One Last Job

8/11/2019 One Last Job

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SOLD TO THE FINE

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ONE LAST JOB

Copyright Grant Howitt, 2014

To support my game design, go to http://www.patreon.com/gshowittand become a patron.

! you"d #i$e to read more o! my stu!!, chec$ out my b#og at http://#oo$robot.co.u$/.

! you"%e down#oaded this game !or !ree, and you"%e en&oyed it, p#ease share the down#oad #in$with other !o#$ who might be interested.

'rt by Greg (#ac$man ##ustrations

)aceboo$:https://www.!aceboo$.com/Greg(#ac$man'*TTwitter: https://twitter.com/Greg(#ac$man'rt

Tumb#r: http://gregb#ac$manart.tumb#r.com/

CONTENTS

+T*-CT+ p

T'*T+G TH G'3 p4

TT+G TH C*5 TGTH* p6C+ T7 p8

9 '+++G C+ p;

9 'CT+ C+ p(7 5'*+G 'T 'CH TH*? p12

TH G'33'T* p16

+*- (7 '+- TH'+= T p1;

TT+G p 1in addition to p#anning your approach during the p#anning scene? means two

things:

Pr$fiie%& #$%'s

7ouFre in your e#ement. 'dd a dice to a## poo#s you ro## during your stage o! the Bob.

P'((i%) $'t

7ou decide whether or not the team pu##s out o! a scene that"s getting too dangerous to hand#e, and youdea# with the eEtraction. >ee be#ow !or more detai#s on pu##ing out.?

DESCRIBING YOUR ACTION

#ay in ne ast Bob ta$es in p#ace in rounds. %eryone on the crew acts once during a round the

order doesn"t matter, a#though the #eader can a#ways go !irst i! they want to. nce e%ery p#ayer has

acted, a new round begins.

nce e%ery space on the comp#etion trac$ is mar$ed o!!, the crew has comp#eted the ob&ecti%e.

5hen you act, describe what you"re attempting to do what you do in!#uences what traits you use when

ca#cu#ating your dice poo#. 7our poo# siDe is ca#cu#ated by ta$ing as many dice as your rating in the

re#e%ant abi#ity, adding any dice !rom #egends or eKuipment and subtracting any dice !rom scars. >ee

the Traits section #ater on !or more detai#s about a## o! these.? 5hen you act against the scene, you"re ina con!#ict with the G3 that you ro## to reso#%e. *o## to see i! you win or #ose, i! you get hurt, and i! you

ma$e the situation more dangerous than it was to begin with.

5hat your action is depends on the pacing o! scene in Kuestion i! it"s a !ight, you might describe a

b#ow9by9b#ow account o! the action. ! it"s a #ong &ourney, you might each describe a day"s tra%e#, or a

%ignette !ocusing around your character and their abi#ities. 7our action is when the imaginary camera

!ocuses on your character, and you ro## dice to see how much o! an impact they ma$e.

)ee# !ree to !o##ow on !rom other character"s actions so i! they !ai# at a tas$, you can attempt it, or he#p

them out or carry on, trying something e#se entire#y. nce you"%e ro##ed the dice, you can interpret

how we## your action went with the G3.

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DRAWS

! you and the G3 both ha%e the same highest dice, you and your opposition are e%en#y matched at

#east !or now. 's the con!#ict hangs in the ba#ance, choose one o! the !o##owing. ! the G3 has mu#tip#e

dice that match your highest, you can repeat this process unti# you win the con!#ict.

DO SOMETHING STUPID: et the G3"s highest dice to 1 and add a dice to the danger poo#.

GET YOURSELF HURT: et the G3"s highest dice to 10 you #ose a point o! stamina, but the dice is

remo%ed !rom the ro##. >ee be#ow !or more about #osing stamina.?

BACK AWAY: ose the con!#ict.

STAMINA LOSS

%ercoming prob#ems can be eEhausting, ris$y, and e%en #i!e9threatening but you"re the best at what

you do, so it"s a## part o! the &ob. 5hen a danger dice shows 10, it"s remo%ed !rom the ro## >but not the

poo#? and you #ose 1 point o! stamina !or each dice remo%ed. 5or$ out what happened narrati%e#y withthe G3 maybe you too$ a hit, or maybe you"re &ust getting tired, or scared, or your hip is acting up.

't the end o! the scene, your stamina is restored to its starting %a#ue as you grab a !ew seconds and

catch your breath.

G3, ! the danger poo# is e%er reduced to Dero dice, ro## another dice i! this dice comes up as a 10,

remo%e another point o! stamina and $eep ro##ing additiona# dice unti# you score < or under.

THE DANGER POOL

The danger poo# is a representation o! how... we##, how dangerousthe scene is getting. The dangercou#d be outright you"re surrounded by ra%enous wo#%esN 9 or subt#e the #ady o! the manor is getting

c#oser and c#oser to your hiding9spotN 9 but, mechanica##y, it a## wor$s in the same way.

G3, the danger poo# starts at 2.

ncrease the poo# by 1 !or e%ery 1 that a p#ayer ro##s on their dice.

't the beginning o! e%ery new round, increase the poo# by 2.

7ou can a#so try to increase the siDe o! the poo# once per scene by sounding the a#arm. 5hen you

trigger an e#ement, you can re9ro## the dice. >ee the G3 section !or more detai#s on both o! these.?

G3, describe what happens when the danger poo# increases or decreases in siDe.

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LOSING ALL YOUR STAMINA

! you #ose a## your stamina, you"re out o! the scene wor$ out why. 7ou cou#d be in&ured, or

unconscious, or you cou#d !#ee the scene, or hide, or be captured, or get stuc$ in some inescapab#e

situation. 5hate%er the reason, you"## ta$e no !urther part in this scene. *emember, your stamina

returns to its starting %a#ue at the end o! e%ery scene.

Choose one o! the !o##owing options during the neEt p#anning scene. 7ou can"t choose the same option

twice.

TAKE A HIT: *educe an abi#ity rated 2 or higher by 1. -escribe what #owers it G3, i! you !ee# thechoice o! abi#ity or description doesn"t !it, you can as$ the p#ayer to change either.

PUT SOMEONE ELSE IN DANGER:ic$ another character and remo%e reduce o! their abi#ities rated 2

or higher by 1.

BETRAY THE TEAM: Gi%e a grit to e%ery other p#ayer. 'dd 4 spaces to the neEt scene"s comp#etion

trac$. 5or$ out what your e%i# p#an a## a#ong was with the G3. The G3 gets to use your character as an

e#ement in the neEt action scene you &oin them as an +C, and no #onger ro## your own poo#s o! dice.

HIDE THE PAIN: Ta$e part in the neEt scene as norma#, but at the end o! the scene, your character dies.

n #ess combat9hea%y settings, your character is permanent#y remo%ed !rom the story in some other

way, i! you wish. ! you #ose a## your stamina during the neEt scene, you die immediate#y.

PULLING OUT

ometimes, a scene can get too hot to hand#e, or a crew member can be ta$en out o! action without

warning, and the crew decide to ta$e a di!!erent approach. ! the scene #eader decides to, the group canpu## out at the end o! the round be!ore the G3 increases the siDe o! the danger poo# or sounds the

a#arm >i! they ha%en"t a#ready?.

The #eader ma$es a !ina# ro## against the danger poo# i! they win the con!#ict, they can sa!e#y eEtractone character !or e%ery success they ro##. The #eader chooses which characters, inc#uding their own, to

eEtract sa!e#y.

'nyone who is not eEtracted sa!e#y gains a scar it"s !resh, though, so it"s technica##y a wound that

represents a setbac$ or in&ury they su!!ered as they pu##ed out. This does not count towards theirmaEimum number o! scars, and it does not earn them any grit. >ee the neEt chapter !or more

in!ormation on scars?.

Then the #eader wor$s with the G3 to estab#ish a di!!erent scene that achie%es the same ends >oo$s#i$e we"re not getting through the !ront gates with a ram9raid we"## try to e%ade capture and brea$ in

through the %enti#ation sha!ts instead.? and p#ay begins again with them as the #eader. The new scene

starts with a danger poo# o! , not 2.

7ou can"t pu## out o! the !ina# scene.

GAME OVER

hou#d e%ery character die, the mission is !ai#ed and the &ob is o%er. 3aybe their husbands and wi%es goon a re%enge mission a month or two a!terwards. That sounds #i$e it cou#d be !un.

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HOW TO MA,E A CHARACTER -BY SWEARING AT EACH OTHER.

You watch him run into the brawl and get knocked over in seconds. et up, you say, and pull him to his

feet0 you can't believe he's gotten so old so 7uickly, and you tell him this is no uncertain terms. ne time,back in the day, he took down four cops with nothing more than a chair leg. 6e shrugs you off, spits out

a mouthful of blood, and lunges forward to grab one of the guards in a choke hold.

's you p#ay the game, you"## de!ine each other"s characters more by interacting with each other andreminiscing or insu#ting each other and in%enting an imaginary, impro%ised past history.

There are !our $inds o! traits you can estab#ish abi#ities, #egend, eKuipment and scars.

ANECDOTES

'## traits are estab#ished by te##ing anecdotes about other characters you can"t estab#ish your own.abi#ities are estab#ished beforethe dice are ro##ed, and in!#uence the dice poo# a## other $inds o! traits

are estab#ished a!ter, and a##ow either a re9ro## or an automatic success.

'n anecdote shou#d describe an eEperience that happened in the past that re#ates to the tas$ at hand.

E/r%i%) )rit thr$')h /%e+$tes

5hen you estab#ish a trait by te##ing an anecdote, you can earn grit !or doing so. >Grit is used to hea#

yourse#! and to get a brie! boost in power during action scenes.? 7ou gain a point o! grit i! you do any o!the !o##owing during an anecdote:

3ention your own character in the anecdote.

3ention another character, aside !rom the one with the triggering ro##, in the anecdote.

Tie the anecdote bac$ into a pre%ious anecdote.

Tie the anecdote bac$ into to the Catastrophe.

! more than one person gets in%o#%ed in the anecdote, wor$ out who ga%e the most to it, and award

them the grit. ! you can"t wor$ it out, gi%e a## the participants grit and mo%e on.

Bei%) r'+e

3ost anecdotes, e%en positi%e ones, are intended to be rude you"re waiting unti# someone messes upand then saying how they usedto be better, which spurs them on to great success. G3, i! you !ee# ananecdote is especia##y cutting, embarrassing, or entertaining, !ee# !ree to hand out an additiona# point

o! grit to the p#ayer that"s te##ing it.

Ref'ti%)

7ou can re!ute an anecdote that another p#ayer ma$es up about you it"s not true, in the game !iction,

and they"%e either remembered it wrong or they"re #ying. ! you re!ute an anecdote, you don"t get access

to any o! the bene!its associated with ta$ing on a trait.

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C$%tr/+iti%)

! a statement contradicts something that"s a#ready been estab#ished as true, it can"t be ta$en on as a

trait. )or eEamp#e, i! a character ta$es part in a sta$eout and sees something through binocu#ars and,

#ater on, it"s stated that they can"t see anything because they"re b#ind, that won"t wash. ! they"%edescribed themse#%es as ta##, you can"t say that they"re short.

STAC,ING

7ou can on#y estab#ish one trait a!ter a p#ayer has ro##ed a #egend, a piece o! eKuipment, or a scar. 7ou

can"t do more than one to the same ro##.

TRAITS

ABILITIES

'bi#ities !orm the core o! your character and go%ern the $inds o! actions that they can ta$e in the gamea## characters start with a## abi#ities at 2, which is a%erage.

When soeone !""e#"s !n !$"%on& o( $!n es"!)*%sh "he%+ +e*e,!n" !)%*%". stab#ish an abi#ity

a!ter someone dec#ares an action but be!ore dice are ro##ed.

Yo( $!n'" es"!)*%sh soeone !s "he )es" !" !n !)%*%" (n"%* soeone h!s )een -es$+%)e- !s "he

o+s" !" "h!" !)%*%". A/+ee%n/ "o )e "he o+s" !" soe"h%n/ /%,es o( 0 GRIT.

(ecause you ha%e to estab#ish someone as the worst at something be!ore someone e#se is the best, it

pays to ta$e one !or the team by attempting actions ear#y in the game that you don"t mind being bad at.

The character who is best at an abi#ity ro##s dice when using it. The character who is worst at it ro##s

1. 7ou can on#y ha%e one character who"s the best, and one who"s the worst.

The precise nature o! abi#itiesdepends on the setting, and go%ern what"s important and possib#eduring p#ay. G3, ma$e up abi#ities be!ore the game or ta$e them !rom one o! the settings at the end o!

this document. >There"s some ad%ice on ma$ing up your own in the G3 section o! this boo$.?

LEGEND

egends are noteworthy things you"%e done in the past things that you"re !amous >or in!amous? !or.

Des$+%)e ! *e/en- hen ! #*!e+ 1!%*s !" ! "!s2 "o /%,e "he !n %e-%!"e +e+o** %"h !n!--%"%on!* -%$e %n "he%+ #oo*.

egends add an eEtra dice to any ro## they might app#y to >the G3 has !ina# &udgement on this?.

ach character has room !or two #egends.

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E0UIPMENT

Use E3(%#en" hen ! #*!e+ 1!%*s !" ! "!s2 "o /%,e "he !n %e-%!"e +e+o** %"h !n !--%"%on!*

-%$e %n "he%+ #oo*. Kuipment is $ept #oose unti# another p#ayer determines what you"re carrying

assume you ha%e e%erything you need to do your &ob, but nothing remar$ab#e, unti# someone mentions

it.

i$e egends, Kuipment adds a sing#e dice to any action in%o#%ing the eKuipment.

%ery character has one noteworthy piece o! eKuipment.

SCARS

7ou"%e got prob#ems.An o"he+ #*!e+ $!n "(+n ! 1!%*(+e %n"o ! s($$ess ) en"%on%n/ o(+ s$!+s.

! you generate a scar !or another p#ayer, they #ose no stamina this turn no matter what happens. n

addition, they can ta$e any one o! the dice in their poo# and change it to a 10.

5hen you gi%e a character a scar, you"re turning !ai#ure into statistica##y9un#i$e#y success. cars remo%ea dice !rom a re#e%ant poo# down to a minimum o! one.

7ou ha%e a maEimum o! 2 scars. 5hen you accept a C'*, ta$e 2 G*T.

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THE GAMESMASTER

You step out from the shadows and punch the guard in the gut0 he doubles over, and you bring your

knee up into his chin, and he staggers back from the blow and collapses into a heap. You're about tocongratulate yourself on a #ob well done, that maybe you've still got what it takes, when you notice the

blinking red light of a security camera out of the corner of your eye and remember that they have those

everywhere, now, and you curse as the alarm kicks in and you hear doors slamming open all aroundyou.

BUILDING SCENES

's the G3, your &ob is to bui#d scenes action scenes, main#y. The p#ayers wi## gi%e you suggestions asto the broad sty#e o! the scene >when they !i## in the detai#s o! the &ob as they get the crew together?

and they"## gi%e you more in!ormation during the preceding p#anning scene.

7our &ob is to describe the wor#d around them and how it reacts to their actions, and to describe what

happens when they #ose stamina or add to the danger poo#.

C$"1(eti$% Tr/2

7ou"re a#so in charge o! the comp#etion trac$ e%ery time a p#ayer wins a con!#ict, mar$ o!! one space on

the trac$ !or e%ery dice they ro##ed that came up higher than your highest dice.

The trac$ determines how #ong a scene wi## ta$e to comp#ete: a good guide !or trac$ siDe is the number

o! p#ayers present p#us the scene number times two >2 !or the !irst action scene, 4 !or the second?.

"n a four+player game, the success track for the first scene is si! spaces long. $he second is eight. $he third

is ten. $he fourth and final scene is twelve.

)ee# !ree to bump the numbers up and down a #itt#e i! you thin$ it ma$es sense, or to ca## a scene to a

c#ose i! it"s running on too #ong.

E(e"e%ts

5hen a scene begins, write down one or two e#ements that are important in the scene on scraps o!

paper or indeE cards and set them out in !ront o! you e#ements are usua##y important +Cs or

en%ironmenta# e!!ects, but i! you can come up with something interesting, go !or it.

7ou can trigger an e#ement a!ter you"%e ro##ed dice once per scene when you do, describe how it

negati%e#y a!!ects the p#ayer characters, and remo%e it !rom p#ay, then re9ro## your dice poo#. 'nystamina #oss your pre%ious ro## may ha%e in!#icted is discarded nothing carries o%er.

7ou can re9ro## at any time during a p#ayer"s turn, but you can ne%er re9ro## a re9ro##.

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The A(/r"

nce per action scene, you can sound the a#arm to increase the siDe o! the danger poo#. This can be

represented in the !iction howe%er you p#ease whether that"s an actua# a#arm going o!!, or some e#ite

troops arri%ing on the scene, or the bui#ding co##apsing under the Cs, or the hostess unco%ering their

indiscretions but the sta$es in the scene a#ways ramp up when they do.

7ou can sound the a#arm at the end o! the round a!ter you increase the siDe o! the danger poo#, but not

i! the #eader is pu##ing out o! the scene.

5hen you trigger it, ro## the current danger poo#. )or e%ery dice that comes up A or more, add anadditiona# dice to the danger poo#.

NARRATION

7ou don"t ha%e a set number o! antagonists to use instead, the comp#etion trac$ and the danger poo#

combined gi%e you a rough idea o! a? how !ar away the p#ayers are !rom success and b? how much

danger they"re in. -escribe the scene based on those numbers high danger cou#d mean #ots o! a#ertguards, or a sing#e power!u# threat, or a rapid#y9approaching time #imit.

+arrate, and ha%e the p#ayers narrate, whate%er you !ee# appropriate within the boundaries o! your

game so in a cyberpun$ setting, say, mowing down wa%es o! corporate security with a minigun is

entire#y !itting, but in a &ewe#9caper game you might spend se%era# combat rounds outwitting, orbraw#ing with, the same tenacious guard.

S$"e thi%)s t$ +$ !he% %/rr/ti%) se%es

5hen a p#ayer states they"re attempting an action, as$ them what wi## happen i! they !ai#. 5or$ out an

answer with them. ! they do !ai#, narrate the changing situation. %ery action, succeed or !ai#, changesthe situation.

's$ Kuestions o! the p#ayers, and respond to their Kuestions with interesting answers.

ntroduce threats. %ery action they ta$e is, by de!inition, dangerous so bring that danger to the

!ore!ront.

-raw things bac$ to the catastrophe. *e9incorporate detai#s that the p#ayers ha%e mentioned.

ometimes, a p#ayer might say something that doesn"t !it with your idea o! the wor#d. ! you thin$ it

goes against the tone o! the game, as$ them to modi!y it, or modi!y it with detai#s yourse#! so it"s more

in #ine.

! you ha%e an +C that you want to $eep a#i%e maybe they"re your e#ement !or the scene say up9

!ront that they"re important and that the p#ayers can"t ta$e them out o! action unti# they"%e had a

chance to do their thing.

SCARS

Try to ma$e sure e%ery character con!ronts a situation that is made more di!!icu#t than$s to their scars

at #east once per game. This bui#ds on the bac$stories that you"%e made together, and maybe #ets the

character triumph despite their prob#ems or, at the %ery #east, !ai# entertaining#y.

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INVENTING ABILITIES

'bi#ities !orm the core o! character abi#ities in the game. Here are some things to thin$ about when you

create your own set o! 'bi#ities:

KEEP THEM BROAD:7ou"%e got !our abi#ities to go%ern e%ery sing#e possib#e action in the game, so

don"t ma$e them too !ine9grain.

BALANCE THEM OUT:Try to ma$e sure that each abi#ity wi## come up !reKuent#y in the game, so

characters that are bad at one $ind o! abi#ity ha%e a chance to use others.

MAKE THEM THEMATIC:7our abi#ities in!orm the actions o! the p#ayers. ! you want the scope o! your

game to be grand, ma$e 5'* your !ight abi#ity. ! you want it to be honourab#e, ma$e it -. ! you

want to encourage dirty !ighting, ma$e it (*'5. ! you want p#ayers to command others, ma$e it

T'CTC. !, in your en%isioned game, you want your p#ayers to a%oid combat, change it to @'-.

THEY DON'T MATTER: Here"s the secret i! you pitch it right, in%enti%e p#ayers wi## be ab#e to app#y

most o! their abi#ities in most situations, because they ha%e the chance to !rame their actions

themse#%es. That"s abso#ute#y !ine.

PLAYING WITHOUT A GAMESMASTER

7ou can p#ay ne ast Bob without a dedicated gamesmaster, i! you want. > thin$ it runs better with a

sing#e person at the he#m in a position o! authority, but it"s great this way too.? #ay as norma# with the

!o##owing twea$s:

-uring the p#anning stage, one p#ayer se#ects the mission and introduces the !irst character. They p#ay

the (oss throughout the !o##owing eEchanges. They must ta$e the !ina# character created by the group.

ach p#ayer wi## ta$e a turn to G3, ta$ing charge o! the scene that they created during the p#anning

phase. TheyF## describe the scene, ro## the danger poo#, and %oice +Cs. They shou#d come up with a%a#id reason why their character isnFt in the scene theyFre G3ing maybe theyFre bringing up the rear,

scouting ahead, waiting outside in the id#ing armoured car ready !or the escape, !i##ing their poc$ets

with #oot, or whate%er.

7ouF## get a di!!erent eEperience !rom this, as not e%eryone wi## use the same sty#e o! G3ing as each

other and p#ay might !ee# a #itt#e !ragmented. (ut itFs sti## a #ot o! !un, and it means e%eryone gets to

p#ay.

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ONE LAST JOB IS INSPIRED BY3

5ushu, -an (ayn a %ery ru#es9#ight game that pits p#ayer characters against scenes, not enemy

characters, that taught me a #ot about how to structure a narrati%e9#ed combat scene.

Ho##owpoint, (. 3urray, C.5. 3arsha## another game about pro!essiona# crimina#s. Contains the

phrase that one time in tah, which was the origina# tit#e !or this game be!ore stripped the settingout.

3ar%e# Heroic *o#ep#aying, Cam (an$s et al the concept o! the -oom oo# #ead to my danger poo# a

changing, shi!ting set o! dice that the G3 throws to represent the con!#ict at hand.

hoc$: ocia# cience )iction, Boshua '. C. +ewman one o! the c#e%erest games "%e e%er read, hoc$gi%es p#ayers the chance to in%ent their own character abi#ities that de!ine the wor#d and the story by

the important actions characters can ta$e within it.

THAN,S TO3

The P(/&testers

TH M CCT@: eigh, =urtis, Conan, isa, ymon, (en&, Manthia, )#opsy, wen, (i##y and-rew.

@*'C=: -eEE, Bonas, )e#iE, Boost and 3ari&n.

@*7+ : Bohannes Oieg#er, arah Oieg#er, 3artin ichhorn, atric$ Thomas, eter Tracy, +ie#

)u#ton, mi#y Bac$man, +ige# 5i##iams, 3ichae# %ans, +ic$ 'rga##, Bames Go#d!inch, Chris (enton, -ean

*ei##y, @incent Cao, Bames Cameron, Tay#a Gaedic$e, =y#e Hunter, 'ri#d Bohannes etro%ic, BimmyindK%ist, '#eEander i#%nPs, 'nton (ode##, and imon 3oberg.

The P/tr$%s

-a%id, 'dam -rew, 'ndrew 3acennan, amantha treeter, Christy -ena, -ona#d 5hee#er, Gui##aume

CarrQ, *a!ae# *ocha, %end 'ndersen, hawn 3cCarthy, Bessica Hammer, +athan (#ac$, Bames tuart,

(ay, Bosh )#int, (en 3c=enDie, Conan )rench, hi#ip Han#ey, (en *obbins, 'ndy 3oore, Harriet

Go#dstone, 5i## (#ac$stoc$, (eni, 'ndrew 'rmstrong, 3ary Hami#tron Hami#ton

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SETTINGS

$he world has changed, he says, and takes a sip of beer then looks at you like he's said something

incredibly wise. You narrow your eyes at him. $he world hasn't changed, you say. &e have. &e got old.

$he world ticks along the same way it always has, but these days we can't keep up with it. You take a

mouthful of his beer and wonder whether this is really such a good idea after all.

These settings gi%e you some idea o! the sort o! stories that you can te## in ne ast Bob. They"re each

di%ided up into se%en sections:

'(T gi%e you the core abi#ities !or each character in the setting. ometimes, there might not be

an abi#ity !or e%erything you want to do. ! you rea##y can"t !it the action in any o! the pre9generated

abi#ities, ro## 2 dice.

5"* H* T is a run9down o! the sort o! &obs your crew might be ca##ed upon to do. The G3 wi##

choose !rom this #ist >or ma$e up their own?, but i! there"s something you"re especia##y interested in, #et

them $now.

T" +T 3 5" H'@ T is a #ist o! comp#ications that the p#ayers wi## bring in toestab#ish additiona# stages and introduce new characters.

) C*, T - T, 5" +- is a #ist o! ready9made characters !or the setting, and shou#d gi%e

you an idea o! the sort o! persona#ities that eEist in the wor#d.

+ TH 5'7, 5" *('(7 *+ +T is a #ist o! threats and enemies !or the G3 to wor$ into the

story or use as e#ements.

C3 +, 7 C'+ - T, 7 is a #ist o! samp#e G+- that p#ayers can gi%e to other characters.

7 H'@+"T (+ TH'T G- +C gi%es a #ist o! suitab#e anecdotes to power C'*.

There are siE settings be#ow, but here are some other ideas !or groups and settings: regency #adies,modern9day monster hunters, rag9tag 552 commando unit, pirates, pu#p ad%enturers, science !iction

eEp#orers, and spies.

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PRO*ESSIONAL CRIMINALS

'bi#ities:

5T5*= >hurt peop#e, act as a combat medic, dominate con!#icts?

+)T*'T+ >snea$, brea$ and enter, stea#, disguise?

GTC >mo%e yourse#! and others at speed, chase, e%ade, c#imb?+T**+' >#ie, charm, persuade, intimidate, con?

5e"re here to...

R stea# something %ery important !rom a #oc$boE in an eEtreme#y we##9de!ended ban$.

R $idnap the daughter o! a power!u# mob boss so he"## agree to more !a%ourab#e terms in our dea#.

R assassinate a gangster who"s at ris$ o! pushing the ast and 5est !ami#ies into a b#oody con!#ict.R brea$ into an art ga##ery and stea# the priDe eEhibit be!ore opening night.

R rob a casino, &ust to ruin the e%ening o! a high9ro##ing nemesis.

R c#ean out an armoured car carrying persona# data pertaining to our c#ient"s business ri%a#.

R stea# a truc$#oad o! drugs !rom a 3eEican carte# and hand it o!! without getting !ound out.

R hunt down and $i## one o! our own gone rogue in the bac$woods o! Canada.

t"s not so simp#e we"## ha%e to...

R bypass these guys co%ered in guns.

R snea$ through casino security.R do something about the security cameras.

R e%ade the !reKuent patro#s o! '=489toting guards around the hacienda.

R get !rom the 0thto the ground !#oor in #ess than 20 seconds.

R acKuire disguises so we can get through undetected.

R ta$e out these guards without being spotted.R crac$ this sa!e open without tripping the a#arms.

R o%ercome the in!ra9red scanners and #aser grid that protects the centra# computer.

R sweet9ta#$ our way around the #ess9than9honourab#e head o! security.R get our armoured %an insidethe %au#t, somehow.R #ose the cops once we get out o! the bui#ding and onto the open road.

! course, to do it, we"## need...

R -anie# eaborne master thie! who"s pissed o!! e%eryone who matters at one point or another.

R aura )ontaine, a genuine #unatic s#ight#y too good with a si#enced pisto#.R -octor )e#iE -eanto not actua##y a -octor, but an eEce##ent #iar.

R Benny 3c=enDie, ace getaway dri%er and in%eterate gamb#er.

R 5ende# Thurgood ageing sa!ecrac$er but the best in the business.

R ucy i eE9#awyer, can ta#$ her way out o! pretty much anything.

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n the way, we"## probab#y run into...

R armed guards.R bored security sta!! with #itt#e to do.

R guard dogs. 3aybe guard geese. 7ou can ne%er be sure.

R hi9tech security systems.

R big #oc$ed %au#t doors.

R po#ice, ranging !rom beat cops to 5'T teams.R a di!!icu#t c#imb between roo!tops in a high wind.

R a chase through winding city streets.

Come on, you can do it, you...R sto#e that -a @inci !rom under the nose o! %es t9ucien, and we a## $now what a pric$ he is.

R shot that guy three streets away when you were !iring bac$wards !rom a mo%ing car.

R base9&umped o!! the Chrys#er bui#ding with the stash and sur%i%ed a parachute ma#!unction.

R made a con%incing disguise !rom the contents o! a &anitor"s c#oset in three minutes.

R disarmed a guard and $noc$ed out two more with the butt o! his ri!#e be!ore they cou#d sound thea#arm.

R con%inced those two a##ied gangs to start $i##ing each other and entire#y ignore you in the chaos.

7ou ha%en"t been that good since...

R your wi!e beat the shit out o! you in pub#ic because she caught you cheating on her.R that guard dog trapped you in a corner !or three hours and you pissed yourse#! in !ear.

R you got hoo$ed on prescription pain$i##ers.

R you #ost that eye bac$ in tah.

R the 3eEicans sea#ed you in a meta# container !or !our days and you went temporari#y insane.R you crashed the car bac$ in 3ins$ and $i##ed our !irst sa!ecrac$er.

R you burned our c#ient and no9one trusted you !or eight years.

R di%orced you.

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CYBERPUN,

'bi#ities:

3C >Hurt peop#e, be ath#etic, intimidate, protect?

C7(* >Hac$ things, use computers?

H'-5 >nea$, a%oid things, brea$ and enter, crimina# $now#edge?HT >ie, cheat, charm, impersonate, con%ince?

5e"re here to...

R stea# a #oad o! sensiti%e data !rom the megacorp main!rame.

R abduct and ransom o!! the #eader o! a power!u# Oaibatsu.

R $i## a dangerous cybered9up war %eteran causing ha%oc on the neon streets o! Chinatown.R eEtract the @ o! )rostbyte Tech C and sa%e her !rom cyborg assassins.

R stea# the condensed memories o! thousands and up#oad them into !resh bodies.

R brea$ into the Tessier9'shpoo# orbita# strongho#d and up#oad an '.

R scour out the production #ines o! a dangerous nano9drug once and !or a##.


R bypass their security system.

R b#uster our way through the b#oodthirsty Chen (oys" territory.

R brea$ in through the %enti#ation sha!ts.R in!i#trate the mi#itary comp#eE without raising the a#arm.

R p#ot our getaway through the cross9city tunne# at rush hour.

R stea# - passes and uni!orms !rom the guards so we can pass undetected.

R ho#d o!! the po#ice in a pitched gun!ight when they ine%itab#y arri%e.

R b#ow through a sKuad o! hired raDorboys.R de!eat the C surrounding the data we need.

! course, to do it, we"## need...R 4r4riw0m4nSM, an eE9corporate dec$9&oc$ey who was once married to.R @ent, an ice9co#d street samurai with a #o%e o! intimidation and too many meta# parts.

R Ma%ier, a &oyboy who $nows e%ery Bohn and Bane !rom here to +ew 'msterdam.

R o##y oc$et$ni!e, a so#o with a co#our!u# reputation and her own range o! per!umes.

R ogos, a drone9rigger who has a worrying#y c#ose re#ationship with her si#icon !riends.

R 7oshiba9san, a kuruma >getaway dri%er? with a direct neura# up#in$ to his gra%9car"s data!eed.

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R comp#eE #aser security grids.R rentacop corporate security guards with bu##pup ri!#es.

R desperate gangbangers #oo$ing !or a Kuic$ buc$ in the 7o$ohama shanty.

R other crews o! cyberwear9#aden pro!essiona#s primed to dispatch i! there"s troub#e.

R #egendary assassins with raDor !ingers, o%erc#oc$ed #aser ri!#es, and ha##ucinogenic gas bombs.

R iso#ated main!rames.R !u##y9#oaded mi#itary he#icopters.

R mind9wiped, %at9grown $i##er with a ma#!unctioning corteE bomb.

R urban shamans p#ugged into the grid, contro##ing e%eryone around then.

R attac$ drones, sur%ei##ance bots, de!ensi%e robotic gun emp#acements.

Come on, you can do it, you...

R hac$ed the Gress#er9=han main!rame !rom a pub#ic termina# in !i%e minutes !#at.

R #i!ted a man c#ean abo%e your head and threw him out o! a mo%ing monorai# car.

R used your %ibro9sword to de!#ect that assassin"s bu##et be!ore it hit me.R con%inced that enator to gi%e up the in!ormation that ogos needed using on#y a need#e.

R bro$e into andaE H and made out with the C"s e#dest son be!ore b#owing the p#ace up.

R hi&ac$ed that armoured car without bothering to ma$e it pu## o%er !irst, bac$ in "0


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WILD WEST

'bi#ities:

C= >shoot peop#e in a straight !ight, ta$e co%er, mo%e Kuic$#y?

3'+ >intimidate, !ight dirty, snea$, #ie, brea$ the #aw?

TGH >sur%i%e o!! the #and, endure pain and hardship, braw#?G- >charm, persuade, en!orce #aw, de!end innocents, hea#?

5e"re here to...

R rob a stagecoach carrying go#d bac$ east.

R sa%e a town !rom a (#ac$ hane and his gang o! out#aw scum.

R unseat a corrupt heri!! be!ore he #ets the in&uns in to ta$e o%er.R rob a ban$ run by a cheatin", no9good sumbitch.

R protect a group o! miners as they bring their spoi#s bac$ to ci%i#isation.

R hi&ac$ a train and stea# the weapons shipment inside.

R trac$ the %icious out#aw, (u##et9ho#e Bim, into the misty swamps.


R snea$ past these trigger9happy gunmen.

R bypass the 'rmy encampment that"s set up nearby.

R ma$e our way through the harsh mountains and scrub#and in the dead o! 5inter.R na%igate the hosti#e n&un !#at#ands in the b#aDing heat o! ummer.

R chase down the stagecoach.

R con%ince the gang to #ea%e town with a due# at high noon.

R punch our way through the seediest bar in a## the 5est.

R rouse up the #oca# popu#ace into a de!ence !orce.R protect the !armer and his !ami#y, as they"re in the #ine o! !ire.

! course, to do it, we"## need...R Henry rons, an un#uc$y gun!ighter with a coat !u## o" ho#es and a hundred scars.R a##y Bac$son, a schoo#marm turned heri!!"s deputy, who cou#d ne%er Kuite gi%e up the gun.

R ta#$ing ossum, an a#bino n&un outcast with a grudge.

R (essie Three9*i%ers Terwi##iger, raised by the n&uns, who $nows o! secret paths.

R eamus "3urphy, red9headed rish boEing champion and !amous drun$.

R bidiah tone, disgraced eE9heri!!, who dear#y wants to atone !or his crimes.R 3a#co#m 5ise, a rai#road wor$er turned en!orcer, drummed out o! the in$ertons !or... reasons.

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R sa%age n&uns, #oo$ing to get re%enge !or our intrusion on their #and.R hired guns, Kuic$ on the draw and mean as he##.

R in$erton stri$ebrea$ers.

R aggressi%e, desperate drun$s trying to pro%e themse#%es worthy.

R bandits and out#aws in a sto#en, armoured stagecoach.

R miners9turned de!enders, ho#ding out with dynamite and pic$aEes.R a dead#y c#i!!9!ace, crumb#ing under our !eet.

R the dead#y heat or hash co#d o! the wi#derness.

R con!using ca%e networ$s that run underneath the impassab#e mountains.

R a !u## army regiment, caught up in the chaos.R hungry wi#d#i!e coyotes, wo#%es, bobcats, e%en bears.


R $i##ed three men with two bu##ets not ten year ago.

R once shot your way out o! a mine !i##ed with dynamite.R bro$e a wi#d sta##ion by starin" into its eyes and whisperin" in its ears.

R sto#e the b#ac$ heart o! that wic$ed heri!! with nothin" but a win$.

R trac$ed ne9ye )#inders across the sa#t !#ats !or three days without a sip o! water.R sa%ed my daughter !rom the bui#ding that set on !ire.

7ou ha%en"t been that good since...

R you bro$e your an$#e and had to #imp through the desert whi#e that n&un rode behind you.

R you Kuit drin$in" and got the sha$es, rea# bad.

R you started drin$in" and #ost your aim.R you saw your !arm burned to the ground by o#" i#as 3cGin#ey.

R that bear pu##ed your arm c#ean o!! at the shou#der.

R that time the pair o! us got near9drowned by that posse up in -ead 3an"s Gu#ch.

R that time you and ta#$ing ossum got run out o! town !or cheatin" at cards.

R that time you and eamus got arrested !or bein" drun$ and disorder#y in charge o! an in!ant.R that time shot you o%er my woman.

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*ANTASY ADVENTURE

'bi#ities:

T*+GTH >hit things up c#ose, #i!t and brea$ ob&ects, chase, withstand harm?

-MT*T7 >dodge, shoot, !#ee, pic$ #oc$s, disarm traps, spot things, stea# things?

+TG+C >counteract magica# de!ences, cast spe##s, $now ancient #ore, hea# others?CH'*3' >charm, #ie, persuade, intimidate, bargain with demons and gods?

5e"re here to...

R s#ay a mighty dragon that"s been terrorising the countryside !or months.

R burn out a nest o! orcs that"s ta$en up residence underneath the town and dri%en e%eryone away.

R put to death an e%i# wiDard in her !araway tower.R wa#$ into the dream#ands and due# a !airy prince so he"## brea$ the curse he cast on the $ingdom.

R hunt down a %ampire in her cast#e in the wind9swept mountains.

R !ind out which o! the %i##agers is the murderous werewo#!.

R rec#aim the (#essed Grai# !rom within the e%er9eEpanding con!ines o! -is, the Hungry City.

R snea$ into the mind9!#ayer contro##ed city and ta$e out their e#der brain o%er#ord.


R get through the camps o! the wic$ed Three9)inger Gob#ins.

R con%ince the guardian !reeti to #et us through.R best a %ariety o! doors #oc$ed tight by magica# de%ices that need more than $eys to open them.

R ta$e on that undead army that"s shamb#ing through the p#ains on the orders o! a #ong9dead man.

R wa#$ a## the way across those massi%e snowy mountains.

R na%igate the treacherous underground city o! the dwar!s.

R get through )reeberg, City o! coundre#s, and $eep the shirts on our bac$s.R snea$ past the animate stone guardians o! r"Co#o$.

R protect the town we"re staying in !rom the gno##s that are doubt#ess#y !o##owing us.

! course, to do it, we"## need...R )eynau#t, ha#!9e#! pa#adin and #othario with e!cellenthair and a rapier wit.

R itt#e a##y )ingers, an ageing ha#!#ing rogue with a co##ection o! !ingerbones on her nec$#ace.

R (ou#der, a roc$9$in shaman outcast con&ures the spirits o! the mountains to aid him in batt#e.

R 'rdina, human c#eric o! one o! mu#tip#e gods depending on which is current#y most he#p!u#.

R Gash +"Gro$, the most success!u# ha#!9orc wiDard e%er seen sti## not that success!u#.R 5oe o! )a##ing ea%es in 'utumn, grace!u# e#! !ighter thorough#y up herse#!.

R uintDe# the @i#e, dwar! necromancer out o! wor$ !o##owing undead rehabi#itation scam.

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R gob#ins, orcs, bugbears, hobgob#ins, a## your standard mi#itaristic greens$in races.R guardian beho#ders, spitting eyebeams a## o%er the shop.

R suspicious towns!o#$, o!ten in the !orm o! angry mobs.

R wic$ed traps wired by snea$y $obo#ds or ancient ci%i#isations.

R hon$ing great doors #oc$ed with magica# wards.

R Dombies animated by magic, either ma#icious or surp#us.R curmudgeon#y giants, stomping across the #andscape.

R tro##s hanging out under bridges and demanding to##s.

7ou can do it, you...R con%inced the 5iDard o! -ur#ath to gi%e up his magica# sta!! in eEchange !or a $iss, and he"s not e%en

gay, )eynau#t.

R he#d bac$ a horde o! -ar$ -war%es with nothing but a burning torch and your !ather"s shie#d.

R carried the great orc hero -ra$ n"Tra$$ to the top o! $y!inger ea$ and buried him there.

R b#u!!ed your way out o! a po$er game with ord 'smode#, =ing o! the -emons.R punched a horse to the ground because it #oo$ed at you !unny.

R in%ented the +uc#ear )ireba## spe## with Gash +"Gro$.

R strang#ed that ghost.R dragged me out o! that neEt o! spider9centaurs unharmed a!ter they poisoned me.

7ou"%e not been that good since...

R you had seE with that spider9centaur and it en%enomed your bits.

R you got partia##y9possessed by the ghost o! your greatest enemy, and now it won"t shut up.

R you got bitten by that @ampire and now sun#ight sets you on !ire a #itt#e.R you !ound out you were a werewo#! and you got terri!ied o! in!ecting anyone e#se with your b#ood.

R that time you and uintDe# decided it wou#d be a good idea to bott#e eEp#osions as a business and

you #ost three !ingers at the #aunch party.

R that time a##y con%inced you to &ugg#e price#ess #%en arte!acts at their !orest strongho#d, and you

bro$e all of them.

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POST4APOCALYPSE

'bi#ities:

= >shoot, hit, strang#e, drown, destroy, brea$?

*@@ >endure, na%igate the wi#derness, trac$?

C33+ >ra##y peop#e together, he#p others, charm, persuade, gi%e aid?MC- >intimidate, threaten, se## out, betray?

5e"re here to...

R $i## Hades, the (andit =ing, in his great iron strongho#d to the +orth.

R rid the town o! this Dombie p#ague once and !or a##.

R stea# %ita# parts o! a nuc#ear reactor !rom a distant, ri%a# town so we can power our own.R estab#ish a !arm on top o! $ree 3ountain and $eep it sa!e through 5inter.

R stop this re#igious cu#t !rom burning e%eryone to death.

R rescue the mayor"s daughter !rom the e%i# men who are ho#ding her to ransom.

R $idnap the mayor"s daughter so his raids on your out#and !armsteads wi## cease.

R push deep into the toE9mines to the outh and retrie%e %a#uab#e #egacy techno#ogy.R destroy the )our Horsemen so the wor#d can start again.


R ta#$ to the maniacs that #i%e in the o#d windmi## and persuade them not to $i## us.R get past the noEious !umes boi#ing out o! the canyon.

R pass ourse#%es o!! as Chi#dren o! the nd so the cu#t don"t burn us too.

R gather supp#ies !rom dangerous ruined bui#dings.

R run !rom the bonewo#%es that wi## chase us down the ashen mountains.

R try to bui#d a she#ter !or the night be!ore the snow begins to !a##.R start a !ire with no materia#s to hand.

R dea# with the wandering beggars and sa#esmen who might a#ert the bandits to our presence.

R na%igate past the mutant sca%engers that p#ague the b#ood swamps.R $i## a who#e #oad o! Dombies.

! course, to do it, we"## need...

R Twist, a mutant, strugg#ing to !it into norma# society.

R 3anda#a, a trac$er, eE9cu#t en!orcer worrying#y good at his &ob.

R (ernie, a sharp9shooter, used to wor$ !or the (andit =ing, doesn"t #i$e to ta#$ about it.R Ooe, a beast s#a%er, ta#$s to the anima#s, wears pe#ts, sme##s a bit.

R -u$e, a charismatic town #eader #ost her town a !ew years ago.

R a%#o%, a b#ac$9mar$et trader $nows price o! e%erything, %a#ue o! nothing.

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R mutants big s#a%ering ones, #itt#e wiry ones, psychic ones, monstrous amorphous ones.R Dombies, in hordes, or in!i#trating p#aces we thought sa!e.

R harsh weather: wind, rain, snow, ash storms, s#eet, hai#, ba$ing heat, drought, !#ood.

R star%ation, thirst, and eEposure to the e#ements.

R wi#d anima#s, hungry !or human !#esh.

R unstab#e ruins that co##apse under our !eet.R one or more o! the )our Horsemen.

R bandits, out#aws, scoundre#s and #aw#ess scum.

R suspicious towns!o#$ who Kuite right#y 9 don"t trust us.

R apoca#ypse cu#ts, re#igious craDies, nihi#istic psychopaths, and other unhinged peop#e.


R he#d o!! the Dombies a## through the night when we went to !etch the har%est #ast year.

R wrest#ed that giant wo#! to the ground and drowned it in that !i#thy ri%er that runs by our %i##age.

R con%inced that cu#t #eader to gi%e up his !aith and hand o%er the supp#ies.R prayed !or !ire, on#y to ha%e #ightning stri$e a tree neEt to you.

R carried me and Ooe through the wastes a!ter we co##apsed !rom hunger.

R con%inced that bandit chie! you were on his side, right up unti# the mutants tore him apart.

7ou"%e not been that good since...R that giant mutant near#y pu##ed your arm o!! at the shou#der.

R the second time you prayed !or !ire, and the #ightning struc$ you instead.

R that town #eader accused your wi!e o! being a witch and burned her at the sta$e.

R you mo%ed into that cushy arco#ogy you thin$ we don"t $now about.R got hoo$ed on pre9war anti!reeDe.

R you and a%#o% were inducted into that apoca#ypse cu#t and $i##ed someone you cared about.

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INVESTIGATORS WOR,ING AGAINST THE GREAT GOD CTHULHU5

OR CULTISTS IN SERVICE O* SAME

'bi#ities:

(- >hurt peop#e, gi%e sacri!ice, endure torment?C*T >$now hidden things, cast ritua# magic, search !or in!ormation?

H'-5 >snea$, #ie, cheat, stea#, hide?

3+7 >!und, bribe, buy, gamb#e?

5e"re here to...

R stea# a pro!ane teEt !rom c#ue#ess go%ernment agents.

R trac$ down a !amous sorcerer and end his #i!e.R get down to the bottom o! what"s reallyup with the mayor.

R eEp#ore the ruins o! this great and !orgotten city on the +orth o#e !or a power!u# arte!act.

R #earn the spe## that wi## end the wor#d, but it on#y eEists in the -ream#ands.

R brea$ out o! this menta# hospita# and sa%e the wor#d.

R get in and out o! ost Carcosa and stea# the ueen"s crown whi#e we"re there.R ta#$ to the strange creatures that #i%e under the city and disco%er the secret o! eterna# #i!e.


R not go comp#ete#y mad.R outwit this b#ood9thirsty cu#t.

R brea$ into this museum.

R trac$ down the ro!essor ha#!9way across the wor#d.

R batt#e the !rea$ weather that spontaneous#y generates around the arte!act.

R !ind ritua# components !or the great spe## that wi## contact the diety.

R batt#e rotting cada%ers in the basement o! a temp#e.R escape the hungry -ar$ 7oung o! hub9+iggurath.

R in!i#trate the spea$easy to meet our gangster contact.

R co%er9up our eEp#oits so no9one wi## e%er $now what we did.R get the in!ormation out o! the wide9eyed man who whispers in a strange tongue.

R e%ade the po#ice cur!ew whi#e we na%igate the dar$ city.

R stabi#ise a man who undertoo$ se#!9muti#ation to rid himse#! o! some %ery %a#uab#e $now#edge.

! course, to do it, we"## need...R s#a Gregor, a newspaper reporter an eye !or the truth, but not abo%e #ying !or pro!it.

R Terrence 'nderson, an eE9so#dier saw some things in the trenches, doesn"t #i$e to ta#$ about it.

R -octor )rederic$ ssenheim per!orms unethica# eEperiments and surgeries, nice guy though.

R a##y a#amander, a torch singer $nows e%eryone, owes e%eryone money.

R (ig -u$e, a gangster wi##ing to hurt peop#e and things !or money, as$ed too many Kuestions.R *osamund Hampton, an heiress has money to spare and a dangerous#y inKuisiti%e mind.

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ONE LAST JOB 6 CHARACTER SHEET

PLAYER NAME3

CHARACTER NAME3

SCENE LEADER DURING3

A#i(ities3 RATING3 GRIT -either 7 e8tr/ +ie $r rest$re st/"i%/.3

O O

9

: STAMINA3 O O O

7

;

LEGEND -re4r$(( /t


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One Last Job

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