Maudle Moot Heroes:

Dire Lands
By Matthew Guzdial
Introduction
Your story has ended. The world has changed. It may
have changed in impossible, terrifying ways, but that
doesn’t matter. That story is over.

But maybe there’s still some loose ends to tie up.

Not for the world, but for the characters you’ve
followed, the ones you’ve played.

This is a game for saying goodbye to your player

characters after a campaign. This is a game for
epilogues.

The game is based on the Firebands framework,

made famous by Mobile Suit Hero: Firebrands, a
game by Meguey and D. Vincent Baker. However, this
game requires no knowledge of Firebrands to play.

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Gameplay
To play you’ll need 3-6 players, a few hours, a copy of
this playbook for each player, a handful of coins, and
a long, completed campaign full of memories. Long
is subjective, it could have gone on for hours or
weeks or years. The only thing that matters is that it
is over and that it meant something to you.

If you don’t have your own finished campaign, you

can play this as a fangame of a campaign with which
you are all familiar.

The object of the game is to say goodbye and

address loose ends. Not wrap up loose ends, just
address them. Not every ending has to be satisfying.
Forgive your enemies, settle down with your rivals,
get in one last fight with your friends.

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First, introduce your characters.

Then, pick your threads.

When you play the game, take turns around the

table. On your turn choose a minigame and play it
according to its rules. You may invite others to take
part or open the minigame up to anyone, depending
on your preference and the particular minigame.

When all threads are spent, play the final minigame

“Something Old, Something New”.

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INTRODUCE YOUR CHARACTERS

By default these are the player characters from the

campaign and (if there’s a GM) one other important
character for the GM, but you might instead choose a
character who was important to you as a player,
regardless of who they were in the campaign. During
the game, you’ll also be able to temporarily play
other characters, but you should have a main.

PICK YOUR THREADS

Pick between 1-5 open questions you were left with

after the campaign. These are called your threads. It
might benefit you to write them down.

Try to be specific. Each question should focus on your

character, though it may intersect with broader
questions. For example, “how does my relationship
with ___ end up?”, “how do I react to ___?”, “where
did my powers come from?” are all fine questions.
However, you should not have a specific answer in
mind, as these answers might be challenged or
changed in play. You should also be prepared for the
question to not be resolved. This isn’t a game for
clean resolutions. 5
Once you’re done, share your threads.

It’s okay if threads have overlap. “What does

character X think of Y?” and “What does character Y
think of X” might have two entirely different answers,
or they might not. You’ll find out by playing the
game.

You might want to visually represent your threads

somehow. Threads can either be unspent or spent. A
coin for each thread may be appropriate or just text
for each question that can be struck through.

PLAY THE GAME

To play the game, choose a player to go first (the GM

is a good default, if there was one). Play will proceed
with players taking turns. On a player’s turn they are
called the active player.

When it is a player’s turn, they choose one of their

own threads to spend. If they have no unspent
threads, they cannot take a turn.

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The player should state the question of that thread to
the whole group and state which of the minigames
(see below) they’ll be playing. They may then invite
specific other players (exact numbers depending on
the minigame) and/or make an open invitation. If it
would not make sense for a player’s main character
to take part, they may instead choose a different one
or invent a new character.

When setting up a minigame, say how long it has

been since the last minigame. You may jump
forwards or backwards in time, but try to keep the
majority of minigames in a fairly close sequence.

You can choose any minigame you haven’t already

played. Between turns, if you aren’t in the minigame
you can flip though the minigames and plan for which
one you might want to play next.

After the minigame is done, all players should look

over their threads. If you feel any of them have been
addressed by the last minigame, even if you did not
take part in the minigame, mark it as spent.

When all threads are spent, play the final minigame

“Something Old, Something New”.
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YOUR DUTIES

Play easy, play fair. Don’t stress about having

minigames go perfectly. The campaign is done, all
that remains is epilogue.

The minigames you play should reflect things you

cared about during the campaign, represented by
the threads: people, places, themes, ideas, etc.

SAFETY

If a minigame goes bad, stop and take a break.

Maybe that scene was just a bad dream, maybe the
game ends there. There’s never a pressure to finish if
players aren’t having fun.

Each player should be familiar with all of the

minigames. Each minigame roughly defines the kinds
of situations that might arise from playing it.
Anytime a player is invited to play a minigame they
must agree to it, and they can withdraw that
agreement at any time.

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CHARACTER DEATH

This is an epilogue, with minigames that jump

around in time after your campaign ended. While it
will only happen if the player chooses, characters
may die.

When this happens, the player may introduce a new

character for scenes that occur after the death, may
only take part in minigames that take place when
their character was alive, or can simply watch the
remainder as a member of the audience.

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Minigames
Ø A Discovery: For Learning a Secret p. 11
Ø An Invention: For Making Something New p. 13
Ø A Moment: For Sharing Quiet Moments p. 15
Ø A Return: For Returning to Bad Habits p. 17
Ø A Remaking: For Changing Something Old p. 19
Ø A Last Supper: For Sharing a Meal p. 21
Ø A Wake: For Mourning a Loss p. 23
Ø A Duel: For Unresolved Tension p. 25
Ø A Monster: For Fighting a Powerful Foe p. 28

Ø Something Old, Something New: For Ending the Game p. 31

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A Discovery:
For Learning A Secret
SETUP

Players: Everyone plays. We follow the character of the active

player as they attempt to learn something.

State what mystery you are attempting to learn the answer to.
This may be one of the questions from your threads, or not.
You should not have an answer in mind already.

CONDUCTING A DISCOVERY

This minigame continues over a series of turns. In each turn

the active player describes where their character is and what
they are doing. Other players may ask for more information at
any time.

The active player may decide that their character is satisfied or

has given up, ending their quest. Otherwise, the active player
then chooses one of the other players. The active player asks
that player a question, either from the list or one they make
up. The player who has been asked a question should answer
with their first thought.
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QUESTIONS
Ø I search ___ and find someone unexpected, who is
it?
Ø I pour over volumes seeking a clue, what do I find?
Ø I ask ___ for advice, what do they recommend?
Ø I follow some bad advice, how does it get me
hurt?
Ø I grow desperate for an answer and break the
trust of ___, can they forgive me?
Ø I am near the point of giving up when I happen
upon some clue, what is it?
Ø I’m close, what do I see that puts the pieces into
place?

ENDING A DISCOVERY

A Discovery ends when the active player is satisfied, they give

up, or they have asked each other player one question. State
what you have learned, if anything, and how your character
feels about this.

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An Invention:
For Making Something New
SETUP

Players: Invite any number of other players. You can play this
minigame alone, but it’s often better to have a creative
partner.

Agree on what you are attempting to invent together. This

could be a machine, a child, an alliance, a spell, or anything
else new. Roughly describe what you are intending to create
and the circumstances of its creation. Don’t add too many
details before playing the game.

CONDUCTING AN INVENTION

Each player secretly comes up with two hopes and two fears.
They then toss two coins, one after another.

After you have tossed your coins, you may choose to toss them
again, but you must take the second result. There’s always a
risk in creating something new.

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 Coin 2
Heads Tails
Coin 1 Heads Both of your hopes come One of your hopes
true, and something comes true and
happens that reveals one one of your fears
of your fears was never a comes true.
possibility.
Tails Both your hopes come Both of your fears
true and both of your come true and
fears come true. your hopes are
entirely dashed.

ENDING AN INVENTION

Describe the outcome of your hopes and fears as you create.

Some of the fears and hopes may seem to contradict one
another, that’s okay.

Many real world things, creatures, and people are a mess of

contradictions. You may sketch or play a scene related to your
invention, but leave its ultimate fate unclear. You may touch on
it again in a later game.

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A Moment:
For Sharing Quiet Moments
SETUP

Players: Invite one other player to share a quiet moment. This

moment may be either platonic, romantic or ambiguous. State
your intention and agree with your partner before you begin
the game.

Determine where you’re taking this quiet moment. Begin by

telling each other one thing you notice about each other.

CONDUCTING A MOMENT

Set your scene by engaging in conversation, drifting in and out

of character as appropriate and as you feel comfortable. At any
point either player may ask one of the questions, to which the
other character may either agree or refuse, adding whatever
details they feel are necessary.

Be aware of one another, check in regularly, and ask questions

instead of giving statements (“May I do…” instead of “I do…”)

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QUESTIONS
Ø I try to convince you of ___, may I?
Ø I tease you about our shared past, may I?
Ø I confess a secret to you, may I?
Ø I reveal a vulnerability to you, may I?
Ø I tell you something unpleasant, may I?
Ø I lose my temper and lash out, may I?
Ø I reach out for a handshake, do you take it?
Ø I embrace you, may I?”
Ø I touch your ___, may I?
Ø I loosen your ___, may I?
Ø I loosen my ___, may I?
Ø I kiss your ___, may I?

ENDING A MOMENT

At any time after the third question, or whenever feels

appropriate, either player may end the scene by proposing an
ending (e.g. “I think we leave what comes next ambiguous”, “I
think we break things off”, “I think we don’t speak to each
other again for quite some time”, etc.). The other player must
agree, if not, the scene continues until both parties agree.

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A Return:
For Returning to Bad Habits
SETUP

Players: You may play alone, but it may be fun to share with
another player if you have the same old bad habit. Agree to
what this is before playing the game, if so.

Bad habits are a bit of a gamble, how far you go, and what you
can get away with. To play, first state what you’re gambling,
these are your bets. If there are multiple players, each of you
should have a unique bet. This could be something precious to
your character or to you as a player. But be careful, as it might
be lost.

CONDUCTING A RETURN

Take turns. Each turn represents an instance of your bad habit

resurfacing. Set the scene, describe what brought it on, where
you are, etc. Other players, even those not in the game, can
reject particular bad habits or particular precipitating events.
Once you’ve set the scene, toss two coins. If at least one of the
coins comes up heads, you succeed and regain whatever high
you were chasing in returning to this bad habit.
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Continue taking turns tossing coins until both of the coins are
tails. The number of times you toss before this condition
represents the number of times you get away with your bad
habit before something stops you. State what stops you.

ENDING A RETURN

Once all players have been stopped, each player should choose
whichever of the following endings feels the most appropriate.
Add any details that feel appropriate. Decide whether you lost
whatever you were gambling with.

Ø I was stopped for now, but I have no intention of stopping

for long.
Ø I was stopped, but I’m not sure I can stop myself.
Ø This was a mistake, but I’d be lying if I said it wouldn’t
happen again.
Ø This was a mistake, and it won’t be happening again.
Ø I can’t believe I let this happen, I’m not sure I can forgive
myself.
Ø I can’t believe I let this happen, I won’t forgive myself.

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A Remaking:
For Changing Something Old
SETUP

Players: State what you intend to change and ask another

player to represent/play the status quo. Once you have a
player playing the status quo, you may invite other players to
take part.

State what brought you all to decide to try to make this

change.

This minigame will require sacrifice for all non-status quo

players. It is the job of the status quo to require sacrifice. The
status quo should be a bit unreasonable, but shouldn’t ruin the
fun.

Conducting A Remaking

Remaking is a bargain between the status quo and the

proponents for change. Take turns between the status quo and
the other players (the proponents for change). On the first
turn, the proponents should state what they want to change
and what they’re willing to sacrifice for it and the status quo
should state what they’d be willing to change for that. 19
On each following turn the proponents may increase what
they’d be willing to sacrifice, and the status quo may increase
what they’d be willing to change for this sacrifice.

Sacrifices can be anything, physical, emotional, spiritual, etc.

They may be giving something up or causing something to
occur. They might be in-character or they might be something
more meta/narrative. For example, you might give away a
precious item belonging to your character or declare that some
misfortune will befall your character. But instead you may have
something happen to someone your character cares about, a
faction they belong to, or to some force, power or entity
related to them.

ENDING A REMAKING

When one side will no longer budge, the minigame ends. The
proponents may accept or reject the final deal. Everyone must
agree in order to accept the deal.

If you accepted the deal, each player should take a turn

discussing the consequences of their sacrifices.

If you rejected the deal, give at least one example of harm the
status quo causes without your change.

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A Last Supper:
For Sharing A Meal
SETUP

Players: Anyone and everyone may play. Describe the

circumstances by which you’ve come to be eating together.

Each player should describe something they bring to the meal.

CONDUCING A LAST SUPPER

During the meal, each player may turn to another and engage
in actual, improvised conversation. It may be best with a larger
group to take turns.

At any time any player may ask another player one of the
following questions or come up with a question of their own.

At any point a player may decide to leave, at which point you

should describe your exit.

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QUESTIONS
Ø An urgent message comes to you, who is it from?
What does it say?
Ø I ask you what you think of the food, what do you
say? Is this the truth?
Ø I insult the food, do you let this slide?
Ø This meal reminds you of another we’ve shared,
what is it?
Ø I’ve overindulged and say something thoughtless,
do you let me recover gracefully or not?
Ø I ask how you’re doing, really. How do you
answer?
Ø We end up in a corner together, do you take this
opportunity to share something in secret? What?
Ø I leave the meal, are you sorry to see me go?
Ø I hope to convince you of ___, can I?
Ø I’m hoping you don’t bring up ___, do you?

ENDING A LAST SUPPER

Once everyone has left the meal or you feel that the
conversation has gone on long enough, end the scene.

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A Wake:
For Mourning A Loss
SETUP

Players: Everyone plays.

Someone has died or otherwise left you all. The active player
suggests who it is, but everyone must agree. Everyone plays,
but if your character would not attend (say if they have died),
you may instead invent another character.

Decide on the circumstances that have brought you together. Is

this a funeral? A retirement party?

CONDUCING A WAKE

Everyone takes one turn, with the person closest to the

departed going last. On your turn pick one of the following
questions. Everyone answers the question. If you cannot agree
on an answer, default to the player closest to the departed.

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QUESTIONS
Ø I make a scene, ranting about ___. Do the others
kick me out?
Ø I offer a gift to the departed, a magnificent ___.
Who knows where I got it?
Ø I’m inconsolable and largely incoherent. Who fails
to calm me down?
Ø I’ve been trying to hold back my feelings, but I slip
up. Who notices, despite my attempt to hide it?
Ø I make a speech, telling a story about the time the
departed and I ___. Do the others notice the lie I
slipped in?
Ø ___ and I end up in deep conversation. They
suggest we leave and catch up. Who notices the
two of us slip out?

ENDING A WAKE

When everyone has taken a turn, share any last words for one
another.

The active player narrates the ending of the scene and any
final goodbye.

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A Duel:
For Unresolved Tension
SETUP

Players: Two players play.

Something has happened between the two of you and the only
recourse is a fight. Agree to what has brought you to this
potentially deadly duel.

Answer together: Where is the duel conducted? Who arrives

first? Do you exchange any words before it begins?

CONDUCING A DUEL

To begin the duel, the active player presents an offer, to which

the other player responds with one of the answers. Continue
taking, one player offering and the other answering until one
of you has withdrawn or is dead.

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OFFERS
Ø I strike at you suddenly. If you block me, I’ll be
opened up to your next hit, do you?
Ø I surprise you with a skill you didn’t know I had. If
you let me, I’ll deliver a glancing blow to your
head/torso/arms/legs, do you?
Ø I’m overconfident, I swing at you, leaving my side
exposed. If you take advantage I’ll be left gasping,
do you?
Ø I try for a clever ploy. If you spot it, you can turn
the tables on me, do you?
Ø I’m wounded but still dangerous. I aim directly for
your heart. If you stay still I’ll wound you terribly,
do you?
Ø I step back, fear in my eyes. If you press your
advantage you’ll kill me, do you?
Ø I’m bruised and bleeding, and I’ve lost my will to
fight. If you ask to end this I’ll agree, do you?
Ø I’m at death’s door. If you decide to stop this now,
I may still live, do you?

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ANSWERS
Ø Yes, without reservation.
Ø Yes, but I’m slow and you wound/slice/break my
arm/face/chest.
Ø Yes, but you largely avoid the repercussions.
Ø Yes, and I push/pin/stun you as I do.
Ø Yes, and I grow desperate/frenzied/hopeless, my
movements erratic/cold/listless.
Ø Yes, and I withdraw to find help.
Ø Yes, but only if ___.
Ø Yes, and ___.
Ø No, I can’t stand this any longer and withdraw.
Ø No, but instead I ___.

ENDING A DUEL

End when one of you is dead or has withdrawn. How does the
remaining player feel?

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A Monster:
For Fighting A Powerful Foe
SETUP

Players: Invite any number of other players, but you must have
at least one.

Name the monster. This may be a literal monster, a person, or

something more abstract like a corporation, disease, or
government.

Take turns saying what you notice about each other since the
last time you met and what memories this stirs in you.

Write down a number of strengths for the monster. Choose a

number of strengths based on how likely you feel it is that
you’ll defeat this monster. Fairly likely: 2 strengths, Unlikely: 3
strengths, Very difficult: 4 strengths, Seemingly Impossible: 5
or more strengths.

Agree on these strengths together ahead of time. They may be

physical (imposing size, terrible fangs, incredible firepower) or
otherwise descriptive (prepared, divine, entrenched in
society).
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CONDUCTING A MONSTER

Take turns, with each player getting one turn. The player with
the strongest feelings about the monster takes the first turn. If
this isn’t clear, have another player choose who takes the first
turn on a whim.

On your turn choose another player and present them with a

challenge from the following list or make up one yourself.

ENDING A MONSTER

When everyone has had a turn, throw all coins. For each
heads you have reduced one strength of the monster. Reduced
strengths are not necessarily gone, but may simply carry on in
a more limited way. Determine the most appropriate strengths
to have reduced and to what they have been reduced, and
then choose the most appropriate ending.
Ø Nothing remains of the monster but our memories.
Ø The monster has been sapped of its strength and will live,
but it will never do harm to us again.
Ø We dealt a mighty blow, but it escaped before we could
finish it.
Ø We gave as good as we got, but when it became clear the
costs of continuing, we withdrew.
Ø We underestimated the beast and we paid a heavy price.
Ø The monster barely seemed to notice our attacks, and we
fled, disheartened.

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CHALLENGES
Ø We draw closer to the monster and you realize
you can deal a blow to it, but only by putting me in
danger. Do you? If so, hold one coin.
Ø You spot an opening to attack, but you’ll be badly
hurt if you take it, do you? If so, hold one coin and
describe your new scar.
Ø You recognize a way to sacrifice ___ to deal a
mortal blow to the creature, do you? If so, hold two
coins.
Ø (If you have at least one coin) You note a potential
means of attack, but it’s risky, do you take it? If so,
toss a coin. If it’s heads, keep the coin and hold two
more coins. If it’s tails, lose this coin.
Ø (If you have at least one coin) You realize that you
can draw on the same strength as this monster, do
you? If yes, throw one coin. If it’s heads, keep the
coin and hold two more coins. If it’s tails, the
monster gains a new strength.
Ø (If you have at least one coin) You recognize a
decisive moment, where a right move could win
you the day, but a wrong move could spell doom.
Do you seize it? If so, toss a coin. If it’s heads, keep
the coin and hold two more coins. If it’s tails, you
are doomed, describe the nature of your doom.
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Something Old, Something New:
For Ending the Game

When all threads are spent, the game ends. Go

around the room, with each player getting a turn.
Each player should describe one scene, one image
that the “audience” of your campaign is given as the
credits roll. This may be of your character or what
remains of your character, it might be in the past or
long after everything in this game.

Once everyone has given this, go around the room

once more. Each player gives one scene, one image
of something new that wouldn’t have been in the
world without the actions of their character. This
might be a person, a community, a place, or
something entirely different. These are the last
scenes your audience sees before the lights go back
up in the theater.

When everyone is done, the game is done.

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