn, a new Fear Test
can be rolled (reduce any penalties by one
with each successive Turn until the character
snaps out of it).
0 or
less
Overcome: The character is not in control of
his actions. He may pass out or suffer some
other humiliating fate.
RANGED COMBAT
Generally speaking, ranged combat works just
like close combat. Attackers make their rolls or use
their Combat Score, and the target tries to defend by
Dodging. Sometimes it pays to take careful aimif
the character misses the demon with a crossbow shot,
she may not get a second chance. Aiming delays the
shot action until near the end of a Turn. The player
aims with a Perception and Marksmanship roll, or
just uses the Brains Score. The subsequent shot ac-
tion gets a bonus equal to the Success Levels of the
Aiming roll.
The ranges (in yards) of various weapons are listed
on the Range Table. Modifers to attack rolls are in-
cluded in parenthesis after the range heading.
DAMAGE
Damage is measured in Life Points. Each attack ac-
tion has a base damage number or a formula, which
is calculated and listed under Combat Manoeuvres.
The actual damage inficted is equal to the base
damage, plus one per Success Level of the attack
roll, minus any Armour Value (AV) possessed by the
defender, multiplied by any damage type or other
modifers. In the case of Bullet or Slash/stab type,
damage is doubled against normal humans (bullet
damage is not doubled against vampires). Bash dam-
age has no multiplier.
Bash attacks (pugilism moves, billiards cues, cricket
bats, and so on) can be turned into Knockout attacks,
using a Dexterity and Fisticuffs 2, or Dexterity
and Armed Mayhem 2 roll, or the Combat Score
2. The total damage of the attack is halved, but the
victim has to make a Constitution (doubled) roll (or
use the Muscle Score) with a penalty equal to the Suc-
cess Levels of the Knockout roll. If she fails, she goes
down for the count.
Recovery from a knockout is in the Directors
hands; the victim may recover in a few turns, or wake
up an hour later . . . possibly in captivity.
Fire damage is a special case. A person on fre takes
three points of damage every Turn until somebody
puts her out. If more than 20 points of Fire damage
are inficted on a character, some scarring occurs.
Fire damage also heals at half the normal rate (or one
Life Point per Constitution level per day for vam-
pires); the player should keep track of fre damage
separately.
EFFECTS OF INJURY
Characters reduced to 10 Life Points or below are
severely injured and fnd it hard to continue fghting;
all combat rolls suffer a 2 penalty. If reduced below
fve Life Points, this penalty goes up to 4. At zero
Life Points or below, the character is knocked down,
stunned, and only semiconscious. A Consciousness
Test (Constitution and Willpower minus the number
of Life Points below zero) is required to remain con-
scious. Thus, at 7 Life Points, a Consciousness Test
suffers a 7 penalty.
At 10 Life Points, a Survival Test is required (Con-
stitution and Willpower minus one for every 10 Life
Points below zero). The Survival Test must be passed
once each minute until the character receives some
medical aid. Each additional Test suffers a cumula-
tive 1 penalty. A successful Intelligence and Physi-
cian roll stabilises the character.
GETTING BETTER
For most Cast Members (the purely human kind),
injuries heal at the rate of one Life Point per Consti-
tution level every day spent under medical care (no
healing is gained without some kind of medical care).
Supernatural creaturesfaeries, ghosts, vampires,
etc.heal much quicker, usually at the rate of one
Life Point per Constitution level every hour or some-
times even faster. Use of Drama Points can greatly
speed recovery.
DRAMA POINTS
Drama Points are what make noteworthy characters
worthy of the tales we tell about them. A player must
announce that her character is using a Drama Point
during the Intentions phase of a Turn, or before roll-
ing during non-combat situations. Drama Points can
be used in several ways.
19
RANGE MODIFIERS TABLE
Type
Point
Blank
(+1)
Short
(0)
Medium
(-1)
Long
(-3)
Extreme
(-6)
Pistol 3 10 20 40 80
Spear
(Thrown)
5 20 45 70 100
Heroic Feat: By spending a Drama Point, the char-
acter gets a +10 bonus on some value. This can be
an attack or defence roll, any use of a skill, or even
for a Fear or Survival Test. The Heroic Feat can also
make things hurt more; the +10 bonus is added after
Success Level bonuses, armour, damage type, and
other modifers are applied. Only one Heroic Feat
may be performed in a Turn.
I Think Im Okay: For a mere Drama Point, half
the Life Point damage (round down) the character
has taken up to that point is healed up. I Think Im
Okay can be used only once per Turn, but it can be
used several Turns in a row, each use halving what-
ever damage remains. If the character had suffered
enough damage to be incapacitated or unconscious,
however, healing does not necessarily awaken him.
The Director decides if the time is right for the char-
acter to revive and join the action.
Plot Twist: Once per game session, each character
can spend a Drama Point and get a break. This is
not a free ticket. If the heroine stupidly walked into
a ferals lair and she is surrounded by a horde of
hungry werewolves, a Plot Twist wont allow her to
escape unscathed. If the Director decides that a Plot
Twist is not possible, the player gets back the Drama
Point.
Righteous Fury: By spending two Drama Points,
the character gets a +5 bonus to all attack actions,
including magical attacks, for the duration of the
fght. These benefts may be cumulative with
Heroic Feats. There must be an appropriate provo-
cation to invoke the Righteous Fury rule, however.
She needs to be truly provoked, such as a brutal
attack on a loved one, an unexpected betrayal of
trust, or the raising of a monster that killed her lover
years ago. Not even the injury of a party member is
suffcient unless there is some further emotional tie
between the two characters.
MAGIC
Magic is a vital part of the Ghosts of Albion universe.
It has been around for thousands of years and is
the Protectors chief weapon in the fght against the
enemies of Albion.
Each spell has a Power Level. This determines the
overall strength of the spellthe higher the Power
Level, the more diffcult the spell is to cast properly
and the more damaging the consequences of failure.
SPELLCASTING
Casting a spell requires a spellcasting roll using
Willpower and Occultism (with a bonus equal to any
levels of the Magic Quality). A target must be within
the spells range, in the area of affect if the spell has
one, and in the casters sight. A blinded magician
could still cast a spell at a target sensed through hear-
ing or smell, or in a specifc direction, but would be at
6 to his spellcasting roll.
Unless otherwise stated, any spell may be cast with
one action.
If the spellcasting roll fails (i.e. the total is less than
nine), the spell doesnt workthe ritual simply fails
as the proper mindset or energies were not engaged.
Generally, theres no other downside here; the charac-
ter just wasted some time, candle power, words, and
gestures.
If successful, the rolls Success Levels are compared
to the spells Power Level. If the Success Levels are
equal to or greater than the Spells Power level the
spell effects occur as described.
If some Success Levels were generated, but were
not equal or greater than the Power Level of the spell,
magical energies were created but not controlled.
Bad show, chap. The Director consults the Spell
Backfre Table below or decide what is dramatically
more appropriate.
REPEATED CASTING
Casting certain spells is taxing on the old grey mat-
ter. A cumulative 1 penalty is applied for each spell
cast without a good three to four hours rest. This
could be eating, meditating, or other relaxing activity,
but not research.
20
SPELL BACKFIRE TABLE
Roll D10 and add the Spells Power Level.
Roll
Total Result
4 or less Phew! Jammy! The spell still works.
5 - 7
The spell is delayed. It appears the spell
failed, but it manifest normally at a time of
the Directors choosing (ideally, a dramati-
cally appropriate time).
8 - 10
The spell works, but is less effective than
expected. The duration, damage, area,
range, or effect is halved (if not applicable,
the spell is delayed as above).
11 - 13
The spell works, but the energy damages
the caster. The magician takes fve Life
Points of damage per Power Level of the
spell.
14 - 15
The spell affects the wrong target (the
Director decides who gets to be the lucky
recipient).
16+
Spell has a completely unexpected ef-
fect. The magical energies run rampant,
often causing physical damage to the area
or summoning dangerous entities from
beyond our reality. This can also happen if
something disrupts the spell during a criti-
cal point in casting.
Defensive magics (see below) do not count as spells
cast for incurring a Repeated Casting modifer. They
are affected by the current cumulative modifer, but
do not increase it.
DISPELLING
At some point a magician may want to end the
effect of one of her ongoing spells. She may do this
at will, though it does take an action to accomplish.
Stopping the ongoing affects of other casters spells is
not so easy, however. There are three ways to do this.
Reverse: If the character knows the spell that he
wants to end, he just casts it in reverse using a
normal spellcasting roll. As long as Success Levels
equal to the spells Power Level minus one (to a
minimum of one; its easier to reverse than cast), the
spell ends. If the character has access to the origi-
nal casters spell books or version of the spell, the
Power Level is reduced by two.
Disperse Magic: This spell must be used if the
specifcs of the spell sought to be dispelled are not
known. The Success Levels must equal or be greater
than the Power Level of the spell to be dispersed.
Persuasion: The character can fnd the caster of the
spell he wishes to end and get her to stop it. Obvi-
ously persuasion here will work, but so will more
dire measures. Furthermore, continuing spells
stop working, but permanent ones may not. In any
event, wholesale slaughter is discouraged.
SPELL DEFENCE
Anyone can attempt to dodge a bolt, ball, cone,
etc. spell. This uses a defensive action. Reduce the
incoming damage from the spell by the targets Suc-
cess Levels times three. If the damage is reduced
below zero, the spell is considered to have missed the
target and any other affects the spell might entail are
ignored.
DEFENSIVE MAGICS
Those with the Magic or Innate Magic Qualities
can employ defensive magics. One can also save an
action from multiple spell actions for extra defensive
magics (with the normal penalties applying). Note
that defensive magics work against a supernatural
creatures targeted power. Like normal defence ac-
tions, they can be used in response to an opponents
offensive action.
These manoeuvres use Willpower and Occultism,
and are modifed by Magic levels or Innate Magic. A
standard Resisted Action between the original cast-
ers spellcasting roll and the targets defensive magics
roll is conducted. Failed defensive magics means the
spell goes off as the original caster desired.
The magician must choose his defensive magic ma-
noeuvre before he knows what the opposing magi-
cian rolled for spellcasting.
Defect: The magician defects an incoming spell
approximately 45 degrees. The magician can choose
which side, but the Director decides where the spell
ends up. This defence action only protects the char-
acter using Defect, and redirects only that portion
that would affect him in an area spell. This is the
only defensive magics manoeuvre that those with
Innate Magic may use. The Defect defence roll suf-
fers no penalty.
Hold: The magician delays the opposing spell a
number of Turns equal to the Success Levels of the
defensive magics roll before resolving. If the spell
is a ball, bolt, cone, etc., when the Hold runs out it
continues to its full range, striking whatever is in
the way. If the spell affects a specifc target directly
and the target is out of the area, spells range, or line
of sight, it has no effect. Hold will protect the caster
and delay a portion of an area spell equal to the
magicians Magic Level in feet. The Hold defence
roll suffers a 1 penalty.
Counterspell: The Magician can try to dispel the in-
coming spell, totally negating it and dispersing the
magical energies harmlessly. This is much harder
on the fy and the roll to accomplish this Defensive
Magic is 3. Note that the Magician does NOT
need to know the incoming spell to attempt this.
Dispel will protect the caster and dispel incoming
spells in an area up to the magicians Magic Level x
2 in feet around him. The Counterspell defence roll
suffers a 3 penalty.
Volley: The Magician can try to volley, return or
refect the spell back upon the caster, who will suffer
all the effects of the spell. The roll to accomplish
this diffcult Defensive Magic is 6. Volley will
protect the target only, rebounding just the portion
of an area spell affecting him. If successful the origi-
nal caster may not use a Defensive Magic to protect
himself, he just takes the spell effects. The Volley
defence roll suffers a 6 penalty.
LESSER SENSING
Any creature with Innate Magic or Magic levels has
the Lesser Sensing ability. This allows them to make
a Perception and Magic (+3 instead for Innate Magic)
roll while concentrating to see certain things. Suc-
cess reveals any active spells, whether a being or item
has magical abilities (but not what type they are), if a
ghost is present (but again not the exact particulars),
or if a person or object is possessed (though not any
details on the possessing entity). Higher Success
Levels give clearer results.
21
INTRODUCTION
D
erby Day is an adventure for the Original
Cast, known to those who have visited the
BBC Ghosts of Albion site: Tamara, William,
Nigel, and the three ghosts. This material
includes background and period information to get
players into the setting and the concerns of the times.
They can learn about the different horses, notice the
betting establishments and the extensive preparations
for lunch, interact with others revellers, and discuss
matters of recent concernall the while trying to
ferret out the supernatural threat. Several fghts
will occur, both magical and physical, and plenty of
chances for roleplaying with various Director-played
Supporting Cast Members will arise.
As always, the frst rule is to have fun. Novice Di-
rectors should attempt to keep the Cast on the basic
story path, even if that means dropping broad hints
or simply dictating which direction they take. Expe-
rienced Directors should allow the Cast more leeway
and use their imaginations to fll in blanks when
unexpected decisions occur (and they will).
PLOT SYNOPSIS
The overall plot of Derby Day revolves around the
attempt of one William Atherton to pass two specially
prepared coins containing Allitra demons to two
Cabinet Ministersthe Home Secretary and the First
Commissioner of Woods and Forests. In doing so,
Atherton hopes to take control of the two individu-
als. He is doing this at behest of Lord Winchester, a
member of the aristocracy who objects to the route of
the Great Western Railway near his estate. The Lord
desires the route changed, and seeks to control the
two Ministers in order to do so.
Complications arise when a child steals one of the
coins. If he fails to recover it, Atherton will be forced
to convince the person it was meant for to come
Athertons home in Epsom and perform a longer,
more complicated summoning and possession ritual.
The Cast must negotiate the teeming throng at
Derby Day and thwart the machinations of Lord
Winchesters agent, Mr. Atherton.
DERBY DAY
The Derby Day holiday at the centre of this story
takes place in May 1839, about a month prior to the
frst anniversary (usually called a Jubilee) of Queen
Victorias coronation in June (she ascended to the
throne in June 1837, but the coronation is always a
year later). Derby Day is a national holiday and even
Parliament is adjourned then. The aristocracy deigns
to set aside prejudices for the day and mixes shoul-
der to shoulder with the working class. The middle
class is less well represented, but is still present. (The
Ascot, generally a month later, is more of an elite race
with just the aristocracy attending.) Derby Day takes
place at Epsom, a short trip south of London.
22
Derby Day
~OR~
A Day at the Races
All the popular racing literature: Baileys Racing
Register, Picks Racing Calendar, The Turf Register, and
the Sporting Magazine predict a jubilant crowd and an
exciting race. The railroad from London opened last
year and was a rousing success with a few thousand
arriving by railway. While not a big number for the
large throng expected50,000-70,000 totalthese
newcomers added a touch of colour to the event, and
more are expected to travel in this manner this year.
Smoke belching engines combined with the large
number of coaches and carriages that travel down
the dry roads from London will bathe the whole
area in dust giving everyone a slightly dirty, almost
chimney sweep look. White or tan is defnitely not a
wise choice for clothes. So much for some clear, fresh
air away from the grim and soot of coal-powered
London.
Think of Derby Day Epsom as a giant faire. Beer
and ale houses are flled to overfowingareas are
set up outside for the additional patrons and prices
are actually lowered slightly due to the high expected
volume. The Downs, the track itself, has no rails or
stands, so most watch it from nearby, open felds. A
single rail fence on the inner side of the track marks
the best route for the horses; a strain of rope keeps
the crowd away from the outer rim. Other than a
starting area and stables for the horses, and a place
for the judges, thats it for facilities.
Although Epsom is normally a smallish community,
the village is fooded with all sorts of entertainers for
the day. Booths made of wood frames, canvas, ropes,
and other materials are erected in the area around the
Downs to house a wide variety of faire-like activi-
ties. Booths hold dancing areas, drinking contests,
tableaux vivant (living picturescostumed enter-
tainers posed in still-life displays), darts and other
sporting events, terrible melodramas, puppet shows,
burlesque, pugilism sparring (no full events as these
would last way too long.), and gambling of all sorts:
roulette, card games, even/odd, and three-card mon-
te. Men pass through the crowd handing out cards
with various house names and the rules of the game
that establishment is running. The general buzz of
crowd noise is accentuated as they yell their pitches,
inviting all to come and join in. Colourful and bedaz-
zling gypsies with their garish wagons sell elixirs and
tonics, tell fortunes, and add a touch of exotic.
Betting shops for the race usually stand alone or
share space with tobacconists or shoemakers, and
money is passed through a small pigeon hole. Ask-
ing around a bit reveals some of the more reputable
brokers, who give reliable buzz. In 1836 Lord Jerseys
horse, Middleton, won. He had no entry the last
couple years, but has returned with a spirited new-
comer, Isle of Oak, this year. Many like his chances.
Last years winner was Amato, owned by Sir Gil-
bert Heathcote and ridden by John Chappel, a fne
jockey. Their horse this year, Majestic, won a race last
month largely due to the wet conditions. Today is
overcast and rain is possible. Majestic just beat out a
newcomer, Bloomsbury, owned and trained by Wil-
liam Ridsdale . These well regarded newcomers are
thought to have a excellent shot at the win this time,
provided the weather holds. (Note that historically,
this is the horse that won in 1839. He was ridden by
S. Templeman.)
If the Cast picks a betting house at random, it is
more likely than not one of ill-repute. Many are set
up to feece the customers by trumpeting second
rate horses as front runners. These houses might put
forth either Norman Beau, a horse of French lineage,
or Lucky Gentleman as two relative unknowns.
These horses have great stamina and strong legs.
Their chances are good, supposedely, as this race is
more egalitarian and not so blue-blooded as the Ascot
or 1,000 Guineas races. A few other horses that could
be mentioned are Plovers Folly and Lucky Lady.
Each has little chance of winning, but can be used to
muddy the betting feld, as it were.
The actual race itself lasts only three minutes and
is generally run just before lunch. This year, the
organizers have decided to start after lunch around
2:00 p.m. or so, with more festivities following. They
are hoping to entice more of the crowd to spend the
afternoon and evening in Epsom (spending freely).
The Day lasts until darksome stay on for a nights
merriment but the bulk of the crowd departs at vari-
ous times before that. The main action in this adven-
ture should take place before the race begins.
THE CAST
Through various contacts, William, Tamara, and
Nigel have gotten word that certain omens point to
demonic activity. The exact nature is unknown, but
it is defnitely old, evil, and of a subtle rather than
brute-force nature. The portents hint at a larger
threat to all of England, but something that is slow or
delayed, and hidden.
Queen Bodicea has been contacted by members of
the Faerie, who explain that their seers have felt a
great heat coming from Epsom. Something mystical
is happening there involving human-style magic and
demons. The threat derives from past events that the
humans are unaware of, and that even the long-lived
Faerie do not fully comprehend. The seers see deep
machinations amongst the humans that will lead to
great tragedy for Faerie kind. They hope that Bodi-
cea and her friends will address the situation.
With the previous information in mind, the Cast sets
off to Derby Day. They arrive via coach, which Far-
ris, their more-than-capable manservant, has parked
and is currently looking after. Nigel has cast his spell
and has six hours of protection before he must fnd
darkened shelter. It is about 10:00 am.
23
ACT ONE: SET-UP
WILLIAM: YOUR LORDSHIP, IM QUITE CERTAIN
ALL OF THIS MUST BE A TERRIBLE SHOCK TO YOU.
I ASSURE YOU, THERES A PERFECTLY REASON-
ABLE EXPLANATION.
(BEAT)
A SCIENTIFIC EXPLANATION, REALLY.
EMBERS, ACT II
RUNDOWN
T
he fow of this act depends quite a bit on
whether the Cast stays together or splits up.
For the most part they should get a taste of
the day, a chance to see some of the sights,
overhear what is being discussed, and get a lay for
the land. During this portion they should see, but not
encounter, a couple of the strange cane gentlemen,
and speak with an old gypsy woman who knows
who the protectors are and has some important infor-
mation to relate.
At that point, the Cast should notice the two chil-
dren running through the crowd, pursued by some
cane gentlemen. The act should culminate with a
chase through the crowd heading towards the out-
skirts of town, toward a burned-out building.
JOINING THE FESTIVITIES
The Cast is presented with a large crowd in festive
spirits enjoying the day. The Director should relate
the cacophony of people and establishments. The
Cast can take part in political discussions, watch
some of the performances, bet on the race, or gamble
in general.
They may wish to watch some of the pugilist spar-
ring. If so, Lord Byron comments with some exper-
tise since he was trained by Gentleman Jackson, a
famous champion pugilist. Normally pugilism is
fought bare-knuckled and bare-chested in upwards
of 50 rounds, each separated by 30 seconds. Each
round lasts till someone is knocked down. The sport
isnt commonly called boxing yet, and the Marquis
of Queensbury rules dont come into affect until
1867. Wrestling holds above the waist are legal and
contestants fght in a roped off area about eight feet
per side. Derby Day sparring matches are basically
best two out of three roundsanyone knocked down
twice, or being knocked out, loses.
The Cast cannot fail to notice the preparations for
lunch. This is a very big deal at Derby Day and usu-
ally lasts quite some time with various specialties
all over the area. Plovers eggs, one-shilling blanc
manges of the Gunter School, a variety of cold fruit,
and meat pies are among the offerings. Six foot vats
ring the fner establishments dispensing the best
champagne into gobletsbeer is in abundance, and
fner wines are also available. All sorts and selections
of food can be found and purchased.
Finally, the Cast should notice that a few members
of the Metropolitan Police Force are present and
providing some measure of security for the occasion.
There are only a hundred of these constables and
they tend to be lost in the crowd, but they are around.
Throughout this scene, the characters should talk
about or overhear discussions on various topics. The
subject varies by class and the most important ele-
ments are listed frst.
Aristocracy: The dominant subject is the Queens
birthday which is 24 May, when she will be only 20.
What celebrations will occur and the various balls
and receptions for that are important matters for the
elite. In addition, her frst jubilee is next month, on
28 June. With such a young queen, the talk is that
her mother, the Duchess of Kent, and her mothers
advisor, Sir John Conroy, are dominating the Crown.
Others feel that Lord Melbourne, the Prime Min-
ister, seems to have taken her under his wing and
perhaps she will be more independent than was
expected. This news is followed by the usual talk
over who is being presented at Court next, what the
coming balls will be like, who will dance the best,
and the quality of various card players.
Some members of the House of Commons present.
A little business might be done, but not much. This
is pretty normal, but always worth noting. It is also
thought that Lord John Russel, the Home Secretary,
one of Queen Victorias Cabinet Ministers, a known
Whig and liberal reformer, is also likely to be pres-
ent. He enjoys pugilism quite a bit and always bets
on the matches. He also well known for his interest
in horse racing and other equestrian events.
The fad of the railway bringing some wealthy
and infuential folk down to Epsom has split the
crowd. Some think it novel and interesting, oth-
ers decry the added smoke and clamour and feel it
should be eliminated. This leads to talk about Lord
Winchester, the 2nd Earl of Winchester, Herbert
Weston Penthingham, who has been speaking with
the Duke of Reading, Michael Hollingsworth, to set
up a commission in the House of Lords to review
railway bills in the House of Commons. (In order
to build a railway line, an Act of Parliament must
be passed detailing the route and the location of
any stations prior to construction). Lord Reading
has been trying to get support in the Lords to limit
railway construction because the smelly, loud, and
uncouth machines threaten the hunting, shooting,
and aesthetics of the countryside. Lord Winchester
has just realised that the Great Western route will
pass very near his estate and is trying to get the
route altered so that it will not pollute the forest
nearby or damage the crops of his tenant farm-
ers. He wants the route moved to the north side of
a nearby hill (Olde Baldy) to put the high ground
24
between his estate, lands, and the railway. There are
some who say he also fears that if the railway comes
directly into Winchester, it will bring union agitators
and Chartists, whom he obviously despises.
More than a few sly comments are uttered about
the ridiculous Chartists, their petition and National
Charter, published just over a year ago. Their idea
that working men can aid in the governance of the
land, or even vote, is clearly preposterous. A man
with no stake in society, as established by owner-
ship of real property, has no vested interest to
protect. As such, his vote would be available to the
highest bidder or any he was dependent on for his
own livelihood.
Middle Class: Wealthy commonfolk and those
on the fringes of the aristocracy focus mostly on
the Great Western Railway. It is claimed that it will
open up many new markets and bring more people
to Londonclearly a great opportunity for those
with the proper business acumen. A large amount
of foodstuffs, Welsh coal, and other raw materi-
als can be brought into London from the western
regions of Albion. The railway coming down to
Epsom is seen as the wave of the future and some-
thing that should be supported and advanced.
Many bemoan the diffculties of getting railway
acts through Parliamentthe cost of construction is
already enormous, less Parliamentary interference
would be much preferable. Lord Reading and Lord
Winchester have let self-interest colour their propos-
al to bring the House of Lords into the process.
Talk revolves around the growing scandal that the
Rookeries and eastern districts of London are be-
coming. The ramshackle tenement housing, the in-
crease in disease due to inadequate circulation, the
poor sanitation, and the lack of religious fervour has
brought great shame to England. If the poor could
just be made to understand that thrift, sobriety, and
hard labour lead to prosperity their plight could be
alleviated. The condition of the Irish in the Rooker-
ies around St. Giles is an especially good example of
the evils of too much drink, Catholicism, and lack of
moral fbre. A Royal Commission should be formed
to study the situation.
The Anti-Corn Law League established last year
under Richard Cobden and John Bright in Manches-
ter is fast becoming a national movement and this is
seen as very good. Corn is generic for all grains,
including wheat, rye, oats, barley, etc. The League
proposes removing the import tariff on all grains.
That in turn will lower the price of bread, the
primary foodstuff of the poor. More importantly, it
will encourage other countries to lower or restrict
counter tariffs on English manufacturers, thus open-
ing new markets and expanding trade. Anything
that promotes free trade and business opportunities
abroad is highly laudable, especially if it involves
less government intervention in the economy.
Some are concerned about the Londons Work-
ing Mans Association attempt to establish itself
as a respectable union. They press to restrict free
trade through collective bargaining and support the
adoption of the National Charter. Such interference
is bad in itself; combined with the universal suf-
frage proposal, theres no end to the trouble pos-
sible. However, some in the middle class feel that
the Chartists should be supported as it will weaken
the aristocracy. Feelings are heated and split on this
topic.
A few talk about the troubles in Canada. An
unseemly border dispute has broken out with the
former Colonies in North America. The southerners
are all criminals or deserters and their infuence has
doubtless corrupted the lower provinces of Canada,
causing the current problems. Fortunately, Earl
Durham has been sent to settle things and when his
report comes in things should hopefully improve.
It would be a shame if some sort of border confict
cropped up and lead to increased taxes to pay for
the fghting.
Many think it is time that Anglican Church reform
be expedited. There are anti-pluralities acts and acts
for building and enlarging churches pending in Par-
liament that need to be expanded and strengthened.
Hopefully this will bring a revival in church atten-
dance and keep the dissenters and Catholics at bay.
(If the person speaking is dissenter-inclined, reform
efforts are described as a sop to the public intended
to maintain the states Anglican-favoured position.)
Working Class (or the rougher parts of town):
The Peoples Charter published by the National
Charter Association last year has led to them be-
coming known as Chartists. Their six-point plat-
form is of great import to the working class:
25
THE PEOPLES CHARTER
Universal male suffrage: The right to vote is
currently restricted to those with 40-pounds
property ownership.
Secret ballots: Voting is currently done in the
open and every man expected to stand up for his
viewpoint. In effect, if suffrage were expanded, a
landlord or employer could determine how those
beholden to them voted.
No property requirements to serve in Parliament:
This would allow working class and lower middle
class men to be elected.
Payment for members of Parliament: This would
allow the non-wealthy to be elected and serve.
Equal electoral districts: Rotten and pocket
boroughs had not been entirely eliminated, nor
was representation based on population.
Annual Parliaments: This would make them more
responsive to the people.
Naturally, both the middle and upper classes see
this movement as a threat, particularly since its
popularity is rising in working classes. The Char-
tists current efforts revolve around getting names
on a petition to present to Parliament. With enough
signatures, they hope to force them to recognize
their support and adopt the Charters provisions.
Thomas Atwood, Member of Parliament (MP),
House of Commons for Birmingham, will present
the petition next month. The Chartists have a booth
here along with part of the petition and are actively
trying to secure more signatures, especially amongst
the better sorts of people. Some agitators are mov-
ing throughout the crowd trying to get people to
sign, and at least one of the Cast Members should
be approached (William or Nigel is best; few indeed
consider granting voting rights to the fairer sex). All
is not entirely smooth amongst the Chartists, how-
ever. The convention to get it adopted has moved
from London to Birmingham and a large debate is
occurring over the use of physical or moral force to
get the Charter adopted. The move north seems to
indicate the physical force element under Feargus
OConnor has the upper hand.
As usual in any crowd, nearly everyone claims
times are hard, wages are low, and food is expen-
sive (in truth, life was exceedingly hard in Victo-
rian England). Some mention the new Anti-Corn
Law League and how it may lower the food prices.
Some support this but the Chartists view this as a
stop-gap sell out to middle class dominance and feel
only the National Charter and petition should be
supported.
Troubleshooting: This scene should mostly be a
prelude that allows the characters to mingle with the
crowd, observe, look around, and get a feel for the
times. It can be very open-ended, but shouldnt last
too long. Keep things moving by avoiding lengthy
exposition of each characters specifc actions. The
ultimate goal is to get the Cast into roughly the same
area of town, a crowded street with a number of
pugilist sparring booths. This scene simply sets up
the others.
Much information is presented aboveuse what-
ever seems to ft the players interest or catches your
fancy. The most important point is the railway con-
troversy and a Chartist encounter.
If any pay attention to the pugilism matches, keep
Angus MacTaggert (see p. 36) out of sight unless Act
Two is imminent. Usually it is useful to have the
Pugilism booths across from the Gypsy encampment,
as both are things players fnd interesting and set up
the chase below.
THE CANE GENTLEMEN
This scene should evolve at some point as the Cast
wanders the festival.
Anyone using Lesser Sensing (no roll necessary)
glimpses unfamiliar magical swirls and fligree
around a couple of gentlemen wearing brown bowlas
(derbies), brown waist coats, whitish shirts (now
dusty), dark brown trousers, and fashionable shoes.
They each have identical deep brown, lacquered
canes, inlaid with a dark, almost burnt, silver that
traces various shapes. Two joints divide the canes
into thirds. Their handles are also burnished silver.
The gentlemen do not wear gloves.
If a Cast Member sees the magical swirls around the
cane gentlemen, have that character make a Lesser
Sensing roll. Success indicates that gentlemen appear
to be magicians and that the darker silver on their
canes appears corrupt and malignant. Three Success
Levels further reveals that a demon is bound in each
cane, but the type is unknown.
These men are quickly lost in the crowd, but a sec-
ond pair might be seen a little later. They are human
and all look fairly similar (brothers?), but not identi-
cal.
Troubleshooting: Attacking the cane gentlemen
at this point results in a near riot in the crowd. The
gentlemen disappear in the melee and Peelers quickly
appear to restrain the Cast. The offcers can be dis-
suaded from acting further as long as the Cast ceases
violent action.
Anyone trying to steal a cane will fail and is graced
with a bop on the noggin by said cane. The gentle-
man immediately calls a nearby Peeler and asks that
the Cast Member be restrained. As each cane con-
tains a demon, sneaking up on a gentleman is impos-
sible.
GYPSY VISIONS
William or Tamara specifcally, if using Lesser Sens-
ing, notice that one old gypsy fortune-teller, named
Antonia, has magic and seems to be genuinely gifted.
She is standing with her daughter before one of the
garishly painted wagons, and all are wearing tradi-
tional gypsy garb. Her daughter, Fiona, tries to sell
anyone approaching some elixirs, tonics, or other
trinkets, but also takes them to have their fortune
read. The old gypsy knows who William and Tamara
are, though theyve never met before. She knows
what a Protector is, and can even name other mem-
bers of the group if it is necessary to impress them
with her abilities. She has the usual small wagon
decorated with gaudy tapestries, a table, a crystal
ball, tarot cards, and other paraphernalia for fortune
telling, though she prefers to have her customers put
their hands on the ball and use it and palmistry to
read their futures. The ball itself is not magical.
26
She can relate certain information to the group. She
sees gold in the future, but not the good kindits
impure and corrupt, flthy lucre with undue infu-
ence. Smoke and darkness looms large and air is not
always the answer. The young shall end up leading
the old, despite lack of wisdom. Water is a friend
this day and the Scotsman who defeated all comers
knows what they seek.
Troubleshooting: Antonias visions are important.
Make sure that William and Tamara, or at least one
of the pair is enticed inside to her them. Perhaps the
beautiful young daughter can lure William inside
with feminine wiles. Or maybe she can speak with
Tamara and appeal to her independent streak. She
could say Grandma has seen that the Protectors
would be present and would like to see them. Either
of these should get one of the Swifts inside.
THE CHASE IS ON!
When Act One is ready to wrap up, have everyone
congregate in the pugilism area. Other booths are
nearby, maybe near the gypsies, though the Cast does
not have to be all together. In fact it works better
if they are in various places around the area. Have
everyone who isnt at the gypsys make Observation
rolls. Those that succeed notice two fne Lord types
(one is shorter and has brown hair touched with grey;
the other is taller, thinner, and seems younger with
black hair) amongst a party of ladies and servants, as
well as few other gentlemen, watching a red-haired
giant of a man fghting another large pugilist. The
match goes for the rest of the round and the red-
haired man wins, knocking the other out with a tre-
mendous roundhouse punch. One of the Lords, the
shorter, goes to congratulate the winner while the rest
of the party waits and excitedly discusses the match.
This is Lord Russel, the Home Secretary, inviting
Angus MacTaggert to join him watching the Derby.
The rest of the party includes Viscount Duncannon
(more on him later), another cabinet member, and a
few members of the House of Commons.
At that point, all Cast Members notice two children,
a twelve-year-old boy and a similarly aged girl being
chased by cane gentlemen. Those who gain two Suc-
cess Levels see one fellow wave the cane and a small,
dark silver bolt streak out. The boy dodges out of
the way at the last moment. The bolt hits a working
class man who falls to the ground with blood running
from his thigh. One of the other cane gentlemen ob-
viously chastises the one who fred the bolt. Another
makes a circle with his cane and a small, faint yellow
area appears under the boy just as he jumps around a
lower class woman. That person steps in the area, is
held fast, and looks around puzzled.
The entire Cast should jump to the chase. Have the
Cast roll Dexterity and Athletics to keep up with the
men and move through the crowd.
Troubleshooting: This scene marks the point where
the pace of the adventure increases. Try and get
everyone involved in the chase, though keep in mind
that the cane gentlemen are used to seeing strange
things and the sight of a ghost does not faze them.
Dont let the Cast catch up too quickly, but also dont
drag the chase out too much either. Dont forget to
describe the crowd thinning as the pursuit heads
towards the outskirts of town. Remind William and
Tamaras players that just cooking off freballs into
the crowd is a bad idea.
27
ACT TWO: COMPLICATIONS
BODICEA: SO COME, THEN. ATTACK ME. KILL
ME. BUT WONDER, FIRST, WHO AMONG YOU WILL
SURVIVE.
ASTRAY, ACT VII
RUNDOWN
A
mixture of scenes occur in this act. It starts
with a struggle against the cane gentlemen,
the goes on to some information gather-
ing from the girl being chased. The group
should learn about the demon-bound canes and the
coins. Some information on the childrens overseer
Neal comes out and he must be dealt with. Just as
Traegers hiding place is found, a scream sounds.
MYSTIC BATTLE
The chase from Act One ends at the burnt-out build-
ing described in A Good Deed. The girl is visible
just inside the remains of the doorway, trapped by
a yellow circle from one of the cane gentlemen. The
boy is not in sight. The cane gentlemen head towards
the doorway by the time the Cast gets close enough
to stop them.
Time for a fght! Point out that while the street isnt
crowded in this area of town, a number of potential
onlookers are nearby. Too much fashy magic could
attract attention. Generally any spell without a bolt,
cone, wave, ray, or ball is pretty much invisiblejust
people waving their hands at each other and talk-
ing strangely. The cane gentlemen may start out
circumspectly, or cut loose with Dark Bolts (theyre
unconcerned about hitting bystanders) depending
on the situation and the players actions. If they do,
the onlookers run in fright. This allows William and
Tamara to safely cut loose if they desire.
If one of the cane gentlemen is reduced to fve or
less Life Points, he leaves via the Smoke Transloca-
tion spell. An Intelligence and Occultism roll reveals
what the spell was and that a Solid Air spell around
a person would probably counteract it (as long as it is
cast before the Smoke Translocation).
Troubleshooting: The fght should be not overly
diffcult, but could have a fair amount of magic fying
back and forth. Since the cane gentlemen are magi-
cians and have a ward pact with the demon bound in
their canes, the ghost Cast Members can affect them
directly. Five cane gentlemen are present if the full
cast is being played. If less than a full Cast is play-
ing, drop an adversary or two from the mix. They are
tough-ish, but the fght is not intended to be excep-
tionally dangerous.
The group might confront the cane gentlemen, ask
them to stop, demand to know what they are doing,
etc. If so, they refuse to discuss the matter, and attack
the group with magic, mostly disabling blindness
and the yellow disk. They know they have to catch
the kid before he gets away and wont want to waste
much time chatting.
Remember to have one can gentleman escape via
the Smoke Translocation spell so that the group real-
izes this is possible and thinks about how it could be
countered. It is not vital, but should help them keep
William Atherton from leaving himself in Act Four.
28
Life Points 40
Drama Points 2
Additional Actions 1 Physical & 1 Mental
Character Name Cane Man
Creature Type Human Magician
Motivation Follow the Maseters will
Attributes
Strength 3
Dexterity 5
Constitution 3
Intelligence 5
Perception 3
Willpower 4
Special Abilities
AV 4
Demon Cane
Hard to Kill2
Magic4
(the Cane Men get one free attack and defense as
normal, their canes allow an extra physical and mental
action, one at -2 and the other at -4, the Director can
choose which is which.)
Combat Maneuvers
NAME
TO HIT
Cane Strike +14 15 Bash
Observation +15 Perception Action
Hold +18 Magic defence action; delays spell SL Turns
29
Ability Scores:
Muscle 12
Combat 14
Brains 15
CANE MAN
Arcanum
Current Repeat
R
e
p
e
a
t

C
a
s
t
i
n
g
Spell Name P
o
w
e
r
L
e
v
e
l
A
c
t
i
o
n
s

t
o

C
a
s
t
yes Blindness --
Target cant see; many actions impossible; 3 or more to
other actions
yes Darkbolt 100 23 One target within 100 feet
yes
Rectangle of
Force
33 If hit, target also knocked back fve feet per SL
yes
Smoke
Translocation
self --
Transforms caster to small wisp of smoke which moves
very swiftly out of sight through various cracks and
crevices, travelling at such a rate that even a ghost cannot
follow it
yes Yellow Disk --
Willpower must be at least fve or targets feet become
stuck to ground; lasts fve minutes
THE URCHINS
After the fght, a number of things should catch the
casts interest and need to be resolved. Keep in mind
that the Peelers might be coming if the fght lasted
too long or got too obvious.
Dead cane gentlemen must be dealt with or ignored,
as must live and conscious ones, and then the girl is
still trapped, though a reverse Paralysis (or Solid Air)
spellcasting roll at a 2 (-1 for Solid Air) to try and
dispel the yellow disc should get her loose. Other-
wise it will wear off in a few minutes.
Cane Gentlemen: Unconscious ones disappear,
along with their canes. Those that are dead remain,
as do their canes.
Canes: At least one cane should be left behind by
a dead cane man (someone should kill one during
the fght) and it can be examined. The group should
have seen the cane gentlemen manipulate the canes
as part of their magic use.
Any Success Level with Lesser Sensing reveals the
magical swirls around the cane and the corruption
of the darker silver. Two Success Levels (the task is
easier as the characters can take their time examining
the cane) shows a demon bound into the cane. Intel-
ligence and Occultism indicates that the demon in the
cane is bound to it and helps with magical spells, if
one has made a pact with it. An Exorcism can drive
the demon out, but isnt necessary immediately as it
is quite bound and incapable of getting loose. Hold-
ing it cannot hurt the possessor, but an incessant
buzzing and background whisper may be heard.
Three Success Levels with an Observation roll shows
that the handles of the canes can be broken apart and
ft into different shapes. Think of it as a three-sec-
tional staff, only not so loose or big.
Mary, the girl: Mary is scared and needs to be
calmed down (Willpower and Infuence and some
good roleplaying). The ghosts should frighten her,
while Tamara has the best chance of getting her to
settle down. Once calmed, she tells her name and
that her friend is called Traeger. They used to live
in this burnt-out building but left after the fre. She
knows that Traeger saw a man in a black coat and
pants pass something gold to some fne lord type. He
went over to investigate and nip something of value
from the passer, and the next thing she knew he was
running past her with a scared look on his face. Her
usual job is to act as distraction and maybe trip some-
one pursuing, but she never expected so many people
to be chasing them. She thinks Traeger flched some-
thing, but isnt sure what. She is very worried about
him. The group can convince her to show them their
new living housethe basement of an old stable/
storage area where they sometimes kept horses in the
winter. It is sort of sturdy and better than this place
was, but she fears it will be used again come winter
and theyll need another place later.
Traeger, the boy: He escapes out the back during
the fght and is lost from sight. No one, no mat-
ter what they do, amongst the Cast can catch him.
Drama Points cannot change this.
Troubleshooting: This is mostly an informational
scene with some good roleplaying potential. Mary is
young, scared, and worried about Traeger. She also
distrusts adults and defnitely fears being taken off to
the Workhouse, but in the end should take the group
to her home. The canes should resist any attempts to
mess with them, but arent dangerous at the moment.
A FINNEGAN
Mary takes the Cast to a stable at the fringe of the
Downs area, amongst some older stables that have
obviously been neglected recently. Newer, more
modern ones stand closer to the racetrack itself. The
Cast fnds a stairway down to a storage area below
the stables. In the underground area, Neal and
several other children are examining their takings for
the day. The area has a small pot and fre, various
sleeping pads, and a maze of rags that act as curtains
dividing the large, long room.
Neal Briscombe is a neer do well who acts as a
Finnegan for the den. He is a tall manan inch
shorter than six feetand very fat, around 380
pounds. He wears a stained and grey undershirt and
dark trousers held up by suspenders and a wide belt.
In his mid thirties, he is partially bald with greying
black hair. He is loud, blustery, and antagonistic at
frst. If pressed, he becomes more sullen and deferen-
tial. Neal is a bully and a coward and while he may
cow several children or maybe one adult, he dares
not be antagonistic to a larger group. He is not overly
cruel, just mostly unsympathetic.
If pressed, Neal states that Traeger hasnt been back
yet. Still, if he was scared or pursued, Neal knows
where he might have gone. Neal tries to get some
money for the information, but again if pressed de-
scribes a coach repair and workshop to the east that
Traeger always liked. The boy would go up in the
loft amongst the paints and dyes or climb about the
rafters and hide in the darkness up there. He espe-
cially liked that spot in the winter as it was warmer.
Mary is willing to take the Cast there. Neal is not,
unless threatened.
The group arrives at the coach workshop and fnds
a long barn, with big double doors (one open) at both
ends. A regular door is located on one side. A small
place to stable horses extends from one side, and a
large water trough sits beside it. As they approach, a
mans scream rings out.
Troubleshooting: If for some reason, the group
kills or incapacitates Neal or something else happens
to him, one of the other children remembers seeing
Traeger head to the coach workshop in the past.
30
ACT THREE: REVELATIONS
BYRON: WHY DO WE ALWAYS HAVE TO FLING
OURSELVES INTO THE MELEE WITHOUT FORE-
THOUGHT? I WONDER IF TAKING A FEW MO-
MENTS TO CREATE A MORE INTRICATE PLAN OF
ATTACK MIGHT BEHOOVE
LEGACY, ACT V
RUNDOWN
T
his short act begins with a pair of Brulshar
demons, creatures specializing in smoke mag-
ics, trying to get Athertons coin back from
Traeger. Once Traeger is saved, the Cast still
has to convince him to admit he has the coin. They
learn that the coin contains an Allitra demon that
specializes in possession, infuence, and control.
COACHHOUSE FIGHT
If about, Neal runs the other way when the scream
sounds. Marys worry for Traeger overcomes her
fear, but she hangs back, out of harms way, till every-
thing seems safe. Entering the coachhouse, the Cast
sees a long area with three coaches in various stages
of work. One is being painted and lacquered, another
has some reupholstering done, and the last has a bro-
ken axle and is lifted partially off the ground. Tools
lie about, along with workbenches, supplies of wood,
leather, and stuffng. A loft runs along one side hold-
ing paints, thinners, grease, and caulk. The rafters
form a latticework above big enough to walk on.
Standing on the foor is a dark grey-skinned demon
about seven feet tall with smoky hoofed feet, large
similarly obscured clawed hands, and a big head
with grey-black teeth, dark grey eyes, and bull horns.
Black smoke issues from its mouth. A coach repair-
man lies on the ground with a black demon hand-
print on his chest. A second demon is in the loft and
heading towards Traeger in the upper rafters. The
boy seems petrifed.
The frst demon bellows and its Fear Test time: 4
for supernatural, 1 for dead body, 2 for demons
horrible visage, and 2 for the bellow and its terrify-
ing nature (9 in total). Drama Points should prob-
ably be spent.
An Intelligence and Occultism roll with a 2 penalty
reveals that these are rare Brulshar demonsvery
strong, fairly tough, possessing smoke and pain mag-
ics. Two Success Levels indicates knowledge that
their smoky nature reduces damage to a great extent.
They are better fghters than magic users, but are
still competent in their area. Any examination leads
one to guess that air spells would work well against
them. If none of the players remember the gypsy
warning, have them make Intelligence (not doubled)
to recall that air is not always the answer and water is
their friend today. In fact, there is a trough of water
outside for horses brought with the wagons and a
number of buckets inside. If the cast get inventive
with any of these give them an extra drama point and
it will make the combat a bit quicker. No one is really
observing this fght, so the group can cut loose. Dont
forget to save Traeger.
Troubleshooting: This should be a tougher battle
than the previous one. Use Drama Points for the
Brulshar to make them tougher as needed, or hold
back if fewer players are present or the Cast rolls
particularly badly. Traeger should be saveda lot of
information goes with him if he dies. Still, as long as
the Cast gets the coin in the end, they should be able
to learn the bulk of it.
This battle could be the climax if time is short. Have
Atherton present with the Brulshar attempting to get
the coin back, throw in a cane gentleman or two, and
run this as the culminating battle. Afterwards jump
to Act Five, skipping Act Four.
31
32
Life Points 82
Drama Points 4
Character Name Brulshar
Creature Type Demon of Smoke
Motivation Follow the Maseters will
Attributes
Strength 7
Dexterity 7
Constitution 7
Intelligence 4
Perception 3
Willpower 6
Special Abilities
AV 10 (zero vs water spells) Innate Magic
Hard to Kill2 Increased Life Points1
Fast Reaction Time (+1 on Fear Tests; +5 initiative)
Vulnerability to water (besides reducing their
armor, water of any sort does 10 points of
extra damage to them. If they are submerged or
dunked in the trough, they will take half their
total (not current) Life Points damage.)
Combat Maneuvers
NAME
TO HIT
Claws +19 26 Slash/stab + Smoking Hand Spell
Horns +17 33 Slash / Stab
Ability Scores:
Muscle 20
Combat 19
Brains 15
BRULSHAR
Arcanum
Current Repeat
R
e
p
e
a
t

C
a
s
t
i
n
g
Spell Name P
o
w
e
r
L
e
v
e
l
A
c
t
i
o
n
s

t
o

C
a
s
t
yes Pain 10
Can affect two targets; 2 to actions due to pain for fve
Turns; Constitution (doubled) roll of 18 or higher negates
effect
yes Smoke Cone 23 Cone 50 feet x 40 feet, burns, chokes and stings
yes Smoking Hand touch
Target loses one action and suffers 2 penalty to all ac-
tions next Turn; Willpower (doubled) roll of 18 or higher
negates effect
THE COIN
After the fght in the coach repair shop, the Cast
should be able to talk to Traeger. The bodies of the
Brulshar turn to ectoplasmic goo, then dissipate over
the next ten minutes or so leaving no trace of their
existence.
After the fght, Traeger is still frightened, maybe a
little hurt. Some doctoring or healing puts him in a
better mood, and if Mary brought the group, she tells
him that they helped save her. In any case, some ro-
leplaying is in order to convince the boy to talk about
the guy he pinched from earlier. He relates that he
was hanging around the pugilism area, saw a couple
of fancy toffs, and decided to lift something from
them. He spied this bloke in a fne black coat, nice
hat, white shirt, and dark pants pass a gold coin to
one of the toffs, the bigger one. That fella then stiff-
ened for a moment and the two talked like long-lost
friends. They went off a short ways into the crowd,
presenting Traeger with his chance. The guy he
pinched the coin from was young, say late twenties,
had brownish hair, and a crest on his jacket, which he
can describe.
From Traegers description, an Intelligence and
Knowledge roll with a 3 penalty can be made by
modern human typesno ghoststo recognize the
crest as Lord Winchesters. The person wearing it
is probably someone in his employ, as he is known
to be much older. A similar roll indicates that the
other two men are Lord John Russel (the shorter),
the Home Secretary, and Viscount Duncannon, John
William Ponsonby, 4th Earl of Bessborough, Lord
Privy Seal and First Commissioner of Woods and
Forests, both cabinet-level ministers. Cabinet min-
isters advise the Queen, and have great power in
both the House of Lords and House of Commons to
infuence members and get bills altered or enacted.
Someone controlling them would have great sway in
the country.
A Dexterity and Art roll can be attempted from
either Treagers description of the crest or each of the
two gentlemen (toffs). Each Success Level in that task
adds to a subsequent recognition roll.
The group doubtless asks Traeger where the coin is,
and at frst hell say it is safe. If convinced that it is
dangerous, that the demons were trying to get it back
from him, or that they can provide its equivalent in
worth (Traeger tries to hold out for more, but if it is
going to cause him harm . . . ), hell fsh it out of his
coat and give it to the Cast.
The coin is a gold guinea with some unusual carv-
ings on it. One side shows a demon sigil. An Intelli-
gence and Occultism roll reveals that a demon inhab-
its the coin, bound and powerless for the moment,
but set to possess someone specifcally. Anyone else
carrying it is in no direct danger, but the enemy does
seem to be able to track it or locate it. A second Intel-
ligence and Occultism roll suggests either putting it
in a container with the Ward spell on it, or a lead box
or something with lead in it (like the various paints
around) would help obscure it.
An Intelligence and Occultism roll with a 3 pen-
alty shows the sigil belongs to an Allitra demon.
These are non-corporeal demons that have little
direct power, though they are tough to destroy. They
specialize in the possession and infuence of humans.
They are diffcult to detect as Lesser Sensing does not
reveal them and the person possessed acts normally
for the most part. The demons are hard to summon,
but actually enjoy coming to our world and possess-
ing humans.
The fip side of the coin contains a series of symbols.
An Intelligence and Languages rolls shows that they
spell out Lord John Russels name in a strange and
obscure demonic script.
If the sigil is recognized, any of the group recalls
that both Allitra demons and Brulshar demons are
servants of Balberith, a great demon lord whom
Ludlow Swift, Tamara and Williams grandfather,
defeated a while ago, and whom William and Tamara
barely frustrated in the events depicted in Ghosts of
Albion: Legacy. Clearly, his machinations continue.
Troubleshooting: If Treager winds up dead or not
rescued, Mary could describe the Lord types that
Atherton passed the frst coin to. If for some reason
the Brulshar get the coin and depart, well, bad show!
Atherton is then able to possess Lord Russel pretty
easily, but all is not lost. If the group acts quickly, it
might come upon the Lords party and stop Ather-
ton from passing the coin. They might also accost
Viscount Duncannon and John Russel and remove
the coin from their presence. This could occur at
the track itself, at Athertons house if the ministers
head there after the race, or perhaps back in London,
though this is a less optimal and more open-ended
choice.
33
ACT FOUR: CLIMAX
NIGEL TOWNSEND: NOW WE DUEL. AND MAY
YOU PRAY YOUR DEATH IS QUICK.
EMBERS, ACT II
RUNDOWN
T
he Cast heads to the track to fnd the min-
isterial party. However they approach the
situation, they should fnd out that William
Atherton is Lord Winchesters agent at the
race and that he has set up an appointment with the
ministers at his house following the race.
The group ends up at Athertons house. They
should know that Atherton is trying to possess Lord
Russel and that speed is of the essence. A big fght
with Atherton and his servants result, and if all goes
well the ritual is interrupted and prevented, Viscount
Duncannon freed, and a few prisoners taken captive
to learn more of whats going on.
LORDING OVER
Either Traeger takes the Cast to look for the two
blokes he saw, one of whom had a coin passed to
him, or the group heads off to locate Cabinet Minis-
ters (of course these are the same individuals). Any-
one can make an Intelligence and Knowledge roll to
realize that the Derby starts in about a half hour and
the likely place for any aristocrats is near the Downs
in a prominent spot. By searching that area, they cut
the time spent looking signifcantly.
Depending on where they look and the quality of
several Observation rolls, the party comes across
the Russel and Duncannon party somewhat before
or just before the race starts. Mention the masses of
people moving towards the Downs, horns sounding,
growing excitement in the crowd, that sort of thing.
Around the nobles are a few other members of Parlia-
ment, several ladies in fne dress, a few children, ser-
vants, a steward, and an enormous red-haired man,
Angus MacTaggert, whom they might recognize from
their prior investigation of the pugilism booths.
34
At this point, a number of approaches are possible.
The Cast could casually insinuate themselves with
the lords. This is not easy as no Cast Member is an
aristocrat. Still, a decent Willpower and Infuence
roll, as well as some good roleplaying, should help.
Lesser Sensing shows that none of the party is pos-
sessed. If they ingratiate themselves to the nobles,
they are introduced to Angus MacTaggert, and told
that Lord Russel enjoyed his fnal match and asked
him to view the race with his party. The lord is think-
ing about sponsoring Angus in a series of pugilism
matches back in London. If the group mentions Earl
Winchester, his crest, or his man, Lord Russel men-
tions that they did indeed meet earlier. They talked
about the Great Western Railway which Lord Win-
chester has some concerns about, and his man has
set up a meeting later to present his masters views.
This might devolve into a little railway talk (see Act
One for particulars). Lord Russel is hesitant to talk
business, but the Viscount adds that he does view
the growing number of acts being passed with some
apprehension. As First Commissioner of Woods
and Forests, he is worried about the impact on these
areas. It would be a shame to ruin the hunting and
hinder the agriculture that makes the country great.
He doesnt see the need to eliminate the railways,
they are too useful, but a greater amount of guid-
ance from a Railway Commission might be in order.
Viscount Duncannon is personable, level-headed. He
simply wants the situation monitored and progress
to proceed slightly more slowly. They should watch
the Derby, discuss the horses a bit, and then the lords
depart. At this point, the Cast can either try to tail
the nobles discretely or maybe talk with Angus as he
heads off separate from the ministers party.
The party might try talking with the Scotsman di-
rectly, or during conversation with the Lords, get his
attention. He may recognize any in the group who
watched one of his matches. Angus is jovial, open,
and fairly affable. He talks about the matches that
day, the race, his gratitude that Lord Russel is willing
to sponsor him, and his upcoming bouts. If the group
asks him about the Earl of Winchester, or his man,
Angus mention that he met the gentleman in ques-
tion and didnt much care for him. Angus knows his
name is William Atherton, that he works for Lord
Winchester, and that he lives here in town. The lords
are supposed to call at his house after the derby for
a post race meeting and revel of sorts. It was actu-
ally decided rather suddenly just a little while ago,
and Angus is afraid he cant go as he has to help
tear down booths. He has some friends amongst the
Chartists that he said he would help. Hes still divid-
ed about the whole Chartist issue, but his friends are
pretty committed and he is willing to help out with
the physical stuff. He knows that Athertons house is
on the west side of town. He mentions that Atherton
lives here while Parliament is in session (rather than
in London or off in Winchester) and suggests asking
one of the locals for the exact address (which is easy
to do and shouldnt require a roll). If the group asks
his aid, is persuasive (a successful Willpower and
Infuence roll), roleplays well, he agrees to join them.
Angus does enjoy a good brawl and would consider
evil creatures harming children an outrage.
The direct approachHey, were the Protectors,
your friend has been possessed, and we want to help
himis always possible. Lord Russel, being Home
Secretary, is aware of who the Swifts are and what
a Protector is, although he does not fully accept the
situation. He has not seen any magic or supernatural
creatures, just second hand accounts. While accept-
ing in theory the need to protect the nation from the
occult or supernatural menaces, hes not certain this
is all real. Having Sir Horatio Nelson appear before
him might make him more amendable, but there is a
6 out of 10 chance that someone in the crowd recog-
nises the admiral as well. That causes something of
a stir. If the party is sincere and convincing enough,
Lord Russel may go along with an exorcism to see
what happens, but makes it clear that future relations
depend on how this is handled and what happens.
He warns in no uncertain terms that if this is some
sort of bilk, the consequences will be dire. The party
should not attempt the exorcism in such a public
place. Duncannon protests any movement away
from the track, and trie to leave if the party insists. A
few cane gentlemen show up and a short (and hope-
fully discreet) fght takes place before Duncannon
can be exorcised. After that, Lord Russel is defnitely
convinced. He tells them where Athertons house
is, and even has his servants accompany the Cast to
aid in whatever way they can. He also offers Angus
services, who is happy to oblige his potential sponsor.
The Cast might decide to stake out Lord Russel and
Viscount Duncannon and follow them after the race.
Dont drag that out too muchdescribe them watch-
ing the race, the big red Scot being there and then
leaving afterwards. The aristocrats head to the west
side of town and to Athertons house (though the
Cast wont know whose it is).
As this is a roleplaying game, theres always the
potential for the unexpected. Whatever the Casts
actions, manipulate things so they end up at the
Atherton house. Perhaps Lord Russel wants to speak
with them, having noticed one of the earlier magi-
cal battles, or at least gotten reports of it. Maybe the
Scotsman runs into them, on his way to get some
ale, to the outhouse, on his way to aid his Chartist
friends, or whatever. The ideal situation would be
for Angus to be pivotal to steering the group in the
right direction and thus fulflling the gypsys fortune
telling.
Troubleshooting: The main point of this scene is
to inform the characters where Atherton is and put
them in a place to do something about it. Following
the gypsys fortune, the Scots pugilist should factor
highly into this.
35
Life Points 80
Drama Points 4
Character Name Angus MacTaggert
Creature Type Human (Scottsman)
Motivation Test self against other Pugilists, have rip-snorting good time
Attributes
Strength 6
Dexterity 6
Constitution 6
Intelligence 2
Perception 2
Willpower 3
Special Abilities
Hard to Kill4
Fast Reaction Time (+1 on Fear Tests; +5 initiative)
Pugilist
Situational Awareness (+2 initiative, +2 to
Observation rolls vs. surprise or danger)
Natural Toughness (AV 4 vs Bash)
Combat Maneuvers
NAME
TO HIT
Counter +16/+16 /16 Defence Action
Haymaker +15 22 Bash
Jab +19 15 Bash; +2 Initiative
Punch +18 17 Bash
Put em in Chancery +18/+24 /19 Grapple and Punch in one attack action
Uppercut +16 18 Bash
Ability Scores:
Muscle 18
Combat 18
Brains 9
ANGUS MACTAGGERT
A GRAND BROUHAHA
The party has now come to the fnal confrontation.
If no one else does, Lord Nelson should suggest that
some reconnoitring and a solid plan of action is a
must before any boarding action.
The scene takes place at Athertons two-story house
on the west side of Epsom. The place is a classic
middle class dwelling with an outhouse and garden
in the back, sturdy construction, glass windows with
shutters, and a front and rear entrance. Horses may
be secured in the front, but the Lords carriages are
not present (they would never have made it through
the tangle of coaches that came down from London).
Inside, the front door leads to a foyer with a stair-
case leading up, a big reception area/drawing room,
and a decent sized study off to the side. A library is
located in the back, a dining area, and a kitchen and
pantry. The upstairs has several bedrooms for Ather-
ton and the servants, guest rooms, some storage, and
maybe a smoking room. The cellar contains a wine
room and more storage areas.
Athertons goal at this point is to get Lord Russel
into the back library so that he can be possessed the
hard way. Atherton realises the coin is probably lost,
and that a lengthier summoning and possession must
be performed. He places a paralyzed Lord Russel in
a triangle of summoning on a yellow disk of holding.
The magician stands within a magical circle along
with two of his cane gentlemen, and perform the
two-hour ritual of summoning and possession.
36
The magic circle stores energy and provides Ather-
ton with six free Success Levels usable two at a time
for any spell he casts. Its also a barrier against physi-
cal entry, defecting spell and physical missile attacks,
and causes 25 points of fre damage to anyone who
crosses it, including any of the ghosts. An Intelli-
gence and Occultism roll informs any Cast Member
that the circle is dangerous, offers great protection,
and is hard to break. To do so requires physically
marring or obscuring it in some manner. It could be
scratched or disturbed with a weapon, but the antag-
onist suffers the fre damage while doing so and must
beat Atherton in a Willpower (doubled) roll. Success
allows the attacker to roll Dexterity and Athletics
with a 6 penalty to mar the circle. A blast of air does
not disrupt the marks as the magical energy rebound
off the barrier. If the group remembers the gypsys
comment that water is their friend they might think
of trying to wash it away. Tossing a pitcher or bucket
of water at the foor near the circle negates the magi-
cal protection. If the water is actually tossed at the
men in the circle it rebounds off, being considered a
physical attack. Another method would be to cast
Barrier Reduction Bolt against the circle, but there is
a 3 modifer for this and one must beat Athertons
spellcasting score of 25. Once the circle is broken, its
affects end and Athertons summoning and posses-
sion spell is ruined. This also frees him to take an
active hand against the players. Atherton does not
act against the Cast until the circle is broken as the
possession spell is much more important to him. The
two cane gentlemen with him, however, can cast
magic out of the circle with no detriments.
Two cane gentlemen and a Brulshar are stationed
in the library outside the circle. One or two other
cane gentleman are mingling with the other guests
(wives, ladies, servants, kids, and even a few mem-
bers of Parliament), along with Viscount Duncannon,
keeping the rest of the party entertained and from
asking questions. The group should disable Dun-
cannon without killing him, but he isnt much of a
threat, unless they are sneaking about and he sees
them of course. If the group takes down the cane
gentlemen before approaching the library, they must
do so quietly. If they make noise, the cane gentlemen
not in the circle come to investigate, and if thats not
suffcient, the Brulshar follows. If the party attacks
the library frst, Duncannon and the cane gentlemen
outside rush in once they hear the scuffe.
The house staff consists of four servants, a door-
man, a butler, a maid, and a cook. The doorman and
butler might aid to repel attackers, but are only fairly
normal human thugs (use the Viscount stats for these
folks). The other servants fee any combat. Ather-
tons servants are loyal to him through suggestion,
his charismatic infuence, good pay, and a little bit of
fear. Turning them against him would be diffcult.
Troubleshooting: If the group decides to reconnoi-
tre and is discovered, the scene could get a bit dicey
as Atherton and his minions are prepared and ready
to fght. Surprise is the Casts best bet. Feel free to
change the exact disposition and numbers of the ene-
mies to best suit what is going on. One way to speed
things up is to have no cane gentlemen outside the
library and Duncannon with Atherton. This makes
any attack easier. The group might also just knock on
the door and try and brazen their way in, though any
cane gentlemen who see them immediately attack
and let out the alarm.
Balancing a fnal battle is sometimes diffcultthe
use of Drama Points against the Cast can defnitely
keep things tense and in doubt. First time Directors
might eliminate the magic circle entirely to simplify
things. Make sure that Atherton is in the midst of the
ritual and not reacting to the Cast until they do some-
thing to him and force him to lose the spell. After
which, he can take out his ire on the cast.
If the entire Cast is not present, the opposition
should be similarly weakened. The two cane gentle-
men with Atherton can be aiding in the ritual and
unable to act until the circle drops. Allowing them
freedom to attack the Cast highlights the power of
the circle and sets taking it down as the groups frst
priority.
Another way to help the cast is to have some open
water present, perhaps a large tub for washing
dishes in the kitchen, a horse trough out back near
the stables or in front for carriage horses, if the cast
spend drama points for a plot twist, and this should
require two, not just one drama point, perhaps a fre
fghting wagon with a tank of water and some hoses
is nearby. If so, these require two men to pump the
water through the hoses, or perhaps just one very
strong one.
Finally, Atherton could have a repeat casting modi-
fer of 2 or 3 to refect the ritual and other spells he
might have previously cast. This gives William and
Tamara a better chance against him.
37
Ability Scores:
Muscle 14
Combat 15
Brains 20
Attributes
Strength 2
Dexterity 2
Constitution 3
Intelligence 4
Perception 3
Willpower 4
Life Points 30
Drama Points 1
Character Name Viscount Duncannon
Creature Type Possessed Human
Motivation Follow the masters will and
infuence Parliament
Maneuvers
NAME
TO
HIT DAMAGE DESCRIPTION
Dodge 10 Defence Action
Punch 10 5 Bash
38
Life Points 77
Drama Points 4
Additional Actions 1 Physical / 2 Mental
Character Name William Atherton
Creature Type Human Magician with demon pact enhancement
Motivation Return Balberith to Earth
Attributes
Strength 4
Dexterity 5
Constitution 3
Intelligence 7
Perception 4
Willpower 8
Special Abilities
AV 14 (from Shield spell)
Hard to Kill2
Magic5
Combat Maneuvers
NAME
TO HIT
Observation +20 Perception Action
Punch +15 12 Bash
Ritual Knife +15 16 Slash
Hold +24 Magic defence action; delays spell SL Turns
Ability Scores:
Muscle 14
Combat 15
Brains 20
WILLIAM ATHERTON
Arcanum
Current Repeat
R
e
p
e
a
t

C
a
s
t
i
n
g
Spell Name P
o
w
e
r
L
e
v
e
l
A
c
t
i
o
n
s

t
o

C
a
s
t
yes Blindness --
Target cant see; many actions impossible; 3 or more to
other actions
yes Break Limb varies
Target must gain seven SLs on a Constitution (doubled)
roll or one of his limbs breaks, inficting one quarter of his
Life Points in damage
yes Darkbolt 100 37 One target within 100 feet
yes Shield
Provides Amour Value 14 vs physical attacks; lasts seven
Turns or seven attacks, whichever comes frst
yes
Smoke
Translocation
self --
Transforms caster to small wisp of smoke which moves
very swiftly out of sight through various cracks and
crevices, travelling at such a rate that even a ghost cannot
follow it
yes Yellow Disk --
Willpower must be at least fve or targets feet become
stuck to ground; lasts fve minutes
ACT FIVE: RESOLUTION
TAMARA: I AM ONE OF THE PROTECTORS OF
ALBION, AND I SAY THIS FOOLISHNESS IS AT AN
END.
ASTRAY, ACT VII
RUNDOWN
O
nce Atherton is defeated, the Cast can inter-
rogate any captives. Atherton reveals all he
knows in hopes of more lenient treatment.
Basically Lord Winchester sent Atherton to
possess the ministers and get the route of the Great
Western Railway switched. The ministers should
express their thanks for being rescued from a hor-
rible fate and the Swifts have made a useful contact
within the government that could also lead to further
adventures.
THE AFTERMATH
Assuming the Cast is successful in the fnal battle,
several loose ends must be cleared up. First and fore-
most should be the exorcism of Viscount Duncannon
to free him of the Allitra demons control. Putting
the demon back in the coin requires an Exorcism, but
the presence of the sigil-marked coin grants William
and Tamara one free Success Level in performing that
spell.
Afterwards both Lord Russel and Viscount Duncan-
non display their appreciation. The First Commis-
sioner of Woods and Forests remembers everything
that happened while he was possessed and is quite
shocked by the experience. Some appropriate role-
playing and perhaps a Willpower and Infuence roll
helps settle him down. The Home Secretary conveys
that the Swifts have done him a great service and he
wont soon forget that. They have made an impor-
tant contact and potential ally.
If Atherton is still alive, he can be restrained and
questioned. After that, the issue of what to do with
him arises. He really is too dangerous to live. He
cant just be jailed or triedhe is too likely to get
away. He has also committed treason by possessing
Viscount Duncannon and trying to control the minis-
try. The Home Secretary is in favor of executing him
immediately, and assuming Bodicea or Nigel wont
kill him, he orders one of his servants do the deed.
Unconscious cane gentlemen are also similarly dealt
with. Its up to the players to argue modern sensibili-
ties about the death penalty; the noblemen can object
strenuously or not at the Directors choice. In this
time the death penalty was common for a variety of
crimes, and in the not too recent past for even minor
transgressions.
If for some reason all of the foes are dead, Viscount
Duncannon remembers much of what the Allitra
demon possessing him was told, what it intended to
do, and should be able to relate most of the following
as well.
MORE SKULDUGGERY?
The exact reason for Lord Winchesters actions de-
pends on the Directors future adventures. Here are
some questions and suggestions.
Was Lord Winchester specifcally involved with
the demons or was he just using Atherton? Per-
haps Atherton or someone behind him was using
Winchesters name as a ruse? Perhaps this was all to
manoeuvre the Protectors into attacking Winchester
for some reason.
Why did Lord Winchester want the Railway
moved? Was it because of something in the woods
it would go by, say Unseelie allies? Was it to break
ancient spells on the hill to get at something inside?
Perhaps something was buried within itan ancient
artifact, a bound spirit, an evil magician or witch.
To twist things, perhaps Winchester is really a good
guy helping Seelie faeries in the woods by his estate
and hired Atherton without knowing his methods.
After foiling Athertons plans, the group might have
to take his place and help Winchester get the railway
route changed.
The possibilities are endless. The supernatural
threats to Albion never end. A Protectors work is
never done.
39
40
Life Points
Drama Points
Experience Points
Additional Actions
Character Name
Character Type
Description
Attributes
Strength
Dexterity
Constitution
Intelligence
Perception
Willpower
Skills
Armed Mayhem
Art
Athletics
Crime
Drive / Ride
Engineering
Fisticuffs
Infuence
Knowledge
Languages
Marksmanship
Notice
Occultism
Physician
Science
(WC) Naval Tactics
Monetary Conversion
4 Farthings / Pence
12 Pence / Shilling
Success Level Table
ROLL
TOTAL
SUCCESS
LEVELS DESCRIPTION
9-10 1 Modest
11-12 2 First Rate
13-14 3 Jolly Good
15-16 4 Topping
17-20 5 Brilliant
24-26 7 Magnifcent
27-29 8 Outstanding
30-32 9 Smashing
33-35 10 Ripping
+3 +1
Qualities
Drawbacks
Useful Information
OBSERVATION: d10 +
INITIATIVE: d10 +
APPEARANCE:
ARMOUR:
FEAR:
SURVIVAL / KO /
Combat Maneuvers
NAME
TO HIT
II
BASE MODIFIERS TABLE
Childs Play +5
Moderate +3 to +4
Average +1 to +2
Challenging No Modifer
Diffcult -1 to -2
Very Diffcult -3 to -5
Herculean -6 to -9
Promethean -10 or worse
SUCCESS LEVEL TABLE
Roll
Total
Success
Levels Decription
9 - 10 1 Modest
11 - 12 2 First Rate
13 - 14 3 Jolly Good
15 - 16 4 Topping
17 - 20 5 Brilliant
21 - 23 6 Extraordinary
24 - 26 7 Magnifcent
27 - 29 8 Outstanding
30 - 32 9 Smashing
33 - 35 10 Ripping
+3 +1
FEAR TABLE
ROLL
RESULT
EFFECT
9+
Okay: The character is doing fne and
while perhaps afraid, hes mastered his
fear and can act normally.
7 - 8
Startled: The character is startled, but not
paralysed, and can act normally. Initiative
is lost, however; the creature wins
initiative automatically on that Turn. Set
the characters initiative to one less than
the being that caused the Fear Check.
5 - 6
Unnerved: The character screams and/
or finches away. Only defence actions
can be attempted on that Turn and the
character cannot go on Full Defence. She
is at 2 penalty for all actions for the next
Turn.
3 - 4
Scared: The character embarrasses himself
and backs away slowly. He suffers a 3
penalty to all rolls for the next three Turns.
1 - 2
Terrifed: The character takes off running
for a full Turn, unless cornered, in which
case she cowers in terror. No attacks are
possible, and defensive actions suffer a 2
penalty. After the frst Turn, a new Fear
Test can be rolled (reduce any penalties
by one with each successive Turn until the
character snaps out of it).
0 or
less
Overcome: The character is not in control
of his actions. He may pass out or suffer
some other humiliating fate.
RANGE MODIFIERS TABLE
Type
Point
Blank
(+1)
Short
(0)
Medium
(-1)
Long
(-3)
Extreme
(-6)
Pistol 3 10 20 40 80
Spear (Thrown) 5 20 45 70 100
SPELL BACKFIRE TABLE
Roll D10 and add the Spells Power Level.
Roll
Total Result
4 or less Phew! Jammy! The spell still works.
5 - 7
The spell is delayed. It appears the spell
failed, but it manifest normally at a time
of the Directors choosing (ideally, a
dramatically appropriate time).
8 - 10
The spell works, but is less effective
than expected. The duration, damage,
area, range, or effect is halved (if not
applicable, the spell is delayed as above).
11 - 13
The spell works, but the energy damages
the caster. The magician takes fve Life
Points of damage per Power Level of the
spell.
14 - 15
The spell affects the wrong target (the
Director decides who gets to be the lucky
recipient).
16+
Spell has a completely unexpected effect.
The magical energies run rampant, often
causing physical damage to the area or
summoning dangerous entities from
beyond our reality. This can also happen
if something disrupts the spell during a
critical point in casting.
Director Quick Sheet
DRAMA POINTS
Heroic Feat +10 to a die roll or +10 damage
I Think Im
Okay
Heal half Life Point damage
(round up)
Plot Twist Fate conspires in the players favor
Righteous
Fury
+5 bonus to all attack actions
(costs 2 Drama Points
MONETARY CONVERSION
4 Farthings / Pence
12 Pence / Shilling
44

Derby Day - Ghosts of Albion Quickstart

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Derby Day - Ghosts of Albion Quickstart

Uploaded by

Copyright:

Available Formats

RULES

You might also like