Finally completed a list of Power 19 questions for Everlasting Empire. Hopefully these might offer some further sinsight into what the game is all about.

1.) What is your game about?

Everlasting Empire is about British heroes fighting to uphold the Empire.

2.) What do the characters do?

The characters are all ‘British’ (or, at least, from one of the colonies of the Empire). They are British secret agents, freebooters, explorers or others types of character striving to uphold, advance and defend the British Empire.

3.) What do the players (including the GM if there is one) do?

The GM frames scenes, introduces Major NPCs and plays the roles of adversaries and allies. However, the players can also bring lesser NPCs or additional colour into scenes through the use of Story Points. In scenes that do not involve all of the player characters, the group is encouraged to farm our NPC roles to non-involved players.

Even though the GM frames the scenes, the text will encourage the entire group to formulate and suggest scene that appeal to them and further story, whether they focus on the group as a whole or a single character.

4.) How does your setting (or lack thereof) reinforce what your game is about?

The setting is unashamedly Anglo-centric, monarchist and rooted in the world-view of the period from around 1890 to 1940. Even though the game is set in the year 2055, the flavour of the text and the language used is redolent of the high water mark of the British Empire, when Britain was the pre-eminent power in world affairs.

The setting presents Britain not only as pre-eminent on Earth, but also amongst the stars. It mirrors real world situations from the past, where Britain has most of the most valuable colonies and thrives upon the trade and goods that flow to and from them.

Many groups are presented as enemies of the Empire, trying to bring down this glorious edifice upon which the sun (literally) never sets. These range from Republicans and Socialists within Britain itself to Australian and Canadian separatist movements, to the firebrand communists of the USSR and the influential anti-monarchists of the German Empire.

It goes without saying that history in the universe of Everlasting Empire took a radically different course from that of our own: The Great War was much shorter, World War 2 never happened, the Russian Revolution took place much later, America did not become pre-eminent and science advanced much more quickly. The reason behind this is the landing upon Horsell Common, just outside Woking, England of an alien spacecraft. This is a shameless lift from ‘The War of The Worlds’, wherein the cylinder that lands is not the herald of an invasion from Mars, but a lone derelict spacecraft. British scientists gradually reverse engineer the technology and scientific advancement moves in leaps and bounds.

5.) How does the Character Creation of your game reinforce what your game is about?

Creation begins with the groups coming up with all the elements for their Situation Sheet that asks questions such as:

Who are we?
What are we doing?
What is the tone of this game?
Where are we?
What is this place like?
Who opposes us?
How long is this game going to last?

Only when this step has been created (and it’s my intention to make this part of the text quite extensive and give as many hints, tips and examples for a play group as possible) can the group move on to character creation.

Character creation reinforces the style of the game and what it is all about by encouraging players to come up with heroic, flamboyant descriptions and colourful traits for their characters. Questions that must be answered at the very start of character creation are things like:

Who am I?
How do I serve King and country?
Who are my social superiors/inferiors?

Characters are also defined by Attributes, Motifs, Motivations and Traits.

Attributes cover Acumen, Daring and Action and provide the basis for any dice pool in a conflict (as discussed in question XX).

Motifs are pieces of descriptive imagery about the character that says something about who they are, the way they do things. Think of it as a visual ‘shtick. One motif is always key to any character, and that is the Smoking Motif. The Smoking Motif must be to do with smoking, as every character in Everlasting Empire smokes. It can be the way they grind a cigarette butt under their heel, the manner in which they wave their pipe in an argument, the fluttering of eyelashes behind a veil of smoke from a slim cigarette holder and so forth. Smoking Motifs are even more powerful than normal motifs and give two extra dice if they can be brought into a conflict, rather than the normal one die for bringing a motif into a conflict. The Smoking Motifs stems from so many heroic or romantic characters of the influential 1900- 1940 period smoking, and smoking lots.

Motivations are the things that drive the character, which force them on. They can be deeply held beliefs, things from a dark past, optimistic notions or all manner of things. As long as a Motivation is something that drives the character forward.

Traits are things the character can do, physical or mental aspects of their makeup, skills and learned abilities. Description of traits is encouraged to be appropriately full of bravado and derring-do! “Shoot pistols” is a dull trait but “Handy chap with the old service revolver!” is much more in keeping with the theme of the game.

6.) What types of behaviours/styles of play does your game reward (and punish if necessary)?

The game rewards a style of play which involves derring-do, bravado, heroism and playing up to all the stereotypes of the quintessentially ‘British’ character.

7.) How are behaviours and styles of play rewarded or punished in your game?

If, during the course of the game, a player does something that other players find splendidly in-keeping with the themes of the game, then they can gift them additional Story Points to be used as and when the gifted player sees fit. The nature of the conflict resolution system also encourages these behaviours by making the narration of Motifs, Motivations and Traits and essential part of the procedure.

8.) How are the responsibilities of narration and credibility divided in your game?

As mentioned above, the GM frames scenes, but the entire group is encouraged to collectively suggest and discuss scene. Players can input colour and characters into the scene through the use of Story Points and can take the roles of NPCs in scene where their own characters are not present.

Upon the conclusion of a conflict, the overall narrative authority lies with the winner of that conflict. However, other players can ‘buy’ narrative authority through the use of Story Points.

9.) What does your game do to command the players' attention, engagement, and participation? (i.e. What does the game do to make them care?)

From the very start of the game, everyone must participate in the creation of the arena in which they will play. From the situation sheet onwards, everyone should be engaged and have input in the game. Characters are larger than life heroes and heroines with a particularly British flavour. As the game progresses, everyone has the chance to input into what is going, through conflicts, the addition of colour to scenes, narration and the player ability to come up with scenes themselves.

10.) What are the resolution mechanics of your game like?

In a conflict a base pool of dice equal to a chosen attribute are rolled. A result of 5 or 6 is a success. You’ll always be rolling against opposition, whether it be another player, a GM controlled NPC and player controlled NPC or whatever. In order to gain more successes, you can start narrating in Motifs, Traits and Motivations, which allow the rolling of an additional die for each one of these (apart from the Smoking Motif, which gets 2 dice) Each additional 5 or 6 is another success. At any point one side can gracefully withdraw and concede victory to the other side. Even though they are the loser in this case, they get to hold on to one of their successes (if they have any) for the next conflict they are involved in.

The difference in the number of successes between the sides determines the level of consequences each side gets. The winner gets positive consequences equal to the number of successes, the loser takes negative consequences equal to the number of successes.

11.) How do the resolution mechanics reinforce what your game is about?

They reinforce what the game is about by encouraging the use of Motifs, Motivations and Traits to add description, colour and character to the game. For each roll of a die, the player or GM must add appropriate description and flair.

12.) Do characters in your game advance? If so, how?

They advance via the mechanism of the consequences of conflict, as mentioned above. Although there are varying grades of consequence, they can pretty much be decided into 3 levels, depending on whether or not they last for a scene, and entire session, or a complete story arc. This applies to both positive and negative consequences. A character may have a broken arm for one session, but by some miracle, the next session it’s totally healed!

13.) How does the character advancement (or lack thereof) reinforce what your game is about?

It adds further description to the character and further things that can be brought into both conflicts and the story as a whole. In the manner of resolute British heroes throughout time and space, a broken arm may be troubling for a short while, but it won’t bally well stop us getting on with job old chap!

14.) What sort of product or effect do you want your game to produce in or for the players?

I want it to create a jolly good time for all concerned, with plenty of what-hoing, gesticulating with pipes and Complaining In The Strongest Possible Terms!

15.) What areas of your game receive extra attention and colour? Why?

The culture and society of the period in question. I’m trying not to do a totally straight translation of British attitudes of the 1900 – 1940 period, but give it little twists and turns here and there. But, obviously, it does draw very heavily from the period, so additional detail needs to be given about standards, ethics, cultural mores, styles of dress, entertainments and social class. Social class is particularly important here, as within the setting there is still great social stratification and a lot of the “I am superior to him, I am his better. But he is superior to me, he is my better” way of thinking.

16.) Which part of your game are you most excited about or interested in? Why?

The thought of people playing dashing British heroes and heroines racing from planet to planet in an art deco spacecraft or racing across London in a sleek monorail to capture Professor von Kaiser before he can execute his evil pans to blow up Lord Witteringbourne!

17.) Where does your game take the players that other games can’t, don’t, or won’t?

It’s the first game o have smoking as a part of the conflict resolution system. I think.

18.) What are your publishing goals for your game?

The end goal for the game is to produce it for sale as a digest-format book and PDF.

19.) Who is your target audience?

Those who have a penchant for the work of H G Wells, the Quatermass stories of Nigel Kneale, characters like Sherlock Holmes, Dan Dare and Bulldog Drummond. Also those who enjoy slightly pulpy, maybe slightly camp at points, free spirited adventure where a mans best friend is his cigarette case and adventure lies just around the corner!