Infinite Galaxies - Core Rules

RORY MACLEOD
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ROLEPLAYING IN A BRIGHT FUTURE
INFINITE GALAXIES i
CREDITS
WRITING & SYSTEM DESIGN RORY G. MACLEOD
EDITOR LAURA BRISKIN-LIMEHOUSE
ADDITIONAL EDITING STEVE WALLACE
& ART DIRECTION
LAYOUT & ADDITIONAL DESIGN AARON BROWN
WEB DESIGN EMILY DEARRING
COVER ARTIST JAROSLAW MARCINEK
INTERIOR ARTISTS JORGE F. MUÑOZ
MATT MORROW
MEHMET PINARCI
Thanks to the following people – and many others – who playtested

Infinite Galaxies over the years: Daniel Robert Bunge, Kason Cheng, Damian
Jankowski, Paula Miller, Stephanie Owens, Mick Mathews, Evan Jeshka Rye,
Aaron Brown, Aaron Sturgill, Zaki Murtadza, Elliott Doza, Ashley Doza, Michael
Hennings, Jon Hill, Daniel Ohm, Brian Long, Denver Scheid, Jim Lotte, Marc
Wolff, Ian Dixon, Matt Landrine, David Cramlet, Ben Cramlet, Doug Woller,
Kevin Liston, Aaron Dugger, Morgan Ellis, Paul Imboden, Darren Loeffle, Bill
Paulson, Bill White, Mel White, Ben Wyatt, Victor Wyatt, Emily Dearring, Tim
Warner, Steve Wallace, Rich Rogers, David Jay, Jesse Larimer, Asher Silb,
Gerwyn Walters, Christo Meid, Kyle Thompson, Daniel Johnson, Michael
Czyzewski, Keith Martin, Jason Cox, Jeffrey Rees, James Davenport, Joanna
Gilicinski, Mark Gilicinski, James Dugger, Mark Daymude, Ana Luisa, Elaine
Gray, Stephanie Kasenter, Shawn Kulbacki, Max Morlocke, Kara Appel, Zach
Moore, Jordan Valentine, Michael Hanning, Kyle Strohecker, Cary Brandon
Bishop, Trent Morello, Ross Morello, Colin Coffey, Ben Stewart, Eugene
Hołowacz, Laura Briskin-Limehouse, Thomas Myers, Tony Thesaphone, David
Smith, David Perfect, and Douglas Shute.
In loving memory of Grendel, our “Chairman Emeritus” 2006-2019

LICENSES & ATTRIBUTIONS
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Grendel’s Vault Productions is a dba of Rory G. MacLeod
PDF ISBN: 978-1-7337669-1-3
GVP0102 - Infinite Galaxies Core Rules
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Productions.
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CONTENTS
CREDITS II
1. WHAT IS INFINITE GALAXIES? 2
THE VIEW FROM ORBIT 2
FURTHER DOWN TO THE DETAILS 5
ROLEPLAYING IN A BRIGHT FUTURE 6
GAME INITIATIVES 7
ORIGINS OF THE GAME 7
THIS BOOK 8
YOUR GAME, YOUR STORY 10
2. HOW TO PLAY 12
THE GAME IN A NUTSHELL 12
PLAYER ROLES 13
PLAYER CHARACTERS 14
VESSELS 16
TIME 17
GAME TERMS 17
TAGS 21
DAMAGE AND RECOVERY 24
MOVES ESSENTIALS 26
BASIC MOVES 27
BASIC VESSEL MOVES 30
SPECIAL MOVES 31
EXAMPLE OF PLAY 36
3. HOW TO GM 38
WHAT IS A GAME MASTER? 38
PREPARATION 39
MANAGING THE GAME SESSION 40
INTERACTING WITH THE TABLE 41
THE GAME CONVERSATION 42
GM PRINCIPLES 45
GM MOVES 47
RESOURCE MANAGEMENT 53
IMPROVISATIONAL MOVES AND MODIFIERS 55
PLAYER GOALS 56
NON-PLAYER CHARACTER BASICS 59
MINIONS 63
STOCK NPCS 64
INFINITE GALAXIES iv
STOCK CREATURES 73
THE FIRST SESSION AND BEYOND 76
4. CHARACTER CREATION 82
THE IMPORTANCE OF CHARACTERS 82
SELECTING A PLAYBOOK 82
THE CHARACTER CREATION PROCESS 84
INTRODUCING YOUR CHARACTER 88
EXAMPLE OF PLAY 89
5. THE PLAYBOOKS 92
THE ACE 95
THE EXPLORER 101
THE JACK 107
THE LEADER 115
THE PSI 123
THE ROBOT 131
THE SCIENTIST 139
THE SOLDIER 147
THE SHIP 155
THE COMPANION 163
6. EXPERIENCE AND ADVANCEMENT 168
ABOUT EXPERIENCE 168
DRIVES AND RELATIONSHIPS 169
MILESTONES 170
THE END OF SESSION MOVE 173
ADVANCES 174
EXAMPLE OF PLAY 177
7. GEAR 180
GEAR BASICS 180
ECONOMY 181
STARTING GEAR 183
CHARACTER EQUIPMENT LISTS 185
8. VESSELS AND MOUNTS 194
VESSEL AND MOUNT BASICS 194
VESSEL RULES 194
VESSEL EQUIPMENT LISTS 198
STOCK STARSHIPS 205
NOTORIOUS STARSHIPS OF THE GALAXY 212
STOCK ATMOSPHERIC VESSELS 214
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MOUNT BASICS 219

STOCK CREATURE MOUNTS 220
9. ELEMENTS OF A SETTING 224
WHAT IS A SETTING? 224
THEME AND TONE 224
INTERESTING PLACES 226
TECHNOLOGY 227
ORGANIZATIONS 228
DIFFERENCES BETWEEN SETTING AND STORY 229
10. THE STAR PATROL SETTING 230
WHAT IS STAR PATROL? 230
INTERESTING PLACES 231
TECHNOLOGY 232
ORGANIZATIONS 233
STORIES IN STAR PATROL 235
11. YOUR OWN SETTING 236
KEY ELEMENTS AND THE HOOK 236
COOPERATIVE CREATION 237
DETERMINING THEME AND TONE 238
CREATING INTERESTING PLACES 239
CONSIDERING TECHNOLOGY 242
CREATING ORGANIZATIONS AND ENEMIES 242
NEW ALIENS AND SPECIES 245
NEW PLAYBOOKS 246
CHOOSING AN EXISTING SETTING 248
FINDING THEME AND TONE 249
TAKING WHAT WORKS, SETTING ASIDE WHAT DOESN’T 250
ADAPTING RULES 251
12. ELEMENTS OF A STORY 254
WHAT IS A STORY? 254
FORMULATING STORY 255
HOW SETTING INFLUENCES STORY 255
THEME AND TONE IN STORY 256
NOTABLE PLACES, PEOPLE, AND ORGANIZATIONS 257
PLOT AND PREDETERMINATION 258
PACING 259
INFINITE GALAXIES vi
13. A GAME’S STORY 262
THE LIFE OF A GAME’S STORY 262
ASKING GOOD QUESTIONS 263
PLAYER INPUT 264
INCORPORATING GAME MECHANICS
INTO STORY 265
14. CREATING AND CONTINUING A STORY 268
SOURCES FOR STORY CREATION 268
SCENES INTO STORY 268
STORY DIRECTION 271
CHARACTER CHANGE AS STORY 272
SETTING CHANGE AS STORY 273
15. THANKS 276
KICKSTARTER BACKERS 276
PERSONAL THANKS 278
INFLUENCES 279
APPENDIX A: THE STAR PATROL PRIMER 280
THE SOL SYSTEM 280
OTHER HUMANS IN THE UNIVERSE 280
TERRAN ALLIANCE 281
MID-SPACE 281
FAR-SPACE 282
THE MASSKAI EMPIRE 282
THE CORPORATE SECTOR 282
GROVOL 283
THE COLLECTIVE 283
APPENDIX B: STAR PATROL SPECIES AND ORIGINS 284
THE COLLECTIVE 284
CYGNAN 284
GRAY 284
MASSKAI 285
POR CHANTARII 285
WHITE APE 285
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INFINITE GALAXIES viii

THE BASICS
PART ONE:
This part introduces you to the

Infinite Galaxies game, offers some
insight as to why you might want
to play, and details how the game
works. Chapters in Part 1 cover the
game basics, how to play, and how
to run the game.
Part 1: The Basics
1. WHAT IS INFINITE GALAXIES?

This chapter introduces the Infinite Galaxies game and provides reasons to play. It
starts with an overview of the game, then gets into details, and explains the game’s
concepts. There is also a brief discussion of the game’s origins, a section detailing how
the Core Rules book is organized, and, finally, a discussion of how players can make
the game their own.
THE VIEW FROM ORBIT

Infinite Galaxies is a science fiction roleplaying game in which intrepid heroes
(or anti-heroes) venture into the galaxy in search of adventure, fortune, accomplish-
ment, or prominence. This is a game in which three to six players gather for a few
hours to explore the galaxy-spanning setting they have mutually created. Because
Infinite Galaxies is a story game, the focus is on furthering the group, and each
individual character’s story, and respecting the creative contributions of every
player.
This work is the Infinite Galaxies Core Rules, a self-contained set of rules and
game advice that will guide you through the entire game play experience.
This is a roleplaying game, meaning that players each take on the role of spe-
cific characters in the game. One of the players, the Game Master (GM), acts as a
sort of master of ceremonies, arbiter, referee, sounding board, and the one player
ultimately responsible for facilitating the game itself. In a roleplaying game, each
of the other players portrays a character of some sort. In Infinite Galaxies, players
select a playbook, which is a template of abilities and a framework around which
the character is developed. While most of the players play only one character, the
GM portrays just about everyone else (the characters encounter during the course
of the game).
Infinite Galaxies is built upon a few concepts. First, the players drive the action.
It is the players who take narrative control and pursue their desired path. The
Game Master is there to facilitate play, to make rulings, and to spur the action
forward when needed. Second, every action that requires a roll has an outcome.
In some games, there are many rolls that end up with no consequence. That is
not true of Infinite Galaxies. Every time the GM calls for a roll, something is going
to happen; there is always a consequence of taking action. Third, every player is
expected to contribute to the story; this is not a game where the Game Master
creates everything and the players are just there to enjoy their creations.
Of course, Infinite Galaxies is a science fiction game. The term science fiction
can mean different things to different people. The good news is that Infinite
Galaxies should be able to accommodate most of these ideas. Infinite Galaxies
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can be used to simulate many different science fiction concepts, from the soft
science of a sword-and-planet story (the Mars stories of Edgar Rice Burroughs or
space operas like Star Wars) to hard science (such as the novels of Isaac Asimov
or Arthur C. Clarke, and films such as 2001: A Space Odyssey). Though Infinite
Galaxies tends to be on the softer side of the science, there’s nothing in the game
preventing the players from creating a harder science setting.
In playing Infinite Galaxies, the group should create a setting of exploration, of

strange new worlds and civilizations, of technologies beyond our own, of excite-
ment, and of action and adventure. The characters are larger-than-life personas,
with capabilities beyond those of normal people. The characters have interesting
motivations that drive the story forward. And this story, the one that the group
creates, is about your characters.
The Infinite Galaxies rules are designed to emulate many different play styles
and settings. What this means for you is that you can create exactly the sort of
sci-fi game you and your fellow players want to experience. If you want a high-ad-
venture game, Infinite Galaxies can accommodate you. If you want a game of
intrigue and behind-the-scenes machinations, Infinite Galaxies can also do that.
While the Infinite Galaxies game has a default setting, Star Patrol, you are free to
create your own setting or use an existing one, such as a published setting from
another game or a fictional setting from novels, movies, or television. Infinite
Galaxies provides the framework into which you create the game you want to play.
Infinite Galaxies provides many options for playbooks and advancement. The
game comes with eight playbooks and each can be configured to suit a character
concept. Infinite Galaxies offers a great number of advancement options. Not only
does each playbook provide a player with many ways to pursue different paths, a
player may also select advancement from other playbooks. Infinite Galaxies does
not force a player into a certain path; there are so many advancement options
that even replaying the same playbook again may end up with a completely
different character.
Important in the design of Infinite Galaxies is that the game is effective for
both long and short term play. The game has been playtested in both one-shot,
convention style games and longer, campaign games. What we have found is
that the game is scalable to either situation. The Core Rules present some
options and guidelines to make the game most effective in both long games
and one-shots. Because Infinite Galaxies has been designed for many different
types of games, certain play styles and story elements are inherent to the game.
No matter what your group’s play style is (and this play style affects the game
experience), certain aspects found within the Infinite Galaxies rules are common
to all game experiences.
Chapter 1: WHAT IS INFINITE GALAXIES? 3

Part 1: The Basics
Exploration and discovery are important parts of any sci-fi game and Infinite
Galaxies is no different. The game supports exploring unknown reaches of space
and discovering new technologies and species. Because Infinite Galaxies is a
story-driven game, exploring and discovering new and interesting things can be a
large part of the game, if the players desire.
Of course, a game that provides for high adventure must also feature quick and
easy combat rules. Infinite Galaxies, which is based on the “Powered by the Apoc-
alypse” rules set, provides simple, easy to understand game mechanics. These
rules do not require maps or miniatures, although players can certainly use visual
aids. The action in Infinite Galaxies is more of an abstract experience, allowing for
greater flexibility than games that rely on more static and complex rules.
THE ELEVATOR PITCH

There is a concept in screenwriting wherein an aspiring writer randomly (or perhaps
not to randomly) runs into a studio executive and has only the length of an elevator ride
– possibly two minutes or so – to sell their script idea. This is what has become known
as the elevator pitch. Often, when it comes to pitching a new game to your group, you
may have only a short period of time in which to convince the others to try it.
Assuming you like the idea of trying Infinite Galaxies, we hope that you will have an
opportunity to pitch the game to your friends and fellow gamers. To help you do this,
we have assembled a list of talking points to illustrate the basic strengths of Infinite
Galaxies and hopefully convince others to give the game a try.
»» If you have played another “Powered by the Apocalypse” game, you already
know the basics.
»» Infinite Galaxies can be used for many different settings and comes with its
own, Star Patrol.
»» The game has eight new playbooks designed to cover most science fiction
tropes.
»» Spaceships, aliens, robots, and futuristic weapons are seamlessly integrated
into the game.
»» Getting started is quick and easy and you can get a good feel for the game in
just a few hours.
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FURTHER DOWN TO THE DETAILS

Infinite Galaxies characters are built using playbooks. This system is similar
to other “Powered by the Apocalypse” games, such as “Apocalypse World” and
“Dungeon World”. In this sort of system, the playbook provides a player with all
elements they need to create a character. This allows for quick character creation,
as books and other resources are likely unnecessary; all you need is provided on
a single, two-sided character sheet. There are eight playbooks in Infinite Galaxies:
the Ace, the Explorer, the Jack, the Leader, the Psi, the Robot, the Scientist, and
the Soldier. Each playbook provides a player with an individual experience and
gives the character moves that are unique within the scope of that character’s role.
The design of Infinite Galaxies game is based on players making moves. A

move is some action that a Player Character undertakes that requires a roll
and has one or more possible outcomes. Players trigger moves by stating what
their character is doing. In some cases, a move may not be triggered; in other
cases, more than one move might make sense and the GM will need to decide
which move was triggered. In any case, moves drive the game forward; in Infinite
Galaxies, all moves, whether successful or not, drive the story. A move’s success
or failure means different things to the Player Characters and their adversaries.
When a player risks rolling for a triggered move, they understand that, whatever
result occurs, it will have a direct impact on what happens next.
When a move calls for a roll of the dice, pick up two six-sided dice (called d6
sometimes) and roll then, adding the results together. The move will often direct
you to modify the roll with an ability (STR, DEX, INT, and so forth). The sum of all
of this is the result. On a 6 or less, the move fails. On a 7-9, it is a partial success.
On a 10+, it is a complete success. Moves will specify what happens on a partial
or complete success.
Being a science fiction game, Infinite Galaxies provides players with a list of
futuristic technologies. Characters use equipment to help them get the job done.
Unlike some games, however, Infinite Galaxies does not put a make-or-break
value on character equipment. The majority of what a character does in the game
does not use equipment at all; in many cases, equipment may be used to justify
triggering a move or provides a means to an end.
Infinite Galaxies has, inherent in its design, some assumptions regarding the
people, places, and things that are likely to be in your game. This is the default
setting, also known as Star Patrol. Though the impact of the Star Patrol setting
may be small in your game, it is worthwhile to understand that Infinite Galaxies
was built upon certain principles existing; if these do not exist in your game, you
are, of course, free to modify to suit what your game requires.

Part 1: The Basics
The Infinite Galaxies Core Rules book provides Game Masters with a lot of helpful
information regarding how to run the game, how to satisfy player motivations, and
some guidance in dealing with some common situations that tend to come up during
the game. Infinite Galaxies is not built upon blunt and explicit directions for the Game
Master; the rules are designed to be modified. We expect that every Infinite Galaxies
GM will, in some cases, bend our rules to make things work in their game.
ROLEPLAYING IN A BRIGHT FUTURE

There are some tone and theme-based assumptions built into the Infinite
Galaxies game. Infinite Galaxies is intended to be a light-hearted experience.
The design intent is that players should usually engage in positive and growing
activities – defeating evil, freeing people from oppression, stopping injustice – and
not in darker pursuits, such as extorting people, threatening, blackmail, reckless
murder and destruction, and so forth.
Perhaps it is worth breaking down exactly what “Roleplaying in a Bright Future”

means. This slogan, the tagline to the Infinite Galaxies series, means that the game
presents a positive and engaging future state of the universe. If you are playing in
our own real-world universe, it means that humanity has explored the stars and
found common cause with many other alien civilizations. It means that technology
and society has achieved a certain harmony and that, generally, people are happy
with the state of things. Of course, this does not mean that the universe is devoid of
conflict; there are always those who will oppose our characters. This is why you play
Infinite Galaxies, to find conflict and see how our characters deal with it. Play to find
out what happens.
In Infinite Galaxies, we look to the positives, in persons, places, and things. We

assign positive motives to our heroes and those with whom the players engage.
We draw stark lines between our protagonists, the heroes of our stories, and those
with whom they do battle. Infinite Galaxies is an inclusive game, which means that
the game offers space for every sort of player and every sort of character. As a
group, be as inclusive as possible and offer your fellow players space in which to
roleplay and engage in their own brand of play. Despite being written with a certain
viewpoint on play, Infinite Galaxies is adaptive to multiple points of view and a
multitude of play styles.
While Infinite Galaxies offers the players a fairly specific starting point, the game
does not presume that the players simply accept the design intentions and make
no changes. In fact, the designers intend that you will take what is written here and
expand upon it, to make Infinite Galaxies your own game. If you want to use the
game to simulate a grim future, or include darker characters, you are absolutely
free to do so. Just keep in mind that this is against the design intent and that you
may need to change or tweak some things to achieve your own vision.
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GAME INITIATIVES
Infinite Galaxies presents several game initiatives. These are key concepts that
are assumed to be part of play as well as principal themes and drives that drive
players to want to participate.
The first of these initiatives is exploration. Players can explore new places and
perhaps meet new and strange alien civilizations. Exploration is a key initiative
because it enables the setting to unfold. Even if the players are visiting a core
world, some place that their characters ought to be familiar with, it is new to the
players themselves, and thus, would be considered exploration.
An important thematic initiative is the presentation of technology far advanced

beyond our own. Again, because this is a science fiction game, it is expected that
players will encounter highly advanced technological concepts, such as robots,
space travel, and laser guns. Part and parcel to the idea of space travel is combat
among the stars; Infinite Galaxies presents that in an easy-to-use way that
interacts well with personal combat.
The final initiative is the presentation of the “other”; players should encounter
strange aliens and sentient robots. These represent intelligences other than
humans. This is also a big staple of the science fiction genre.
ORIGINS OF THE GAME

The Infinite Galaxies game did not spring from nothingness. It is, of course,
based on the many worlds of science fiction that have come before. It is therefore
important to point out and reference some of the influences important to the
game’s development. In understanding these origins, players should gain insight
into the intentions behind the creator’s font of inspiration and the possible
directions that the game might take.
Since the dawn of modern media (movies, TV, novels, and so forth), we have
had speculative fiction based on the idea that humanity might one day travel into
space. Infinite Galaxies (and any other science fiction RPG) would not exist without
the many science fiction works in movies, television, and the written media.
Though there are many different representations of the future (and of aliens,
space travel, robots, and so forth), a few stand out – see the Sidebar: Influences,
below.
Infinite Galaxies owes a measure of credit to the roleplaying games that have
come before. “Dungeons & Dragons”, in its many forms, is the seminal roleplaying
game and is the one most players have tried. Early science fiction games, such
as “Star Frontiers”, “Traveller”, “Battletech”, “Car Wars”, and even the early “Star

Part 1: The Basics
Wars” and “Star Trek” games took RPGs from the subterranean dungeons of
fantasy worlds and into space. While science fiction games have not been the most
popular, they have been a mainstay of RPG culture since nearly the beginning.
The mechanics and central concepts of the Infinite Galaxies game are “Powered
by the Apocalypse”, or “PbtA”. This rule system was developed by D. Vincent Baker
in the game, “Apocalypse World” then further developed and adapted in games
like “Dungeon World”, “Monsterhearts”, “Urban Shadows”, “No Country for Old
Kobolds”, and many others. Infinite Galaxies owes its very existence to this rule
system and would not exist without it.
Of these, “Dungeon World” has had the most direct influence on the develop-
ment of Infinite Galaxies. The playbooks and moves found within Infinite Galaxies
are closely tied to those found in Dungeon World; those who have played Dungeon
World should easily adapt to playing Infinite Galaxies.
THIS BOOK
The book that you’re reading is the Infinte Galaxies Core Rules. This is a
standalone book of rules and advice intended to facilitate running Infinite Galaxies,
without any other material. The Core Rules book contains all of the game’s moves,
playbooks, mechanics, equipment, and framework.
The Infinite Galaxies Core Rules contains everything you need to run the game
– except dice. These can be purchased at your local game retailer or at any number
of online retailers. For Infinite Galaxies, you will need several dice – four, six, eight,
ten, and twelve-sided dice (henceforth referred to as d4, d6, d8, d10, and d12,
respectively). You may also need pencils, pens, and paper (although some may
prefer to play with electronic materials).
The Infinite Galaxies Core Rules book is organized into five parts.
»» Part 1: The Basics introduces the game in concept, scope, mechanics, and
the expectations of game play. It includes chapters on the foundations of
the game, expectations, developing the game’s story, and game mechan-
ics.
»» Part 2: Characters & Gear explains how characters are the heart of Infinite
Galaxies; this part focuses on creating and playing characters. It includes
chapters on the character creation process, a comprehensive detail on
each of the ten playbooks, a discussion of experience and advancement,
and chapters on equipment and vessels.
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»» Part 3: Setting discusses the importance of setting and provides ideas

and guidelines on how to develop a setting for the game. It includes
chapters on setting elements, a brief treatise on Star Patrol (this is a
default setting for the Infinite Galaxies game), instructions on creating a
new setting, and advice on using an existing setting.
»» Part 4: Story discusses the elements of story that are important to playing
the game. It includes chapters examines critical aspects of story that can
be used in the game, how to convert story ideas into game action, and
how to create and continue a story.
»» Part 5: Back Matter is a chapter of thanks to those who made Infinite

Galaxies happen, a selection of appendices providing more Star Patrol
information, and an index.
INFLUENCES
One cannot ignore the significant influences that various media representations
of sci-fi have had on our collective view of the future. It is especially important to
call out two of the most significant sources of science fiction content: “Star Wars”
and “Star Trek”. Without these two franchises, it is hard to see how science fiction
would have risen to the popularity it enjoys today. Generally, “Star Wars” stories
involve morality, relationships, and larger-than-life characters. “Star Wars” features
huge landscapes against which these stories are told and millions of alien races in
a nearly infinite series of star systems and galaxies. “Star Trek” presents us with
a mostly harmonious future, one in which humanity has conquered many of the
conflicts we have been mired in for the past several thousand years. Humanity has
explored the stars and encountered many alien races. Technology is amazing and
helps people with tasks in their daily lives. For their parts, both “Star Wars” and
“Star Trek” have had their influences on Infinite Galaxies and continue to inform the
game’s style.
In addition to those franchises, it is worth pointing out other science fiction sources
from which the game’s design has drawn influence. “2001: A Space Odyssey” has
presented an interesting and arguably realistic vision of the near future, especially
in regards to spacecraft and artificial intelligence. Older works, such as “Flash
Gordon” and “Buck Rogers”, give us inspiration from their simplicity and sense of
high adventure in space and on other planets. The stories of pulp sci-fi, such as
those found in “Planet Stories”, “Amazing Stories”, “Analog”, “Asimov’s”, and many
others, have also had their say in the tonal design of this game.

Part 1: The Basics
YOUR GAME, YOUR STORY
Infinite Galaxies presents tropes, genre-specific terms, and concepts common
to most science fiction settings. When you decide to play Infinite Galaxies, you have
ways to emulate many different types of science fiction stories. It is the versatility
in science fiction storytelling that makes Infinite Galaxies so easy to play. But
there are several elements considered critical to an Infinite Galaxies game. These
elements are what makes a game “Infinite Galaxies”, but that doesn’t mean you
can’t play around with these tropes.
Despite the assumptions and critical game elements presented in prior sections
of this chapter, it is intended that players will want to make Infinite Galaxies their
own game. In so doing, players may want to change some of the game’s assump-
tions. Because Infinite Galaxies has been designed to be mutable, changeable,
and polymorphic, there are certain dials that can be turned and buttons that can
be pushed to make the game into what you need it to be. If one of the standard
playbooks doesn’t fit into your game concept, throw it out. For example, if the play-
ers do not want psionics in their setting, they can remove the Psi playbook. Players
may wish to have humanity be the only intelligent species; simply removing all other
species from the game is easy enough. If you’d like to create a new playbook, by all
means, do so. Alien races and character origins are also easy to add to the game.
Though Infinite Galaxies presents many vessels and equipment for your use, the
list is by no means complete; you are free to come up with your own additions.
There are many other tweaks that you can choose to make. The most important
thing is that the game fits what you and your group needs.
You can play many different sorts of games using Infinite Galaxies. Though
the heart of Infinite Galaxies is in star-hopping action-adventure, these rules can
be used to present other stories. While some players enjoy a lot of combat and
action, others may prefer more engaging mysteries and investigative games.
Infinite Galaxies should serve well just about any sort of player. You can use Infinite
Galaxies to run a space exploration game, or a game heavy on intrigue and social
manipulation, or even a game focused on interplanetary trade or diplomacy that
rarely ventures into combat.
The Infinite Galaxies Core Rules includes what we call the default setting, also
known as Star Patrol. This is a very basic setting that underpins some of the design
decisions made to create this game. For more information, see Chapter 10: The
Star Patrol Setting.
Because Infinite Galaxies does not require a specific setting, you are free (and
encouraged) to create your own setting. You can even use Infinite Galaxies to repre-
sent existing settings. With a little work, Infinite Galaxies could be used for play in
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many settings found in science fiction media. For more information on developing
a new setting for Infinite Galaxies, see Part 3: Setting, and the chapters therein.
Infinite Galaxies does not function without the imagination and inspiration of
the players. Everyone – not only the Game Master, but also the other players –
provides new ideas, context, and direction for the game. Use what inspires you
about science fiction. Since the genre is fairly broad, players will have different
ideas about what a science fiction game means to them. Use these ideas as
much as possible as fuel for driving the game into new and interesting directions.
It is only by making use of these inspirations that your game will truly take flight.
As you become more experienced with Infinite Galaxies, you will learn the
mechanical foundations of the game. When you do, you may come to realize that
certain parts of the game may not work exactly within the conceit of the game
you’re running (or would like to run). In this case, throw out what doesn’t work for
you and tweak what already exists to make it better.
When considering what type of Infinite

Galaxies game your group wants, consid-
er setting some expectations in terms of
story and tone. For more information on
these elements of the game, see Part 4:
Story and the chapters therein. Keep in
mind that the game belongs to everyone;
while in many roleplaying games, the
Game Master rules the experience,
Infinite Galaxies does not promote that
point of view. In addition, it is important
to establish what works and what
doesn’t. This is best established during
play. You may find that your group’s play
style changes and adapts during the
course of the first few sessions (this is
especially true with new groups). This
is working exactly as intended; as your
group plays Infinite Galaxies, you will find that each player changes their style and
approach to adapt to what the others do. It is equally important to figure out what
doesn’t work and avoid any pitfalls or distractions that may come from misunder-
standings or hurt feelings as a result.

Part 1: The Basics
2. HOW TO PLAY
This chapter explains how to play Infinite Galaxies, its rules, its directives, and
its goals. In this chapter, we discuss the basics of game play, different player roles,
how the Player Characters (PCs) work in the game, how starships and other vessels
work, the effect of time in the game, important terms used in Infinite Galaxies, tags
found in the game and what they mean, the damage and recovery system, and a
lengthy section on moves used in the game.
THE GAME IN A NUTSHELL

The typical Infinite Galaxies game is a three to four-hour event and involves five
or six people. The game is, at some level, a conversation and loosely structured
simulation of an imagined series of events. The collective imaginations of everyone
involved creates and drives the narrative, which is the vital bloodline and impetus
for the story. Without a narrative in place, without this collective story to enjoy,
Infinite Galaxies would just be people sitting around rolling dice – possibly fun, but
not exactly what we intended.
Game play is driven by Player Character decisions and actions. The Game
Master (GM) operates mostly in the background, replying to and improvising from
player actions, decisions, and questions, but is equally important as someone who
can help guide the session along. While the GM does not come to the game with
concrete decisions about the game session (what will happen, who will live and
die), they should have some ideas formed about interesting things to bring into the
session (strange aliens, unusual technologies, fantastic places and people).
Everything in the game flows from character creation. For a detailed discussion
of this process, see Chapter 4: Character Creation. Once characters are created,
everything else in the game proceeds from that point forward – the GM will ask
questions about these characters (their backgrounds, their motivations, their
interpersonal relationships) and start formulating ideas about interesting situations
to put them in.
Character creation involves the selection of playbooks. These are structured

frameworks within which characters are created. Learn more about the Infinite
Galaxies playbooks in Chapter 5: The Playbooks.
After characters are created, or perhaps during that process, the notion of a set-
ting will be introduced into the conversation. You may come into the game with an
idea as to what the setting will be – you can use a literary or cinematic setting, an
existing setting from another game, or a setting of your group’s creation. In order
to make decisions about their characters, and to move the game into actual play,
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players need to know something about the setting; if this is an existing setting,
players should already be familiar with it. If this is a brand-new setting that your
group is collectively creating, the players should ask questions about this setting
and make some decisions about it. For guidelines and pointers on creating and
using settings, see Part 3: Setting.
In an ongoing game, one that spans multiple sessions, the first session you
play will be devoted to character creation, setting creation, establishing who the
characters are and what they are doing, and perhaps some game play. In a one-
shot or convention game, you want to spend a lot less time on setting, some time
on character creation, but the majority of your time on actual play. Your mileage,
as they say, may vary. For a more involved run-down on what happens in your first
session, see Chapter 3: How to GM.
After characters are created, setting is established, and the players are ready
to play, anything goes. At that point, it is up to the GM and the other players to
drive the game forward and create some interesting and memorable moments in
their new Infinite Galaxies game.
PLAYER ROLES
In any Infinite Galaxies game, one of the players is designated as the GM. This
player does not control any of the PCs. Instead, the GM reacts to the PCs’ moves
and actions and controls NPCs. The GM has a special set of duties covered in
Chapter 3: How to GM.
When playing Infinite Galaxies, there are two very important principles. The
first is that you build upon the moment. From a style point of view, this means that
players should play as a reaction to what others have already done. You should
not attempt to counteract what others players have brought to the game, whether
ideas or actions. Instead, build upon that content. Make your contribution an
additive one, not a divisive one. The second principle is to spin it forward. In terms
of game style, this means that you not only accept that what has happened in the
game is fact and can’t be changed, you act upon that fiction and add your own
actions to push the story forward.
If you are a player, and not the GM, you will need to consider how you (and
your character) fit into the group. This is a consideration not only to promote the
roleplaying side of things, but also to build the group dynamic.
In terms of your character, you want to make sure what you choose to play one
that you like and that fits well into any established dynamic. If this is the group’s
first session, and you are all making characters at the same time, it is a good idea
to discuss your collective thoughts on what sort of group of characters you’d all
Chapter 2: HOW TO PLAY 13

Part 1: The Basics
like to play. If you are adding a new character to an established group, it is critical
to ensure that the new character you’re bringing in has a unique place in the group
as well as something new and interesting to add.
While the place your character has in the group can largely depend on the play-
book you choose, it also has a lot to do with the character’s history, personality,
and motivations. In making creation choices for your character, consider what the
other characters are bringing to the group and try to do something different – but
perhaps not too different.
Your role in the group is also to be part of a gaming group. This has little to do
with the character that you’re playing and extends into the real world. If you have
played games with this group before, you probably have defined a social place for
yourself within the group. If this is your first time gaming with this group, make sure
to understand where the other players are coming from and what their interests
are within the scope of roleplaying in general.
As a player, your goals are to enjoy yourself and advance your character (in any
number of ways). How you have fun is, ultimately, up to you. Some players revel
in social drama, while others like action and combat. If you are not having fun
because the type of play you enjoy is not being offered, you should mention this to
the GM. Advancing a character is another goal players should have. This can mean
earning experience and selecting Advances, but it can also mean advancing a
character’s own story and personal goals.
Some people do not fit into certain gaming groups, and that’s OK. Understand-
ing this early on and making clear why someone may not fit in (and doing it in a
polite way) can go a long way towards making a comfortable exit.
PLAYER CHARACTERS
In Infinite Galaxies, most of the players “run” one PC. This PC is a protagonist, to
use a dramatic term. This means that a PC drives the action and makes decisions
that cause the story to move forward. “Running” a PC means that a player makes
the decisions for that character. Usually, each player runs one PC, although there
may be rare situations in which a player might have control over more than one
character.
The PCs are the central figures in an Infinite Galaxies game. The plot focuses on
what the PCs do and what their interests are. The PC work together to accomplish
their goals and it is often the case that the PCs cannot succeed on their own.
Thus, the group dynamic is necessary to play the game and it is through exploring
relationships with the other PCs that a character grows and achieves goals within
the game.
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When game play starts, each player creates a PC from among the available
playbooks. A PC’s playbook is like a set of instructions that both tells the player
what options are available to that character and advises as to how that PC might
change in the future. The playbooks have been designed to be mostly self-con-
tained; once a player has read through a given playbook, they should have a
pretty good idea of that character’s abilities and special qualities.
As play continues, players will advance and change their PCs. The process
of character advancement is simple and is provided almost entirely within the
playbook. In most cases, a player chooses advancement options from within the
playbook, but players may also be able to choose advancement options from
other playbooks.
CAN MULTIPLE PLAYERS CHOOSE THE SAME PLAY-

BOOK?
In other games based on “Powered by the Apocalypse” rules, the playbooks are
unique within the same group of players; you will only ever have one player using a
given playbook. The playbooks in Infinite Galaxies are designed with enough variety
of options that this “uniqueness” is not required within the group; having multiple
Leaders, Psis, and Soldiers is certainly possible. It is advised, however, that players
using the same playbook choose different starting packages. This will prevent
characters from stepping on each other’s capabilities.
Unless you a playing in a “solo” game, there are going to be other PCs. Your
group will establish some “rules of the road” in terms of how the players best
interact with each other, but, generally, the PCs act towards the game goal,
though individual PCs may have different motivations for achieving it.
When a PC interacts with other PCs, it is generally understood that it will

happen in such a way as to enhance (and not detract from) the group dynamic.
Though there are certainly times when one PC will come into conflict with another,
these incidents should be rare. A good GM may find ways to set the PCs against
each other – at least for a time – to engender some interesting roleplaying
situations.
In Infinite Galaxies, Relationships are important game mechanic and roleplay-

ing elements that drive the story. In other “Powered by the Apocalypse” games,
this mechanic may be called Bonds, Strings, Debts, Flags or other names. Since
Player Characters earn Experience from triggering Relationships, players are
motivated to pursue the terms of these Relationships and should inject these
Relationships into the game on a regular basis. For more information about
Relationships, see Chapter 6: Experience and Advancement.

Part 1: The Basics
VESSELS
Throughout any given Infinite Galaxies game, players are likely to use vessels in
some fashion or another. Vessel is the blanket term for any space, air, land, or sea
vehicle used in the game. It also covers beasts that might serve as mounts for the
PCs. For more information, see Chapter 8: Vessels and Mounts.
While the Ace character starts with a Ship (a sort of vessel that also acts like
a character in many ways), groups without an Ace may also acquire a starship or
otherwise be given control of vessels.
In most cases, a vessel is a set of statistics that are used for certain moves.
There are basic vessel moves in the game and a PC can use these when piloting
or traveling in a vessel (note that not all basic vessel moves can be used in all
vessels). Vessel moves are described later in this chapter.
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TIME
Gameplay occurs in two different time constructs – game sessions and
scenes. A game session is a self-contained unit of time that is bounded by the
“real-time” beginning and end of a session of play. A scene is an “artificial” time
construct that will be further explained.
Certain moves and effects within the game refer to the game session (or,
alternately, “session”). When this is the case, the “start” of the game session is
when everyone has arrived and is ready for gameplay to begin. Usually, the GM
will announce that the game is to begin. A session “ends” when the GM declares
it. Infinite Galaxies presents a special move, “End of Session”, that happens once
gameplay has concluded.
The notion of a scene is a bit more difficult to define. Unlike the session, which
begins and ends in real time, a scene is a construct created completely within
the gameplay. Anything that happens during gameplay does so during a scene. A
scene is defined as a specific unit of time in which action takes place at a certain
location or between the PCs and specific enemies or obstacles. A session will be
composed of one or more scenes (usually lots of scenes). A scene could be long
or short in duration. It might include only one PC or it could involve all of them.
It might all happen in a single room or it might be played out over an entire star
system. Generally, the GM will define when a scene begins or ends.
Understanding how scenes work is essential to the resolution of certain

moves. You will see references to “the current scene” or the “next scene”; some
moves have effects that have durations with those phrases. The “current scene”
is the one in which gameplay is happening right now. The “next scene” is whatever
scene follows the current one.
Some additional direction and guidance involving time in the game is present-
ed in Chapter 3: How to GM.
GAME TERMS
Infinite Galaxies is not a rules-heavy system. Still, there are a few terms that
deserve special attention. These terms are found within the text descriptions and
directions of moves and effects throughout the game. Understanding these terms
is key to running Infinite Galaxies in the manner in which it was designed.
Abilities:Even though Infinite Galaxies does not use “ability scores”, per se,
the game still uses modifiers (-1, 0, +1, +2, and +3) tied to abilities traditionally
used in similar games. When Infinite Galaxies refers to “abilities”, it is referring to
these modifiers.

Part 1: The Basics
Advance: When a character has earned nine Experience, they can advance.
When a character advances, they can select an advancement option from their
playbook. For more information, see Chapter 6: Experience and Advancement.
“Better of (dice)”: Certain attacks direct that the “better of” dice are rolled to
determine the result. This is usually related to damage. In this case, roll multiple
dice (as directed) and use the highest result to calculate the total.
Choose: Many moves give choice about the outcome. This is quite common
in partial successes (7-9 results). In each case, the move should direct either the
player or the GM to make a choice. If a move does not state who makes the choice,
it defaults to the player.
Credit and Barter: Infinite Galaxies uses an abstract currency system. In this
system, Credit refers to “money” or liquid assets and Barter refers to valuable
items that might be traded for goods and services. Credit is used to buy things,
whereas Barter is used in conjunction with a special move designed to simulate
the trading of those goods.
Damage Die: Each playbook has a Damage Die listed. When the character
inflicts damage with a personal weapon, use this Damage Die as the base – other
factors may add to the resulting damage. For more information, see below.
Debility:Harm to a character may come in the form of a Debility. This is an

ongoing penalty to all move results using the ability in question (each ability has
its own named Debility). Medical care and rest may remove Debilities and some
character moves can also remove them.
Die Steps:When a move says that die steps are increased or decreased, it
refers to the following scale. The least die is d4. From there, it steps to d6, d8, d10,
d12, 2d6, 2d8, 2d10, and 2d12 (the highest).
Drawing Unwanted Attention:Many moves will give you the option of having
your character draw unwanted attention. What this means, in game terms, is that
someone else (a hostile force) is now taking aim at your character. An attack of
some kind is imminent. If no one does anything about this situation, the attack will
come. The GM should give you and the other players a chance to extract your char-
acter from this situation. If you use a move to get out of this unwanted attention
and get a failure or partial success, something harmful happens to the character.
Drives and Relationships:Characters earn Experience by triggering Drives and
Relationships. A Drive is a personal motivation or goal and a Relationship is an
interpersonal dependency or history between two characters. These are explained
in detail in Chapter 6:Experience and Advancement.
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Enhanced Move:Some moves have an “enhanced” option. This option is

unavailable until unlocked, either by way of a playbook move or permanently
unlocked using an advance.
Experience:Characters earn Experience for many things – chiefly, triggering

the terms of Drives and Relationships and resolving Milestones. When a character
earns nine Experience, they may advance. For more information, see Chapter 6:
Experience and Advancement.
Forward:This term always follows some sort of modifier to a roll, die result,
or effect. It means that you apply this modifier or effect to the next time you use
that move, die result, or effect. Unless otherwise specified, this modifier lasts no
longer than the next roll of this kind that you make. Some modifiers or effects are
specific to the next time a move is used; others are specific to a situation (such as
taking damage or using a resource).
Game Master (GM):Throughout Infinite Galaxies, you will note references to a

“Game Master” or “GM”. The GM is a certain player designated to “run” the game.
Running Infinite Galaxies is a special responsibility. The GM creates and handles
the enemies and obstacles players encounter and makes rules-related judgments
(where necessary). For more information about what the GM does, see Chapter 3:
How to GM.
In Danger:Many moves will give you the option of putting your character in
danger (it may read, “a dangerous spot”, as well). This means that your character
is in imminent danger of something bad happening to them. This could mean that
the character has found themselves at the precipice above a river of molten lava
or has stepped on the pressure plate to a trap. In any event, you and the other
players have a limited number of chances (usually, just one) to extricate your
character from this situation. If you use a move to get out of this dangerous spot
and fail or get a partial success, the situation will get worse (the trap may go off or
your character may fall off the cliff).
Load:Each character has a Load value, calculated using values in the

playbook description. If a character’s total weight exceeds the Load value, the
character is loaded down (see the move of the same name for more information,
below).
Milestone:During the game, the GM will introduce a Milestone to reflect the

general aim or goal that the characters are currently pursuing (this introduction
is done in concert with the players; it is not something dictated by the GM). A
Milestone has two important effects. First, visually representing the Milestone
(using an index card or other aid) clearly directs the players as to what they are
trying to accomplish. Second, resolving a Milestone can earn the group some

Part 1: The Basics
Experience. For more information about Milestones, see Chapter 6:Experience and
Advancement.
Ongoing:This term always follows some sort of modifier to a roll, die result, or
effect. It means that you apply this modifier to the move, die result, or effect until a
condition is met. Unless otherwise specified, this modifier lasts no longer than the
current scene. Some modifiers or effects are invoked when a move is used; others
are specific to a situation (such as taking damage or using a resource).
Player-Defined Items:In Infinite Galaxies, a few pieces of multi-use gear are

“player-defined”. This means that each marked Use of this item produces some-
thing defined by the player. The most prominent example of this is the Utility Belt.
When a player marks a Use of the Utility Belt, it produces something useful to the
character – it could be a set of small binoculars, a fire starter, a compass, a line
and grappling hook, a screwdriver, a flare gun, handcuffs, or whatever else the
player can imagine. Player-defined items have some limitations, usually depending
on the size of the multi-use item. For more information on how these items work in
the game, see Chapter 7:Gear.
Players:Everyone involved in an Infinite Galaxies game is a player. A certain

player is known as the “Game Master” or “GM”. Everyone else is referred to as
a Player. Each Player “runs” or “plays” a “Player Character” or “PC”. In Infinite
Galaxies, Players and their PCs drive the action and because of this, their decisions
and actions shape how the game plays out.
Reserve:This is a resource in the game generated or used by certain moves.

There are default playbook moves that use and generate Reserve. The move that
generates the Reserve will state the maximum number of Reserve that the charac-
ter might generate and describe how the Reserve is spent. Reserve generated by
a move must be used for that same move or as directed in the move description;
in no case can reserve be spent on other moves that also use Reserve. You should
separately track Reserve from different moves to avoid confusion.
Specific Damage Types:Certain weapons and attacks inflict fire, electrical,

psychic, or other damage types. When an attack specifies a damage type, it always
ignores armor unless the armor states that it is effective against that damage type.
See below for more information on damage and harm in the game.
Success and Failure:When a move is made, and a die roll results, it is always a
failure, a partial success, or a complete success. Moves state what happens on a
partial or complete success and will sometimes say what happens on a failure (in
most cases, though, a failure means that the GM intervenes or makes a move of
their own). Within the context of the Infinite Galaxies game, success or failure are
game terms that refer to the result of a move.
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Vitality and Wounds:Infinite Galaxies uses a Vitality and Wounds system to

simulate harm being done to characters. Initial damage taken is deducted from
Vitality. When Vitality is reduced to 0, the next damage taken marks a Wound
instead. Each time a character takes a Wound, they must use the “Wounded”
special move. For more information, see below.
TAGS
Many moves in the Infinite Galaxies
game refer to standard names for ef-
fects and these are called “tags”. These
tags are normally encountered in the
equipment lists, but can also be found
in the text of some moves. This section
presents these tags and explains how
they are used in Infinite Galaxies.
Ammo and Recharge:These terms

are fairly interchangeable and represent
a certain amount of “shots” available
for a weapon. Ammo and Recharge tags
also have a number, which works like
the more generic “Uses” in that they are
marked. Only mark Ammo or Recharge
when a move directs it; they are not
marked every time a weapon is used. There are items that add to Ammo or
Recharge; these increase the total number of Ammo or Recharge in the weapon.
Area:Weapons with this tag inflict damage over an area. Creatures near the
initial target take the same damage. Area damage does not discriminate between
friend and foe, so weapons with this tag must be used carefully.
Armor:Items with the Armor tag give the wearer an Armor value that reduces
the damage they take. Items with + Armor add to an existing Armor value. All
items that add Armor stack together to add to the total Armor value. In some
cases, Armor may only apply against certain damage types. For more information
about Armor, see below.
Autofire:Weapons with this tag can shoot multiple rounds at once. The tag is
used in conjunction with certain moves, like “Suppressive Fire”, to achieve certain
effects.

Part 1: The Basics
Close:This is a range tag that indicates the distance at which a weapon might
be used. Close weapons are usually for hand-to-hand combat and cannot be used
further than one’s arm length.
Consumable:Once an item with the Consumable tag is used, it is gone. It

cannot be refreshed or recovered.
Damage:Certain weapons have damage tags. This is usually in the form of a

bonus to damage with this weapon. See below for more information about damage.
Far:This is a range tag that indicates the distance at which a weapon might be
used. This is an abstract value, perhaps 100 to 500ft for personal scale and 500ft
to two miles for vessel scale weapons. Because combat in Infinite Galaxies does
not use concrete distances, “Far” means as far as makes sense in the context of
what’s happening.
Heavy:Related to the Training tag, an item with the Heavy tag is bulky and
requires special combat training to use. The item imposes a -1 ongoing penalty to
anyone without the specific training (this usually comes by way of a move or origin
option).
Integral:Items with the Integral tag are specifically designed for robots. These
items are installed into sockets in the robot’s arms, legs, torso, or head, and
cannot be removed without a lot of effort. Biological beings cannot use these items
(although, cyborgs might).
Military:Related to the training tag, an item with the Military tag requires
special combat training to use. The item imposes a -1 ongoing penalty to anyone
without the specific training (this usually comes by way of a move or origin option).
Module:Certain vessel items must be installed into one of the vessel’s Module
slots. Since vessels only have so many Module slots, vessels will only have a few of
these items installed.
Near:This is a range tag that indicates the distance at which a weapon might
be used. This is an abstract value, perhaps 10 to 100ft for personal scale and less
than a 500ft for vessel scale weapons. Because combat in Infinite Galaxies does
not use concrete distances, “Near” means a nearby distance for a ranged weapon.
Piercing:This weapon tag indicates that damage inflicted bypasses some

Armor – the exact number is indicated along with the tag. This has no special
effect on targets without Armor.
Precise:When the wielder of a weapon with the Precise tag uses the “Fight”
move, they can roll using DEX instead of STR.
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Reach:This is a range tag that indicates the distance at which a weapon might
be used. Reach weapons are intended for hand-to-hand combat, but they are long
enough to extend beyond the arm’s reach of a close weapon.
Shields:A vessel item with this tag adds to the vessel’s Shields value. Items
with + Shields add to an existing Shields value. All items that add Shields stack
together to add to the total Shields value. In some cases, Shields may only apply
against certain damage types. For more information about Shields, see below.
Thrown:A thrown item must be physically hurled at a target. For range purpos-
es, this is a distance of between 10 and 50ft, but environmental conditions may
limit (or enhance) how far the weapon can be thrown.
Training:Some items require special education or skill to use. These items,

with the Training tag, impose a -1 ongoing penalty to all rolls made using this item.
Characters trained in the use of this item ignore this penalty. Training is acquired
through playbook moves or origins.
Two-Handed:This tag means that the item needs to be wielded with two
hands; unless the character has more than two hands, this will be the only item
they can wield.
Use:A Use means that the item can be used a number of times (there is
always a number next to this tag) before it runs out. An item with Uses differs
from a consumable item because it can be replenished – there are moves in the
game that refresh and recover Uses.
Volatile:An item with the Volatile tag can explode or cause harm at any time.
When a character with a Volatile item fails at a roll using that item, the GM might
cause the item to explode, causing harm to the character and, possibly, other
characters nearby.
Weight:Most items have some sort of weight. This is an abstract representa-

tion of the general mass and weight of this item and how it encumbers a charac-
ter carrying it. Compare the total weight of all items a character carries against
their Load value; if the carried weight total exceeds Load, refer to the “Loaded
Down” move (see below).
Worn:An item with the Worn tag must be worn as clothing or otherwise carried
on the body. Only three items with the Worn tag may be in use at a time; if more
than three Worn items are in use, the player decides which to apply.

Part 1: The Basics
DAMAGE AND RECOVERY
An action-adventure RPG
needs a system to track harm
and damage done to characters.
Infinite Galaxies uses a Vitality and
Wounds system. In this system,
characters have Vitality, represent-
ing how much minor damage they
can withstand, and Wounds, rep-
resenting serious injuries. Damage
to vessels works in the same way
(and, generally, follows the rest of
the rules presented here); Vessels
have Hull in place of Vitality and
Critical in place of Wounds.
This discussion starts with

damage. There are moves that
represent one character attacking
another. The result of these moves
is usually the target taking damage.
To calculate how much damage a
move deals, characters roll their
Damage Die (each playbook as a
Damage Die) and add any modifiers from moves or equipment. When a character
deals damage, unless otherwise specified, it is always based on their Damage Die. A
vessel also has a Damage Die; when its attacks deal damage, roll that die and apply
any modifiers. Things in the environment, such as hazards, can also deal damage;
the GM will determine how much damage such things inflict on characters.
An Infinite Galaxies character has a Vitality value representing the damage that
the character can take before really bad things happen. Characters start play with
Vitality somewhere between 10 and 16 and this can be increased through ad-
vancement. When a character takes damage from something (an attack, a hazard,
so forth), the damage total is deducted from current Vitality. Armor can reduce the
damage total (and may reduce the damage to the point that the character doesn’t
lose any Vitality at all). Certain types of damage and attacks with certain tags (see
above) may bypass or ignore some armor. For a vessel, Shields act like Armor does
for characters.
When a character takes enough damage to reduce Vitality to 0, the character

is in serious trouble. When this happens, the next time the character would take
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damage, the character marks a Wound instead, which triggers the “Wounded”
move (see below). Taking any Wounds at all can be dangerous to a character and
can even knock a character unconscious.
The good news about Vitality is that, for most characters, all Vitality is recovered
at the end of a scene. Thus, having easy access to healing during a dangerous
encounter is not as important as in some other roleplaying games. Unfortunately,
Robots must be repaired (unless they have some way to repair themselves).
Likewise, vessels do not recover Hull on their own and must be repaired.
Recovering Wounds (and Critical, for vessels) takes more effort. Triggering the
“Rest” move (see below) can enable characters to naturally recover Wounds and
there are playbook moves that also heal a character’s Wounds. As with Vitality,
Robots do not recover Wounds on their own and must be repaired (vessels with
Critical marked are in the same boat).
Debilities represent non-damage harm done to characters. Each ability

(Strength, Dexterity, Intelligence, and so forth) has a Debility associated with
it. A character might get a Debility when they fail to extract themselves from a
dangerous situation or when facing a particularly dangerous or powerful enemy.
The Debility imposes a -1 ongoing penalty to all rolls associated with the ability in
question; the penalty goes away when the Debility is removed. Debilities for char-
acters are Weak (STR), Shaky (DEX), Sick, (CON), Stunned (INT), Confused (WIS),
and Scarred (CHA). Vessels also have Debilities – they work the same way and are
associated with vessel abilities (Speed, Power, Sensors, and Weapons). Debilities
for vessels are Faulty (POW), Slowed (SPD), Blinded (SEN), and Futile (WPN).
Debilities are removed using equipment or playbook moves; the “Rest” move
does not enable a character to remove a debility.
REPLACING VITALITY WITH HARM

Not everyone is comfortable with using a “hit points” or Vitality system in a “Pow-
ered by the Apocalypse” game. For this reason, this sidebar provides an alternative
that uses “harm” instead of Vitality. When using this system, convert Vitality to
harm boxes at a 4:1 ratio (that is, for every 4 Vitality a character has, they get one
harm box). Likewise, damage needs to be converted to harm. This is a little more
complex – use the base die (d4, d6, d8, d10) and take the average result of that die
(d4 is 2.5, d6 is 3.5, d8 is 4.5, and d10 is 5.5) and add any modifiers from moves
or equipment. Divide that total by 3 and that is how much harm the attack would
do. For example, an attack that inflicts 1d8+1 damage would be (4.5+1 is 5.5) two
harm. In such a system, Armor can be overpowered, so it may be wise to reconsider
how much Armor characters have (halving it might make sense).

Part 1: The Basics
MOVES ESSENTIALS
Actions that characters undertake are called moves. In addition to the usual
basic and special moves, Infinite Galaxies introduces vessel moves. These are
moves specifically designed for use in vehicles. These work just like other moves in
the game, so learning them is very easy.
Game play in Infinite Galaxies takes place using moves. Players can use basic,
special, and playbook moves. The Game Master has another set of moves, usually
called “hard moves” or “directives”. In this section, you will find the basic, basic
vessel, and special moves used in the Infinite Galaxies game. Aside from moves
found on the individual playbooks, this list comprises most other moves players will
be using in the game.
A move is “triggered”, meaning that the action a player describes provides justifi-
cation to enact the move. A player triggers a move by describing what their character
is doing. Not all actions in the game require a move. It is up to the GM to determine
whether or not an action requires that a move be used; often, a PC is able to do
something just by stating what they are doing (opening a door, pressing a button,
buying a steak dinner) and play continues. In determining whether a move has been
triggered, the critical decision to be made is whether there is any inherent danger in
taking action. Opening a door to an empty room does not require a move, but opening
a locked door, behind which are a dozen angry robots, that could be a move!
Once a move is triggered within the fiction, or game play, the GM will call for
a specific move to be used and the move proceeds according to the move’s text
description. In most cases, a move requires a roll, usually modified by an ability,
and the result will fail, partially succeed, or totally succeed. Some moves may not
require a roll.
Most moves in Infinite Galaxies will cause the player to roll dice. As has been
discussed, the result of any rolled move, to one degree or another, causes a change
in the story. The result of a move roll is going to be one of four possibilities: enhanced
success (12+, normally only used when unlocked using a move or advance), com-
plete success (10+), partial success (7-9), or a failure (6 or less). Certain moves have
“any success” listed as an outcome; in these cases, the “any success” outcome
applies, as does the listed “partial success” or “complete success” outcome.
Playbooks have moves that do not require rolls. In most cases, these moves
modify the ways in which other moves work. These utility moves are not used by
themselves; they are triggered along with whatever move they modify. It is up to the
player to keep track of times when a utility move changes the behavior of a certain
move, but the GM may rule that a general modification does not apply in a specific
situation.
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It is important to note that only player characters have moves that require rolls.
Other characters in the game, such as those under the GM’s control (Non-Player
Characters), do not roll for any moves they use.
TURN ORDER
Many roleplaying games have a turn order or initiative system that indicates the
order in which characters act in a combat scene. Infinite Galaxies does not specify
an order in which characters act; the first player to suggest an action goes and
then, the next, and so forth. In general, all PCs should have equal chance to take
actions, but it is up to the GM to handle this balance.
BASIC MOVES
These are the moves to which all Player Characters have access. Basic moves
are things that all characters should be doing on a regular basis. Consider the list
of basic moves to be an extension of what a character can do.
As previously discussed, an enhanced basic move is one that must be

“unlocked” – either by spending an advance to do so or by using another move.
Otherwise, if the enhanced basic move is not “unlocked”, rolling 12+ has no
additional impact.
AID:When you assist someone in a task, state how you are helping. If you have
a Relationship with them, give them +1 forward to a roll to complete the task. If
you have a Special Relationship with them, the bonus is +2 forward instead. If the
subsequent roll is a failure or partial success, you share in their fate. Using “Aid”
to help a Non-Player Character is probably “Defy Danger” instead.
ANALYZE: When you assess a situation, person, or place, and look for opportu-
nities, roll + WIS.
Complete Success: Ask the GM three questions from the list below.
Partial Success: Ask one question.
»» If I do not act, what might happen? »» What here is not what it appears
»» What happened here recently? to be?
»» What here is useful or valuable »» What should I be careful to avoid?
to me? »» Who’s really in control here?
Add +1 forward when you act on the answer.
Enhanced: On a 12+, your allies also add +1 forward when acting on the answers.

Part 1: The Basics
DEFEND: When you stand in defense of an item, person, place, or resource,
roll + CON.
Complete Success: Gain three Reserve.
Partial Success: Gain one Reserve.
You may hold no more than three Reserve at any time. Spend your Reserve to:
»» Deal half your maximum damage (round down) to an attacker
»» Grant an ally +1 forward against the attacker
»» Halve the effect or damage of an attack
»» Redirect an attack to you
In all cases, an “attack” refers to an attempt made to harm whatever you are
defending and the “attacker” is the character doing it.
Enhanced: On a 12+, gain five Reserve. You may hold up to five Reserve.
DEFY DANGER: When you move out of or avoid impending danger, tell the GM
how. Then roll:
»» +STR to apply physical force against it
»» +DEX to quickly avoid it
»» +CON to endure physical pain and punishment
»» +INT to assess your options and choose the best course
»» +WIS to resist mental influence or distractions
»» +CHA to talk your way out of it
Complete Success: You avoid the danger and come out on top.
Partial Success: The GM will offer you a choice: you are put in a different danger,
you take damage, or you lose a resource.
Enhanced: On a 12+, you avoid the danger and grant an ally +1 forward against the
same danger.
FIGHT: When you attack an opponent with a close-combat weapon (it has the
close tag or something similar), roll + STR.
Complete Success: Deal your damage to the opponent. You may choose to add
+1d6 to this damage and you expose yourself to their attack.
Partial Success: You deal your damage, but expose yourself to their attack as well.
Enhanced: On a 12+, add +1d6 to your damage and you do not expose yourself to
their attack.
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INTERFERE: When you try to prevent someone’s action from succeeding, state
how you are stopping them. If you have a Relationship with them, give them a
-1 forward to the roll they make. If you have a Special Relationship, the penalty
is -2 forward instead. If the other character succeeds, the GM will offer you a
choice: you draw unwanted attention, you are put in danger, or you must spend
a resource. Using “Interfere” against a Non-Player Character is probably “Defy
Danger” instead.
NEGOTIATE: When you pursue a risky bargain, state what you are offering
(your leverage) and roll + CHA.
Any Success: Your negotiating partner will state what they want in return; you
must agree to these terms or the deal is off.
Partial Success: There is a sticking point or complication; select one:
»» They don’t agree to one of your terms (resolve this or the deal is off).
»» You are put in danger.
»» A third party enters the situation.
Non-player characters are free to reject bargains that go against their essential
natures or would cause them significant harm.
Enhanced: On a 12+, you may use 1-credit as your leverage (essentially, you are
buying their services).
SHOOT: When you attack an opponent with a ranged weapon (it has the near,
far, or thrown tags, or something similar), roll + DEX.
Any Success: Deal your damage to the opponent.
Partial Success: Also select one of the following:
»» Fire several shots; mark one Ammo or Recharge.
»» Move to get the shot; put yourself in danger or attract unwanted attention.
»» Take what you can get; subtract -1d6 from your damage.
Enhanced: On a 12+, roll twice for damage and use the better result.
UNDERSTAND: When you encounter a new people, place, or technology and

seek to understand it, roll + INT.
Any Success: The GM must tell you something interesting about it.
Complete Success: This information must also be useful to your current situation.
Enhanced: On a 12+, the information is also valuable -- the GM will tell you how
you might take advantage of this.

Part 1: The Basics
BASIC VESSEL MOVES
These are the moves to which all Player Characters in any vessels have access.
EVASIVE ACTION: When piloting a vessel and you quickly avoid danger, roll +
SPD.
Complete Success: You evade the danger; add +1 forward against whatever
caused it.
Partial Success: You avoid the danger, but the GM chooses one:
»» Your vessel takes its damage.
»» Your vessel draws unwanted attention.
»» Your vessel is put in a different danger.
Enhanced: On a 12+, avoid the danger and deal your damage to it (where applica-
ble).
FIRE AT WILL: When you attack using your vessel’s weapons, roll + WPN.
Any Success: Deal your vessel’s damage to the target.
Complete Success: You may choose to add +1d6 to this damage and you expose
your vessel to their attack.
Partial Success: Your vessel is exposed to their attack as well. If your weapon has
Ammo or Recharge tags, mark one.
Enhanced: On a 12+, roll twice for damage and use the better result.
PREVAIL BY FORCE: When your vessel uses momentum and its mass to
defeat or punch through a physical obstacle (a large object, another vessel, etc),
roll + POW.
Any Success: Deal your vessel’s damage to the obstacle; you can choose to have
your vessel bypass the obstacle instead.
Partial Success: You also take the obstacle’s damage; if the obstacle doesn’t inflict
damage, your vessel is put in danger instead (if your vessel bypassed the obstacle,
it is put in a different danger).
Complete Success: If your vessel dealt damage, you can choose to add another
1d6 Damage, but you expose your vessel to the obstacle’s damage or your vessel
is put in danger.
Enhanced: On a 12+, add +1d6 damage and do not expose your vessel to harm or
Damage.
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RAISE SHIELDS: When you raise a vessel’s Shields, roll + POW.

Complete Success: Add +4 forward to the vessel’s Shields.
Partial Success: Add +2 forward to the vessel’s Shields.
Enhanced: On a 12+, add +6 forward to your vessel’s Shields.
SENSOR SCAN: When you scan something (a location, a ship, etc) using your
vessel’s sensors, roll + SEN.
Any Success: The GM must reveal something interesting about one item from the
list below.
Complete Success: Choose two items from the list.
»» Enemies there
»» Its environment
»» Its hazards
»» Its secrets
Enhanced: On a 12+, as complete success and add +1 forward to use any of the
information gained.
SPECIAL MOVES
These moves are used only in certain situations. The GM will let you know when.
ADVANCE: When you have time to reflect on your recent adventures and have
accumulated 9 or more Experience, select one advance from your Playbook. Then,
subtract 9 from your current total Experience. Unless otherwise stated, advances
may only be selected once.
BARTER: When you trade Barter for an item or service, say how much Barter
you will use and roll + (half Barter used, max +3). The GM may rule that some
items and services are not subject to Barter.
Complete Success: You receive the item or service at your asking price.
Partial Success: The exchange will require +1-Barter. The GM may state a mini-
mum Barter required for a given item or service.
Enhanced: On a 12+, you get the item or service for 1-Barter less (minimum
1-Barter).

Part 1: The Basics
CELEBRATE: When you hold a social occasion to celebrate a recent victory,
spend at least 1-Credit and roll + (each Credit spent). The GM may also trigger this
move. In that case, roll + CHA.
Complete Success: Choose three from the list below.
Partial Success: Choose one.
»» Failure: Still choose 1, but the GM will add in a complication.
»» You avoid an unpleasant entanglement
»» You befriend a useful NPC
»» You gain a new clue about your situation
»» You learn of an opportunity
Enhanced: On a 12+, choose four and add the following option - “You learn of an
enemy’s weakness”.
CRASH LANDING: When the vessel you are piloting is reduced to 0 Hull, or
otherwise directed to do so, roll with no modifiers. The Ship playbook only triggers
this move when directed by the “Critical” move.
Complete Success: You are able to crash-land the vessel in a safe place; no one is
injured and nothing is destroyed. The vessel may be repaired normally.
Partial Success: The vessel lands, but choose one:
»» Everyone aboard your vessel takes 1d8 damage (ignores Armor).
»» Something aboard your vessel is irrevocably harmed.
»» Your vessel is beyond repair.
Enhanced: On a 12+, as complete success and you crash-land the vessel in a place
of your choosing.
CRITICAL: When you mark a Critical for your vessel, roll + POW.
Complete Success: Your vessel takes no further ill effect.
Partial Success: Your vessel either crashes (use the “Crash Landing” move) or
takes a Debility of your choice.
END OF SESSION: At the end of a game session, the GM asks the group the
following questions. If the players reply “yes” to these questions, each character
marks 1xp per question.
»» Did everyone trigger at least one Drive?
»» Did everyone trigger at least one Relationship?
»» Did we survive despite incredible odds?
»» Did any of us undergo a transformation – physical, mental, or spiritual?
»» Did any of us make a new ally or turn an enemy into a friend?
Finally, for each Milestone that passed (for good or ill), each PC earns 1xp.
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LOADED DOWN: When you are carrying more total weight than your Load,
you’re encumbered and take -1 ongoing until you unload something. If the total
weight is more than two higher than your Load, you must drop something or fail at
your next move.
KNOCKED OUT: When you are Knocked Out, you do not take actions. You are,
however, provided with three Reserve. These represent bonuses of +1 forward
that you can grant to your allies. They cannot be applied to rolls already made.
Only one Reserve may be applied to any single roll. These Reserve must be used
while you are Knocked Out or they are lost. If any roll modified by your Reserve
results in a complete success, you are revived with 4 Vitality (and no longer
Knocked Out). Any healing you receive will also revive you and you are no longer
Knocked Out. If the scene ends or you are affected by any sort of harmful actions
while you are Knocked Out, mark a Wound. You remain Knocked Out until revived
by healing or another move.
OTHERNAV: When you plot a course to travel using the OtherNav, mark a use
and roll + INT.
Complete Success: Your vessel arrives on time without issue. If someone is at
your destination, you have the drop on them.
Partial Success: You arrive at your destination, but choose one:
»» It takes twice as long as planned
»» Someone at the destination has the drop on you
»» The OtherNav or MAME must be repaired at the cost of 1-Credit or 1-Barter
WHAT IS OTHERNAV?
Many science fiction settings include “faster-than-light” (FTL) travel, the technolog-
ical ability to travel faster than light speed and travel between star systems. In Star
Patrol, the default setting for Infinite Galaxies, this is called “OtherNav”. In other
settings, this may be called “hyperspace” or “warp”. No matter the setting, the
OtherNav move represents using this sort of travel.
The OtherNav technology uses something called the Matter-Antimatter Engine

(MAME), which creates a tiny black hole inside the vessel, collapses the entire ves-
sel into this black hole, and transmits the vessel across the space-time continuum
(this extradimensional space is known as OtherSpace) using the OtherNav. The
objective is to come out in the desired location on the other side.

Part 1: The Basics
REST: When you are in a safe place and have eight or more hours of uninterrupt-
ed time, you may rest. If you meet the conditions, you may advance. At the end of
this period, recover one Wound and consume one Use of Space Rations. You may
not use this move more than once per 24-hour cycle.
RESTOCK: When you are in a civilized settlement, a spaceport, a space station,

or aboard a capital starship, you can recover all spent Uses of any item with that
tag. You can also recover any marked Ammo or Recharge.
SUPPRESSIVE FIRE: When you are wielding a weapon with the Autofire tag
and you fire shots to protect an ally, roll + DEX.
Any Success: Your chosen ally can move out of danger.
Complete Success: The ally also adds +1 forward against someone threatening
them.
Enhanced: On a 12+, you and the ally add +1 forward against the same target.
TAKE WATCH: When you are on watch and something unknown approaches,
roll + WIS.
Complete Success: You are able to wake your allies and prepare a response.
Partial Success: Only you may react to this new danger.
Enhanced: On a 12+, as complete success, but you and your allies add +1 forward
against it.
TRAVEL DANGEROUS TERRITORIES: When you begin a long period of

travel through dangerous and unknown territories, the GM will tell you how long
it should take. One character scouts ahead, to find a safe way through. Up to two
other characters may use the “Aid” move to help. Roll + WIS.
Any Success: Your group makes it to the destination. Each character marks the
appropriate number of Space Rations.
Partial Success: You choose one and the GM chooses one:
»» Each character marks one more Use of Space Rations.
»» A character marks one Use of another resource – Ammo, Recharge, Special-
ized Tools, Utility Belt, etc. – as appropriate.
»» Your group draws unwanted attention.
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WOUNDED: When you mark a Wound, roll + CON. If you have marked your final
Wound, move to the Void instead.
Complete Success: You take no further ill effect.
Partial Success: Choose to either be Knocked Out or take a Debility of your
choice.
Enhanced: On a 12+, you also recover one Wound.
THE VOID: When you move into the Void, your very life-force is draining from
your body and you are on the verge of death. If you were Knocked Out, you are no
longer in that condition. Roll with no modifiers.
Any Success: If you were directed to this move because you marked all of your
Wounds, recover one Wound.
Complete Success: You are revived with 4 Vitality and one Debility of the GM’s
choice.
Partial Success: You are revived with 1 Vitality and two Debilities (you choose one
and the GM chooses one).
Failure: You are dead – though methods may exist to revive even a dead body...
PC DEATH
Characters die. This is true in every form of literature created throughout our
history. Minor characters die more often than major ones, of course, but the threat
of death is something powerful to mortals and can drive characters to undertake
tasks they might otherwise avoid. Characters don’t want to die and, generally, they
don’t want others to die, either.
Death happens, though, and even in Infinite Galaxies, PCs face death on a regular
basis. When someone fails at “The Void”, for example, the character is likely to die.
This may not happen very often and the experience can be somewhat traumatizing
for newer players. Infinite Galaxies is not a particularly deadly game, but it is
certainly possible that a PC might die.
When PC death happens, the GM may want to discuss how the rest of the players
want to handle the situation. From a meta-game standpoint, unless the player
leaves the game, the dead character’s player will create a new character. In-game,
the rest of the group may need time to deal with the death and may not readily
accept the appearance of the new character. PC death and the introduction of a
new character is a good time to assess the group and how to add a new character
to make the group better.

Part 1: The Basics
EXAMPLE OF PLAY
A new scene has started. The PCs have entered a strangely-silent space
station and begun investigating it. When they arrive at the command center, they
find a trio of tentacled aliens awaiting them and a battle begins! Jim, the Game
Master, describes the command center and the aliens. Jim also points out that the
consoles in the command center are blinking red, indicating some sort of danger.
The PCs may act in any order; Robert jumps in first and declares that Exander,
his Leader character, will go to a console and determine the nature of this alert.
Jim decides that this triggers the “Understand” move, so Robert rolls with Exan-
der’s INT and gets a partial success; Exander learns something interesting – the
life support system is failing – but not anything to do with repairing it. Shawn’s
Soldier, Audrey, is going to attack by firing her laser rifle at one of the aliens. This
triggers the “Shoot” move, so Shawn rolls with Audrey’s DEX and fails! Jim may
now use a “hard move” against Audrey, or the PCs in general, and decides that one
of the aliens dodges the attack and jumps atop Audrey, wrapping tentacles around
Audrey’s head. Audrey is now in danger and must extricate herself from this spot
or be choked to death. Because Audrey is in danger, she or someone else has one
chance to get them out before something worse happens. Michael thinks Audrey’s
Soldier is probably strong enough to break free of the tentacles, but wants to help
out; Michael has his Ace, Alexander, aid Audrey in her subsequent escape attempt
by pulling at the tentacles. Audrey triggers the “Defy Danger” move, using STR, and
gets +1 forward from Alexander’s “Aid” move. The result is a 9, a partial success,
which will get Audrey mostly out of danger, but something bad will still happen.
Exander has a Relationship with Audrey involving keeping Audrey out of danger,
and so, uses his “Issue Orders” playbook move to give Audrey a +1 to the result,
making it a 10, a complete success! Audrey escapes the tentacles and is free to
fight again.
The combat continues as Meeki, the Psi, leaps into battle. Meeki’s kreth jewel
is set into his curved sword and Meeki strikes at another tentacled alien. This
triggers the “Fight” move, but since Meeki has his kreth jewel in his weapon,
Meeki rolls with WIS instead of STR. The attack results in a complete success.
Meeki deals his damage and can choose to add another 1d6 but expose himself
to the alien’s attack. Meeki, not knowing what damage the aliens can do, decides
not to add the additional damage. Meeki rolls damage, rolling 1d8+2 (Meeki has
Reserve remaining, so adds his WIS to the damage total), dealing 6 damage to the
alien. Because the alien has thick, rubbery hide, it has 2 Armor and takes 4 of this
damage.
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Chad, playing Ansley, the Scientist, not being much of a fighter, decides to
see what can be done about the life support situation. Since Ansley is unfamiliar
with this command center, he wants to look for clues first. Jim decides that this
triggers the “Analyze” move. Ansley rolls with WIS and gets a partial success; this
allows Chad to ask Jim one question from the “Analyze” list. Chad asks, “What
here is useful or valuable to me?” and Jim reveals that there is a life support
console on the other side of the command center. In response, Ansley heads
over there. Unfortunately, one of the aliens is close to the life support console, so
Ansley will need to “Defy Danger” to avoid the alien. Because the “Analyze” result
grants Ansley +1 forward to his next move related to the answer, the +1 applies
to this “Defy Danger” move. Ansley moves forward carefully, using cover and
distractions to avoid the alien; Jim decides that this will use INT, so Ansley rolls
for “Defy Danger” and gets a complete success. Ansley safely gets to the console
and can now start figuring out how to fix the life support.
The scene continues as the PCs battle the aliens and try not to lose their
oxygen supply in the process!
NOTE: You can read more about the playbooks and playbook moves mentioned
here in Chapter 5: The Playbooks.

Part 1: The Basics
3. HOW TO GM
This chapter discusses what the Game Master does, how they prepare to run Infinite
Galaxies, managing a game session, the GM’s principles, interacting with the table,
GM-specific moves, resource management, the basics of improvisational moves and
modifiers, the game conversation, using player goals, how to use Non-Player Charac-
ters (NPCs), and what the GM does in the first session (and beyond).
WHAT IS A GAME MASTER?

In Infinite Galaxies, the role of the Game Master (GM) is unquestionably the
most crucial to the game. The Game Master not only initiates the game action, they
also set up the situation the player characters find themselves. The GM moves the
game along; as the player characters take actions and work against their enemies,
the GM creates (or helps create) whatever obstacles come their way.
The Game Master is foremost a player, one of many who are playing Infinite
Galaxies. While the GM is not “in charge”, they make decisions that directly affect
the game and have the primary responsibility to manage the game session and
keep the action moving forward. It often falls upon the GM’s shoulders to create
the initial story and setting elements or, at a minimum, provide the spark that
starts the story and game action. From there, the GM’s role is to respond to player
actions and move results. The GM is also the ultimate arbiter of rulings and will fill
in story and setting gaps, where needed.
All players, including the Game Master, contribute to the story and the ongoing
fiction. The GM is the conduit through which the game happens, but it is the open
table that really makes this concept shine. Historically, many roleplaying games
did not encourage player involvement in the story; in the traditional model, the GM
was the giver of content and the players’ roles were to interact with the GM’s world
and story. Infinite Galaxies, because it is a game focused on a collective narrative,
should be a collaborative effort.
This does not mean, however, that every potential contribution should be
forced into the game. Someone must decide whether a given idea works within the
framework of what has come before. The GM will usually be the person to decide
how to work new contributions into the story.
The Infinite Galaxies game flows from player move, to roll result, to potential GM
reaction to the consequence of that action (what happens). Because the GM’s role
in this is reactionary in nature, they need to improvise and become skilled at doing
so. Being fluent at interpreting the rules is essential, of course, as is a strong grasp
of the game’s story.
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Being a good Game Master requires the ability to creatively improvise in the
wake of player decisions and move results. Creativity is certainly an interesting
topic for discussion and probably too broad of a subject for a complete review in
these pages. It does, however, stand to reason that a discussion of the core of
what creativity means is warranted.
The Game Master must be a creative person, to a certain degree, and must
use creative ideas to power an Infinite Galaxies game. But what is creativity?
What makes someone creative? How does a creative GM come up with interesting
and challenging situations into which the PCs are inserted? How does the GM
continue to improvise, for hours at a time, to create a fun and exciting game?
There is no easy answer, or even a single answer, to these questions. Each GM is
a unique person, with their own unique talents and abilities, with experiences and
prejudices that make them a good judge of how to run the game.
Creatively running a game requires a few things, though, and not everyone
is suited to being a GM. Being free to be creative requires a certain amount of
confidence and fluency with the game system. Being distracted by the mechanics
of rules and boundaries takes away from the freedom that more experienced
and confident GMs may have. Once the GM has a good handle on the rules, not
necessarily mastery, they have the “intellectual space” to start thinking creatively.
A creative GM must also be able to quickly draw upon several different sources
for inspiration; the players, their own experience, and existing tropes in literature
and other media.
PREPARATION
The GM may be expected to do some form of preparation prior to the game’s
start. The amount of GM preparation required (or desired) depends on the nature
of the game itself. In a short game or one-shot, the GM may do quite a bit of
preparation. Because of the shortened time frame in which to complete the game,
the GM will need to create content; often, the GM comes to a short game with a
concept in mind (and perhaps the basics of a story, setting, and enemies). In a
longer game, the preparations are all about playing with the setting and character
contributions everyone has made. In this case, the game grows organically from
each player’s contributions; GM prep is different because the game’s story will be
more of a group effort.
In a one-shot game, which may go as long as four hours, but could be as short
as two hours, the GM will do more preparation than in a longer game. The short
time frame in which the game takes place necessitates some preparatory work
to ensure that the players have enough information to make character decisions
and that there is already a spark in place to get the session’s action moving. In a
Chapter 3: HOW TO GM 39
Part 1: The Basics
short game, the GM is responsible for preparing a basic semblance of a setting – it
could be an existing setting from literature, TV, or the movies, or it could be a
setting of their own design (you could even use the Star Patrol setting from this
book). A short game may not provide a great deal of time to collectively create a
setting; the most you might hope for is some discussion of the setting details that
pertain to the characters. The GM for a short game should also consider what sort
of exciting escapades the characters might undertake, and this should include
several options that can change based on which playbooks the players select. For
example, if one of the PCs is an Ace, the GM should have something ready that
includes space combat.
In a longer game, which usually means a game spanning multiple sessions,

the GM actually does less preparation. The reason for this is that the group has
more time to collaboratively create. In fact, the group could spend the entire first
session on setting and character creation. In a longer game, the GM should take
almost all of their cues from player choices in playbooks and options and strongly
consider using background details and other concepts the players come up with.
The longer game is where the GM really shines; the GM’s role in such a game is to
react, to improvise, preparing means taking notes during the game and making use
of whatever story threads or possible side-stories that might be generated through
play.
MANAGING THE GAME SESSION

In terms of managing the game session, the GM has some responsibility to
ensure that things stay on track. The GM should be pushing the action forward,
towards some sort of conclusion. Milestones (see Chapter 6: Experience and
Advancement) help to focus the action towards a goal, but it is often required for
the GM to step in and move things along, even with the aid of an obvious goal to
achieve.
The GM must monitor the amount of spotlight time each character has. Spot-
light refers to the amount of time a specific player is the focus of story or action
during a game session. In theory, every player should have the same amount of
spotlight time. Certainly, over the course of several game sessions, the spotlight
time should be evenly distributed. In reality, though, this distribution of spotlight
time doesn’t happen without the GM managing it.
The Game Master’s responsibility to manage spotlight time is to ensure that

each player has some opportunity within a game session to do something interest-
ing with their character. This may mean “taking turns” during a complex combat
situation, it may mean creating opportunities for a particular player character’s
skills to come into play, or it may mean asking the players what their characters
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would like to do when others are occupied. Spotlight is a particular problem when
the PCs are separated or engaged in different activities. To ensure proper spot-
light time during these moments, switch between characters at regular intervals,
perhaps every ten minutes (or less), pausing at a dramatic moment in one scene
to check in on another.
Managing spotlight can include considering what each PC excels at doing

and then making sure to introduce or accentuate that need within the game. For
example, if a character has sabotage or demolition skills, make sure that there is
an opportunity to blow up something during the game session. Characters with
social skills should be given opportunities to gather information or spread gossip,
characters with exploration focus should be given opportunities to find new
places, and characters with combat abilities should be given time to fight things.
Managing a game session means guarding against scenes or moments that

become trite, obvious, and dull. Exciting things should be happening throughout
the game session. When actions become routine or boring, the GM should
intervene and spice things up, using potential twists, complications, or conflict
that flow naturally from what has already been established in the fiction. The GM’s
principles and moves (see below) are tools that can be used to help manage the
game session.
INTERACTING WITH THE TABLE

How the Game Master interacts with the table (the rest of the players) directly
affects the game in many ways. How a GM responds to questions, improvises
the results of actions, introduces new elements to the game, and their general
attitude can greatly affect other players’ enjoyment. Because the GM’s role is
different than that of the other players, their impact on the game is different and
how they interact with everyone else deserves some discussion.
One of the most important differences between the GM and other players is
that the GM doesn’t roll dice. The GM should never roll dice, not to make moves
and not to randomly determine some outcome. When the GM makes a move,
the move is made and there is no random element to it (other than, perhaps, the
GM’s imagination); the consequence happens and the PCs must now deal with it.
The GM should never determine outcomes using dice or some other randomness;
decisions are deliberate and in line with the game’s fiction.
In many traditional games, where everyone rolls dice, the GM is encouraged or

tempted to “fudge” die rolls to create a certain outcome. This happens most often
when the player characters are overwhelmed by enemies, cornered in an unten-
able situation, or otherwise in dire straits. This can happen due to poor planning,
bad decision-making, or even unfortunate die rolls. When the GM rolls dice behind
Part 1: The Basics
a screen, they can declare whatever results they want, and often are forced to do
so when things are likely leading to an outcome that will upset the other players.
Because the Infinite Galaxies GM does not roll dice, the sort of manipulation or
alteration of the players’ die roll results described above should not occur. You play
to find out what happens. Because the die roll results are not the only arbiter of the
final outcome of a move (or an entire adventure), there is no need to take such ac-
tion. In place of a string of terrible die rolls leading to really unfortunate results, the
GM always has the freedom to offer the players hard choices in place of damage or
losing resources. The GM has a lot of tools at their discretion and altering die rolls
should not be one of them.
When the GM speaks, they are giving information and, in doing so, shaping the
conversation and pushing the story in a certain direction. Most of the GM’s speech
describes a situation, a place, a person, an obstacle, or something else in the
story. It could be something new – a new Non-Player Character, a new starship, a
new mission – or it could be regarding something already established in the game.
In any event, what the GM says, to a certain extent, dictates the parameters of the
game regarding whatever they describe. What the GM says prescribes or prohibits
certain reactions from the other players. This can even happen at a subconscious
level; words and the way they are used can influence what happens next. It is very
important to understand the power that the GM wields in this regard.
For example, when the GM introduces a huge pirate space armada that just
showed up in the local star system, this information will cause the players to react
in certain ways. The players choose how to react, but their reactions are already
being shaped by how the GM introduces and describes this armada. Even the very
words used can change how the players react. Describing the armada as “hostile”
or “aggressive” creates a different reaction from words like “friendly” or “wounded”.
Interacting with the table also means listening. The Game Master should
always be listening to what’s happening among the players – in-character speech,
out-of-character talk, body language, side conversations – these things affect the
game and a wise GM will take mental note of these interactions and consider what
impact they might have on the story.
THE GAME CONVERSATION

When listening to the other players, which is going to be the majority of the
game’s conversation, the GM should be listening for key words that indicate what the
players want from the game. If the players are discussing combat tactics, it should
be clear that they want combat to happen. This doesn’t mean that a fight should
appear from nowhere; conflict should always make sense within the fiction. The GM
should take these words into account, however, when planning future scenes. If the
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players are itching for combat, a planned social scene may turn quickly to violence.
Specific character choices, such as playbooks, Relationships, or selection of
Advances, also tell the GM what sort of game the other players want.
The conversation usually starts with a question, either from the GM or one
of the other players. The GM might ask a question about one of the PC’s Origin
choices or piece of equipment or a player might ask a question about some
aspect of the setting or some goal the PCs have. The GM should keep in mind
that a game conversation can go almost anywhere and be prepared to take action
based on where that conversation goes.
When running the Infinite Galaxies game, the Game Master should always take
into consideration the aims and needs of the group of players. Remember that
each player is an individual and has their own needs and wants from the game
experience. Since this experience differs from person to person, it is critical that
the GM asks questions and understands how players are reacting to the game.
Keeping players engaged in the game is one of the major functions the GM
has. Because each player is different, it is worthwhile to examine the common
types of personalities you may encounter in your Infinite Galaxies game. Below are
listed different types of players; each needs something different to stay engaged
in the game. Note that these are the writer’s names for these player types;
other works on the subject may have different terms. This is not meant to be an
exhaustive list, of course; the GM will need to use their own judgment in determin-
ing what the other players want.
The Cool Customer: This player acts somewhat detached and doesn’t directly
engage in the story very often. To get the Cool Customer involved in the game, ask
questions and make certain to include the answers in the game in some fashion.
The Fighter: This player wants to fight. They want their character to engage in
combat. Engaging the Fighter requires some combat scenes and, perhaps, some
scenes of high tension that may lead to combat.
The Jester: This player likes to make jokes. Humor in RPG play often comes
from a desire to be part of the group. Let the Jester make some decisions and
become invested in the outcome.
The Know-It-All: This player is knowledgeable, possibly about a great many

things, and wants everyone else at the table to know it. Engaging this player
involves giving them information no one else has, in the game, and allowing them
to demonstrate their secret knowledge.
The Owner: This player likes to be in charge. To engage the Owner, give them
opportunities to take control, but limit it by event, time, resources, and so forth.
Part 1: The Basics
Give the Owner the illusion of power without allowing them to take over the game.
The Roleplayer: This player really enjoys the experience of playing someone else.
While you may or may not be the type of GM who does voices or creates unique
personalities for your NPCs, this may be the best way to engage this player. At the
very least, encourage the other players to enjoy what the Roleplayer does with his
or her character.
The Romantic: This player wants to engage in romance. With NPCs, the GM
can handle such things, but creating romantic relationships between PCs can be
a tricky thing and can cause interpersonal issues in the group. Steer this player
towards stories that involve social scenes and try to get them engaged by offering
NPCs that seem inclined towards deeper relationships with their character.
The Solo Artist: This player likes to take on tasks by themselves. In group activi-
ties, such as a roleplaying game, what this does is laser-focus the spotlight on one
character for a long period while everyone else gets distracted or bored. It’s a little
tricky getting the Solo Artist engaged, as they want to do things that might detract
from everyone else’s fun. Make sure to listen to the things that the player wants to
do and ensure that they have enough spotlight time to do them. Suggesting that
another player character go with them is a good idea, too.
The Strategist: This player likes to make plans, especially long-term or “big
picture” strategies. Getting the Strategist engaged in the game is not difficult;
create intricate plots that require big picture decision-making.
The Tactician: Like the Strategist, this player likes to make plans. The Tactician,
however, is more interested in what is happening right now and may not consider
long-term consequences. Engaging the Tactician usually requires combat scenes or
other episodes of high tension, where they can use tactical skills and really shine.
The Tag-Along: This player came to the game with someone else and is just
playing to be with their friend. The Tag-Along may be the worst type of player for the
GM to deal with because involving them may be impossible. Fear not, however. The
GM can try to engage the player by asking questions to find out what would interest
them.
The Talker: In a conversational game like Infinite Galaxies, this type of player can
either be hugely beneficial to the group or a giant pain. Getting the Talker engaged
in your game requires social scenes and lots of them. You want to ensure that all of
this talking gets us somewhere.
The Wanderer: This type of player likes to explore the setting. Engaging the
Wanderer is not difficult; remember to include exploration goals within your game’s
story and make sure that these explorations lead to something.
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GM PRINCIPLES
Following are eight principles that represent things that the Game Master
should try to do at all times. Following these principles makes the game experi-
ence better for everyone.
Play to Find Out What Happens: The most important principle of all! Rather
than work towards some predetermined outcome, play Infinite Galaxies with a
sense of wonder, adventure, and curiosity. Fun and enjoyment in a game often
come from the unexpected. Learn to let go and play to find out what happens.
Ask Provocative Questions and Build on the Answers: A sk questions! Lots

of them! Build the setting, and the game itself, from answers the players give
to these questions. Be inquisitive. Ask unexpected questions. Make the players
consider the implications of their choices and ask questions about who, what,
where, when, why, and how! The answers to these questions drive the game. Build
on the initial answers and ask follow-up questions when needed.
Be a Fan of the Player Characters: One of the biggest secrets, perhaps not so
guarded a secret, is that you want the PCs to succeed! Through their choices, the
players are telling you what they want from the game and how they perceive their
characters’ roles in it. Be a fan of the PCs. Let them shine!
Involve Everyone in the Game:Everyone has come to the game to play, so

involve them in as much as you can. Make sure that each player has something to
do, in as many scenes as possible. Even tagging along in someone else’s scene
may lead to something interesting happening.
Be Honest with the Players:While a certain amount of mystery may result

in an interesting story for your Infinite Galaxies game, you should be as honest
as you can when it comes to running the game. Be truthful about your aims and
feelings and why you want to run the game. Be direct and honest when it comes
to your rulings.
Breathe Life into Characters and Places: Make each significant character
and place in the game something special. NPCs should have unique or noteworthy
names that evoke something of the character’s nature. Places should likewise be
exceptional, riveting, and evocative. Make these characters and places something
to remember.
Cause Interesting Trouble for the Characters: When the characters fail rolls,
or make other errors in decision-making, it is your responsibility to make the
resulting trouble interesting in a way that creates more excitement in the game.
This means coming up with inventive ways to create obstacles for the characters;
not just invoking the same consequence over and over.
Part 1: The Basics
Respond to Character Actions to Spin the Story Forward:The game’s story
must always go forward. Keep the action moving! Improvise based on the results of
the characters’ actions and keep in mind the collective story the group is telling.
This second list of eight principles represents things that the Game Master
should avoid doing or letting happen in the game. These principles represent
avoiding pitfalls that can potentially ruin the experience for everyone.
Don’t Let the Game Become Boring: What makes a game boring is routine,
pointless, fruitless game play. Don’t let your game get this way! Inject fresh ideas,
situations, characters, and obstacles into the game. Infinite Galaxies should never
be trite or routine.
Don’t Trigger Moves without Support in the Fiction: M oves should not be
triggered by player whim; moves are triggered by the player doing something in
the fiction (taking an action) and suffering whatever consequences may result.
This also means that moves are not triggered every time a PC does something; in
certain cases, PCs may take actions that don’t require rolls.
Don’t Deny Success without Good Reason:In many roleplaying games, the
GM is set up in an adversarial role. In Infinite Galaxies, the GM is encouraged to
present obstacles for the PCs to overcome, but not to directly contravene their
aims and actions. There are times when a player will suggest an action that is
impossible and it is fine to explain why it will not be allowed. This should be a rarity,
though, and should always be supported by what’s happening in the story.
Don’t Over-Prepare: Infinite Galaxies is not a game that requires a lot of time
working on developing plots and enemies. In fact, once the GM is familiar enough
with the game, little preparation time is necessary. While some preparation is
always a good idea – no one likes to be caught completely off-guard – it is unwise
to spend an inordinate amount of time getting ready to run the game. The GM will
have to improvise, at some point during a game session, and that often throws
much of any prepared plot or mystery out the window, anyway.
Don’t Focus on One Character: While you want to give everyone time to shine,
be careful in how much time one character gets. Even if one character is involved
in a disproportionate amount of the story, make sure to cut to others from time to
time.
Don’t Refer to your Moves by Name: Your moves, both hard and soft GM
moves, should flow naturally within the story and in reaction to player actions or
when the players’ inaction creates an opportunity. Don’t announce the name of the
move; just do it, naturally, according to the fiction.
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Don’t Let the Story Stagnate: While it is not recommended to attempt to

control the story, there are times when the GM will need to give the game a spark.
Any story game has the potential to go off the rails and divert into unintended
territory. While this meandering can also seen as a positive, and can lead to many
interesting and fun exchanges, the GM has the responsibility to ensure that the
game doesn’t wander so much that the story is stuck in a place where it cannot
continue. To avoid this, the GM should use their best judgment, and never forget
to involve the players in getting the story back on track.
Don’t Forget What Matters to the Players: The players have come to the
game to explore their characters, investigate strange, new worlds, and to roll
some dice and have fun. Don’t forget why they are here! Don’t forget to include
the players in decisions and in making the story work. When you introduce a new
character, place, situation, or obstacle, it should make sense within the story and
excite the players (including you). Above all else, have fun and make sure that the
other players are having fun.
GM MOVES
Like the other players, the GM has a list of moves that are implemented in
two cases. In the first case, when a player fails a move or gets a partial success,
the GM may use a hard or soft move in response. In the second case, when play
becomes stagnant or the other players look to the GM for guidance, the GM may
use a hard or soft move to get play moving again. See below for definitions of
these hard and soft moves and a list of each.
Not everything a Player Character does results in a roll. There are times,
especially when the PC undertakes a simple action (such as looking in a contain-
er, opening an unlocked door, looking for something that isn’t particularly well-hid-
den, speaking to a friendly NPC, and so forth) that does not require a roll. The GM
still reacts to these actions, but they are not moves in the strict sense. The GM’s
reaction will usually be a description of what was found within the container, what
was behind the door, what the NPC said, and so on. Simple player actions do not
require the GM to react with a hard or soft move, although in rare cases, it could
make sense to do so.
The Game Master will react to rolls resulting from Player Character moves. This
is the majority of the GM’s mechanical responsibility in the Infinite Galaxies game.
When a roll results in a failure, a 6 or less, the GM uses one of their hard moves.
When a roll result falls within the “partial success” range, a result of 7-9, the GM
will often use a soft move. Most basic and special moves list the consequences
of a partial success, but there are also times when the GM will need to create a
custom result; the soft moves listed below should suffice for these cases.
Part 1: The Basics
It is worth pointing out that the GM will use hard moves more often than the soft
moves in the next section. This is because most established moves in the Infinite
Galaxies rules have prescribed consequences when there is a partial success, but
not when the result is a failure. Thus, upon a failure, when the GM selects a hard
move to use, this is when the GM needs to be the most creative and mindful of the
impact of that hard move on the game.
Hard moves are those with the most critical and dire consequences to the PCs.
The point of these hard moves is to provide a consequence for failure. The inten-
tion is not to put the PCs into an unwinnable situation, but to spur the story forward
in an interesting way that turns the story, temporarily, against the PCs.
ADVANCE AN ENEMY’S PLOT:The PCs’ enemies have a goal in mind. They

are trying to accomplish something – even if it’s just to stymie the PCs. There is a
series of events that inexorably ticks towards a conclusion that will be bad for the
PCs. Sometimes, the evidence of this plot advancement will be made obvious to
the PCs, but it doesn’t have to happen in plain sight; it can be an interesting device
to simply smile at the players. See Chapter 6: Experience and Advancement for
advice on using Milestones as clocks; this works well in conjunction with this GM
move.
DEAL DAMAGE TO SOMEONE: T his is the hard move that the GM will most
often use in combat scenes. Dealing damage is easy (perhaps, too easy) and has
immediate consequences. The NPCs found later in this chapter have Damage
Dice. Use these to determine how much damage the player character takes when
fighting. Some moves will direct the PC to take damage, but you can also use
damage as the consequence of failure. Note that characters can take damage from
environmental effects, hazards, and obstacles as well as attacks.
DEMONSTRATE SOMEONE’S WEAKNESS:Use this hard move to show

some weakness on the part of one or more of the PCs. A weakness for a specific
PC might be a debility they suffer from, a skill they lack, or a vulnerability they have
to a situation or circumstance. A weakness for the group might be a resource they
lack, a tendency they have shown, an ability not present amongst them, and so
forth. Use this move to demonstrate this weakness and remind the players that
their characters are indeed vulnerable. This move could also invoke a weakness on
the part of an NPC important to the group. What you are doing with this hard move
is bringing to light the weakness and making it a big problem for the individual PC
or the group.
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DENY ACCESS TO A RESOURCE:This hard move affects the use of

resources within the game. Denying access means taking that resource away,
either temporarily or permanently. For the purposes of this move, a resource is
anything the PCs might need to accomplish whatever it is they’re trying to do.
Resources can be things like uses of a Utility Belt, Medic Gear, Specialized Tools,
Space Rations, Ammo, or Recharge. A resource might also be Credit or Barter.
Transportation, such as a starship, can also be a resource. Depending on your
story, time might be a resource (in other words, change the time that the PCs have
to accomplish something). Denying access can mean completely taking away
the resource (it’s gone) or it could mean that the PCs lose access until they do
something about the situation. Because this is a hard move, the GM isn’t simply
having a PC mark one use of something – instead, it’s gone, for now.
INTRODUCE NEW ENEMIES:This is another hard move that is mostly used

in combat scenes, although, with some creativity, this move could be used in
almost any scene. The GM brings another group of enemies – people or creatures
who threaten the PCs – into an established situation. Of course, as with any
move the GM makes, the appearance of this new group should follow the fiction;
it doesn’t make sense to introduce enemies that couldn’t possibly be there. What
the GM is doing with this move is adding another party to a charged situation. In
a combat scene, use this move to add new enemies to the fight; in a social scene,
however, it could mean that whatever the PCs are trying to accomplish has drawn
the unwanted attention of a group that might stand in their way.
SOMEONE OR SOMETHING IS CAPTURED: This hard move is similar

to denying access to a resource, but involves removing a person or group from
the situation. This could mean that the enemy has captured an NPC contact, or it
could even mean that a PC has been captured. Be careful about capturing PCs,
because it could mean limiting a player’s spotlight time. A captured PC, however,
could have their own scenes away from the rest of the group. Again, use this
when the fiction demands it. This gets into the “splitting the party” notion that
Part 1: The Basics
many veteran players will try to avoid. If an NPC important to the PCs is captured,
it means that the story will most likely turn towards freeing that NPC, or it might
mean that the PCs need to turn to a different NPC for assistance.
SOMEONE TAKES A DEBILITY: This hard move works similarly to dealing

damage to a Player Character. A Debility affects one of the PCs’ abilities –
Strength, Dexterity, Constitution, Intelligence, Wisdom, or Charisma – and gives the
PC a -1 penalty to all moves associated with that ability until the Debility is re-
moved. Giving a specific Debility should follow from the flow of the story; a Strength
or Constitution debility would make sense if a PC was poisoned or diseased,
whereas an Intelligence or Wisdom Debility might make sense for someone who
was mind-controlled or otherwise mentally manipulated. Giving a PC a Debility
causes the group to expend resources to get rid of it and they may not be able to.
In this case, the GM may want to think about a possible way to remove the Debility,
but always have the removal process require work; it should not be effortless.
SOMETHING HAZARDOUS APPEARS: This hard move is similar to

introducing new enemies, but involves the addition of a hazard or obstacle to an
existing situation. A hazard or an obstacle might mean an environmental hazard,
such as a fire, radiation, electricity, lack of oxygen, and so forth, or it could be a
physical obstacle, such as a door being suddenly blocked, or a vessel’s controls
not working. The purpose of this hard move is to cause the players to direct some
attention and effort towards this new hazard or obstacle. It adds something to an
already dangerous situation and causes the players to make new choices.
THE CURRENT MILESTONE PASSES (FOR GOOD OR ILL): T his hard

move affects the current Milestone that’s in play. Use this move only when it makes
sense for the Milestone to pass and a failure for the PCs. When you use this move, it
means that the PCs have failed to achieve the terms of the Milestone and that they
no longer have the opportunity to do anything about it. The GM won’t use this move
often, because, usually, the story will tell everyone when the Milestone passes. Other
hard moves can also cause the Milestone to pass; for example, if the PCs are trying
to get to an NPC, and the enemy captures them, the Milestone might pass.
USE AN NPC’S INSTINCT: E ach of the NPCs listed in this chapter has one or
more instincts. These are actions that the NPC undertakes if they are not prevented
from doing so. When the GM uses this hard move, it means that the NPC undertakes
this action and the PCs can’t stop it. It could mean that the NPC flees or it could
mean that the NPC damages one or more of the characters. Instincts are entirely
dependent on the type of NPC. If you’ve created your own NPCs, make sure to list
one or more instincts so that you can use this hard move when called upon.
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Soft moves are a little looser, a little more forgiving in nature than the hard
moves listed above. The GM may not need to use soft moves very often; these
moves are used when a PC gets a partial success and that move does not have
a prescribed consequence for a partial success. The GM may also use soft
moves in conjunction with custom moves, in which there are not necessarily any
prescribed consequences. Soft moves are used when the GM wants to have an
impact on the game, but with a less dire result than a hard move.
In many cases, the PCs may ignore the soft move altogether, but when this
happens, the GM is free to introduce a hard move in its place. When the GM uses
one of these soft moves, the players should be reminded of the consequences of
ignoring it.
A NEW THREAT LOOMS:This soft move is similar to the hard move, “In-
troduce New Enemies”, but doesn’t directly bring those enemies or third parties
into the story – yet. The PCs still have an opportunity to do something about this
new threat. It causes the players to rethink their current situation and strategy.
Of course, if the PCs ignore the threat that looms, the GM is directed to bring that
threat into the game.
ADD A COMPLICATION TO THE STORY:This soft move is a catchall that

covers many different things the GM might do to further complicate the existing
story. Complicating the story means adding another element to it; the PCs now
have something unexpected to deal with. It could mean that a friendly NPC turns
against them, it may mean that a vital item they need is no longer available or
requires additional actions to use, or it could mean that the PCs’ goals have
changed for one reason or another. Adding a complication to the story causes the
players to change how they think about what they’re doing; this differs from the
hard moves in that the GM is introducing a new possibility to the story. The PCs
can choose to ignore this complication, to their potential peril.
MAKE THE PCS DOUBLE BACK OR DELAY THEM:This soft move is

used to cause the PCs to take extra time or actions they hadn’t planned. Perhaps
the PCs forgot to do something that’s essential to their goals, or they are delayed
by something unexpected. This could introduce an obstacle that blocks their way,
an NPC that needs their assistance, the temporary loss of a resource, or a way to
get where they’re going. Because this is mostly a time-based soft move, the GM
is changing the clock on whatever it is that the PCs are trying to accomplish. If
the PCs do not respond to this soft move, by not doubling back or being delayed
(basically, ignoring the soft move itself), the GM should feel free to use a hard
move as a consequence.
Part 1: The Basics
MARK A USE OF A RESOURCE:This is similar to the hard move, “Deny
Access to a Resource”, but to a lesser extent. In most cases, using this soft
move means that a PC will mark a Resource: Ammo, Recharge, Utility Belt, Space
Rations, and so forth; the soft move can also be used to cause a PC to spend
Credit or Barter as well. If a PC marks the last Use of one of these resources, it can
cause other problems, of course.
OFFER AN OPPORTUNITY FOR A COST:This soft move is the basis of the

structure of a partial success. When the GM uses this soft move, they offer a play-
er a choice; choosing the first option means that X will happen, whereas choosing
the second option means that Y will happen. Both may lead to some success, but
it is a lesser success because of X or Y; neither is the greatest possible outcome,
but may accomplish the basics of what the PC was trying to do in the first place.
If you take a look at the existing playbooks and basic moves in the game, you will
see what a partial success might look like; these are good examples of how the GM
might structure this soft move for their own uses.
PUT SOMEONE IN DANGER: This soft move puts a character “in danger”.
In Infinite Galaxies, the concept of being “in danger” is a game mechanic. When a
character is put in danger, the character has one chance to get out of that danger
before a hard move is used against them (usually, damage or loss of a resource).
The character can choose to try to get themselves out of danger or another PC
could try to get them out of the dangerous spot. In most cases, the GM should not
allow multiple attempts to get the character out of danger, although it may make
sense to allow multiple characters to work together to do it (the “Aid” move works
well here).
SOMETHING POINTS AWAY FROM THE MILESTONE:This soft

move involves the current Milestone in play and directing the players’ attention
away from it. This is similar to “Adding a Complication to the Story”, but directly
involves the terms of the Milestone. It could mean changing what the terms of the
Milestone mean (the terms are redefined), but it could also mean that the terms
themselves (the very words) are altered in some way. Instead of changing the terms
of the Milestone, using this soft move could also mean that some new element is
introduced to the story that demands the players’ attention and this could cause
the PCs to fail to accomplish the terms of the Milestone. This could also turn a
standard Milestone into a clock or countdown; see Chapter 6: Experience and
Advancement for advice on using Milestones as clocks.
TAKE ADVANTAGE OF AN EXISTING WEAKNESS OR DEBILITY:

This soft move is somewhat related to the hard move, “Demonstrate Someone’s
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Weakness”, but involves playing upon an existing weakness or debility and

introducing a new element into the story that causes the players to consider a
new course of action because of this weakness or debility. For example, because
a PC has the WIS debility, “Confused”, they make a grievous error in judgment that
now threatens the mission. The difference between this move and the hard move
is that the players still have a chance to do something about this new element;
it hasn’t directly caused them to fail in what they were trying to do, but it adds
another level of complexity to their situation.
RESOURCE MANAGEMENT
One of the GM’s most important roles in the Infinite Galaxies game is to
manage resources. This means causing the PCs to expend their resources and
providing new resources when the story calls for it. The PCs have access to a
lot of different resources that come in the form of physical items: Credit, Barter,
Ammo, Recharge, Uses of Space Rations, Medic Gear, Specialized Tools, Utility
Belts, and other sundry items. PC resources can also be viewed as less tangible
things, such as their Vitality values and Wounds they might mark. Reserve that is
spent to power playbook or basic moves is also a resource that PCs use. Friendly
NPCs can be a resource. Transportation (like a starship) and time might also be
viewed as resources.
All of the foregoing resources are things that the PCs use and the GM manages.
How well the GM manages these resources affects the outcome of the game. By
providing resources, the GM is making the PCs’ job easier and, conversely, by deny-
ing access to or reducing resources, the GM is making the PCs’ lives more difficult.
In most cases, the GM has a direct hand in managing Credit and Barter. While
there are some basic and playbook moves that use and generate Credit and
Barter, the GM is likely going to provide opportunities for the PCs to use and gain
these resources. Barter is normally traded for items; managing this resource is
usually as easy as causing the PCs to need something they can’t buy, they trade
Barter for it. Getting more Barter is usually the province of a playbook move, but
the GM might also create a custom move or situation that generates it. Credit,
on the other hand, is a resource that both the PCs and the GM will use and
generate. The GM should provide many opportunities for the PCs to earn Credit.
The simplest way is to pay the PCs for missions they complete for NPCs. PCs can
also receive Credit for selling items or services to friendly NPCs. Keep in mind that
Credit is an abstract resource. The amount of Credit that the entire team has is
a value that keeps increasing, exponentially, in purchasing power. In most cases,
the GM should not award large amounts of Credit. For more information about
how Credit works in the game, See Chapter 7: Gear.
Part 1: The Basics
Many basic and playbook moves will call for a PC to mark Ammo, Space Rations,
and Specialized Tools. A GM’s custom moves may also cause PCs to mark item
Uses. The special move, Restock, allows the PCs to recover spent Uses of many
items. There may be times when the GM steps in and provides ways for the PCs to
recover spent Uses of these items.
Dealing with Vitality and Wounds is not normally the GM’s domain. Enemies will
deplete the PCs’ Vitality, of course, and since Vitality is completely recovered at
the end of each scene, the GM doesn’t normally have to worry about it. Also, there
are playbook moves that allow PCs to recover Vitality during a scene. Wounds, on
the other hand, can last longer than a scene. Depending on whether a given group
has healing capabilities, the GM may step in and provide alternate ways for PCs to
recover marked Wounds.
Reserve is another area where the GM is not normally required to intervene.

Moves that use Reserve provide ways to get more Reserve; the GM would rarely
need to manage this resource in any way. One thing to keep in mind about Reserve
is that it can only be spent on the move that generates it; characters with more
than one move that uses Reserve must keep those separate somehow, in their
minds, on paper, or using tokens.
The GM will manage access to the use of friendly NPCs. During the game, the
GM will provide many NPCs with which the PCs will interact. In some cases, these
are friendly NPCs who can provide information and other resources (equipment,
Credit, and so forth). The GM might remove access to a friendly NPC by having their
loyalties or motivations change, or enemy forces might capture or kill (or otherwise
silence) an NPC friendly to the PCs.
Managing transportation means changing how the PCs get from Point A to Point
B. While the PCs may already have a starship or other vessels, the GM can alter the
mode of transportation by providing different mission criteria or strange environ-
ments that change how the PCs travel. If the PCs do not have immediate means
to travel somewhere, the GM might provide an opportunity to get it, by paying for
travel, performing a service in kind, stealing a ship, and so forth. The GM might
deny access to transportation by destroying a vessel, forcing repairs upon the PCs,
or even having their means of transport stolen or hijacked.
Time management is critical to the story. Your game’s story should have some
sort of time elements, requirements that certain plot points be dealt with in a given
time frame, to put pressure on the PCs to accomplish their goals. If the PCs are
particularly clever or successful in dealing with a goal, the GM might find a way to
increase the amount of time they have; perhaps a friendly NPC helps them in some
way or the timetable changes to make it easier for the PCs to accomplish their
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goal. Reducing the amount of time that the PCs have at their disposal escalates
the pressure on them to complete their goals. This can happen when enemies get
an unexpected advantage, the PCs lose access to needed resources, or the plot
itself evolves in a way that disadvantages the PCs.
IMPROVISATIONAL MOVES AND MODIFIERS

Because the Infinite Galaxies Game Master
is in an improvisational role, there will be many
times when existing basic, special, and playbook
moves do not fit a given situation. For this reason,
it is best not to try to force an existing move to
fit what’s going on, but to create a custom move
instead. This can happen in any sort of scene
– combat, exploration, or social – and is quite
common.
When the GM creates a custom move, it needs

to follow a certain structure. Moves in Infinite
Galaxies are created using three components
– a trigger, ability, and consequences. The first
thing that must happen is that the move must be triggered by an action. The
triggering action is something that the PC does. All existing moves in this book
have triggering actions, such as, “When you (action), then roll + (ability)”. The GM
will next decide which ability will be used. A good basic move to review is “Defy
Danger”; it lays out which abilities tend to go with certain types of actions. The
“Defy Danger” move is really the basis for almost every other move in the Infinite
Galaxies system. Finally, the GM needs to determine what consequences will
arise for a complete success and a partial success. Since this is a custom move,
the consequences may not be immediately evident – the GM may not need to fully
explain the consequences to the players, but the GM should do so where possi-
ble. As with other moves in Infinite Galaxies, the consequences of failure need not
be predetermined at all; it is the GM’s purview to improvise a consequence (such as
the use of a hard move) as the story calls for one.
During the Infinite Galaxies game, situations may arise where the PCs have
clear advantages or disadvantages. When using moves in these situations, the
story may dictate that using certain moves may be easier or harder than usual. In
these cases, the GM can apply bonuses or penalties to roll results.
The first thing to realize about situational modifiers is that even a +1 or -1

modifier has a big impact on the dice mechanics. For this reason, the GM should
sparingly use these modifiers. Secondly, such modifiers should only be applied
Part 1: The Basics
when the story truly calls for them – a bonus may apply when the characters
prepare and plan in an exceptional fashion or make all possible arrangements for
success, while a penalty may apply when a string of poor rolls or bad decisions
dooms them. Finally, situational modifiers should always be announced to the
players prior to any rolls to be modified. Announcing the modifier gives the players
a chance to change their actions, knowing that the modifier will be applied. These
modifiers should never be applied in secret.
PLAYER GOALS
Player characters have many goals. The mechanical representation of one type
of goal is found in Drives and Relationships. PCs may also have goals outside
of those identified as Drives and Relationships; personal and group goals are
important considerations for a Game Master and making good use of them is key
to engaging the players and focusing the session on making progress toward these
goals.
The Game Master should try to ensure that the player characters have opportu-
nities to trigger their Drives and Relationships. Since triggering Drives and Rela-
tionships is one of the only ways that PCs earn Experience, it is paramount that the
PCs are put in situations where they can trigger these.
First and foremost, the GM should know what Drives and Relationships the Player
Characters are using. Remember that the players are going to be working vigorously
towards triggering these Drives and Relationships. Secondly, the wording of the
current Milestone should guide the players in a certain direction. Since the players
are normally selecting Drives after the Milestone is introduced, the players should be
choosing Drives that coincide, in some way, with the terms of the Milestone. Still, it is
a good idea to consider the Milestone itself and how it relates to the chosen Drives
and Relationships. Finally, ask questions! How do the players see themselves in the
given situation? What are they trying to do (or trying not to do)?
Once the GM has the PCs’ Drives and Relationships in mind, creating situations
where they can be triggered requires a good understanding of the story that’s
unfolding. If the players have chosen things that seem exploratory in nature, make
sure that they have opportunities to discover new people, places, and things. If the
Drives and Relationships relate to combat and danger, make sure that the PCs are
put into violent conflict. If the triggers are social in nature, make sure to allow a lot
of time to converse with NPCs and find clues to their current situation.
Players new to Infinite Galaxies will need time to adjust to this advancement
system. Make sure to remind them, perhaps multiple times, that they need to trig-
ger these Drives and Relationships for Experience and that their characters should
be actively trying to trigger them as much as possible. At the beginning of a new
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scene, it may be wise to review recent scenes to see whether Experience should
have been earned for triggering Drives or Relationships; this helps to reinforce the
Experience concept and hopefully, help new players understand when they should
be marking Experience in this system.
Within most roleplaying games, there are both character and group goals. Indi-
vidual characters have personal goals, things they want to accomplish that may or
may not have anything to do with the other characters. The group, of course, has
goals, and these probably have little to do with individual goals. The Game Master
needs to understand both types of goals, why they are important to the game, and
how to ensure that opportunities exist to accomplish them.
Often, players will create personal goals for their characters. This is a good
thing, as it tends to motivate players to get more engaged in the game. Personal
goals could be anything from gaining a certain Advance, acquiring a piece of
equipment, befriending or finding a specific NPC, joining an organization, gaining
vengeance for a past wrong done to them, or anything else. The Game Master
should not only encourage players to come up with personal goals for their
characters, but should also find ways to integrate these goals into the game.
Take care not to shed too much spotlight on these goals; let the players drive the
action and they will tell you, by their words and actions how much time they want
to devote to this.
Group goals are, for the most part, the bread-and-butter of an Infinite Galaxies
game. Milestones are, of course, group goals. Your Infinite Galaxies game will run
on Milestones, in one way or another, and these are excellent examples of group
goals. The group could have other goals, perhaps some more long-term in nature
than what appears as the terms of a Milestone. The group could wish to recruit
an NPC to their cause, they may wish to purchase or upgrade a ship, they might
want to join a large organization, right a past wrong done to them, take down a
vile dictator, or really anything else that involves more than one player character.
The GM should encourage the group to come up with goals that involve the entire
player group, or as many as possible.
The Game Master should encourage goals at the character and group level.
When there are concrete goals, the game works and engages players better.
Where possible, try to find common ground between the character and group
goals. Think of ways in which a group goal and a character goal might be accom-
plished in the same space. That way, you have both individual and group buy-in. A
successful game needs not only the engagement of the entire group, but also the
fun and excitement from achieving individual goals.
Part 1: The Basics
REWARDS
Another kind of goal or motivation could be a reward. While some players motivate
themselves to play, or play for the pure fun of it, others are motivated by rewards,
such as money, power, influence, and items. Many roleplaying games promote the
power of money and items within the system, but Infinite Galaxies is not a game
focused on material wealth and items. Sure, having a starship or power armor will
help defeat an enemy, but the power of the PCs is in their intrinsic moves and abili-
ties. Still, material rewards are important, because they will often drive the players
to engage the story and attempt to achieve its goals. Non-material rewards, such as
titles, political power, influence, and information, can also be important motivators.
The time to reward is when the fiction demands it, and this can depend on the
nature of this potential reward. In general, the fiction will dictate when a reward
makes sense. The opportunity to present a reward, then, happens when the story
says it does. Often, a significant reward comes at the end of the mission or greater
effort. Smaller rewards come during an adventure and can appear in many forms.
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NON-PLAYER CHARACTER BASICS

Any character in an Infinite Galaxies game that is not a Player Character is a
Non-Player Character (NPC). These characters interact with the PCs, but are not
under the players’ control. Instead, the Game Master controls these characters
and makes their decisions. An NPC might be a combatant, diplomat, engineer,
salesman, informant, a robot, or even a beast. The GM may use moves to make
these NPC act with or against the PCs.
Whether it is a combat scene, a social scene, or an investigative scene, the

PCs are likely to come across NPCs whom they must engage in some meaningful
way. Of course, some NPCs want to stop the PCs from achieving their goal; other
NPCs might wish to help the PCs achieve their goal (or even join the PCs in their
adventures). This interaction between the PCs and interaction with NPCs is what
really drives the story.
NPCs in the game may or may not be on friendly terms with the PCs. Even
those friendly NPCs may turn on the PCs and make things difficult. Players should
not expect that every NPC they come across has the PCs’ best interests at heart.
PCs should be especially suspicious of NPCs with no apparent motivations to be
helpful! They may just have an ulterior motive.
NPCs represent both obstacles for the PCs to overcome and opportunities
for aid in difficult times. Sometimes, an NPC could represent both. One of the
GM’s primary duties is to present NPCs in compelling and interesting ways. While
not every NPC will be memorable, it is part of the GM’s job to have them act in
consistent ways and make them a real part of the story.
In any Infinite Galaxies game, the PCs are very likely to run into other people in
the setting. In fact, it would hardly be interesting at all if the PCs were just left to
their own devices for the entire session. NPCs are those other characters whose
actions are under the Game Master’s purview. Using these NPCs is one of the
critical aspects to master when running the game.
Remember that NPCs (and anything else in the world) react to PC actions.
When a player rolls for a move, an NPC may need to react to the result. An NPC
might cause injury to the PC who missed on an attack or may need to respond to
an attempt to “Negotiate.” To use NPCs in reaction to player moves, understand
the NPC’s concept, tags, and statistics. NPCs also have instincts that may help
you improvise when an obvious reaction is not evident.
NPCs might be allies, enemies, or just people that act as part of the story in
one capacity or another. These are characters that might take actions or react to
the player characters’ actions. People who do not really interact with the player
Part 1: The Basics
characters are not NPCs and might be better termed crowd or rabble. An NPC
might be a rabidly aggressive Masskai warrior, a friendly robot courier, or even
a merchant trader. Player characters might interact with these NPCs in combat,
exploration, and social scenes.
Like items and effects, NPCs have tags. These tags have virtually no mechanical
function within the game. They are intended to give the GM an idea of the size of
these NPCs, where these NPCs are usually found, and how the NPC might behave.
Infinite Galaxies features a set of tags for people, places, and things. The following
section lists these tags and their definitions.
Aggressive:This behavior tag describes a creature who is usually looking for a fight
Air: This location tag is for flying creatures.
Authoritative: This behavior tag describes a creature who gives orders to others.
Curious: This behavior tag describes someone who likes to investigate or explore.
Egotist: This behavior tag describes someone who believes they are more
important than others.
Friendly: This behavior tag describes someone who makes friends or helps, usually
associated with a certain species or type of creature.
Hive-Mind: This behavior tag describes a group or individual that acts as one with
others of its kind.
Huge: This size tag is for creatures three to four times as large as humans.
Large: This size tag is for creatures about twice the size of a human.
Medium: This size tag is for a creature about the size of a human.
Militant: This behavior describes someone who is part of a strict social order.
Open: This behavior tag describes a creature who is usually non-aggressive.
Opportunist: This behavior tag describes someone who takes any chance to look
out for their own interests.
Small: This size tag is for creatures about half the size of a human.
Sneaky: This behavior tag describes a creature typically looking to trick someone or
slyly get out of danger.
Space: This location tag is for creatures found in spaceships or stations.
Subterranean: This location tag is for creatures found underground.
Task-Oriented: This behavior tag describes someone who focuses on the task
at hand.
Tiny: This size tag is for creatures about a quarter the size of a human.
Urban: This location tag is for creatures normally found in cities.
Water: This location tag is for swimming creatures.
Wilderness: This location tag is for creatures found in unsettled places.
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NPCs have game statistics similar to those found on Player Characters.

Because NPCs are not as dynamic within the game, they have far fewer statistics
than PCs. Non-Player Characters have a Damage Die, Armor, and Vitality. NPCs
do not have Wounds checkboxes. Minions (see below) also have Number (the
number in their group). NPCs also have purposes and instincts. An NPC’s purpose
is its overwhelming motivation. This is what the NPC tries to do, above all else. An
instinct is an action or intention, a list of which acts as a sort of menu to guide the
NPC’s actions in the game. Of course, the list of instincts is not a complete list of
all possibilities; to a certain extent, you may have to improvise.
One of the tasks that the GM must take on is the creation of new NPCs. Some-
times, you will have prior notice and time to prepare. Other times, you will need to
create a new NPC during the game, with no notice whatsoever. The guidelines in
this section should help you with either situation.
The first step in the creation of an NPC is to understand the NPC’s concept.
This is a simple idea, the reason for the NPC’s existence in the first place. If you
don’t know why the NPC exists in your game, perhaps the NPC isn’t needed at
all. An NPC’s concept can also lead you to certain stats and move options. For
example, a “Robot Destroyer” is probably going to have high Damage, Armor, and
Vitality, while a Craven Diplomat probably will be lower in those values. The Robot
Destroyer is more likely to have combat-related purpose and instincts, while the
Craven Diplomat will be more interested in self-preservation and their standing
within the community.
Once you have defined the NPC’s concept, the next step is to decide upon any
tags that might be appropriate. Usually, an NPC will have a size tag, a location
tag, and one or more behavior tags. None of these tags have any game mechanic
behind them; they exist to help you run the character.
After you have assigned tags to your NPC, the next step is to determine values
for Damage, Armor, and Vitality. If you look at the stock NPCs later in this chapter,
you will see the range of values normally found in the NPCs of Infinite Galaxies.
Damage will be between 1d4 and 1d10 (usually). Damage values outside this
range should come with some sort of justification. Armor will run from 0 to 3,
although some particularly tough NPCs and Beasts might have 4 or even 5.
Vitality usually runs from 10 (lowest) to upwards of 20 or more.
Part 1: The Basics
After you have assigned game mechanic values to your NPC, the last step is
deciding upon a purpose and at least two instincts.
To keep track of NPC stats and moves, we have found that it is very handy to
use index cards or scrap paper. These are small and easy to keep in a folder or
otherwise out of the way.
In Star Patrol, the default setting for Infinite Galaxies, Humans are considered
to be the most populous species in almost every star system. When you create
your own NPCs, the majority of them will likely be humans. If you do not specify a
species, your players are likely to assume it is a human. There’s nothing wrong with
this; we are, in fact, humans ourselves and far more likely to identify with a human
than anything else.
This does not have to be the case in your game, though. There are certainly
examples within science fiction literature and pop culture where humans are in the
minority. Should you decide to change the assumed popular superiority of human-
ity, it is a good idea to discuss this with your players. They may have preconceived
ideas about humans that may not fit in with your setting.
Next to alien species, robots are the second-most identifiable with a science
fiction setting. Artificial creations have long been part of the sci-fi experience and
your players are going to expect to see robots in your games. In the default setting
for Infinite Galaxies, robots are commonplace; they are found in any walk of life and
serving in many capacities throughout civilized worlds. Robots can be bodyguards,
pilots, maintenance technicians, navigators, and even diplomats.
In many science fiction settings, robots are treated as property. This will be
something you should discuss with your group of players. This is especially true
should one of your players has the Robot playbook.
Another important group of NPCs to consider are non- and semi-intelligent

beasts. These are typically non-humanoid creatures larger and smaller than the
majority of humanoid species. Beasts are important to include in your game
because they provide a sense of otherworldliness, the idea that such creatures lurk
at the edge of civilization or on previously-unknown planets. Beasts also provide
your players with something new to discover as well as an opponent with different
obstacles to overcome.
Later in this chapter, there is a list of beasts for use in your Infinite Galaxies
game. Some of these also appear as creature mounts in Chapter 8: Vessels and
Mounts; note that the mounts are not the same as the stock beasts appearing
below, even though they are of the same general species.
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Beasts can be created to be similar in appearance and behavior to creatures

from our world, or they could be markedly different. One trick you can use is to
combine two species from our world in a new and unusual way. You could have
a tiger that flies on feathered wings or an elephant that has gills and swims
underwater. There are virtually no limits to the strange beasts you can add to your
Infinite Galaxies game.
MINIONS
To represent groups of identical NPCs, use the Minions mechanic. Minions are
used to represent a group of alike, minor characters, and usually played in a com-
bat scene. In most cases, Minions are under the GM’s control. In some situations,
however, the players may come to control Minions. This section presents the rules
for both situations.
To create a set of Minions, decide how many characters this group represents.
This value is called “Number”. Vitality for a Minions character is calculated as 4 x
Number. Thus, having 6 Number gives the Minions a Vitality of 24.
Next, record the Minions character’s Damage. By default, this is 1d4 +

Number. Thus, for a group of six, the Minions’ Damage is 1d4+6. If the Number
changes (usually due to the Minions character taking damage), reduce the
character’s Damage accordingly. Thus, the Minions inflict less damage as they
take damage.
Finally, and this step is only required for Minions controlled by the players,
decide how effective in combat you imagine that this group should be. Minions
controlled by players have a Combat value between -1 (worst) and +3 (best). Min-
ions controlled by players also have a Morale value, which is also between -1 and
+3. Morale represents the group’s general toughness and resolve. GM-controlled
Minions do not have Combat and Morale values.
Player Characters may find themselves in control of Minions. When Minions

help the Player Characters, the Minions are always under the control of one of the
characters. The character’s player makes all decisions and rolls for the Minions
and should keep track of the Minions’ Vitality and Damage.
Minions act like many other single characters. Minions act as one character,
taking actions and being damaged like a single entity. When Minions attack on
behalf of a Player Character, they use the “Fight” or “Shoot” moves, substituting the
Minions’ Combat value for STR or DEX. Minions can use other basic moves; the GM
will need to determine whether the move should roll using Combat or Morale.
Part 1: The Basics
Damage done to Minions reduces the Number in the group (and will cause the
Damage to be recalculated). For every full 4 Vitality inflicted upon the Minions, the
Number and the Damage value (after the d4) is also reduced by one. When Minions
under player control is reduced to half its Vitality, the Minions character must use
the Morale Check move (see below). Subsequently, every time the Minions charac-
ter loses another Number, it must roll Morale Check again. GM-controlled Minions
do not use Morale Check.
Minions can be healed by normal means. It does not get Knocked Out or use
the Void move. When a Minions character runs out of Vitality, it is destroyed; the
members go their separate ways or are all killed or destroyed.
MORALE CHECK: Use this move as directed by the Minions rules. When the
Minions’ resolve is in question, roll + Morale. On a 10+, the Minions stay where
they are and continue the fight. On a 7-9, the Minions hesitate for a moment; they
do not act until the controlling character succeeds on a move. On a miss, someone
runs off; subtract four from the Minions’ Vitality and one from its Number.
STOCK NPCS
Below, you will find game statistics for NPCs who might be used in the Infinite
Galaxies game. Of course, this list is not exhaustive; you should create NPCs for
your own use and your setting. Use the sample NPCs below to help guide you in the
creation of your own unique NPCs.
Aliens represent something new and interesting about your game. The aliens
provided here are part of the Star Patrol setting; if you have your own setting,
ignore them or use their entries, reskinned, as your own aliens. Appendix B: Star
Patrol Species and Origins briefly describes the Aliens presented here.
Collective Mindset (Minion; 4): This is a group of Collective agents used to guard
something important or destroy something.
PURPOSE TAGS
Protect the Collective Medium, Urban/Space, Hive-Mind
INSTINCTS VIT ARMOR DMG
Guard a place of importance 16 0 1D4+4
Destroy inferior technology
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Collective Insightful:The Insightful travels the galaxy, looking for new things to add
to the Collective.
PURPOSE TAGS
Collect and gather interesting things Medium, Urban/Space, Hive-Mind
Control others 10 0 1D6
Command allies
Collective Hivemaster:The Hivemaster is a controller, using lesser agents to push

an agenda.
PURPOSE TAGS
Advance the Collective’s agenda Medium, Urban/Space, Authoritative,
Hive-Mind
Summon allies 16 1 1D6+2
Manipulate the surroundings
Cygnan Explorer: The Explorer lives to see new and interesting places.
PURPOSE TAGS
Travel and see new places Medium, Urban/Space, Curious
Explore using technology 12 1 1D6+2
Defend their vessel
Cygnan Pilot: Cygnans are known for their skill at piloting and space travel.
PURPOSE TAGS
Fly their starship Medium, Urban/Space, Task-Oriented
Take passengers to new places 12 1 1D6+2
Show off piloting skills
Cygnan Wayfinder: Because they are well traveled, Cygans are skilled at leading
people to new places.
PURPOSE TAGS
Protect critical travel routes Medium, Wilderness/Space, Task-Oriented
Guide others to their destinations 12 2 1D6+2
Protect those in their charge
Part 1: The Basics
Gray Cultural Exchange Specialist: Grays regularly aid humanity in their under-
standing of the galaxy and these Cultural Exchange Specialists act as wayfarers
along the path to education.
PURPOSE TAGS
Promote cultural exchange with humans Small, Urban/Space, Friendly (Humans), Open
Help humans understand 8 0 1D6
Strengthen relationships with humans
Gray Space Merchant: The Space Merchant is the typical gray who travels the stars,
selling various wares.
PURPOSE TAGS
Sell goods for profit Small, Urban/Space, Friendly (Humans), Open
Protect their investments 8 0 1D6
Maintain good standing in galactic community
Gray Engineer: The Engineer is a skilled and experienced technician in all things
related to space travel.
PURPOSE TAGS
Learn about technologies Small, Urban/Space, Task-Oriented
Command robots 10 1 1D6
Protect important technologies
Masskai Horde (Minion; 4): Masskai Hordes are commonly sent ahead in the battle
to gauge the strength of the enemy; they are considered disposable.
PURPOSE TAGS
Kill for pride and glory Medium, Urban/Wilderness/Space, Aggressive
Prey upon the weak 16 2 1D4+4
Dominate others
Masskai Blademaster: The Blademaster wields the Scytheblade, a weapon unique

to Masskai culture.
PURPOSE TAGS
Prove their worth in battle Medium, Urban/Wilderness/Space, Aggressive
Demonstrate skill with the Masskai Scytheblade 18 2 1D12
Drive a foe to surrender or die
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Masskai War Chieftain: The War Chieftain is the undisputed leader of a Masskai
clan and usually, its toughest and most skilled warrior, as well.
PURPOSE TAGS
Prove their tribe’s dominance Medium, Urban/Wilderness/Space, Authoritative
Command and summon Masskai Hordes 20 3 1D10+1
Challenge a mighty foe to single combat
Por Chantarii Courier: A Courier is the Por Chantarii most likely to be encountered
in the galaxy; they travel various star systems to spread good cheer and news.
PURPOSE TAGS
Deliver important messages and packages Medium, Urban/Space, Open
Speak with people of importance 10 1 1D6
Travel quickly to their destination
Por Chantarii Artist: The Artist is the highest aspiration among the Por Chantarii
culture; few leave Chantarus, but are sometimes found in the employ of the wealthy
or powerful.
PURPOSE TAGS
Create great works of art Medium, Urban/Space, Egotist
Amaze others with artistry 12 0 1D6
Learn about new art forms and cultures
Por Chantarii Muse: The Muse is the rare Port Chantarii who has become the
obsession of an Artist and holds a special place in their society.
PURPOSE TAGS
Inspire others to greatness Medium, Urban/Space, Open
Support art and artists 12 0 1D6
Promote favored artists to great status
White Ape Horde (Minion; 4): The White Apes send their Horde to protect some-
thing or someone of value. They attack anyone who gets too close.
PURPOSE TAGS
Hold off enemies Medium, Urban/Wilderness/Space, Aggressive
Defeat or embarrass humans 16 2 1D4+4
Put others in their place
Part 1: The Basics
White Ape Plunderer: The Plunderer is both a thief and a scavenger, stealing items
from the unsuspecting.
PURPOSE TAGS
Steal items of worth or importance Medium, Urban/Wilderness/Space, Sneaky
Take things from humans 16 2 1d10+1
Get to safety
White Ape High Savant: The High Savant is the rare White Ape with psionic powers.
They are always elevated to places of high importance within White Ape society.
PURPOSE TAGS
Use psionics to command others Medium, Urban/Wilderness/Space, Authoritative
Control the mind of an enemy 20 3 1D10+1
Inspire white ape forces to victory
In the default setting for Infinite Galaxies, humans are the most common NPC
found in the game. Humans are everywhere, even on the home planets of other
species.
Diplomat: The Diplomat travels the galaxy, looking to make deals with other human
or alien businesses or governments.
PURPOSE TAGS
Make complex agreements Medium, Urban/Space, Open
Speak with hostile parties 10 1 1D6
Get information from contacts
Engineer: The Engineer is a skilled technician and can repair or design equipment or
vessels.
PURPOSE TAGS
Repair things Medium, Urban/Space, Task-Oriented
Find a flaw in a design 12 1 1D6
Investigate a mechanical or electrical failure
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Gambler: The Gambler is often found in a casino or other place where games of
chance and skill are common.
PURPOSE TAGS
Hit the big score Medium, Urban, Sneaky
Take a bet 10 0 1D8
Socialize with unsavory types
Grunt Sergeant: The Sergeant leads a squad of soldiers into combat or an

assignment guarding a person or place.
PURPOSE TAGS
Follow orders Medium, Urban/Wilderness/Space, Militant
Lead grunts into battle 14 2 1D10
Strafe area (Area, Close, Near tags)
Grunt Soldiers (Minions; 4):The Soldiers are a group of military personnel as-
signed to a squad. A Sergeant often leads them. In many human militaries, a squad
consists of eight soldiers (two of these minion units)
PURPOSE TAGS
Follow orders Medium, Urban/Wilderness/Space, Militant
Assist squad leader 16 2 1D4+4
Defend a place or person
Mercenary:A Mercenary may have military skills or experience and now sells their
abilities to the highest bidder.
PURPOSE TAGS
Finish the job Medium, Urban/Space, Opportunist
Protect their self-interests 12 2 1D10+1
Do the dirty work
Military Officer:The Military Officer usually works behind the scenes, at a protect-
ed base or large ship, watching over an operation and leading from afar.
PURPOSE TAGS
Form a strategy Medium, Urban/Space, Authoritative
Issue commands 14 2 1D6
Demand respect
Part 1: The Basics
Pilot:The Pilot is commonly seen throughout the galaxy, flying their ship to new and
interesting destinations.
PURPOSE TAGS
Fly their ship Medium, Air/Urban/Space, Task-Oriented
Take on passengers or cargo 14 1 1D8
See new and interesting places
Pirate:Pirates are everywhere in the galaxy and this entry represents a particularly
skilled or dangerous one.
PURPOSE TAGS
Take over a vessel Medium, Space, Sneaky
Capture something of value 12 1 1D10
Destroy something
Planetary Guide:Humans have traveled far and seen many strange things. The
Planetary Guide can help take a group to a hidden or dangerous destination.
PURPOSE TAGS
Lead people through dangerous territories Medium, Urban/Wilderness, Curious
Look out for danger 14 1 1D10
Avoid likely hazards
Royal Guards (Minions; 4):The Royal Guards are often assigned to protect a noble
or other dignitary. They are often equipped with the finest of weapons and armor.
PURPOSE TAGS
Protect the interests of the crown Medium, Urban, Militant
Gang up on an enemy 16 2 1D4+4
Assume a defensive formation
Smuggler:The Smuggler transports illicit or valuable goods, without the notice of

officials, to somewhere they can be sold.
PURPOSE TAGS
Get paid to transport illicit cargo Medium, Urban/Space, Sneaky
Hide from authorities 12 1 1D8
Escape from trouble
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Star Patrol Officer:Star Patrol Officers are found throughout Terran Alliance space.
They are charged with protecting the peace and enforcing interstellar law.
PURPOSE TAGS
Enforce galactic law Medium, Space, Authoritative, Militant
Arrest a law breaker 14 2 1D10
Look out for trouble
Thief:The Thief takes any opportunity to take an item of value and sell it on the
black market.
PURPOSE TAGS
Take something of value Medium, Urban, Opportunist, Sneaky
Find an escape route 10 1 1D8
Fence stolen items
Aside from humans, robots are the next most-common NPC in Star Patrol.
Robots have taken on many of the more menial and dangerous tasks humans
and other species used to do. Robots are found everywhere and in almost any
situation.
Assassin Robots (Minions; 4):A group of Assassin Robots is sent after a specific
target and must complete their task or be destroyed.
PURPOSE TAGS
Kill their mark Medium, Urban/Space, Aggressive
Trap the mark 16 2 1D4+4
Keep secret the details of their mission
Assassin Robot Leader:In cases where a target is particularly tough or elusive, an

Assassin Leader is sent to aid a group of Assassin Robots.
PURPOSE TAGS
Kill its mark Medium, Urban/Space, Authoritative, Militant
Bolster minions 16 3 1D10
Launch area attacks (Area, Far, Near)
Part 1: The Basics
Counselor Robot:This robot is an essential aid in social situations. The Counselor
is not only programmed to assist in delicate political and diplomatic matters, but is
usually trained in thousands of languages.
PURPOSE TAGS
Counsel biologicals to success in social situations Medium, Urban/Space, Friendly
Smooth over ruffled feathers 8 2 1D6
Stay away from violence
Guardian Robot:This large Guardian Robot is assigned to protect a person or place.
PURPOSE TAGS
Protect its charge Large, Urban/Space, Militant, Task-Oriented
Emit electrical field (Area, Close, inflicts electrical 18 3 1D10+1
damage)
Shut down access
Maintenance Robot:The Maintenance Robot is assigned a task to keep some

component of a starship or facility in good working order.
PURPOSE TAGS
Perform scheduled maintenance Small, Urban/Space, Hive-Mind
Fix things 8 2 1D6
Maintenance Robot Group (Minions; 4):A group of Maintenance Robots work

together to patrol an area to perform repairs or other routine work.
PURPOSE TAGS
Perform scheduled maintenance Small, Urban/Space, Hive-Mind
Fix things 16 2 1D4+4
Messenger Robot:The Messenger Robot takes items or information from one place
to another.
PURPOSE TAGS
Deliver assigned message or item Medium, Urban, Friendly
Move quickly through traffic 10 2 1D6
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Navigation Robot:This plucky robot helps a starship navigate the galaxy!
PURPOSE TAGS
Safely get the ship to its destination Small, Space, Task-Oriented
Warn biologicals of danger 10 2 1D6
Weapons Platform:The Weapons Platform is a large, military-style robot designed

to go into battle and destroy.
PURPOSE TAGS
Destroy enemies Large, Urban/Space, Aggressive, Militant
Shoot missiles (Area, Far, Near) 20 3 1D10+2
Gain tactical advantage
STOCK CREATURES
The creatures listed below are commonly found in the game’s default setting.
Many of these can also serve as creature mounts for the Player Characters. See
Chapter 8: Vessels and Mounts for the mount versions of these.
Coral Diver Pack (Minions; 4):Native to the Beta Hydra system, the Coral Driver
runs in packs and seeks prey in the water.
PURPOSE TAGS
Seek blood Medium, Water, Aggressive
Swarm in shallow waters 16 1 1D4+4
Pull someone underwater
Ferrad Clutch (Minions; 4):The Ferrad creature, a horse-like beast, is native to the
Deros system and hunts in packs. They are known to be very territorial.
PURPOSE TAGS
Protect the nest Large, Wilderness, Militant
Surround someone 16 2 1D4+4
Intimidate smaller creatures
Part 1: The Basics
Firewing Terror:This space dragon, for want of a better term, is native to the Theta
Virgo system. Like its mythological counterpart, the Firewing flies using bat-like wings
and breathes fire.
PURPOSE TAGS
Protect its lair Medium, Air, Aggressive
Terrorize from the air 16 2 1D10
Breathe fire (Area, Close, inflicts fire damage)
Graaki Swooper:Found in the Zeta Scorpius system, the Graaki is a large, eagle-like
creature that hunts from the air.
PURPOSE TAGS
Hunt prey in open spaces Large, Air, Aggressive
Swoop in and grab someone 16 1 1D10
Knock someone back or down
Nuasad Poisonfang:The Nuasad Poisonfang is a smaller version of the domesticat-

ed version that can serve as a water mount. It has a poisonous bite, hence
the name.
PURPOSE TAGS
Hunt in hazardous waters Medium, Water, Aggressive
Poison someone (take the Sick debility) 16 1 1D10
Drown someone
Oracle Mindbender:The Oracle Mindbender is a beast with psionic powers. It is

known to use telepathy to trick its prey and sting with its barbed tail.
PURPOSE TAGS
Mentally control or trick someone Large, Air, Egotist
Fly from danger 18 2 1D8
Poison someone with its tail (take the Sick debility)
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Sayyid Wavecruiser:The Sayyid is a large water creature native to the Beta Hydra
system. It is vaguely whale-like and somewhat intelligent.
PURPOSE TAGS
Patrol its watery territory Large, Water, Task-Oriented
Swallow someone whole 20 2 1D8
Knock someone off a water vessel
Slipdragon Pursuer:The Slipdragon is a land-based reptile found in the Variges

system. Unlike the domesticated version, the Pursuer is quite sly and antagonistic.
PURPOSE TAGS
Move quickly to catch prey Medium, Wilderness, Opportunist, Sneaky
Slash several nearby enemies (Area, Close) 16 2 1D10+2
Trap its prey
Stormer Bull:This vaguely humanoid creature sits at the top of the food chain on
Zeta Scorpius 1. Some of them can emanate electricity.
PURPOSE TAGS
Intimidate anyone in its path Large, Wilderness, Aggressive
Knock someone down and gore them 20 3 1D10+2
Breathe electricity (Area, Close, inflicts electrical
damage)
Part 1: The Basics
THE FIRST SESSION AND BEYOND
The very first Infinite Galaxies game session sets the tone and direction for the
remaining sessions, however many there may be. In life and in roleplaying games,
setting expectations is important, so that people understand what it is you’re trying
to do and what you hope to accomplish. It’s unfair to expect people to behave a
certain way, undertake or avoid certain actions, or stay on task, unless you delin-
eate, in specific terms, what you expect. The GM is not the only person in charge; it
is up to the entire group to define ground rules and police themselves.
Expectations can include (but certainly aren’t limited to) frequency and length
of game sessions, player participation in setting and story, roleplaying immersion,
player-versus-player combat or intrigue, and boundaries of discussion. There could
be limitations on frequency of game sessions because of peoples’ schedules or
the venue used. There could be reasons why profanity and dark subject matter
may bother some of the players or others in the game environment. While veteran
players may have more tolerance for unusual or layered stories, newer players
may need a more straightforward story. Based on what the group needs, setting
expectations helps everyone be on the same page.
Prior to the first session, there may be additional preparation beyond what the
typical session requires. The group may be using an established setting, such
as one from books, TV, or movies, or the group may be creating a new setting. In
either case, the GM and other players may wish to cobble together some notes,
nothing too in-depth, to be ready when the character creation phase starts. In
addition, if anything new is being introduced to the game, such as new rules,
alternate playbooks, or new equipment, these should be well defined prior to the
game’s start.
Preparation can include story sparks, ideas that may not be fully formed, but
can turn into story elements. The GM is often the one who comes to the game with
sparks; these are not plans, because plans are often too rigid, too staid in their
concept, to allow for the players to have the freedom they need to fully enjoy and
explore the game experience. Because Infinite Galaxies is a story game, the players
drive the action; giving the players a spark means that they have a concept in mind,
a general direction, perhaps a destination, but not all of the driving instructions.
During the first session, someone must provide the basic materials needed to
run the game. This person can be the GM, but it doesn’t have to be. At least one
player should have a copy of this book, the Infinite Galaxies Core Rules. There
should be copies of each playbook, copies of equipment lists, and each player will
need some dice and a pencil or pen. It is often a good idea for the GM to have a
set of index cards and a pen. These will be used to create Milestones or for other
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notes; the GM might also use index cards to keep track of NPC stats, Vitality, and
so forth.
While Infinite Galaxies does not require a map, gaming mat, or miniatures,
having visual aids is not a bad idea. Remember that game play in Infinite Galaxies
does not rely on exacting measurements, distance, targeting, and so forth. Visual
aids should be used to help players understand what’s happening; they should
not be used to overtly limit player actions.
Invariably, at some point during your game experience, players new to Infinite
Galaxies will try the game. These players may be new to roleplaying games as
well. Remember to teach them the game – its concepts, its rules, and why Infinite
Galaxies is fun to play. Remember that you were once new to roleplaying games
as well; someone else taught you the ropes.
New players need a brief overview of the rule mechanics, particularly how
moves are resolved. Pointing a new player to the basic moves is a good idea; no
matter which playbook they choose, they will need to reference the basic moves
often. The basic moves provide a good idea of how the structure works. Under-
standing the basic moves will help to get a grasp of how playbook moves work.
You may need to remind players new to story games that they drive the game, that
player creativity and input is not only encouraged, but required.
It may be a good idea to pair a new player with an experienced one. That way,
the game instruction can occur during the game, leaving the GM with more time
and effort to spend on running the game.
In Infinite Galaxies, character creation starts with selecting playbooks. Often,

experienced players will have an idea of what playbook they want. New players,
of course, have little information upon which to base their decisions; in this case,
you or the other players can provide some guidance. When everyone is new, or
when players don’t seem to have predetermined ideas for their character choices,
try to split the playbooks between different sides of your table, or distribute them
in some other way; you don’t want one player tying up the entire pile of playbooks
while everyone else waits.
Once playbooks are selected, the players start making decisions about their
characters. Names and looks are completely up to the individual players, although
the GM may wish to restrict overly silly or otherwise distracting names or appear-
ances. Players may skip this part and move on to selecting a starting package or
their abilities. Keep in mind that there is no “right” order to character creation.
For the most part, what decisions the players need to make are laid out on the
playbook character sheets; the GM is there, of course, to resolve any questions.
Part 1: The Basics
During character creation, players have a lot of decisions to make. Each of
these decisions has the potential to affect the story and the game you’re creating
together. It is best to allow (or encourage) the players to work together to create
their characters. That way, the group has cohesion, the different PCs can com-
plement each other, and this group character creation effort can help form the
underlying reasons why the PCs are together. For more advice regarding making
characters, see Chapter 4: Character Creation.
USING MULTIPLE PLAYBOOKS

At some point, a player may ask whether they can run multiple characters. Nothing
in the Infinite Galaxies rules prevents this, but take care in allowing this to happen. A
player with multiple characters should be experienced in the game and have a valid
reason for wanting to run two characters. Remember that the Companion playbook
exists to provide a sort of second character. One thing to watch for is that these
multiple characters aren’t giving each other xp, by cleverly choosing Drives and
Relationships that are easy to trigger against one another. You might even rule that
such characters cannot get xp that way (to earn xp, the Drives or Relationships can
only be triggered against other PCs).
MULTIPLE PLAYERS WITH THE SAME PLAYBOOK

Another character creation issue that may come up is whether the GM wants to
allow two (or three) players to use the same playbook. It is possible, but be sure that
these players are making different character decisions, such as choosing different
starting packages, different origins, and so forth. If players are using the same
playbook, it is critical that these characters are differentiated from one another.
Note that this is an intentional diversion from the general rule found in most other
“Powered by the Apocalypse” games, which require that each player has a unique
playbook.
An important character creation step that should be left for the end of this
phase is creating Relationships. A review of the playbook character sheets and the
playbooks in Chapter 5: The Playbooks shows six Relationships for each playbook.
The design intention is that a player will fill in the names of each other PC into
one of those slots (leaving empty the extra slots). Thus, in a game with four player
characters, each character sheet will have three Relationships selected.
The process of selecting Relationships should be a straightforward affair – each

player chooses a Relationship for each other character in the group. Players
should be advised that triggering these Relationships is one of the main ways to
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earn Experience; picking the right Relationships for the group will make a world
of difference. Choosing which Relationships to use can be a matter of knowing
the other characters and also knowing the other players. Because triggering
Relationships requires interaction with other players, it can be very important to
understand what motivates the other players and what they are likely to want to
do during the game.
During the first session, and especially during character creation, the players
are making decisions that will affect, in some way, the direction of the game.
Remember that Infinite Galaxies is a game based on players driving the action;
their character creation decisions will push the game’s story in certain directions.
It is best to be prepared for this eventuality.
In creating characters, players will give the GM story ideas and their character
choices that inform everyone else of their desired direction in the game. The GM
will take this information, as well as their own sparks, to create this first story.
When the GM comes to the first session with sparks, they take one of these
story concepts and add in what the players have contributed to turn that spark
into a story. If the GM did not come to the game with any story ideas, and there’s
nothing wrong with this approach, they should use what the players have put forth
to form a story for the game.
Assuming that the group wishes to play more than one session of Infinite
Galaxies, the GM should think about how to develop what parts of the story will
continue into the second session (and, perhaps, beyond). The ideal situation
would be that the plotlines introduced in the first session flow organically into
the second session. In addition, if the story is done right, elements of the first
session story will continue for multiple sessions. Sometimes, the GM will need to
create more material for the second session and beyond; this can happen when
the PCs accomplish everything set before them during the first session. Between
sessions, the GM should consider how to extend objectives or create interesting
side missions or objectives to fill future sessions.
Future sessions could also take inspiration from other sources, including
literature, TV, movies, or even adventures published for other game systems.
Because Infinite Galaxies is not a rules-heavy system, material written for other
games are easily adaptable to it. See Chapter 14: Creating and Continuing a Story
for more information on these topics.
CHARACTERS
PART TWO:
+ GEAR
This part details how characters
work in the Infinite Galaxies Core
Rules. Chapters in Part 2 cover char-
acter creation (including detailed
playbooks), the experience and ad-
vancement system, gear, and vessels
and mounts.
Part 2: Characters & Gear
4. CHARACTER CREATION
This chapter presents the process of creating a character – from start to finish – and
introducing a new character to the game. Here is a discussion of the importance of
characters in the Infinite Galaxies game, how to select a playbook, a detailed character
creation process, and how to introduce a character into the game.
THE IMPORTANCE OF CHARACTERS

Any discussion of a roleplaying game should start with the characters. What do
the characters do? What are their options? How do they fit into the world? How do
they change and impact the setting? How do they grow?
The characters provide a center for the game. Since the Player Characters (PCs)
drive the action and the story, and nothing takes place without the characters,
it is necessary that the first step in any Infinite Galaxies game is creation of the
characters. During the character creation process, players make choices that can
have implications further into the game. For example, the selection of an Origin
may imply the creation of an organization, an alien species, contacts within the
nobility or the underworld, and so forth. The selection of certain Relationships may
suggest an interesting backstory that could be mined for future story or plot.
SELECTING A PLAYBOOK
Character creation starts with choosing one of the eight playbooks made
available in the Core Rules. Each of the major playbooks – the Ace, the Explorer,
the Jack, the Leader, the Psi, the Robot, the Scientist, and Soldier – fits into a
specific place within the setting and your individual game. Though each playbook
has a general use in the game, individual characters, even of the same playbook,
may be very different in practice.
The very first thing the players do is decide on playbooks. Every player except
the Game Master (GM) will select a playbook from among those presented in
Chapter 5: The Playbooks. You can also download formatted character sheets for
each of the playbooks from the Infinite Galaxies website.
Two playbooks are presented at the end of this chapter: the Ship and the
Companion. These special playbooks are not Player Characters (PCs), per se, but
help the PCs during their adventures. The players do not start with a Companion,
but the player of an Ace will also be responsible for the Ship playbook.
Following is a brief rundown of each playbook. For a full description of these,

see Chapter 5: The Playbooks.
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»» The Ace is a pilot and starts with a starship. Groups including an Ace
will have the freedom to travel in their own vehicle, which can allow for
mobility. The Ace can pilot any sort of vehicle and is handy in combat.
»» The Explorer is the consummate scout and can get information on many
hostile environments or situations. Groups including an Explorer will have
ways to know what is going on ahead of their arrival and may have options
on ambushing the enemy or avoiding hazards.
»» The Jack is a sort of scoundrel with a certain panache, a debonair

attitude, and a way with people. Groups including a Jack will have more
social options and may have the ability to spy on enemies and bypass
security measures. Some Jacks can also disguise themselves as well as
infiltrate buildings and organizations.
»» The Leader is a character that provides crucial support for others, can
help locate equipment and resources, and advise in strategic decisions.
Groups including a Leader will get bonuses from this character and will
likely be more successful in their endeavors. Many Leaders can heal
other characters and that always comes in handy.
»» The Psi is a master of certain mental disciplines and can evoke these
powers for devastating effects. While some Psi are combat oriented
characters, others may have a myriad of uses outside combat Scenes.
The Psi is dependent on Reserve to fuel their powers.
»» The Robot is a machine designed to serve “biologicals” in one of many

capacities. Players choosing the Robot have a choice in their design
options. Some Robots are more effective in combat, while others may
excel at navigation or acting in social situations. Robots do not start play
being able to repair themselves, so Robot characters will find a Scientist
very helpful to have around.
»» The Scientist fixes things, specifically, robots and ships. Groups including
a Scientist will have the ability to repair a PC Robot or the Ace’s Ship (and
possibly, other vehicles). The Scientist excels at inventing devices and
may be good at sabotaging enemy technologies.
»» The Soldier is a combat-focused character, but one that has options be-
yond simply dealing damage. Make no mistake, however; in any situation,
the Soldier can inflict some harm on their enemies. Groups including
the Soldier will have more effectiveness in combat situations; Infinite
Galaxies should feature many opportunities for the Soldier to prove their
usefulness.
Chapter 4: CHARACTER CREATION 83

The players should discuss the role their characters will play within the group. It
could make sense for each PC to have a different role – one combat focused, one
sneaky, one social, one exploratory – to make for a particularly effective group.
THE CHARACTER CREATION PROCESS

After a player selects a playbook, the character creation process begins. This
section presents the process, from start to finish.
Character Creation Instructions for a Player Character:

1. Choose a Name for your character
2. Select options for Look or create your own
3. Assign modifiers from your Array to your Abilities
4. Record your Damage Die
5. Calculate and record your Vitality
6. Select a Starting Package
7. Select an origin option
8. Create Relationships with the other characters
9. Calculate and record your Load

10. Record starting Equipment and select options
11. Describe your character to the other players
Character Creation Instructions for the Ship:

1. Choose a Name for your Ship
2. Select options for Look or create your own
3. Select Size and Type; record Crew, Passengers, Abilities, Hull, Shields,
Damage Die, and Maintenance Requirement
4. Select a Starting Package
5. Calculate and record your Capacity

6. Record starting Equipment and select options
7. Describe your ship to the other players

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A very important step in creating a new Infinite Galaxies character is to select a

name. Your character’s name says a lot about them. The name might suggest an
origin, a motivation, an attitude, a behavior, or even a goal. Your name might be
plain or outrageous. Above all else, choose a name that will be memorable. Each
playbook has a set of suggestions for names. You are not required to use any of
these suggestions.
During play, each of the players and the Game Master will refer to you by your
character’s name. This is done, in a way, to reinforce roleplaying.
HANDY TIP FOR NAMES

In some of our games, we have found the use of name / badge stickers to be
effective in remembering everyone’s character names. You can get a pack of these
at any office supply store. Make sure to use markers so that everyone can read
your character’s name!
A character’s looks and appearance, while having no mechanical effect on

game play, can further define a character and how they function within the
setting. Playbooks offer options for each Look category. You are free to choose
something outside this list of suggestions.
Each Infinite Galaxies PC has a set of Abilities: Strength (STR), Dexterity (DEX),
Constitution (CON), Intelligence (INT), Wisdom (WIS), and Charisma (CHA). In the
game, moves refer to these Abilities, always with the abbreviations listed above.
These Abilities are represented as modifiers, from -1 (the lowest) to +3 (the
highest). PCs cannot have Abilities lower than -1 or higher than +3.
A player selects modifiers from the following array: +2, +1, +1, +0, +0, and -1.
Each of these is assigned to one of the six Abilities.
The Ship playbook also has Abilities. Note that these are different than those
found in PC playbooks and the Ship’s modifiers are based on the Size of vessel.
Playbooks also have values for Damage Die, Armor, and Vitality. These values
are used in response to the results of certain moves.
A character’s Damage Die starts at D6, D8, or D10. Players roll this type of die
when dealing damage. Characters use the same Damage Die regardless of how
they attack. Different weapons or attack forms may modify the damage total. The
Ship playbook also has a Damage Die. This works exactly as it does for a PC.
Armor reduces the damage that a character takes. The Armor value is the
amount by which the damage is reduced. Some attacks and effects may ignore
part or all of the Armor value. The Armor value is calculated based on equipment

and moves. If gear has the [X] Armor tag, this is known as base Armor. A character
gets only the best value from all of these items. If gear has the [+X] Armor tag, add
all of these to the highest base Armor to get the final Armor value. A character can
only use 3 items with the Worn tag.
The Ship has a Shields value. This works exactly like Armor does for a PC.
Because the Ship cannot “heal” during combat – except perhaps in very rare cases
– the Ace and their allies will want to increase the Shields value. See the basic
vessels moves for more information.
Vitality starts as a 12 or 16, with the CON modifier applied to it. Every time your
character takes damage, reduce the Vitality value by this amount (subtracting any
Armor from this damage, where applicable). When you receive healing, add the
healing amount to your current Vitality value. Healing cannot increase your Vitality
above the maximum value. You can increase your maximum Vitality when you
advance.
The Ship has a Hull value. This works exactly as does Vitality for a PC. When the
Ship takes damage, the Hull will need to be repaired; it does not heal on its own.
You will see that a playbook has three Wound checkboxes. When directed to do
so (usually when your Vitality is at 0 and you would take damage), a player marks
one of these boxes. Vessels have Critical checkboxes, which work in the same
manner. The “Wounded” move (and the “Critical” move for vessels) is triggered
with these boxes are marked.
Characters can be killed and the Ship can be destroyed when Wound and
Critical checkboxes are marked.
Each Infinite Galaxies playbook gives the character one or more default moves.
These moves are available to any character who selects that playbook. For exam-
ple, every Psi has the “Build Reserve”, “Reserve Moves”, and “Kreth Jewel” moves.
A few “default moves” are not moves at all, per se, but innate abilities. The Ace
gets their ship, the Robot, being an artificial creation, has certain innate benefits,
and the Soldier has their military training.
Every playbook comes with a choice of three starting packages. A player

chooses one of these packages for their character and receives the benefits and
moves contained therein. This doesn’t mean that the other starting moves are
forever off-limits; it is possible, through advancement, to acquire moves from other
starting packages.
The choice of a starting package will define what special things a character can
do. When deciding on which package to take, it may be a good idea to consult with
the other players and discuss which characters fill certain roles in the group.
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DO WE NEED A HEALER?
Many groups want to have at least one character with the ability to heal the others.
Is it helpful to have a healer? Certainly. It is not, however, required. Since, for most
characters, Vitality is recovered at the end of a scene, healing may not be as urgent
as in some other roleplaying games. It is possible to survive without a healer, by
using medical items and the Rest move.
An Origin is a type of background for the character and provides some sort
of benefit during the game. In most cases, an Origin’s benefit is a “mini-move”,
something less than a full move; they usually modify or give the character
additional options for using existing moves. Origins are meant to be broad enough
to allow players quite a bit of leeway in developing their characters’ stories.
Most of the playbooks have an “Alien” Origin. This has been designed to be
intentionally vague as to actual nature of the alien species. The intent here is
for the player to define the alien species; the actual species itself confers no
special mechanical benefit aside from the Origin’s listed benefit. Star Patrol, the
“default setting” for Infinite Galaxies, provides additional Origin options for playing
members of an alien species. For more information, see Appendix B: Additional
Alien Origins. Other published or existing settings may have their own aliens. In
this case, the players should work together to define what alien species exist and
what Origin benefits they may have. In any case, using an “Alien” Origin from a
setting overrides and replaces the “Alien” option provided in a playbook.
Each playbook has six Relationships. For these, a player selects one other PC
for each. Each Relationship represents something a character gains Experience
from doing with, for, or to another character or, conversely, another character
must do to, for, or with them. It may make sense to wait until after characters are
introduced to decide on Relationships.
Each playbook also has six Drives. During play, a player will select two of these
and they, like Relationships, are triggered for Experience. A Drive is an action that
a character undertakes on their own or with their allies. A player only marks two
Drives when the GM introduces a Milestone; this is not done during character
creation.
For more information on triggering Relationships and Drives for Experience see
Chapter 6: Experience and Advancement.
Each playbook has a gear section. This section lists starting and optional
equipment a character has. Calculate and record Load; this is a character’s STR
+ (a number listed in the playbook). This is the maximum value of weight the char-
acter can carry on their person. Should the total weight exceed the Load value,

the character is Loaded Down; refer to that move for further instructions. If you
have the Ship playbook, it has a Capacity value that is used like a character’s Load
value. It is, however, calculated differently; see that playbook for more information.
Every character playbook, except the Robot, gives the player a set of standard
gear and then, some selections to make from a list of options. Add the values of
any items with the weight tag and compare these against the Load maximum. If
a character starts with 1 or more Credit, this can be used to purchase additional
items. The Robot starts play with two Pods. They fit items with the Integral tag into
their Pods. These items can be purchased or otherwise acquired during play.
For a discussion on gear, how to use it, and how to acquire it, see Chapter 7:
Gear.
ANOTHER ORDER FOR CHARACTER CREATION

Though the foregoing provides a logical order of steps to creating a character, it
may make sense to look at a playbook’s default move and package moves before
assigning ability modifiers. This way, you will know what abilities your character
should use a lot and assign the highest modifiers accordingly.
INTRODUCING YOUR CHARACTER

Once the characters have been created, the next step is to introduce them. How
characters are introduced at the table varies from group to group and this book
doesn’t intend to prescribe this process. In some groups, a simple introduction –
name, appearance, personality basics, playbook, and abilities – is enough to give
the other players an idea about the character. In other groups, a more in-depth
introduction may be necessary – adding details such as a personal backstory,
Relationships, and so forth. What’s important is that each player contribute an
amount of information about their character that satisfies the group’s needs.
One of the most important aspects to introducing a character to an Infinite

Galaxies game is revealing which Relationships belong to the other PCs. Since
everyone at the table knows these Relationships – and you want them to be
publicly known – it is essential that Relationships are announced and made clear
to the players.
After the Player Characters are introduced to the group, it is time to introduce
them to the story that the players are going to build and play. This is a more
complicated process and will involve asking questions about each of the char-
acters, gathering that information into a cohesive repository of information, and
drawing story elements from whatever comes from that process. Often, the GM
will have a list of questions to ask the players about their characters; answers to
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these questions may kick off interesting discussions that can point the game in a
certain direction. For guidance and advice about creating your game’s story, and
weaving character details into that story, see Chapter 13: A Game’s Story.
Introducing a new character to an ongoing game is a bit different from the

process listed above; in this situation, established characters already have
Relationships and have explored some details of their own stories and interests. A
new character will need to add a Relationship for each existing character and the
group will need to work the new character’s details into the game. This process is
covered in Chapter 14: Creating and Continuing a Story.
EXAMPLE OF PLAY
Our players – Shawn, Elliott, Chad, Michael, Robert, and Jim – have gathered
to start a new Infinite Galaxies game. Shawn has decided on the Soldier play-
book, while Elliott has chosen the Psi playbook, Chad has chosen the Scientist
playbook, Michael has elected to play the Ace, and Robert has chosen the
Leader. Jim is the Game Master (GM).
The players begin a discussion of character roles in the group; they want
to make sure that the group has a coherent aim or purpose and that all major
points are covered. The players decide to select packages before doing anything
else with the characters. Robert wants to make sure that the group has healing
capability, so he announces that he’s choosing the Survival package, which
allows his character to do some healing; he also has the ability to recover spent
uses of items. Since more healing may not be necessary and they will have a
Ship that might need repair, Chad has decided against the Physician package
and goes with the Engineer package instead. Likewise, Robert’s decision to go
with a healing option means that Shawn’s Soldier doesn’t need to take the Medic
package. Having a Leader in the party might also make the Tactics package
moot, so Shawn decides to go with the Munitions package. None of these choices
really affect the Psi or the Ace, so Elliott chooses the Psionic Warrior package;
together with the Soldier, they will make an effective combo in combat. Michael
chooses the Showoff package for the Ace.
The players have selected names for their characters (in some groups, this is
one of the final steps). Elliott has named his Psi, “Meeki”. Michael has named his
Ace, “Alexander “Skills” Johansen”. Shawn has named his Soldier, “Audrey”. Chad
has named his Scientist, “Ansley”. Robert has named his Leader, “Exander”.
Since the players have all selected packages for their characters, they assign
ability modifiers. Shawn’s Soldier needs to be good at the Shoot move, so he
puts his best modifier, +2, in DEX. Elliott looks at the Psi, sees the need for WIS,
and puts his +2 modifier there. Chad, with the Scientist, needs INT for his moves,

so puts his highest modifier there. The Ace, Michael’s character, needs a good
DEX for their Showoff moves, but also has a default move that uses INT. Michael
decides to put the +2 in DEX and one of his +1 modifiers in INT. Robert, with
the Leader, sees that his moves use INT and WIS. INT seems to be slightly more
important, so Robert puts his +2 there.
Each player takes note of their Damage Dice; the Leader and Scientist have
D6, the Ace and Psi have D8, and the Soldier has a D10. They will calculate their
Armor value once they have decided on equipment. Each player calculates their
Vitality as described in their playbooks – Audrey, the Soldier, has a +1 CON, so her
Vitality is 17, the Ace has a +0 CON, so his Vitality is 12, the Leader’s CON is +1,
so Exander’s Vitality is 13, the Psi’s CON is +1, so Meeki’s Vitality is 17, and the
Scientist has a +0 CON, so his Vitality is 12.
The players have already selected packages for their characters, but they
briefly discuss the moves that they have. Chad, with the Scientist, describes the
playbook’s default move, “Create Device”, and the Engineer moves, “Repair”, which
can help fix the Ship, “Engineer’s Harness”, and “Master of Machines”. Shawn,
who has the Soldier playbook, describes the default move, “Combat Training” and
the Munitions moves, “Demolition”, “Fire in the Hole”, and “Lock ‘n Load”. The Psi,
Elliott’s character, has the default moves, “Build Reserve”, “Reserve Moves”, and
“Kreth Jewel”; the Psionic Warrior package gives him the moves, “Combat Trance”,
“Kreth Initiate”, and “Precog Defense”. Robert, with the Leader, has the default
moves, “Issue Orders” and “Reserve Benefit” and the Survival moves, “Patch
‘Em Up”, “Stashed Away”, and “Desperate Times”. Michael, with the Ace, has
the default moves, “You Ship”, which gives him access to the Ship playbook, and
“Re-Route Systems”, plus the Showoff moves of “Need for Speed”, “Stunt Pilot”,
and “All for One”.
Each player now chooses an Origin for their character. Shawn chooses the “Leg-
acy” option. Elliott and Chad chose the “Alien” Origin; they will need to describe
their alien species later. Michael, the Ace, chooses the “Academy Cadet” Origin.
Robert, with the Leader, selects the “Noble” option.
The group has decided to choose their Relationships once the characters have
been otherwise introduced, but we’ll skip ahead to that process. The players
carefully consider Relationships with the other PCs that will be easy to trigger
for experience during the game as well as fun to roleplay. We won’t list all of the
Relationships here, but we will touch on them in other “Example of Play” sections
in the book.
The final step is for each character to calculate Load, take note of starting
equipment, and make equipment choices. After Load is calculated (the playbooks
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list a default value + STR), the characters take note of what equipment they start
with. Audrey, the Soldier, has Flexsteel Armor, which gives her an Armor value of
2 and also a Laser Repeater, which is a weapon that adds +2 to her Damage. Our
Psi, Meeki, starts with Flexsteel Robes (Armor value of 1) and his Kreth weapon.
The Ace, Alexander, starts with a Laser Pistol, but no armor. The Leader, Exander,
starts with a Laser Pistol and a Synthleather Hauberk, which gives an Armor
value of 1. The Scientist, Ansley does not start with armor or weapons, but tools
used for his moves. Each of the characters also starts with Credit, which can be
used to buy other equipment. Each character then makes choices of optional
equipment as listed in their playbooks.
Michael, who has the Ace, will need to go through many of the previous steps
to fill out choices in the Ship playbook; those are not detailed here.

5. THE PLAYBOOKS
This chapter presents the Infinite Galaxies playbooks. Here, find the Ace, the Explorer,
the Jack, the Leader, the Psi, the Robot, and Scientist, the Soldier, the Ship, and the
Companion playbooks; players will use these to create and advance their characters.
CHOOSING A PLAYBOOK
What is a playbook? Why do I need one? How are other players making these
choices? If playing in a roleplaying game is a brand-new experience for you, or even
if you have some familiarity with Infinite Galaxies, it is highly advisable to have a
discussion with the other players, especially the GM, so that you understand what
choices you are being asked to make.
A playbook is a rule construct that presents special things your character can
do. Using the playbook walks you through making some decisions about your char-
acter; the choices you make will define your character and bring them into further
clarity. Using the playbook, you will select abilities your character might have, what
equipment they start play with, and how they interact with the other characters.
Often, you may not have a great deal of time for analysis and discussion. This
section provides a quick summary each of the playbooks that appear on the
following pages.
»» THE ACE is an expert pilot and begins play with their own starship (see
the Ship playbook). While the Ace is most comfortable and effective in the
cockpit of their own ship, they are quite adept at piloting other vessels and
may even be skilled at modifying and repairing vessels. Choosing to play the
Ace means that you want travel in the game, most likely space travel and you
are probably looking for some vehicle-based combat, as well.
»» THE EXPLORER is someone who finds people, places, and things, and often
guides others through dangerous regions to find a person, place, or thing.
The Explorer might be a fringe scout, a bounty hunter, or a survival expert.
Choosing to play the Explorer means that you want mysteries to solve, new
places to discover, and probably some travel.
»» THE JACK is someone who lives on the edge of risk, excitement, and legality.
The Jack has contacts, in the criminal underworld, and possibly elsewhere,
and can extract critical information from these contacts. The Jack might
also be an infiltration expert, a hacker, a social engineer, or even a duelist.
Choosing to play the Jack means you want to take risks, deal with shady
contacts, and maybe work outside the established laws of your culture.
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»» THE LEADER is a master motivator, a planner, a strategist, a schemer, and

someone who does best when supporting others. The main reason to select
a Leader is that they can modify die rolls; this can come in handy when the
result of a move is critical to the entire group’s success! Choosing to play
the Leader doesn’t necessarily mean you like being “in charge” or bossing
people around; the Leader is primarily a support character that increases the
chances of others to succeed.
»» THE PSI playbook introduces the concept of psionics – or mental powers –

into your Infinite Galaxies game. The Psi uses their mental powers in several
ways – for combat, to move objects, to penetrate the thoughts of others,
and many more that can be discovered through advancement. Choosing
to play the Psi means that you want these supernatural elements in your
Infinite Galaxies game and that you want to master these unusual talents.
»» THE ROBOT is an artificial construct that was built to help biologicals in

some way. The Robot playbook is quite diverse, offering equal options for
combat, investigation, and social interaction. In this way, the Robot is one of
the most versatile playbooks in the game. Choosing to play the Robot means
that you want to explore not being human, to see what interesting roleplaying
opportunities this presents, and probably to be helpful to these biological
beings you’re grouped with.
»» THE SCIENTIST is someone skilled at engineering, science, mathematics,

and artificial constructs. This is a person trained in the creation of machines
and devices, though some Scientists might be physicians, more skilled at
healing biological beings than crafting robots and computers. Choosing
to play the Scientist means that you want mysteries to investigate, new
technologies to discover, and to use logic and reason to solve problems.
»» THE SOLDIER is trained to fight. While this person might come from a
military background, they are not necessarily a veteran of a state military;
they could easily have been a mercenary or work for a corporate military
force. In any case, the Soldier excels in combat and is trained to use many
heavy weapons and armor. Choosing the Soldier means that you want
combat and lots of it.
»» THE SHIP is a special playbook that is only used in conjunction with the Ace
playbook. This playbook represents a special space-faring vessel that is a
custom vehicle very closely tied to the Ace character.
»» THE COMPANION is a special playbook that is normally used when some-

one spends an Advance to add it to their character.
Chapter 5: THE PLAYBOOKS 93

“Fighter pilots have ice in their veins. They don’t have emotions. They think,
anticipate. They know that fear and other concerns cloud your mind from
what’s going on and what you should be involved in.”
- Buzz Aldrin
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THE ACE
You are the consummate pilot of all things that move. You start the game with
your own starship and you can upgrade this ship as the game continues. For many
of your moves, you will want good DEX and INT. You are good at piloting any sort of
vehicle and your starship is special. Your better Damage Die means that you may
serve in a secondary capacity in any combat scene. You are a specialized char-
acter, though, and there may be times when you find yourself without much to do
apart from piloting vehicles and engaging in combat; diversifying your character’s
abilities is paramount.
1. Name
Ace characters tend to be flashy, as are their names. Evoke a cavalier spirit of
nonchalance in the face of imminent danger. Here are some suggestions:
»» Male: George, Henry, Jonathan, Mark, Orville, Pollux, Red, or Solo
»» Female: Alexis, Ashley, Eva, Grace, Jordan, Natalie, Phoebe, or Willow
2. Look
Select one from each category or create your own:
»» Body – Athletic, Rotund, or Wiry
»» Eyes – Bright, Calculating, or Wide-Eyed
»» Fashion – Greasy Overalls, Spacer Gear, or Synthleathers
»» Hair – Bald, Slicked-Back, or Wild
»» Weapon – Gleaming, Latest Tech, or Old Trusty
3. Abilities
You have the following array of ability modifiers to assign: +2, +1, +1, 0, 0, and -1.
4. Damage Die
The Ace’s Damage Die is D8.
5. Vitality
The Ace begins play with Vitality equal to 12 + CON.

6. Ace Moves
The Ace receives the Default Moves listed below: “Your Ship” and “Re-Route
Systems”.
YOUR SHIP:You have a starship! Follow the instructions on the Ship playbook.
Fill this out as you would a character playbook. The Ship only earns xp for Mile-
stones, but you and your allies may contribute xp to it. If you somehow lose your
starship, you may acquire another; the GM and story will tell you how.
RE-ROUTE SYSTEMS: When piloting any vessel, you may re-route its system
priorities. When you do this, roll + INT.
Any Success: You may move 1 from a vessel ability (POW, SEN, SPD, or WPN) to any
other vessel ability. You may also reset the vessel’s abilities to their starting values.
Partial Success: The exchange is a 1:2 ratio (it costs 2 to increase another ability
by 1).
You can pool from multiple vessel abilities. A vessel ability may not be reduced
below -1 or above +3 and this modification lasts no longer than the current scene.
7. Packages
Next, select one of the following packages. You receive all moves within that
package.
Package – Improved Ship
LIMITED EDITION: Add another Package to your Ship playbook. This means
that your Ship starts with two Packages instead of one.
UNCANNY RELATIONSHIP: You may have a Special Relationship with your

Ship. When you do, add +2 ongoing when you repair or modify your Ship. When you
trigger the Special Relationship with your Ship, mark xp as usual.
Package – Showoff
NEED FOR SPEED: When you push your vessel’s engines to their limits,
roll + DEX.
Any Success: Increase your vessel’s Speed by 1 for the duration of the scene.
Complete Success: If this triggers a Drive or Relationship, the bonus lasts for the
rest of the session.
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STUNT PILOT: When you pilot a vessel and perform tricky maneuvers, roll +
DEX.
Spend the Reserve to add +1 to any vessel move. If performing these tricky
maneuvers triggers a Drive, gain 1 more Reserve.
ALL FOR ONE: When you are the pilot of a vessel and score a 10+ on Evasive
Action, add +1 forward.
Package – Tech
ENGINEERING 101: When you repair a vessel, roll +INT.

Complete Success: Restore 1d8 Hull or one Critical to the vessel.
Partial Success: Restore 1d4 Hull or one Critical to the vessel and choose one:
spend 1-Credit, mark a Use of Specialized Tools, or double the time it takes.
TINKER: When you modify a vessel, choose one of the following options:
Increase Damage Die by one step, Increase Hull by 8, add a Critical checkbox,
Increase POW by 1, or Increase SPD by 1. Then, roll + INT.
Any Success: The modification succeeds and lasts until the end of the next scene.
Partial Success: You must spend 1-Credit or 1-Barter for parts or mark a Use of
Specialized Tools.
If making these modifications triggers a Drive, the modification lasts for the rest
of the session.
RIGHT TOOL FOR THE JOB: When you mark relevant Specialized Tools to
repair or modify a piece of technology, add +1 forward.
8. Origins
Select one of the following Origins for your character and gain the related benefit:
Academy Cadet: You come from a life of privilege and training. Add +1
ongoing when you socially interact with other pilots or engineers.
Alien: You are not human. Name and describe your alien species. When you
encounter alien technology or vessels, add +1 to “Understand” them.
Mercenary: You live for the mission. When you earn Credit or Barter for
completing a job, and this triggers a Drive, earn one more Credit or Barter.

9. Drives
When the GM introduces a Milestone, mark two of these Drives. When you trigger
one of these Drives, gain 1 xp. When a new Milestone is introduced, you can mark
two different Drives, if you wish.
»» Charm people with your gallant and daring stories.
»» Earn a reward for finishing a job.
»» Impress someone with your fine piloting skills.
»» Modify a vessel to improve its performance.
»» Pilot your ship through dangerous territory.
»» Take control of another vessel (not your own).
10. Relationships
Choose a Relationship for each other Player Character. One of these can be a
Special Relationship. When the Relationship is triggered, gain 1 xp.
»» Special Relationship: I need ________ to get me somewhere in a hurry.
»» Relationship: I must train ________ in their ship duties.
»» Relationship: ________ needs me to get them out of danger.
»» Relationship: I’ll show ________ how speed kills.
»» Relationship: I need to keep ________ in tip-top shape.
»» Relationship: ________ must push me to try new things.
11. Starting Equipment

The Ace has a Load of (6 + STR) and starts with the following equipment: Your Ship,
a Laser Pistol (+1 Damage, Far, Near, 3 Recharge, 1 Weight), Utility Belt (3 Uses, 1
Weight, Worn), and 2-Credit.
In addition, choose two from the following list:
»» +1 Credit
»» Another Laser Pistol
»» Military Uniform (0 Weight)
»» Repair Module (Consumable, 1 Weight)
»» Scanning Module (3 Uses, 1 Weightt)
»» Space Rations (3 Uses, 1 Weight)
»» Specialized Tools (Starship) (3 Uses, 1 Weight)
»» Synthleather Vest (1 Armor, 1 Weight, Worn)
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12. Ace Advances

When you have marked 9 xp, and you use the “Advance” move, select one of the
following options. Note that only some options can be selected more than once.
»» Add +4 to your Vitality or add a Wounds checkbox (may take up to three times)
»» Increase Damage Die by one step
»» Increase one of your ability modifiers by +1 (maximum +3) (may take up to three
times)
»» Take a move from another starting Ace package (may take up to three times)
»» Take a move from another playbook (see the rules regarding Advancement)
»» Permanently enhance a basic or special move (may take up to three times)
»» Take on a Companion
»» Unlock a 3rd Drive. When a Milestone is introduced, you may mark three Drives.
»» Aggressive Action: When you fire a vessel’s weapons, use your Damage Die
instead of the vessel’s.
»» And One for All: When you gain the bonus from “All for One”, you may grant this
+1 forward to everyone else in your vessel.
»» At the Helm: When you use “Evasive Action”, you may roll with DEX instead of
the vessel’s SPD.
»» Experienced Smuggler: When you barter using cargo on your Ship, add +2 to the
effective Barter for the purposes of the roll.
»» Keep it Together, Baby: While you have a Special Relationship with your Ship,
add +4 to its Hull.
»» Logical Defense: When you use “Raise Shields”, you may roll with INT instead of
the vessel’s POW.
»» Push the Envelope: When you increase your vessel’s SPD using “Need for
Speed”, add +1 forward to Shields and +1d4 Damage forward as well.
»» Resourceful: Lower your Ship’s Maintenance Requirement by one (minimum 1).
»» Shields Specialist: When you modify a vessel using “Tinker”, also add +1
ongoing to Shields while your modification is in place.
»» Stowed Away Somewhere: Your Ship has 1-Barter or 1-Credit worth of cargo
onboard. Automatically replenish this when you use the “Restock” move.
»» Talk Tough: When you intimidate, using your ship’s prowess as leverage,
roll + CHA.
Any Success: Other ships steer clear of you… for now.
Partial Success: One ship defies you and attacks.
»» Targeteer: When you use “Fire at Will”, you may roll with DEX instead of the
vessel’s WPN.
»» Wary Pilot: When you use “Sensor Scan”, you may roll with WIS instead of the
vessel’s SEN.

“Space exploration is a force of nature unto itself that no other force in

society can rival.”
- Neil deGrasse Tyson

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THE EXPLORER
You excel at finding people and places no one else can. You start with the ability
to lead a group into unknown or hostile territory. In a game where movement is
common, this is a valuable skill. Your moves use INT and WIS and later, some use
DEX. You are good at finding things and exploring new places. You may also be
good at interacting with alien cultures. You may serve in a secondary combat role.
You are not, however, much for social interactions.
1. Name
Explorers tend to be outgoing and adventurous. Evoke a sense of defying danger
and a spirit of discovering new people and places. Here are some suggestions:
»» Male: Aaron, Daniel, Fernando, Hanzo, Marco, Michael, Sergei, or Vandelis
»» Female: Aranthis, Greta, Jane, Layla, Nicole, Penelope, Stephanie, or Tanya
2. Look
»» Select one from each category or create your own:
»» Body – Athletic, Lanky, or Robust
»» Eyes – Aloof, Cool, or Squinting
»» Fashion – Camo Fatigues, Hunting Greens, or Synthleathers
»» Hair – Long, Military Cut, or Wild
»» Weapon – Black, Deadly, or Hidden
3. Abilities
4. Damage Die
The Explorer’s Damage Die is D8.
5. Vitality
The Explorer begins play with Vitality equal to 16 + CON.
6. Explorer Moves
The Explorer receives the Default Moves listed below: “Chosen Environment”,
“The Hunt”, and “Scout”.
CHOSEN ENVIRONMENT:Choose one environment from the list below.

»» Wilderness
»» Urban
»» Space
Add +1 ongoing to any Explorer moves when in your chosen environment.

THE HUNT: When you seek someone or something specific, roll + WIS.
Any Success: You learn the location of what you seek.
Partial Success: The GM chooses one from the following options: you or someone
else is put in danger, you mark one Use of your Survival Gear or Utility Belt, or it
takes a long time.
SCOUT: When you explore a dangerous place, roll + WIS.

Any Success: You learn something interesting and useful about this place.
Complete Success: You also have the drop on anyone there. If this triggers a Drive,
add +1 ongoing to your moves for the rest of the current scene.
7. Packages
package.
Package – Intuition
READ A PERSON: W
hen you size up someone to evaluate them, roll + WIS.
Any Success: The GM tells you one motivation, strength, or flaw.
Complete Success: You choose which the GM reveals.
SPOT VULNERABILITY: W
hen you examine an object for its weakness,
roll + WIS.
Any Success: The GM reveals its vulnerability.
Partial Success: You either draw unwanted attention or are put in danger (your
choice).
EXPLOIT WEAKNESS:If you know someone’s or something’s weakness, add

+1 ongoing to exploit it. This lasts for the current scene.
Package – Piloting
INTO THE UNKNOWN: W

hen you pilot your vessel into unknown places, roll +
INT.
Any Success: The GM reveals a previously unknown threat in this place.
Complete Success: Add +1 ongoing against this new threat; this bonus lasts no
longer than the current scene.
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PATCH: W
hen you repair a vessel, roll + INT.
Any Success: Restore 1d8 Hull or one Critical to the vessel.
Partial Success: Choose one: It takes twice as long as expected or spend 1-Barter
or 1-Credit on parts.
IMPROVED SENSORS: C hoose one additional option on “Sensor Scan”, even

on a failure.
Package – Trailblazing
A SAFE PLACE: W
hen you seek a safe place in unknown or hostile territory,
roll + WIS.
Any Success: You find a place and can use the “Rest” move there.
Partial Success: It is still dangerous; take -1 forward to “Take Watch”.
If seeking such a place triggers a Drive, no one gets the drop on you while resting.
TRACKING: W
hen you track someone, roll + WIS.
Complete Success: Choose three from the list.
Partial Success: Choose one.
»» When you find them, you have the drop on them.
»» You learn the direction they traveled and when they passed this spot.
»» You learn the numbers and species of your quarry.
»» You pick up a tendency; add +1 forward when dealing with them.
FLORA AND FAUNA: When you “Understand” a beast or plant species, add
+1 ongoing to deal with that species. This bonus lasts until you leave the species’
presence or the end of the session (whichever comes first).
8. Origins
“Travel Dangerous Territories” in your species’ home system / planet, you get a
complete success when you are the lead.
Search & Rescue: Y ou have found and rescued people. Once per scene, when
you are put in danger, you may take -1 forward to immediately get out of danger.
Sniper: You are a trained rifleman. When you have the drop on someone, add
+1 forward against them.

9. Drives
»» Ambush someone who is unaware of you.
»» Challenge an established tradition or law.
»» Discover someone’s hidden motivations or fears.
»» Find goods or resources to help your allies.
»» Learn information about a new place or people.
»» Pilot a vessel into or out of danger.
10. Relationships
»» Special Relationship: ________ must push me to try new things.
»» Relationship: I need to show ________ how to be self-reliant.
»» Relationship: I need ________ to protect me in times of crisis.
»» Relationship: I must guide ________ to safety.
»» Relationship: ________ needs me to fix their mess.
»» Relationship: I will take ________ to strange, new places.

The Explorer has a Load of (8 + STR) and starts with the following equipment:
Laser Rifle (+2 Damage, Far, Near, 3 Recharge, 2 Weight), Space Rations (3 Uses, 1
Weight), a Utility Belt (3 Uses, 1 Weight, Worn), and 2-Credit.
»» +1 Credit
»» A Laser Pistol (+1 Damage, Far, Near, 3 Recharge, 1 Weight)
»» An Electro-Net (Consumable, Electrical, Thrown, 1 Weight)
»» Metabolic Tonic (Consumable, 0 Weight)
»» Scanning Module (3 Uses, 1 Weight)
»» Survival Gear (3 Uses, 2 Weight)
12. Explorer Advances

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»» Increase one of your ability modifiers by +1 (maximum +3) (may take up to

three times)
»» Take a move from another starting Explorer package (may take up to three
times)
»» Unlock a 3rd Drive. When a Milestone is introduced, you may mark three Drives.
»» Advanced Warning: When you have the drop on someone, you and everyone
traveling with you adds +1 forward.
»» Ambush: When you have the drop on someone, add +1d6 damage forward.
»» Experienced Scavenger: When you successfully “Scavenge”, you may create
a Repair Module instead of taking the 1-Barter.
»» Forage: When you search for food or supplies, roll + WIS.
Any Success: Recover 1 Use of Space Rations or your Utility Belt.
Partial Success: Choose to either draw unwanted attention or you are put in
danger; if this move triggers a Drive, you do not choose one.
»» Found Items: When you “Scout” and get a complete success, you also
recover one item’s Use or marked Ammo/Recharge.
»» Fringe Trader: Add +1 ongoing when you “Barter”.
»» Guarded Watch: Everyone in your group adds +1 Armor forward when they
“Take Watch”.
»» Hunter-Gatherer: When you use the “Rest” move, you hunt/scavenge for
food and need not mark a Space Ration.
»» Insight: When you know someone’s motivation, strength, or flaw, you may
“Negotiate” using WIS instead of CHA. If this triggers a Drive, you also get a
resource from them (the GM will tell you what).
»» Lay of the Land: When your group “Travels Dangerous Territories”, you add
+1 ongoing while you lead.
»» Scavenge: When you search a damaged or abandoned vessel or machine
for usable parts, roll + WIS.
Any Success: You find something valuable; take 1-Barter.
Complete Success: Add +1 forward to use what you found.
»» Shielded Explorer: While you have the +1 ongoing from “Into the Unknown”,
your vessel also adds +1 ongoing to its Shields.
»» Strike the Weak Spot: When you know a target’s weakness, add +1d4
damage ongoing against it. This lasts until the end of the current scene.
»» Superior Ambush (req. “Ambush”): When you have the drop on someone,
anyone traveling with you also has the drop on them and adds the +1d6
damage forward.

“Profit is sweet, even if it comes

from deception.”
- Sophocles
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THE JACK
You are well connected and you know how to get the things you need to get
the job done. You start with the ability to use your network of contacts to get
important information. This information might be vital to completing your mission.
Your moves use a combination of DEX, INT, and CHA. Your primary role is to gather
information and resources. You might also be called upon to spy on someone, im-
personate someone, or steal something. Depending on the package you choose,
you might also be a combat character. The main drawback for the Jack character
is reliance on multiple ability modifiers.
1. Name
Jacks are rogues, scoundrels, cheats, and thieves, but often with a heart of gold.
Your name could be duplicitous, yet charming. Here are some suggestions:
»» Male: Buck, Cando, Damian, Erelis, Jason, Jesse, Mitchell, or Travis
»» Female: Cora, Jamie, Kit, Landa, Rachel, Scarlett, Sydney, or Zoey
2. Look
»» Body -- Brawny, Fit, or Lithe
»» Eyes -- Charismatic, Critical, or Piercing
»» Fashion -- Duster and Hat, Haute Couture, or Swashbuckling
»» Hair -- Fancy Coiffure, Long, or Ponytail
»» Weapon -- Dashing, Hidden, or Shiny
3. Abilities
4. Damage Die
The Jack’s Damage Die is D8.
5. Vitality
The Jack begins play with Vitality equal to 12 + CON.

6. Jack Moves
The Jack receives the Default Move listed below: “Gather Information”.
GATHER INFORMATION: Y ou have access to information resources no

one else has. When you check with your contacts regarding a specific person or
organization, choose one:
»» Details of an ongoing scheme
»» Their behavior or inner workings
»» The truth behind a closely-guarded secret
Then, roll + CHA.
Complete Success: You learn exactly what you need to know (the GM must reveal
what this is) and you add +1 forward when acting on the information.
Partial Success: You learn something interesting, but choose one: put yourself in a
danger or spend 1-Credit; if checking with your contacts triggers a Drive, you do not
have to choose one.
7. Packages
Next, select one of the following packages. You receive all moves within that package.
Package – Espionage
INFILTRATION: W hen you carefully infiltrate a place or organization, state what

you are trying to accomplish. The GM will tell you what is required (in terms of time,
possible bribes, etc.). Then, roll + INT.
Any Success: You get in.
Partial Success: The GM chooses two from the following: it costs 1-Credit or
1-Barter, it takes a lot longer than you expected, or you draw unwanted attention.
Infiltration does not include extracting yourself from the situation. For that, you are
on your own.
SHADOWING: When you follow someone, without their knowledge, roll + INT.
Complete Success: You follow them - undetected - as long as you wish.
Partial Success: You follow, but choose one: you are put in danger or you must
stop before getting what you want.
METAMORPH: Y ou are trained in the use of the Metamorph Disguise System.

See Chapter 7: Gear for more information about how to use this item.
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Package – Pistoleer
COVER FIRE: W
hen you are armed with two pistols and lay down cover fire,
roll + DEX.
Any Success: An ally of your choice moves out of danger.
Complete Success: They also add +1 forward against anyone threatening them; if
this triggers a Drive, you both add +1 forward.
WARNING SHOT: W
hen you have the drop on someone and are armed with a
pistol, you can choose to deal your damage or roll + DEX.
Any Success: Choose 1 effect from the following.
Complete Success: Also, deal your damage.
»» Disarmed: They drop whatever they are holding.
»» Intimidated: They run from you.
»» Stunned: For the moment, they stop whatever they were doing.
DUAL PISTOLS: A dd +1 to damage rolls while wielding a pair of pistols.

Package – Scoundrel
FEINT: W
hen you mislead someone for your own benefit, roll + CHA.
Spend your Reserve on the following:
»» Cause them to reveal a secret (the GM will tell you what it is).
»» Someone in danger swaps places with your target.
»» They stand in the way of an attack meant for you; add +1 Armor forward.
THIEF: W hen you quickly take something (an object you could palm) from a
target, name your intended prize and roll + DEX.
Any Success: You get the item.
Partial Success: The target or someone else knows you took it.
If taking an item triggers a Drive, add +1 forward.
PAYOFF: If a move calls for you to spend 1-Credit, gain 1-Credit at the end of the
scene (the GM will tell you how).

8. Origins
Alien: You are not human. Name and describe your alien species. When you are
exclusively among your own kind, add +1 to “Gather Information”.
Criminal: You were (or are) involved in illegal operations. When you “Gather
Information” from underworld contacts, you may pay 1-Credit to get a 10+ result.
Spy: You have worked undercover as a spy for a government or corp. You start
with the “Cover” advance.
9. Drives
»» Beguile your way into a social circle or institution.
»» Defeat someone by taking advantage of them.
»» Explore a seedy and dangerous place.
»» Find critical information no one else can.
»» Get someone else out of danger using skill and guile.
»» Steal an item critical to the mission at hand.
10. Relationships
»» Special Relationship: I’ll get ________ to tell me secrets.
»» Relationship: ________ will risk themselves to protect me.
»» Relationship: I use ________ as a distraction while I do my thing.
»» Relationship: ________ advises me when it comes to money.
»» Relationship: I’ll get ________ to abandon their strict morals.
»» Relationship: I need ________’s skills to get me into a secret place.

The Jack has a Load of (8 + STR) and starts with the following equipment: Falsified
ID (0 Weight), a Laser Pistol (+1 Damage, Near, Far, 3 Recharge, 1 Weight), a Utility
Belt (3 Uses, 1 Weight, Worn), and 2-Credit.
»» +1 Credit or 1-Barter
»» Another Laser Pistol
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»» Metamorph Disguise System (3 Uses, Training, 1 Weight)

12. Jack Advances

»» Add +4 to your Vitality or add a Wounds checkbox (may take up to three
times)
three times)
»» Take a move from another starting Jack package (may take up to three
times)
»» Unlock a 3rd Drive. When a Milestone is introduced, you may mark three
Drives.
»» Assassin: When you have the drop on someone and deal damage to them,
roll two dice and take the better result.
»» Blackmail: When you consult your underworld contacts to get dirt on
someone, roll + CHA.
Complete Success: You have ongoing leverage on them and +1 forward to
“Negotiate”.
Partial Success: You learn something interesting, but it is up to you to use it
against them.
»» Cover: You have spent some effort developing a second identity and have a
Cover. If your Cover is blown, you can create a new one, with time (the GM will
tell you how). See Chapter 7 for more information about how Cover works.
»» Disarm: Add “You take their weapon” as an option under the “Feint” move.
»» The Drop: When you pursue someone, intending to ambush them, roll + DEX.
Any Success: You surprise or ambush them.
Complete Success: Also add +1 forward.
»» Elude Security: When you elude physical security measures, roll + DEX.
Any Success: You get through.
Partial Success: Choose to draw unwanted attention or be put in danger.
»» Gambler: When you cheat at gambling, spend 1-Credit and roll + INT.
Complete Success: Get 2-Credit back.
Partial Success: Retain your Credit, but you draw unwanted attention.

»» Hack: When you hack security or computer systems, mark one Use of
Specialized Tools (Hacking) and roll + INT.
Any Success: You bypass or enter the system. Add +1 ongoing to “Analyze” or
“Understand” while in this system.
Partial Success: Choose to draw unwanted attention or mark another use of
your Specialized Tools.
»» I Know a Guy: When you use the “Restock” move, you may acquire a Falsified
ID at no cost.
»» I.D. Check: When you use a Falsified ID to get past security, roll + CHA.
Any Success: You get through.
Partial Success: Choose to either draw unwanted attention or pay 1-Credit.
»» Master Pistoleer (req. “Dual Pistols”): Add +1d4 to damage when wielding a
pair of pistols.
»» Metamorph Master: When you use the Metamorph Disguise System, add +1
ongoing to pose as a specific person.
»» Money Talks: When a move directs you to spend 1 or more Credit, and this
triggers a Drive, add +1 ongoing for the rest of the scene.
»» Second Chances: When your Cover is in danger of being blown, you can trade
1-Barter to get out of the situation (the GM will tell you how).
Kit sat in a nameless colony bar on the frontier planet, Cartos-3. Kit awaited the return
of their robot traveling companion, Seven-Seven-Nine, who was sent to meet Farsail
Tunn, a sketchy, underworld contact Kit had used from time to time as an intermediary
with the Scarlet Sun organization. Kit sent the robot because Kit was wanted for several
crimes on Cartos-3 and Seven-Seven-Nine was unknown to the local authorities.
“Another space rum and coke,” Kit said to the Goronian bartender.
As the drink order slid down the bar to Kit, Seven-Seven-Nine appeared in a doorway.
Blaster fire followed the robot into the bar. “Apologies, Kit,” Seven-Seven-Nine said.
“Imperials.”
Kit overturned a nearby table and drew a blaster pistol. Seven-Seven-Nine was quick
to join Kit there. Imperial blaster fire struck the table.
“How was our friend, Farsail?” Kit asked the robot.
“He was dead,” Seven-Seven-Nine replied coldly. “Imperials got there before I did.”
Kit wondered how the Imperials knew about Farsail, but had little time to ponder such
things at the moment.
“That door,” Kit said, motioning away from where the Imperial troopers had entered.
They knew, thought, that crossing to that exit would be across open space and the
troopers would certainly try to stop them. Kit knew that a distraction was in order.
Kit had the bright idea to throw a flash-bang grenade at the troopers. Giving Sev-
en-Seven-Nine the high sign, Kit popped up from behind the bar table. As Kit rose, they
drew blaster fire from the Imperials. This gave the robot the opportunity to make for the
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indicated exit. Seven-Seven-Nine made it. Now, it was Kit’s turn to dash for the door.
As they clicked the activator switch and drew back to throw the flash-bang grenade,
Kit saw a pair of Imperial Troopers approaching, a little too close for comfort, and,
in their panic, dropped the flash-bang grenade right at their feet. The approaching
Imperial troopers saw what it was, too late, and the explosion went off, unexpectedly for
both Kit and the troopers, creating a distraction that Kit hadn’t quite intended.
Disoriented and partially blinded, Kit recovered quickly and pointed themselves in
the direction of the door Seven-Seven-Nine had used to escape the bar. While the exit
was clumsy, to be sure, Kit had a better time of it than the two Imperial troopers who
had attempted to capture her.
Kit didn’t even look back into the bar. Looking at the robot, Kit said, “Let’s go for the
Salucean Fox.” This was the sleek starship Kit and Seven-Seven-Nine used to travel the
star lanes.
The robot shook his head in the negative. “Imperials surrounding the ship.”
Kit took the robot’s hand and led him further away from the nameless colony bar.
“Maybe our other friend can help us?” They traveled down some alleys and side-streets,
heading towards the colony’s red-light district.
“Our other friend?” Seven-Seven-Nine asked. “Dash Stardust?”
Kit smiled. “Precisely. That scoundrel owes me for that incident at the Alukin Nebula.”
Seven-Seven-Nine grabbed Kit to stop them in the middle of a dirty alley. “Isn’t
Dash Stardust employed by the same Scarlet Sun that most likely sold us out to the
Imperials?”
Frowning, Kit realized that Dash Stardust was far more loyal to credits than favors he
might owe. Though Dash seemed to have a romantic interest in Kit, that might all have
been a ruse to get what he wanted from Kit: a means of entry into the Scarlet Sun and
their gangster credits.
“We have to risk it,” Kit replied. “Dash has the only starships fast enough to outrun
those Imperial fighters and get us off this rock.”
Kit and Seven-Seven-Nine made their way to the bounty hunter enclave where Kit
knew Dash liked to hole up while on Cartos-3.
As Kit entered, leaving her robot companion behind for the moment, she spotted
Dash Stardust, the rapscallion starfarer, sitting right where she expected.
“Well, hello, Kit,” Dash said. “Funny seeing you here.”
Kit cautiously entered the place. “I… I need your help, Dash.” Kit looked around. The
place was dark, and purposefully so.
“I’m sure you do,” Dash replied. A figure emerged from the shadows behind Dash. It
was Imperial Commander Xeto, Kit’s nemesis. “I believe you know my friend.”
As Kit turned to flee the bounty hunter enclave, four Imperial guards moved in
behind her.
Xeto smiled, revealing a set of gleaming, cybernetic teeth. “Stay a while, won’t you?”

“I am not afraid of an army of lions led by a sheep; I am afraid of an
army of sheep led by a lion.”
- Alexander the Great

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THE LEADER
Your skills and talents reside in providing guidance and instructions to others, in
planning, and in strategy. You start with the ability to provide bonuses to your al-
lies’ rolled moves. Your moves use INT and CHA. While you are primarily a support
character (and a good one), you are quite capable in combat and social scenes.
Depending on the starting package you choose, you may also be able to heal your
allies. A possible drawback for the Leader character is that you are heavily reliant
on other characters to achieve your goals.
1. Name
Leaders tend to be charismatic and attentive to detail. Your name could command
respect or fear in those you lead. Here are some suggestions:
»» Male: Allen, Caesar, Dolphus, Ethan, Kason, Kirk, Morrigan, or Rick
»» Female: Apollonia, Dale, Dyshara, Guinan, Kara, Mon, Petra, or Tyra
2. Look
»» Body – Athletic, Lean, or Willowy
»» Eyes – Bold, Commanding, or Concerned
»» Fashion – Conservative, Corporate, or Military Uniform
»» Hair – Bald, Military Cut, or Stylish
»» Weapon – Clean, Durable, or Obvious
3. Abilities
4. Damage Die
The Leader’s Damage Die is D6.
5. Vitality
The Leader begins play with Vitality equal to 12 + CON.

6. Leader Moves
The Leader receives the Default Moves listed below: “Issue Orders” and
“Reserve Benefit”.
ISSUE ORDERS: Y ou start each session with three Reserve. When you issue
orders to those in your charge who can hear and see you, spend your Reserve to
grant an ally +1 to any roll result. You cannot grant multiple bonuses to the same
roll result. You may have no more than three Reserve at any time. When you Rest,
regain one Reserve. When you try to regain Reserve at other times, once per
scene, roll + INT.
Complete Success: Regain two Reserve.
Partial Success: Regain one Reserve.
When a Milestone passes, you recover all spent Reserve (back to your maximum).
RESERVE BENEFIT: W hile you have Reserve remaining, you gain one of the
following benefits. You may change the benefit when you make a move of any kind.
Add +1 ongoing to your damage
Add +1 ongoing to Armor
When you heal someone (by any means), you also regain 1d4 Vitality
7. Packages
package.
Package – By Example
SITUATIONAL AWARENESS: W hen you are in the heat of a dire situation and
everyone looks to you for answers, roll + INT. Add +1 forward when you or an ally of
your choice acts on information this move provides.
Complete Success: Ask the GM three questions from the list below or from the
Analyze basic move.
Partial Success: Ask the GM one question from the list below.
»» What source of potential danger has my team failed to discover?
»» Who here is hiding something from my team or me and what is it?
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SUDDEN RECOVERY: When you encourage your ally to press on, despite their
injuries, roll + CHA.
Any Success: The ally recovers 1d8 Vitality or one Wound.
Complete Success: Add your CHA to the Vitality recovered.
LEAD FROM THE FRONT: W

hen you lead a charge into combat, you and
your allies add +1 forward to their first combat-related move.
Package – Strategy
REQUISITION ORDER: When you demand something that usually costs

1-Credit, roll + INT.
Complete Success: You get the item without spending the 1-Credit.
Partial Success: You can get the item, but you must trade 1-Barter or perform a
service (GM’s choice).
SOUND APPROACH: When a new scene starts, and you enact a strategic
plan for success, spend 1 Reserve and roll + INT.
Any Success: one ally of your choice adds +1 ongoing to a specific move until they
fail.
Complete Success: The bonus lasts for the rest of the scene.
PLAN OF ACTION: Y ou can “Issue Orders” to allies who are unable to see or
hear you (due to distance or other factors). If issuing these orders triggers a Drive,
you also add +1 forward to any move.
Package – Survival
PATCH ‘EM UP: W
hen you tend to someone’s injuries, spend a Use of Medic
Gear and roll + WIS.
Complete Success: The target recovers 2d6 Vitality.
Partial Success: The target recovers 1d6 Vitality and you must spend another
Use of Medic Gear; if healing someone triggers a Relationship (yours or someone
else’s), do not mark the extra Use of Medic Gear.

STASHED AWAY: W
hen you or an ally marks the last Use, Ammo, or Recharge
on an item, roll + INT.
Complete Success: You have something stashed away; recover the spent Use,
Ammo, or Recharge.
Partial Success: You can find it, but you must overcome an obstacle (the GM will
tell you what).
DESPERATE TIMES: W hen your allies look to you for guidance in a desperate
situation and you trigger a Drive, you may ask the GM one question, which must be
answered truthfully.
8. Origins
Alien: You are not human. Name and describe your alien species. Choose one
human character with whom you have a standard Relationship. When you “Aid”
them, their resulting move cannot be worse than a 7-9 result.
Military: You were (or are) an officer in the military. When you trigger a Drive or
Relationship by telling a story about your past, also add +1 forward to any move.
Noble: You hail from a wealthy family or clan. When you spend Credit because of
a move result, add +1 forward.
9. Drives
»» Discover new information about a group or culture.
»» Give critical advice to help an ally succeed.
»» Lead your allies to victory against a significant enemy.
»» Negotiate a deal that critically benefits you and your allies.
»» See a rational plan through to its successful end.
»» Spend a critical resource getting an ally back into the fight.
10. Relationships
»» Special Relationship: I must show ________ the error in their thinking. Again.
»» Relationship: ________ must keep me safe and able to lead us.
»» Relationship: I need to get the very best out of ________’s abilities.
»» Relationship: ________ must admire my magnetic personality.
»» Relationship: I must keep ________ ready and available for action.
»» Relationship: ________ must help me find the way out.
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The Leader has a Load of (6 + STR) and starts with the following equipment: Laser
Pistol (+1 Damage, Far, Near, 3 Recharge, 1 Weight), a Synthleather Hauberk (1
Armor, 1 Weight, Worn), a Utility Belt (3 Uses, 1 Weight, Worn), and 2-Credit.
»» +1 Credit
»» Medic Gear (3 Uses, 1 Weight)
»» Military Uniform (0 Weight, Worn)
12. Leader Advances

three times)
»» Take a move from another starting Leader package (may take up to three
times)
Drives.
»» Articles of Surrender: When you “Negotiate” with your enemies and, if they
surrender and this triggers a Drive, add +1 ongoing against them or their
allies until the end of the session.
»» Better Minions: Choose one improvement for your Minions – they increase to
6 members or add +1 to Combat or Morale (max +3).
»» Charge into Battle: When you “Lead from the Front”, you and your allies add
+1 Armor forward as well.
»» Effective Recovery: Whenever you enable someone to recover Vitality, add
your INT to the amount recovered.
»» Last-Ditch Effort: When a move that causes damage directs you to mark
Ammo or Recharge, you may mark another to add an additional Damage Die.
»» The Longview: Once per scene, when you “Issue Orders”, the recipient adds
+1 ongoing to the same move for the rest of the scene.

»» Make the Deal: When you enter into an agreement to perform services for
Credit and you successfully complete the job, add +1 Credit to any payment
you would have received.
»» Medical Specialist: When you cause someone to recover Vitality, you can
spend a Use of Medic Gear to add your INT to the amount recovered.
»» Minions: You have a group of four Minions. Describe them and why they follow
you. They have a Combat of +1 and a Morale of +0. If you lose your Minions,
you may get new ones (the GM will tell you how). For more information about
Minions, see Chapter 3: How to GM.
»» Moment of Clarity: When you recover Reserve for “Issue Orders”, you also
recover 1d8 Vitality.
»» More Reserve: You may have up to four Reserve for a Leader move at any time.
When you roll 12+ on any move that grants Reserve, gain one more Reserve.
»» Quick Trader: When in a civilized settlement, a spaceport, or a capital ship, you
may exchange any number of Barter for a like amount of Credit.
»» Rejuvenating Orders: When you grant an ally a bonus from “Issue Orders”, they
also recover 1d4 Vitality.
»» Safety Plan: When you grant an ally a bonus from “Issue Orders”, they also add
+1 Armor forward and +1 forward to “Defy Danger”.
»» Savior: When you heal someone and trigger a Drive as a result, they also
remove one Debility.
»» Seal the Deal: When you receive the extra Credit from “Make the Deal”, you
may also ask one question regarding your patron or they will perform a minor
task for you.
Exander stood alone for a moment, looking out the window of the Draconian
cruiser, into the vastness of space. Exander knew he and his team had an urgent job to
do, to stop the Draconians from attacking and probably destroying Earth Two. Exander
had come to the Heartless with a team of ace commandoes, whose job was to infiltrate
the engine room and disable the Draconian cruiser long enough for Terran defense
forces to save Earth Two. That mission could be in jeopardy now, as the plan hinged
on Exander’s ability to keep the cruiser’s commanding officer occupied during the
infiltration.
“My goodness,” a male voice said behind Exander. He turned to see Prince Ardor,
commander of the Draconian cruiser and the fleet that had come to attack Earth Two.
This wasn’t the first time Exander had interacted with Prince Ardor, but it was
certainly the closest encounter they’d had.
“You wanted to see me,” Exander replied. “And here I am.”
Prince Ardor, dressed in Draconian fineries, approached his human counterpart,

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eyeing Exander as if anticipating a savory meal. “Yes, here you are. You know,
Exander, I’ve wanted to meet you in person for quite some time.”
“And yet,” Exander said as he fidgeted in his pocket for his mini-communicator.
“You had me waiting for a good, what, ten minutes?”
Prince Ardor was now dangerously close, less than a meter away from Exander.
“Some things are worth waiting for.”
Though Prince Ardor appeared to be alone, and thus, easily overtaken and
defeated, Exander suspected that the prince’s guards were just beyond the doors to
this bedchamber and would come if there were any strange noises.
Exander knew he would have no better chance to signal his team of commandoes
to start their part of the mission. He silently pressed the red button on his communi-
cator, signaling to the commandoes to start their phase. Exander hoped that his plan
would work, that keeping Prince Ardor and his retinue of guards occupied with be
enough of a distraction to allow the infiltration of the engine room.
Prince Ardor shifted effortlessly to the huge bed situated not far from Exander.
“Come,” he said. “Join me here and let’s discuss this silly little invasion. That’s why
you’re really here, isn’t it?”
Exander smirked. While Prince Ardor was certainly a handsome Draconian, he was
still an avowed enemy of all Earthlings and could not be trusted. Still, Exander took
the chance to keep the prince occupied a bit longer.
Joining Prince Ardor on the bed, Exander forced a pleasant smile. “What is it you
wanted to talk about?”
The Draconian prince smiled in return. “Let’s start with the commandoes trying to
infiltrate my engine room.”

“Do not dwell in the past, do not dream of the future, concentrate the mind
on the present moment.”
- The Buddha
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THE PSI
You are an enigmatic master of mental powers. Depending on what package
you select, you have access to many different psionic abilities, including telepathy,
telekinesis, and the ability to manifest a weapon from your psionic energy. Your
moves use WIS and possibly INT. You may want to consider a good DEX or CON
as well. You are primarily a combat character and may also have powers that lend
themselves to social and investigative situations. You are, however, highly reliant on
building and using Reserve and may be at a disadvantage if you do not have any.
1. Name
Psi characters tend to be aloof and enigmatic. Your name could be mysterious or
even alien in nature. Here are some suggestions:
»» Male: Alor, Dral, Erath, Fen, Manis, Moren, Shawn, or Toris
»» Female: Aquia, Daneri, Hara, Locke, Nera, Sedi, Wuna, or Zana
2. Look
»» Body -- Average, Burly, or Thin
»» Eyes -- Empathetic, Exacting, or Knowing
»» Fashion -- Basics, Robes, or Traveling
»» Hair -- Close-Cut, Ponytail, or Wild
»» Weapon -- Ancient, Deadly, or Sturdy
3. Abilities
4. Damage Die
The Psi’s Damage Die is D8.
5. Vitality
The Psi begins play with Vitality equal to 16 + CON.

6. Psi Moves
The Psi receives the Default Moves listed below: “Build Reserve”, “Reserve Moves”,
and “Kreth Jewel”.
BUILD RESERVE:You start each session with three Reserve. You may have no
more than three Reserve at any time. You may spend Reserve to fuel your psionic
powers. In addition, you can choose to enhance a basic move by spending one
Reserve; this enhancement lasts until the end of the scene. When you “Rest”,
regain one Reserve. When you try to regain Reserve at other times, once per
scene, roll + WIS.
Complete Success: Regain two Reserve.
Partial Success: Regain one Reserve.
When a Milestone passes, you recover all spent Reserve (back to your maximum).
RESERVE MOVES: When a Psi move calls for you to spend Reserve, on a
complete success, you retain one of the Reserve you spent to use the move.
KRETH JEWEL: You have a Kreth jewel into which you have invested part of
your id, which represents your instinct and emotion. At any time, your jewel can
be in one of the following states – Bound (embedded in your forehead or hand),
Unbound (floating around your head or hand), or Weapon (inserted into a Kreth
weapon). These states provide the following benefits:
»» Bound: When you spend one Reserve, add +1 Armor for the rest of the scene.
»» Unbound: When you are alone and reach out with your psionic senses, add
+1 to “Analyze”.
»» Weapon: You may use WIS instead of STR to “Fight”.
In addition, you are trained in the use of Kreth weapons.
7. Packages
package.
Package – Psionic Warrior
COMBAT TRANCE: When you center yourself before entering combat, spend
one Reserve and roll + WIS.
Any Success: Add +1d4 damage ongoing until you fail a combat-related move or the
scene ends.
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KRETH INITIATE: When you wield a Kreth weapon and have Reserve remain-
ing, add your WIS to its Damage.
PRECOG DEFENSE: You can see attacks before they are made. While you
have Reserve remaining, add +1 Armor.
Package – Telekinesis
DEFLECTION: When you telekinetically move yourself or someone else out of

danger, spend one Reserve and roll + WIS.
Any Success: You extract the person from danger.
MOVE OBJECT: When you telekinetically move an object you can see, roll +
WIS and spend one Reserve (small object) or two Reserve (large object).
Any Success: You move the object.
As an attack, “Move Object” deals your damage (add +2 for a large object) and
has near range.
HINDRANCE: While you have Reserve, reduce damage from physical attacks
or effects by 1.
Package – Telepathy
SUGGESTION: When you telepathically implant a suggestion in a living being,

spend one Reserve and roll + INT.
Any Success: They follow your suggestion… for now.
TELEPATHIC LINK: When you establish a telepathic link with a living being,
roll + INT. If they are hostile to you, spend one Reserve.
Any Success: A communication link is established and this lasts until you use
another move.
Complete Success: It lasts for the rest of the scene.
You may use your telepathic link to send and receive thoughts. You may spend
one Reserve to read the thoughts of a hostile mind.
DANGER SENSE: While you have Reserve, you cannot be surprised by living
beings with hostile intent towards you.

8. Origins
Alien: You are not human. Name and describe your alien species. You may
spend one Reserve to immediately negate any mental control over you.
Monk: You were trained in a monastic order. When attacking unarmed or with a
Kreth weapon, add +1 to your damage.
Sorcerer: Your power comes from a place you don’t quite understand. When
you spend a Reserve, add +1 forward.
9. Drives
»» Defeat a force of superior numbers or firepower.
»» Demonstrate your power to those who doubt you.
»» Infiltrate a group or culture using your psionic powers.
»» Investigate a place or object of psionic power.
»» Steal critical information from someone’s mind.
»» Use your psionics to spirit someone from danger.
10.Relationships
»» Special Relationship: I must save ________ from certain death.
»» Relationship: ________ will make me stronger in battle.
»» Relationship: I need to show ________ that psionics are superior.
»» Relationship: ________ must take me to dangerous places.
»» Relationship: I must teach ________ to be self-reliant.
»» Relationship: ________ must keep me grounded in reality.

The Psi has a Load of (6 + STR) and starts with the following equipment: Flexsteel
Robes (1 Armor, 1 Weight, Worn), a Kreth weapon (describe it – it has the Close
and Training tags and 1 Weight), a Utility Belt (3 Uses, 1 Weight, Worn), and
1-Credit.
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»» Digital Encyclopedia (3 Uses, 1 Weight)
»» Tallic Incense (3 Uses, 0 Weight)
12. Psi Advances

times)
three times)
»» Take a move from another starting Psi package (may take up to three times)
Drives.
»» Be My Puppet (req. “Suggestion”): When you exert your mental control over
someone, spend one Reserve and roll + CHA.
Any Success: You have control over the target for the rest of the scene.
»» Bio-Metabolize: When a Psi move calls for you to spend Reserve, you can
choose to take 1d6 Psychic damage instead of spending the Reserve.
»» Empathic Healing: When you touch someone with whom you have a
Relationship in order to heal them, spend one Reserve and roll + WIS.
Any Success: They regain 1d8 Vitality.
Complete Success: They regain another 1d8 Vitality or one Wound.
In either case, whatever they regain, you take as Psychic damage to
yourself.
»» Extra-Sensory Perception: When you “Analyze” and have Reserve, you may
ask a question, even on a failure.
»» Ferocious Telekinetic: When you spend a Reserve for “Move Object” and do
damage, roll two Damage Dice and use the higher number.
»» Ionic Telepathy: Your telepathic abilities (“Suggestion”, “Telepathic Link”,
and those based on these moves) can also affect robots.
»» Mind Blast (req. “Suggestion”): When you emit a blast of mental energy,
spend one Reserve and roll + INT.
Any Success: Deal your damage.

Complete Success: Add your INT to the damage.
This attack has the area, close, and near tags and deals Psychic damage.
»» More Reserve: Your maximum Reserve for Psi moves increases to four. When
you roll 12+ on any move that grants Reserve, gain one more Reserve.
»» Motivated Psionics: When you spend Reserve on a Psi move and this triggers
a Drive or Relationship, add +1 forward as well.
»» Pyrokinesis: When you use “Move Object”, you can choose to start a fire. Any
damage resulting from “Move Object” ignores Armor unless it is fireproofed
in some way.
»» Regeneration: When you get a complete success on any move, you can
choose to get a partial success instead and heal yourself for 1d6 Vitality.
»» Second Jewel: You have a second Kreth jewel that stores a fragment of your
morals and self-criticism. You can use both jewels at the same time. These
are its states:
»» Bound: When you spend one Reserve, for the rest of this scene, ignore the
next Wound you would mark.
»» Unbound: You may use CHA instead of CON to “Defend”.
»» Weapon: Add your CHA to damage when using your Kreth weapon.
Meeki concentrated for what seemed like an eternity. He was barely aware of the
others in the Star Drive chamber – the Captain, Ransom, the navigation android whose
name Meeki couldn’t recall at the moment, and the Cerebrian ambassador, Coriand.
None of them could help Meeki now. Only Meeki’s psionic reserves could power this
Star Drive and cause it to come to life, saving the Emberian ship from certain doom.
Through the mask attached to his face, Meeki breathed deeply and received more
of the asasi spice that would briefly enhance his ability to concentrate his psionic
power into the Star Drive.
“This isn’t going to work,” Ransom said, snarling. She grabbed the radio comm and
called the engineering room. “We’ve got to get out of here on impulse power.”
“Wait…” Meeki replied. “I think… I’ve got it… just give me a moment.” The psi
strained against the crystalline-metal chamber, known as the chrysalis, in which he was
housed. Psionic power burst forth from Meeki, from his forehead, from the palms of his
outstretched hands, from his chest.
Sure enough, lights within the Star Drive chamber began to come to life. The
android, whose name Meeki now remembered was Torus, went to the drive power
readout. “Sixty-three percent reserve,” the android said.
“Barely enough for a short jump,” Ransom replied. “We could try it, but –”
Noises from outside the Star Drive chamber indicated that there wasn’t much time.
Asteroids were pelting the ship’s hull and, understandably, the crew and passengers
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were reacting with a panicked response. And the asteroids weren’t the only problem.
Ransom looked down at the radio comm with a frown. She picked up the comm,
listened, and quickly slammed it back down. “Those Andarian pirates are back. We
have to get out of here – NOW!”
“The pirates are back?” Ambassador Coriand asked with derision in his voice.
“Typical of these parts.” He turned to Ransom. “Any chance they’ll take us alive?”
More worrisome banging noises against the hull indicated that time was indeed
short. Torus looked away from the drive power readout and concentrated for a
moment. “We should get to the bridge.”
Ransom spoke into the radio comm. “You’ll have the Star Drive in…” She looked
over at Meeki. “Sixty seconds.” Ransom took Torus by the hand and started out of the
chamber towards the bridge. “Are you coming, Ambassador?” Coriand huffed and,
uncharacteristically without comment, fled the star drive chamber.
The asasi spice continued to flow as Meeki breathed in. Meeki knew one more
push might do it, but it might also cause the psi serious harm. As Meeki gathered his
psionic power for one last attempt to power the Star Drive, he could feel the anxiety
in the crew and passengers of the ship, he could see the pirate fighters strafing the
vessel, peppering the hull with laser fire, and could sense where the ship would need
to go.
The radio comm flashed to life again. “Star-Nav is online,” the voice said. It was
that of Torus, the cold, humorless android that also served as the ship’s navigator.
“Meeki,” the android voice said quietly, “shields are at four percent.”
As if Meeki needed more motivation to make this work, the psi strained one last
time. Meeki reminded himself that he wasn’t exactly trained to do this. Meeki was a
psi, to be certain, and the only one aboard this ship that could power the Star Drive,
but this was far beyond Meeki’s area of expertise. Meeki had been pressed into
service as the Emberian ship’s usual psi, Dargeron, had been captured by the same
pirates now attacking the ship.
Just as the asasi spice gas ran out, Meeki screamed and gave the Star Drive
everything he had. All seventeen psi crystals embedded into the crystalline-metal
housing in which Meeki was enclosed glowed with a white-hot light. It was go time.
Exhausted, Meeki slumped in place. As he drifted off to a well-deserved rest, he

heard over the radio comm, “Shields at zero percent. Hull integrity at seventy-seven
percent… Engage Star Drive. Set Star-Nav for the Verys system…” The Star Drive
buzzed and the ship warped out of the asteroid field, to a place far from where they
and the pirates could do the ship any further harm.

“Hey, I’m experiencing a sensation altogether

new to me, and frankly... I LOVE IT!”
- Tom Servo
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THE ROBOT
You are a robot, an artificial creation of first-rate metal alloys, high-grade
plastics, and gadgets beyond the imaginations of most. You may be designed for
combat, to defend those under your protection. You may be designed to serve as a
translator or guide. You may even be specialized in navigation. If you are a combat
design, you will want to have good STR and CON. Other designs are focused on INT
and CHA. One possible drawback for the Robot is that your choices are so divergent
that it is difficult to focus on one particular role.
1. Name
Being artificial, Robots often have mechanical-sounding names, like serial
numbers or model names. Your name could be a code or a model number. Here
are some suggestions:
»» Arr-Nine-Alpha, Five-One-Gamma, Kappa-Four-Nine, One-Zero-One, Sigma-
Five-Six, Six-Dee-Ten, Three-Cee-Seven, or Whiskey-Tango-Foxtrot
2. Look
»» Body – Bulky, Four-Legged, or Plastic
»» Circuitry – Embedded, Exposed, or Laminated
»» Eyes – Metallic, Multiple, or Radiant
»» Voice – Eerie, Machine, or Too-Human
»» Weapon – Functional, Rusty, or Unique
3. Abilities
4. Damage Die
The Robot’s Damage Die is D6.
5. Vitality
The Robot begins play with Vitality equal to 16 + CON.
6. Robot Moves
The Robot receives the Default Move listed below: “I, Robot”.
I, ROBOT: You are a robot! As such, you are immune to many things that tend
to befall living beings. You do not eat, breathe, or sleep. You are not susceptible
to poisons, diseases, or fatigue. Unfortunately, you do not heal, either. In order
to regain Vitality or Wounds, you must be repaired. You may also be at a social
disadvantage from time to time.

7. Packages
Next, select one of the following packages. You receive all moves within that package.
Package – Combat
Increase your Damage Die to D8.
AVOWED PROTECTOR: Effects modifying the “Defend” move also affect this
move. When you place someone in your protected charge, roll + CON.
If protecting someone in this manner triggers a Relationship (yours or someone
else’s), add one more Reserve. While you have Reserve from this move, you and
your charge add +1 ongoing to Armor. Spend your Reserve to:
»» Deal half your damage (rounded down) to someone attacking your charge
»» Grant an ally +2 forward against someone attacking your charge
»» Negate the effect or damage of an attack against your charge
»» Redirect an attack against your charge to you
LARGE AND IN CHARGE: When you intimidate through a show of force,

break an unattended object and roll + STR.
Complete Success: Enemies flee your sight.
Partial Success: Some enemies flee, while others may attack you, and others are
uncertain.
If intimidating your enemies triggers a Drive, add +1 forward against these enemies.
MATTER GUN: Install a Matter Gun (3 Ammo, +2 Damage, Far, Integral. Near, 0
Weight) into one of your Pods.
Package – Navigation
DATABASE OF PLACES AND THINGS: Effects modifying the “Understand”

move also affect this move. When you first encounter a place, people, or piece of
technology, roll + INT.
Complete Success: The GM must tell you something useful and interesting; you
add +1 forward when dealing with it.
Partial Success: The GM must tell you something interesting; it’s up to you to use it.
If accessing this knowledge triggers a Drive, add +1 ongoing to moves dealing with
its subject for the rest of the scene.
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BETTER OTHERNAV: Add +1 to the “OtherNav” move and to moves made to

repair or modify a MAME or OtherNav system.
NEVER LOST: When you are traveling and your sensors are active, your moves
made to determine direction or location cannot result in worse than a partial
success.
Package – Service
HUMAN-CYBORG RELATIONS: Effects modifying the “Negotiate” move

also affect this move. When you negotiate with biologicals, state what you are
offering (your leverage) and roll + CHA.
Any Success: Your negotiating partner agrees to your terms and add +1 forward
against them.
Partial Success: There is a complication; choose one: you just renegotiate one of
the terms, you are put in danger, or a third party enters the situation.
THE VOICE OF REASON: When you point out the flaw in your allies’ plans,
roll + INT.
Complete Success: The GM will reveal the flaw in these plans.
Partial Success: The GM will give you a lesser clue or point you in the right
direction.
If offering your advice triggers a Drive, you and your allies add +1 forward.
SOCIAL EXPERT: Once per session, when a biological with whom you have
a Relationship fails at a social move, your presence changes this to a partial
success.
TRANSLATOR: Add +1 to moves you make when interpreting foreign languag-

es or cultures or negotiating with aliens.

8. Origins
Industrial: You were designed for use in a commercial workplace (such as a

factory). Add +1 to moves representing physical labor.
Networked: You were one of many robots, designed to work together. When you
socially engage other robots, you cannot get worse than a partial success.
Personal Assistant: You were designed to assist a specific biological. Choose

an ally with whom you have a Relationship. Once per session, when you “Aid” this
ally, they automatically get a complete success on their move.
9. Drives
»» Free someone from real or figurative imprisonment.
»» Impress your allies with a show of force.
»» Investigate a new and interesting place.
»» Protect someone from imminent danger.
»» Prove your innate superiority to biologicals.
»» Solve a complex social dilemma.
10. Relationships
»» Special Relationship: ________ needs me to watch their back.
»» Relationship: I must ensure that ________ keeps their word.
»» Relationship: I need ________ to keep me in good repair.
»» Relationship: I must help ________ destroy something.
»» Relationship: ________ relies on my vast knowledge.
»» Relationship: I must take ________ to new places.

The Robot has a Load of (12 + STR), but does not start with any equipment (unless
otherwise stated). Your flexsteel skin gives you 2 Armor. You start with two Pods.
When you acquire them, place items with the Integral tag in your Pods.
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12.Robot Advances
times)
three times)
»» Take a move from another starting Robot package (may take up to three
times)
Drives.
»» Advanced Power Management (rep. “Power Management”): If you drain a
power source, recover 8 Vitality or 4 Vitality and remove a Debility.
»» Combat Armor: Add +1 Armor
»» Consumption: When you drain a power source, roll + INT.
Complete Success: The source is completely drained and you are un-
harmed.
Partial Success: Choose: either the power source is drained and you are put
in danger or you draw unwanted attention.
»» Defensive Bond: If your Special Relationship is with a biological, add +1 to
“Defend” them.
»» Devil’s Advocate (req. the “Voice of Reason”): When you point out the flaw in
your allies’ plans and provide them advice, you mark 1 xp. This can occur no
more than once per session.
»» Gift of Gab: You can use “Social Expert” once per scene.
»» Integrated Pilot: When you pilot a vessel and use “Evasive Action”, you may
roll using your DEX instead of the vessel’s SPD.
»» More Pods: Add one Pod. (may take up to two times)
»» One with the Machine: When you connect to a network and delve its
knowledge, roll + INT to see what you learn.
Any Success: Choose one from the list below.
Partial Success: You also draw unwanted attention or are put in danger
(GM’s choice).
»» How to safely get somewhere
»» An important secret
»» The location of something or someone important

»» Porter: Increase your Load by 4. (may take up to two times)
»» Power Management (req. “Consumption”): If you drain a power source,
recover 4 Vitality.
»» Risky OtherNav: One of your options for a partial success on “OtherNav” is
“You take 1d6 damage”.
»» Self-Repair Module: Install a Self-Repair Module (5 Uses, Integral, 1 Weight)
into one of your Pods. When you repair yourself, roll + INT.
Complete Success: Recover 8 Vitality.
Partial Success: Recover 4 Vitality.
»» Shields Expert: When you use “Raise Shields”, you may roll using your INT
instead of the vessel’s POW.
Sigma-Five-Six, a service robot and sometimes translator and negotiator, had worked
for the notorious space gangster, Auzogango, for many years, but it was time for that
to change. The gangster was known to destroy any robots that displeased him, even
if that was not their intent, and Sigma-Five-Six was about to bring some bad news to
Auzogango. Though it was Sigma-Five-Six’s duty to inform Auzogango that his proposed
deal with the Lemurian Ascension had been refused, Sigma-Five-Six was loathe to deliver
the message.
Sigma-Five-Six wandered the palace corridors, seeking some means to avoid taking the
unpleasant message to Auzogango. Turning a corner, Sigma-Five-Six ran into a quartet
of human cyber-mercenaries Auzogango was keeping on retainer. Sigma-Five-Six got the
sense that they were impatiently waiting for some reason to leave Auzogango’s palace.
“Pardon me, gentle-beings,” Sigma-Five-Six said to the one that appeared to be the
mercenary leader. “Are you headed to Lemuria or any points near the Sebul Nebula?”
Sigma-Five-Six tentatively asked.
The mercenary looked at his fellows. “We might be. Why do you ask? Does Auzogango
need us for something?”
“Oh, no I’m afraid.” Sigma-Five-Six was anxiously calculating the best way to gain the
mercenaries’ trust. “You see, it is I… I may need passage… away from here.” Sigma-Five-
Six seemed somewhat satisfied with the response.
There was a cacophony of shouting and thumping noises coming from downstairs,
in the direction of Auzogango’s audience chamber. In response, the cyber-mercenaries
instinctively reached for their laser weapons.
“Is this some kind of set-up?” the mercenary leader asked Sigma-Five-Six. “What’s
going on down there?”
If Sigma-Five-Six could show any sort of emotion at all, a shocked look would appear
on their face. “I have no idea what this is about!”
“Could be nothing, but…” the mercenary leader sent two of his fellows downstairs
to check out what was going on. The leader moved closer to Sigma-Five-Six. “You’re a
strange one,” he said. “You’re unlike most of the robots I’ve run across in my work. You’re
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always hanging around, curious about your boss and what he does.”
“I’m often called on to negotiate on Auzogango’s behalf,” Sigma-Five-Six replied,
backing up a few steps. “I must know what he is doing.”
The mercenary leader smiled. “You know, a service robot might make a really handy
spy.”
Sigma-Five-Six let out a laughing noise. Their programming indicated that laughing
was an appropriate response when accused of skullduggery. “I am no spy. Of that, I can
assure you.”
There were more noises coming from downstairs, more shouting, and some explo-
sions.
“All right,” the mercenary leader said. He called into his radio-comm. “Brooks, Felton,
where are you guys? Give me a sit-rep.” There was no reply.
“We’re going down there,” the mercenary leader said. He looked at Sigma-Five-Six.
“And you’re coming with us.”
The two remaining cyber-mercenaries led Sigma-Five-Six down into Auzogango’s
audience chamber. There, standing atop the “throne” upon which the space gangster
normally sat was Bujo, the gangster’s majordomo, holding court in front of many of his
loyal followers.
“Friends,” Bujo said. “We have sent the weak and ineffective Auzogango into hiding.
This will be a new day on this gods-forsaken rock.”
Sigma-Five-Six could hear sounds of fighting outside the palace. Though the conflict
seemed to have been decided within the palace, the matter was not altogether settled.
“Where’s your boss?” the mercenary leader asked Sigma-Five-Six. He looked at his
companion. “We should get paid and jet.”
“I have no idea where Auzogango might be,” Sigma-Five-Six replied. “And getting
paid for your services may be out of the question. If Bujo has taken control of the –”
The mercenary leader found the men he had sent down to the audience chamber
earlier. Both lay lead on the chamber floor. “That tears it. We’re out of here.”
As the two remaining cyber-mercenaries made for the palace exit, Sigma-Five-Six
followed. “Where will you go?”
The mercenary leader looked back over his shoulder at the robot. “Away from this
mess, that’s for sure. Your idea of heading to the Sebul Nebula sounds pretty good right
now.”
Sigma-Five-Six continued to follow the two mercenaries through the violent chaos that
continued in the palace courtyard.
“And you’ll take me with you?” Sigma-Five-Six asked.
“Of course,” the leader replied. “You’re a valuable commodity. I’m taking you in lieu
of payment. Auzogango owes us. Besides, I have plans for you.”

“The process of scientific discovery is, in effect, a continual flight from
wonder.”
- Albert Einstein
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THE SCIENTIST
Your talents lie in studying the natural world, repairing broken things, and
creating devices of your own design. You start play with the ability to create new
devices or modify the function of existing devices. Your moves use INT (or WIS, if
you choose the Physician package). You may be good at sabotage, causing devic-
es and vehicles to fail. You may be a healer, to an extent. You might serve in an
information-gathering role in a secondary capacity. While you are not talented in
combat skills, you might be able to support the combat characters in your group.
1. Name
Scientist characters tend to be reserved, calculating people. Your character’s
name may suggest a shy or introverted personality. Here are some suggestions:
»» Male: Albert, Creighton, Douglas, Morris, Nicolai, Steve, Thaddeus, or
Wendell
»» Female: Ellen, Evelyn, Karina, Martha, Roberta, Sagittara, Vivian, or Wendy
2. Look
»» Body – Average. Bloated, or Emaciated
»» Eyes – Busy, Dull, or Penetrating
»» Fashion – Drab Utility, Uniform, or Unkempt
»» Hair – Bald, Greased, or Shaggy
»» Weapon – Antique, Sturdy, or Well-Designed
3. Abilities
4. Damage Die
The Scientist’s Damage Die is D6.
5. Vitality
The Scientist begins play with Vitality equal to 12 + CON.
6. Scientist Moves
The Scientist receives the Default Move listed below: “Create Device”.
CREATE DEVICE: When you create a device of your own design, or modify an
existing device to do something else, state the purpose. The GM will give you one
to four of the following requirements:
»» First, you must ________

»» It’s going to take time: days, weeks, or even months
»» It will require money: 1-Barter, 1-Credit, or more
»» The best you can manage is a lesser, unreliable version
»» You’ll need help from ________
»» You’ll need to destroy / deconstruct ________ to build it
»» You and your allies will need help from ________
Then, roll + INT.
Any Success: You create the device. It works for no longer than the end of the next
scene.
Partial Success: The GM will give you another requirement; once this has been
fulfilled, the device is created.
7. Packages
package.
Package – Engineer
REPAIR: When you repair a piece of technology, roll + INT.

Any Success: Restore 1d8 Hull/Vitality or one Critical/Wound; if the device does
not have Vitality or Hull, you may restore its function.
Complete Success: Restore another 1d8 Hull/Vitality or one Critical/Wound.
Partial Success: Choose one: mark a Use of relevant Specialized Tools or pay
1-Credit or 1-Barter.
ENGINEER’S HARNESS: You have an Engineer’s Harness (0 Weight) to hold

all of your tools. While you wear this harness, add +4 to your Load. If you lose this
harness, you can get or make a new one (the GM will tell you how).
MASTER OF MACHINES: When you “Create Device” that repairs, modifies,

enhances, or replaces a machine, robot, or network, you may change one of the
GM’s requirements to “mark all remaining Uses of relevant Specialized Tools”. If
your device allows a robot or machine to recover Vitality or Hull, roll twice and use
the higher value.
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Package – Physician
FIRST AID: Add +1 to any moves made to assess or evaluate injuries. When
you treat an injured person, mark one Use of Medic Gear and roll + WIS.
Any Success: They regain 2d6 Vitality or one Wound.
Complete Success: Add your WIS to the Vitality recovered. You don’t need to
mark Medic Gear.
BIOLOGIST: Add +1 to “Understand” a new species. In addition, you can iden-

tify the effects of a virus, disease, or poison without rolling; the GM must tell you
anything relevant about it or how to treat it; this is the equivalent of a complete
success on “Understand”.
PHARMACOLOGY: You may roll with WIS for “Create Device”. When your
creation cures, heals, enhances, or aids in a medicinal or biochemical capacity, you
may change any of the GM’s requirements to “mark all remaining Uses of Medic
Gear”. If your device allows the user to recover Vitality, roll twice and use the higher
value.
Package – Saboteur
DISMANTLE: When you break down a piece of technology for parts, roll + INT.
Any Success: You recover a usable part; this counts as 1-Barter and you add +1
forward to the “Barter” move.
Complete Success: You can choose to create a Repair Module or restore a Use of
Specialized Tools instead of using it for “Barter”.
SERVICE DISRUPTION: When you carefully sabotage a computer, vehicle, or

other complex object, state what you plan for it to do and roll + INT.
Complete Success: The device acts as you intended.
Partial Success: The change in the device’s behavior draws unwanted attention or
you mark a Use of relevant Specialized Tools.
MACHINE SAVVY: When you interact with a machine or system and mark a
Use of Specialized Tools or spend Barter as a result, add +1 forward when dealing
with the same machine or system.

8. Origins
Academy-Trained: When a move calls for you to attract unwanted attention or

be put in danger, you may mark a use of Medic Gear or relevant Specialized Tools
instead.
prove your technical superiority over humans, add +1 forward.
Self-Taught: When a move result calls for you to mark Medic Gear or Special-
ized Tools to heal or repair, and this use triggers a Drive or Relationship, you and
the subject add +1 forward.
9. Drives
»» Bring someone or something back from the brink of death or destruction.
»» Convey hidden knowledge to someone.
»» Create or modify a device critical to the team’s success.
»» Investigate a new technology or species.
»» Prove your intellectual superiority over your enemies.
»» Take a valuable commodity for your future use.
10.Relationships
»» Special Relationship: I must keep ________ in tip-top shape.
»» Relationship: ________ and I must break something together.
»» Relationship: I must help ________ solve a perplexing mystery.
»» Relationship: ________ must protect me from injury.
»» Relationship: I need ________ to take me to new places.
»» Relationship: ________ must reward me for my services.

The Scientist has a Load of (6 + STR). Select one of the following equipment
packages:
»» Specialized Tools (Robot) (3 Uses, 1 Weight), Specialized Tools (Starship) (3
Uses, 1 Weight), a Utility Belt (3 Uses, Worn, 1 Weight), and 1-Credit
»» Medic Gear (3 Uses, 1 Weight), a Utility Belt (3 Uses, 1 Weight, Worn), and
2-Credit.
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»» +1 Credit or 1-Barter
»» A Laser Pistol (+1 Damage, Far, Near, 3 Recharge, 1 Weight)
»» Repair Module (Consumable, 1 Weight)
»» Scanning Module (3 Uses, 1 Weight)
12. Scientist Advances

three times)
»» Take a move from another starting Scientist package (may take up to three
times)
Drives.
»» Cyborg: One of your arms has been replaced with an artificial one. You now
have one Pod and may mount any item with the Integral tag on it.
»» Directed Research: When you “Create Device” and this triggers a Drive, you
may change one of the GM’s requirements.
»» Epidemiologist: When you “Understand” a virus, disease, or poison, you
can create a Use of it or an antidote to it without using “Create Device”. You
must mark one Use of Medic Gear each time you do this.
»» Expert Salvager: When you “Dismantle” something, you always get at least
1-Barter, even on a failure.
»» Explosives Disposal: When you defuse an explosive, roll + INT.
Any Success: The explosive is rendered harmless.
Partial Success: Choose one: Mark a Use of Specialized Tools (Demolitions)
or you are put in danger.
»» Friendly Circuits: When you have a Relationship with a Robot, add +1d4 to
healing you grant them.
»» Improved Cyborg (req. “Cyborg”): You have another Pod. This replaces an
arm or is placed in your torso.

»» Improved First Aid: On any success using “First Aid”, add another +1d6 to the
Vitality recovered.
»» Improved Overpower: You may use “Overpower” on items other than weap-
ons. On a success, add +1 forward to its function. On a complete success,
add +2 forward.
»» Lasting Results: When you successfully “Create Device”, the resulting item
lasts for the rest of the session.
»» Machine Empathy: Add +1 to engage robots or computers in social interac-
tion of any kind.
»» Repair and Renew: When you trigger a Drive to heal someone or repair
something, they also remove a Debility.
»» Network Query (req. “Service Disruption”): When you successfully sabotage
a computer or network, you may ask the GM one question from the “Analyze”
list.
»» On the Mend: When you spend a Use of Medic Gear to heal someone, add
+1d4 to the Vitality recovered.
»» Overpower: When you modify a powered, technological weapon to increase
its damage output, roll + INT.
Any Success: Add +1d4 Damage ongoing until the user misses or the end of
the current scene.
Complete Success: Increase the bonus to +1d6.
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It wasn’t very long after the dangerous virus, Mutagen-X, was released that Ansley
and his companions knew they had a decision to make. Ansley looked up from the
lab’s instruments and wore a sour expression. “All right. I’ve analyzed a sample of this
Mutagen-X and we don’t have much time.”
Varya, the pilot, stood next to the door, with her robot companion, X-9A, flanking
the doorway. Those two had come to the asteroid colony, Voros, with Ansley and their
gray friend, “Tommy”, whose real name was unpronounceable to humans.
Varya wore an anxious look. “Just tell us what we’re up against.”
To this point, Ansley and his companions had been dealing with a robot revolt led
by the enigmatic Dr. Zero, whose purpose in life was to destroy anyone who opposed
him.
The scientist paced slowly across the lab as he spoke. “This Mutagen-X is likely to
kill every living being on this asteroid.”
Varya looked at her robot friend. “What about X-9A? He can get to the ship and fly
it over to the lab? Surely, we’d have enough time to –”
“I don’t know that we’d survive long enough to do all that,” Ansley replied. “But I
have an idea.”
“A time machine,” Tommy said. “It’s always a time machine with you.”
“Yes,” Ansley said. “One of us can go back and stop this Mutagen-X before it’s
ever released.”
Despite Ansley’s expertise at chrono-physics, the truth was that no one was a true
master of the space-time continuum. Playing with it was always a risk.
Ansley rushed to the lab’s computer bank and started inputting data and formulae.
“I can do this,” he said. “I just need a bit of time to –”
Varya joined Ansley at the console. “I know, but, the further you go back in time –”
Ansley stopped what he was doing for just a moment. “We can only go back until
just before Dr. Zero released Mutagen-X.” He turned to X-9A and Tommy. “And we
can only send one person.”
“I’ll go,” Tommy said. “You have to work the machine,” he said to Ansley. “And
Varya has to fly the ship out of here if things go sideways. It has to be me.”
No one was willing to argue with the brave gray explorer. Ansley worked in concert
with X-9A, who was a combat robot, but clever enough, and built what passed for a
time machine just as the lab doors started crashing down. X-9A rushed to defend the
rest of the companions while Tommy hopped into the time machine. Ansley threw the
switch and hoped he’d done it right this time.

“Know yourself, know your enemy. A thousand battles, a thousand victories.”
- Sun Tzu
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THE SOLDIER
You are a trained warrior, skilled in the arts of combat and defense. Primarily,
you excel in fight scenes. You may wield a laser rifle or perhaps heavy weapons.
You might be trained in tactics and leading small teams of military units. You
might even be skilled at healing others. Depending on your starting package, you
will want good INT or WIS. Shooting your weapon uses DEX, so consider putting a
bonus there, as well. Soldiers do not tend towards social situations, though you
may be able to intimidate people, sometimes.
1. Name
Soldiers are disciplined and opportunistic characters. Your name could evoke a
sense of dedication or be simple in nature. Here are some suggestions:
»» Male: Carlos, Flash, Ian, Kevin, Khan, Elliott, Roarke, or Zeus
»» Female: Alice, Barbarella, Gana, Kylie, Michelle, Sarah, Syn, or Tetsuko
2. Look
»» Body -- Robust, Tattooed, or Thin
»» Eyes -- Attentive, Morose, or Steely
»» Fashion -- Armored, Military, or Simple
»» Hair -- Braided, Shaggy, or Shaved
»» Weapon -- Battle-Tested, Heirloom, or Utilitarian
3. Abilities
4. Damage Die
The Soldier’s Damage Die is D10.
5. Vitality
The Soldier begins play with Vitality equal to 16 + CON.

6. Soldier Moves
The Soldier receives the Default Move listed below: “Combat Training”.
COMBAT TRAINING: Military training has given you several benefits in combat
situations. First, you can use armor and weapons with the Military tag without
penalty. Second, add +1 to your damage when using weapons with the Military tag.
Finally, when using “Fire at Will”, you may roll with your DEX instead of the vessel’s
score.
7. Packages
package.
Package – Tactics
FACTS ON THE GROUND: When you survey the battlefield, looking for
opportunities for success, roll + WIS.
Complete Success: Ask up to three questions from the list below.
Partial Success: Ask one question from the list below.
»» Is there an escape route from this situation?
»» What obstacle most threatens a successful outcome?
»» What resources here could I use to my team’s advantage?
»» Which hazards should I be careful to avoid?
»» Which of my enemies is in a vulnerable position?
Add +1 forward when acting on the answers.
REPOSITION: When you command your allies to move into better positions,
roll + WIS.
Partial Success: Gain two Reserve.
You may spend this Reserve to immediately reposition an ally out of danger.
DUCK AND COVER: When you use “Suppressive Fire”, you may grant an ally
+1 ongoing to Armor. This bonus lasts until you use a different move.
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Package – Medic
You start with Medic Gear (3 Uses, 1 Weight).
COMBAT MEDIC: When you care for someone’s injuries in the heat of battle,
spend a Use of Medic Gear and roll + WIS.
Any Success: They regain 1d8 Vitality or 1 Wound.
Complete Success: Add your WIS to the Vitality recovered. You don’t need to
spend a Use of Medic Gear.
TRIAGE: When you treat injuries during Rest, roll + WIS.

Any Success: Everyone recovers an additional Wound.
Complete Success: Someone removes a Debility.
RECOVERY SPECIALIST: Add +4 to the Vitality regained when you spend a

Use of your Medic Gear (voluntarily or otherwise; you can choose to mark extra
Uses of Medic Gear to add to the Vitality recovered).
Package – Munitions
DEMOLITION: When you use explosives to destroy an object, mark a Use of

Specialized Tools (Demolition) and roll + INT.
Compete Success: The object is destroyed and there are no unintended casual-
ties.
Partial Success: Choose two:
»» The object is badly damaged, but remains
»» You or an ally is injured
»» You draw unwanted attention
FIRE IN THE HOLE: Effects modifying the “Shoot” move also affect this
move. When you attack a group using a weapon with the Area tag, roll + DEX.
Any Success: Deal your damage and apply it equally to three (or less) characters
of your choice.
Partial Success: The GM chooses an additional character to affect with this dam-
age; if the weapon also has the Volatile tag, the GM may choose you as a target.
LOCK ‘N LOAD: You may use weapons with the Heavy tag without penalty. In
addition, once per scene, when you are directed to mark Ammo or Recharge, you
can choose not to do so.

8. Origins
Understand during combat, you may roll using either INT or WIS.
Legacy: Your family has a history of military service. When you first meet
someone who knows of your family and its traditions, add +1 forward against them.
War Veteran: You’ve been through hell and lived to tell about it. When you Defy
Danger using CON to endure stress, fatigue, or environmental dangers, add +1.
9. Drives
»» Destroy something important in a spectacular way.
»» Discover critical intel about an enemy or obstacle you face.
»» Explore a dangerous area where combat is likely.
»» Heal someone who is badly injured.
»» Impress someone with a war story.
»» Intimidate someone with a show of force.
10. Relationships
»» Special Relationship: I need ________ to show me some respect when it
matters most.
»» Relationship: I must train ________ to make better choices in combat.
»» Relationship: ________ needs to keep me healed and ready to fight.
»» Relationship: During a crisis, I must watch over ________.
»» Relationship: ________ must take me to a dangerous place.
»» Relationship: ________ and I must destroy something together.

The Soldier has a Load of (10 + STR) and starts with the following equipment: Flex-
steel Armor (2 Armor, Mil, 2 Weight, Worn), a Laser Repeater (Autofire, +2 Damage,
Far, Mil, Near, 3 Recharge, 2H, 2 Weight), Space Rations (3 Uses, 1 Weight), a
Utility Belt (3 Uses, 1 Weight, Worn), and 1-Credit.
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In addition, choose three from the following list:

»» Ion-Pulse Rifle (Far, Mil, Near, 2 Recharge, 2H, 1 Weight)
»» Medic Gear (3 Uses, 1 Weight)
»» Military Power-Sword (Close, +1 Damage, Mil, 1 Weight)
»» More Space Rations (3 Uses, 1 Weight)
»» Rotary Mini-Missile Launcher (3 Ammo, Area, +2 Damage, Far, Hvy, Mil,
Near, 2H, 2 Weight)
»» Specialized Tools (Demolition) (3 Uses, 1 Weight)
12. Soldier Advances

times)
three times)
»» Take a move from another starting Soldier package (may take up to three
times)
Drives.
»» Armed to the Teeth: When you wield two weapons, add +1 to your damage.
»» Bigger Explosions: When you use “Demolition”, you can choose to destroy
more than one object. All of the objects to be destroyed must be adjacent to
each other.
»» Burst Fire: You may disable the Autofire tag on your weapon to add +1
damage forward. The Autofire tag returns on your next move.
»» Field Surgeon On any success using “Combat Medic”, add another 1d4 to
the Vitality recovered and remove a Debility.
»» Get me the Sarge: When you spend Reserve on the “Reposition move”, you
also add +1 forward.
»» Heavier Weapons (req. “Lock ‘N Load”): Add +1 to your damage when using
a weapon with the Heavy tag.
»» Medical Efficiency: When you enable someone to recover Vitality, and you
mark a Use of Medic Gear, also grant them +1 forward.

»» Military Exoskeleton: You have a military exoskeleton (+1 Armor, Mil, Worn, 1
Weight). It gives you a Pod, which can mount an item with the Integral tag. It
also counts as a “hand” for weapons with the 2H tag.
»» Robot Buster: When you attack a robot or computer using an Ion weapon,
add +1d4 to your damage.
»» Sharpshooter: Effects that modify “Shoot” also affect this move. When you
attack with a ranged weapon, roll + DEX.
Any Success: Deal your damage.
Partial Success: Choose to either mark one Ammo or Recharge or draw
unwanted attention.
»» Complete Success: Add +1d6 damage.
»» Spray Fire: The Autofire tag on your weapon gives you another Damage Die;
apply this (unmodified) to any targets adjacent to your current target.
»» Superior Tactician: When you ask questions from “Facts on the Ground”
and trigger a Drive, your entire team adds +1 forward when acting on the
answers.
»» Trauma Specialist: When you trigger a Drive using “Combat Medic”, add
another 1d8 to the Vitality recovered.
Audrey watched as three Masskai vessels neared the last occupied mining colony
on Epsilon Aurigus-4. The Terran Alliance team, comprised of Audrey, the team leader,
Vanelos, the electronic warfare specialist, Tank, the Cygnan demolitions expert, and
Moss, the Gray wilderness survival expert, had come to this desolate world, rich in
mineral and gas resources, to safely secure passage for the last remaining miners. Now,
however, Audrey and her team were pinned down at this colony.
The radio they had captured came to life and transmitted a message in the Masskai
language. The rest of the team looked to Audrey. They knew she had some familiarity
with the Masskai; she knew their language.
Audrey took her ultralite rifle and checked the ammo level. “It’s not good,” she said.
“They’re sending a warband down.”
Tank, the Cygnan, smirked. “They know where we are. The patrol must have signaled
them.”
Vanelos looked out the window at the dozen miners assembled there. “We’ve got to
get out of here before –”
Audrey shot Vanelos a stare to cool an erupting volcano. “Those miners are dead
without our help. Remember that.”
As Audrey led the team out of the shelter and towards the middle of the mining camp,
the Masskai ships began to land.
Audrey stopped dead in her tracks. She looked at the desperate miners, then to her
allies. Vanelos just stared, taking Audrey’s armored shoulder.
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Tank joined the two of them. “What are we dealing with, then?” he asked.
“Those Masskai ships could deploy forty warriors,” Audrey said. “We can’t hold all of
them off for very long.”
“What’s Plan B?” Tank asked.
Using her magna-viewer, Audrey could see the Masskai staging for the assault less
than a kilometer away. “This is a warband, right?” she asked.
Moss sidled up next to Audrey. “Yeah, sure. What does that mean?”
“Under Masskai customs,” she replied, “the Voross Köng. It is the Right of Chal-
lenge.” Audrey turned to her allies. “If there is a chieftain among these Masskai, and
there should be, I can challenge him to single combat.”
“Is that a good idea?” Moss asked anxiously.
“This is something I have to do,” Audrey replied. She made some final adjustments
to her battle armor and walked out into the open, heading straight towards the Masskai
vessels.
As Audrey expected, from the slightly larger Masskai emerged a huge one, armed
with the Masskai Scytheblade, a weapon that only a few of their culture were trained
to wield. Audrey knew this had to be the chieftain. Also as expected, the Masskai
didn’t consider a single human, especially a female one, to be a threat, and so, they let
Audrey advance directly to this Masskai Blademaster.
Audrey replied in rather polished Masskai, “You are here to kill these miners. I am
here to stop you.”
The Blademaster laughed and looked at his fellow Masskai. “You speak our language,
then. Few of your kind do.”
“I grew up as a slave on Korrodos,” Audrey replied. And I do know your ways. As I
said, I mean to stop you.”
“Stop all of us?” the Blademaster asked haughtily.
“I invoke the Voross Köng. I defeat you, the Masskai leave this planet long enough for
us to escort these miners to safety.”
The Blademaster licked what passed for lips on such a creature. “And if I win? And I
will win.”
Audrey knew that invoking the Voross Köng required a fair trade. “If you win, take me
as your prize. I am an honored warrior among the Terrans and veteran of many battles
against your kind.”
The Masskai could not refuse a Voross Köng; it would be a dishonor. Audrey knew
this and was trying to put him into exactly such a position.
“Agreed, human,” the Blademaster replied through bared teeth. He reared back,
holding his Scytheblade in a muscled and tattooed arm.
Audrey tossed aside her ultralife rifle and drew her power sword. “I have already won,
Blademaster.”

“In spite of the opinions of certain narrow-minded people, who would shut up
the human race upon this globe, as within some magic circle which it must
never outstep, we shall one day travel to the moon, the planets, and the stars…”
- Jules Verne
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THE SHIP
This is a special playbook for your Ship. This is more than just any other
starship; this is your special Ship. The Ship has its own personality quirks, its
own strengths, and weaknesses. Your Ship may look just like another of its make
and model, but this vessel is unique. A Ship playbook works mostly like character
playbooks. You will create the Ship like another playbook, keeping in mind a few
differences. The Ship has its own abilities: Power (POW), Speed (SPD), Sensors
(SEN), and Weaponry (WPN). When a Ship uses a move, it applies these modifiers
(unless otherwise directed). A Ship uses basic vessel moves and has its own
special moves. A Ship has a starting package, just like a character (although Ships
do not have a “default move”). Ships also have starting equipment and the player
will choose from the options provided.
While the Ship belongs to one character, it is possible for an entire group of player
characters to travel in the same Ship (depending on the size). If the Ship is some-
thing used by the entire group, other characters can help pay for maintenance,
repairs, and even advances.
For more information about the Ship, and vessels in general, see Chapter 8:
Vessels and Mounts.
1. Name
Your Ship should have an evocative and interesting name. You might name your
Ship after the place where you acquired it, or perhaps your home world (Terra,
Pegasus, Cygnus). The name might include an action word (Flash, Jump, Blast) or
occupation (Racer, Cruiser, Companion). While there are many examples of Ship
names in science fiction, feel free to create your own.
2. Look
»» Craft – Fighter, Freighter, Scout, or Shuttle
»» Design – Grandiose, High-Tech, or Minimalist
»» Style – Military, Rust-Bucket, or Sleek
»» Weapons – Brazen, Hidden, or Obvious

3. Size
Select one of the following Sizes for your Ship. A Ship’s Size determines several
other modifiers and values.
Personal – This is the Size of a fighter or shuttle. Crew: 1. Passengers: 1.

Abilities: POW -1, SPD +2, SEN 0, WPN 0. Hull 8. Shields 1. Damage Die D6.
Maintenance Requirement: None.
Small – This is the Size of escort vessels, small transports, and personal
yachts. Crew: 3. Passengers: 6. Abilities: POW 0, SPD 0, SEN +1, WPN 0. Hull 12.
Shields 1. Damage Die D6. Maintenance Requirement: None.
Medium – This is the Size of frigates and military gunships. Crew: 5. Passen-
gers: 12. Abilities: POW 0, SPD -1, SEN +1, WPN +1. Hull 12. Shields 2. Damage Die
D6. Maintenance Requirement: 1-Credit or 1-Barter.
Large – This is the Size of destroyers and huge commercial transports. Crew:
7. Passengers: 18. Abilities: POW +1, SPD -1, SEN 0, WPN +1. Hull 16. Shields 2.
Damage Die D8. Maintenance Requirement: 2-Credit or 2-Barter.
4. Abilities
The Ship’s abilities are based on its Size – see above for this information.
5. Damage Die, Hull, and Shields

The Ship’s Damage Die, Hull, and Shields values are all derived from its Size – see
above for this information.
6. Ship Moves
Unlike character playbooks, the Ship does not have a default move. Choose one of
the following packages. The Ship receives all moves within that package.
Package – Astrodynamics
ELUSIVE: Effects modifying “Evasive Action” also affect this move. When piloting
your Ship and you quickly avoid danger, roll + SPD.
Complete Success: You evade the danger; also, either add +1 forward against
whatever caused it or deal your damage to it.
Partial Success: You avoid the danger, but you choose one:
»» A critical engine component blows out; take the Slowed Debility until it has
been repaired.
»» Your vessel takes damage (from the danger or from something else).
»» Your vessel draws unwanted attention.
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RACER: When you race your Ship against another vessel (or vessels), roll + SPD.
Complete Success: You clearly beat the other vessel(s) to the destination.
Partial Success: You arrive first at the destination, but you choose one:
»» You burn out an engine; take the Slowed Debility until it can be repaired.
»» You draw unwanted attention from a third party; the GM will tell you who.
IONIC BOOSTERS: Install Ionic Boosters (2 Uses, Module, 1 Weight). When

used, Ionic Boosters add +1 forward to SPD.
Package – Combat
ADVANCED WEAPONRY: Increase your Ship’s Damage Die by one step.

Attack Run: Effects modifying “Fire at Will” also affect this move. When you steer
your Ship straight at an opponent and fire all of your weapons at them, deal your
damage to them and roll + WPN.
Complete Success: You may add the Ship’s SPD to your damage. You may choose
to add +1d6 to damage and expose the Ship to their attack.
Partial Success: The Ship is exposed to their attack as well.
When using this move, if any weapon used has the Ammo or Recharge tag, mark
one.
SHIELD MASTERY:Effects modifying “Raise Shields” also affect this move.

When you engage your Ship’s superior shields, roll + POW.
Complete Success: Add +5 forward to Shields and +1 forward to any Ship or
vessel move.
Partial Success: Add +3 forward to Shields.
TRIPLE FAZER CANNONS: Install Triple Fazer Cannons (+2 Damage,

Module, 3 Recharge, 1 Weight).
Package – Science
DEPLOY PROBES: When you deploy your Ship’s probes, roll + SEN.
Complete Success: Three probes each find something of note.
Partial Success: One probe finds something.
The GM will briefly describe what the probes find. Add +1 forward to “Understand”
what they find.

SCAN FOR LIFE FORMS: Effects modifying “Sensor Scan” also affect this
move. When you use your Ship’s sensors to scan a location, for information on the
life forms there, roll + SEN.
Complete Success: Choose three pieces of information the GM gives you from the
list below.
Partial Success: Choose two.
»» Their numbers »» Their weapons and armament
»» Their species »» The direction they are traveling
IMPROVED SENSOR ARRAY: Add an Improved Sensor Array (Module, 1

Weight). Add +1 to SEN when you scan planets and places.
Package – Smuggling
INCONSPICUOUS: When you attempt to conceal your Ship’s existence, roll +

INT. If you power off your Shields, add their value to this roll (max +3).
Complete Success: Your Ship is undetected for the moment.
Partial Success: Your Ship avoids detection only if it remains still.
IT’S AN OLD CODE, BUT IT CHECKS OUT: When your Ship attempts to
bypass a security checkpoint and you use trickery to fool them, roll + CHA.
Any Success: They fall for your trickery.
Partial Success: The GM chooses one:
»» After you pass the checkpoint, they realize you tricked them.
»» It costs you 1-Credit in bribes.
»» You draw unwanted attention from a third party.
HIDDEN COMPARTMENTS: Install Hidden Compartments (Module, 1

Weight). Add +1 to conceal items or people on your Ship.
The Ship has a Capacity of (4 + POW). Increase this value by 2 for a Small Ship and
4 for a Medium or Large Ship. The Ship has four Modules. Install equipment with
the Module tag into these Modules.
»» Cargo Bay (Module, 0 Weight)
»» Cybernetic Targeting System (3 Uses, Module, 0 Weight)
»» Engineering Room (Module, 1 Weight) (+1 MR)
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»» Imp. Escape Pods (Consumable, Module, 1 Weight)

»» Fazer Booster (+1 Damage for Fazer weapons, Module, 0 Weight)
»» Improved Life Support System (Module, 1 Weight)
»» Intrusive Sensor Array (Module, 1 Weight)
»» OtherNav and MAME (Matter-Antimatter Engine) (3 Uses, Module, 1 Weight)
»» Proto Shields (Module, 1 Weight)
»» Shield Booster (3 Uses, Module, 0 Weight)
»» Sick Bay (Module, 1 Weight) (+1 MR)
»» Ultralite Laser (+1 Damage, Module, 2 Recharge, 0 Weight)
»» WAVE Multi Missile Launcher (3 Ammo, Area, +1 Damage, Module, 1
Weight)
8. Ship Advances
The Ship only gains xp when the group receives xp from milestones; otherwise,
the Ship does not earn its own xp. Characters can, however, donate xp to the
Ship. Like all other characters, when the Ship has marked 9 xp, and you use the
“Advance” move, select one of the following options. Note that only some options
can be selected more than once.
»» Add +4 to Hull or add a Critical checkbox (may take up to three times)
»» Increase an ability modifier by +1 (maximum +3) (may take up to four times)
»» Take a move from another starting Ship package (may take up to three
times)
»» Permanently enhance a basic vessel move (may take up to four times)
»» Additional Module: Add +1 to the number of Modules your Ship has. (may
take up to two times)
»» Advanced Sick Bay: Anyone who recovers Wounds while in your Sick Bay
does so in one scene, not two.
»» Alpha Strike: If your Ship has weapons with Ammo or Recharge, you may
mark any number of these to add +1 forward to damage for each marked.
»» Backup Power: When your Ship has the Faulty or Slowed Debilities and a
move directs you to roll POW or SPD, you can ignore the penalty in exchange
for the Ship taking 1d4 damage (ignores Shields).
»» Emergency Stabilizers: When your Ship is forced into a “Crash Landing”, add
+1 to that move.
»» Fire with Impunity: On a partial success on the “Fire at Will” move, the
damage your Ship takes is halved.
»» Impetus Generator: Add +1 to the “Prevail by Force” move. In addition, your
Ship always takes half damage from this move.
»» Improved Probes: When you “Deploy Probes”, this acts like the “Analyze”

move; you may ask the same questions as if you had used that move (with
the same roll result).
»» Increased Capacity: Add +4 to your Ship’s Capacity.
»» Little Brother (req. Landing Bay): You have another Ship. This is a Personal
Size vessel and has only the base abilities of a vessel of that size; you cannot
otherwise modify or change it.
»» Made a Few Modifications: Add another Crew position or space for two more
Passengers.
»» Nanite Assistants (req. Engineering Room): When you use your Engineering
Room to repair vessels, add +1d4 to the Hull recovered. Using the Engineer-
ing Room to recover Wounds (for robots) or Critical (for vessels) takes only
one Scene, not two.
»» Recognizable: Your Ship has a unique look and has built a reputation (for
good or ill). Add +1 to moves meant to impress others with your Ship’s design
or capabilities. Unfortunately, your Ship also takes -1 to moves to remain
inconspicuous.
»» Separation (req. Large): In an emergency, your Ship can separate into two
Small Ships. Each Ship has the same game mechanics as a Small vessel; any
advances or other modifications you have added are applied to one of these
Ships – except for this advance and “Little Brother”.
»» Shields Up: On a complete success on “Shield Mastery”, everyone in a crew
position also adds +1 forward to a Ship or vessel move.
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“EARTHLING VESSELS IDENTIFIED MARK 0.87 ELLIPTICAL, MARK 0.87 ELLIPTI-

CAL, MARK 0.92 ELLIPTICAL.” The Denominator, a transport used by the Collective,
and its crew, immediately detected the Terran Alliance starships that had just
appeared from OtherSpace. The Denominator and its crew were one hive-mind, as
was common among the Collective. They acted and thought as one.
The three Terran starships, the Winshaw, a troop transport, and two freighters, the
Moonstruck and the Repulsor appeared suddenly and began to triangulate around
the Denominator. Historically, Collective vessels steered well clear of the starships of
any other civilization. This encounter would need to be brief.
“EARTHLING VESSEL DESIGNATED MOONSTRUCK POWERING TRACTOR BEAM.

EVASIVE ACTION RECOMMENDED.”
The Denominator’s crew reacted instinctively, without a word, pressing buttons

on computer consoles and many, equipped with cybernetic interfaces, made no
movement at all, their actions occurring entirely within the ship’s electronics.
Sure enough, the Moonstruck flew close enough to the Denominator to engage its
tractor beam. The Terran ships clearly wanted to seize upon the chance to capture a
Collective vessel, something rarely seen outside their home sector.
As the Moonstruck activated its tractor beam, a blue-white light emanating from
the Terran ship locked onto the Denominator. At the same moment, the Winshaw, the
Terran transport, began moving into position to possibly board the Collective ship.
“EARTHLING VESSEL DESIGNATED MOONSTRUCK TRACTOR BEAM SUCCESS-

FUL. ACTIVATE SHUDDER FIELD.”
Just as the Winshaw got to within less than a kilometer of the Denominator, the
Collective vessel began to shimmer with a strange effect none of the Earthlings had
seen before. The crew of the Moonstruck scrambles to keep the tractor beam locked
on, but the Denominator was able to slip free.
“EARTHLING VESSEL DESIGNATED WINSHAW POWERING FAZER CANNONS.”
The Denominator’s crew deftly switched their attention to raising shields, which
activated just in time to deflect a barrage of fire from the Winshaw. Reacting to this,
the other Terran vessels started to move into attack position.
“DEFENSE STRATEGY INSUFFICIENT TO WITHSTAND EARTHLING ATTACK.

BEGIN PROGRAMMING OTHERNAV. DESTINATION COLLECTIVE SECTOR, STAR
SYSTEM 51.1. RAISE SHIELDS MAXIMUM.”
The Terran Alliance ships clearly knew their time was limited to capture the
Denominator. The Collective starship was not a military ship and wouldn’t be able to
hold off three starships of its size for very long. The Denominator’s crew calmly input
their calculations for the Collective sector.
The Winshaw, Moonstruck, and Repulsor tried to surround the Denominator,

pelting the transport with different beam weapons, but the shields held long enough
for the Denominator to make its escape.

“Walking with a friend in the
dark is better than walking
alone in the light.”
- Helen Keller
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THE COMPANION
The Companion is a special playbook representing a lesser, non-player charac-
ter who assists one of the player characters. The Companion might be a friend, a
lover, a relative, or a minion.
The Companion is associated with one Player Character (the one who spent
an advance to get the Companion, usually). A Companion grants bonuses and
otherwise aids in tasks that the PC undertakes. In a few cases, the Companion
may act on its own. Your Companion starts with a Role, which represents how the
Companion aids your character. Each Role has two options, known as Orders. You
issue one Order at a time and can switch Orders whenever you want.
In this playbook, the term “you” and “your” refer to the PC to whom the
Companion is associated.
1. Species
Your Companion may be of any species that makes sense. They might be human,
alien, or even a robot. Your selection is merely cosmetic; it does not affect the
Companion’s abilities in any way.
2. Name
A Companion might have any sort of name. When deciding on a name, you may
want to think about the look, species, and Role of your Companion.
3. Look
The Companion is such a variable character that no list of appearances would
suffice. Use your own imagination or look at existing playbooks for ideas.
4. Motive
The Companion has a Motive. This is a driving ambition or goal that drives the
Companion to aid you in your adventures. Select one of the following Motives for
the Companion:
Adventure: Discover a new people or place.
Glory: Achieve something great and notable at your side.
Profit: Earn a great deal of money.

5. Loyalty
Your Companion has a Loyalty score. This score starts at 1 and has a maximum
value of 5.
At the end of a session, if you have met the Motive condition for your Companion,
add one to the Loyalty score. If a session ends and you did not meet the Compan-
ion’s Motive condition, reduce current Loyalty by one.
If Loyalty ever drops to 0, the GM will tell you how long you have before the Com-
panion leaves your side.
6. Vitality
The Companion does not start play with a Vitality value. If a Companion would take
damage for any reason, they cannot help you for the rest of the current scene. If
you are Knocked Out, the Companion cannot perform in their Role until you are
able to act again.
7. Role
Select one of the following Roles for the Companion. Each Role is comprised of two
Orders; these Orders grant bonuses or additional options to your moves. Unless
otherwise stated, the Companion’s benefits only help you.
When you give the Companion an Order, it stays in place until you give the Compan-
ion a different Order; only one Order applies at a time.
Role – Guard
ASSAULT: Your Companion adds +1 ongoing to your damage.
PROTECTION: Your Companion has one Reserve as if they had used the
“Defend” move. The Companion can defend you or an ally of your choice. This
Reserve may be spent as normal for that move. The companion cannot elect to
take damage unless it also has the “Tough Guy” advance.
Role – Medic
HEALING: When you regain Vitality or help someone else regain Vitality, add +2
ongoing to the amount restored.
TRIAGE: When you and your allies “Rest”, add +1 ongoing to moves that heal.
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Role – Researcher
BACKGROUND: Add +1 ongoing to learn the history of a person, place, or

thing.
INVESTIGATION: When you “Analyze” a situation, you may always ask one
question, even on a failure.
Role – Scout
HUNTING: When you “Rest”, your Companion hunts and you do not need to
mark a Use of Space Rations.
RECON: Add +1 ongoing when you covertly search an area for enemies.
Role – Spy
LURKING: Your Companion hides in shadows, waiting for a moment of oppor-

tunity. When you have the drop on someone, add +1 forward to any move against
them.
SURVEILLANCE: Your Companion watches a person or place for you. When

they return, the GM will tell you something interesting; this is like the partial
success result for the “Understand” move.
Role – Technician
REPAIR: Add +1 ongoing to rolls made to repair a robot or vessel. You must
have at least one Use of the appropriate Specialized Tools on your person. Do not
mark a Use of these tools unless directed by another move.
SABOTAGE: Add +1 ongoing to rolls made to destroy or render useless a

vessel or object. You must have at least one Use of the appropriate Specialized
Tools on your person. Do not mark a Use of these tools unless directed by another
move.

8. Companion Advances
The Companion only gains xp when the group receives xp from Milestones; other-
wise, the Companion does not earn its own xp. Characters can, however, donate xp
to the Companion. Like all other characters, when the Companion has marked 9
xp, and you use the “Advance” move, select one of the following options. Note that
only some options can be selected more than once.
»» Take on another Role (this can be selected up to 4 times)
»» Tough Guy: Your Companion now has a Vitality score. Its maximum value is
half of your Vitality score (rounded down). The Companion never has Wounds
checkboxes. Your Companion may be Knocked Out and may be affected by
the Void.
Hypocampus watched and smirked as Rachel Rocket, his adventuring companion,

bashed her gloved fists on a locked and magneto-sealed bulkhead door.
“That door is a meter thick,” the alien said. “Composed of carbonite-steel and well
sturdier than anything your fists could damage.”
Frustrated, Rachel turned and leaned against the carbonite-steel bulkhead door.
“So, now what? We have to find Johnny and get off this bucket.” Rachel referred to
Johnny Proton, another companion of theirs, who had gone missing during an earlier
firefight aboard the Sydorian Gambit. And she had to find Johnny before the Sydorian
Gambit’s self-destruct countdown completed.
“Sydorian vessels are well-known for their maintenance access corridors, always
located just to the left or right of large bulkhead doors.” Hypocampus looked around,
impatiently. “You should check that side,” he said, motioning with his feebly skinny
alien arms.
As Hypocamus and Rachel searched for the switch that would open the mainte-
nance corridors, a patrol of six Sydorian combat robots entered the chamber. Each
robot carried an X-29 Double Pulse Rifle, a weapon powerful enough to fell Hypocam-
pus or Rachel Rocket with one good hit.
“The escape pods are just beyond this chamber,” Hypocampus said. “The highest
chance for either of us to survive this encounter is to –”
“I know that,” Rachel replied. “I’m not leaving without Johnny.”
Hypocampus had to laugh a bit at the loyalty demonstrated by these immature

humans. To Hypocampus, his own survival was paramount; any concern for lesser
beings was left to others. As Hypocampus turned to say something pithy to Rachel, he
spotted the switch that would open the hatch into the maintenance corridor.
Pressing the concealed switch, Hypocampus said, “I am headed for the escape
pods. If you value your life, you should follow me.”
As Rachel turned to follow her alien friend, her position was showered with pulsar
bolts. Rachel barely had time to evade the attack and leap behind a stack of electron
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crates. Stopping just briefly to see whether Rachel had followed him into the mainte-
nance corridor. Hypocampus scoffed at Rachel trying to fight the Sydorian robots and
continued towards the escape pods.
Hypocampus could not fathom humans, really, and had little patience for their
idiosyncrasies. In fact, Hypocampus wasn’t surewhy he continued to travel the
galaxies with Rachel Rocket and Johnny Proton. They continued to do things to put
themselves in danger, with only the good advice of Hypocampus to save them from
certain death, time after time.
When Hypocampus reached the end of the maintenance corridor, he saw the rows
of escape pods on either side of the adjoining passage, but most of the pods had
already been jettisoned. Hypocampus immediately surmised that whomever had set
the Sydorian Gambit to self-destruct had already fled the vessel.
Just as Hypocampus was deciding which escape pod would suit him, he heard a
familiar voice call out. “Hey man,” the male voice said. It was Johnny Proton, Rachel’s
friend whom she was seeking. “I didn’t expect to find you here!”
Behind Johnny were four Sydorian enforcer robots, larger versions of the robots
Rachel contended with in the prior chamber. Johnny dodged their laser fire and
approached Hypocampus.
“Using an escape pod is the logical means of leaving this vessel, Hypocampus
replied.
Johnny turned and fired his laser carbine at one of the enforcers, causing the robot
to fall. “We only have…” Johnny said as he looked at his chronometer.
“The Sydorian Gambit will self-destruct in two minutes and three seconds,”
Hypocampus said.
“Right. And where’s Rachel?” Johnny asked as he dodged more laser blasts from
the enforcers.
Just then, Rachel Rocket entered the chamber through the same corridor the alien
had used. Rachel was pursued by some Sydorian robots of her own.
“Why didn’t you wait for me?” Rachel asked as she turned to shoot a few of the
robots attacking her. Johnny was doing the same, fighting off the enforcers on his
side of the chamber. Hypocampus looked at both and shrugged.
The alien took three steps towards one of the remaining escape pods. “One
minutes and forty-three seconds until self-destruct,” he said.
Rachel briefly looked towards her alien companion. “Where the heck are you
going?”
Hypocampus looked at the control interface on the wall beside him. “This is an
escape pod and I plan to use it to make an escape. I suggest you do the same.” With
that, Hypocampus entered the pod and, pressing a few buttons, was released into the
cold darkness of space.

6. EXPERIENCE AND ADVANCEMENT

This chapter presents the process by which characters grow and advance within
the Infinite Galaxies game. Roleplaying games are fueled, in large part, by the
promise of growth and advancement. Here, find a discussion of the experience
system, the drives and relationships systems, milestones, and end of session move,
and how advances work.
ABOUT EXPERIENCE
One of the hallmarks of any
roleplaying game experience – indeed,
what sets a roleplaying game apart
from a board or card game – is that
characters grow and change as the
game plays out. In Infinite Galaxies,
this growth happens by way of ad-
vancement. Though characters start
play with many abilities, as the game
continues, they will pick up additional
capabilities.
This section examines the process

of character growth and change.
Characters earn Experience (xp) from
triggering their Drives and Relation-
ships, from resolving Milestones, and
from the “End of Session” move.
Characters can earn as much xp as the game allows; there is no limit on how
much xp a character can have at one time. This xp is spent to acquire Advances;
this process is detailed below.
CONTRIBUTING XP TO THE SHIP AND COMPANION

The Ship, like the characters, can gain xp and take Advances, but only when
characters gain xp for Milestones and from characters donating xp. Any character in
the group – not just the Ace – can contribute xp to the Ship.
Likewise, a PC that has a Companion can choose to donate xp to them. Other PCs
may also choose to donate xp to a Companion, even if it belongs to another PC.
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DRIVES AND RELATIONSHIPS

Drives and Relationships are
critical components within the Infinite
Galaxies game. Not only do Drives
and Relationships provide interesting
fodder for roleplaying and story, they
also exist for specific mechanical
purposes. Triggering Drives and
Relationships is one of the major
ways for characters to earn xp and
players should always be driving the
action towards triggering these.
When a player believes they have

triggered a Drive or Relationship for
xp, the GM rules as to whether or
not this has happened. In general,
the GM should be lenient in allowing
actions to trigger Drives and Rela-
tionships for xp. One exception to
this general rule is that characters
should not trigger the same Drive or Relationship multiple times in the same
scene. It is against the spirit of the game to continue “spamming” the same Drive
or Relationship over and over, trying to earn additional xp for the same action. For
example, a character with a Drive related to healing another character should not
earn xp for healing the same character multiple times in a scene; such a charac-
ter can trigger that Drive for xp by healing others, though. Of course, extenuating
circumstances may arise in which it makes sense to trigger the same Drive or
Relationship in a scene; the GM is the final arbiter in such situations.
A Drive is an action that a character triggers for xp by attempting to undertake

the action during play. Triggering a Drive does not require success; in fact,
success or failure does not necessarily affect whether a Drive has been triggered.
The terms of certain Drives may not be possible without success, but this
depends on the terms defined in the Drive. Each playbook has six Drives and a
character may have two Drives marked or active at any one time. When the GM
introduces a new Milestone, players choose two of their Drives and those remain
active or marked until the GM introduces a new Milestone; at this point, a player
may change their marked Drives or keep the same ones marked. Drives are
intended to be solitary actions, though character can certainly receive aid from
other characters in undertaking the action.
Chapter 6: EXPERIENCE AND ADVANCEMENT 169

A Relationship is an action that a character triggers in conjunction with another
character; how this is done is defined in the terms of the Relationship. Triggering a
Relationship may or may not require success in the action; a Relationship may be
triggered differently depending on the situation. Relationships are not transitive;
though a Relationship requires another character to do something, the other char-
acter involved does not earn xp when a Relationship is triggered (unless that other
character also has a Relationship that can be triggered in this situation). Generally,
characters should only have one Relationship per other character in the group.
CREATING NEW DRIVES AND RELATIONSHIPS

After you’ve played Infinite Galaxies for a while, it may become tempting to create
new Drives and Relationships for your characters. This is perfectly acceptable and
it is the design intention that characters’ Drives and Relationships change over the
course of a game.
When creating a new Drive or Relationship, carefully examine existing Drives and
Relationships in other playbooks; often, an appropriate new Drive or Relationship
exists elsewhere. If you must create a new Drive or Relationship, keep in mind the
purpose of Drives and Relationships in the game; they should be worded such that
they are something that can be triggered through action. The terms of a Drive or
Relationship should begin with an action verb. Remember that Relationships must
involve another character in some way; triggering a Relationship requires someone
else to do something.
MILESTONES
Milestones represent something similar to “fronts” or “threats” found in other
“Powered by the Apocalypse” games, in that the GM uses Milestones to help
structure the game experience. The GM creates Milestones based on the story that
is taking place and represent something specific that must be accomplished (or
prevented) to further the story. Once the players pass a Milestone, there are game
effects – such as earning xp or refreshing resources.
The GM creates a Milestone to represent a specific action that affects the

ongoing story. The terms of this Milestone, whether the PCs succeed or fail, will
have a direct impact on the fiction. The GM introduces a Milestone once the story
concepts inherent in the terms have been brought into the fiction.
A Milestone represents a specific action that the players are trying to complete
as part of the continuing story. It is worded as an action: the players must do
something, prevent something, find something, rescue someone, destroy some-
thing, get to a certain place, discover the truth behind some mystery, and so forth.
It is essential that the terms of the Milestone are active and not passive – the PCs
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should be the ones determining, though their actions and decisions, whether the
Milestone passes for good or ill.
The terms stated in your Milestone should be worded in such a way that it is
easily determined whether or not the action has been successfully completed.
It is a binary proposal; the characters either achieved the thing stated in the
Milestone or they didn’t. Ask yourself: “Will I know that the PCs successfully
completed the action?” If you can’t answer “yes” or “no” to this question, your
Milestone needs to be re-worded. When creating the terms of a Milestone, the GM
should consider what effects passing the Milestone will have on the fiction. This
is especially important because the GM will need to judge whether passing the
Milestone was success or failure.
The story should have an inherent pressure to successfully complete the

Milestone; this could be a time-based pressure or an event-based pressure. The
pressure is necessary because the GM will need to consider how to react if the
PCs fail against the terms in the Milestone. If there isn’t a pressure to succeed in
the action stated in the Milestone, consider re-wording it.
The creation of a Milestone requires that the GM has a handle on the game’s
story and where it is likely headed. If you are running a one-shot or convention
game, Milestones can be created ahead of time; you will want to do this because
it will save you time during the session. Otherwise, in an ongoing game, Mile-
stones should be created organically, based on the needs of your story. Once
created, the Milestone will be known to the players; the GM should not present
the Milestone until the story elements inherent in the Milestone have been
established in thestory.
Here is an example story that features Milestones and how they are imple-
mented and used.
At the beginning of the story, the PCs are tasked with finding out what happened
to Princess Moonbeam. The Milestone “Discover the truth behind Princess Moon-
beam’s strange disappearance” is introduced. The related pressure is that the King
and Queen have threatened to expel all foreigners from the planet unless Princess
Moonbeam is returned by dawn. After this Milestone is resolved, the PCs learn that
Princess Moonbeam has been captured by the Blackstar Pirates. A new Milestone,
“Find the secret base of the Blackstar Pirates” is introduced. The PCs know that the
Blackstar Pirates are known to sell their captives into slavery (the characters must find
Princess Moonbeam before this happens, obviously). Once the PCs find the secret
base, they learn that Princess Moonbeam is there. Finally, the GM introduces the
Milestone, “Rescue Princess Moonbeam from the clutches of the Blackstar Pirates”.
The Blackstar Pirates realize that their base has been infiltrated and are trying to get
away with their captive.

Finally, once the GM has created the Milestone, it should be presented to the
players. Use an index card or a whiteboard to present this.
A Milestone is a turning point in the plot. Passing the Milestone means that
the story has moved into a new phase. In addition to the story-based reasons why
passing a Milestone is important, we also want to provide a mechanical reward for
successfully completing a Milestone. Within the context of the game, successfully
completing a Milestone gives each character 1 xp; failure to complete the action
detailed in the Milestone does not provide xp. Some characters may have addition-
al benefits from the passing of a Milestone; see the individual playbooks for more
information.
The GM will determine when the Milestone has been passed; at this point, there
is no going back and the story moves on to the next phase, whatever that may be.
Milestones may pass because the PCs were successful in the action stated in the
Milestone, but they can also fail to achieve whatever was stated in the Milestone
and this also has consequences within the fiction. In any event, when a Milestone
has passed, it means that the opportunity to achieve the action inherent in the
Milestone is gone (for good or ill).
CLOCKS AS MILESTONES
The GM may choose to introduce a different kind of Milestone, a clock or countdown.
This could make sense when the Milestone has a critical time component. A clock or
countdown still counts as a Milestone for the purposes of Experience (with the same
results for successfully resolving the Milestone).
In addition to the usual properties of a Milestone, a clock also has several “ticks” –
these can be represented as checkboxes on the same sort of index card that might
be used for a standard Milestone. Every time a PC move results in a failure – for any
reason – the GM “ticks” the clock. When all boxes are checked, the Milestone fails
with the usual results. If the PCs resolve the terms of the clock before all boxes are
ticked, this counts as successfully passing the Milestone.
Each clock has a number of “ticks” or checkboxes based on the GM’s interpretation
of how difficult it should be to resolve the situation. A clock should have at least 4
checkboxes and probably no more than 12. In some cases, though, a clock meant to
last for an entire session could have more checkboxes.
Sometimes, a clock will be introduced without a stated purpose. This could be due
to some mysterious situation that the PCs don’t know or understand yet. The clock
still gets ticked for failures; it should behoove the players to discover what this clock
represents.
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THE END OF SESSION MOVE

An important special move, “End of Session”, is another source of Experience.
At the end of a game session, the “End of Session” move is triggered. According
to the terms of this move, the GM is directed to ask the group questions about
what happened in the game session and then award additional xp based on
Milestones passed (whether successful or not); this xp is separate from the xp
earned during game play for successfully completing Milestones. Thus, at the end
of the session, characters will have earned 1 xp for each Milestone completed
and 1 additional xp for successfully completing each one.
The questions that the GM asks are intended for the entire group; it is
democratic in nature, so while individuals may have their own answers to these
questions, the group should come to a consensus on whether the answer to each
question is “yes” or “no”. Some questions may not apply to every game session; in
the case where a question is irrelevant, the group answers, “no”.
BEHIND THE END OF SESSION QUESTIONS

It is important to understand what the “End of Session” questions are asking and
how they should be answered.
Did everyone trigger at least one Drive? If each PC triggered at least one Drive, this
is “yes”.
Did everyone trigger at least one Relationship? If each PC triggered at least one
Relationship, this is “yes”.
For the questions above, it may be prudent to track that a character has triggered a
Drive or Relationship at least once during the session.
Did we survive despite incredible odds? Infinite Galaxies should be about high
action and adventure, so this should be happening regularly. “Incredible odds”
could mean that the PCs are outnumbered, outgunned, or simply outclassed, and
came out on top anyway.
Did any of us undergo a transformation – physical, mental, or spiritual? A transfor-

mation means that something changed about one of the characters; this isn’t as
likely to happen in a shorter game, but, in a long-term game, this becomes more
likely as the story focuses more on character development. A physical transfor-
mation could be a serious injury or acquiring a cybernetic replacement or implant.
A mental transformation could be a change in personality or thinking. A spiritual
transformation may be a new belief, understanding in the supernatural, or a new
faith.

BEHIND THE END OF SESSION QUESTIONS, CONT’D
Did any of us make a new ally or turn an enemy into a friend? Making a new ally
means that an NPC not necessarily allied to the group joins them on an adventure
or becomes an invaluable resource. Turning an enemy into a friend is something
common in fiction; the GM should make this a possibly with many enemies.
ADVANCES
The move, “Advance”, allows a character to take a new move or other options
from their playbooks (and, possibly, other playbooks). Once a character has earned
at least 9 xp, they can use the “Advance” move to pick an Advance from their
playbook. Characters may use the “Advance” move more than once per session;
they must have 9 xp for each use.
The “Advance” move states, “When you have time to reflect on your recent
adventures…” The GM may rule that a character needs to use “Advance” during
some period of downtime (and not in the middle of a scene). GMs may determine
this for their own groups; Infinite Galaxies makes no directive other than what the
move states. During a particularly fast-paced game, or one operating under a time
limit, the GM may allow characters to advance without taking downtime.
When a player uses the “Advance” move, they choose a new move or other
option from their character’s playbook. Among these options are standard Advances
available to all characters: increasing Vitality (or adding a Wounds checkbox),
increasing an Ability, increasing the Damage Die, permanently enhancing a basic
or special move, taking a move from a different starting package, taking a move
from another playbook, and taking on a Companion. In addition to these standard
Advances are moves specific to the character’s playbook. These “advanced moves”
build upon, use, supplement, or replace moves from the starting packages.
DAMAGE DIE ADVANCES

When you advance a character’s Damage Die for any reason, follow this
progression: 1d4, 1d6, 1d8, 1d10, 1d12, 2d6, 2d8, 2d10. Typically, characters will
not advance their Damage Die beyond 1d12, but the foregoing will allow for strange
situations in which that may occur.
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Advances often have prerequisites. This means that you need another move or
ability to qualify to take the Advance. The requirement will be listed within the text
of the move. For example, the Ace has an Advance, “Shields Specialist”, which
contains the text, “When you modify a vessel using Tinker…”. Note that “Tinker”
is a move from one of the Ace’s starting packages. Thus, “Shields Specialist”
requires “Tinker”. Most moves with such requirements will be worded in this
manner. On occasion, a move may list a prerequisite in a more direct fashion. In
the list of Advances, you may see “Req.”, which means that a move or piece of
gear is required to take that Advance.
An Advance may replace a prior move. This is sometimes known as a “move

chain”. Often, when a move replaces another, the newer version is “better” or
gives additional options. Moves that replace other moves will be noted as such in
the text. In the list of Advances, you may see “Rep.”, which means that a move or
piece of gear is replaced by the new Advance.
Characters may take up to three moves from other starting packages in their
playbook. To acquire moves from a starting package, an Advance must be spent
on each move. Thus, at most, a character could have the equivalent of two
starting packages – the one they start with and three advances spent on the
moves from another one.
Most Advances in Infinite Galaxies can only be selected once. Moves that can
be taken more than once are marked as such in the playbook (along with the
number of times that the Advance can be taken).
Despite this general restriction, there are certainly combinations of moves

within the game that affect one another. Unless otherwise directed, moves that
affect the same action (spending a Use of an item, marking Ammo, granting a
bonus to someone, enabling healing, and so forth) do stack. Thus, if your Leader
character with the Strategy package has the “Effective Recovery” move, the
Leader will add the CHA modifier to any healing done with either “Sudden Recov-
ery” or “Issue Orders” moves. If the same Leader character also had the “Medical
Specialist” move, they could mark a Use of Medic Gear to add their INT to the
healing in either situation.
One specific case where moves do not stack is the use of Reserve. If a
character has more than one move allowing them to spend Reserve for a certain
effect or outcome, this affects only the Reserve move in question. For example,
if a character had both “Build Reserve” (from the Psi playbook) and “Reposition”
(from the Soldier playbook), the Reserve pools must be kept separate and the
use of either Reserve pool affects only the move for which the Reserve pool was
generated. For more information on how Reserve works, see Chapter 2: How to

Play. Having Reserve is different from spending Reserve; generally, having Reserve
refers to any source of it.
In general, characters are not restricted from taking moves from other play-
books. Up to three moves can be taken as advances from other playbooks. Players
should always examine any prerequisites and ensure that their character qualifies
to take a move from another playbook. The GM has the final say in whether a
character can take a move from another playbook.
TAKING DRIVES AND RELATIONSHIPS FROM OTHER

PLAYBOOKS
When characters take moves from other playbooks, it may make sense to allow
those characters to select Drives and Relationships from those other playbooks. The
GM should consider this on a case-by-case basis.
Moves that require or depend on other moves or resources must be taken in the
appropriate order. For example, the Soldier’s advanced move, “Bigger Explosions”,
requires that the character already have the starting move, “Demolition”.
There are two moves in Infinite Galaxies that cannot be taken using Advances:
the Ace’s “Your Ship” move and the Robot’s “I, Robot” move. Some other moves,
such as the Soldier’s “Combat Training”, represent a significant time investment;
the GM can choose to allow characters to acquire such moves, but it should make
sense within the context of the game.
Note that the Robot character cannot take moves from other playbooks. This is
the only character playbook with this restriction.
ACQUIRING PSI MOVES

Non-Psi characters who acquire a Psi move that spends Reserve also acquire the
default moves, “Build Reserve” and “Reserve Moves”. For example, a non-Psi
character selects the “Move Object” move as an Advance. Because this move uses
Reserve, the character would also get the moves, “Build Reserve” and “Reserve
Moves”. Non-Robot characters taking moves from the Robot playbook should do so
only with the GM”s consent.
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EXAMPLE OF PLAY
Before the action starts, players have chosen their Relationships. Shawn,
who has the Soldier, has chosen “I must train Ansley to make better choices in
combat.”. Chad, who has the Scientist, has chosen, “Meeki must protect me from
injury.”. Michael, who has the Ace, has chosen, “I must train Exander in their ship
duties.”. Robert, who has the Leader, has chosen “I must keep Audrey ready and
available for action.”. Elliott, who has the Psi, has chosen, “I must teach Ansley to
be self-reliant.”. Characters will have other Relationships; for brevity’s sake, the
example discusses just the foregoing.
During the first session, Jim has introduced the Milestone, “Infiltrate the
Heavy Cruiser”. At this point, each player marks two Drives for their characters.
Elliott has chosen, “Defeat a force of superior numbers or firepower.”. Shawn has
chosen, “Explore a dangerous area where combat is likely.”. Michael has chosen,
“Pilot your ship through dangerous territory.”. Chad has chosen, “Prove your
intellectual superiority over your enemies.”. Robert has chosen, “Lead your allies
to victory against a significant enemy.” Characters will have more than one Drive,
but this example discusses only these.
As play continues, the players, knowing their selected Drives and Relation-
ships, as well as the stated Milestone, drive the action toward triggering these
actions. Alexander pilots the ship through a squadron of enemy fighters en route
to the Heavy Cruiser, triggering Alexander’s Drive. During this combat scene,
Exander spends Reserve on “Issue Orders” and this helps his allies to defeat the
fighters; this triggers Exander’s Drive. Also during this scene, Michael and Robert
roleplay an interaction where Alexander explains how to raise shields to Exander,
triggering Alexander’s Relationship with Exander. These triggers earn 1 xp to
Exander and 2 xp to Alexander.
The PCs are initially unable to board the Heavy Cruiser, but Ansley comes up
with an access code that they can use to sneak aboard. The GM rules that this
triggers Ansley’s Drive. Ansley foolishly enters the Cruiser and is beset by enemy
guards. Meeki jumps into the fray, saving Ansley from certain harm, triggering An-
sley’s Relationship with Meeki. Then, Meeki and Audrey take the lead in dispatch-
ing the rest of the guards. Defeating a group of enemies triggers Meeki’s Drive.
After the combat, Audrey and Ansley roleplay a scene where Audrey excoriates
the Scientist for being so foolhardy, triggering Audrey’s Relationship with Ansley.
These triggers earn 1 xp each for Audrey and Meeki and 2 xp for Ansley.
Because the PCs have successfully infiltrated the Heavy Cruiser, the GM
awards everyone 1 xp each for resolving the Milestone. Once the PCs have
decided what to do next, Jim creates a new Milestone.

The PCs explore the Heavy Cruiser. They are trying to locate an important NPC,
“Baron Fess”, who has been captured and is being held here. The PCs don’t want
to stay on the Heavy Cruiser for long, so they must quickly find Baron Fess and
leave. Jim creates a new Milestone, “Locate Baron Fess and Escape the Cruiser”.
Ansley suggests that they hack into the ship’s logs and determine where
the prisoner is held. Ansley knows where to access this information, but wants
everyone to come along for safety. Meeki suggests that the Scientist do it himself
so that the rest of the PCs can explore the ship. This triggers Meeki’s Relationship
with Ansley. Exploring the Heavy Cruiser triggers Audrey’s Drive. While Ansley
hacks the ship’s database, the rest of the PCs run into guard robots and enter
combat. During the fight, Audrey takes significant damage and drop to 0 Vitality.
Exander uses “Patch ‘Em Up” to heal Audrey, which triggers Exander’s Relationship
with Audrey. These triggers earn 1 xp each for Meeki, Audrey, and Exander.
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7. GEAR
This chapter presents the equipment and gear characters use in the game. While
characters have many capabilities that are not wholly dependent on equipment,
special technology and gear are such a large part of any science fiction experience.
This chapter presents the basics on gear, how the economy works in Infinite Galaxies,
and lists many pieces of equipment found in the game.
GEAR BASICS
In a science fiction game, devices and gear tend to be more essential to getting
the “feel” of the genre than in other games. That said, the equipment characters
use should not be a crutch. While certainly useful, equipment alone should not be
seen as the only means to an end; characters should use their gear in smart and
interesting ways to solve problems.
Equipment in this section covers many different types of items characters might
use. It includes things like rations, jet packs, scanning modules, tools, medical
gear, communicators, clothing, weapons, and armor. See specific sections below
regarding character armor and weapons, as well as gear with special rules.
Characters start play with several items and can always buy or otherwise
acquire more. It is important to note that Non-Player Characters (NPCs) also have
equipment; characters may be able to acquire gear from them.
Infinite Galaxies assumes that every character has access to some basic equip-
ment that does not show up in their playbook. A character always has clothing, a
communicator, and some container, like a belt pouch, backpack, or handysack.
Weapons and armor are acquired at the start of play and can be upgraded later.
LOSING AN IMPORTANT ITEM

Any time a move or advance gives a character an item, if this item is lost, the GM is
directed to give the character a chance to replace the item. For example, the Robot’s
“Matter Gun” move gives the character a ranged weapon. Should the Robot ever lose
this matter gun, the GM should give the character an opportunity to get a new one or
rebuild the weapon.
The use of any item in the Infinite Galaxies game is governed by the item’s tags.
Item tags can affect how the character carries the item, how much weight and
space the item takes up, any damage or other harmful effects, bonuses the item
might grant to a roll, and other options affecting many aspects of play. For a list of
these tags and what they mean, see Chapter 2: How to Play.
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Players should take note of the total weight of their characters’ equipment. A
character with more weight than their Load triggers the “Loaded Down” move,
which is detrimental unless quickly addressed.
ECONOMY
The economic aspects of Infinite Galaxies are, by design, rather abstract. After
all, this is an action and adventure game, not a simulation of buying and selling.
That said, the game does have an economy and this is represented through the
mechanics of Credit and Barter. Most characters start play with at least 1-Credit
(and some have more) and may acquire more Credit and could acquire Barter
during play.
Credit represents some amount of currency. For your own Infinite Galaxies
game, feel free to determine what currency is used. In the “default setting”, also
known as Star Patrol, the various star systems have agreed upon the use of “Ga-
lactic Credits”, which are usable in most markets of the setting’s various worlds
and space stations. Some societies may have their own currency but, for the sake
of expediting play, assume that all Credit that characters acquire is immediately
usable to acquire items.
The Infinite Galaxies game assumes that characters can acquire incidentals –
basic food, shelter, clothing – without spending even 1-Credit. This tenet assumes
that characters have access to shops or similar facilities; this applies when at
a space station, large starship, or settlement, not in the middle of a desert or
jungle. Most basics cost far less than 1-Credit and the players should not have to
trifle with the acquisition of such things.
Chapter 7: GEAR 181

WHAT’S A CREDIT WORTH?
Because Credit is an abstract concept in the Infinite Galaxies game, there may be
times when the Game Master or other players need to determine an equivalence
between a given amount of “Credit” and the worth of items or services in the
game. Of course, we have equipment lists, and while those are somewhat useful in
determining such equivalence, we present this table to show what “Credit” means in
terms of other things in the game.
Table: Credit Equivalents

Average person’s week’s pay, hotel room for a week, starship docking fee,
1 Utility Belt
Average person’s month’s pay, Laser Pistol, Flexsteel Armor, fashionable

2 clothing
Standard service robot, ship’s passage to far-flung location, annual taxes

3 for a family
Average person’s annual pay, extensive cybernetic implants, Matter-Anti-

4 matter Engine
Interstellar communications array, small air vessel, Starbreaker Gun (vessel

5 weapon)
Annual income for a small business, annual income for a spaceball star
6 player
Small luxury land vessel, annual income for interstellar gangster lord or
7 corporate CEO
8 Wealthy estate on a habitable planet, small fusion planetary reactor
9 Annual income for a small mining colony, stock starfighter
10 Stock merchant transport, annual income for a merchants’ guild
15 Stock gunship or frigate, purchasing a small mining colony
Annual income for a small interstellar corporation, luxury or custom space

20 cruiser
Please note that this is heavily based on the Star Patrol setting; for your own
setting, you and the other players may need to come up with an alternate list.
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Barter represents some measure of tradable commodities of value. 1-Barter is

roughly equivalent to what might be purchased with 1-Credit, although this is not
always true. When a character uses Barter, they must use the “Barter” move. This
is a bit of a gamble, as an item that might cost 1-Credit may end up requiring 2- or
3-Barter to acquire. Characters might acquire Barter when salvaging a damaged
robot or vessel or perhaps when rummaging through an abandoned space station.
The basic difference between Credit and Barter is that Credit can be spent,
1-for-1, to acquire items from the equipment list, whereas Barter can be used the
same way, but requires some haggling.
From time to time, characters may wish to sell items they have acquired during
play and no longer need. A character might even want to sell something from their
starting equipment. When a character wants to sell an item, and has access to a
market in a civilized settlement (such as a city, a spaceport, a space station, or a
capital ship), the character can receive Credit equal to half (rounded down) of the
item’s cost in the equipment list. Items listed with a price of 1 cannot be sold for
Credit (except, perhaps, in bulk). If a character is willing to accept Barter for their
items, they receive 2/3rds (rounded down) of the item’s price in Barter. Items
listed with a price of 1 can be exchanged for 1-Barter.
Selling items in bulk does not work in a direct mathematical relationship to the
above. For the purposes of the exchange, every group of 3 like items counts as 1
item, every group of 5 items counts as 2 items, and every group of 8 items counts
as 3 items. Use your best judgment for groups of items outside these ranges.
When selling items, characters should not expect to spend a lot of time or
gain a lot in return. Again, Infinite Galaxies is an action game, not a commerce
simulation. Use the selling and trading of items where it moves the game forward
and makes things more interesting.
STARTING GEAR
Most playbooks in Infinite Galaxies gives characters the options to start with
some equipment. The Robot is the lone exception; they will start with one item at
the most. The selection of starting equipment is closely tied to the capabilities and
expected utility of the playbook. Likewise, the list of optional equipment reflects the
moves the character is likely to use. Most playbooks start with at least 1-Credit and
can use that to purchase additional items prior to the start of the game.
Players are free to negotiate the list of starting items with the GM. For a
particular character concept, or perhaps owing to the setting or game concept,
characters might need different starting equipment than what shows in the
published playbooks.
Chapter 7: GEAR 183

WHAT’S IN A UTILITY BELT?
The Utility Belt is an interesting item and one that takes some special understand-
ing. The idea behind the Utility Belt is that it contains a number of “player-defined”
items. “Player-defined” means that, for each Use marked, the player decides what
item is produced from the Utility Belt.
What sort of items could a player produce from a Utility Belt? There are a few limita-
tions that apply to these items. First, the item must be small enough to fit into a belt
and several pouches on the belt. So, you couldn’t produce a rifle or extensive toolkit.
Second, the item is usable only during the scene in which the player defines the
item. A player could keep using the same item in subsequent scenes, but it would
require them to keep marking Uses of the Utility Belt; the GM is free to hand-wave
this restriction if it makes sense in the fiction. Finally, the item must not provide
more than a +1 forward to any roll and even this is at the GM’s discretion; there are
times when the GM might require the use of a Utility Belt item and not provide any
bonus.
Here is a list of items that might be produced from a Utility Belt. Please keep in
mind that this is not an all-inclusive list; players should be encouraged to use their
creativity.
Antiseptic, Astro-Glue, Atmospheric Tester, Batteries, Calculator, Calipers, Chalk,

Chemical Firestarter, Chemical Tester, Climbing Spikes, Communicator*, Depth
Gauge, Dice, Disposable Syringes, Duct Tape, Electric Drill, Electric Hammer,
Entertainment Media, Engineer’s Gloves, Exo-Grappler with 20ft of Tensile Line, Exo-
Wrench, Fixatives (Nails, Screws, etc), Flare Gun, Folding Tripod, Frequency Scanner,
Handcuffs, Hat, Hyper-Screwdriver, Interstellar Compass, Ionic Firestarter, Jumpsuit,
Laser Pointer, Magnet, Magnifier, Makeup, Measuring Instruments, Micro-Binocs,
Micro-Illuminator, Mini Fire Extinguisher, Mirror, Multimeter, Oil (various), Playing
Cards, Pliers, Pocket Knife, Portable Image Projector, Portable Recording Media/
Player, Rad Detector, Random Computer Components or Wiring, Razors, Scissors,
Short Mini-Chain (10ft or so), Signal Device, Small Containers (like Sacks or Bags),
Soap, Solvent (various), Space Canteen, Space Goggles, Swimming Mask and
Breather, Thermometer, Thinnex Gloves, Trail Spikes, Vibrometer, Water Pack, Wig,
Writing Implements
* Characters are assumed to have Basic Communicators. See below for more
information on this.
The Survival Gear item works the same as the Utility Belt except that it holds larger
items. A Robot may acquire an Array of Tools, which is the same as the Utility Belt
except that it is loaded into a Pod (and has the Integral tag).
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CHARACTER EQUIPMENT LISTS

This section presents a list of items of interest to Player Characters. These lists
do not represent everything that exists in the game; feel free to create new items
based on the general guidelines presented in the items listed below.
General Use Items

This section presents non-combat items that are used in various ways.
Multi-Use Items
ITEM TAGS PRICE NOTES
Digital Encyclopedia 3 Uses, 1 Weight 2 Add +1 forward to “Understand”
histories or societies.
JetPack 2 Uses, Volatile, Worn, 3 Fly a short distance or hover for a
2 Weight short period of time.
Metamorph Disguise System 3 Uses, Training, 0 4 Add +1 to impersonate someone or
Weight disguise your appearance.
Scanning Module 3 Uses, 1 Weight 1 Add +1 forward to “Understand” an
environment.
Space Rations 3 Uses, 1 Weight 1 Food.
Specialized Tools (Demo- 3 Uses, Volatile, 1 2 Required for certain moves.
lition) Weight
Specialized Tools (Hacking) 3 Uses, 1 Weight 3 Required for certain moves.
Survival Gear 3 Uses, Worn, 2 Weight 1 Contains medium-sized, player-de-
fined items.
Tallic Incense 3 Uses, 0 Weight 2 Add +1 forward to “Build Reserve”.
Utility Belt 3 Uses, Worn, 1 Weight 1 Contains small-sized, player-defined
items.
Medical Items
Accelerated Recovery 2 Uses, 0 Weight 1 Target recovers 4 Vitality. Must be
Injections used out of combat.
Automated Medic 2 Uses, 2 Weight 3 Target recovers 4 Vitality.
Full-Spectrum Immunity Consumable, 0 Weight 1 Instantly removes effects of disease.
Tablets
Genetic Cycler Consumable, 0 Weight 3 Restores 8 Vitality and removes a
Debility.
Medic Gear 3 Uses, 1 Weight 1 Used in conjunction with certain
healing moves.
Metabolic Tonic Consumable, 0 Weight 2 Restores 8 Vitality.
Toxin Antibodies Consumable, 0 Weight 2 Instantly removes effects of poison.
Chapter 7: GEAR 185

Miscellaneous Items
Ammo Dispenser +1 Ammo, Worn, 1 Weight 1 Increases Ammo for one weapon.
Beta-Wave Headband Worn, 0 Weight 3 Add +1 to “Defy Danger” against
mind-influencing effects (such as
psionic powers).
Binocs 0 Weight 1 Magnifies images at great range.
CycloDisk 0 Weight 1 Record video, audio, or raw data. Can
be used to transmit recordings up to 1
parsec away (requires receiver unit).
Extended Power Pack +1 Recharge, Worn, 2 Increases Recharge for one weapon.
1 Weight
Galactic Communicator Worn, 1 Weight 2 Communicate with anyone on the
same interstellar frequency within
1 – 3 star systems.
Standard Communicator 0 Weight 1 Communicate with anyone on the
same interstellar frequency within 1
parsec.
Portable Illuminator 0 Weight 1 Emits bright light out to near distance.
Space Suit Worn, 1 Weight 1 Allows wearer to operate in a vacuum.
Repair Items
Repair Module Consumable, 1 Weight 2 Restores 4 Vitality or 1 Wound to a
robot or 8 Hull or 1 Critical to a vessel.
Specialized Tools (Robot) 3 Uses, 1 Weight 2 Required for certain moves.
Specialized Tools (Starship) 3 Uses, 1 Weight 2 Required for certain moves.
Robot Items
Array of Tools 3 Uses, Integral, 1 Weight 3 Works like a Utility Belt for robots.
Fire-Link Integral, 0 Weight 1 Add +1 ongoing to “Shoot” with a
specific Integral weapon; on a failure,
this shorts out and must be repaired.
Illuminator Integral, 0 Weight 1 Emits bright light out to near distance.
Mini Tractor Beam Integral, Near, 1 Weight 2 Pulls something towards you.
Motion Detector Integral, 1 Weight 1 Add +1 ongoing to “Analyze” in
darkness or cramped spaces.
Network Spike Integral, 0 Weight 2 Add +1 ongoing to infiltrate a
computer network.
Ultramagnetic Field 3 Uses, Integral, 1 2 Add +1 forward to “Defend”.
Generator Weight
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Social Items
Chantarii Smoke Consumable, 0 Weight 1 Add +1 forward to “Negotiate” when
shared between the two parties.
Cylinder of Chantarii Ale Consumable, 4 Weight 2 Add +1 forward to “Celebrate”.
Falsified ID 0 Weight 2 Used for certain sneaky moves.
Fancy Clothing Worn, 0 Weight 2 Used to impress people in a social
scene.
Military Uniform Worn, 0 Weight 2 Used to impress military people in a
social scene.
Weapons and Armor

This section presents equipment used in combat and, on occasion, in other
stressful situations.
Ammo Weapons
Chantarii Neutron Caster 3 Ammo, Far, Near, 2
Two-Handed, 1 Weight
Cluster Missile Rifle 3 Ammo, +1 Damage, 2
Far, Near, Two-Handed,
2 Weight
Flamethrower 3 Ammo, Area, Close, 3 Inflicts fire damage.
Near, Volatile, 2 Weight
Grenade Launcher Far, Near, 2 Weight 3 Effect as grenade used; ammo as
grenade.
Heavy-Duty Flamethrower 3 Ammo, Area, Close, 4 Inflicts fire damage.
Military, Near, Two-Hand-
ed, Volatile, 3 Weight
Heavy Matter Pistol 3 Ammo, +1 Damage, 2
Military, Near, 1 Weight
Heavy Matter Rifle 3 Ammo, +2 Damage, 3
Far, Military, Near,
Matter Pistol 3 Ammo, Near, 1 Weight 2
Matter Rifle 3 Ammo, +1 Damage, 2
2 Weight
Power Crossbow 3 Ammo, +1 Damage, 1
3 Weight
Chapter 7: GEAR 187

Beam Weapons
Faze Disruptor +2 Damage, Far, Near, Piercing (2), 4
3 Recharge, Two-Handed, 2 Weight
Faze Pistol +1 Damage, Near, Piercing (1), 3
2 Recharge, 1 Weight
Ion Disruptor Area, Far, Military, Near, 2 Recharge, 3 Inflicts electrical damage
Ion Pistol Near, 2 Recharge, 1 Weight 2 Inflicts electrical damage
Ion-Pulse Rifle Far, Military, Near, 2 Recharge, 2 Inflicts electrical damage
Laser Pistol +1 Damage, Near, 3 Recharge, 2
1 Weight
Laser Repeater Autofire, +2 Damage, Far, Military, 2
Near, 3 Recharge, Two-Handed,
2 Weight
Laser Rifle +2 Damage, Far, Near, 3 Recharge, 2
Grenades
Anti-Personnel Grenade 1 Ammo, Area, Piercing (1), Thrown, 1
Volatile, 1 Weight
BigBang Grenade 1 Ammo, Area, +1 Damage, Thrown, 1
Volatile, 1 Weight
Gyro Grenade 1 Ammo, Area, Thrown, Volatile, 1 1 Disorients those in area.
Weight
Ion Grenade 1 Ammo, Area, Thrown, Volatile, 1 1 Inflicts electrical damage
Weight
Heavy Weapons
Auto Grenade Launcher Autofire, Far, Heavy, Military, Near, 4 Effect as grenade used;
Two-Handed, 3 Weight ammo as grenade.
AV Proton Missile Launcher 3 Ammo, +2 Damage, Far, Heavy, 5 Deals vessel-scale
Military, Near, Two-Handed, 4 Weight damage to vessels.
Heavy-Duty Rail Gun 3 Ammo, +2 Damage, Far, Heavy, 4
Military, Near, Piercing (2), Two-Hand-
ed, 3 Weight
Hellfire Plasma Ejector 2 Ammo, Area, Close, +1 Damage, 5 Inflicts fire damage
Heavy, Military, Near, Two-Handed,
Volatile, 3 Weight
Rotary Mini-Missile Launcher 3 Ammo, Area, Far, Heavy, Military, 3
Near, Two-Handed, 2 Weight
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Melee Weapons
Dueling Sword Close, Piercing (1), 2
Precise, 1 Weight
Electro-Dagger Close, Consumable, 2 Paralyzes a human-sized target.
Precise, 1 Weight Inflicts electrical damage.
Military Pole Axe Close, +1 Damage, 2
Military, Reach,
Military Power Sword Close, +1 Damage, 2
Military, 1 Weight
Mindcrusher Rod Close, 1 Weight 2 Add +1 damage against targets with
psionic abilities.
Power Spear Close, +1 Damage, 1
Reach, Two-Handed,
1 Weight
Survival Knife Close, 1 Weight 2 Add +1 to moves related to finding
shelter or skinning beasts.
Miscellaneous Weapons
Electro-Net Consumable, Thrown, 1 Paralyzes a human-sized target.
1 Weight Inflicts electrical damage.
Psi Disabler Consumable, 1 Weight 2 When applied, target cannot use
Psionic abilities.
Robot Spike Close, Consumable, 1 Disables a robot.
0 Weight
Psionic Weapons
Kreth Javelin Close, +1 Damage, Piercing (1), 3
Thrown, Training, 1 Weight
Kreth Staff Close, +1 Damage, Reach, Training, 3
Kreth Sword Close, +1 Damage, Training, 1 Weight 3
Chapter 7: GEAR 189

Robot Weapons
Bot Saw Close, +1 Damage, Integral, Reach, 1
0 Weight
Flamethrower 2 Ammo, Area, Close, Integral, Near, 3 Inflicts fire damage.
Volatile, 1 Weight
Matter Gun 3 Ammo, +2 Damage, Far, Integral, 2
Near, 0 Weight
Repeating Fazer Autofire, +1 Damage, Far, Integral, 3
Near, Piercing (1), 2 Recharge,
1 Weight
Shoulder-Mounted Missile 3 Ammo, Area, +2 Damage, Far, 3
Launcher Integral, Near, 2 Weight
Personal Armor
Chrysalis Carapace 2 Armor, Worn, 1 Weight 3 Ignores the Piercing tag on beam
weapons.
Explorer Armor 2 Armor, Worn, 1 Weight 2 Add +1 to wearer’s Load.
Fireproofing Modification 0 Weight 2 Armor applies vs. fire damage.
Flexsteel Armor 2 Armor, Military, Worn, 2
2 Weight
Flexsteel Robes 1 Armor, Worn, 1 Weight 2
Flexsteel Vanguard +1 Armor, Worn, 2 Weight 2
Gas Mask 0 Weight 1 Ignores attacks affecting respiratory
system.
Insulated Guards 0 Weight 2 Armor applies vs. electrical damage.
Juggernaut Powered Armor 3 Armor, Military, Worn, 5 Armor applies vs. vessel-scale
3 Weight damage.
Personal Shield Generator +1 Armor, Worn, 1 Weight 2
Spiked Armor 1 Weight 1 Add +1 damage you inflict on
someone grappling you.
SubtleTech Armor Plates +1 Armor, 1 Weight 3 Add +1 ongoing to avoid someone
detecting your armor. Cannot be used
with Juggernaut Powered Armor.
Synthleather Hauberk 1 Armor, Worn, 1 Weight 2
Synthleather Vest 1 Armor, Worn, 1 Weight 2
Underwater Modification 0 Weight 2 Wearer can operate normally
underwater.
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Robot Defenses
Ray Shield Generator +2 Armor (Beam Weapons 2
Only), Integral, 1 Weight
Reinforced Flexsteel Body +1 Armor, 1 Weight 2 Robot only
Spiked Body 1 Weight 1 Robot only. Add +1 damage you
inflict on someone grappling you.
Underwater Modification 0 Weight 2 Robot can operate normally
underwater.
SPECIAL EQUIPMENT RULES

This section details the use of certain items
with special qualities or rules that require special
attention.
Armor Modifications
Several items modify existing personal and
robot armor. These modifications affect how the
character takes damage or provide other benefits.
There is no practical limit on the items a charac-
ter can have that give a + Armor bonus; the only
real limitation is the increased weight. Damage
modifications, such as Fireproof Modifications or
Insulated Guards, may be applied once to a given
piece of armor. These modifications cannot be
applied to + Armor items, just to pieces of armor
(with the 1 Armor tag, for example).
Cover
This “item” is really a series of items (disguis-
es, etc.) comprising the effort necessary to create
a credible second identity. This is more than just
a Falsified ID; the Cover is a complete identity.
Having a Cover represents that the character has spent time and resources
developing this separate identity and it has certain benefits.
The player should describe this cover and create a false name. When a
character is in this cover identity, they add +1 ongoing to act in this new role until
their cover is blown. This bonus should apply when the character must pose as
this other character or otherwise fool others into believing this identity. When the
Chapter 7: GEAR 191

cover is blown, the character takes -1 ongoing against anyone who knew them in
your second identity; this penalty lasts until something changes in these charac-
ters’ relationship – the GM can determine when this happens.
A character can have more than one Cover at a time. If they do, the player
should create a separate name and description for each one. This can complicate
the character’s life and may give the GM an opportunity to create interesting
roleplaying opportunities.
Disabling and Paralyzing Items

Several items have the purpose of disabling or paralyzing a character. Being
disabled or paralyzed means that the character cannot act. If this happens to a PC,
the GM should enable another character to spend time or resources freeing the PC
from this condition. If this happens to an NPC, it means that the GM cannot have
this character react to moves until the condition ends or an NPC ally spends time
or resources freeing them.
Characters should not be disabled or paralyzed forever; unless there is some

extenuating circumstances, a disabled or paralyzed character should return to
normal at the end of the current scene.
Falsified ID
A Falsified ID is a piece of documentation, usually in the form of official papers
or an electronic card, that is used to pass security checkpoints. The “I.D. Check”
move uses the Falsified ID item and a clever player could find other ways to use it.
When the Falsified ID is acquired, the player should define it by creating a false
name and basic identity; this is not as advanced as a Cover (see above).
Ion Weapons
Robots should be careful to avoid ion weapons, as such weapons ignore robots’
inherent armor (doing full damage unless the robot takes countermeasures). Ion
weapons can also have extra effects on exposed electronics and circuitry.
Juggernaut Powered Armor

This special suit of military-grade powered armor requires special training to use
and is heavy and imposing on the battlefield. It is the only armor that protects the
wearer from vessel-scale damage; other armor has no effect on such damage.
Wearing the Juggernaut Powered Armor is very noticeable and NPCs will react to
seeing it, often causing fear or other adverse reactions.
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Kreth Weapons
Psionic characters are trained in the use of Kreth weapons. These are special
weapons, crafted using rare crystals that react to the use of psionic abilities. The
Kreth weapons listed in this chapter are a few of the many possible weapons
that might exist. Psi characters should use these examples or create their own
interesting varieties.
Since only psionic characters typically use Kreth weapons, NPCs will react to
seeing these weapons displayed and this may prejudice the results of certain
social interactions.
Limit on Worn Items

Characters may possess no more than three items with the Worn tag. This
includes not only armor, but also a Utility Belt and other general-use items. A
character wearing or carrying more than three items with the Worn tag trigger the
“Loaded Down” move, regardless of their calculated weight.
Medic Gear
Medic Gear is a collection of medical tools, medicines, and utility items used to
treat injuries in the field. This is a multi-use item that is used in conjunction with
certain healing moves. Using the Medic Gear without a move does not confer any
sort of bonus or special effect.
Specialized Tools
There are four varieties of Specialized Tools in the game – Demolition, Hacking,
Robot, and Starship – and these are used in conjunction with certain moves
in the game. These are multi-use items that can also be used as resources for
custom moves or other unusual situations that may come up in the game. In
general, though, using the tools without a move does not confer any sort of bonus
or special effect.
Chapter 7: GEAR 193

8. VESSELS AND MOUNTS

This chapter presents how vessels and mounts are used in the Infinite Galaxies
game. Like gear, the importance of spaceships and exotic creature mounts in science
fiction stories cannot be understated. This chapter presents the basics of vessels and
mounts, lists of vehicles (including starships), and how mounts work in the game.
VESSEL AND MOUNT BASICS

This chapter discusses rules for vessels and mounts. For the most part – and
apart from what is presented here – the rules for vessels are not very different
from the rules for other parts of the Infinite Galaxies game. The rules have been
made to align closely with the foundations of Infinite Galaxies with the hope that
using vessels will be a big and enjoyable part of the game experience.
Vessels (the broad term meaning “vehicles” in the game) are one of the distinc-
tive and essential parts of Infinite Galaxies. The Ace playbook starts with a starship
and space travel is considered iconic to many science fiction stories. There are
basic vessel moves allowing anyone to take actions related to the vessel during
play. Any character might pilot a vessel, fire its weapons, or take part in repairing a
vessel. Characters might use a vessel to travel across a lake, treacherous moun-
tains, between planets, or even, between star systems.
Mounts, like vessels, are used to transport characters from one place to
another. Being somewhat intelligent creatures – and this varies from one mount
to another – mounts behave differently than vessels and may require additional
direction and control. Creature mounts have abilities, but they differ from vessels.
In Star Patrol, the “default setting” of Infinite Galaxies, vessels are plentiful and
readily available. Characters should regularly encounter, use, or deal with starships
and other vessels. Your group of characters may even have their own starship to
use. Creature mounts are less plentiful, but certainly common on some planets.
VESSEL RULES
This section defines what makes any vessel – from a starship to the smallest
ground or water vessel. Space vessels tend to be larger and studier than atmo-
spheric vessels. Characters are more likely to travel in space vessels, although
certain adventures may prominently feature land and water travel.
Make sure to read the basic vessel moves. These rules are used in conjunction
with those moves and understanding the moves will help illuminate what follows
here.
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A vessel’s size is a measure of how big the vessel is. A vessel’s type describes
how the vessel is normally used; this is more of a design or roleplaying concern
and has no impact on the rules. All vessels are categorized by their sizes and
types. For a character’s Ship, the player chooses a size from the list provided. For
any other space vessel in the game, the GM chooses a size from the list below.
The size choice affects the vessel’s Crew, Passengers, Abilities, Damage Die, Hull,
Shields, and Capacity (and possibly Maintenance Requirement).
These are the base values for a space vessel of the sizes provided in the
Infinite Galaxies game. The game mechanics and scores for any space vessel
provided in the game are based on these values.
There are bigger vessels than what is presented below – some much bigger –
but those vessels are usually outside of the control of the PCs. Such larger vessels
are known as capital ships or space stations. The main difference between the two
is that a capital ship tends to move around while a space station tends to remain in
one place. In the unlikely event that PCs come into the possession of a capital ship
or space station, the GM will need to create game statistics for these vessels.
Vessels have basic attributes and ability modifiers by their size. Starships and
atmospheric vessels are classified in the same size categories and have the same
base stats.
SIZE CREW PASS MODS HULL SHIELDS DMG DIE MR

Personal 1 1 POW -1, SPD +2, SEN 0, WPN 0 8 1 D6 0
Small 3 6 POW 0, SPD 0, SEN +1, WPN 0 12 1 D6 0
Medium 5 12 POW 0, SPD -1, SEN +1, WPN +1 12 2 D6 1
Large 7 18 POW +1, SPD -1, SEN 0, WPN +1 16 2 D8 2
Vessels that move on a planet’s surface, or in the skies or waters of a planet,

function in much the same manner as do starships. There are, however, slight
differences worth noting.
Air vessels fly and are treated pretty much just as starships. In fact, most
starships and air vessels may operate in the same parts of a planet’s biosphere.
Certain capital ships and other extremely large space vessels may not enter a
planet’s atmosphere (smaller, player-controlled vessels do not have this problem).
Most air vessels have meager Shields, though some do not have Shields at all.
The majority of air vessels have weapons and reasonably resilient Hulls.
Land and water vessels are handled in a different manner than are air and space
vessels. They do not have Shields (except in rare cases) and are likely to be unarmed.
Chapter 8: VESSELS AND MOUNTS 195

Remember that vessels with Shields of 0 do not have Shields and cannot
activate or otherwise interact with them. Vessels with a Damage Die of 0 do not
have weapons (and have WPN of 0 as well) and cannot use attack moves (other
than “Prevail by Force”).
A vessel is rated on how many Crew and Passengers it can accommodate. The
value in Crew represents how many different characters may take actions while
in control of the vessel. This includes the pilot and anyone else aboard the vessel
who can use moves to do something with the vessel. The value in Passengers is
a number of people who can also travel aboard the vessel, but cannot use vessel
moves (they can still take actions affecting themselves or other characters).
Vessels have different abilities than characters do. Vessels have Power (POW),
Speed (SPD), Sensors (SEN), and Weapons (WPN). Like those for characters, these
abilities are ranked from -1 (lowest) to +3 (highest).
Power (POW) rates the vessel’s size and mass and its engines’ output. Speed
(SPD) is obviously the vessel’s ability to move quickly. Sensors (SEN) rates how
expansive and detailed the vessel’s sensor abilities are. Weapons (WPN) describes
the vessel’s combat ability.
Unless otherwise stated, characters in vessels have access to all basic vessel
moves. For more information, see Chapter 2: How to Play.
A vessel’s Hull value is determined by the choice of its size. This is roughly
equivalent to a character’s Vitality. When a vessel takes damage, this is subtracted
from current Hull. When this value drops to 0, and the vessel continues to take
damage, it may also mark Critical checkboxes (if it has them). A character’s Ship
has Critical checkboxes and other, special vessels may as well. Most vessels do
not have Critical checkboxes to mark. When a vessel’s Hull is reduced to 0, it will
usually trigger the “Crash Landing” move. The Ship only uses the “Crash Landing”
move when otherwise directed.
A vessel’s starting Shields value is determined by its size. The Shields value can
be increased using the “Raise Shields” move. The Shields value modifies damage
done to the vessel. This works like Armor does for a character. If a move requires
you to power off your Shields (or gives you the option to do so), any character
on the vessel in a Crew position can make a move to turn them back on, which
automatically succeeds. If a vessel has a Shields of 0, it does not have any Shields
and no one can use moves that interact with Shields.
A vessel’s Damage Die is determined by the choice of its size. This works
as does the Damage Die for a character. See Vessel Scale vs. Character Scale
section, below.
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A vessel with a Damage Die of 0 has no weapons and cannot use the “Fire at
Will” move or attack other vessels (though, possibly, the “Prevail by Force” move;
in this case, use D4 for the vessel’s Damage Die).
VESSEL SCALE VS. CHARACTER SCALE

When characters and vessels interact in combat, use the following calculations. A
character’s damage is reduced to ¼ (rounded down) when used against a vessel.
Unless otherwise stated, always apply a vessel’s Shields against this damage
(regardless of the Piercing tag or other special modifiers on the weapon). A vessel’s
damage is multiplied by four when used against a character. Unless otherwise
stated, a vessel’s damage always ignores characters’ Armor value.
Vessels start with a base Capacity of 4 + POW. Small vessels add +2 to this
value; Medium and Large vessels add +4 to this value. Atmospheric vessels and
creature mounts have Capacity of 2 or 1. Any vessel-scale item with a weight
value is totaled and compared against the Capacity. If the vessel’s total weight
exceeds the vessel’s Capacity, any moves the vessel makes are at -1 ongoing.
Character-scale weight never applies to a vessel’s weight. Do not add character
weights to a vessel’s weight (when compared against the vessel’s Capacity).
Most space vessels start with four Modules. Other vessels may have a fewer
number. Many items that can be added to a vessel will require installation into an
available Module. Vessel items with the Module tag must be put into an available
Module.
Some vessels have Maintenance Requirement. This is an amount of upkeep

and maintenance that must be paid to keep the vessel in working order. This is
paid once per game session. If this is not paid, the vessel will not operate. Should
the Maintenance Requirement be unpaid at the end of a game session, add
the Maintenance Requirement to what must be paid for the subsequent game
session; this is a compounding value that must eventually be paid or the vessel
must be abandoned.
You can recover Uses for a vessel item with the “Restock” move when you are
at a spaceport, space station, or capital ship.
Of course, vessels can be purchased from many vendors and outlets. For
the stock vessels listed below, the Price indicates the Credit or Barter needed
to acquire that vessel. The GM or story may dictate that certain vessels are not
available for purchase or may additional requirements beyond those listed here.
Characters should be encouraged to make changes to their vessels. For

vessels other than the Ace’s Ship, few modifications can be made. Many vessel
modifications require that a vessel’s Modules be used. Most vessels have only

one or two Modules, so this will limit how many modifications may be installed. The
few options that do not require a Module may be applied to any vessel (use your
common sense here, as some modifications are not intended for all vessels).
Space vessels tend to have 4 Modules. For the Ace’s Ship, which has more
Modules than most vessels and its own list of Advances, the range of possible
modifications is rather limitless.
Some characters have moves that make temporary modifications to vessels.

Unless otherwise stated, these modifications can be made to any sort of vessel.
VESSEL EQUIPMENT LISTS

This section presents options for modifying a vessel. These items can be
purchased and added to most vessels.
General Use Items

This section presents items that are used in most vessels, for both combat and
other purposes.
Consumable Items
ITEM TAGS PRICE MR NOTES
Ejection Seats Consumable, 0 Weight 1 Only usable in atmosphere.
Improved Escape Pods Consumable, Module, 2 You cannot get worse than
1 Weight a partial success on “Crash
Landing”.
Engine Items
Backup Engine Consumable, Module, 1 3 Use to ignore the effects of
Weight your engine being disabled.
Lasts for the rest of the Scene.
Electronium Power Cells 0 Weight 3 +1 Medium and Large Vessels
only. Add +1 ongoing to SPD
related moves.
MAME Booster 0 Weight 4 +1 Add +1 to OtherNav related
moves.
Supercharged Ions 0 Weight 3 Add +1 to repair the vessel’s
engine.
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Hull/Body Modifications
Crystal Matrix Hull 0 Weight 4 Add +4 to Hull.
Heavy Bulkhead 1 Weight 3 +1 Add +1 to “Prevail by Force”.
Add +1 to resulting damage
to target. Vessel SPD cannot
exceed 2.
Heavy Chassis 0 Weight 3 Add +4 to Capacity.
Hull Spikes 0 Weight 1 Add +1 to damage inflicted
with “Prevail by Force”.
Hybrid Armor 0 Weight 4 Ignore Piercing (1) on an
attack.
Reflective Hull +2 Shields, 0 Weight 3 +1 Only effective against beam
weapons.
Streamlining 0 Weight 2 Add +1 ongoing to “Evasive
Action” while in atmosphere.
Miscellaneous Items
Armory 3 Uses, Module, 1 Weight 2 +1 Requires Small vessel or
larger. Use to add +1 Ammo
and Recharge for all character
and vessel weapons. Lasts
until the end of the next scene.
Autopilot 1 Weight 4 +1 Takes up a Crew position.
You can direct vessel to take
simple actions on its own.
Crash-Resistant Seats 1 Weight 1 Crew and passengers take half
damage from “Crash Landing”.
Emergency Life Support Module, 1 Weight 2 Add +1 to “Crash Landing”.
Engineering Room Module, 1 Weight 3 +1 Requires Small vessel or
larger. Add +1 to repair or
modify vessels or robots. Also,
see below.
Expanded Cargo Bay Module, 0 Weight 2 Add +4 to Capacity.
Galley Module, 1 Weight 2 +1 While aboard your vessel, you
do not need to mark rations.
Heavy Cargo Bay Module, 0 Weight 3 Requires Large vessel. Add +8
to Capacity.
Improved Life Support Module, 1 Weight 1 Requires Small vessel or
larger. You can “Rest” inside
your vessel.
Landing Bay Module, 1 Weight 4 Requires Large vessel. Fits 1
Personal-sized vessel.

Local Navigator Module, 1 Weight 1 Add +1 to navigate in a specific
star system or find places in
the system. You can change
the star system referenced
when you use the “Restock”
move.
Salvage Bay Module, 1 Weight 2 Requires Small vessel or
larger. Add +1 to moves related
to salvaging usable items from
vessels.
Sick Bay Module, 1 Weight 3 +1 Requires Small vessel or
larger. Add +1 to heal people
on your vessel. Also, see below
Smokescreen 3 Ammo, Area, Module, 1 1 Add +1 forward to escape or
Weight evade pursuers. Atmospheric
use only.
Tractor Beam Module, Near, 1 Weight 2 Requires Medium or Large
vessel. Draws targeted object
towards your vessel. Does
not affect vessels larger than
yours.
THE ENGINEERING ROOM & THE SICK BAY

The Engineering Room and Sick Bay vessel options allow the repair or healing of
characters and vessels without the need for anyone to have moves that allow this.
The only requirement is that someone (usually the sick person or the damaged
Robot) spends two scenes in there – and out of play. The Ship can also be repaired
using the Engineering Room. This requires that someone (any of the PCs) spends
the two scenes necessary to fix the Ship. The advanced versions of the Engineering
Room and the Sick Bay (found as advances in the Ship playbook) reduce the time
requirement to one scene.
Obviously, removing a PC from play for even an entire scene is not ideal; these
options should only be pursued when no other viable options present themselves.
A GM can choose to have a scene happen aboard the vessel (possibly involving only
the PC that’s there).
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Multi-Use Items
Cyber-Targeting System 2 Uses, Module, 1 Weight 2 Add +1 forward to WPN.
Ionic Boosters 2 Uses, Module, 1 Weight 2 Add +1 forward to SPD.
OtherNav + MAME 3 Uses, Module, 1 Weight 4 Your vessel can use the
“OtherNav” move to travel to
other star systems.
Stealth Field Generator 2 Uses, Module, 1 Weight 3 +1 Requires Personal or Small
size. Your vessel is undetect-
able until you take hostile or
sudden actions. If your vessel
is being pursued, you can use
“Evasive Action” to lose them
(and add +1 to the roll).
Tracking Beacon 2 Uses, Module, Near, 1 2 Add +1 ongoing to find vessels
Launcher Weight you have hit with beacon.
Sensor Items
Improved Sensor Array Module, 1 Weight 2 Add +1 to “Sensor Scan” for
planets and places.
Intrusive Sensor Array Module, 1 Weight 1 Add +1 to “Sensor Scan” for
vessels and artificial creations.
Stealth Detector Module, 1 Weight 2 Your vessel may use “Sensor
Scan” on a vessel known to be
using a Stealth Field. In addi-
tion, using “Sensor Scan” in an
area reveals the presence of
any vessels currently using a
Stealth Field.
Smuggling Items
Anti-Tracker Alarm Module, 0 Weight 2 Add +1 to detect tracking
beacons on your vessel.
Concealed Weapons 0 Weight 2 0 and 1-Weight weapons are
undetectable until you use
them.
Falsified Transponder Consumable, Module, 0 2 Add +1 ongoing to pose as
Weight another vessel or trick those
following you. This lasts no
longer than the current scene.
Hidden Compartments Module, 1 Weight 2 Add +1 to conceal people or
items on your vessel.
Quick-Jettison Cargo Bay Module, 0 Weight 2 Add +4 to Capacity.

Shields Items
Heavy Particle Shield +2 Shields, 1 Weight 4 +1 Not effective against beam
weapons.
Proto Shields +1 Shields, Module, 1 Weight 2
Shield Booster 3 Uses, Module, 0 Weight 2 Add +1 forward to POW when
working with Shields.
Weaponry Items
Armor-Piercing Rockets Consumable, 1 Weight 1 Add Piercing (1) tag to missiles
and rockets. Consumed when
ammo runs out.
Bomb Bay Module, 1 Weight 1 Allows vessel to drop bombs in
atmosphere.
Fazer Booster +1 Damage (Fazer only), 1
Module, 0 Weight
Robot Weapon Pod 1 Weight 2 A Robot character adds +1 to
WPN (max +3). Robot must have
a Pod open.
Tracer Rounds Consumable, 0 Weight 1 When you mark ammo for a
Mass Thrower with the Autofire
tag, add+1 forward to “Fire at
Will” using the same weapon.
Consumed when ammo runs out.
Trajectory Tracking 2 Uses, Module, 0 Weight 1 Add +1 forward to WPN with
System missiles, rockets, and bombs.
Turret 1 Weight 3 Add +1 to WPN (max +3) for one
weapon of 0 or 1-Weight.
Weapon Link +1 Damage, 0 Weight 2 Designate two weapons to fire
simultaneously. Mark either
ammo when required to do so.
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Vessel Weapons
This section presents weapons that can be installed in most vessels.
Atmospheric Weapons
Road Spikes 2 Ammo, Area, Module, 1 1 Ground vessels pursuing you
Weight take 1d4 damage. Ground
vessels only.
Vehicular Flamethrower 2 Ammo, Area, Module, 1 2 Inflicts fire damage. Atmo-
Weight spheric use only.
Beam Weapons
Blaster Pulse Cannon +2 Damage, Module, 3 Requires Medium or Large
Piercing (1), 3 Recharge, 2 vessel.
Weight
Multi-Faze Spiral +1 Damage, Module, 2
Disruptor Piercing (1), 2 Recharge, 1
Weight
Pulsar Laser Blaster +2 Damage, Module, 3
Piercing (2), 3 Recharge, 1
Weight
Triple Fazer Cannons +2 Damage, Module, 3 2
Recharge, 1 Weight
Twin Laser Cannons +2 Damage, Module, 3 2
Recharge, 1 Weight
Ultralite Laser +1 Damage, Module, 2 3
Recharge, 0 Weight
Ultraviolet Laser Cannon +1 Damage, Module, 2 2 Can be used underwater.
Recharge, 1 Weight
Mass Throwers
Heavy Machinegun 3 Ammo, Autofire, +1 2
Damage, Module, 1 Weight
Starbreaker Gun 3 Ammo, +3 Damage, Mod- 5 +1 Requires Large vessel.
ule, Piercing (3), 2 Weight
Volcano Gun 3 Ammo, Autofire, +2 3
Damage, Module, 2 Weight

Missiles, Rockets & Bombs
Antimatter Torpedo 3 Ammo, +1 Damage, Mod- 2
Launcher ule, Piercing (2), 2 Weight
NeuroGas Smartbomb 2 Ammo, Area, 1 Weight 2 Requires Bomb Bay. Incapaci-
tates people in area.
Rotor Smartbomb 2 Ammo, Area, 1 Weight 3 Requires Bomb Bay.
VARI Fire Rocket 2 Ammo, Autofire, +2 3
Launcher Damage, Module, 2 Weight
WAVE Multi-Missile 3 Ammo, Area, +1 Damage, 2
Launcher Module, 1 Weight
Mines
Chaff Mine 2 Ammo, 1 Weight 2 Requires Mine Launcher.
Take +1 forward to hide from
pursuers.
Ion Mine 2 Ammo, 1 Weight 2 Requires Mine Launcher.
Disables one Personal or Small
vessel.
Mine Launcher Module, Near, 1 Weight 2 Effect as mine used; ammo as
mine.
Mini-Mines 2 Ammo, Area, 1 Weight 2 Requires Mine Launcher.
VARPAD ALPHA WING

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STOCK STARSHIPS
This section provides a list of “stock” starships available in the Infinite Galaxies
game.
Personal Size
For Personal vessels, the “Fighter” designation is for a vessel designed for use
in combat, while the “Shuttle” type is for commercial and private, non-combat
designs.
VARPAD ALPHA WING (FIGHTER): T he Varpad Corporation is one of the

major defense contractors for the Terran Alliance and their flagship starfighter is
the Alpha Wing. These dagger-shaped fighters are ubiquitous in Terran Alliance
space. Price: 9.
CR PASS MODS HULL SH DMG CAP MOD MR

1 1 POW -1, SPD +1, SEN 0, WPN +1 12 3 D6 3 4 1
POLARX LANCE (FIGHTER): T he PolarX Corporation designed the Lance

as an all-purpose starfighter for use in planetary defense and heavy-duty escort
missions. The Lance is also found in pirate fleets. Price: 9.

1 1 POW -1, SPD +2, SEN 0, WPN +1 12 2 D6 3 4 1
CYGNUS IND. PLANET SKIPPER (SHUTTLE): C ygnus Industries is well

known for its production of civilian vehicles and the Planet Skipper is one of the
most popular. The Planet Skipper is used to travel between space stations and
large capital ships to the surface of a planet. This shuttle is armed with very basic
defensive weapons. Price: 7.

1 1 POW -1, SPD +2, SEN 0, WPN 0 8 2 D6 3 4 0
FALLENCI SOJOURNER (SHUTTLE): F allenci produces this finely appoint-

ed, opulent shuttle for wealthy travelers. The Sojourner is unarmed and has only
modest armor and shields; it is intended for use in peaceful areas, where conflict
is unlikely. Price: 9

1 1 POW +1, SPD +2, SEN +1, WPN 0 8 3 0 5 4 1

POLARX Z-9 PLATFORM (FIGHTER): P olarX’s Z-9 Platform is a starfighter
designed to compete with the Varpad Alpha Wing; both were under consideration
for the Terran Alliance contract and Varpad won the bid. The Z-9 Platform is a
serious starfighter and highly customizable. Price: 7.

1 1 POW -1, SPD +2, SEN 0, WPN 0 8 2 D6 3 4 0
GUNOI ZIP (SHUTTLE): G unoi Corporation designed this shuttle with speed
in mind. The Zip is the fastest and most maneuverable personal shuttle in produc-
tion. It also features defensive weaponry and decent armor. The Zip is the personal
transport of choice for Terran Alliance officials and Star Patrol officers. Price: 9.

1 1 POW -1, SPD +3, SEN 0, WPN 0 12 2 D6 3 4 1
Cygnus Ind. Planet Skipper

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Small Size
For Small vessels, the “Autonomous” design is for commercial vessels intend-
ed to transport cargo, the “Catapult” type is for military designs, and the “Yacht”
type is for private use (usually by the wealthy and powerful).
FALLENCI CLIPPER (YACHT): F allenci offers this civilian vessel as a

cheaper alternative to the ZenStar Opulent. The Clipper is also a vessel for the
wealthy and powerful, but this is more utilitarian in design. Price: 11.

3 8 POW +1, SPD +1, SEN +1, WPN 0 12 2 D6 7 4 1
POLARX ESCORT (CATAPULT): P olarX designed the Escort as a heavy-duty

starship of modest size, to complement merchant fleets or the Torpedo. This is a
heavy vessel, well armed, but not very maneuverable. The Escort is common in
pirate fleets. Price: 9.

3 6 POW 0, SPD -1, SEN +1, WPN +1 12 2 D6 6 4 0
INSIGHT JACKRIG (AUTONOMOUS): Insight still produces this venerable

starship, a transport vessel commonly found in the Sol system and nearby
regions. The Jackrig is often modified for use as a salvager. Price: 11.

3 6 POW +1, SPD -1, SEN +1, WPN 0 16 2 D6 7 4 1
ZENSTAR OPULENT (YACHT):

T he Opulent certainly earns its name;
ZenStar intends this vessel for the
wealthy and powerful. It is built with
the most expensive tastes in mind.
The Opulent is always custom-built for
its owners. Its weapons, while meager,
are almost always concealed. Price:
13.

4 9 POW +1, SPD 0, SEN +2, WPN 0 12 2 D6 7 4 2

VARPAD RESCUE (CATAPULT): Varpad created this specialized search-and-
rescue vessel for the Terran Alliance and Star Patrol also uses this ship in rescue
operations. The Rescue has extra space for supplies and treating injuries. The Star
Patrol version features holding cells inside the modified cargo area. Price: 11.
4 12 POW 0, SPD 0, SEN +1, WPN 0 12 3 D6 6 4 1
CYGNUS IND. SLOOP (AUTONOMOUS): C ygnus Industries designed

this starship as a general-purpose transport. This vessel is extremely common,
especially among merchant fleets. The Terran Alliance sometimes repurposes the
Sloop to transport supplies in wartime. Price: 9.

3 6 POW 0, SPD 0, SEN +1, WPN 0 12 2 D6 6 4 0
POLARX TORPEDO (CATAPULT): This PolarX military vessel is designed

as a missile platform, though it can be modified with any weapons. Certain Terran
Alliance units also feature this vessel. Price: 11.

3 6 POW 0, SPD 0, SEN +1, WPN 0 12 2 D8 6 4 1
PolarX Escort (Catapult)

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Medium Size
For Medium vessels, the “Frigate” designation is for commercial vessels,
usually transports, while the “Gunship” type is a military design.
MAIKARUS BLACKWELL (FRIGATE): T he Maikarus Corporation designed

the Blackwell as a general-purpose transport vessel. The Blackwell is armed and
armored, making it useful in areas where pirates are common. Price: 15.

5 12 POW +1, SPD 0, SEN +1, WPN +1 12 3 D6 9 4 2
GUNOI CORVETTE (GUNSHIP): The Gunoi Corvette is the military starship

of choice for those private fleets that can afford this heavy-duty gunship. Some
of the best merchant fleets use the Corvette to defend their cargoes, while some
pirate fleets also feature this vessel. Price: 18.

5 12 POW 0, SPD +1, SEN +1, WPN +1 12 3 D8 8 4 3
CYGNUS IND. GALLEON (FRIGATE): Cygnus Industries designed the Galle-

on to corner the market on civilian cargo transport. Though the Galleon does not
feature this size class’s largest cargo bays, it is heavily armed and shielded – and
inexpensive compared to the competition. Price: 12.

5 12 POW 0, SPD -1, SEN +1, WPN +1 12 3 D6 8 4 1

VARPAD HELLBURNER (GUNSHIP):
T he Varpad Hellburner is one of the most
prevent gunships in Terran Alliance forces. The
Hellburner bristles with laser weapons and
other armaments; it is considered the most
powerful weapons platform, for its size, in the
known universe. Price: 18.

5 12 POW 0, SPD 0, SEN +1, WPN +2 12 3 D8 8 4 3
INSIGHT PENTA (FRIGATE): The Insight Corporation’s Penta is the largest civil-
ian transport vessel of this size, featuring massive cargo bays and an armored hull.
The Terran Alliance and Star Patrol sometimes use the Penta for military transport;
these vessels are often modified for better defensive capabilities. Price: 18.

5 16 POW +1, SPD -1, SEN +1, WPN +1 16 3 D6 13 4 3
VARPAD PIPER (GUNSHIP): T he Piper is another military starship produced

by the Varpad Corporation, but it is not standard issue to the Terran Alliance.
Instead, Varpad sells the Piper to private fleets and is often seen in use among
merchant convoys heading into dangerous territories. Price: 12.

5 12 POW 0, SPD -1, SEN +1, WPN +1 12 3 D6 8 4 1
Large Size
For Large vessels, the “Destroyer” is a military design, while the “Transport” is
intended for commercial use (although some military vessels might be classified as
“Transports”).
CYGNUS IND. BULK (TRANSPORT): F or a starship of this size class, the

Bulk is surprisingly affordable. Cygnus Industries designed the Bulk to be powerful
and tough, enough for merchants and private fleet to travel into the most danger-
ous territories. Price: 16.

7 18 POW +1, SPD -1, SEN 0, WPN 0 16 4 D8 13 4 2
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GUNOI CUTTER (DESTROYER): T his vessel was originally designed for the
Terran Alliance to cut through Masskai blockades. The Cutter is still in service,
among Terran Alliance forces and others, usually in support of cruisers and larger
vessels. Price: 20.

7 18 POW +1, SPD +1, SEN 0, WPN +1 16 4 D8 9 4 3
POLARX MAN-O-WAR (DESTROYER): T he PolarX Man-O-War fills the

void in the Star Patrol inventory left by Varpad failing to produce a larger military
starship. The Man-O-War is popular in Terran Alliance space and with Star Patrol
forces. This ship is heavily armed and features superior shields for a vessel of its
size. Price: 24.

7 18 POW +1, SPD -1, SEN 0, WPN +2 20 4 D10 9 4 4
SARKO TANKER (TRANS-

PORT): S arko only makes big ships
and the Tanker is certainly no ex-
ception. This transport is specifically
designed to take liquid and hazard-
ous cargoes; the Tanker features
additional internal reinforcement and
advanced environmental controls.
The Terran Alliance has purchased
a few of these Tankers and modified
them for military use. Price: 20.

5 6 POW +1, SPD -1, SEN 0, WPN +1 20 4 D8 21 4 3
SARKO TROOPER (TRANSPORT): T he Trooper was designed as a military

troop transport and Sarko has sold many of these to the Terran Alliance and
private fleets specifically for this role. Star Patrol uses the Trooper as a prisoner
transport; their version features holding cells in the cargo area. Price: 20.

6 24 POW +1, SPD -1, SEN +1, WPN +1 16 5 D8 9 4 3

SARKO TYPE A (DESTROYER): T he Type A is Sarko’s sole military design.
While the Terran Alliance and Star Patrol have purchased many Type A vessels, Sar-
ko has also sold them to private fleets and planetary defense forces. The standard
Type A design features missile launchers and a tractor beam. Price: 16.

7 18 POW +1, SPD -1, SEN 0, WPN +1 16 4 D8 9 4 2
NOTORIOUS STARSHIPS OF THE GALAXY

Many unique starships have earned notoriety for their look, deeds, owner.
This section describes several of these vessels. These ships were submitted by
Kickstarter backers. Thanks, everyone!
DISCO VOLANTE (FIGHTER): T his highly-modified Alpha Wing fighter

(personal-sized vessel) is garishly painted and decorated to celebrate glamor and
high fashion. The fighter’s pilot, Shaggy Firesign, a famous Gray veteran of many
missions, is also known as a high-stakes gambler. Submitted by William Paulsen.

1 1 POW 0, SPD +2, SEN 0, WPN +2 14 3 D6+1 2 4 2
DOOM (CATAPULT): T his PolarX Torpedo (small-sized vessel) features a missile

platform, as well as twin fazer cannons and a tractor beam. The Doom’s owner,
Metal Face, is mostly cyborg and is also known as quite the musician. The Doom
is a mercenary vessel and operates mostly in the Far-Space sector. Submitted by
Paul Faris.

3 3 POW +1, SPD +1, SEN +1, WPN +1 15 2 D8+1 6 4 2
DENOMINATOR (TRANSPORT): T his large tanker (large-sized vessel) was

designed by the Collective and is used to move goods and resources between their
territories. The Denominator is a fully-integrated cybernetic ship; the pilot and crew
“plug into” the ship’s systems and they become one entity. Submitted by Sean Dicken.

5 6 POW +2, SPD -1, SEN +1, WPN +1 22 4 D8 24 4 4
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KITSUNE (FIGHTER): T he Kitsune started its life as a PolarX Z-9 Platform;

its original owner was a pilot for the Terran Alliance for many years and retired to
life as a mercenary. The Kitsune is equipped with two front wing-mounted laser
cannons, a front under nose-mounted super long-range railgun, and three top
rear-facing micro-missile launchers. In addition, the Kitsune’s wings are equipped
with retractable blades (like swords) that measure the same length as the
fighter’s wings. These blades are used for fly-by strikes on the enemy during close
range dogfights. Submitted by Daniel Johnson.

1 1 POW +1, SPD +2, SEN 0, WPN +1 10 2 D8 2 4 1
NOVA-EQUIS PATROL CYCLE (FIGHTER): The Nova-Equis Patrol Cycle

(personal-sized vessel) is light patrol vehicle unique to Star Patrol. The Patrol
Cycle is a modified version of the PolarX Skycycle, adapted for use in orbital
deployment. It is very small and relatively short-ranged and unusual in that an
assigned Star Patrolman rides it externally, sitting in a “saddle” of sorts. The
Nova-Equis is inspired by patrol motorcycles and mounted units used by lawmen
in history and on more primitive worlds. Submitted by Cary Brandon Bishop.

1 1 POW 0, SPD +2, SEN +1, WPN +1 13 2 D6+1 2 4 1
SHIP MCSHIPFACE (GUNSHIP): T his is a highly-modified Varpad Hellburner

(medium-sized vessel) and is notorious in pirate circles. The typical Hellburner
laser weapons have been supplemented with multiple missile platforms. Its
armor has also been strengthened and the entire hull is painted in bright colors.
Submitted by Steve Wallace.

5 12 POW +1, SPD +1, SEN +1, WPN +2 15 3 D8+1 6 4 4
SKORPIO X72 (YACHT): The Skorpio X72 is a custom-built yacht based

on ZenStar’s Opulent design. Its owner, the enigmatic smuggler known only as
Skorpio, travels in both Terran Alliance and unaligned space, moving illegal and
highly valuable goods for a price. Skorpio has added a reinforced hull and multiple
hidden weapons to make this a formidable vessel in a fight. Submitted by Stephen
Bienek.

4 7 POW +1, SPD +1, SEN +2, WPN +1 14 3 D6+1 8 4 3

TIERCEL (GUNSHIP): T his modified Gunoi Corvette (medium-sized vessel) is
unique in that it features “grappling claws” that can be used to take hold of a small-
er vessel. Its owner, Nevik Arboretanis, is renowned as a salvager and scavenger
of ships lost or abandoned in the Far-Space sector and, occasionally, in Masskai
Empire space. Submitted by Kevin Abarrientos.

5 12 POW +2, SPD +1, SEN +2, WPN +1 14 3 D8 10 4 4
STOCK ATMOSPHERIC VESSELS

This section presents “stock” atmospheric
vessels available in the Infinite Galaxies game.
For air vessels, the “Courier” type is for

commercial or private use, while the “Interceptor”
design is more likely to be found in military or law
enforcement use. For land vessels, the “Hover”
type is for vessels equipped with anti-grav engines;
these only touch the ground when the engines are
turned off. “Tracked” and “Wheeled” land vessels
describe the sort of technology used to convey
them along the ground. For water vessels, “Hydrofoil” designs use an engine to move
the vessel along the water, while the “Sail” type uses wind as its power.
Air Vessels – Personal
ARKID RAMJET (INTERCEPTOR): T he Arkid Corporation is a prolific produc-

er of atmospheric vehicles and the Ramjet is their topline jet vehicle. The Ramjet
has been in service for a long time and is seen on many planets. The Ramjet is
sometimes modified for racing and smuggling. Price: 7.

1 1 POW +1, SPD +2, SEN 0, WPN +1 12 1 D6 3 1 1
POLARX SKYCYCLE (INTERCEPTOR): T he Skycycle is the atmospheric

vessel of choice for Star Patrol deployments. These flying cycles are fast and ma-
neuverable, but somewhat fragile. The standard design features forward-facing dual
laser cannons. Some civilian models have rear-facing weapons instead. Price: 5.

1 0 POW 0, SPD +2, SEN -1, WPN 0 8 1 D6 1 1 0
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Air Vessels – Small
GUNOI AIRBUS (COURIER): The Gunoi Airbus is a jet aircraft designed for
planetary transport, especially in highly populated areas. The Airbus is often in
civilian use as a transport for hire. Price: 5.

2 8 POW 0, SPD +1, SEN +1, WPN 0 8 0 0 2 0 1
CYGNUS IND. JAGUAR (COURIER): C ygnus Industries designed the Jaguar

as a civilian air transport with some defensive capability; its main civilian use is to
move goods or people in dangerous areas. Price: 7.

1 6 POW +1, SPD 0, SEN 0, WPN +1 12 1 D6 3 1 1
VARPAD SEEKER (INTERCEPTOR): T he Varpad Seeker was designed for

Star Patrol, though a civilian model is also available. Star Patrol deploys the Seeker
in high population areas, where interdicting air vessels is a priority. Price: 7.

2 6 POW 0, SPD 0, SEN +2, WPN +1 8 1 D6 2 1 1
Air Vessels – Medium
CYGNUS IND. B-7 (COURIER): T he B-7 is a heavy atmospheric jet, used to

transport large quantities of goods or people. For an atmospheric vehicle, the B-7
is heavily armed and armored. Price: 11

5 12 POW +1, SPD 0, SEN 0, WPN 0 12 1 D6 5 1 1
Land Vessels – Personal
ARKID GETABOUT (WHEELED): A rkid designed this land vehicle as a gen-

eral-purpose civilian transport. This comes in 4-wheeled and 6-wheeled versions.
There are also variations for “off-road” capability. Price: 2.

1 3 POW 0, SPD 0, SEN 0, WPN 0 4 0 0 2 0 0

ARKID SPEEDER (HOVER): T his hoverbike is built for speed and maneuver-
ability. The standard version was designed for Star Patrol and includes a single
laser cannon. The civilian model does not have a laser cannon and is a bit cheaper.
Price: 3.

1 1 POW 0, SPD +1, SEN 0, WPN 0 4 0 D6 2 1 0
Land Vessels – Small
INSIGHT HOVERTRUCK (HOVER): T his heavy-duty land transport hov-

ertruck is prevalent in Terran Alliance systems. The standard model is targeted
for civilian use and is not armed or armored. There is a military version featuring
minimal armament. Price: 5.

2 0 POW 0, SPD -1, SEN 0, WPN 0 8 0 0 5 0 0
POLARX MINITANK (TRACKED): P olarX designed this tracked vehicle for

military use. It features a large cannon and heavy armor. Alternate version features
a rocket launcher in place of the cannon. Price: 11.

4 0 POW +1, SPD -1, SEN 0, WPN +1 12 1 D8 3 1 3
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ARKID POPULAR (WHEELED): T his Arkid offering is intended for civilian

use, enabling transport of multiple passengers. It has standard “off road” capabil-
ity and also features extra space for emergency supplies. Price: 7.

2 6 POW 0, SPD 0, SEN 0, WPN 0 8 0 0 4 0 1
Land Vessels – Medium
POLARX BLITZ (TRACKED): P olarX designed this as a larger version of

the Minitank and is intended to be a dominant force on the battlefield. The Blitz
features an even larger cannon and heavier armor. It also has shields, which is
rare in a land-based vessel. Price: 13.

5 0 POW +1, SPD -1, SEN 0, WPN +1 16 1 D10 5 2 3
MAIKARUS CONVEYOR (WHEELED): T his Maikarus product is a large,

16-wheeled land vehicle designed to transport large amounts of goods. Alternate
versions can be used to transport people instead. Military versions have heavier
armor and defensive weapons. Price: 9.

2 4 POW 0, SPD -1, SEN 0, WPN 0 12 0 0 8 0 1
Water Vessels – Personal
ARKID JETCYCLE (HYDROFOIL): T his Arkid product is a jet-powered water

vehicle used for recreational purposes. It is fast and maneuverable and found
throughout the known systems. Price: 3.

1 1 POW 0, SPD +2, SEN 0, WPN 0 4 0 0 2 0 0

Water Vessels – Small
VARPAD GUNBOAT (HYDROFOIL): T he Varpad Corporation’s Gunboat is

aptly named. This water vessel, designed for military and law enforcement use, is
in service on water planets with high populations. The standard design features a
turreted laser cannon and shields. Price: 7.

2 1 POW +1, SPD 0, SEN 0, WPN +1 8 1 D6 3 1 1
INSIGHT SEARACER (HYDROFOIL): Insight produces this civilian water-

craft for luxury and recreation purposes. For its size, the Searacer is fast and
maneuverable. Price: 5.

2 4 POW 0, SPD +1, SEN 0, WPN 0 8 0 0 2 0 0
ZENSTAR SOLAR (SAIL): T his is the rare watercraft that still relies on wind
power. The Solar, produced by ZenStar, is very popular in civilian areas. Price: 5.

2 4 POW 0, SPD 0, SEN 0, WPN 0 8 0 0 2 0 0
Water Vessels – Medium

Insight Cruise Master (Hydrofoil): Insight designed this jet-powered watercraft
for civilian recreation, though there are military variations on it that feature
weapons and shields. Price: 9.

4 7 POW 0, SPD -1, SEN 0, WPN 0 12 0 0 4 0 1
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MOUNT BASICS
Creature mounts are handled like vessels, with the exception that they have
different abilities. Such mounts do not have Shields (except in extremely rare
cases) and do not usually have weapons. Creature mounts have the following
abilities: Strength (STR), Speed (SPD), Communication (COM), and Morale (MOR).
There are no moves specific to creature mounts, though some of the existing
moves work well to represent these mounts. STR is used for the “Fight” move and
possibly, “Prevail by Force”. SPD can be used for “Evasive Action”. COM and MOR
do not have direct analogs; riders interacting with their mounts can roll using COM
or MOR (see below for examples).
Mounts have Vitality scores and may have Armor. Creature mounts do not have
Wounds checkboxes. They have a Damage Die, which is used when the mount
attacks. Mounts may be directed to attack using basic moves, such as “Fight”
and possibly, “Shoot”. In some cases, a mount may have its own moves.
While it is very possible that PCs might encounter trained creature mounts,
it is equally likely that PCs will encounter wild creatures and try to use them as
mounts. Some of the mounts presented here are quite easy to tame and ride;
others are not naturally docile and will require great effort to domesticate. The
COM ability is used when rider needs to communicate with the beast. The MOR
ability is a representation of how easily the creature serves as a mount; moves
using the MOR ability can be used to see the rider can command it.
Characters will most commonly acquire mounts when on a planet that has
such creatures. In general, these are “backwater” planets without much in the
way of advanced technology, though this may not always be the case. In a typical
Infinite Galaxies game, creature mounts are used for a specific mission and then
left behind; while it is possible for PCs to keep their creature mounts, such beasts
don’t travel well in starships and may not be viable on other planets.

STOCK CREATURE MOUNTS
This section presents “stock” creature mounts available in the Infinite Galaxies game.
Air Mounts – Personal
FIREWING: N ative to the Theta Virgo system, this dragon-like creature can ac-
cept up to two humanoid riders. As should be obvious by their name, the Firewing
breathes fire. The Firewing is notoriously difficult to domesticate.
CR PASS MODS VIT ARMOR DMG

1 1 STR -1, SPD +2, COM +1, MOR 0 8 1 D8
Air Mounts – Small
GRAAKI: L ike the Stormer, the Graaki is found on Zeta Scorpius 1. Despite the
atmosphere being toxic to humans, the Graaki can live and thrive there. The Graaki
features huge, angelic wings and looks something like a large eagle from Earth.
These creatures are quite passive and don’t require much training to be used as
mounts.

1 4 STR 0, SPD +2, COM 0, MOR 0 8 1 D6
ORACLE: T his creature hails from the living planet of the same name. The planet
and its creatures form a sort of “hive mind”. The Oracle is an oblong, ovoid creature
with a barely discernible head and body separation. The creature flies by means of
telekinetic power.

1 4 STR 0, SPD +1, COM +1, MOR +1 8 1 D6
Land Mounts – Personal
FERRAD: N
ative to the Deros system, the Ferrad is a horse-like creature with
six legs and leathery plates in place of fur. They can be contentious and difficult to
domesticate.

1 1 STR +1, SPD +2, COM 0, MOR 0 8 0 D6
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SLIPDRAGON: T his creature is found in the Variges system. Despite the name,
the Slipdragon cannot fly. It is a reptilian creature more at home on land than the
water. The Slipdragon is normally quite docile and easy to tame.

1 1 STR 0, SPD +2, COM +1, MOR +1 8 1 D8
Land Mounts – Small
STORMER: L ike the Graaki, the Stormer is native to Zeta Scoripus 1. Despite
the planet’s high-neon gas atmosphere, the Stormer lives there and has for
millennia. It looks like a hunched-over humanoid and emanates static electricity.
Some Stormers have learned to shoot short blasts of lightning.

1 4 STR +2, SPD +1, COM +1, MOR 0 12 2 D8
Water Mounts – Personal
CORAL DIVER: T his waterborne creature is found in the Beta Hydra system. It
shares an ecosystem with the Sayyid, a larger creature that can also serve as a
mount. The Coral Diver looks something like a seahorse from Earth, but the Diver
is far larger and more intelligent. Some have reported telepathic communication
with them.

1 1 STR 0, SPD +2, COM 0, MOR 0 8 1 D6
NUASAD SERPENT: T his shark-like creature, a favorite of the Masskai, is

found in the Nuasad system, specifically on the water planet, Nuasad Prime.
The Serpent is an excellent water mount, though difficult to train. They are very
aggressive, which suits the Masskai in times of war.

1 1 STR +1, SPD +1, COM 0, MOR 0 8 0 D6
Water Mounts – Small
SAYYID: T his large, manta ray-like creature is native to Beta Hydra, sharing the
watery environment with the Coral Diver. Unlike the Diver, the Sayyid is not terribly
bright, but can easily be trained to take riders.

1 6 STR +1, SPD 0, COM +1, MOR +1 12 2 D6

setting
PART THREE:
This part discusses what a game

setting is and how setting plays such
a big part in the Infinite Galaxies
game. Chapter in Part 3 cover the
elements of setting, presents Star
Patrol (the game’s default setting),
and discusses how to create or adapt
a setting for your game.
Part 3: Setting
9. ELEMENTS OF A SETTING
This chapter discusses what critical elements a setting should have to provide an
engaging story for an Infinite Galaxies game. Within this chapter are discussions of the
definition of a setting, theme and tone, interesting places, technology, organizations,
and the differences between setting and story.
WHAT IS A SETTING?
Simply put, a setting is a time and place wherein your Infinite Galaxies game
happens. Think of a setting as a universe in which you set rules for what can
happen there. This chapter discusses and reviews what those rules are, which
rules matter to your Infinite Galaxies game, and how to discuss and decide on what
sort of setting you want.
Elements of a setting are universal; in other words, it doesn’t matter whether

you are creating a new setting or adapting an existing setting – the suggestions
here are relevant in either case. The most important thing about a setting is that
it provides some infrastructure for your game and gives the players guidelines and
expectations about what should be and what shouldn’t.
Settings provide the following critical elements: theme, tone, interesting places,
technology, and organizations. When creating a new setting, consider these as
dials you can turn or fields you can fill with answers. When using an existing setting,
consider how known setting details answer these needs; if your knowledge of
the setting does not answer these needs, fill in the necessary details yourself or
discuss how to deal with it among your other players. Even if you intend to adapt
an existing setting for use in Infinite Galaxies, there may be elements you wish to
change or discard; don’t feel wholly beholden to any existing setting!
Of course, settings can become very complex and this chapter does not intend
to cover every possible detail your group may introduce into your Infinite Galaxies
game. This chapter discusses the most important points you’ll want to cover when
introducing a setting.
For more information about creating a setting or adapting an existing setting,

see Chapter 11: Your Own Setting.
THEME AND TONE

A story-based game is best when it has a theme. For the purposes of an Infinite
Galaxies game, a theme is defined as an over-arching topic that the game address-
es in some way. While a theme can represent a topic involved in the game’s story, a
theme can also be further defined by the game’s story. The theme begins the con-
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versation, but the game itself can also further influence how the players view the
theme. You will have more than one theme – possibly all related to one another,
but not necessarily – and, together, these form the backbone of your game.
Theme is often suggested by the group as a whole; if you have played with this
group before, you probably have a good idea what sort of themes interest the
other players. If not, or if this is a new group of players, themes could be suggest-
ed or introduced during play.
Themes common to science fiction stories are exploration and expansion,

discovery, innovation, the future, alternate intelligence (including aliens and
robots), advanced or unrealistic technologies, alteration of mind and body, alien
worlds, and, often conflict between civilizations, possibly caused by one of the
above themes. Some examples from popular works include the exploration of
interstellar conflict and good vs. evil found in “Star Wars”, the exploration of
uncharted space and discovery found in the “Star Trek” franchise, and Isaac
Asimov’s works explore themes related to robots and artificial intelligence. There
are, of course, many topics within those themes that are commonly represented
in science fiction stories. Your Infinite Galaxies game can and should incorporate
some or all of these themes – discuss them with your fellow players to see where
their interests lie.
Tone is closely related to theme. For the purposes of this discussion, tone
is defined as a general attitude towards a given theme within your game. A
light-hearted tone suggests comedy or action-adventure sort of game, whereas a
darker tone suggests a more serious attitude towards the topic at hand.
Because tone is related to theme, you will likely glean your game’s tone from
the themes your group explores as part of the game. Tone commonly grows
organically from the players and is not necessarily something determined before
the game starts. You will get a sense of your game’s tone during the first session
and the GM can help to enforce a certain tone, if it is something important to
the game, by discussing the themes in the game and what story elements are
endemic to the current story.
Science fiction stories are often serious in tone, presenting topics such as
corruption, slavery, war, and bizarre experimentation. Other science fiction stories
may be light-hearted and even comic in tone, presenting topics such as uplifted
animals, robot societies, and strange alien civilizations. Your Infinite Galaxies
game may have more than one tone, and that’s OK – a mix of tones is common in
a lot of games.
Chapter 9: ELEMENTS OF A SETTING 225

Part 3: Setting
Though managing themes and tone are often the domain of the Game Master,
other players can also help to introduce or present certain themes and maintain a
specific tone; this is the responsibility of all players, not just the GM.
Theme and tone are evident in both setting and story; in many ways, setting and
story influence each other and the relationship between theme and tone will inform
elements of both setting and story. On a higher level, setting and story themselves
influence each other and, often, a powerful and engaging setting will produce a
compelling and interesting story.
INTERESTING PLACES
Setting represents a framework of time and place, within which the game and
its story takes place. One of the most important elements of setting is place – a
location where things happen. Because Infinite Galaxies is a science fiction game,
your places should be unique, alien, bizarre, and, above all else, an interesting
place to visit.
An exhaustive list of possible interesting places would be too long to provide in

this space and would be of little use to a specific group of players; the interesting
places in your Infinite Galaxies game should spawn organically and spontaneously
from the events of your game.
There is, however, value in providing a list of very common places in science
fiction stories, as shown below:
Arcology Planet Luxurious Space Resort
Asteroid Field Mega-Prison Fortress
Automated Factory Mining Colony
Central Command Center Ocean Planet
Desert Planet Orbital Research Station
Forest Planet Space Bazaar
Galactic Library Space Marine Academy
Gas Planet Underwater Arcology
Ice Planet Unstable Wormhole
Jungle Planet Weapon Foundry
The GM’s Handout, available for download at http://www.infinitegalaxies.net,
lists many more interesting places, culled from popular science fiction stories.
It can be helpful to create an overall backstory of an important place and, in this

way, create a piece of the overall history of your setting. Asking questions about
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places (and other setting items introduced into the game) is a great way to build
history without needing to come up with all of it on the spot.
TECHNOLOGY
Of course, science fiction stories are rife with technology – the very name
of this genre suggests that technology and science are major factors in these
stories. While not all science fiction tales involve technology more advanced
than our own, most do, and it makes sense to think about the setting aspects of
technological advance.
Settings that involve space travel should address how that happens. Because
modern technology (as of this writing) is unable to move people between star
systems, or even very far within our own star system, it makes sense to address
how that happens. Almost every science fiction setting addresses interstellar
travel – some warp time and space, some travel by way of an alternate dimension,
some use magic or psionic power, and there are other means. The important
thing about space travel, for the purposes of an Infinite Galaxies game, is that it is
possible; how it happens is up to you and your group.
The concept of alien contact is another that appears in many science fiction
stories. While this is not technically a subject for technology, the fact that aliens
exist and have civilizations different from ours means that these aliens may have
also introduced advanced technology. If aliens exist in your setting, you should
address how their appearance affected the advance of technology and what
technologies these aliens may have introduced to humans. There are so many
instances of alien contact in science fiction stories that it doesn’t make sense to
provide examples; your group should simply decide whether aliens exist and what
their impact has been.
Robots and artificial intelligence are staples of science fiction stories and have
been with the genre since the beginning. Your group should discuss whether
robots and AI exist (they probably do) and what impact their existence has on
the setting. There could be entirely robotic places or organizations, and you may
have people within the setting that hate robots and AI and have nothing to do with
them, or vice versa. Discuss what robots and AI do in the setting and how the PCs
might interact with them.
Advanced weaponry and armaments will likely appear in your Infinite Galaxies
game. Usually, the appearance of such advanced war technologies should not
be out of place and may not warrant much discussion. There may be setting
elements related to these weapons, or your setting may have special advanced
weapons, so it may be worth sorting out the details.

Part 3: Setting
Other technological advances may also exist – the fields of transportation, med-
icine, fuel, communication, food, storage, households and living spaces, economy,
scientific investigation and theory, research, and even politics may be interesting
lanes to explore for advanced technologies.
When it comes to thinking about technology for your Infinite Galaxies game, you
should only concern yourself with what is immediately necessary for your game;
there will always be time later to develop other ideas about what might also exist.
ORGANIZATIONS
Setting is a framework of time and place, within which the PCs must interact
with other intelligent beings. Some of these beings are individuals, but many are
members of an organization. As players, you should introduce organizations that
fit thematically into the setting and that provide some context to what the PCs
are doing. Because these organizations are part of a science fiction game, your
organizations should be intergalactic, powerful, insidious (where possible), schem-
ing, and, above all else, interesting to interact with.
While organizations make great villains to foil the PCs, there should also be
helpful organizations. In some cases, organizations may be both helpful and
hazardous to deal with, or may turn from one to another based on the actions of
the PCs.
A comprehensive list of possible interesting and impactful organizations would

be too long to provide in this space and would be of little use to a specific group of
players; what happens in your Infinite Galaxies game should create and reinforce
the organizations that your players have introduced.
There is, however, value in providing a list of organizations commonly found in

science fiction stories, as shown below:
Aggressive Cyborgs Haughty Merchant Prince’s Coterie
Cruel Overlord’s Army Hostile Natives
Crusading Zealots Hurried Public Servants
Elegant Performers Insidious Alien Horde
Elite Special Forces Team Jaded Mercenaries
Emotionless Onlookers Loyal Bodyguards
Enigmatic Monks Pedantic Lawyers
Envoys from a Hostile Civilization Planetary Dictator’s Army
Genetic Supersoldiers Psychic Warriors
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Refugees from a Dying World Shadowy Assassins

Replicants Street-Smart Bounty Hunters
The Resistance! Time-Traveling Explorers
Rocketcycle Gang Trophy-Taking Hunters
Scheming Traitors
The GM’s Handout, available for download at http://www.infinitegalaxies.net,

lists many more organizations and interesting people; this list has been culled
from popular science fiction stories.
Organizations exist because something brought them into being. As such,

they have a past that can be mined for setting and story elements. Once these
organizations are introduced into the game, players should ask pointed questions
about them -- this is a great way to build history.
DIFFERENCES BETWEEN SETTING AND STORY

As mentioned above, setting and story share many elements, including the
above. Theme and tone are, of course, present in setting and story, and a good
story will also feature interesting places, new and strange technology, and
organizations with aims and plots of their own.
There are, however, some important differences between setting and story.
Think of setting as a house and story as the family that lives there. While
improvements and changes can be made to the house, changes often made
by the inhabitants, throughout the family’s stay in the house, it remains largely
unchanged. Though the family’s life is influenced by the house and, in some ways,
may be limited or even enhanced by the house, the family also has a story and a
life that happens regardless of the house. This analogy should help explain that
setting and story can influence each other, but also that setting and story are
different things and need to be approached and developed differently.
Setting is where and when the story takes place and the story is what happens
within that construct. Multiple stories can be played out in a given setting and the
same sort of story can appear, in some way, in different settings.
For more information about constructing a story, see Part 4: Story and,
specifically, Chapter 12: Elements of a Story.

Part 3: Setting
10. THE STAR PATROL SETTING

This chapter presents the “Star Patrol” setting, which comprises the default
setting-related assumptions in the Infinite Galaxies Core Rules. Using the essential
elements of a setting discussed in Chapter 9: Elements of a Setting, we look at how
Star Patrol works as a setting in the Infinite Galaxies game.
WHAT IS STAR PATROL?

The Core Rules feature a default setting, Star Patrol, and some of the assump-
tions built into this book come from this setting. Throughout the Core Rules, you
will see occasional references to the Star Patrol setting. Having a default setting
establishes a baseline for what technologies and cultures exist within the confines
of the game and Star Patrol exists as the default. This does not mean that using
any or all of Star Patrol is mandatory. The alien races, robots, creatures, and
technology introduced in the Core Rules come from Star Patrol, but players are
certainly free (even encouraged) to modify these offerings. The Star Patrol setting
is the foundation for the game, but it is certainly not the only setting in which
Infinite Galaxies can be played.
Star Patrol uses our real universe, with some tweaking. This setting is based in
the real universe to give it immediate identification for the players and GM who use it.
Earth is the center of human activity and there are familiar star systems that players
may know about already. Because so little is known of these star systems, though,
we have a lot of freedom to put planets and alien species there. We have also added
new star systems to the setting, so it is a mix of real and created star systems.
There are also some familiar alien species. In addition to humans, Star Patrol
features Grays, who are aliens found in some movies and TV shows and, some-
times, depicted in dubious alien abduction stories. White Apes are also taken from
popular science fiction stories. The Collective, the Masskai, and the Chantarii are
also loosely based on science fiction tropes.
Though Star Patrol features many species and civilizations, the cultural norms
we know on Earth are well represented elsewhere. People are generally morally
good and adhere to the general laws found in the real world. The cultural differenc-
es between different species, except in extreme cases, are fairly minor. Freedom is
prized, laws exist to keep order, and the family unit is the basis for a strong society.
All the differences between civilizations are nuances of the foregoing.
The biggest difference between the cultures of Star Patrol and that of real-world
Earth is that other intelligent species exist in known space. While humans control
a large swath of space, they must compete with these other intelligences. Unlike
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on Earth, where humans are at the top of the food chain, in Star Patrol, humans
are just one of many spacefaring species, some of which are more advanced
technologically than humans.
When you play Infinite Galaxies, you can choose to use the Star Patrol setting,
some elements of it, or replace what doesn’t fit into your game with your own
creations. Using parts of Star Patrol is easy; simply take the defined elements
that you want to use and ignore the rest. One thing to keep in mind is that the
technology of the Star Patrol setting is “baked into” these rules; if you’re changing
how technology works and/or what technology is available, you will want to take a
look at Chapter 7: Gear and Chapter 8: Vessels and Mounts to see what changes
you’ll need to make in those aspects of the game.
Because Star Patrol is not heavily defined within the Core Rules, few assump-
tions are made about theme and tone. Star Patrol is intended to be a light-heart-
ed, action-adventure setting, in keeping with the general theme and tone of the
Infinite Galaxies system, but a group could certainly use elements of Star Patrol
and turn it towards darker themes and tone.
For more information about the Star Patrol setting, please see Appendices A
and B, found at the end of the book.
INTERESTING PLACES
Because Star Patrol represents much of the universe that we already know, a
lot of places in astronomy are found in the setting. Of course, Earth, Mars, Jupiter,
Saturn, and other known planets also exist in Star Patrol. The setting, though, ad-
vances humanity into the future and presents Earth humans who have colonized
their home system. In Star Patrol, Earth is an arcology, a planetary city, with few
untouched places, and there are colonies – orbital or planetary – on every planet
in the system. In addition to this, Terrans have been mining asteroids and moons
for a long time and have commercial and military interests there.
Star systems in this setting use the astronomical names used in modern
science. Our real-world star systems are named based on their assignment to
various constellations; these groupings have little to do with reality, as many of the
stars in these constellations are not actually that close to one another. Despite this,
the constellation names are still used; many star systems are named for the stars
themselves and these names use Greek letters, from Alpha to Omega, to denote
the “first” star, the brightest, to the “last” star, the dimmest. Thus, a given constel-
lation will have star system names such as Alpha (the brightest star), Beta (the next
brightest star), Gamma (the next brightest star), and so forth. Note that not all star
systems and stars follow this naming system. There are plenty of online resources
that explain astronomical names in more detail, should someone want it.
Chapter 10: STAR PATROL SETTING 231

Part 3: Setting
This term, “known space” refers to the star systems that have been explored.
Thousands of star systems exist and, while most are uninhabited, there are
perhaps three dozen of note, either because one of the major spacefaring cultures
have colonized it, or because the system offers resources to be exploited. Sol is
the star system that is home to Earth, Mars, Jupiter, and the like. Alpha Cygnus
is home to the Cygnans. Chantarus is home to the Por Chantarii and Ru Chantarii
peoples. A system known as the Collective is home to the civilization of the same
name. Grovol is home to the White Apes. Masskaon is the home system to the
Masskai. Tau Cetus is the system where the Grays make their home.
The universe of Star Patrol is divided into sectors. These sectors are physical
areas, groupings of star systems near to each other, and these sectors also have
political implications. Terran Alliance space is home to Sol (and Earth), as well as
Cetus (home to the Grays), Cygnus, and Chantarus. The Grovol Sector is home to
the White Apes. The Collective Sector is home to the inscrutable cyborgs known
as the Collective. The Masskai Empire is located far from the Terran Alliance and
the space between these two political giants is always up for grabs. The Corporate
Sector is mostly composed of corporate interests, many of which are Terran com-
panies. Mid-Space is a sector about halfway between Terran Alliance space and
the Masskai Empire. The Far-Space Sector refers to space bordering the Masskai
Empire; this place is filled with pirates and bandits and was the site of many battles
between the Terran Alliance and the Masskai.
Individual planets and large space stations can also be places of interest.
Earth has already been mentioned as a planet-wide city. Paridon, located in the
Corporate Sector, is known for being a plentiful source of the Kreth jewels that
Psis use. Oracle is a “living planet”; all native creatures share a “hive-mind” with
the planet itself. The Delta Cassiopeia system is home to the Max, a massive,
orbital super-prison. The Astralon system is home to the CIC, the Terran Alliance’s
interstellar communications hub.
There are many resources on the Internet or elsewhere that can help you come
up with other star systems to use in the Star Patrol setting.
TECHNOLOGY
From a technological standpoint, the Star Patrol setting features several
important assumptions. The first is that space travel exists and is common to
most people. Starships are available to many people, either to own, or to purchase
passage. People in Star Patrol travel between worlds on a regular basis; you can
expect that characters in your game will probably travel between star systems quite
often. Another technological assumption is that robots and artificial intelligence
exist. In addition, advanced computer systems and artificial intelligence are replete
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through known space; every culture relies on automated systems as part of

societal infrastructure. Advanced weaponry like laser guns, energy swords, battle
armor, and so forth are also common. Like everything else within Star Patrol, the
technology behind combat has advanced. You should expect to see equipment
common to many sci-fi settings.
The technology to travel between star systems is known to all major cultures
in the Star Patrol setting; there are, however, less advanced civilizations within
known space that do not possess space travel capability. This interstellar travel
technology, known as “OtherNav”, creates a tiny black hole within the engine,
collapses the entire vessel within this black hole, and re-creates the vessel at
the destination. During this process, the vessel travels through what is known
as “Otherspace”, where exact copies of our universe exist; the vessel exists
in Otherspace while it is being collapsed and re-created by the OtherNav. It is
important to note that travel still requires a vessel of some kind; the ability to
teleport or “transport” via molecular disassembly and reassembly does not exist
in the setting.
Robots and artificial intelligence are used in places where menial labor or
complex calculations are needed. Labor robots are everywhere, from starship
maintenance to janitorial duty, and even in factories. AI controls much of people’s
day-to-day lives, from traffic control to communications, to shopping, and more.
Star Patrol’s economy works largely as the modern one does. It’s based on
supply and demand, with electronic credits standing in for physical currency.
Infinite Galaxies uses an abstract economic system and the game is not intended
to fully simulate a complex economy. The PCs start with 1 or 2 Credit each and
can gain more as a reward for their exploits; these Credit values represent a fluid
amount of wealth and are usually gone before too much accumulates, adventur-
ers being what they are.
ORGANIZATIONS
Civilizations, especially human ones, span several star systems. While each
civilization has a “home planet”, the spacefaring civilizations of Star Patrol have
grown beyond a single planet and have colonized or inhabited other worlds within
their home star system and beyond. The humans of Earth, for example, have
colonies on many planets within and beyond the Sol system.
The setting assumes that humans control most of known space. In Star Patrol,
though, not all humans are from Earth; there are human-like civilizations that
spawned in multiple places around the same time. For example, the Cygnans
(from Alpha Cygnus) are very human-like, though they have different coloring and
did not develop in the same way that Earth humans did.

Part 3: Setting
There are alien species which control their own pockets of known space. The
Grays are very similar to the small, gray, large-eyed aliens from movies like “Close
Encounters of the Third Kind” or TV shows like “The X-Files”. They are allied with
the humans of Earth and Cygnus. The Chantarii are horse-like humanoids that
are generally friendly with humans. The Collective is a strange, human-like culture
that infuses their bodies with cybernetic technology. The Masskai are red-skinned,
savage humanoids. They are aggressive and generally, unfriendly to everyone.
The White Apes are intelligent simians with four arms. They are cunning, but still
somewhat bestial.
In general, humans and these alien species co-mingle. Though humans have
been at war with the White Apes, Masskai, and the Collective (and each other) at
times in the past, these civilizations are currently at peace with one another.
The most important organizations in the Star Patrol setting are the Terran
Alliance, Star Patrol, and the Masskai Empire. The Terran Alliance, based on Earth,
is a union between Terran humans, Grays, Cygnan humans, and the Chantarii. This
organization started as an alliance between the humans of the Sol system and the
Grays to stop the Masskai, who were invading Sol. Once the Masskai threat was
stopped, the humans and Grays maintained this alliance and others have joined
it since. Star Patrol, of course, is the quasi-military law enforcement arm of the
Terran Alliance. While Star Patrol was founded by the humans of Sol, the organiza-
tion is the main law enforcement organization in known space and is found in most
star systems. Characters are most likely to encounter Star Patrol as an ally (but this
may not always be the case). The Masskai Empire is often cast as the “bad guys”
and an important enemy. The Masskai are positioned as the major foil to the Terran
Alliance. The Masskai are characterized as aggressive and imperialistic. They want
to conquer and consider all nearby star systems as theirs to take. In the setting’s
history, the Terran Alliance and Masskai Empire were at war for some period of
time and only recently entered into a tenuous peace treaty.
In addition to the political and military organizations, other important groups ex-
ist. Corporations such as Insight, PolarX, Varpad, Maikarus and Cygnus Industries
manufacture and sell many of the important goods found throughout known space;
you will see the names of some of these manufacturers among the starships
presented in Chapter 8: Vessels and Mounts. The Luminous and the Elevated are
two organizations comprised of psi and that promote (and sometimes, regulate)
those who use psionic abilities. Anywhere commerce happens is also likely to be
populated with gangsters and pirates; these are great foils for the PCs.
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STORIES IN STAR PATROL

Star Patrol is a light-hearted, action-adventure setting. As such, stories in this
setting veer into fast-paced, two-fisted, tense, and exciting tales of space-faring
exploits, replete with strange, alien planets, robots, starship combat, and dastard-
ly villains. Star Patrol stories tend to be shorter affairs, with brief plots that are
resolved in two or three game sessions. While that certainly shouldn’t deter you
from running a longer Star Patrol campaign, this is the design intent.
Many Star Patrol plots involve the past war between the Terran Alliance and
the Masskai Empire, particularly the fallout and ramifications of the end of that
conflict. Survivors on both sides of the war still hold grudges and have sworn
revenge on the other side. In addition, there are those who profited from the war
and may wish a return to conflict. Those trapped in the middle of the conflict may
love the peace they have enjoyed for the past generations and seek to keep it that
way.
Stories in Star Patrol may also involve the mysterious users of psionic abilities
and the inscrutable organizations that promote and try to control their use.
Exploration of strange, new worlds and other unexplored places on the fringes
of known space could also be the basis for a Star Patrol story. Those interested
in social intrigue could develop stories based on political corruption within the
Terran Alliance or Star Patrol itself. Espionage stories might also be a fun take on
the Star Patrol setting.
The Star Patrol setting is what you choose to do with it. Take what is laid out in
these pages and make it your own. Perhaps your group will discover new sorts of
stories beyond those imagined here.

Part 3: Setting
11. YOUR OWN SETTING

This chapter examines how a group might create a new setting or adapt an existing
one. Working together, the group can create or adapt an in-depth setting appropriate
for and supporting their Infinite Galaxies game. Here are discussions of key setting
elements, creating a hook for your setting, cooperatively creating a setting, determin-
ing the themes and tone for the setting, creating interesting places, technology consid-
erations, creating interesting organizations and enemies, and introducing new aliens
and playbooks. At the end of the chapter are discussions about adapting settings from
literary or cinematic sources for your Infinite Galaxies game.
KEY ELEMENTS AND THE HOOK

Science fiction settings involve the fantastic. Such settings could be based on
alternate history or future. They could also include any of the following popular
elements: aliens, futuristic or alternate technology, monstrous creatures, other
planets or star systems, robots, space travel, and time travel. See Chapter 9:
Elements of a Setting for a deeper discussion of why these elements are important
to a setting.
Which of these elements you choose to use in your setting depends on your
game’s concept and the group’s preferences. How your group integrates these
elements into the game makes a big difference in the outcome. Understanding
these standard elements and how to use them is key to creating a great setting.
Remember that people are drawn to the familiar, but are intrigued and interested in
something new; a good setting should have both.
You can draw upon the value of the familiar in many ways. The most obvious
way is to use humans in your story. We are all humans – as of this writing, aliens
from other worlds do not exist (or have yet to be discovered). Thus, using humans
is a touchstone with which we can all connect. A setting with a majority of humans
would make sense to most of us. Another way to draw upon the familiar is to use
popular tropes or examples from science fiction books, TV shows, and movies.
Familiar aliens, robots, methods of space travel, weapons, space ships, and so
forth, even if they are not direct copies of things from existing sci-fi stories, can
help your group identify with what is happening in the setting.
Coming up with new ideas and integrating them into a setting idea is not always
easy. Teaching someone to use their creativity is not within the bounds of this work.
That said, it is helpful to discuss ways in which you might foster some creativity in
your own work and add new and interesting things to the setting. Every author or
content creator has their own way to spark and use creative impulses. Some listen
to music, while others read books. Some people watch TV shows and movies that
are similar to the work they are doing, while other choose to avoid that and instead,
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watch TV shows and movies that have nothing at all to do with their topic. Some
people spark their creativity by getting away from everything: hiking, going on a
short trip, visiting with friends, and so on. When you are doing these things, try to
think about what you enjoy and why you enjoy it. How might this tie back in with
your Infinite Galaxies idea?
In terms of your Infinite Galaxies setting, a “hook” is something recognizable

and different about your setting, as compared to the many other sci-fi settings out
there. What makes your setting different from “Star Wars”, “Star Trek”, “Battlestar
Galactica”, the “Stargate” series, “Dr. Who”, and so on? There are so many sci-fi
settings out there; doing something memorable with yours requires some work.
Examine what you have so far and consider what might be changed, in some way,
to pull it away from the norm. When trying to develop a hook, consider how you
would complete the sentence, “This setting is cool because ________.” The cool
factor is your hook. This is your pitch to the other players.
When it comes to creating a new setting, a question about detail arises. How
detailed should the material be that is presented to your players? The most
specific answer is, “as detailed as it needs to be”.
COOPERATIVE CREATION
When this chapter uses the term “your setting”, it refers to the group’s col-
lective creation, which is the setting and the game’s story. In many games, the
Game Master is solely responsible for creating and developing a setting; Infinite
Galaxies recommends and promotes the concept that the entire group is involved
in the creation and further development of the setting. Thus, while the GM may be
heavily involved in the creation of the setting, input from other players should be
encouraged.
While everyone in the group should be involved in the creation and distillation
of the setting, it is not always feasible or possible to include everyone. Some
players are not comfortable with pitching ideas or may, for whatever reason, not
wish or be able to participate in the process. It may also happen that a player may
not come up with ideas right away, but could contribute at a later time. The GM
and other contributors should encourage all players to try to contribute, even if
they do not have ideas to contribute ideas at the first session.
If you are familiar with the concept of improvisational theater, that concept
carries into the thinking behind cooperative creation. Central to this concept
is the “yes, but…” or “yes, and…” responses to others’ contributions. What this
means is that other participants should accept the base idea that someone else
has proposed and add to it, without negating or denying what the other player
has contributed. While this can sometimes be difficult to achieve, especially with
Chapter 11: YOUR OWN SETTING 237

Part 3: Setting
players unfamiliar with cooperative play, the group should enforce the idea that
everyone’s contributions can be valid.
Though you should consider all contributions as potentially valid, your goal is
always to create a workable setting. There are times when you will need to set
aside what doesn’t fit in. The group should evaluate each contribution on its own
merits; compare it with what has already been established, and decide how and if
this new idea fits in with everything else. When a new idea may not be immediately
usable, it is still worthwhile to stockpile the idea somewhere; you never know when
a crazy idea may suddenly become valuable.
Players should consider elements in their character choices and think about
ways in which those choices could affect the setting. Is there an organization or
civilization suggested in the playbook, or perhaps in other discussions, that might
be the spark of something that can be developed for the setting? In addition, the
GM should ask pointed questions about the characters that can instigate further
discussion and exploration of potential contributions to the setting.
DETERMINING THEME AND TONE

Theme in a setting can be established in many ways. Themes can appear right
in the setting’s hook (“Star Trek”, an exploration of uncharted space) or be appar-
ent within the setting’s basic concept (“Let’s play a game about two sides at war”).
Other settings may need more discussion about theme. From Chapter 9: Elements
of a Setting, you know that themes are over-arching topics that will be brought
into the setting, somehow, during play. Themes are important because it gives the
players context for what stories might exist in the setting.
Your new setting may only need one theme, but often, two or three themes
make sense. There is no hard-and-fast rule about how many themes you need, but
you need at least one and, if you’re only going to have one theme, it needs to be a
strong one and reinforced through other design decisions.
There are too many possible themes to list here; you should be able to glean
major themes from your favorite stories. Many science fiction stories follow the
same sorts of themes: exploration, war, the advancement of technology, and the
strangeness and the alien concept of the “other”. Consider what your favorite sto-
ries are trying to say. It may be a good idea to analyze these stories, with a critical
eye, and consider what themes they are trying to convey and how they established
and reinforced these themes in their implementation.
Tone is closely related to theme, but occupies a slightly different space. While
theme is largely what you are trying to say, tone is how you say it. Tone can change
how you perceive a theme and can even shape your story. A light-hearted tone
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suggests comedy and high-adventure, while a serious tone suggests intrigue and
perhaps a heavy-handed or intense take on things. Tone is important, because
it suggests pointing the story in a certain direction. Settings do not have to have
a single tone, though; it is possible (perhaps, desirable) to alternate between
different tones in the same game.
How you introduce and reinforce tone in your game depends largely on the
group and how you view the tone. Unless all players are on board and are request-
ing the game have a specific tone, it may be worth negotiating or discussing what
tone will be largely present in the game. Doing so before play begins can save a
lot of trouble down the road.
WHAT’S IN A NAME?
More than anything else in your new setting, a naming convention is highly recom-
mended to support a theme and enforce some consistency in your setting. When
properly implemented, consistency in names can set the right tone for your game.
Whether you are looking for a light-hearted, high-adventure game or a darker, more
serious one, the names of people, places, and things in the setting will convey to
the other players what tone the game will likely take.
The first thing to consider when settling on a naming convention, before deciding
what it will be, is how exacting and strict you want to be about enforcing it. Before
being too strict about the names in the setting, consider including any naming
contributions from the other players that seem to be along the same lines as your
initial thoughts on the subject.
The names that you and your group decide to use in the setting will, in certain ways,
reflect the tone and spirit of the games you run in it. Happy-go-lucky and comedic
names suggest a light-hearted tone to the setting, while long, multi-syllabic names
may suggest a complex or possibly sarcastically humorous tone. Shady and darker
themed names may suggest a sinister or oppressive tone to the setting.
CREATING INTERESTING PLACES

Your new setting will need places to go! Chapter 9: Elements of a Setting
discusses why a setting needs interesting places and even provides a list of some
places you can use. More than anything else, places are setting. After all, the
game takes place in various locations. Why not make these locations memorable
and interesting? One of the things your setting will be known for, and what may
keep other players coming back for more, is to provide a wealth of compelling and
unique places where the game happens.
Places in your setting need not be entirely fantastic; a touch of the mundane
and familiar can be a welcome place to start, but develop something interesting

Part 3: Setting
beyond a simple space station or desert planet – what is interesting and different
about this place? When introducing a new place in the setting, even if you have not
fully fleshed out the details of this location, create a few bullet points, perhaps on
an index card, to remind yourself what makes this place an important part of the
setting.
Assuming your setting includes space travel, you will need to create star
systems. These star systems are probably the largest things in your setting (akin
to continents in a fantasy game), so starting here will give your smaller creations,
probably located within these star systems, some context. In our universe, a star
system is a set of planetary bodies (planets and other similar things) that orbit
around one or more stars. The star system is typically named for the main star. A
star system will have a “habitable zone”, a distance from the main star in which
life might exist. This is usually between 1 and 4 AUs (Astronomical Units). For
reference, the distance between Earth and our star, Sol, is 1 AU. Places outside
this habitable zone are either too warm or too cold to support life as we know it. For
your setting, create at least a few different star systems and give them interesting
names. In Star Patrol, which is set in the real universe, we have a mix of actual star
systems and ones created for the setting. If you want to use actual star systems
from our universe, keep in mind a few things. First, the astronomical names are
still tied to constellations, which are just named collections of stars that may or
may not be near one another. Second, star systems exist in three dimensions, so
“maps” of star systems don’t work like a map of the Earth or a place that exists
primarily in two dimensions. Finally, keep in mind that the planetary bodies within
star systems are constantly in motion, as are the star systems themselves; fixing a
star system or planet in place does not represent the real universe.
You don’t need to go into excruciating detail about each star system – you need
the name of the system, the number of stars (usually, one, but some systems may
have up to four), the number of planets, other planetary bodies (like asteroid fields),
and any other major features (like a black hole). You should designate the habitable
zone and then insert one or more planets in that zone. If your setting is large
enough, you may want to separate star systems into sectors – these are logical
groupings of nearby or allied systems. Sectors may represent political divisions or
may just be physical places in your galaxy.
In our universe, not much is known of planets outside our own star system.
Scientists have only conjecture about what “exoplanets” might exist in other star
systems. Planets are typically divided into two categories – rocky planets (like
Earth or Mars), which have a solid surface, and gas planets (like Jupiter or Saturn),
which are composed of gases and have no appreciable solid surface. A typical
star system will have a mix of these. Planets that characters can visit will either be
“inhabitable”, meaning they are rocky planets (with environments that can support
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life) that exist within the system’s habitable zone, or they are colonized, meaning
that some sort of colony, usually one protected from the elements, exists.
Colonies are further categorized into orbital colonies, those which orbit the planet,
and planetary colonies, which are on the planet itself. Obviously, gas planets can
only have orbital colonies, while rocky planets might have either type. Moons can
also feature colonies; unless the moon has an atmosphere, these are very similar
to planetary colonies.
Like with naming star systems, you’ll want to have some conventions in naming
your planets. In Star Patrol, the planets are given real-universe names (where pos-
sible) or named after the star system. It’s easier to name planets after the star
system, for reference purposes, but you can certainly name them in other ways.
In terms of your setting, the aspects of a planet you’ll want to decide is the type
of planet, where it exists in the star system, what geographical features it has,
whether people live there or if it’s colonized, and other points of interest. A planet
will only matter to the story if there’s some reason to go there, so make sure to
include that, in some fashion.
Even if you were not planning to use real-universe places in your setting,
getting an understanding of basic astronomy wouldn’t be a bad idea. Learning
how real-world star systems, planets, and other features work would go a long
way towards creating a vibrant and compelling setting.
Beyond star systems and planets are special places that may or may not
be planetary. A place of interest could be of political, economic, technological,
geographic, mystical, or other type that is somewhere that the PCs might want
to visit. A complete discussion of how to create places of interest is beyond the
scope of this work; consider, however, the many interesting places you might want
to visit on Earth – extend this to your setting and add sci-fi elements to them.
Let’s say you’ve always wanted to visit Las Vegas – this is a point of interest – put
casinos in your setting. Let’s say you wanted to visit the U.N. building in New York
City – this is also a place of interest – you can add the headquarters of some
interstellar political organization.
Chapter 9: Elements of a Setting presents a short list of interesting places.

Feel free to use some of these for your setting, or use this list as a creative
springboard to come up with your own interesting places.
The only rule regarding place of interest is that they are interesting. That
means that these places have some sort of significance to your setting and, by
extension, your story.

Part 3: Setting
CONSIDERING TECHNOLOGY
Your new setting should probably involve advanced technology of some kind and
some elements common to science fiction stories, like aliens, robots, and space
travel. Note that some sci-fi stories do not include all or any of these elements. The
great thing about science fiction, as a genre, is that it is very wide-open. If you’re in-
cluding space travel, think about the star systems and planets someone might go.
Is this setting based on the real universe (like Star Patrol) or some fantastic place
far from Earth? You might also consider how space travel works. In terms of aliens
and robots, these are essentially mannequins for human beings; they function, to
some extent, like humans, just act and look differently enough to pass as some-
thing else. You can choose to make your aliens as strange and non-human as you
want. Give a new alien species some sort of hook, like a distinctive appearance, or
some strange biological trait that sets them apart from humanity. Robots can be as
human-like as you wish; they run the gamut from looking just like humans to being
very industrial and non-human.
Advances or differences in technology from our real world extend beyond space
travel and the existence of aliens, robots, and laser guns. Everything in our real
world is a technology of some kind, from business to agriculture to education
to politics to medicine. There are technologies or advancements involved in all
of these areas. When creating a setting, don’t forget about the less fantastic
advancements that might be made in areas we deal with in our daily lives. Consider
how people travel, eat, work, and play in this setting. Where do people work? What
sort of work do they do? How do people buy things? Where do they go to get away
from it all? What technology might threaten the peace people enjoy?
In addition to creating technological advances, you may also want to consider

what does not exist. Because science fiction is a big category of stories and
settings, people may have different ideas about what should exist in a setting; at
some point, if something doesn’t exist in the setting, it should be stated in some
form. Denying the existence of a technology should be reinforced in the setting
concept, but it can also be as simple as saying the technology hasn’t been invent-
ed or is unavailable for some other reason.
Many science fiction settings include some sort of technology in the hook or
concept. If you have a really interesting idea for a new technology, perhaps this
could be part of the setting’s themes or a major element of the story.
CREATING ORGANIZATIONS AND ENEMIES

A setting is incomplete without societies and organizations with which the player
characters will interact. Your new setting can be distinguished by the introduction
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of interesting civilizations and groups. These organizations, as well as important

and interesting individuals, will comprise the bulk of those who will interact with
the PCs.
Societies are large groups of people defined by a certain social characteristic.

A society might even be something like a culture. Societies can share aims or
goals, but more often, they are far more diverse than that. In fact, individual mem-
bers of a society might even be at odds with others. Introducing a new society
into your setting can be accomplished by defining who they are, where they exist,
and creating some ties to your story. A planet might have one or more societies,
or a large society might span multiple planets or star systems. It might be wise to
have one of the player characters be part of a society you add to the setting, or
perhaps the PC is at odds with a particular society.
Organizations are groups of like-minded people with the same general aims
and purpose. An organization differs from a society in that a society is more
interested in promoting a social goal or aim, while an organization is a broader
term, encompassing societies, but also businesses, military groups, professional
guilds, and so forth. An organization might be a group of scientists working on a
specific problem, a gangster’s cartel, space race enthusiasts, a corporation, or
even a political entity like a planet’s or star system’s government. It is far more
common for the PCs to belong to an organization or be in conflict with an organi-
zation. To introduce a new organization to your setting, name it, define it, and put
it somewhere in your game’s story. When the organization is introduced, you will
likely not need to work out all the details of an organization’s focus on the people
and power centers with which the player characters will interact. The rest can be
filled in when the time comes.
You may wish to borrow a society or organization from an existing setting and
use it in your new setting. There’s certainly nothing wrong with this idea and, in
fact, you will have more success getting your players to identify with something
they have already seen. Because identification is a key factor in getting player
buy-in, using the familiar is always a good idea. Even if you don’t borrow a society
or organization wholesale, you can still use parts, the ones that particularly fit the
setting or story, as components of a society or organization you’d like to add to
the setting.
An easily overlooked part of your new setting that deserves consideration is

commerce and the economy. Though you shouldn’t spend an inordinate amount
of time on the inner workings of buying and selling, it is worth considering how the
economy works in your setting. Once you understanding these concepts – how
they work in the setting – they can be introduced into your story as elements of
the game and connected to the objectives or obstacles you introduce.

Part 3: Setting
Having a basic understanding of economics is all that’s required to make great
use of trade and money in the game’s setting. You’re not required to delve deep
into the subject. In fact, anyone who’s been in the working world for a while likely
has enough of a basis to deal with the economy of the setting. Make no mistake,
the setting’s economy matters. PCs are going to be taking missions in exchange
for money, goods, or services, and how that works, economically, may play a part
in the story. Understanding how (and why) trade happens in the real world may
also translate to the setting and may even create some interesting threads in the
game’s story.
We all know that money talks; this is as true in the world in which we live as
in the setting you’re developing. Follow the money – another common term from
the real world – has a place in the setting as well. The game’s story likely has
some kind of economic basis – someone wants something and may be willing to
lie, cheat, or steal to get it. They might also pay someone to do it for them. There
are many economic components that might affect the game’s story and it’s easy
enough to add them to the setting. The presence of banks, lenders, loan sharks,
casinos, cartels, and any sort of business implies that trade is happening and that
there is an economy. The PCs might run up against a trade blockade on a certain
planet or be asked to put an end to it. The characters might find themselves in the
employment of a banking cartel or smugglers. They might even be space pirates!
These story concepts – and many more – rely upon economic elements in the
setting.
Once you have an economy in mind for the setting, you may also want to consid-
er introducing special resources. These resources may be rare, extremely valuable,
or wanted by certain parties. These resources can become part of your story and
the acquisition of these resources may become an objective in your adventures.
The most direct way to make resources part of the setting is to make them
valuable to someone important – a wealthy NPC, an organization, or even a society
– and then introduce a need within the story. Perhaps a rare resource has been
depleted or otherwise become unavailable and a new source must be discovered.
Perhaps some nefarious individual or group has taken control of the source and it
must be freed from the clutches of these evil-doers. You could even make the need
personal to one or more of the player characters; perhaps they need it to power
their weapons or starship.
In addition to organizations that the player characters will run across, they will
also interact with interesting non-player characters (NPCs). These are individuals
with some stake in the story or the actions of the PCs. The GM controls what the
NPCs do, though their actions are largely reflections of what the PCs do. NPCs are
often the ones who instigate missions (or other trouble) for the PCs and can also
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be sources of conflict or aid. While the mechanics of creating NPCs is covered in

Chapter 3: How to GM, the foregoing discusses why NPCs are important to your
setting.
People are the lifeblood of any setting. Without interesting people to interact
with, the player characters wouldn’t have much to do. Presenting individuals of
note gives the players touchstones for the setting beyond faceless organizations
or interesting places to visit. The NPCs are the ones the players are going to
interact with most often and the ones that will tend to shape the story. Because
of this, you will want interesting NPCs, one that give information, direct the PCs,
offer assistance or favors, and provide obstacles, when needed.
An interesting NPC could be a mission-giver, someone with money or power

who can offer the PCs aid or money in exchange for a service. An NPC could also
be someone who stands in the way of a successful mission – perhaps a major
enemy or person with a vested interest in stopping whatever the PCs are trying to
do. While not every character the PCs interact with needs to be interesting, you
should create compelling names and personalities for those upon which the story
is likely to turn.
NPCs can also be tied to societies and organizations. The head of a planetary
government is someone with whom the PCs might interact. The guild master for a
group of space merchants might also be an interesting NPC to present. Of course,
a dastardly pirate captain is always nice to have around as a foil for the PCs.
When considering setting, coming up with a handful of these interesting NPCs –
who may or may not come into the story – still helps to deepen the setting and
make it more compelling to the players.
NEW ALIENS AND SPECIES

One thing to consider when crafting a new setting is whether you want to
introduce new alien species. While this is certainly not a requirement in creating
a new setting – the existing “alien” origins work well on their own – adding new
and interesting alien options can serve to make the setting more memorable and
interesting.
The Star Patrol setting features six playable alien species. When a player
chooses one of these for their character, it replaces the “Alien” Origin listed in
the playbook and provides the character with a comparable benefit. You can see
these Star Patrol alien options in Appendix B: Star Patrol Species and Origins.
When considering creating new species, look at the existing playbook Origin
benefits, as well as the Star Patrol offerings, for guidelines in terms of what is
expected. It’s entirely possible that you’ll find that an existing species from Star

Part 3: Setting
Patrol has a benefit matches what you want; in that case, simply rename the
species to your new one and you’re done!
If the existing Star Patrol species do not have benefits that match what you want,
create new Origin benefits for your species. Keep in mind that an Origin benefit is
not as “effective” as a playbook move; usually, they modify existing moves in some
way. Also, you should tie the alien species to at least two different Infinite Galaxies
playbooks and offer Origin benefits that match those playbooks. For the Star Patrol
aliens, the species have Origin benefits for at least three playbooks each.
NEW PLAYBOOKS
In addition to customizing the setting with the introduction of new alien species,
you may also want to introduce new playbooks. While this is a far more complex
process than creating new alien species, it is possible to craft entirely new play-
books or even modify existing playbooks to fit the setting. Crafting a new playbook
is a challenge that requires some in-depth knowledge of how playbooks are built.
This is not an undertaking for a novice GM; this advice is intended for those more
experienced with Infinite Galaxies and “Powered by the Apocalypse” games in
general.
When considering creating a brand-new playbook for use in Infinite Galaxies, it

is best to examine the existing playbooks to see what they offer and what openings
there are for new playbooks. Also, consider whether you are replacing an existing
playbook or adding a new one to the game.
The very first thing you will want to do is decide what the new playbook’s “hook”
will be; this is a general purpose and concept. The majority of the new playbook’s
moves will involve this concept and build upon it. For example, the Soldier is a
veteran of combat, the Robot is, well, a robot, and the Ace is a starship pilot.
Once you have a concept, the next thing is to decide on a default move. For
the existing playbooks, the default move (or moves) reflects something that this
character will do a lot and, in some cases, it isn’t really a move at all, but some sort
of universal benefit. The Ace gets a starship. The Psi gets the Reserve moves that
power a lot of their moves, as well as the Kreth jewel that provides some utility. The
Robot gets a default move that simply states some great benefits that the charac-
ter gets as well as an explanation of how they recover Vitality.
Next, you want to decide on a set of starting packages. The existing Infinite
Galaxies playbooks have three starting packages. These packages should flow
naturally from the playbook’s concept. Each package should feature one or two
moves that involve rolls and one that is a utility move – that is, it modifies an
existing playbook move in some way. The Explorer has the “Intuition”, “Piloting”,
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and “Trailblazing” packages; each provides slightly different options, but all work
from and dovetail with the default moves. They are all about traveling to new
places and discovering things. One of the challenges here is not to overlap too
much between the default and package moves. Also, you want to make sure that
there is not a lot of duplication between the moves in your new playbook and
moves in other playbooks.
At this point, it makes sense to take a look at Damage Die and Vitality. Typi-
cally, higher Damage Die indicates a character that is more combat-focused. The
existing playbooks have Damage Dice ranging from D6 to D10. Most playbooks
are either D6 or D8; only the Soldier has a starting Damage Die of D10. Vitality
works in the same fashion; most of the existing playbooks have default Vitality of
12 or 16. The more combat-focused characters lean towards 16, while the others
are set at 12.
You may next turn your attention to Origins. The existing playbooks have three
Origin options, one of which is the “Alien” option (except for the Robot). Each
Origin benefit affects either one of the default moves or a basic move that the
playbook is likely to use. You’ll want to avoid creating benefits that point directly at
one of the package moves because you want the Origin options to be universally
beneficial to all starting characters.
Next, consider equipment options. Choose a starting Load value for the
playbook; most of the existing playbooks have 6 or 8 default Load. In terms of
the starting equipment, think of the items that the character would need to be
effective; your default moves may suggest equipment, but also the package
moves. For the equipment options, take a look at the existing playbooks for lists
of common items or review Chapter 7: Gear.
Drive and Relationship choices are critical; remember that this is how PCs
earn most of their Experience. You’ll want Drive and Relationship choices to be
universally useful to all characters using this playbook. Triggering Drives are
solitary actions, while triggering Relationships requires someone else. When
creating these Drives and Relationships, look at the playbook’s default and
starting moves. These should suggest actions that a character should be able to
do often and thus, trigger these Drives and Relationships. Refer to the Drives and
Relationships in the existing Infinite Galaxies playbooks for further guidance.
The final piece to creating a new playbook is to write the Advances. These are
moves and benefits that the player chooses after character creation. A list of
Advances can be built from a combination of moves that improve or add onto ex-
isting default and starting moves as well as new options that fit into the concept.

Part 3: Setting
MODIFYING AN EXISTING PLAYBOOK
If you find that an existing Infinite Galaxies playbook meets most of your needs, but
you’d like to modify it, that is certainly possible. Again, an understanding of how
playbooks are designed goes a long way towards being successful in modifying
a playbook. Modifying a playbook involves removing an existing move (or set of
moves), Origins, Drives, Relationships, Advances, or any other attribute. Before
making a change to an existing playbook, consider why you are making the change,
what you hope to gain with the change, and how the change alters the playbook’s
role in the game (including any changes in the playbook’s perceived power level).
Be careful to avoid pushing a playbook in a specific direction; changes making the
playbook more effective in one area should be balanced with changes to make it
less effective in other areas.
CHOOSING AN EXISTING SETTING

Science fiction, as a literary and creative storytelling genre, has been around for
more than a century. In fact, depending on your point of view, it has been around
a lot longer. During this time, writers have created many settings and you may find
that one of these might be used in your Infinite Galaxies game. Even if you don’t
use an existing setting wholesale, you may borrow parts of it for your game.
There are many existing settings found in popular books, TV shows, movies, and
graphic novels that might interest you as something you could use for your Infinite
Galaxies game. In fact, the game was designed primarily as a way you might use
the Infinite Galaxies rules in conjunction with an existing setting. Many popular
settings work very well with the Infinite Galaxies rules without much adaptation,
though some may require some diligent modifications to work correctly.
The most important aspect of a setting you might select for use with Infinite
Galaxies is whether it is exciting or interesting to the other players. You may already
know the tastes and interests of the other players; if this is the case, a simple
survey of the other players should reveal what existing settings are compelling
enough to adapt for use in the game. If you are working with a new group, or
perhaps players that have not tried Infinite Galaxies before, you should discuss
what settings are of interest to them; it may make sense to suggest a few possible
settings and see which ones draw the most attention.
There isn’t a list of settings that work well with Infinite Galaxies, but following
is a short review of the most popular science fiction settings, all of which work
just fine (perhaps with a bit of tinkering) with Infinite Galaxies: the high-fantasy
spacefaring settings of “Flash Gordon” or “Buck Rogers”, “Barsoom” (the Mars
works of Edgar Rice Burroughs), “Foundation” (from Isaac Asimov), “Dune” (from
Frank Herbert), “Planet of the Apes”, “Starship Troopers”, “Star Wars”, “Star Trek”,
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“Firefly”, “Stargate”, “Avatar”, and even the darker settings of the “Alien”, “Termi-
nator”, and “Predator” films. There are so many more settings – don’t feel that you
are at all limited to the foregoing list.
You may also be tempted to use certain elements from your favorite sci-fi
setting and weave them into an original creation. How successful you are at this
depends on how much you use and your own understanding of how the elements
fit into the existing setting – and what impact adding them to your own setting will
have. It would be worthwhile to poll your players on what parts of existing settings
they like and see where you have some common ground.
FINDING THEME AND TONE

As discussed in Chapter 9: Elements of a Setting, theme and tone are es-
sential to the deployment of your setting and to getting player buy-in. Theme, of
course, is an over-arching topic that supports various stories in your game and
tone is how the group approaches play – from light-hearted, to dark and serious,
to somewhere in-between. Finding the right themes for an adapted setting, and
determining the proper tone, can go a long way towards the successful implemen-
tation of this idea.
Existing literary and cinematic settings present certain themes and attitudes
towards those themes. You are free to use those themes or ignore them and
insert your own. Your Infinite Galaxies game may suggest different themes to
you and that’s perfectly fine; don’t feel that your group is limited to exploring the
themes presented in the medium in which the setting appeared. For example,
the “Star Trek” TV shows and movies suggest themes of exploration and aspi-
rations of societal perfection, but that doesn’t mean that your group can’t play
in the “Star Trek” setting as pirates or scoundrels, living outside the rules of the
Federation.
It’s not always easy to discern themes from existing settings, especially if you
aren’t conversant in the stories set there. That doesn’t mean you can’t use an
existing setting; there are plenty of online resources to give you a good idea of
the themes in a given setting. Thus, if you want to run an Infinite Galaxies game
in Frank Herbert’s “Dune” setting, it’s not a requirement to read all of the “Dune”
novels (or any of them); you may get the “look and feel” of the setting by doing a
bit of research.

Part 3: Setting
TAKING WHAT WORKS,
SETTING ASIDE WHAT DOESN’T
The setting you wish to adapt for use in Infinite Galaxies is likely to contain a
lot of information and interesting things you want to add to the game. Caution is
suggested, though, as not everything in an existing setting makes sense for your
game. Here, we discuss how to determine what works and what may need to be put
off for later.
The basic rule of thumb is to use as much as possible, but don’t overwhelm the
game with setting references. While you certainly want to include key people, plac-
es, and things from the setting you’re using, it’s not necessary to try to shoehorn
everything into your game. Often, adding a bit of this and a bit of that, using things
recognizable from the setting, is enough to properly represent this setting for your
Infinite Galaxies game.
Unfortunately, there isn’t a set amount of setting information that makes sense
to include in an Infinite Galaxies setting. Answering, “What should be included?” is
more complex than specifying the inclusion of a certain amount of existing informa-
tion, a specific number of places, or people, key NPCs, and even technology. You
and your group will have to judge what fits for the sort of game you want to run.
You should include certain key setting elements recognizable to anyone with
even a basic familiarity with the setting – for example, if you’re playing a game set
in the “Flash Gordon” universe, you probably want Ming the Merciless as a villain,
and Flash may show up as an ally at some point. What you and your group chooses
to include beyond the obvious is where you will need to decide how much is too
much. This is a difficult hurdle, but you and your group should get a good sense of
what more needs to be added after a session or two.
Your group reaches the “too much” point when more time is spent bogged down
in lore and long discussions of your favorite movies, TV shows, and books depicting
the setting rather than moving the game along. This can be a tricky conversation
to have, as people may be very excited about playing in the setting, but, ultimately,
the game comes first.
Even if the decision is made to set aside certain setting elements, your group
may find a way to bring them back later. It may be wise to keep a list of setting
elements people seem to be interested in and, even if these elements are not
immediately included in your game, they may eventually find their way back into the
story.
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ADAPTING RULES
An existing setting that you’re adapting for use in Infinite Galaxies may suggest
changes to the playbooks or other rules within the game. Though most literary or
cinematic settings should work fine in Infinite Galaxies without much work, some
offer interesting ideas that may require some thought and planning to properly
implement.
Chapter 11: Your Own Setting discusses how to create new species (which
are essentially new origin options) and new playbooks. The setting you choose
to adapt for use with Infinite Galaxies may require new character options. Unless
you are experienced with Infinite Galaxies or the “Powered by the Apocalypse”
system, it is wise to use as much of existing Infinite Galaxies content as possible;
once you are more familiar with how the game works, tinkering is possible – and
encouraged.
An existing setting may also suggest new or different equipment. Chapter 7:

Gear provides a long list of items useful to Infinite Galaxies characters, but you
may discover that the setting you want to use features items that we haven’t pro-
vided in the Core Rules. You are free to create your own gear, of course, and use
the existing items to help you do that. Chapter 8: Vessels and Mounts provides
vehicles and creature mounts; you can use those as guidelines to creating your
own vehicles and creature mounts.

STORY
PART FOUR:
This part discusses how your In-

finite Galaxies game is a story and
what story means to your game.
Chapters in Part 4 cover the ele-
ments of a story, how your game’s
story is like that of a novel or movie
(and ways that it is not), and how to
create and continue a story.
Part 4: Story
12. ELEMENTS OF A STORY

This chapter introduces the significant elements of story and how to use them.
Find within this chapter the definition of story, suggestions on how to create a story,
how the setting influences story, using theme and tone in your story, using interesting
people, places, and things in a story, what plot and predetermination mean to a
game’s story, and a discussion of pacing.
WHAT IS A STORY?
In its simplest terms, a story is a retelling of what happened, a series of events
related to one another and tied to a particular theme or plotline. In fiction (such as
books, movies, and TV shows), a story is complete; it has occurred in the past and
is being relayed by the storyteller. In game terms, a story is ongoing; it is comprised
of what happens during a game session, or, perhaps, what happens over several
game sessions, related to what the players do with their characters.
In a fixed and complete story, as you might find in a novel, movie, or TV show,
the plot is typically a series of predetermined events that play out over the course
of an hour, two hours, or 300 pages. Novels in a series might have a single ongoing
story that spans three novels, possibly over 1,000 pages long! Movies, of course,
can be trilogies as well, and so, you may be looking at 6 or more hours of story. A
TV show might have 22-episode seasons, with each show 48 minutes long (longer
with commercials, of course), totaling more than 1,000 hours of programming.
Fixed stories like the ones just laid out are passive entertainment – the audience,
reader, or viewer is not asked to act or contribute in any way. The story just
happens and we are entertained in the way it plays out.
A game’s story is open-ended in the sense that its ending and conclusion are
not predetermined (and should not be) and the players, as a group, collectively
create and progress the story. A game does not have a known ending – a given
series of game sessions can go on for 6, 8, 10, or more sessions, assuming the
appetite is there to continue the game. The “audience” is the player group and the
game is interactive because the players have great input and control over what
happens. Player choice is critical because the story does not happen without the
actions of the player characters.
Despite the differences between passive and interactive stories, there are
many similarities. Both types of stories have characters, locations, conflict, and key
milestones (or plot points) that indicate that the story has moved into a new phase.
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FORMULATING STORY
The story concept for your Infinite Galaxies game doesn’t need to be fully real-
ized. You don’t need to know how it will turn out; the concept of Infinite Galaxies is
that you play to find out what happens. You just need to know what initial goal the
characters will try to achieve. There is an obstacle to achieving this goal. Thus, the
PCs need to do something and there is something trying to stop them.
In its simplest terms, your game’s story is this: Objective + Obstacle = Story.
What the PCs do after being presented with this is how the game plays out.
The objective is the thing that the PCs are trying to do. This is an overall goal
that may (and probably should) include multiple steps. The obstacle is whatever
the PCs need to overcome to achieve the goal. An obstacle could be another
group opposed to what the PCs are trying to do or it could be some other form of
adversity facing the PCs. This creates conflict and this conflict is your story. The
individual steps involved in the story are Milestones, explained elsewhere in this
work.
Obviously, creating a real and compelling story is an involved exercise, the

details of which are beyond the scope of this book. Start with the objective, and
who or what is preventing the PCs from doing it, and you have the essence of the
game’s story.
HOW SETTING INFLUENCES STORY

Setting and story are intertwined and affect each other. The setting is a
framework within which a story takes place and the story’s events and themes
are informed and affected by the terms of the setting. Story affects setting in the
sense that changes in the story’s plot can affect undefined or uncharted parts
of the game’s setting. Understanding how setting and story affect each other is
critical to the proper implementation of both.
While setting is primarily focused on places, it also presents us with important

people and organizations and can also dictate technology and civilization. For this
reason, a story inherits traits from the setting. The same basic story in a different
setting may take on different traits and become something else entirely. Setting
also influences story because the story happens as a result of elements within
the setting; the story just wouldn’t be the same without key people, places, and
things tied to the setting.
If the setting has well-developed places, the story becomes tied to these
places; the story is memorable and interesting because it happens in these plac-
es. For example, imagine a story set in the “Star Wars” universe taking place at
Chapter 12: ELEMENTS OF A STORY 255

Part 4: Story
Jabba’s Palace – this is a very memorable place that is more than just a gangster’s
base. Adding detail and depth to an important place during setting creation helps
build a story foundation when that place is used during the game.
The foregoing also applies to the important individuals and organizations in

the setting; their representation in the setting – their significance and influence
– serves the story partly because they have a significant place in the setting and
are memorable because of it. Imagine a story set in the “Dune” universe – a story
including the Houses of Atreides or Harkonnen evokes more of a reaction from the
players than two nameless merchant or noble houses without such significance in
the setting.
If you are creating a setting, you and your group should spend time and effort to
develop important people, places, and things, so that when these are introduced
into the story, their inclusion has weight and adds to the story. If you are using an
existing setting, make sure to include as many of these touchstones as possible;
this is a method to get player buy-in and to make the story more interesting and
memorable.
THEME AND TONE IN STORY

Theme and tone are as critical in story as they are in setting; see Part 3: Setting
for discussions of how theme and tone inform, create, and affect the setting. In a
story, themes are critical to giving an impetus and purpose for the story. The tone,
as it is for the setting, is a general mood or attitude towards the subject matter.
Though tone tends to take a backseat to theme, the tone of your story will affect
how it plays out.
Explaining a story often boils down to the essential question, “What’s this story
about?” The first touchstone you have when retelling or explaining a story is theme,
followed closely by tone. Is your game’s story a light-hearted romp through interga-
lactic high-society? Is it a gritty and shadowy tale of pirates and smuggling? Is it a
tense, tightly wound story of espionage and intrigue? Deciding what your game’s
story is starts with theme and is informed by tone.
Story happens as a result of one or more themes within the setting. Story takes
those themes and creates interesting events from them. Because a story is a string
of events tied to a theme, you and your group should know and understand any
themes chosen for your story. For example, exploring uncharted space could be a
theme chosen for your game – the story, then, involves and supports this theme
in some way. Often, a game will have one “main” story – and this is based on the
strongest or most interesting theme among those the players chose during setting
creation. This doesn’t mean that your game’s story will have only one story and one
theme; often, a game deviates from the main story and theme (hopefully, for good
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reason) and that is how you and your group weaves in multiple themes. Perhaps
your story involving exploring uncharted space also has a theme of freedom
versus imprisonment and your group has the opportunity to free some slaves. This
is what’s known as a “sub-plot” and is a viable and welcome diversion from the
main story.
Tone is more commonly evoked in story than in setting. The events that play
out during your game’s story, and the resolution of those events, tell the story
and it is in this telling that tone usually emerges. For example, in a game involving
interstellar war, a light-hearted tone is going to create a different story than a
game with a gritty, realistic tone. A group’s chosen tone is not always discussed –
it is often more of a feeling than a rigid set of rules – but a tone should be obvious
to anyone paying attention.
NOTABLE PLACES, PEOPLE, AND

ORGANIZATIONS
Story happens in interesting places found in the setting and the story’s events
affect and include important NPCs and organizations. Understanding how to
include these notable places, people, and organizations is crucial to creating and
furthering the game’s story.
Having interesting and memorable places in the story ties it directly to the
setting. Many games will use a few locations as headquarters, places to rest, or
medium of information exchange. Since the PCs are expected to return to these
key locations multiple times, it is wise to create something important to the story
that happens (or could happen) in these places. There could even be sub-plots,
special stories tangentially related to the main story, that happen at or because of
the PCs’ presence at an interesting location.
The heart of your game’s story is probably the people who interact with the PCs
in some way. Some of these people are allies or helpful NPCs. Some are enemies.
Some may be allies or enemies, depending on the situation. Creating a key
individual NPC requires some thought about their personality and motivations and
how this person fits into the story. Individual NPC allies can provide information or
resources to help the PCs, but some might even join the PCs on their adventures.
If this arrangement is more of a permanent thing, feel free to use the Companion
playbook to represent this. Enemy NPCs can be the heads of organizations or they
could be solitary nemeses. Some NPCs might change their attitude toward the
PCs during the course of the game. In any event, NPCs should have underlying
motivations that support whatever actions they take; if they are helpful NPCs, they
should have a reason for helping and, if they are trying to thwart the PCs, they
should have proper motives to do so.

Part 4: Story
Organizations, like interesting individual NPCs, can act with or against our
protagonists. Often, the PCs will receive missions or guidance on behalf of an
important organization. The PCs could be working against an organization at
cross-purposes with what they are trying to achieve. While some organizations in
the story may serve a facile purpose, others can be critical to the plot. Organiza-
tions can be valuable allies or sources of information or other resources, and can
also be implacable enemies, using their resources and influence to impede the
PCs. Like individual NPCs, organizations have motives for their actions; under-
standing and properly deploying these motives, through action, can really help to
make the organization feel real.
PLOT AND PREDETERMINATION

A plot is a series of major events in a story that, when strung together, form the
backbone of what happens to resolve the story. It is very important to understand,
though, that plot in a literary or cinematic sense is far different from how plot is
handled in a game. This is where the concept of predetermination comes in. The
plot in a literary or cinematic story is fixed and predetermined, whereas the plot in
a game is not. Here, we will discuss the major differences between the two.
The classic three-act structure is common to modern storytelling. In this struc-

ture, the story begins with an inciting incident, some event that forces the protago-
nist(s) into action. What flows from this inciting incident is the conflict, which comes
into being as a result of this event and the plot is comprised of important events
that happen as a result of the protagonist(s) taking action against or because of
this conflict. At the ends of the first and second acts, special events, known as plot
points, signal the audience or reader that the story is moving into the next phase.
The first act is usually where the audience or reader explores the world in which the
story is set and learns the rules of this story. The second act is where the majority
of the action takes place and the audience or reader sees how the protagonist
deals with the conflict with which they have been presented. The third act is the
resolution of the plot, where the protagonists’ and antagonists’ actions come into
direct conflict with one another and one side wins, while the other side loses.
Attempting to implement a classic three-act structure in a game can be prob-

lematic. The most obvious issue is predetermination, the idea that all of these
events are fixed and immutable; the concept of a roleplaying game, certainly a
game like Infinite Galaxies, is that the actions taken by player characters influence
and drive the fiction – in a predetermined story, that does not happen; the author
decides all of this as they write the story. The second issue is that a rigid structure
as presented above is not appropriate for a fluid environment like a series of
game sessions. What happens in a game is that the player characters are put into
an interesting situation, but the end result is unknown – the fun is seeing what
happens and what successes and mistakes happen along the way.
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Many GMs are tempted to implement a traditional literary “three-act” structure

in their games. This is usually in some vain attempt to “craft” a story like a novel
or TV show. Often, these GMs see themselves as authors and not game facilita-
tors. This sort of GM behavior should be a red flag to your group; no one player
should be trying to strictly control the game and story in this fashion.
MILESTONES AND PLOT POINTS

Detailed in Chapter 6: Experience and Advancement, Milestones are both game
mechanic and story device. As a game mechanic, a Milestone gives the player
characters another way to earn Experience. As a story device, however, a Milestone
acts in many ways like a plot point in the classic three-act storytelling structure.
Introducing a Milestone points the story in a certain direction and, while the players
are by no means forced to follow the Milestone through to conclusion, they have
incentive to do so.
Not every Milestone is a plot point in the classic sense. While a Milestone rep-
resents a turning point or a key plot twist or conflict, some are merely waypoints to
the next part of the story and may not necessarily represent a change in the story
(certainly not in the way that a classic plot point does).
PACING
Like plot, pacing means slightly different things to a literary or cinematic story
versus what it means to a game’s story. Pacing refers to how quickly major events
progress in a story. In a book, movie, or TV show, pacing refers to the “tempo”
or speed at which the reader or audience is confronted with major plot points or
events. Pacing preferences are often dictated by the story’s genre – for example,
a faster pace is expected in an action or horror story, whereas a slower pace is
expected in an investigative or romantic story. In a game’s story, pacing refers to
how quickly the players are presented with major decisions to be made or actions
to be taken. Pacing affects everyone’s enjoyment of the game and should be a
topic of discussion at the start of a new game.
The rhythm and pace of a fixed story, such as that found in a movie or novel,
can be affected by things such as running time or page count, external factors
that artificially affect how a story unfolds and plays out. In an open-ended story,
like in your Infinite Galaxies game, does not have a specific limitation as to how
slowly or quickly the story unfolds; your game is only limited by the amount of time
you and your fellow players wish to spend playing.
The pacing of your game’s story is highly dependent upon the needs and
wishes of your group. Some stories make sense to tell quickly – those with a
significant amount of action and adventure immediately come to mind as stories

Part 4: Story
that will unfold without much pretense or delay. Some stories, though, will develop
on a slower pace – stories with intrigue, investigation, and emphasis on social
interaction take longer to get to a major turn in the plot. There’s nothing inherently
“wrong” about the pace of a game; the pace should be something with which the
group is comfortable. Players should not feel confused or left behind because the
story is moving too quickly or bored or disinterested because the story is moving
too slowly. It can be a good practice, therefore, to poll the players following game
sessions to determine their comfort level with the game’s current pace.
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Part 4: Story
13. A GAME’S STORY

This chapter details how story affects your Infinite Galaxies game experience. Your
game’s story is something organic, something your group created, and something
wholly owned by the group. Each game group’s story is different; no two are alike
because no two groups are alike. What elements comprise your game’s story come
from player contributions, to some extent, and players’ own sparks and ideas. These
combine to form the game’s story. This chapter discusses the life of a game story, how
to ask good questions and act on the answers, using player input, and incorporating
game mechanics into the story.
THE LIFE OF A GAME’S STORY

Stories in roleplaying games should be “open-ended”, i.e. they do not have
predetermined conclusions. This sort of story requires player action to finish. In an
open-ended story, the GM and the players create the beginning, but the middle and
the end are undetermined – roll results, their consequences, and decisions made
in their wake will determine how the story turns out.
A well-crafted open-ended story is one that has many possible outcomes. The
story’s beginning may be rife with possibilities. This is an exciting time because the
GM and players can envision many different storylines and plots. Once the game
gets into the middle of the story, things become clearer – plot points come into
focus and a possible conclusion starts to emerge. Once the story comes to its end,
it should be a satisfying experience because the GM and players are invested in
the experience they have created together; this is not the work of one person, but a
collective creation experienced by the whole group.
A good story has plenty of twists and unexpected turns. Infinite Galaxies
provides many opportunities for the unexpected; every time a player gets a partial
success or failure, the GM has the chance to throw in something new. The GM
should always be thinking about ways to introduce new story elements – a new
enemy, an ally who appears in an unusual place, a new mission directive that
changes everything – and push the story in a slightly different direction.
A good plot twist is one that the players didn’t see coming but, in retrospect,
fits in perfectly with the ongoing story. Perhaps the PCs missed some critical detail
that supports the plot twist. Maybe the GM introduced something that the players
ignored for too long. It could be something small that turns into something the PCs
can no longer ignore.
Plot twists and associated unexpected elements are about change. The game’s
story should be everchanging; the boring and the staid should have no place in an
Infinite Galaxies game! Players should “expect the unexpected”. The GM should be
throwing new material into the game and twisting the plot whenever possible.
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Change should not happen for its own sake, though. The GM should take care
to ensure that plot twists and changes occur naturally, because of player deci-
sions and actions, but not just to “shake things up”. Changes that adversely affect
the player characters are fine, but should occur because the PCs made a mistake
or as a result of a poor decision. Conversely, changes that benefit the PCs should
not happen just because the GM feels bad for the players; there should be
support within the established fiction for whatever benefits the PCs receive.
Ultimately, the composition of the game’s story is in the Game Master’s hands.
The GM is usually responsible for introducing the game’s concept, the spark, and
gathering player ideas and contributions, to create a whole story that drives the
game forward. The GM has a lot of tools with which to compose the story – player
ideas, their own sparks or concepts, external elements (such as existing plots
from movies, TV shows, and books), using improvisational techniques, and even
the mechanics of the Infinite Galaxies game itself.
Remember, though, that the game does not belong solely to the Game Master.
While the GM is the facilitator and often helps to keep the game focused, pushing
the narrative along when needed, the entire group owns the story. Think of the GM
like the CEO of a major corporation. The GM is in charge, yes, but must answer to
a Board of Directors (the other players). The game does not succeed without the
entire group. It is best when everyone is involved and invested.
ASKING GOOD QUESTIONS

As the game begins, and even when the game is ongoing, the GM and other
players should ask questions of one another, to add to the story, to make things
more interesting, and to gauge where each player is, not only in their enjoyment of
the game (and engagement in it), but also to see where they might like the game’s
story to go.
In the first session, the GM will ask leading questions about the characters,
especially playbook choices, package choices, Origin choices, and which Drives
and Relationships were chosen. This really helps the GM start to get a feel for the
characters and the potential directions the story might take. The GM is not alone
in story development, though – the answers the players give to these questions
are also inputs to the game’s story. During subsequent sessions, the GM might
ask further questions regarding the same details, or perhaps in other areas
that drew interest during prior sessions. The goal in asking these questions is to
deepen the narrative, add more interesting ideas to the mix, and further player
buy-in through including player input.
Asking leading questions means two things. First, don’t ask “yes or no” sort of
questions. These don’t give you much information. Ask “who”, “where”, “when”,
Chapter 13: A GAME’S STORY 263

Part 4: Story
and especially, “why” and “how” questions. These inquiries cause the player to
give more information and to think about the answer. A thoughtful answer, even
if it takes a while to generate, is better than a quick answer that tells the group
nothing. Second, you want the answer to lead somewhere. Perhaps you have an
idea in mind. Perhaps you have the urge to take it in a certain direction, but you
want clarification from the other player. Because you don’t want to be making all
the setting and story decisions, it is best to bring in the player for some input, even
if you don’t end up using all of it.
Asking questions is not just the domain of the Game Master. Players can ask
questions of each other. Relationship choices can often spur interesting conver-
sations, the results of which can expand story or open new avenues of plotlines.
Drives and Relationships can also lead to “side-quests”, interesting diversions that
temporarily take the game away from the main story to resolve some outstanding
issue, need, or want.
PLAYER INPUT
Players are great sources of material that can be forged into story elements in
the game. Often, players will suggest ideas for storylines or plot points. In fact, it is
best when this comes from the players and not as edicts from the Game Master.
When players have input into the direction of the game’s story, they are far more
likely to buy into the fiction and become invested in what happens. This is when the
game becomes a great experience for everyone.
The GM’s role in using player input is to be a filter; not all player ideas are great
ones and the GM must do a good job of determining which ideas work within the
established fiction and which can be shelved for later use or discarded altogether.
It is entirely possible that a player has an idea that involves only their character or
may even be at odds with what they group is trying to accomplish. The GM can still
use this material, but it may need to be altered to fit what’s going on in the game.
The key to introducing player-generated content in the game’s story is to

consider which player characters are affected by the new elements. Whatever new
plot point or goal is introduced, it should involve at least two PCs; if not, this may
be a “side mission” that can be handled with a simple roll and some “off-screen”
time. Often, the best use of player-generated content is to involve the backstory or
goals of one or more PCs and weave it into the current story.
Even if something cannot be used in the immediate game session – because

the idea doesn’t fit with current content, it touches on setting elements that
haven’t been established, or because the idea would be best served with different
characters – player input can be shelved and revisited later. When this happens,
the GM and other players should agree on this and it should be announced why
this decision has been made.
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INCORPORATING GAME MECHANICS

INTO STORY
The biggest input to the game’s story is the choice of individual playbooks. The
combination of the chosen playbooks gives the GM and the group a sense of the
direction the players want the game’s story to go. A combat-heavy game might
feature an Ace with a combat-focused ship, a Psi (with the Psionic Warrior pack-
age), a Robot (with the Combat package), and a Soldier, whereas an exploration
and investigation story might feature an Explorer, a Jack (especially the Espionage
package), a Leader, and a Scientist. Playbook moves can also influence story – an
interesting “Gather Information” result from the Jack might lead the story down an
entirely new path. A telepathic Psi might learn something critical through reading
an NPC’s mind.
Some of the basic and special moves can also drive story. “Analyze” is a basic
move that allows a player to ask questions about the current situation – on
occasion, answers to these questions can send the story in unexpected direc-
tions. “Understand” is another basic move with a similar potential; the information
the player gleans from successfully using such a move might push the story in a
new direction. Using the “Celebrate” special move could lead to the PCs meeting
someone interesting who can offer them a new mission or information about an
existing mission.
Because the players should be using their Drives and Relationships to push
the game action in certain directions, it’s not difficult to see how they affect the
story. Drives are personal goals that each PC should be trying to achieve all the
time. Relationships are actions that require at least two characters to accomplish.
Together, Drives and Relationships can form a sort of backbone to the motiva-
tions that cause the PCs to do things. Motivations cause action; PCs take actions
and there are consequences.
Though Drives are often actions that a single PC accomplishes, they can still
power your story. Players undertake actions that they hope will trigger Drives for
xp. The GM can use this motivation to create or support the game’s story. For ex-
ample, the Robot playbook has a Drive to free someone from imprisonment. Thus,
they need someone to rescue. This gives the GM the cue to imprison someone
that the Robot PC wants to free.
When players choose Relationships, they are doing it because they want to
see the story move in a certain direction. The GM can take this cue to create
situations that can allow the Relationship to be triggered. For example, the Jack
playbook has a Relationship that involves getting another PC to reveal secrets.
This requires that another PC has a secret to reveal; the GM can work with a

Part 4: Story
player to create a situation where they have an important secret and, often, the
significance of this secret, and why it was withheld, may drive important parts of
your game’s story.
Gear choices can also affect story. Having just the right gear for a given situa-
tion could lead to new and interesting possibilities; the existence of Specialized
Tools (such as hacking or demolition) and the relevant moves may allow for new
options to deal with obstacles and social items such as Chantarii Smoke or Fancy
Clothing may affect NPC reactions for the better. The converse is also true; if a
particular piece of equipment is needed for a mission, the PCs may need to find it,
and this could lead to an interesting diversion.
Vessels might also provide new and interesting possibilities in the story. The
Ace playbook starts with a ship, but what if the group doesn’t have an Ace? How
does the group travel between planets or star systems? Do they book passage
on a ship or, perhaps, steal a ship? What about surface travel on a land vehicle or
even a creature mount? These conveyances can affect story not only because they
can add color to an otherwise mundane activity, but vehicles and mounts can also
open options that did not exist before.
Advancement is another game mechanic that can change the game’s story.
Characters becoming more effective in what they already do might have a minor
impact on the story, but characters can also advance in ways that give them new
capabilities, which can certainly change the story. A Jack who can now hack secu-
rity doors or a Scientist who has a cybernetic exoskeleton creates new possibilities
in your story. Remember that characters can also take moves from other playbooks
as Advances; this allows for even more diversity in capabilities and could take your
story in new and interesting directions.
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Part 4: Story
14. CREATING AND CONTINUING A STORY

This chapter discusses the evolution of your game’s story, which is how the game
plays out, from concept, through the first game session, until its conclusion. Here, find
discussions of sources for story creation, crafting scenes and a story from those scenes,
the direction of a story, character change and story, and setting change as story.
SOURCES FOR STORY CREATION

“Where do you get your ideas?” is a question often asked of people who create,
whether it be writing, music, or other art forms. This is a difficult question to
answer; every creative person is unique and one person’s process may not work
for someone else. Where your creativity and ideas come from is not as important,
however, as doing something with your creation.
A legitimate question, however, is how someone creates a story for a game like
Infinite Galaxies. Though the creation of story often falls upon the Game Master’s
shoulders, it is the burden of the entire group to participate in story creation. Putting
the entire onus on the GM to create story is often borne of a misunderstanding of
the scope of the GM’s role. Though the GM is usually the most experienced player,
they’re not an infinite wellspring of ideas. The first place the GM goes for inspiration
is the other players. In a collaborative game like Infinite Galaxies, everyone is expect-
ed to contribute to the setting and the story. Player choices, like which playbooks
they want to use and what selections they make for their character options, decisions
made within the scope of the game, and sometimes, even off-hand comments or
suggestions, should contribute to the overall fabric of the game.
Of course, the game’s story doesn’t come from nothing. Everyone who partici-
pates in the story creation process draws from inspiration in their own experiences
in past games, whether it be Infinite Galaxies, other “Powered by the Apocalypse”
games, or even games in other systems. The group should also look to other sci-
ence fiction sources for inspiration. Science fiction, as a genre, has been around,
in some form or another, for more than a century. Over this period, writers have
created some great content. Look to these sources for ideas.
SCENES INTO STORY

Scenes are introduced in Chapter 2: How to Play, and this describes how scenes
are used in the game as a mechanic. Scenes also play into the development of the
game’s story. As a brief reminder, a scene is defined as a certain time and certain
place in which the Player Characters are doing something important to the story.
The vague nature of the scene definition is intentional; each game will have scenes
that make sense, structurally, within their own environments.
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Action and adventure games are full of combat scenes and Infinite Galaxies
is no different! While it is possible that some players may shun or try to avoid
combat, most Infinite Galaxies players want and expect conflict and that often
involves some violence. Usually, a combat scene occurs when the PCs are faced
with adversaries who desire to harm or kill them. Combat can also include
hazards or obstacles – in fact, a combat scene is almost always better with some
added drama from environmental factors or obstacles aside from things to shoot
at. Adding these extras creates more tension and, overall, makes for a better
game experience. Combat scenes certainly drive story – violent conflict is often
created because of an imposing obstacle or some opponent that wants to stop
the PCs from succeeding. Conflict in story works best when something is at stake
– a combat scene involving random pirates or robots, with no ties to any major
villain or plot element may be exciting, but this will not move the story forward.
Social scenes are often about getting information and making decisions. Player
Characters can also gain important clues or information from speaking with NPCs
or otherwise obtaining answers in this manner. Social scenes may involve speak-
ing directly with friendly NPCs, but it can also mean buying information or services
from neutral NPCs, or even interrogating enemy NPCs for information. Most NPCs
in the game will be neutral. This means that the PCs cannot simply demand
information; the PCs may need to pay for this information by way of Credit, Barter,
or services rendered. Enemy NPCs won’t give up their information without a fight.
Friendly NPCs, on the other hand, may offer what they know without expecting
anything in return. When constructing a social scene, it often pays to stage it in
an interesting place. You can add intrigue or tension to a social scene by putting it
somewhere unexpected, or perhaps somewhere dangerous. Social scenes are the
most likely to move the story forward as information and clues gained will push
the story in a certain direction.
Most science fiction games involve some investigation scenes. These scenes
are like social scenes in that they involve the PCs looking for clues or information.
An investigative scene requires the PCs to search for clues or information; such
things are not available from NPCs immediately at hand. This can be because
there is no one around to ask, or it might be that the PCs are avoiding nearby
NPCs for some reason or another. When creating an investigation scene, the most
important element to keep in mind is that the PCs are looking for something. The
PCs often have many information-gathering means at their disposal; these could
be playbook moves or even using basic moves like “Analyze” or “Understand”. An
investigation should not be entirely resolved by one move, though. The clues or
information should be portioned out across multiple moves or actions. Investiga-
tion scenes can be part of larger scenes; you can add an information-gathering
element to combat scenes or have the PCs seek clues before entering a social
Chapter 14. CREATING AND CONTINUING A STORY 269

Part 4: Story
scene. When running a purely investigative scene, it is best to place it in an
interesting venue or situation; adding elements such as hazards or obstacles to the
investigation can give the scene more weight and intrigue.
Many Infinite Galaxies adventures allow for little downtime. They can be
rollicking affairs, full of combat, desperate tension, and larger-than-life exposition.
Downtime occurs when one or more of the PCs has something to do apart from
the rest of the group and this task will take a long time. When this happens, the
game session shouldn’t spend an inordinate amount of spotlight time on this
activity; the group focus should occasionally switch back to the other players to
see what their characters are doing. During downtime, it is possible that the idle
characters do nothing; in this case, allow the players the opportunity to say so and
move on. There is the chance, though, that characters may wish to undertake other
pursuits, and these pursuits may have little to do with the ongoing story. This may
be an opportunity for characters to go shopping, get repairs done, speak with their
loved ones, or even pursue subplots unrelated to the main story. The GM should
encourage these downtime activities; it is always better to keep the PCs occupied
than leave them idle with nothing to do. Downtime scenes may have nothing to do
with the main story, but can also provide opportunities to move the story in new
and unexpected directions.
DEATH AND STORY

Death can happen in your Infinite Galaxies game. Depending on your player group,
and the deadliness of the conflicts that the PCs face, you may wish to discuss with
the rest of the group how you want to handle PC death.
Death should happen as a result of the flow of the story – often, death occurs
because of a particularly difficult task or deadly opponent. Still, there is a risk that
the death will cause hard feelings within the group. For this reason, it is essential to
make sure that the GM is being fair; allowing a PC every chance to avoid death is a
sure way to increase the chance of acceptance and buy-in when death does occur.
This only happens through fair GM rulings and play and not that it was because the
GM was being ruthless or adversarial.
The death of a PC gives the player an opportunity to introduce a new character to the
story, and it has the potential to inject new storylines and possibilities into the game.
It also gives the player a chance to try out a new playbook.
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STORY DIRECTION
Milestones are an important tool used to drive the story direction. For this rea-
son, it is important to discuss how the Game Master creates and uses Milestones
in a game session. The importance of the Milestones in the session is twofold:
they define the game’s story and they help set the group in a certain direction.
Creating Milestones helps to define the story for the players. When the first
few Milestones are established, the group defines what the PCs will be doing (or
should be doing) to further the game’s story. While the game’s first Milestones
set the group in a certain direction, remember that the players drive the game’s
action; they are not forced to spend all of their characters’ time and energy to
achieve the Milestone’s terms. The game should flow in that direction, in a general
sense, and, if the game gets significantly off-track, it is the GM’s job to try to
push the story back towards the current Milestone. How a GM does this is based
entirely on the group of players and the story itself.
While Milestones help to focus your game’s initial story, they are not the GM’s
only tool that the GM to push the fiction in a certain direction. There may be times
when the players run the action off into an unexpected direction. While there’s
nothing specifically wrong with this – after all, the players drive the action – the
group often has a limited amount of time to play the game and would like to get
something accomplished in this time frame. For this reason, the GM must often
do some management of the table, to get the story back on-track.
There is often a fine line between what is called “railroading” and directing the
game. Railroading is a gaming term that describes a situation where the Game
Master has certain outcomes in mind and does everything in their power – in-
cluding making unusual rulings, NPC interactions, and introducing unexpected
obstacles – to push the story in the intended direction. Per this definition,
railroading is the polar opposite of how Infinite Galaxies should play.
At the other extreme from railroading is complete freeform play. In this

situation, the Game Master exercises very little control over the story and action.
While this would seem an ideal approach to running Infinite Galaxies, in reality,
the game works best when the GM exercises some control, usually in the form of
the introduction of Milestones, but also in using gentle nudges such as relevant
obstacles, the information given, and even verbal cues, to get the story going in a
certain direction.
The bottom line, in terms of game control, is that the GM must use their tools
and moves to get the game focused on something. The game’s story, while driven
by the players, still needs to go in a certain direction. Infinite Galaxies is a game

Part 4: Story
where the players have most of the control, but not all of it. The GM must step in,
from time to time, to enforce some sense of direction in the game’s story.
CHARACTER CHANGE AS STORY

Many factors can change the course of a game’s story. One of the major ways
that the game’s story can be influenced is a change in the characters. This includes
not only changes in the capabilities of individual characters or the acquisition of
better, more powerful gear or abilities, but also changes in the group makeup.
These changes drive story as much as anything else that happens during a game
session.
Through advancement, characters will change their abilities and their moves
and they will, of course, acquire new gear. These changes have potential to impact
the game’s story. Characters may gain capabilities to handle obstacles and conflict
that they didn’t have before. New options create different ways to deal with prob-
lems and take advantage of situations. Also, consider the possibility that someone
may take moves from another playbook – this alters the character’s basic makeup
and gives them completely new options. Gear and vessels can also change story
– for example, if the characters didn’t have a starship and they acquire one, this
can open up a ton of new possibilities and avenues for exploration. Other gear can
have similar impacts on the story.
Character change is not limited to advancement or the acquisition of gear. A

change in the composition of the party can also alter the course of the game’s
story. Since each character participates (in some way) in advancing the story, a
change in who is participating will necessarily change how the story goes from that
point forward. Characters leave and join the group for many reasons – PC death
may necessitate a change in character or someone may just wish to try out a new
playbook. Players may also join or leave the group and this, of course, represents a
change in the makeup of the group.
These changes should be weaved into the ongoing story as smoothly as is possi-
ble. In some cases, little change is necessary; picking up new moves or equipment
should rarely cause a tidal shift in the story. In the case of a big change – such as a
new character or player – it is vital to integrate the new character or player into the
story and include their contributions in a way that doesn’t disrupt the ongoing story.
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SETTING CHANGE AS STORY

Another important catalyst in changing the game’s story is changes to the
setting. These changes can include places and organizations being altered in
some way, a major historical event that forces changes throughout the setting, or
even the introduction of new setting elements.
Change in organizations are almost certainly going to happen as a result of PC

actions – if the PCs take down a major smuggling ring, that smuggling ring is of
a lesser concern (or, perhaps, no concern at all) and reduces in importance as
the story moves forward. An organization that stood opposed to the PCs may turn
into an ally – in this case, this organization’s significance changes and they might
now be a resource instead of an impediment. Organizations that were barely on
the fringes of the story can rise in prominence and become true allies or enemies
of the PCs. Introducing new organizations to the setting also has the potential
to change the story – new organizations have the potential to be enemies or
allies (and maybe the PCs don’t know which, at first). Organizations are usually
big groups of people and, though the organization itself has one or two driving
motivations, individuals within the organization may have reasons to work with or
against the PCs. In any event, organizations should change in reaction to what the
PCs do. This can create opportunity for changes in the game’s story.
Places can also change in a way that can alter the game’s story. An enemy
base might be destroyed. A bar where the PCs often met to blow off steam or
meet with clients may be unusable for some reason (perhaps enemies have
installed spies there) necessitating a change in venue. Whatever places the PCs
frequent and depend on for their regular activities can be threatened with change
and this change can translate into interesting twists for the story.
Changes in technology can also make for interesting advancements in the

game’s story. Perhaps an invention has opened new possibilities for the PCs, or
something the PCs relied upon is no longer available. Advancements in the area
of space travel, warfare, medicine, and the economy can alter the story and make
for some nice twists to add to the game.

back matter
PART FOUR:
This final part is composed of

supporting material. In this part, find
a list of those who have contributed to
the Infinite Galaxies Core Rules, some
Star Patrol resources, and an index to
help you find things in the book.
Part 5: Back Matter
15. THANKS
This final chapter has been set aside to give thanks to the many people who have
made Infinite Galaxies possible.
KICKSTARTER BACKERS
These 206 brave heroes backed the Kickstarter campaign that made the
Infinite Galaxies Core Rules a reality. Names are as the backers chose to be
identified in Kickstarter.
MINIONS Christopher Lavery Matt Wetherbee

ron beck Travis Stodter Travis Derrick
Thomas Myers Michael Raichelson Zach Alexander
Michael Jens Stegemann Mark Fenlon
Spacers Charles Ryan Dukacz
Jason Cordova Jeffrey Meyer Svend Andersen
Michael G Barford Richard Rivera David E. Smith
Tomer Gurantz Nathan D. Paoletta Andrew Hartsell
Adam Limehouse Nathan Nolan Sharee
robert kim Jeremy Mahr xidle2
Ross Payton David B. Semmes DivNull Productions
Earl Corey Brown Christopher Santee adumbratus
Mike Shaver Robert Corr Daniel Ohm
Michael Shipman Alex Villemure Nick Pilon
Vincent Arebalo Ted Soper Paul Sheppard
Christopher Grey Suzi Martin Greening
Paul Rivers Victory Condition PK Sullivan
Adam Louie Gaming Bill Locke
Kevin Flynn Victor Serrano Michael Novy
Harald Eckmüller Francois Richard Guillaume Agostini
FelTK Josh G. Zeb Berryman
Stras Acimovic Michele Gelli Garrett Nay
Patrice Mermoud David Klein Joel Siragher
Dennis Malloy Christopher D Meid William May
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Scott W Star Patrol Kevin Lemke

Gabe Shultz Max Morlocke Steven Watkins
Andrew Mayer FredH Amy Tate
Greg Gelder Chris Cirillo Mad Martian Games
Colin Matter Jordan Valentine JS
Luc Millette David Smith Quincy Jackson
Joshua Fisher Jack Gulick Alan Elliman
MattHarrop Jim Davenport Richard Newby
Daniele Di Rubbo Phillip McGregor Stuart Dollar
Nicola Urbinati Sveinn John Kramer
Angela Murray John Desmarais Adam
Freddie O’Brien Brian J. Burke Casey McKenzie
Angela Robertson Ashley Doza xgusix
Chuck Dee Eric Blair BGelens
Trip Space-Parasite Rob Abrazado Alice Tobin
Dacar Arunsone Al Gordon Robert C.
Kees Dedeu Jonathon Dyer Lorenzo Bandieri
Jay V. Schindler Matt Picone Kyle Strohecker
Xotikos Jonathan Woodward FLEET
Heather Rasmussen Chase Walker COMMANDER
Steven Lord Eric Maloof Keaton Kumar
Simon Ward Katie Grimes Williams Kevin Liston
Jose Alfonso Ortiz Matt-Man David Lewis
Seth Hartley Victor Wyatt Tpyo
Taejas Kudva Stacie Winters Donald A. Turner
Kyle Alexander Thomp- Wright Johnson Aaron Brown
son John Canales Peter Gardner
SCOUNDRELS Paul Kalupnieks Mark Trombino
Lukas Feinweber doug woller Vincent Baker
speedknob Zett Lorenzo Gatti
Asher Erin Barnard Josh Reynolds
Guest 1869910201 Kurt Ellison Philip Rogers
Roger Haxton Nicholas Clements Dominick
Chapter 15. THANKS 277

Part 5: Back Matter
Ryan Boelter Michael Mears Michael Czyzewski
Aaron Jones Craig Eisenberger MASTER
David Csobay Chris Bonni ENGINEER
Denver Scheid Jim Lotte Steve Wallace
Greg Eugene Holowacz Paul Faris
LordTentacle Douglas Wachtel Alpharalpha
Richard Graham Cheshir Sean Dicken
adam oedekoven River Williamson Cary Brandon Bishop
Jay Loomis Ian McFarlin Mr. Kevin
Steffen Ron Smay Daniel Johnson
Jared Rascher GALACTIC Stephen Bienek
Fery COMMANDER
Jenn Erickson Robert Loper (Didn’t Choose a
Lucy Chad Reward Level)
Anandh Mohan Elliott Doza Elaine Gray
cindy Shawn K Aarie Liebreich
Zach Chase
PERSONAL THANKS
This work would not have been possible without people in my life pushing me to
finish it and supporting me through the process.
»» My mother, for believing in me even when no one else did
»» My father and step-mother, who took a chance on me
»» My wife, who has stood by me through thick and thin
»» My friends, some of whom date back many decades, who provided me with
hours of entertainment and love
»» The local gaming communities in San Diego, CA, Pacific Grove, CA, Las
Vegas, NV, and Columbus, OH, all of which played a part in shaping my
gaming experience
»» The indie / story games community, which showed me that gaming can be
more personal and more impactful
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INFLUENCES
This final list comprises those that have had a great deal of influence on
Infinite Galaxies or my gaming life in general.
»» Gary Gygax, Dave Arneson, and all the great designers of the Dungeons &
Dragons game
»» Steve Jackson, for Cars Wars and GURPS
»» Steve Kenson and the designers of Mutants & Masterminds (and other fine
games)
»» D. Vincent Baker and Meguey Baker, creators of Apocalypse World
»» Sage LaTorra and Adam Koebel, creators of Dungeon World
»» Hamish Cameron, creator of the Sprawl
»» Steve Wallace, creator of No Country for Old Kobolds
Chapter 15. THANKS 279

Part 5: Back Matter
APPENDIX A: THE STAR PATROL PRIMER

Chapter 10: The Star Patrol Setting introduces the default setting for the Infinite
Galaxies Core Rules. The concepts in the Star Patrol setting inform and create a foun-
dation for some of the assumptions built into this book. This appendix presents some
additional information about the setting – its people and places. Note that Star Patrol
intentionally leaves a lot of creative space for players to add their own takes on it.
Star Patrol is set in the real-world universe. Earth exists, as do other planets and
extraterrestrial locations we know about. The setting design takes the real-world
universe and adds new places – new planets and star systems – as well as adding alien
species into the mix.
This appendix and the one that follows add more to the material presented in
Chapter 10.
THE SOL SYSTEM

Sol is a star system, with the star, Sol, as its basis. The system features Earth,
of course, as well as the other planets familiar to most of us: Mercury, Venus, Mars,
Jupiter, Saturn, Uranus, Neptune, and Pluto, as well as the major asteroid belt
between Mars and Jupiter, and other bodies at the edge of the system.
Earth is the major inhabited planet of the Sol system. It is a planetwide arcology,
meaning that the entire planet is one big city. This is the home planet of Earthlings
(one type of humans found in Star Patrol), as well as the base for both the Terran
Alliance and Star Patrol. Several major corporations are also based on Earth.
Other places in the Sol system are colonized, meaning that the planets have
either orbital or planetary colonies (some have both). Asteroid mining is also very
common in the Sol system.
OTHER HUMANS IN THE UNIVERSE

Humans developed in other places as well; the Cygnus and Pegasus systems
feature original humans with no evolutionary ties to Earthlings. How exactly this
happened is a mystery; the Grays seem to know something, but they aren’t telling!
Cygnan humans originated in the Alpha Cygnus system. They have inhabited
Alpha Cygnus Prime and have fully colonized Alpha Cygnus 3 and 4. There are
many asteroid mining colonies in the system, as well as lunar and orbital colonies
elsewhere in the system. Cygnans have spread into nearby star systems, including
Tau Cygnus, which is much closer to Earth.
The Pegasus system, located within the Sol sector, is home to the other original
humans. Pegassian humans are less advanced than Earthlings or Cygnans, but
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have also started to explore the galaxy. Pegasus 3 and 4 are inhabited and the
Pegassians have colonized many asteroids in their system, as well as some
moons.
TERRAN ALLIANCE
The Terran Alliance is comprised of the following groups: Terran and Cygnan
Humans, the Grays, and the Chantarii. This is a political organization, but the
Terran Alliance also refers to a collection of sectors and star systems loyal to the
organization.
The Grays are based in Tau Cetus and have several inhabited planets in that
system. The Grays are very advanced, having colonized and inhabiting many
nearby systems. Due to their proximity to Earth – Tau Cetus is only 11 light years
from it – the Grays were the first alien species that Earthlings encountered. The
alliance between Earthlings and the Grays is the bedrock of the Terran Alliance.
For many years, the Grays helped to shepherd Earthlings into the greater universe
and an understanding of interstellar travel along with other advanced technolo-
gies.
The Chantarii are actually two different species, similar in biology, but separate
in outlook and culture. Both types of Chantarii hail from the Chantarus system,
which is close to Alpha Cygnus. The Por Chantarii are blue-furred equinoids,
while the Ro Chantarii are red-furred. The Por Chantarii are friendly to most other
species, considered laid back and easygoing, whereas the Ro Chantarii are
aggressive and territorial. Both are nominally members of the Terran Alliance, but
the Por Chantarii are far more likely to be encountered elsewhere in the universe.
While the Chantarii have inhabited and colonized their own system, they have not
spread to any other star systems.
MID-SPACE
The Mid-Space sector is filled with star systems mostly friendly to the Terran
Alliance, though the sector itself is unaligned to any political entity. Important star
systems found in this sector are Alpha Cetus, Astralon, Delta Cassiopeia, Epsilon
Lyra, and Paridon. Astralon is home to Central Intergalactic Communications (CIC),
the main communications hub for the Terran Alliance. Delta Cassiopeia is where
the Max, a giant, orbital super-prison, is located. Paridon is familiar to those with
psionic powers, as it is the main source of Kreth jewels.

Part 5: Back Matter
FAR-SPACE
The Far-Space sector is a mostly lawless place and is located between the
Terran Alliance and the Masskai Empire. Pirates and gangsters favor the Far-
Space sector because it is considered beyond Star Patrol’s feasible reach and the
Masskai Empire has stayed away since the war between these two great powers.
There are many colonies here, but no species call this place home.
Places in the Far-Space sector include Deros, Electra, Oracle, Theta Virgo,
and Variges. Many of these places are home to native creatures that are prized
elsewhere in the universe, either as mounts or fighting beasts. Oracle is peculiar as
a living planet; every living creature on the planet is connected via a hive-mind and
the planet itself is intelligent.
THE MASSKAI EMPIRE

The Masskai Empire is the biggest political rival to the Terran Alliance. The
Masskai have always been wary of Terran and Gray expansion in the galaxy and the
Masskai Empire and Terran Alliance have even warred over territory. Though the
war ended generations ago, tensions still exist between the two groups.
Based in the Masskaon system, the Masskai Empire is large enough to populate
an entire sector, which is also called the Masskai Empire. The Masskai consider
anything in their sector to belong to the Empire and will combat any efforts by
outsiders to inhabit these systems.
The star systems and planets within the Masskai Empire are largely unknown
to the outside. The Masskaon system has three inhabited planets and a handful of
colonies. Nearby systems also feature Masskai colonies of various kinds.
THE CORPORATE SECTOR

The Corporate Sector is a collection of systems near the Masskai Empire and
Far-Space, where many interstellar corporations are based. These systems are
replete with massive industrial complexes and colonies. While the Corporate
Sector is ostensibly part of the Terran Alliance, the truth is that these systems are
independent and govern themselves; the Terran Alliance and Star Patrol have only
token presences here.
Important star systems here are Alpha Chargon (home to the Varpad corpo-
ration), Araknus (home to the Fallenci corporation), Delta Hercules (home to the
Sarko corporation), Gamma Sagittarius (home to the Arkid corporation), Juridis
(home to the PolarX corporation), Panreath (home to the Gunoi corporation), and
Zen (home to the ZenStar corporation).
bullshit
why shit
here i can’t
even
GROVOL
Grovol is a sector that is the origin of the White Apes. The so-called White Apes
are an alien species that, while appearing like apes from Earth, are unrelated to
those primates. Grovol is a sector comprised of the Grovol system as well as a few
neighboring systems. The White Apes do not spread far beyond their home system
and are rarely found elsewhere in the galaxy.
The Grovol system is comprised of two fully inhabited planets and three
planetary colonies. Like the Masskai, White Apes are unfriendly to outsiders and
are not on good diplomatic terms with anyone. Those who choose to enter Grovol
do so at their own peril.
THE COLLECTIVE
The Collective refers to a place and a people who are one. The people known
as the Collective are humanoids who share one hive-mind and are distrustful of
outsiders. All members of the Collective have replaced various body parts and or-
gans with cybernetic technology; it is believed that natural-born members of this
species have a degenerative condition that requires this technological support
to sustain life. The place known as the Collective is a small sector composed of
several systems neighboring the Collective’s origin system. Little is known of the
Collective; anyone who enters the Collective is required to assimilate into their
culture and never leave.

Part 5: Back Matter
APPENDIX B: STAR PATROL SPECIES

AND ORIGINS
The Star Patrol setting introduces several alien species. This appendix presents
these species as Origins for many playbooks. Those Origins listed below don’t cover
every possible combination of species and playbook; in some cases, the GM and
player will need to work together to create a new Origin option not covered below.
When a player chooses the “Alien” Origin for their character, these are available as
options. It is important to note that players may also create their own alien species.
When you select ones of these Origins for your character, the benefit listed below
replaces the one found for “Alien” in your character’s playbook.
THE COLLECTIVE
This is a human-like species infused with cybernetic parts. All members are in
constant communication with each other via a meta-mind known as the Collective.
Explorer: A
dd +1 to “Understand” technologies unknown to your species.
Soldier: When you must mark Ammo, you can take 1d4 damage instead.
Scientist: When you “Create Device” that benefits another member of the Collec-
tive, they add +1 ongoing to use the resulting device.
CYGNAN
This human-like species is known to be masters of interstellar travel.
Ace: When you return to a place you’ve been before (your call), you can get
1-Barter worth of repairs done to your starship for free.
Explorer: W
hen you are on a vessel’s sensors, you may roll + WIS instead of using
the vessel’s score.
Jack: When you have time to regale others with tales of your travels, add +1 to
Negotiate.
GRAY
These oval-headed aliens visited Earth many times in the past and helped to guide
Earthlings to their destiny in the stars.
Explorer:When you successfully “Understand” a human, add +1 forward against

them.
bullshit
why shit
here i can’t
even
Leader: W
hen you “Issue Orders” to grant a Gray or a human a +1 bonus, they
also recover 1d4 Vitality.
Scientist: You may always exchange 1-Barter for 3 Uses of any Specialized Tools.
MASSKAI
These red-skinned, savage humanoids are aggressive and opportunistic. They are
known to be very antagonistic towards non-Masskai.
Ace: When you destroy a vessel in combat, add +1d6 damage forward.
Psi:When you have Reserve, add +1 to the damage you deal.
Soldier: You are trained in the use of the Masskai Scytheblade (Close, +1
Damage, Training, 2 Weight) and start play with one.
POR CHANTARII
These blue-furred equinoids are very social creatures. They are usually friendly,
but also easily offended.
Jack: If you have amicably traded with someone before (your call), add +1 to
“Negotiate” with them.
Leader: W
hen you heal someone (by any means) add +1 forward to “Aid” them.
Psi: You have a constant “Telepathic Link” with your Special Relationship, even if
you do not possess that move.
WHITE APE
These white-furred, four-armed simians are bestial in appearance, yet quite
cunning and intelligent. They tend to despise Humans.
Psi: If you wield two Kreth Swords, add +1 damage.
Soldier: If you successfully intimidate someone, you also recover 1d4 Vitality.
Scientist: For the “Aid” move, you treat all White Apes as if you have a Special
Relationship with them.
APPENDIX B: STAR PATROL SPECIES AND ORIGINS 285

INDEX
A Explorer 101
Ability 17, 85
F
Ace 95
Failure 20
Advance 18, 174
Alien Species 245 G
Ammo 21 Game 19, 262
Armor 21, 85 Game Master 19, 38
Gear 180
B
Starting 87, 183
Barter 18
Beast 62, 73 H
Healing 25, 87
C
Hull 86
Character 82
Companion 163 I
Credit 18, 181 Improvisation 55
In Danger 19
D
Interesting Places 226, 231, 239
Damage 18, 24
Specific Type 20 J
Debility 18, 25 Jack 107
Dice 5
Damage 85, 174 L
Die Steps: 18 Leader 115
Drawing Unwanted Attention 18 Load 19, 87
Drive 18, 87, 169 Look Suggestions 85
M
E Milestone 19, 170
Enhanced Move 19 Clock 172
Equipment Minion 63
Character 185 Modifier 85
Vessel 198 Forward 19
Example of Play 36, 89, 177 Ongoing 20
Experience (xp) 19, 168
bullshit
why shit
here i can’t
even
Mount, Creature 194, 219 Session

Move First 76
Basic 27 Setting 224
GM 47 Custom 236
Special 31 Default 230
Vessel 30 Published 248
Shields 86
N
Ship (Playbook) 155
Name Suggestions 85
Soldier 147
Non-Player Character (NPC) 59, 64
Star Patrol 230, 280
O Starship 205
Organizations 228, 233, 242 Success 20
Origin 87
T
Alien 87
Tag 21
OtherNav 33
Technology 227, 232, 242
P Theme 224, 256
Pacing 259 Tone 224
Package, Starting 86
U
Playbook 78, 82, 92, 246
Utility Belt 184
Player 20
Preparation 39 V
Principles, GM 45 Vessel 194
Psi 123, 176 Vitality 21, 24, 86
R W
Recharge 21 Wound 21, 24, 35, 86
Relationship 18, 87, 169
Reserve 20
Robot 131
S
Scientist 139
INFINITE GALAXIES 287

BLAST OF F F OR
AD VENTURE WITH
INF INITE GALAXIES
Are you ready for some sci-fi action-adventure? Robots?
Aliens? Laser Guns? Starships? All of this can be yours with
Infinite Galaxies!
Bring your own setting – or create a new one with your

friends!
Infinite Galaxies is intended for 3-6 players and takes a few

hours per game session to explore a galaxy-spanning adventure.
Infinite Galaxies is a story game – the focus is on furthering the
group’s goals, each individual character’s story, and respecting
the creative contributions of every player.
Infinite Galaxies has been designed to work with existing science

fiction settings from literature, cinema, and television, and
includes advice for those who wish to create new settings with
their friends.
You hold in your hands the Infinite Galaxies Core Rules, a

self-contained set of rules and game advice that will guide you
through the entire game play experience. It includes 10 new
playbooks designed to emulate common science fiction tropes,
lots of iconic futuristic equipment and vessels, and extensive
advice for creating and continuing an Infinite Galaxies campaign.

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RORY MACLEOD

ROLEPLAYING IN A BRIGHT FUTURE

Thanks to the following people – and many others – who playtested

In loving memory of Grendel, our “Chairman Emeritus” 2006-2019

www.infinitegalaxies.net | @inf_galaxies on Twitter

Grendel’s Vault Productions is a dba of Rory G. MacLeod

PDF ISBN: 978-1-7337669-1-3

GVP0102 - Infinite Galaxies Core Rules

Permission is granted to make physical photocopies of this work and related

MOUNT BASICS 219

INFINITE GALAXIES viii

This part introduces you to the

1. WHAT IS INFINITE GALAXIES?

THE VIEW FROM ORBIT

In playing Infinite Galaxies, the group should create a setting of exploration, of

Chapter 1: WHAT IS INFINITE GALAXIES? 3

THE ELEVATOR PITCH

FURTHER DOWN TO THE DETAILS

The design of Infinite Galaxies game is based on players making moves. A

Chapter 1: WHAT IS INFINITE GALAXIES? 5

ROLEPLAYING IN A BRIGHT FUTURE

Perhaps it is worth breaking down exactly what “Roleplaying in a Bright Future”

In Infinite Galaxies, we look to the positives, in persons, places, and things. We

An important thematic initiative is the presentation of technology far advanced

ORIGINS OF THE GAME

Chapter 1: WHAT IS INFINITE GALAXIES? 7

»» Part 3: Setting discusses the importance of setting and provides ideas

»» Part 5: Back Matter is a chapter of thanks to those who made Infinite

Chapter 1: WHAT IS INFINITE GALAXIES? 9

When considering what type of Infinite

Chapter 1: WHAT IS INFINITE GALAXIES? 11

THE GAME IN A NUTSHELL

Character creation involves the selection of playbooks. These are structured

Chapter 2: HOW TO PLAY 13

CAN MULTIPLE PLAYERS CHOOSE THE SAME PLAY-

When a PC interacts with other PCs, it is generally understood that it will

In Infinite Galaxies, Relationships are important game mechanic and roleplay-

Chapter 2: HOW TO PLAY 15

Understanding how scenes work is essential to the resolution of certain

Chapter 2: HOW TO PLAY 17

Debility:Harm to a character may come in the form of a Debility. This is an

Enhanced Move:Some moves have an “enhanced” option. This option is

Experience:Characters earn Experience for many things – chiefly, triggering

Game Master (GM):Throughout Infinite Galaxies, you will note references to a

Load:Each character has a Load value, calculated using values in the

Milestone:During the game, the GM will introduce a Milestone to reflect the

Chapter 2: HOW TO PLAY 19

Player-Defined Items:In Infinite Galaxies, a few pieces of multi-use gear are

Players:Everyone involved in an Infinite Galaxies game is a player. A certain

Reserve:This is a resource in the game generated or used by certain moves.

Specific Damage Types:Certain weapons and attacks inflict fire, electrical,

Vitality and Wounds:Infinite Galaxies uses a Vitality and Wounds system to

Ammo and Recharge:These terms

Chapter 2: HOW TO PLAY 21

Consumable:Once an item with the Consumable tag is used, it is gone. It

Damage:Certain weapons have damage tags. This is usually in the form of a

Piercing:This weapon tag indicates that damage inflicted bypasses some

Training:Some items require special education or skill to use. These items,

Weight:Most items have some sort of weight. This is an abstract representa-