WEG40108 Classic Campaigns

7/27/2019 WEG40108 Classic Campaigns

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Design: Paul Murphy Bill Smith Ed StarkDevelopment Editing: Jonatha Ariadne Caspian Greg Farshtey Bill SlavicsekRevision for Second Edition: Bill SmithGraphics: Rosaria J. Baldari, Stephen Crane, Richard Hawran, Cathleen HunterCover Art: Lucasfilm Ltd.Interior Art: Lucasfilm Ltd. Allen NunisPlaytesting: Paul Balsamo Peter Corless Steve GilhertSpecial Thanks To: James Kruczek Brian Prall, and Phillip Reed for their invaluahleassistance on such short notice

Publisher: Daniel Scott Palter. Associate Publisherrrreasurer: Denise Paller. Associate Publisher: Richard HawranSenior Editor: Greg Farshtey Editors: Peter Schweighofer, Bill Smith, Ed StarkArt Director: Stephen Crane Graphic Artists: Tim Babka, BrianSchomburg, Tom ONeillSales Manager: Bill Olmesdahl licensing Manager: Ron Selden. Warehouse Manager: Ed HiliAccounting: Karen Bayly Wendy Lord Kimberly Riccio. Billing: Amy Giacobbe

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t \ @ 3 Box 2345Honesdale, PA 18431

40108@ T and : 99 Lucasfilm l td lFL . All RiGhts Reserved Trademarks of LFL used by West End Games under authorization


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Long Time Ago in aGalaxy Far Far Away

Catapult your players into th emiddleofan epicstruggleoflightagainst oppression, of reasonagainst the dark side of humanity. The Rebel Alliance, lighting with courageand conviction andprecious little else, wages a continuing battle against th e evilGalactic Empire, with triumphsand setbacks, heroicsacrificesandtreacherous deeds, heart-breakingrevelations and breath-taking spectacle. heseareth e elements that maketh e Star Wars saga live in th e minds andhearts of people everywhere.

WelcomeIt s a very big galaxy, and just because th e movieswere made about Luke, Han an d Leia, it doesn t meanthat t he y re t he only ones having exciting adventures.You and your players can create you own Star WarsepicsJust as television an d book series captivate audiences, so too do roleplaying games lend themselves tocontinuing adventures. By using continuing characterst ha t t he players get to know and love, and throwing ingreat action, fantastic settings and wonderful villains, acampaign lays the groundwork for years of Star Warsgaming

lassic ampaigns is a collection of two lirst editionStarWarscampaign sellings: th e am-paign Pack lirst published in1988 and the Gamemaster Kitlirst published in 1991 Eachcampaign gives players whatthey crave most from Star Warsincredible action, interesting villains and exciting sellings.As the popularityof the Star Warsroleplayinggamehas increased, bringing many new players into th e game, lassic ampaignsis perfect for beginninggamemasters who want a ready-made, easy torun campaign. While many gaming groups play self

contained adventures (much like th e Star Wars modulespublished by West End Games), a campaign is a way ofmaking adventures more fun by building on the experiences, characters and sellings of previous adventures,graduallyadding more elements as th e story progresses,and ending up with a tapestry of incredible adventure.The two campaigns within offer long-term story linesand a focus for a group of beginning Rebel characters,while allowing th e gamemaster to get a feel for th edevelopment and progression of a campaign.All you need is dice, character sheets and a taste forswashbuckling space opera

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The Force will be with youalways

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h t a CampaignA roleplaying campaign is a series of adventures

involving t he s am e group of player characters. Like abook or film series, a campaign continues until the questis completed, the characterssucceed at their task ordietrying), orthe audience (Le., th e players) gets tired of th echaracters escapades.Campaigns ca n run th e gamut from episodic to seriesto epic.pisodi campaigns tend to be simpler in structureand adventures ar e vaguely related. Like many television series, the only things linking episodic adventuresare the player characters themselves, and perhaps theirstarship.Series campaigns share elements ofepisodic and epic

campaigns; their closest analogy would be traditionalcomic book series. Th e adventures ca n vary in style andtone dramatically. Most series campaigns have a numbe r oflong-term stories, with a coupleof episodic interludes. Th e stories ar e linked by continuing subplots.pi campaigns have a more detailed structure, withlinked, evolving adventures, like th e original Star Warstrilogy. In these campaigns, not onlydo th e same playercharacters appear in every adventure, bu t t he s to ryitself evolves, with each new adventure adding a newchapter and new plot twists, all revolvoing a round onegiant, far-reaChing back stor y and all leading to a dramatic conclusion.A campaign serves several functions in roleplaying.t its most basic, it is a way ofkeeping players interestedand involved over a series of adventures. Acampaign isa good reason to get friends together and sh are theexcitement of th e Star Wars universe.Campaigns allow th e players and th e gamemaster tolearn about the imaginary universe of th e game. Insteadof starting over with every adventure, sessions in acampaign ar e building blocks. Like many characters infiction, imaginary universes have a tendency to growand change once they been given a little attention and

lassic Campaigns

thought. Th e Star rs universe provides an excellentsettingfor adventuring because of th e wealth of materialavailable. It s Fun for the Players

Th e campaign develops t he c ha ra ct er s so that, intime, they become three-dimensional personalities instead of merely a collection of statistics. For example,how many people who saw Star rs New Hopepredicted that Luke and Leiawere brotherand sister, orthat Han and Leiawould fall in love? This kind of characte r development makes campaigning particularly enjoyable.The first time you playa role, whether as an actor ina play, as a comedian in a skit, or as a player in aroleplayinggame, you re still feelingou t th e edges.Whatca n this character do, howwouldhe or sh e react?Settingthose limits ca n be interesting, bu t th e real fun in roleplaying comes when you know your character so wellthat you really became that character during gaming.Roleplaying in an extended campaign is improvisation. Th e interaction among characters is more important than th e die rolls . .. because die rolls remind youthat this is a game with rules and bookkeeping, whileperfect roleplaying follows th e flow of the scene andcreates th e story.Just as a good movie leaves th e audience talkingabout th e actions and events of the main characterslives, so a good roleplaying game leaves th e playersreminiscing about scenes and actions from their characters lives. A campaign gives each player th e chance todevelop his or her c harac te r into a real, complex, threedimensional being.Campaigns frequently have other unifying elements,such asahome base orship (e.g., th eMillennium Falcon- t he se a re things th e player characters c an us e andcome to count on. Campaigns introduce continuinggamemaster characters, who like the players characters, grow, mature and develop as the story progresses- they become th e player characters friends, rivals andcompanions.

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~ R ~ u n n ~ i , ; n ~ g L . a ~ S : t ~ a : . r ~ W ~ a . : : r s : . C ~ a : l m : l J p l ; a ~ i l i g ~ n . . : = = = = = = = = = = = = = = = = = = = = = = = = = = : : ; ~ T A A - ~It s Fun for the Gamemaster Too

Players have iteasy: they playonly one character. Th egamemaster gets t o d o everything else. e gets to createa whole cast of characters an d help define th e universeth e player characters will adventure in. Thegamemasterha s th e fun of constructing planets and creating historiesJust as George Lucas invented a galactic society withan emperor, countless aliens, an d a magical, mysticalForce that binds all living things, soyou toocan populateth e stars. You ca n work ou t local, or planetary, orsystem-wide political issues, invent alien species an dcultures, create new martial arts or philosophies ... an dwhatever else strikes your fancy. The opportunities ar eendless.The Star Wars Campaign

Star ars The Roleplaying Game takes place in th evast Known Galaxy, spanning millions of stars, an d covering a time frame from th e beginning ofStar Wars ANew Hope to beyond th e events depicted in th e new StarWars novels an d comics.Characters ca n be anyone wh o l ives in th e galaxy,from Alliance freedom-fighters, t o i nd epend ent smugglers an d freighter captains, to b ou nt y h un te rs , t o ...well, anything your players can think of.For simplicity's sake, both campaigns in this book ar ewritten with a specific frame of reference. The charac-ters ar e Rebel Alliance o pe ra ti ve s a nd t he time is between Star Wars V A New Hope an d Star Wars V TheEmpire Strikes Back However, when creating your owncampaign from scratch, that doesn t limit your choices:you can choose an y t heme an d g ro up of characters thatfits your group of players.

Th e players get to do th e obvious: play th e heroes ofth e Star Wars universe. The gamemaster gets to do all ofth e work, b ut h e also should get a great deal of satisfaction from creating an entire universeFor beginners, th e gamemaster effectively acts asdirector, producer, special effects supervisor, lightingdirector, an d script writer in addition to acting o ut t heroles of th e villains, allies a nd e xt ra s n ot p or tr ay ed b yth e players. The gam ema ste r ha s to dec ide how hiscampaign will be ru n an d how it will feel to th e players.There a re t hr ee major a re as to take into consideration: Th e role of th e player characters Sett ing up th e campaign Keeping th e campaign goingThe Role of the Player Characters

A Star Wars campaign ce nte rs arou nd the playercharacters. The gamemaster should make s ur e t ha t t hech ar act ers are i mp or tant t o t he s tory being told.

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For More Ideas f you want more ideas about campaigns an d th epersonalities an d locations t hat p op ul at e them,review th e Star Wars Gamemaster Handbook an dpages 21-51 ChapterTwo, Gamemastering ) an d126-138 (ChapterSeven, TheStar Wars Universe )ofStar Wars: The Roleplaying Game Second EditionThese tw o books discuss m os t e le me nt s ofgamemastering in greater detail an d should providenewer gamemasters with plenty of ideas abouthow to construct a memorable campaign.Good luckThe Players are the Stars

Th e first rule of th e Star Wars universe is t ha t t hecharacters ar e th e stars of t he s tory th campaign istheir story and t hey make or break it.Let th e players know that their actions matter. Th ecampaign s ho ul d b e i nd ep en de nt of, or at least distanced from, th e actions of Luke, Leia an d Han. Th eheroes of th e movies ma y make an occasional cameoappearance in your campaign, b ut t he players' characters should b e th e ones t ha t t he s to ry is truly about.Star arsdefinitely leans toward heroic characters- they aren t supposed to be perfect, an d may even doa few illegal things, like smuggle, b ut t he ch ar act er s aresupposed t o b e decent, caringHuman an d alien beings atheart. They ar e interested in doing what s right, although perceptions of right c an v ary considerably.

Make it RealTh e second important thing is to make sure th e play

er s know th e Star Wars universe is realistic. They can tfeel that if they lookin th e wrong direction, they'll se e thestage lights and acto rs r eh earsin g t heir lines. Th e Star arsuniverse is a living, breathing entity, with weaponsof incredible destruction, intelligent machines as common as household appliances an d more aliens thananyone can imagine

Stay Close to the UniverseWe recommend that th e campaign not violate established Star arscontinuity. Th e history, as seen in th emovies, should not be changed: no scenarios whereLuke, Darth Vader or anyone else might meet an untimely demise.t is best to view th e movies as a campaignin on e smallsection of th e galaxy (after all, only seven systems ar evisited in th e three movies), while your campaign is in acompletely different area.Why Are The Characters Together?

Many character groups feature an unusual collectionof personality types. It's not uncommon to have a pairofbrash pilots, an alien student of th e Force, a smugglera nd t he requisite bounty hunter adventuring together,often for no apparent reason.

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The players or you must have a reason for this groupto be together: Are all of the characters Rebels? Are they forced to work together as a team of special-ists, or do the y s ta y t og et he r d ue to a real bond offriendship an d trust? Have th e criminal types bounty huntersand pirates)reformed, or are they still criminals at heart who simplyfind th e Alliance convenient? Are they constantly gelling assignments from Rebelsuperiors, or do they seem to discover their own adven-tures? Does th e campaign seem to happen around them, sothat they ar e dragged into th e story line with no choicein th e mailer? Are the characters linked by a common foe within, oreven outside, th e Empire? Did the characters know each other before th e cam-paign began, or do they m ee t a nd have mutual depen-dence keeping them together? Are th e characters independent tramp freighter pilotswho gradually get pulled into th e Rebellion se eGalaxyGuide 6: Tramp Freighters for more information)?

The campaign must provide a reason to get th e char-acters together and then keep them together. It sstronglysuggested that you emphasize that t he c ha ra ct er s b eheroes. Evil behavior can be rewarded with Dark SidePointsand,worseyet, retributionfrom upsetgamemastercharacterswhocaneasilyeliminateth e offending player scharacter.Setting up the CampaignThere ar e several things t ha t mus t be done to se t upyour campaign. Each of the m c an be done in varyingdegrees, depending upon what th e gamemaster feels ismost important. Some gamemasters decide to s ta rt t hecampaign with a rollicking adventure, and later go backto fill in th e details. Others like to meticulously planevery major event before players a rrive for th e firstadventure. Most gamemasters fall somewhere between

these two extremes, with a vague idea of what th ecampaign s overall theme is while leaving th e detailwork for later on.nsure onsistency

Consistency helps th e players suspend their disbeliefand pretend the adventure is real. Consistency is veryimportant in establishing th e reality of th e game setting.IfTatooine ha d two suns yesterday, it must still have twosuns today. Hoth cannot b e a n ice planet on e day an d adesert world th e next (or at least, there ha d bel le r be avery good reason why it changed). Players find it veryfrustrating when details ar e changed with no explana-tion. In effect, th e gamemaster is tell ing them, Thisnever happened. Your actions really didn t mailer.

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Change th e Only ConstantOf course, consistency doesn t mean things neverchange. Th e Star Wars universe isn t static a nd yourcampaign should reflect this. New speeder models ar ereleased every year, improved droids ar e buill govern-ments rise an d fall, people live an d die, planets are struck

by famine. What was true yesterday may be changedtoday.Th e difference between consistency and randomchange is very clear: in a consistent universe, there is areason for things to change. In th e previous example, ifHoth ha s a sudden change in climate, part of th e fun canbe figuring out t he mystery. Granted th e above exampleis a litt le extreme, but on a smaller scale, this kind ofchange is welcome in a campaign.Think of th e complications that arise if on e of thecharacters main contacts is captured by th e Empire?Or, what if that Alliance officer who constantly causesproblems for th e characters is promoted to commanderof th e characters base?These things will affect th e lives of th e characters, butar e realistic developments in th e campaign. There ar etrillions of beings in th e Star Wars universe, an d each o neof those beings is subtly making his o r her o r its impact

on th e future. Th e Star Wars campaign must reflect thatthere is a larger universe, an d many things happenoutside the control of th e characters. This is as it shouldbe; sometimes it s appropriate (and even desirable) forthe characters to feel ou t of control.Don t Worry boutEverything In TheBeginning

While you need to know enough about your campaignarea, customs, and population to keep th e story flowingand th e environment consistent, you don t need to knoweverything.

Greedo: Going somewhere, Solo?an Yes,Greedo. As a mailer of fact, Iwas just goingto se e your boss. Tell labba that I ve got his money.

From this short scene in th e cantina, we knownothingabout labba th e Hull except that Han Solo owes himmoney, an d labba is impatientenoughwith th e smugglerto hire bounty hunters to collect his debt. But Han getst he drop on Greedo, an d we never hear of labba again inStar Wars lV: A New HapeSince labba is no t mentionedoutside this on e encoun-te r in Star Wars IV A New Hope the director (in t he c as eof roleplaying, th e gamemaster) doesn t need to knowmuch else about him.

If you think about it, you can d ed uce t hat labba liveson Tatooine, bec ause t hat is th e planet on which th econversation takes place.You could even speculate thathe is in Mos Eisley. On t he othe r hand, you could specu-late that labba is on another world halfway a cross t hegalaxy, an d that Greedo was just lucky enough to trackHan Solo to Tatooine. is not until labba becomes integral to th e plotofStarWars VI Return o th Jedi because he has th e frozen Han

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Where re WeA campaign is normally se t in a specific section ofspace, with interesting locations and a well thought-outhistory. Campaigns ar e often se t in a sector of space(Imperial sectors have at least 50 populated systems,

bu t often many more), or a small por tion of a sector afew systems close together on trade routes).For the first few adventures, developing three or fourstar systems should be sufficient to keep things rolling.The gamemaster can also introduce systems that thecharacters must quickly travel through, without time formuch exploration.Who Will We Run IntoTh e continuing and one-shot gamemaster charactersar e oneof th e most important elements of th e campaign.The most novel and original alien species is only exciting

the gamemaster has devised a character who intriguesth e players.By important gamemaster characters, we meanimportant to th e player characters, not necessarily im

portant to th e galaxy at large. Consider all th e walk-onsand extras in theSlar rs movies ... enemies, aliens andallies. You need to create a memorable mix of Rebelsuperiors, pirates, spies, Imperial tax collectors. Bartenders. Shady contacts. Th e occasional droid. nalienband. Whoever it takes to populate your area and makeit come alive.Th e powerful people in th e area ... rulers, Imperialofficials, local crimelords, a nd s o forth ... ar e probablynot going to b e t he c ha ra ct er s intimates, at least notright away. Instead, prepare a name and a capsule description, and let your plot build toward an encounter,th e way labba th e Hull s name ran through th e trilogyuntil th e climactic confrontation at his desert palace.We suggest taking a few minutes to sketch out a fewgamemaster characters that will interactwith th e playercharacters in th e first few adventures. Base of Operations

Th e characters need a place to call home or at leaststore their belongings). Saving th e galaxy can be toughwork, and player characters need a place they can gobetween adventures to resupply, recuperate, and receive new missions. This place should have adequatemedical facilities, decent supplies, a nd perha ps a fewknowledgeable gamemaster characters the charactersca n turn to things get too rough. Remember Luke ssojourn on Dagobah? Perhaps your characters want tolearn a new skill. And most times, at th e end of a mission

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g : ~ J = = = = = = = = = = = = = = : : ~ ~ ~ ~ ~ ~ ~RS Running a Star Wars Campaignsuccessfully completed, they ll w ant to lean b ac k a nds avor t he victories. f no t with t he p om p an d circumstanceofa ceremony of state, th e way tarWarsVA NewHope ends, perhaps with th e friendly carousing in th eEwok village that closes Star Wars V Return of the Jedi

asic PlotIf you don t have th e time to c ome up with a completestory line just now, you ca n a lt er one of ou r publishedadventures to fit into your campaign. You ca n also us epublished d v ~ n t u r e s once you re into your campaign,whenever you re at a loss for plot development, or

pressed for time, or like th e ideas dished up in th eadventure. If you re running a loosely structured, episodic campaign, you shouldn t have an y continuitytroubles, an d if you ve prepared a continuing storyline,the pre-generated adventure might be a subplot, or asideline jo b for your characters to ha nd le in an offmomentA Dramatic Plot

This is more of an option than a necessity, bu t it is agood way to make th e campaign more fun. Start with anexciting adventure, an d gradually introduce elementsthat indicate that a larger story is unfolding. Through allof th e challenges an d dangers, th e Rebels an d their foeswill learn, mature and grow. Th e climax of th e campaignshould be a grand finale, with all of th e pieces an d clueshinted at weeks an d months ago finally falling into place.

In th e end, th e players an d th e gamemaster must havea true sense of accomplishment. Theymustleel that theyhave accomplished something meaningful or fulfilledimportant personal goals. Th e villains will retreat to licktheir wounds an d possibly return at a l at er d at e, b ut fornow, X-wings will sweep across th e sk y in a victoryparade.

Room for ExpansionA viable campaign leaves room for expansion. Justbecause th e new Death Star is destroyed inReturn of theJedi you shouldn t assume that Luke, Leia an d Hanretired asweall know from readingTimothyZahn s tar

Wars novels). Thereare other battles to be fought, otherworlds to save, other dangers to eliminate. In short, ahero s work is never done.Never lock th e campaign into a situation where thereis no more room for change. For example, th e finalepisode in th e Trax sector campaign recommends thatthe characters move on t o a no th er s ec to r of space tocontinue th e fight against th e Empire.Just as change is inevitable, so will new challenges bebrought before the players. Leavea few loose ends thatwillhave to bewrapped up later on.Get Started

You ve got th e makings. Remember, you don t need toknoweverything that will ever happen in your campaignas you sit down to th e first session. Just start with someinteresting details an d a problem to solve; both you an dyour players will learn more as th e adventure unfolds.

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Keeping the ampaign oingSo how do you make your campaign th e kind withwhich players regale e ac h o th er at game conventionsand office par ties? It s a joint effort between you an dyour players, of course. And at the root of it all ar e th echaracters and adventures.

The Campaign WorldAfleshed-out campaign feels real an d is more fun. Th eplanets th e characters land o n an d th e alien species they

meet do no t exist in a vacuum. The gamemaster mustcreate political power structures for planets. Corporations must be created, new equipment must be writtenout. Add items to make your tarWars universe unique.This campaign packintroduces th e Trax sector. Yourcampaign must also have a setting, with unique planetsand adventures. This kind of work takes some time, bu tit also makes a world morethan justa place to get somefood a nd m or e blaster gas.Th e area s history, political structure an d planetarypopulations must be detailed. Is t he a rea under Imperialdomination? If so, how much of a presence is there andhow a re t he people reacting? How long has th e Empirebeen in th e area or system in quest ion? What otherfactions ar e important in th e area: what companies, aliensocieties o r o th er groups have significant influence?If a sector or system is independent, why? Have th eresidents fought off th e Empire (this is only probable ifth e system is so insignificant no t to be worth dominating)? Are th e people receptive to representatives fromth e Alliance or would t he y j us t rather be left alone?

~ r h p s local situation ha s on e monolithic ruler (akmg or dIctator) or several competing states or there issimplyanarchy - orpehaps a combination of th e above.Are th e people fearful of strangers or ar e they agregarious bunch?Do they have a legal system similar toImperial law? Do th e people have t he s am e hobbiesatt it ud es and beliefs as the characters? What level oftechnology is there?Whether your players ar e gallivanting across wholesectors or c nv ssing n insignific nt moon of minorplanet, you n eed t o be able to describe their location. sYoda is known to say, size matters not; what is important is that your players feel they have room to adventure, and that no direction they turn will cause t he m t ofall ou t of th e game or off th e map.Maps of locations they ll explore in detail or return tofrequently ca n be helpful. But you nee dn t produce a

topographic masterpiece ofevery square kilometer (unless that level of detail appeals to you or advances yourplot). There s plenty of time to fill in specifics at a laterdate for further episodes.dd Interesting Characters

Campaigns live an d die by th e personalities th e characters meet. Th e gamemaster characters have differentroles an d each one of them must be i mp or tant andinteresting. Th e campaign is populated with droids,continuing villains, rivals at the Rebel base, romantic

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f , R ~ u ~ n ~ n ~ i ~ n ~ g L . a : ; ; S : t . : a : . r ~ W ~ a : r s . . : : C ~ a ~ m ~ p ~ a 2 . i l i g ~ n ~ = = = = = = = = = = = = = = = = = = = = = = = = = = : : : : ; ~ T A R . . . ~interests and millions of other kinds of characters. Givespecial attention to the most important continuingcharactersTo design an interesting character, first consider hisor he r role in th e campaign. Is sh e a villain? A fellowRebel? A love interest for on e of th e characters? Ajealous rival who wants to b e t he best pilot in th e sector?Ashady gambler who needs protection from creditors?The possible roles ar e numerous, b ut t he c ha ra ct ermust somehow interactwith an d affect the characters (ifonly to provide an amusing or annoying distraction).Every major gamemaster character must have a motivation, even one as simple as getting rich. Gangsters maywant to stomp ou t Rebel operatives becausethey re badfor business, or an Imperial trooper ma y want to defectand will let th e Rebels get information from him.A popular character archetype is th e behind-thescenes villain, who is constantly manipulating eventsaround th e Rebels bu t who never makes an appearance(in th e first two movies, th e Emperor plays this kind ofrole).

An important gamemaster character should evoke anemotion: anger, fear, respect, hatred, or jealousy, forexample. Th e emotion could be brought about byactionor inaction, attitude or just through his having an abrasive personality. Th e character s personality should beconsistent perhaps consistently inconsistent), b ut n otpredictable. Characters, just like people in real life, maydo something completely unexpected.The character s appearance, body language, dress,possessions, attitudes, beliefs an d motivations ar e allimportant. Most characters need only basic statisticsan d a little background information, while significantindividuals may be as detailed as a player character.f you get into character consistently, acting differently for each of th e gamemaster characters the playersencounter, and emphasizing th e distinctions betweenyour narrator personality an d th e people th e players ar eencountering, the player characters will tend to followyour lead.And there are specific techniques you can us eto encourage roleplaying among your party members.

As we mentioned in Star Wars The RoleplayingGame,SecondEdition, you can u se differentvoices an d mannerisms for characters. When Gretchen, a player, tells you,My character tells he r to stop, that isn t roleplaying.But you c an a ns we r he r in character: stand up, leanmenacingly a cros s t he table, an d in a s b as s a voice asyou can deliver, say, And Idon t like my conversationsinterrupted, if you take my point. Don t si t down rightaway. Stand over he r a littlewhile, an d she s much morelikely to react a s t he character, and no t as a player, to th ethreat.Alot of little things ad d u p t o identify a character. Thetype of w or ds h e o r s he uses, th e mo od s t o which he orsh e is subject, th e body language he or she employs.Don t make all of your gamemaster characters nervous,mousy types or t he c ha ra ct ers w on t be able to tell themapart. a number of gamemaster characters share on etrait , give t hem con tr asti ng secondary traits ... on e

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character lisps, another scratches his head a lot, a thirdbegins every other sentence with, Golly, I don t know,u The better you have defined your gamemaster characters, th e easier it is to know how they react. And thebetter you know them, th e more interestingyou ll makethem for your players. Over time, th e players will cometo know your recurring gamemaster characters; alongwith providing continuity in th e campaign, familiargamemaster char,,:cters ca n be an important plot devicewithin th e individual adventures.

Roark: Coughing. Well, if i t isn t ou r old friend, TaxInspector Mothra. Wheeze. And how ar e you today,Inspector?Mothra: Cut th e smal l talk, Roark. I know you resmuggling, an d I m going to search your ship. But whyar e you coughing like that?Roark: Sniffle. Oh, it s hack, hack nothing. Just asmall dose of Merthian lung infection I picked up onLockest IV

Mothra: Backingaway nervously. Uh,Merthian lunginfection? It s no t serious, is it?Roark: Cough, cough. Oh, no. It s almost neverfatal. Sneezes in MOlhra s face.Mothra: Hastily scuttling back inlo his ship. Uh, Iguess you re clean. But s ta y o ut of trouble, Roark. I vegot myeye o nyou. Airlock slams shutand Imperial shipspeeds off.Roark: See, Hawk? I told you Mothra s a hypochondriac. Pay up.Some people tend to characterize th e Slar Wars universe as on e of black an d white, without a lot of roomfor gray ormorally ambiguous) characters. In practice,we tend to prefer a more realistic approach; there ar e

plenty of good characters with negative traits; somevillains have a couple of redeeming qualities.However, theSlar Wars universe is larger than life, andso th e conflicts, and the morality surrounding them,tend to be amplified. It s no t that gray characters don texis t in th e Slar Wars universe; i t s simply th at theconflicts ar e so massive that people tend to get pushedinto favoring on e moral point of view over another.he ome ase

The g amemast er sho ul d give serious thought as towhat kind of a home base t he c ha rac t ers will have.Consider th e possibi li ties of a clunky old or e ship, ahidden asteroid, asecret baseon an uninhabited world.Hoth was an excellent Rebel stronghold because th einhospitable climate no t only h amp ered searches, b utprecluded th e Imperial searchers consideration of th eworld as a hideout in th e first place. And remember, youneedn t limit your characters t o j ust on e haven.The most common situation is for characters to bestationed at a Rebel base, although there ar e numerousother possibilities. The base is excellent because it givesthe characters many gamemaster characters to interactwith (leading to overheard rumors and interesting sideadventures).

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- - - : A ~ . , R . D = = = = = = = = = = = = = = = . . . : R ~ ~ unmng a ta r Wars CampaignThe Rebel base concept can have its problems, however. First, for the base to remain hidden from the eyes of

the Empire, it must be situated in a backwater system.Second, bases have a tendency to be shopping centers forRebel characte rs ( Let s see ... I ll need a protocol droid,aheavyblasterpistolandan X wing fighter. ).Whileit s easyenough to have Alliance command refuse to allocate thiskind of equipment, it s more fun to put the players in asituation where they can t even ask for such goodies.The Rebel cell network is a good example of a restricted base of operations. The characters have ahome, but the resources and assistance they canexpect is very limited. In this kind of campaign, theRebels are on an Imperial-{)ccupied world and must bevery careful about everything they do. Capture anddeath is just a failed con roll away, and the Rebels haveto scrounge for weapons, supplies and assistance. Asthe Trax sector campaign shows, the cell network is notnecessarily limited to just sneaking around a planetlooking for information. For more information on Rebelcell networks and Rebel bases, see the Star WarsSourcebook and the e el Alliance SourcebookThe tramp freighter campaign is also quite popular. Inthis kind of situation, the characters own or crew a smallfreighter. Their may be anything from Rebels-in-hidingto unscrupulous pirates. The tramp freighter base ofoperations is often the ship itself, and the player characters are on their own all of the time. Formore information on t ramp freighters, see Galaxy Guide 6: TrampFreightersThe quest campaign doesn t often feature a base perse The Rebel characters are busily traveling from planetto planet, either in search of or fleeing something orsomeone. The Rebels may be able to find a temporaryhideout, bu t they won t have a reliable base until themission is finished or the foe is dispatched.A nasty (but interesting) thing to do to the players isto remove the comfort of a regular base. What happensto the Rebels when their freighter is destroyed or thebase is discovered by an Imperial scout ship? Thechoiceis up to you.

eep the layers hallengedThe referee mustmake surethat his campaign is filledwith challenges, new dangers and new allies. Everyadventure should introduce something memorable,whether it s a new alien or an encounterwith an Imperialbureaucratwho seems to be thinkingof defecting to theRebellion.Another good idea is to develop and reuse existingplot elements. For example, what happens if the heroesreturn to Hoth months after the fateful battle? What will

they find? Who s running Bespin after Lando leaves?What s happening on Tatooine?Look to the development of Darth Vader and LukeSkywalker s relationship. InA NewHope Obi-WanKenobitells Luke that his father was killed by a young Jedinamed Darth Vader. George Lucas could have left it atthat, with subsequent movies showing the defeat of the

Classic Campaigns

Empire. Instead, Lucas refined an existing plot element,andwe learned thatDarthVader is Luke s father, makingthe final battle in Return of the Jedi even more exciting.All of these ideas, when tailored to your personalcampaign, give you plenty of adventure ideas withouthaving to do a lot of random creation. Of course, youcould have these plot elements planned out right fromthe start, but as long as you don t violate what theplayers know is fact (and not hearsay, as with Obi-Wan scomments to Luke), you can latergo backand tinkerwithyour ideas.

eep Things ovingThe Star rs game must live up to the expectationsof Star Wars fans. There is no time to discuss the finerpoints of hyperspace technology. Instead, the Rebelsmake their astrogation roll and hope for the best. Keeping the players on the go is an essential part of givingthem the panoramic feel for the Star Wars universe.

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r R ~ u : n : n ~ i l n : l l 9 L ; a W S : t a : l r ~ w ~ a ~ r s : C : : l a : l m 2 1 P ~ a ~ i i l i 9 L : n : = = = = = = = = = = = = = = = = = = = = = = = = = = ; S T A RW IUWhen thingscome to a standstill,you ve got to find a wayto get things rolling again.

In a movie, a scenethat crawls is likelyto end upon theculling room floor. The same thing should happen in aroleplaying game. Pauses happen; players need time tothink, or gamemasters need time to thi.nk, or storiesneed timefor plots to bear fruit. But all these gaps can betightened up with good editing.Star Wars is action ... the characters tumble from onejam to the next with nary an extra breath. Players,working without all the scr ipt and rehearsal time ofactors, are likely to be indecisive, to try to consider allthe options, to search for the r ight choice. Don't letthem Throw another character at them, fire a warningshot, and nudge them with plot situations that requireimmediate allention.On the otherhand, maybe they'vecome upwitha planthat you re totally unprepared for. If winging it won'twork, ask for a snack break to workou t the implications,or assign the characters a short task they must do first. .. like organizing among themselves who has whatequipment before they go into space in individual escape pods. It'll giveyou time to figure outwhat to do withsix escape pods instead of one disabled freighter

Invoke the inematic eelA great way to keep the feel appropriate is to usevarious cinematic techniques. First, these techniqueslend themselves to cutting time lag from stories.The biggest lag time involves story time. The characters have to travel to Kashyyyk from the CorporateSector, a hyperspace journey of ... two weeks? That s alot of time to kill Or they have to meet someone at dawn,and it's mid-afternoon now.Your players don t want to have to describe what

they re going to do for long periods of down time. Andyou don t want to tell them, Well, nothing happens. Souse the cinematic techniques that filmmakers employ.Slow dissolve Before dawn the streets have a peacefulquality an emptiness that beliesthe hustlingtrade theywill

be filled with in just three hours As the morningstars fadeinto the gathering brightnessFade to black as a small freighter bursts into hyper-space Fade in on Kashyyyk street two hours to dawnThe afternoon fades to full dark and the starsmake theirslowarcsacrossthe heavens Justs down steals lightfootedacross the plain south of town Don't feel that 1 minutes of game time must elapsefor every 1 minutes of story time. Remember, as thenarrator of the story, you can make time disappearwhenever things are dragging.Important information can be conveyed through interludes, showing the villains selling their nefariousschemes intomotion. This techniquecan be used to cluethe players into the fact that something is happening,but shouldn t be so detai led as to tell them everythingthey need to know. The opening of the Trax sectorcampaign is an interlude.

Use quick cuts from scene to scene to vary the pace.Act out the characters. Don't get into the rut of saying,Resner says, 'Send in the troops.' Instead, get into therole. Stand up, pace around the room majestically, thenpoint an accusing finger at an imaginary subordinate.Lower your voice as you dramatically announce, Sendin the troops

Use props when necessary (enough to be fun withoutdistracting), and never be afraid to put your Star rssoundtrack on the CD player in the exciting scenes.ooperative lotting

The next most Important thing in the campaign is theplot. You don t read books you don ' tl ike, and you don tgo to movies thatdon t appeal to you. Neither do playersstay in roleplaying games theydon t consider fun. Whileyou re the gamemaster, your players have a say in theplot, too.After you've run a couple of adventures, you shouldhave a prelly good feel for the types of adventures yourplayers like. Tailor your campaign to their activities. Ifthey re a group that likes action and battle scenes, don tgive them investigation-only adventures.This doesn t mean that you can t nudge them into aless incendiary scenario occasionally, or that alwaysthinkingwith a blasterwon't get them into trouble. Alotof beginning ro eplayers go for the action first, becausethey haven't got enough confidence to really play up thecharacter .. . or they haven't solidified enough of acharacter to play up. But character-building takes time,and Star Wars sails along at a pretty fast clip, most times.Don't force your players to change: allow them theopportunities to grow into their characters.And while you re at it, remember the re a re morevillains in the galaxy than just stormtroopers; let yourplayers occasionally bull heads with other antagonists.Bizarre afien hive minds, ruthless Corporate Sector executives, crazed planetary monarchs, evil crime bosses,hugewar droids built by long-dead alien cultures ... anyor all of these could haveaims that conllic with those ofthe Rebellion.

inking Your dventuresWhether your overall campaign is episodic or epic orsomewhere in between the twoextremes, it still involvesthe same group of people. The characters have memories, and their players do, too. Occasional references toprevious sessions problems discussions and encoun-ters give your campaign a nice feeling of history. Also, if

the players get the idea that their actions do aflect thecourse of future events, they re going to think thingsover a little more carefully.Roark: Oh, look. It's Customs Inspector Mothra.How's it doin', Motly?Mothra: That's Associate Governor Mothra now,Roark. I'm glad to see your lung disease is all beller now.Funny, but there isn 't any mention of it in the medicaldatabases. Well, I hope you have a nice stay on my

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planet. (To an aide.) 1 want these scum watched 6hours a day. f they even spi t o n th e sidewalk, nail em.And you can foreshadow upcoming adventures. Aclue t he c ha ra ct ers discover could mean nothing tothem now, bu t after study, reveal valuable informationabout a later episode. Even if you don t h av e a ny i de a

what th e next adventure is, you ca n give hints as long asthey re vague enough. Then a t y ou r leisure, or by th eplayers perked up ears, you can decidewhich clues ar eactually important enough to develop.As you slip past the technicians, you overhear themdiscussing something called Operation Blue Harvest.They wonder what could possibly require as much man-powerandmon y ... Ooops. No time for more, there s yourcontact up ahead. She motions you into a room markedAstrogation Mapping.

Supply and dvancementAs in life, good things in roleplaying c om e t o thosewho work. Characters able to requisition everything

t hey n eed n ev er get to test their ingenuity an d imagination. And as they become jaded with constant advancement, you have t o ent ice t hem with ever-larger payoffs.An inflationary reward spiral ca n mess up a campaignsomething fierce.f you find you have given ou t too much equipment,don t be bashful about letting some of it break, or getstolen or impounded th e life of a hero is filled withunfortunatesetbacks). You ca ndismiss th e excess equipment from th e campaign entirely, or design an adventurein which the characters h av e t o work like dogs to get itback.Roark: Okay, I ve ha d it. T ha t s t he third comlink

we ve lost. What, a re t he natives all kleptos?Bazaarseller: (Slyly.) Actually, kind an d gracious sir,if you talk of y ou r w on dr ou s far-speaking stick, th eIlzardflies ar e fond ofmetal trinkets. Perhaps, oh exaltedone, they have taken your devices.Roark: Taken them where? Lizardflies? I want themback.Seller: 1t is no easy thing to hunt the lizardflies. Theynest, most perfect of all strangers, in th e cliffs aboveOutreachial. Many days travel. Very hard.Balance your rewards of Character Points an d ForcePoints. Give them ou t when a character deserves them,following th e guidelines in Star Wars The RoleplayingGame, Second Edition rulebook. Note that, a s t he charac

ters grow in skill, you will h av e t o adj ust the strength oftheir antagonists accordingly.

Classic Campaigns

Gamemastering Tip: Extra ExtraTh e galaxy is a big place, an d now matter howheroic, your characters ca n only affect a little tinypiece of it. One way to make sure players understand this is to show them these changes.At thestart of an evening s play, on e gamemasterwe know hands his players a newspaper, th e An-taresMonthly Herald, which outlines recent eventsin his campaign area. Th e gamemaster also usesthis prop to feed his players clues an d hints aboutupcoming adventures.HoloNet Hype in th e Star Wars Adventure our-nal is another excellent tool for giving th e playersa sense of what other events ar e happening in th egalaxy around them.

Build oward a ClimaxStar Wars A New Hope, The Empire Strikes Back and

Return o the Jedi comprise a complete campaign with agrand climactic conclusion. Th e campaign chroniclesth e adventures of Luke Skywalker an d his friends; itconcludes when Luke redeems DarthVader an d defeatsth e Emperor. th e scriptwriters had wished, they couldhave continued th e campaign ... th e Emperorcould haveescaped and Darth Vader could have remained evil ...bu t they decided their audience deserved a happy ending.We suggest ending your campaign in a grand finalebecause it is b ot h m or e emotionally satisfying than anendless quest, an d it also answers th e question of whatto do with characters w ho h av e b ec om e t oo powerful:you retire them from play, an d make up new ones for th enext campaign.Even episodic campaigns ca n end climacticly. Thecharacters in an episodic campaign maynot realize howmuch their e xp er ie nc e h as c ha ng ed t he m until somegrand adventure ties all th e seemingly unrelated threadstogether.Th e en d of th e campaign doesn t have to mark theendof the characters careers; they can con ti nu e t o play inyour next campaign. However, if they become to o powerful for you to come up with interesting challenges forthem, or your players ar e getting bored with their characters, you should definitely consider mustering themout. T he y c an always fight th e Empire somewhere off-screen.After all, true heroes never really retire ...

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T ~ ~ ~ ~ ~ = = = = = = = = = = = = = = = ; S T A R - lonq Shot Campaiqn W U

h e Long ShotCampaign

To give you an example of how a typical Star rscampaign should look, as well as to provide you with aready-madecampaign framework to build upon,wehavedeveloped the ong hotcampaign. This episodic campaign has an exciting setting (Fakir sector interestinggamemaster characters (Lens Reekeene and CaptainIxsthmus, among others a rest and recreation areaHome base), and a number ofadventure outlines to helpyou get started. We suggest you look over this information to get a feel for how to create a campaign yourself.We also think it makes a wonderful introductory campaign to get you and your players into the Star rsgalaxy.

Campaign BackgroundThe t ime is shortly after the destruction of the firstDeath Star in Star rs A New Hope. Shocked anddemoralized by their stinging defeat at Rebel hands andnow under the masterful guidance of Darth Vader, theImperial forces are slowlyregroupingfor their next greatoffensive. Still dramatically outnumberedand outgunned,the tiny Rebel fleet has fled and hidden, hoping to avoid

battle until strong enough to defeat the mighty Empire.Though the Rebel fleet has disappeared the flame ofhope continues to burn across the galaxy, as, on thousands of planets, brave, freedom-loving beings bandtogether to fight the Empire. These unsung heroes,lacking manpower, supplies and communication, withno thought of reward or glory, are waging a brilliant,ruthless, incessant underground war.They are the Rebel guerrillas, the Resistance. Theyare called Irregulars.

The IrregularsSpace is large. Unimaginably large. The Emperor,obsessed with stamping out the heirs of the Old Republic and the last organized resistance to his rule, is scour-ing the galaxy for the hidden Rebel fleet.fhe can find the Rebels quickly and bring t hem to

battle, he will win, and his rule will be unopposed. Eachmoment is critical, for the longer he takes to find thehidden Rebels, the stronger they become.To comb the vast reaches of space the Emperor hasspread his forces thin. Troops and ships are scatteredacross the countless sectors of Imperial space constantly searching for major Rebel strongholds. nmanycases he has left just a skeleton force to protect countless worlds.To combat this tactic, the Rebellion has seeded smallgroups of Irregulars deep behind enemy lines to attackthe inadequately-protected Imperial forces and drawships and troops from the search.These Irregulars, hiding on secret bases in the vastreaches of space and disguised as merchants criminals,travelers, or Imperial troops strike hard and fast. Theyattack factories, government centers garrisons, andspace stations. They rob Imperial storehouses bug m-perial communications, kill or terrorize Imperial governmental officials, and incite beings everywhere to revolution. They sneak in, hit their targets, then withdrawbefore the Imperial warships can attack.

Theeconomicsofinsurgency suppression are simple: Imperial ships must be deployed to neutralize oneguerrilla ship. The Emperor cannot afford to ignore theIrregulars: thiswould be a signofweakness his countlessenemies within the Empire would be quick to exploit.Besides, the Irregulars are doing too much damage.Reluctantly, the Emperor has recalled some of his shipsto deal with them. Thus, the Rebel fleet has gainedprecious time

Reekeenes Roughnecl sOne group of Irregulars is known as Reekeene sRoughnecks. Founded by Lens Reekeene, a Humanfemale mercenary, her husband Mikka, a brilliant mechanic, and Santhou Lazith chika, an alien student of theForce, the Roughnecks have been plaguing the Fakirsector of the Bakchou arm of the Empire for months.Based on Home a clunky old giant water hauler hid-

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den in space the Roughnecks number about 6 starshippilots warriors medics engineers an d support personnel plus an undisclosed number of spies an d secretsympathizers. In addition to t he b as e ship th e Roughnecks posses 1 smaller ships: several outdated X-wingfighters on e light freighter two or e haulers an d on emodified pleasure yacht th e ong ShotLens Reekeene s philosophy of warfare is simple bu teffective: keep moving hit em where they ain t keep emnervous an d never tell anybody more than they need toknow.Her application of this philosophy is flawless. omnever stays in on e place long enough to be s potted; her

s hips are specifically ordered to turn tail an d run awayatany sign of real resistance; sh e specializes in attackingImperial governmental offices; an d no on e except Lensan d he r husband knows where th e base ship will be atan y given time or where theotherships will be attacking.Bewildered an d outfought a t e ve ry turn th e fmperialMoff of t hi s sector has requested immediate reinforcements. He h as o rd er ed a s entire fleet hoping its combined firepower will be enough t o de st roy a small bandof marauding Rebels.

Home seTh e Roughnecks base ship is a hu ge old Tsukkianwater freighter. Th e main hold h as b ee n converted intoa landing bay for th e Roughnecks support craft; severalother holds have been transformed into living quarterscommunications centers and supply warehouses. Theship is clunky outdated unarmored and unarmed. HtheImperial forces discover its location a single TIE fightercan easily destroy it. 5 0 om base keeps moving fol

lowing no discernible pattern a nd n ev er visiting th esame place twice.Personnel leaving om base a re no t told where th eship will be g oi ng ne xt . fns te ad they are given th efrequency and coordinates of a communications satellite to which they must send a request for pickup whentheir mission is com pleted. T he com satellite forwards

th e message to another an d then another. The messagemay pass t hrou gh as ma ny as s ix s at el li te s b ef or e itreaches om b as e. New orders or coordinates forpickup ar e sent backthrough th e same circuitous route.While this necessitates a communications delay of up tot wo d ay s th e safety of om base is ensured. Directcommunications b et we en s hi ps a nd the bas e ar e no tonly forbidden they ar e impossible.

Physical Descriptionom base is the haven th e player characters will goto between missions to rest resupply and receive new

orders. By all rights no action of an y kind should takeplace there; therefore there is no t a d et ai le d la yo ut ofth e ship s interior. Players should be told that ombase is a large drafty ship obviously held together bys pi t a nd bailing wire. Rooms ar e small an d uncomfortable hallways ar e poorly lit an d suffer from intermittentgravity fluctuations an d equipment is old bu t wellmaintained. Discipline is good; morale is extremelyhigh.

PersonnelAs th e campaign progresses introduce gamemastercharacters from th e ship to th e player characters: Captain Hark r t he suppl y clerk Emdee-five th e medicaldroid Lens Mikka 5anthou as well as other fighters and

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pilots. The characters should grow to like the otherRoughnecks and feels as though they have become partof a family.New player characters may arrive at the base. Theyare obviously newly-recruited Roughnecks or those recently returned from extended off-base duty. (Of course,new characters may be startedon a planet, rescued froma prisonship, or any otherway that fits their backgroundand the story line.)Maintenance

The maintenance personnel on ome base are veryskilled at ship repair and modification. a ship can limpits way to the base, they can probably fix it. Though, asome base often lacks equipment and supplies, therepairs are usually jury-rigged. adventure could revolve around finding and stealing a replacement hyperspaceoverthruster for a disabledX-wing ... or be startedwhen one of those jury-rigged repairs fails at the abso-lutely worst time.Supplies

Due to timely donations from Imperial containerships, ome base is well stocked with food, clothing,water, fuel, and medical supplies. Weapons are somewhat scarce. There are enough grenades, blaster rifles,and blaster power packs to go around, but Reekeene sRoughnecks sorely lack larger andmore powerfulweapons and ammo. Unless the player characters can provea real and pressing need for heavy firepower, on mostmissions theywill only be issued blasters and grenades.Of course, they can always t ry to steal other weaponryfrom Imperial ammo dumps.Common articles are usually available: space suits,macrobinocuiars, backpacks, flexisteellanyard, breathmasks, comlinks, glow rods, and other mundane gear.

The base occasionally has sophisticated intelligencegathering and surveillance equipment bugs, securitydroids, spy satellites, forgery equipment, and the like.This is strictly rationed and almost never issued unlessa mission absolutely requires it.Squads

The combat and transport personnel of the Roughnecks are brokendown into attack units called squads.A complete squad includes from four to soldiers, amedical officer or droid, and a pilot and co-pilot. Eachsquad is issued avehicle; dependingupon circumstances,several squads may share a common ship and pilots.Squads are designated by color, I.e., Red squad,Blue squad, etc. Squad members wear small armpatches displaying their colors. Lens Reekeene, herhusband, andthe support personnelwearwhitepatches;Santhou, the alien student, shuns military insignia andwears no patch. The characters and their pilot (CaptainIxsthmus) and co-pilot (Siene Symm) are part of Greensquad and wear green patches: they are assigned to thespace yacht ong ot see the following deckplans andcharacter profiles for more information on the ongShotand her crew).

Receiving Mission InstructionsWhen a squad is to receive an assignment, they aretold to assemble in the briefing room. They usually havea few hours to prepare ... get cleaned up, say farewell tocompanions, record hololetters, clean weapons, etc.In the briefing room, Lens or Santhou give them theirinstructions and answer questions. At this time, thecharacters may make requests for additional equipment. Once briefed, for security reasons the charactersare forbidden to talk to anyone other than Lens, Mikka,

or Santhou.It s possible tha t the Roughnecks have the right torefuse a mission, but doing so almost always results inthe characters dismissal from the group (and from thecampaign).Once the characters have received their instructions,they proceed immediately to their ship and disembark.Missions

Roughneck missions are aimed at disrupting (andstealing) Imperial supplies, intelligence-gathering, recruitment, and destruction and demoralization of Imperial forces, with an overall goal of drawing Imperial shipsand troops from the front lines. Included are five adventure outlines with a variety of goals.Squads are discouraged from engaging in gratuitousbattle with Imperial troops and ships: staying alive tofight another is strongly encouraged.As the Roughneckshave few ships and scarce chance of getting more,keeping the shipwhole and safe (and, if possible, unsuspected of being a Rebel craft) is of prime importance.Most of the Irregulars operations are covert. TheRoughnecks ships are equippedwith a varietyof forgedidentities, as are the soldiers and pilots themselves.

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The Roughnecks Lens Reekeene

Type: MereDEXTERITY 3D+2Blaster 50+2, dodge 60KNOWLEDGE 2D+2Survival5DMECHANICAL 2D+2PERCEPTION 2D+lCommand 7STRENGTH 3D+2TECHNICAL 3DForce Points: 2Character Points: 12MoveEquipment: Blaster pistol 40), vibro-blade STR+ID+2)C ap su le : Lens is an Alliance general an d leader 01 th eRoughnecks. She is 55 standard years old, about 1.6 meterstall, an d looks like a d um py , i ll -t emp er ed , sour-pussedshopkeeper. She has dark skin an d icy, piercing blue eyes.Lens wears standard work clothing and carries a blasterslung on he r left hip an d a vibro-blade In he r right boot.Despite appearances, sh e is commanding and elegant before he r troops. Lens is cold an d formal with everyoneexcept her husband an d n ev er smiles.Fifteen years ago, Lens commanded a mere company ongarrison duty for th e Sartran Corporation. When Sartranwas d is ba nd ed b y th e Empire for treasonous activities,Lens mercenaries were imprisoned on trumped-up conspiracycharges. Shewas released three years ago thanks toth e efforts of he r husband. Discovering that most of he rcommand ha d died in prison, Lens joined th e Rebellion.Lens has made the Roughnecks on e of th e most effectiveunits in th e Irregulars. Her only flaw is a too-great willingness to take risks. She wants revenge against th e Empire fordestroying he r mercenary command; by continuing to buildhe r Roughnecks into a formidable force, sh e expects toachieve he r goal.

Mikka ReekeeneType: OutlawDEXTERITY 4DDodge 4D 2KNOWLEDGE 3DLanguages 30+2, languages: Wookiee 50 , streetwise 40 , survival40+2MECHANICAL 2D+2Space transports 40+2PERCEPTION 2DCon 20+2STRENGTH 3D+1Climbing/jumping 30+2TECHNICAL 3DRepulsorlift repair 50, space transports repair 70, starlighter repair 50+2Force Points: 1Character Points: 8Move: 10Equipment: Mechanic s overalls, hydrospanners an d other appropriate toolsCapsule: Mikka is second in command and chief engineer ofth e Roughnecks an d Lens s husband. Mikka is 60 years old,bu t looks younger. He stands 1.7 meters tall a nd h as a darkcomplexion. He is overweight, b ut carries it well. Mikkawears standard mechanic s overalls an d tends to l ea ve atrail of dr opped hydr ospanners and microswitches wherever he goes.

Classic Campaigns

When excited, Mikka te nd s to lapse into a heavily-accented brogue which nobody else ca n understand. Heis on eof th e few Humans w ho c an actually speak Wookiee.Mikka worked for th e Sartran Corporation as an engineer; when it was di sbanded he was also imprisoned. Heme t an d married Lens in jail; wh en released through aclerical error, he begged, borrowed an d stoleenough moneyt o purchase his wife s freedom.Mikka ha s joined th e Rebellion more or less because hiswife has; he is basically non-political. He is an effective coleader of th e Roughnecks, counterbalancing his wife s aggressiveness with native caution an d humanity.Mikka wants to protect his wife, help th e Rebellion. an ddesign t he best hyper space alt ernator sequencing modulein th e galaxy.

Santhou Lazith chikaType: Student of th e ForceDEXTERITY 2D+IKNOWLEDGE 3D+1Alien species 50 , languages 40+2, planetary systems50, willpower40+1MECHANICAL 2DPERCEPTION 2D+lCon 70, persuasion 50STRENGTH 3DTECHNICAL 2DSpecial Abilities:Force Skills Control D sense D alter DSanthou has not openly demonstrated y Force powersThis character is Force-sensitiveForce Points: 4Character Points: 8Move: 11Equipment: Black robe, meditation globesCapsule: nadvisor to Lens an d Mikka, as well as a studentof th e Force, Santhou is t wo meters tall on a t hi n, almostgaunt, frame. He is roughly h uman oid, b u t h e h as a n extrajoi nt in hi s legs an d much larger eyes compared to Hu-mans). His skin is a pasty gray incolor, giving him a corpselike appearance which is augmented by his low body temperature. Santhou constantly wears a long black robe.No on e knows much about Santhou s background, whereh e co mes from or wh y he is here. The only thing he wiil sa yabout himself or his people is t hat t hey r e very long-lived he claims to have wandered through known space for atleast 200 years). He won t discuss anything else about t hesubject.Like many students of th e Force during these troubledtimes, Santhou hides his true p ower b eh ind a veneer ofbuffoonery. Knowing that Humans consider his appearanceto be almost macabre, he ha s exaggerated this by adaptingth e pompous, hyper-dignified, doleful an d pessimistic mannerisms of a low-gradeholomovie undertaker. Most peopleconsider him creepy.

As mu ch as he tries, Santhou cannot hide his real humoran d warmth. Not even Lens knows wh y he is here. In spiteof this, sh e ha s grown to r espect and like him. After he rhusband, Santhou is he r chiefadvisor. Santhou speaks witha slow, depressed-sounding voice.

Bakki Sour th ofType: Brash PilotDEXTERITY 3DBlaster 4D dodge 30+1, vehicle blasters 30+2KNOWLEDGE 2DSurvival 3DMECHANICAL 4D

5


17/98

T ; h ~ e : ; L ; : 0 2 : n ~ g ~ S : . h ~ o ~ t : C ~ a m l l P ~ a ~ i ~ 9 i : n . . : = = = = = = = = = = = = = = = = = = = = = = = = = = = = = ~ W ~ ~ ~Astrogation 40+2, space transports 40+2. starfigther piloting 6starship gunnery 50. starship shields 40+2PERCEPTION 3DCon 40+2, gambling 30+2, search 30+1STRENGTH 3DBrawling 30+ ITECHNICAL 3DDroid repair 30+ I, starfighter repair 30+2Character Points: 5Move: 1Equipment: Blaster pistol (40). Rebel flight suit , com linkCapsule: Bakki is Red squadron leader. AHuman male. he isyoung, tall, fair, and handsome: the archetypical pilot.Bakki jo ined the Rebellion after failing to gain entranceinto the Academy due to his father s political beliefs. Heloves f lying more than anything and considers everythingelse boring except possiblywomen; he does spend a lot oftime trying to impress the ladies .He is bright, cheerful, friendly, totally fearless, and thoroughly likeable (unless you are jealous of him). He laughs alot and his sabacc games aboard omebase are legendary.If he weren t a Rebellion pilot, he d probably be a haloshowstar.

Captain Hark rType: Noehon MerchantDEXTERITY 3D+IKNOWLEDGE 2D+IBureaucracy 3D value 30+ 1MECHANICAL 3D+2Astrogation 40+2, beast riding 40, space transports 40+2, starshipgunnery 40PERCEPTION 3DBargain 50

16

STRENGTH 3DStamina 30+2TECHNICAL 2D+2Computer programming/repair 30+2Special Abilities:Multi Actions Noehon may make a second action in a round at nopenalty. Additional actions incur penalties: third incurs -t o penalty, fourth -20 penalty, etc.Character Points: 3Move: 9Equipment: Comlink, water pipe, chronometerCapsule: omebase s supply master, Hark r is short andgreen, with four arms and large ny-like eyes. He appears tobe somewhat pudgy fo r a Noehon.

Formerly a merchant, Hark r had the misfortune to passquite close to omebase, where hewas promptly captured.Fearing he would sell information about the Rebel base tothe Imperials, Lens gave him two options: spend the duration of the war on a primitive planet with no ship traffic orspace communications technology, or spend it on omebase. Figuring that the chances for escape were marginallybetter there, Hark r chose omeDiscovering that Hark r has a natural talent for management, Lens put h im in charge of the commissaryand supplydepartment of the Roughnecks - she keeps a c lose watchon him of course, and he is absolutely terri fied of thewoman. He repeatedly attempts to bribe the characters tosmuggle him off base.

Hark r speaks perfect Basic - perhaps o perfect. Hisaccent is clipped and indicative of the Core Worlds and hispronunciation is irritatinglyprecise. Hesprinkles his speechwith ingratiatingphrases like my dear fellows, old chap,and dear boy, which sound obviously insincere.

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18/98

- w ~ ~ ~ ~ = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = l T ~ h ~ e . . l ~ o : : : n ~ g L , ; S ~ h ~ o ~ t

h e ong hot

Long ShotCraft: Modified Lantillian Short HaulerType: ModHied space yachtScale: StarfighterLength: 27 metersSkill: Space transports: Lantillian short haulerCrew: 2 gunners: skeleton: 1/+10Crew Skill: See Captain Ixsthmus an d Siene SymmPassengers: 6Cargo Capacity: 85 metric tonsConsumables: 1 monthCost: 85,000 used)Hyperdrive Multiplier: xlHyperdrive Backup: xiSNav Computer: YesManeuverability: 10Space: 6Atmosphere: 330; 950 kmhHull: 4DShields: 3DSensors:Passive: 15/00Scan: 35 1Search: 55/10 2

Focus 6 2D 2Weapons:2 Turbolaser Cannons (fire-linked)Fire Arc: Turret rew I cale StarfighterSkill: Starship gunneryFire Control: 3D (may be fired from co-pilot position

at fire controllD)Space Range: 1-15/35/50Atmosphere Range: 200-3/7/10 kmDamage:5DNote: Carries one escape pod which can carry 6passengers.

Long ShotPurchased originally as a pleasure yacht for an Imperialadmiral,Reekeene s Roughnecks liberated theLongShot from th e Callonia spaceport. The Roughnecks havefurther made substantial changes t o t h e engines an d th einterior layout (with, of course, new registration numbers). Th e LongShot has served th e Roughneckswell forseveral years. ft easily passes for a modified merchant

Classic Campaigns

vessel, pleasure yacht, or luxury passenger liner.To improve th e vessel s performance, th e Roughnecks have done away with most of th e amenities. Th egalley, holotheater, an d geriatric suites normally foundon this class of s hi p h av e been r ep laced b y a supplyroom, ma chine s ho p, a nd brig (which doubles as asecond supply room). Th e engines have been substan-tially enlarged, as h av e b een t he shield generators. Th estarboard pa ss eng er p od h as b een g ut ted an d transformed into a cargo pod. Also, Mikka h as add ed a secretcargo hold in the starboard pod.

Th e Long Shot s twin stabilizers ar e designed to provide control in planetary atmospheres; in space, th estabilizers fold down, allowing a full 360-degree ar c offire for th e double turbolasers. Th e guns, two illegalturbolasers mounted on a single turret an d fire-linked,ar e camouflaged as twomediumblasters. Th e turbolasershave been significantly altered: they do far less damagethan normal turbolasers (to prevent th e guns from overloading t he p ow er g en er at or s) , b ut t he y have a muchgreater range than standard blaster cannons.

long Shot Interior DescriptionBridge: The command center of th e ship, th e bridgeseats th e pilot, co-pilot, communications/computer andnavigation officers. lxsthmus, th e fthorian captain andnavigator, an d Siene Symm, th e Sullustan co-pilot an dengineer, ar e stationed here.Vestibule: With its two linked blast doors, this roomis essentiallya large airlock designedto protectthe crew

on t he bridge from vacuum, gas, and unwanted intruders. Th e crew s space sui ts are stored here in an overhead rack; several blasters and sleep grenades (6D/5D/4D/2D stun damage, with blast radius of standard grenades) a re h id de n beneath a concealed panel in th efloor.

Computer an d Life Support: The equipment in thisroom - astrogation computers, oxygen scrubbers an drecirculators, and heating an d cooling systems - isextremely important to th e survival of th e Long Shot.

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h ~ e . L ; ; o ~ n . 5 g L . S ~ h t l ; 0 2 . t L . : = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = : : : ; ~ T A R -W IU

.=;. . ;: I

Common Room: Thi s is th e on Shot s recreationcenter. When no t in use, th e room is completely bare; acontrol panel on th e forward bulkhead causes tables,chairs, vidscreens, an d a hologram table to emerge fromth e walls, ceiling, an d floors. Th e on Shot s airlock isdirectly above this room; when engaged, a ladder descends from th e airlock. Th e airlock is controlled fromth e co-pilot s station on th e bridge.Starboard C ar go Hold: Thi s is a l.6-meter-wide b yeight-meter-Iong by two meter-high-room.Str ongnylonitenetting holds cargo in place duringviolent maneuvering.A secret access hatchway in th e aft end of th e pod openson a h id den car go hold.

Supply Room: Concentrated foodstuffs ar e kept here.Machine Shop: A surprisingly complete electronicand mechanical shop, this is ostensibly for shipsystemsmai nt en an ce, b ut also serves for weapons an d droidmaintenance and covert equipment fabrication including explosives, bugs, forged identitags an d other espionage necessities).Brig: This is ostensibly a second supply room, bu t inreality it is a medium-security brig, complete with reinforced walls, an d hidden microphones and vidcams.Engineering: Paired Durally sublight/hyperspaceengines fill th e room; th e remaining small open area ispacked with monitors, readouts, dials, buttons an d access panels. Duplicate displays appear on th e co-pilot s

board in th e bridge; it is no t necessary for anyone to bein engineering during flight barring emergencies).Medical Bay: Th e room houses Four-Onebee a medical droid), surgical equipment, medpac sup pl ies, and asmall bacta tank.Shields: Th e shield generators serve also as backuplife-support power generators in case of engine malfunction.Captain s Cabin: Captain lxsthmus s cabin is spartanb y Human standards, c on ta ini ng only a v id sc re en , aclothes closet, an d a hard palletwith a special pillow toaccomodate the lthorian s unusual head-shape).Co-Pilot s Cabin: Siene Symm s accommodations ar emuch mor e opulent t ha n t he captain s; Siene is somewhat of a sybarite . Th e cabin s reddish lighting andheavy atmosphere closely resembling conditions onSullust) tend to discourage non-Sullustan visitors.Th e H ead: Sho wers, t oi lets, sink s, l au nd ry an d so

forth.P as se nge rs Qua rt ers: Thes e a re standard ship sb er th s, sleep in g t wo to a ca bin. Th e characters maydecorate the rooms as they wish - as long as they don toffend th e captain s rather puritan standards. A secretcargo hatch is h id den in th e altmost cabin.Corridors: Th e s hip s c orri dors a re 6.2 meters longand 0.7 meters wide. Th e escapepod and turbolasers ar eaccessed from the corridor just fore of th e engineeringarea.

18

Character Backgrounds Captain Ixsthmus

Type: Ithorian Rebel OfficerDEXTERITY 2DBlaster 30 2KNOWLEDGE 2D 2Languages: Basic 40. planetarysystems 40.2MECHANICAL 10+1Astrogation 3D sensors 30 1 starfighter piloting 40, space t r a n s ~POTts 40 2PERCEPTION 2D 1Command 3DSTRENGTH 2DTECHNICAL 10+2Character Points: 2Move: 1Equipment: Hold-out blaster 30+2), co m link, datapadCapsule: Ixsthmus iscaptain ofthe ongShotand places the safetyofhis ship as his first pri-ority. Ixsthmus is stern,intelligent, capable ...and possesses no senseof humor whatsoever.He is absolutely dedic at ed t o t he Rebellion,and he disapproves ofwhat he calls Humanfrivolousness anddecadence.

Ixsthmus intenselydislikes lying;while recognizing its necessity,he is extremelyuncom-fortable with anythingsmacking of deceitfulness. When engaged in underhandedness, he lets Symm do most of the talking Siene Symm hasno problem with lying - he enjoys it a lot).

Ixsthmus knows that the Rebellion is extremely lackingin spaceworthyvessels, and he is reluctant t o put the onShot in jeopardy except under themost dire circumstances.He is no t without compassion, and he wi ll do his utmost toassistRebels in t rou le if in his mind there is a reasonablechance of success.Physically,lxslhmus is 1 9 meters tall. and covered withbrown, leatherlike skin. Captain Ixsthmus is consideredquite handsome by Ithorian standards - though this is loston most of his alien including Human) passengers.

Siene Symm, First MateType: Sullustan Co-PilotDEXTERITY 2DKNOWLEDGE 10+1MECHANICAL 3DCommunications 30+2, space transports 30+2, starship gunnery30+2PERCEPTION 2DBargain 3D co n 30+2, forgery 40+2, gambling 40+2STRENGTH2DTECHNICAL 10+2Space transports repair 40Special Abilities:Enhanced Senses Sullustans get 10 to searc in low-light conditions or when using hearing.Location Sense Oncea Sullustan has visited an area, hecan alwaysremember ho w to return to th e area, and the character gets 10 to

Classic Campaigns


20/98

1 = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = - T ~ h ~ e ; ; L ; : ; o ~ n ~ g u s ~ h ~ o tTOPVI WIINT RIORPORT SIDE

H y p e r d r i v e r l -~ n n

ST RBO RD SIDEStabilizer pIs

Cabins st Mate s Cabin

Captain s CabinCommunications/Shield Operator

NavigatorComputer Operator

Computer if SupportRepulsorlift Generator PIs

Forward Landing Gear

Transparisteel Window

Sensor Array

Airlock

Repulsorlift Generator

Turbolaser TurretPrimary Stabilizer -----,1+-

Aft Landing Gear

SI VI W

Scale: _ = meter

FRONT VIEW

c:::::::J - - = I = = 0 =

TH LONG S OTStarship Plans

I YHeavy BulkheadRegular BulkheadAirtight Blast DoorRegular DoorSecret Door

Classic Campaigns


21/98

T T ; h ; e ~ L ; o ~ n ~ g ~ S h ~ o ~ t ~ = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = : : : ; : ; T A AWARSstro tion whenjumping to aplace the Sullustan has vis

ited before.Character Points: 1Move: 10Equipment: Blaster pistol(4D)Capsule: Sullustans love 10travel and ar e often foundserving on stars hipsacross thegalaxy.Gregarious and ever-cheerful, if abit timid, Sullustans areamong the fr iendl iestpeople in known space:Symmfits that mold (oftento excess).Siene Symm is a natural con art is t an d for y ea rs h ascriss-erossed the galaxy separating fools from their credits.

He is an accomplished forger,an inveterate liar, and has oneof the sharpest wits to be found any\vhere - though hekeeps it well hidden b en ea th a rather dim wit ted fr iendlyexpression. He l ov es exotic food an d Drilbian wine. Sienedresses in s om ew hat gaudy some would say tasteless)clothing.Several years of forced labor aboard an Imperial warshiphave made Siene a skilled starship mechanic nda foe o fthe Empire. He wants nothing more than to p laya large rolein the overthrow of the Empire . .. and perhaps pocket a fewcredits along the way.In spite of their many differences rperhaps becauseof them - in the year they have served together Siene andIxsthmus have become fast friends.

rtoo Veeoh R2-VOType: Industrial Automaton R2 Astromech OroidDEXTERITY IDKNOWLEDGE IDMECHANICAL 2DAstrogation 50, space transports 30 . starfighter piloting 30PERCEPTION IDSTRENGTH IDTECHNICAL 2DComputer programmingrepair 70. space trans-ports repair70.starfighterrepair 50Equipped With: Three wheeled legs oneretractableRetractable heavygrasper arm lifting skill at2D) Retractable fine workgrasper arm Extendable 0.3-meter-

20

long video sense (3600 rotation Small electric arc welder 10 to 50 damage as fits th e situation)O.3-meter range) Small circular saw 40 damage. O.3-meter range) Video display screen Holographic projector/recorder Fire extinguisher Small (20 cm by 8 cm internal cargo areaMove: 5Size: 1 meter tallCost: 1.500 usedCapsule: In its shorl life, R2 VO has been disassembled 52times to correct an unusual flaw: while working, or any timeit is activated, R YO beeps, whistles, and hums a continuous stream of nonsense. Siene thinks it is some kind ofsound actuator problem. In fact, there is no problem. R YOis a poet; hemakes the noises because he thinks tlley soundnice. They do, though non droids seldom have the necessary hearing capabilities to appreciate his poems. our Onebee 4-1 BType: Industrial Automaton 2-18 Surgical OroidDEXTERITY IDKNOWLEDGE 2DAlien species 40MECHANICAL 2D(A) Bacta tank operation 50PERCEPTION 3D(A) Injury/ailmentdiagnostics 60STRENGTH IDTECHNICAL 3DFirst aid 60, (A) medicine8DEquippped With: Computer interfacetether range of 5 meters):interface adds +20 to allmedical skills. Medical diagnostic computer Analytical computer Surgical attachments Hypodermic injectors .40 stun damage) Medicine dispensersMove: 4Size: 1.5 meters tallCost: 1.275 usedCapsule: Four-Onebee is well-programmed and eager toplease, although somewhat unhappyabout being shut downand hidden in a closet when not needed.

Classic Campaigns


22/98

. . . . . . I T A I R ~ = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = ' T . . h ~ e . F : . : a ~ k ~ i r ~ S ~ e ; , c t ~ o ~ rW Rs

h e Fal


23/98

: : h ~ e : , F ~ a : l : k ~ i : r ; S ~ e : l : c t o ~ r . : = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = TARW RSplanet s snowy oxygen blanket. t is also said that thesec re at ures a re telepaths of great strength and ar e ex-tremely wise and long lived an d that anyone who jour-neys to th e planet ca n learn th e answersto th e questionsof th e universe ... i on e waits long enough. For thoughthey ar e very wise it is also said t ha t t he Sinkars ar eunimaginably slow an d ponderous thinkers.

Other rumors suggest t ha t t he Sinkars ar e mindlessanimals of great strength with th e ability to s uc k th eenergy right ou t of astarship s drives ... or a man s bodyand s om e sa y t ha t Sinkar is also a nest ing ground forspace slugs ...The fmperials have placed a garrison outpost here forsome as ye t undiscovered purpose.

he arnikken steroid eltThe dangerous Sarnikken belt contains some of themost lucrative heavy metal mines in the sector. DespiteIts best efforts th e Empire ha s been unable to wrestcontrol of th e mines from th e individualistic an d belli-cose miners ... when sentinto th e belt fmperial bureau-crats an d tax collectors tend to disappear and the

density of the asteroids makes entry into th e belt bylarger military vessels quite dangerous.Th e Empire does attempt to maintain a blockadeoutside th e field bu t they don t have enough ships to dot properly an d it is easily broken. .

Th e Rebellion purchases raw materials for its shipsfrom the mdependent miners in th e belt. The RoughneckX wings often provide escort to th e overladen Rebeltransports toand from th e belt. Space slugsan d mynocksabound within th e field preying upon unwary ships asthey circumvent the densely packed space debris.

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~ ~ ~ ~ = = = = = = = = = = = = = = = = = = = = = = = = = = = ~ c ~ a ~ m ~ p ~ a ~ i g ~ n ~ A ~ d ~ v ~ e ~ n ~ t ~ u ~ r : ; e ~ O ~ u : t J ~ i n ~ e ~ s

ampaign AdventureOutlines

This section describes several adventure outlines, orstory ideas, for th e Long Shot campaign.Story ideas aren t complete adventures: each provides a general plot line for an adventure, suggestingobjectives, locations, obstacles, staging tips an d interesting personalities. To develop t he s to ry ideas intocomplete adventures, you will h av e t o d et er mi ne th ebuildings, equipment, weather, etc. found at th e encounte r locations, draw maps, an d list th e attributes andskills of th e gamemastercharacters.Youmightdecide toad d secondary an d incidental encounters to th e adventure as well. Additionally, you might create scripts toopen th e adventure and get th e players right into th eaction.The Long Shot campaign, as w e h av e presented it, isepisodic: th e order in which you play th e adventuresbelow is not important, an d no combination of adventures below builds to a big climax. you d prefer a moreclimactic campaign, watch your players reactions asthey complete th e first adventure. What elements of th estory excited them th e most? Can yo u develop thoseelements through th e next couple of adventures? Canyou think of some event t o occur in th e last adventureand tie all th e exploits of Reekeene s Roughnecks into agrand scheme? .Here s an example. The re s a n Imperial sp y namedMarska in Tes ts of th e Godking adventure outlineone). What if sh e escapes alive from th e planet featuredin th e adventure, Masterhome? Then, in a later adventure, the characters could hear of her, or run into her,again ... only now she s higher up in th e Imperial secretpolice. Perhaps sh e gets t he be tt e r of the characters intheir second encounter. By th e end of th e campaign,Marskamay have worked he r way up t o t he post of Moffof Fakir sector ... a nd s wo rn to wipe ou t Reekeene sRoughnecks. Th e climax of th e campaign could be aknock-down, drag-out fight to the death between th echaracters an d their old adversary, Marska.Ormaybe th e campaign couldcome full circle, back toMasterhome for a decisive battle between th e Empire

Classic Campaigns

an d the characters over th e fate of th e pianet (an especiallygood idea ifyour players liked theAnointed Peoplea lot). Or maybe th e pesky pirates from th e first episodeof th e Tests of th e Godking keep popping up, undermining th e reputation of th e Rebel Alliance with theirthievery, an d th e characters eventually decide to trackt hem b ack t o t heir secret hideout for a space battle. Th epossibilities ar e endless.To show you how to develop th e individual adventureoutlines of this campaign, th e first story idea, Tests ofth e Godking, is already fleshed ou t into a short, readyto-play adventure immediately following these adventure outlines. you read th e adventure outline below,t he n r ea d th e expanded adventure in th e last section,you ll se e w ha t w e did to make it complete. This illustrates th e kind of color and detail we think is necessaryfor a full, satisfying session ofStar Wars: The RoleplayingGameNote t ha t e ac h adventure begins with a hyperspacetime. Distances ar e vast in Star ars an d travel takestime. But remember to cu t t ime lapses ... don t botherwith describing th e time unless something happens. InStar Wars: A New Hope s ev en h ou rs e la ps e in hypers pa c e a s t he heroes travel from Tatooine to Alderaan ...an d we seeabout minutes of that time on screen: Lukepracticing with his lightsaber against th e remote, Hanputting in his own two cents worth , Artoo playing ahologamewith Chewbacca. Th e activities suggest whatwas happening for th e whole length of th e trip, anddevelop facets of each character s personali ty ... anddon t bore anyone.Because t he se s tory ideas ar e outlines, most of th edetails are either left ou t or no t firmlyestablished. Often,what sounded like a perfect plot has a few sticky placesin th e logic or execution of a necessary step. Perhapsyou ll come upwith a solution you like better than ours.As always, please feel free to alter, expand or modify th estory ideas to meet your needs.


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( C ~ a . : m ~ p e . a : . . 5 g l n ~ A ~ d l v ~ e ; ; n . t : : u ~ r ~ e . 0 2 . u t l : i n 2 : e ; : s : . . : = = = = = = = = = = = = = = = = = = = = = = = = = = = ~ T A R - WA u

MasterhomeMasterhome is a relatively young, terrestrial planetthat is comfortable to Humans and similar beings. Theclimate and terrain ar e fairly pleasant. In th e mostdensely populated regions, seasonal variations provide for moderatelywarm summers (40 Centigrade orso is a normal maximum) and fairly cold winters - 4Centigrade is about the coldest it gets in the winter).Plant life is varied and hardy; animal life is the same,with repliloid forms predominating.Large, furry,warmblooded tyrannosaur-likecreatures called eaters ar eabundant and very dangerous.According to th e characters computer tapes, thesentient life-forms of Masterhome ar e large lizardbased creatures who call themselves th e AnointedPeople. Roughly humanoid inshape, bu t with a long,spiked tail, th e Anointed People live in a feudal society, with Godlings, th e nobility, ruling over th eUnwashed, th e serfs. Above th e Godlings is th eGodking, ruler of th e planet an d th e person th echaracters must meet.Th e century-old t ap es a ls o indicate where th epalace of th e Godking is located, an d include a lan-

Adventure Outline One: sts ofthe GodkingBackground

Masterhome is a small planet of marginal importancelocated well outside t he s ec to r s t ra de routes. ft has afew mineral resources an d a bellicose indigenous population with little technology an d a primitive social structure. Because of this, Masterhome ha s thus far avoidedserious Imperial attention.Th e Alliance, desperately short of supplies, wishes tomake a trade deal with th e people of Masterhome. Theywill provide teachers, d oc to rs , a nd engineers to th eAnointed People th e dominant intelligent life-form onMasterhome) in return for foodstuffs. To this end, th echaracters are assigned to journey to Masterhome an dopen negotiationswith th e ruler of th e planet

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WEG40108 Classic Campaigns