A SCI-FI RPG OF PRECARIOUS SPACES AMID INTERSTELLAR WAR

THE ACTIONS
12

THE STATION
20

THE ASPECTS
22

THE CHARACTERS
25

Jack Harrison. Writing, Layout

Torben Bökemeyer. Illustration
Luke Jordan. Consulting Designer
Jarrett Crader & Fiona Maeve Geist (MRC). Editing
Christopher Michael Roberts. Soundtrack
Yubi. Accessibility Design
Dizzy Ink. Risograph Printing
Orbital is based on Dream Askew by Avery Alder
WELCOME TO THE STATION

A beautiful mess.
A NEUTRAL COMMUNITY ON THE BRINK
Imagine an all-consuming interstellar war, spread across a
vast galaxy and involving trillions of willing and conscripted
participants. Then imagine a lone space station, ancient and
strange, somehow set apart from this conflict.
Through significant effort and fortuitous circumstance it has
remained unaffiliated and relatively peaceful, providing a
sanctuary for the lovers and thinkers refusing to side with the
warring powers.
But this hard-won neutrality is not even slightly secure. There’s
always someone offering vital resources for a little influence,
plotting to displace our leaders or smuggling military equipment
into the station’s forgotten corners.

MISFITS, REBELS AND TROUBLEMAKERS

Holding back these myriad threats is an informal network of
dependable sorts, each with a stake in the station’s continuing
vitality. These characters—politicos, artisans, brokers and so on—
aren’t (necessarily) officially recognised leaders, but their influence
is felt strongly across the community.
They might not get along—they might even dislike each other.
But they are united by their belief that the station is a cherished
place that must be protected. The question is: when the pressure
rises, can they put aside their differences & personal motivations
for our community’s greater good?

2
THE FACILITATOR

Hold it together.
WHY HAVE A FACILITATOR?
There is no ‘game master’ or equivalent in Orbital—all players
equally control the narrative and take responsibility for the game’s
systems.
However, it’s useful to have at least one person who has read all
the rules and feels comfortable stepping in as guide if there’s a
question or conversation stalls: the Facilitator. They will usually
be the person introducing this game to their group.
Agree who your Facilitator is going to be before you start playing.

RESPONSIBILITIES
As Facilitator, you should:
8 Familiarise yourself with the rules.
8 Guide the table through setup, asking questions & taking notes.
8 Explain the structure of play, and the Actions you can take.
8 Help the table transition from setup to playing the first round.
8 Step in as necessary to explain rules and keep the game moving.

Within reason, it’s better for the Facilitator to make a quick

decision on a rules dispute than to stop the game and check this
document. However, if players feel strongly about the issue call for
a break while you research the rule.
It’s important to remember: the Facilitator is not solely responsible
for everyone’s fun and safety—that is a shared duty for the table.

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SAFETY

Human after all.

CONTENT WARNINGS
Orbital has the following explicit content warnings, based on the
game text’s prompts and descriptions:
violence, war, refugees and displacement, criminal enterprise,
social manipulation, resource scarcity, undercover identities
Beyond these explicit flags, you can use these safety tools to help
navigate the game, ensuring everyone at the table is supported
and having fun. Introduce them before you play.

FILM RATING
As a table, agree upon a film rating (e.g. ‘PG’, ‘R’, ‘18’) as shorthand
for the sort of content you want to see. Discuss what that rating
means in terms of violence, drugs, language and sexual content.
You can also raise specific content that people might want to avoid
entirely, like depicting alcoholism or memory loss.

X-CARD ORIGINALLY DEVELOPED BY JOHN STAVROPOULOS

The X-Card removes content from a game. If something happens

in the story that makes you uncomfortable, you can tap a physical
card you’ve prepared or type an X in the chat online. You don’t
have to explain why, though you can if you want.
The group can work collectively to edit, retry, or skip the content.
If you’d rather talk it through, take a break and have a discussion.
Don’t shy away from using the card for smaller issues, especially if
you’re the Facilitator. The less special it feels, the easier it is to use.

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how to
play
A GAME OF ORBITAL

Start to finish.
PREPARING TO PLAY
Gather everything necessary and set up your play area,
1.
whether a physical table or an online space.
2. Decide who is going to be the Facilitator.
3. Read the ‘Welcome to the Station’ introduction aloud.
4. Introduce your safety tools and agree upon a film rating.

CREATING THE SETTING

5. Take turns reading ‘This Much is True’ aloud from the Station
sheet, then work collectively to create your Station.
6. Introduce the Aspects then each choose one to create.
7. Introduce the Characters then each choose one to create.

STARTING PLAY
8. Each player takes turns narrating a minor scene to show their
Character’s normal life before the Threats start manifesting.

CONTINUING PLAY
9. The game continues with players taking turns choosing from
the three narrative Actions. Cross off any Threats resolved at
the end of each round.

ENDING PLAY
10. When all three Threats are resolved, conclude the game with
an epilogue for each Character by narrating a minor scene.

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PREPARING TO PLAY

Lay it down.
WHAT YOU NEED TO PLAY
8 3-6 players, including you.
8 A few hours.
8 A quiet, comfortable place to sit.
8 A copy of the sheets: Station, Aspects, Characters.
8 Writing utensils for everyone.
8 Tokens (coins, stones, etc)—aim for four per player.
8 (optional) A way to play the soundtrack, available to download
or to stream at BIT.LY/ORBITAL-OST

THE PLAY AREA

The more you can make this game feel like a special event, the
easier it is getting everyone energised and engaged.
8 Place the printed sheets in the table’s centre.
8 Gather the tokens in a central pile.
8 (optional) Play the ambient soundtrack.

Make sure everyone is comfortable & well-fed. It’s nice to share

a meal before playing if possible, whether a takeaway or a home-
cooked dinner. If not, snacks and drinks are great too.

ONLINE PLAY
If you’re playing online, the setup process is necessarily different.
However, there are dedicated files & instructions available to
download to help you set up online play.

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PLAYING THE GAME

Collaborate and listen.

THE CONVERSATION
Most of the time, telling stories in Orbital is a lot like having a
conversation: someone speaks, and someone else replies.
You’ll take on the roles of fictional characters or forces in the story
you’re telling, describing what they do or say. As you go, you might
suggest ideas, interrupt with questions, go on tangents, make
jokes or deliver impassioned monologues.
Like most conversations, you’re not telling this story alone. As
such, there are some rules to help guide your conversation by
clarifying responsibilities, introducing creative restrictions and
pushing your story in unexpected directions.
Unlike most conversations, Orbital has some structure around
when you begin talking and when you might finish. This is to help
you tell a focused story with a stronger narrative arc and provides
somewhere to start if you’re unsure about how to proceed.

NARRATION
You can narrate story actions in first or third person. Usually, a
mix of the two is best. Describe what characters look like and what
they’re doing, then jump in and speak their words. Talk about the
smells, sounds and people in the environment, then focus on one
of those people as you tell everyone what they say.
You’ll sometimes need to break narrative flow to read a rule or
clarify a detail—that’s fine. The game will have you talking as
players about your story as much as telling the story itself.

8
NO MASTERS
In Orbital, everyone has the same roles. There is no lone game
master for the rest of you to respond to. Each of you has a
Character and an Aspect of the setting in front of you, and you all
share responsibility for telling a good story.
As such, you’ll need to think a little differently if you’re used to
more traditional roleplaying games.

MAKING TROUBLE
While your Station is not without problems, it is clearly a utopian
society when set against the rest of the galaxy’s brutal strife. To tell
an interesting story, you’ll actively work to place the Station under
duress. You’ll choose a trio of Threats when creating your Station,
but it’s down to each of you to manifest those perils in your story.
While setting up the game, contemplate your community’s
pressure points, contradictions and conflicting interests. When
playing scenes, use those vulnerabilities as vectors to bring in the
Threats and create problems for Characters to solve.

TIME TO SHINE
Importantly, making trouble is never about being adversarial or
making players uncomfortable.
It’s about providing Characters with opportunities to prove
themselves—coming up with novel solutions, brokering fragile
alliances and, sometimes, fighting tooth and claw.

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MOVES

Make your mark.

WHAT ARE MOVES?
When you want to take action in a scene, you make a Move.
Moves are prompts that drive the story forward, both inspiring
and constraining how you describe your action. Every role has a
unique set of Moves—giving them distinct personalities.
Some Moves are broad, like ‘explore the scene and ask questions,’
while others are more directed, like ‘saunter into a scene with a
tantalising offer.’ Every Move leaves space for interpretation, and
choosing how to transform the prompt into a description of
action is up to you.
For example, a Move available to every Character is “take action,
leaving yourself vulnerable.” It’s up to you and the table to interpret
the Move in the context of the story. What action have you taken?
How are you now vulnerable? You decide together.
When using a Move, you don’t have to read it verbatim to the
table. You can just describe your Character’s action. For potent
or consequential prompts, though, announcing the Move can
empower your narration and inspire you to act with confidence.

TOKENS
Some Moves ask you to use Tokens when you make them.
When you gain a Token, take one from the central pile and put it in
front of you. When you spend a Token, return it to the central pile.
Everyone starts with zero Tokens.

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CHARACTER MOVES
There are three types of Character Moves;
Basic Moves let you explore the scene and act with consequence.
Characters all share the same Basic Moves, and they’re often those
you’ll use the most. Basic Moves don’t involve tokens.
Strong Moves show your Character acting with great prowess to
solve problems and make big narrative shifts. To make a Strong
Move, you must spend a Token. The whole table should work
together to show your Character at their best.
Weak Moves expose your Character’s worst tendencies, reveal the
consequences of their past actions or simply have the world act
against them. When you make a Weak Move, gain a Token. Play
into the setback—they help make your Character fallible and
relatable. That Token can set you up for a dramatic comeback!

LURE
A Lure is a probing question asking another player to share
something vulnerable about their Character. If they participate,
they gain a Token. You don’t necessarily have to ask or answer the
Lure explicitly as your Characters in the scene.

ASPECT MOVES
Aspects also have Moves to inspire your narration in a scene. You
can use them to create challenges, introduce complications and
drive the story forward. Aspect Moves don’t involve Tokens.

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THE ACTIONS

Take your turn.

STRUCTURED PLAY
Unlike many roleplaying games, Orbital has a structured turn
system throughout play. Every round, each player chooses one of
three narrative Actions to move the story forward:
Narrate a Minor Scene.
Explore your Character’s life in a short narration.
Frame a Major Scene.
Answer a story question through improvised play.
Read the Station.
Gather perspectives from your community on a vital issue.
You don’t have to follow the same turn order each round, but every
player should take an Action before anyone goes again.

CHOOSING ACTIONS
The three Actions provide a choice between momentous drama,
quiet reflection and community focus. You’ll use them to tell
stories of your Characters, the Aspects and the Station itself.
The variation in Actions allows players to participate in a way
that suits their energy levels each round. If you notice a player
rarely chooses a major scene, check in. They might need a bit of
help getting started or might just feel more comfortable taking a
quieter role in the story.
As a guide, though, aim for roughly half of your Actions during the
game to be major scenes to keep the story moving.

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NARRATE A MINOR SCENE

Catch a breath.
WHAT IS A MINOR SCENE?
Minor scenes provide space to add depth to your Character and
bring the Station’s quieter parts into focus through solo narration.
They can be about your Character’s daily life, interactions with
a Minor Character or reaction to something that just happened.

TELL YOUR STORY

In a minor scene, you give a short description of your Character to
the table. Consider where they are, what they’re doing, what their
surroundings are like, what just happened and how they’re feeling.
You’ll usually narrate in the third person, as in “they take a long
walk around the station hallways....” If you want to interact with a
Minor Character, ask someone else to play them.
You can use Moves as usual, though some are more suited to a
major scene’s dramatic interactions.
Other players can also pick up Aspects during your minor scene if
the story requires it. Usually, though, it’ll just be you on your own.

SCENE IDEAS
8 Normal life. What is your typical routine?
8 Making preparations. How are you getting ready?
8 Visiting a contact. What do you need?
8 Talking with a friend. What will you share?
8 A moment of rest. How do you wind down?

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FRAME A MAJOR SCENE

Let’s find out together.

WHAT IS A MAJOR SCENE?
A major scene could be a tense negotiation, a desperate conflict
or a startling discovery. It’s you and your friends figuring out the
answer to a compelling story question through improvised play.
It can be intimidating being asked to create a compelling scene
from scratch, though. These steps should help you get there.

CHOOSE A SCENE QUESTION

Major scenes should tightly focus around a story question.
A kinetic scene might ask “can we fight our way to the bridge?”,
where a more considered scene might ask “can we convince these
soldiers to back down?” or “what lurks in the shadows of deck seven?”

CHOOSE CHARACTERS
Choose two or more Characters who are present. You don’t
necessarily have to choose your own Character.
Try to leave someone free to play Aspects, if possible.

SET THE SCENE

Describe the environment, considering the following:
8 Where are you? An established location or somewhere new?
8 What does it look like? Textures, sounds and lighting.
8 Who else is present? Minor Characters, crowded streets?
8 What just happened? Recent developments, lingering action.

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CHOOSE SCENE START
Decide how the scene starts. If you’ve got a good idea, describe
how the scene begins with your Character making a Move:
What do they do, or say?
If you’re struggling to think of an opening, ask another player to
pick up a relevant Aspect and make a Move to open the scene:
How will your characters react?
PLAY TO FIND OUT WHAT HAPPENS
Once the scene starts, players are free to describe their Characters
making Moves as the story unfolds and you explore your question.
There’s no fixed turn order, but try to give everyone a chance to
act. If someone seems unsure about how to participate, ask them a
question about their Character to bring them back into the action.
You’ll probably also have one (or more) Aspects picked up and
in use by players who can use their Aspect Moves to introduce
complications, pushing the story towards their desires.
Everyone is responsible for bringing the scene to life, not just
Aspects. You are all encouraged and empowered to describe
environmental details, narrate Minor Character’s actions and take
ownership of the story.
ENDING THE SCENE
Continue playing until you feel the scene’s question is satisfactorily
explored. It’s okay if you don’t reach a conclusive answer.

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READ THE STATION

Temperature check.
WHAT IS READING THE STATION?
When you read the station, you step out your Character’s role
to portray different groups’ attitudes and feelings concerning a
particular issue.

CHOOSE A TOPIC
First, decide on the topic under discussion. You might talk about
a previous scene’s events, a particular Station issue, or a wider
cultural or philosophical point. You can frame your topic as:
8 A question. “Should we accept deserters as refugees?”
8 A statement. “The deserters will bring the war upon us.”

SHARE YOUR VIEWS

Then, starting on your left, each player takes turns weighing in on
the topic. You can speak as a class of residents, like ‘the smugglers’
or as an established group, like ‘Red Sun Galactic.’ Give a sentence
describing how that group feels about the issue.
The views shared are always opinions and beliefs—not facts.

IN CONCLUSION
Once everyone has weighed in, including you, the discussion is
over. You don’t need to settle on a unified position—communities
are messy and contain multitudes.
Instead, draw upon what you’ve learned to colour your actions
and inspire your questions in subsequent scenes.

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STARTING TO PLAY

Before the storm.

OPENING SHOTS
After creating your Station, Aspects and Characters, you’re ready
to play. In the first round, each player will narrate a minor scene.
This serves two purposes. Firstly, to show your Character in their
everyday routine. You should remind everyone who you are, what
you look like and what ‘normal’ means to you.
Secondly, you’ll choose an Insight from your Character sheet and
link it to one of the Threats facing your Station. Use the prompt
in your narration. This will entangle your Character in the story,
making it easier to bring you all together and get things going.

CONTINUING PLAY
From here take turns normally, choosing an Action each round.
Think about what your Character wants to achieve, and who could
help them succeed. Bringing the Characters together as swiftly as
possible is strongly advised.
If you’re struggling to come up with an idea, pause for a moment
and talk with the table. Ask “what do we want to find out next?”
As you discuss, consider the remaining Station Threats, Aspect
questions and your Character’s motivations.
At the end of every round, consider the Threats your Station
faces and decide if any were resolved. This might mean they were
averted or they have already come to pass. Either way, cross them
off from your Station sheet.

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ENDING THE GAME

The aftermath.
THREAT NEUTRALISED
When you mark the last threat as resolved, it’s time to bring things
to a close. To wrap up loose ends, play one more round.
As with the first round, each player will narrate a minor scene.
This time, demonstrate how your Characters and their lives were
changed by your story’s events.
If your Character didn’t survive, or you’d rather leave their fate a
mystery, you can instead read the station, checking in with your
community in the aftermath.

DEBRIEF
Now the game is over, you can have an out-of-character discussion
about the game to decompress and resolve any lingering issues.
Talk about what you enjoyed, as well as what you found difficult
or challenging.
You can debrief straight after play, but sometimes it’s better to
take a few days to reflect before checking in.

SATELLITE DESCENT
If you reach the end of your story wanting more, you should check
out Satellite Descent.
This collection of solo and epistolary games is designed as a
companion piece to Orbital, letting you continue to tell stories and
explore the world you’ve created after the main game concludes.
It’s free for all owners of this game.

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the sta-
tion
THE STATION

A home in the cosmos.

THIS MUCH IS TRUE
Every community in Orbital starts with these six points as a
foundation. Before you create your Station, read them aloud:
8 We are a neutral station, widely recognised as
unaffiliated with either side of the ongoing war.
8 The station is much older than our little community
and much of it is unexplored.
8 We have sufficient resources to ensure we
meet all our residents’ basic needs.
8 We celebrate and value difference in many forms,
both personal and cultural.
8 We operate open borders, accepting new arrivals with
compassion and providing for them as equal residents.
8 The world outside is hostile and treacherous,
so we avoid leaving our station wherever possible.
Any of these truths can be challenged or threatened during play.

VISUALS
Once you’ve established these truths, you can start to make the
Station unique. First, by choosing a few aesthetic touchstones
describing the physical environment.
These visuals don’t need to be ubiquitous across the Station, but
paint in broad strokes. You should also agree on your Station’s
rough shape and size so you’re all agreed on the scale.

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THREATS
Life on your Station is rarely peaceful for long. There are always
Threats on the horizon—disruptive, divisive or calamitous events.
As a table, you’ll choose three Threats your community faces.
Look to draw connections between the Threats, seeing how
they could be linked into a larger narrative. However, don’t feel
compelled to tie them into a neat structure before starting play.
In play, the Threats don’t require equal time or weight. One might
naturally become the story’s main thread as the others become
subplots. Or, you might change focus as you play.

NAME
Finally, name your Station. It might be something to do with its
shape, history or perhaps a nearby stellar feature like a planet,
moon or nebula.

DURING PLAY
On the Station sheet there are blank spaces for a map and a list of
notable residents or outsiders—Minor Characters.
As you name important places, such as hangouts, add them to the
map. Your map will be incomplete and rough. It’s a tool to help
you understand how spaces are linked, not a true representation.
As you introduce Minor Characters, add them to the sheet with a
short description & their pronouns. Update them as required.

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THE ASPECTS

Slice of strife.
DIFFICULTIES FROM EVERY ANGLE
In Orbital, the setting is split into six thematic parts, or Aspects.
You’ll share responsibility for them over the course of the game.
The Aspects are:
8 The Interstellar War.
An all-consuming conflict, burning across the stars.
8 The Station Itself.
The systems, mundane and uncanny, keeping us alive.
8 The Markets.
The ways we trade for resources on this station.
8 The Scum and Villainy.
The smugglers, gangsters & thieves haunting our station.
8 The Unaffiliated.
The families, workers & refugees making up our diverse society
8 The Lambent Strand.
A glowing thread, weaving every life together into a great tapestry.

CHOOSING ASPECTS
Hand out the Aspects and take turns reading each sheet’s
introduction and pick up when statements. You can play the musical
themes for each of the Aspects while you read.
Then, everyone should choose one Aspect, taking its sheet.
Place any unchosen Aspects in the centre of the table. They might
come into play later if the story brings them into focus.

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CREATION
To create an Aspect you make two choices: name something and
establish fiction. Share your thoughts and ask questions as you go.
Naming something lets you do a bit of worldbuilding, putting a
label on an entity, phenomenon or event related to the Aspect.
The fiction choices are varied but they all let you shape a part of
your Aspect, helping to guide your decisions when playing them.

PICK UP & TRADE AWAY

Familiarise yourself with the pick up when statement atop your
Aspect sheet. It lists reasons to start actively playing your Aspect
rather than your Character.
If playing your Aspect is difficult, usually because you’re playing a
Character in the same scene, you can always trade it away. Either
swap with a spare Aspect in the centre or another player. You
should always have exactly one Aspect in front of you.

RESOURCES
Every Aspect has some resources on the back to inspire you during
play. Glance over them whenever you have a quiet moment.
You will find:
8 Questions about the Aspect to consider while playing.
8 Lists to help create compelling events and Minor Characters.
8 Space to take notes while playing.

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The char-
acters
THE CHARACTERS

People get ready.

A PARTICULAR SET OF SKILLS
Everyone creates a Character in Orbital. Using a Character role as
a template, you’ll create a unique Station resident. Whether some
sort of official, a beloved linchpin or a necessary nuisance, they are
integral to the community and have agency to make significant
change.
Choose from the following Character roles, each with unique
choices to make during creation and Moves to use in play:
8 The Source.
A resourceful individual with the connections to get what you need.
8 The Heart.
A hospitable individual with their own venue, serving the community.
8 The Wrench.
A pragmatic individual burdened by duty, ready to pass the torch.
8 The Signal.
A compelling individual looking to create political change.
8 The Monitor.
A prudent individual, quietly observing the populace.
8 The Shadow.
A concealed individual, working towards a secret mission.

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CHOOSING CHARACTERS
Hand out the Character roles and take turns reading each sheet’s
introduction with their accompanying musical themes.
Everyone then chooses one to play, taking its sheet.

CREATION
To create your Character, go down the list of character options on
the back of the sheet choosing options as prompted.
As you do, fill out the character profile, giving context and form to
the choices you make.
Share any particularly striking or interesting choices you’re making
with the table. If you’re ever unsure about what an option means:
ask the table, look it up online, or just have it mean whatever you
find most interesting.
You can make up your own answers to prompts instead of using
the picklists but be aware this will slow the process of creation and
can muddy your setting’s cohesion.

INTRODUCTIONS
Once you’ve all created Characters, use your completed character
profile to introduce them to the table.
Add your hangout (or place, if you’re The Heart) to the Station map.
Ask questions about each other’s Characters, and look for potential
areas of overlap where it makes sense for them to know each other.

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BONDS
Now you’ve all been introduced, let’s make some connections.
First, take turns choosing one bond question to ask the player
to your left. Your answers might be quick and clear or you may
talk them through with the other players. If you end up creating
locations or Minor Characters in your answers, add them to the
Station sheet for later reference.

RESIDENTS
Next, you’ll each create two Minor Characters to fill the Station
with life. Choose two residents from your sheet, announcing them
to the table. The provided descriptions are brief, so you’ll probably
want to explain who they are and how you’re connected.
It can be fun to combine residents with other players too, so your
“beautiful spacer I told everything to” might be another player’s
“perfect employee that I just can’t stand”.
Record your residents’v names and pronouns on the Station sheet.

INSIGHTS
Finally, have a look through your list of Insights. You’ll use one of
these to connect your Character to one of the Threats facing the
Station.
Consider which looks most interesting, but don’t choose yet—
it’ll come up when you’re making your opening scenes in the first
round of play.

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ALTERNATIVE RULES

What, you want more!?

NO DICE, SOME MASTERS
Playing Orbital with a dedicated game master is straightforward.
Simply have one player take all the Aspects while everyone else
creates Characters. You still create your Station and establish the
Threats together like normal. The rest of the game is essentially
unchanged, except that you won’t be switching between
Characters and Aspects as you play.

VETERAN BOBBERS
If you’re all experienced playing GMless games, especially other
Belonging Outside Belonging games, you might find the turn
structure and fixed Actions limiting to your radical narrative.
You’re free to take out the whole trio of Actions and replace them
with a freeform scene/dream system, like other BoB games.

SLICE OF LIFE
If you want a more ‘slice of life’ experience, choose fewer or no
Threats when creating your Station. I’m sure you can still make
some trouble. End the game when you’ve told a fun story.

ANOTHER SHOT
Orbital is primarily designed as a one-shot play experience—there
is no mechanical progression for the Characters, for example.
However, there’s nothing stopping you returning to your Station
with the same Characters and selecting a new trio of Threats.

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