Sense, Sensibility & Swordsmanship (OEF)

Good Society
2
Sense, Sensibility, & Swordsmanship
Sense,
Sensibility &
Swordsmanship 🗡
HAYLEY GORDON
Game Design and Writing
VEE HENDRO
Game Design and Layout
LAUREN McMANAMON
Editing and Proofreading
AVIV OR
Cover Illustration and Additional Art
RAVEN WARNER
Interior and Additional Art
SS&S PDF Edition v1.0

© 2019 by Storybrewers Roleplaying, all rights reserved.
Permission is granted to copy and distribute any portion of this text
to facilitate or play this game, but not to alter or resell this content
in so doing.
Storybrewers Roleplaying
www.storybrewersroleplaying.com
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Good Society
Dear William,
I must express my regret, as I am unable to attend the ball

tonight. Alas, a terrible flu has overcome me. Yet, we must
still make time for that private matter you wanted to discuss.
If you would call upon me tomorrow, a woman could use
some company in sickness, and we can talk of anything you
should wish.
Yours, etc. Charlotte
Dear S.B.
Everything is in place for tonight. Be waiting with the

horse in the usual place. Once you have the jewels in your
possession head south immediately—you will be met by one
of my men at the rendezvous point.
INTRODUCTION
elcome to Sense, Sensibility and Swordsmanship, the
W swashbuckling Good Society expansion of masked

identities, daring deeds, and evil plots.
Inspired by works such as The Mask of Zorro, Sovay, and the

Scarlet Pimpernel, this addition to Good Society gives each
major character the option to acquire a masked identity; from
a Vigilante standing up for justice, to an Outlaw after the
greatest prizes the town has to offer.
Expect to be caught up in plots, schemes, machinations,

and outrageous actions sequences—while still maintaining
a respectable civilian identity, and trying to secure an
advantageous marriage. Oh, the things this world expects of us!
This text contains all the information you need to add

Sense, Sensibility and Swordsmanship to your game. However,
like a Vigilante fighting for justice, it cannot succeed if it
stands alone. You will need a copy of Good Society and the
accompanying materials in order to play.
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What’s in this expansion?
You’ll find the following in Sense, Sensibility, and Swordsmanship:
͠͠ Masked Identities: Each major character has a masked

>
Summary
of Rule
identity along with their regular character role, whether Changes
you’re a Bounty Hunter apprehending criminal scum, p.80
or a Charlatan set on humiliating your enemies and
winning hearts. Uphold the tenants of your masked
identity to increase your reputation—but make sure to
keep your civilian name a secret. For if your dual identity
is revealed, the consequences will be dire.
͠͠ New Desire and Relationship Cards: In this expansion,
you’ll find ten new suitably swashbuckling desire cards
and five new relationship cards. Perhaps your desire is to
catch the outlaw that has long evaded you, or maybe you
dream of revenge upon your father’s killer.
͠͠ Evil Plots and the Big Bad: At your option, you may
choose to play with a Big Bad who has a suitably Evil
Plot. It’s up to you whether you try to stop the Big Bad’s
evil plan, align with the Big Bad for wealth and power,
or manipulate the situation for your own advantage.
͠͠ New Connection Cards: Corrupt officials, criminal
masterminds, bounty hunters after your character, and more.
͠͠ New Playsets: Playsets created especially for this
expansion, which mix evil plots and daring deeds with
family, romance, and respectability.
You’ll also find the following two additions to the rules of
Good Society:
͠͠ The Rooftop Phase: The Rooftop phase is a new phase

focusing on the exploits of your masked identity. Fight, spy,
burgle, duel, or simply stare dramatically off into the night.
͠͠ Daring Deeds Resolution: Resolve the outcome of
daring deeds using a bargaining system, and then play out
suitably swashbuckling action sequences.
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Good Society
PREPARING YOUR GAME OF SENSE,

SENSIBILITY AND SWORDSMANSHIP
Before you start a game of Sense, Sensibility and Swordsmanship,
you and your group will need to make a number of choices.
If you are facilitating a game, you may decide to make these
choices ahead of time. Your decision will affect game set-up
and some of the rules you’ll use.
This section replaces the Preparing Your Game section on

p.26-27 of Good Society. Decide the following:
How many major characters will appear in your game?
Each player will take the role of one major character. If you
are playing with a Facilitator, they may choose to play a major
character and facilitate the game.
We recommend that your game has three to five major

characters. If you have seven or more people, split into two
separate games. If there are too many major characters, some
of their stories won’t have time to develop, and players will be
waiting a lot longer for their character to appear in scenes.
Will your game have a Facilitator?
We recommend a Facilitator for players new to Good Society,

or for groups who want someone to help direct the game
and assist with the story. For players experienced with
collaborative games, a Facilitator may not be necessary.
Approximately how many cycles will your game consist of?
For the full Sense, Sensibility and Swordsmanship experience,

we recommend games of three to five cycles, which will
usually take between four and eight sessions to complete.
You can also play an introductory game of one or two cycles.

If you’re playing a game of three cycles or less, you will need
to use the rule adjustments outlined on page 28 of the Good
Society book.
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You can expect each cycle of play to take a little longer in
-
Sense, Sensibility and Swordsmanship than the original game.
This expansion adds a new phase to each cycle called
the Rooftop phase, which follows the exploits of each Rooftop
Phase
major character’s masked identity. Each cycle should take
p.27
approximately 3 to 4 hours to play through.
Which playset will you use to set up your game, and will
you use it in part, or in full?
You will find several Sense, Sensibility and Swordsmanship

playsets on p.65, from Zorro-style playsets that pitch
Vigilantes against an evil plot, to Outlaws and Bounty
Hunters bent on revenge.
Some playsets will require the Evil Plot module, for others
this module is optional.
After choosing your playset, decide whether your group will

use it in part, or in full. Since games of Sense, Sensibility and
Swordsmanship tend to be more complex and chaotic than
Good Society, we recommend using a playset in full for games
of three cycles or less.
Will you play with the Evil Plot module?
The Evil Plot module introduces a Big Bad with an Evil Plot.
Players can generate the Big Bad and their Evil Plot together
)
Evil Plot
at the start of the game, or the Facilitator may create both Module
before the game begins. This module is optional, so you may p.19
choose whether to include it in your game.
The Evil Plot module is helpful for players who want a strong
structure to push the story along and a little more Facilitator
intervention. We highly recommend this module for groups
playing Sense, Sensibility and Swordsmanship for the first
time. Players who enjoy taking on the role of each other’s
antagonists may prefer to play without it.
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Good Society
Will you play with inner conflicts?
Inner conflicts are never used in games of three cycles or less.
If your game of Sense, Sensibility and Swordsmanship will be

longer than three cycles, you will need to choose whether to
include inner conflicts in your game.
Exclude inner conflicts if your group would like more action and
less character introspection. Keep them in your game if you’d
like more drama and interpersonal conflict. We recommend
excluding inner conflicts if your group choses the farce tone
during Collaboration.
WHAT YOU’LL NEED TO PLAY

Here’s what you’ll need to play Sense, Sensibility and
Swordsmanship whether in person or online.
Playing in Person
If you’re playing Sense, You’ll also need:

Sensibility and Swordsmanship
͠͠ The Good Society and
face-to-face, you’ll need to
Sense, Sensibility and
print the following materials:
Swordsmanship
͠͠ Character role sheets desire cards
͠͠ Masked identity sheets ͠͠ The Good Society
͠͠ Family background and Sense, Sensibility
sheets (for any major and Swordsmanship
characters who will not relationship cards
have a masked identity) ͠͠ Deck of Connections,
͠͠ Connection sheets including the expansion
͠͠ Evil Plot sheet cards (optional)
͠͠ SS&S public information ͠͠ Tokens in two different
sheet colours—at least thirty
͠͠ SS&S cycle of play sheet to represent resolve
You’ll find a print ready version tokens, and six to
of these materials included represent monologue
with your copy of the game. tokens.
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Playing Online
To play this game online, we recommend you use a shared

virtual space, such as Google docs or roll20, to manage your
game materials.
When we play online, we generally make use of a Google

document editable by all players, and compile the materials in
a folder on Google Drive.
You can find a link to the document template we use here.
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Good Society
A MASKED IDENTITY
Most major characters in Sense, Sensibility and Swordsmanship
will have a masked identity in addition to their civillian
character role . A masked identity, such as Zorro or the
Scarlet Pimpernel, is both a disguise and a name unto itself.

The reputation of masked identities can rise and fall to reflect
what the public think of their deeds and character.
When creating a masked identity, there are five archetypes to

choose from:
͠͠ The Vigilante: Fight for justice and the people, and risk
your life to end corruption.
͠͠ The Outlaw: Execute audacious crimes, whether to help
the poor or simply line your own pockets.
<Masked
͠͠ The Bounty Hunter: Round up the criminal scum that
plague this city, and all for a nice fee.
Identites ͠͠ The Agent: Complete the vital mission assigned to you by
in Detail
p.48 the organisation or nation you work for.
͠͠ The Charlatan: Show up your enemies, break hearts, and
be generally the most popular scoundrel in town.
Multiple players may choose the same masked identity.
Your choices can create an interesting story in themselves—
for example, if two Bounty Hunters team up against a pair
of Outlaws.
PLAYING WITHOUT A MASKED IDENTIT Y

Not every major character in Sense, Sensibility and
Swordsmanship needs to have a masked identity. Players also
have the option of playing a typical member of the regency
gentry thrust into a confusing world of swashbuckling and
secrets. Playing such a character can be a lot of fun—and they
may find themselves doing more daring deeds than they ever
would have expected.
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MASKED IDENTITIES AND CIVILIAN IDENTITIES

Major characters with a masked identity live a double life.
͠͠ Their masked identity is the person they become when

they wear their mask, such as the Vigilante, Outlaw, or
Bounty Hunter.
͠͠ Their civilian identity is who they are in their everyday
lives, such as the Socialite, Heir, or New Arrival.
͠͠ Their dual identity refers to the knowledge that their
masked and civilian identities are one and the same.
A major character’s masked identity replaces

their family background.
Major characters that do not have a masked identity will have
a family background as usual.
Tammy’s major character has both a masked identity and a

civilian identity.
Their major character’s masked identity is the Solution,

an undercover Agent working for the French government.
Their major character’s civilian identity is Christopher,

a Cornerstone trying to marry off their younger sibling to
a wealthy suitor.
The only person that knows of Christopher’s dual identity (that

Christopher is also the Solution) is his contact in the French
Government, Lady Thorn.
As Christopher has a masked identity, Tammy will not use a

family background sheet.
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Good Society
❶

❸
❹
THE MASKED IDENTIT Y SHEET

The details of your masked identity are contained on your
masked identity sheet.
❶ Masked Identity Basics: This section contains

information about your masked identity, such as their name,
appearance, and motivation. When completing this section,
you can select from the examples available or create your own.
❷ K ey to revealing your civilian identity: When you

create your masked identity, you will also create the key to
revealing your civilian identity. You can create your own, or
choose an option from your sheet.
Your key is a narrative tool that major characters and

connections who are trying to discover your civilian identity
can use to track you down. Don’t be too defensive about
holding on to this or keeping it a secret during the game—
it’s there to be found!
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❸ Connection Options: You have connection options on

your masked identity sheet in addition to the connection
options on your character role sheet. Players should choose
one connection option from their character role sheet, and one
from their masked identity sheet.
❹ Masked Identity Attributes: Masked identity

attributes are the archetypical hallmarks of your masked
identity. You can decide to incorporate them into your story
or not. If you need inspiration for your character, these
attributes are a great place to look.
❺ R eputation Criteria: Just like your civilian identity,

your masked identity has its own reputation to uphold.
Your masked identity’s reputation will rise and fall through
unique reputation criteria on your masked identity sheet.
For example, the Outlaw gains reputation if they risk life

and limb for a robbery, heist, or devilish crime. Whereas the
Vigilante loses reputation if their actions reveal them to be
just as bad as those they defy.
The reputation criteria on your masked identity sheet

are divided into masked reputation criteria and civilian
reputation criteria.
There are minor changes to the way reputation works in Sense,

Sensibility and Swordsmanship, to accommodate reputations of
both masked and civilian identities. We explain these changes
in full on p.44.
Masked Identity R eputation Conditions: Reputation

conditions are states that may trigger if you accumulate
three negative or positive reputation tags. Masked identity
reputation conditions work the same way as reputation
conditions on your character role sheet.
R evealed!: The events that occur if your dual identity

is publicly revealed. We explain more about discovering and
revealing civilian identities in the next section.
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Good Society
KEY TO REVEALING CIVILIAN IDENTIT Y

The key to Christopher’s civilian identity is the coded letters
he sends to his employer, which mention the activities
Christopher undertook to further his employer’s plans under
the guise of his civilian identity.
In the second rooftop phase, Nadia’s major character, the

Shadow, sneaks into the manor of Christopher’s employer, and
searches their office.
“I will give you a resolve token if the Shadow finds one of

Christopher’s letters hidden in the office,” says Nadia, offering
her resolve token to Tammy. Tammy accepts, and Nadia
narrates how the Shadow finds the letter hidden in an ornate
snuff box. Now to find a way to decode it!
DESIRE AND RELATIONSHIP CARDS

AND DUAL IDENTITIES
In most of the Sense, Sensibility and Swordsmanship playsets,
major characters will have two desire cards—one from Sense,
Sensibility and Swordsmanship, and one from Good Society.
They will also have one relationship card, either from Sense,
Sensibility and Swordsmanship or Good Society.
Objectives and events mentioned in the desire cards from

Sense, Sensibility and Swordsmanship reference the major
character’s masked identity. Desire cards from Good Society
reference their civilian identity.
Similarly, relationship cards from Sense, Sensibility and

Swordsmanship always connect two characters’ masked
identities. Relationship cards from Good Society always
connect two characters’ civilian identities (unless the card or
playset specifies otherwise).
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DISCOVERING AND REVEALING THE IDENTIT Y

BEHIND THE MASK
During a game of Sense, Sensibility and Swordsmanship,
the civilian identity behind your mask may become known
to one or more characters, or revealed to the public.
This is the moment Montero discovers that Diego de la Vega
is Zorro, or Chauvelin finds out that Percy Blakeney is the
Scarlet Pimpernel.
The discovery or public exposure of a major character’s

dual identity can be a great part of their story. However,
it must occur with the consent of that major character’s player.
If you’re not sure whether a player is comfortable having their
major character’s dual identity revealed, it’s best to ask them.
Discovering the dual identity of another major character
For a major character or connection to discover the dual

identity of another major character, they must:
͠͠ Use a resolve token, and enter into a negotiation with

the player of the major character whose identity will be
discovered (see p.82 of Good Society for resolve token
negotiations).
͠͠ Successfully bargain for it as an outcome of a daring deed.
͠͠ Be told by another major character or connection, who
is already aware of the major character’s dual identity.
If a connection reveals this information, the player of that
connection must enter into the negotiation process with
the major character whose identity will be revealed.
A player may choose to reveal the dual identity of their own
major character through the story at any time, either publicly
or to specific characters. They may do so directly (e.g. telling
another, or taking off the mask), or indirectly (e.g. leaving an
obvious clue).
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Good Society
DISCOVERING A DUAL IDENTIT Y

WITH A RESOLVE TOKEN
Edwin is playing a connection named Candice, who is
Christopher’s wife. Christopher is returning from a rendezvous
as the Solution, and Edwin would like Candice to catch him
sneaking back into the house.
Edwin offers a resolve token from Candice’s pool to Tammy

(Christopher’s player) and says, “I would like Candice to catch
Christopher taking his mask off as he re-enters.”
Tammy says, “Yes, but only if she believes him to be a do-good

masked hero rather than an undercover agent. For now, at
least.”
“I like that,” says Edwin, and gives Tammy the resolve token.
Candice catches Christopher entering, and the scene plays out.
BEING TOLD OF A DUAL IDENTIT Y

BY ANOTHER
Candice could not be more proud that her husband is the
Solution, who she believes to be a crime-fighting hero.
Even though she promised Christopher she wouldn’t tell
anyone about his dual identity, the temptation proves too much
to resist.
Candice meets with her sister Prudence, a major character,

who is also the Shadow (though Candice doesn’t know that.)
Edwin wants Candice to reveal Christopher’s dual identity
to Prudence. As Candice is a connection, and this would be
harmful to Christopher’s interests, Edwin must again enter into
the negotiation process with Christopher’s player, Tammy.
Edwin offers a resolve token from Candice’s pool to Tammy,

who accepts the token, bemoaning Christopher’s matrimonial
choices. Candice tells Prudence about Christopher’s dual
identity—Prudence is shocked, as she is well aware the Solution
is no hero.
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Publicly revealing the dual identity of other

major characters
When you want a major character or connection you control to

successfully reveal another major character’s dual identity
to the public, you must offer the player of that major character
a resolve token and enter into the negotiation process.
As always, the player of that major character may accept,

accept with conditions, or refuse to reveal their major
character’s identity.
Revealing a major character’s dual identity to the public

triggers the ‘revealed’ section of their masked identity sheet.
This will occur even if a major character reveals their own
dual identity.
REVEALED!
Revealing your dual identity to the public triggers the
‘revealed’ condition on your masked identity sheet. Mark your
identity as revealed on the SS&S public information sheet.
Christopher The Solution

Coded letters to my employer
At the end of the current phase, choose one of the revealed

options listed on your masked identity sheet. This option
should have serious consequences for the revealed character,
and put them in a situation they’d really rather not be in.
You or the Facilitator must now frame a scene showing the
selected option coming to pass.
Once a character’s dual identity is publicly revealed,

it becomes widely known and cannot be revealed again.
Players can assume that every character in the game knows
this information. The major character whose identity was
revealed should face backlash not only from society and those
in power, but also their family and friends.
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Good Society
REVEALED!
“Wait, don’t arrest her!” yells Prudence to the police who are
dragging Candice away. “It is I, not her, you seek. I am… the
Shadow.”
Edwin says, “Wow! Prudence just revealed her own dual identity
in public.”
“To save Candice!” adds Nadia.
“That’s going to trigger a revealed condition. Mark your identity

as revealed on the swordsmanship public information sheet.
Let’s finish this scene with the police, and then we’ll come
back after the novel chapter is over and determine the broader
consequences of this reveal.”
…..
After the novel chapter is over, it is time to determine the

effects of Prudence revealing her dual identity. Nadia chooses
the option ‘Earn Their Silence’. “Can Prudence do some sort of
favour for the police?” asks Nadia.
“Of course,” says Edwin, “but you’re not going to like it. Let’s
jump into the scene. You’re in a dark, damp cell. You’ve been
there for two days and haven’t even received scraps of bread.
Suddenly, the door creaks open, and a police sergeant steps
in, top hat and all. ‘Well,’ he says, ‘you’re the one they call the
Shadow? There’s something we need you to do for us. Unless
you would rather rot away in this gaol cell, of course.’”
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THE EVIL PLOT MODULE

What is a masked crusader to do without a plot to foil, and
a villain to bring to justice? The Evil Plot Module is an
optional module that introduces a Big Bad with an Evil Plot
into your game.
The Evil Plot Module is helpful for players that would like
a strong structure to push the story along, and a little more
Facilitator intervention. We highly recommend this module
for groups playing Sense, Sensibility and Swordsmanship for the
first time.
The Evil Plot Module consists of two parts: the Big Bad (and
their second-in-command), and the Evil Plot.
The Big Bad
The Big Bad is a villainous character, played by the Facilitator.

They have an Evil Plot, and their primary goal is to carry
it out, no matter what.
The Big Bad has the same narrative status, and operates by
the same rules, as a regular connection. Like all connections,
their primary goal is to complicate the lives of the major
characters. They carry out their plot, and give other major
characters a reason to care about the plot’s outcome.
Just because the Big Bad is the story’s antagonist doesn’t

mean that other connections and major characters can’t help,
side with, or love them. In fact, we encourage involving other
characters with the Big Bad as it creates an interesting story.
The Big Bad may well help, side with, or love them in return.
The Big Bad may be a villain, but they may

also be a parent, spouse, friend, or old flame.
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Good Society
The Big Bad’s Second -in-Command
The Big Bad has others in their employ helping them with
their plan—most importantly their second -in- command.
This second-in-command will be chosen from among the
connections created by the players.
Those who work for the Big Bad start out loyal and obedient.
However, events that occur during the game may cause their
mind to change. They may lack the determination, cunning,
or ruthlessness of their employer. Depending on the story,
the second-in-command could even be swayed to betray the
Big Bad or reveal their secrets.
The Evil Plot
<
The Evil Plot is the plan that the Big Bad pursues to achieve
their nefarious goals. For example, in the film The Mask of
Evil Plot Zorro, the Big Bad’s plot is to sell illicit gold from a gold mine
Examples
to purchase the state of California.
p.76
The Evil Plot always consists of a series of steps, which the
Big Bad will pursue in order throughout play. The Facilitator
may choose to create the Evil Plot before the game begins,
or the players can sit down and create the plot together.
Make the steps in the Evil Plot known to players so that

the major characters can get involved or interfere with
them (unless you’re playing the Semi-Revealed Plot Variant
on p.26).
During the upkeep phase, you may wish to revisit or change

the Evil Plot. If the steps in the Evil Plot have become outdated
or impossible to achieve, change them to suit the story. If the
Evil Plot was completed during the last cycle, create a new
one using the guidelines on p.22.
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PREPARING THE EVIL PLOT MODULE

Preparing the Evil Plot Module is a three-part process.
You complete this process as additional steps during Backstory.
In a shorter game, the Facilitator may wish to complete steps
one and two ahead of time.
To prepare the Evil Plot Module:
͠͠ Create the Big Bad

͠͠ Create the Evil Plot
͠͠ Select the Big Bad’s second-in-command (at the end of
Backstory)
You will need the Evil Plot Sheet for these steps.
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Good Society
CREATE THE BIG BAD

The Facilitator may choose to create the Big Bad before the
game begins, or the group may create the Big Bad together at
the very start of Backstory. To create the Big Bad, follow the
steps below:
1. Choose a connection card
Choose a connection card to represent the Big Bad.

This may be a card from either the base deck or expansion
deck—after all, the most genteel seeming people can hide
the most nefarious secrets. Pick a connection whose image
and personality appeals to your group.
If you don’t have either deck of connections, skip this step.
2. Fill out the Big Bad section of the Evil Plot sheet
Fill out the following details:
͠͠ Name: The name of the Big Bad.

͠͠ Position: The Big Bad usually holds some sort of position
of power or influence, such as a governor, a judge,
a diplomat or an official advisor.
͠͠ R eputation: e.g. ruthless and cold, or aged and indulgent.
CREATE THE EVIL PLOT

Now you’ve created the Big Bad, the next step is to determine
their Evil Plot. Write down your Evil Plot in the relevant
space on the Evil Plot sheet.
When you concoct an Evil Plot, it can be useful to create plans

that:
͠͠ Are easy to interfere with, or get involved with

͠͠ Have steps in both the Austen world (e.g. a ball to win the
prince’s favour), and the world of masked identities (e.g.
stealing, kidnapping, etc.)
͠͠ Offer pay off or reward to those that help fulfil them
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Choose a plot that fits within the genre of Sense, Sensibility and
Swordsmanship, such as plots to:
͠͠ Get rich
͠͠ Seize political power
͠͠ Seize a particular item (or person) of value and meaning
͠͠ Start wars, feuds, or conflict for personal benefit
͠͠ Take arch-enemies or opponents out of the picture
If you’re having trouble concocting an Evil Plot, you can
choose to adapt one of the plots listed in the playset section
on p.76.
EVIL PLOTS
Evil Plots always take the following form:
The Big Bad wants to…
So they can…
To then…
In order to…
It’s worse than we thought, because…
Example:
The Big Bad wants to steal the golden seal
So they can fake the announcement of a royal ball
To then lure the prince regent to the Big Bad’s estate
In order to kidnap the prince regent and sell him

to France
It’s worse than we thought, because the French don’t

require the prince regent alive!
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Good Society
SELECT THE SECOND-IN-COMMAND

As an additional step at the end of Backstory, players should
choose a connection to be the Big Bad’s second-in-command.
Select whichever connection your group thinks will be best
for the story. This connection can be played by either the
Facilitator or another player in the same manner as any other
connection.
Once you’ve selected which connection will be the second-in-

command, decide on the role they play in the Big Bad’s team.
Choose one of the following: enforcer, mastermind, thief,

government official, bravado, bodyguard, moneybags, other.
Write the connection’s name and role on the Evil Plot sheet.
Kevin Folau
98B
Moneybags
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PLAYING OUT THE EVIL PLOT

The Evil Plot is open information known to all the players in
the game. This doesn’t mean the plan is necessarily known
to the major characters—in fact, it probably isn’t. However,
players can use their knowledge of the plot to bring their
characters into contact with it as the story demands.
Players can influence the Evil Plot while the Big Bad pursues
it and their nefarious goals. During the game, players may
use resolve tokens to add details to the plot and create fiction
surrounding it.
Edwin, the Facilitator, is playing the Big Bad, Lady Thorn.

Lady Thorn is planning to steal the golden seal to fake the
announcement of the royal ball.
Shani is playing a connection named Colonel Tarleton, the

dashing head of the local militia, and the intended of Nadia’s
major character Prudence. Shani says, “I have an idea. I’m
going to spend one of Colonel Tarleton’s resolve tokens to
make him the head of the royal guard, and the seal to be under
his personal protection.”
The pace of the Evil Plot in your game will vary depending
on the number of cycles you are intending to play. Most Evil
Plots will naturally last around two or three cycles. However,
the Evil Plot may take longer if each step is very substantial.
If the Evil Plot comes to an end, do not fear. Evil never rests!
In the next upkeep phase, your group will create a new Evil
Plot, and a new Big Bad if desired.
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Good Society
SEMI-REVEALED PLOT VARIANT

If you would like the Evil Plot to be even more dramatic,
the Facilitator may choose to reveal each step in the plot to the
players just before it occurs.
Uncover the next stage of the plot either when the Big Bad
starts pursuing it, or a major character discovers it in advance.
The major characters do not need to know about a step in
the plot for it to be revealed—the step that the Big Bad is
planning to complete next should always be visible to players.
DEFEATING THE EVIL PLOT?

Defeating the Evil Plot need not be high on the major character’s
priority list, especially at the beginning of the game.
As a player, think of the unfolding Evil Plot like an evil scheme

in a movie. At the beginning of the story, most major characters
know little of the plot, and are more focused on pursuing their
desires. In the middle, they discover the Evil Plot, and become
involved in executing or preventing it. However, it’s only at
the plot’s end, when things come to a head, that the major
characters completely defeat the Evil Plot or help it to succeed.
26
THE ROOFTOP PHASE

The Rooftop phase is a new phase that occurs before each
Novel Chapter phase.
CYCLE OF PLAY
1 Rooftop
2 Novel Chapter
3 Reputation
4 Rumour and Scandal
5 Epistolary
6 Rooftop
7 Novel Chapter
8 Reputation
9 Epistolary
10 Upkeep
The Rooftop phase focuses on the exciting adventures

and exploits of each major character’s masked identity.
By contrast, the Novel Chapter phase explores their civilian
identities and role within regency society.
Players may still don their masked identity during a Novel

Chapter phase and take action as their civilian identity during
a Rooftop phase. Events important to an Evil Plot may occur
during a Novel Chapter. Likewise, major characters may
advance the goals of their masked identity while under the
guise of their civilian one.
In general, however, the Rooftop phase provides a great

opportunity for masked characters to act with free rein, while
Novel Chapters focus on social situations and conversation.
The Rooftop phase works in a similar way to a visitation

chapter. During the Rooftop phase, each player, as well as
the Facilitator, may choose to frame a scene or vignette.
The scene or vignette must include either the major character
of the person who framed it, or a connection they control.
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Good Society
It should focus on the stories of the characters’ masked

identities, or, if in play, the Big Bad and their Evil Plot.
Rooftop phases are a great opportunity for players to do some

of the following:
͠͠ Pursue their major character’s Sense, Sensibility, and

Swordsmanship desires.
͠͠ Advance the Evil Plot or create complications for other
major characters.
͠͠ Create complications and trouble for their own major
character.
͠͠ Give others a glimpse into the life of their character’s
masked identity, such as showing their methods, contacts,
and motivations.
Framing a scene during the Rooftop phase is optional and
players may choose to pass if there is nothing further they
wish to see. The Rooftop phase is over once each player has
had the option of framing a scene or vignette.
28
FRAMING A SCENE
Players may decide to fame a scene during the Rooftop phase.
The person framing the scene decides the following:
͠͠ Where does the scene take place? (e.g. at the house of the
corrupt judge)
͠͠ What is the action of the scene? (e.g. the Shadow is breaking
into the judge’s house to steal some documents)
͠͠ Who will be in the scene? (e.g. BUT the Shadow is pursued
by the Bounty Hunter on her tail, the Golden Cuffs).
The player framing the scene may include any major
characters or connections they wish. However, the player may
need to use a resolve token to compel the other character’s
involvement if the situation is compromising or dangerous,
for example a risky heist. Similarly, other players can always
offer resolve tokens to have other major characters and
connections enter the scene.
It’s Nadia’s turn to frame a scene. “Prudence, aka The Shadow,

is going to break into the Thorn household to ‘liberate it’ of
the heirloom sword. Look, the sword did belong to Prudence’s
father, so it’s rightfully hers anyway. I think we start the scene
as we hear the soft clink of a window cover being removed from
its position, and the gentle steps of feet on wood.”
“Ooh, I have an idea”, says Tammy. “The Solution would have

just rendezvoused with Lady Thorn to get the next step of
the plan from her. Can he still be in the house, and hear the
footsteps? I’ll offer you a resolve token for that Nadia.”
“Oh, yes, that sound great,” says Nadia, taking Tammy’s resolve
token.
“Ok, so, the Solution is smoking the last of a cigar given to

him by Lady Thorn when he hears something unusual from the
hallway…”
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Good Society
FRAMING A VIGNETTE
Instead of framing a detailed scene, players may also choose
to frame a short scene or vignette that focuses on a revealing
moment in their character’s life. For example, players may
create a vignette showing their major character wielding their
ancestral sword for the first time, or shooting their pistol at a
portrait of their arch-enemy. They can also frame a vignette
foreshadowing their character’s future plans, such as tailing a
mark, or staking out a manor for a future robbery.
“For my rooftop scene,” says Shani, “I’m going to frame a

vignette. The vignette is Harry Williams, aka the Golden Cuffs,
in his house during the dead of night."
"It’s quiet and still as he slips on his outfit, a golden face mask
and a pair of shining golden cufflinks. He tiptoes through his
silent manor to leave, but hears the sound of yelling from his
mother’s room. He creaks open the door to see her moaning
in her sleep—‘no, don’t! Leave him alone!’ A look of vengeance
crosses his face as he remembers that fateful night his mother
can only be reliving in her sleep. He creaks the door closed and
heads out into the dark.”
MAJOR CHARACTERS WITH

NO MASKED IDENTIT Y
Major characters with no masked identity still get a chance to
frame a scene or vignette in the Rooftop phase.
This scene could involve encountering masked identities,

or getting drawn into the Big Bad’s plan. But it could also just
give us a glimpse into how that major character spends their
evening hours.
30
SS&S CYCLE OF PLAY SHEET
31
Good Society
DARING DEEDS
During the course of play, you may encounter times where
physical conflicts or contests arise with an uncertain outcome.
In Sense, Sensibility and Swordsmanship, such conflicts or
contests are called daring deeds. They may occur between
two characters, such as a duel or a chase. They may also occur
between a character and situation, such as stealing secret
documents, or breaking out of a gaol cell.
Example: Two major characters
“Drop your pistol or the vicar gets it,” says the Solution to the
Shadow, holding his dagger to the vicar’s neck.
Example: Major character and a situation
The Shadow is breaking into the house of Lady Thorn to steal

the heirloom sword.
32
When a daring deed arises, there are two ways to determine

the outcome: by paying a resolve token, or by using the
daring deeds resolution process.
Use the following flowchart to identify the appropriate

resolution process:
DETERMINING THE OUTCOME WITH A

RESOLVE TOKEN
Sometimes a daring deed isn’t interesting to explore, or there’s
no one of interest to oppose its completion—for example,
a character breaking into a records office of no importance,
or beating up some miscellaneous no-gooders. In these cases,
the player of the major character or connection undertaking
the daring deed determines the outcome by paying a resolve
token and stating what they would like to occur. The normal
resolve token rules apply, and the player may need to enter the
negotiation process before spending the resolve token.
There’s no need to labour the point in these situations, rather

ask the player paying the resolve token to say what happens.
It can be as badass as they would like—they paid for it after all.
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Good Society
DETERMINING THE OUTCOME

WITH A RESOLVE TOKEN
Prudence wants to break into the French embassy’s records
office to discover more about Lady Thorn. Lady Thorn isn’t
present on the scene—in fact, she doesn’t even know these
records exist. As a result, there are no major characters or
connections interfering with the plan.
Edwin decides the outcome is best resolved through the use

of a simple resolve token. “You can just pay a resolve token
for this one. However, you having those documents is harmful
to the interests of Lady Thorn—you will have to enter into
negotiation with me, as she is a character I play.”
Nadia, Prudence’s player, asks, “Alright then. Do you accept

my token?”
“Of course,” says Edwin, taking Nadia’s token and putting it

in Lady Thorn’s pool. “This is your scene now, so you get to
narrate how you break in and take the documents.”
“Well Prudence has jury-rigged two suction cups to a harness

and piece of rope, and she uses these to make her way across
the embassy’s ceiling. The thing is, there’s still a meeting going
on in there—they would spot her if they just looked up at the
high ceilings. But they never do.”
34
DETERMINING THE OUTCOME USING THE

DARING DEEDS RESOLUTION PROCESS
When a daring deed is opposed by a major character
or connection, who is either in the scene or whose influence
appears in the scene (e.g. nefarious traps, or hired security),
then determine the outcome of daring deeds using the
resolution process.
The resolution process consists of the following six steps:
1. Determine who will be involved in the daring deeds

resolution.
2. Each person involved states their ideal outcome.
3. Players who have conflicting ideal outcomes suggest a
compromise they would accept.
4. Decide whether to resolve the daring deed, or go to bidding.
5. (Optional) Bid resolve tokens to determine the outcome.
6. Play out the daring deed.
step 1: determine who will be

involved in the daring deeds resolution
Decide who will be involved in the resolution process.

Any person, player or Facilitator, who wishes to be involved
in the resolution and has a character involved in the situation,
can join the resolution process.
Each person only has one say in the resolution process, even if
multiple characters they control are involved.
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Good Society
step 2: each person involved states their ideal outcome
Each person states their ideal outcome for the daring deed.
This is a player level exercise, not a character level exercise.
Players state what they would like to happen in the story.
Usually, this will be an option that gives their character at
least part of what they want, but it need not be. Players are
always welcome to orchestrate their character's misfortune.
Avoid including too much in this statement—it’s better to just

focus on one or two things that are most important to you.
The Solution (Christopher), the Shadow (Prudence), and

Colonel Tarleton (Prudence’s intended, a connection played
by Shani) are having a three-way battle over the royal seal.
Edwin announces the start of the daring deed resolution
process, and each player states their ideal outcome.
Tammy’s ideal outcome is that the Solution gets the seal and
escapes scot free.
Shani’s ideal outcome is that Colonel Tarleton keeps the seal,

and reveals the Solution’s civilian identity.
Nadia’s ideal outcome is that Colonel Tarleton keeps the seal.

She also wants the mask to slip off the Shadow (her major
character), revealing her civilian identity—but only to the
Colonel. Colonel Tarleton is engaged to Prudence (the Shadow)
and Nadia can’t wait to see the Colonel’s reaction.
These three outcomes all conflict with at least one other

outcome.
36
Step 3: Players whose ideal outcomes are in conflict

suggest a revised outcome that they would accept
Players whose ideal outcomes are in conflict suggest a

compromise they would still accept. This may mean they
get less than intended in their ideal outcome, e.g. they get
the seal, but they don’t reveal another character’s civilian
identity. It may mean something negative happens to them
in addition to their desired outcome, e.g. they get the seal,
but the key to their civilian identity is revealed.
Players whose ideal outcomes are not in conflict with anyone

else do not need to revise.
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Good Society
Step 4: Decide whether to resolve the daring deed,

or go to bidding
If the players’ revised outcomes are still in conflict, proceed to

resolve token bidding (step 5).
If the players’ revised outcomes are not in conflict, then

they may choose: They can either accept each other’s revised
outcomes, and the outcome of the daring deed is determined,
or they may decide they do not accept each other’s revised
outcomes and go to bidding.
Players may bargain with each other during this time,

and revise their outcomes further.
Step 5: (Optional)
Bid resolve tokens to determine the outcome
If players proceed to bidding, they will bid resolve tokens to

see which of the player’s outcomes will come to pass. The bid
winner will choose which outcomes will occur and which will
not, including outcomes that are and are not in conflict.
Bidding starts with the player whose major character has the
most to lose (as decided by the Facilitator). Bids may increase
by any increment, but must always increase by at least one
resolve token. Players may choose not to bid any resolve
tokens, but at least one resolve token must be bid in order
to win. Once passed, a player can no longer re-enter bidding.
The player who wins the bidding discards the number of

resolve tokens they bid. Everyone else keeps their tokens.
They then decide which of the outcomes come to pass, and
which don’t. Each player whose outcome does not come to
pass then receives one resolve token from the general supply.
If no player is willing to bid a resolve token, the Facilitator

determines the outcome based on the players’ revised outcomes.
The Facilitator may offer a player a resolve token to accept
a worse outcome that is harmful to their character’s interests.
38
REVISED OUTCOMES
STILL IN CONFLICT
Edwin asks the players to state a revised outcome.
Tammy still wants the Solution to get the seal, but suggests
that he leaves behind the key to his civilian identity.
Shani wants to reveal the Solution’s civilian identity—he can

make it out with the seal.
Nadia wants Colonel Tarleton to keep the seal, but also wants
the mask to slip off the Shadow (her major character), revealing
her civilian identity—this time to all characters instead of just
the Colonel.
As these outcomes are still in conflict, the group move forward

to bidding.
REVISED OUTCOMES
NO LONGER IN CONFLICT
Tammy still wants the Solution to get the seal, but suggests
that he is injured in the fight.
Shani wants to reveal the Solution’s civilian identity—he can

make it out with the seal.
Nadia just really wants Prudence to reveal her civilian identity—

but only to the Colonel.
“Well, those all sound compatible,” Edwin says. “Do we want to

agree on that?”
Tammy says, “Hmm. I don’t really want the Shadow to discover

the Solution’s dual identity, so we might need to go to bidding.”
“What if only the Colonel finds out the Solution's civilian

identity?” Shani suggests. “That way, the Colonel could have
the information, but the Shadow doesn’t need to know.”
Tammy and Nadia agree to this idea, and the outcome of the
daring deed is decided.
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Good Society
Step 6: Play out the daring deed
Once the daring deed has been resolved,

it’s time to see the action!
When playing out daring deeds, the action proceeds in turns
to give every player a chance to narrate what their character
does in the scene.
During each player’s turn, the Facilitator must ask the active
player a question that progresses the action. This question
can relate to the decided outcome, or simply call for a response
to something that happened earlier. For example:
͠͠ How does the Shadow evade capture, but drop her

signature crest?
͠͠ What does Colonel Tarleton do when he sees the Solution
jump out the window?
͠͠ The room is full of people! How does the Solution get to
the seal without being seen? And how does he know where
the seal is hidden?
Once a player has described what happens, the Facilitator will
move the action to the next player’s turn.
If you are playing without a Facilitator, each player should end

their turn by asking a question of another player, and moving
the focus to them.
Once every player has had a turn, then choose whether to move
the focus to a final player to finish the daring deed, or continue
the action for another round. If the agreed upon outcomes
have not yet come into effect, then the action must go on!
If we’ve seen everything important, it's time to move on.
Fights with few players will generally go at least two or three

rounds since each round is short—all-in fights may only go
one or two rounds as each round contains more action.
40
The daring deed is over after a player takes the final turn.
All players must abide by the outcome. If a player doesn’t get
their desired outcome, they may not make another attempt
during the same daring deed.
The daring deed is not just a resolution to a particular action

sequence, but also a narrative resolution on the content of the
daring deed for the current scene.
The Shadow failed to steal the documents from the office, and
was chased off by Lady Thorn’s henchmen. The Shadow may
not then return in secret and try to steal the documents again
in that same phase.
...
During a daring deed, the Solution evaded the Shadow’s grasp

once again. The Shadow bounds from the rooftop to give chase
to the Solution, but we know she won’t catch him in this scene.
That’s already been resolved by the daring deed.
EVERY PLAYER HAS RESPONSIBILIT Y TO MAKE

SUCCESSFUL OUTCOMES COME TO PASS
It’s the Facilitator’s responsibility during a daring deed to
make sure all players have a turn, and to keep the action
exciting by asking questions. However, each player is
responsible for making sure any outcomes they bargained
successfully for take place. They can do this during their
turn, but can also ask the Facilitator to frame a question for
another player if required.
41
Good Society
extended example of daring deeds resolution
The police have come to detain Candice for questioning. They

believe she has evidence that could lead to the Shadow’s arrest.
As Christopher and Candice hear the sounds of the police
knocking on the door, the Shadow enters through the window.
They form a plan—Christopher will distract the police while
the Shadow makes her way out with Candice.
Edwin: It sounds like the Shadow, Christopher, and

Candice are all on the same side. As there’s no one of
interest to oppose them, Tammy or Nadia do you want
to spend a resolve token to make this happen?
Tammy (Christopher): Um, not so fast. That’s what

Christopher says he’s going to do. But he has other plans.
Edwin: Oh my! Let’s go to the daring deeds resolution

process then. As I’m playing Candice and the police,
I’ll have a say as well.
Nadia (the Shadow): My ideal outcome is to get Candice

out of the building and slip away unseen.
Tammy (Christopher): My ideal outcome is for the

Shadow to get Candice out of the building—but then I
want Christopher to point out the Shadow to the police,
who then grab her!
Nadia (the Shadow): No! You bastard. Ha ha, that is just

so great.
Edwin (the Police): The police would love to catch Candice

or the Shadow. Which means we’re in conflict! Nadia or
Tammy, would you consider revising your outcome?
Nadia: Sure. I’m fine for the police to get a glimpse of the
Shadow before she disappears into the night. After all,
they already know she’s associated with Candice.
Tammy: I’m happy for the Shadow to evade arrest.

But I want the police to discreetly follow the Shadow
back to Colonel Tarleton’s estate.
42
Edwin: Oh that’s good! The police will revise to that

outcome as well. But it looks like we’re still in conflict,
Nadia wants the Shadow to slip away unseen, but
Tammy and I want her to be followed by the police.
So let’s go to bidding. Nadia, the Shadow is super under
fire here, so you can start.
Nadia: I’ll bid one resolve token.
Edwin: I’m going to pass, so it’s over to you Tammy.
Tammy: I’ll bid two tokens.
Edwin: Oooh. Nadia want to bid three?
Nadia: Nope, I’m fine with that.
Edwin: Ok. So, Tammy you discard two resolve tokens.

And you tell us which of our revised outcomes will occur.
Tammy: Ok, so:
͠͠ Christopher will point out the Shadow

͠͠ Candice will slip away into the night
͠͠ But the Shadow will not get away unseen
͠͠ The police will discreetly follow the Shadow
back to Colonel Tarleton’s estate
So, everyone’s revised outcome occurred except Nadia.
Nadia, I just want to check in, are you alright with that?
Nadia: Yep, bring it, I’ll use my resolve tokens to get the
upper hand later.
Edwin: Nadia you also get one resolve token to

compensate you for your outcome not taking place.
Nadia: Sweet.
Edwin: Alright, let’s play this out. How does the Shadow
get Candice through the window unseen?
...
The action of the daring deed then proceeds in turns.
43
Good Society
REPUTATION CHANGES
Reputation in Sense, Sensibility and Swordsmanship functions in
a very similar way to Good Society. However, there are a few
changes you should note:
͠͠ Initial reputation tags are not used for characters which

have masked identities.
͠͠ If a major character does not have a masked identity, their
reputation functions in the same manner as Good Society.
44
REPUTATION CRITERIA AND REPUTATION TAGS

In Sense, Sensibility and Swordsmanship, major characters with a
masked identity have both masked identity reputation criteria,
and civilian identity reputation criteria. These criteria can be
found on the masked identity sheets.
As per usual, if your character’s behaviour meets any of the

positive or negative reputation criteria on your sheet, you will
create a corresponding reputation tag.
If your character meets the masked identity reputation

criteria, then the reputation tag you create will describe the
public’s perception of your character’s masked identity. Write
this tag on the public information sheet followed by an “(m)”
to indicate this.
If your character meets the civilian identity reputation

criteria, then the reputation tag you create will describe the
public’s perception of their civilian identity. Write your tag
on the public information sheet as normal.
As the Agent, the Solution will gain a negative reputation tag if he

acted beyond his authority, or revealed secret information he shouldn’t
have. During the encounter with Colonel Tarleton, he accidentally
reveals that the French Government are after the seal!
Tammy creates the reputation tag 'careless' for the Solution. She
writes this on the public information sheet with an (m) after it to
indicate it was the masked identity reputation criteria that led to the
Solution’s dip in reputation.
Christopher The Solution

Coded letters to my employer
Careless (m)
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Good Society
REPUTATION CONDITIONS
As per usual, a reputation condition will immediately trigger
if a major character accumulates three or more reputation tags
of the same type (positive or negative). For the purpose of
triggering a reputation condition, it does not matter whether
your reputation tags are masked identity tags or civilian
identity tags. However, the composition of tags that trigger
your reputation condition will determine which reputation
conditions you can choose from:
͠͠ If all your character’s reputation tags of the corresponding

type are masked identity tags, trigger your masked
identity reputation condition.
͠͠ If all your character’s reputation tags of the corresponding
type are civilian identity tags, choose one of your character
role reputation conditions to trigger.
͠͠ If your character has a mix of masked and civilian identity
reputation tags, you may choose either a reputation
condition from your masked identity or character role
sheet—whichever is narratively more satisfying.
46
TRIGGERING A REPUTATION CONDITION

Things have gone downhill for Shani’s major character, the
Bounty Hunter named the Golden Cuffs, who is also the Heir
Harry Williams.
In the last Rooftop phase, the Golden Cuffs was forced to

make a deal with a criminal in exchange for his life, causing
him to meet the Bounty Hunter negative reputation criteria.
Then, during the Novel Chapter phase, Harry displayed some
very strange behaviour while secretly looking for the Outlaw
known as the Shadow. In doing so, he acted in contravention
of society’s conventions, gaining a negative reputation tag for
his civilian identity.
Shani adds the negative reputation tags 'desperate (m)' and

'rude' to the public information sheet. Since Harry gained the
reputation tag 'foolish' last cycle, he now has three negative
tags in total. As Harry possesses three negative tags, this
triggers a negative reputation condition.
Since Harry’s negative reputation is comprised of both civilian

reputation tags ('foolish' and 'rude'), and masked reputation
tags ('desperate (m)'), Shani can select a negative reputation
condition from either her masked identity sheet, or her
character role sheet.
She chooses the condition Not Marriage Material from the

Heir character role sheet. After Harry’s odd behaviour at the
last ball, it only makes sense that his many suitors choose to
abandon him.
47
Good Society
THE MASKED IDENTITIES

Players should read through their own masked identity sheet,
along with those of their fellow players. The Facilitator can
also consider masked identity attributes when stepping in with
problems or complications for particular major characters.
͠͠ The Vigilante, p.50 ͠͠ The Bounty Hunter, p.56

Fight for justice and the Round up the criminal
people, and risk your life to scum that plague this city,
end corruption. and all for a nice fee.
͠͠ The Outlaw, p.53 ͠͠ The Agent, p.59
Execute audacious crimes, Complete the vital mission
whether to help the poor assigned to you by the
or simply line your own organisation or nation you
pockets. work for.
͠͠ The Charlatan, p.62
Show up your enemies,
break hearts, and be
generally the most popular
scoundrel in town.
48
49
Good Society
THE VIGILANTE
The people of this city have suffered ͠͠ Zorro
for too long against the yoke of ͠͠ The Scarlet Pimpernel
their oppressors. Every day, ordinary people are forced to surrender
the little they have into the corrupt hands of those in power.
This can stand no longer. What the people need is a hero.
Someone brave. Someone fearless. Someone who will stand up and
fight even when hope is lost. Someone like you.
The Vigilante is someone who goes outside the law to

punish wrongdoers and the corrupt, instead of relying on
the inadequate or compromised law enforcers of society.
They fight against the oppression or exploitation of the
ordinary people, whether by figures of authority, or criminal
gangs untouchable by the law. The Vigilante is driven by their
ideals, and their unshakable belief that they are making the
world a better place.
THE VIGILANTE IS…
Fighting for justice
A world where the cruel and the powerful oppress the poor,
where those in authority have no checks on their power, where
corruption and persecution reign supreme—this is the world
that needs the Vigilante. The Vigilante fights for justice to
prevent the exploitation of the weak, and to preserve freedom
and hope. They take the law into their own hands to do what
must be done.
Defending the people
It is not for their own sake that the Vigilante fights, but rather
to defend those who cannot defend themselves. They are the
shining glimmer of hope for the downtrodden, the only thing
standing in the way of those in power doing exactly what
50
they please. Not only does the Vigilante fight for the ordinary
people, but they care for their fate, and go out of their way
to help those in need even at the cost of their own gain,
or own skin.
Full of dramatic flair
There is no point doing justice unless justice is also seen to

be done—this is the logic of the Vigilante. They’re not a dark
and silent force that tries to hide its acts. Instead, they’re
often found making surprise entrances and exits in the most
dramatic way possible—and personally letting their enemies
and oppressors know that they are here to right wrongs.
They rely on and enjoy popular support, and may even play
up their operations for show. The Vigilante may also leave a
symbol, such as a carving or memento, to let their enemies
know they’ve meted out justice.
Foolhardy in the face of danger
The Vigilante fights for their ideals, not their personal gain.
The strong force of rightness propels them to be serial risk
takers that rarely back down from a fight, or the chance to
defend an innocent bystander. They care little for their own
safety, and have few compunctions leaping into action at any
moment—provided they can still keep their civilian identity
a secret, of course.
CONNECTIONS
The Vigilante needs oppression, corruption, or wrongdoing
to fight against. This may come from the Big Bad or another
player; but if not, the Vigilante should create a connection that
fills this role.
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Good Society
52
THE OUTLAW
The true law of this world isn’t dreamed ͠͠ Sovay
up by Parliament. It is the law of the pistol ͠͠ Lupin III
that lets every person take as much as ͠͠ Danny Ocean
they dare. You have never been short of talents, tools, or audacity.
However, it is not what you do possess, but what you don’t that
drives you to liberate the newest, shiniest, and best from its current
owners and into your eager hands.
The Outlaw is someone who breaks the law for their own gain.
Whether they are a master thief, sneaking into the vaults of
houses without leaving a trace, or an audacious highwayman,
robbing carriages in mid-daylight, the Outlaw is an expert at
taking what does not belong to them, and using it for their
own ends. The Outlaw is driven by personal motives and
desires, whether they aim to steal what no one has stolen
before, or simply to get rich.
THE OUTLAW IS…
Out for the biggest prize
More is always better for the Outlaw. Whether it’s the reward
that entices them or the challenge, they cannot resist the lure
of the biggest, rarest, most expensive, and most exclusive.
The Outlaw always keeps their eyes peeled for their next
target or prize, even as they’re still enjoying the fruits of their
previous exploits.
Willing to cut a deal
The Outlaw is out for their own skin, and that means they’re
willing to make a bargain, cut a deal, or negotiate, provided
it’s in their best interests. They recognise that working
together can at times be better than working alone—at least
for now. Whether they keep their promises when the prize is
in their hand is a matter for future consideration.
53
Good Society
One step ahead
The Outlaw doesn’t simply leap into danger. They plan,

strategize, observe, and prepare. They survive by being
one step ahead, and having all the information they need
to succeed. The Outlaw knows that more often than not
they’re unlikely to succeed in a fair fight—so they don’t intend
to have one. Instead, they use their quick wits and clever
planning to achieve their goals.
In touch with the underworld
The Outlaw may not have friends, but they do have contacts—
useful people with a useful range of skills. They’re likely to
know the town’s underworld operations: who you go to
for what, and who you never go near if you want to live.
The Outlaw can use this network to scrounge favours, seek
protection, and get information. Of course, the underworld
network isn’t always so friendly, and knowing all these
ethically impartial individuals can be as much a bane as it is
a blessing.
CONNECTIONS
The Outlaw needs someone to chase them—otherwise where
is the thrill in crime? If one of the major characters isn’t on the
hunt to pursue and arrest them, they should create a connection
who will. They may also wish to create an underworld contact
who could both help them, and betray them.
54
55
Good Society
THE BOUNTY
HUNTER ͠͠ Batman
These streets are filled with thieves, ͠͠ Rick Deckard
thugs, and murderers—the worst scum that humanity has to offer.
They think they can get away with anything. And the worst part is,
they probably would, if you weren’t here. Sure, you may get a reward
for your arrests. But this? This isn’t just a job. This is personal.
The Bounty Hunter makes a living rounding up the criminal

scum in town, and delivering them to the authorities.
They may be tasked with taking down specific outlaws,
or they may just be dedicated to cleaning up the streets.
But either way, they’ve made it their life mission to rid this
world of the no-gooders who help themselves to what they
shouldn’t. The Bounty Hunter can have various motivations
for pursuing their life path, but one thing that never wavers is
their dedication and determination to do what must be done.
THE BOUNT Y HUNTER IS…
The enemy of all crime
Let’s face it—the Bounty Hunter would do this even if they

weren’t being paid. They’ve seen the destruction that crime
can bring, whether to others or in their own past, and they’ve
dedicated their life to ending it no matter what.
The Bounty Hunter isn’t given to forgiveness or shades

of grey. They care little for the sob stories of the filth that
pollute the streets, or why they turned to crime. They have
only one purpose, and they’re here to do the job.
56
Eternally on the hunt
The Bounty Hunter is always on the hunt. No matter how

many criminals they deliver to the law, how many bad guys
they take down, it is never enough. They are always following
the clues, searching for the signs, and scoping the streets—
seeking for the outlaw that’s always evaded them, that one
enemy they can never catch.
A natural loner
The Bounty Hunter works alone—or if they don’t, they have

trouble trusting or relying on those they find themselves
teamed up with. They usually keep their observations to
themselves, go off on unexpected tangents or searches,
and have a habit of jumping into action before anyone else
can react. They rely on their own instincts and intelligence to
get them through, and often think of the involvement of others
as a burden.
On the edge of the law
The Bounty Hunter delivers criminals to the authorities,

or someone in authority, and it’s from them they collect their
reward. But the methods the Bounty Hunter uses aren’t
exactly legal themselves. As long as the authority and society
are happy with the Bounty Hunter, they turn a blind eye to
whatever it is they are doing. But if the Bounty Hunter goes
too far or falls out of favour, they risk being caught on the
wrong side of the law, and becoming the bounty themselves.
CONNECTIONS
The Bounty Hunter needs an outlaw to hunt. If that’s not
a major character, it should be a connection. The Bounty
Hunter should also consider creating a contact in power who
they deliver criminals to, especially if the two of them have a
tumultuous relationship.
57
Good Society
58
THE AGENT
From a young age, you’ve been cultivating ͠͠ James Bond
a certain kind of professional skill set. ͠͠ Agent 99
A kind that you knew would make you very valuable to others.
You see, ours is a world full of fakes and pretenders, people trying
every day to appear as something they are not. It just so happens that
you are the best at it. And there are always organisations willing to
pay the best to get the best.
The Agent is a skilled operator who is in the employ of

someone else. They’ve been given a mission to complete, and
they can’t rest until it’s done. The Agent risks life and limb—
and for what? It’s not the pay, even if they are getting the best.
Maybe it’s for the cause, maybe it’s to worm their way into
power. But whatever the reason, they’re in so deep now, they
better make sure the mission succeeds.
THE AGENT IS…
Part of something bigger
The Agent doesn’t call their own shots. They’re an employee,

part of something bigger with its own hierarchy, system,
desires, and intentions. This means there are times they have
to do what they’re told, even if they don’t like it. It may also
mean their employer is keeping secrets from them, or holding
secrets over them. On the other hand, the Agent has access
to a wider range of resources and contacts who can appear in
strange places to help them get the job done.
A lways on the job
First and foremost, the Agent is on a mission, and nothing else

is as important as that. The Agent doesn’t get downtime, they
can’t simply take off their mask and go to sleep. They’re on the
clock 24/7—the mission is critical and can’t wait. It’s not just
about the Agent making a name for themselves. They have a
59
Good Society
lot riding on their shoulders, and the needs and expectations

of others are laid on thick.
Playing a high stakes game
Anyone can a wear mask. But the Agent is the only one called
upon to wear a mask even when they’re not wearing one.
It’s hard for the Agent to separate their civilian identity from
their masked identity, especially since their civilian identity is
just another tool to get the job done. The suspicious behaviour
of their civilian identity means that if they’re found out, they
can’t simply take off the mask and hide.
R eady to compromise morality for the mission
Lying, cheating, stealing, and spying—it’s all for an important

cause. There’s nothing the Agent won’t do to achieve their
goals, even if it’s something they would consider a little
unethical outside of their line of work. After all, nothing is
more important than the mission.
Agents know better than to play it straight. As a result of

living a double life, they are expert pretenders, ready to lie,
bluff, or double bluff in any situation.
CONNECTIONS
The Agent needs a superior they report to from their
organisation. If this contact is not the Big Bad or one of the
other players, they should create one. If they already have a
contact, a double agent or enemy spy both make good choices
for a connection.
60
61
Good Society
THE CHARLATAN
The social requirements and ͠͠ Casanova
conventions of society are the very ͠͠ La Maupin
enemy of love, passion, and entertainment. Beneath the dull veneer
of obligation, a true adventurer waits to be set free. Few in this
world can match you in a duel of swords, affections, or wit. If only
there were some way to cast off the chains of “respectability” that
haunt your waking hours. Oh wait, there is.
The Charlatan is someone for whom the shackles of propriety,

expectation, and convention weigh on far too heavily.
They are passionate in both love and vitriol, and extravagant
in their gestures and behaviour. Their impulsive nature and
hot temper tend to make them a little reckless, so they better
hope they are as good with a sword as they are dramatic.
THE CHARLATAN IS...
In love with love
The Charlatan is always in love with someone, but it doesn’t

really seem to matter who. They have a penchant for grand
romantic gestures, embarrassing flights of passion, and
improvised poetry. The opportunity to flirt without caution
is one of their most valued freedoms. When enraptured, they
are totally and completely devoted to their love interest—
for today at least.
The perennial show- off
Perhaps the only thing the Charlatan does love more than love
is being the centre of attention. They will miss no opportunity
to show off or show up their enemies, and relish the chance
for a dramatic showdown. Nothing makes the Charlatan more
infuriated than being ignored or overlooked, and nothing
happier than being at the centre of unnecessary spectacle.
62
An escape artist
When one is so good at getting oneself into a vast array of

trouble, one must also be excellent at getting out of it. Such
is the case for the Charlatan, who has a habit of mysteriously
vanishing from gaol cells and invisibly absenting themselves
from sure-death situations. The Charlatan is never where you
expect them to be, and often shows their head unexpectedly
to give one last insult or flirtatious wave before disappearing
into the night.
Dedicated to embarrassing their enemies
The Charlatan isn’t a particularly good friend, but they are

an extremely irritating enemy. Silent revenge is not the
Charlatan’s style; rather, they are determined to publicly
humiliate their enemies with an alarming frequency.
They don’t often succeed in doing any substantial damage,
but instead leave their foes infuriated, embarrassed, and with
sullied reputations.
CONNECTIONS
The Charlatan needs someone to love, and someone to hate.
If no major characters fill these roles, create connections who
will. Even if the Charlatan already has a love interest, more
than one sweetheart is far from out of character.
63
Good Society
64
PLAYSETS
This section contains five playsets for you to choose from
when you play Sense, Sensibility and Swordsmanship. These
playsets are similar to those contained in Good Society, with
three main differences:
͠͠ Most major characters with masked identities have

two desires! One desire is from Sense, Sensibility and
Swordsmanship and provides a motivation for their masked
identity, and the other is from Good Society and provides a
motivation for their civilian identity.
͠͠ Major characters have only one relationship, but this
may be from either Sense, Sensibility and Swordsmanship,
or Good Society.
͠͠ Every playset contains a spare option that does not have
a masked identity or Sense, Sensibility and Swordsmanship
desire. During Backstory, players have the option of
choosing this spare if they wish to play a character who
does not wear a mask.
Some of these playsets require the Evil Plot module, while for
others it is optional.
Sense, Sensibility & Swordsmanship Playsets

͠͠ The Mask Rises, p.66
͠͠ The Mask Returns, p.68
͠͠ An Inconvenient Feud, p.70
͠͠ An Outlaw's Revenge, p.72
͠͠ A Bounty Hunter's Revenge, p.74
Evil Plot Examples

͠͠ A Royal Welcome, p.76
͠͠ Injustice is Served, p.77
͠͠ Family Drama, p.78
͠͠ Fear Monger, p.78
͠͠ I'll Get These So-Called Heroes, p.79
65
Good Society
THE MASK RISES

There’s more than one scheme afoot in this Zorro-style
playset of vengeance, love, and reunion. A tangled past has led
to anger, loss, and separation. Will our major characters unite
against a common adversary, or become obsessed with their
own crusades?
Suitable for...
͠͠ Romantic comedy or drama

͠͠ Games of three cycles or more
͠͠ Playing with the Evil Plot module
͠͠ Groups looking for a serious exploration of relationships,
coupled with swashbuckling adventure
Using this playset
This playset requires the Evil Plot module.
A dastardly kidnapping: This playset works best with some

established backstory. The suggested backstory is that the
Child of the character with desire #67 was kidnapped as a
baby by the Big Bad. That child now lives as the child of the
Big Bad, and is unaware of their true parentage.
For love of the mask: Ordinarily, Good Society relationships
connect two civilian identities. However, in this playset,
the Object of Affection relationship card (relationship #30),
held by the character with desire #71, connects two masked
identities instead.
A spot of disagreement: The character with desire #70 is,

at least at the game’s beginning, in league with the Big Bad.
This means they may end up in conflict with the other players.
An untimely departure: The player with desire #69 may decide

to choose the identity of their father’s killer at the beginning
of the game, or to find out through the course of the game—
good options include another major character or the Big Bad.
66
THE MASK RISES

● ● ● ● ● ● ● ● ● ● ● ●
Desires: #68 & #5 Desires: #68 & #5 Desires: #68 & #5

R elationship: #77 R elationship: #77 R elationship: #77
Role: Socialite Role: Socialite Role: Socialite
M ask: Bounty Hunter M ask: Bounty Hunter M ask: Bounty Hunter
Role: Cornerstone Role: Hedonist Role: Hedonist
M ask: Outlaw M ask: Outlaw M ask: Outlaw
Role: Hedonist Role: Cornerstone Role: Cornerstone
M ask: Agent M ask: Agent M ask: Agent
SPARE Desires: #67 & #8 Desires: #71

Desires: #7 R elationship: #33 R elationship: #30
R elationship: #28 Role: Dowager Role: Dependent
Role: Meddler M ask: Vigilante M ask: Vigilante
Family: Old Money
SPARE Desires: #67 & #8
Desires: #7 R elationship: #33
R elationship: #28 Role: Dowager
Role: Meddler M ask: Vigilante
Family: Old Money
SPARE
Desires: #7
R elationship: #28
Role: Meddler
Family: Old Money
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Good Society
THE MASK RETURNS

Legacy, forgiveness, and the perils of cooperation are the
main themes of this second Zorro-style playset. Some wear
the mask for the first time. Others return to the rooftops at
last. Will they learn to fight together, or will they simply
fight each other?
Suitable for...
͠͠ Any tone
͠͠ Games of any length, from short to long
͠͠ Playing with the Evil Plot module
͠͠ Groups looking for a classic adventure comedy tone, with
a little relationship drama on the side
Using this playset
This playset requires the Evil Plot module.
An unfortunate debt: When deciding who the creditor is

of the character paying off their debts (desire #74), consider
suggesting the Big Bad as an option.

Make sure the player with desire #70 is comfortable with this
prospect. If they aren’t, they may wish to swap desires with
another player.
A mandatory uncle: The player holding desire #17 should
use their Relation relationship card (relationship #29) to decide
which major character will be their cousin. They should then
create an uncle as a mandatory connection. During play, use
their uncle to push that player into action. When the question
of who will receive the inheritance is no longer interesting,
your group may consider having the uncle pass away.
68
THE MASK RETURNS

● ● ● ● ● ● ● ● ● ● ● ●
Role: Meddler Role: Meddler Role: Meddler
M ask: Vigilante M ask: Vigilante M ask: Vigilante
Role: Careerist Role: Cornerstone Role: Cornerstone
M ask: Agent M ask: Vigilante M ask: Vigilante

Role: New Arrival Role: Careerist Role: Careerist
M ask: Vigilante M ask: Agent M ask: Agent
SPARE Desires: #73 & #5 Desires: #73 & #5

R elationship: #30 Role: New Arrival Role: New Arrival
Role: Heir M ask: Vigilante M ask: Vigilante
Family: Peerage
R elationship: #30 Role: Tutor
Role: Heir M ask: Outlaw
Family: Peerage
SPARE
Desires: #9
R elationship: #30
Role: Heir
Family: Peerage
69
Good Society
AN INCONVENIENT FEUD
A great feud forms the backdrop for this light-hearted playset
of swashbuckling, secret agents, and sentiment. Layers upon
layers of plans abound for the acquisition of riches, revenge,
and more importantly, advantageous marriages. Will our
major characters decide to duel, or to kiss (or both)?
Suitable for...
͠͠ Farce or romantic comedy

͠͠ Playing with or without the Evil Plot module
͠͠ Groups ready for plans within plans, and romantic chaos
Using this playset
This playset can be used either with or without the Evil Plot
module, but using the Evil Plot module is recommended.
Desire #70 can only be used if the Evil Plot module is in play.
Swap desire #70 out for the spare if you are not playing with
the Evil Plot module.
For love of the mask: Ordinarily, Good Society relationships

connect two civilian identities. However, here the Object of
Affection relationship card (relationship #30), held by the
character with desire #71, connects two masked identities instead.
An untimely departure: The player with desire #69 may

decide to choose the identity of their father’s killer at the
beginning of the game, or to find out through the course of
the game. Another major character is a good option, as is the
Big Bad if in play.
70
AN INCONVENIENT FEUD
● ● ● ● ● ● ● ● ● ● ● ●

Role: Heir Role: Heir Role: Heir
Role: Cornerstone Role: Socialite Role: Socialite
Role: Meddler Role: Meddler Role: Dependent
M ask: Charlatan M ask: Charlatan M ask: Charlatan

R elationship: #33 Role: Careerist Role: Meddler
Role: Dowager M ask: Bounty Hunter M ask: Charlatan
Family: Peerage
R elationship: #33 Role: Careerist
Role: Dowager M ask: Bounty Hunter
Family: Peerage
SPARE
Desires: #7
R elationship: #33
Role: Dowager
Family: Peerage
71
Good Society
AN OUTLAW’S REVENGE
Dramatic irony abounds in this playset about revenge,
romance, and retirement. In their masks, many of these
characters have it out for each other, whether they’re motivated
by money, vengeance, or simply the law. But while animosity
flourishes at night, by day very different feelings arise.
Suitable for...
͠͠ Any tone
͠͠ Groups ready for an all-swords-drawn showdown, with
more than a sprinkling of romance
Using this playset
An Older Character: To make this playset work, the player

holding desire #2 should let the other players know they need
to form their relationship Old Family Friend (relationship
#26) with an older character. Ask for a player who is happy to
create an older character for this purpose.
Love by night: The player with desire #71 must choose a

mask to be the object of their affection. While this can be
anyone, it’s usually more fun if it’s the masked identities of one
of the major characters.
One last job: The player with desire #75 must determine
with the Facilitator what their last job is. Perhaps it’s the
daring arrest of one of the other major character’s masked
identities? Alternatively, if the Evil Plot module is in play, it
may work well if the Bid Bad gave them their one last job.
The player should decide who their arch-enemy is before
determining the details of their job.
You’re under arrest!: The player with desire #68 must

pick an outlaw to pursue. It’s best if they pick another major
character.
72
AN OUTLAW'S REVENGE
● ● ● ● ● ● ● ● ● ● ● ●
Role: New Arrival Role: New Arrival Role: New Arrival

Role: Dowager Role: Dowager Role: Dowager
Role: Dependent Role: Dependent Role: Dependent

R elationship: #28 Role: Careerist Role: Careerist
Role: Socialite M ask: Bounty Hunter M ask: Bounty Hunter
Family: Peerage
An untimely departure: Desires: #3 R elationship: #24

The player with desire R elationship: #28 Role: Heir
#69 may decide to Role: Socialite M ask: Charlatan
choose the identity of Family: Peerage
their father’s killer at the SPARE
beginning of the game, Sweet Vengeance: The Desires: #3

or to find out through player with desire #78 R elationship: #28
the course of the game. must pick a target for Role: Socialite
Another major character their revenge. It’s best if Family: Peerage
is a good option, as is the they pick another major
Big Bad if in play. character.
73
Good Society
A BOUNTY HUNTER'S REVENGE

Revenge and forgiveness push and pull on the characters in
this slightly darker playset. Characters have strong feelings
and conflicting intentions, and the path to a happy ending
is a troubled one—if such a path exists at all. Lean into the
feelings and see where the drama takes you.
Suitable for...
͠͠ Romantic comedy or drama

͠͠ Groups willing to throw their characters into conflict, and
embrace the drama
Using this playset
This playset can be used either with or without the Evil Plot
module.
You’re under arrest!: The player with desire #68 must

pick an outlaw to pursue. It’s best if they pick another major
character.
Sweet Vengeance: The player with desire #78 must pick a

target for their revenge. It’s best if they pick another major
character.
One last job: The player with desire #75 must determine
with the Facilitator what their last job is. Perhaps it’s a daring
theft from the secure vault of one of the major character’s
civilian identities? Alternatively, if the Evil Plot module is in
play, it may work well if the Big Bad gave them their one last
job. The player should decide who their arch-enemy is before
determining the details of the job.
74
A BOUNTY HUNTER'S REVENGE

● ● ● ● ● ● ● ● ● ● ● ●
Role: Careerist Role: Careerist Role: Careerist
Role: Dependent Role: Dependent Role: Dependent
Role: New Arrival Role: New Arrival Role: New Arrival

R elationship: #24 Role: Cornerstone Role: Cornerstone
Role: Tutor M ask: Outlaw M ask: Outlaw
Family: Humble Origins
R elationship: #24 Role: Hedonist
Role: Tutor M ask: Outlaw
SPARE
Desires: #4
R elationship: #24
Role: Tutor
75
Good Society
EVIL PLOT EXAMPLES

Below are some examples of Evil Plots to help jump start your
nefarious scheming. You can use these examples in your game
and change or adapt them as needed.
You’ll still need to create a Big Bad for your game, either with
your group at the start of Backstory, or in your preparation
before the game starts.
A ROYAL WELCOME
This plot is a stock standard scheme perfect for any playset.
͠͠ The Big Bad wants to... steal the golden seal

͠͠ So they can... fake the announcement of a royal ball
͠͠ To then... lure the prince regent to the Big Bad’s estate
͠͠ In order to... kidnap the prince regent and sell him to
France
͠͠ It’s worse than we thought, because... the French don’t
require the prince regent alive!
76
INJUSTICE IS SERVED
This plot revolves around social manoeuvring, and is great
for romantic comedy or drama. This Evil Plot is most fun if a
major character is the Big Bad’s enemy.
The Baron in this plot could be any influential target, so feel

free to change them to suit your game. The Baron or their
child could even be one of the major characters.
͠͠ The Big Bad wants to... send their agent to become close
to the Baron’s child
͠͠ So they can... investigate the Baron and discover their
secrets
͠͠ To then... blackmail the Baron to secure the Big Bad’s
appointment to the chief justiceship of this area
͠͠ In order to... use their power to take revenge on their
enemy
͠͠ It’s worse than we thought, because... they plan to lock
their enemies up for life or send them to the gallows
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Good Society
FAMILY DRAMA
This is an outrageous villainous plot appropriate for the farce
or romantic comedy tones. It would work well with the Mask
Returns playset and the Inconvenient Feud playset.
This Evil Plot packs the most punch if the Big Bad is related
to at least one of the major characters.
͠͠ The Big Bad wants to... lure a member of their extended

family to an event in a remote place
͠͠ So they can... kidnap them
͠͠ To then... blackmail their family for access to the ancestral
vault with the deeds to the town
͠͠ In order to... claim ownership of most of the town
͠͠ It’s worse than we thought, because... they plan to eject
everyone from their houses and sell them to the highest
bidders
FEAR MONGER
This is a more serious plot, appropriate for the drama tone or a
heavier romantic comedy. It deals with power and corruption.
The Big Bad’s child could be one of the major characters to

make this plot more interesting. This plot works well with the
Mask Rises playset.
͠͠ The Big Bad wants to... stir up fear about all these
masked criminals
͠͠ So they can... become elected as the local governor by
promising to crack down on crime
͠͠ To then... demolish the poor part of town to build a giant
coal mine
͠͠ In order to... buy their child a Dukedom with the money
͠͠ It’s worse than we thought, because ... the coal mine
could leak poisonous gas
78
I’LL GET THESE SO-CALLED HEROES

This plot is suitable for all tones, and would work well with
most playsets. It implies a pre-existing relationship between
the major characters’ masked identities and the Big Bad.
As the game starts, the Big Bad already knows who the friends
and accomplices of the town’s masked outlaws are.
This plot is suitable for a shorter game.
͠͠ The Big Bad wants to... bribe the local chief justice with
an advantageous marriage
͠͠ So they can... arrest the friends and accomplices of the
town’s masked outlaws
͠͠ To then... find out their civilian identity
͠͠ In order to... publicly expose them and run them out of
town
͠͠ It’s worse than we thought, because... once the
Vigilantes are gone, then the Big Bad’s real evil plot can
begin
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Good Society
SENSE, SENSIBILIT Y AND SWORDSMANSHIP

SUMMARY OF RULE CHANGES
Here’s a summary of the rule changes between Good Society
and Sense, Sensibility and Swordsmanship:
Backstory
͠͠ Use a Sense, Sensibility and Swordsmanship playset

instead of a Good Society playset
͠͠ Most major characters have both a Sense, Sensibility and

Swordsmanship desire and a Good Society desire.
͠͠ Major characters may have either a Sense, Sensibility and

Swordsmanship relationship or a Good Society relationship
depending on the playset. Sense, Sensibility and
Swordsmanship relationships apply to masked identities,
while Good Society relationships apply to civilian identities
(unless the card or playset says otherwise).
͠͠ Any major character with a masked identity will not have a

family background.
͠͠ Initial reputation tags are not used for characters with

masked identities.
͠͠ Major characters with a masked identity have one

connection from their character role sheet, and one from
their masked identity sheet. They can use cards from
either the base deck or expansion for both.
͠͠ Multiple players can choose the same masked identity.
͠͠ (Optional) Complete Big Bad and Evil Plot creation as the

first step in Backstory, then end Backstory by selecting the
Big Bad’s second-in-command.
80
Rules of Play
͠͠ Masked identities have a key to revealing their civilian

identity. Their identity may also become publicly revealed,
triggering their revealed condition.
͠͠ The daring deeds resolution process is in operation.
Cycles
͠͠ Expect each cycle to take around 3 to 4 hours. This is good,

it means the characters are doing lots of exciting things!
͠͠ Inner conflicts are optional for games of four or more

cycles (and always excluded for shorter games).
͠͠ A new phase, the rooftop phase, is added before each

Novel Chapter phase.
͠͠ During the reputation phase, players will assess both the

reputation of their masked identity and civilian identity.
They add an (m) after masked identity reputation tags.
͠͠ During upkeep, changes can be made to the Evil Plot to

keep it interesting and relevant to the story. If the Evil Plot
has been foiled or completed, a new Big Bad and Evil Plot
can be created.
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Sense, Sensibility & Swordsmanship (OEF)

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Sense, Sensibility & Swordsmanship (OEF)

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Good Society

SS&S PDF Edition v1.0

I must express my regret, as I am unable to attend the ball

Yours, etc. Charlotte

Everything is in place for tonight. Be waiting with the

W swashbuckling Good Society expansion of masked

Inspired by works such as The Mask of Zorro, Sovay, and the

Expect to be caught up in plots, schemes, machinations,

This text contains all the information you need to add

What’s in this expansion?

You’ll find the following in Sense, Sensibility, and Swordsmanship:

͠͠ Masked Identities: Each major character has a masked

͠͠ The Rooftop Phase: The Rooftop phase is a new phase

PREPARING YOUR GAME OF SENSE,

This section replaces the Preparing Your Game section on

How many major characters will appear in your game?

We recommend that your game has three to five major

Will your game have a Facilitator?

We recommend a Facilitator for players new to Good Society,

Approximately how many cycles will your game consist of?

For the full Sense, Sensibility and Swordsmanship experience,

You can also play an introductory game of one or two cycles.

You can expect each cycle of play to take a little longer in

You will find several Sense, Sensibility and Swordsmanship

After choosing your playset, decide whether your group will

Will you play with the Evil Plot module?

Will you play with inner conflicts?

Inner conflicts are never used in games of three cycles or less.

If your game of Sense, Sensibility and Swordsmanship will be

WHAT YOU’LL NEED TO PLAY

If you’re playing Sense, You’ll also need:

To play this game online, we recommend you use a shared

When we play online, we generally make use of a Google

You can find a link to the document template we use here.

Scarlet Pimpernel, is both a disguise and a name unto itself.

When creating a masked identity, there are five archetypes to

PLAYING WITHOUT A MASKED IDENTIT Y

MASKED IDENTITIES AND CIVILIAN IDENTITIES

͠͠ Their masked identity is the person they become when

A major character’s masked identity replaces

Tammy’s major character has both a masked identity and a

Their major character’s masked identity is the Solution,

Their major character’s civilian identity is Christopher,

The only person that knows of Christopher’s dual identity (that

As Christopher has a masked identity, Tammy will not use a

THE MASKED IDENTIT Y SHEET

❶ Masked Identity Basics: This section contains

❷ K ey to revealing your civilian identity: When you

Your key is a narrative tool that major characters and

❸ Connection Options: You have connection options on

❹ Masked Identity Attributes: Masked identity

❺ R eputation Criteria: Just like your civilian identity,

For example, the Outlaw gains reputation if they risk life

The reputation criteria on your masked identity sheet

There are minor changes to the way reputation works in Sense,

 Masked Identity R eputation Conditions: Reputation

 R evealed!: The events that occur if your dual identity

KEY TO REVEALING CIVILIAN IDENTIT Y

In the second rooftop phase, Nadia’s major character, the

Masked Identity R eputation Conditions: Reputation

R evealed!: The events that occur if your dual identity